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diff -ruN cinelerra-1.1.5.orig/cinelerra/builddate.h cinelerra-1.1.5/cinelerra/builddate.h
--- cinelerra-1.1.5.orig/cinelerra/builddate.h 2003-02-10 08:25:29.000000000 +0100
+++ cinelerra-1.1.5/cinelerra/builddate.h 2003-05-04 08:50:11.000000000 +0200
@@ -1 +1 @@
-#define BUILDDATE "Sun Feb 9 23:25:29 PST 2003"
+#define BUILDDATE "Sun May 4 08:48:32 CEST 2003"
diff -ruN cinelerra-1.1.5.orig/cinelerra/tracksedit.C cinelerra-1.1.5/cinelerra/tracksedit.C
--- cinelerra-1.1.5.orig/cinelerra/tracksedit.C 2002-12-14 06:10:45.000000000 +0100
+++ cinelerra-1.1.5/cinelerra/tracksedit.C 2003-05-04 08:50:11.000000000 +0200
@@ -745,7 +745,7 @@
dest_edit->insert_transition(server->title);
}
-void Tracks::paste_video_transition(PluginServer *server, int first_track = 0)
+void Tracks::paste_video_transition(PluginServer *server, int first_track)
{
for(Track *current = first; current; current = NEXT)
{
diff -ruN cinelerra-1.1.5.orig/doc/cinelerra.html cinelerra-1.1.5/doc/cinelerra.html
--- cinelerra-1.1.5.orig/doc/cinelerra.html 2003-02-10 07:02:54.000000000 +0100
+++ cinelerra-1.1.5/doc/cinelerra.html 2003-05-04 08:50:11.000000000 +0200
@@ -2,30 +2,32 @@
<head>
<title>Secrets of Cinelerra</title>
<meta http-equiv="Content-Type" content="text/html">
-<meta name=description content="Secrets of Cinelerra">
-<meta name=generator content="makeinfo 4.2">
-<link href="http://www.gnu.org/software/texinfo/" rel=generator-home>
+<meta name="description" content="Secrets of Cinelerra">
+<meta name="generator" content="makeinfo 4.5">
+<link href="http://www.gnu.org/software/texinfo/" rel="generator-home">
</head>
<body>
-<h1>Secrets of Cinelerra</h1>
+<h1 class="settitle">Secrets of Cinelerra</h1>
+<div class="node">
<p><hr>
Node:<a name="Top">Top</a>,
-Next:<a rel=next accesskey=n href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>,
-Up:<a rel=up accesskey=u href="#dir">(dir)</a>
+Next:<a rel="next" accesskey="n" href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>,
+Up:<a rel="up" accesskey="u" href="#dir">(dir)</a>
<br>
+</div>
-<h2>BRIEF CONTENTS</h2>
+<h2 class="unnumbered">BRIEF CONTENTS</h2>
-<ul>
-<li><a accesskey=1 href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>:
-<li><a accesskey=2 href="#INSTALLATION">INSTALLATION</a>:
-<li><a accesskey=3 href="#CONFIGURATION">CONFIGURATION</a>:
-<li><a accesskey=4 href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>:
-<li><a accesskey=5 href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>:
-<li><a accesskey=6 href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>:
-<li><a accesskey=7 href="#EDITING">EDITING</a>:
-<li><a accesskey=8 href="#USING%20EFFECTS">USING EFFECTS</a>:
-<li><a accesskey=9 href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>:
+<li><a accesskey="2" href="#INSTALLATION">INSTALLATION</a>:
+<li><a accesskey="3" href="#CONFIGURATION">CONFIGURATION</a>:
+<li><a accesskey="4" href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>:
+<li><a accesskey="5" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>:
+<li><a accesskey="6" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>:
+<li><a accesskey="7" href="#EDITING">EDITING</a>:
+<li><a accesskey="8" href="#USING%20EFFECTS">USING EFFECTS</a>:
+<li><a accesskey="9" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>:
<li><a href="#COMPOSITING">COMPOSITING</a>:
<li><a href="#KEYFRAMES">KEYFRAMES</a>:
<li><a href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>:
@@ -36,92 +38,82 @@
</ul>
+<div class="contents">
<h2>Table of Contents</h2>
<ul>
-<li><a name="toc_Top"></a>
- <a href="#Top">BRIEF CONTENTS</a>
-<li><a name="toc_ABOUT%20CINELERRA"></a>
- <a href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>
+<li><a name="toc_Top" href="#Top">BRIEF CONTENTS</a>
+<li><a name="toc_ABOUT%20CINELERRA" href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>
<ul>
<li><a href="#ABOUT%20THIS%20MANUAL">ABOUT THIS MANUAL</a>
-</ul>
-<li><a name="toc_INSTALLATION"></a>
- <a href="#INSTALLATION">INSTALLATION</a>
-<li><a name="toc_CONFIGURATION"></a>
- <a href="#CONFIGURATION">CONFIGURATION</a>
+</li></ul>
+<li><a name="toc_INSTALLATION" href="#INSTALLATION">INSTALLATION</a>
+<li><a name="toc_CONFIGURATION" href="#CONFIGURATION">CONFIGURATION</a>
<ul>
<li><a href="#PLAYBACK">PLAYBACK</a>
<ul>
<li><a href="#AUDIO%20OUT">AUDIO OUT</a>
<li><a href="#VIDEO%20OUT">VIDEO OUT</a>
-</ul>
+</li></ul>
<li><a href="#RECORDING">RECORDING</a>
<ul>
<li><a href="#AUDIO%20IN">AUDIO IN</a>
<li><a href="#VIDEO%20IN">VIDEO IN</a>
-</ul>
+</li></ul>
<li><a href="#PERFORMANCE">PERFORMANCE</a>
<ul>
<li><a href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>
<li><a href="#RENDERFARM">RENDERFARM</a>
-</ul>
+</li></ul>
<li><a href="#INTERFACE">INTERFACE</a>
-</ul>
-<li><a name="toc_THE%20MAIN%20WINDOWS"></a>
- <a href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>
-<li><a name="toc_LOADING%20AND%20SAVING%20FILES"></a>
- <a href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+</li></ul>
+<li><a name="toc_THE%20MAIN%20WINDOWS" href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>
+<li><a name="toc_LOADING%20AND%20SAVING%20FILES" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<ul>
<li><a href="#LOADING%20FILES">LOADING FILES</a>
<ul>
<li><a href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>
<li><a href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>
<li><a href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>
-</ul>
+</li></ul>
<li><a href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>
<li><a href="#SAVING%20FILES">SAVING FILES</a>
<li><a href="#RENDERING%20FILES">RENDERING FILES</a>
<li><a href="#THE%20RENDER%20FARM">THE RENDER FARM</a>
-</ul>
-<li><a name="toc_NAVIGATING%20THE%20PROJECT"></a>
- <a href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+</li></ul>
+<li><a name="toc_NAVIGATING%20THE%20PROJECT" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<ul>
<li><a href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
<ul>
<li><a href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>
<li><a href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>
<li><a href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>
-</ul>
+</li></ul>
<li><a href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>
<li><a href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>
<li><a href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>
<li><a href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>
-</ul>
-<li><a name="toc_EDITING"></a>
- <a href="#EDITING">EDITING</a>
+</li></ul>
+<li><a name="toc_EDITING" href="#EDITING">EDITING</a>
<ul>
<li><a href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>
<li><a href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>
<li><a href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>
<li><a href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>
<li><a href="#TRIMMING">TRIMMING</a>
-</ul>
-<li><a name="toc_USING%20EFFECTS"></a>
- <a href="#USING%20EFFECTS">USING EFFECTS</a>
+</li></ul>
+<li><a name="toc_USING%20EFFECTS" href="#USING%20EFFECTS">USING EFFECTS</a>
<ul>
<li><a href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>
<ul>
<li><a href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>
<li><a href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>
-</ul>
+</li></ul>
<li><a href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>
<li><a href="#TRANSITIONS">TRANSITIONS</a>
<li><a href="#LADSPA%20EFFECTS">LADSPA EFFECTS</a>
-</ul>
-<li><a name="toc_SETTING%20PROJECT%20ATTRIBUTES"></a>
- <a href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>
-<li><a name="toc_COMPOSITING"></a>
- <a href="#COMPOSITING">COMPOSITING</a>
+</li></ul>
+<li><a name="toc_SETTING%20PROJECT%20ATTRIBUTES" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>
+<li><a name="toc_COMPOSITING" href="#COMPOSITING">COMPOSITING</a>
<ul>
<li><a href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>
<li><a href="#MASKS">MASKS</a>
@@ -129,24 +121,21 @@
<li><a href="#SAFE%20REGIONS">SAFE REGIONS</a>
<li><a href="#OVERLAY%20MODES">OVERLAY MODES</a>
<li><a href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>
-</ul>
-<li><a name="toc_KEYFRAMES"></a>
- <a href="#KEYFRAMES">KEYFRAMES</a>
+</li></ul>
+<li><a name="toc_KEYFRAMES" href="#KEYFRAMES">KEYFRAMES</a>
<ul>
<li><a href="#CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>
<li><a href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>
<li><a href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>
<li><a href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>
<li><a href="#EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>
-</ul>
-<li><a name="toc_CAPTURING%20MEDIA"></a>
- <a href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
+</li></ul>
+<li><a name="toc_CAPTURING%20MEDIA" href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
<ul>
<li><a href="#BATCHES">BATCHES</a>
<li><a href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>
-</ul>
-<li><a name="toc_IMPROVING%20PERFORMANCE"></a>
- <a href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+</li></ul>
+<li><a name="toc_IMPROVING%20PERFORMANCE" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<ul>
<li><a href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>
<li><a href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>
@@ -157,45 +146,45 @@
<li><a href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>
<li><a href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>
<li><a href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>
-</ul>
-<li><a name="toc_EFFECT%20DESCRIPTIONS"></a>
- <a href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
+</li></ul>
+<li><a name="toc_EFFECT%20DESCRIPTIONS" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
<ul>
<li><a href="#CHROMA%20KEY">CHROMA KEY</a>
<li><a href="#HISTOGRAM">HISTOGRAM</a>
<li><a href="#TIME%20AVERAGE">TIME AVERAGE</a>
<li><a href="#VIDEO%20SCOPE">VIDEO SCOPE</a>
-</ul>
-<li><a name="toc_PLUGIN%20AUTHORING"></a>
- <a href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+</li></ul>
+<li><a name="toc_PLUGIN%20AUTHORING" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<ul>
<li><a href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
<ul>
<li><a href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>
<li><a href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>
<li><a href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>
-</ul>
+</li></ul>
<li><a href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>
<li><a href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>
<li><a href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>
<li><a href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>
<li><a href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>
<li><a href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>
-</ul>
-<li><a name="toc_RELEASE%20NOTES"></a>
- <a href="#RELEASE%20NOTES">RELEASE NOTES</a>
-</ul>
+</li></ul>
+<li><a name="toc_RELEASE%20NOTES" href="#RELEASE%20NOTES">RELEASE NOTES</a>
+</li></ul>
+</div>
+<div class="node">
<p><hr>
Node:<a name="ABOUT%20CINELERRA">ABOUT CINELERRA</a>,
-Next:<a rel=next accesskey=n href="#INSTALLATION">INSTALLATION</a>,
-Previous:<a rel=previous accesskey=p href="#Top">Top</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#INSTALLATION">INSTALLATION</a>,
+Previous:<a rel="previous" accesskey="p" href="#Top">Top</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>ABOUT CINELERRA</h2>
+<h2 class="chapter">ABOUT CINELERRA</h2>
-<p>There are two types of moviegoers: producers who create new content,
+ <p>There are two types of moviegoers: producers who create new content,
going back over their content at future points for further refinement,
and consumers who want to acquire the content and watch it. Cinelerra
is not intended for consumers. Cinelerra has many features for
@@ -206,13 +195,13 @@
for consumers like MainActor, Kino, or Moxy, which you should consider
before using Cinelerra.
-<p>In 1996 our first editor came out: Broadcast 1.0. It was just a window
+ <p>In 1996 our first editor came out: Broadcast 1.0. It was just a window
with a waveform in it, it could cut and paste stereo audio waveforms on
a UNIX box, except unlike other audio editors it could handle files up
to 2 gigabytes with only 64 megs of RAM. That was a feature normally
only accessible to the highest end professional audio houses.
-<p>In 1997 Broadcast 1.0 was replaced by Broadcast 2.0. This time the
+ <p>In 1997 Broadcast 1.0 was replaced by Broadcast 2.0. This time the
window had a menubar, patchbay, console, and transport control.
Broadcast 2.0 still only handled audio but this time it handled
unlimited tracks, and it could perform effects on audio and save the
@@ -222,7 +211,7 @@
result instantly. Amazingly this real time tweeking is still
unavailable on most audio programs.
-<p>But Broadcast 2.0 still didn't handle video and it wasn't very graceful
+ <p>But Broadcast 2.0 still didn't handle video and it wasn't very graceful
at audio either. In 1999 video broke into the story with Broadcast
2000. This iteration of the Broadcast series could do wonders with
audio and offered a pretty good video feature set. It could edit video
@@ -235,7 +224,7 @@
disk. For a time it seemed as if the original dream of immersive movie
making for everyone regardless of income level had arrived.
-<p>Later on Broadcast 2000 began to come short. Its audio and video was
+ <p>Later on Broadcast 2000 began to come short. Its audio and video was
graceful if you knew how to use it efficiently, but quality issues and
new user interface techniques were emerging. Broadcast 2000 kept the
audio interface from its ancestors, which didn't apply well to video.
@@ -251,24 +240,26 @@
ground up, while supplementing that with the Broadcast audio
interface. As always, quality improvements would happen.
-<ul>
-<li><a accesskey=1 href="#ABOUT%20THIS%20MANUAL">ABOUT THIS MANUAL</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#ABOUT%20THIS%20MANUAL">ABOUT THIS MANUAL</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="ABOUT%20THIS%20MANUAL">ABOUT THIS MANUAL</a>,
-Up:<a rel=up accesskey=u href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>
+Up:<a rel="up" accesskey="u" href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>
<br>
+</div>
-<h3>ABOUT THIS MANUAL</h3>
+<h3 class="section">ABOUT THIS MANUAL</h3>
-<p>After many years of searching for the perfect documentation format
+ <p>After many years of searching for the perfect documentation format
we've arrived at TexInfo. This format can be converted to HTML,
printed, automatically indexed, but most importantly is not bound to
any commercial word processor. Documents written in Texinfo will be
readable as long as there's a C compiler.
-<p>There are no screenshots in this manual. Screenshots become obsolete
+ <p>There are no screenshots in this manual. Screenshots become obsolete
quickly and as a result confuse the users. What looks one way in a
screenshot will always look different in the real program because the
real program and the manual are always evolving, never perfectly
@@ -277,244 +268,252 @@
so you don't have to pay for it. That includes additional labor to
synchronize the manual with the software.
-<p>In addition to telling you the basic editing features of Cinelerra this
+ <p>In addition to telling you the basic editing features of Cinelerra this
manual covers tricks that won't be described anywhere else. We're
going to try to come up with certain things you can do with Cinelerra
that you wouldn't think of on your own.
+<div class="node">
<p><hr>
Node:<a name="INSTALLATION">INSTALLATION</a>,
-Next:<a rel=next accesskey=n href="#CONFIGURATION">CONFIGURATION</a>,
-Previous:<a rel=previous accesskey=p href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#CONFIGURATION">CONFIGURATION</a>,
+Previous:<a rel="previous" accesskey="p" href="#ABOUT%20CINELERRA">ABOUT CINELERRA</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>INSTALLATION</h2>
+<h2 class="chapter">INSTALLATION</h2>
-<p>The Cinelerra package contains Cinelerra, Mix2000, Mplex, and XMovie,
+ <p>The Cinelerra package contains Cinelerra, Mix2000, Mplex, and XMovie,
along with standalone libraries for various functions. All these
programs are useful and in most cases they're the only free programs
available for dealing with uncompressed, high resolution movies.
-<p>All of these programs tie into the same code base. Updates in one area
+ <p>All of these programs tie into the same code base. Updates in one area
of the code base usually affect everything else so everything would
have to be downloaded again even if one thing changed. By including
everything in one package you can be instantly updated for movie making
after one download.
-<p>The purpose of the various programs is as follows:
+ <p>The purpose of the various programs is as follows:
-<ul>
+ <ul>
-<li>
+ <li>
Cinelerra - capturing, editing and production of material
-<li>
+ <li>
Mix2000 - higher resolution volume controller than the standard Linux
volume controls.
-<li>
+ <li>
MPlex - Multiplexing of MPEG elementary streams.
-<li>
+ <li>
XMovie - Standalone player for all the formats Cinelerra exports.
-<li>
+ <li>
mpeg3toc - Utility for indexing and reading MPEG files.
-</ul>
+ </ul>
-<p>We try to include all the dependancies because of the difficulty in
+ <p>We try to include all the dependancies because of the difficulty in
tracking them down. Furthermore, the versions of some of the
dependancies Cinelerra requires differ from the versions other
utilities may require, making it impossible to coexist on the same
system without static inclusion.
-<p>Cinelerra is best installed by downloading an RPM and running
+ <p>Cinelerra is best installed by downloading an RPM and running
-<br><pre>rpm -U --force --nodeps hvirtual*.rpm
-</pre>
+<pre class="example"> rpm -U --force --nodeps hvirtual*.rpm
+ </pre>
-<p>on a RedHat system.
+ <p>on a RedHat system.
-<p>On systems which don't support RPM look for a utility called
+ <p>On systems which don't support RPM look for a utility called
<em>rpm2cpio</em>. Download a Cinelerra RPM and from the /
directory run
-<br><pre>rpm2cpio hvirtual*.rpm | cpio -i --make-directories
-</pre>
+<pre class="example"> rpm2cpio hvirtual*.rpm | cpio -i --make-directories
+ </pre>
-<p>It should be noted that the compiler used in building Cinelerra
+ <p>It should be noted that the compiler used in building Cinelerra
binaries is the free GNU compiler and although it can reorder
instructions for Pentium I and use some the of Pentium II branch
instructions it's 12 years behind most modern CPUs. You can try
different compilers and optimization flags by compiling the source.
-<p>Compiling the source is hard and there's no warranty if the source code
+ <p>Compiling the source is hard and there's no warranty if the source code
fails to compile, but the method for compiling starts by downloading
the source code and decompressing.
-<br><pre>tar jxf hvirtual*.tar.bz2
-</pre>
+<pre class="example"> tar jxf hvirtual*.tar.bz2
+ </pre>
-<p>Enter the hvirtual directory
+ <p>Enter the hvirtual directory
-<br><pre>cd hvirtual
-</pre>
+<pre class="example"> cd hvirtual
+ </pre>
-<p>and set some environment variables. For Pentium II use:
+ <p>and set some environment variables. For Pentium II use:
-<br><pre>export CFLAGS='-O3 -march=i686 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include'
-</pre>
+<pre class="example"> export CFLAGS='-O3 -march=i686 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include'
+ </pre>
-<p>For Pentium I and old AMD's use:
+ <p>For Pentium I and old AMD's use:
-<br><pre>export CFLAGS='-O3 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include'
-</pre>
+<pre class="example"> export CFLAGS='-O3 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include'
+ </pre>
-<p>Then run
+ <p>Then run
-<br><pre>make
-</pre>
+<pre class="example"> make
+ </pre>
-<p>The make procedure should run through all the directories and put
+ <p>The make procedure should run through all the directories and put
binaries in the <em>i686</em> directories. When we originally supported
Alpha it was convenient to compile Alpha and i686 binaries
simultaneously, in different directories so all the binaries are put in
i686 directories.
-<p>Once finished run
+ <p>Once finished run
-<br><pre>make install
-</pre>
+<pre class="example"> make install
+ </pre>
-<p>to install the binaries. The output is put in the following directories:
+ <p>to install the binaries. The output is put in the following directories:
-<ul>
+ <ul>
<li>Executables ->/usr/bin
<li>Plugins ->/usr/lib/cinelerra
</ul>
-<p>The main binaries are the Cinelerra, XMovie, Mix2000 executables and
+ <p>The main binaries are the Cinelerra, XMovie, Mix2000 executables and
several utilities for reading MPEG transport streams.
-<p>Run Cinelerra by running
+ <p>Run Cinelerra by running
-<br><pre>/usr/bin/cinelerra
-</pre>
+<pre class="example"> /usr/bin/cinelerra
+ </pre>
+<div class="node">
<p><hr>
Node:<a name="CONFIGURATION">CONFIGURATION</a>,
-Next:<a rel=next accesskey=n href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>,
-Previous:<a rel=previous accesskey=p href="#INSTALLATION">INSTALLATION</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>,
+Previous:<a rel="previous" accesskey="p" href="#INSTALLATION">INSTALLATION</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>CONFIGURATION</h2>
+<h2 class="chapter">CONFIGURATION</h2>
-<p>Because of the variety of uses, Cinelerra cannot be run optimally
+ <p>Because of the variety of uses, Cinelerra cannot be run optimally
without some intimate configuration for your specific needs. Very few
parameters are adjustible at compile time. Runtime configuration is
the only option for most configuration because of the multitude of
parameters.
-<p>Go to <em>settings->preferences</em> and run through the options.
+ <p>Go to <em>settings->preferences</em> and run through the options.
-<ul>
-<li><a accesskey=1 href="#PLAYBACK">PLAYBACK</a>:
-<li><a accesskey=2 href="#RECORDING">RECORDING</a>:
-<li><a accesskey=3 href="#PERFORMANCE">PERFORMANCE</a>:
-<li><a accesskey=4 href="#INTERFACE">INTERFACE</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#PLAYBACK">PLAYBACK</a>:
+<li><a accesskey="2" href="#RECORDING">RECORDING</a>:
+<li><a accesskey="3" href="#PERFORMANCE">PERFORMANCE</a>:
+<li><a accesskey="4" href="#INTERFACE">INTERFACE</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="PLAYBACK">PLAYBACK</a>,
-Next:<a rel=next accesskey=n href="#RECORDING">RECORDING</a>,
-Up:<a rel=up accesskey=u href="#CONFIGURATION">CONFIGURATION</a>
+Next:<a rel="next" accesskey="n" href="#RECORDING">RECORDING</a>,
+Up:<a rel="up" accesskey="u" href="#CONFIGURATION">CONFIGURATION</a>
<br>
+</div>
-<h3>PLAYBACK</h3>
+<h3 class="section">PLAYBACK</h3>
-<ul>
-<li><a accesskey=1 href="#AUDIO%20OUT">AUDIO OUT</a>:
-<li><a accesskey=2 href="#VIDEO%20OUT">VIDEO OUT</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#AUDIO%20OUT">AUDIO OUT</a>:
+<li><a accesskey="2" href="#VIDEO%20OUT">VIDEO OUT</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="AUDIO%20OUT">AUDIO OUT</a>,
-Next:<a rel=next accesskey=n href="#VIDEO%20OUT">VIDEO OUT</a>,
-Up:<a rel=up accesskey=u href="#PLAYBACK">PLAYBACK</a>
+Next:<a rel="next" accesskey="n" href="#VIDEO%20OUT">VIDEO OUT</a>,
+Up:<a rel="up" accesskey="u" href="#PLAYBACK">PLAYBACK</a>
<br>
+</div>
-<h4>AUDIO OUT</h4>
+<h4 class="subsection">AUDIO OUT</h4>
-<p>These determine what happens when you play sound from the timeline.
+ <p>These determine what happens when you play sound from the timeline.
-<ul>
+ <ul>
-<li>SAMPLES TO READ FROM DISK
+ <li>SAMPLES TO READ FROM DISK
-<p>Cinelerra uses a pipeline for rendering audio. The first stage is
+ <p>Cinelerra uses a pipeline for rendering audio. The first stage is
reading large chunks of audio from disk, the samples to read from
disk. This is followed by processing small fragments in a virtual
console.
-</p><li>SAMPLES TO SEND TO CONSOLE:
+ </p><li>SAMPLES TO SEND TO CONSOLE:
-<p>The second stage is rendering small fragments through the virtual
+ <p>The second stage is rendering small fragments through the virtual
console to the sound driver. A larger value here causes more latency
when you change mixing parameters but gives more reliable playback.
-<p>Some sound drivers don't allow changing of the console fragment so
+ <p>Some sound drivers don't allow changing of the console fragment so
latency is unchanged no matter what this value is.
-</p><li>
+ </p><li>
VIEW FOLLOWS PLAYBACK
-<p>Causes the timeline window to scroll when the playback cursor moves out
+ <p>Causes the timeline window to scroll when the playback cursor moves out
of view. This can bog down the X Server.
-</p><li>USE SOFTWARE FOR POSITIONING INFORMATION
+ </p><li>USE SOFTWARE FOR POSITIONING INFORMATION
-<p>Most soundcards and sound drivers don't give reliable information on
+ <p>Most soundcards and sound drivers don't give reliable information on
the number of samples the card has played. When playing video you need
this information for synchronization. This option causes the sound
driver to be ignored and a software timer to be used for
synchronization.
-</p><li>AUDIO PLAYBACK IN REALTIME:
+ </p><li>AUDIO PLAYBACK IN REALTIME:
-<p>Back in the days when 150Mhz was the maximum, this allowed
+ <p>Back in the days when 150Mhz was the maximum, this allowed
uninterrupted playback on heavy loads. Now you'll probably only need it
for playing video and audio when the load is to high for uninterrupted
audio.
-</p><li>AUDIO DRIVER
+ </p><li>AUDIO DRIVER
-<p>There are many sound drivers for Linux. This allows selecting one and
+ <p>There are many sound drivers for Linux. This allows selecting one and
setting parameters specific to it. Some of the common parameters for a
sound driver are
-<ul>
+ <ul>
-<li>DEVICE PATH
+ <li>DEVICE PATH
-<p>Usually a file in the <em>/dev/</em> directory which controls the
+ <p>Usually a file in the <em>/dev/</em> directory which controls the
device.
-</p><li>
+ </p><li>
BITS
-<p>The number of bits of precision Cinelerra should set the device for.
+ <p>The number of bits of precision Cinelerra should set the device for.
This sometimes has a figuritive meaning. Some sound drivers need to be
set to 32 bits to perform 24 bit playback and won't play anything when
set to 24 bits. Some sound drivers need to be set to 24 bits for 24
bit playback.
-</p><li>
+ </p><li>
CHANNELS
-<p>The number of channels Cinelerra should set the device for. Regardless
+ <p>The number of channels Cinelerra should set the device for. Regardless
of the number of channels in the project, the number of channels set
here will be written to the device. When this is set to 2 and the
project has 1 channel you'll hear sound through the left speaker and
@@ -522,184 +521,190 @@
and the project has 2 channels you'll hear the left channel centered
and not 2 channels mixed together.
-</ul>
-</ul>
+ </ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="VIDEO%20OUT">VIDEO OUT</a>,
-Previous:<a rel=previous accesskey=p href="#AUDIO%20OUT">AUDIO OUT</a>,
-Up:<a rel=up accesskey=u href="#PLAYBACK">PLAYBACK</a>
+Previous:<a rel="previous" accesskey="p" href="#AUDIO%20OUT">AUDIO OUT</a>,
+Up:<a rel="up" accesskey="u" href="#PLAYBACK">PLAYBACK</a>
<br>
+</div>
-<h4>VIDEO OUT</h4>
+<h4 class="subsection">VIDEO OUT</h4>
-<p>These determine what happens when you play video from the timeline.
+ <p>These determine what happens when you play video from the timeline.
-<ul>
+ <ul>
-<li>
+ <li>
FRAMERATE ACHIEVED
-<p>The number of frames per second being
+ <p>The number of frames per second being
displayed during playback.
-</p><li>
+ </p><li>
SCALING EQUATION
-<p>The algorithm used in all video resizing in
+ <p>The algorithm used in all video resizing in
the virtual console. This doesn't affect scaling to the size of the
compositor window.
-<ul>
+ <ul>
-<li>NEAREST NEIGHBOR ENLARGE AND REDUCE
+ <li>NEAREST NEIGHBOR ENLARGE AND REDUCE
-<p>lowest but fastest
+ <p>lowest but fastest
quality. Produces jagged edges and uneven motion.
-</p><li>
+ </p><li>
BICUBIC ENLARGE AND BILINEAR REDUCE
-<p>highest but slowest
+ <p>highest but slowest
quality. For enlarging a bicubic interpolation is used, which blurs
slightly but doesn't reveal stair steps. For reduction a bilinear
interpolation is used, which produces very sharp images and reduces
noise. The bilinear reduced images can be sharpened with a sharpen
effect with less noise than a normal sized image.
-</p><li>
+ </p><li>
BILINEAR ENLARGE AND BILINEAR REDUCE
-<p>when slight enlargement
+ <p>when slight enlargement
is needed a bilinear enlargement looks better than a bicubic
enlargement.
-</ul>
+ </ul>
-</p><li>
+ </p><li>
PRELOAD BUFFER FOR QUICKTIME
-<p>The Quicktime/AVI decoder can
+ <p>The Quicktime/AVI decoder can
handle CDROM sources better when this is around 1000000. This reduces
the amount of seeking. For normal use this should be 0.
-</p><li>
+ </p><li>
MPEG-4 DEBLOCKING
-<p>For assets which are compressed in OpenDivx and Quicktime, this enables
+ <p>For assets which are compressed in OpenDivx and Quicktime, this enables
deblocking. This greatly improves the picture quality during decoding
while slowing it down.
-</p><li>
+ </p><li>
VIDEO DRIVER
-<p>Normally video on the timeline goes to the
+ <p>Normally video on the timeline goes to the
compositor window during continuous playback and when the insertion
point is repositioned. Instead of sending video to the Compositor
window the video driver can be set to send video to another output
device during continuous playback. This doesn't affect where video
goes when the insertion point is repositioned, however.
-<p>Various parameters are given for Video Driver depending on the driver.
+ <p>Various parameters are given for Video Driver depending on the driver.
-<ul>
+ <ul>
-<li>
+ <li>
DISPLAY
-<p>The is intended for dual monitor
+ <p>The is intended for dual monitor
displays. Depending on the value of Display, the Compositor window
will appear on a different monitor from the rest of the windows.
-</p><li>
+ </p><li>
DEVICE PATH
-<p>Usually a file in the <em>/dev/</em> directory
+ <p>Usually a file in the <em>/dev/</em> directory
which controls the device.
-</p><li>
+ </p><li>
SWAP FIELDS
-<p>Make the even lines odd and the odd lines even
+ <p>Make the even lines odd and the odd lines even
when sending to the device. On an NTSC or 1080i monitor the fields may
need to be swapped to prevent jittery motion.
-</p><li>
+ </p><li>
OUTPUT CHANNEL
-<p>Devices with multiple outputs may need a
+ <p>Devices with multiple outputs may need a
specific connector to send video on.
-</p><li>
+ </p><li>
PORT
-<p>The IEEE1394 standard specifies something known as the
+ <p>The IEEE1394 standard specifies something known as the
<em>port</em>. This is probably the firewire card number in the system
to use.
-</p><li>
+ </p><li>
CHANNEL
-<p>The IEEE1394 standard specifies something known as the
+ <p>The IEEE1394 standard specifies something known as the
<em>channel</em>. For DV cameras it's always <em>63</em>.
-</ul>
+ </ul>
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="RECORDING">RECORDING</a>,
-Next:<a rel=next accesskey=n href="#PERFORMANCE">PERFORMANCE</a>,
-Previous:<a rel=previous accesskey=p href="#PLAYBACK">PLAYBACK</a>,
-Up:<a rel=up accesskey=u href="#CONFIGURATION">CONFIGURATION</a>
+Next:<a rel="next" accesskey="n" href="#PERFORMANCE">PERFORMANCE</a>,
+Previous:<a rel="previous" accesskey="p" href="#PLAYBACK">PLAYBACK</a>,
+Up:<a rel="up" accesskey="u" href="#CONFIGURATION">CONFIGURATION</a>
<br>
+</div>
-<h3>RECORDING</h3>
+<h3 class="section">RECORDING</h3>
-<ul>
-<li><a accesskey=1 href="#AUDIO%20IN">AUDIO IN</a>:
-<li><a accesskey=2 href="#VIDEO%20IN">VIDEO IN</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#AUDIO%20IN">AUDIO IN</a>:
+<li><a accesskey="2" href="#VIDEO%20IN">VIDEO IN</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="AUDIO%20IN">AUDIO IN</a>,
-Next:<a rel=next accesskey=n href="#VIDEO%20IN">VIDEO IN</a>,
-Up:<a rel=up accesskey=u href="#RECORDING">RECORDING</a>
+Next:<a rel="next" accesskey="n" href="#VIDEO%20IN">VIDEO IN</a>,
+Up:<a rel="up" accesskey="u" href="#RECORDING">RECORDING</a>
<br>
+</div>
-<h4>AUDIO IN</h4>
+<h4 class="subsection">AUDIO IN</h4>
-<p>These determine what happens when you record audio.
+ <p>These determine what happens when you record audio.
-<ul>
+ <ul>
<li>
RECORD DRIVER
-<p>This is used for recording audio in the Record window. It may be
+ <p>This is used for recording audio in the Record window. It may be
shared with the Record Driver for video if the audio and video are
wrapped in the same stream. It takes variable parameters depending on
the driver. The parameters have the same meaning as they do for
playback.
-<ul>
+ <ul>
<li>
DEVICE PATH
-<p>Usually a file in the <em>/dev/</em> directory which controls the
+ <p>Usually a file in the <em>/dev/</em> directory which controls the
device.
-</p><li>
+ </p><li>
BITS
-<p>The number of bits of precision Cinelerra should set the device for.
+ <p>The number of bits of precision Cinelerra should set the device for.
This sometimes has a figuritive meaning. Some sound drivers need to be
set to 32 bits to perform 24 bit recording and won't record anything
when set to 24 bits. Some sound drivers need to be set to 24 bits for
24 bit recording.
-</p><li>CHANNELS
+ </p><li>CHANNELS
-<p>The number of channels Cinelerra should set the device for. Regardless
+ <p>The number of channels Cinelerra should set the device for. Regardless
of the number of channels in the record operation, the number of
channels set here will be read from the device. When this is set to 2
and the record operation has 1 channel you'll record the left speaker
@@ -708,120 +713,124 @@
record the left and right channels mixed into the left speaker and not
1 channel spead across two speakers.
-</ul>
+ </ul>
-</p><li>
+ </p><li>
SAMPLES TO WRITE AT A TIME
-<p>Audio is first read in small fragments from the device. Many small
+ <p>Audio is first read in small fragments from the device. Many small
fragments are combined into a large fragment before writing to disk.
The disk writing process is done in a different thread. The value here
determines how large the combination of fragments is for each disk
write.
-</p><li>
+ </p><li>
SAMPLE RATE FOR RECORDING
-<p>Regardless of what the project settings are. This is the sample rate
+ <p>Regardless of what the project settings are. This is the sample rate
used for recording. This should be the highest the audio device
supports.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="VIDEO%20IN">VIDEO IN</a>,
-Previous:<a rel=previous accesskey=p href="#AUDIO%20IN">AUDIO IN</a>,
-Up:<a rel=up accesskey=u href="#RECORDING">RECORDING</a>
+Previous:<a rel="previous" accesskey="p" href="#AUDIO%20IN">AUDIO IN</a>,
+Up:<a rel="up" accesskey="u" href="#RECORDING">RECORDING</a>
<br>
+</div>
-<h4>VIDEO IN</h4>
+<h4 class="subsection">VIDEO IN</h4>
-<p>These determine what happens when you record video.
+ <p>These determine what happens when you record video.
-<ul>
+ <ul>
<li>
RECORD DRIVER
-<p>This is used for recording video in the Record window. It may be
+ <p>This is used for recording video in the Record window. It may be
shared with the Record Driver for audio if the audio and video are
wrapped in the same stream. It takes variable parameters depending on
the driver. The parameters have the same meaning as they do for
playback.
-</p><li>
+ </p><li>
FRAMES TO RECORD TO DISK AT A TIME
-<p>Frames are recorded in a pipeline. First frames are buffered in the
+ <p>Frames are recorded in a pipeline. First frames are buffered in the
device. Then they're read into a larger buffer for writing to disk.
The disk writing is done in a different thread as the device reading.
For certain codecs the disk writing uses multiple processors. This
value determines how many frames are written to disk at a time.
-</p><li>
+ </p><li>
FRAMES TO BUFFER IN DEVICE
-<p>The number of frames to store in the device before reading. This
+ <p>The number of frames to store in the device before reading. This
determines how much latency there can be in the system before frames
are dropped.
-</p><li>USE SOFTWARE FOR POSITIONING INFORMATION
+ </p><li>USE SOFTWARE FOR POSITIONING INFORMATION
-<p>Video uses audio for
+ <p>Video uses audio for
-<p>synchronization but most soundcards don't give accurate position
+ <p>synchronization but most soundcards don't give accurate position
information. This calculates an estimation of audio position in
software instead of the hardware for synchronization.
-</p><li>
+ </p><li>
SYNC DRIVES AUTOMATICALLY
-<p>For high bitrate recording the drives may be fast enough to store the
+ <p>For high bitrate recording the drives may be fast enough to store the
data but Linux may wait several minutes and stall as it writes several
minutes of data at a time. This forces Linux to flush its buffers
every second instead of every few minutes and produce slightly better
realtime behavior.
-</p><li>
+ </p><li>
SIZE OF CAPTURED FRAME
-<p>This is the size of the frames recorded. It is independant of the
+ <p>This is the size of the frames recorded. It is independant of the
project frame size because most video devices only record a fixed frame
size. If the frame size given here isn't supported by the device it
might crash Cinelerra.
-</p><li>FRAME RATE FOR RECORDING
+ </p><li>FRAME RATE FOR RECORDING
-<p>The frame rate recorded is different from the project settings. This
+ <p>The frame rate recorded is different from the project settings. This
sets the recorded frame rate.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="PERFORMANCE">PERFORMANCE</a>,
-Next:<a rel=next accesskey=n href="#INTERFACE">INTERFACE</a>,
-Previous:<a rel=previous accesskey=p href="#RECORDING">RECORDING</a>,
-Up:<a rel=up accesskey=u href="#CONFIGURATION">CONFIGURATION</a>
+Next:<a rel="next" accesskey="n" href="#INTERFACE">INTERFACE</a>,
+Previous:<a rel="previous" accesskey="p" href="#RECORDING">RECORDING</a>,
+Up:<a rel="up" accesskey="u" href="#CONFIGURATION">CONFIGURATION</a>
<br>
+</div>
-<h3>PERFORMANCE</h3>
+<h3 class="section">PERFORMANCE</h3>
-<p>You'll spend most of your time configuring this section. The main
+ <p>You'll spend most of your time configuring this section. The main
focus of performance is rendering parameters not available in the
rendering dialog.
-<ul>
+ <ul>
-<li>CACHE ITEMS
+ <li>CACHE ITEMS
-<p>To speed up rendering, several assets are kept open simultaneously.
+ <p>To speed up rendering, several assets are kept open simultaneously.
This determines how many are kept open. A number too large may exhaust
your memory pretty fast and result in a crash. A number too small may
result in slow playback as assets need to be reopened more frequently.
-</p><li>
+ </p><li>
SECONDS TO PREROLL RENDERS
-<p>Some effects need a certain amount of time to settle in. This sets a
+ <p>Some effects need a certain amount of time to settle in. This sets a
number of seconds to render without writing to disk before the selected
region is rendered. When using the renderfarm you'll sometimes need to
preroll to get seemless transitions between the jobs. Every job in a
@@ -829,32 +838,34 @@
rendering, however. Background rendering uses a different preroll
value.
-</p><li>
+ </p><li>
FORCE SINGLE PROCESSOR USE
-<p>Cinelerra tries to use all processors on the system by default but
+ <p>Cinelerra tries to use all processors on the system by default but
sometimes you'll only want to use one processor, like in a renderfarm
client. This forces only one processer to be used. The operating
system, however, usually uses the second processor anyway for disk
access so this option is really a 1.25 processor mode. The value of
this parameter is used in renderfarm clients.
-</ul>
+ </ul>
-<ul>
-<li><a accesskey=1 href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>:
-<li><a accesskey=2 href="#RENDERFARM">RENDERFARM</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>:
+<li><a accesskey="2" href="#RENDERFARM">RENDERFARM</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>,
-Next:<a rel=next accesskey=n href="#RENDERFARM">RENDERFARM</a>,
-Up:<a rel=up accesskey=u href="#PERFORMANCE">PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#RENDERFARM">RENDERFARM</a>,
+Up:<a rel="up" accesskey="u" href="#PERFORMANCE">PERFORMANCE</a>
<br>
+</div>
-<h4>BACKGROUND RENDERING</h4>
+<h4 class="subsection">BACKGROUND RENDERING</h4>
-<p>Background rendering was originally concieved to allow HDTV effects to
+ <p>Background rendering was originally concieved to allow HDTV effects to
be displayed in realtime. Background rendering causes temporary output
to constantly be rendered while the timeline is being modified. The
temporary output is played during playack whenever possible. It's very
@@ -863,26 +874,26 @@
renderfarm is used for background rendering, giving you the potential
for realtime effects if enough network bandwidth and CPU nodes exist.
-<ul>
+ <ul>
-<li>FRAMES PER BACKGROUND RENDERING JOB
+ <li>FRAMES PER BACKGROUND RENDERING JOB
-<p>This only works if renderfarm is being used, otherwise background
+ <p>This only works if renderfarm is being used, otherwise background
rendering creates a single job for the entire timeline. The number of
frames specified here is scaled to the relative CPU speed of rendering
nodes and used in a single renderfarm job. The optimum number is 10 -
30 since network bandwidth is used to initialize each job.
-</p><li>FRAMES TO PREROLL BACKGROUND
+ </p><li>FRAMES TO PREROLL BACKGROUND
-<p>This is the number of frames to render ahead of each background
+ <p>This is the number of frames to render ahead of each background
rendering job. Background rendering is degraded when preroll is used
since the jobs are small. When using background rendering, this number
is ideally 0. Some effects may require 3 frames of preroll.
-</p><li>OUTPUT FOR BACKGROUND RENDERING
+ </p><li>OUTPUT FOR BACKGROUND RENDERING
-<p>Background rendering generates a sequence of image files in a certain
+ <p>Background rendering generates a sequence of image files in a certain
directory. This parameter determines the filename prefix of the image
files. It should be on a fast disk, accessible to every node in the
renderfarm by the same path. Since hundreds of thousands of image
@@ -891,317 +902,329 @@
this option normally won't work either, but the <img src="wrench.png" alt="wrench.png">
configuration button for this option works.
-</p><li>FILE FORMAT
+ </p><li>FILE FORMAT
-<p>The file format for background rendering has to be a sequence of
+ <p>The file format for background rendering has to be a sequence of
images. The format of the image sequence determines the quality and
speed of playback. JPEG is good most of the time.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="RENDERFARM">RENDERFARM</a>,
-Previous:<a rel=previous accesskey=p href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>,
-Up:<a rel=up accesskey=u href="#PERFORMANCE">PERFORMANCE</a>
+Previous:<a rel="previous" accesskey="p" href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>,
+Up:<a rel="up" accesskey="u" href="#PERFORMANCE">PERFORMANCE</a>
<br>
+</div>
-<h4>RENDERFARM</h4>
+<h4 class="subsection">RENDERFARM</h4>
-<p>To use the renderfarm set these options. Ignore them for a standalone
+ <p>To use the renderfarm set these options. Ignore them for a standalone
system
-<ul>
+ <ul>
-<li>
+ <li>
USE RENDER FARM FOR RENDERING
-<p>When selected, all the
+ <p>When selected, all the
<em>file->render</em> operations use the renderfarm.
-</p><li>
+ </p><li>
NODES
-<p>Displays all the nodes on the renderfarm and which ones are active.
+ <p>Displays all the nodes on the renderfarm and which ones are active.
-<p>Nodes are added by entering the host name of the node, verifying the
+ <p>Nodes are added by entering the host name of the node, verifying the
value of <em>port</em> and hitting <em>add node</em>.
-<p>Computer freaks may be better off editing the
+ <p>Computer freaks may be better off editing the
<em>~/.bcast/.Cinelerra_rc</em> file than this if they have hundreds of
nodes. Remember that .Cinelerra_rc is overwritten whenever a copy of
Cinelerra exits.
-<p>Select the <em>ON</em> column to activate and deactivate nodes once they
+ <p>Select the <em>ON</em> column to activate and deactivate nodes once they
are created.
-<p>Nodes may be edited by highlighting a row and hitting <em>replace
+ <p>Nodes may be edited by highlighting a row and hitting <em>replace
node</em>.
-</p><li>
+ </p><li>
HOSTNAME
-<p>Edit the hostname of an existing node or enter the hostname of a new
+ <p>Edit the hostname of an existing node or enter the hostname of a new
node here.
-</p><li>
+ </p><li>
PORT
-<p>Edit the port of an existing node or enter the port of a new node here.
+ <p>Edit the port of an existing node or enter the port of a new node here.
-</p><li>
+ </p><li>
REPLACE NODE
-<p>When editing an existing node, hit this to commit the changes to
+ <p>When editing an existing node, hit this to commit the changes to
<em>HOSTNAME</em> and <em>PORT</em>. The changes won't be committed if you
don't hit this button.
-</p><li>
+ </p><li>
ADD NODE
-<p>Create a new node with the <em>HOSTNAME</em> and <em>PORT</em> settings.
+ <p>Create a new node with the <em>HOSTNAME</em> and <em>PORT</em> settings.
-</p><li>
+ </p><li>
DELETE NODE
-<p>Deletes whatever node is highlighted in the <em>NODES</em> list.
+ <p>Deletes whatever node is highlighted in the <em>NODES</em> list.
-</p><li>
+ </p><li>
SORT NODES
-<p>Sorts the <em>NODES</em> list based on the hostname.
+ <p>Sorts the <em>NODES</em> list based on the hostname.
-</p><li>
+ </p><li>
RESET RATES
-<p>This sets the framerate for all the nodes to 0. Frame rates are used
+ <p>This sets the framerate for all the nodes to 0. Frame rates are used
to scale job sizes based on CPU speed of the node. Frame rates are
only calculated when renderfarm is enabled.
-</p><li>
+ </p><li>
FILESYSTEM PREFIX ON REMOTE NODES
-<p>Sets the relative location of all the assets on the nodes. If the
+ <p>Sets the relative location of all the assets on the nodes. If the
assets are in <em>/mov</em> on the master and the master filesystem is
mounted under <em>/mnt</em> on the nodes, the filesystem prefix should be
<em>/mnt</em>. Ideally the assets should appear under the same directory
on the nodes as the master. In this case the filesystem prefix can be
<em>/</em>.
-<p>You don't have to mount a shared filesystem on remote nodes. If the
+ <p>You don't have to mount a shared filesystem on remote nodes. If the
shared filesystem is replicated somewhere on the slave node's hard
drive, Cinelerra will read all the assets from the node's hard drive
and write the output to the node's hard drive, and you won't need a
very fast network. This is much more difficult to pull off but it's an
option for really slow networks.
-<p>You don't have to specify a file on the master node's filesystem as the
+ <p>You don't have to specify a file on the master node's filesystem as the
output file. If the output file is specified in some other directory
on the slave node hard drive Cinelerra will read assets from the master
filesystem but write to the node's hard drive. Thus you have a way of
rendering across an asymetric network.
-</p><li>
+ </p><li>
TOTAL JOBS TO CREATE
-<p>Determines the number of jobs to dispatch to the renderfarm. The more
+ <p>Determines the number of jobs to dispatch to the renderfarm. The more
jobs you create, the more finely balanced the renderfarm becomes.
-<p>Determine the total jobs to create by multiplying the number of nodes
+ <p>Determine the total jobs to create by multiplying the number of nodes
including the master node by some number. Multiply them by 1 to have
one job dispatched for every node. Multiply them by 3 to have 3 jobs
dispatched for every node. If you have 10 slave nodes and one master
node, specify 33 to have a well balanced renderfarm.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="INTERFACE">INTERFACE</a>,
-Previous:<a rel=previous accesskey=p href="#PERFORMANCE">PERFORMANCE</a>,
-Up:<a rel=up accesskey=u href="#CONFIGURATION">CONFIGURATION</a>
+Previous:<a rel="previous" accesskey="p" href="#PERFORMANCE">PERFORMANCE</a>,
+Up:<a rel="up" accesskey="u" href="#CONFIGURATION">CONFIGURATION</a>
<br>
+</div>
-<h3>INTERFACE</h3>
+<h3 class="section">INTERFACE</h3>
-<p>These parameters affect purely how the user interface works.
+ <p>These parameters affect purely how the user interface works.
-<ul>
+ <ul>
-<li>
+ <li>
INDEX FILES GO HERE
-<p>Back in the days when 4 MB/sec was unearthly speed for a hard drive,
+ <p>Back in the days when 4 MB/sec was unearthly speed for a hard drive,
index files were introduced to speed up drawing the audio tracks. This
option determines where index files are placed on the hard drive.
-</p><li>
+ </p><li>
SIZE OF INDEX FILE
-<p>Determines the size of an index file. Larger index sizes allow smaller
+ <p>Determines the size of an index file. Larger index sizes allow smaller
files to be drawn faster while slowing down the drawing of large files.
Smaller index sizes allow large files to be drawn faster while slowing
down small files.
-</p><li>
+ </p><li>
NUMBER OF INDEX FILES TO KEEP
-<p>To keep the index directory from becoming unruly, old index files are
+ <p>To keep the index directory from becoming unruly, old index files are
deleted. This determines the maximum number of index files to keep in
the directory.
-</p><li>
+ </p><li>
DELETE ALL INDEXES
-<p>When you change the index size or you want to clean out excessive index
+ <p>When you change the index size or you want to clean out excessive index
files, this deletes all the index files.
-</p><li>USE HOURS:MINUTES:SECONDS.XXX
+ </p><li>USE HOURS:MINUTES:SECONDS.XXX
-<p>Various representations of time are given. Select the most convenient
+ <p>Various representations of time are given. Select the most convenient
one. The time representation can also be changed by <em>CTRL</em>
clicking on the time ruler.
-</p><li>USE THUMBNAILS
+ </p><li>USE THUMBNAILS
-<p>The Resource Window displays thumbnails of assets by default. This can
+ <p>The Resource Window displays thumbnails of assets by default. This can
take a long time to set up. This option disables the thumbnails.
-</p><li>CLICKING IN/OUT POINTS DOES WHAT
+ </p><li>CLICKING IN/OUT POINTS DOES WHAT
-<p>Cinelerra not only allows you to perform editing by dragging in/out
+ <p>Cinelerra not only allows you to perform editing by dragging in/out
points but also defines three seperate operations which occur when you
drag an in/out point. For each mouse button you select the behavior in
this window. The usage of each editing mode is described in editing.
-</p><li>MIN DB FOR METER
+ </p><li>MIN DB FOR METER
-<p>Some sound sources have a lower noise threshold than others.
+ <p>Some sound sources have a lower noise threshold than others.
Everything below the noise threshold is meaningless. This option sets
the meters to clip below a certain level. Consumer soundcards usually
bottom out at -65. Professional soundcards bottom out at -90.
-</p><li>FORMAT FOR METER
+ </p><li>FORMAT FOR METER
-<p>This option allows you to select the format for all the VU meters. If
+ <p>This option allows you to select the format for all the VU meters. If
you're a CS major select percentage and if you're a EE major select DB.
With that, be aware all levels in Cinelerra are input as DB.
-</p><li>THEME
+ </p><li>THEME
-<p>Cinelerra supports variable themes. Select one here and restart
+ <p>Cinelerra supports variable themes. Select one here and restart
Cinelerra to see it.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>,
-Next:<a rel=next accesskey=n href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
-Previous:<a rel=previous accesskey=p href="#CONFIGURATION">CONFIGURATION</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
+Previous:<a rel="previous" accesskey="p" href="#CONFIGURATION">CONFIGURATION</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>THE MAIN WINDOWS</h2>
+<h2 class="chapter">THE MAIN WINDOWS</h2>
-<p>When Cinelerra first starts, you'll get four main windows. Hitting
+ <p>When Cinelerra first starts, you'll get four main windows. Hitting
<em>CTRL-w</em> in any window closes it.
-<ul>
+ <ul>
-<li>Viewer
+ <li>Viewer
-<p>In here you'll scrub around source media and clips, selecting regions
+ <p>In here you'll scrub around source media and clips, selecting regions
to paste into the project. Operations done in the viewer affect a
temporary EDL or a clip but not the timeline.
-</p><li>Compositor
+ </p><li>Compositor
-<p>This window displays the output of the timeline. It's the interface
+ <p>This window displays the output of the timeline. It's the interface
for most compositing operations or operations that affect the
appearance of the timeline output. Operations done in the Compositor
affect the timeline but don't affect clips.
-</p><li>Program
+ </p><li>Program
-<p>This contains the timeline and the entry point for all menu driven
+ <p>This contains the timeline and the entry point for all menu driven
operations. The timeline consists of a vertical stack of tracks with
horizontal representation of time. This defines the output of
rendering operations and what is saved when you save files.
-</p><li>Resources
+ </p><li>Resources
-<p>Effects, transitions, clips, and assets are accessed here. Most of the
+ <p>Effects, transitions, clips, and assets are accessed here. Most of the
resources are inserted into the project by dragging them out of the
resource window. Management of resource allocation is also performed
here.
-</ul>
+ </ul>
-<p>Under the <em>Window</em> menu you'll find options affecting the main
+ <p>Under the <em>Window</em> menu you'll find options affecting the main
windows. <em>default positions</em> repositions all the windows to a 4
screen editing configuration. On dual headed displays, the
<em>default positions</em> operation fills only one monitor with windows.
-<p>An additional window, the <em>levels window</em> can be brought up from
+ <p>An additional window, the <em>levels window</em> can be brought up from
the <em>Window</em> menu. The <em>levels</em> window displays the output
audio levels after all mixing is done.
+<div class="node">
<p><hr>
Node:<a name="LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
-Next:<a rel=next accesskey=n href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
+Previous:<a rel="previous" accesskey="p" href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>LOADING AND SAVING FILES</h2>
+<h2 class="chapter">LOADING AND SAVING FILES</h2>
-<ul>
-<li><a accesskey=1 href="#LOADING%20FILES">LOADING FILES</a>:
-<li><a accesskey=2 href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>:
-<li><a accesskey=3 href="#SAVING%20FILES">SAVING FILES</a>:
-<li><a accesskey=4 href="#RENDERING%20FILES">RENDERING FILES</a>:
-<li><a accesskey=5 href="#THE%20RENDER%20FARM">THE RENDER FARM</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#LOADING%20FILES">LOADING FILES</a>:
+<li><a accesskey="2" href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>:
+<li><a accesskey="3" href="#SAVING%20FILES">SAVING FILES</a>:
+<li><a accesskey="4" href="#RENDERING%20FILES">RENDERING FILES</a>:
+<li><a accesskey="5" href="#THE%20RENDER%20FARM">THE RENDER FARM</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="LOADING%20FILES">LOADING FILES</a>,
-Next:<a rel=next accesskey=n href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+Next:<a rel="next" accesskey="n" href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<br>
+</div>
-<h3>LOADING FILES</h3>
+<h3 class="section">LOADING FILES</h3>
-<p>All data that you work with in Cinelerra is acquired either by
+ <p>All data that you work with in Cinelerra is acquired either by
<em>recording from a device</em> or by <em>loading from disk</em>. This
section describes loading.
-<p>The loading and playing of files is just as you would expect. Just go
+ <p>The loading and playing of files is just as you would expect. Just go
to <em>file->Load</em>, select a file for loading, and hit <em>ok</em>. Hit
the forward play button and it should start playing, regardless of
whether a progress bar has popped up.
-<p>Another way to load files is to pass the filenames as arguments on the
+ <p>Another way to load files is to pass the filenames as arguments on the
command line. This creates new tracks for every file and starts the
program with all the arguments loaded.
-<p>If the file is a still image, the project's attributes are not changed
+ <p>If the file is a still image, the project's attributes are not changed
and the first frame of the track becomes the image. If the file has
audio, Cinelerra may build an index file for it to speed up drawing.
You can edit and play the file while the index file is being built.
-<ul>
-<li><a accesskey=1 href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>:
-<li><a accesskey=2 href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>:
-<li><a accesskey=3 href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>:
+<li><a accesskey="2" href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>:
+<li><a accesskey="3" href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>,
-Next:<a rel=next accesskey=n href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20FILES">LOADING FILES</a>
+Next:<a rel="next" accesskey="n" href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20FILES">LOADING FILES</a>
<br>
+</div>
-<h4>SUPPORTED FILE FORMATS</h4>
+<h4 class="subsection">SUPPORTED FILE FORMATS</h4>
-<p>The format of the file affects what Cinelerra does with it. Some
+ <p>The format of the file affects what Cinelerra does with it. Some
formats replace all the project settings. Some just insert data with
existing project settings. If your project sample rate is 48khz and
you load a sound file with 96khz, you'll still be playing it at
@@ -1209,158 +1232,164 @@
an XML file at 96khz and the current project sample rate is 48khz,
you'll change it to 96khz. Supported file formats are currently:
-<ul>
+ <ul>
<li>WAV
<li>PCM
<li>AIFF
<li>Uncompresed Quicktime
-<p>Quicktime is not the standard for UNIX but we use it because it's well
+ <p>Quicktime is not the standard for UNIX but we use it because it's well
documented. All of the Quicktime movies on the internet are
compressed. Cinelerra doesn't support compressed Quicktime movies.
Most of the Quicktime footage dealt with in Cinelerra is generated by
Cinelerra either recording from a device or rendering. The best
Quicktime settings to use are JPEG video and twos audio.
-</p><li>JPEG, PNG, TIFF, TGA sequences
+ </p><li>JPEG, PNG, TIFF, TGA sequences
-<p>Cinelerra generates a special table of contents file when you render an
+ <p>Cinelerra generates a special table of contents file when you render an
image sequence. You can either select every image file to load or
select the table of contents when the rendering is done. Selecting the
table of contents is faster and doesn't fill up the resource window
with thousands of images.
-</p><li>JPEG, PNG, TIFF, TGA still images
+ </p><li>JPEG, PNG, TIFF, TGA still images
-<p>When loaded, the image takes up one frame in length and doesn't change
+ <p>When loaded, the image takes up one frame in length and doesn't change
the project attributes.
-</p><li>AVI with mp3 audio and MPEG-4 video
+ </p><li>AVI with mp3 audio and MPEG-4 video
-<li>MPEG 1, 2 video
+ <li>MPEG 1, 2 video
-<p>You need to run <em>mpeg3toc</em> to generate a table of contents for
+ <p>You need to run <em>mpeg3toc</em> to generate a table of contents for
these, then load the table of contents. If you want to edit a DVD,
find the corresponding <em>ifo</em> file for the program of interest and run
-<br><pre>mpeg3toc /cdrom/video_ts/vts_01_0.ifo dvd.toc
-</pre>
+ <pre class="example"> mpeg3toc /cdrom/video_ts/vts_01_0.ifo dvd.toc
+ </pre>
-<p>or something similar. Then load <em>dvd.toc</em>. This allows frame
+ <p>or something similar. Then load <em>dvd.toc</em>. This allows frame
accurate editing where none would be possible otherwise.
-</p><li>MPEG program streams and transport streams
+ </p><li>MPEG program streams and transport streams
-<p>You need to run <em>mpeg3toc</em> on these just like MPEG 1,2 video.
+ <p>You need to run <em>mpeg3toc</em> on these just like MPEG 1,2 video.
Program and transport streams are structured into multiple tracks.
Each track can be video or audio. Each audio track can have 1-6
channels. Cinelerra converts each channel of audio into a track, so
for MPEG streams with multiple tracks, the tracks will be flattened.
-</p><li>MPEG audio layer II, III
+ </p><li>MPEG audio layer II, III
-<p>These can be loaded directly with no table of contents. Variable
+ <p>These can be loaded directly with no table of contents. Variable
bitrate streams may need a table of contents but are playable without
it.
-</p><li>AC3 audio
+ </p><li>AC3 audio
-<li>XML
+ <li>XML
-<p>These are generated by Cinelerra for storing edit lists. They change
+ <p>These are generated by Cinelerra for storing edit lists. They change
project attributes when loaded.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="INSERTION%20STRATEGY">INSERTION STRATEGY</a>,
-Next:<a rel=next accesskey=n href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>,
-Previous:<a rel=previous accesskey=p href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20FILES">LOADING FILES</a>
+Next:<a rel="next" accesskey="n" href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>,
+Previous:<a rel="previous" accesskey="p" href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20FILES">LOADING FILES</a>
<br>
+</div>
-<h4>INSERTION STRATEGY</h4>
+<h4 class="subsection">INSERTION STRATEGY</h4>
-<p>Usually three things happen when you load a file. First the existing
+ <p>Usually three things happen when you load a file. First the existing
project is cleared from the screen, second the project's attributes are
changed to match the file's, and finally the new file's tracks are
created in the timeline.
-<p>But Cinelerra lets you change what happens when you load a file.
+ <p>But Cinelerra lets you change what happens when you load a file.
-<p>In the file selection box go to the <em>Insertion strategy</em> box and
+ <p>In the file selection box go to the <em>Insertion strategy</em> box and
select it. Each of these options loads the file a different way.
-<ul>
+ <ul>
-<li>Replace current project
+ <li>Replace current project
-<p>All tracks in the current project are deleted and new tracks are
+ <p>All tracks in the current project are deleted and new tracks are
created to match the source. Project attributes are only changed when
loading XML. If multiple files are selected it adds new tracks for
every file.
-</p><li>Replace current project and concatenate tracks
+ </p><li>Replace current project and concatenate tracks
-<p>Same as replace current project except if multiple files are selected
+ <p>Same as replace current project except if multiple files are selected
it concatenates the tracks of every file after the first.
-</p><li>Append in new tracks
+ </p><li>Append in new tracks
-<p>The current project is not deleted and new tracks are created for the
+ <p>The current project is not deleted and new tracks are created for the
source.
-</p><li>Concatenate to existing tracks
+ </p><li>Concatenate to existing tracks
-<p>The current project is not deleted and new files are concatenated to
+ <p>The current project is not deleted and new files are concatenated to
the existing tracks.
-</p><li>Paste at insertion point
+ </p><li>Paste at insertion point
-<p>The file is pasted in like a normal paste operation.
+ <p>The file is pasted in like a normal paste operation.
-</p><li>Create new resources only
+ </p><li>Create new resources only
-<p>The timeline is unchanged and new resources are created in the Resource
+ <p>The timeline is unchanged and new resources are created in the Resource
Window.
-</ul>
+ </ul>
-<p>The insertion strategy is a recurring option in many of Cinelerra's
+ <p>The insertion strategy is a recurring option in many of Cinelerra's
functions. In each place the options do the same thing. With these
options you can almost do all your editing by loading files.
-<p>If you load files by passing command line arguments to Cinelerra, the
+ <p>If you load files by passing command line arguments to Cinelerra, the
files are loaded with <em>Replace current project</em> rules.
+<div class="node">
<p><hr>
Node:<a name="LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>,
-Previous:<a rel=previous accesskey=p href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20FILES">LOADING FILES</a>
+Previous:<a rel="previous" accesskey="p" href="#INSERTION%20STRATEGY">INSERTION STRATEGY</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20FILES">LOADING FILES</a>
<br>
+</div>
-<h4>LOADING MULTIPLE FILES</h4>
+<h4 class="subsection">LOADING MULTIPLE FILES</h4>
-<p>In the file selection box go to the list of files. Select a file. Go
+ <p>In the file selection box go to the list of files. Select a file. Go
to another file and select it while holding down <em>CTRL</em>. This
selects one additional file. Go to another file and select it while
holding down <em>SHIFT</em>. This selects every intervening file. This
behavior is available in most every list box.
-<p>Select a bunch of mp3 files and <em>Replace current project and
+ <p>Select a bunch of mp3 files and <em>Replace current project and
concatenate tracks</em> in the insertion strategy to create a song
playlist.
+<div class="node">
<p><hr>
Node:<a name="LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
-Next:<a rel=next accesskey=n href="#SAVING%20FILES">SAVING FILES</a>,
-Previous:<a rel=previous accesskey=p href="#LOADING%20FILES">LOADING FILES</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+Next:<a rel="next" accesskey="n" href="#SAVING%20FILES">SAVING FILES</a>,
+Previous:<a rel="previous" accesskey="p" href="#LOADING%20FILES">LOADING FILES</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<br>
+</div>
-<h3>LOADING THE BACKUP</h3>
+<h3 class="section">LOADING THE BACKUP</h3>
-<p>There is one special XML file on disk at all times. After every
+ <p>There is one special XML file on disk at all times. After every
editing operation Cinelerra saves the current project to a backup in
<em>$HOME/.bcast/backup.xml</em>. In the event of a crash go to
<em>file->load backup</em> to load the backup. It is important after a
@@ -1368,40 +1397,42 @@
Loading the backup should be the first operation or you'll overwrite
the backup.
+<div class="node">
<p><hr>
Node:<a name="SAVING%20FILES">SAVING FILES</a>,
-Next:<a rel=next accesskey=n href="#RENDERING%20FILES">RENDERING FILES</a>,
-Previous:<a rel=previous accesskey=p href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+Next:<a rel="next" accesskey="n" href="#RENDERING%20FILES">RENDERING FILES</a>,
+Previous:<a rel="previous" accesskey="p" href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<br>
+</div>
-<h3>SAVING FILES</h3>
+<h3 class="section">SAVING FILES</h3>
-<p>When Cinelerra saves a file it saves an edit decision list of the
+ <p>When Cinelerra saves a file it saves an edit decision list of the
current project but doesn't save any media. Go to <em>File->save
as...</em>. Select a file to overwrite or enter a new file. Cinelerra
automatically concatenates <em>.xml</em> to the filename if no
<em>.xml</em> extension is given.
-<p>The saved file contains all the project settings and locations of every
+ <p>The saved file contains all the project settings and locations of every
edit but instead of media it contains pointers to the original media
files on disk.
-<p>For each media file the XML file stores either an absolute path or just
+ <p>For each media file the XML file stores either an absolute path or just
the relative path. If the media is in the same directory as the XML
file a relative path is saved. If it's in a different directory an
absolute path is saved.
-<p>In order to move XML files around without breaking the media linkages
+ <p>In order to move XML files around without breaking the media linkages
you either need to keep the media in the same directory as XML file
forever or save the XML file in a different directory than the media
and not move the media ever again.
-<p>If you want to create an audio playlist and burn it on CD-ROM, save the
+ <p>If you want to create an audio playlist and burn it on CD-ROM, save the
XML file in the same directory as the audio files and burn the entire
directory. This keeps the media paths relative.
-<p>XML files are useful for saving the current state before going to sleep
+ <p>XML files are useful for saving the current state before going to sleep
and saving audio playlists but they're limited in that they're specific
to Cinelerra. You can't play XML files in a dedicated movie player.
Realtime effects in an XML file have to be resynthesized every time you
@@ -1410,16 +1441,18 @@
lot of electricity to spin. For a more persistent storage of the
output there's rendering.
+<div class="node">
<p><hr>
Node:<a name="RENDERING%20FILES">RENDERING FILES</a>,
-Next:<a rel=next accesskey=n href="#THE%20RENDER%20FARM">THE RENDER FARM</a>,
-Previous:<a rel=previous accesskey=p href="#SAVING%20FILES">SAVING FILES</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+Next:<a rel="next" accesskey="n" href="#THE%20RENDER%20FARM">THE RENDER FARM</a>,
+Previous:<a rel="previous" accesskey="p" href="#SAVING%20FILES">SAVING FILES</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<br>
+</div>
-<h3>RENDERING FILES</h3>
+<h3 class="section">RENDERING FILES</h3>
-<p>Rendering takes a section of the timeline, performs all the editing,
+ <p>Rendering takes a section of the timeline, performs all the editing,
effects and compositing, and stores it in a pure movie file. You can
then delete all the source assets, play the rendered file in a movie
player, or bring it back into Cinelerra for more editing. It's very
@@ -1427,18 +1460,18 @@
however, so keep the original assets and XML file around several days
after you render it.
-<p>To begin a render operation you need to define a region of the timeline
+ <p>To begin a render operation you need to define a region of the timeline
to render. The navigation section describes methods of defining
regions. See <a href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>. When a region is highlighted
or in/out points are set, the affected region is rendered. When no
region is highlighted, everything after the insertion point is
rendered.
-<p>Go to <em>File->render</em> to bring up the render dialog. Select the
+ <p>Go to <em>File->render</em> to bring up the render dialog. Select the
magnifying glass to bring up a file selection dialog. This determines
the filename to write the rendered file to.
-<p>In the render dialog select a format from the <em>File Format</em> menu.
+ <p>In the render dialog select a format from the <em>File Format</em> menu.
The format of the file determines whether you can render audio or video
or both. Select <em>Render audio tracks</em> to generate audio tracks
and <em>Render video tracks</em> to generate video tracks. Select the
@@ -1448,28 +1481,28 @@
selected and the file format doesn't support it, trying to render will
pop up an error.
-<p>The <em>Create new file at each label</em> option causes a new file to be
+ <p>The <em>Create new file at each label</em> option causes a new file to be
created when every label in the timeline is encountered. This is
useful for dividing long audio recordings into individual tracks. When
using the renderfarm, <em>Create new file at each label</em> causes one
renderfarm job to be created at every label instead of using the
internal load balancing algorithm to space jobs.
-<p>When <em>Create new file at each label</em> is selected, a new filename
+ <p>When <em>Create new file at each label</em> is selected, a new filename
is created for every output file. If the filename given in the render
dialog has a 2 digit number in it, the 2 digit number is overwritten
with a different incremental number for every output file. If no 2
digit number is given, Cinelerra automatically concatenates a number to
the end of the given filename for every output file.
-<p>In the filename <em>/hmov/track01.wav</em> the <em>01</em> would be
+ <p>In the filename <em>/hmov/track01.wav</em> the <em>01</em> would be
overwritten for every output file. The filename
<em>/hmov/track.wav</em>; however, would become <em>/hmov/track.wav001</em>
and so on and so forth. Filename regeneration is only used when either
renderfarm mode is active or creating new files for every label is
active.
-<p>Finally the render dialog lets you select an insertion mode. The
+ <p>Finally the render dialog lets you select an insertion mode. The
insertion modes are the same as with loading files. In this case if
you select <em>insert nothing</em> the file will be written out to disk
without changing the current project. For other insertion strategies
@@ -1478,51 +1511,53 @@
See <a href="#EDITING">EDITING</a>. Editing describes how to cause output to be inserted
at the right position.
-<p>It should be noted that even if you only have audio or only have video
+ <p>It should be noted that even if you only have audio or only have video
rendered, a <em>paste</em> insertion strategy will behave like a normal
paste operation, erasing any selected region of the timeline and
pasting just the data that was rendered. If you render only audio and
have some video tracks armed, the video tracks will get truncated while
the audio output is pasted into the audio tracks.
+<div class="node">
<p><hr>
Node:<a name="THE%20RENDER%20FARM">THE RENDER FARM</a>,
-Previous:<a rel=previous accesskey=p href="#RENDERING%20FILES">RENDERING FILES</a>,
-Up:<a rel=up accesskey=u href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
+Previous:<a rel="previous" accesskey="p" href="#RENDERING%20FILES">RENDERING FILES</a>,
+Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
<br>
+</div>
-<h3>THE RENDER FARM</h3>
+<h3 class="section">THE RENDER FARM</h3>
-<p>When bicubic interpolation and HDTV was first done on Cinelerra, the
+ <p>When bicubic interpolation and HDTV was first done on Cinelerra, the
time needed to produce the simplest output became unbearable even on
the fastest dual 1.7Ghz Xeon of the time. Renderfarm support even in
the simplest form brings HDTV times back in line with SD while making
SD faster than realtime.
-<p>While the renderfarm interface isn't spectacular, it's simple enough to
+ <p>While the renderfarm interface isn't spectacular, it's simple enough to
use inside an editing suite with less than a dozen nodes without going
through the same amount of hassle you would with a several hundred node
farm. Renderfarm is invoked transparently for all file->render
operations when it is enabled in the preferences.
-<p>It should be noted that <em>Create new file at each label</em> causes a
+ <p>It should be noted that <em>Create new file at each label</em> causes a
new renderfarm job to be created at each label instead of the default
load balancing. If this option is selected when no labels exist, only
one job will be created.
-<p>A Cinelerra renderfarm is organized into a master node and any number
+ <p>A Cinelerra renderfarm is organized into a master node and any number
of slave nodes. The master node is the computer which is running the
GUI. The slave nodes are anywhere else on the network and are run from
the command line.
-<p>Cinelerra divides the selected region of the timeline into a certain
+ <p>Cinelerra divides the selected region of the timeline into a certain
number of jobs which are then dispatched to the different nodes
depending on the load balance. The nodes process the jobs and write
their output to individual files on the filesystem. The output files
are not concatenated. It's important for all the nodes and the master
node to use the same filesystem for assets, mounted over the network.
-<p>Since most of the time you'll want to bring in the rendered output and
+ <p>Since most of the time you'll want to bring in the rendered output and
fine tune it on the timeline, the jobs are left in individual files.
You can load these using <em>concatenate mode</em> and render them again
with renderfarm disabled. If the track and output dimensions equal the
@@ -1531,173 +1566,181 @@
MPEG has the distinction that you can concatenate the subfiles with the
UNIX cat utility.
-<p>Configuration of the renderfarm is described in the configuration
+ <p>Configuration of the renderfarm is described in the configuration
chapter See <a href="#RENDERFARM">RENDERFARM</a>. The slave nodes traditionally read and
write data to a common filesystem over a network, thus they don't need
hard drives.
-<p>Ideally all the nodes on the renderfarm have similar CPU performance.
+ <p>Ideally all the nodes on the renderfarm have similar CPU performance.
Cinelerra load balances on a first come first serve basis. If the last
segment is dispatched to the slowest node, all the fastest nodes may
end up waiting for the slowest node to finish while they themselves
could have rendered it faster.
+<div class="node">
<p><hr>
Node:<a name="NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
-Next:<a rel=next accesskey=n href="#EDITING">EDITING</a>,
-Previous:<a rel=previous accesskey=p href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#EDITING">EDITING</a>,
+Previous:<a rel="previous" accesskey="p" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>NAVIGATING THE PROJECT</h2>
+<h2 class="chapter">NAVIGATING THE PROJECT</h2>
-<p>The thing you want to do most of the time is get to a certain time and
+ <p>The thing you want to do most of the time is get to a certain time and
place in the media. Internally the media is organized into tracks.
Each track extends across time. Navigation involves both getting to a
track and getting to a certain time in the track.
-<ul>
-<li><a accesskey=1 href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>:
-<li><a accesskey=2 href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>:
-<li><a accesskey=3 href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>:
-<li><a accesskey=4 href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>:
-<li><a accesskey=5 href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>:
+<li><a accesskey="2" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>:
+<li><a accesskey="3" href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>:
+<li><a accesskey="4" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>:
+<li><a accesskey="5" href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>,
-Next:<a rel=next accesskey=n href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<br>
+</div>
-<h3>NAVIGATING THE PROGRAM WINDOW</h3>
+<h3 class="section">NAVIGATING THE PROGRAM WINDOW</h3>
-<p>The program window contains many features for navigation and displays
+ <p>The program window contains many features for navigation and displays
the timeline as it is structured in memory: tracks stacked vertically
and extending across time. The horizontal scroll bar allows you to
scan across time. The vertical scroll bar allows you to scan across
tracks.
-<p>Below the timeline you'll find the zoom panel. The zoom panel contains
+ <p>Below the timeline you'll find the zoom panel. The zoom panel contains
values for <em>sample zoom</em>, <em>amplitude</em>, and <em>track
zoom</em>. These values in addition to the scrollbars are all that's
needed to position the timeline.
<br><p>
-<img src="zoompanel.png" alt="zoompanel.png">
+ <img src="zoompanel.png" alt="zoompanel.png">
-<p>Changing the <em>sample zoom</em> causes the amount of time visible to
+ <p>Changing the <em>sample zoom</em> causes the amount of time visible to
change. <em>If your mouse has a wheel and it works in X11 go over
the tumblers and use the wheel to zoom in and out.</em>
-<p>The <em>amplitude</em> only affects audio. It determines how big the
+ <p>The <em>amplitude</em> only affects audio. It determines how big the
waveform is if the waveform is drawn.
-<p>The <em>track zoom</em> affects all tracks. It determines the height of
+ <p>The <em>track zoom</em> affects all tracks. It determines the height of
each track. If you change the track zoom the amplitude zoom
compensates so audio waveforms look proportional.
-<p>In addition to the graphical tools, you'll probably more often use the
+ <p>In addition to the graphical tools, you'll probably more often use the
keyboard to navigate. Use <em>PAGE UP</em> and <em>PAGE DOWN</em> to
scroll up and down the tracks.
-<p>Use the <em>LEFT</em> and <em>RIGHT</em> arrows to move across time.
+ <p>Use the <em>LEFT</em> and <em>RIGHT</em> arrows to move across time.
You'll often need to scroll beyond the end of the timeline but
scrollbars won't let you do it. Instead use the <em>RIGHT</em> arrow to
scroll past the end of timeline.
-<p>Use the <em>UP</em> and <em>DOWN</em> arrows to change the sample zoom by a
+ <p>Use the <em>UP</em> and <em>DOWN</em> arrows to change the sample zoom by a
power of 2.
-<p><em>CTRL-UP</em> and <em>CTRL-DOWN</em> cause the amplitude zoom to change.
+ <p><em>CTRL-UP</em> and <em>CTRL-DOWN</em> cause the amplitude zoom to change.
-<p><em>CTRL-PGUP</em> and <em>CTRL-PGDOWN</em> cause the track zoom to change.
+ <p><em>CTRL-PGUP</em> and <em>CTRL-PGDOWN</em> cause the track zoom to change.
-<ul>
-<li><a accesskey=1 href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>:
-<li><a accesskey=2 href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>:
-<li><a accesskey=3 href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>:
+<li><a accesskey="2" href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>:
+<li><a accesskey="3" href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="THE%20INSERTION%20POINT">THE INSERTION POINT</a>,
-Next:<a rel=next accesskey=n href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
+Next:<a rel="next" accesskey="n" href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
<br>
+</div>
-<h4>THE INSERTION POINT</h4>
+<h4 class="subsection">THE INSERTION POINT</h4>
-<p>By default you'll see a flashing insertion point in the program window
+ <p>By default you'll see a flashing insertion point in the program window
the first time you boot it up. This is where new media is pasted onto
the timeline. It's also the starting point of all playback
operations. When rendering it defines the region of the timeline to be
rendered.
-<p>The insertion point is normally moved by clicking inside the timebar.
+ <p>The insertion point is normally moved by clicking inside the timebar.
Any region of the timebar not obscured by labels and in/out points is a
hotspot for repositioning the insertion point.
<br><p>
-<img src="main_timebar.png" alt="main_timebar.png">
+ <img src="main_timebar.png" alt="main_timebar.png">
<em>The main timebar</em>
-<p>The insertion point also can be moved by clicking in the timeline
+ <p>The insertion point also can be moved by clicking in the timeline
itself, but not always. The insertion point has two modes of
operation:
-<ul>
+ <ul>
<li>drag and drop mode
-<li>cut and paste mode
+ <li>cut and paste mode
-</ul>
+ </ul>
-<p>The mode of operation is determined by selecting the arrow or the
+ <p>The mode of operation is determined by selecting the arrow or the
i-beam in the buttonbar.
<br><p>
-<img src="editing_mode.png" alt="editing_mode.png">
+ <img src="editing_mode.png" alt="editing_mode.png">
<em>The editing mode buttons</em>
-<p>If the arrow is highlighted it enables <em>drag and drop</em> mode. In
+ <p>If the arrow is highlighted it enables <em>drag and drop</em> mode. In
drag and drop mode, clicking in the timeline doesn't reposition the
insertion point. Instead it selects an entire edit. Dragging in the
timeline repositions the edit, snapping it to other edit boundaries.
This is normally useful for reordering audio playlists and moving
effects around.
-<p>If the i-beam is highlighted it enables <em>cut and paste mode</em>. In
+ <p>If the i-beam is highlighted it enables <em>cut and paste mode</em>. In
cut and paste mode clicking in the timeline repositions the insertion
point. Dragging in the timeline highlights a region. The highlighted
region becomes the playback range during the next playback operation,
the rendered range during the next render operation, and the region
affected by cut and paste operations.
-<p><em>Shift-clicking</em> in the timeline extends the highlighted region.
+ <p><em>Shift-clicking</em> in the timeline extends the highlighted region.
-<p><em>Double-clicking</em> in the timeline selects the entire edit the
+ <p><em>Double-clicking</em> in the timeline selects the entire edit the
cursor is over.
-<p>It should be noted that when moving the insertion point and selecting
+ <p>It should be noted that when moving the insertion point and selecting
regions, the positions are either aligned to frames or aligned to
samples. When editing video you'll want to align to frames. When
editing audio you'll want to align to samples. This is set in
<em>settings->align cursor on frames</em>.
-<p>If the highlighted region is the region affected by cut and paste
+ <p>If the highlighted region is the region affected by cut and paste
operations, how do I cut and paste in <em>drag and drop</em> mode? In
this case you need to set <em>in/out points</em> to define an affected region.
+<div class="node">
<p><hr>
Node:<a name="THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
-Next:<a rel=next accesskey=n href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
+Next:<a rel="next" accesskey="n" href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>,
+Previous:<a rel="previous" accesskey="p" href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
<br>
+</div>
-<h4>THE IN/OUT POINTS</h4>
+<h4 class="subsection">THE IN/OUT POINTS</h4>
-<p>In both editing modes you can set in/out points. The in/out points
+ <p>In both editing modes you can set in/out points. The in/out points
define the affected region. In drag and drop mode they are the only
way to define an affected region. In both cut and paste mode and drag
and drop mode they override the highlighted area. If a highlighted
@@ -1706,162 +1749,166 @@
it's best to use either highlighting or in/out points but not both
simultaneously.
-<p>To set in/out points go to the timebar and position the insertion point
+ <p>To set in/out points go to the timebar and position the insertion point
somewhere. Hit the <img src="in_point_button.png" alt="in_point_button.png"> <em>in point button</em>. Go
to a position after the in point and hit the <img src="out_point_button.png" alt="out_point_button.png">
<em>out point button</em>.
<br><p>
-<img src="inout_points.png" alt="inout_points.png"> <em>Timebar with in/out points set</em>.
+ <img src="inout_points.png" alt="inout_points.png"> <em>Timebar with in/out points set</em>.
-<p>Select either the in point or the out point and the insertion point
+ <p>Select either the in point or the out point and the insertion point
jumps to that location. After selecting an in point, if you hit the
<em>in point button</em> the in point will be deleted. After selecting
an out point, if you hit the <em>out point button</em> the out point will
be deleted.
-<p>If you select a region somewhere else while in/out points already
+ <p>If you select a region somewhere else while in/out points already
exist, the existing points will be repositioned when you hit the in/out
buttons.
-<p><em>Shift-clicking</em> on an in/out point extends the highlighted region
+ <p><em>Shift-clicking</em> on an in/out point extends the highlighted region
to that point.
-<p>Instead of using the button bar you can use the <em>[</em> and <em>]</em>
+ <p>Instead of using the button bar you can use the <em>[</em> and <em>]</em>
keys to toggle in/out points.
-<p>The insertion point and the in/out points allow you to define an
+ <p>The insertion point and the in/out points allow you to define an
affected region but they don't let you jump to exact points on the
timeline very easily. For this purpose there are labels.
+<div class="node">
<p><hr>
Node:<a name="USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
+Previous:<a rel="previous" accesskey="p" href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
<br>
+</div>
-<h4>USING LABELS IN THE PROGRAM WINDOW</h4>
+<h4 class="subsection">USING LABELS IN THE PROGRAM WINDOW</h4>
-<p>Labels are an easy way to set exact locations on the timeline you want
+ <p>Labels are an easy way to set exact locations on the timeline you want
to jump to. When you position the insertion point somewhere and hit
the <img src="label_button.png" alt="label_button.png"> <em>label button</em> a new label appears on the
timeline.
<br><p>
-<img src="timebar_label.png" alt="timebar_label.png"> <em>Timebar with a label on it</em>
+ <img src="timebar_label.png" alt="timebar_label.png"> <em>Timebar with a label on it</em>
-<p>No matter what the zoom settings are, clicking on the label positions
+ <p>No matter what the zoom settings are, clicking on the label positions
the insertion point exactly where you set it. Hitting the label button
again when a label is selected deletes it.
-<p><em>Shift-clicking</em> on a label extends the highlighted region.
+ <p><em>Shift-clicking</em> on a label extends the highlighted region.
-<p><em>Double-clicking</em> between two labels highlights the region between
+ <p><em>Double-clicking</em> between two labels highlights the region between
the labels.
-<p>Hitting the <em>l</em> key has the same effect as the label button.
+ <p>Hitting the <em>l</em> key has the same effect as the label button.
-<p>If you hit the label button when a region is highlighted, two labels
+ <p>If you hit the label button when a region is highlighted, two labels
are toggled at each end of the highlighted region. If one end already
has a label, then the existing label is deleted and a label is created
at the opposite end.
-<p>Labels can reposition the insertion point when they are selected but
+ <p>Labels can reposition the insertion point when they are selected but
they can also be traversed with the <img src="label_traversal.png" alt="label_traversal.png"> <em>label
traversal</em> buttons. When a label is out of view, the label traversal
buttons reposition the timeline so the label is visible. There are
keyboard shortcuts for label traversal, too.
-<p><em>CTRL-LEFT</em> repositions the insertion point on the previous label.
+ <p><em>CTRL-LEFT</em> repositions the insertion point on the previous label.
-<p><em>CTRL-RIGHT</em> repositions the insertion point on the next label.
+ <p><em>CTRL-RIGHT</em> repositions the insertion point on the next label.
-<p>With label traversal you can quickly seek back and forth on the
+ <p>With label traversal you can quickly seek back and forth on the
timeline but you can also select regions.
-<p><em>SHIFT-CTRL-LEFT</em> extends the highlighted region to the previous
+ <p><em>SHIFT-CTRL-LEFT</em> extends the highlighted region to the previous
label.
-<p><em>SHIFT-CTRL-RIGHT</em> extends the highlighted region to the next label.
+ <p><em>SHIFT-CTRL-RIGHT</em> extends the highlighted region to the next label.
-<p>Manually hitting the label button or <em>l</em> key over and over again
+ <p>Manually hitting the label button or <em>l</em> key over and over again
to delete a series of labels can get tedious. For deleting a set of
labels, first highlight a region and second use the <em>Edit->Clear
labels</em> function. If in/out points exist, the labels between the
in/out points are cleared and the highlighted region ignored.
+<div class="node">
<p><hr>
Node:<a name="NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
-Next:<a rel=next accesskey=n href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
-Previous:<a rel=previous accesskey=p href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
+Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<br>
+</div>
-<h3>NAVIGATING THE VIEWER AND COMPOSITOR</h3>
+<h3 class="section">NAVIGATING THE VIEWER AND COMPOSITOR</h3>
-<p>The navigation features of the Viewer and Compositor behave very
+ <p>The navigation features of the Viewer and Compositor behave very
similarly. Each has a timebar and slider below the video output. The
timebar and slider are critical for navigation.
<br><p>
-<img src="timebarslider.png" alt="timebarslider.png">
+ <img src="timebarslider.png" alt="timebarslider.png">
-<p>The timebar represents the entire time covered by the program. When
+ <p>The timebar represents the entire time covered by the program. When
you define labels and in/out points it defines those, too. Finally the
timebar defines a region known as the <em>preview region</em>.
-<p>The <em>preview region</em> is the region of the timeline which the
+ <p>The <em>preview region</em> is the region of the timeline which the
slider effects. The slider only covers the time covered by the preview
region. By using a preview region inside the entire program and using
the slider inside the preview region you can quickly and precisely seek
in the compositor and viewer.
-<p>When you replace the current project with a file the preview region
+ <p>When you replace the current project with a file the preview region
automatically resizes to cover the entire file. When you append data
or change the size of the current project, the preview region stays the
same size and shrinks. Therefore, you need to resize the preview
region.
-<p>Load a file and then slide around it using the compositor slider. The
+ <p>Load a file and then slide around it using the compositor slider. The
insertion point in the main window follows the compositor. Move the
pointer over the compositor's timebar until it turns into a left resize
pointer. The click and drag right. The preview region should have
changed and the slider resized proportionally.
-<p>Go to the right of the timebar until a right resize pointer appears.
+ <p>Go to the right of the timebar until a right resize pointer appears.
Drag left so the preview region shrinks.
-<p>Go to the center of the preview region in the timebar and drag it
+ <p>Go to the center of the preview region in the timebar and drag it
around to convince yourself if can be moved.
<br><p>
-<img src="previewregion.png" alt="previewregion.png">
+ <img src="previewregion.png" alt="previewregion.png">
-<p><em>Preview region in compositor</em>
+ <p><em>Preview region in compositor</em>
-<p>If you go to the slider and slide it around with the preview region
+ <p>If you go to the slider and slide it around with the preview region
shrunk, you'll see the slider only affects the preview region. The
timebar and slider in the viewer window work exactly the same.
-<p>Labels and in/out points are fully supported in the viewer and
+ <p>Labels and in/out points are fully supported in the viewer and
compositor. The only difference between the viewer and compositor is
the compositor reflects the state of the program while the viewer
reflects the state of a clip but not the program.
-<p>When you hit the <em>label button</em> in the compositor, the label
+ <p>When you hit the <em>label button</em> in the compositor, the label
appears both in the compositor timebar and the program timebar.
-<p>When you select a label or in/out point in the compositor, the program
+ <p>When you select a label or in/out point in the compositor, the program
window jumps to that position.
<br><p>
-<img src="viewer_labels.png" alt="viewer_labels.png"> <em>Labels and in/out points in the viewer</em>.
+ <img src="viewer_labels.png" alt="viewer_labels.png"> <em>Labels and in/out points in the viewer</em>.
-<p>In the viewer and compositor, labels and in/out points are displayed in
+ <p>In the viewer and compositor, labels and in/out points are displayed in
the timebar. Instead of displaying just a region of the program, the
timebar displays the entire program here.
-<p>Like the Program window, the Compositor has a zoom capability. First,
+ <p>Like the Program window, the Compositor has a zoom capability. First,
the pulldown menu on the bottom of the compositor window has a number
of zoom options. When set to <em>Auto</em> the video is zoomed to match
the compositor window size as closely as possible. When set to any
@@ -1871,73 +1918,77 @@
<em>middle mouse button</em> dragging in the video output scans around
it. This is exactly when The Gimp does.
-<p>Furthermore, the zoom <img src="magnify.png" alt="magnify.png"> toggle causes the Compositor
+ <p>Furthermore, the zoom <img src="magnify.png" alt="magnify.png"> toggle causes the Compositor
window to enter zoom mode. In zoom mode, clicking in the video output
zooms in while <em>ctrl-clicking</em> in the video output zooms out. If
you have a wheel mouse, rotating the wheel zooms in or out too.
-<p>Zooming in or out with the zoom tool does not change the rendered
+ <p>Zooming in or out with the zoom tool does not change the rendered
output, mind you. It's merely for scrutinizing video or fitting it in
the desktop.
+<div class="node">
<p><hr>
Node:<a name="NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
-Next:<a rel=next accesskey=n href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
-Previous:<a rel=previous accesskey=p href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+Next:<a rel="next" accesskey="n" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
+Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<br>
+</div>
-<h3>NAVIGATING THE RESOURCES</h3>
+<h3 class="section">NAVIGATING THE RESOURCES</h3>
-<p>The resource window is divided into two areas. One area lists folders
+ <p>The resource window is divided into two areas. One area lists folders
and another area lists folder contents. Going into the folder list and
clicking on a folder updates the contents area with the contents of
that folder.
-<p>The folder and contents can be displayed as icons or text.
+ <p>The folder and contents can be displayed as icons or text.
-<p><em>Right clicking</em> in the folder or contents area brings up a menu
+ <p><em>Right clicking</em> in the folder or contents area brings up a menu
containing formatting options. Select <em>Display text</em> to display a
text listing. Select <em>Sort items</em> to sort the contents of the
folder alphabetically.
+<div class="node">
<p><hr>
Node:<a name="USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
-Next:<a rel=next accesskey=n href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>,
-Previous:<a rel=previous accesskey=p href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+Next:<a rel="next" accesskey="n" href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>,
+Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<br>
+</div>
-<h3>USING THE TRANSPORT CONTROLS</h3>
+<h3 class="section">USING THE TRANSPORT CONTROLS</h3>
-<p>Transport controls are just as useful in navigation as they are in
+ <p>Transport controls are just as useful in navigation as they are in
playing back footage, hence they are described here. Each of the
Viewer, Compositor, and Program windows has a transport panel.
<br><p>
-<img src="transport_panel.png" alt="transport_panel.png"> <em>The transport panel</em>.
+ <img src="transport_panel.png" alt="transport_panel.png"> <em>The transport panel</em>.
-<p>The transport panel is controlled by the keyboard as well as the
+ <p>The transport panel is controlled by the keyboard as well as the
graphical interface. For each of the operations it performs, the
starting position is the position of the insertion point or slider.
The ending position is either the end or start of the timeline or the
end or start of the selected region if there is one.
-<p>The orientation of the end or start depends on the direction of
+ <p>The orientation of the end or start depends on the direction of
playback. If it's forward the end position is the end of the selected
region. If it's backward the end position is the start of the selected
region.
-<p>The insertion point moves to track playback. When playback stops it
+ <p>The insertion point moves to track playback. When playback stops it
leaves the insertion point where it stopped. Thus, by playing back you
change the position of the insertion point.
-<p>The keyboard interface is usually the fastest and has more speeds. The
+ <p>The keyboard interface is usually the fastest and has more speeds. The
transport keys are arranged in a <em>T</em> on the number pad.
-<ul>
+ <ul>
-<li><em>+</em> Fast reverse
+ <li><em>+</em> Fast reverse
<li><em>6</em> Normal reverse
<li><em>5</em> Slow reverse
<li><em>4</em> Frame reverse
@@ -1949,9 +2000,9 @@
<li><em>Spacebar</em> Normal forward
</ul>
-<p>Hitting any key on the keyboard twice pauses it.
+ <p>Hitting any key on the keyboard twice pauses it.
-<p>When using frame advance functions the behavior may seem odd. If you
+ <p>When using frame advance functions the behavior may seem odd. If you
frame advance forward and then frame advance backward, the displayed
frame doesn't change. This is because the playback position isn't the
frame but the time between two frames. The rendered frame is the area
@@ -1959,87 +2010,91 @@
between two frames by one and decrement it by one, you cross the same
frame both times and so the same frame is displayed.
+<div class="node">
<p><hr>
Node:<a name="USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>,
-Previous:<a rel=previous accesskey=p href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
-Up:<a rel=up accesskey=u href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
+Previous:<a rel="previous" accesskey="p" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
+Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
<br>
+</div>
-<h3>USING BACKGROUND RENDERING</h3>
+<h3 class="section">USING BACKGROUND RENDERING</h3>
-<p>Background rendering allows impossibly slow effects to play back in
+ <p>Background rendering allows impossibly slow effects to play back in
realtime shortly after the effect is pasted in the timeline. It
continuously renders temporary output. When renderfarm is enabled,
background rendering uses the renderfarm continuously. This way, any
size video can be seen in realtime merely by creating a fast enough
network with enough nodes.
-<p>Background rendering is enabled in settings->preferences->performance.
+ <p>Background rendering is enabled in settings->preferences->performance.
It has one interactive function: <em>settings->set background render</em>. This
sets the point where background rendering begins to where the in point
is. If any video exists, a red bar appears in the time bar showing
what has been background rendered.
-<p>It's often useful to insert an effect or a transition and then select
+ <p>It's often useful to insert an effect or a transition and then select
settings->set background render right before the effect to preview it
in full framerates.
+<div class="node">
<p><hr>
Node:<a name="EDITING">EDITING</a>,
-Next:<a rel=next accesskey=n href="#USING%20EFFECTS">USING EFFECTS</a>,
-Previous:<a rel=previous accesskey=p href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#USING%20EFFECTS">USING EFFECTS</a>,
+Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>EDITING</h2>
+<h2 class="chapter">EDITING</h2>
-<p>Editing comprises both the time domain and the track domain. Since the
+ <p>Editing comprises both the time domain and the track domain. Since the
timeline consists of a stack of tracks, you need to worry about how to
sort and create tracks in addition to what time certain media appears
on a track.
-<p>In the time domain, Cinelerra offers many ways to approach the editing
+ <p>In the time domain, Cinelerra offers many ways to approach the editing
process. The three main methods are two screen editing, drag and drop
editing, and cut and paste editing.
-<p>There are several concepts Cinelerra uses when editing which apply to
+ <p>There are several concepts Cinelerra uses when editing which apply to
all the methods. The timeline is where all editing decisions are
represented. Every track on the timeline has a set of attributes on
the left, the most important of which is the <em>arm track</em>
attribute.
<br><p>
-<img src="track_attributes.png" alt="track_attributes.png">
+ <img src="track_attributes.png" alt="track_attributes.png">
<em>Track attributes</em>
-<p>Only the <em>armed tracks</em> are affected by editing operations. Make
+ <p>Only the <em>armed tracks</em> are affected by editing operations. Make
sure you have enough armed destination tracks when you paste or splice
material or some tracks in the material will get left out.
-<p>The other attributes affect the output of the track.
+ <p>The other attributes affect the output of the track.
-<ul>
+ <ul>
-<li>
+ <li>
<b>Play track</b> determines whether the track is rendered or not. If
it's off, the track is not rendered. However, if the track is chained
to any other tracks, the other tracks perform all the effects in the
chained track, regardless of play status.
-<li>
+ <li>
<b>Gang fader</b> causes the fader to track the movement of whatever other
fader you're adjusting. A fader is only ganged if the <b>arm track</b> is
also on. This is normally used to adjust audio levels on all the
tracks simultaneously.
-<li>
+ <li>
<b>Draw data</b> determines if picons or waveforms are drawn on the
track. By default, some file formats load with this off while other
file formats load with it on. This depends on whether the file format
takes a long time to draw on the timeline. Merely set it to on if you
want to see picons for any file format.
-<li>
+ <li>
<b>Mute track</b> causes the output to be thrown away once the track is
completely rendered. This happens whether or not <b>play track</b> is
on. If the track is part of an effect chain, the output of the effect
@@ -2047,48 +2102,50 @@
back to another track. Mute track is used to keep the effect chain
track from overlapping the output of the source track.
-</ul>
+ </ul>
-<p>There are two ways to set the same attribute on multiple tracks very
+ <p>There are two ways to set the same attribute on multiple tracks very
quickly. Hold down <b>shift</b> while clicking a track's attribute to
match the same attribute in all the other tracks. If you don't want to
affect all the other tracks, click on an attribute and drag across
other tracks to have the same attribute set in them.
-<p>In addition to restricting editing operations, the armed tracks in
+ <p>In addition to restricting editing operations, the armed tracks in
combination with the active region determine where material is inserted
when loading files. If the files are loaded with one of the insertion
strategies which doesn't delete the existing project, the armed tracks
will be used as destination tracks.
-<p>The active region is the range of time in the edit decision on the
+ <p>The active region is the range of time in the edit decision on the
timeline. The active region is determined first by the presence of
in/out points in the timeline. If those don't exist the highlighted
region is used. If no highlighted region exists the insertion point is
used as the active region and the active length is 0.
-<p>Finally, editing decisions never affect source material. Editing only affects
+ <p>Finally, editing decisions never affect source material. Editing only affects
pointers to source material, so if you want to have a media file at the
end of your editing session which represents the editing decisions, you
need to <em>render</em> it. See <a href="#RENDERING%20FILES">RENDERING FILES</a>.
-<ul>
-<li><a accesskey=1 href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>:
-<li><a accesskey=2 href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>:
-<li><a accesskey=3 href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>:
-<li><a accesskey=4 href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>:
-<li><a accesskey=5 href="#TRIMMING">TRIMMING</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>:
+<li><a accesskey="2" href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>:
+<li><a accesskey="3" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>:
+<li><a accesskey="4" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>:
+<li><a accesskey="5" href="#TRIMMING">TRIMMING</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>,
-Next:<a rel=next accesskey=n href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
-Up:<a rel=up accesskey=u href="#EDITING">EDITING</a>
+Next:<a rel="next" accesskey="n" href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
+Up:<a rel="up" accesskey="u" href="#EDITING">EDITING</a>
<br>
+</div>
-<h3>MANIPULATING TRACKS</h3>
+<h3 class="section">MANIPULATING TRACKS</h3>
-<p>Tracks in Cinelerra either contain audio or video. There is no special
+ <p>Tracks in Cinelerra either contain audio or video. There is no special
designation for tracks other than the type of media they contain. When
you create a new project, it contains a certain mumber of default
tracks. You can still add or delete tracks from a number of menus.
@@ -2096,24 +2153,24 @@
multiple tracks simultaneously. Each track itself has a popup menu
which affects one track.
-<p>Bring up the popup menu by moving over a track and right clicking. The
+ <p>Bring up the popup menu by moving over a track and right clicking. The
popup menu affects the track whether it's armed or not.
-<p><em>Move up</em> and <em>move down</em> moves the one track up or down in
+ <p><em>Move up</em> and <em>move down</em> moves the one track up or down in
the stack. <em>Delete track</em> deletes the track.
-<p>Operations in the <em>Tracks</em> menu affect only tracks which are
+ <p>Operations in the <em>Tracks</em> menu affect only tracks which are
armed.
-<p><em>Move tracks up</em> and <em>Move tracks down</em> shift all the armed
+ <p><em>Move tracks up</em> and <em>Move tracks down</em> shift all the armed
tracks up or down the stack.
-<p><em>Delete tracks</em> deletes the armed tracks.
+ <p><em>Delete tracks</em> deletes the armed tracks.
-<p><em>Delete last track</em> deletes the last track, whether it's armed or
+ <p><em>Delete last track</em> deletes the last track, whether it's armed or
not. Holding down the <em>d</em> key quickly deletes all the tracks.
-<p><em>Concatenate tracks</em> is more complicated. It takes every
+ <p><em>Concatenate tracks</em> is more complicated. It takes every
<em>playable</em> track and concatenates it to the end of the first
<em>armed tracks</em>. If there are two armed tracks followed by two
playable tracks, the concatenate operation puts the two playable tracks
@@ -2122,7 +2179,7 @@
put on the end of the first armed track. The destination track wraps
around until all the playable tracks are concatenated.
-<p>Finally, you'll want to create new tracks. The <em>Audio</em> and
+ <p>Finally, you'll want to create new tracks. The <em>Audio</em> and
<em>Video</em> menus each contain an option to add a track of their
specific type. In the case of audio, the new track is put on the
bottom of the timeline and the output channel of the audio track is
@@ -2130,22 +2187,24 @@
top of the timeline. This way, video has a natural compositing order.
New video tracks are overlayed on top of old tracks.
+<div class="node">
<p><hr>
Node:<a name="TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
-Next:<a rel=next accesskey=n href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
-Previous:<a rel=previous accesskey=p href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>,
-Up:<a rel=up accesskey=u href="#EDITING">EDITING</a>
+Next:<a rel="next" accesskey="n" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
+Previous:<a rel="previous" accesskey="p" href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>,
+Up:<a rel="up" accesskey="u" href="#EDITING">EDITING</a>
<br>
+</div>
-<h3>TWO SCREEN EDITING</h3>
+<h3 class="section">TWO SCREEN EDITING</h3>
-<p>This is the fastest way to construct a program out of movie files. The
+ <p>This is the fastest way to construct a program out of movie files. The
idea consists of viewing a movie file in one window and viewing the
program in another window. Sections of the movie file are defined in
one window and transferred to the end of the program in the other
window.
-<p>The way to begin a two screen editing session is to load some
+ <p>The way to begin a two screen editing session is to load some
resources. In <em>file->load</em> load some movies with the insertion
mode <em>create new resources</em>. You want the timeline to stay
unchanged while new resources are brought in. Go to the Resource
@@ -2153,24 +2212,24 @@
should appear. Drag a resource from the media side of the window over
the Viewer window.
-<p>There should be enough armed tracks on the timeline to put the sections
+ <p>There should be enough armed tracks on the timeline to put the sections
of source material that you want. If there aren't, create new tracks
or arm more tracks.
-<p>In the viewer window seek to the starting point of a clip you want to
+ <p>In the viewer window seek to the starting point of a clip you want to
use. Use either the <em>slider</em> or the <em>transport controls</em>.
Use the <em>preview region</em> to narrow down the search. Set the
starting point with the <img src="in_point_button.png" alt="in_point_button.png"> <em>in point button</em>.
-<p>Seek to the ending point of the clip you want to use. Set the ending
+ <p>Seek to the ending point of the clip you want to use. Set the ending
point with the <img src="out_point_button.png" alt="out_point_button.png"> <em>out point button</em>. The
two points should now appear on the timebar and define a clip.
-<p>There are several things you can do with the clip now.
+ <p>There are several things you can do with the clip now.
-<ul>
+ <ul>
-<li>
+ <li>
Splice <img src="splice_button.png" alt="splice_button.png"> inserts the clip in the timeline, pushing
everything back. If an <em>in point</em> or <em>out point</em> exists on
the timeline it's inserted there, otherwise it's inserted after the
@@ -2179,7 +2238,7 @@
used as the next splice location. This way you can continuously build
up the program by splicing.
-<li>
+ <li>
Overwrite <img src="overwrite_button.png" alt="overwrite_button.png"> overwrites the region of the
timeline with the clip. If an <em>in point</em> or <em>out point</em>
exists on the timeline it's overwritten there, otherwise it's
@@ -2187,46 +2246,48 @@
both in and out points exist the difference between the active region
and the clip length is deleted.
-<li>
+ <li>
Create a clip <img src="toclip_button.png" alt="toclip_button.png"> generates a new clip for the
resource window containing the affected region but doesn't change the
timeline. Every clip has a title and a description. These are
optional.
-<li>
+ <li>
Copy behaves the same as in cut and paste editing.
-</ul>
+ </ul>
-<p>Two screen editing can be done purely by keybard shortcuts. When you
+ <p>Two screen editing can be done purely by keybard shortcuts. When you
move the pointer over any button a tooltip should appear, showing what
key is bound to that button. In the Viewer window, the number pad keys
control the transport and the <em>[ ] v</em> keys perform in/out points
and splicing.
+<div class="node">
<p><hr>
Node:<a name="DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
-Next:<a rel=next accesskey=n href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
-Previous:<a rel=previous accesskey=p href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
-Up:<a rel=up accesskey=u href="#EDITING">EDITING</a>
+Next:<a rel="next" accesskey="n" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
+Previous:<a rel="previous" accesskey="p" href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
+Up:<a rel="up" accesskey="u" href="#EDITING">EDITING</a>
<br>
+</div>
-<h3>DRAG AND DROP EDITING</h3>
+<h3 class="section">DRAG AND DROP EDITING</h3>
-<p>The answer is yes, you can you create a bunch of clips and drag them on
+ <p>The answer is yes, you can you create a bunch of clips and drag them on
the timeline. You can also drag edits around the timeline.
-<p>Load some files using <em>file->load</em>. Set the insertion mode to
+ <p>Load some files using <em>file->load</em>. Set the insertion mode to
<em>Create new resources</em>. This loads the files into the Resource
Window. Create some audio and video tracks on the timeline using the
video and audio menus.
-<p>Open the <em>Media</em> folder in the resource window. Drag a media file
+ <p>Open the <em>Media</em> folder in the resource window. Drag a media file
from the resource window to the timeline. If the media has video, drag
it onto a video track. If the media is pure audio, drag it onto an
audio track.
-<p>Cinelerra fills out the audio and video tracks below the dragging
+ <p>Cinelerra fills out the audio and video tracks below the dragging
cursor with data from the file. This affects what tracks you should
create initially and which track to drag the media onto. If the media
has one video track and two audio tracks, you'll need one video track
@@ -2235,84 +2296,86 @@
one audio track on the timeline for every audio track in the media and
the media should be dragged over the first audio track.
-<p>When dragging, the media snaps to the start of track if the track is
+ <p>When dragging, the media snaps to the start of track if the track is
empty. If there are edits on the track, the media snaps to the nearest
edit boundary.
-<p>You can also drag multiple files from the resource window. Either draw
+ <p>You can also drag multiple files from the resource window. Either draw
a box around the files, use SHIFT, or use CTRL when selecting files.
When you drop the files in the timeline, they are concatenated. The
behavior of SHIFT and CTRL changes depending on if the resources are in
text or icons.
-<p>To display the resources as text or icons, right click inside the media
+ <p>To display the resources as text or icons, right click inside the media
list. Select either <em>display icons</em> or <em>display text</em> to
change the list format.
-<p>When displaying text in the resource window <em>SHIFT-clicking</em> on
+ <p>When displaying text in the resource window <em>SHIFT-clicking</em> on
media files extends the number of highlighted selections.
<em>CTRL-clicking</em> on media files in text mode selects additional
files one at a time.
-<p>When displaying icons in the resource window <em>SHIFT-clicking</em> or
+ <p>When displaying icons in the resource window <em>SHIFT-clicking</em> or
<em>CTRL-clicking</em> selects media files one at a time.
-<p>In addition to dragging media files, if you create clips and open the
+ <p>In addition to dragging media files, if you create clips and open the
<em>clip</em> folder you can drag clips on the timeline.
-<p>In the timeline there is further dragging functionality. To enable the
+ <p>In the timeline there is further dragging functionality. To enable the
dragging functionality of the timeline, select the arrow toggle
<img src="arrow.png" alt="arrow.png">. Move over an edit and drag it. If more than one
track is armed, Cinelerra will drag any edits which start on the same
position as the edit the cursur is currently over. During a dragging
operation the edit snaps to the nearest boundary.
-<p>Dragging edits around the timeline allows you to sort music playlists,
+ <p>Dragging edits around the timeline allows you to sort music playlists,
sort movie scenes, and give better NAB demos but not much else.
+<div class="node">
<p><hr>
Node:<a name="CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
-Next:<a rel=next accesskey=n href="#TRIMMING">TRIMMING</a>,
-Previous:<a rel=previous accesskey=p href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
-Up:<a rel=up accesskey=u href="#EDITING">EDITING</a>
+Next:<a rel="next" accesskey="n" href="#TRIMMING">TRIMMING</a>,
+Previous:<a rel="previous" accesskey="p" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
+Up:<a rel="up" accesskey="u" href="#EDITING">EDITING</a>
<br>
+</div>
-<h3>CUT AND PASTE EDITING</h3>
+<h3 class="section">CUT AND PASTE EDITING</h3>
-<p>This is the traditional method of editing in audio editors. In the
+ <p>This is the traditional method of editing in audio editors. In the
case of Cinelerra, you either need to start a second copy of Cinelerra
and copy from one copy to the other, copy from different tracks in the
same copy, or load a media file into the Viewer and copy from there.
-<p>Load some files onto the timeline. To perform cut and paste editing
+ <p>Load some files onto the timeline. To perform cut and paste editing
select the <img src="ibeam.png" alt="ibeam.png"> i-beam toggle. Select a region of the
timeline and select the <img src="cut.png" alt="cut.png"> cut button to cut it. Move the
insertion point to another point in the timeline and select the
<img src="paste.png" alt="paste.png"> paste button. Assuming no in/out points are defined on
the timeline this performs a cut and paste operation.
-<p>If in/out points are defined, the insertion point and highlighted
+ <p>If in/out points are defined, the insertion point and highlighted
region are overridden by the in/out points for clipboard operations.
Thus, with in/out points you can perform cut and paste in drag and drop
mode as well as cut and paste mode.
-<p>When editing audio, it is customary to cut from one part of a waveform
+ <p>When editing audio, it is customary to cut from one part of a waveform
into the same part of another waveform. The start and stop points of
the cut are identical in each waveform and might be offset slightly,
while the wave data is different. It would be very hard to highlight
one waveform to cut it and highlight the second waveform to paste it
without changing the relative start and stop positions.
-<p>One option for simplifying this is to open a second copy of Cinelerra,
+ <p>One option for simplifying this is to open a second copy of Cinelerra,
cutting and pasting to transport media between the two copies. This
way two highlighed regions can exist simultanously.
-<p>Another option is to set in/out points for the source region of the
+ <p>Another option is to set in/out points for the source region of the
source waveform and set labels for the destination region of the
destination waveform. Perform a cut, clear the in/out points, select
the region between the labels, and perform a paste.
-<p>A final operation in cut and paste editing is the <em>edit->clear</em>
+ <p>A final operation in cut and paste editing is the <em>edit->clear</em>
operation. If a region is highlighted or in/out points exist, the
affected region is cleared by <em>edit->clear</em>. But if the insertion
point is over an edit boundary and the edits on each side of the edit
@@ -2321,15 +2384,17 @@
the first edit and the end of this one edit is the end of the second
edit. This either results in the edit expanding or shrinking.
+<div class="node">
<p><hr>
Node:<a name="TRIMMING">TRIMMING</a>,
-Previous:<a rel=previous accesskey=p href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
-Up:<a rel=up accesskey=u href="#EDITING">EDITING</a>
+Previous:<a rel="previous" accesskey="p" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
+Up:<a rel="up" accesskey="u" href="#EDITING">EDITING</a>
<br>
+</div>
-<h3>TRIMMING</h3>
+<h3 class="section">TRIMMING</h3>
-<p>With some edits on the timeline it's possible to do trimming. By
+ <p>With some edits on the timeline it's possible to do trimming. By
trimming you shrink or grow the edit boundaries by dragging them. In
either drag and drop mode or cut and paste mode, move the cursor over
an edit boundary until it changes shape. The cursor will either be an
@@ -2337,16 +2402,16 @@
dragging operation affects the beginning of the edit. If the cursor is
an expand right, the dragging operation affects the end of the edit.
-<p>When you click on an edit boundary to start dragging, the mouse button
+ <p>When you click on an edit boundary to start dragging, the mouse button
number determines which dragging behavior is going to be followed. 3
possible behaviors are bound to mouse buttons in the interface
preferences. See <a href="#INTERFACE">INTERFACE</a>.
-<p>The effect of each drag operation not only depends on the behavior
+ <p>The effect of each drag operation not only depends on the behavior
button but whether the beginning or end of the edit is being dragged.
When you release the mouse button, the trimming operation is performed.
-<p>In a <em>Drag all following edits</em> operation, the beginning of the
+ <p>In a <em>Drag all following edits</em> operation, the beginning of the
edit either cuts data from the edit if you move it forward or pastes
new data from before the edit if you move it backward. The end of the
edit pastes data into the edit if you move it forward or cuts data from
@@ -2354,85 +2419,89 @@
shift. Finally, if you drag the end of the edit past the start of the
edit, the edit is deleted.
-<p>In a <em>Drag only one edit</em> operation, the behavior is the same when
+ <p>In a <em>Drag only one edit</em> operation, the behavior is the same when
you drag the beginning or end of an edit. The only difference is none
of the other edits in the track shift. Instead, anything adjacent to
the current edit expands or shrinks to fill gaps left by the drag
operation.
-<p>In a <em>Drag source only</em> operation, nothing is cut or pasted. If
+ <p>In a <em>Drag source only</em> operation, nothing is cut or pasted. If
you move the beginning or end of the edit forward, the source reference
in the edit shifts forward. If you move the beginning or end of the
edit backward, the source reference shifts backward. Where the edit
appears in the timeline remains the same but the source shifts.
-<p>For all file formats besides still images, the extent of the trimming
+ <p>For all file formats besides still images, the extent of the trimming
operation is clamped to the source file length. Attempting to drag the
start of the edit beyond the start of the source clamps it to the
source start.
-<p>In all trimming operations, all edits which start on the same position
+ <p>In all trimming operations, all edits which start on the same position
as the cursor when the drag operation begins are affected. Unarm
tracks to prevent edits from getting affected.
+<div class="node">
<p><hr>
Node:<a name="USING%20EFFECTS">USING EFFECTS</a>,
-Next:<a rel=next accesskey=n href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
-Previous:<a rel=previous accesskey=p href="#EDITING">EDITING</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
+Previous:<a rel="previous" accesskey="p" href="#EDITING">EDITING</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>USING EFFECTS</h2>
+<h2 class="chapter">USING EFFECTS</h2>
-<p>It would be sufficient to perform all changes to the timeline using
+ <p>It would be sufficient to perform all changes to the timeline using
editing operations, but this isn't very extensible. Certain timeline
changes should produce a different effect in the output without
involving a unique procedure to apply each change. This is why we have
effects.
-<p>Effects fall into three categories, and each effect in a category is
+ <p>Effects fall into three categories, and each effect in a category is
applied using the same procedure.
-<ul>
-<li><a accesskey=1 href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>:
-<li><a accesskey=2 href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>:
-<li><a accesskey=3 href="#TRANSITIONS">TRANSITIONS</a>:
-<li><a accesskey=4 href="#LADSPA%20EFFECTS">LADSPA EFFECTS</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>:
+<li><a accesskey="2" href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>:
+<li><a accesskey="3" href="#TRANSITIONS">TRANSITIONS</a>:
+<li><a accesskey="4" href="#LADSPA%20EFFECTS">LADSPA EFFECTS</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="REALTIME%20EFFECTS">REALTIME EFFECTS</a>,
-Next:<a rel=next accesskey=n href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>,
-Up:<a rel=up accesskey=u href="#USING%20EFFECTS">USING EFFECTS</a>
+Next:<a rel="next" accesskey="n" href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>,
+Up:<a rel="up" accesskey="u" href="#USING%20EFFECTS">USING EFFECTS</a>
<br>
+</div>
-<h3>REALTIME EFFECTS</h3>
+<h3 class="section">REALTIME EFFECTS</h3>
-<p>These are layered under the track they apply to. They process the
+ <p>These are layered under the track they apply to. They process the
track when the track is played back, with no permanent storage of the
output except when the project is rendered.
-<p>All the realtime effects are listed in the resource window, divided
+ <p>All the realtime effects are listed in the resource window, divided
into two groups: audio effects and video effects. Audio effects should
be dragged from the resource window onto audio tracks. Video effects
should be dragged onto video tracks.
-<p>If there is data on the destination track, the effect is applied to the
+ <p>If there is data on the destination track, the effect is applied to the
entire track. If there is no data on the track the effect is deleted.
Finally, if a region of the track is selected the effect is pasted into
the region, regardless of whether there is data.
-<p>Some of the effects don't process data but synthesize data. In the
+ <p>Some of the effects don't process data but synthesize data. In the
case of a synthesis effect, you'll want to select a region of the
track so the dragging operation pastes it without deleting it.
-<p>When dragging more than one effect onto a track, you'll see the effects
+ <p>When dragging more than one effect onto a track, you'll see the effects
layering from top to bottom, on the bottom of the track. When the
track is played back, effects are processed from top to bottom. The
output of the top effect becomes the input of the bottom effect and so
on and so forth.
-<p>In addition to dragging from the resource window, effects may be
+ <p>In addition to dragging from the resource window, effects may be
applied to a track by a popup menu. Right click on a track and select
<em>Attach effect</em> from the popup. The attach effect dialog gives
you more control than pure dragging and dropping. For one thing, the
@@ -2442,7 +2511,7 @@
The effect is the same as if the effect was dragged from the resource
window.
-<p>When an effect exists under a track, it most often needs to be
+ <p>When an effect exists under a track, it most often needs to be
configured. Go to the effect and right click on it to bring up the
effect popup. In the effect popup is a <em>show</em> option. The show
option causes the GUI for the effect to appear under the cursor. Most
@@ -2451,39 +2520,41 @@
tweek parameters in the effect GUI, the parameters normally effect the
entire duration of the effect.
-<ul>
-<li><a accesskey=1 href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>:
-<li><a accesskey=2 href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>:
+<li><a accesskey="2" href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>,
-Next:<a rel=next accesskey=n href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>,
-Up:<a rel=up accesskey=u href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>
+Next:<a rel="next" accesskey="n" href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>,
+Up:<a rel="up" accesskey="u" href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>
<br>
+</div>
-<h4>REALTIME EFFECT TYPES</h4>
+<h4 class="subsection">REALTIME EFFECT TYPES</h4>
-<p>The two other effect types supported by the Attach Effect dialog are
+ <p>The two other effect types supported by the Attach Effect dialog are
recycled effects. In order to use a recycled effect, three requiremenets
must be met:
-<ul>
+ <ul>
-<li>There must be other effects in the timeline.
+ <li>There must be other effects in the timeline.
-<li>
+ <li>
The other effects must be of the same type as the track you're
attaching an effect to. If the track is an audio track, the effects
must be audio effects. If the track is a video track, the effects must
be video effects.
-<li>
+ <li>
The insertion point or selected region must start inside the other effects.
-</ul>
+ </ul>
-<p>In the case of a shared effect, these conditions must be true. In the
+ <p>In the case of a shared effect, these conditions must be true. In the
case of a shared track, there merely must be another track on the
timeline of the same type as the track you're applying an effect to.
If you right clicked on a video track to attach an effect, there won't
@@ -2491,19 +2562,19 @@
exists. If you right clicked on an audio track there won't be anything
in the shared track column if no other audio track exists.
-<p>If shared effects or shared tracks are available, they appear in the
+ <p>If shared effects or shared tracks are available, they appear in the
<em>shared effects</em> and <em>shared tracks</em> columns. The
<em>attach</em> button under each column causes anything highlighted in
the column to be attached under the current track.
-<p>Shared effects and shared tracks allow very unique things to be done.
+ <p>Shared effects and shared tracks allow very unique things to be done.
In the case of a shared effect, the shared effect is treated like a
copy of the original effect except in the shared effect the GUI can't
be brought up. All configuration of the shared effect is determined by
the GUI of the original effect and only the GUI of the original effect
can be brought up.
-<p>When a shared effect is played back, it's processed just like a normal
+ <p>When a shared effect is played back, it's processed just like a normal
effect except the configuration is copied from the original effect.
Some effects detect when they are being shared, like the reverb effects
and the compressor. These effects determine what tracks are sharing
@@ -2511,7 +2582,7 @@
some value. The reverb mixes tracks together to simulate ambience.
The compressor uses one of the sharing tracks as the trigger.
-<p>When an original track has a <em>shared track</em> as one of its effects,
+ <p>When an original track has a <em>shared track</em> as one of its effects,
the shared track itself is used as a realtime effect. This is more
commonly known as <em>bouncing tracks</em> but Cinelerra achieves the
same operation by attaching shared tracks. The fade and any effects in
@@ -2519,7 +2590,7 @@
track has processed the data, the original track performs any effects
which come below the shared track and then composites it on the output.
-<p>In addition, once the shared track has processed the output of the
+ <p>In addition, once the shared track has processed the output of the
original track like a realtime effect, the shared track mixes itself
into the output with it's settings for pan, mode, and projector. Thus,
two tracks are mixing the same data on the output. Most of the time
@@ -2529,7 +2600,7 @@
<img src="mutepatch_up.png" alt="mutepatch_up.png"> mute toggle next to each track for whom you don't
want to mix on the output.
-<p>Suppose you were making video and you did want the shared track to
+ <p>Suppose you were making video and you did want the shared track to
composite the original track's data on the output a second time. In
the case of video, the video from the shared track would always appear
under the video from the original track, regardless of whether it was
@@ -2537,159 +2608,165 @@
composited in order of their attachment. Since it's part of the original
track it has to be composited before the original track is composited.
+<div class="node">
<p><hr>
Node:<a name="EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>,
-Previous:<a rel=previous accesskey=p href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>,
-Up:<a rel=up accesskey=u href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>
+Previous:<a rel="previous" accesskey="p" href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>,
+Up:<a rel="up" accesskey="u" href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>
<br>
+</div>
-<h4>EDITING REALTIME EFFECTS</h4>
+<h4 class="subsection">EDITING REALTIME EFFECTS</h4>
-<p>Many operations exist for manipulating effects once they are in the
+ <p>Many operations exist for manipulating effects once they are in the
timeline. Because mixing effects and media is such complex business,
the methods used in editing effects aren't as concise as cutting and
pasting. Some of the editing happens by dragging in/out points, some
of the editing happens through popup menus, and some of it happens by
dragging effects.
-<p>Normally when you edit tracks, the effects follow the editing
+ <p>Normally when you edit tracks, the effects follow the editing
decisions. If you cut from a track, the effect shrinks. If you drag
edit in/out points, the effect changes length. This behavior can be
disabled by selecting <em>Settings->edit effects</em> in the project
window. This decouples effects from editing operations, but what if
you just want to edit the effects?
-<p>Move the timeline cursor over the effect borders until it changes to a
+ <p>Move the timeline cursor over the effect borders until it changes to a
resize left or resize right icon. In this state, if you drag the end
of the effect, it performs an edit just like dragging the end of a
track does.
-<p>The three editing behaviors of track trimming apply to effect trimming
+ <p>The three editing behaviors of track trimming apply to effect trimming
and they are bound to the mouse buttons that you set in <em>interface
preferences</em>. See <a href="#INTERFACE">INTERFACE</a>. When you perform a trim edit on an
effect, the effect boundary is moved by dragging on it. Unlike track
editing, the effect has no source length. You can extend the end of an
effect as much as desired without being limited.
-<p>Also unlike track editing, the starting position of the drag operation
+ <p>Also unlike track editing, the starting position of the drag operation
doesn't bind the edit decision to media. The media the effect is bound
to doesn't follow effect edits. Other effects; however, do follow
editing decisions made on an effect. If you drag the end of an effect
which is lined up to effects on other tracks, the effects on the other
tracks will be edited while the media stays the same.
-<p>What happens if you trim the end of an effect in, leaving a lot of
+ <p>What happens if you trim the end of an effect in, leaving a lot of
unaffected time near the end of the track? When you drag an effect in
from the Resource Window you can insert the effect in the portion of
the row unoccupied by the trimming operation. Realtime effects are
organized into rows under the track. Each row can have multiple
effects.
-<p>In addition to trimming, you can move effects up or down. Every track
+ <p>In addition to trimming, you can move effects up or down. Every track
can have a stack of effects under it. By moving an effect up or down
you change the order in which effects are processed in the stack. Go
to an effect and right click to bring up the effect menu. The
<em>Move up</em> and <em>Move down</em> options move the effect up or down.
-<p>When you're moving effects up or down, be aware that if they're shared
+ <p>When you're moving effects up or down, be aware that if they're shared
as <em>shared effects</em>, any references will be pointing to a
different effect after the move operation.
-<p>Finally, there's dragging of effects. Dragging effects works just like
+ <p>Finally, there's dragging of effects. Dragging effects works just like
dragging edits. You must select the <img src="arrow.png" alt="arrow.png"> arrow to enter drag and
drop mode before dragging effects. The effects snap to media
boundaries, effect boundaries, and tracks. Be aware if you drag a
reference to a shared effect, the reference will usually point to the
wrong effect afterwards.
-<p>Right click on an effect to bring up a menu for the effect. Select
+ <p>Right click on an effect to bring up a menu for the effect. Select
<em>attach...</em> to change the effect or change the reference if it is
a shared effect.
+<div class="node">
<p><hr>
Node:<a name="RENDERED%20EFFECTS">RENDERED EFFECTS</a>,
-Next:<a rel=next accesskey=n href="#TRANSITIONS">TRANSITIONS</a>,
-Previous:<a rel=previous accesskey=p href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>,
-Up:<a rel=up accesskey=u href="#USING%20EFFECTS">USING EFFECTS</a>
+Next:<a rel="next" accesskey="n" href="#TRANSITIONS">TRANSITIONS</a>,
+Previous:<a rel="previous" accesskey="p" href="#REALTIME%20EFFECTS">REALTIME EFFECTS</a>,
+Up:<a rel="up" accesskey="u" href="#USING%20EFFECTS">USING EFFECTS</a>
<br>
+</div>
-<h3>RENDERED EFFECTS</h3>
+<h3 class="section">RENDERED EFFECTS</h3>
-<p>Another type of effect is performed on a section of the track and the
+ <p>Another type of effect is performed on a section of the track and the
result stored somewhere before it is played back. The result is
usually pasted into the track to replace the original data.
-<p>The rendered effects are not listed in the resource window but instead
+ <p>The rendered effects are not listed in the resource window but instead
are accessed through the <em>Audio->Render effect</em> and
<em>Video->Render effect</em> menu options. Each of these menu options
brings up a dialog for the rendered effect. Rendered effects apply to
only one type of track, either audio or video. If no tracks of the
type exist, an error pops up.
-<p>A region of the timeline to apply the effect to must be defined before
+ <p>A region of the timeline to apply the effect to must be defined before
selecting <em>Render effect...</em>. If no in/out points and no
highlighted region exists, the entire region after the insertion point
is treated as the affected region. Otherwise, the region between the
in/out points or the highlighted region is the affected region.
-<p>In the render effect dialog is a list of all the realtime and all the
+ <p>In the render effect dialog is a list of all the realtime and all the
rendered effects. The difference here is that the realtime effects are
rendered to disk and not applied under the track. Highlight an effect
in the list to designate it as the one being performed.
-<p>Define a file to render the effect to in the <em>Select a file to
+ <p>Define a file to render the effect to in the <em>Select a file to
render to</em> box. The <img src="magnify.png" alt="magnify.png"> magnifying glass allows file
selection from a list.
-<p>Select a file format which can handle the track type. The
+ <p>Select a file format which can handle the track type. The
<img src="wrench.png" alt="wrench.png"> wrench allows configuration specific to the file format.
-<p>There is also an option for creating a new file at each label. If you
+ <p>There is also an option for creating a new file at each label. If you
have a CD rip on the timeline which you want to divide into different
files, the labels would become dividing points between the files if
this option were selected. When the timeline is divided by labels, the
effect is re-initialized at every label. Normalize operations take the
peak in the current file and not in the entire timeline.
-<p>Finally there is an insertion strategy just like in the render dialog.
+ <p>Finally there is an insertion strategy just like in the render dialog.
It should be noted that even though the effect applies only to audio or
video, the insertion strategy applies to all tracks just like a
clipboard operation.
-<p>When you click <em>OK</em> in the effect dialog, it calls the GUI of the
+ <p>When you click <em>OK</em> in the effect dialog, it calls the GUI of the
effect. If the effect is also a realtime effect, a second GUI appears
to prompt for acceptance or rejection of the current settings. After
accepting the settings, the effect is processed.
+<div class="node">
<p><hr>
Node:<a name="TRANSITIONS">TRANSITIONS</a>,
-Next:<a rel=next accesskey=n href="#LADSPA%20EFFECTS">LADSPA EFFECTS</a>,
-Previous:<a rel=previous accesskey=p href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>,
-Up:<a rel=up accesskey=u href="#USING%20EFFECTS">USING EFFECTS</a>
+Next:<a rel="next" accesskey="n" href="#LADSPA%20EFFECTS">LADSPA EFFECTS</a>,
+Previous:<a rel="previous" accesskey="p" href="#RENDERED%20EFFECTS">RENDERED EFFECTS</a>,
+Up:<a rel="up" accesskey="u" href="#USING%20EFFECTS">USING EFFECTS</a>
<br>
+</div>
-<h3>TRANSITIONS</h3>
+<h3 class="section">TRANSITIONS</h3>
-<p>When one edit ends and another edit begins, the default behaviour is to
+ <p>When one edit ends and another edit begins, the default behaviour is to
have the first edit's output immediately become the output of the
second edit when played back. Transitions are a way for the first
edit's output to become the second edit's output with different
variations.
-<p>Cinelerra supports audio and video transitions, all of which are listed
+ <p>Cinelerra supports audio and video transitions, all of which are listed
in the resource window. Transitions may only apply to the matching
track type. Transitions under <em>audio transitions</em> can only apply
to audio tracks. Transitions under <em>video transitions</em> can only
apply to video tracks.
-<p>Load a video file and cut a section from the center so the edit point
+ <p>Load a video file and cut a section from the center so the edit point
is visible on the timeline. Go the resource window and click on the
<em>Video transitions</em> folder. Drag a transition from the transition
list onto the second video edit on the timeline. A box highlights over
where the transition will appear. Releasing it over the second edit
applies the transition between the first and second edit.
-<p>You can now scrub over the transition with the transport controls and
+ <p>You can now scrub over the transition with the transport controls and
watch the output in the <em>Compositor window</em>. Scrubbing with the
insertion point doesn't normally show transitions because the
transition durations are usually too short. The exact point in time
@@ -2698,7 +2775,7 @@
second edit. Therefore, the first asset needs to have enough data
after the edit point to fill the transition into the second edit.
-<p>Once the transition is in place, it can be edited similarly to an
+ <p>Once the transition is in place, it can be edited similarly to an
effect. Move the pointer over the transition and right click to bring
up the transition menu. The <em>show</em> option brings up specific
parameters for the transition in question if there are any. The
@@ -2707,7 +2784,7 @@
transitions until they are changed again. Finally, the <em>detach</em>
option removes the transition from the timeline.
-<p>Dragging and dropping transitions from the Resource window to the
+ <p>Dragging and dropping transitions from the Resource window to the
Program window can be really slow and tiring. Fortunately, once you
drag a transition from the Resource window, the <em>U</em> and <em>u</em>
keys will paste the same transition. The <em>U</em> key pastes the last
@@ -2715,22 +2792,24 @@
on all the recordable tracks. If the insertion point or in point is
over an edit, the beginning of the edit is covered by the transition.
-<p>It should be noted that when playing transitions from the timeline to a
+ <p>It should be noted that when playing transitions from the timeline to a
hardware accelerated video device, the hardware acceleration will
usually be turned off momentarily during the transition and on after
the transition in order to render the transition. Using an
unaccelerated video device for the entire timeline normally removes the
disturbance.
+<div class="node">
<p><hr>
Node:<a name="LADSPA%20EFFECTS">LADSPA EFFECTS</a>,
-Previous:<a rel=previous accesskey=p href="#TRANSITIONS">TRANSITIONS</a>,
-Up:<a rel=up accesskey=u href="#USING%20EFFECTS">USING EFFECTS</a>
+Previous:<a rel="previous" accesskey="p" href="#TRANSITIONS">TRANSITIONS</a>,
+Up:<a rel="up" accesskey="u" href="#USING%20EFFECTS">USING EFFECTS</a>
<br>
+</div>
-<h3>LADSPA EFFECTS</h3>
+<h3 class="section">LADSPA EFFECTS</h3>
-<p>LADSPA effects are supported in realtime and rendered mode for audio.
+ <p>LADSPA effects are supported in realtime and rendered mode for audio.
The LADSPA plugins you get from the internet vary in quality. Most
can't be tweeked in realtime very easily and work better when
rendered. Some crash and some can only be applied to one track due to
@@ -2740,20 +2819,22 @@
effects appear in the audio folder as the hammer and screwdriver, to
signify that they are Plugins for Linux Audio Developers.
-<p>LADSPA Effects are enabled merely by setting the <em>LADSPA_PATH</em>
+ <p>LADSPA Effects are enabled merely by setting the <em>LADSPA_PATH</em>
environment variable to the location of your LADSPA plugins or putting
them in the <em>/usr/lib/cinelerra</em> directory.
+<div class="node">
<p><hr>
Node:<a name="SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
-Next:<a rel=next accesskey=n href="#COMPOSITING">COMPOSITING</a>,
-Previous:<a rel=previous accesskey=p href="#USING%20EFFECTS">USING EFFECTS</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#COMPOSITING">COMPOSITING</a>,
+Previous:<a rel="previous" accesskey="p" href="#USING%20EFFECTS">USING EFFECTS</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>SETTING PROJECT ATTRIBUTES</h2>
+<h2 class="chapter">SETTING PROJECT ATTRIBUTES</h2>
-<p>When you play media files in Cinelerra, the media files have a certain
+ <p>When you play media files in Cinelerra, the media files have a certain
number of tracks, a certain frame size, a certain sample size, and so
on and so forth. No matter what the media file has; however, it is
still played back according to the project attributes. If an audio
@@ -2762,7 +2843,7 @@
attributes, it is composited on a black frame, either cropped or
bordered with black.
-<p>The project attributes are adjusted in <em>settings->format</em> and in
+ <p>The project attributes are adjusted in <em>settings->format</em> and in
to a more limited extent in <em>file->new</em>. When you adjust project
settings in <em>file->new</em> a new timeline is created with no data.
Every timeline created from this point uses the same settings. When
@@ -2770,13 +2851,13 @@
recreated with no data but every timeline created from this point uses
the same settings.
-<p>In addition to the traditional settings for sample rate, frame rate,
+ <p>In addition to the traditional settings for sample rate, frame rate,
frame size, Cinelerra uses some unusual settings like <em>channel
positions, color model, and aspect ratio.</em>
-<ul>
+ <ul>
-<li>
+ <li>
Channel positions is the only setting which doesn't affect the output
necessarily. Click on a speaker icon and drag to change the position
of a channel. It is merely a convenience so when more than 2 channels
@@ -2787,13 +2868,13 @@
<br><p>
<br><p>
-<img src="channelpositions.png" alt="channelpositions.png">
+ <img src="channelpositions.png" alt="channelpositions.png">
<br><p>
<br><p>
-<p>But different channels can be positioned very close together to make
+ <p>But different channels can be positioned very close together to make
them have the same output.
-</p><li>
+ </p><li>
Color model is very important for video playback. The video is stored
on disk in one colormodel, normally compressed using a YUV derivative.
When played back, Cinelerra decompresses it from the file format
@@ -2803,15 +2884,15 @@
device. The selection of internal colormodel determines how accurate
and fast the effects are.
-<p>Cinelerra colormodels are described using a certain packing order of
+ <p>Cinelerra colormodels are described using a certain packing order of
components and a certain number of bits for each component. The
packing order is printed on the left and the bit allocation is printed
on the right.
-<p><em>RGBA8888</em> uses red, green, blue, and alpha with 8 bits per
+ <p><em>RGBA8888</em> uses red, green, blue, and alpha with 8 bits per
channel.
-<p>In order to do effects which involve alpha channels, a colormodel with
+ <p>In order to do effects which involve alpha channels, a colormodel with
an alpha channel must be selected. These are RGBA8888, YUVA8888,
RGBA16161616, YUVA16161616. The 4 channel colormodels are notoriously
slower than 3 channel colormodels, with the slowest being
@@ -2820,29 +2901,31 @@
to do anything, so it's a good idea to try the effect without alpha
channels.
-<p>The YUV colormodels are usually faster than RGB colormodels when using
+ <p>The YUV colormodels are usually faster than RGB colormodels when using
compressed footage. They also destroy fewer colors than RGB
colormodels. If footage stored as JPEG or MPEG is processed many times
in RGB, the colors will fade while they won't if processed in YUV.
-</p><li>
+ </p><li>
Aspect ratio determines the shape of the video output when using the
X11 video output. The numbers in each direction can be any floating
point number. When drawn on the screen, video pixels are stretched to
match the aspect ratio.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="COMPOSITING">COMPOSITING</a>,
-Next:<a rel=next accesskey=n href="#KEYFRAMES">KEYFRAMES</a>,
-Previous:<a rel=previous accesskey=p href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#KEYFRAMES">KEYFRAMES</a>,
+Previous:<a rel="previous" accesskey="p" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>COMPOSITING</h2>
+<h2 class="chapter">COMPOSITING</h2>
-<p>A large amount of Cinelerra's binary size is directed towards
+ <p>A large amount of Cinelerra's binary size is directed towards
compositing. When you remove the letterboxing from a widescreen show,
you're compositing. Changing the resolution of a show, making a split
screen, and fading in and out among other things are all compositing
@@ -2850,29 +2933,31 @@
operation and plays back through the compositing engine only then.
Otherwise, it uses the fastest decoder available in the hardware.
-<p>Compositing operations are done on the timeline and in the Compositor
+ <p>Compositing operations are done on the timeline and in the Compositor
window. Shortcuts exist in the Resource window for changing project
attributes. Once some video files are on the timeline, the compositor
window is a good place to try compositing.
-<ul>
-<li><a accesskey=1 href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>:
-<li><a accesskey=2 href="#MASKS">MASKS</a>:
-<li><a accesskey=3 href="#CROPPING">CROPPING</a>:
-<li><a accesskey=4 href="#SAFE%20REGIONS">SAFE REGIONS</a>:
-<li><a accesskey=5 href="#OVERLAY%20MODES">OVERLAY MODES</a>:
-<li><a accesskey=6 href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>:
+<li><a accesskey="2" href="#MASKS">MASKS</a>:
+<li><a accesskey="3" href="#CROPPING">CROPPING</a>:
+<li><a accesskey="4" href="#SAFE%20REGIONS">SAFE REGIONS</a>:
+<li><a accesskey="5" href="#OVERLAY%20MODES">OVERLAY MODES</a>:
+<li><a accesskey="6" href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>,
-Next:<a rel=next accesskey=n href="#MASKS">MASKS</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Next:<a rel="next" accesskey="n" href="#MASKS">MASKS</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>THE CAMERA AND PROJECTOR</h3>
+<h3 class="section">THE CAMERA AND PROJECTOR</h3>
-<p>In the compositor window, the most important functions are the
+ <p>In the compositor window, the most important functions are the
<img src="camera.png" alt="camera.png"> camera button and the <img src="projector.png" alt="projector.png"> projector
button. These control operation of the camera and projector. Inside
Cinelerra's compositing pipeline, the camera determines where in the
@@ -2885,19 +2970,19 @@
<br><p>
<br><p>
-<img src="compositing_pipeline.png" alt="compositing_pipeline.png">
+ <img src="compositing_pipeline.png" alt="compositing_pipeline.png">
<br><p>
<br><p>
-<p><em>Visual representation of the compositing pipeline</em>.
+ <p><em>Visual representation of the compositing pipeline</em>.
-<p>When editing the camera and projector in the compositing window, the
+ <p>When editing the camera and projector in the compositing window, the
first track with <em>record</em> enabled is the track affected. Even if
the track is completely transparent, it's still the affected track. If
multiple video tracks exist, the easiest way to select one track for
editing is to <em>shift-click</em> on the record icon of the track. This
solos the track.
-<p>When the <em>projector</em> button is enabled in the compositor window,
+ <p>When the <em>projector</em> button is enabled in the compositor window,
you're in projector editing mode. A guide box appears in the video
window. Dragging anywhere in the video window causes the guide box to
move, hopefully along with the video. <em>shift-dragging</em> anywhere
@@ -2905,46 +2990,46 @@
the video. Once you've positioned the video with the projector, you're
ready to master the camera.
-<p>Select the <img src="camera.png" alt="camera.png"> camera button to enable camera editing mode.
+ <p>Select the <img src="camera.png" alt="camera.png"> camera button to enable camera editing mode.
In this mode, the guide box shows where the camera position is in
relation to past and future camera positions but not where it is in
relation to the source video. Dragging the camera box in the
compositor window doesn't move the box but instead moves the location
of the video inside the box.
-<p>For example, when you drag the camera left, the video moves right.
+ <p>For example, when you drag the camera left, the video moves right.
When you drag the camera up, the video moves down. When you shift-drag
the camera, the effect is the same as if you zoomed in or out of the
source. The intention of the camera is to produce still photo panning,
while the intention of the projector is to composite several sources in
the same scene.
-<p>In the compositing window, there is a popup menu of options for the
+ <p>In the compositing window, there is a popup menu of options for the
camera and projector. Right click over the video portion of the
compositing window to bring up the menu.
-<ul>
+ <ul>
-<li>Reset Camera causes the camera to return to the center position.
+ <li>Reset Camera causes the camera to return to the center position.
-<li>Reset Projector causes the projector to return to the center.
+ <li>Reset Projector causes the projector to return to the center.
-</ul>
+ </ul>
-<p>The camera and projector have shortcut operations neither in the popup
+ <p>The camera and projector have shortcut operations neither in the popup
menu or represented in video overlays. These are accessed in the
<em>Tool window</em>. Most operations in the Compositor window have a
tool window which is enabled by activating the <img src="toolwindow.png" alt="toolwindow.png">
question mark.
-<p>In the case of the camera and projector, the tool window shows x, y,
+ <p>In the case of the camera and projector, the tool window shows x, y,
and z coordinates. By either tumbling or entering text directly, the
camera and projector can be precisely positioned. 9 justification
types are also defined for easy access. A popular justification
operation is upper left projection after image reduction. This is used
when reducing the size of video with aspect ratio adjustment.
-<p>The translation effect allows simultaneous aspect ratio conversion and
+ <p>The translation effect allows simultaneous aspect ratio conversion and
reduction but is easier to use if the reduced video is put in the upper
left of the temporary instead of in the center. The track size is set
to the original size of the video and the camera is centered. The
@@ -2952,7 +3037,7 @@
effects, this produces just the cropped center portion of the video in
the output.
-<p>The translation effect is dropped onto the video track. The input
+ <p>The translation effect is dropped onto the video track. The input
dimensions of the translation effect are set to the original size and
the output dimensions are set to the reduced size. To put the reduced
video in the center section that the projector shows would require
@@ -2960,21 +3045,23 @@
Instead, we leave <em>out x and out y</em> at 0 and use the projector's
tool window.
-<p>Merely by selecting <img src="left_justify.png" alt="left_justify.png"> left justify and
+ <p>Merely by selecting <img src="left_justify.png" alt="left_justify.png"> left justify and
<img src="top_justify.png" alt="top_justify.png"> top justify, the projector displays the reduced
image from the top left corner of the temporary in the center of the
output.
+<div class="node">
<p><hr>
Node:<a name="MASKS">MASKS</a>,
-Next:<a rel=next accesskey=n href="#CROPPING">CROPPING</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Next:<a rel="next" accesskey="n" href="#CROPPING">CROPPING</a>,
+Previous:<a rel="previous" accesskey="p" href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>MASKS</h3>
+<h3 class="section">MASKS</h3>
-<p>Masks select a region of the video for either displaying or hiding.
+ <p>Masks select a region of the video for either displaying or hiding.
Masks are also used in conjunction with another effect to isolate the
effect to a certain region of the frame. A copy of one video track may
be delayed slightly and unmasked in locations where the one copy has
@@ -2984,24 +3071,24 @@
vanilla track shows through. Removal of boom microphones, airplanes,
and housewives are other mask uses.
-<p>The order of the compositing pipeline affects what can be done with
+ <p>The order of the compositing pipeline affects what can be done with
masks. Mainly, masks are performed on the temporary after effects and
before the projector. This means multiple tracks can be bounced to a
masked track and projected with the same mask.
-<p>Our compositing pipeline graph now has a masking stage. There are 8
+ <p>Our compositing pipeline graph now has a masking stage. There are 8
possible masks per track. Each mask is defined separately, although
they each perform the same operation, whether it's addition or
subtraction.
<br><p>
<br><p>
-<img src="compositing_pipeline2.png" alt="compositing_pipeline2.png">
+ <img src="compositing_pipeline2.png" alt="compositing_pipeline2.png">
<br><p>
<br><p>
-<p><em>Compositing pipeline with masks</em>
+ <p><em>Compositing pipeline with masks</em>
-<p>To define a mask, go into the Compositor window and enable the
+ <p>To define a mask, go into the Compositor window and enable the
<img src="mask.png" alt="mask.png"> <em>mask</em> toggle. Now go over the video and
click-drag. Click-drag again in another part of the image to create
each new point of the mask. While it isn't the conventional bezier
@@ -3009,48 +3096,48 @@
effect of the mask is going to be. Creating each point of the mask
expands a rubber band curve.
-<p>Once points are defined, they can be moved by <em>ctrl-dragging</em> in
+ <p>Once points are defined, they can be moved by <em>ctrl-dragging</em> in
the vicinity of the corner. This; however, doesn't smooth out the
curve. The in-out points of the bezier curve are accessed by
<em>shift-dragging</em> in the vicinity of the corner. Then
<em>shift-dragging</em> near the in or out point causes the point to
move.
-<p>Finally, once you have a mask, the mask can be translated in one piece
+ <p>Finally, once you have a mask, the mask can be translated in one piece
by <em>alt-dragging</em> the mask. Mask editing in Cinelerra is
identical to how The Gimp edits masks except in this case the effect of
the mask is always on.
-<p>The masks have many more parameters which couldn't be represented with
+ <p>The masks have many more parameters which couldn't be represented with
video overlays. These are represented in the tool window for masks.
Selecting the <img src="toolwindow.png" alt="toolwindow.png"> question mark when the <img src="mask.png" alt="mask.png">
mask toggle is highlighted brings up the mask options.
-<p>The <em>mode</em> of the mask determines if the mask removes data or
+ <p>The <em>mode</em> of the mask determines if the mask removes data or
makes data visible. If the mode is subtractive, the mask causes video
to disappear. If the mode is additive, the mask causes video to appear
and everything outside the mask to disappear.
-<p>The <em>value</em> of the mask determines how extreme the addition or
+ <p>The <em>value</em> of the mask determines how extreme the addition or
subtraction is. In the subtractive mode, higher values subtract more
alpha. In the additive mode, higher values make the region in the mask
brighter while the region outside the mask is always hidden.
-<p>The mask number determines which one of the 8 possible masks we're
+ <p>The mask number determines which one of the 8 possible masks we're
editing. Each track has 8 possible masks. When you click-drag in the
compositor window, you're only editing one of the masks. Change the
value of <em>mask number</em> to cause another mask to be edited. The
previous mask is still active but only the curve overlay for the
currently selected mask is visible.
-<p>When multiple masks are used, their effects are ORed together. Every
+ <p>When multiple masks are used, their effects are ORed together. Every
mask in a single track uses the same value and mode.
-<p>The edges of a mask are hard by default but this rarely is desired.
+ <p>The edges of a mask are hard by default but this rarely is desired.
The <em>feather</em> parameter determines how many pixels to feather the
mask. This creates softer edges but takes longer to render.
-<p>Finally, there are parameters which affect one point on the current
+ <p>Finally, there are parameters which affect one point on the current
mask instead of the whole mask. These are <em>Delete, x, y</em>. The
active point is defined as the last point dragged in the compositor
window. Any point can be activated merely by <em>ctrl-clicking</em> near
@@ -3058,16 +3145,18 @@
<em>Delete</em> deletes it and <em>x, y</em> allow repositioning by numeric
entry.
+<div class="node">
<p><hr>
Node:<a name="CROPPING">CROPPING</a>,
-Next:<a rel=next accesskey=n href="#SAFE%20REGIONS">SAFE REGIONS</a>,
-Previous:<a rel=previous accesskey=p href="#MASKS">MASKS</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Next:<a rel="next" accesskey="n" href="#SAFE%20REGIONS">SAFE REGIONS</a>,
+Previous:<a rel="previous" accesskey="p" href="#MASKS">MASKS</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>CROPPING</h3>
+<h3 class="section">CROPPING</h3>
-<p>Cropping changes the value of the output dimensions and the projector
+ <p>Cropping changes the value of the output dimensions and the projector
to reduce the visible picture area. Enable the <img src="crop.png" alt="crop.png"> crop
toggle and the <img src="toolwindow.png" alt="toolwindow.png"> tool window to perform cropping in
the compositing window. This draws a rectangle over the video.
@@ -3076,79 +3165,85 @@
window allows text entry of the coordinates. When the rectangle is
positioned, hit the <em>do it</em> button in the tool window.
+<div class="node">
<p><hr>
Node:<a name="SAFE%20REGIONS">SAFE REGIONS</a>,
-Next:<a rel=next accesskey=n href="#OVERLAY%20MODES">OVERLAY MODES</a>,
-Previous:<a rel=previous accesskey=p href="#CROPPING">CROPPING</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Next:<a rel="next" accesskey="n" href="#OVERLAY%20MODES">OVERLAY MODES</a>,
+Previous:<a rel="previous" accesskey="p" href="#CROPPING">CROPPING</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>SAFE REGIONS</h3>
+<h3 class="section">SAFE REGIONS</h3>
-<p>On consumer displays the borders of the image are cut off and within
+ <p>On consumer displays the borders of the image are cut off and within
the cutoff point is a region which isn't always square like it is in
the compositor window. The borders are intended for scratch room and
vertical blanking data. You can show where these borders are by
enabling the <img src="titlesafe.png" alt="titlesafe.png"> safe regions toggle. Keep titles inside
the inner rectangle and keep action inside the outer rectangle.
+<div class="node">
<p><hr>
Node:<a name="OVERLAY%20MODES">OVERLAY MODES</a>,
-Next:<a rel=next accesskey=n href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>,
-Previous:<a rel=previous accesskey=p href="#SAFE%20REGIONS">SAFE REGIONS</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Next:<a rel="next" accesskey="n" href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>,
+Previous:<a rel="previous" accesskey="p" href="#SAFE%20REGIONS">SAFE REGIONS</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>OVERLAY MODES</h3>
+<h3 class="section">OVERLAY MODES</h3>
-<p>Every track has an overlay mode, accessible by expanding the track.
+ <p>Every track has an overlay mode, accessible by expanding the track.
Select the <img src="expandpatch_checked.png" alt="expandpatch_checked.png"> expand track toggle to view all
the options for a video track. The overlay mode of the track is
<em>normal</em> by default. Select other modes by selecting the
<em>normal</em> button. Overlay modes are processed inside the projector
stage of compositing. The different modes are summarized below.
-<ul>
+ <ul>
-<li>
+ <li>
Normal uses a traditional Porter-Diff equation to blend tracks with
alpha. When no alpha exists, the new track replaces the output.
-<li>
+ <li>
In addition, whatever is in the output is added to the current track.
The result is blended based on the current track's alpha onto the
output.
-<li>
+ <li>
In subtraction, the current track is subtracted from the output and the
result is alpha blended onto the output.
-<li>
+ <li>
Multiply is the most useful operation. The current track is multiplied
by the output and the result blended onto the output. Usually a black
and white image with no alpha channel or a white title on a black image
is used as the current track. With the multiply operation, only the
output portions under the white area show.
-<li>
+ <li>
Divide divides the current track by the output and the result is
blended into the output. It usually results in overloaded levels.
-<li>
+ <li>
Replace does no blending and overwrites the output with the current
track.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>,
-Previous:<a rel=previous accesskey=p href="#OVERLAY%20MODES">OVERLAY MODES</a>,
-Up:<a rel=up accesskey=u href="#COMPOSITING">COMPOSITING</a>
+Previous:<a rel="previous" accesskey="p" href="#OVERLAY%20MODES">OVERLAY MODES</a>,
+Up:<a rel="up" accesskey="u" href="#COMPOSITING">COMPOSITING</a>
<br>
+</div>
-<h3>TRACK AND OUTPUT SIZES</h3>
+<h3 class="section">TRACK AND OUTPUT SIZES</h3>
-<p>The size of the temporary and the size of the output in our compositing
+ <p>The size of the temporary and the size of the output in our compositing
pipeline are independant and variable. This fits into everything
covered so far. The camera's viewport is the temporary size. Effects
are processed in the temporary and are affected by the temporary size.
@@ -3157,36 +3252,38 @@
bordered by blank regions in the output. If the temporary is bigger
than the output, the temporary is cropped.
-<p>The temporary size is defined as the track size. Each track has a
+ <p>The temporary size is defined as the track size. Each track has a
different size. Right click on a track to bring up the track's menu.
Select <em>Resize Track</em> to resize the track to any arbitrary size.
Alternatively you can select <em>Match output size</em> to make the track
the same size as the output.
-<p>The output size is set in either <em>New</em> when creating a new project
+ <p>The output size is set in either <em>New</em> when creating a new project
or <em>Settings->Format</em>. In the Resource window there is another
way to change the output size. Right click on a video asset and select
<em>Match project size</em> to conform the output to the asset. When new
tracks are created, the track size always conforms to the output size
specified by these methods.
+<div class="node">
<p><hr>
Node:<a name="KEYFRAMES">KEYFRAMES</a>,
-Next:<a rel=next accesskey=n href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>,
-Previous:<a rel=previous accesskey=p href="#COMPOSITING">COMPOSITING</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>,
+Previous:<a rel="previous" accesskey="p" href="#COMPOSITING">COMPOSITING</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>KEYFRAMES</h2>
+<h2 class="chapter">KEYFRAMES</h2>
-<p>Setting static compositing parameters isn't very useful most of the
+ <p>Setting static compositing parameters isn't very useful most of the
time. Normally you need to move the camera around over time or change
mask positions. Masks need to follow objects. We create dymanic
changes by defining keyframes. A keyframe is a certain point in time
when the settings for one operation change. In Cinelerra, there are
keyframes for almost every compositing parameter and effect parameter.
-<p>Whenever you adjust any parameter, the value is stored in a keyframe.
+ <p>Whenever you adjust any parameter, the value is stored in a keyframe.
If the value is stored in a keyframe, why doesn't it always change?
The keyframe it is stored in is known as the <em>default keyframe</em>.
The default keyframe applies to the entire duration if no other
@@ -3194,27 +3291,29 @@
because it always exists. The only way change occurs over time is if
non-default keyframes are created.
-<p>Display keyframes for any parameter by using the <em>view</em> menu.
+ <p>Display keyframes for any parameter by using the <em>view</em> menu.
When keyframes are selected, they are drawn on the timeline over the
tracks they apply to.
-<ul>
-<li><a accesskey=1 href="#CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>:
-<li><a accesskey=2 href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>:
-<li><a accesskey=3 href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>:
-<li><a accesskey=4 href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>:
-<li><a accesskey=5 href="#EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>:
+<li><a accesskey="2" href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>:
+<li><a accesskey="3" href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>:
+<li><a accesskey="4" href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>:
+<li><a accesskey="5" href="#EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>,
-Next:<a rel=next accesskey=n href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#KEYFRAMES">KEYFRAMES</a>
+Next:<a rel="next" accesskey="n" href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#KEYFRAMES">KEYFRAMES</a>
<br>
+</div>
-<h3>CURVE KEYFRAMES</h3>
+<h3 class="section">CURVE KEYFRAMES</h3>
-<p>Fade and zoom settings are stored in bezier curves. Go to
+ <p>Fade and zoom settings are stored in bezier curves. Go to
<em>view->fade keyframes</em> or <em>view->...zoom</em> to show curves on
the timeline. It's sometimes easier to pull down the <em>view</em> menu
and then use the keyboard shortcuts listed in the menu to enable or
@@ -3223,7 +3322,7 @@
timeline until it changes shape. Then merely by clicking and dragging
on the curve you can create a keyframe at the position.
-<p>After the keyframe is created, click drag on it again to reposition
+ <p>After the keyframe is created, click drag on it again to reposition
it. When you click-drag a second keyframe on the curve, it creates a
smooth ramp. <em>ctrl-dragging</em> on a keyframe changes the value of
either the input control or the output control. This affects the
@@ -3231,92 +3330,98 @@
can be moved horizontally as well as vertically, the horizontal
movement is purely for legibility and isn't used in the curve value.
-<p>You may remember that The Gimp and the Compositing masks all use
+ <p>You may remember that The Gimp and the Compositing masks all use
<em>shift</em> to select control points so why does the timeline use
<em>ctrl</em>? When you <em>shift-drag</em> on a timeline curve, the
keyframe jumps to the value of either the next or previous keyframe,
depending on which exists. This lets you set a constant curve value
without having to copy the next or previous keyframe.
+<div class="node">
<p><hr>
Node:<a name="TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>,
-Next:<a rel=next accesskey=n href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
-Previous:<a rel=previous accesskey=p href="#CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#KEYFRAMES">KEYFRAMES</a>
+Next:<a rel="next" accesskey="n" href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
+Previous:<a rel="previous" accesskey="p" href="#CURVE%20KEYFRAMES">CURVE KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#KEYFRAMES">KEYFRAMES</a>
<br>
+</div>
-<h3>TOGGLE KEYFRAMES</h3>
+<h3 class="section">TOGGLE KEYFRAMES</h3>
-<p>Mute is the only toggle keyframe. Mute keyframes determine where the
+ <p>Mute is the only toggle keyframe. Mute keyframes determine where the
track is processed but not rendered to the output. Click-drag on these
curves to create a keyframe. Unlike curves, the toggle keyframe has
only two values: on or off. Ctrl and shift do nothing on toggle
keyframes.
+<div class="node">
<p><hr>
Node:<a name="AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
-Next:<a rel=next accesskey=n href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
-Previous:<a rel=previous accesskey=p href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#KEYFRAMES">KEYFRAMES</a>
+Next:<a rel="next" accesskey="n" href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
+Previous:<a rel="previous" accesskey="p" href="#TOGGLE%20KEYFRAMES">TOGGLE KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#KEYFRAMES">KEYFRAMES</a>
<br>
+</div>
-<h3>AUTOMATIC KEYFRAMES</h3>
+<h3 class="section">AUTOMATIC KEYFRAMES</h3>
-<p>You may have noticed when a few fade curves are set up, moving the
+ <p>You may have noticed when a few fade curves are set up, moving the
insertion point around the curves causes the faders to reflect the
curve value under the insertion point. This isn't just to look cool.
The faders themselves can set keyframes in automatic keyframe mode.
Automatic keyframe mode is usually more useful than dragging curves.
-<p>Enable automatic keyframe mode by enabling the automatic keyframe
+ <p>Enable automatic keyframe mode by enabling the automatic keyframe
toggle <img src="autokeyframe.png" alt="autokeyframe.png">. In automatic keyframe mode, every time
you tweek a keyframeable parameter it creates a keyframe on the
timeline. Since automatic keyframes affect many parameters, it's best
enabled just before you need a keyframe and disabled immediately
thereafter.
-<p>It's useful to go into the <em>View</em> menu and make the desired
+ <p>It's useful to go into the <em>View</em> menu and make the desired
parameter visible before performing a change. The location where the
automatic keyframe is generated is under the insertion point. If the
timeline is playing back during a tweek, several automatic keyframes
will be generated as you change the parameter.
-<p>When automatic keyframe mode is disabled, a similarly strange thing
+ <p>When automatic keyframe mode is disabled, a similarly strange thing
happens. Adjusting a parameter adjusts the keyframe immediately
preceeding the insertion point. If two fade keyframes exist and the
insertion point is between them, changing the fader changes the first
keyframe.
-<p>There are many parameters which can only be keyframed in automatic
+ <p>There are many parameters which can only be keyframed in automatic
keyframe mode. These are parameters for which curves would take up too
much space on the track or which can't be represented easily by a
curve.
-<p>Effects are only keyframable in automatic mode because of the number of
+ <p>Effects are only keyframable in automatic mode because of the number of
parameters in each individual effect.
-<p>Camera and projector translation can only be keyframed in automatic
+ <p>Camera and projector translation can only be keyframed in automatic
keyframe mode while camera and projector zoom can be keyframed with
curves. It is here that we conclude the discussion of compositing,
since compositing is highly dependant on the ability to change over
time.
+<div class="node">
<p><hr>
Node:<a name="COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
-Next:<a rel=next accesskey=n href="#EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>,
-Previous:<a rel=previous accesskey=p href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#KEYFRAMES">KEYFRAMES</a>
+Next:<a rel="next" accesskey="n" href="#EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>,
+Previous:<a rel="previous" accesskey="p" href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#KEYFRAMES">KEYFRAMES</a>
<br>
+</div>
-<h3>COMPOSITOR KEYFRAMES</h3>
+<h3 class="section">COMPOSITOR KEYFRAMES</h3>
-<p>Camera and projector translation is represented by two parameters: x
+ <p>Camera and projector translation is represented by two parameters: x
and y. Therefore it is cumbersome to adjust with curves. Cinelerra
solves this problem by relying on automatic keyframes. With a video
track loaded, move the insertion point to the beginning of the track
and enable automatic keyframe mode.
-<p>Move the projector slightly in the compositor window to create a
+ <p>Move the projector slightly in the compositor window to create a
keyframe. Then go forward several seconds. Move the projector a long
distance to create another keyframe and emphasize motion. This creates
a second projector box in the compositor, with a line joining the two
@@ -3324,14 +3429,14 @@
keyframes, more boxes are created. Once all the desired keyframes are
created, disable automatic keyframe mode.
-<p>Now when scrubbing around with the compositor window's slider, the
+ <p>Now when scrubbing around with the compositor window's slider, the
video projection moves over time. At any point between two keyframes,
the motion path is read for all time before the insertion point and
green for all time after the insertion point. It's debatable if this
is a very useful feature but it makes you feel good to know what
keyframe is going to be affected by the next projector tweek.
-<p>Click-drag when automatic keyframes are off to adjust the preceeding
+ <p>Click-drag when automatic keyframes are off to adjust the preceeding
keyframe. If you're halfway between two keyframes, the first projector
box is adjusted while the second one stays the same. Furthermore, the
video doesn't appear to move in step with the first keyframe. This is
@@ -3339,7 +3444,7 @@
interpolated. In order to set the second keyframe you'll need to scrub
after the second keyframe.
-<p>By default the motion path is a straight line, but it can be curved
+ <p>By default the motion path is a straight line, but it can be curved
with control points. <em>Ctrl-drag</em> to set either the in or out
control point of the preceeding keyframe. Once again, we depart from
The Gimp because <em>shift</em> is already used for zoom. After the in
@@ -3348,32 +3453,34 @@
point. A control point can be out of view entirely yet still
controllable.
-<p>When editing the camera translation, the behavior of the camera boxes
+ <p>When editing the camera translation, the behavior of the camera boxes
is slightly different. Camera automation is normally used for still
photo panning. The current camera box doesn't move during a drag, but
if multiple keyframes are set, every camera box except the current
keyframe appears to move. This is because the camera display shows
every other camera position relative to the current one.
-<p>The situation becomes more intuitive if you bend the motion path
+ <p>The situation becomes more intuitive if you bend the motion path
between two keyframes and scrub between the two keyframes. The
division between red and green, the current position between the
keyframes, is always centered while the camera boxes move.
+<div class="node">
<p><hr>
Node:<a name="EDITING%20KEYFRAMES">EDITING KEYFRAMES</a>,
-Previous:<a rel=previous accesskey=p href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#KEYFRAMES">KEYFRAMES</a>
+Previous:<a rel="previous" accesskey="p" href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#KEYFRAMES">KEYFRAMES</a>
<br>
+</div>
-<h3>EDITING KEYFRAMES</h3>
+<h3 class="section">EDITING KEYFRAMES</h3>
-<p>Keyframes can be shifted around and moved between tracks on the
+ <p>Keyframes can be shifted around and moved between tracks on the
timeline using similar cut and paste operations to editing media. Only
the keyframes selected in the <em>view</em> menu are affected by keyframe
editing operations, however.
-<p>The most popular keyframe editing operation is replication of some
+ <p>The most popular keyframe editing operation is replication of some
curve from one track to the other, to make a stereo pair. The first
step is to solo the source track's record <img src="recordpatch_up.png" alt="recordpatch_up.png"> patch
by <em>shift-clicking</em> on it. Then either set in/out points or
@@ -3382,10 +3489,10 @@
record <img src="recordpatch_up.png" alt="recordpatch_up.png"> patch by <em>shift-clicking</em> on it and
go to <em>keyframes->paste keyframes</em> to paste the clipboard.
-<p>The media editing commands are mapped to the keyframe editing commands
+ <p>The media editing commands are mapped to the keyframe editing commands
by using the <em>shift</em> key instead of just the keyboard shortcut.
-<p>This leads to the most complicated part of keyframe editing, the
+ <p>This leads to the most complicated part of keyframe editing, the
default keyframe. Remember that when no keyframes are set at all,
there is still a default keyframe which stores a global parameter for
the entire duration. The default keyframe isn't drawn because it
@@ -3395,108 +3502,112 @@
default keyframe</em> allow conversion of the default keyframe to a
non-default keyframe.
-<p><em>Keyframes->copy default keyframe</em> copies the default keyframe to
+ <p><em>Keyframes->copy default keyframe</em> copies the default keyframe to
the clipboard, no matter what region of the timeline is selected. The
<em>keyframes->paste keyframes</em> function may then be used to paste
the clipboard as a non-default keyframe.
-<p>If you've copied a non-default keyframe, it can be stored as the
+ <p>If you've copied a non-default keyframe, it can be stored as the
default keyframe by calling <em>keyframes->paste default keyframe</em>.
After using paste default keyframe to convert a non-default keyframe
into a default keyframe, you won't see the value of the default
keyframe reflected until all the non-default keyframes are removed.
-<p>Finally, there is a convenient way to delete keyframes besides
+ <p>Finally, there is a convenient way to delete keyframes besides
selecting a region and calling <em>keyframes->clear keyframes</em>.
Merely click-drag a keyframe before its preceeding keyframe or after
its following keyframe on the track.
+<div class="node">
<p><hr>
Node:<a name="CAPTURING%20MEDIA">CAPTURING MEDIA</a>,
-Next:<a rel=next accesskey=n href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
-Previous:<a rel=previous accesskey=p href="#KEYFRAMES">KEYFRAMES</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
+Previous:<a rel="previous" accesskey="p" href="#KEYFRAMES">KEYFRAMES</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>CAPTURING MEDIA</h2>
+<h2 class="chapter">CAPTURING MEDIA</h2>
-<p>Ideally, all media would be stored on hard drives, CD-ROM, flash, or
+ <p>Ideally, all media would be stored on hard drives, CD-ROM, flash, or
DVD and loading it into Cinelerra would be a matter of loading a file.
In reality, very few sources of media can be accessed like a filesystem
but instead rely on tape transport mechanisms and dumb I/O mechanisms
to transfer the data to computers. These media types are imported into
Cinelerra through the Record dialog.
-<p>The first step in recording is to configure the input device. In
+ <p>The first step in recording is to configure the input device. In
<em>Settings->preferences</em> are a number of recording parameters
described in configuration See <a href="#RECORDING">RECORDING</a>. These parameters apply to
recording no matter what the project settings are, because the
recording parameters are usually the maximum capability of the
recording hardware while project settings come and go.
-<p>Go to <em>File->record</em> to record a dumb I/O source. This prompts
+ <p>Go to <em>File->record</em> to record a dumb I/O source. This prompts
for an output format much like rendering does. Once that's done, the
record window and the record monitor pop up.
-<p>The record window has discrete sections. While many parameters change
+ <p>The record window has discrete sections. While many parameters change
depending on if the file has audio or video, the discrete sections are
always the same.
-<ul>
+ <ul>
-<li>
+ <li>
The output format area describes the format of the output file and the
current position within it.
-<li>
+ <li>
The edit batch area lets you change parameters in the current batch.
-<li>
+ <li>
The transport controls start and stop recording different ways.
-<li>
+ <li>
The batch list displays all the defined batches.
-<li>
+ <li>
The confirmation area lets you determine how the output files are
imported into the timeline and quit.
-</ul>
+ </ul>
-<img src="recording.png" alt="recording.png">
+ <img src="recording.png" alt="recording.png">
<br><p>
<br><p>
-<p><em>Recording window areas</em>
+ <p><em>Recording window areas</em>
-<p>Recording in Cinelerra is organized around batches. A batch
+ <p>Recording in Cinelerra is organized around batches. A batch
essentially defines a distinct output file for the recording. For now
you can ignore the batch concept entirely and record merely by hitting
the record button <img src="record.png" alt="record.png">.
-<p>The record button opens the current output file if it isn't opened and
+ <p>The record button opens the current output file if it isn't opened and
writes captured data to it. Use the stop button to stop the
recording. Recording can be resumed with the record button without
erasing the file at this point. In the case of a video file, there is
a single frame record button <img src="singleframe.png" alt="singleframe.png"> which records a single
frame.
-<p>When enough media is recorded, choose an insertion method from the
+ <p>When enough media is recorded, choose an insertion method from the
<em>Insertion Strategy</em> menu and hit <em>close</em>.
-<ul>
-<li><a accesskey=1 href="#BATCHES">BATCHES</a>:
-<li><a accesskey=2 href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#BATCHES">BATCHES</a>:
+<li><a accesskey="2" href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="BATCHES">BATCHES</a>,
-Next:<a rel=next accesskey=n href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>,
-Up:<a rel=up accesskey=u href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
+Next:<a rel="next" accesskey="n" href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>,
+Up:<a rel="up" accesskey="u" href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
<br>
+</div>
-<h3>BATCHES</h3>
+<h3 class="section">BATCHES</h3>
-<p>Now we come to the concept of batches. Batches try to make the dumb
+ <p>Now we come to the concept of batches. Batches try to make the dumb
I/O look more like a filesystem. Batches are traditionally used to
divide tape into different programs and save the different programs as
different files instead of recording straight through an entire tape.
@@ -3506,33 +3617,33 @@
shows or time lapse movies as anyone who can't afford proper appliances
knows.
-<p>The record window supports a list of batches and two recording modes:
+ <p>The record window supports a list of batches and two recording modes:
interactive and batch recording. Interactive recording happens when
the record button is pressed. Interactive recording starts immediately
and uses the current batch to determine everything except start time.
By default, the current batch is configured to behave like tape.
-<p>Batch recording happens when the <em>start</em> button is pressed. In
+ <p>Batch recording happens when the <em>start</em> button is pressed. In
batch recording, the <em>start time</em> is the time the batch starts
recording.
-<p>First, you'll want to create some batches. Each batch has certain
+ <p>First, you'll want to create some batches. Each batch has certain
parameters and methods of adjustment.
-<ul>
+ <ul>
-<li>
+ <li>
<em>On</em> determines whether the batch is included in batch recording
operations. Click the list row under <em>On</em> to enable or disable
batches.
-<li>
+ <li>
<em>Path</em> is the file the batch is going to be recorded to. The
filename specified in the record dialog is the name of the first batch,
to simplify interactive recording, but the filename may be changed in
the record window for any batch in the <em>edit batch</em> area.
-<li>
+ <li>
<em>News</em> shows whether the file exists or not. This is a very
important attribute since there is no confirmation dialog if the file
exists. The first time you hit record, the file is opened. If the
@@ -3541,128 +3652,134 @@
in the same batch, the news should say <em>Open</em>, indicating the file
is already opened and won't be erased in the next record button press.
-<p>If you change out of the current batch after recording, the file is
+ <p>If you change out of the current batch after recording, the file is
closed. Next time you change into the batch, the file will be erased.
-</p><li>
+ </p><li>
<em>Start time</em> is the 24 hour time of day the batch will start
recording if in batch mode. The start time may become a time of tape
and reel number if deck control is implemented but for now it's a time
of day.
-<li>
+ <li>
<em>Duration</em> is the length of the batch. It only has meaning if the
<em>Mode</em> of the batch is <em>Timed</em>. Once the recording length
reaches <em>duration</em> the recording stops, whether in interactive or
batch mode.
-<li>
+ <li>
<em>Source</em> has meaning only when the capturing hardware has multiple
sources. Usually the source is a tuner channel or input. When the
current batch finishes and the next batch begins recording, the source
is changed to what the next batch is set to. This way multiple TV
stations can be recorded at different times.
-</ul>
+ </ul>
-<p>The record window has a notion of the <em>current batch</em>. The
+ <p>The record window has a notion of the <em>current batch</em>. The
current batch is not the same as the batch which is highlighted in the
batch list. The current batch text is colored red in the batch list.
The highlighted batch is merely displayed in the edit batch section for
editing.
-<p>By coloring the current batch red, any batch can be edited by
+ <p>By coloring the current batch red, any batch can be edited by
highlighting it, without changing the batch to be recorded.
-<p>All recording operations take place in the current batch. If there
+ <p>All recording operations take place in the current batch. If there
are multiple batches, highlight the desired batch and hit
<em>activate</em> to make it the current batch. If the <em>start</em>
button is pressed, the current batch flashes to indicate it's waiting
for the start time in batch mode. If the <em>record</em> button is
pressed, the current batch is recorded immediately in interactive mode.
-<p>In batch and interactive recording modes, when the current batch
+ <p>In batch and interactive recording modes, when the current batch
finishes recording the next batch is activated and performed. All
future recording is done in batch mode. When the first batch finishes,
the next batch flashes until its start time is reached.
-<p>Interrupt either the batch or the interactive operation by hitting the
+ <p>Interrupt either the batch or the interactive operation by hitting the
stop button.
-<p>Finally there is the <img src="rewind.png" alt="rewind.png"> rewind button. In either
+ <p>Finally there is the <img src="rewind.png" alt="rewind.png"> rewind button. In either
interactive or batch recording, the rewind button causes the current
batch to close its file. The next recording operation in the current
batch deletes the file.
+<div class="node">
<p><hr>
Node:<a name="EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>,
-Previous:<a rel=previous accesskey=p href="#BATCHES">BATCHES</a>,
-Up:<a rel=up accesskey=u href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
+Previous:<a rel="previous" accesskey="p" href="#BATCHES">BATCHES</a>,
+Up:<a rel="up" accesskey="u" href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>
<br>
+</div>
-<h3>EDITING TUNER INFORMATION</h3>
+<h3 class="section">EDITING TUNER INFORMATION</h3>
-<p>Sometimes in the recording process and the configuration process,
+ <p>Sometimes in the recording process and the configuration process,
you'll need to define and select tuner channels to either record or
play back to. In the case of the Video4Linux recording driver, tuner
channels define the source. In the case of the Buz playback driver,
tuner channels define the destination.
-<p>Defining tuner channels is accomplished by pushing the <img src="channel.png" alt="channel.png">
+ <p>Defining tuner channels is accomplished by pushing the <img src="channel.png" alt="channel.png">
channel button. This brings up the channel editing window. In this
window you add, edit, and sort channels. Also, for certain video
drivers, you can adjust the picture quality.
-<p>The <em>add</em> operation brings up a channel editing box. The title of
+ <p>The <em>add</em> operation brings up a channel editing box. The title of
the channel appears in the channel list. The source of the channel is
the entry in the physical tuner's frequency table corresponding to the
title.
-<p>Fine tuning in the channel edit dialog adjusts the physical frequency
+ <p>Fine tuning in the channel edit dialog adjusts the physical frequency
slightly if the driver supports it. The norm and frequency table
together define which frequency table is selected for defining
sources. If the device supports multiple inputs, the input menu
selects these.
-<p>To sort channels, highlight the channel in the list and push <em>move
+ <p>To sort channels, highlight the channel in the list and push <em>move
up</em> or <em>move down</em> to move it.
-<p>Once channels are defined, the <em>source</em> item in the record window
+ <p>Once channels are defined, the <em>source</em> item in the record window
can be used to select channels for recording. The same channel
selecting ability also exists in the record monitor window. Be aware
channel selections in the record monitor window and the record window
are stored in the current batch.
+<div class="node">
<p><hr>
Node:<a name="IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
-Next:<a rel=next accesskey=n href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
-Previous:<a rel=previous accesskey=p href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
-<br>
-
-<h2>IMPROVING PERFORMANCE</h2>
-
-<ul>
-<li><a accesskey=1 href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>:
-<li><a accesskey=2 href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>:
-<li><a accesskey=3 href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>:
-<li><a accesskey=4 href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>:
-<li><a accesskey=5 href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>:
-<li><a accesskey=6 href="#DISABLING%20CRON">DISABLING CRON</a>:
-<li><a accesskey=7 href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>:
-<li><a accesskey=8 href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>:
-<li><a accesskey=9 href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>:
+Next:<a rel="next" accesskey="n" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
+Previous:<a rel="previous" accesskey="p" href="#CAPTURING%20MEDIA">CAPTURING MEDIA</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
+<br>
+</div>
+
+<h2 class="chapter">IMPROVING PERFORMANCE</h2>
+
+<ul class="menu">
+<li><a accesskey="1" href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>:
+<li><a accesskey="2" href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>:
+<li><a accesskey="3" href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>:
+<li><a accesskey="4" href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>:
+<li><a accesskey="5" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>:
+<li><a accesskey="6" href="#DISABLING%20CRON">DISABLING CRON</a>:
+<li><a accesskey="7" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>:
+<li><a accesskey="8" href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>:
+<li><a accesskey="9" href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>,
-Next:<a rel=next accesskey=n href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>DISABLING SWAP SPACE</h3>
+<h3 class="section">DISABLING SWAP SPACE</h3>
-<p>On systems with lots of memory, Cinelerra sometimes runs better without
+ <p>On systems with lots of memory, Cinelerra sometimes runs better without
a swap space. If you have 4 GB of RAM, you're probably better off
without a swap space. If you have 512MB of RAM, you should keep the
swap. If you want to do recording, you should probably disable swap
@@ -3671,353 +3788,375 @@
free pages to swap, in order to cache more disk access. In a 4 GB
system, you start waiting for page swaps after using only 2 GB.
-<p>The question then is how to make Linux run without a swap space.
+ <p>The question then is how to make Linux run without a swap space.
Theoretically it should be a matter of running
-<br><pre>swapoff -a
-</pre>
+<pre class="example"> swapoff -a
+ </pre>
-<p>Unfortunately, without a swap space the <b>kswapd</b> tasklet normally
+ <p>Unfortunately, without a swap space the <b>kswapd</b> tasklet normally
spins at 100%. To eliminate this problem, edit <b>linux/mm/vmscan.c</b>.
In this file, put a line saying <b>return 0;</b> before it says
-<br><pre> /*
- * Kswapd main loop.
- */
-</pre>
+<pre class="example"> /*
+ * Kswapd main loop.
+ */
+ </pre>
-<p>Then recompile the kernel.
+ <p>Then recompile the kernel.
+<div class="node">
<p><hr>
Node:<a name="ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
-Next:<a rel=next accesskey=n href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>,
-Previous:<a rel=previous accesskey=p href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>,
+Previous:<a rel="previous" accesskey="p" href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>ENLARGING SOUND BUFFERS</h3>
+<h3 class="section">ENLARGING SOUND BUFFERS</h3>
-<p>In order to improve realtime performance, the audio buffers for all the
+ <p>In order to improve realtime performance, the audio buffers for all the
Linux sound drivers were limited from 127k to 64k. For recording audio
and video simultaneously and for most audio recording this causes
dropouts. Application of low latency and preemtible kernel patches
make it possible to record more audio recordings but it doesn't improve
recording video with audio. This is where you need to hack the kernel.
-<p>This only applies to the OSS version of the Soundblaster Live driver.
+ <p>This only applies to the OSS version of the Soundblaster Live driver.
Since every sound card and every sound driver derivative has a
different implementation you'll need to do some searching for other
sound cards. Edit <b>linux/drivers/sound/emu10k1/audio.c</b>
-<p>Where is says
+ <p>Where is says
-<br><pre>if (bufsize >= 0x10000)
-</pre>
+<pre class="example"> if (bufsize >= 0x10000)
+ </pre>
-<p>change it to say
+ <p>change it to say
-<br><pre>if (bufsize > 0x40000)
-</pre>
+<pre class="example"> if (bufsize > 0x40000)
+ </pre>
-<p>In <b>linux/drivers/sound/emu10k1/hwaccess.h</b>
+ <p>In <b>linux/drivers/sound/emu10k1/hwaccess.h</b>
-<p>Change
+ <p>Change
-<p><b>#define MAXBUFSIZE 65536</b>
+ <p><b>#define MAXBUFSIZE 65536</b>
-<p>to
+ <p>to
-<p><b>#define MAXBUFSIZE 262144</b>
+ <p><b>#define MAXBUFSIZE 262144</b>
-<p>Finally, in <b>linux/drivers/sound/emu10k1/cardwi.h</b>
+ <p>Finally, in <b>linux/drivers/sound/emu10k1/cardwi.h</b>
-<p><b>#define WAVEIN_MAXBUFSIZE 65536</b>
+ <p><b>#define WAVEIN_MAXBUFSIZE 65536</b>
-<p>to
+ <p>to
-<p><b>#define WAVEIN_MAXBUFSIZE 262144</b>
+ <p><b>#define WAVEIN_MAXBUFSIZE 262144</b>
-<p>Then recompile the kernel modules.
+ <p>Then recompile the kernel modules.
+<div class="node">
<p><hr>
Node:<a name="MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>,
-Next:<a rel=next accesskey=n href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
-Previous:<a rel=previous accesskey=p href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
+Previous:<a rel="previous" accesskey="p" href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>MAKING XFree86 FASTER</h3>
+<h3 class="section">MAKING XFree86 FASTER</h3>
-<p>XFree86 by default can't display Cinelerra's advanced pixmap rendering
+ <p>XFree86 by default can't display Cinelerra's advanced pixmap rendering
very fast. The X server stalls during list box drawing. Fix this by
adding a line to your XF86Config* files.
-<p>In the <b>Section "Device"</b> area, add a line saying:
+ <p>In the <b>Section "Device"</b> area, add a line saying:
-<p><b>Option "XaaNoOffscreenPixmaps"</b>
+ <p><b>Option "XaaNoOffscreenPixmaps"</b>
-<p>and restart the X server.
+ <p>and restart the X server.
+<div class="node">
<p><hr>
Node:<a name="FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
-Next:<a rel=next accesskey=n href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
-Previous:<a rel=previous accesskey=p href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
+Previous:<a rel="previous" accesskey="p" href="#MAKING%20XFree86%20FASTER">MAKING XFree86 FASTER</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>FREEING MORE SHARED MEMORY</h3>
+<h3 class="section">FREEING MORE SHARED MEMORY</h3>
-<p>The Linux kernel only allows 32MB of shared memory to be allocated by
+ <p>The Linux kernel only allows 32MB of shared memory to be allocated by
default. This needs to be increased to do anything useful. Run the
following command:
-<p><b>echo "0x7fffffff" > /proc/sys/kernel/shmmax</b>
+ <p><b>echo "0x7fffffff" > /proc/sys/kernel/shmmax</b>
+<div class="node">
<p><hr>
Node:<a name="SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
-Next:<a rel=next accesskey=n href="#DISABLING%20CRON">DISABLING CRON</a>,
-Previous:<a rel=previous accesskey=p href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#DISABLING%20CRON">DISABLING CRON</a>,
+Previous:<a rel="previous" accesskey="p" href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>SPEEDING UP THE HARD DRIVE</h3>
+<h3 class="section">SPEEDING UP THE HARD DRIVE</h3>
-<p>This is a very popular command sequence among Linux gurus, which is not
+ <p>This is a very popular command sequence among Linux gurus, which is not
done by default on Linux distributions.
-<p><b>hdparm -c3 -d1 -u1 -k1 /dev/hda</b>
+ <p><b>hdparm -c3 -d1 -u1 -k1 /dev/hda</b>
-<p><b>-c3</b> puts the hard drive into 32 bit I/O with sync. This normally
+ <p><b>-c3</b> puts the hard drive into 32 bit I/O with sync. This normally
doesn't work due to inept kernel support for most IDE controllers. If
you get lost interrupt or SeekComplete errors, quickly use <b>-c0</b>
instead of <b>-c3</b> in your command.
-<p><b>-d1</b> enables DMA of course. This frees up the CPU partially during
+ <p><b>-d1</b> enables DMA of course. This frees up the CPU partially during
data transfers.
-<p><b>-u1</b> allows multiple interrupts to be handled during hard drive
+ <p><b>-u1</b> allows multiple interrupts to be handled during hard drive
transactions. This frees up even more CPU time.
-<p><b>-k1</b> prevents Linux from resetting your settings in case of a
+ <p><b>-k1</b> prevents Linux from resetting your settings in case of a
glitch.
+<div class="node">
<p><hr>
Node:<a name="DISABLING%20CRON">DISABLING CRON</a>,
-Next:<a rel=next accesskey=n href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
-Previous:<a rel=previous accesskey=p href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
+Previous:<a rel="previous" accesskey="p" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>DISABLING CRON</h3>
+<h3 class="section">DISABLING CRON</h3>
-<p>Linux runs some daily operations like compressing man pages. These may
+ <p>Linux runs some daily operations like compressing man pages. These may
be acceptable background tasks while compiling or word processing but
not while playing video. Disable these operations by editing
<b>/etc/rc.d/init.d/anacron</b>.
-<p>Put <b>exit</b> before the first line not beginning in <b>#</b>.
+ <p>Put <b>exit</b> before the first line not beginning in <b>#</b>.
-<p>In <b>/etc/rc.d/init.d/crond</b> put <b>exit</b> before the first line not
+ <p>In <b>/etc/rc.d/init.d/crond</b> put <b>exit</b> before the first line not
beginning in <b>#</b>. Then make like Win 2000 and reboot.
-<p>You can't use the <b>at</b> command anymore, but who uses that command
+ <p>You can't use the <b>at</b> command anymore, but who uses that command
anyways?
+<div class="node">
<p><hr>
Node:<a name="REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
-Next:<a rel=next accesskey=n href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>,
-Previous:<a rel=previous accesskey=p href="#DISABLING%20CRON">DISABLING CRON</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>,
+Previous:<a rel="previous" accesskey="p" href="#DISABLING%20CRON">DISABLING CRON</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>REDUCING USB MOUSE SENSITIVITY</h3>
+<h3 class="section">REDUCING USB MOUSE SENSITIVITY</h3>
-<p>Gamers like high resolution mice, but this can be painful for precisely
+ <p>Gamers like high resolution mice, but this can be painful for precisely
positioning the mouse on a timeline or video screen. XFree86 once
allowed you to reduce PS/2 mouse sensitivity using commands like
<b>xset m 1 1</b> but you're out of luck with USB mice or KVM's.
-<p>We have a way to reduce USB mouse sensitivity. Edit
+ <p>We have a way to reduce USB mouse sensitivity. Edit
<b>/usr/src/linux/drivers/input/mousedev.c</b>.
-<p>After the line saying
-
-<br><pre>struct mousedev_list {
-</pre>
-
-<p>put
+ <p>After the line saying
-<br><pre>#define DOWNSAMPLE 4
-int x_accum, y_accum;
-</pre>
-
-<p>Next, the section which says something like:
-
-<br><pre>case EV_REL:
- switch (code) {
- case REL_X: list->dx += value; break;
- case REL_Y: list->dy -= value; break;
- case REL_WHEEL: if (list->mode) list->dz -= value; break;
- }
- break;
-</pre>
-
-<p>must be replaced by
-
-<br><pre>
-case EV_REL:
- switch (code) {
- case REL_X:
- list->x_accum += value;
- list->dx += list->x_accum / DOWNSAMPLE;
- list->x_accum %= DOWNSAMPLE;
- break;
- case REL_Y:
- list->y_accum += value;
- list->dy -= list->y_accum / DOWNSAMPLE;
- list->y_accum %= DOWNSAMPLE;
- break;
- case REL_WHEEL: if (list->mode) list->dz -= value; break;
- }
- break;
+<pre class="example"> struct mousedev_list {
+ </pre>
+ <p>put
+<pre class="example"> #define DOWNSAMPLE 4
+ int x_accum, y_accum;
+ </pre>
+
+ <p>Next, the section which says something like:
+
+<pre class="example"> case EV_REL:
+ switch (code) {
+ case REL_X: list->dx += value; break;
+ case REL_Y: list->dy -= value; break;
+ case REL_WHEEL: if (list->mode) list->dz -= value; break;
+ }
+ break;
+ </pre>
+
+ <p>must be replaced by
+
+<pre class="example">
+ case EV_REL:
+ switch (code) {
+ case REL_X:
+ list->x_accum += value;
+ list->dx += list->x_accum / DOWNSAMPLE;
+ list->x_accum %= DOWNSAMPLE;
+ break;
+ case REL_Y:
+ list->y_accum += value;
+ list->dy -= list->y_accum / DOWNSAMPLE;
+ list->y_accum %= DOWNSAMPLE;
+ break;
+ case REL_WHEEL: if (list->mode) list->dz -= value; break;
+ }
+ break;
+
+
+
+ </pre>
-</pre>
-
-<p>Change the value of <b>DOWNSAMPLE</b> to change the mouse sensitivity.
+ <p>Change the value of <b>DOWNSAMPLE</b> to change the mouse sensitivity.
+<div class="node">
<p><hr>
Node:<a name="ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>,
-Next:<a rel=next accesskey=n href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>,
-Previous:<a rel=previous accesskey=p href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Next:<a rel="next" accesskey="n" href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>,
+Previous:<a rel="previous" accesskey="p" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>ASSORTED X TWEEKS</h3>
+<h3 class="section">ASSORTED X TWEEKS</h3>
-<p>Screen blanking is really annoying, unless you're fabulously rich and
+ <p>Screen blanking is really annoying, unless you're fabulously rich and
can afford to leave your monitor on 24 hours a day without power saving
mode. In <b>/etc/X11/xinit/xinitrc</b> put
-<br><pre>xset s off
-xset s noblank
-</pre>
+<pre class="example"> xset s off
+ xset s noblank
+ </pre>
-<p>before the first <b>if</b> statement.
+ <p>before the first <b>if</b> statement.
-<p>How about those windows keys which no Linux distribution even thinks to
+ <p>How about those windows keys which no Linux distribution even thinks to
use. You can make the window keys provide ALT functionality by editing
<b>/etc/X11/Xmodmap</b>. Append the following to it.
-<br><pre>keycode 115 = Hyper_L
-keycode 116 = Hyper_R
-add mod4 = Hyper_L
-add mod5 = Hyper_R
-</pre>
+<pre class="example"> keycode 115 = Hyper_L
+ keycode 116 = Hyper_R
+ add mod4 = Hyper_L
+ add mod5 = Hyper_R
+ </pre>
-<p>The actual changes to a window manager to make it recognize window keys
+ <p>The actual changes to a window manager to make it recognize window keys
for ALT are complex. In <b>FVWM</b> at least, you can edit
<b>/etc/X11/fvwm/system.fvwm2rc</b> and put
-<br><pre>Mouse 0 T A move-and-raise-or-raiselower
-#Mouse 0 W M move
-Mouse 0 W 4 move
-Mouse 0 W 5 move
-Mouse 0 F A resize-or-raiselower
-Mouse 0 S A resize-or-raiselower
-</pre>
+<pre class="example"> Mouse 0 T A move-and-raise-or-raiselower
+ #Mouse 0 W M move
+ Mouse 0 W 4 move
+ Mouse 0 W 5 move
+ Mouse 0 F A resize-or-raiselower
+ Mouse 0 S A resize-or-raiselower
+ </pre>
-<p>in place of the default section for moving and resizing. Your best
+ <p>in place of the default section for moving and resizing. Your best
performance is going to be on FVWM. Other window managers seem to slow
down video with extra event trapping and aren't as efficient in layout.
+<div class="node">
<p><hr>
Node:<a name="SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>,
-Previous:<a rel=previous accesskey=p href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>,
-Up:<a rel=up accesskey=u href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
+Previous:<a rel="previous" accesskey="p" href="#ASSORTED%20X%20TWEEKS">ASSORTED X TWEEKS</a>,
+Up:<a rel="up" accesskey="u" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
<br>
+</div>
-<h3>SPEEDING UP THE FILE SYSTEM</h3>
+<h3 class="section">SPEEDING UP THE FILE SYSTEM</h3>
-<p>You'll often store video on an expensive, gigantic disk array separate
+ <p>You'll often store video on an expensive, gigantic disk array separate
from your boot disk. You'll thus have to manually install an EXT
filesystem on this disk array, using the <b>mke2fs</b> command. By far
the fastest file system is
-<br><pre>
-mke2fs -i 65536 -b 4096 my_device
-tune2fs -r0 -c10000 my_device
-
-</pre>
+<pre class="example">
+ mke2fs -i 65536 -b 4096 my_device
+ tune2fs -r0 -c10000 my_device
+
+ </pre>
-<p>This has no journaling, reserves as few blocks as possible for
+ <p>This has no journaling, reserves as few blocks as possible for
filenames, and accesses the largest amount of data per block possible.
A slightly slower file system, which is easier to recover after power
failures is
-<br><pre>
-mke2fs -j -i 65536 -b 4096 my_device
-tune2fs -r0 -c10000 my_device
-
-</pre>
+<pre class="example">
+ mke2fs -j -i 65536 -b 4096 my_device
+ tune2fs -r0 -c10000 my_device
+
+ </pre>
-<p>This adds a journal which slows down the writes but makes us immune to
+ <p>This adds a journal which slows down the writes but makes us immune to
power failures.
+<div class="node">
<p><hr>
Node:<a name="EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
-Next:<a rel=next accesskey=n href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>,
-Previous:<a rel=previous accesskey=p href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>,
+Previous:<a rel="previous" accesskey="p" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>EFFECT DESCRIPTIONS</h2>
+<h2 class="chapter">EFFECT DESCRIPTIONS</h2>
-<p>Most effects in Cinelerra can be figured out just by using them and
+ <p>Most effects in Cinelerra can be figured out just by using them and
tweeking. Here are brief descriptions of effects which you might not
utilize fully by mere experimentation.
-<ul>
-<li><a accesskey=1 href="#CHROMA%20KEY">CHROMA KEY</a>:
-<li><a accesskey=2 href="#HISTOGRAM">HISTOGRAM</a>:
-<li><a accesskey=3 href="#TIME%20AVERAGE">TIME AVERAGE</a>:
-<li><a accesskey=4 href="#VIDEO%20SCOPE">VIDEO SCOPE</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#CHROMA%20KEY">CHROMA KEY</a>:
+<li><a accesskey="2" href="#HISTOGRAM">HISTOGRAM</a>:
+<li><a accesskey="3" href="#TIME%20AVERAGE">TIME AVERAGE</a>:
+<li><a accesskey="4" href="#VIDEO%20SCOPE">VIDEO SCOPE</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="CHROMA%20KEY">CHROMA KEY</a>,
-Next:<a rel=next accesskey=n href="#HISTOGRAM">HISTOGRAM</a>,
-Up:<a rel=up accesskey=u href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
+Next:<a rel="next" accesskey="n" href="#HISTOGRAM">HISTOGRAM</a>,
+Up:<a rel="up" accesskey="u" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
<br>
+</div>
-<h3>CHROMA KEY</h3>
+<h3 class="section">CHROMA KEY</h3>
-<p>This effect replaces the selected color or intensity with black if
+ <p>This effect replaces the selected color or intensity with black if
there is no alpha channel and replaces it with transparency if there is
an alpha channel. The selection of color model is important.
-<p>Chroma key uses either the value or the hue to determine what is
+ <p>Chroma key uses either the value or the hue to determine what is
erased. If this parameter is within a certain threshold it's erased.
It's not a simple on/off switch, however. As the selected parameter
approaches the edge of the threshold, it gradually gets erased if the
slope is low or is completely erased if the slope is high.
-<p>The slope tries to soften the edges of the chroma key but it doesn't
+ <p>The slope tries to soften the edges of the chroma key but it doesn't
work well for compressed sources. A popular softening technique is to
use a maximum slope and chain a blur effect below the chroma key effect
to blur just the alpha.
+<div class="node">
<p><hr>
Node:<a name="HISTOGRAM">HISTOGRAM</a>,
-Next:<a rel=next accesskey=n href="#TIME%20AVERAGE">TIME AVERAGE</a>,
-Previous:<a rel=previous accesskey=p href="#CHROMA%20KEY">CHROMA KEY</a>,
-Up:<a rel=up accesskey=u href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
+Next:<a rel="next" accesskey="n" href="#TIME%20AVERAGE">TIME AVERAGE</a>,
+Previous:<a rel="previous" accesskey="p" href="#CHROMA%20KEY">CHROMA KEY</a>,
+Up:<a rel="up" accesskey="u" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
<br>
+</div>
-<h3>HISTOGRAM</h3>
+<h3 class="section">HISTOGRAM</h3>
-<p>This shows the number of occurances of each value of a certain color
+ <p>This shows the number of occurances of each value of a certain color
channel. It is always performed in 16 bit RGB regardless of the
project colorspace. Use the upper gradient to determine the range of
input intensities to be expanded to the output. Use the lower gradient
@@ -4027,321 +4166,333 @@
automatic mode and determines how sensitive to the upper and lower
boundaries of the histogram the automatic gain should be.
+<div class="node">
<p><hr>
Node:<a name="TIME%20AVERAGE">TIME AVERAGE</a>,
-Next:<a rel=next accesskey=n href="#VIDEO%20SCOPE">VIDEO SCOPE</a>,
-Previous:<a rel=previous accesskey=p href="#HISTOGRAM">HISTOGRAM</a>,
-Up:<a rel=up accesskey=u href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
+Next:<a rel="next" accesskey="n" href="#VIDEO%20SCOPE">VIDEO SCOPE</a>,
+Previous:<a rel="previous" accesskey="p" href="#HISTOGRAM">HISTOGRAM</a>,
+Up:<a rel="up" accesskey="u" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
<br>
+</div>
-<h3>TIME AVERAGE</h3>
+<h3 class="section">TIME AVERAGE</h3>
-<p>Time average is one effect which has many uses besides creating nifty
+ <p>Time average is one effect which has many uses besides creating nifty
trail patterns of moving objects. It's main use is reducing noise in
still images. Merely point a video camera at a stationary subject for
30 frames, capture the frames, and average them using TIME AVERAGE and
you'll have a super high quality print. In 16 bit colormodels, time
average can increase the dynamic range of lousy cameras.
+<div class="node">
<p><hr>
Node:<a name="VIDEO%20SCOPE">VIDEO SCOPE</a>,
-Previous:<a rel=previous accesskey=p href="#TIME%20AVERAGE">TIME AVERAGE</a>,
-Up:<a rel=up accesskey=u href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
+Previous:<a rel="previous" accesskey="p" href="#TIME%20AVERAGE">TIME AVERAGE</a>,
+Up:<a rel="up" accesskey="u" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>
<br>
+</div>
-<h3>VIDEO SCOPE</h3>
+<h3 class="section">VIDEO SCOPE</h3>
-<p>The video scope plots two views of the image. One view plots the
+ <p>The video scope plots two views of the image. One view plots the
intensity of each pixel against horizontal position. They call this
the WAVEFORM. Another view translates hue to angle and saturation to
radius for each pixel. They call this the VECTORSCOPE.
-<p>The vectorscope is actually very useful for determining if an image is
+ <p>The vectorscope is actually very useful for determining if an image is
saturated. When adjusting saturation, it's important to watch the
vectorscope to make sure pixels don't extend past the 100 radius.
-<p>The waveform allows you to make sure image data extends from complete
+ <p>The waveform allows you to make sure image data extends from complete
black to complete white while adjusting the brightness/contrast.
+<div class="node">
<p><hr>
Node:<a name="PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>,
-Next:<a rel=next accesskey=n href="#RELEASE%20NOTES">RELEASE NOTES</a>,
-Previous:<a rel=previous accesskey=p href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Next:<a rel="next" accesskey="n" href="#RELEASE%20NOTES">RELEASE NOTES</a>,
+Previous:<a rel="previous" accesskey="p" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>PLUGIN AUTHORING</h2>
+<h2 class="chapter">PLUGIN AUTHORING</h2>
-<p>The plugin API in Cinelerra dates back to 1997, before the LADSPA and
+ <p>The plugin API in Cinelerra dates back to 1997, before the LADSPA and
before VST became popular. It's fundamentally the same as it was in
1997, with minor modifications to handle keyframes and GUI feedback.
Unfortunately, the GUI is not abstracted from the programmer. This
allows the programmer to use whatever toolkit they want and allows more
flexibility in appearance but it costs more.
-<p>There are several types of plugins, each with a common procedure
+ <p>There are several types of plugins, each with a common procedure
of implementation and specific changes for that particular type. The
easiest way to implement a plugin is to take the simplest out of the
group and rename the symbols.
-<ul>
-<li><a accesskey=1 href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>:
-<li><a accesskey=2 href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>:
-<li><a accesskey=3 href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>:
-<li><a accesskey=4 href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>:
-<li><a accesskey=5 href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>:
-<li><a accesskey=6 href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>:
-<li><a accesskey=7 href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>:
+<li><a accesskey="2" href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>:
+<li><a accesskey="3" href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>:
+<li><a accesskey="4" href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>:
+<li><a accesskey="5" href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>:
+<li><a accesskey="6" href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>:
+<li><a accesskey="7" href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="COMMON%20PROCEDURES">COMMON PROCEDURES</a>,
-Next:<a rel=next accesskey=n href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>COMMON PROCEDURES</h3>
+<h3 class="section">COMMON PROCEDURES</h3>
-<p>All plugins inherit from a derivative of PluginClient. This derivative
+ <p>All plugins inherit from a derivative of PluginClient. This derivative
implements most of the required methods in PluginClient, but users must
still define methods for PluginClient. The most commonly used methods
are already implemented in macros.
-<p>The files they include depend on the plugin type. Audio plugins
+ <p>The files they include depend on the plugin type. Audio plugins
include <b>pluginaclient.h</b> and video plugins include
<b>pluginvclient.h</b>. They inherit <b>PluginAClient</b> and
<b>PluginVClient</b> respectively.
-<p>Another thing all plugins do is define at least three objects:
+ <p>Another thing all plugins do is define at least three objects:
-<ul>
+ <ul>
-<li>
+ <li>
Processing object - Contains pointers to all the other objects and
performs the signal processing. This object contains a number of
queries to identify itself and is the object you register to register
the plugin.
-<li>
+ <li>
User interface object - This is defined according to the programmer's
discretion. It can either use Cinelerra's toolkit or another toolkit.
It shows data on the screen and collects parameters from the user.
-<p>Using Cinelerra's toolkit, the only user interface object a developer
+ <p>Using Cinelerra's toolkit, the only user interface object a developer
needs to worry about is the Window. The window has pointers to a
number of widgets, a few initialization methods, and a back pointer to
the plugin's processing object. The documentation refers to usage of
Cinelerra's toolkit.
-<p>Depending on the user interface toolkit, a user interface thread may be
+ <p>Depending on the user interface toolkit, a user interface thread may be
created to run the user interface asynchronous of everything else.
Synchronizing the user interface to changes in keyframes is the most
complicated aspect of the plugin, so the user interface thread and
object are heavily supported by macros if you use Cinelerra's toolkit.
-</p><li>
+ </p><li>
Configuration object - This stores the user parameters and always needs
interpolation, copying, and comparison functions. The plugin client
automatically calls configuration methods to interpolate keyframes.
-</ul>
+ </ul>
-<ul>
-<li><a accesskey=1 href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>:
-<li><a accesskey=2 href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>:
-<li><a accesskey=3 href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>:
+<ul class="menu">
+<li><a accesskey="1" href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>:
+<li><a accesskey="2" href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>:
+<li><a accesskey="3" href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>:
</ul>
+<div class="node">
<p><hr>
Node:<a name="THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>,
-Next:<a rel=next accesskey=n href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
-Up:<a rel=up accesskey=u href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
+Next:<a rel="next" accesskey="n" href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
+Up:<a rel="up" accesskey="u" href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
<br>
+</div>
-<h4>THE PROCESSING OBJECT</h4>
+<h4 class="subsection">THE PROCESSING OBJECT</h4>
-<p>The processing object should inherit from the intended PluginClient
+ <p>The processing object should inherit from the intended PluginClient
derivative. Its constructor should take a PluginServer argument.
-<br><pre>MyPlugin(PluginServer *server);
-</pre>
+<pre class="example"> MyPlugin(PluginServer *server);
+ </pre>
-<p>In the implementation, the plugin must contain a registration line with
+ <p>In the implementation, the plugin must contain a registration line with
the name of the processing object like
-<br><pre>REGISTER_PLUGIN(MyPlugin)
-</pre>
+<pre class="example"> REGISTER_PLUGIN(MyPlugin)
+ </pre>
-<p>The constructor should contain
+ <p>The constructor should contain
-<br><pre>PLUGIN_CONSTRUCTOR_MACRO
-</pre>
+<pre class="example"> PLUGIN_CONSTRUCTOR_MACRO
+ </pre>
-<p>to initialize the most common variables.
+ <p>to initialize the most common variables.
-<p>The processing object should have a destructor containing
+ <p>The processing object should have a destructor containing
-<br><pre>PLUGIN_DESTRUCTOR_MACRO
-</pre>
+<pre class="example"> PLUGIN_DESTRUCTOR_MACRO
+ </pre>
-<p>to delete the most common variables.
+ <p>to delete the most common variables.
-<p>Another function which is useful but not mandatory is
+ <p>Another function which is useful but not mandatory is
-<br><pre>int is_multichannel();
-</pre>
+<pre class="example"> int is_multichannel();
+ </pre>
-<p>It should return 1 if one instance of the plugin handles multiple
+ <p>It should return 1 if one instance of the plugin handles multiple
channels simultaneously or 0 if one instance of the plugin only handles
one channel. The default is 0 if it is omitted. Multichannel plugins
should refer to the value of <b>PluginClient::total_in_buffers</b> to
determine the number of channels.
-<p>To simplify the implementation of realtime plugins, a macro for
+ <p>To simplify the implementation of realtime plugins, a macro for
commonly used members should be put in the class header, taking the
configuration object and user interface thread object as arguments.
This is only useful for realtime plugins. Fortunately, nonrealtime
plugins are simpler.
-<br><pre>PLUGIN_CLASS_MEMBERS(config_name, thread_name)
-</pre>
+<pre class="example"> PLUGIN_CLASS_MEMBERS(config_name, thread_name)
+ </pre>
-<p>Many other members may be defined in the processing object, depending
+ <p>Many other members may be defined in the processing object, depending
on the plugin type. The commonly used members in PLUGIN_CLASS_MEMBERS
are described below. Not all these members are used in nonrealtime
plugins.
-<ul>
+ <ul>
-<li>int load_configuration();
+ <li>int load_configuration();
-<p>Loads the configuration based on surrounding keyframes and current
+ <p>Loads the configuration based on surrounding keyframes and current
position. The class definition should contain
-<br><pre>LOAD_CONFIGURATION_MACRO(plugin_class, config_class)
-</pre>
+ <pre class="example"> LOAD_CONFIGURATION_MACRO(plugin_class, config_class)
+ </pre>
-<p>to implement load_configuration. This stores whatever the current
+ <p>to implement load_configuration. This stores whatever the current
configuration is inside the plugin's configuration object. The
plugin's configuration object is always called <b>config</b> when using
PLUGIN_CLASS_MEMBERS.
-</p><li>VFrame* new_picon();
+ </p><li>VFrame* new_picon();
-<p>Creates a picon for display in the resource window. Use
+ <p>Creates a picon for display in the resource window. Use
-<br><pre>#include "picon_png.h"
-NEW_PICON_MACRO(plugin_class)
-</pre>
+ <pre class="example"> #include "picon_png.h"
+ NEW_PICON_MACRO(plugin_class)
+ </pre>
-<p>to implement new_picon. In addition, the user should create a
+ <p>to implement new_picon. In addition, the user should create a
<em>picon_png.h</em> header file from a PNG image using <em>pngtoh</em>.
<em>pngtoh</em> is in <em>guicast</em> and compiled using a sequence like
-<br><pre>gcc -o pngtoh pngtoh.c
-</pre>
+ <pre class="example"> gcc -o pngtoh pngtoh.c
+ </pre>
-<p>The source PNG image should be called picon.png and can be any format
+ <p>The source PNG image should be called picon.png and can be any format
supported by PNG.
-</p><li>char* plugin_title();
+ </p><li>char* plugin_title();
-<p>Returns a text string identifying the plugin in the resource window.
+ <p>Returns a text string identifying the plugin in the resource window.
The string has to be unique.
-</p><li>void update_gui();
+ </p><li>void update_gui();
-<p>Should first load the configuration and then redraw the GUI with the
+ <p>Should first load the configuration and then redraw the GUI with the
new parameters. All the plugins using GuiCast have a format like
-<br><pre>void MyPlugin::update_gui()
-{
- if(thread)
- {
- load_configuration();
- thread->window->lock_window();
-// update widgets here
- thread->window->unlock_window();
- }
-}
-</pre>
+ <pre class="example"> void MyPlugin::update_gui()
+ {
+ if(thread)
+ {
+ load_configuration();
+ thread->window->lock_window();
+ // update widgets here
+ thread->window->unlock_window();
+ }
+ }
+ </pre>
-<p>to handle concurrency and conditions of no GUI.
+ <p>to handle concurrency and conditions of no GUI.
-</p><li>int show_gui();
+ </p><li>int show_gui();
-<p>Instantiate the GUI and switch the plugin to GUI mode. This is implemented with
+ <p>Instantiate the GUI and switch the plugin to GUI mode. This is implemented with
-<br><pre>SHOW_GUI_MACRO(plugin_class, thread_class)
-</pre>
+ <pre class="example"> SHOW_GUI_MACRO(plugin_class, thread_class)
+ </pre>
-</p><li>int set_string();
+ </p><li>int set_string();
-<p>Changes the title of the GUI window to a certain string. This is implemented with
+ <p>Changes the title of the GUI window to a certain string. This is implemented with
-<br><pre>SET_STRING_MACRO(plugin_class)
-</pre>
+ <pre class="example"> SET_STRING_MACRO(plugin_class)
+ </pre>
-</p><li>void raise_window();
+ </p><li>void raise_window();
-<p>Raises the GUI window to the top of the stack. This is implemented with
+ <p>Raises the GUI window to the top of the stack. This is implemented with
-<br><pre>RAISE_WINDOW_MACRO(plugin_class)
-</pre>
+ <pre class="example"> RAISE_WINDOW_MACRO(plugin_class)
+ </pre>
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
-Next:<a rel=next accesskey=n href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>,
-Up:<a rel=up accesskey=u href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
+Next:<a rel="next" accesskey="n" href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>,
+Previous:<a rel="previous" accesskey="p" href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>,
+Up:<a rel="up" accesskey="u" href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
<br>
+</div>
-<h4>THE CONFIGURATION OBJECT</h4>
+<h4 class="subsection">THE CONFIGURATION OBJECT</h4>
-<p>The configuration object is critical for GUI updates, signal
+ <p>The configuration object is critical for GUI updates, signal
processing, and default settings in realtime plugins. Be aware it is
not used in nonrealtime plugins. The configuration object inherits
from nothing and has no dependancies. It's merely a class containing
three functions and variables specific to the plugin's parameters.
-<p>Usually the configuration object starts with the name of the plugin
+ <p>Usually the configuration object starts with the name of the plugin
followed by Config.
-<br><pre>class MyPluginConfig
-{
-public:
- MyPluginConfig();
-</pre>
+<pre class="example"> class MyPluginConfig
+ {
+ public:
+ MyPluginConfig();
+ </pre>
-<p>Following the name of the configuration class, we put the three
+ <p>Following the name of the configuration class, we put the three
required functions and the configuration variables.
-<br><pre> int equivalent(MyPluginConfig &that);
- void copy_from(MyPluginConfig &that);
- void interpolate(MyPluginConfig &prev,
- MyPluginConfig &next,
- long prev_position,
- long next_position,
- long current_position);
-
-
-
- float parameter1;
- float parameter2;
- int parameter3;
-};
+<pre class="example"> int equivalent(MyPluginConfig &that);
+ void copy_from(MyPluginConfig &that);
+ void interpolate(MyPluginConfig &prev,
+ MyPluginConfig &next,
+ long prev_position,
+ long next_position,
+ long current_position);
+
+
+
+ float parameter1;
+ float parameter2;
+ int parameter3;
+ };
+
+ </pre>
-</pre>
-
-<p>Now you must define the three functions. <b>Equivalent</b> is called by
+ <p>Now you must define the three functions. <b>Equivalent</b> is called by
LOAD_CONFIGURATION_MACRO to get the return value. That is all it's
used for and if you don't care about load_configuration's return value,
you can leave this function empty. It normally returns 1 if the
argument's variables have the same values as the local variables.
-<p>Then there's <b>copy_from</b> which transfers the configuration values
+ <p>Then there's <b>copy_from</b> which transfers the configuration values
from the argument to the local variables. This is once again used in
LOAD_CONFIGURATION_MACRO to store configurations in temporaries. Once
LOAD_CONFIGURATION_MACRO has replicated the configuration, it loads a
@@ -4349,34 +4500,34 @@
get the current configuration. The interpolation function performs the
interpolation and stores the result in the local variables.
-<p>Normally the interpolate function calculates a previous and next
+ <p>Normally the interpolate function calculates a previous and next
fraction, using the arguments.
-<br><pre>void MyPluginConfig::interpolate(MyPluginConfig &prev,
- MyPluginConfig &next,
- long prev_position,
- long next_position,
- long current_position)
-{
- double next_scale = (double)(current_position - prev_position) / (next_position - prev_position);
- double prev_scale = (double)(next_position - current_position) / (next_position - prev_position);
-</pre>
+<pre class="example"> void MyPluginConfig::interpolate(MyPluginConfig &prev,
+ MyPluginConfig &next,
+ long prev_position,
+ long next_position,
+ long current_position)
+ {
+ double next_scale = (double)(current_position - prev_position) / (next_position - prev_position);
+ double prev_scale = (double)(next_position - current_position) / (next_position - prev_position);
+ </pre>
-<p>Then the scales are applied to the previous and next configuration
+ <p>Then the scales are applied to the previous and next configuration
object to yield the current values.
-<br><pre>
- this->parameter1 = (float)(prev.parameter1 * prev_scale + next.parameter1 * next_scale);
- this->parameter2 = (float)(prev.parameter2 * prev_scale + next.parameter2 * next_scale);
- this->parameter3 = (int)(prev.parameter3 * prev_scale + next.parameter3 * next_scale);
-}
-
-</pre>
+<pre class="example">
+ this->parameter1 = (float)(prev.parameter1 * prev_scale + next.parameter1 * next_scale);
+ this->parameter2 = (float)(prev.parameter2 * prev_scale + next.parameter2 * next_scale);
+ this->parameter3 = (int)(prev.parameter3 * prev_scale + next.parameter3 * next_scale);
+ }
+
+ </pre>
-<p>Alternatively you can copy the values from the previous configuration
+ <p>Alternatively you can copy the values from the previous configuration
argument for no interpolation.
-<p>This usage is the same in audio and video plugins. In video playback,
+ <p>This usage is the same in audio and video plugins. In video playback,
the interpolation function is called for every frame, yielding smooth
interpolation. In audio playback, the interpolation function is called
only once for every console fragment and once every time the insertion
@@ -4384,7 +4535,7 @@
regions on the timeline but it may not be accurate enough for really
smooth rendering of the effect.
-<p>For really smooth rendering of audio, you can still use
+ <p>For really smooth rendering of audio, you can still use
load_configuration when updating the GUI. For process_realtime;
however, ignore load_configuration and write your own interpolation
routine which loads all the keyframes in a console fragment and
@@ -4392,67 +4543,69 @@
debug, yielding improvement which may not be audible. Then of course,
every century has its set of wierdos.
-<p>An easier way to get smoother interpolation is to reduce the console
+ <p>An easier way to get smoother interpolation is to reduce the console
fragment to 1 sample. This would have to be rendered and played back
in a separate program of course. The Linux sound driver can't play
fragments of 1 sample.
+<div class="node">
<p><hr>
Node:<a name="THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>,
-Previous:<a rel=previous accesskey=p href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
-Up:<a rel=up accesskey=u href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
+Previous:<a rel="previous" accesskey="p" href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
+Up:<a rel="up" accesskey="u" href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>
<br>
+</div>
-<h4>THE USER INTERFACE OBJECT</h4>
+<h4 class="subsection">THE USER INTERFACE OBJECT</h4>
-<p>The user interface object at the very least consists of a pointer to a
+ <p>The user interface object at the very least consists of a pointer to a
window and pointers to a set of widgets. Using Cinelerra's toolkit, it
consists of a <b>BCWindow</b> derivative and a <b>Thread</b> derivative. The
Thread derivative is declared in the plugin header using
-<br><pre>PLUGIN_THREAD_HEADER(plugin_class, thread_class, window_class)
-</pre>
+<pre class="example"> PLUGIN_THREAD_HEADER(plugin_class, thread_class, window_class)
+ </pre>
-<p>Then it is defined using
+ <p>Then it is defined using
-<br><pre>PLUGIN_THREAD_OBJECT(plugin_class, thread_class, window_class)
-</pre>
+<pre class="example"> PLUGIN_THREAD_OBJECT(plugin_class, thread_class, window_class)
+ </pre>
-<p>This in combination with the SHOW_GUI macro does all the work in
+ <p>This in combination with the SHOW_GUI macro does all the work in
instantiating the Window class. This is used in realtime plugins but
not in nonrealtime plugins. Nonrealtime plugins create and destroy
their GUI in <b>get_parameters</b> and there's no thread.
-<p>Now the window class must be declared in the plugin header. It's
+ <p>Now the window class must be declared in the plugin header. It's
easiest to implement the window by copying an existing plugin and
renaming the symbols. The following is an outline of what happens.
The plugin header must declare the window's constructor using the
appropriate arguments.
-<br><pre>
-#include "guicast.h"
-
-class MyPluginWindow : public BC_Window
-{
-public:
- MyPluginWindow(MyPluginMain *plugin, int x, int y);
-
-</pre>
-
-<p>This becomes a window on the screen, positioned at x and y.
+<pre class="example">
+ #include "guicast.h"
+
+ class MyPluginWindow : public BC_Window
+ {
+ public:
+ MyPluginWindow(MyPluginMain *plugin, int x, int y);
+
+ </pre>
+
+ <p>This becomes a window on the screen, positioned at x and y.
+
+ <p>It needs two methods
+
+<pre class="example"> int create_objects();
+ int close_event();
+ </pre>
-<p>It needs two methods
+ <p>and a back pointer to the plugin
-<br><pre> int create_objects();
- int close_event();
-</pre>
+<pre class="example"> MyPlugin *plugin;
+ </pre>
-<p>and a back pointer to the plugin
-
-<br><pre> MyPlugin *plugin;
-</pre>
-
-<p>The constructor's definition should contain extents and flags causing
+ <p>The constructor's definition should contain extents and flags causing
the window to be hidden when first created. The create_objects member
puts widgets in the window according to GuiCast's syntax. A pointer to
each widget which is to be synchronized to a keyframe is stored in the
@@ -4461,353 +4614,365 @@
a GuiCast widget and they override functions in GuiCast to handle
events. Finally create_objects calls
-<br><pre> show_window();
- flush();
-</pre>
+<pre class="example"> show_window();
+ flush();
+ </pre>
-<p>to make the window appear all at once.
+ <p>to make the window appear all at once.
-<p>The close_event member should be implemented using
+ <p>The close_event member should be implemented using
-<br><pre>WINDOW_CLOSE_EVENT(window_class)
-</pre>
+<pre class="example"> WINDOW_CLOSE_EVENT(window_class)
+ </pre>
-<p>Every widget in the GUI needs to detect when its value changes. In
+ <p>Every widget in the GUI needs to detect when its value changes. In
GuiCast the <b>handle_event</b> method is called whenever the value
changes. In <b>handle_event</b>, the widget then needs to call
<b>plugin->send_configure_change()</b> to propogate the change to rendering.
+<div class="node">
<p><hr>
Node:<a name="REALTIME%20PLUGINS">REALTIME PLUGINS</a>,
-Next:<a rel=next accesskey=n href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
-Previous:<a rel=previous accesskey=p href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
+Previous:<a rel="previous" accesskey="p" href="#COMMON%20PROCEDURES">COMMON PROCEDURES</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>REALTIME PLUGINS</h3>
+<h3 class="section">REALTIME PLUGINS</h3>
-<p>Realtime plugins should use PLUGIN_CLASS_MEMBERS to define the basic
+ <p>Realtime plugins should use PLUGIN_CLASS_MEMBERS to define the basic
set of members in their headers. All realtime plugins must define an
-<br><pre>int is_realtime()
-</pre>
+<pre class="example"> int is_realtime()
+ </pre>
-<p>member returning 1. This causes a number of realtime methods to be
+ <p>member returning 1. This causes a number of realtime methods to be
called during playback and the plugin to be droppable on the timeline.
-<p>Realtime plugins must define a member called
+ <p>Realtime plugins must define a member called
-<br><pre>process_realtime
-</pre>
+<pre class="example"> process_realtime
+ </pre>
-<p>to be called during every audio fragment and video frame. It has an
+ <p>to be called during every audio fragment and video frame. It has an
input and an output argument and for audio, a size argument. The
process_realtime function should start by calling
<b>load_configuration</b>. The LOAD_CONFIGURATION_MACRO returns 1 if the
configuration changed. Then process_realtime should move the data from
the input to the output with processing.
-<p>Additional members are implemented to maintain configuration in
+ <p>Additional members are implemented to maintain configuration in
realtime plugins. Some of these are also needed in nonrealtime
plugins.
-<ul>
+ <ul>
<li>void read_data(KeyFrame *keyframe);
-<p>Loads data from a keyframe into the plugin's configuration. Inside the
+ <p>Loads data from a keyframe into the plugin's configuration. Inside the
keyframe is an XML string. It's most easily parsed by creating a
<em>FileXML</em> object. See an existing plugin to see how the read_data
function is implemented.
-<p>Read data loads data out of the XML object and stores values in the
+ <p>Read data loads data out of the XML object and stores values in the
plugin's configuration object.
-</p><li>void save_data(KeyFrame *keyframe);
+ </p><li>void save_data(KeyFrame *keyframe);
-<p>Saves data from the plugin's configuration to a keyframe. Inside the
+ <p>Saves data from the plugin's configuration to a keyframe. Inside the
keyframe you'll put an XML string which is normally created by a
FileXML object. See an existing plugin to see how the save_data
function is implemented.
-<p>Save data saves data from the plugin's configuration object into the
+ <p>Save data saves data from the plugin's configuration object into the
XML object.
-</p><li>int load_defaults();
+ </p><li>int load_defaults();
-<p>Another way the plugin gets parameters is from a defaults file. The
+ <p>Another way the plugin gets parameters is from a defaults file. The
load and save defaults routines use a Defaults object to parse the
defaults file. The defaults object is created in <b>load_defaults</b> and
destroyed in the plugin's destructor. See an existing plugin to see
how the Defaults object is used.
-</p><li>int save_defaults();
+ </p><li>int save_defaults();
-<p>Saves the configuration in the defaults object.
+ <p>Saves the configuration in the defaults object.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
-Next:<a rel=next accesskey=n href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>,
-Previous:<a rel=previous accesskey=p href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>,
+Previous:<a rel="previous" accesskey="p" href="#REALTIME%20PLUGINS">REALTIME PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>NONREALTIME PLUGINS</h3>
+<h3 class="section">NONREALTIME PLUGINS</h3>
-<p>Like realtime plugins, <b>load_defaults</b> and <b>save_defaults</b> must be
+ <p>Like realtime plugins, <b>load_defaults</b> and <b>save_defaults</b> must be
implemented. In nonrealtime plugins, these are not just used for
default parameters but to transfer values from the user interface to
the signal processor. There doesn't need to be a configuration class
in nonrealtime plugins.
-<p>Unlike realtime plugins, the LOAD_CONFIGURATION_MACRO can't be used in
+ <p>Unlike realtime plugins, the LOAD_CONFIGURATION_MACRO can't be used in
the plugin header. Instead, the following methods must be defined.
-<p>The nonrealtime plugin should contain a pointer to a defaults object.
-
-<br><pre>
-Defaults *defaults;
+ <p>The nonrealtime plugin should contain a pointer to a defaults object.
-</pre>
+<pre class="example">
+ Defaults *defaults;
+
+ </pre>
-<p>It should also have a pointer to a MainProgressBar.
+ <p>It should also have a pointer to a MainProgressBar.
-<br><pre>
-MainProgressBar *progress;
-</pre>
+<pre class="example">
+ MainProgressBar *progress;
+ </pre>
-<p>The progress pointer allows nonrealtime plugins to display their
+ <p>The progress pointer allows nonrealtime plugins to display their
progress in Cinelerra's main window.
-<p>The constructor for a nonrealtime plugin can't use
+ <p>The constructor for a nonrealtime plugin can't use
PLUGIN_CONSTRUCTOR_MACRO but must call <b>load_defaults</b> directly.
-<p>The destructor, likewise, must call <b>save_defaults</b> and <b>delete
+ <p>The destructor, likewise, must call <b>save_defaults</b> and <b>delete
defaults</b> directly instead of PLUGIN_DESTRUCTOR_MACRO.
-<ul>
+ <ul>
-<li>VFrame* new_picon();
+ <li>VFrame* new_picon();
-<p>char* plugin_title();
+ <p>char* plugin_title();
-<p>The usage of these is the same as realtime plugins.
+ <p>The usage of these is the same as realtime plugins.
-</p><li>int is_realtime();
+ </p><li>int is_realtime();
-<p>This function must return 0 to indicate a nonrealtime plugin.
+ <p>This function must return 0 to indicate a nonrealtime plugin.
-</p><li>
+ </p><li>
int get_parameters();
-<p>Here, the user should create a GUI, wait for the user to hit an OK
+ <p>Here, the user should create a GUI, wait for the user to hit an OK
button or a cancel button, and store the parameters in plugin
variables. This routine must return 0 for success and 1 for failure.
This way the user can cancel the effect from the GUI.
-<p>Unlike the realtime plugin, this GUI need not run asynchronously of the
+ <p>Unlike the realtime plugin, this GUI need not run asynchronously of the
plugin. It should block the get_parameters function until the user
selects OK or Cancel.
-</p><li>int load_defaults();
+ </p><li>int load_defaults();
-<p>This should create a defaults object and load parameters from the
+ <p>This should create a defaults object and load parameters from the
defaults object into plugin variables.
-</p><li>int save_defaults();
+ </p><li>int save_defaults();
-<p>This should save plugin variables to the defaults object.
+ <p>This should save plugin variables to the defaults object.
-</p><li>int start_loop();
+ </p><li>int start_loop();
-<p>If <b>get_parameters</b> returned 0 for success, this is called once to
+ <p>If <b>get_parameters</b> returned 0 for success, this is called once to
give the plugin a chance to initialize processing. The plugin should
instantiate the progress object with a line like
-<br><pre>
-progress = start_progress("MyPlugin progress...",
- PluginClient::end - PluginClient::start);
-
-</pre>
+ <pre class="example">
+ progress = start_progress("MyPlugin progress...",
+ PluginClient::end - PluginClient::start);
+
+ </pre>
-<p>The usage of <b>start_progress</b> depends on whether the plugin is
+ <p>The usage of <b>start_progress</b> depends on whether the plugin is
multichannel or single channel. If it's multichannel you always call
start_progress. If it's single channel, you first need to know whether
the progress bar has already started in another instance of the plugin.
-<p>If <b>PluginClient::interactive</b> is 1, you need to start the progress
+ <p>If <b>PluginClient::interactive</b> is 1, you need to start the progress
bar. If it's 0, the progress bar has already been started.
-<p>The PluginClient defines <b>end</b> and <b>start</b> for the timeline range
+ <p>The PluginClient defines <b>end</b> and <b>start</b> for the timeline range
to be processed. The units are either samples or frames.
-</p><li>int process_loop
+ </p><li>int process_loop
-<p>This is called repeatedly until the timeline range is processed. It
+ <p>This is called repeatedly until the timeline range is processed. It
takes either a samples or frames buffer and a reference to
write_length. The arguments are a location and length for the output
if it's audio.
-<p>The plugin must use <b>read_samples</b> or <b>read_frame</b> to read the
+ <p>The plugin must use <b>read_samples</b> or <b>read_frame</b> to read the
input. These functions take a buffer and a position relative to the
start of the timeline. Then it must process it and put the output in
the arguments to process_loop. write_length should contain the number
of samples generated if it's audio.
-<p>Finally, process_loop must test <b>PluginClient::interactive</b> and
+ <p>Finally, process_loop must test <b>PluginClient::interactive</b> and
update the progress bar if it's 1.
-<br><pre>progress->update(total_written);
-</pre>
+ <pre class="example"> progress->update(total_written);
+ </pre>
-<p>returns 1 or 0 if the progress bar was cancelled. If it's 1,
+ <p>returns 1 or 0 if the progress bar was cancelled. If it's 1,
process_loop should return 1 to indicate a cancellation. In addition
to progress bar cancellation, <b>process_loop</b> should return 1 when the
entire timeline range is processed.
-</p><li>int stop_loop();
+ </p><li>int stop_loop();
-<p>This is called after process_loop processes its last buffer.
+ <p>This is called after process_loop processes its last buffer.
-<p>If PluginClient::is_interactive is 1, this should call
+ <p>If PluginClient::is_interactive is 1, this should call
<b>stop_progress</b> in the progress bar pointer and delete the pointer.
Then it should delete any objects it created for processing in
<b>start_loop</b>.
-</ul>
+ </ul>
+<div class="node">
<p><hr>
Node:<a name="AUDIO%20PLUGINS">AUDIO PLUGINS</a>,
-Next:<a rel=next accesskey=n href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>,
-Previous:<a rel=previous accesskey=p href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>,
+Previous:<a rel="previous" accesskey="p" href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>AUDIO PLUGINS</h3>
+<h3 class="section">AUDIO PLUGINS</h3>
-<p>The simplest audio plugin is Gain. The processing object should
+ <p>The simplest audio plugin is Gain. The processing object should
include <b>pluginaclient.h</b> and inherit from <b>PluginAClient</b>. Realtime audio plugins need to
define
-<br><pre>int process_realtime(long size,
- double **input_ptr,
- double **output_ptr);
-</pre>
-
-<p>if it's multichannel or
-
-<br><pre>int process_realtime(long size,
- double *input_ptr,
- double *output_ptr);
-</pre>
+<pre class="example"> int process_realtime(long size,
+ double **input_ptr,
+ double **output_ptr);
+ </pre>
+
+ <p>if it's multichannel or
+
+<pre class="example"> int process_realtime(long size,
+ double *input_ptr,
+ double *output_ptr);
+ </pre>
-<p>if it's single channel. These should return the number of samples
+ <p>if it's single channel. These should return the number of samples
generated. In the future, the number of samples return value will
synchronize plugins which delay audio.
-<p>Nonrealtime audio plugins need to define
+ <p>Nonrealtime audio plugins need to define
-<br><pre>int process_loop(double *buffer, long &write_length);
-</pre>
+<pre class="example"> int process_loop(double *buffer, long &write_length);
+ </pre>
-<p>for single channel or
+ <p>for single channel or
-<br><pre>int process_loop(double **buffers, long &write_length);
-</pre>
+<pre class="example"> int process_loop(double **buffers, long &write_length);
+ </pre>
-<p>for multi channel.
+ <p>for multi channel.
+<div class="node">
<p><hr>
Node:<a name="VIDEO%20PLUGINS">VIDEO PLUGINS</a>,
-Next:<a rel=next accesskey=n href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>,
-Previous:<a rel=previous accesskey=p href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>,
+Previous:<a rel="previous" accesskey="p" href="#AUDIO%20PLUGINS">AUDIO PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>VIDEO PLUGINS</h3>
+<h3 class="section">VIDEO PLUGINS</h3>
-<p>The simplest video plugin is Flip. The processing object should
+ <p>The simplest video plugin is Flip. The processing object should
include <b>pluginvclient.h</b> and inherit from <b>PluginVClient</b>.
Realtime video plugins need to define
-<br><pre>int process_realtime(VFrame **input,
- VFrame **output);
-</pre>
+<pre class="example"> int process_realtime(VFrame **input,
+ VFrame **output);
+ </pre>
-<p>if it's multichannel or
+ <p>if it's multichannel or
-<br><pre>int process_realtime(VFrame *input,
- VFrame *output);
-</pre>
+<pre class="example"> int process_realtime(VFrame *input,
+ VFrame *output);
+ </pre>
-<p>if it's single channel. They only get one frame per call but should
+ <p>if it's single channel. They only get one frame per call but should
return the number of frames generated anyway. In the future, the
number of frames return value will synchronize plugins which delay
video.
-<p>The nonrealtime video plugins need to define
+ <p>The nonrealtime video plugins need to define
-<br><pre>int process_loop(VFrame *buffer);
-</pre>
+<pre class="example"> int process_loop(VFrame *buffer);
+ </pre>
-<p>for single channel or
+ <p>for single channel or
-<br><pre>int process_loop(VFrame **buffers);
-</pre>
+<pre class="example"> int process_loop(VFrame **buffers);
+ </pre>
-<p>for multi channel. They're always assumed to have a write length of 1
+ <p>for multi channel. They're always assumed to have a write length of 1
when they return 0.
+<div class="node">
<p><hr>
Node:<a name="TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>,
-Next:<a rel=next accesskey=n href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
-Previous:<a rel=previous accesskey=p href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Next:<a rel="next" accesskey="n" href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
+Previous:<a rel="previous" accesskey="p" href="#VIDEO%20PLUGINS">VIDEO PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>TRANSITION PLUGINS</h3>
+<h3 class="section">TRANSITION PLUGINS</h3>
-<p>The simplest video transition is <b>dissolve</b> and the simplest audio
+ <p>The simplest video transition is <b>dissolve</b> and the simplest audio
transition is <b>crossfade</b>. These work identical to the single
channel, realtime audio and video plugins. The only difference is the
addition of an <b>is_transition</b> method to the processing object.
<b>is_transition</b> should return 1.
-<p>Routines exist for determining where you are relative to the
+ <p>Routines exist for determining where you are relative to the
transition's start and end.
-<ul>
+ <ul>
-<li><b>PluginClient::get_source_position()</b> - returns an integer
+ <li><b>PluginClient::get_source_position()</b> - returns an integer
position since the start of the transition
-<li><b>PluginClient::get_total_len()</b> - returns the integer length of
+ <li><b>PluginClient::get_total_len()</b> - returns the integer length of
the transition. The units are either samples or frames.
-</ul>
+ </ul>
-<p>Users should divide source position by total length to get the fraction
+ <p>Users should divide source position by total length to get the fraction
of the transition the current <b>process_realtime</b> function starts
at.
-<p>Secondly, the meaning of the input and output arguments to
+ <p>Secondly, the meaning of the input and output arguments to
<b>process_realtime</b> is different for transitions than for realtime
plugins.
-<p>The first argument to process_realtime is the data for the next edit.
+ <p>The first argument to process_realtime is the data for the next edit.
The second argument to process_realtime is the data for the previous
edit. Eventually the second argument becomes the output.
+<div class="node">
<p><hr>
Node:<a name="PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
-Previous:<a rel=previous accesskey=p href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>,
-Up:<a rel=up accesskey=u href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
+Previous:<a rel="previous" accesskey="p" href="#TRANSITION%20PLUGINS">TRANSITION PLUGINS</a>,
+Up:<a rel="up" accesskey="u" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>
<br>
+</div>
-<h3>PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</h3>
+<h3 class="section">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</h3>
-<p>Effects like <b>Histogram</b> and <b>VideoScope</b> need to update the GUI
+ <p>Effects like <b>Histogram</b> and <b>VideoScope</b> need to update the GUI
during playback to display information about the signal. This is
achieved with the <b>send_render_gui</b> and <b>render_gui</b> methods.
Normally in process_realtime, when the processing object wants to
@@ -4815,167 +4980,169 @@
called in process_realtime. Send_render_gui goes through a search and
eventually calls <b>render_gui</b> in the GUI instance of the plugin.
-<p>Render_gui should have a sequence like
+ <p>Render_gui should have a sequence like
-<br><pre>void MyPlugin::render_gui(void *data)
-{
- if(thread)
- {
- thread->window->lock_window();
+<pre class="example"> void MyPlugin::render_gui(void *data)
+ {
+ if(thread)
+ {
+ thread->window->lock_window();
+
+ // update GUI here
+
+ thread->window->unlock_window();
+ }
+ }
+
+ </pre>
-// update GUI here
-
- thread->window->unlock_window();
- }
-}
-
-</pre>
-
-<p>The sequence uses one argument, a void pointer to transfer information
+ <p>The sequence uses one argument, a void pointer to transfer information
from the renderer to the GUI. The user should typecast this pointer
into something useful.
+<div class="node">
<p><hr>
Node:<a name="RELEASE%20NOTES">RELEASE NOTES</a>,
-Previous:<a rel=previous accesskey=p href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>,
-Up:<a rel=up accesskey=u href="#Top">Top</a>
+Previous:<a rel="previous" accesskey="p" href="#PLUGIN%20AUTHORING">PLUGIN AUTHORING</a>,
+Up:<a rel="up" accesskey="u" href="#Top">Top</a>
<br>
+</div>
-<h2>RELEASE NOTES</h2>
+<h2 class="chapter">RELEASE NOTES</h2>
-<ul>
+ <ul>
-<p><b>1.0.0</b>
+ <p><b>1.0.0</b>
-<p>First release since Broadcast 2000 migration.
+ <p>First release since Broadcast 2000 migration.
-<p><b>1.1.0</b>
+ <p><b>1.1.0</b>
-<p>Titler fonts installed by rpm.
+ <p>Titler fonts installed by rpm.
-<p>XMovie decodes ac3 according to redesigned liba52 channel mappings.
+ <p>XMovie decodes ac3 according to redesigned liba52 channel mappings.
-<p>Quicktime MPEG4 parameters debugged.
+ <p>Quicktime MPEG4 parameters debugged.
-<p>Background rendering over a renderfarm.
+ <p>Background rendering over a renderfarm.
-<p>Renderfarm clients automatically reduced to idle priority.
+ <p>Renderfarm clients automatically reduced to idle priority.
-<p>Better MJPA decoding on single processors.
+ <p>Better MJPA decoding on single processors.
-<p>Better title functionality in 16 bit colormodels.
+ <p>Better title functionality in 16 bit colormodels.
-<p>Undo for effect keyframes.
+ <p>Undo for effect keyframes.
-<p>Effect GUI's cleared during undo for effect attachment.
+ <p>Effect GUI's cleared during undo for effect attachment.
-<p>Fewer lockups on startup.
+ <p>Fewer lockups on startup.
-<p>Proper keyframe interpolation in scale effect.
+ <p>Proper keyframe interpolation in scale effect.
-<p>Stamp timecode in titler.
+ <p>Stamp timecode in titler.
-<p>Memory leaks in rendering stages removed.
+ <p>Memory leaks in rendering stages removed.
-<p>Removed legacy plugin server code.
+ <p>Removed legacy plugin server code.
-<p>Option to generate sequence header in every GOP for MPEG2.
+ <p>Option to generate sequence header in every GOP for MPEG2.
-<p>LADSPA support.
+ <p>LADSPA support.
-<p>Listbox doesn't enter drag_icon state when dragging column division.
+ <p>Listbox doesn't enter drag_icon state when dragging column division.
-<p>Effect rendering bug fixed.
+ <p>Effect rendering bug fixed.
-<p>64 bit mpeg transport stream seeking beyond 2 gigs.
+ <p>64 bit mpeg transport stream seeking beyond 2 gigs.
-<p>More accurate mask drawing when projector is zoomed.
+ <p>More accurate mask drawing when projector is zoomed.
-<p>Clear labels updates CWindow
+ <p>Clear labels updates CWindow
-<p>More accurate YUV/RGB conversions.
+ <p>More accurate YUV/RGB conversions.
-<p>Import partial tgas
+ <p>Import partial tgas
-<p>Copy keyframes doesn't copy default keyframe.
+ <p>Copy keyframes doesn't copy default keyframe.
-<p>Track highlighting offset by vertical scroll.
+ <p>Track highlighting offset by vertical scroll.
-<p>Multiple video scope, spectrogram, and histogram displays may be opened.
+ <p>Multiple video scope, spectrogram, and histogram displays may be opened.
-<p>HutSaturation in YUV colorspaces.
+ <p>HutSaturation in YUV colorspaces.
-<p>Undo for masks.
+ <p>Undo for masks.
-<p>Shared synthesis effects cause the sharing tracks to
+ <p>Shared synthesis effects cause the sharing tracks to
play back instead of just the owning track.
-<p>Quicktime recovery utility improved.
+ <p>Quicktime recovery utility improved.
-<p>Single frame recording with multiple batches doesn't crash.
+ <p>Single frame recording with multiple batches doesn't crash.
-<p>DV encoding.
+ <p>DV encoding.
-<p>New video effects:
+ <p>New video effects:
gradient, downsample video, radial blur, linear blur, zoom blur,
histogram, perspective.
-<p>New audio effect:
+ <p>New audio effect:
Sound level
-<p><b>1.1.5</b>
+ <p><b>1.1.5</b>
-<p>More options for the ffmpeg/MPEG-4 codecs.
+ <p>More options for the ffmpeg/MPEG-4 codecs.
-<p>Histogram works on SMP.
+ <p>Histogram works on SMP.
-<p>Better 16 bit alpha blending.
+ <p>Better 16 bit alpha blending.
-<p>BRender path updates from preferences.
+ <p>BRender path updates from preferences.
-<p>Separate preroll for background rendering and rendering.
+ <p>Separate preroll for background rendering and rendering.
-<p>Deinterlace by averaging lines 0 and 2 or 1 and 3 to get intervening lines.
+ <p>Deinterlace by averaging lines 0 and 2 or 1 and 3 to get intervening lines.
-<p>Adaptive deinterlace.
+ <p>Adaptive deinterlace.
-<p>Frame per second statistics in renderfarm are more reliable.
+ <p>Frame per second statistics in renderfarm are more reliable.
-<p>Select and slide in the patchbay.
+ <p>Select and slide in the patchbay.
-<p>Video scope can be resized.
+ <p>Video scope can be resized.
-<p>Effect keyframes pasted in right positions more often.
+ <p>Effect keyframes pasted in right positions more often.
-<p>Selective denoising of video based on color channel.
+ <p>Selective denoising of video based on color channel.
-<p>More mouse wheel bindings in MainWindow and ListBox.
+ <p>More mouse wheel bindings in MainWindow and ListBox.
-<p>Ctrl-w closes effect windows.
+ <p>Ctrl-w closes effect windows.
-<p>Perspective doesn't crash when switching from stretch to sheer.
+ <p>Perspective doesn't crash when switching from stretch to sheer.
-<p>Better text list searching and keyboard navigation.
+ <p>Better text list searching and keyboard navigation.
-<p>Better Vorbis decoding after a pause.
+ <p>Better Vorbis decoding after a pause.
-<p>Close recording without recording anything doesn't crash.
+ <p>Close recording without recording anything doesn't crash.
-<p>Save backup now option.
+ <p>Save backup now option.
-<p>OpenGL not required anymore.
+ <p>OpenGL not required anymore.
-<p>Time format changes update the selection textboxes more often.
+ <p>Time format changes update the selection textboxes more often.
-<p>MPEG-4 deblocking option in XMovie and Cinelerra.
+ <p>MPEG-4 deblocking option in XMovie and Cinelerra.
-<p>Resize in Record GUI doesn't screw it up.
+ <p>Resize in Record GUI doesn't screw it up.
-<p>Better export of YUVA16161616 to Component Y'CbCr 10-bit 4:4:4.
+ <p>Better export of YUVA16161616 to Component Y'CbCr 10-bit 4:4:4.
-<p>Better import of Component Y'CbCr 10-bit 4:4:4 to RGB colorspaces.
+ <p>Better import of Component Y'CbCr 10-bit 4:4:4 to RGB colorspaces.
-</ul>
+ </ul>
-</body></html>
+ </body></html>
Files cinelerra-1.1.5.orig/freetype-2.0.4/objs/.libs/libfreetype.so.6 and cinelerra-1.1.5/freetype-2.0.4/objs/.libs/libfreetype.so.6 differ
Files cinelerra-1.1.5.orig/freetype-2.0.4/objs/.libs/libfreetype.so.6.1.0 and cinelerra-1.1.5/freetype-2.0.4/objs/.libs/libfreetype.so.6.1.0 differ
diff -ruN cinelerra-1.1.5.orig/guicast/bctheme.C cinelerra-1.1.5/guicast/bctheme.C
--- cinelerra-1.1.5.orig/guicast/bctheme.C 2002-12-21 04:01:43.000000000 +0100
+++ cinelerra-1.1.5/guicast/bctheme.C 2003-05-04 08:50:11.000000000 +0200
@@ -86,7 +86,7 @@
}
-void BC_Theme::overlay(VFrame *dst, VFrame *src, int in_x1 = -1, int in_x2 = -1)
+void BC_Theme::overlay(VFrame *dst, VFrame *src, int in_x1, int in_x2)
{
int w;
int h;
diff -ruN cinelerra-1.1.5.orig/libmpeg3/Makefile cinelerra-1.1.5/libmpeg3/Makefile
--- cinelerra-1.1.5.orig/libmpeg3/Makefile 2002-06-21 14:35:24.000000000 +0200
+++ cinelerra-1.1.5/libmpeg3/Makefile 2003-05-04 08:50:11.000000000 +0200
@@ -25,7 +25,7 @@
ifeq ($(OBJDIR), i686)
USE_MMX = 1
ifneq ($(HAVE_CFLAGS), yes)
- CFLAGS := -O2 -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include
+ CFLAGS := -O2 -fomit-frame-pointer -falign-loops=2 -falign-jumps=2 -falign-functions=2 -I/usr/include
endif
CFLAGS += -D_FILE_OFFSET_BITS=64 -D_LARGEFILE_SOURCE -D_LARGEFILE64_SOURCE
endif
@@ -49,8 +49,7 @@
CFLAGS += \
-I. \
- -I$(A52DIR)/include \
- -I$(A52DIR)/liba52
+ -I/usr/include/a52dec
#CFLAGS += -g
@@ -122,7 +121,7 @@
$(OBJDIR)/audio \
$(OBJDIR)/video
-include Makefile.a52
+##include Makefile.a52
DIRS += $(A52DIRS)
@@ -133,7 +132,7 @@
#$(OBJDIR)/mpeg3split
-LIBS = -lm -lpthread
+LIBS = -lm -lpthread -la52
$(shell if ! test -d $(OBJDIR) \; then mkdir -p $(OBJDIR) \; fi )
@@ -188,7 +187,7 @@
cat *.c *.h audio/*.c audio/*.h video/*.c video/*.h | wc
$(OBJS):
- $(CC) -c `cat $(OBJDIR)/c_flags` $(subst $(OBJDIR)/,, $*.c) -o $*.o
+ $(CC) -c $(CFLAGS) $(subst $(OBJDIR)/,, $*.c) -o $*.o
$(ASMOBJS):
$(CC) -c `cat $(OBJDIR)/c_flags` $(subst $(OBJDIR)/,, $*.S) -o $*.o
$(NASMOBJS):
diff -ruN cinelerra-1.1.5.orig/libmpeg3/Makefile.a52 cinelerra-1.1.5/libmpeg3/Makefile.a52
--- cinelerra-1.1.5.orig/libmpeg3/Makefile.a52 2002-06-21 14:35:24.000000000 +0200
+++ cinelerra-1.1.5/libmpeg3/Makefile.a52 1970-01-01 01:00:00.000000000 +0100
@@ -1,39 +0,0 @@
-A52DIR := $(shell expr a52dec* )
-
-A52DIRS := \
- $(OBJDIR)/$(A52DIR)/liba52/ \
- $(OBJDIR)/$(A52DIR)/libao/ \
- $(OBJDIR)/$(A52DIR)/src/ \
- $(OBJDIR)/$(A52DIR)/test/
-
-
-A52OBJS := \
- $(OBJDIR)/$(A52DIR)/liba52/bit_allocate.o \
- $(OBJDIR)/$(A52DIR)/liba52/bitstream.o \
- $(OBJDIR)/$(A52DIR)/liba52/downmix.o \
- $(OBJDIR)/$(A52DIR)/liba52/imdct.o \
- $(OBJDIR)/$(A52DIR)/liba52/parse.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out_float.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out_null.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out_oss.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out_solaris.o \
- $(OBJDIR)/$(A52DIR)/libao/audio_out_wav.o \
- $(OBJDIR)/$(A52DIR)/libao/float2s16.o \
- $(OBJDIR)/$(A52DIR)/src/a52dec.o \
- $(OBJDIR)/$(A52DIR)/src/extract_a52.o \
- $(OBJDIR)/$(A52DIR)/src/getopt.o \
- $(OBJDIR)/$(A52DIR)/test/compare.o
-
-A52CFLAGS = \
- $(CFLAGS) \
- -DHAVE_CONFIG_H \
- -I$(A52DIR)/ \
- -I$(A52DIR)/include \
- -I$(A52DIR)/liba52 \
- -I$(A52DIR)/libao \
- -I$(A52DIR)/src
-
-
-
-
diff -ruN cinelerra-1.1.5.orig/libmpeg3/audio/Makefile cinelerra-1.1.5/libmpeg3/audio/Makefile
--- cinelerra-1.1.5.orig/libmpeg3/audio/Makefile 2002-06-21 14:35:24.000000000 +0200
+++ cinelerra-1.1.5/libmpeg3/audio/Makefile 2003-05-04 08:50:11.000000000 +0200
@@ -1,4 +1,4 @@
-include ../global_config
+include ../../global_config
export CFLAGS
OBJS = \
diff -ruN cinelerra-1.1.5.orig/libmpeg3/mpeg3private.h cinelerra-1.1.5/libmpeg3/mpeg3private.h
--- cinelerra-1.1.5.orig/libmpeg3/mpeg3private.h 2002-10-18 03:38:19.000000000 +0200
+++ cinelerra-1.1.5/libmpeg3/mpeg3private.h 2003-05-04 08:50:11.000000000 +0200
@@ -3,7 +3,7 @@
#include <stdint.h>
#include <stdio.h>
-
+#include <pthread.h>
diff -ruN cinelerra-1.1.5.orig/mplexlo/Makefile cinelerra-1.1.5/mplexlo/Makefile
--- cinelerra-1.1.5.orig/mplexlo/Makefile 2002-07-13 04:19:23.000000000 +0200
+++ cinelerra-1.1.5/mplexlo/Makefile 2003-05-04 08:50:12.000000000 +0200
@@ -7,7 +7,7 @@
OUTPUT := $(OBJDIR)/mplexlo
$(OUTPUT): $(OBJS)
- $(CC) -o $(OUTPUT) $(OBJS) ../libmpeg3/$(OBJDIR)/libmpeg3.a -lpthread -lm
+ $(CC) -o $(OUTPUT) $(OBJS) ../libmpeg3/$(OBJDIR)/libmpeg3.a -lpthread -lm -la52
$(OBJS):
$(CC) -c $(CFLAGS) $(subst $(OBJDIR)/,, $*.c) -o $*.o
diff -ruN cinelerra-1.1.5.orig/quicktime/Makefile cinelerra-1.1.5/quicktime/Makefile
--- cinelerra-1.1.5.orig/quicktime/Makefile 2003-02-05 07:40:02.000000000 +0100
+++ cinelerra-1.1.5/quicktime/Makefile 2003-05-04 08:50:12.000000000 +0200
@@ -23,7 +23,7 @@
endif
ifeq ($(OBJDIR), i686)
- CFLAGS = -O3 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -malign-loops=2 -malign-jumps=2 -malign-functions=2 -I/usr/local/include
+ CFLAGS = -O3 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -falign-loops=2 -falign-jumps=2 -falign-functions=2 -I/usr/include
endif
diff -ruN cinelerra-1.1.5.orig/quicktime/Makefile.dv cinelerra-1.1.5/quicktime/Makefile.dv
--- cinelerra-1.1.5.orig/quicktime/Makefile.dv 2002-11-11 06:19:11.000000000 +0100
+++ cinelerra-1.1.5/quicktime/Makefile.dv 2003-05-04 08:50:12.000000000 +0200
@@ -1,4 +1,4 @@
-DV_DIR := $(shell expr libdv-0.98 )
+DV_DIR := libdv-0.98
DV_OBJS := \
$(OBJDIR)/$(DV_DIR)/libdv/audio.o \
diff -ruN cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/asmoff.h cinelerra-1.1.5/quicktime/libdv-0.98/libdv/asmoff.h
--- cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/asmoff.h 2003-02-10 07:03:40.000000000 +0100
+++ cinelerra-1.1.5/quicktime/libdv-0.98/libdv/asmoff.h 2003-05-04 08:50:14.000000000 +0200
@@ -1,14 +1,14 @@
#define dv_videosegment_t_i 0
#define dv_videosegment_t_k 4
#define dv_videosegment_t_bs 8
-#define dv_videosegment_t_mb 12
-#define dv_videosegment_t_isPAL 4992
-#define dv_macroblock_t_size 996
-#define dv_macroblock_t_b 20
-#define dv_macroblock_t_eob_count 992
-#define dv_macroblock_t_vlc_error 988
-#define dv_macroblock_t_qno 980
-#define dv_macroblock_t_sta 984
+#define dv_videosegment_t_mb 16
+#define dv_videosegment_t_isPAL 5016
+#define dv_macroblock_t_size 1000
+#define dv_macroblock_t_b 24
+#define dv_macroblock_t_eob_count 996
+#define dv_macroblock_t_vlc_error 992
+#define dv_macroblock_t_qno 984
+#define dv_macroblock_t_sta 988
#define dv_macroblock_t_i 0
#define dv_macroblock_t_j 4
#define dv_macroblock_t_k 8
diff -ruN cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/mmx.h cinelerra-1.1.5/quicktime/libdv-0.98/libdv/mmx.h
--- cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/mmx.h 2002-11-08 14:44:37.000000000 +0100
+++ cinelerra-1.1.5/quicktime/libdv-0.98/libdv/mmx.h 2003-05-04 08:50:14.000000000 +0200
@@ -223,7 +223,7 @@
/* Function to test if mmx instructions are supported...
*/
-inline extern int
+inline static int
mmx_ok(void)
{
/* Returns 1 if MMX instructions are supported, 0 otherwise */
diff -ruN cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/vlc.h cinelerra-1.1.5/quicktime/libdv-0.98/libdv/vlc.h
--- cinelerra-1.1.5.orig/quicktime/libdv-0.98/libdv/vlc.h 2002-11-08 14:44:37.000000000 +0100
+++ cinelerra-1.1.5/quicktime/libdv-0.98/libdv/vlc.h 2003-05-04 08:50:14.000000000 +0200
@@ -69,7 +69,7 @@
extern void dv_decode_vlc(int bits,int maxbits, dv_vlc_t *result);
extern void __dv_decode_vlc(int bits, dv_vlc_t *result);
-extern __inline__ void dv_peek_vlc(bitstream_t *bs,int maxbits, dv_vlc_t *result) {
+static __inline__ void dv_peek_vlc(bitstream_t *bs,int maxbits, dv_vlc_t *result) {
if(maxbits < 16)
dv_decode_vlc(bitstream_show(bs,16),maxbits,result);
else
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