From 3f044fc887d5ee758c7c08b74565a987232c17a9 Mon Sep 17 00:00:00 2001 From: Luca Barbato Date: Sun, 13 Jul 2003 02:44:18 +0000 Subject: moved the patch to distfiles --- media-video/cinelerra/ChangeLog | 6 +- media-video/cinelerra/Manifest | 7 +- media-video/cinelerra/cinelerra-1.1.5.ebuild | 7 +- media-video/cinelerra/files/compile-1.1.5.diff | 6908 -------------------- media-video/cinelerra/files/digest-cinelerra-1.1.5 | 1 + 5 files changed, 13 insertions(+), 6916 deletions(-) delete mode 100644 media-video/cinelerra/files/compile-1.1.5.diff (limited to 'media-video/cinelerra') diff --git a/media-video/cinelerra/ChangeLog b/media-video/cinelerra/ChangeLog index 3526e2f06204..26abdfcbe005 100644 --- a/media-video/cinelerra/ChangeLog +++ b/media-video/cinelerra/ChangeLog @@ -1,7 +1,11 @@ # ChangeLog for media-video/cinelerra # Copyright 2002-2003 Gentoo Technologies, Inc.; Distributed under the GPL v2 -# $Header: /var/cvsroot/gentoo-x86/media-video/cinelerra/ChangeLog,v 1.8 2003/05/13 17:59:55 lu_zero Exp $ +# $Header: /var/cvsroot/gentoo-x86/media-video/cinelerra/ChangeLog,v 1.9 2003/07/13 02:43:57 lu_zero Exp $ + 13 Jul 2003; Luca Barbato cinelerra-1.1.5.ebuild, + files/digest-cinelerra-1.1.5 files/compile-1.1.5.diff : + moved the patch to the distfiles mirror + *cinelerra-1.1.6 (13 Mar 2003) 13 Mar 2003; Luca Barbato cinelerra-1.1.6.ebuild, diff --git a/media-video/cinelerra/Manifest b/media-video/cinelerra/Manifest index 2f2cf64dbd59..324995c9c2bf 100644 --- a/media-video/cinelerra/Manifest +++ b/media-video/cinelerra/Manifest @@ -1,11 +1,10 @@ -MD5 fa576cf95d91d964af1c5505c82f0fe0 ChangeLog 1537 +MD5 b6dc9c2cbe8edf40ec16db95748aed93 ChangeLog 1715 MD5 a4f1bc017ca723056dcf4d643683573c cinelerra-1.0.0.ebuild 1128 MD5 c69120050a1046a849e4231a12794dc9 cinelerra-110802.ebuild 1200 -MD5 d0fabfc9a69c49aeb53edb6831c33b1d cinelerra-1.1.5.ebuild 1262 +MD5 04a03141543d095304dcfc74087d4bda cinelerra-1.1.5.ebuild 1265 MD5 bce7f5215d4f8cf7265d5a8ee4aa2005 cinelerra-1.1.6.ebuild 1454 MD5 bb1b390c6a20a9240f1100c3a3974b0d files/digest-cinelerra-1.0.0 73 -MD5 0251b5e587fcbf93534c1633a3d27ad1 files/digest-cinelerra-110802 74 MD5 d2363d0c13405512bf1341d84a12d744 files/digest-cinelerra-1.1.5 148 +MD5 0251b5e587fcbf93534c1633a3d27ad1 files/digest-cinelerra-110802 74 MD5 82ff059ba49d16e7d44ad7ce42976a93 files/digest-cinelerra-1.1.6 74 MD5 6a0e5d7afc5e123e9c6a059b38351548 files/compile-1.1.6.diff 7517 -MD5 96f991144e8db32813f5f3f3c76a7161 files/compile-1.1.5.diff.bz2 54084 diff --git a/media-video/cinelerra/cinelerra-1.1.5.ebuild b/media-video/cinelerra/cinelerra-1.1.5.ebuild index 104b4571f40b..210e258dee79 100644 --- a/media-video/cinelerra/cinelerra-1.1.5.ebuild +++ b/media-video/cinelerra/cinelerra-1.1.5.ebuild @@ -1,6 +1,6 @@ # Copyright 1999-2003 Gentoo Technologies, Inc. # Distributed under the terms of the GNU General Public License v2 -# $Header: /var/cvsroot/gentoo-x86/media-video/cinelerra/cinelerra-1.1.5.ebuild,v 1.3 2003/07/12 21:12:33 aliz Exp $ +# $Header: /var/cvsroot/gentoo-x86/media-video/cinelerra/cinelerra-1.1.5.ebuild,v 1.4 2003/07/13 02:43:57 lu_zero Exp $ inherit gcc eutils export WANT_GCC_3="yes" @@ -9,7 +9,8 @@ export CFLAGS=${CFLAGS/-O?/-O2} DESCRIPTION="Cinelerra - Professional Video Editor" HOMEPAGE="http://heroinewarrior.com/cinelerra.php3" -SRC_URI="mirror://sourceforge/heroines/${P}-src.tar.bz2" +SRC_URI="mirror://sourceforge/heroines/${P}-src.tar.bz2 + mirror://gentoo/${PN}-fixes-${PV}.diff.bz2" LICENSE="GPL-2" SLOT="0" @@ -24,7 +25,7 @@ DEPEND="virtual/x11 src_unpack() { unpack ${A} - epatch ${FILESDIR}/compile-1.1.5.diff + epatch ${DISTDIR}/${PN}-fixes-${PV}.diff.bz2 } diff --git a/media-video/cinelerra/files/compile-1.1.5.diff b/media-video/cinelerra/files/compile-1.1.5.diff deleted file mode 100644 index cbccdfadd0e0..000000000000 --- a/media-video/cinelerra/files/compile-1.1.5.diff +++ /dev/null @@ -1,6908 +0,0 @@ -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 @@ - - Secrets of Cinelerra - -- -- -- -+ -+ -+ - - --

Secrets of Cinelerra

-+

Secrets of Cinelerra

-+
-

- Node:Top, --Next:, --Up:(dir) -+Next:, -+Up:(dir) -
-+
- --

BRIEF CONTENTS

-+

BRIEF CONTENTS

- -- -
  • PERFORMANCE - -+
    • -
  • INTERFACE -- --
  • -- THE MAIN WINDOWS --
  • -- LOADING AND SAVING FILES -+
    • -+
  • THE MAIN WINDOWS -+
  • LOADING AND SAVING FILES - -
  • LOADING THE BACKUP -
  • SAVING FILES -
  • RENDERING FILES -
  • THE RENDER FARM -- --
  • -- NAVIGATING THE PROJECT -+
    • -+
  • NAVIGATING THE PROJECT - -
  • NAVIGATING THE VIEWER AND COMPOSITOR -
  • NAVIGATING THE RESOURCES -
  • USING THE TRANSPORT CONTROLS -
  • USING BACKGROUND RENDERING -- --
  • -- EDITING -+
    • -+
  • EDITING - --
  • -- USING EFFECTS -+
    • -+
  • USING EFFECTS - -
  • RENDERED EFFECTS -
  • TRANSITIONS -
  • LADSPA EFFECTS -- --
  • -- SETTING PROJECT ATTRIBUTES --
  • -- COMPOSITING -+
    • -+
  • SETTING PROJECT ATTRIBUTES -+
  • COMPOSITING - --
  • -- KEYFRAMES -+
    • -+
  • KEYFRAMES - --
  • -- CAPTURING MEDIA -+
    • -+
  • CAPTURING MEDIA - --
  • -- IMPROVING PERFORMANCE -+
    • -+
  • IMPROVING PERFORMANCE - --
  • -- EFFECT DESCRIPTIONS -+
    • -+
  • EFFECT DESCRIPTIONS - --
  • -- PLUGIN AUTHORING -+
    • -+
  • PLUGIN AUTHORING - -
  • REALTIME PLUGINS -
  • NONREALTIME PLUGINS -
  • AUDIO PLUGINS -
  • VIDEO PLUGINS -
  • TRANSITION PLUGINS -
  • PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK -- --
  • -- RELEASE NOTES -- -+
    • -+
  • RELEASE NOTES -+
    • -+ - -+
    -

    - Node:ABOUT CINELERRA, --Next:, --Previous:Top, --Up:Top -+Next:, -+Previous:Top, -+Up:Top -
    -+
    - --

    ABOUT CINELERRA

    -+

    ABOUT CINELERRA

    - --

    There are two types of moviegoers: producers who create new content, -+

    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. - --

    In 1996 our first editor came out: Broadcast 1.0. It was just a window -+

    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. - --

    In 1997 Broadcast 1.0 was replaced by Broadcast 2.0. This time the -+

    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. - --

    But Broadcast 2.0 still didn't handle video and it wasn't very graceful -+

    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. - --

    Later on Broadcast 2000 began to come short. Its audio and video was -+

    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. - --

      --
    • ABOUT THIS MANUAL: -+ - -+
      -

      - Node:ABOUT THIS MANUAL, --Up:ABOUT CINELERRA -+Up:ABOUT CINELERRA -
      -+
      - --

      ABOUT THIS MANUAL

      -+

      ABOUT THIS MANUAL

      - --

      After many years of searching for the perfect documentation format -+

      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. - --

      There are no screenshots in this manual. Screenshots become obsolete -+

      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. - --

      In addition to telling you the basic editing features of Cinelerra this -+

      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. - -+

      -

      - Node:INSTALLATION, --Next:, --Previous:ABOUT CINELERRA, --Up:Top -+Next:, -+Previous:ABOUT CINELERRA, -+Up:Top -
      -+
      - --

      INSTALLATION

      -+

      INSTALLATION

      - --

      The Cinelerra package contains Cinelerra, Mix2000, Mplex, and XMovie, -+

      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. - --

      All of these programs tie into the same code base. Updates in one area -+

      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. - --

      The purpose of the various programs is as follows: -+

      The purpose of the various programs is as follows: - --

        -+
          - --
        • -+
        • - Cinelerra - capturing, editing and production of material - --
        • -+
        • - Mix2000 - higher resolution volume controller than the standard Linux - volume controls. - --
        • -+
        • - MPlex - Multiplexing of MPEG elementary streams. - --
        • -+
        • - XMovie - Standalone player for all the formats Cinelerra exports. - --
        • -+
        • - mpeg3toc - Utility for indexing and reading MPEG files. - --
        -+
      - --

      We try to include all the dependancies because of the difficulty in -+

      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. - --

      Cinelerra is best installed by downloading an RPM and running -+

      Cinelerra is best installed by downloading an RPM and running - --

      rpm -U --force --nodeps hvirtual*.rpm
--
      -+
           rpm -U --force --nodeps hvirtual*.rpm
-+
      - --

      on a RedHat system. -+

      on a RedHat system. - --

      On systems which don't support RPM look for a utility called -+

      On systems which don't support RPM look for a utility called - rpm2cpio. Download a Cinelerra RPM and from the / - directory run - --

      rpm2cpio hvirtual*.rpm | cpio -i --make-directories
--
      -+
           rpm2cpio hvirtual*.rpm | cpio -i --make-directories
-+
      - --

      It should be noted that the compiler used in building Cinelerra -+

      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. - --

      Compiling the source is hard and there's no warranty if the source code -+

      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. - --

      tar jxf hvirtual*.tar.bz2
--
      -+
           tar jxf hvirtual*.tar.bz2
-+
      - --

      Enter the hvirtual directory -+

      Enter the hvirtual directory - --

      cd hvirtual
--
      -+
           cd hvirtual
-+
      - --

      and set some environment variables. For Pentium II use: -+

      and set some environment variables. For Pentium II use: - --

      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'
--
      -+
           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'
-+
      - --

      For Pentium I and old AMD's use: -+

      For Pentium I and old AMD's use: - --

      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'
--
      -+
           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'
-+
      - --

      Then run -+

      Then run - --

      make
--
      -+
           make
-+
      - --

      The make procedure should run through all the directories and put -+

      The make procedure should run through all the directories and put - binaries in the i686 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. - --

      Once finished run -+

      Once finished run - --

      make install
--
      -+
           make install
-+
      - --

      to install the binaries. The output is put in the following directories: -+

      to install the binaries. The output is put in the following directories: - --

        -+
          -
        • Executables ->/usr/bin -
        • Plugins ->/usr/lib/cinelerra -
        - --

        The main binaries are the Cinelerra, XMovie, Mix2000 executables and -+

        The main binaries are the Cinelerra, XMovie, Mix2000 executables and - several utilities for reading MPEG transport streams. - --

        Run Cinelerra by running -+

        Run Cinelerra by running - --

        /usr/bin/cinelerra
--
        -+
             /usr/bin/cinelerra
-+
        - -+
        -

        - Node:CONFIGURATION, --Next:, --Previous:INSTALLATION, --Up:Top -+Next:, -+Previous:INSTALLATION, -+Up:Top -
        -+
        - --

        CONFIGURATION

        -+

        CONFIGURATION

        - --

        Because of the variety of uses, Cinelerra cannot be run optimally -+

        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. - --

        Go to settings->preferences and run through the options. -+

        Go to settings->preferences and run through the options. - --

          --
        • PLAYBACK: --
        • RECORDING: --
        • PERFORMANCE: --
        • INTERFACE: -+ - -+
          -

          - Node:PLAYBACK, --Next:, --Up:CONFIGURATION -+Next:, -+Up:CONFIGURATION -
          -+
          - --

          PLAYBACK

          -+

          PLAYBACK

          - --
            --
          • AUDIO OUT: --
          • VIDEO OUT: -+ - -+
            -

            - Node:AUDIO OUT, --Next:, --Up:PLAYBACK -+Next:, -+Up:PLAYBACK -
            -+
            - --

            AUDIO OUT

            -+

            AUDIO OUT

            - --

            These determine what happens when you play sound from the timeline. -+

            These determine what happens when you play sound from the timeline. - --

              -+
                - --
              • SAMPLES TO READ FROM DISK -+
              • SAMPLES TO READ FROM DISK - --

                Cinelerra uses a pipeline for rendering audio. The first stage is -+

                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. - --

              • SAMPLES TO SEND TO CONSOLE: -+

              • SAMPLES TO SEND TO CONSOLE: - --

                The second stage is rendering small fragments through the virtual -+

                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. - --

                Some sound drivers don't allow changing of the console fragment so -+

                Some sound drivers don't allow changing of the console fragment so - latency is unchanged no matter what this value is. - --

              • -+

              • - VIEW FOLLOWS PLAYBACK - --

                Causes the timeline window to scroll when the playback cursor moves out -+

                Causes the timeline window to scroll when the playback cursor moves out - of view. This can bog down the X Server. - --

              • USE SOFTWARE FOR POSITIONING INFORMATION -+

              • USE SOFTWARE FOR POSITIONING INFORMATION - --

                Most soundcards and sound drivers don't give reliable information on -+

                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. - --

              • AUDIO PLAYBACK IN REALTIME: -+

              • AUDIO PLAYBACK IN REALTIME: - --

                Back in the days when 150Mhz was the maximum, this allowed -+

                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. - --

              • AUDIO DRIVER -+

              • AUDIO DRIVER - --

                There are many sound drivers for Linux. This allows selecting one and -+

                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 - --

                  -+
                    - --
                  • DEVICE PATH -+
                  • DEVICE PATH - --

                    Usually a file in the /dev/ directory which controls the -+

                    Usually a file in the /dev/ directory which controls the - device. - --

                  • -+

                  • - BITS - --

                    The number of bits of precision Cinelerra should set the device for. -+

                    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. - --

                  • -+

                  • - CHANNELS - --

                    The number of channels Cinelerra should set the device for. Regardless -+

                    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. - --

                  --
                -+
              -+
            - -+
            -

            - Node:VIDEO OUT, --Previous:AUDIO OUT, --Up:PLAYBACK -+Previous:AUDIO OUT, -+Up:PLAYBACK -
            -+
            - --

            VIDEO OUT

            -+

            VIDEO OUT

            - --

            These determine what happens when you play video from the timeline. -+

            These determine what happens when you play video from the timeline. - --

              -+
                - --
              • -+
              • - FRAMERATE ACHIEVED - --

                The number of frames per second being -+

                The number of frames per second being - displayed during playback. - --

              • -+

              • - SCALING EQUATION - --

                The algorithm used in all video resizing in -+

                The algorithm used in all video resizing in - the virtual console. This doesn't affect scaling to the size of the - compositor window. - --

                  -+
                    - --
                  • NEAREST NEIGHBOR ENLARGE AND REDUCE -+
                  • NEAREST NEIGHBOR ENLARGE AND REDUCE - --

                    lowest but fastest -+

                    lowest but fastest - quality. Produces jagged edges and uneven motion. - --

                  • -+

                  • - BICUBIC ENLARGE AND BILINEAR REDUCE - --

                    highest but slowest -+

                    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. - --

                  • -+

                  • - BILINEAR ENLARGE AND BILINEAR REDUCE - --

                    when slight enlargement -+

                    when slight enlargement - is needed a bilinear enlargement looks better than a bicubic - enlargement. - --

                  -+
                - --

              • -+

              • - PRELOAD BUFFER FOR QUICKTIME - --

                The Quicktime/AVI decoder can -+

                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. - --

              • -+

              • - MPEG-4 DEBLOCKING - --

                For assets which are compressed in OpenDivx and Quicktime, this enables -+

                For assets which are compressed in OpenDivx and Quicktime, this enables - deblocking. This greatly improves the picture quality during decoding - while slowing it down. - --

              • -+

              • - VIDEO DRIVER - --

                Normally video on the timeline goes to the -+

                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. - --

                Various parameters are given for Video Driver depending on the driver. -+

                Various parameters are given for Video Driver depending on the driver. - --

                  -+
                    - --
                  • -+
                  • - DISPLAY - --

                    The is intended for dual monitor -+

                    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. - --

                  • -+

                  • - DEVICE PATH - --

                    Usually a file in the /dev/ directory -+

                    Usually a file in the /dev/ directory - which controls the device. - --

                  • -+

                  • - SWAP FIELDS - --

                    Make the even lines odd and the odd lines even -+

                    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. - --

                  • -+

                  • - OUTPUT CHANNEL - --

                    Devices with multiple outputs may need a -+

                    Devices with multiple outputs may need a - specific connector to send video on. - --

                  • -+

                  • - PORT - --

                    The IEEE1394 standard specifies something known as the -+

                    The IEEE1394 standard specifies something known as the - port. This is probably the firewire card number in the system - to use. - --

                  • -+

                  • - CHANNEL - --

                    The IEEE1394 standard specifies something known as the -+

                    The IEEE1394 standard specifies something known as the - channel. For DV cameras it's always 63. - --

                  -+
                - --
              -+
            - -+
            -

            - Node:RECORDING, --Next:, --Previous:PLAYBACK, --Up:CONFIGURATION -+Next:, -+Previous:PLAYBACK, -+Up:CONFIGURATION -
            -+
            - --

            RECORDING

            -+

            RECORDING

            - --
              --
            • AUDIO IN: --
            • VIDEO IN: -+ - -+
              -

              - Node:AUDIO IN, --Next:, --Up:RECORDING -+Next:, -+Up:RECORDING -
              -+
              - --

              AUDIO IN

              -+

              AUDIO IN

              - --

              These determine what happens when you record audio. -+

              These determine what happens when you record audio. - --

                -+
                  -
                • - RECORD DRIVER - --

                  This is used for recording audio in the Record window. It may be -+

                  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. - --

                    -+
                      -
                    • - DEVICE PATH - --

                      Usually a file in the /dev/ directory which controls the -+

                      Usually a file in the /dev/ directory which controls the - device. - --

                    • -+

                    • - BITS - --

                      The number of bits of precision Cinelerra should set the device for. -+

                      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. - --

                    • CHANNELS -+

                    • CHANNELS - --

                      The number of channels Cinelerra should set the device for. Regardless -+

                      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. - --

                    -+
                  - --

                • -+

                • - SAMPLES TO WRITE AT A TIME - --

                  Audio is first read in small fragments from the device. Many small -+

                  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. - --

                • -+

                • - SAMPLE RATE FOR RECORDING - --

                  Regardless of what the project settings are. This is the sample rate -+

                  Regardless of what the project settings are. This is the sample rate - used for recording. This should be the highest the audio device - supports. - --

                -+
              - -+
              -

              - Node:VIDEO IN, --Previous:AUDIO IN, --Up:RECORDING -+Previous:AUDIO IN, -+Up:RECORDING -
              -+
              - --

              VIDEO IN

              -+

              VIDEO IN

              - --

              These determine what happens when you record video. -+

              These determine what happens when you record video. - --

                -+
                  -
                • - RECORD DRIVER - --

                  This is used for recording video in the Record window. It may be -+

                  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. - --

                • -+

                • - FRAMES TO RECORD TO DISK AT A TIME - --

                  Frames are recorded in a pipeline. First frames are buffered in the -+

                  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. - --

                • -+

                • - FRAMES TO BUFFER IN DEVICE - --

                  The number of frames to store in the device before reading. This -+

                  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. - --

                • USE SOFTWARE FOR POSITIONING INFORMATION -+

                • USE SOFTWARE FOR POSITIONING INFORMATION - --

                  Video uses audio for -+

                  Video uses audio for - --

                  synchronization but most soundcards don't give accurate position -+

                  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. - --

                • -+

                • - SYNC DRIVES AUTOMATICALLY - --

                  For high bitrate recording the drives may be fast enough to store the -+

                  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. - --

                • -+

                • - SIZE OF CAPTURED FRAME - --

                  This is the size of the frames recorded. It is independant of the -+

                  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. - --

                • FRAME RATE FOR RECORDING -+

                • FRAME RATE FOR RECORDING - --

                  The frame rate recorded is different from the project settings. This -+

                  The frame rate recorded is different from the project settings. This - sets the recorded frame rate. - --

                -+
              - -+
              -

              - Node:PERFORMANCE, --Next:, --Previous:RECORDING, --Up:CONFIGURATION -+Next:, -+Previous:RECORDING, -+Up:CONFIGURATION -
              -+
              - --

              PERFORMANCE

              -+

              PERFORMANCE

              - --

              You'll spend most of your time configuring this section. The main -+

              You'll spend most of your time configuring this section. The main - focus of performance is rendering parameters not available in the - rendering dialog. - --

                -+
                  - --
                • CACHE ITEMS -+
                • CACHE ITEMS - --

                  To speed up rendering, several assets are kept open simultaneously. -+

                  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. - --

                • -+

                • - SECONDS TO PREROLL RENDERS - --

                  Some effects need a certain amount of time to settle in. This sets a -+

                  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. - --

                • -+

                • - FORCE SINGLE PROCESSOR USE - --

                  Cinelerra tries to use all processors on the system by default but -+

                  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. - --

                -+
              - --
                --
              • BACKGROUND RENDERING: --
              • RENDERFARM: -+ - -+
                -

                - Node:BACKGROUND RENDERING, --Next:, --Up:PERFORMANCE -+Next:, -+Up:PERFORMANCE -
                -+
                - --

                BACKGROUND RENDERING

                -+

                BACKGROUND RENDERING

                - --

                Background rendering was originally concieved to allow HDTV effects to -+

                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. - --

                  -+
                    - --
                  • FRAMES PER BACKGROUND RENDERING JOB -+
                  • FRAMES PER BACKGROUND RENDERING JOB - --

                    This only works if renderfarm is being used, otherwise background -+

                    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. - --

                  • FRAMES TO PREROLL BACKGROUND -+

                  • FRAMES TO PREROLL BACKGROUND - --

                    This is the number of frames to render ahead of each background -+

                    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. - --

                  • OUTPUT FOR BACKGROUND RENDERING -+

                  • OUTPUT FOR BACKGROUND RENDERING - --

                    Background rendering generates a sequence of image files in a certain -+

                    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 wrench.png - configuration button for this option works. - --

                  • FILE FORMAT -+

                  • FILE FORMAT - --

                    The file format for background rendering has to be a sequence of -+

                    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. - --

                  -+
                - -+
                -

                - Node:RENDERFARM, --Previous:BACKGROUND RENDERING, --Up:PERFORMANCE -+Previous:BACKGROUND RENDERING, -+Up:PERFORMANCE -
                -+
                - --

                RENDERFARM

                -+

                RENDERFARM

                - --

                To use the renderfarm set these options. Ignore them for a standalone -+

                To use the renderfarm set these options. Ignore them for a standalone - system - --

                  -+
                    - --
                  • -+
                  • - USE RENDER FARM FOR RENDERING - --

                    When selected, all the -+

                    When selected, all the - file->render operations use the renderfarm. - --

                  • -+

                  • - NODES - --

                    Displays all the nodes on the renderfarm and which ones are active. -+

                    Displays all the nodes on the renderfarm and which ones are active. - --

                    Nodes are added by entering the host name of the node, verifying the -+

                    Nodes are added by entering the host name of the node, verifying the - value of port and hitting add node. - --

                    Computer freaks may be better off editing the -+

                    Computer freaks may be better off editing the - ~/.bcast/.Cinelerra_rc file than this if they have hundreds of - nodes. Remember that .Cinelerra_rc is overwritten whenever a copy of - Cinelerra exits. - --

                    Select the ON column to activate and deactivate nodes once they -+

                    Select the ON column to activate and deactivate nodes once they - are created. - --

                    Nodes may be edited by highlighting a row and hitting replace -+

                    Nodes may be edited by highlighting a row and hitting replace - node. - --

                  • -+

                  • - HOSTNAME - --

                    Edit the hostname of an existing node or enter the hostname of a new -+

                    Edit the hostname of an existing node or enter the hostname of a new - node here. - --

                  • -+

                  • - PORT - --

                    Edit the port of an existing node or enter the port of a new node here. -+

                    Edit the port of an existing node or enter the port of a new node here. - --

                  • -+

                  • - REPLACE NODE - --

                    When editing an existing node, hit this to commit the changes to -+

                    When editing an existing node, hit this to commit the changes to - HOSTNAME and PORT. The changes won't be committed if you - don't hit this button. - --

                  • -+

                  • - ADD NODE - --

                    Create a new node with the HOSTNAME and PORT settings. -+

                    Create a new node with the HOSTNAME and PORT settings. - --

                  • -+

                  • - DELETE NODE - --

                    Deletes whatever node is highlighted in the NODES list. -+

                    Deletes whatever node is highlighted in the NODES list. - --

                  • -+

                  • - SORT NODES - --

                    Sorts the NODES list based on the hostname. -+

                    Sorts the NODES list based on the hostname. - --

                  • -+

                  • - RESET RATES - --

                    This sets the framerate for all the nodes to 0. Frame rates are used -+

                    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. - --

                  • -+

                  • - FILESYSTEM PREFIX ON REMOTE NODES - --

                    Sets the relative location of all the assets on the nodes. If the -+

                    Sets the relative location of all the assets on the nodes. If the - assets are in /mov on the master and the master filesystem is - mounted under /mnt on the nodes, the filesystem prefix should be - /mnt. Ideally the assets should appear under the same directory - on the nodes as the master. In this case the filesystem prefix can be - /. - --

                    You don't have to mount a shared filesystem on remote nodes. If the -+

                    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. - --

                    You don't have to specify a file on the master node's filesystem as the -+

                    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. - --

                  • -+

                  • - TOTAL JOBS TO CREATE - --

                    Determines the number of jobs to dispatch to the renderfarm. The more -+

                    Determines the number of jobs to dispatch to the renderfarm. The more - jobs you create, the more finely balanced the renderfarm becomes. - --

                    Determine the total jobs to create by multiplying the number of nodes -+

                    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. - --

                  -+
                - -+
                -

                - Node:INTERFACE, --Previous:PERFORMANCE, --Up:CONFIGURATION -+Previous:PERFORMANCE, -+Up:CONFIGURATION -
                -+
                - --

                INTERFACE

                -+

                INTERFACE

                - --

                These parameters affect purely how the user interface works. -+

                These parameters affect purely how the user interface works. - --

                  -+
                    - --
                  • -+
                  • - INDEX FILES GO HERE - --

                    Back in the days when 4 MB/sec was unearthly speed for a hard drive, -+

                    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. - --

                  • -+

                  • - SIZE OF INDEX FILE - --

                    Determines the size of an index file. Larger index sizes allow smaller -+

                    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. - --

                  • -+

                  • - NUMBER OF INDEX FILES TO KEEP - --

                    To keep the index directory from becoming unruly, old index files are -+

                    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. - --

                  • -+

                  • - DELETE ALL INDEXES - --

                    When you change the index size or you want to clean out excessive index -+

                    When you change the index size or you want to clean out excessive index - files, this deletes all the index files. - --

                  • USE HOURS:MINUTES:SECONDS.XXX -+

                  • USE HOURS:MINUTES:SECONDS.XXX - --

                    Various representations of time are given. Select the most convenient -+

                    Various representations of time are given. Select the most convenient - one. The time representation can also be changed by CTRL - clicking on the time ruler. - --

                  • USE THUMBNAILS -+

                  • USE THUMBNAILS - --

                    The Resource Window displays thumbnails of assets by default. This can -+

                    The Resource Window displays thumbnails of assets by default. This can - take a long time to set up. This option disables the thumbnails. - --

                  • CLICKING IN/OUT POINTS DOES WHAT -+

                  • CLICKING IN/OUT POINTS DOES WHAT - --

                    Cinelerra not only allows you to perform editing by dragging in/out -+

                    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. - --

                  • MIN DB FOR METER -+

                  • MIN DB FOR METER - --

                    Some sound sources have a lower noise threshold than others. -+

                    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. - --

                  • FORMAT FOR METER -+

                  • FORMAT FOR METER - --

                    This option allows you to select the format for all the VU meters. If -+

                    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. - --

                  • THEME -+

                  • THEME - --

                    Cinelerra supports variable themes. Select one here and restart -+

                    Cinelerra supports variable themes. Select one here and restart - Cinelerra to see it. - --

                  -+
                - -+
                -

                - Node:THE MAIN WINDOWS, --Next:, --Previous:CONFIGURATION, --Up:Top -+Next:, -+Previous:CONFIGURATION, -+Up:Top -
                -+
                - --

                THE MAIN WINDOWS

                -+

                THE MAIN WINDOWS

                - --

                When Cinelerra first starts, you'll get four main windows. Hitting -+

                When Cinelerra first starts, you'll get four main windows. Hitting - CTRL-w in any window closes it. - --

                  -+
                    - --
                  • Viewer -+
                  • Viewer - --

                    In here you'll scrub around source media and clips, selecting regions -+

                    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. - --

                  • Compositor -+

                  • Compositor - --

                    This window displays the output of the timeline. It's the interface -+

                    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. - --

                  • Program -+

                  • Program - --

                    This contains the timeline and the entry point for all menu driven -+

                    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. - --

                  • Resources -+

                  • Resources - --

                    Effects, transitions, clips, and assets are accessed here. Most of the -+

                    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. - --

                  -+
                - --

                Under the Window menu you'll find options affecting the main -+

                Under the Window menu you'll find options affecting the main - windows. default positions repositions all the windows to a 4 - screen editing configuration. On dual headed displays, the - default positions operation fills only one monitor with windows. - --

                An additional window, the levels window can be brought up from -+

                An additional window, the levels window can be brought up from - the Window menu. The levels window displays the output - audio levels after all mixing is done. - -+

                -

                - Node:LOADING AND SAVING FILES, --Next:, --Previous:THE MAIN WINDOWS, --Up:Top -+Next:, -+Previous:THE MAIN WINDOWS, -+Up:Top -
                -+
                - --

                LOADING AND SAVING FILES

                -+

                LOADING AND SAVING FILES

                - --
                  --
                • LOADING FILES: --
                • LOADING THE BACKUP: --
                • SAVING FILES: --
                • RENDERING FILES: --
                • THE RENDER FARM: -+ - -+
                  -

                  - Node:LOADING FILES, --Next:, --Up:LOADING AND SAVING FILES -+Next:, -+Up:LOADING AND SAVING FILES -
                  -+
                  - --

                  LOADING FILES

                  -+

                  LOADING FILES

                  - --

                  All data that you work with in Cinelerra is acquired either by -+

                  All data that you work with in Cinelerra is acquired either by - recording from a device or by loading from disk. This - section describes loading. - --

                  The loading and playing of files is just as you would expect. Just go -+

                  The loading and playing of files is just as you would expect. Just go - to file->Load, select a file for loading, and hit ok. Hit - the forward play button and it should start playing, regardless of - whether a progress bar has popped up. - --

                  Another way to load files is to pass the filenames as arguments on the -+

                  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. - --

                  If the file is a still image, the project's attributes are not changed -+

                  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. - --

                    --
                  • SUPPORTED FILE FORMATS: --
                  • INSERTION STRATEGY: --
                  • LOADING MULTIPLE FILES: -+ - -+
                    -

                    - Node:SUPPORTED FILE FORMATS, --Next:, --Up:LOADING FILES -+Next:, -+Up:LOADING FILES -
                    -+
                    - --

                    SUPPORTED FILE FORMATS

                    -+

                    SUPPORTED FILE FORMATS

                    - --

                    The format of the file affects what Cinelerra does with it. Some -+

                    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: - --

                      -+
                        -
                      • WAV -
                      • PCM -
                      • AIFF -
                      • Uncompresed Quicktime - --

                        Quicktime is not the standard for UNIX but we use it because it's well -+

                        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. - --

                      • JPEG, PNG, TIFF, TGA sequences -+

                      • JPEG, PNG, TIFF, TGA sequences - --

                        Cinelerra generates a special table of contents file when you render an -+

                        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. - --

                      • JPEG, PNG, TIFF, TGA still images -+

                      • JPEG, PNG, TIFF, TGA still images - --

                        When loaded, the image takes up one frame in length and doesn't change -+

                        When loaded, the image takes up one frame in length and doesn't change - the project attributes. - --

                      • AVI with mp3 audio and MPEG-4 video -+

                      • AVI with mp3 audio and MPEG-4 video - --
                      • MPEG 1, 2 video -+
                      • MPEG 1, 2 video - --

                        You need to run mpeg3toc to generate a table of contents for -+

                        You need to run mpeg3toc to generate a table of contents for - these, then load the table of contents. If you want to edit a DVD, - find the corresponding ifo file for the program of interest and run - --

                        mpeg3toc /cdrom/video_ts/vts_01_0.ifo dvd.toc
--
                        -+ 
                                  mpeg3toc /cdrom/video_ts/vts_01_0.ifo dvd.toc
-+
                        - --

                        or something similar. Then load dvd.toc. This allows frame -+

                        or something similar. Then load dvd.toc. This allows frame - accurate editing where none would be possible otherwise. - --

                      • MPEG program streams and transport streams -+

                      • MPEG program streams and transport streams - --

                        You need to run mpeg3toc on these just like MPEG 1,2 video. -+

                        You need to run mpeg3toc 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. - --

                      • MPEG audio layer II, III -+

                      • MPEG audio layer II, III - --

                        These can be loaded directly with no table of contents. Variable -+

                        These can be loaded directly with no table of contents. Variable - bitrate streams may need a table of contents but are playable without - it. - --

                      • AC3 audio -+

                      • AC3 audio - --
                      • XML -+
                      • XML - --

                        These are generated by Cinelerra for storing edit lists. They change -+

                        These are generated by Cinelerra for storing edit lists. They change - project attributes when loaded. - --

                      -+
                    - -+
                    -

                    - Node:INSERTION STRATEGY, --Next:, --Previous:SUPPORTED FILE FORMATS, --Up:LOADING FILES -+Next:, -+Previous:SUPPORTED FILE FORMATS, -+Up:LOADING FILES -
                    -+
                    - --

                    INSERTION STRATEGY

                    -+

                    INSERTION STRATEGY

                    - --

                    Usually three things happen when you load a file. First the existing -+

                    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. - --

                    But Cinelerra lets you change what happens when you load a file. -+

                    But Cinelerra lets you change what happens when you load a file. - --

                    In the file selection box go to the Insertion strategy box and -+

                    In the file selection box go to the Insertion strategy box and - select it. Each of these options loads the file a different way. - --

                      -+
                        - --
                      • Replace current project -+
                      • Replace current project - --

                        All tracks in the current project are deleted and new tracks are -+

                        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. - --

                      • Replace current project and concatenate tracks -+

                      • Replace current project and concatenate tracks - --

                        Same as replace current project except if multiple files are selected -+

                        Same as replace current project except if multiple files are selected - it concatenates the tracks of every file after the first. - --

                      • Append in new tracks -+

                      • Append in new tracks - --

                        The current project is not deleted and new tracks are created for the -+

                        The current project is not deleted and new tracks are created for the - source. - --

                      • Concatenate to existing tracks -+

                      • Concatenate to existing tracks - --

                        The current project is not deleted and new files are concatenated to -+

                        The current project is not deleted and new files are concatenated to - the existing tracks. - --

                      • Paste at insertion point -+

                      • Paste at insertion point - --

                        The file is pasted in like a normal paste operation. -+

                        The file is pasted in like a normal paste operation. - --

                      • Create new resources only -+

                      • Create new resources only - --

                        The timeline is unchanged and new resources are created in the Resource -+

                        The timeline is unchanged and new resources are created in the Resource - Window. - --

                      -+
                    - --

                    The insertion strategy is a recurring option in many of Cinelerra's -+

                    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. - --

                    If you load files by passing command line arguments to Cinelerra, the -+

                    If you load files by passing command line arguments to Cinelerra, the - files are loaded with Replace current project rules. - -+

                    -

                    - Node:LOADING MULTIPLE FILES, --Previous:INSERTION STRATEGY, --Up:LOADING FILES -+Previous:INSERTION STRATEGY, -+Up:LOADING FILES -
                    -+
                    - --

                    LOADING MULTIPLE FILES

                    -+

                    LOADING MULTIPLE FILES

                    - --

                    In the file selection box go to the list of files. Select a file. Go -+

                    In the file selection box go to the list of files. Select a file. Go - to another file and select it while holding down CTRL. This - selects one additional file. Go to another file and select it while - holding down SHIFT. This selects every intervening file. This - behavior is available in most every list box. - --

                    Select a bunch of mp3 files and Replace current project and -+

                    Select a bunch of mp3 files and Replace current project and - concatenate tracks in the insertion strategy to create a song - playlist. - -+

                    -

                    - Node:LOADING THE BACKUP, --Next:, --Previous:LOADING FILES, --Up:LOADING AND SAVING FILES -+Next:, -+Previous:LOADING FILES, -+Up:LOADING AND SAVING FILES -
                    -+
                    - --

                    LOADING THE BACKUP

                    -+

                    LOADING THE BACKUP

                    - --

                    There is one special XML file on disk at all times. After every -+

                    There is one special XML file on disk at all times. After every - editing operation Cinelerra saves the current project to a backup in - $HOME/.bcast/backup.xml. In the event of a crash go to - file->load backup 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. - -+

                    -

                    - Node:SAVING FILES, --Next:, --Previous:LOADING THE BACKUP, --Up:LOADING AND SAVING FILES -+Next:, -+Previous:LOADING THE BACKUP, -+Up:LOADING AND SAVING FILES -
                    -+
                    - --

                    SAVING FILES

                    -+

                    SAVING FILES

                    - --

                    When Cinelerra saves a file it saves an edit decision list of the -+

                    When Cinelerra saves a file it saves an edit decision list of the - current project but doesn't save any media. Go to File->save - as.... Select a file to overwrite or enter a new file. Cinelerra - automatically concatenates .xml to the filename if no - .xml extension is given. - --

                    The saved file contains all the project settings and locations of every -+

                    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. - --

                    For each media file the XML file stores either an absolute path or just -+

                    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. - --

                    In order to move XML files around without breaking the media linkages -+

                    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. - --

                    If you want to create an audio playlist and burn it on CD-ROM, save the -+

                    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. - --

                    XML files are useful for saving the current state before going to sleep -+

                    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. - -+

                    -

                    - Node:RENDERING FILES, --Next:, --Previous:SAVING FILES, --Up:LOADING AND SAVING FILES -+Next:, -+Previous:SAVING FILES, -+Up:LOADING AND SAVING FILES -
                    -+
                    - --

                    RENDERING FILES

                    -+

                    RENDERING FILES

                    - --

                    Rendering takes a section of the timeline, performs all the editing, -+

                    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. - --

                    To begin a render operation you need to define a region of the timeline -+

                    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 NAVIGATING THE PROJECT. 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. - --

                    Go to File->render to bring up the render dialog. Select the -+

                    Go to File->render 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. - --

                    In the render dialog select a format from the File Format menu. -+

                    In the render dialog select a format from the File Format menu. - The format of the file determines whether you can render audio or video - or both. Select Render audio tracks to generate audio tracks - and Render video tracks 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. - --

                    The Create new file at each label option causes a new file to be -+

                    The Create new file at each label 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, Create new file at each label causes one - renderfarm job to be created at every label instead of using the - internal load balancing algorithm to space jobs. - --

                    When Create new file at each label is selected, a new filename -+

                    When Create new file at each label 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. - --

                    In the filename /hmov/track01.wav the 01 would be -+

                    In the filename /hmov/track01.wav the 01 would be - overwritten for every output file. The filename - /hmov/track.wav; however, would become /hmov/track.wav001 - 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. - --

                    Finally the render dialog lets you select an insertion mode. The -+

                    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 insert nothing the file will be written out to disk - without changing the current project. For other insertion strategies -@@ -1478,51 +1511,53 @@ - See EDITING. Editing describes how to cause output to be inserted - at the right position. - --

                    It should be noted that even if you only have audio or only have video -+

                    It should be noted that even if you only have audio or only have video - rendered, a paste 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. - -+

                    -

                    - Node:THE RENDER FARM, --Previous:RENDERING FILES, --Up:LOADING AND SAVING FILES -+Previous:RENDERING FILES, -+Up:LOADING AND SAVING FILES -
                    -+
                    - --

                    THE RENDER FARM

                    -+

                    THE RENDER FARM

                    - --

                    When bicubic interpolation and HDTV was first done on Cinelerra, the -+

                    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. - --

                    While the renderfarm interface isn't spectacular, it's simple enough to -+

                    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. - --

                    It should be noted that Create new file at each label causes a -+

                    It should be noted that Create new file at each label 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. - --

                    A Cinelerra renderfarm is organized into a master node and any number -+

                    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. - --

                    Cinelerra divides the selected region of the timeline into a certain -+

                    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. - --

                    Since most of the time you'll want to bring in the rendered output and -+

                    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 concatenate mode 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. - --

                    Configuration of the renderfarm is described in the configuration -+

                    Configuration of the renderfarm is described in the configuration - chapter See RENDERFARM. The slave nodes traditionally read and - write data to a common filesystem over a network, thus they don't need - hard drives. - --

                    Ideally all the nodes on the renderfarm have similar CPU performance. -+

                    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. - -+

                    -

                    - Node:NAVIGATING THE PROJECT, --Next:, --Previous:LOADING AND SAVING FILES, --Up:Top -+Next:, -+Previous:LOADING AND SAVING FILES, -+Up:Top -
                    -+
                    - --

                    NAVIGATING THE PROJECT

                    -+

                    NAVIGATING THE PROJECT

                    - --

                    The thing you want to do most of the time is get to a certain time and -+

                    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. - --

                      --
                    • NAVIGATING THE PROGRAM WINDOW: --
                    • NAVIGATING THE VIEWER AND COMPOSITOR: --
                    • NAVIGATING THE RESOURCES: --
                    • USING THE TRANSPORT CONTROLS: --
                    • USING BACKGROUND RENDERING: -+ - -+
                      -

                      - Node:NAVIGATING THE PROGRAM WINDOW, --Next:, --Up:NAVIGATING THE PROJECT -+Next:, -+Up:NAVIGATING THE PROJECT -
                      -+
                      - --

                      NAVIGATING THE PROGRAM WINDOW

                      -+

                      NAVIGATING THE PROGRAM WINDOW

                      - --

                      The program window contains many features for navigation and displays -+

                      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. - --

                      Below the timeline you'll find the zoom panel. The zoom panel contains -+

                      Below the timeline you'll find the zoom panel. The zoom panel contains - values for sample zoom, amplitude, and track - zoom. These values in addition to the scrollbars are all that's - needed to position the timeline. - -

                      --zoompanel.png -+ zoompanel.png - --

                      Changing the sample zoom causes the amount of time visible to -+

                      Changing the sample zoom causes the amount of time visible to - change. If your mouse has a wheel and it works in X11 go over - the tumblers and use the wheel to zoom in and out. - --

                      The amplitude only affects audio. It determines how big the -+

                      The amplitude only affects audio. It determines how big the - waveform is if the waveform is drawn. - --

                      The track zoom affects all tracks. It determines the height of -+

                      The track zoom 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. - --

                      In addition to the graphical tools, you'll probably more often use the -+

                      In addition to the graphical tools, you'll probably more often use the - keyboard to navigate. Use PAGE UP and PAGE DOWN to - scroll up and down the tracks. - --

                      Use the LEFT and RIGHT arrows to move across time. -+

                      Use the LEFT and RIGHT 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 RIGHT arrow to - scroll past the end of timeline. - --

                      Use the UP and DOWN arrows to change the sample zoom by a -+

                      Use the UP and DOWN arrows to change the sample zoom by a - power of 2. - --

                      CTRL-UP and CTRL-DOWN cause the amplitude zoom to change. -+

                      CTRL-UP and CTRL-DOWN cause the amplitude zoom to change. - --

                      CTRL-PGUP and CTRL-PGDOWN cause the track zoom to change. -+

                      CTRL-PGUP and CTRL-PGDOWN cause the track zoom to change. - --

                        --
                      • THE INSERTION POINT: --
                      • THE IN/OUT POINTS: --
                      • USING LABELS IN THE PROGRAM WINDOW: -+ - -+
                        -

                        - Node:THE INSERTION POINT, --Next:, --Up:NAVIGATING THE PROGRAM WINDOW -+Next:, -+Up:NAVIGATING THE PROGRAM WINDOW -
                        -+
                        - --

                        THE INSERTION POINT

                        -+

                        THE INSERTION POINT

                        - --

                        By default you'll see a flashing insertion point in the program window -+

                        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. - --

                        The insertion point is normally moved by clicking inside the timebar. -+

                        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. - -

                        --main_timebar.png -+ main_timebar.png - The main timebar - --

                        The insertion point also can be moved by clicking in the timeline -+

                        The insertion point also can be moved by clicking in the timeline - itself, but not always. The insertion point has two modes of - operation: - --

                          -+
                            -
                          • drag and drop mode - --
                          • cut and paste mode -+
                          • cut and paste mode - --
                          -+
                        - --

                        The mode of operation is determined by selecting the arrow or the -+

                        The mode of operation is determined by selecting the arrow or the - i-beam in the buttonbar. - -

                        --editing_mode.png -+ editing_mode.png - The editing mode buttons - --

                        If the arrow is highlighted it enables drag and drop mode. In -+

                        If the arrow is highlighted it enables drag and drop 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. - --

                        If the i-beam is highlighted it enables cut and paste mode. In -+

                        If the i-beam is highlighted it enables cut and paste mode. 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. - --

                        Shift-clicking in the timeline extends the highlighted region. -+

                        Shift-clicking in the timeline extends the highlighted region. - --

                        Double-clicking in the timeline selects the entire edit the -+

                        Double-clicking in the timeline selects the entire edit the - cursor is over. - --

                        It should be noted that when moving the insertion point and selecting -+

                        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 - settings->align cursor on frames. - --

                        If the highlighted region is the region affected by cut and paste -+

                        If the highlighted region is the region affected by cut and paste - operations, how do I cut and paste in drag and drop mode? In - this case you need to set in/out points to define an affected region. - -+

                        -

                        - Node:THE IN/OUT POINTS, --Next:, --Previous:THE INSERTION POINT, --Up:NAVIGATING THE PROGRAM WINDOW -+Next:, -+Previous:THE INSERTION POINT, -+Up:NAVIGATING THE PROGRAM WINDOW -
                        -+
                        - --

                        THE IN/OUT POINTS

                        -+

                        THE IN/OUT POINTS

                        - --

                        In both editing modes you can set in/out points. The in/out points -+

                        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. - --

                        To set in/out points go to the timebar and position the insertion point -+

                        To set in/out points go to the timebar and position the insertion point - somewhere. Hit the in_point_button.png in point button. Go - to a position after the in point and hit the out_point_button.png - out point button. - -

                        --inout_points.png Timebar with in/out points set. -+ inout_points.png Timebar with in/out points set. - --

                        Select either the in point or the out point and the insertion point -+

                        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 - in point button the in point will be deleted. After selecting - an out point, if you hit the out point button the out point will - be deleted. - --

                        If you select a region somewhere else while in/out points already -+

                        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. - --

                        Shift-clicking on an in/out point extends the highlighted region -+

                        Shift-clicking on an in/out point extends the highlighted region - to that point. - --

                        Instead of using the button bar you can use the [ and ] -+

                        Instead of using the button bar you can use the [ and ] - keys to toggle in/out points. - --

                        The insertion point and the in/out points allow you to define an -+

                        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. - -+

                        -

                        - Node:USING LABELS IN THE PROGRAM WINDOW, --Previous:THE IN/OUT POINTS, --Up:NAVIGATING THE PROGRAM WINDOW -+Previous:THE IN/OUT POINTS, -+Up:NAVIGATING THE PROGRAM WINDOW -
                        -+
                        - --

                        USING LABELS IN THE PROGRAM WINDOW

                        -+

                        USING LABELS IN THE PROGRAM WINDOW

                        - --

                        Labels are an easy way to set exact locations on the timeline you want -+

                        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 label_button.png label button a new label appears on the - timeline. - -

                        --timebar_label.png Timebar with a label on it -+ timebar_label.png Timebar with a label on it - --

                        No matter what the zoom settings are, clicking on the label positions -+

                        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. - --

                        Shift-clicking on a label extends the highlighted region. -+

                        Shift-clicking on a label extends the highlighted region. - --

                        Double-clicking between two labels highlights the region between -+

                        Double-clicking between two labels highlights the region between - the labels. - --

                        Hitting the l key has the same effect as the label button. -+

                        Hitting the l key has the same effect as the label button. - --

                        If you hit the label button when a region is highlighted, two labels -+

                        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. - --

                        Labels can reposition the insertion point when they are selected but -+

                        Labels can reposition the insertion point when they are selected but - they can also be traversed with the label_traversal.png label - traversal 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. - --

                        CTRL-LEFT repositions the insertion point on the previous label. -+

                        CTRL-LEFT repositions the insertion point on the previous label. - --

                        CTRL-RIGHT repositions the insertion point on the next label. -+

                        CTRL-RIGHT repositions the insertion point on the next label. - --

                        With label traversal you can quickly seek back and forth on the -+

                        With label traversal you can quickly seek back and forth on the - timeline but you can also select regions. - --

                        SHIFT-CTRL-LEFT extends the highlighted region to the previous -+

                        SHIFT-CTRL-LEFT extends the highlighted region to the previous - label. - --

                        SHIFT-CTRL-RIGHT extends the highlighted region to the next label. -+

                        SHIFT-CTRL-RIGHT extends the highlighted region to the next label. - --

                        Manually hitting the label button or l key over and over again -+

                        Manually hitting the label button or l 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 Edit->Clear - labels function. If in/out points exist, the labels between the - in/out points are cleared and the highlighted region ignored. - -+

                        -

                        - Node:NAVIGATING THE VIEWER AND COMPOSITOR, --Next:, --Previous:NAVIGATING THE PROGRAM WINDOW, --Up:NAVIGATING THE PROJECT -+Next:, -+Previous:NAVIGATING THE PROGRAM WINDOW, -+Up:NAVIGATING THE PROJECT -
                        -+
                        - --

                        NAVIGATING THE VIEWER AND COMPOSITOR

                        -+

                        NAVIGATING THE VIEWER AND COMPOSITOR

                        - --

                        The navigation features of the Viewer and Compositor behave very -+

                        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. - -

                        --timebarslider.png -+ timebarslider.png - --

                        The timebar represents the entire time covered by the program. When -+

                        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 preview region. - --

                        The preview region is the region of the timeline which the -+

                        The preview region 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. - --

                        When you replace the current project with a file the preview region -+

                        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. - --

                        Load a file and then slide around it using the compositor slider. The -+

                        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. - --

                        Go to the right of the timebar until a right resize pointer appears. -+

                        Go to the right of the timebar until a right resize pointer appears. - Drag left so the preview region shrinks. - --

                        Go to the center of the preview region in the timebar and drag it -+

                        Go to the center of the preview region in the timebar and drag it - around to convince yourself if can be moved. - -

                        --previewregion.png -+ previewregion.png - --

                        Preview region in compositor -+

                        Preview region in compositor - --

                        If you go to the slider and slide it around with the preview region -+

                        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. - --

                        Labels and in/out points are fully supported in the viewer and -+

                        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. - --

                        When you hit the label button in the compositor, the label -+

                        When you hit the label button in the compositor, the label - appears both in the compositor timebar and the program timebar. - --

                        When you select a label or in/out point in the compositor, the program -+

                        When you select a label or in/out point in the compositor, the program - window jumps to that position. - -

                        --viewer_labels.png Labels and in/out points in the viewer. -+ viewer_labels.png Labels and in/out points in the viewer. - --

                        In the viewer and compositor, labels and in/out points are displayed in -+

                        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. - --

                        Like the Program window, the Compositor has a zoom capability. First, -+

                        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 Auto the video is zoomed to match - the compositor window size as closely as possible. When set to any -@@ -1871,73 +1918,77 @@ - middle mouse button dragging in the video output scans around - it. This is exactly when The Gimp does. - --

                        Furthermore, the zoom magnify.png toggle causes the Compositor -+

                        Furthermore, the zoom magnify.png toggle causes the Compositor - window to enter zoom mode. In zoom mode, clicking in the video output - zooms in while ctrl-clicking in the video output zooms out. If - you have a wheel mouse, rotating the wheel zooms in or out too. - --

                        Zooming in or out with the zoom tool does not change the rendered -+

                        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. - -+

                        -

                        - Node:NAVIGATING THE RESOURCES, --Next:, --Previous:NAVIGATING THE VIEWER AND COMPOSITOR, --Up:NAVIGATING THE PROJECT -+Next:, -+Previous:NAVIGATING THE VIEWER AND COMPOSITOR, -+Up:NAVIGATING THE PROJECT -
                        -+
                        - --

                        NAVIGATING THE RESOURCES

                        -+

                        NAVIGATING THE RESOURCES

                        - --

                        The resource window is divided into two areas. One area lists folders -+

                        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. - --

                        The folder and contents can be displayed as icons or text. -+

                        The folder and contents can be displayed as icons or text. - --

                        Right clicking in the folder or contents area brings up a menu -+

                        Right clicking in the folder or contents area brings up a menu - containing formatting options. Select Display text to display a - text listing. Select Sort items to sort the contents of the - folder alphabetically. - -+

                        -

                        - Node:USING THE TRANSPORT CONTROLS, --Next:, --Previous:NAVIGATING THE RESOURCES, --Up:NAVIGATING THE PROJECT -+Next:, -+Previous:NAVIGATING THE RESOURCES, -+Up:NAVIGATING THE PROJECT -
                        -+
                        - --

                        USING THE TRANSPORT CONTROLS

                        -+

                        USING THE TRANSPORT CONTROLS

                        - --

                        Transport controls are just as useful in navigation as they are in -+

                        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. - -

                        --transport_panel.png The transport panel. -+ transport_panel.png The transport panel. - --

                        The transport panel is controlled by the keyboard as well as the -+

                        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. - --

                        The orientation of the end or start depends on the direction of -+

                        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. - --

                        The insertion point moves to track playback. When playback stops it -+

                        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. - --

                        The keyboard interface is usually the fastest and has more speeds. The -+

                        The keyboard interface is usually the fastest and has more speeds. The - transport keys are arranged in a T on the number pad. - --

                          -+
                            - --
                          • + Fast reverse -+
                          • + Fast reverse -
                          • 6 Normal reverse -
                          • 5 Slow reverse -
                          • 4 Frame reverse -@@ -1949,9 +2000,9 @@ -
                          • Spacebar Normal forward -
                          - --

                          Hitting any key on the keyboard twice pauses it. -+

                          Hitting any key on the keyboard twice pauses it. - --

                          When using frame advance functions the behavior may seem odd. If you -+

                          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. - -+

                          -

                          - Node:USING BACKGROUND RENDERING, --Previous:USING THE TRANSPORT CONTROLS, --Up:NAVIGATING THE PROJECT -+Previous:USING THE TRANSPORT CONTROLS, -+Up:NAVIGATING THE PROJECT -
                          -+
                          - --

                          USING BACKGROUND RENDERING

                          -+

                          USING BACKGROUND RENDERING

                          - --

                          Background rendering allows impossibly slow effects to play back in -+

                          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. - --

                          Background rendering is enabled in settings->preferences->performance. -+

                          Background rendering is enabled in settings->preferences->performance. - It has one interactive function: settings->set background render. 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. - --

                          It's often useful to insert an effect or a transition and then select -+

                          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. - -+

                          -

                          - Node:EDITING, --Next:, --Previous:NAVIGATING THE PROJECT, --Up:Top -+Next:, -+Previous:NAVIGATING THE PROJECT, -+Up:Top -
                          -+
                          - --

                          EDITING

                          -+

                          EDITING

                          - --

                          Editing comprises both the time domain and the track domain. Since the -+

                          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. - --

                          In the time domain, Cinelerra offers many ways to approach the editing -+

                          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. - --

                          There are several concepts Cinelerra uses when editing which apply to -+

                          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 arm track - attribute. - -

                          --track_attributes.png -+ track_attributes.png - Track attributes - --

                          Only the armed tracks are affected by editing operations. Make -+

                          Only the armed tracks are affected by editing operations. Make - sure you have enough armed destination tracks when you paste or splice - material or some tracks in the material will get left out. - --

                          The other attributes affect the output of the track. -+

                          The other attributes affect the output of the track. - --

                            -+
                              - --
                            • -+
                            • - Play track 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. - --
                            • -+
                            • - Gang fader causes the fader to track the movement of whatever other - fader you're adjusting. A fader is only ganged if the arm track is - also on. This is normally used to adjust audio levels on all the - tracks simultaneously. - --
                            • -+
                            • - Draw data 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. - --
                            • -+
                            • - Mute track causes the output to be thrown away once the track is - completely rendered. This happens whether or not play track 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. - --
                            -+
                          - --

                          There are two ways to set the same attribute on multiple tracks very -+

                          There are two ways to set the same attribute on multiple tracks very - quickly. Hold down shift 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. - --

                          In addition to restricting editing operations, the armed tracks in -+

                          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. - --

                          The active region is the range of time in the edit decision on the -+

                          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. - --

                          Finally, editing decisions never affect source material. Editing only affects -+

                          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 render it. See RENDERING FILES. - --

                            --
                          • MANIPULATING TRACKS: --
                          • TWO SCREEN EDITING: --
                          • DRAG AND DROP EDITING: --
                          • CUT AND PASTE EDITING: --
                          • TRIMMING: -+ - -+
                            -

                            - Node:MANIPULATING TRACKS, --Next:, --Up:EDITING -+Next:, -+Up:EDITING -
                            -+
                            - --

                            MANIPULATING TRACKS

                            -+

                            MANIPULATING TRACKS

                            - --

                            Tracks in Cinelerra either contain audio or video. There is no special -+

                            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. - --

                            Bring up the popup menu by moving over a track and right clicking. The -+

                            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. - --

                            Move up and move down moves the one track up or down in -+

                            Move up and move down moves the one track up or down in - the stack. Delete track deletes the track. - --

                            Operations in the Tracks menu affect only tracks which are -+

                            Operations in the Tracks menu affect only tracks which are - armed. - --

                            Move tracks up and Move tracks down shift all the armed -+

                            Move tracks up and Move tracks down shift all the armed - tracks up or down the stack. - --

                            Delete tracks deletes the armed tracks. -+

                            Delete tracks deletes the armed tracks. - --

                            Delete last track deletes the last track, whether it's armed or -+

                            Delete last track deletes the last track, whether it's armed or - not. Holding down the d key quickly deletes all the tracks. - --

                            Concatenate tracks is more complicated. It takes every -+

                            Concatenate tracks is more complicated. It takes every - playable track and concatenates it to the end of the first - armed tracks. 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. - --

                            Finally, you'll want to create new tracks. The Audio and -+

                            Finally, you'll want to create new tracks. The Audio and - Video 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. - -+

                            -

                            - Node:TWO SCREEN EDITING, --Next:, --Previous:MANIPULATING TRACKS, --Up:EDITING -+Next:, -+Previous:MANIPULATING TRACKS, -+Up:EDITING -
                            -+
                            - --

                            TWO SCREEN EDITING

                            -+

                            TWO SCREEN EDITING

                            - --

                            This is the fastest way to construct a program out of movie files. The -+

                            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. - --

                            The way to begin a two screen editing session is to load some -+

                            The way to begin a two screen editing session is to load some - resources. In file->load load some movies with the insertion - mode create new resources. 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. - --

                            There should be enough armed tracks on the timeline to put the sections -+

                            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. - --

                            In the viewer window seek to the starting point of a clip you want to -+

                            In the viewer window seek to the starting point of a clip you want to - use. Use either the slider or the transport controls. - Use the preview region to narrow down the search. Set the - starting point with the in_point_button.png in point button. - --

                            Seek to the ending point of the clip you want to use. Set the ending -+

                            Seek to the ending point of the clip you want to use. Set the ending - point with the out_point_button.png out point button. The - two points should now appear on the timebar and define a clip. - --

                            There are several things you can do with the clip now. -+

                            There are several things you can do with the clip now. - --

                              -+
                                - --
                              • -+
                              • - Splice splice_button.png inserts the clip in the timeline, pushing - everything back. If an in point or out point 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. - --
                              • -+
                              • - Overwrite overwrite_button.png overwrites the region of the - timeline with the clip. If an in point or out point - 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. - --
                              • -+
                              • - Create a clip 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. - --
                              • -+
                              • - Copy behaves the same as in cut and paste editing. - --
                              -+
                            - --

                            Two screen editing can be done purely by keybard shortcuts. When you -+

                            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 [ ] v keys perform in/out points - and splicing. - -+

                            -

                            - Node:DRAG AND DROP EDITING, --Next:, --Previous:TWO SCREEN EDITING, --Up:EDITING -+Next:, -+Previous:TWO SCREEN EDITING, -+Up:EDITING -
                            -+
                            - --

                            DRAG AND DROP EDITING

                            -+

                            DRAG AND DROP EDITING

                            - --

                            The answer is yes, you can you create a bunch of clips and drag them on -+

                            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. - --

                            Load some files using file->load. Set the insertion mode to -+

                            Load some files using file->load. Set the insertion mode to - Create new resources. This loads the files into the Resource - Window. Create some audio and video tracks on the timeline using the - video and audio menus. - --

                            Open the Media folder in the resource window. Drag a media file -+

                            Open the Media 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. - --

                            Cinelerra fills out the audio and video tracks below the dragging -+

                            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. - --

                            When dragging, the media snaps to the start of track if the track is -+

                            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. - --

                            You can also drag multiple files from the resource window. Either draw -+

                            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. - --

                            To display the resources as text or icons, right click inside the media -+

                            To display the resources as text or icons, right click inside the media - list. Select either display icons or display text to - change the list format. - --

                            When displaying text in the resource window SHIFT-clicking on -+

                            When displaying text in the resource window SHIFT-clicking on - media files extends the number of highlighted selections. - CTRL-clicking on media files in text mode selects additional - files one at a time. - --

                            When displaying icons in the resource window SHIFT-clicking or -+

                            When displaying icons in the resource window SHIFT-clicking or - CTRL-clicking selects media files one at a time. - --

                            In addition to dragging media files, if you create clips and open the -+

                            In addition to dragging media files, if you create clips and open the - clip folder you can drag clips on the timeline. - --

                            In the timeline there is further dragging functionality. To enable the -+

                            In the timeline there is further dragging functionality. To enable the - dragging functionality of the timeline, select the arrow toggle - 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. - --

                            Dragging edits around the timeline allows you to sort music playlists, -+

                            Dragging edits around the timeline allows you to sort music playlists, - sort movie scenes, and give better NAB demos but not much else. - -+

                            -

                            - Node:CUT AND PASTE EDITING, --Next:, --Previous:DRAG AND DROP EDITING, --Up:EDITING -+Next:, -+Previous:DRAG AND DROP EDITING, -+Up:EDITING -
                            -+
                            - --

                            CUT AND PASTE EDITING

                            -+

                            CUT AND PASTE EDITING

                            - --

                            This is the traditional method of editing in audio editors. In the -+

                            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. - --

                            Load some files onto the timeline. To perform cut and paste editing -+

                            Load some files onto the timeline. To perform cut and paste editing - select the ibeam.png i-beam toggle. Select a region of the - timeline and select the cut.png cut button to cut it. Move the - insertion point to another point in the timeline and select the - paste.png paste button. Assuming no in/out points are defined on - the timeline this performs a cut and paste operation. - --

                            If in/out points are defined, the insertion point and highlighted -+

                            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. - --

                            When editing audio, it is customary to cut from one part of a waveform -+

                            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. - --

                            One option for simplifying this is to open a second copy of Cinelerra, -+

                            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. - --

                            Another option is to set in/out points for the source region of the -+

                            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. - --

                            A final operation in cut and paste editing is the edit->clear -+

                            A final operation in cut and paste editing is the edit->clear - operation. If a region is highlighted or in/out points exist, the - affected region is cleared by edit->clear. 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. - -+

                            -

                            - Node:TRIMMING, --Previous:CUT AND PASTE EDITING, --Up:EDITING -+Previous:CUT AND PASTE EDITING, -+Up:EDITING -
                            -+
                            - --

                            TRIMMING

                            -+

                            TRIMMING

                            - --

                            With some edits on the timeline it's possible to do trimming. By -+

                            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. - --

                            When you click on an edit boundary to start dragging, the mouse button -+

                            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 INTERFACE. - --

                            The effect of each drag operation not only depends on the behavior -+

                            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. - --

                            In a Drag all following edits operation, the beginning of the -+

                            In a Drag all following edits 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. - --

                            In a Drag only one edit operation, the behavior is the same when -+

                            In a Drag only one edit 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. - --

                            In a Drag source only operation, nothing is cut or pasted. If -+

                            In a Drag source only operation, nothing is cut or pasted. If - you move the beginning or end of the edit forward, the source reference - in the edit shifts forward. If you move the beginning or end of the - edit backward, the source reference shifts backward. Where the edit - appears in the timeline remains the same but the source shifts. - --

                            For all file formats besides still images, the extent of the trimming -+

                            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. - --

                            In all trimming operations, all edits which start on the same position -+

                            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. - -+

                            -

                            - Node:USING EFFECTS, --Next:, --Previous:EDITING, --Up:Top -+Next:, -+Previous:EDITING, -+Up:Top -
                            -+
                            - --

                            USING EFFECTS

                            -+

                            USING EFFECTS

                            - --

                            It would be sufficient to perform all changes to the timeline using -+

                            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. - --

                            Effects fall into three categories, and each effect in a category is -+

                            Effects fall into three categories, and each effect in a category is - applied using the same procedure. - --

                              --
                            • REALTIME EFFECTS: --
                            • RENDERED EFFECTS: --
                            • TRANSITIONS: --
                            • LADSPA EFFECTS: -+ - -+
                              -

                              - Node:REALTIME EFFECTS, --Next:, --Up:USING EFFECTS -+Next:, -+Up:USING EFFECTS -
                              -+
                              - --

                              REALTIME EFFECTS

                              -+

                              REALTIME EFFECTS

                              - --

                              These are layered under the track they apply to. They process the -+

                              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. - --

                              All the realtime effects are listed in the resource window, divided -+

                              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. - --

                              If there is data on the destination track, the effect is applied to the -+

                              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. - --

                              Some of the effects don't process data but synthesize data. In the -+

                              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. - --

                              When dragging more than one effect onto a track, you'll see the effects -+

                              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. - --

                              In addition to dragging from the resource window, effects may be -+

                              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 - Attach effect 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. - --

                              When an effect exists under a track, it most often needs to be -+

                              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 show 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. - --

                                --
                              • REALTIME EFFECT TYPES: --
                              • EDITING REALTIME EFFECTS: -+ - -+
                                -

                                - Node:REALTIME EFFECT TYPES, --Next:, --Up:REALTIME EFFECTS -+Next:, -+Up:REALTIME EFFECTS -
                                -+
                                - --

                                REALTIME EFFECT TYPES

                                -+

                                REALTIME EFFECT TYPES

                                - --

                                The two other effect types supported by the Attach Effect dialog are -+

                                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: - --

                                  -+
                                    - --
                                  • There must be other effects in the timeline. -+
                                  • There must be other effects in the timeline. - --
                                  • -+
                                  • - 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. - --
                                  • -+
                                  • - The insertion point or selected region must start inside the other effects. - --
                                  -+
                                - --

                                In the case of a shared effect, these conditions must be true. In the -+

                                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. - --

                                If shared effects or shared tracks are available, they appear in the -+

                                If shared effects or shared tracks are available, they appear in the - shared effects and shared tracks columns. The - attach button under each column causes anything highlighted in - the column to be attached under the current track. - --

                                Shared effects and shared tracks allow very unique things to be done. -+

                                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. - --

                                When a shared effect is played back, it's processed just like a normal -+

                                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. - --

                                When an original track has a shared track as one of its effects, -+

                                When an original track has a shared track as one of its effects, - the shared track itself is used as a realtime effect. This is more - commonly known as bouncing tracks 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. - --

                                In addition, once the shared track has processed the output of the -+

                                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 @@ - mutepatch_up.png mute toggle next to each track for whom you don't - want to mix on the output. - --

                                Suppose you were making video and you did want the shared track to -+

                                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. - -+

                                -

                                - Node:EDITING REALTIME EFFECTS, --Previous:REALTIME EFFECT TYPES, --Up:REALTIME EFFECTS -+Previous:REALTIME EFFECT TYPES, -+Up:REALTIME EFFECTS -
                                -+
                                - --

                                EDITING REALTIME EFFECTS

                                -+

                                EDITING REALTIME EFFECTS

                                - --

                                Many operations exist for manipulating effects once they are in the -+

                                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. - --

                                Normally when you edit tracks, the effects follow the editing -+

                                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 Settings->edit effects in the project - window. This decouples effects from editing operations, but what if - you just want to edit the effects? - --

                                Move the timeline cursor over the effect borders until it changes to a -+

                                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. - --

                                The three editing behaviors of track trimming apply to effect trimming -+

                                The three editing behaviors of track trimming apply to effect trimming - and they are bound to the mouse buttons that you set in interface - preferences. See INTERFACE. 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. - --

                                Also unlike track editing, the starting position of the drag operation -+

                                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. - --

                                What happens if you trim the end of an effect in, leaving a lot of -+

                                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. - --

                                In addition to trimming, you can move effects up or down. Every track -+

                                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 - Move up and Move down options move the effect up or down. - --

                                When you're moving effects up or down, be aware that if they're shared -+

                                When you're moving effects up or down, be aware that if they're shared - as shared effects, any references will be pointing to a - different effect after the move operation. - --

                                Finally, there's dragging of effects. Dragging effects works just like -+

                                Finally, there's dragging of effects. Dragging effects works just like - dragging edits. You must select the 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. - --

                                Right click on an effect to bring up a menu for the effect. Select -+

                                Right click on an effect to bring up a menu for the effect. Select - attach... to change the effect or change the reference if it is - a shared effect. - -+

                                -

                                - Node:RENDERED EFFECTS, --Next:, --Previous:REALTIME EFFECTS, --Up:USING EFFECTS -+Next:, -+Previous:REALTIME EFFECTS, -+Up:USING EFFECTS -
                                -+
                                - --

                                RENDERED EFFECTS

                                -+

                                RENDERED EFFECTS

                                - --

                                Another type of effect is performed on a section of the track and the -+

                                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. - --

                                The rendered effects are not listed in the resource window but instead -+

                                The rendered effects are not listed in the resource window but instead - are accessed through the Audio->Render effect and - Video->Render effect 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. - --

                                A region of the timeline to apply the effect to must be defined before -+

                                A region of the timeline to apply the effect to must be defined before - selecting Render effect.... 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. - --

                                In the render effect dialog is a list of all the realtime and all the -+

                                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. - --

                                Define a file to render the effect to in the Select a file to -+

                                Define a file to render the effect to in the Select a file to - render to box. The magnify.png magnifying glass allows file - selection from a list. - --

                                Select a file format which can handle the track type. The -+

                                Select a file format which can handle the track type. The - wrench.png wrench allows configuration specific to the file format. - --

                                There is also an option for creating a new file at each label. If you -+

                                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. - --

                                Finally there is an insertion strategy just like in the render dialog. -+

                                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. - --

                                When you click OK in the effect dialog, it calls the GUI of the -+

                                When you click OK 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. - -+

                                -

                                - Node:TRANSITIONS, --Next:, --Previous:RENDERED EFFECTS, --Up:USING EFFECTS -+Next:, -+Previous:RENDERED EFFECTS, -+Up:USING EFFECTS -
                                -+
                                - --

                                TRANSITIONS

                                -+

                                TRANSITIONS

                                - --

                                When one edit ends and another edit begins, the default behaviour is to -+

                                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. - --

                                Cinelerra supports audio and video transitions, all of which are listed -+

                                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 audio transitions can only apply - to audio tracks. Transitions under video transitions can only - apply to video tracks. - --

                                Load a video file and cut a section from the center so the edit point -+

                                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 - Video transitions 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. - --

                                You can now scrub over the transition with the transport controls and -+

                                You can now scrub over the transition with the transport controls and - watch the output in the Compositor window. 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. - --

                                Once the transition is in place, it can be edited similarly to an -+

                                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 show 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 detach - option removes the transition from the timeline. - --

                                Dragging and dropping transitions from the Resource window to the -+

                                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 U and u - keys will paste the same transition. The U 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. - --

                                It should be noted that when playing transitions from the timeline to a -+

                                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. - -+

                                -

                                - Node:LADSPA EFFECTS, --Previous:TRANSITIONS, --Up:USING EFFECTS -+Previous:TRANSITIONS, -+Up:USING EFFECTS -
                                -+
                                - --

                                LADSPA EFFECTS

                                -+

                                LADSPA EFFECTS

                                - --

                                LADSPA effects are supported in realtime and rendered mode for audio. -+

                                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. - --

                                LADSPA Effects are enabled merely by setting the LADSPA_PATH -+

                                LADSPA Effects are enabled merely by setting the LADSPA_PATH - environment variable to the location of your LADSPA plugins or putting - them in the /usr/lib/cinelerra directory. - -+

                                -

                                - Node:SETTING PROJECT ATTRIBUTES, --Next:, --Previous:USING EFFECTS, --Up:Top -+Next:, -+Previous:USING EFFECTS, -+Up:Top -
                                -+
                                - --

                                SETTING PROJECT ATTRIBUTES

                                -+

                                SETTING PROJECT ATTRIBUTES

                                - --

                                When you play media files in Cinelerra, the media files have a certain -+

                                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. - --

                                The project attributes are adjusted in settings->format and in -+

                                The project attributes are adjusted in settings->format and in - to a more limited extent in file->new. When you adjust project - settings in file->new 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. - --

                                In addition to the traditional settings for sample rate, frame rate, -+

                                In addition to the traditional settings for sample rate, frame rate, - frame size, Cinelerra uses some unusual settings like channel - positions, color model, and aspect ratio. - --

                                  -+
                                    - --
                                  • -+
                                  • - 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 @@ - -

                                    -

                                    --channelpositions.png -+ channelpositions.png -

                                    -

                                    --

                                    But different channels can be positioned very close together to make -+

                                    But different channels can be positioned very close together to make - them have the same output. - --

                                  • -+

                                  • - 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. - --

                                    Cinelerra colormodels are described using a certain packing order of -+

                                    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. - --

                                    RGBA8888 uses red, green, blue, and alpha with 8 bits per -+

                                    RGBA8888 uses red, green, blue, and alpha with 8 bits per - channel. - --

                                    In order to do effects which involve alpha channels, a colormodel with -+

                                    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. - --

                                    The YUV colormodels are usually faster than RGB colormodels when using -+

                                    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. - --

                                  • -+

                                  • - 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. - --
                                  -+
                                - -+
                                -

                                - Node:COMPOSITING, --Next:, --Previous:SETTING PROJECT ATTRIBUTES, --Up:Top -+Next:, -+Previous:SETTING PROJECT ATTRIBUTES, -+Up:Top -
                                -+
                                - --

                                COMPOSITING

                                -+

                                COMPOSITING

                                - --

                                A large amount of Cinelerra's binary size is directed towards -+

                                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. - --

                                Compositing operations are done on the timeline and in the Compositor -+

                                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. - --

                                  --
                                • THE CAMERA AND PROJECTOR: --
                                • MASKS: --
                                • CROPPING: --
                                • SAFE REGIONS: --
                                • OVERLAY MODES: --
                                • TRACK AND OUTPUT SIZES: -+ - -+
                                  -

                                  - Node:THE CAMERA AND PROJECTOR, --Next:, --Up:COMPOSITING -+Next:, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  THE CAMERA AND PROJECTOR

                                  -+

                                  THE CAMERA AND PROJECTOR

                                  - --

                                  In the compositor window, the most important functions are the -+

                                  In the compositor window, the most important functions are the - camera.png camera button and the 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 @@ - -

                                  -

                                  --compositing_pipeline.png -+ compositing_pipeline.png -

                                  -

                                  --

                                  Visual representation of the compositing pipeline. -+

                                  Visual representation of the compositing pipeline. - --

                                  When editing the camera and projector in the compositing window, the -+

                                  When editing the camera and projector in the compositing window, the - first track with record 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 shift-click on the record icon of the track. This - solos the track. - --

                                  When the projector button is enabled in the compositor window, -+

                                  When the projector 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. shift-dragging anywhere -@@ -2905,46 +2990,46 @@ - the video. Once you've positioned the video with the projector, you're - ready to master the camera. - --

                                  Select the camera.png camera button to enable camera editing mode. -+

                                  Select the 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. - --

                                  For example, when you drag the camera left, the video moves right. -+

                                  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. - --

                                  In the compositing window, there is a popup menu of options for the -+

                                  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. - --

                                    -+
                                      - --
                                    • Reset Camera causes the camera to return to the center position. -+
                                    • Reset Camera causes the camera to return to the center position. - --
                                    • Reset Projector causes the projector to return to the center. -+
                                    • Reset Projector causes the projector to return to the center. - --
                                    -+
                                  - --

                                  The camera and projector have shortcut operations neither in the popup -+

                                  The camera and projector have shortcut operations neither in the popup - menu or represented in video overlays. These are accessed in the - Tool window. Most operations in the Compositor window have a - tool window which is enabled by activating the toolwindow.png - question mark. - --

                                  In the case of the camera and projector, the tool window shows x, y, -+

                                  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. - --

                                  The translation effect allows simultaneous aspect ratio conversion and -+

                                  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. - --

                                  The translation effect is dropped onto the video track. The input -+

                                  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 out x and out y at 0 and use the projector's - tool window. - --

                                  Merely by selecting left_justify.png left justify and -+

                                  Merely by selecting left_justify.png left justify and - 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. - -+

                                  -

                                  - Node:MASKS, --Next:, --Previous:THE CAMERA AND PROJECTOR, --Up:COMPOSITING -+Next:, -+Previous:THE CAMERA AND PROJECTOR, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  MASKS

                                  -+

                                  MASKS

                                  - --

                                  Masks select a region of the video for either displaying or hiding. -+

                                  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. - --

                                  The order of the compositing pipeline affects what can be done with -+

                                  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. - --

                                  Our compositing pipeline graph now has a masking stage. There are 8 -+

                                  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. - -

                                  -

                                  --compositing_pipeline2.png -+ compositing_pipeline2.png -

                                  -

                                  --

                                  Compositing pipeline with masks -+

                                  Compositing pipeline with masks - --

                                  To define a mask, go into the Compositor window and enable the -+

                                  To define a mask, go into the Compositor window and enable the - mask.png mask 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. - --

                                  Once points are defined, they can be moved by ctrl-dragging in -+

                                  Once points are defined, they can be moved by ctrl-dragging 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 - shift-dragging in the vicinity of the corner. Then - shift-dragging near the in or out point causes the point to - move. - --

                                  Finally, once you have a mask, the mask can be translated in one piece -+

                                  Finally, once you have a mask, the mask can be translated in one piece - by alt-dragging 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. - --

                                  The masks have many more parameters which couldn't be represented with -+

                                  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 toolwindow.png question mark when the mask.png - mask toggle is highlighted brings up the mask options. - --

                                  The mode of the mask determines if the mask removes data or -+

                                  The mode 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. - --

                                  The value of the mask determines how extreme the addition or -+

                                  The value 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. - --

                                  The mask number determines which one of the 8 possible masks we're -+

                                  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 mask number 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. - --

                                  When multiple masks are used, their effects are ORed together. Every -+

                                  When multiple masks are used, their effects are ORed together. Every - mask in a single track uses the same value and mode. - --

                                  The edges of a mask are hard by default but this rarely is desired. -+

                                  The edges of a mask are hard by default but this rarely is desired. - The feather parameter determines how many pixels to feather the - mask. This creates softer edges but takes longer to render. - --

                                  Finally, there are parameters which affect one point on the current -+

                                  Finally, there are parameters which affect one point on the current - mask instead of the whole mask. These are Delete, x, y. The - active point is defined as the last point dragged in the compositor - window. Any point can be activated merely by ctrl-clicking near -@@ -3058,16 +3145,18 @@ - Delete deletes it and x, y allow repositioning by numeric - entry. - -+

                                  -

                                  - Node:CROPPING, --Next:, --Previous:MASKS, --Up:COMPOSITING -+Next:, -+Previous:MASKS, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  CROPPING

                                  -+

                                  CROPPING

                                  - --

                                  Cropping changes the value of the output dimensions and the projector -+

                                  Cropping changes the value of the output dimensions and the projector - to reduce the visible picture area. Enable the crop.png crop - toggle and the 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 do it button in the tool window. - -+

                                  -

                                  - Node:SAFE REGIONS, --Next:, --Previous:CROPPING, --Up:COMPOSITING -+Next:, -+Previous:CROPPING, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  SAFE REGIONS

                                  -+

                                  SAFE REGIONS

                                  - --

                                  On consumer displays the borders of the image are cut off and within -+

                                  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 titlesafe.png safe regions toggle. Keep titles inside - the inner rectangle and keep action inside the outer rectangle. - -+

                                  -

                                  - Node:OVERLAY MODES, --Next:, --Previous:SAFE REGIONS, --Up:COMPOSITING -+Next:, -+Previous:SAFE REGIONS, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  OVERLAY MODES

                                  -+

                                  OVERLAY MODES

                                  - --

                                  Every track has an overlay mode, accessible by expanding the track. -+

                                  Every track has an overlay mode, accessible by expanding the track. - Select the expandpatch_checked.png expand track toggle to view all - the options for a video track. The overlay mode of the track is - normal by default. Select other modes by selecting the - normal button. Overlay modes are processed inside the projector - stage of compositing. The different modes are summarized below. - --

                                    -+
                                      - --
                                    • -+
                                    • - Normal uses a traditional Porter-Diff equation to blend tracks with - alpha. When no alpha exists, the new track replaces the output. - --
                                    • -+
                                    • - 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. - --
                                    • -+
                                    • - In subtraction, the current track is subtracted from the output and the - result is alpha blended onto the output. - --
                                    • -+
                                    • - 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. - --
                                    • -+
                                    • - Divide divides the current track by the output and the result is - blended into the output. It usually results in overloaded levels. - --
                                    • -+
                                    • - Replace does no blending and overwrites the output with the current - track. - --
                                    -+
                                  - -+
                                  -

                                  - Node:TRACK AND OUTPUT SIZES, --Previous:OVERLAY MODES, --Up:COMPOSITING -+Previous:OVERLAY MODES, -+Up:COMPOSITING -
                                  -+
                                  - --

                                  TRACK AND OUTPUT SIZES

                                  -+

                                  TRACK AND OUTPUT SIZES

                                  - --

                                  The size of the temporary and the size of the output in our compositing -+

                                  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. - --

                                  The temporary size is defined as the track size. Each track has a -+

                                  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 Resize Track to resize the track to any arbitrary size. - Alternatively you can select Match output size to make the track - the same size as the output. - --

                                  The output size is set in either New when creating a new project -+

                                  The output size is set in either New when creating a new project - or Settings->Format. In the Resource window there is another - way to change the output size. Right click on a video asset and select - Match project size 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. - -+

                                  -

                                  - Node:KEYFRAMES, --Next:, --Previous:COMPOSITING, --Up:Top -+Next:, -+Previous:COMPOSITING, -+Up:Top -
                                  -+
                                  - --

                                  KEYFRAMES

                                  -+

                                  KEYFRAMES

                                  - --

                                  Setting static compositing parameters isn't very useful most of the -+

                                  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. - --

                                  Whenever you adjust any parameter, the value is stored in a keyframe. -+

                                  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 default keyframe. - 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. - --

                                  Display keyframes for any parameter by using the view menu. -+

                                  Display keyframes for any parameter by using the view menu. - When keyframes are selected, they are drawn on the timeline over the - tracks they apply to. - --

                                    --
                                  • CURVE KEYFRAMES: --
                                  • TOGGLE KEYFRAMES: --
                                  • AUTOMATIC KEYFRAMES: --
                                  • COMPOSITOR KEYFRAMES: --
                                  • EDITING KEYFRAMES: -+ - -+
                                    -

                                    - Node:CURVE KEYFRAMES, --Next:, --Up:KEYFRAMES -+Next:, -+Up:KEYFRAMES -
                                    -+
                                    - --

                                    CURVE KEYFRAMES

                                    -+

                                    CURVE KEYFRAMES

                                    - --

                                    Fade and zoom settings are stored in bezier curves. Go to -+

                                    Fade and zoom settings are stored in bezier curves. Go to - view->fade keyframes or view->...zoom to show curves on - the timeline. It's sometimes easier to pull down the view 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. - --

                                    After the keyframe is created, click drag on it again to reposition -+

                                    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. ctrl-dragging 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. - --

                                    You may remember that The Gimp and the Compositing masks all use -+

                                    You may remember that The Gimp and the Compositing masks all use - shift to select control points so why does the timeline use - ctrl? When you shift-drag 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. - -+

                                    -

                                    - Node:TOGGLE KEYFRAMES, --Next:, --Previous:CURVE KEYFRAMES, --Up:KEYFRAMES -+Next:, -+Previous:CURVE KEYFRAMES, -+Up:KEYFRAMES -
                                    -+
                                    - --

                                    TOGGLE KEYFRAMES

                                    -+

                                    TOGGLE KEYFRAMES

                                    - --

                                    Mute is the only toggle keyframe. Mute keyframes determine where the -+

                                    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. - -+

                                    -

                                    - Node:AUTOMATIC KEYFRAMES, --Next:, --Previous:TOGGLE KEYFRAMES, --Up:KEYFRAMES -+Next:, -+Previous:TOGGLE KEYFRAMES, -+Up:KEYFRAMES -
                                    -+
                                    - --

                                    AUTOMATIC KEYFRAMES

                                    -+

                                    AUTOMATIC KEYFRAMES

                                    - --

                                    You may have noticed when a few fade curves are set up, moving the -+

                                    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. - --

                                    Enable automatic keyframe mode by enabling the automatic keyframe -+

                                    Enable automatic keyframe mode by enabling the automatic keyframe - toggle 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. - --

                                    It's useful to go into the View menu and make the desired -+

                                    It's useful to go into the View 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. - --

                                    When automatic keyframe mode is disabled, a similarly strange thing -+

                                    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. - --

                                    There are many parameters which can only be keyframed in automatic -+

                                    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. - --

                                    Effects are only keyframable in automatic mode because of the number of -+

                                    Effects are only keyframable in automatic mode because of the number of - parameters in each individual effect. - --

                                    Camera and projector translation can only be keyframed in automatic -+

                                    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. - -+

                                    -

                                    - Node:COMPOSITOR KEYFRAMES, --Next:, --Previous:AUTOMATIC KEYFRAMES, --Up:KEYFRAMES -+Next:, -+Previous:AUTOMATIC KEYFRAMES, -+Up:KEYFRAMES -
                                    -+
                                    - --

                                    COMPOSITOR KEYFRAMES

                                    -+

                                    COMPOSITOR KEYFRAMES

                                    - --

                                    Camera and projector translation is represented by two parameters: x -+

                                    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. - --

                                    Move the projector slightly in the compositor window to create a -+

                                    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. - --

                                    Now when scrubbing around with the compositor window's slider, the -+

                                    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. - --

                                    Click-drag when automatic keyframes are off to adjust the preceeding -+

                                    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. - --

                                    By default the motion path is a straight line, but it can be curved -+

                                    By default the motion path is a straight line, but it can be curved - with control points. Ctrl-drag to set either the in or out - control point of the preceeding keyframe. Once again, we depart from - The Gimp because shift 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. - --

                                    When editing the camera translation, the behavior of the camera boxes -+

                                    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. - --

                                    The situation becomes more intuitive if you bend the motion path -+

                                    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. - -+

                                    -

                                    - Node:EDITING KEYFRAMES, --Previous:COMPOSITOR KEYFRAMES, --Up:KEYFRAMES -+Previous:COMPOSITOR KEYFRAMES, -+Up:KEYFRAMES -
                                    -+
                                    - --

                                    EDITING KEYFRAMES

                                    -+

                                    EDITING KEYFRAMES

                                    - --

                                    Keyframes can be shifted around and moved between tracks on the -+

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

                                    The most popular keyframe editing operation is replication of some -+

                                    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 recordpatch_up.png patch - by shift-clicking on it. Then either set in/out points or -@@ -3382,10 +3489,10 @@ - record recordpatch_up.png patch by shift-clicking on it and - go to keyframes->paste keyframes to paste the clipboard. - --

                                    The media editing commands are mapped to the keyframe editing commands -+

                                    The media editing commands are mapped to the keyframe editing commands - by using the shift key instead of just the keyboard shortcut. - --

                                    This leads to the most complicated part of keyframe editing, the -+

                                    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 allow conversion of the default keyframe to a - non-default keyframe. - --

                                    Keyframes->copy default keyframe copies the default keyframe to -+

                                    Keyframes->copy default keyframe copies the default keyframe to - the clipboard, no matter what region of the timeline is selected. The - keyframes->paste keyframes function may then be used to paste - the clipboard as a non-default keyframe. - --

                                    If you've copied a non-default keyframe, it can be stored as the -+

                                    If you've copied a non-default keyframe, it can be stored as the - default keyframe by calling keyframes->paste default keyframe. - 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. - --

                                    Finally, there is a convenient way to delete keyframes besides -+

                                    Finally, there is a convenient way to delete keyframes besides - selecting a region and calling keyframes->clear keyframes. - Merely click-drag a keyframe before its preceeding keyframe or after - its following keyframe on the track. - -+

                                    -

                                    - Node:CAPTURING MEDIA, --Next:, --Previous:KEYFRAMES, --Up:Top -+Next:, -+Previous:KEYFRAMES, -+Up:Top -
                                    -+
                                    - --

                                    CAPTURING MEDIA

                                    -+

                                    CAPTURING MEDIA

                                    - --

                                    Ideally, all media would be stored on hard drives, CD-ROM, flash, or -+

                                    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. - --

                                    The first step in recording is to configure the input device. In -+

                                    The first step in recording is to configure the input device. In - Settings->preferences are a number of recording parameters - described in configuration See RECORDING. 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. - --

                                    Go to File->record to record a dumb I/O source. This prompts -+

                                    Go to File->record 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. - --

                                    The record window has discrete sections. While many parameters change -+

                                    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. - --

                                      -+
                                        - --
                                      • -+
                                      • - The output format area describes the format of the output file and the - current position within it. - --
                                      • -+
                                      • - The edit batch area lets you change parameters in the current batch. - --
                                      • -+
                                      • - The transport controls start and stop recording different ways. - --
                                      • -+
                                      • - The batch list displays all the defined batches. - --
                                      • -+
                                      • - The confirmation area lets you determine how the output files are - imported into the timeline and quit. - --
                                      -+
                                    - --recording.png -+ recording.png -

                                    -

                                    --

                                    Recording window areas -+

                                    Recording window areas - --

                                    Recording in Cinelerra is organized around batches. A batch -+

                                    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 record.png. - --

                                    The record button opens the current output file if it isn't opened and -+

                                    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 singleframe.png which records a single - frame. - --

                                    When enough media is recorded, choose an insertion method from the -+

                                    When enough media is recorded, choose an insertion method from the - Insertion Strategy menu and hit close. - --

                                      --
                                    • BATCHES: --
                                    • EDITING TUNER INFORMATION: -+ - -+
                                      -

                                      - Node:BATCHES, --Next:, --Up:CAPTURING MEDIA -+Next:, -+Up:CAPTURING MEDIA -
                                      -+
                                      - --

                                      BATCHES

                                      -+

                                      BATCHES

                                      - --

                                      Now we come to the concept of batches. Batches try to make the dumb -+

                                      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. - --

                                      The record window supports a list of batches and two recording modes: -+

                                      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. - --

                                      Batch recording happens when the start button is pressed. In -+

                                      Batch recording happens when the start button is pressed. In - batch recording, the start time is the time the batch starts - recording. - --

                                      First, you'll want to create some batches. Each batch has certain -+

                                      First, you'll want to create some batches. Each batch has certain - parameters and methods of adjustment. - --

                                        -+
                                          - --
                                        • -+
                                        • - On determines whether the batch is included in batch recording - operations. Click the list row under On to enable or disable - batches. - --
                                        • -+
                                        • - Path 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 edit batch area. - --
                                        • -+
                                        • - News 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 Open, indicating the file - is already opened and won't be erased in the next record button press. - --

                                          If you change out of the current batch after recording, the file is -+

                                          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. - --

                                        • -+

                                        • - Start time 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. - --
                                        • -+
                                        • - Duration is the length of the batch. It only has meaning if the - Mode of the batch is Timed. Once the recording length - reaches duration the recording stops, whether in interactive or - batch mode. - --
                                        • -+
                                        • - Source 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. - --
                                        -+
                                      - --

                                      The record window has a notion of the current batch. The -+

                                      The record window has a notion of the current batch. 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. - --

                                      By coloring the current batch red, any batch can be edited by -+

                                      By coloring the current batch red, any batch can be edited by - highlighting it, without changing the batch to be recorded. - --

                                      All recording operations take place in the current batch. If there -+

                                      All recording operations take place in the current batch. If there - are multiple batches, highlight the desired batch and hit - activate to make it the current batch. If the start - button is pressed, the current batch flashes to indicate it's waiting - for the start time in batch mode. If the record button is - pressed, the current batch is recorded immediately in interactive mode. - --

                                      In batch and interactive recording modes, when the current batch -+

                                      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. - --

                                      Interrupt either the batch or the interactive operation by hitting the -+

                                      Interrupt either the batch or the interactive operation by hitting the - stop button. - --

                                      Finally there is the rewind.png rewind button. In either -+

                                      Finally there is the 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. - -+

                                      -

                                      - Node:EDITING TUNER INFORMATION, --Previous:BATCHES, --Up:CAPTURING MEDIA -+Previous:BATCHES, -+Up:CAPTURING MEDIA -
                                      -+
                                      - --

                                      EDITING TUNER INFORMATION

                                      -+

                                      EDITING TUNER INFORMATION

                                      - --

                                      Sometimes in the recording process and the configuration process, -+

                                      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. - --

                                      Defining tuner channels is accomplished by pushing the channel.png -+

                                      Defining tuner channels is accomplished by pushing the 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. - --

                                      The add operation brings up a channel editing box. The title of -+

                                      The add 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. - --

                                      Fine tuning in the channel edit dialog adjusts the physical frequency -+

                                      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. - --

                                      To sort channels, highlight the channel in the list and push move -+

                                      To sort channels, highlight the channel in the list and push move - up or move down to move it. - --

                                      Once channels are defined, the source item in the record window -+

                                      Once channels are defined, the source 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. - -+

                                      -

                                      - Node:IMPROVING PERFORMANCE, --Next:, --Previous:CAPTURING MEDIA, --Up:Top --
                                      -- --

                                      IMPROVING PERFORMANCE

                                      -- --
                                      -+ -+

                                      IMPROVING PERFORMANCE

                                      -+ -+ - -+
                                      -

                                      - Node:DISABLING SWAP SPACE, --Next:, --Up:IMPROVING PERFORMANCE -+Next:, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      DISABLING SWAP SPACE

                                      -+

                                      DISABLING SWAP SPACE

                                      - --

                                      On systems with lots of memory, Cinelerra sometimes runs better without -+

                                      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. - --

                                      The question then is how to make Linux run without a swap space. -+

                                      The question then is how to make Linux run without a swap space. - Theoretically it should be a matter of running - --

                                      swapoff -a
--
                                      -+
                                           swapoff -a
-+
                                      - --

                                      Unfortunately, without a swap space the kswapd tasklet normally -+

                                      Unfortunately, without a swap space the kswapd tasklet normally - spins at 100%. To eliminate this problem, edit linux/mm/vmscan.c. - In this file, put a line saying return 0; before it says - --

                                      	/*
--	 * Kswapd main loop.
--	 */
--
                                      -+
                                           	/*
-+     	 * Kswapd main loop.
-+     	 */
-+
                                      - --

                                      Then recompile the kernel. -+

                                      Then recompile the kernel. - -+

                                      -

                                      - Node:ENLARGING SOUND BUFFERS, --Next:, --Previous:DISABLING SWAP SPACE, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:DISABLING SWAP SPACE, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      ENLARGING SOUND BUFFERS

                                      -+

                                      ENLARGING SOUND BUFFERS

                                      - --

                                      In order to improve realtime performance, the audio buffers for all the -+

                                      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. - --

                                      This only applies to the OSS version of the Soundblaster Live driver. -+

                                      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 linux/drivers/sound/emu10k1/audio.c - --

                                      Where is says -+

                                      Where is says - --

                                      if (bufsize >= 0x10000)
--
                                      -+
                                           if (bufsize >= 0x10000)
-+
                                      - --

                                      change it to say -+

                                      change it to say - --

                                      if (bufsize > 0x40000)
--
                                      -+
                                           if (bufsize > 0x40000)
-+
                                      - --

                                      In linux/drivers/sound/emu10k1/hwaccess.h -+

                                      In linux/drivers/sound/emu10k1/hwaccess.h - --

                                      Change -+

                                      Change - --

                                      #define MAXBUFSIZE 65536 -+

                                      #define MAXBUFSIZE 65536 - --

                                      to -+

                                      to - --

                                      #define MAXBUFSIZE 262144 -+

                                      #define MAXBUFSIZE 262144 - --

                                      Finally, in linux/drivers/sound/emu10k1/cardwi.h -+

                                      Finally, in linux/drivers/sound/emu10k1/cardwi.h - --

                                      #define WAVEIN_MAXBUFSIZE 65536 -+

                                      #define WAVEIN_MAXBUFSIZE 65536 - --

                                      to -+

                                      to - --

                                      #define WAVEIN_MAXBUFSIZE 262144 -+

                                      #define WAVEIN_MAXBUFSIZE 262144 - --

                                      Then recompile the kernel modules. -+

                                      Then recompile the kernel modules. - -+

                                      -

                                      - Node:MAKING XFree86 FASTER, --Next:, --Previous:ENLARGING SOUND BUFFERS, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:ENLARGING SOUND BUFFERS, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      MAKING XFree86 FASTER

                                      -+

                                      MAKING XFree86 FASTER

                                      - --

                                      XFree86 by default can't display Cinelerra's advanced pixmap rendering -+

                                      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. - --

                                      In the Section "Device" area, add a line saying: -+

                                      In the Section "Device" area, add a line saying: - --

                                      Option "XaaNoOffscreenPixmaps" -+

                                      Option "XaaNoOffscreenPixmaps" - --

                                      and restart the X server. -+

                                      and restart the X server. - -+

                                      -

                                      - Node:FREEING MORE SHARED MEMORY, --Next:, --Previous:MAKING XFree86 FASTER, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:MAKING XFree86 FASTER, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      FREEING MORE SHARED MEMORY

                                      -+

                                      FREEING MORE SHARED MEMORY

                                      - --

                                      The Linux kernel only allows 32MB of shared memory to be allocated by -+

                                      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: - --

                                      echo "0x7fffffff" > /proc/sys/kernel/shmmax -+

                                      echo "0x7fffffff" > /proc/sys/kernel/shmmax - -+

                                      -

                                      - Node:SPEEDING UP THE HARD DRIVE, --Next:, --Previous:FREEING MORE SHARED MEMORY, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:FREEING MORE SHARED MEMORY, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      SPEEDING UP THE HARD DRIVE

                                      -+

                                      SPEEDING UP THE HARD DRIVE

                                      - --

                                      This is a very popular command sequence among Linux gurus, which is not -+

                                      This is a very popular command sequence among Linux gurus, which is not - done by default on Linux distributions. - --

                                      hdparm -c3 -d1 -u1 -k1 /dev/hda -+

                                      hdparm -c3 -d1 -u1 -k1 /dev/hda - --

                                      -c3 puts the hard drive into 32 bit I/O with sync. This normally -+

                                      -c3 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 -c0 - instead of -c3 in your command. - --

                                      -d1 enables DMA of course. This frees up the CPU partially during -+

                                      -d1 enables DMA of course. This frees up the CPU partially during - data transfers. - --

                                      -u1 allows multiple interrupts to be handled during hard drive -+

                                      -u1 allows multiple interrupts to be handled during hard drive - transactions. This frees up even more CPU time. - --

                                      -k1 prevents Linux from resetting your settings in case of a -+

                                      -k1 prevents Linux from resetting your settings in case of a - glitch. - -+

                                      -

                                      - Node:DISABLING CRON, --Next:, --Previous:SPEEDING UP THE HARD DRIVE, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:SPEEDING UP THE HARD DRIVE, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      DISABLING CRON

                                      -+

                                      DISABLING CRON

                                      - --

                                      Linux runs some daily operations like compressing man pages. These may -+

                                      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 - /etc/rc.d/init.d/anacron. - --

                                      Put exit before the first line not beginning in #. -+

                                      Put exit before the first line not beginning in #. - --

                                      In /etc/rc.d/init.d/crond put exit before the first line not -+

                                      In /etc/rc.d/init.d/crond put exit before the first line not - beginning in #. Then make like Win 2000 and reboot. - --

                                      You can't use the at command anymore, but who uses that command -+

                                      You can't use the at command anymore, but who uses that command - anyways? - -+

                                      -

                                      - Node:REDUCING USB MOUSE SENSITIVITY, --Next:, --Previous:DISABLING CRON, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:DISABLING CRON, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      REDUCING USB MOUSE SENSITIVITY

                                      -+

                                      REDUCING USB MOUSE SENSITIVITY

                                      - --

                                      Gamers like high resolution mice, but this can be painful for precisely -+

                                      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 - xset m 1 1 but you're out of luck with USB mice or KVM's. - --

                                      We have a way to reduce USB mouse sensitivity. Edit -+

                                      We have a way to reduce USB mouse sensitivity. Edit - /usr/src/linux/drivers/input/mousedev.c. - --

                                      After the line saying -- --

                                      struct mousedev_list {
--
                                      -- --

                                      put -+

                                      After the line saying - --

                                      #define DOWNSAMPLE 4
--int x_accum, y_accum;
--
                                      -- --

                                      Next, the section which says something like: -- --

                                      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;
--
                                      -- --

                                      must be replaced by -- --

                                      --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;
-+
                                           struct mousedev_list {
-+     
                                      
- 
-+   
                                      put
- 
-+
                                           #define DOWNSAMPLE 4
-+     int x_accum, y_accum;
-+     
                                      
-+
-+   
                                      Next, the section which says something like:
-+
-+
                                           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;
-+     
                                      
-+
-+   
                                      must be replaced by
-+
-+
                                           
-+     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;
-+     
-+     
-+     
-+     
                                      
- 
--
                                      -- --

                                      Change the value of DOWNSAMPLE to change the mouse sensitivity. -+

                                      Change the value of DOWNSAMPLE to change the mouse sensitivity. - -+

                                      -

                                      - Node:ASSORTED X TWEEKS, --Next:, --Previous:REDUCING USB MOUSE SENSITIVITY, --Up:IMPROVING PERFORMANCE -+Next:, -+Previous:REDUCING USB MOUSE SENSITIVITY, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      ASSORTED X TWEEKS

                                      -+

                                      ASSORTED X TWEEKS

                                      - --

                                      Screen blanking is really annoying, unless you're fabulously rich and -+

                                      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 /etc/X11/xinit/xinitrc put - --

                                      xset s off
--xset s noblank
--
                                      -+
                                           xset s off
-+     xset s noblank
-+
                                      - --

                                      before the first if statement. -+

                                      before the first if statement. - --

                                      How about those windows keys which no Linux distribution even thinks to -+

                                      How about those windows keys which no Linux distribution even thinks to - use. You can make the window keys provide ALT functionality by editing - /etc/X11/Xmodmap. Append the following to it. - --

                                      keycode 115 = Hyper_L
--keycode 116 = Hyper_R
--add mod4 = Hyper_L
--add mod5 = Hyper_R
--
                                      -+
                                           keycode 115 = Hyper_L
-+     keycode 116 = Hyper_R
-+     add mod4 = Hyper_L
-+     add mod5 = Hyper_R
-+
                                      - --

                                      The actual changes to a window manager to make it recognize window keys -+

                                      The actual changes to a window manager to make it recognize window keys - for ALT are complex. In FVWM at least, you can edit - /etc/X11/fvwm/system.fvwm2rc and put - --

                                      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
--
                                      -+
                                           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
-+
                                      - --

                                      in place of the default section for moving and resizing. Your best -+

                                      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. - -+

                                      -

                                      - Node:SPEEDING UP THE FILE SYSTEM, --Previous:ASSORTED X TWEEKS, --Up:IMPROVING PERFORMANCE -+Previous:ASSORTED X TWEEKS, -+Up:IMPROVING PERFORMANCE -
                                      -+
                                      - --

                                      SPEEDING UP THE FILE SYSTEM

                                      -+

                                      SPEEDING UP THE FILE SYSTEM

                                      - --

                                      You'll often store video on an expensive, gigantic disk array separate -+

                                      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 mke2fs command. By far - the fastest file system is - --

                                      --mke2fs -i 65536 -b 4096 my_device
--tune2fs -r0 -c10000 my_device
--
--
                                      -+
                                           
-+     mke2fs -i 65536 -b 4096 my_device
-+     tune2fs -r0 -c10000 my_device
-+     
-+
                                      - --

                                      This has no journaling, reserves as few blocks as possible for -+

                                      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 - --

                                      --mke2fs -j -i 65536 -b 4096 my_device
--tune2fs -r0 -c10000 my_device
--
--
                                      -+
                                           
-+     mke2fs -j -i 65536 -b 4096 my_device
-+     tune2fs -r0 -c10000 my_device
-+     
-+
                                      - --

                                      This adds a journal which slows down the writes but makes us immune to -+

                                      This adds a journal which slows down the writes but makes us immune to - power failures. - -+

                                      -

                                      - Node:EFFECT DESCRIPTIONS, --Next:, --Previous:IMPROVING PERFORMANCE, --Up:Top -+Next:, -+Previous:IMPROVING PERFORMANCE, -+Up:Top -
                                      -+
                                      - --

                                      EFFECT DESCRIPTIONS

                                      -+

                                      EFFECT DESCRIPTIONS

                                      - --

                                      Most effects in Cinelerra can be figured out just by using them and -+

                                      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. - --

                                        --
                                      • CHROMA KEY: --
                                      • HISTOGRAM: --
                                      • TIME AVERAGE: --
                                      • VIDEO SCOPE: -+ - -+
                                        -

                                        - Node:CHROMA KEY, --Next:, --Up:EFFECT DESCRIPTIONS -+Next:, -+Up:EFFECT DESCRIPTIONS -
                                        -+
                                        - --

                                        CHROMA KEY

                                        -+

                                        CHROMA KEY

                                        - --

                                        This effect replaces the selected color or intensity with black if -+

                                        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. - --

                                        Chroma key uses either the value or the hue to determine what is -+

                                        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. - --

                                        The slope tries to soften the edges of the chroma key but it doesn't -+

                                        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. - -+

                                        -

                                        - Node:HISTOGRAM, --Next:, --Previous:CHROMA KEY, --Up:EFFECT DESCRIPTIONS -+Next:, -+Previous:CHROMA KEY, -+Up:EFFECT DESCRIPTIONS -
                                        -+
                                        - --

                                        HISTOGRAM

                                        -+

                                        HISTOGRAM

                                        - --

                                        This shows the number of occurances of each value of a certain color -+

                                        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. - -+

                                        -

                                        - Node:TIME AVERAGE, --Next:, --Previous:HISTOGRAM, --Up:EFFECT DESCRIPTIONS -+Next:, -+Previous:HISTOGRAM, -+Up:EFFECT DESCRIPTIONS -
                                        -+
                                        - --

                                        TIME AVERAGE

                                        -+

                                        TIME AVERAGE

                                        - --

                                        Time average is one effect which has many uses besides creating nifty -+

                                        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. - -+

                                        -

                                        - Node:VIDEO SCOPE, --Previous:TIME AVERAGE, --Up:EFFECT DESCRIPTIONS -+Previous:TIME AVERAGE, -+Up:EFFECT DESCRIPTIONS -
                                        -+
                                        - --

                                        VIDEO SCOPE

                                        -+

                                        VIDEO SCOPE

                                        - --

                                        The video scope plots two views of the image. One view plots the -+

                                        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. - --

                                        The vectorscope is actually very useful for determining if an image is -+

                                        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. - --

                                        The waveform allows you to make sure image data extends from complete -+

                                        The waveform allows you to make sure image data extends from complete - black to complete white while adjusting the brightness/contrast. - -+

                                        -

                                        - Node:PLUGIN AUTHORING, --Next:, --Previous:EFFECT DESCRIPTIONS, --Up:Top -+Next:, -+Previous:EFFECT DESCRIPTIONS, -+Up:Top -
                                        -+
                                        - --

                                        PLUGIN AUTHORING

                                        -+

                                        PLUGIN AUTHORING

                                        - --

                                        The plugin API in Cinelerra dates back to 1997, before the LADSPA and -+

                                        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. - --

                                        There are several types of plugins, each with a common procedure -+

                                        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. - --

                                          --
                                        • COMMON PROCEDURES: --
                                        • REALTIME PLUGINS: --
                                        • NONREALTIME PLUGINS: --
                                        • AUDIO PLUGINS: --
                                        • VIDEO PLUGINS: --
                                        • TRANSITION PLUGINS: --
                                        • PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK: -+ - -+
                                          -

                                          - Node:COMMON PROCEDURES, --Next:, --Up:PLUGIN AUTHORING -+Next:, -+Up:PLUGIN AUTHORING -
                                          -+
                                          - --

                                          COMMON PROCEDURES

                                          -+

                                          COMMON PROCEDURES

                                          - --

                                          All plugins inherit from a derivative of PluginClient. This derivative -+

                                          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. - --

                                          The files they include depend on the plugin type. Audio plugins -+

                                          The files they include depend on the plugin type. Audio plugins - include pluginaclient.h and video plugins include - pluginvclient.h. They inherit PluginAClient and - PluginVClient respectively. - --

                                          Another thing all plugins do is define at least three objects: -+

                                          Another thing all plugins do is define at least three objects: - --

                                            -+
                                              - --
                                            • -+
                                            • - 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. - --
                                            • -+
                                            • - 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. - --

                                              Using Cinelerra's toolkit, the only user interface object a developer -+

                                              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. - --

                                              Depending on the user interface toolkit, a user interface thread may be -+

                                              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. - --

                                            • -+

                                            • - 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. - --
                                            -+
                                          - --
                                            --
                                          • THE PROCESSING OBJECT: --
                                          • THE CONFIGURATION OBJECT: --
                                          • THE USER INTERFACE OBJECT: -+ - -+
                                            -

                                            - Node:THE PROCESSING OBJECT, --Next:, --Up:COMMON PROCEDURES -+Next:, -+Up:COMMON PROCEDURES -
                                            -+
                                            - --

                                            THE PROCESSING OBJECT

                                            -+

                                            THE PROCESSING OBJECT

                                            - --

                                            The processing object should inherit from the intended PluginClient -+

                                            The processing object should inherit from the intended PluginClient - derivative. Its constructor should take a PluginServer argument. - --

                                            MyPlugin(PluginServer *server);
--
                                            -+
                                                 MyPlugin(PluginServer *server);
-+
                                            - --

                                            In the implementation, the plugin must contain a registration line with -+

                                            In the implementation, the plugin must contain a registration line with - the name of the processing object like - --

                                            REGISTER_PLUGIN(MyPlugin)
--
                                            -+
                                                 REGISTER_PLUGIN(MyPlugin)
-+
                                            - --

                                            The constructor should contain -+

                                            The constructor should contain - --

                                            PLUGIN_CONSTRUCTOR_MACRO
--
                                            -+
                                                 PLUGIN_CONSTRUCTOR_MACRO
-+
                                            - --

                                            to initialize the most common variables. -+

                                            to initialize the most common variables. - --

                                            The processing object should have a destructor containing -+

                                            The processing object should have a destructor containing - --

                                            PLUGIN_DESTRUCTOR_MACRO
--
                                            -+
                                                 PLUGIN_DESTRUCTOR_MACRO
-+
                                            - --

                                            to delete the most common variables. -+

                                            to delete the most common variables. - --

                                            Another function which is useful but not mandatory is -+

                                            Another function which is useful but not mandatory is - --

                                            int is_multichannel();
--
                                            -+
                                                 int is_multichannel();
-+
                                            - --

                                            It should return 1 if one instance of the plugin handles multiple -+

                                            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 PluginClient::total_in_buffers to - determine the number of channels. - --

                                            To simplify the implementation of realtime plugins, a macro for -+

                                            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. - --

                                            PLUGIN_CLASS_MEMBERS(config_name, thread_name)
--
                                            -+
                                                 PLUGIN_CLASS_MEMBERS(config_name, thread_name)
-+
                                            - --

                                            Many other members may be defined in the processing object, depending -+

                                            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. - --

                                              -+
                                                - --
                                              • int load_configuration(); -+
                                              • int load_configuration(); - --

                                                Loads the configuration based on surrounding keyframes and current -+

                                                Loads the configuration based on surrounding keyframes and current - position. The class definition should contain - --

                                                LOAD_CONFIGURATION_MACRO(plugin_class, config_class)
--
                                                -+ 
                                                          LOAD_CONFIGURATION_MACRO(plugin_class, config_class)
-+
                                                - --

                                                to implement load_configuration. This stores whatever the current -+

                                                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 config when using - PLUGIN_CLASS_MEMBERS. - --

                                              • VFrame* new_picon(); -+

                                              • VFrame* new_picon(); - --

                                                Creates a picon for display in the resource window. Use -+

                                                Creates a picon for display in the resource window. Use - --

                                                #include "picon_png.h"
--NEW_PICON_MACRO(plugin_class)
--
                                                -+ 
                                                          #include "picon_png.h"
-+          NEW_PICON_MACRO(plugin_class)
-+
                                                - --

                                                to implement new_picon. In addition, the user should create a -+

                                                to implement new_picon. In addition, the user should create a - picon_png.h header file from a PNG image using pngtoh. - pngtoh is in guicast and compiled using a sequence like - --

                                                gcc -o pngtoh pngtoh.c
--
                                                -+ 
                                                          gcc -o pngtoh pngtoh.c
-+
                                                - --

                                                The source PNG image should be called picon.png and can be any format -+

                                                The source PNG image should be called picon.png and can be any format - supported by PNG. - --

                                              • char* plugin_title(); -+

                                              • char* plugin_title(); - --

                                                Returns a text string identifying the plugin in the resource window. -+

                                                Returns a text string identifying the plugin in the resource window. - The string has to be unique. - --

                                              • void update_gui(); -+

                                              • void update_gui(); - --

                                                Should first load the configuration and then redraw the GUI with the -+

                                                Should first load the configuration and then redraw the GUI with the - new parameters. All the plugins using GuiCast have a format like - --

                                                void MyPlugin::update_gui()
--{
--	if(thread)
--	{
--		load_configuration();
--		thread->window->lock_window();
--// update widgets here
--		thread->window->unlock_window();
--	}
--}
--
                                                -+ 
                                                          void MyPlugin::update_gui()
-+          {
-+          	if(thread)
-+          	{
-+          		load_configuration();
-+          		thread->window->lock_window();
-+          // update widgets here
-+          		thread->window->unlock_window();
-+          	}
-+          }
-+
                                                - --

                                                to handle concurrency and conditions of no GUI. -+

                                                to handle concurrency and conditions of no GUI. - --

                                              • int show_gui(); -+

                                              • int show_gui(); - --

                                                Instantiate the GUI and switch the plugin to GUI mode. This is implemented with -+

                                                Instantiate the GUI and switch the plugin to GUI mode. This is implemented with - --

                                                SHOW_GUI_MACRO(plugin_class, thread_class)
--
                                                -+ 
                                                          SHOW_GUI_MACRO(plugin_class, thread_class)
-+
                                                - --

                                              • int set_string(); -+

                                              • int set_string(); - --

                                                Changes the title of the GUI window to a certain string. This is implemented with -+

                                                Changes the title of the GUI window to a certain string. This is implemented with - --

                                                SET_STRING_MACRO(plugin_class)
--
                                                -+ 
                                                          SET_STRING_MACRO(plugin_class)
-+
                                                - --

                                              • void raise_window(); -+

                                              • void raise_window(); - --

                                                Raises the GUI window to the top of the stack. This is implemented with -+

                                                Raises the GUI window to the top of the stack. This is implemented with - --

                                                RAISE_WINDOW_MACRO(plugin_class)
--
                                                -+ 
                                                          RAISE_WINDOW_MACRO(plugin_class)
-+
                                                - --
                                              -+
                                            - -+
                                            -

                                            - Node:THE CONFIGURATION OBJECT, --Next:, --Previous:THE PROCESSING OBJECT, --Up:COMMON PROCEDURES -+Next:, -+Previous:THE PROCESSING OBJECT, -+Up:COMMON PROCEDURES -
                                            -+
                                            - --

                                            THE CONFIGURATION OBJECT

                                            -+

                                            THE CONFIGURATION OBJECT

                                            - --

                                            The configuration object is critical for GUI updates, signal -+

                                            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. - --

                                            Usually the configuration object starts with the name of the plugin -+

                                            Usually the configuration object starts with the name of the plugin - followed by Config. - --

                                            class MyPluginConfig
--{
--public:
--	MyPluginConfig();
--
                                            -+
                                                 class MyPluginConfig
-+     {
-+     public:
-+     	MyPluginConfig();
-+
                                            - --

                                            Following the name of the configuration class, we put the three -+

                                            Following the name of the configuration class, we put the three - required functions and the configuration variables. - --

                                            	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;
--};
-+
                                                 	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;
-+     };
-+     
-+     
                                            
- 
--
                                            -- --

                                            Now you must define the three functions. Equivalent is called by -+

                                            Now you must define the three functions. Equivalent 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. - --

                                            Then there's copy_from which transfers the configuration values -+

                                            Then there's copy_from 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. - --

                                            Normally the interpolate function calculates a previous and next -+

                                            Normally the interpolate function calculates a previous and next - fraction, using the arguments. - --

                                            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);
--
                                            -+
                                                 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);
-+
                                            - --

                                            Then the scales are applied to the previous and next configuration -+

                                            Then the scales are applied to the previous and next configuration - object to yield the current values. - --

                                            --	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);
--}
--
--
                                            -+
                                                 
-+     	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);
-+     }
-+     
-+
                                            - --

                                            Alternatively you can copy the values from the previous configuration -+

                                            Alternatively you can copy the values from the previous configuration - argument for no interpolation. - --

                                            This usage is the same in audio and video plugins. In video playback, -+

                                            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. - --

                                            For really smooth rendering of audio, you can still use -+

                                            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. - --

                                            An easier way to get smoother interpolation is to reduce the console -+

                                            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. - -+

                                            -

                                            - Node:THE USER INTERFACE OBJECT, --Previous:THE CONFIGURATION OBJECT, --Up:COMMON PROCEDURES -+Previous:THE CONFIGURATION OBJECT, -+Up:COMMON PROCEDURES -
                                            -+
                                            - --

                                            THE USER INTERFACE OBJECT

                                            -+

                                            THE USER INTERFACE OBJECT

                                            - --

                                            The user interface object at the very least consists of a pointer to a -+

                                            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 BCWindow derivative and a Thread derivative. The - Thread derivative is declared in the plugin header using - --

                                            PLUGIN_THREAD_HEADER(plugin_class, thread_class, window_class)
--
                                            -+
                                                 PLUGIN_THREAD_HEADER(plugin_class, thread_class, window_class)
-+
                                            - --

                                            Then it is defined using -+

                                            Then it is defined using - --

                                            PLUGIN_THREAD_OBJECT(plugin_class, thread_class, window_class)
--
                                            -+
                                                 PLUGIN_THREAD_OBJECT(plugin_class, thread_class, window_class)
-+
                                            - --

                                            This in combination with the SHOW_GUI macro does all the work in -+

                                            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 get_parameters and there's no thread. - --

                                            Now the window class must be declared in the plugin header. It's -+

                                            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. - --

                                            --#include "guicast.h"
--
--class MyPluginWindow : public BC_Window
--{
--public:
--	MyPluginWindow(MyPluginMain *plugin, int x, int y);
--
--
                                            -- --

                                            This becomes a window on the screen, positioned at x and y. -+

                                                 
-+     #include "guicast.h"
-+     
-+     class MyPluginWindow : public BC_Window
-+     {
-+     public:
-+     	MyPluginWindow(MyPluginMain *plugin, int x, int y);
-+     
-+
                                            -+ -+

                                            This becomes a window on the screen, positioned at x and y. -+ -+

                                            It needs two methods -+ -+

                                                 	int create_objects();
-+     	int close_event();
-+
                                            - --

                                            It needs two methods -+

                                            and a back pointer to the plugin - --

                                            	int create_objects();
--	int close_event();
--
                                            -+
                                                 	MyPlugin *plugin;
-+
                                            - --

                                            and a back pointer to the plugin -- --

                                            	MyPlugin *plugin;
--
                                            -- --

                                            The constructor's definition should contain extents and flags causing -+

                                            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 - --

                                            	show_window();
--	flush();
--
                                            -+
                                                 	show_window();
-+     	flush();
-+
                                            - --

                                            to make the window appear all at once. -+

                                            to make the window appear all at once. - --

                                            The close_event member should be implemented using -+

                                            The close_event member should be implemented using - --

                                            WINDOW_CLOSE_EVENT(window_class)
--
                                            -+
                                                 WINDOW_CLOSE_EVENT(window_class)
-+
                                            - --

                                            Every widget in the GUI needs to detect when its value changes. In -+

                                            Every widget in the GUI needs to detect when its value changes. In - GuiCast the handle_event method is called whenever the value - changes. In handle_event, the widget then needs to call - plugin->send_configure_change() to propogate the change to rendering. - -+

                                            -

                                            - Node:REALTIME PLUGINS, --Next:, --Previous:COMMON PROCEDURES, --Up:PLUGIN AUTHORING -+Next:, -+Previous:COMMON PROCEDURES, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            REALTIME PLUGINS

                                            -+

                                            REALTIME PLUGINS

                                            - --

                                            Realtime plugins should use PLUGIN_CLASS_MEMBERS to define the basic -+

                                            Realtime plugins should use PLUGIN_CLASS_MEMBERS to define the basic - set of members in their headers. All realtime plugins must define an - --

                                            int is_realtime()
--
                                            -+
                                                 int is_realtime()
-+
                                            - --

                                            member returning 1. This causes a number of realtime methods to be -+

                                            member returning 1. This causes a number of realtime methods to be - called during playback and the plugin to be droppable on the timeline. - --

                                            Realtime plugins must define a member called -+

                                            Realtime plugins must define a member called - --

                                            process_realtime
--
                                            -+
                                                 process_realtime
-+
                                            - --

                                            to be called during every audio fragment and video frame. It has an -+

                                            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 - load_configuration. 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. - --

                                            Additional members are implemented to maintain configuration in -+

                                            Additional members are implemented to maintain configuration in - realtime plugins. Some of these are also needed in nonrealtime - plugins. - --

                                              -+
                                                -
                                              • void read_data(KeyFrame *keyframe); - --

                                                Loads data from a keyframe into the plugin's configuration. Inside the -+

                                                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 - FileXML object. See an existing plugin to see how the read_data - function is implemented. - --

                                                Read data loads data out of the XML object and stores values in the -+

                                                Read data loads data out of the XML object and stores values in the - plugin's configuration object. - --

                                              • void save_data(KeyFrame *keyframe); -+

                                              • void save_data(KeyFrame *keyframe); - --

                                                Saves data from the plugin's configuration to a keyframe. Inside the -+

                                                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. - --

                                                Save data saves data from the plugin's configuration object into the -+

                                                Save data saves data from the plugin's configuration object into the - XML object. - --

                                              • int load_defaults(); -+

                                              • int load_defaults(); - --

                                                Another way the plugin gets parameters is from a defaults file. The -+

                                                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 load_defaults and - destroyed in the plugin's destructor. See an existing plugin to see - how the Defaults object is used. - --

                                              • int save_defaults(); -+

                                              • int save_defaults(); - --

                                                Saves the configuration in the defaults object. -+

                                                Saves the configuration in the defaults object. - --

                                              -+
                                            - -+
                                            -

                                            - Node:NONREALTIME PLUGINS, --Next:, --Previous:REALTIME PLUGINS, --Up:PLUGIN AUTHORING -+Next:, -+Previous:REALTIME PLUGINS, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            NONREALTIME PLUGINS

                                            -+

                                            NONREALTIME PLUGINS

                                            - --

                                            Like realtime plugins, load_defaults and save_defaults must be -+

                                            Like realtime plugins, load_defaults and save_defaults 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. - --

                                            Unlike realtime plugins, the LOAD_CONFIGURATION_MACRO can't be used in -+

                                            Unlike realtime plugins, the LOAD_CONFIGURATION_MACRO can't be used in - the plugin header. Instead, the following methods must be defined. - --

                                            The nonrealtime plugin should contain a pointer to a defaults object. -- --

                                            --Defaults *defaults;
-+   
                                            The nonrealtime plugin should contain a pointer to a defaults object.
- 
--
                                            -+
                                                 
-+     Defaults *defaults;
-+     
-+
                                            - --

                                            It should also have a pointer to a MainProgressBar. -+

                                            It should also have a pointer to a MainProgressBar. - --

                                            --MainProgressBar *progress;
--
                                            -+
                                                 
-+     MainProgressBar *progress;
-+
                                            - --

                                            The progress pointer allows nonrealtime plugins to display their -+

                                            The progress pointer allows nonrealtime plugins to display their - progress in Cinelerra's main window. - --

                                            The constructor for a nonrealtime plugin can't use -+

                                            The constructor for a nonrealtime plugin can't use - PLUGIN_CONSTRUCTOR_MACRO but must call load_defaults directly. - --

                                            The destructor, likewise, must call save_defaults and delete -+

                                            The destructor, likewise, must call save_defaults and delete - defaults directly instead of PLUGIN_DESTRUCTOR_MACRO. - --

                                              -+
                                                - --
                                              • VFrame* new_picon(); -+
                                              • VFrame* new_picon(); - --

                                                char* plugin_title(); -+

                                                char* plugin_title(); - --

                                                The usage of these is the same as realtime plugins. -+

                                                The usage of these is the same as realtime plugins. - --

                                              • int is_realtime(); -+

                                              • int is_realtime(); - --

                                                This function must return 0 to indicate a nonrealtime plugin. -+

                                                This function must return 0 to indicate a nonrealtime plugin. - --

                                              • -+

                                              • - int get_parameters(); - --

                                                Here, the user should create a GUI, wait for the user to hit an OK -+

                                                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. - --

                                                Unlike the realtime plugin, this GUI need not run asynchronously of the -+

                                                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. - --

                                              • int load_defaults(); -+

                                              • int load_defaults(); - --

                                                This should create a defaults object and load parameters from the -+

                                                This should create a defaults object and load parameters from the - defaults object into plugin variables. - --

                                              • int save_defaults(); -+

                                              • int save_defaults(); - --

                                                This should save plugin variables to the defaults object. -+

                                                This should save plugin variables to the defaults object. - --

                                              • int start_loop(); -+

                                              • int start_loop(); - --

                                                If get_parameters returned 0 for success, this is called once to -+

                                                If get_parameters 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 - --

                                                --progress = start_progress("MyPlugin progress...",
--	PluginClient::end - PluginClient::start);
--
--
                                                -+ 
                                                          
-+          progress = start_progress("MyPlugin progress...",
-+          	PluginClient::end - PluginClient::start);
-+          
-+
                                                - --

                                                The usage of start_progress depends on whether the plugin is -+

                                                The usage of start_progress 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. - --

                                                If PluginClient::interactive is 1, you need to start the progress -+

                                                If PluginClient::interactive is 1, you need to start the progress - bar. If it's 0, the progress bar has already been started. - --

                                                The PluginClient defines end and start for the timeline range -+

                                                The PluginClient defines end and start for the timeline range - to be processed. The units are either samples or frames. - --

                                              • int process_loop -+

                                              • int process_loop - --

                                                This is called repeatedly until the timeline range is processed. It -+

                                                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. - --

                                                The plugin must use read_samples or read_frame to read the -+

                                                The plugin must use read_samples or read_frame 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. - --

                                                Finally, process_loop must test PluginClient::interactive and -+

                                                Finally, process_loop must test PluginClient::interactive and - update the progress bar if it's 1. - --

                                                progress->update(total_written);
--
                                                -+ 
                                                          progress->update(total_written);
-+
                                                - --

                                                returns 1 or 0 if the progress bar was cancelled. If it's 1, -+

                                                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, process_loop should return 1 when the - entire timeline range is processed. - --

                                              • int stop_loop(); -+

                                              • int stop_loop(); - --

                                                This is called after process_loop processes its last buffer. -+

                                                This is called after process_loop processes its last buffer. - --

                                                If PluginClient::is_interactive is 1, this should call -+

                                                If PluginClient::is_interactive is 1, this should call - stop_progress in the progress bar pointer and delete the pointer. - Then it should delete any objects it created for processing in - start_loop. - --

                                              -+
                                            - -+
                                            -

                                            - Node:AUDIO PLUGINS, --Next:, --Previous:NONREALTIME PLUGINS, --Up:PLUGIN AUTHORING -+Next:, -+Previous:NONREALTIME PLUGINS, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            AUDIO PLUGINS

                                            -+

                                            AUDIO PLUGINS

                                            - --

                                            The simplest audio plugin is Gain. The processing object should -+

                                            The simplest audio plugin is Gain. The processing object should - include pluginaclient.h and inherit from PluginAClient. Realtime audio plugins need to - define - --

                                            int process_realtime(long size,
--		double **input_ptr,
--		double **output_ptr);
--
                                            -- --

                                            if it's multichannel or -- --

                                            int process_realtime(long size,
--		double *input_ptr,
--		double *output_ptr);
--
                                            -+
                                                 int process_realtime(long size,
-+     		double **input_ptr,
-+     		double **output_ptr);
-+
                                            -+ -+

                                            if it's multichannel or -+ -+

                                                 int process_realtime(long size,
-+     		double *input_ptr,
-+     		double *output_ptr);
-+
                                            - --

                                            if it's single channel. These should return the number of samples -+

                                            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. - --

                                            Nonrealtime audio plugins need to define -+

                                            Nonrealtime audio plugins need to define - --

                                            int process_loop(double *buffer, long &write_length);
--
                                            -+
                                                 int process_loop(double *buffer, long &write_length);
-+
                                            - --

                                            for single channel or -+

                                            for single channel or - --

                                            int process_loop(double **buffers, long &write_length);
--
                                            -+
                                                 int process_loop(double **buffers, long &write_length);
-+
                                            - --

                                            for multi channel. -+

                                            for multi channel. - -+

                                            -

                                            - Node:VIDEO PLUGINS, --Next:, --Previous:AUDIO PLUGINS, --Up:PLUGIN AUTHORING -+Next:, -+Previous:AUDIO PLUGINS, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            VIDEO PLUGINS

                                            -+

                                            VIDEO PLUGINS

                                            - --

                                            The simplest video plugin is Flip. The processing object should -+

                                            The simplest video plugin is Flip. The processing object should - include pluginvclient.h and inherit from PluginVClient. - Realtime video plugins need to define - --

                                            int process_realtime(VFrame **input,
--		VFrame **output);
--
                                            -+
                                                 int process_realtime(VFrame **input,
-+     		VFrame **output);
-+
                                            - --

                                            if it's multichannel or -+

                                            if it's multichannel or - --

                                            int process_realtime(VFrame *input,
--		VFrame *output);
--
                                            -+
                                                 int process_realtime(VFrame *input,
-+     		VFrame *output);
-+
                                            - --

                                            if it's single channel. They only get one frame per call but should -+

                                            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. - --

                                            The nonrealtime video plugins need to define -+

                                            The nonrealtime video plugins need to define - --

                                            int process_loop(VFrame *buffer);
--
                                            -+
                                                 int process_loop(VFrame *buffer);
-+
                                            - --

                                            for single channel or -+

                                            for single channel or - --

                                            int process_loop(VFrame **buffers);
--
                                            -+
                                                 int process_loop(VFrame **buffers);
-+
                                            - --

                                            for multi channel. They're always assumed to have a write length of 1 -+

                                            for multi channel. They're always assumed to have a write length of 1 - when they return 0. - -+

                                            -

                                            - Node:TRANSITION PLUGINS, --Next:, --Previous:VIDEO PLUGINS, --Up:PLUGIN AUTHORING -+Next:, -+Previous:VIDEO PLUGINS, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            TRANSITION PLUGINS

                                            -+

                                            TRANSITION PLUGINS

                                            - --

                                            The simplest video transition is dissolve and the simplest audio -+

                                            The simplest video transition is dissolve and the simplest audio - transition is crossfade. These work identical to the single - channel, realtime audio and video plugins. The only difference is the - addition of an is_transition method to the processing object. - is_transition should return 1. - --

                                            Routines exist for determining where you are relative to the -+

                                            Routines exist for determining where you are relative to the - transition's start and end. - --

                                              -+
                                                - --
                                              • PluginClient::get_source_position() - returns an integer -+
                                              • PluginClient::get_source_position() - returns an integer - position since the start of the transition - --
                                              • PluginClient::get_total_len() - returns the integer length of -+
                                              • PluginClient::get_total_len() - returns the integer length of - the transition. The units are either samples or frames. - --
                                              -+
                                            - --

                                            Users should divide source position by total length to get the fraction -+

                                            Users should divide source position by total length to get the fraction - of the transition the current process_realtime function starts - at. - --

                                            Secondly, the meaning of the input and output arguments to -+

                                            Secondly, the meaning of the input and output arguments to - process_realtime is different for transitions than for realtime - plugins. - --

                                            The first argument to process_realtime is the data for the next edit. -+

                                            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. - -+

                                            -

                                            - Node:PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK, --Previous:TRANSITION PLUGINS, --Up:PLUGIN AUTHORING -+Previous:TRANSITION PLUGINS, -+Up:PLUGIN AUTHORING -
                                            -+
                                            - --

                                            PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK

                                            -+

                                            PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK

                                            - --

                                            Effects like Histogram and VideoScope need to update the GUI -+

                                            Effects like Histogram and VideoScope need to update the GUI - during playback to display information about the signal. This is - achieved with the send_render_gui and render_gui 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 render_gui in the GUI instance of the plugin. - --

                                            Render_gui should have a sequence like -+

                                            Render_gui should have a sequence like - --

                                            void MyPlugin::render_gui(void *data)
--{
--	if(thread)
--	{
--		thread->window->lock_window();
-+
                                                 void MyPlugin::render_gui(void *data)
-+     {
-+     	if(thread)
-+     	{
-+     		thread->window->lock_window();
-+     
-+     // update GUI here
-+     
-+     		thread->window->unlock_window();
-+     	}
-+     }
-+     
-+     
                                            
- 
--// update GUI here
--
--		thread->window->unlock_window();
--	}
--}
--
--
                                            -- --

                                            The sequence uses one argument, a void pointer to transfer information -+

                                            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. - -+

                                            -

                                            - Node:RELEASE NOTES, --Previous:PLUGIN AUTHORING, --Up:Top -+Previous:PLUGIN AUTHORING, -+Up:Top -
                                            -+
                                            - --

                                            RELEASE NOTES

                                            -+

                                            RELEASE NOTES

                                            - --
                                              -+
                                                - --

                                                1.0.0 -+

                                                1.0.0 - --

                                                First release since Broadcast 2000 migration. -+

                                                First release since Broadcast 2000 migration. - --

                                                1.1.0 -+

                                                1.1.0 - --

                                                Titler fonts installed by rpm. -+

                                                Titler fonts installed by rpm. - --

                                                XMovie decodes ac3 according to redesigned liba52 channel mappings. -+

                                                XMovie decodes ac3 according to redesigned liba52 channel mappings. - --

                                                Quicktime MPEG4 parameters debugged. -+

                                                Quicktime MPEG4 parameters debugged. - --

                                                Background rendering over a renderfarm. -+

                                                Background rendering over a renderfarm. - --

                                                Renderfarm clients automatically reduced to idle priority. -+

                                                Renderfarm clients automatically reduced to idle priority. - --

                                                Better MJPA decoding on single processors. -+

                                                Better MJPA decoding on single processors. - --

                                                Better title functionality in 16 bit colormodels. -+

                                                Better title functionality in 16 bit colormodels. - --

                                                Undo for effect keyframes. -+

                                                Undo for effect keyframes. - --

                                                Effect GUI's cleared during undo for effect attachment. -+

                                                Effect GUI's cleared during undo for effect attachment. - --

                                                Fewer lockups on startup. -+

                                                Fewer lockups on startup. - --

                                                Proper keyframe interpolation in scale effect. -+

                                                Proper keyframe interpolation in scale effect. - --

                                                Stamp timecode in titler. -+

                                                Stamp timecode in titler. - --

                                                Memory leaks in rendering stages removed. -+

                                                Memory leaks in rendering stages removed. - --

                                                Removed legacy plugin server code. -+

                                                Removed legacy plugin server code. - --

                                                Option to generate sequence header in every GOP for MPEG2. -+

                                                Option to generate sequence header in every GOP for MPEG2. - --

                                                LADSPA support. -+

                                                LADSPA support. - --

                                                Listbox doesn't enter drag_icon state when dragging column division. -+

                                                Listbox doesn't enter drag_icon state when dragging column division. - --

                                                Effect rendering bug fixed. -+

                                                Effect rendering bug fixed. - --

                                                64 bit mpeg transport stream seeking beyond 2 gigs. -+

                                                64 bit mpeg transport stream seeking beyond 2 gigs. - --

                                                More accurate mask drawing when projector is zoomed. -+

                                                More accurate mask drawing when projector is zoomed. - --

                                                Clear labels updates CWindow -+

                                                Clear labels updates CWindow - --

                                                More accurate YUV/RGB conversions. -+

                                                More accurate YUV/RGB conversions. - --

                                                Import partial tgas -+

                                                Import partial tgas - --

                                                Copy keyframes doesn't copy default keyframe. -+

                                                Copy keyframes doesn't copy default keyframe. - --

                                                Track highlighting offset by vertical scroll. -+

                                                Track highlighting offset by vertical scroll. - --

                                                Multiple video scope, spectrogram, and histogram displays may be opened. -+

                                                Multiple video scope, spectrogram, and histogram displays may be opened. - --

                                                HutSaturation in YUV colorspaces. -+

                                                HutSaturation in YUV colorspaces. - --

                                                Undo for masks. -+

                                                Undo for masks. - --

                                                Shared synthesis effects cause the sharing tracks to -+

                                                Shared synthesis effects cause the sharing tracks to - play back instead of just the owning track. - --

                                                Quicktime recovery utility improved. -+

                                                Quicktime recovery utility improved. - --

                                                Single frame recording with multiple batches doesn't crash. -+

                                                Single frame recording with multiple batches doesn't crash. - --

                                                DV encoding. -+

                                                DV encoding. - --

                                                New video effects: -+

                                                New video effects: - gradient, downsample video, radial blur, linear blur, zoom blur, - histogram, perspective. - --

                                                New audio effect: -+

                                                New audio effect: - Sound level - --

                                                1.1.5 -+

                                                1.1.5 - --

                                                More options for the ffmpeg/MPEG-4 codecs. -+

                                                More options for the ffmpeg/MPEG-4 codecs. - --

                                                Histogram works on SMP. -+

                                                Histogram works on SMP. - --

                                                Better 16 bit alpha blending. -+

                                                Better 16 bit alpha blending. - --

                                                BRender path updates from preferences. -+

                                                BRender path updates from preferences. - --

                                                Separate preroll for background rendering and rendering. -+

                                                Separate preroll for background rendering and rendering. - --

                                                Deinterlace by averaging lines 0 and 2 or 1 and 3 to get intervening lines. -+

                                                Deinterlace by averaging lines 0 and 2 or 1 and 3 to get intervening lines. - --

                                                Adaptive deinterlace. -+

                                                Adaptive deinterlace. - --

                                                Frame per second statistics in renderfarm are more reliable. -+

                                                Frame per second statistics in renderfarm are more reliable. - --

                                                Select and slide in the patchbay. -+

                                                Select and slide in the patchbay. - --

                                                Video scope can be resized. -+

                                                Video scope can be resized. - --

                                                Effect keyframes pasted in right positions more often. -+

                                                Effect keyframes pasted in right positions more often. - --

                                                Selective denoising of video based on color channel. -+

                                                Selective denoising of video based on color channel. - --

                                                More mouse wheel bindings in MainWindow and ListBox. -+

                                                More mouse wheel bindings in MainWindow and ListBox. - --

                                                Ctrl-w closes effect windows. -+

                                                Ctrl-w closes effect windows. - --

                                                Perspective doesn't crash when switching from stretch to sheer. -+

                                                Perspective doesn't crash when switching from stretch to sheer. - --

                                                Better text list searching and keyboard navigation. -+

                                                Better text list searching and keyboard navigation. - --

                                                Better Vorbis decoding after a pause. -+

                                                Better Vorbis decoding after a pause. - --

                                                Close recording without recording anything doesn't crash. -+

                                                Close recording without recording anything doesn't crash. - --

                                                Save backup now option. -+

                                                Save backup now option. - --

                                                OpenGL not required anymore. -+

                                                OpenGL not required anymore. - --

                                                Time format changes update the selection textboxes more often. -+

                                                Time format changes update the selection textboxes more often. - --

                                                MPEG-4 deblocking option in XMovie and Cinelerra. -+

                                                MPEG-4 deblocking option in XMovie and Cinelerra. - --

                                                Resize in Record GUI doesn't screw it up. -+

                                                Resize in Record GUI doesn't screw it up. - --

                                                Better export of YUVA16161616 to Component Y'CbCr 10-bit 4:4:4. -+

                                                Better export of YUVA16161616 to Component Y'CbCr 10-bit 4:4:4. - --

                                                Better import of Component Y'CbCr 10-bit 4:4:4 to RGB colorspaces. -+

                                                Better import of Component Y'CbCr 10-bit 4:4:4 to RGB colorspaces. - --

                                              -+
                                            - -- -+ - -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 - #include -- -+#include - - - -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 diff --git a/media-video/cinelerra/files/digest-cinelerra-1.1.5 b/media-video/cinelerra/files/digest-cinelerra-1.1.5 index 2132fa680b8d..d92c09764e21 100644 --- a/media-video/cinelerra/files/digest-cinelerra-1.1.5 +++ b/media-video/cinelerra/files/digest-cinelerra-1.1.5 @@ -1 +1,2 @@ MD5 0c9082049bd7b05a80fe604493d8da02 cinelerra-1.1.5-src.tar.bz2 19098210 +MD5 96f991144e8db32813f5f3f3c76a7161 cinelerra-fixes-1.1.5.diff.bz2 54084 -- cgit v1.2.3-65-gdbad