On 12/19/06, Nicolas Maufrais <[EMAIL PROTECTED]> wrote:
On Sat, Dec 16, 2006 at 09:30:28PM -0700, Joe Friedrichsen wrote:
> Thanks for dividing the work! Here is my part, which read quite well
> since it had large portions from Heroine's plugin-contributing docs.
>
> I'm curious how the docs are published - are any parts governed by a
> wiki? Parts of mine included troubleshooting, shortcuts, and guides
> for cinelerra, and allowing users to contribute their secrets would be
> helpful as well.
Hello Joe,
Thank you very much! I wait till all the parts are proof-read, and I
commit your work. =)
As regards to the docs, there's a wiki which is planned. In fact, it's
already available, in a "beta-test" state. It will contain the English
manual, allowing people to easily contribute.
Nicolas.
Here are my changes to part 2. I learned a lot just by reading this section.
Great job!
--- cincv_man_en_ed067_part_2.texi 2007-01-01 13:22:27.000000000 -0600
+++ cincv_man_en_ed067_part_2 (copy).texi 2007-01-01 14:38:21.000000000
-0600
@@ -12,9 +12,9 @@
Hitting the @key{l} key has the same effect as the label button.
-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.
+If you hit the label button when a region is highlighted, labels are
+created at each end of the highlighted region. However, if one end already
has a label,
+then the existing label is deleted.
Labels can reposition the insertion point when they are selected but they can
also be traversed with the @image{manual_images_en/label_traversal,15mm}
@b{label
@@ -36,10 +36,10 @@
the next label.
Manually hitting the label button or @key{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 @b{Edit->Clear labels} function. If
+a series of labels can get tedious. To delete a set of labels, first
+highlight a region. Second, use the @b{Edit->Clear labels} function. If
in/out points exist, the labels between the in/out points are cleared and the
-highlighted region ignored.
+highlighted region is ignored.
@b{Editing or locking labels from moving:} @*
In @b{Cut and Paste} editing mode only, by enabling "Edit labels" in the
@@ -49,7 +49,7 @@
Similarly, if a selected area of a resource is spliced from the viewer to the
timeline in a position before labels, these labels will be pushed to the right
on the timebar for the length of the selected area. @*
-To lock labels from moving from their position on the timebar, just disable the
+To prevent labels from moving on the timebar, just disable the
"Edit labels" option or enable the
@image{manual_images_en/locklabels_unlocked,5mm}
@b{"Lock labels from moving"} button. @*
In @b{Drag and Drop} editing mode labels will be always locked to the timebar,
@@ -116,8 +116,8 @@
All tracks have an @b{expander}
@image{manual_images_en/expandpatch_checked,5mm} for
viewing more options and for viewing the effects on the track. Click on the
expander to expand or collapse the track. If it is pointing sideways, the
-track is collapsed. If it is pointing down, the track is expanded. The
-effects appear below the media for the track if they exist.
+track is collapsed. If it is pointing down, the track is expanded. Existing
+effects appear below the media for the track.
All tracks have the following row of toggles for several features.
@@ -218,7 +218,7 @@
fake stereo, or compensating for an effect which shifts time, all without
tampering with any edits.
-Merely enter in the amount of time to shift by to instantly shift the track.
+Merely enter the amount of time to shift to instantly shift the track.
Negative numbers make the track play later. Positive numbers make the track
play sooner. The nudge units are either @b{seconds} or the native units for
the track. Select the units by @b{right clicking} on the nudge textbox and
@@ -234,8 +234,8 @@
@cindex Panning tracks
@cindex Tracks, panning
-Audio tracks have a panning box in their patchbay. It may have to be expanded
-to see it. The panning box is shown here.
+Audio tracks have a panning box in their patchbays. A patchbay may have to be
expanded
+to see the panning box. The panning box is shown here.
@center @image{manual_images_en/apatches}
@center @b{Pan and nudge for an audio track}
@@ -297,8 +297,8 @@
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 number of default tracks. You can
-still add or delete tracks from a number of menus. The @b{Tracks} menu
+create a new project, it contains a number of default tracks. You can
+still add or delete tracks from the menus. The @b{Tracks} menu
contains a number of options for dealing with multiple tracks simultaneously.
Each track itself has a popup menu which affects one track.
@@ -478,8 +478,8 @@
If more than one track is armed, Cinelerra will drag any edits which start on
the same position as the edit the cursor is currently over. In other words,
you can drag and drop a group of edits. Cinelerra recognises as a group the
-edits of different armed tracks that have aligned beginnings, being them from
-the same source or not, having them aligned ends or not.
+edits of different armed tracks that have aligned beginnings, regardless of
whether they have
+the same source or aligned ends.
In Drag and Drop editing mode you can't drag and drop labels. They will be
always locked to the timebar, even with the "Edit labels" option enabled.
@@ -492,8 +492,8 @@
@cindex Cut and paste editing
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
+Cinelerra, you either need to start a second instance of Cinelerra and copy
from
+one instance to the other, copy from different tracks in the same instance, or
load a
media file into the Viewer and copy from there.
Load some files onto the timeline. To perform cut and paste editing select the
@@ -569,8 +569,7 @@
In a @b{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.
+reference shifts backward. The edit remains in the same spot in the timeline
but the source shifts.
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
@@ -578,7 +577,7 @@
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.
+edits from being affected.
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
@@ -786,21 +785,20 @@
In the compositor window, the most important functions are the
@image{manual_images_en/camera,4.67mm} camera button and the
@image{manual_images_en/projector,4.67mm} projector button. These control
-operation of the camera and projector. Inside Cinelerra's compositing
-pipeline, the camera determines where in the source video the temporary is
-copied from. The projector determines where in the output the temporary is
-copied to. The temporary is a frame of video in Cinelerra's memory where all
-graphics processing is done.
+operation of the camera and projector. Cinerra's compositing routines use a
"temporary" -- a frame of video in memroy where all graphics processing is
performed. Inside Cinelerra's compositing
+pipeline, the camera determines where in the source video the "temporary" is
+copied from. The projector determines where in the output the "temporary" is
+copied to.
@center @image{manual_images_en/temporary_explained,140mm}
The process is pretty much as if we scanned in a roll of film one frame at a
-time, then using Gimp for example, digitally altered the scanned image with
-various filters. Once the image has been transformed by the filters, color
-correction for example, we then project the finished image back into a new
+time, then (using Gimp, for example) digitally altered the scanned image with
+various filters. Once the image has been transformed by the filters (color
+correction, for example) we then project the finished image back into a new
roll of film, thus creating a new "modified" version of the original.
-Each track has a different temporary which is defined by the track size. By
+Each track has a different "temporary" which is defined by the track size. By
resizing the tracks you can create split screens, pans, and zooms.
@center @image{manual_images_en/compositing_pipeline,140mm}
@@ -814,8 +812,8 @@
@center @image{manual_images_en/projector_concept,120mm}
-The purpose of the projector is to place the contents of the temporary into the
-project's output. The intention of the projector is to composite several
+The purpose of the projector is to place the contents of the "temporary" into
the
+project's output. The intent of the projector is to composite several
sources from the various tracks into one final output track.
The projector alignment frame is identical to the camera's viewport, except
@@ -872,8 +870,7 @@
When we drag over the viewport in the compositor window (although initially
counter-intuitive), the viewport does not moves but the area of video that sits
-under the camera's location does, like when monitoring a moving camera on a
-monitor.
+under the camera's location does, like when watching the output of a moving
camera.
@center @image{manual_images_en/viewport_drag,100mm}
@center @b{In the compositor window, the viewport is always}
@@ -904,7 +901,7 @@
@subsubsection The camera and projector tool window
@cindex The camera and projector tool window
-The camera and projector have shortcut operations neither in the popup menu or
+The camera and projector have shortcut operations that do not appear in the
popup menu and are not
represented in video overlays. These are accessed in the @b{Tool window}.
Most operations in the Compositor window have a tool window which is enabled by
activating the @image{manual_images_en/toolwindow,2.67mm} question mark.
@@ -1276,8 +1273,8 @@
@b{asset manager} and selecting @b{View} from the popup menu or by double
clicking on the icon.
-Once your media loads you will see it appear on the display, to play, rewind or
-forward trough it use the @b{slider control} or the @b{transport controls}.
+Once your media loads you will see it appear on the display. To play, rewind or
+forward through it use the @b{slider control} or the @b{transport controls}.
You can change the media display size by right clicking on the screen to
activate the display zoom menu. Select zoom levels of 50%, 100% or 200% of the
@@ -1532,8 +1529,8 @@
you. It is merely for scrutinizing video or fitting it in the desktop.
Playing video on the compositor when zoomed to any size other that 100%, the
-original size, requires cinelerra to do extra processing steps. This could
-affect the performance on slower systems.
+original size, requires Cinelerra to do extra processing steps. This could
+affect performance on slower systems.
@node Realtime effects
@chapter Realtime effects
@@ -1572,13 +1569,13 @@
attach it. 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 configured. Go
+When an effect exists under a track, it 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 @b{show} option. The show option causes the GUI for the
effect to appear under the cursor. Most effects have GUI's but some do not.
If
the effect does not have a GUI, nothing pops up when the @b{show} option is
selected. When you tweek parameters in the effect GUI, the parameters normally
-effect the entire duration of the effect.
+affect the entire duration of the effect.
@menu
* Realtime effect types::
@@ -1684,7 +1681,7 @@
Also unlike track editing, the starting position of the drag operation does not
bind the edit decision to media. The media the effect is bound to does not
-follow effect edits. Other effects; however, do follow editing decisions made
+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.
@@ -2171,7 +2168,7 @@
@image{manual_images_en/brightness,12.5mm}
If you want to brighten a dark shot, or add light, this is the tool to use. Do
-not overuse that effect to do not degrade your video quality. Use it along
+not overuse the effect or you risk degrading your video quality. Use the
effect along
with Keyframing to brighten a long shot that is dark at the beginning but
bright
at the end. Generally you will want to change the brightness and contrast
about the same amount (eg darkness 28 contrast 26) so that your original colors
@@ -2186,8 +2183,8 @@
The video burning effect makes your video "burn" where there are small light
colored patches of video, on the edge of a white T-shirt for example. It can
-be a great asset to a music video and just a great outlet to help your
-imagination free in your video.
+be a great asset to a music video and just a great outlet to help free your
+imagination in your video.
@node Chroma key
@subsection Chroma key
@@ -2196,7 +2193,7 @@
@image{manual_images_en/chromakey,12.5mm}
This effect erases pixels which match the selected color. They are replaced
-with black if there is no alpha channel and transparency if there is an alpha
+to black if there is no alpha channel and transparency if there is an alpha
channel. The selection of color model is important to determine the behavior.
@cindex Color picker
@@ -2241,9 +2238,9 @@
@image{manual_images_en/colorbalance,12.5mm}
-Video Color Balance is a great way to use along with Brightness/contrast and
+Video Color Balance is a great effect to use along with Brightness/contrast and
Hue/Saturation to try and compensate for possible errors in filming (low
-lighting etc). It can only do so much without greatly lowering the quality of
+lighting, etc). It can only do so much without greatly lowering the quality of
the video, however. It is just like the color balance effect on a picture
editing program, such as [EMAIL PROTECTED] With it you can change the colors
being sent to
output CMY (Cyan, Magenta, Yellow) or RGB (Red, Green, Blue).
@@ -2369,7 +2366,7 @@
@image{manual_images_en/fieldframe,12.5mm}
-This effects reads frames at twice the project framerate, combining 2 input
+This effect reads frames at twice the project framerate, combining 2 input
frames into a single interlaced output frame. Effects preceding @b{fields to
frames} process frames at twice the project frame rate. Each input frame is
called a field.
