dear hermann,
thank you very much for your detailed email - very helpful & kind of you!
best,
adnan
Ichthyostega wrote:
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Hello adnan hadzi,
personally, I can understand your situation quite well. Some years ago,
I was involved in a larger scale project and we indeed managed to do the
major part of the editing within Cinelerra. At that time, there weren't much
options to edit HDV footage without beeing locked in to some vendor and
effectively loose control over your own footage.
But, to summarize, while the basic concept is fine and the processing quality
is flawless (using suitable options, that is), Cinelerra is just lacking on
all ends with respect to this professional working perspective. Our attempts
to fix and improve on these shortcomings have meanwhile outgrown into a
separate project ("Lumiera"), but that's another story and isn't of much
help for you right now.
I am afraid, all of your questions are to be answered with "No". Especially
the audio-synch issue is quite a bummer. The way it is programmed, Cinelerra
doesn't retain information about sync-relation between multiple clips. There
is just the quick-n-dirty hack that you can do edit operations via gui on
multiple tracks simultaneously. You really need to keep this in mind,
the moment there is synched sound in project, every action requires forethought.
For example, you can't just insert a clip as you see fit, rather, you need to
insert it into a new (empty track), measure its exact length (hint: double
click on it and look at the selection display in the status bar), then set up
an selection of exactly the same length at the prospective insert position,
assure the right tracks are armed and then choose "paste silence" from the
edit menu to create an appropriate gap. Nothing what i'd call effective
working... but you've probably got the Idea by now ;-)
Also, Cinelerra doesn't support compound projects, multiple timelines
(for a movie with several scenes) or the like. As a workaround, you can use
multiple session files and even open two (or more) independent instances
of Cinelerra at the same time. Be sure not to confuse which window belongs
where! This allows you to copy and paste selections between the separate
sessions.
Moreover, for our project a vital insight was that the session file is stored
in plain XML. You can either hand-edit it in a text editor (that's often the
only way to apply a certain set of effects in a consistent manner on multiple
places). And moreover, it is very easy to do simple manipulations with
python scripts this way. For example, we extracted pre-cut sound clips of
several dialogue scenes with a python script and created an xml-segment,
which I could hand-paste into an Ardour session to do my sound work there.
Regarding the general procedure, I can just give you the advice to build up
the edits very systematically. Do your first rough cut plan on paper, not
in software (of course this is always a good advice!), then use the traditional
two-viewer technique to build up the cut from left to right. Limit each part
to about 2-3minutes and about 5 tracks. Don't work so much with clips, better
work with markers (labels).
To elaborate on the last: an important feature is that you can set labels (press
"l") within the viewer window. If (that's important) you save your session while
this media is still displayed within the viewer, these lables get persisted
within the clip entry. So they are there, when you re-open it the next time,
and they get even copied over to the timeline, when you insert a selection
from the viewer window.
So, basically, we didn't work at all with "clips" in the bins. Rather, we just
created one large clip per footage roll, or maybe two if this special roll
happened to cover two different sets. Then, we did our pre-selection of
interesting takes just with labels (you can attach take numbers to the label
description; they are visible on mouse over); finally, when the basic cut was
planned, we could build it up within the timeline from left to right.
hopefully giving you some useful informations and starting points,
all the best,
Hermann Vosseler
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