lumiera_documentation/doc/design/workflow/Verwijlen/Discussion25Digest.txt

Workflow Discussion 2025 -- a Digest
====================================
:Date: 2026-07-27
:Author: Hermann Voßeler (Compilation)
:toc:
:toclevels: 3

//MENU: label Discussion 2025

// NOTE: initial draft of this compilation was machine-assisted, based on the complete
//       eMail archive, the IRC log from 2025-04-16, the FrOSCon-25 meeting summary and
//       the »Lumiera Workflow Proposals« document -- to be reviewed and reworked.


[abstract]
This page is based on the extended design discussion, conducted throughout
2025 (and continuing), between *Wouter Verwijlen* and *Hermann Voßeler* (_Ichthyo_).
The goal of this discussion is to establish the foundations of a _Workflow Concept_
for the Lumiera video editing application. A digest and an summary is presented here,
based on the original eMail messages, IRC logs and published documents,
and was compiled to present the outcomes of the exchange, the insights,
agreements and outstanding issues identified during this discussion in
a format that will remain accessible in the long term.

CAUTION: Knowledge-Technology (»AI«) was used to identify topics of the discussion
         and to create an initial clustering of quotes and arrangement of arguments.
         These were then rearranged, reweighed and reformulated by recourse to
         the original messages and IRC logs.


Overview
--------

The starting point and anchor for this discussion is the
link:WorkflowProposals.html[»Lumiera Workflow Proposals«] document contributed by _Wouter_,
to analyse how contemporary editing applications handle the central tasks of film editing --
leading to proposals how this handling might be improved. This document grew 
in parallel to the discussion and was treated by both participants as _part of the discussion:_
the proposals it contains are contributions by Wouter, based on his yearlong experience as
a documentary filmmaker -- and several of them were picked up, challenged and refined in
the ensuing exchange of thoughts and insights, that is documented here.

The discussion itself was conducted mostly through long eMail threads, complemented by
IRC chat sessions (only partially recorded), and by an in-person
link:FrosconMeeting.html[meeting at FrOSCon-2025] in St.Augustin,
where Benny Lyons also participated.

.Chronology
[options="header",cols="2,3,5"]
|====================================================================
| period          | thread                          | character
| March 2025      | re-establishing contact         | Wouter offers concept work; first version of the Proposals document
| April 2025      | »Workflow and Structure«        | first deep dive: Placements, keybindings, grouping, gear switch
| 2025-04-16      | IRC chat                        | placements in practice, sticky selection, trimming, keyboard navigation
| June 2025       | document update                 | Workflow Proposals [underline]#chapter 2# (timeline) completed
| 2025-08-17      | FrOSCon-25 meeting              | in-person discussion; see -> link:FrosconMeeting.html[summary]
| Aug...Dec 2025  | »Workflow Discussion«           | second deep dive: placement prototypes, moving and adding clips
| March 2026      | document update                 | Proposals [underline]#chapter 1# (source material) completed
|====================================================================

Structure of this digest
~~~~~~~~~~~~~~~~~~~~~~~~

The material is _arranged by topic_, not chronologically -- although within each topic thread,
the argument is presented in the order it actually developed, through quotes attributed with
author and date. Each topic thread closes with a status box stating what was _agreed_, what
remains _open_, and what was _postponed_ deliberately. Topics touch upon each other in many places;
such connections are given as cross-references.

Quotes from eMails and chat have been lightly edited (typos, punctuation) for readability;
the substance has been preserved verbatim. Some agreements were reached in unrecorded meetings
and are marked as such.

In August 2025, Hermann proposed to organise the topic field into four areas,
which also form the structure of this overview -- preceded here by a section that
explains the fundamentals and addresses overarching topics.

* *Control* -- control systems, command structure, navigation
* *Routing* -- default rules, layering, explicit wiring
* *Grouping* -- placements, grouping devices, ripple effects
* *Editing* -- build-up, (re)arrangement, trimming

'''''
[quote, Hermann, eMail 2025-08-24]
________________________________________________________________________
The next question however is a tricky one: how can we structure the further
discussion. This reminds me of Sergej Eisenstein's »spherical book«. As you
probably know, he always wanted to write a book about film montage, but he
could not quite see how to accomplish this task, because he noticed that
such a book must be ``spherical'', because everything is connected to everything.
________________________________________________________________________

Measured against this fourfold organisation, the discussion so far covered _Grouping_
and _Editing_ substantially, _Control_ in one extended pass -- while _Routing_ was barely touched.
This asymmetry originates from the way in which the discussion unfolded,
and provides natural starting points for a follow-up.

· [big navy]#🙞 🙜# ·

​{nbsp}

​{nbsp}



Cross-cutting Themes
--------------------

[[vision]]
Vision and common ground
~~~~~~~~~~~~~~~~~~~~~~~~

The very first exchange already established a remarkable convergence of views regarding the aims.

[quote, Hermann, eMail 2025-03-31]
________________________________________________________________________
Just read through your text and I'm under the impression that we're both
pretty much on the same page in many aspects -- your approach, to look
equally upon the usual way most editing applications handle some aspect,
while also re-thinking how it _should_ be done, from an experienced
editor's angle, seems to be spot on.
________________________________________________________________________

Both participants share the desire to get away from conventional _track management_
-- the constant enabling, disabling and locking of tracks -- whilst maintaining
flexibility regarding the choice of method:

[quote, Wouter, eMail 2025-04-06]
________________________________________________________________________
I think it could be worth it to try to achieve a trackless design, because
I think not having to do track management will be a positive thing. However,
I'm not necessarily against a track-based approach, so if we end up concluding
that tracks, track numbers and track controls are ultimately more powerful
and user friendly, then that's what we should go for.
________________________________________________________________________

[quote, Hermann, eMail 2025-08-24]
________________________________________________________________________
We have both clearly stated the goal that we want to get rid of the conventional
usage of tracks, i.e. we do not want to lock/unlock/enable/disable tracks all
the time. And in addition to that, I personally also want to turn tracks into
a fluid working space, especially by loosening the connection to the layering
order [...] to free up our usage of screen space within the arrangement
of the edit in the timeline.
________________________________________________________________________

A terminological note from Wouter also underpins this aspiration:
[quote, Wouter, eMail 2025-04-06]
________________________________________________________________________
``Tracks'' we associate with the likes of Avid and Premiere, which is why FCP rather speaks
of ``layers'', a term I also prefer to use, even if there's no technical difference between the two.
________________________________________________________________________

In other words: Wouter tends to use the term ``tracks'', to imply not only the layering,
but also the UI feature with buttons to enable/disable them, and further track controls.

Another shared conviction concerns the _level of abstraction_. Lumiera aims neither
at a ``magical'' high-level feature set, nor at exposing raw building blocks:

[quote, Hermann, eMail 2025-04-07]
________________________________________________________________________
If you ask people, how a really cool (computer based) drawing tool should work,
then you'll get two kinds of answers:

- I want a tool which can read my mind and create a world-class drawing
- I want a digital paintbrush / crayon / pencil, so that I can be ``creative''

Yet in fact, a good digital drawing tool should rather be somewhere in the
middle, like vector graphics with some additional supportive features. So
that it is indeed still *you* who does the drawing, but the tool can amplify
and support you, allowing you to move faster.
________________________________________________________________________

This ``medium level of abstraction'' is a foundational principle from the
link:{ldoc}/user/intro/intro.html#_medium_level_abstraction_and_project_specific_conventions [Lumiera vision document]; 
and it connects to a deliberate strategic choice: Lumiera is explicitly _not conceived_
as a clone of existing commercial applications, and does not attempt to compete with
industry-backed development on their terms:

[quote, Hermann, eMail 2025-10-04]
________________________________________________________________________
Personally, I think it is a strategically important insight that a
community-backed project should try to avoid competing with an industrial
entity. [...] Even if that means, that it can not look that ``slick'' than an
industry backed solution can. I think, we need to find a way
_to be not industry-backed,_ and be proud of it.
________________________________________________________________________

Wouter accepted this reasoning explicitly for the case discussed there (GPU-based
live preview rendering, see -> xref:gesture-concept[gestures]), while insisting that immediacy of
feedback is not mere polish but a genuine time-saver -- a tension both participants
agreed to resolve by clever design rather than raw computing power.

[role="summary"]
**********************************************************************
*Agreed* -- shared goals: away from track management; tracks as fluid
working space; medium level of abstraction; no clone, no feature race
with industry. +
*Open* -- how far the “trackless” aspiration can be realised in practice;
this question permeates the topics -> xref:layering[layering],
xref:grouping-devices[grouping-devices]
and xref:moving[moving of clips].
**********************************************************************


[[flow]]
Flow and organic editing
~~~~~~~~~~~~~~~~~~~~~~~~

The notion of »*Flow*« became the central yardstick of the whole discussion:
UI concepts are judged by whether they sustain or interrupt the editor's flow.
Wouter formulated this pointedly:

[quote, Wouter, eMail 2025-04-08]
________________________________________________________________________
I would like to share a few concerns that we might want to look into. The first
one is ``flow''. We previously talked about pursuing an organic way to edit. To me
that means a number of things, for example, on a physical level: how do you use
your hands and fingers while editing, to work smoothly, and to have a sense of
tactility? On another level it means that I'd like most of my actions to be
directly related to the most important clip interactions:

- adding, removing or replacing clips
- changing the duration of clips -> trimming
- changing the position of clips -> arranging
- splitting or merging clips
- changing properties of clips

Anything that gets in the way of performing such actions causes an interruption
of my flow. That sounds a bit overdramatic, but I do believe that if we have
fewer of such interruptions, we'll get a more organic flow, and this leads to
an increased focus on storytelling. This would be a great goal to achieve!
An example of an interruption is track selection: having to enable and disable
tracks before performing an action (which is why I'm interested in trackless
timelines).
________________________________________________________________________

Hermann's corresponding formulation approaches a similar idea from the side of
perception and spatial cognition:

[quote, Hermann, eMail 2025-04-02]
________________________________________________________________________
Especially I mean the space metaphor, i.e. thinking in locations, rooms,
``close by'', ``here and there'', up and down, left and right. As every editor
knows, humans are quite good at picking up spatial cues and relations. And
it's often much easier to recall the context where you find some tool, than
memorising it in an abstract, top-down classification scheme. [...]
And the overarching idea is that we want the software to be an extension
of our body, so that we're able to be ``in'' the material we're working with.
________________________________________________________________________

The flow criterion recurs throughout: expand/collapse cycles are interruptions
(see -> xref:sections[timeline sections]); modes must be entered and exited fluidly
(see -> xref:tools-modes[tools and modes]);
and a coherent gesture vocabulary should let the work become ``similar to kind of
a dance'' (Hermann, eMail 2025-04-23; see -> xref:keybindings[keybindings]).

[role="summary"]
**********************************************************************
Agreed:: flow, understood as uninterrupted engagement with the material
and increased focus on storytelling, is the central design yardstick.
**********************************************************************


[[personas]]
Target audience: the personas
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In the »Workflow Proposals«, Wouter identified six groups of users who would most
likely be attracted to Lumiera and its goals. This topic carried considerable weight
in the discussion at the FrOSCon-25 conference, even while agreement was reached quickly:

- the *highly specialised editor* working in an environment where the various parts
  of post-production are handled by different people (assistant editors, colourists,
  audio engineers, ...)
- the *all-round contract editor* handling all aspects of post-production
- the *all-round artistic filmmaker* who also edits
- the *all-round social media creator*, relying on visual effects, motion graphics
  and sound effects
- the *free-flowing editor* without a fixed idea of the edit, exploring the footage,
  moving things around, not working in a linear fashion
- the editor who *has the film already cut in their head*, progressing through
  structured and precise steps towards a clear vision

At FrOSCon, Benny proposed to order these groups by expected affinity; the discussion
identified the first group (the specialist in an industrial work environment) and the
social media creators as the more challenging audiences, since both require rather
specialised tools. The groupings are understood as provisional -- a working instrument
to focus feature discussions and eventually order the feature list by priority.

The personas actually _do work_ within the discussion: for instance, the
-> xref:keybindings[keybinding debate] explicitly distinguishes the specialist,
who commands a rich vocabulary of shortcuts, from the returning casual user,
who will have forgotten anything that is not obvious -- and the free-flowing editor
is the natural constituency for the -> xref:sections[sections proposal].

[role="summary"]
**********************************************************************
Agreed:: the six personas as provisional instrument for prioritisation.
Open:: actually applying them: ordering the feature list, and checking
proposed interactions against each persona systematically.
**********************************************************************


[[method]]
Working method
~~~~~~~~~~~~~~

Right at the beginning, Hermann proposed to conduct the exchange as a kind of
_workshop_: ``to set aside a limited time budget [...] and try to discuss some of
the aspects and proposals you raise and attempt to create a kind of design document,
or at least in some way document the ensuing discussion'' (eMail 2025-03-31).
Wouter later underlined the documentation aspect from his side:

[quote, Wouter, eMail 2025-04-18]
________________________________________________________________________
You previously mentioned starting a design document and I think it is a good
idea indeed to record decisions like these and the reasoning behind these
decisions, once they are agreed upon. Just so they won't get lost in email
history.
________________________________________________________________________

The method of the discussion itself was made explicit at one point:

[quote, Hermann, eMail 2025-10-04]
________________________________________________________________________
My train of thought is that I use an ``explorative'' approach. I try to determine,
first by logical reasoning, what is possible. But then we'd need to narrow that
down, because we want something that feels _plausible_. What we're looking for
is some kind of ``mechanics'' -- quite similar to a game mechanic -- i.e.
something the user can pick up intuitively and apply it to similar situations.
Something that feels tactile, in a way.
________________________________________________________________________

Complementing this _inductive method_, Wouter considers to contributes empirical
findings: a growing _catalogue of editing scenarios_, that might be collected as
screenshots from his actual work, documenting typical situations which tend to be
challenging -- to check any proposed mechanics against real-world usage. Hermann
encouraged this explicitly: descriptions can be terse, need not be encyclopedic,
and need not come with solutions; what matters is
“the special twist that makes it difficult to handle” (eMail 2025-10-05).
Both agree on the limits of armchair reasoning:

[quote, Wouter, eMail 2025-04-08]
________________________________________________________________________
Ultimately, new ideas like the ones we're discussing also simply need to be
built and user tested before we can really say whether something is an
improvement or not.
________________________________________________________________________

[role="summary"]
**********************************************************************
Agreed:: workshop-style discussion; documented reasoning; explorative
concept work checked against a scenario catalogue; final validation only
through building and user testing.
Open:: the scenario catalogue is work in progress and not yet published;
the design document proper remains to be written -- this digest is a step
on that path.
**********************************************************************


[[background]]
Conceptual background
~~~~~~~~~~~~~~~~~~~~~

Early in the discussion, Hermann gave a series of explanations of Lumiera's
foundational concepts, which the later topic threads constantly build upon.
They are collected here as reference.

The Placement concept
^^^^^^^^^^^^^^^^^^^^^
The whole Session model is connected by _Placements_ as a ``universal glue''.

[quote, Hermann, eMail 2025-04-02]
________________________________________________________________________
The user arranges ``things'' in the GUI, but actually this leads to an arrangement
of element descriptions in the _Session Model_. [...] However, this arrangement is
very loosely coupled and flexible. In fact, it is a collection of *symbolic
representations*, which are stitched together by a common ``glue'': the Placements.
[...] each of these symbolic _entities_ is connected to the model through a
Placement, which describes _relations_. The placement has an (open, unlimited)
list of conditions and constrictions. There is only one mandatory aspect: each
placement is attached below another parent-Placement.

How can we use such a loose structure to define media processing or to create
a representation in the GUI? The answer is: we _evaluate_ and _query_ this
structure. As starting point, we look for some basic elements, the Clips, and
we ask them: when do you start? and where do you send your output to? Each
placement either has an explicitly defined answer stored internally, or it has
some relation to another element to ask, or at least it can pass the request
to its parent.
________________________________________________________________________

Among the motivations for this approach, one stands out as directly workflow-related:
the notorious problem of *unintended modifications* to already settled parts of an
edit. Instead of protecting an arrangement after the fact by ``locking'' (prohibiting)
any modifications, the Placement concept expresses directly the constraints, links and
connections that should not be broken (eMail 2025-04-02).
Further motivations: Lumiera must be able to operate
without GUI (so concepts like »snap-to« are first-class in the core model, not just
UI features); and the model must not be a fixed data structure with a pre-determined
meaning, as such fixed models are notorious for leading an application into a dead end.

[quote, Hermann, eMail 2025-04-02]
________________________________________________________________________
[...] a description how virtual clips or
nested timelines are intended to work in Lumiera.
Both the GUI and the Render Engine assume a general scheme
of arrangement (and ignore any elements which are present
for whatever reason but do not fit into this scheme):

- at top level we have several Timelines
- each Timeline is connected through a Binding with a Sequence
- a Sequence provides a Fork (tree of tracks)
- Clips will be considered if found in such a fork/track
- Effects will be considered if found attached either to a fork/track
  or to an individual clip
- a clip either holds a _Binding_ to a Media Asset, or 
  _to another Sequence_.

This means:

- if we bind a sequence to a Timeline, we connect content
  to a time/frame grid, and as a result, we get a set of media outputs.
  These can then be ``performed'' (played back, rendered)

- however, if we bind a sequence to a Clip, the contents of the sequence
  become a new, _virtual medium_, which is basically indistinguishable
  from real media (video on disk).

Each clip is attached by a Placement. This in turn can point to
an absolute time position, or be attached with offset behind the end
of an predecessor, or a relative offset to the parent track, or it
can be attached relative to some point in another medium (say a
sync-point in some audio)

By default, if nothing is qualified, data output is traced from
the clip through the fork and the binding into the timeline; at
the fork, an overlayer / combiner / mixer is added automatically.
The Engine knows which kinds of media it can connect.

However, if you add a »plug« qualification to some placement, then
we get the functionality of nodes: the designation indicated in the
plug will determine how the pipeline is built. 
________________________________________________________________________

So placements are the foundation for nested sequences and ``virtual clips'',
but also control aspects of the routing and can connect several clips to
move together, which becomes relevant later for the
-> xref:grouping-devices[grouping discussion].


Symbolic representation
^^^^^^^^^^^^^^^^^^^^^^^
Responding to Wouter's question what ``symbolic representation'' actually means,
Hermann contrasted two styles of building an IT system:

[quote, Hermann, eMail 2025-04-07]
________________________________________________________________________
First to mention is a conventional, or maybe also obvious or naive approach:

- you agree on a mental model how to structure the matter to be treated
- in the actual data, you only represent the parameters within this model
- then you write actual code for the treatment, against the backdrop of
  the fixed (mental) model, yet controlled by those parameters

However, since the early days of computing, a different approach was developed
in the realm of language processing, process automation and simulation

- you represent the model itself by symbols, which are connected
- then you write code to interpret this structure and control the processing
- but in addition, you can now also write code that transforms the structure.

To give you a practical example: let's assume someone has tasked us to
implement a ``programme'' to calculate a balance sheet for a small business.
With the naive approach, you ask your customer how data has to be processed,
and the customer tells you: it has to be summed up. So this sets the mental
model. Thus you implement a list of positions, and then you add code to
iterate over that list and accumulate a sum. And when you're done, your
customer will tell you, that on some occasions, also a statistical mean
is required. Thus you go back, add a flag to toggle if you'd want to
compute a sum, or also to calculate the average. Then you ask your
customer, how to set that flag, and here we reach the point where most
typical projects start to go downhill.

With the symbolic / language processing approach, you'd rather encode a
formula, and use code from a library to compute algebraic expressions.
And you add rules when to use which formula. This makes the implementation
more demanding, but also more flexible, since you can adapt to your customers
requirements by changing the configuration, instead of having to write new
code whenever the customer comes up with a new explanation of what they
actually need.
________________________________________________________________________

Event Sourcing and CQRS
^^^^^^^^^^^^^^^^^^^^^^^
Lumiera's processing of user actions follows the _Event Sourcing_ pattern:
instead of mutating a central application state, the application captures a log
of things that _happened_. Every part of the application listens to these events
and builds the state it needs locally. Consequences relevant for the user:
the log can be re-played, any intermediary state can be re-created; save points,
auditing and long-term stability of behaviour come naturally; the system responds
slightly asynchronously but rarely blocks. Combined with CQRS (Command-Query
Responsibility Separation), the control path becomes a one-way route: user
interaction -> command -> logged event -> the various parts of the application
adjust their state in response (eMail 2025-04-02).

How a UI gesture actually travels through this architecture is spelled out in
the context of the xref:gesture-concept[Gestures].
Note also the resonance with Wouter's proposal of _timeline versioning_
(snapshots of timelines as a core feature, see -> xref:tagging[tagging]):
an event log with save points _provides the substrate_ for such functionality.

[role="summary"]
**********************************************************************
This thread is reference material rather than controversy; the discussion
of consequences happens in the topic threads. Wouter's caution deserves
record though: novel concepts like Placements must not create ``surprising
or non-deterministic (suddenly jumping) behaviour'' (a risk Hermann named
himself, eMail 2025-04-02) -- the answer to which is worked out in
the disccussion pertaining -> xref:prototypes[Placement prototypes]
and -> xref:adding[adding of source material].
**********************************************************************


[[scope]]
Scope and priorities
~~~~~~~~~~~~~~~~~~~~

Several discussions probed the _boundaries_ of what Lumiera should attempt.

.Node-based compositing
Wouter took a clear position against node-based compositing inside the NLE:

[quote, Wouter, eMail 2025-04-06]
________________________________________________________________________
In general I don't think node-based compositing inside an NLE is a good idea.
Timelines are layer-based by nature, and combining these two modes of compositing
will make things unnecessarily complex for the user, and probably difficult to
debug as well. DaVinci Resolve only allows node-based compositing on Fusion clips
which contents are isolated from the rest, to avoid such problems. [...] I think,
at least in the beginning, Lumiera would benefit from not trying to be an
all-in-one application that will be great at editing and compositing and motion
graphics and sound mixing and color grading. A focus on getting the editing part
right and providing ways to export the timeline to other apps for finishing
seems a bit more manageable.
________________________________________________________________________

Hermann's answer: ``I agree and I disagree at the same time, because that indicates
a dilemma'' (eMail 2025-04-07) -- if a project starts simple and pragmatic, it runs
danger of getting locked into a fixed model; yet a small project cannot cover the
whole ground. Lumiera's resolution is a two-layered approach: form a core model that
_can_ cover the larger ground, while structuring it such that plain editing-and-rendering
functionality can be finished first.
Interestingly, both participants share the assessment that ``nodes as-we-know-them''
do not work well in larger editing projects -- but draw different conclusions:
Wouter wants the topic out of scope, Hermann wants to re-think what is good about
nodes, so that traditional editing can be smoothly _extended_ into compositing
territory when and where needed (eMail 2025-04-06). In the Lumiera model, node-like
wiring exists as a capability of Placements (»plug« qualifications), without a
node-graph UI.

.Internationalisation
Discussed at FrOSCon-25 and sharpened afterwards: the UI language is English;
translations are welcome, but there are no plans to support languages requiring
a re-ordering of UI elements (right-to-left). When Wouter suggested softening the
wording, Hermann made the underlying decision explicit -- as a matter of priorities:
bidirectional support would cause a complexity explosion precisely in the massive
custom-drawing code of a video editor (does time run right-to-left? the track heads,
the tool palettes, the timecode formats...?), effort a small team cannot shoulder
(eMail 2025-08-29). He also flagged the meta-question -- whether it is honest
to ``give the impression that you're open towards an idea when in fact you have made
up your mind otherwise'' -- and enumerated similar priority questions likely to
come up: MS Windows portability, tablet platforms, GPU-based realtime previews,
beginner-friendliness, AI assistance.

.The UI toolkit (GTK vs. Qt)
This discussion started ``in the garden at FrOSCon-25'': Wouter pointed out Qt's
track record for big timeline applications (DaVinci Resolve, Ableton Live), the
poor Mac situation of GTK, and easier availability of Qt developers; he observed
sluggishness in several GTK-3/4 applications (eMail 2025-08-26). Hermann laid out
the other side: any project doing non-standard custom drawing is effectively
``married'' to its toolkit; the GTK choice was historical (Joel Holdsworth), yet
meanwhile rests on deep inside knowledge and a way of using GTK-3's toolkit aspects
while pushing aside the framework aspects; Qt in turn is a massive application framework
whose abstraction layers carry their own price tag, and pushing those aside is equally
not the intended usage. ``Since we intend to do very specific things that are
certainly not mainstream, we need to walk a thin line here.'' (eMail 2025-08-29)

[role="summary"]
**********************************************************************
Agreed::
- editing takes centre stage
- no node-graph based primary UI
- yet the core model retains node-like wiring capability
- UI language English, some terms not to be translated
- no support for bidirectional language UI planned
Open:: toolkit question: no change of course, but the concern is on
record and the direction of GTK development is being watched.
Postponed:: deliberately de-prioritised and taken out of focus
- Windows / tablet ports
- GPU preview engineering
- AI assistance
**********************************************************************


Control
-------

[[gesture-concept]]
The gesture concept: command architecture and immediate feedback
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The single most load-bearing concept to emerge from the Control discussion is
the *Gesture*. The crispest definition was given in the IRC chat, starting from
the question how a trim edit should be performed:

[quote, Hermann, IRC 2025-04-16]
________________________________________________________________________
``Trimming'' is a _Gesture_, and results in a ``trimming command'' sent to the core.
But that gesture can have multiple implementations. So basically, what I call
a ``gesture'' has the structure of _a sentence in language_. It has a subject,
a predication (here: trimming) and some qualifications. E.g. in mouse based
editing, you would enter into that gesture with a modifier key and then by
dragging at one side of the cut -- while in a keyboard-only control system,
you would need a selection, and then orient that selection towards one cut,
and then use a further key or combination to enter into the adjustment,
and maybe an enter key to complete the ``sentence''.
________________________________________________________________________

A gesture is thus an _abstract interaction_, which can be bound to different
*control systems* (mouse, keyboard, pen, hardware controllers) -- the vision being
that all control systems are supported on an equal footing. Concrete gesture
designs are discussed within their functional topics (e.g. the hooking gesture for
-> xref:adding[adding clips], navigation gestures in the
-> xref:keybindings[keybinding discussion], trim gestures in -> xref:trimming[trimming edits]);
so this thread here records the underlying machinery and the question of immediate feedback.

.How a gesture becomes a change in the model
On the technical level, dragging and its visual feedback happen entirely within
the UI, handled by a _gesture controller_ with pre-canned, quick-response logic.
Once the gesture completes (e.g. the mouse is released), the controller assembles
a _command sentence_ -- a symbolic representation of the kind ``this Subject with
ID 12345 was moved by GUI-coordinates of Δ −205 and hit another Subject with
ID 9876 in constellation III''. This sentence, encoded as a symbolic term, is sent
through the UI-Bus down into the Session, where it is processed asynchronously and with
much more flexibility: placements are queried, clips re-arranged, knockout conditions
checked. The outcome is placed as an *event* into the global session log, broadcast,
and ``projected'': the GUI receives a diff message and re-arranges the visible widgets
(Hermann, eMail 2025-10-04; see also -> xref:_event_sourcing_and_cqrs[Event Sourcing]).

[quote, Hermann, eMail 2025-10-04]
________________________________________________________________________
I made this digression to make it clear, why the design work we are doing
right now is so important: we need to come up with a user-visible "Story"
of what shall happen.
________________________________________________________________________

.Immediate feedback -- and its economics
Wouter raised the obvious concern: Final Cut, Resolve and to some degree Avid
show the result of an action _while you are performing it_ -- ``That's a fantastic
way to see what kind of impact your action is having'' (eMail 2025-10-04).
Hermann's analysis: UI event streams deliver several events per millisecond,
while resolving a network of placement constraints can take between a tenth of
a second and seconds; full live resolution would require the kind of GPU-backed
engineering that only industry can sustain (see also -> xref:vision[vision section]).
Wouter conceded the strategic point -- ``it might be better to not even try;
Adobe Premiere doesn't have this either'' -- but insisted that immediacy is a genuine
timesaver, and that Lumiera's placement concept makes outcomes _harder_ to predict,
so the user needs guidance all the more (eMail 2025-10-06).

The agreed middle ground was formulated as two priorities:

[quote, Hermann, eMail 2025-10-08]
________________________________________________________________________
Priority-1:: get the immediate feedback to reflect the gesture as such, but as
complete as possible, preferably with simple graphical means: you are dragging
_this_ and it engages with _that_ bounds/targets.

Priority-2:: enrich this with additional cues about consequences, even if these
are not completely accurate, but indicate the overall tendency correctly.
________________________________________________________________________

Priority-2 requires the GUI to receive ``a little help'' from the session model
_beforehand_: connectivity hints attached to the elements (e.g. a clip carrying
an index-hint naming the later clip that attaches to it magnetically), so the
gesture controller can draw connection lines as a simple overlay without latency.
Wouter spelled out what the cues should convey:

[quote, Wouter, eMail 2025-10-21]
________________________________________________________________________
- Indication of which clips that your clip selection will interact with will
  stay locked in place (and as a result, your clip selection might be moved to
  different tracks, on top or below).
- Indication which clips that your clip selection will interact with will move
  somewhere else and in which direction (could just be an arrow overlayed on
  top of each clip).

That should give us enough information about how clips on the timeline will
react to our gesture.
________________________________________________________________________

[role="summary"]
**********************************************************************
Agreed:: gestures as sentence-like abstract interactions, mappable onto
all control systems; command-sentence / event-log architecture; immediate
feedback follows the two-priority scheme; full live-resolution rendering
is not pursued. 
Open:: feasibility of the Priority-2 connectivity hints (“sound out how
deep the rabbit hole goes”); the concrete visual language of the cues.
Left over from FrOSCon-25:: it remains to be shown that a generic gesture
concept can be mapped onto the different control systems coherently.
**********************************************************************


[[keybindings]]
Keybindings and keyboard navigation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

This topic opened the first deep dive, with Hermann's critique of the ``almost
universal pattern'' of key bindings in contemporary applications: a flat mapping
space, scopes that are obvious to the programmer but opaque to the user and do
not mesh with the workflow, bewildering function names, and de-facto
un-documentability caused by the very configurability of the bindings. The
opposite pole -- the ``opinionated GUI'' -- surprisingly yields a small, well
structured, well documentable set of bindings, plus the ability to give active cues.
And overshadowing both: ``we can only recall and associate a very small number
of things at any instant [...] even while the software gives you hundreds of
keybindings, most people will only ever be able to use one hand full''
(eMail 2025-04-02).

Wouter countered with the professional editor's reality:

[quote, Wouter, eMail 2025-04-02]
________________________________________________________________________
We need to provide plenty of options for configuration here, simply because
depending on the type of content you work on, or the peripherals that are on
the desk, different shortcuts might be needed. [...] And many professional
editors are very keen on customizing the keys to their liking.
________________________________________________________________________

...and later supplied the ergonomic argument why no default can fit everyone:
his own most efficient layout clustered essential functions around the `ASD` keys
for the left hand -- until a (left-handed) switch to a Wacom tablet changed the
entire configuration. ``It will be impossible to come up with ergonomic defaults
as we will never know the specific setup of a user'' (eMail 2025-04-25). At the same
time he confirmed Hermann's core observation from his own experience: flat
bindings only stick when used identically across applications and daily -- with
the notable exception of Blender, whose keys survive years of disuse because
its gesture patterns are so well structured and plausible so that they tend
to build muscle memory quickly.

Incidentally, both agree to reject the ``opinionated'' style, the »Gnome style«
of user interface design -- as Hermann put it (eMail 2025-04-02): ``we know best
what you want and need and we give you exactly that and will not confuse you
with any configurability''...

Hermann drew the two approaches together with an observation about what actually
succeeds:

[quote, Hermann, eMail 2025-04-24]
________________________________________________________________________
One common approach is to have a broad set of shortcuts,
be it key bindings, or be it a set of buttons on a toolbar.

The complimentary approach is to rely on context and
navigation rather, and to use the same set of bindings
or interaction primitives, but mapped depending on the context.

The first approach seems to be very popular and widely used.
It is easy to understand and it is even more simple to build.
However, many really successful interaction paradigms
fall into the second category:

- the mouse
- the "ubiquitous" keys (spacebar, cursor keys, ESC, TAB, enter)
- context menus
- playing music on the piano keyboard (you use only 10 fingers,
  and achieve everything with context and posture of your hands)

Here, with *successful* I mean that I can take it on and get
accustomed to it _and get back into using it_ when returning
to the same application, say, one year later. 
________________________________________________________________________

He would thus prefer to put only 20% of development effort into a conventional
generic keybinding framework, while allocate 80% towards development of broad
generic handling patterns, that can be controlled by a small set of common
gestures. Notable examples would be navigation, controlling playback, or an
attempt to connect editing actions like trimming/rolling to navigation gestures.


The synthesis both sides subscribed to: build the coherent structure, but let it
_map down_ to common expectations -- or more precisely, let it be *simplified
down*, while the more elaborate structure remains underneath (unlike conventional
applications, where no such elaborate backing structure exists). A newcomer would
get the expected ``click-and-drag'' behaviour; the expert configuration might use
explicit triggers Blender-style (`g`/`m`), which would also lead to making
selections _sticky_.

[quote, Wouter, eMail 2025-04-25]
________________________________________________________________________
I think trying to come up with something that works consistently across the
entire application is worth pursuing. I also think that having a system that
can be simplified to something that people will instantly ``get'' because it
uses common paradigms found in other apps is essential [...] it will be very
hard to reach both these goals with one system, but let's see if it's possible!
________________________________________________________________________

The same principle was formulated memorably in the IRC chat: ``if we want to do
something unconventional, there must be a path leading to it from known terrain''
(Hermann); with Wouter adding the reason: ``people carry their knowledge of other
apps into new apps, expecting them to respect certain conventions -- when a
program does things wildly different, people will be very uncomfortable, and
this becomes an obstacle for them to invest time into learning it''
(IRC 2025-04-16).

Selection
^^^^^^^^^
Selection emerged as the structural backbone of keyboard control: there is
_always a selection_, inherently structured as a focal point plus a path of
nested scopes; navigation moves this focal point through a tree -- to siblings,
up and down, and across dedicated cross-links (into an effect's property pane,
into the media bin a clip was taken from). In the IRC chat this became the image
of a ``2½-dimensional'' space: two dimensions of neighbourhood, plus _portals_
where you step into an object or contextually connected setting.
Related agreements and proposals:

- losing a selection unintentionally must not happen (Blender's sticky selection
  as reference; Premiere's ``selection follows playhead'' as counter-example);
- Wouter's proposal: include select/deselect operations in the _undo stack_,
  so an accidentally lost selection is one Ctrl-Z away (eMail 2025-04-18);
- trim-side selections are especially precious and must be recoverable
  (IRC 2025-04-16, -> see xref:trimming[trim editing]);
- clip selection should stay intact when trim sides are selected (eMail 2025-04-18).

Keyboard navigation gestures
^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Wouter proposed a base vocabulary (eMail 2025-04-18):

- one track up/down, one clip left/right; with Shift
- jumps of 25--35% of the timeline _viewport_ -- sized relative to zoom level,
  and thus independent of how many clips of which length are on the timeline
- ``add to selection'' and ``select from start to end position''.

He prefers a single playhead, if workable: ``simpler will be better'',
with the selected track indicated by two outward-facing triangles on the playhead.
Hermann however would not rule out prematurely the idea of an edit location to be
kept separate from the playhead.

Later additions to the base vocabulary:

- a shortcut to _cycle_ through tool-palette variations (e.g. the different
  xref:prototypes[Placement prototypes]
- or, alternatively, small Blender-style context menus on plain keys:
  "`p`" pops up placement options, "`e`" lists everything that can be enabled...
  (eMail 2025-10-21).
- An ``expand selection'' shortcut following the scope hierarchy was discussed
  in a meeting and found promising.

[role="summary"]
**********************************************************************
Agreed:: both systems will coexist: a configurable flat binding layer as
necessary baseline, and a small coherent gesture vocabulary as the actual
investment (``20/80''); the coherent structure must be simplifiable down to
conventional behaviour; selections must be robust, possibly undo-tracked. +
Open:: the concrete default bindings; cycling vs. key-popup-menus for
placement selection; how far selection focus navigation can span the
whole UI.
FrOSCon-25 left open:: whether effect properties and mixer strips
integrate into an overarching navigation scheme).
**********************************************************************


[[tools-modes]]
Tools, modes, views and the contextual tool palette
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Wouter's »Lumiera Workflow Proposals« document analyses how existing NLEs switch
timeline interactions: tool-based (Premiere, FCP), mode-based (Avid, Lightworks, Resolve),
or view-based (FCP's precision editor) -- and finds that no NLE uses one method exclusively;
hybrids are the norm. His conclusion sets the direction
(link:WorkflowProposals.html#_tools_modes_views[»Tools + modes + views«]):
use whichever combination is appropriate, avoid all three whenever a simple,
direct and obvious interaction is possible -- and where a mode is used, design it as
a *contextual mode* that is entered and exited fluidly, without dedicated user actions.

The centrepiece of his proposal is the
link:WorkflowProposals.html#contextual_bar[»contextual bar«] (also termed the
»*contextual tool palette*«): an overlay appearing over the bottom part of the timeline
whenever a contextual mode is active, offering exactly the options of that mode -- e.g.
for clip selection (group, cut, duplicate, nudge, ripple- and snap-toggles), for
trimming (trim/roll/slip/slide/ripple toggle), and for adding clips (insert,
overwrite, replace...). Colours can indicate which contextual mode is active.

In the mail discussion, the _question of modes_ first appeared as a point of friction --
``in textbook UI design, modes are frowned upon [...] however, in our domain, I am
convinced that modes, when used well, are a valuable tool'' (Hermann, eMail 2025-04-07);
Wouter concurred, listing the many modes hiding in every serious NLE (eMail 2025-04-08).
At FrOSCon-25 the direction was then settled:
*tools* (tool-modes) are the preferable system -- provided a handling mechanism can
be found that works naturally across all control systems. Hermann proposed, taking
inspiration from Blender, to extend tool usage to the entire UI, with a top-level
*navigation tool* as default; moving of clips would become a sub-mode of this
navigation tool rather than a separate tool. Wouter's contextual palette
integrates naturally: tools can have sub-modes, presented on the palette --
switching between trim, roll, slide and slip after activating the edit tool.

The pattern for handling sub-modes found its blueprint late in the discussion:

[quote, Hermann, eMail 2025-12-07]
________________________________________________________________________
If you use the select function [in Gimp], the default is to replace the existing
selection, but the other alternatives are visible on the context-palette of the
tool and you could change them with a mouse click. But if you hit the modifier,
this selection just temporarily jumps to the other setting, as long as the
modifier is pressed. [...] I find this very intuitive, since I always have
difficulties to recall what a modifier does.
________________________________________________________________________

[quote, Wouter, eMail 2025-12-11]
________________________________________________________________________
Sounds like a good idea indeed. To always show standard and alternative
behaviour on the contextual palette and have Ctrl always switch to the
alternative action.
________________________________________________________________________

A further insight, prompted by the question which behaviour should be default:
the editor's workflow is not homogeneous but goes through *phases* -- the buildup
phase of an edit may need a different configuration than the tweaking phase;
a switchable sub-mode which can also be overlaid temporarily by a modifier can
serve both (Hermann, eMail 2025-10-04).

[role="summary"]
**********************************************************************
Agreed:: tools as primary system, extended over the whole UI with a
default navigation tool; contextual modes with fluid entry/exit; the
contextual tool palette as central device, carrying sub-modes and
placement choices; the Gimp pattern: palette shows standard + alternative,
sticky by click, temporary via the common modifier (Ctrl).
Open:: most aspects of the tangible manifestation:
+
- what actual modes to provide and how they mesh up
- how effect parameters and mixer strips are reached under an
overarching navigation tool (explicitly unresolved since FrOSCon-25)
- palette layout details
- avoiding occlusion of timeline content.
**********************************************************************


[[gear]]
The gear switch
~~~~~~~~~~~~~~~

A proposal by Hermann addressing a pervasive annoyance: parameters and movements
in media work span several orders of magnitude, and every level matters at times.

[quote, Hermann, eMail 2025-04-23]
________________________________________________________________________
So in my dreams I'd like to have a well-delineated gesture for a gear switch,
similar to what I have on my bicycle handlebar. And I would be able to ``drive''
any graduated movement and setting with the same patterns and gestures. [...]
Domain knowledge plays an important role here, and presumably the actual
gear-level-scale would need to be context dependent. Because working on a
sound fade requires a different stepping than moving a playhead in a frame
based medium, or when moving around in a timeline. [...] +
I would rather not try to come up with a dedicated key binding solely
for movement in the timeline. And maybe another one for fine-tuning sound
levels. Rather I'd propose to aim at a single uniform set of handles,
which work likewise for media playback, moving the viewport,
trimming a clip or any parameter adjustment 

- nudge one step plus / minus
- nudge on the next higher gear level
- gear up / gear down
- and a general movement gesture (moving the mouse or turning the wheel)
- presumably we also need an (unobtrusive) overlay to indicate the gear scale.
________________________________________________________________________

The point of reference is the mouse acceleration feature of most desktop environments.
This is in fact a hidden, built-in gear switch nobody can control; media applications
tend to add ad-hoc fine-tuning modifiers for a few ``especially relevant'' knobs.
Instead, one uniform set of handles and a gesture should be usable whenever some
value or setting must be adjusted.

Wouter found the idea clear and worth considering, but contributed two concerns
from hardware usage experience

[quote, Wouter, eMail 2025-04-25]
________________________________________________________________________
[...] I was wondering whether constantly having to change this mode/gear
would be experienced as unpleasant. I can imagine, for example, that you simply
want to navigate a certain amount to the right, but if you were to incorrectly
remember the gear, then that gesture would not take you as far as you wanted,
and you'd have to switch gears first, then try again.

The gears make me think of DaVinci's Speed Editor.
It has a wheel that can be set in three modes: shuttle, jog and scroll [...]
Shuttle is useless, but jog and scroll are two different sensitivities for navigation. [...]
So these could be seen as two gears. It does work and it is efficient, but:
I would have rather have a bigger device with two dedicated wheels [...]
so that I would always know which one to use and immediately turn the right one.
________________________________________________________________________

At FrOSCon-25 the gear switch was integrated into the tool concept as a sub-mode
entered when manipulating any setting value; Wouter afterwards questioned exactly
this point: ``I'm not entirely sure about the gear switch being a sub-mode. Maybe
it's something we would like to always work for whoever uses keyboard shortcuts.''
(eMail 2025-08-26)

[role="summary"]
**********************************************************************
Agreed:: the gear switch as uniform concept for graduated movement,
with context-dependent gear scales and an unobtrusive indicator overlay;
simplifiable down to plain two-level acceleration.
Open:: the actual handling
- activation model: sub-mode of tools vs. always available
- whether dedicated per-gear bindings should exist in parallel
- to what degree and in which scope a gear setting is remembered
- the actual gear scales per context (``the spread matters, as any cyclist knows'').
- presumably requires prototyping to determine its feasibility
**********************************************************************


Routing
-------
[[tagging]]
Organising footage: bins, tags, and tag-based routing
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

This topic connects Wouter's [underline]#chapter 1# (source material) with the
routing question. The pivotal idea arose from combining two observations.
Hermann, drawing from his audio work experience: music, ambience,
https://en.wikipedia.org/wiki/Foley_(sound_design)[foleys]
will be integrated from distinct sources anyway, so routing to sub-mixes
can be established automatically if the material is _tagged_ (eMail 2025-04-07).
Wouter then took that to an even more radical conclusion:

[quote, Wouter, eMail 2025-04-18]
________________________________________________________________________
When I'm importing sound effects, I'm already putting them in an Audio > SFX
bin. How about we get rid of bins entirely, and just use tagging for organising
the entire project? FCP does this, if I'm not mistaken. That way we'll have
clips organised in the project view and we know how to route them as well in
a single action. It could be useful for video clips too.
________________________________________________________________________

Organising and routing thus collapse into one act -- so this yet again connects
to the recurring theme of using a ``consistent scheme solving additional problems
en passant'', that resurfaced time and again during that discussion.

From the _Workflow Proposals_ document, [underline]#chapter 1# contributes further
link:WorkflowProposals.html#\_proposals[conclusions and proposals], which have
been woven into the discussion thereafter: support _most_ organising systems side by side,
since they don't interfere (source timelines, rating, tagging, marking); metadata-based
search and filtering as must-haves; a native 1...5 star rating working on clip sections
as well as whole clips; bins-in-bins rather than bins-in-folders; automatic source reels
based on user-defined rules (``show me all clips from the second day of the shoot from
camera A''); watch-folder auto-import; a built-in metadata browser for sound
libraries; and *timeline versioning* -- snapshots without manual
duplicate-and-rename archaeology, which would directly tie into Lumiera's
->xref:_event_sourcing_and_cqrs[event-log based architecture].

[role="summary"]
**********************************************************************
Agreed:: _Tagging_ as organising principle, potentially replacing
bins; tags double as routing directives (sub-mixes, groups); metadata
search, rating, source timelines to be supported.
Open::  the whole Routing area (default rules, explicit wiring/»plugs«,
mixing groups) has not really been discussed yet; the tag-based scheme
needs elaboration: tag taxonomy, manual effort, interplay with automatic
detection. Furthermore, all the functions for organising material within the
session should be regarded more as indications of ``features we'd like to have'',
as the handling of »assets« in Lumiera is still at a very early, conceptual stage.
**********************************************************************


[[layering]]
Tracks, layering and vertical space
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In conventional NLEs, the vertical order of tracks determines the layering
(compositing) order -- which forces the editor to arrange content by technical
necessity rather than by workflow convenience. Lumiera decouples the two:

[quote, Hermann, eMail 2025-04-05]
________________________________________________________________________
The Placement concept makes things simpler, insofar we are not forced to use
the track order to control layering; rather, this ordering is just the default
rule, and can be overridden in the placement of some enclosing track.
________________________________________________________________________

Tracks in Lumiera form a _tree_ (»the Fork«), and each sequence carries its own
local track tree -- which rules out one homogeneous global track order, but turns
tracks into a cheap, flexible resource. Sub-tracks then become ``a fluid local
working space'': if moving a clip creates an overlap, a rule can resolve it by
moving the clip to an adjacent sub-track; sub-tracks carry no meaning by default,
unless a placement explicitly ties to them (eMail 2025-04-07). In the same
spirit, a collision while dragging could _shear_ a clip aside: two sibling
sub-tracks are created on the fly, each overlapping clip put on one of them,
inheriting the original track's placement settings such as panning or fading
(eMail 2025-10-04, -> xref:moving[moving clips]). The track head, incidentally,
is understood as the visual representation of the fork's placement -- common
settings like fade levels or mixing mode live there.

.Resolving a collision by _shearing aside_
image::{imgg}/wflow/groupClip-2.2025-04-16.jpg[width="55%", alt="Collision resolution"]

What is lost by giving up global tracks: the ability to toggle or mute whole
groups of content by track. The replacement follows an audio-workflow insight --
routing by -> xref:tagging[_tagging_ the material].

At FrOSCon-25, a concrete mechanism for controlled layering was discussed: allow
the user to configure, per track, that all content stays fixed _above a reference
clip_ -- promising greater freedom of track arrangement, with the caveat recorded
in the meeting summary that practical tests are needed to determine feasibility.

Vertical screen real estate
^^^^^^^^^^^^^^^^^^^^^^^^^^^
The hard practical problem inherent in this is the use of _vertical screen space_.
Wouter, who dedicates one monitor exclusively to the timeline in his personal work setup,
has expressed his concerns regarding extended nested sequences as follows:

[quote, Wouter, eMail 2025-04-08]
________________________________________________________________________
An expanded nested sequence will need vertical space of its own to show its
inner tracks. This is space that's taken for the entire duration of the
sequence, even if most of this space might be empty. [...] As a result, we
will try to collapse the nested sequences whenever we can, at the cost of
keeping the overview and at the cost of another gesture that needs to be
performed.
________________________________________________________________________

During the IRC chat, Hermann shared quick sketches indicating ways to approach
these problems: a ``group clip'' _is_ a fork sub-tree in the session model, but
its contents could be rendered inline, sharing the surrounding track space
rather than opening a separate lane.

.A »virtual clip« with a nested sub-fork
image::{imgg}/wflow/groupClip-1.2025-04-16.jpg[width="60%",alt="Sub-fork in clip"]

.A group-clip (virtual clip) can sit anywehere in the fork
image::{imgg}/wflow/groupClip-3.2025-04-16.jpg[width="50%",alt="Group clip in the fork"]

.It _might be possible_ to establish common use of sub-tracks...
image::{imgg}/wflow/groupClip-4.2025-04-16.jpg[width="65%", alt="using common tracks"]

...however, many aspects of such a feature still need clarification; the
merely technical representation within the Session model likely being
_not_ the most difficult part... 
The further ongoing discussion has *not yet fully expanded* into this topic;
it stands as one of the most consequential open areas.

[role="summary"]
**********************************************************************
Agreed:: layering order decoupled from track order (using the track sequence
as default rule); tracks as tree and cheap resource; sub-tracks as fluid
working space without inherent meaning.
Open::
- the UI mechanics of vertical space
- inline rendering of nested content
- stepwise expansion,
- balanced -> xref:sections[global timeline sections]
- the above-reference-clip layering mechanism needs a practical test
- controls for explicitly overriding layering order.
**********************************************************************



Grouping
--------

[[grouping-devices]]
Grouping devices: groups, linked clips, nested sequences
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The question how to group and encapsulate parts of an edit was identified early
as _the_ pivotal decision -- ``the choices made here will very much influence all
other aspects of working in the timeline'' (Wouter, eMail 2025-04-02) -- and its
treatment shows the discussion at its most productive: two independently
developed models converged step by step.

.Wouter's proposal
In his document and in the ensuing discussion in April 2025, Wouter proposed grouping as a
first-class citizen of the timeline: every clip is part of a group.

[quote, Wouter, eMail 2025-04-06]
________________________________________________________________________
[...] I'd like to point out that the way I imagine it now, clips on layers within a group will occupy
(or ``share'') the same layers on the timeline as the clips from other groups.

In order for this proposal to work, each clip on a timeline should be part of a group.
This way there will always be at least one group and the user can choose to append new clips to this group,
or to create a new group. If there's no automatic way for group creation then I think few people will
put in the effort to create groups manually (they will just start to cut and not think about it).

Then, within one timeline, the operational hierarchy could be:

- sections

  * groups
  
    ** clips

Where clips, as you pointed out, could either contain source clips, or titles,
but also other groups/sequences, which can be opened in a timeline of their own
(if these too were to be displaying directly in the parent timeline I'm afraid
the complexity will get out of hand.)

Moving on to how this could actually work within the GUI: at the moment I think
we will need to provide three modes of operation within the timeline: +
[underline]#connect: none | clips | everything#

Or a different name for the same could be: +
[underline]#sync: none | local | global#

[underline]#No sync / connect none#: this will practically turn off group boundaries and make
the timeline behave similar to Premiere or Resolve (in their default modes/tools).
Destructive, yes, but familiar to most editors and it will give users the freedom
to move clips wherever they like.

[underline]#Local sync / connect clips#: this will enable ripple trimming and easy reordering
of clips within groups. Pretty much like FCP's magnetic timeline, but per group
and actually only per layer within a group (so probably no clip connections here).
If the group you're working in gets shorter or longer, all other groups
on the timeline will stay in place.

[underline]#Global sync / connect everything#: this mode will keep everything in sync.
If you ripple trim a single clip, the entire timeline, including other groups,
will move with it and stay in sync.

About the visual presentation of these modes: what disrupts my workflow in Premiere and Resolve
is when I have to take my eyes off the timeline to look for buttons like ``linked selection'',
to check if this mode is toggled on or off.
I would suggest to make it visually clear in the timeline which mode we're in.
No sync would mean not displaying group boundaries.
Local sync would mean displaying them as in my mockup picture, and global sync...
not sure yet, maybe change the colors of the boundaries?

Groups can be selected by either clicking an empty space within the group
(if there is any), or clicking the group header. [...]]

I'm thinking we need to have the option for groups to overlap each other
without erasing the group or clips that fall underneath.
________________________________________________________________________

.Hermann's counter-position
Hermann recognised his own plans in the proposal -- ``what you describe as a
`group' would be modelled in Lumiera as a Sequence, with its own track tree,
but bound as virtual medium within a clip'' (eMail 2025-04-05) -- but challenged
the fixed three-level hierarchy:

[quote, Hermann, eMail 2025-04-07]
________________________________________________________________________
What I rather like to question / criticise is that we have three ``kinds of
things'' here, which are all grouping devices. Sections, groups, clips. Also,
the fact that we define a fixed hierarchy bears the danger to go into the
direction of a fixed model structure. Could we instead get away with only a
single grouping device in the model? [...] If we _conceptually_ define our
model such that each clip is again a *sequence*, then we attain full
self-similarity and can throw away lots of ``special features'' present in many
audio or video editing software. On the implementation level, the key trick is
that you do not need to _represent_ things which are not relevant.
________________________________________________________________________

Wouter defended the fixed structure as _roles_ rather than kinds -- ``on a
technical level, all three of these could be sequences [...] it keeps things
simple enough that many actions can be performed fast'' -- while acknowledging
the appeal: ``I'm intrigued by your quest for everything to be flexible, but I
also wonder if it comes at a cost to the user.'' (eMail 2025-04-08)

.Convergence
Two weeks later, Wouter proposed a resolution -- groups and nested sequences
are different things serving different purposes:

[quote, Wouter, eMail 2025-04-18]
________________________________________________________________________
[...] you briefly spoke about possibly uniting our approaches to grouping clips,
and I am beginning to think that they might actually safely co-exist.
Many NLE's have a feature called ``linked clips'', usually used to keep a video
and audio clip together through a toggle called ``linked selection''.
But often you can manually link any combination of clips to treat them as a group.
My proposal for group clips might actually be closer related to this linking
than to nested sequences, and could perhaps be thought of as an evolution of
the linked clips concept. [...]

In my proposal every clip always belongs to a group. The moment you add a clip
to the timeline your action will decide whether it will be added to an existing group,
or if a new group will be created. So I'd like to immediately establish the
relations between clips when they are added, and not leave it as a thing to do
later. [...] This way, the groups and nested sequences can both exist and have
their own purposes.
________________________________________________________________________

The second half of the convergence arose from exploring the consequences of
the placement concept: once clips are -> xref:prototypes[connected by placements],
grouping _emerges_ from these relations -- clips with relative placement act as
``group leaders'', and an implicit grouping scheme arises from the direct relationships
of neighbouring clips (Hermann, eMail 2025-08-29). Wouter, initially wary of
unintended automatic connections, arrived at the same point:

[quote, Wouter, eMail 2025-10-03]
________________________________________________________________________
I am in fact very excited by how a timeline with these types of placements
might behave and how this would help to bring editing to a new level. I can
also see how we might not need too many other grouping devices when groups
are built using clip connections.
________________________________________________________________________

The discussion ensuing after FrOSCon-25 consolidated this line of thought:
rather than introducing a dedicated light-weight grouping device, placements
can achieve the same effect; what remains unresolved is the _visual representation_.
On that front the discussion has concrete warnings and leads: no NLE offers a model
to copy -- ``we need to write down several ideas and just create mockups'' -- and
colour as visual cue is largely spent already, since clip colourisation is a vital
organisational tool for editors; thus lines and borders between or around clips
are the more promising direction
(Wouter, eMail 2025-08-26).

[role="summary"]
**********************************************************************
Agreed:: no heavy dedicated group object: grouping arises from clip
connections (placements), complemented by nested sequences (a sequence
bound as virtual medium in a clip) for true encapsulation; relations are
established at add-time, not as an afterthought; the group leader must be
clearly visible.
Open::
 - the visual language for connections and groups (mockups needed)
 - interplay of implicit groups with explicit multi-selection
 - how group selection works across control systems
   (click empty space / group header / step-in-out navigation were
    sketched in eMail 2025-04-06).
 - the actual ``UI mechanics'' to ensure that clips added to the timeline
   indeed get connected into clusters when applicable.
**********************************************************************


[[prototypes]]
Placement prototypes and their behaviour
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To make placements workable in the UI, the discussion (from FrOSCon-25 onward)
settled on offering a small set of *placement prototypes* -- pre-configured
placement setups, chosen per clip, adjustable through the contextual tool
palette. Hermann prefers the term ``prototype'' over ``archetype'', referencing the
prototype-based type systems of JavaScript and Python: a new instance is created
by cloning the prototype (eMail 2025-08-29).

The set was worked out in Hermann's mail of 2025-08-29 and condensed by Wouter
(eMail 2025-10-21) to three:

1. *Relative to parent* -- clip anchored to its track (or effect to its clip)
   with adjustable offset; behaves for all practical purposes like absolute
   positioning, and can replicate traditional NLE behaviour or truly lock
   clips in time.
2. *Magnetic* -- anchored at the end of ``the preceding element'', without naming
   it explicitly; the default for a continuous series of clips. A non-zero
   offset creates a gap -- or an overlap, which can be a transition.
3. *Content-anchored* -- anchored to a specific point _in the media content_ of
   another element (a beat in the music, an action in another clip); technically
   a point on a ``synthetic local time axis'', which extends the concept to any
   element with a temporal dimension.

Wouter's design maxim was accepted as guiding principle: ``the fewer, the better.
Few prototypes will make it easier to understand what is going on, and we'll
need fewer visual cues on the timeline. [...] The prototypes you proposed seem
sufficient to me, and if not, we can always expand later.'' (eMail 2025-10-01)

.Behaviour under editing operations
The mail of 2025-08-29 analysed systematically what happens to _attached_ clips
when their anchor is edited:

[options="header",cols="3,4,4,4"]
|====================================================================
| anchor is...
| moved
| trimmed
| slipped

| relative (anchor = start)
| attached clips shift by the same delta
| nothing happens (start unaffected)
| nothing happens

| magnetic (anchor = end of predecessor)
| attached clips shift
| end point shifts, attached clips shift -- whether trimmed at start or end
| nothing happens

| content-anchored (anchor = point on local time axis)
| attached clips shift
| attached clips shift only if the trim moves the anchor point: trimming the
  start shifts them, trimming the end does not
| attached clips shift (slipping moves the anchor point)
|====================================================================

The content-anchored case has a remarkable edge: if the anchor point is edited
outside the visible part of the anchor clip, it remains mathematically well
defined --

[quote, Hermann, eMail 2025-08-29]
________________________________________________________________________
So, for example, if the anchor point coincided with the clash of the cymbals in
»The Man Who Knew Too Much«, and we edit away that clash from the music track --
then, in a strictly mathematical sense, the anchor point as such remains well
defined [...] so the attached clips should remain anchored to that very point
where the cymbals will clash and the murder is expected to happen.
________________________________________________________________________

.Principles established early (IRC 2025-04-16)
The chat session settled ground rules that held throughout:

- Manipulating a *multi-selection* with mixed placement types never silently
  changes the placement kinds -- it adjusts _offset values_ only, with the
  minimum of necessary adjustment, so that ``no clip jumps around just wild
  and uncontrolled'' (Hermann).
- Test case: clips attached to a music clip are box-selected (without the music)
  and dragged. Comply and adjust their offsets -- or refuse to move them?
  Both agreed on complying; in Wouter's words, the refusing variant
  ``would lead to agitation''.
- Locking a clip in place is a placement property, reachable via a properties
  panel with a visual indication on the clip -- rather than many clickable
  decorations on the clip itself, which Wouter cautioned against.
- And the reassuring perspective for newcomers: with sane automatic setup and
  offset-only dragging, ``you'd probably not even notice this placement concept
  at start'' (Hermann) -- ``yes that would be fine'' (Wouter).

.Requirements for the UI
Early on, Hermann outlined a list of requirements for the representation of
placements in the UI, that were elaborated further and confirmed at the
FrOSCon-25 meeting:

[quote, Hermann, eMail 2025-04-07]
________________________________________________________________________
Just to indicate some (for me obvious) relevant further points to consider:

- we need a visual indicator for the most prevalent placement modes
- we need a really well-made placement editor element, which should include
   some wizzard-like shortcuts, but also allow the user to exert direct control
- we need to capture the reasoning / the so called »derivation« when
   resolving a position, so that we can give the user the necessary diagnostics
- we need to detect when some kind of collision happens in the resolution
   process and also indicate that visually
- we need to capture any explicit collision resolution as event, so that
   it is permanent and can also be reviewed and altered later.
________________________________________________________________________

.Known open edge cases
Wouter's catalogue of problematic situations (eMail 2025-10-01) stands largely unresolved:

- Clips moving out of the way to prevent overwrites may _break_ magnetic
  connections.
- Swapping a relative-placed clip with a magnetic clip can fling the magnetic
  clip towards its distant anchor; should placement types swap along -- and
  ``would users accept that the software changes their clip settings?''
- Does a magnetic clip dragged across its neighbour inherit that neighbour's
  offset?
- Track time offsets (as DAWs use for latency compensation): should tracks
  ever carry them? And what would be the effect of marking such an offset
  to its nested contents?
- Deleting an anchor: what happens to attached clips (relative case)?
  A magnetic clip whose predecessor disappears reattaches to the previous one --
  but what if there is none?

[role="summary"]
**********************************************************************
Agreed::
 - three prototypes (relative / magnetic / content-anchored)
 - ``the fewer, the better''
 - offset-only adjustment for selections
 - prototype choice via contextual tool palette
 - placement diagnostics (``why is this clip here'') as requirement
 - discoverability via properties panel
Open::
 - the edge-case semantics listed above
 - the visual language for placement types
 - the interplay with -> xref:grouping-devices[grouping devices]
 - how to establish the prototype when -> xref:adding[adding clips]
**********************************************************************


[[sections]]
Sections and the narrative structure of the timeline
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In the chapter titled
link:WorkflowProposals.html#\_organising_the_timeline_sections[»Organising the timeline: sections«],
Wouter's document proposes to divide the timeline into named *sections*:
mark their headers in the ruler, use background colours for orientation,
keyboard navigation between sections -- and, crucially, encapsulation for the
sake of _sync safety_: working inside one section cannot throw other sections
out of sync; sections can be time-locked (e.g. when cut to music); their order
can be changed by drag and drop, so scenes can be rearranged freely -- a feature
squarely aimed at the free-flowing editor persona; sections could even carry
version alternatives of a scene. This proposal carries particular weight for
Wouter, and its motivation -- a top-level handle on the _narrative_ structure --
was emphasised repeatedly throughout the discussion.

At and after the FrOSCon-25 meeting, the alternative approach was explored:
implementing sections as a _dedicated timeline feature_ would require considerable
effort while not fitting the Lumiera core design as a homogeneous building block.
Hermann thus proposed *nested sequences* as the implementing mechanism -- these
are already planned for the session model: every such nested sequence has its own
track tree; a transition can be built between adjacent chapters while retaining the
ability to reshuffle them -- ``we can thus solve two problems with the same feature''.
Since each nested sequence is self-contained, the sync-safety aspect of sections would
be achieved as a by-product, while each such nested sequence could again be connected
through a suitable placement to some overall global music track.

The cost of encapsulation, however, is *opacity* -- and this is where Wouter's
gravest reservations live:

[quote, Wouter, eMail 2025-04-08]
________________________________________________________________________
My second concern has to do with keeping an overview of elements in a timeline
that contribute to the actual output. I use a three monitor setup where I always
have one screen dedicated to displaying the timeline and nothing else, because
seeing what's there is very important to me. Nested sequences, when collapsed,
are black boxes. You can't see what's inside until you open or expand them.
Nested sequences exist in Premiere and Resolve, yet I rarely use them for
exactly this reason.
________________________________________________________________________

Incidentally, Wouter mentions two exceptions: compositing stacks that are
meant to be seen as one clip, and grouped music stems.

The elements of an answer, collected across the discussion:

- Three graded gestures -- *expand* (reveal internals inline), *collapse*
  (show a condensed overview rendering, with thumbnails, produced by Lumiera's
  own render engine and cache), and *open* (to show the contents as a dedicated
  tab with a timeline created on the fly for the nested sequence)
- a nested session would be attached into a »virtual clip« -- cutting such a clip
  yields two clips referring _to the same underlying sequence_ (Hermann, eMail 2025-04-07).
- FrOSCon-25: use a stepwise expansion, so the overall timeline remains balanced,
  and a condensed preview of a virtual clip's internal structure, to avoid having
  to open it in many situations.
- Wouter's *popup portal* idea: hovering a nested clip (or dwelling on it with
  the keyboard focus) opens, after a brief delay, a popup that acts as a window
  into the nested sequence -- with the mouse, one could even edit its contents
  directly, without stepping in; though he flagged the misclick risk himself
  when the popup appears exactly where the user intends to click
  (eMails 2025-04-18, 2025-08-26).
- Hermann's inversion of the question: ``in which kind of editing situations do
  we actually want to _collapse_ a virtual nested clip, as opposed to have it
  all open for editing like a segment, maybe just slightly condensed
  vertically?'' (eMail 2025-08-29) -- which leads directly into the
  -> xref:layering[vertical space problem].

[role="summary"]
**********************************************************************
Agreed::
 - the narrative-structure need is accepted as important
 - nested sequences are the intended implementing mechanism,
   also doubling as chapter transition device
 - sync-safety comes from placement connections
 - condensed content previews instead of black boxes
Open::
 - whether nested sequences can actually deliver the lightweight,
   always-visible quality of Wouter's sections (drag-to-reorder scenes,
   section headers in the ruler, per-section versioning)
 - precise definition of the gradual expand/collapse steps
 - the popup portal idea needs elaboration
 - vertical screen real estate.
Agenda:: This cluster is the least-resolved of the Grouping area
and a prime candidate for the next in-person discussion.
**********************************************************************


Editing
-------

[[adding]]
Adding clips and automatic placement setup
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

If placements are to carry the editing experience, the decisive moment is when
a clip _enters the timeline:_ which placement prototype will it select, and how much
does the user have to do about it? This question dominated the last months of the
2025 discussion, and is the point where that discussion eventually paused.

Wouter framed the option space (eMail 2025-10-06): setup *by context* (the
surroundings determine the new clip's placement), *last-used setting*, or a
*fixed default* -- his least favourite, ``because it encourages users to stick
with one type as much as possible''. All agree on the goal: ``we want whichever
option results in the least amount of user actions to get a desired result.''

Hermann invoked the mainstream UI guideline -- avoid explicit options if an
automatic rule covers most cases and can be adjusted after the fact -- and
sketched the automatic rule via *proximity* (eMail 2025-10-08): close to a clip
on the left => magnetic; close to a clip above/below => content-anchored; else
parent-relative. The tuning spectrum ranges from ``engage whenever any clip lies
in that direction'' (which would be acceptable only if the auto mode itself is
_gated by a gesture -- like switching on a magnet toggle icon and letting things
fall into place) to ``engage only when really close'' -- a *hooking* feature.

Wouter accepted proximity for the magnetic case but drew a line for
content-anchoring:

[quote, Wouter, eMail 2025-10-21]
________________________________________________________________________
I do think your idea about proximity might work if limited to relative+magnetic:
any clip not adjacent to anything else will be relative to parent, any clip that
comes after will be magnetic. I think context anchoring should only be applied
when you specifically define a target, because you might often have clips above
or below that you do not (immediately) want to anchor to. Hooking by hovering
will probably be engaged many times by accident.
________________________________________________________________________

His fallback suggestion -- make ``parent-relative'' the global default, giving
near-traditional NLE behaviour for everyone -- provoked Hermann's
power-of-defaults argument:

[quote, Hermann, eMail 2025-11-09]
________________________________________________________________________
If we make the ``parent relative'' the default [...] then we can expect that most
people will setup most of their clips with that mode, and then they need indeed
a traditional ripple trim feature. Thus I'm inclined that we should rather try
to work out a very good solution for an automatic mode of placement selection,
so that most people will end up with almost all clips connected by placements.
Just that we can do better here than Final Cut, because we have two flavours to
offer (content anchored and magnetic), which seems to cover those important
cases with B-Roll and sound effects better.
________________________________________________________________________

The B-Roll build-up scenario served as recurring proof of concept: the first
B-Roll clip becomes a group anchor; further B-Roll material snaps magnetically
to its end; sound effects and subtitles are content-anchored on neighbouring tracks;
the whole compound can then be dragged as a single entity (eMail 2025-08-29).

.The lifetime of a clip
Hermann's summarised the interaction mechanics discussed thus far, and
integrated their use into a state model:

[quote, Hermann, eMail 2025-11-09]
________________________________________________________________________
We have defined now several different ``mechanics'' how clips interact
when being manipulated. But we have not decided yet upon the way how
to choose between these different possible "mechanics".

Thus I'd like to summarise or list those different mechanics
we discussed thus far:

1. the automatic setup mode. You drag a clip and it connects somehow
   to neighbouring clips. This is also the mode where the idea of
   ``hooking by proximity'' could be integrated, if desired

2. the traditional behaviour: each clip is separate and thus
   gets the ``relative to parent track'' placement, which behaves
   effectively as if the clip was just positioned at a fixed point
   within the track

3. dragging (and even trimming / editing) with placements engaged.
   If we grab one clip, a whole compound moves alongside. We have
   discussed several possible flavours, like that you have to grab
   the group leader, and effects work ``hierarchically down'' or,
   alternatively that a compound of clips is glued together,
   so that you can grab any part to move the whole compound

4. adjusting offsets. When I grab and drag a clip in that mode,
   it does not change its placement mode, rather it adjusts an
   offset relative to the existing kind of placement. For example,
   I could drag away a ``magnetic'' clip from its left neighbour,
   and it would still remain magnetically linked, just now with
   an offset.

5. what happens if we have a multi-selection (either of several
   clips added explicitly to a multi-selection, or by a box-select)?
   In theory, we could combine that both with mode (3) or mode (4)

   ** (5+3) means that we can mark several clusters and move them together
   ** (5+4) means that we can offset several clips by the same amount

Expanding onto these ideas and reasoning: a clip would go through several
states during its lifetime. When added first, we would be either in mode (1)
or when using a modifier/toggle, in mode (2).

Once the clip was dropped onto the timeline space, it has got its placement,
and now it would transition either into (3) or (4), again selected by a
toggle or modifier system.

And we could have a modifier or function, which brings a clip back
into the selection of the placement kind. And then it would probably
perform some kind of cycle through the possibilities, as you proposed.
And of course, since we show those possibilities also on the tool
palette, the user could always just click onto another one. 
________________________________________________________________________


And those stages will mesh up: a clip _lifted out_ of the timeline is again
an isolated clip in hand, ``as if we'd picked it from the media bins'' (eMail 2025-12-07).

.The distinctive gesture
Both agree that plain hovering cannot trigger anchoring -- ``it must be a distinctive
gesture'' (Hermann, eMail 2025-12-07). Three candidate designs are on the table:

1. *Context rule at drop location only* (Hermann): very close left predecessor ⇒
   snap magnetically; clip on the immediately adjacent track ⇒ content-anchor;
   correct afterwards via the palette.
2. *The hooking gesture* (Hermann, preferred by him): default is parent-relative;
   while dragging, moving _over_ a target clip merely highlights it -- but a
   marked change of the horizontal movement direction right above it (``hook it
   in there!'') triggers the attachment, confirmed by an overlay, after which the
   clip is dragged on to its destination. Additionally: dropping a clip directly
   onto the _seam_ between two clips inserts it in-between, connecting all three
   magnetically. Wouter: ``This is an interesting idea, although quite
   unconventional. I would like to try this (in whichever way possible), to see
   how that would feel.'' (eMail 2025-12-11)
3. *Arrow connect* (Wouter): after dropping a clip onto another clip, an arrow
   appears between them, the dropped clip sticks to the mouse, and a click places
   it at its intended position -- a two-step process, but triggered only in that
   specific constellation (eMail 2025-12-11; thereby refining his earlier idea of
   an arrow anchored to the new clip, from eMail 2025-11-25).

[role="summary"]
**********************************************************************
Agreed::
 - placement setup must happen without explicit user choice in the common cases
 - automatic magnetic snapping to a close predecessor
 - content-anchoring only by deliberate act
 - correction always possible via the contextual tool palette
 - the clip lifetime state model
Open:: the decisive design choice between (and possible combination of)
the three candidate gestures; this is where the discussion paused in
December 2025 and should resume.
**********************************************************************


[[moving]]
Moving, rearranging and ripple behaviour
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Given connected clips, what happens when you drag one? Hermann initially framed
three variants -- (a) only the dragged clip moves, adjusting its offset;
(b) the whole magnetically linked compound moves; (c) additionally, content-
anchoring anchors move along, so that relative-placed clips act as group leaders
of implicit bundles -- and proposed modifier-selected sub-modes with (c) as
default: grab a bundle anywhere, and it moves as a whole, within its wiggle room
(eMails 2025-08-29, 2025-10-04).

Wouter's counter-model proved to be the breakthrough:

[quote, Wouter, eMail 2025-10-04]
________________________________________________________________________
It wouldn't be detached, it would follow a hierarchy. Parents move children,
but not the other way around. This way magic or no magic depends on placement,
not on modifier or mode. [...] When we do want to move the entire group, we can
simply move the group leader. Everything else will move with it. It just needs
to be visually clear which clip is that group leader.
________________________________________________________________________

Hermann adopted it on the spot: ``Hey, that's brilliant, I didn't see this as a
possible concept [...] Hierarchical is more generic and encompasses that case,
you just need to grab the right thing.'' What remains from the modifier idea is
the *temporary detach*: a modifier (or toggle) to move a clip or selection as an
isolated case, ignoring its connections -- analogous to Final Cut's tilde key and
the classic ``linked selection'' toggle (Wouter, eMails 2025-10-01, 2025-10-04).

.Collisions: block or make way?
Enumerating the logical possibilities for one clip moved into another -- block;
push aside; overlap above/below; shear aside into adjacent track space; repel
and flip order -- Hermann proposed ``no magic'' as default: move within free space,
block on obstacles, and never reconfigure things or create chains of secondary
ripple effects without an explicit indication by the user (snapping-resistance
and tear-away being the familiar analogy). Wouter pushed back hard:

[quote, Wouter, eMail 2025-10-04]
________________________________________________________________________
I don't think blocking is a good idea. Let clips move to another track. At the
very least, let a user push through a blockade. Adobe Premiere has blocking
behavior in its trimming system and it's annoying. There's a reason I'm trying
to do something, so the app shouldn't tell me ``_no_''. DaVinci Resolve never
blocks. It ``understands'' what I'm trying to do, and it figures out a way to
let me do it in a way that makes sense in relation to the rest of the timeline.
This saves a lot of hassle with turning sync locks on and off. I strongly
prefer that.
________________________________________________________________________

Hermann acknowledged the concern without conceding the default (``A very valid
point. I do not know if I agree to it, really. Could be!''); Wouter suggested
trying Kdenlive's default mode as a specimen of blocking behaviour. The question
-- and the related one whether clips move out of the way during a drag (risking
broken magnetic connections when they do) -- remains open.

.Reordering
A load-bearing workflow requirement still lacks its mechanism: easy reordering
of clips, FCP's signature move (drag a clip elsewhere; the rest makes space;
the gap closes). Under pure placement semantics, dragging a magnetic clip moves
everything attached behind it -- useful for trimming, but not what reordering
wants: ``While a user might want magnetic placement for trimming, they might not
want it for moving clips. So we need to distinguish: dragging while respecting
all placements -- and dragging while ignoring the selected clip's children.''
(Wouter, eMail 2025-11-25) His earlier question marks the same spot: if moving
the anchor moves the attached clips, ``wouldn't moving them reorder their
positions? [...] If not done by moving magnetic clips, how else could we
reorder?'' (eMail 2025-10-01)

.The modifier budget
Modes and modifiers are ``a very limited resource'' (Hermann, eMail 2025-10-04);
Wouter began the bookkeeping (eMail 2025-12-11): keep *`Shift`* ≙ add to selection
and *`Alt`* ≙ duplicate for convention's sake; *`Ctrl`* becomes ``the common modifier''
switching to the alternative behaviour shown on the contextual palette
(the Gimp pattern, -> xref:tools-modes[tools and modes]); Avid-style snapping can be
a toggle instead; Premiere's Ctrl-box-select-of-cuts is probably dispensable.

.Terminology and adjacent decisions
Some terms were explained and settled (Wouter, eMail 2025-12-11):

Lift:: take a clip out and leave a gap
Extract:: take it out and close the gap

-- with Wouter defending the usefulness of lift-with-gap in track-based contexts
(protecting timings until the gap is closed deliberately).

[underline]#Also settled en passant#: _dropping a clip from the bin onto an existing timeline clip_
will *replace the target*, taking over position and connections, with the length
adjusting to the new clip (eMails 2025-10-05/06).

[underline]#Furthermore#: no brick wall _at timecode zero_ -- Lumiera is not based on _timecode_
internally (rather on an opaque 64-bit µs-granularity time -- timecode is mere presentation),
so negative positions are unproblematic and the user can relocate
the zero point on the time ruler when required.

.Ripple trim -- parked
Wouter repeatedly noted that a general ripple-trim function would be ``handy in any case'',
to serve users replicating traditional behaviour. Hermann sees classic ripple trim as a
workaround ``for lack of a better alternative, since the user needs a way to keep sync
between adjacent tracks, without having proper means to define the relationship
between these tracks'' -- and thus implementing ripple-trim would introduce a
duplicated behaviour pattern, yet subtly deviating from what placements provide
(eMail 2025-11-09). Outcome: ``I understand your reasoning for not wanting a
ripple function, so let's park that for now.'' (Wouter, eMail 2025-11-25)

[role="summary"]
**********************************************************************
Agreed::
 - hierarchy principle: parents move children,
   behaviour follows placement, not mode
 - visible group leader
 - temporary-detach modifier
 - Ctrl as the universal alternative-action modifier
 - lift/extract terminology
 - replace-by-drop semantics
 - no timecode brick wall
Open::
 - blocking vs. never-blocking as default collision behaviour
 - whether/when clips move out of the way during drags
 - the reordering mechanism under magnetic placement
 - drag horizontal vs. vertical: identical connection semantics
   were proposed (Wouter, eMail 2025-12-11) 
   but overlap reactions remain to be defined
Parked:: discussion regarding a general ripple-trim function.
**********************************************************************


[[trimming]]
Trimming
~~~~~~~~

``Trimming is a topic in itself, one of the most complex indeed'' (Wouter) --
``yes, but it is the very heart of an editor's work. Thus for me it is the litmus
test.'' (Hermann, IRC 2025-04-16). Both also agree on its systematic priority:

[quote, Wouter, eMail 2025-04-25]
________________________________________________________________________
This does require us to decide on a trimming system though, which is a complex
topic by itself. Because once we understand how we would like trimming,
navigation, arranging, grouping, adding and removing clips will work, we will
know which gestures we need for those, and then see how similar gestures will
work in other panels and contexts. [...] I'm inclined to have the timeline
operations take the lead here, and then adapt to other panels (or ``extract''
general gestures out of these), because the timeline is the one area that
can not be compromised.
________________________________________________________________________

The IRC chat explored the mechanics of trim-side selection: most NLEs select a
_cut_ (nearest the playhead) and pick its A or B side; only Lightworks selects
the side of an underlying _clip_.

Wouter prefers the clip-based approach -- ``since we already have a mechanism
for navigating clips, we should probably not add another mechanism just for
navigating cuts'' -- and his document turns this into a
link:WorkflowProposals.html#_analysis_and_proposal[concrete proposal]:
three commands on the selected clip (select in point / out point as trim side;
select in point for a roll edit, toggling to the out point on second press),
with repeated presses switching between ripple and non-ripple trims. Trimming
itself ``doesn't need to be reinvented'': frame-wise, by fixed amounts, or
dynamically through playback. Since the trim keys collide with clip-nudge keys,
a *trim mode* is accepted -- yet would be designed as a contextual mode
(-> xref:tools-modes[tools and modes]): entered by selecting a trim side,
exited by clicking empty timeline space or the mode key; playback in trim mode
always previews the selected cut, Avid-style. At FrOSCon-25 the sub-mode arrangement
was agreed upon: switching between trim, roll, slide and slip happens on the
tool palette after activating the edit tool.

Two connections to the placement concept deserve emphasis:

- Wouter's document proposal *renounces sync locks* -- ``we previously established
  that clips that have no relation to each other might share a track, so it
  makes little sense to provide track based operations. We should instead take
  the actual clip connections that the user establishes into account.'' This
  effectively applies the placement patterns onto the trimming behaviour, and
  quietly removes most of the need for multi-trim-side asymmetric operations.
- The behaviour of connected clips _under trimming_ is what was outlined in the
  -> xref:prototypes[prototype behaviour matrix] -- e.g. trimming a magnetic chain
  ripples by construction, no no sync-lock is required.

In the mail discussion proper, trimming was touched frequently, but never given its
own deep dive -- Wouter's mutually-exclusive-selections question is still standing:
should clip selection and trim-side selection exclude each other (saving precious keys),
and how does that interact with sticky selections without introducing yet another mode?
(eMail 2025-04-25)

[role="summary"]
**********************************************************************
Agreed:: timeline operations take the lead in gesture design; clip-based
trim-side selection; trim mode as fluid contextual mode with palette
sub-modes (trim/roll/slide/slip); no sync locks -- clip connections govern
ripple behaviour.

Open:: a dedicated deep dive is still missing: the interplay of trim
gestures with placement connections in detail, keyboard bindings, the
clip-selection vs. trim-side-selection question, dynamic (playback)
trimming. Together with Routing, this is the least-covered core area.
**********************************************************************

{nbsp}


State of the discussion
-----------------------

Looking back over the year, the discussion has produced a remarkably coherent
body of design: a shared vision (flow, trackless aspiration, medium abstraction),
a settled conceptual core (three placement prototypes, grouping through connections
plus nested sequences, the contextual tool palette, the gesture concept with its
two-priority feedback scheme), and a set of working principles

- minimise the number of design elements
- map down / simplify down to known software behavior
- the Gimp modifier pattern
- modifiers as limited resource
- power of defaults


The discussion paused in December 2025 when discussing the choice of
the concrete mechanism for attaching clips while
-> xref:adding[adding and arranging them] --
and this opens a well-delimited frontier of further questions to explore.

The largest uncharted areas are xref:_routing[Routing]
(xref:tagging[tagging], xref:layering[layering]),
the xref:sections[vertical-space, grouping and sections] cluster of topics,
and a systematic treatment of xref:trimming[trimming].

''''

TIP: A separate page compiles these open points into a selection for a possible
working agenda for the planned link:Froscon26Agenda.html[meeting at FrOSCon 2026].