Workflow-publish: include (and rename) images
Images were extracted form the PDF provided by Wouter with the command pdfimages -png -j wouter260316v4.pdf wouter/v4 As usual, I have added the images separately, into the Website-repository, in order to save storage space in the main Lumiera repo (since storage in a Git-repository is permanent and can not be shrinked later without rewriting the history) Furthermore, I have changed the naming scheme of the images, adding a prefix with the version number where some image was added.
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1 changed files with 41 additions and 43 deletions
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@ -184,9 +184,8 @@ Premiere (optionally) shows an import panel immediately after this. The first ti
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on a timeline, Resolve and Premiere will ask if you want to change your project settings to match
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the clip settings, when these are different.
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[red]#TODO: Image#
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Premiere's import panel
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.Premiere's import panel
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image::{imgg}/wouter/v4-01-importPanel.jpg[width="100%", alt="Premiere's import panel"]
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Projects themselves exist within an application's database (Resolve), or as a file/folder on local or
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shared storage (Avid, Premiere, Lightworks, FCP).
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@ -207,9 +206,10 @@ of bins (timelines are confusingly called ``projects''). Footage, when imported,
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and from there all emphasis is on the metadata, in how you rate and tag (parts of) the footage. This
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also serves as a replacement of the subclips feature found in other NLE's.
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[red]#TODO: Image#
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.Final Cut Pro's Keywords dialog. +
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image::{imgg}/wouter/v4-02-keywords.jpg[width="100%", alt="Final Cut Pro's Keywords dialog"]
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^↑``Travel part 1'' and ``Travel part 2'' on the left are events.^
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Final Cut Pro's Keywords dialog. ``Travel part 1'' and ``Travel part 2'' on the left are events.
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In any case, when working in a professional environment, you will probably want to start with a
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template that defines your top level structure, instead of having to recreate your entire bin setup
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@ -282,9 +282,9 @@ simultaneously exist in a regular bin and a search bin, in contrast to normal bi
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clip will only exist in a single bin and you'd have to duplicate this clip for it to be also
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placed in another bin (Lightworks being the exception here).
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[red]#TODO: Image#
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.Filter options in Lightworks
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image::{imgg}/wouter/v4-03-filterOptions.jpg[alt="Filter options in Lightworks"]
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Filter options in Lightworks
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Resolve adds a third kind of bins, known as ``Power bins'': these are bins that are accessible by all projects.
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@ -318,9 +318,9 @@ Control+left clicking any column header and Lightworks via the Columns > Presets
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methods are less straightforward than Avid's. Another neat feature that Avid has is a bin map: an
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overview of bin contents that can be toggled when in Frame View.
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[red]#TODO: Image#
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.Creating a custom view preset in Avid Media Composer, which can be selected from the drop-down menu in the top bar.
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image::{imgg}/wouter/v4-04-customView.jpg[width="120%", alt="Creating a custom view preset"]
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Creating a custom view preset in Avid Media Composer, which can be selected from the drop-down menu in the top bar.
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Note that all apps offer a search/filter box (or button) on top of each bin view. Final Cut Pro and
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Resolve allow skimming clips from the bin view, simply by hovering the mouse on top of the
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@ -353,9 +353,9 @@ option to (automatically or manually) connect clips to lines in a script (Script
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* Sequence/timeline markers to mark points in time, or sections (so-called ranged or spanned
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markers; terminology is different per app).
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+
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[red]#TODO: Image#
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.Plenty of marker options in Adobe Premiere
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image::{imgg}/wouter/v4-05-markerOptions.png[width="70%", alt="Marker options in Premiere"]
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+
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Plenty of marker options in Adobe Premiere
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* Timeline clip notes (Avid): these can be added to a timeline clip, and will stay connected to
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this clip. You can't trim them off and they will automatically move whenever a clip moves.
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@ -375,9 +375,9 @@ options in this field and lets you choose exactly which types of colours to disp
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timeline. Manually set clip colours are a very useful organisational tool, e.g. to differentiate
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between several cameras, interviewed persons in a documentary or different locations.
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+
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[red]#TODO: Image#
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.Avid has many options for choosing how clips are coloured in the timeline
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image::{imgg}/wouter/v4-06-clipColor.png[width="50%", alt="Coosing clip colours in Avid"]
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+
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Avid has many options for choosing how clips are coloured in the timeline
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* Flags (Resolve). Similar to markers, but these apply to entire (source) clips, while markers
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apply to a single point in time or a time range within a clip. Multiple flags can be added to
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@ -390,9 +390,9 @@ of a day of shooting from multiple cameras synced and laid out chronologically.
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FCP doesn't quite support source reels and instead offers continuous playback from the
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browser window. Resolve has a ``source tape'' option that works in a similar way.
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[red]#TODO: Image#
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Simple example of a source reel (top), converted to a sync map (bottom)
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.Simple example of a source reel (top), converted to a sync map (bottom)
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image::{imgg}/wouter/v4-07-syncMap.png[width="100%", alt="Example of a sync map", link="{imgg}/wouter/v4-07-syncMap.png"]
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Viewing footage
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^^^^^^^^^^^^^^^
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@ -403,9 +403,8 @@ only a single monitor that switches between these two functions. Some others (Av
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users the choice between single or multi viewer modes. Lightworks and Avid support an unlimited
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amount of floating viewers.
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[red]#TODO: Image#
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You can open (and position) as many viewers as you like in Lightworks
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.You can open (and position) as many viewers as you like in Lightworks
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image::{imgg}/wouter/v4-08-multiViewer.jpg[width="120%", alt="Multiple viewers in Lightworks", link="{imgg}/wouter/v4-08-multiViewer.jpg"]
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Viewers are usually coupled with timecode display and have a ton of settings.
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I won't go into details about these.
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@ -433,9 +432,8 @@ application supports viewing multiple timelines simultaneously. By stacking time
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other you can easily drag selections from one timeline to another. This is possible in Premiere,
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Lightworks and Resolve.
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[red]#TODO: Image#
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Pancake timeline editing in Lightworks
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.Pancake timeline editing in Lightworks
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image::{imgg}/wouter/v4-09-pancake.png[width="110%", alt="Example of a sync map", link="{imgg}/wouter/v4-09-pancake.png"]
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Reels can be further managed by using markers to describe certain points in time or sections, and
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these markers can be viewed as a list in their own panel. When selecting a marker in this panel, the
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@ -472,9 +470,9 @@ my selects reel. The advantage here is that I can rate sections as _not useful_
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see it as a 4-star rating system. I have seen other editors use this method for selecting footage,
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although in all fairness I'm not sure how widespread this technique is.
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[red]#TODO: Image#
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.Lifting selections; also note the use of clip colours, gaps and markers for organising the selects reel.
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image::{imgg}/wouter/v4-10-selectsReel.png[width="100%", alt="Example of a sync map", link="{imgg}/wouter/v4-10-selectsReel.png"]
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Lifting selections; also note the use of clip colours, gaps and markers for organising the selects reel.
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In FCP you can create your own rating system by using keywords (as shown in the screenshot at the
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start of this chapter) and then having everything filtered through keyword collections, as described
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@ -624,7 +622,7 @@ Editors often proudly share screenshots of their timelines on social media, and
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impressive, but these are in fact pretty fragile structures.
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.One of my own timelines, which is relatively simple by comparison to those of many Hollywood movies
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image::{imgg}/wouter/01-timeline.jpg[width="110%", alt="Screenshot of a timeline", link="{imgg}/wouter/01-timeline.jpg"]
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image::{imgg}/wouter/v3-01-timeline.jpg[width="110%", alt="Screenshot of a timeline", link="{imgg}/wouter/v3-01-timeline.jpg"]
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So naturally, a question would be: what will happen if we would let go of the track paradigm? This
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is what Final Cut Pro has done, starting from the rewrite of Final Cut Pro X. At the time, a
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@ -641,10 +639,10 @@ primary storyline, and all connected clips automatically move with it. With a mo
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ignore clip connections, so that you can also easily move a primary clip elsewhere without its
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connected siblings coming along.
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image::{imgg}/wouter/02-trim-magnetic-1.jpg[width="100%", alt="(before trim)"]
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image::{imgg}/wouter/v3-02-trim-magnetic-1.jpg[width="100%", alt="(before trim)"]
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.Extending one clip will automatically move all connected clips in order to keep sync
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image::{imgg}/wouter/02-trim-magnetic-2.jpg[width="100%", alt="(after trim)"]
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image::{imgg}/wouter/v3-02-trim-magnetic-2.jpg[width="100%", alt="(after trim)"]
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_Sounds good._ Why not just copy this? One reason is that FCP assumes that all clips that are not on
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the primary storyline should be connected to this primary storyline. This might work well for fiction
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@ -659,7 +657,7 @@ How else could we group clips together that ought to be connected? +
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We could create groups that are directly editable, like so:
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.Compound clips
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image::{imgg}/wouter/03-grouped-1.png[width="100%", alt="Timeline with compound clips"]
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image::{imgg}/wouter/v3-03-grouped-1.png[width="100%", alt="Timeline with compound clips"]
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However, there are a few problems with this: we expect rendering to happen from top to bottom, in
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which case the b-roll would cover the subtitles. On top of that, it's hard to see at which points video
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@ -668,7 +666,7 @@ clips overlap. Last but not least: it looks rather unorganised.
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Can we restructure this? Perhaps like this:
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.Overlapping compound clips
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image::{imgg}/wouter/03-grouped-2.png[width="100%", alt="Timeline with stacked overlapping compound clips"]
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image::{imgg}/wouter/v3-03-grouped-2.png[width="100%", alt="Timeline with stacked overlapping compound clips"]
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But how exactly would a user interact with a timeline like this? I will leave the answer to that
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question for an actual design document, as for now I just wanted to show the concept of grouping so
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@ -695,7 +693,7 @@ FCP's precision editor. It doesn't change the working of keyboard shortcuts or t
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alters the timeline via animations in a very fluid way.
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.Final Cut Pro's precision editor
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image::{imgg}/wouter/04-fcp-precision-editor.jpg[precision editor]
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image::{imgg}/wouter/v3-04-fcp-precision-editor.jpg[precision editor]
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Another example is the Trim View in DaVinci Resolve: whenever you perform a trimming
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operation, the program monitor displays a trim view (showing the frames left and right of the cut
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@ -727,7 +725,7 @@ the use of a _contextual bar_ that appears over the bottom part of the timeline
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mode is active.
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.Contextual bar with options for the mode/tool
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image::{imgg}/wouter/05-contextual-bar.png[width="100%", alt="contextual bar"]
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image::{imgg}/wouter/v3-05-contextual-bar.png[width="100%", alt="contextual bar"]
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Currently I'm thinking of using this bar on two or three occasions:
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@ -808,10 +806,10 @@ One last thing I would like to address is the destruction that an insert operati
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this can be prevented by proper track management, but you can wonder why you would ever want
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an insert action to cause the following:
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image::{imgg}/wouter/06-sync-insert-1.png[height=110, alt="sync insert"]
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image::{imgg}/wouter/v3-06-sync-insert-1.png[height=110, alt="sync insert"]
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.Inserting a clip with sync locks enabled for V2 might split a clip in Avid Media Composer.
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image::{imgg}/wouter/06-sync-insert-2.png[height=110, alt="sync insert"]
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image::{imgg}/wouter/v3-06-sync-insert-2.png[height=110, alt="sync insert"]
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In this case, if you'd like the clips on V2 to stay in sync, the overlapping clip will be split in two.
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If you don't want this to happen you would have to move the overlapping clip to another track
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@ -963,7 +961,7 @@ will move both the viewport and playhead. Clicking the left mouse button will ac
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position and close the widget.
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+
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.Skim widget
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image::{imgg}/wouter/07-1-skim.png[width="100%", alt="A skim widget rendered as overlay"]
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image::{imgg}/wouter/v3-07-1-skim.png[width="100%", alt="A skim widget rendered as overlay"]
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Autoscroll widget:: when the user moves the mouse cursor slightly left or right, it will enter zones
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@ -972,14 +970,14 @@ When the user moves the mouse farther away from the initial starting point, the
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increase. This will also work vertically. The playhead will move along as well.
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+
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.Autoscroll widget
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image::{imgg}/wouter/07-2-autoscroll.png[width="100%", alt="A widget for auto-scrolling"]
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image::{imgg}/wouter/v3-07-2-autoscroll.png[width="100%", alt="A widget for auto-scrolling"]
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Zoom widget:: moving the mouse left or right from the centre will zoom horizontally, up and
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down will zoom vertically.
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+
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.Zoom widget
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image::{imgg}/wouter/07-3-zoom.png[width="100%", alt="An overlay widget to control zooming"]
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image::{imgg}/wouter/v3-07-3-zoom.png[width="100%", alt="An overlay widget to control zooming"]
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Mouse-only navigation:
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@ -989,7 +987,7 @@ mouse button. When released, it will commit to the new location/view. If a user
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immediately releases the button, a regular context menu will appear.
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+
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.Combined skim, zoom and scroll widget
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image::{imgg}/wouter/07-4-combined.png[width="100%", alt="Overlay widget to combin skim, zoom and autoscrol function"]
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image::{imgg}/wouter/v3-07-4-combined.png[width="100%", alt="Overlay widget to combin skim, zoom and autoscrol function"]
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Why popup widgets?
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@ -1049,7 +1047,7 @@ what any other NLE does at the moment, but enabling multi-clip selection by keyb
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good reason to go in this direction.
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.Selection mockup: selected clips are highlighted in yellow, the cursor is a white dot.
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image::{imgg}/wouter/08-selection.png[width="100%", alt="selecting clips"]
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image::{imgg}/wouter/v3-08-selection.png[width="100%", alt="selecting clips"]
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For selecting, we can introduce an ``add to selection'' key which adds the highlighted clip to the
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current selection (apart from the convention of using Ctrl+mouse click). We could also think of
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@ -1157,10 +1155,10 @@ tracks automatically stay in sync. This means (manually) enabling or disabling t
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track. Once set, trimming a single clip can be enough to have all tracks move along, although you
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might still need to manually select trim sides for overlapping clips to get the desired result.
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image::{imgg}/wouter/09-sync-trim-1.png[height=140, alt="trimming with sync-lock(before)"]
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image::{imgg}/wouter/v3-09-sync-trim-1.png[height=140, alt="trimming with sync-lock(before)"]
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.Avid's sync locks will split longer clips by default, in order to keep sync. Such destructive behaviour should be avoided in Lumiera.
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image::{imgg}/wouter/09-sync-trim-2.png[height=140, alt="trimming with sync-lock(after)"]
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image::{imgg}/wouter/v3-09-sync-trim-2.png[height=140, alt="trimming with sync-lock(after)"]
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Without sync locks you will have to select trim sides on every track that needs to stay in sync,
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although, as we'll see, even that can be accomplished by a single keystroke. FCP is the exception
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@ -1191,7 +1189,7 @@ These commands can be combined: when pressing multiple keys, new trim sides are
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selection. This allows for quickly selecting many trim sides on many tracks.
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.One keystroke led to the selection of these four trim sides in Lightworks
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image::{imgg}/wouter/10-trim-side.png["select trim side"]
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image::{imgg}/wouter/v3-10-trim-side.png["select trim side"]
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Another feature that was already mentioned in a previous chapter, is FCP's precision editor, which
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can be triggered by double clicking a cut or by keyboard shortcut. This shows how much footage
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@ -1278,7 +1276,7 @@ exited automatically whenever the user clicks in an empty spot of the timeline o
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mode key (T). This key can also be used to return to the last-used trim configuration.
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.Mockup of the trim mode. The striped area marks the pre- and post-roll that will be previewed.
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image::{imgg}/wouter/11-trim-mode.png[width="100%", alt="using trim mode"]
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image::{imgg}/wouter/v3-11-trim-mode.png[width="100%", alt="using trim mode"]
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Splitting and merging clips
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@ -1314,7 +1312,7 @@ I would like to propose the ability to divide a timeline into multiple sections.
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will have a header in the ruler that can be edited, to give each section a name (similar to how
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duration markers in Premiere are displayed).
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image::{imgg}/wouter/12-sections.png[width="100%", alt="Timeline with sections"]
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image::{imgg}/wouter/v3-12-sections.png[width="100%", alt="Timeline with sections"]
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The benefits of sections:
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@ -1371,7 +1369,7 @@ transition from a clip's start or end to the position of the playhead.
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* Avid has a configuration panel for adding transitions:
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image::{imgg}/wouter/13-transition.png[align="center", alt="transition properties"]
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image::{imgg}/wouter/v3-13-transition.png[align="center", alt="transition properties"]
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* Some apps allow adding transitions to every cut in the in-out range (Avid, Lightworks). Avid
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gives you the option to skip cuts that already have a transition. Very useful for adding short
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