[grid="all"]
`------------`-----------------------
*State*         _Idea_
*Date*          _2008-10-31_
*Proposed by*   link:Ichthyostega[]
-------------------------------------


Use Case analysis
-----------------

The only way to defeat "featuritis" is to build upon a coherent design --
 +
which in turn relies upon a more or less explicit understanding what the
application should be like, and the way the prospective user is thought to work
with the program. Today, a generally accepted ''method'' for building up such
an understanding is to do a ''use case analysis.'' Such a formal analysis would
require to identify all usage scenarios with the involved actors and parts of
the system, and then to refine them in detail and break them down into distinct
use cases. Here, I'll try a rather informal variant of such an analysis. I'll
restrain myself to describing the most important usage situations.

''please participate in the discussion. It well may be that everything detailed
  here is self-evident, but I doubt so. At least the grouping and the omissions
  reflect sort-of a focus of the project''


Describing basic Lumiera usage situations
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The fundamental assumption is that the user works on a project, which is
reflected in the fact that the user is working on a single session over an
extended period of time (several hours to several years). External media will
be imported and incorporated into this session, additional media will be
created within this session, and finally there is at least one render or export
procedure to harvest the results of this work.


Scenario (1) : Exploring Media
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Various external media files are opened. You play, cue and examine the media.
Tagging, labeling and adding notes. Marking of interesting points and ranges.
Possibly breaking down into clips, or at least extract some ranges as clips.
Draft arranging the clips, applying some effects to check the result and thus
to find out about the viability of the footage. Playback of several media at
the same time (several videos, but also video and music). Grouping of assets
(media, clips, effects, markers) into folders.


Scenario (2) : Simple assembly
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

You build up a simple linear cut sequence. Either by

 - using a single source media, trimming it and cutting away (a small number
   of) unwanted parts
 - playing source media and spilling over (insert, overwrite) some parts into
   the final assembly
 - dragging over pre-organised clips from clip folders to build up the
   assembly.

Sound is either used immediately as-is (the soundtrack attached to the media),
or there is a similarly simple, linear music bed. Some people prefer to switch
sound off entirely for this kind of work. In any case, the link is either
automatic, or rather vague and soft (as music being vaguely correlated)


Scenario (3) : Augmenting an assembly
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Without the intention to rework it from scratch, an already existing simple
assembly is augmented, beautified and polished, maybe to conform with
professional standards. This includes the "rescue" of a somewhat questionable
assembly by repairing localized technical problems, but also shortening and
re-arranging, and in extreme cases even changing the narrative structure. A
distinctive property of this usage scenario is that work happens rather in the
context of ''tasks'' (passes) -- not so much isolated operations:

 - the task may be to get the rhythm or overall tempo right, and thus you go
   over the sequence and do trim, roll, shuffle or slide edits.
 - you may want to "fold-out" parts of the sound, thus interweaving o-sound and
   music
 - there may be a sound overdubbing and replacing pass
 - you may want to walk certain automation curves and adjust levels (sound
   volume or tone, fade, brightness/contrast/colour)
 - general polishing may include adding title overlays, fading in and out,
   adding (typically a single type of) transition(s) in a coherent manner


Scenario (4) : Compositional work
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Here I define ''compositional work'' as a situation where you deal with
multiple more or less independent sequences going on in parallel, similar to a
musical score. Frequently, we encounter compositional parts embedded in a
otherwise linear work, and often those parts evolve when Scenario (3) is driven
to the extreme.

 - the most common situation is that o-sound, sound design and music work
   together with the temporal structure created in the image edits.
 - a movie with a complex narrative structure may induce compositional work on
   a very large scale (and existing applications frequently fall short on
   supporting such)
 - compositing often leads to compositional work. Special FX, masked objects
   being arranged, artificial elements to be integrated.
 - similarly any collage like or heavily layered arrangements lead themselves
   to requiring compositional work.

The common distinctive property of all those situations is: objects are
embedded into a primary context and have to obey the rules of this context, and
at the same time have a close correlation to other objects which are embedded
in a completely different ("orthogonal") context. (To give a catchy example:
assume, a CG monster has to be integrated. Besides the masked monster object,
you have several colouring and blurring layers at completely different levels
in the layering order, and at the same time you have correlated sound objects,
which need to be integrated into the general soundscape. And now your primary
job is to get the movement and timings of the monster right in relation to the
primary timing grid established by the existing edit)

The working style and thus the tool support necessary for compositional work is
completely different to Scenario (3). After an innitial buildup (which often is
very systematic), the working profile can be characterized by tweaks to various
parameters to be done in-sync at widely separated sites within the session,
together with repeated cycles of "do it", "assess the result", "undo all and do
some small detail differently". Typically there is the need for much navigation
(contrast this to Scenario (3) where you work in "passes")


Scenario (5) : Working with Sound
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

The degree of integrating sound work is worth discussing. Often, due to
limitations in existing tools, sound work is done in separate applications to a
large extent. Which in turn forces the whole production into a sequential
organisation scheme. First the edit has to be roughly final, and then the sound
people can step in. (Of course this is an simplification). To list the common
operations:

 - cleaning and preparing original sound
 - fitting sound library elements or separately produced sound
 - overdubbing
 - playing or building music to match the rhythm of the edit or the original
   footage
 - montage of dialogue and/or noise correlated to the primary content of the
   sequence
 - sound design, shaping the pace and the feel of a sequence
 - final balance mix

While clearly some of those tasks are always better done within a dedicated
application, the ability to carry out this work partially within the main
session and even while the basic edit is still in flux -- may open new artistic
possiblilities.


Scenario (6) : Large Projects
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

At first sight, the operations and the work to be done in large projects is the
same as in small ones. But large projects tend to create sort of an additional
"layer" on top of the usage scenarios described thus far, which will "kick in"
at various places.

 - work may be divided upon several editors, working on separate parts
   (sequences) which then need to be re-integrated
 - there may be a global asset organisation (naming scheme), which will be
   extended locally, resulting in nested naming scopes.
 - some quite basic stuff needs to be done in a coherent fashion, e.g. titles,
   a certain transition (template), the way fade-outs are done, a certain
   colour profile. Possibly, this stuff needs to be adjusted all over the
   project.
 - there will be a general (large scale) timing grid and probably there is the
   need to navigate to the different parts of the whole project.
 - there may be the necessity to build several versions of the same project in
   parallel (e.g. a short version and a extended director's cut)
 - you may have to care for such nasty and tedious things as keeping sub-titles
   in-sync while the edit is still in flux
 - you may want to do integration builds, where you add placeholders just for
   the purpose to get an impression of the work as a whole.


Scenario (7) : Teamwork
^^^^^^^^^^^^^^^^^^^^^^^

Several people work on a project.

 - A longer sequence might be split up into parts, each one edited by another
   person. The parts will be collected and assembled by the chief editor. Edits
   to the parts will still be possible, but a system of permissions allows to
   lock down access to the material.
 - Arrangements based on the same resources can be branched, tagged and merged.
 - Edits are logged with usernames
 - Markers can be shown/hidden on a per creator base.
 - Team members need ways to share and store notes and suggestion for each
   other work. Annotations can be added to clips, markers or arrangements
 - A pen tool could allow to scribble on top of frames or arrangements. An
   expressive and fast way to leave suggestions about deletions, movements and
   all other kinds of edits.


Scenario (8) : Script driven
^^^^^^^^^^^^^^^^^^^^^^^^^^^^

The application is started ''headless'' (without GUI) and controlled via an
API. Either an existing session is loaded, or a new session is created and
populated. Then, some operations have to be done in a systematic manner,
requiring a way to address parts of the session both unambiguously and in a way
easy to access and control from a programming environment (you can't just
''see'' the right clip, it needs to be tagged). Finally, there might be an
export or render step. A variation of this scenario is the automatic extraction
of some informations from an existing project.


Discussion
~~~~~~~~~~

.Pros
* describing such scenarios, even if hypothetical, create an anchor or point of
  referral for feature/GUI design work to be done in detail
* relating features to working situations helps to see what is really important
  and what is rather of technical merrit
* compiling and discussing this list helps shaping the character of the
  application as a whole
* the above compilation relates individual features to a general production
  process.
* the goal of this compilation is to be ''fairly complete''


.Cons
* any of those descriptions is artificial
* sometimes it is better to develop an application technology driven,
  especially when it is technologically challenging to get it to work properly.
* having such a large-scale vision may frighten people away which otherwise
  might jump in and implement some crazy but valuable new feature
* the listed usage scenarios intend to be ''fairly complete,'' which can be a
  limitation or even self-deception. Better have an open ended list.
* the above compilation seems quite conventional and explicitly leaves out some
  scenarios
  - networked, distributed scenarios, compound applications
  - television, life video, !VeeJay-ing
  - cartoons, animations, game design



.Alternatives
* avoiding a general plan, just sharing a vague general vision
* just start out with one scenario directly at hand (e.g. the simple assembly)
  and not worrying about the rest
* rather then defining those scenarios (which are necessarily hypothetical),
  rather stick to the operation level. E.g. a use case would be rather "trim a
  clip"
* doing a complete state-of-the art UML use case analysis.
* after having created the foundation, rather stick to an XP approach, i.e.
  implement, integrate and release small "usage stories"



Rationale
^^^^^^^^^

Well, after having considered, compiled and written such an concept, altogether
avoiding a big picture view of the application is not longer an option. To the
other extreme, we neither have the resources, nor the circumstances for doing a
rigid and formal analysis. Finally, the XP approach really sounds promising,
and it should be clear that it is in no way ruled out. Nothing hinders us to
have a detailed vision, but then to implement small usage stories which fit
into this vision.

Besides, another consideration. The above compilation builds upon the notion,
that there is a common denominator of film making craft, a core editing art,
which has been shaped in the first 100 years of cinema, and which won't go away
within the next generation, even if the technological and practical
circumstances of production change quite dramatically.








Comments
--------

Template e.g. for regular TV series
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Constraints to fit all contents within fixed timeline, cover topic, select
collage of iconic scenes from archived and collected footage. Update intro and
credit roll for each episode. Add in stopmotion, and 3D model animations with
vocal commentaries. Gather together separate items from "outworkers". Tree
(@)SIG(@)

Back to link:/documentation/devel/rfc.html[Lumiera Design Process overview]
