Making Movies with Kino
Listing 1. An Example of an .smil Movie Project
<?xml version="1.0"?> <smil > <seq> <video src="/mnt/RAW FILES/Paris001.dv" clipBegin="0" clipEnd="441"/> </seq> <seq> <video src="/mnt/RAW FILES/Paris002.dv" clipBegin="0" clipEnd="368"/> </seq> <seq> <video src="/mnt/RAW FILES/Paris003.dv" clipBegin="28" clipEnd="761"/> <video src="/mnt/RAW FILES/Paris004.dv" clipBegin="567" clipEnd="967"/> <video src="/mnt/RAW FILES/Paris008.dv" clipBegin="28" clipEnd="761"/> </seq> <seq> <video src="/mnt/RAW FILES/Paris004.dv" clipBegin="26" clipEnd="234"/> </seq> </smil>
If your movie is assembled from many different tapes, put a new one in the camcorder and repeat the above steps.
In the storyboard near the first frame of a scene, you can find useful information, such as the name of the file where the scene is located, the time mark from which the scene starts and the duration of the scene.
While capturing, Kino displays the time according to the original source. In edit mode, timecode displays the running movie time. Time can be displayed in many formats. The simplest is the frame format. This is a frame counter that starts from zero. Other formats are much more usable by humans like seconds; minutes also are available. We like to use the industry-standard, Society of Motion Picture and Television Engineers (SMPTE) timecode format, which shows both the time and a frame counter, separated by semicolon. For instance, if you see the time noted as 00:07:40;15, it means 7 minutes, 40 seconds and 15 frames. You can select the time format you prefer from the Time pull-down menu.
Mozart is said not to have written drafts, but not everyone can be like Mozart. If you start recording too early or finish too late, a scene may need to be cut, or you may end up with bad frames, unnecessary frames or frames of the wrong duration. The duration of a scene usually is determined by the action. If there is no action, the scene duration should be no longer than 4–6 seconds. Shorter scenes look like flashes, and longer ones are boring.
To begin editing, look through the scenes. If you find only one or two problem frames in a scene, you either can remove them or split them with the next frame in the case of incorrect AutoSplit. To remove a scene, press the Edit tab on the right, point at the scene you want to delete in the storyboard and click on it. The main window shows the first frame of the scene. Click the scissor icon in the toolbar. The scene disappears from the storyboard, and the next scene's first frame is displayed in the main window.
Often you want to see an overview of the individual frames in a scene. With Kino, you can do this by clicking on Timeline. Figure 3 shows an example of the Kino Timeline.
If only a part needs to be cut from a scene, it should be split into bad and good parts. Use the transport control line to review and locate them. If you click on the split icon in the toolbar, the current frame starts a newly created scene. Be sure the current frame is in the scene you want to delete by clicking Cut. This method works well if you need to delete a central part of a scene. If you want to set the beginning or the end point of a scene accurately, it's better to use Trim.
Trim is a powerful tool for editing. The most basic use is to remedy problems with the first or last frames in a scene. To use Trim, select the scene in the Storyboard and click Trim. You should see a scrub bar and two text boxes; the one on the left is labeled In and the right one is labeled Out, as shown in Figure 4. These boxes show frame numbers for the starting and ending points for the current scene in the clip file. Use the control buttons or the triangle above the bar line to navigate to your new starting position. Use the single frame features for higher accuracy. Having specified the new starting position, click the left triangle below the line to change position. The In text box changes to reflect this selection. To trim the end of the scene, do the same thing with the ending point, and set it by clicking on the right triangle. If you are satisfied, click the red Apply button.
Exiting the Trim mode or choosing a new scene in the Storyboard to edit also applies any changes you made, so be careful while editing.
Under the In pointer is a text field indicating the current mode for trimming. Insert and Overwrite are the two trim modes and are similar to using a text editor. With Overwrite, the currently selected scene in the Storyboard is replaced by the newest one; Insert adds a new scene before or after the currently selected scene. The Insert mode has no Apply button, only Before and After icons. This means you must make your selection to apply the changes.
Fast/Flexible Linux OS Recovery
On Demand Now
In this live one-hour webinar, learn how to enhance your existing backup strategies for complete disaster recovery preparedness using Storix System Backup Administrator (SBAdmin), a highly flexible full-system recovery solution for UNIX and Linux systems.
Join Linux Journal's Shawn Powers and David Huffman, President/CEO, Storix, Inc.
Free to Linux Journal readers.Register Now!
- Download "Linux Management with Red Hat Satellite: Measuring Business Impact and ROI"
- Profiles and RC Files
- Astronomy for KDE
- Understanding Ceph and Its Place in the Market
- Maru OS Brings Debian to Your Phone
- OpenSwitch Finds a New Home
- Git 2.9 Released
- SoftMaker FreeOffice
- What's Our Next Fight?
- The Giant Zero, Part 0.x
With all the industry talk about the benefits of Linux on Power and all the performance advantages offered by its open architecture, you may be considering a move in that direction. If you are thinking about analytics, big data and cloud computing, you would be right to evaluate Power. The idea of using commodity x86 hardware and replacing it every three years is an outdated cost model. It doesn’t consider the total cost of ownership, and it doesn’t consider the advantage of real processing power, high-availability and multithreading like a demon.
This ebook takes a look at some of the practical applications of the Linux on Power platform and ways you might bring all the performance power of this open architecture to bear for your organization. There are no smoke and mirrors here—just hard, cold, empirical evidence provided by independent sources. I also consider some innovative ways Linux on Power will be used in the future.Get the Guide