2008 UI Design
To Be Done
- Project Render interface description
- Capture Interface description
- Markers (critical points) and their uses
- multi-point split example
- Export Audio EDL
- Object add mock-up
- Select mock-up
- Property Editor mock-up
- Timeline Effects mock-up
- Compositing mock-up
- use cases and illustrations
- use cases and illustrations
- put track disable control on all mock-ups
- put new toolbar commands on all mock-ups
- select before, after, above, below, entire layer, entire track, all, none
- enable/disable object
- Decide which items go in the Preferences dialog or not
- Use direct manipulation for most common operations.
- Use noun-verb pattern for most other operations (see below)
- Minimize the number of modes. Modes are evil.
- Use quasi-modes instead of modes
- Provide feedback. Change cursor styles, provide real time updates.
Select what you want, then issue a command to manipulate it.
- commands are “verbs” which operate on current selection. These
commands are only sensitive when valid on the current selection.
- provide an easy way to add new commands of this type
- Only conventional “tool” is the split tool. You activate it first,
then click where you want to cut.
- and we provide a non-modal variant of this that operates on the current selection.
- don't provide an easy way to create other modal tools
- finding a specific time in the timeline
- shifting a clip's start position
- trimming a clip's in or out position
- splitting a clip into multiple pieces
- previewing the project
- adjusting audio volume or video alpha
- moving sources between layers
- adding sources to the timeline
- deleting sources from the timeline
- adjusting individual object properties
- applying an effect to a portion of the timeline
- moving sources between tracks
- editing multiple objects simultaneously
- re-using the same sequence of video repeatedly
- possibly with slight-variations
- linking two arbitrary objects so they stay in sync
- unlinking linked objects
- color correcting a source with poor white-balance
- filtering noise from audio
- marking significant points in a timeline, such as sound bites from an interview or instants at which sound effects should play
- cutting a source in multiple places
- transcoding from original to editing-friendly codecs
- re-conforming a project
- i.e. from work-print quality to full-quality
- exporting from native to external project formats
- importing external projects to native pitivi projects
there are several primary components:
- clip library (also referred to as sources browser)
- property editor
- effect library
- main toolbar
- timeline toolbar
These components all share a single window by default. The Viewer, Timeline, Clip Library, and Clip Editor, and Effect Library can be detached from the main window by clicking a special “detach” button. These windows appear as normal top-level windows. When the user closes one of these windows, the component returns to its default location. In addition, the clip editor and viewer can be “expanded” so that they completely fill their parent windows.
- shift, ctrl, alt, and ctrl+alt act as quasi-mode modifiers: they must be held down to activate special modes.
- use alphanumeric keys for more esoteric operations: users are used to shift, alt, ctrl acting as modifiers.
- provide Ctr+
shortcuts for menu items
- arrow keys used for seeking
When the mouse moves over a selectable item, it becomes highlighted to indicate its focus.
Single-clicking on items sets the selection to that item. Selection is indicated by more prominent highlighting.
- shift-click always adds the object to a selection
- ctrl-click toggles whether the item is selected or not
- alt-click always removes the object from the selection
Whatever the method used, selection is an undoable action.
Click and drag on blank canvas activates selection marquee. While dragging the selection marquee, objects that will be selected when the mouse-button is released indicate focus. It is clear which objects touched by the marquee will be selected.
- shift extends the selection over a range
- ctrl sets the selection to the intersection of the current selection and the objects under the marquee
- alt removes the objects under the marquee from the selection
- selecting an empty area clears the selection. This means clicking on blank canvas also clears the selection.
Some tool-bar commands to modify selection. These are track-wise operations. The operation will be performed for each track which contains a selected clip. These operations to not apply to selections of key-frame points within clips, but they do apply to timeline and track-level markers.
“Select before” -- select everything between the start of the project and the current selection
“Select After” -- select everything between the end of the project and the current selection
“Select Above” -- select everything between the top-most layer and the current selection
“Select Entire Layer” -- selects everything else in the layer(s) of the currently selected source(s)
“Select Entire Track” -- selects everything else in the track(s) of the currently selected source(s)
“Select None” -- remove all items from the current selection
“Select All” -- select the entire project
Used for playing back video from a variety of sources, primarily the timeline. Provides basic playback controls, as well as single-frame forward / rewind.
Functions of the Viewer
- displays output of timeline at current position of playhead
- temporary playback of sources from the browser.
- temporary feedback of editing operations
During certain edit operations, the it would be useful if the viewer could show visual feedback of the edit in progress. After operation ends, viewer returns to previous state.
- during a roll edit between two sources A, B, viewer should split between out point of source A and in point of source B
- during a drag operation, viewer should show the instant just before/after the new source will cut in/out. Based on overlap. If no overlap, no preview. If overlap of one source, show that source. If overlapping one source at each end, split viewer between them.
The user can lock the viewer into a continuous loop over a portion of the timeline. In this case, all other seeking behavior is disabled. The user can make continuous adjustments while the loop plays.
- need some mechanism to define the area over which to loop.
- one thought is to place markers. User can select two markers to define an an area and then press the loop command.
The primary component of the UI. This is where the user directly manipulates sources and effects which will appear in the final output. It is a time-proportional representation of the edit decision list. Clips appear as horizontal rectangles, their with proportional to their duration, and their position along the x axis proportional to the time at which they start. The metaphor is of virtual strips of film. The user can “cut” (meaning split), move, resize, and group (splice?) these strips.
Seeking and Navigation Controls
- scrubbing directly on the timeline ruler will seek to that place in the timeline
- left and right arrow keys seek forward/back single frames at the current project framerate.
- Holding down keys causes repeated seeking.
- Shift + arrow key seeks over 1/2 second interval
- Alt + arrow key seeks over 30 interval
- Ctrl multiplies current seek interval by factor of 10
- Whenever play-head moves out of view, the Timeline widget should scroll to center the play-head in view.
The timeline is subdivided into tracks. Tracks represent separate output channels with a single media type. Within a track, all objects have the same media type, and there is at least one track in the timeline for every type of media that the timeline contains. The user does not add or remove tracks directly: the user adds objects to the timeline, and tracks are created as appropriate. Most projects will only have one audio and one video track.
Tracks can be expanded or contracted. Expanded tracks stack their clips vertically, according to the clips' layer position (priority). When a track is collapsed, all sources appear at the same vertical position, as if contained within a single layer. This single layer can then be further collapsed.
Tracks are themselves subdivided into layers. Layers are priority levels within a track. For audio, all layers within a track are mixed together into a single stream. For video, all sources within a track are composited together in a single stream. The layer position determines the order in which videos are composited, with the visually topmost layer appearing as the top-most source in the stream.
The user can add layers to a given track by dragging the track's separator bar downward. Similarly, the user can remove tracks by dragging the layer's separator bar upward; however, removal of the bottom layer will only be permitted if the layer is empty. Objects within layers can be stacked arbitrarily. This is particularly useful for effects, which operate lower-priority objects within the timeline.
Managing Vertical Complexity
Ordinarily, layers take up a fair amount of space. This is to make room for thumbnails, waveforms, and keyframes.
Layers and tracks can be contracted to save space. The user can contract a layer by clicking their expander widgets on the far left side of the timeline.
This can also be done for entire tracks
Sources and Effects
Sources and effects (within a track) are content streams of a single media type. Sources are clips which provide data. Effects are filters which consume lower priority clips as input and produce filtered output.
Both Source and effect objects have properties. All properties can be manipulated via the property browser, but some of properties, like audio volume or video alpha, will be so commonly used that they are embedded directly onto the widget. These “embedded” interpolation curves are manipulated in exactly the same way as interpolation curves in the property editor (see the Default Property Editor section) for more info.
Moving Timeline Objects
Objects in the timeline can move in both horizontal and vertical axis. The semantics, however, change depending on the type of object. For all objects, the horizontal (x) axis is interpreted as the time axis. For sources an effects, the vertical (y) axis the source's layer position within a track (tracks are shown visually stacked, but moving a source between tracks is accomplished through a different mechanism).
- All objects in the current selection move simultaneously.
- Edge snapping when moving multiple items needs to be carefully designed so that it is not destructive. A conservative approach would be to snap only the beginning and end of the entire selection.
Edge / Frame Snapping
All objects have edge snapping enabled during horizontal motion. At this point, we believe this is the most common use case. This edge snapping effect is intended to be subtle, with a deaband of only a few pixels.
- Active by default, disabled while holding shift.
- Exact behavior defined in core. Basic idea is that certain
timestamps in the timeline act as “magnetic” points which objects
will tend to “stick” to when they get close enough.
- this is already implemented. Just needs to be refined a bit.
Objects in the timeline can be temporarily deactivated. The deactivate command is in found in the timeline toolbar, and will deactivate whatever objects are in the current selection. The reactivate command undoes this operation.
An entire track can also be suppressed. To do this, click the disable toggle near the track's name on the left side of the timeline.
Adding a Clip
The user chooses the clip from the clip browser by clicking and dragging.
When the object enters the timeline, the timeline responds by showing how the timeline will change. In this case the clip has both audio and video streams, so objects appear in both audio and video tracks.
The user can move objects to desired layers and time offsets.
By holding the appropriate modifier key, the user can push existing objects out of the way...
...or add a source into a new layer.
Adding an Effect
Effects can be dropped into the timeline in almost exactly the same way as clips. The main difference is that effects come from the effects library.
User selects the effects library from the tab.
When adding effects into a new layer, the layer is initially collapsed.
Fine Tuning: Trimming Objects
Trimming a clip is always possible by clicking/dragging on source trimming handles. By default, the in or out point of a clip should be edge-snapped (so that it is easy to put the clip back the way it was). The UI should constrain the setting of in/out point so that sources can't be stretched beyond maximum native duration. clicking and dragging a trimming handle should not change the current selection
First, the user moves the mouse over the desired clip's trimming handle
The cursor changes to a left- or right-edge trimming cursor.
Click-and drag sets the in or out point of the clip as appropriate.
A variant of trimming, which works when two clips are adjacent in the same layer. Sets the in-point of the left clip an the out-point of the right clip, keeping the total duration of both sources the constant. Roll edits are activated by holding the appropriate modifier key while dragging a trimming handle. Note that this is only expected to work when it is possible to set the in/out points of both sources to the same point in time.
First the user places the mouse over the appropriate trimming handle.
The user holds down the appropriate modifier key. Cursor changes from trimming to roll-edit cursor.
When the user drags the mouse, the edit points are set as appropriate.
However, if the user releases the roll-edit modifier key, the edit reverts to the default trimming operation.
This is another variant on basic trimming. The source who's trimming handle is being manipulated is trimmed as usual, however the adjacent source(s) are rightward in the appropriate direction, so that the trimming does not create a gap between the sources. This shifting carries down the entire length of the track, keeping sources in the same relative position.
User places cursor over the desired source's trimming handle.
User holds the appropriate modifier key. Cursor changes to ripple cursor
User drags the the mouse. Adjacent sources are shifted.
The user can also hold an additional modifier key to make the ripple edit work across multiple layers.
If the user releases the ripple-edit modifier key, the edit reverts to the default trimming operation.
Another variant on basic trimming. The source's in/out points are not set as normal, but rather the source keeps the same in/out points and the source is sped up or slowed down to accommodate the new duration. Timestretch only applies to sources of finite length, such as files.
There are two methods of combining timeline objects together: linking and grouping. Linking allows the user to keep distinct timeline objects synchronized. Moving one object causes all of its linked “sibling” objects to move. The relative offset between siblings is preserved.
Some clips will be linked by default (for example, audio and video from the same file).
But the user can link arbitrary objects together as well.
To link objects:
- set the selection to the objects you wish to link
- click the “link” command from the timeline toolbar
- the objects will now remain synchronized
To unlink objects:
- select one or more objects
- choose the “unlink” command
- each object will be unlinked from its siblings separately (the rest of the siblings remain linked).
Grouping is similar to linking in that multiple objects are combined, but different in that the resulting group is treated as a single object. The user can make multiple “clones” of a single “master”, and changes to the master will ripple out to each of the clones. Unlike linking, grouping creates a new “clip” in the Clip Library. Effects applied to the group apply to the output of the group as a whole, rather than the topmost object in the group.
To group objects:
- select one or more objects
- choose the “group” command
- the original objects are removed from timeline, and the resulting group object is substituted.
To ungroup objects:
- select one or more groups
- choose the “ungroup” command
TODO: how will we edit the groups? Two approaches: recursive editing, or “expanding” in place. What are the pros and cons of each? Other issues: full, partial, or no synchronization of clones.
Clip Library (formerly Source Browser)
Contains a list of all the clips in the project. The user can drag external files onto this component to add them to the project (an import tool bar command also works. The user adds clips to the Timeline by dragging them them from the Clip Library and dropping them onto the Timeline.
The Clip Library also provides commands to manipulate the clips in the project:
- remove clips from the library
- set default edit (in/out) points of a clip
- convert clips from one media type to another:
- e.g. convert audio stream to video stream with a visualization filter
- e.g. convert midi stream to audio stream with synthesizer plugin
- re-conform or transcode clips
- e.g. re-capture material from a tape at a different resolution
- e.g. convert a file “in-place” from MPEG to MJPEG
- doesn't replace original file on disk, just in project
- and you can revert to the original at any time
- pre-process and filter clips
- e.g. video color correction
- e.g. audio noise filtering
Sharing the same tab view as the source browser is the property editor. While the timeline is meant to provide a film-strip metaphor, the property interface allows the user to change the more abstract properties of the currently selected timeline object(s) (for example, audio balance, or image color correction). The type of controls presented are determined by the current selection:
- accessible at all times by clicking on its tab
- default interface which simply presents a control for every
available property should work in the majority of cases
- time-varying properties are presented on an interpolation graph
- but we also need custom editors for specific media types:
- still images require a custom interface
- animations (image collections) require still another
- advanced compositing tools
- many effect plug-ins will want to define their own UI
- In addition, the property editor is displayed whenever the current selection changes (unless the change has cleared the selection, in which case you see the source library instead).
Default Property Editor
- auto-generated for arbitrary objects
- useful in the majority of cases
- better than nothing when no specific UI exists
- useful when multiple objects of different types are selected -- the common properties can be presented and edited simultaneously.
Features The default editor lets you set all of the otherwise hidden properties of an object. It's will be most usable when the mapping between an object's properties and their effect on the output is straightforward. For example, audio volume, our video alpha. The current implementation of the videobox element is a good example of what won't work well with this module (a more dedicated UI focused on cropping/panning would needed).
A few object properties will be static (i.e. they are time invariant). These will be displayed as standard GTK+ Widgets. Other properties are “controllable” (i.e. time-varying). The user can directly manipulate the interpolation curves for these properties through curve control points objects, which we refer to as “key-frames.” A partial prototype of this design is available.
- all curves will be plotted on a single graph
- key-frames points define critical points of an interpolation curve
- moving a key-frame horizontally changes its time-stamp
- the curve is always plotted between keyframes in sorted order (see the key-frame demo)
- moving a key-frame vertically sets its value
- graph supports exactly the same selection idioms as the timeline
- curves have different colors so they can be visually separated
- a legend maps colors to curves (labels also appear alongside each
- click-and-drag on a curve moves all its points vertically by the same delta
The user can add key-frames in two different ways ways:
- double-clicking the curve
- selecting two key-frames on the same curve and clicking the “add-point” command in the tool-bar. this adds a point half-way between the two selected points.
The user can delete key-frame points in two different ways:
- double-clicking a point
- selecting one or more points and pressing the delete-point button in the tool-bar
GStreamer supports different interpolation modes, but only for the entire curve. Changing the interpolation mode for a single point isn't possible (we'll have to write our own interpolation code). On the other hand, it makes sense to treat interpolation mode as a per-point option. For now setting the interpolation mode on a point will simply set the interpolation mode on its parent curve.
- select the desired curve, or a single keyframe of a curve
- set the desired mode by choosing from the interpolation mode pop-up menu in the timeline toolbar.
- this should also work if multiple curves / key-frames from multiple curves are selected.
Image Property Editor
The user can add still images to the timeline. By default the image is letterboxed to the current project resolution, but these defaults can be changed to suit the users's needs.
First the user selects the image in the timeline
The image property editor appears in the property browser.
The user can crop the image to an arbitrary region.
The user can scale the image as appropriate.
The user can also set the orientation of the image.
Animation Property Editor
Specify sets of pictures which will be displayed in sequence:
- set duration or framerate
- set cropping, rotation, scaling
- transitions between frames? (Ray Harryhausen famously used cross-fading between frames for smoother motion)
- background / cell paradigm -- user chooses a back drop, and can composite multiple layers of translucent/transparent cells
Motion Transform Editor
For the “motion transform” effect object (yet to be implemented)
Needs to support the following properties over time
Also need to be able to set the color and/or alpha of the “background”.
Ideas...parametric curves on a 2-d plane? Looping previews?
Advanced Compositing Editor
- set thresholds, choose key color (eye-dropper?)
- set thresholds
Should thresholds and key-color be time varying? Definitely need at least a local preview. Using the viewer would be better.
Title Card Editor
The title card editor might look something like this.
The effect library lists all of the available effects, whether delivered through plug-ins or internal to PiTiVi. The user can drag-and-drop effects into the timeline in the same way they can with clips.
Provides application-level commands:
- new project
- open project
- save project
- render project
- full-screen/window mode
- import clips to project
Flush with the edge of the screen in full-screen mode, for easy access to commands.
Finally, there is one modal tool -- the split tool -- which splits a clip or effect object into two segments.
- zoom in
- zoom out
Provides a list of commands which operate on the current selection.
- select right of
- select left of
In addition, other commands will appear or become sensitive depending on context - i.e. the current selection.
When one or more curves is in the selection:
- interpolation mode combo box
- add and delete point commands
Zooming and Scrolling
- Center on scroll position
- Provide “center on playhead” command
- Zoom control should provide meaningful zoom levels: 1, 5, 10 frames,
1, 5, 10, seconds, 1, 5, 10 minutes.
- or would we rather have continuous zoom?. After Effects / vegas seem to have a very slick continuous zoom.
This is a list of every imaginable setting that could possibly go in there. It is intended to be reviewed mercilessly, so that we decide to accept/deny their inclusion.
- thumbnail height, expanded/collapsed
- whether thumbnails are visible
- whether waveforms are visible
- previewing options
- to be elaborated. May just be part of the menus so that it can be accessed in real-time?
- location of scratch disks
- default project format (for new projects)
- hotkey configuration
- direct manipulation
- default location to use when opening a file or importing clips (last folder, arbitrary location)
- color values for the timeline ruler and the background of clips
- whether edge snapping is enabled by default
- the size of deadband to use for edge snapping
The results of the search are