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Slide- based tours have only a start and end position and WWT smoothly moves between them. However, you may need finer control to change views, location and appearance of objects in a more flexible fashion. To do this, you can edit the timeline control for each slide of a tour. Important: Tours containing timelines can only be played back on WWT 5. This will display a timeline window at the bottom of screen. The buttons outlined allow you to adjust the size of the window as well as unpin it from the main window. The WWT timeline. The timeline editor shows objects and settings on the left. Initially, there will be a single element on the left called Camera. The + symbol to the left will open a list of attributes you can control. There are transport controls which take you to the beginning or end of the timeline as well as playing forward or backward. The time is shown across the top of the remainder of the frame. Time is shown in MM: SS along with frame numbers – 3. Objects can be controlled down to one frame = 1/3. While over the timeline you can use the scroll wheel on your mouse to change the scale of the timeline and to scroll the view of the timeline left and right. You can grab the yellow triangle which adjusts the current time. This is useful to get from one point to another and to see motion in the main window. This must be set once for the entire slide. A one- slide tour showing this example is available here. Adding objects: You can right click and select Add to Timeline on most of the objects in the Layer Control Manager on the left hand side of the screen. For some planetarium productions, the constellations might need to be turned on at some point and then fade out. You can add separately control Constellation Pictures, Figures, Boundaries and Names. In this example, I will add constellation figures and planetary orbits, both with labels. This will create an object called Constellation. Figures in the timeline. Also in the Layer. Manager, under Sky > 3d Solar System, make sure that the Planetary Orbits is checked and then right- click and select Add to Timeline. This will create an object called Solar. System. Orbits in the timeline. For this example, I’ll create two Text Objects called Our Solar System and The Sky and put them at the same location. Then I will right- click and select Add to Timeline. In the Guided Tours menu select Show Overlay List. A list of text, shape and image overlays is shown. You can right click on overlay objects and change the ordering, color etc. If you are going to add something to the timeline with color, you should change the color in this right- click menu rather than the text entry box. You can change the name in the Overlay List by right clicking and selecting Properties. When using the timeline editor do not select Animation, which is a slide- based way of doing a similar as timeline editing. Sometimes you can’t see the overlay objects because then are stacked up, underneath a menu or difficult to find in Full Dome mode. In the Guided Tours menu select Show Overlay List. A list of text, shape and image overlays is shown. You can right click on overlay objects and change the ordering, color etc. If you are going to add something to the timeline with color, you should change the color in this right- click menu rather than the text entry box. You can change the name in the Overlay List by right clicking and selecting Properties. When using the timeline editor do not select Animation, which is a slide- based way of doing a similar as timeline editing. These are called Keyframes and are represented in the timeline editor as small rectangles. Above the list, there is button to create (key) and delete (key with x over it) keyframes. Initially, there is a keyframe at the beginning of the timeline for every object that has been added to it. You can easily move keyframes in time, so start by considering the sequence and refine the timing later. Start by expanding the timeline editor clicking the up arrow. First adjust the constellation figures to fade out from second 3 to second 5. Click the “+” symbols to the left of Constellation. Figures. Click on Opacity under Constellation. Figures. Move the time to 0. Click the Add Key button (looks like a key above the list). Move the time to 0. Make sure Opacity is still highlighted and click the Add Key button. Click the first key you made at 3 seconds. An editor box will show up. If a single key is selected then the label of the key will be shown above the field on the upper right. If key object is not expanded a keyframe will control all attributes. Note, the time field is also shown but you cannot change the time. Key Properties pop- up window. Make sure the Opacity is set to 1. Edit the Opacity keyframe at time 0. Then close the window by clicking the X in the upper right. Do the same for the Opacity keyframe at time 0. Edit the Opacity keyframe at time 0. Do the same (steps 1–1. Color. Alpha attribute under the object entitled The Sky. Run the time scrubber back and fort hand you should see that at time 0. The Sky will fade out. For the Solar. System. Orbits create keyframes at 0. Opacity attributes to 0 at time 0. Repeat this for Color. Alpha for the text object Our Solar System. Then at 0. 0: 0. 3- 0. Our Solar System. Transition Functions: Keyframe editor can also allow you to select Transition Functions. These affect the way attribute changes between one keyframe and another. The transition of input and output values is shown graphically. You can select from the following choices. Ease. In – Changes are change rapidly at the begging and slowly at the end. Ease. Out – Changes are change slower at the begging and rapidly up at the end. Ease. In. Out – Changes slowly at beginning, changes rapidly in the middle and slowly at the end. Instant – Keeps starting value until the very end where it changes instantly to a new value. Custom – Allows you to change the curve interactively. Grab the yellow square handle on each end of the curve which manipulates the beginning and ending shape of the transition curve. It is good to choose a keyframe such as camera motion and try out all the transition functions to get a sense of what they can do. Manipulating Keyframes in Timeline Editor. Besides changing the properties of keyframes, single or multiple keyframes can be selected for deletion, copying or pasting. Selected keys are shown as yellow. There are three ways of selecting keyframes: Control- A – selects all keys in timeline. Control- click – holding down the control key and clicking multiple keys adds them to a group. Drag rectangle – dragging a rectangle around the keys of interested groups those keys. Note: you cannot move the keyframes at time = 0. To do this. Show timeline editor and move it to show time 0. Drag a rectangle over the keys at 0. They should all turn from white to yellow. Move the selected group of keys to the right and place them at 0. Adding Fade- In and Out for Slide. If you are comfortable with the timeline editor, it is better to use it to control slide Fade- In and Out. Controlling the Fade- In can be very helpful to hide data loading especially. Find the Fade to black in the layer manager. Make sure the Fade Dome Only is not set. Check the Fade to black box. Right- click on Fade to black and select Add to Timeline. Move the time slide to 0. Uncheck the Fade to black box. Right- click on Fade to black and select Add keyframe. Move the time slider to 0. Right- click on Fade to black and select Add keyframe. Move the time slider to 1. Check the Fade to black box. Right- click on Fade to black and select Add keyframe. Now when you play the slide in the timeline editor or tour player, it will fade in and out. Note that scrubbing by manually moving the time doesn’t trigger the fade to black. Note: If you change the duration of a slide with an existing timeline, it will ask you if you want to trim/extend or scale the timeline. If you trim, be careful because you won’t have an end position for the slide. When trimming and the camera or other properties are changing, you probably want to move the time slider to just before the trim point. Then make key frames for the changing parameters. Then when you trim the timeline it retains keyframes of an end position for interpolating between values. Video Encoding Settings for H. Excellence. This document describes in detail a set of resolutions, bitrates and settings used for high- quality H. Video encoding is a game of tradeoffs, and these settings represent a balance which is very good, and difficult to improve upon. Familiarity with basic video- encoding terms and technology is assumed when reading this document, and an understanding of the nitty- gritty details might also be helpful. Resolutions & Bitrates. We provide video files at 7 different standard widescreen resolutions.. Simpler video embedding may also be used, of course, right down to a basic HTML5 < video> tag pointing to a single version of the video, but the whole point of encoding at a variety of resolutions and bitrates is intended for an intelligent embedding mechanism to make sensible use of those many different versions, supplying high- quality HD video to those viewers with fast enough Internet links, while falling back gradually for viewers with increasingly slower links. For each resolution, we use a bitrate which is the lowest sensible 6. Internet link speed (see below) that still achieves . Just like saving a still image for use on a website, we put quality first and only compress as much as possible without introducing any noticeable degradation (hopefully). If that means using a higher bitrate for a given resolution than some other websites, then so be it – the 'net can take it, and bandwidth is less and less of a problem every day. It's unwise to push bitrates too low and risk delivering a blurry, unprofessional video, which other sites such as You. Tube routinely do. For most of the resolutions we also provide a higher quality (HQ) version encoded at a somewhat higher bitrate, for the benefit of users with sufficiently fast Internet links. The visual differences from the normal, . Nonetheless, we might as well take advantage of the user's link speed for improved quality from fewer compression artifacts, assuming the user's link is not fast enough to get up to the next higher resolution, which would be a significant step up in general sharpness and clarity. Finally, we also encode a . The bitrate chosen is 2. Mbps, which is a safe 8. H. 2. 64 level 4. The superbit version should be almost lossless, practically indistinguishable from the original master – a . It acts both as the best local playback (non- web) version and as a long- term master for future transcoding (eg: You. Tube uploads, burning to DVD/Blu- ray, re- encoding with future codecs etc). Audio is encoded at 4. Hz in AAC format, mono at 6. The lower resolutions all use identical audio settings to allow switching cleanly between them in an adaptive streaming scenario without any audible . The 1. 28- kbps versions are a stereo equivalent of the same settings. Switching from mono to stereo with the same settings should be almost seamless, and should only happen once in most cases, since a user is unlikely to need to switch back down if their link is ever over 5 Mbps (making that changeover at a lower speed, such as 3 or 4 Mbps, would be more problematic – the faster the link, the more likely it is to be well above what we need). The superbit, ultimate- quality version uses the maximum possible AAC bitrate. The exact bitrates chosen are.. Name. Resolution. Link(Mbps)Bitrate(Mbps)Video(kbps)Audio(kbps)2. HQ8. 48x. 48. 02. HQ1. 02. 4x. 57. 63. HQ1. 28. 0x. 72. 05. HQ1. 92. 0x. 10. 80. Superbit. 19. 20x. N/A2. 0. 3. 22. 00. Name. Resolution. Link(Mbps)Bitrate(Mbps)Video(kbps)Audio(kbps)2. HQ6. 40x. 48. 02. HQ7. 68x. 57. 62. HQ9. 60x. 72. 04. HQ1. 44. 0x. 10. 80. Superbit. 14. 40x. N/A2. 0. 3. 22. 00. Each bitrate has been chosen to be 6. Internet link speed (1, 1. Mbps etc) in order to make full – but safe – use of that common connection speed. Unlike still images, where we want the smallest good- looking file to have the web page finish loading as quickly as possible, for video we only care that it downloads fast enough to play. Downloading a video faster than we need for playback doesn't make any difference to the end user, but using more of his link speed to improve the quality does, so we actually want to avoid under- shooting the user's available bandwidth for video, and increase the size/bitrate as much as is safely possible. On the other hand, pushing too hard and using too much of the user's link speed might result in pausing (for buffering), which is much worse from an end user's point of view than slightly lower quality. So, we start with bitrates which match the most common link speeds, then leave 2. ADSL) and contention during busy times. Assuming 8. 0% of peak link performance has long been a good real- world guide, and US FCC data from 2. We then only use 8. Again, experience shows 8. Netflix seems to use a conservative. Internet link speeds continue to rise rapidly, so while our chosen bitrates are higher than some other video websites, for quality's sake, they're still quite reasonable. Based on Akamai data from 2. Mbps in Japan, South Korea and Hong Kong, 4. Mbps in the USA and Canada, somewhere around 4 Mbps in Western Europe, 2. Mbps in Australia and 2. Mbps in Russia. Even 3. G cellphone networking is around 2 Mbps on average, although it's highly variable. The average American can therefore already view the 7. Australian or Russian the 4. The average in. such statistics is skewed by the high speeds, of course, since it's an exponential curve, but even so, about one third of Internet connections in modern countries are over 5 Mbps real- world downloading speed, which is enough for the 7. HQ versions, and 7. Mbps and therefore can definitely view the 4. Even in Australia, where broadband speed is more uneven and the average lags behind most modern countries, government statistics from 2. Mbps link speed), and 4. Mbps link speed). It's useful to compare our chosen video bitrates with the major online video providers. All use H. 2. 64 as their preferred video codec. The bitrates below have been personally verified for i. Tunes, You. Tube and Vimeo, are official statements from Hulu, the BBC and ESPN, and are taken from the user interface of Netflix.. Provider. Video Bitrate (kbps)~2. BBC8. 00. 15. 00. ESPN~4. 00. 14. 00. Hulu~4. 80. 70. 01. Tunes. 15. 00. 40. Netflix~2. 50. 56. Vimeo. 80. 02. 00. You. Tube. 25. 05. Our Bitrate. 57. 68. Or, more graphically.. Looking in terms of resolution.. At 2. 40p we use a higher bitrate than everyone else in order to guarantee a minimum acceptable level of professional- looking quality, rather than looking ridiculously blurry/blocky, a la You. Tube. Even at this bitrate, overall blurring and lack of detail is an issue, but serious compression artifacts are generally only noticeable during high motion and fades, which are a definite struggle. Other than that, the content looks reasonably good, just at a very small, low resolution. At 3. 60p our bitrate is almost double You. Tube and Netflix, 2. Hulu, and roughly equal with (1. BBC and Vimeo, again to provide a professional level of quality. Fades are still very problematic, but the rest of the time the quality is actually quite good. At this resolution and the next, ESPN uses an insanely high bitrate, which should be ignored (see below). At 4. 80p we're right in the middle of the pack, half way between You. Tube/Netflix/Hulu on the low side and the BBC/i. Tunes on the high side. At this point, the quality meets our desired standard of being . It would pass for standard- definition digital television, despite being about a quarter the bitrate! At 4. 80p HQ we use the same bitrate as the BBC and i. Tunes, and just a little (1. Netflix, the only other provider to offer a second, higher- quality 4. The 2. 6% increase in bitrate helps to reduce any remaining visible compression artifacts, so video quality is even better, with only the most difficult content, such as high- detail fades, causing any noticeable glitches. At 5. 76p none of the major providers offer a comparable version, so it's been left out of the chart for simplicity. Quality- wise, the same comments as for 4. We choose to include 5. Mbps range is a reasonably common connection speed and we can offer 4. At 7. 20p we're again right in the middle of the pack, half way between You. Tube/Vimeo on the low side and the BBC on the high side, and roughly equal with Netflix and Hulu. At 7. 20p HQ we use roughly the same bitrate as the BBC and Hulu, a little (1. Netflix, and well below the crazy bitrate of i. Tunes (but see below). At 1. 08. 0p we're well above You. Tube, slightly above Vimeo and equal with Netflix and i. Tunes, since there's no point trying to push lower – not many links exceed 7 Mbps but not 8 Mbps, so dropping to 4. At 1. 08. 0p HQ none of the major providers currently offer a comparable version, so it's been left out of the chart for simplicity, although similarly high bitrates are available from niche vendors and are common for high- quality 1. The increase in bitrate for 1. HQ is a generous 5. HQ versions, since this is the final version we offer, and we want to ensure it has excellent quality. Looking in terms of link speed.. Mbps links we provide a quite good 3. Mbps links we provide a very good 4. Mbps links we provide a very good 4. Mbpsfor 3+ Mbps links we provide a very good 5. Mbpsfor 4+ Mbps links we provide a very good 7. Mbpsfor 8+ Mbps links we provide a very good 1. Mbps. As the chart shows, there are really 3 camps of providers. First, there are the providers whose bitrates seem too low: You. Tube and Vimeo, plus Netflix and Hulu at the lower resolutions. They aren't as concerned about quality as they are about making sure it plays without waiting at all costs, even if the quality is poor. Our chosen bitrates are significantly higher than both You. Tube and Vimeo at all resolutions, due to our goal of very good visual quality with no major visible compression artifacts. At the lower resolutions, we also use higher bitrates than Netflix and Hulu, again for quality's sake, although they're equal at higher resolutions.
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