DOCSLIB.ORG

An Introduction to Ffmpeg, Davinci Resolve, Timelapse and Fulldome Video Production, Special Effects, Color Grading, Streaming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

An Introduction to FFmpeg, DaVinci Resolve, Timelapse and Fulldome Video Production, Special Effects, Color Grading, Streaming, Audio Processing, Canon 5D-MK4, Panasonic LUMIX GH5S, Kodak PIXPRO SP360 4K, Ricoh Theta V, Synthesizers, Image Processing and Astronomy Software by Michael Koch, [email protected] Version from October 7, 2021 1 Contents 1 Introduction to FFmpeg .............................................................................. 9 2.27 Sharpen or blur images .................................................................. 57 1.1 What can be done with FFmpeg? .................................................... 11 2.28 Extract a time segment from a video ............................................. 58 1.2 If FFmpeg has no graphical user interface, how do we use it? .... 12 2.29 Trim filter ......................................................................................... 59 1.3 The first example .............................................................................. 14 2.30 Tpad filter, add a few seconds black at the beginning or end .... 60 1.4 Using variables ................................................................................. 15 2.31 Extract the last 30 seconds of a video .......................................... 61 2 FFmpeg in detail ....................................................................................... 16 2.32 Fade-in and fade-out ....................................................................... 62 2.1 Convert from one video format to another video format ............... 16 2.33 Crossfading ..................................................................................... 63 2.2 Change the container format ........................................................... 16 2.34 Crop a video .................................................................................... 64 2.3 Fit timelapse length to music length ............................................... 17 2.35 Add borders to a video ................................................................... 65 2.4 Timelapse or slideshow from many images, with crossfading ..... 18 2.36 Zoompan .......................................................................................... 65 2.5 Slideshow with different durations ................................................ 20 2.37 Changing the speed: slow motion and timelapse ........................ 66 2.6 Slideshow with scrolling images ..................................................... 21 2.38 Slow motion or timelapse only for a segment of the video ......... 67 2.7 Extract many images from a video .................................................. 24 2.39 Time Remapping ............................................................................. 68 2.8 Extract the first and last frame from a video .................................. 25 2.40 Insert a text which is visible for the whole duration .................... 70 2.9 Modify brightness, contrast, saturation, gamma and hue ............. 26 2.41 Slowly fade a text in and out .......................................................... 70 2.10 Strong contrast enhancement ....................................................... 27 2.42 Vertical alignment of text ................................................................ 72 2.11 Inverting a video or image (make a negative) ............................... 28 2.43 Show a running clock in the video ................................................ 73 2.12 Colorchannelmixer filter ................................................................. 30 2.44 Generation of curved text for fulldome projection ...................... 75 2.13 Day-for-Night ................................................................................... 32 2.45 Write text on a transparent layer ................................................... 78 2.14 Colorcorrect filter ............................................................................ 33 2.46 Combine multiple videos with concat demuxer ........................... 79 2.15 Colortemperature filter ................................................................... 35 2.47 Combine multiple videos with concat filter .................................. 81 2.16 Selectivecolor filter ......................................................................... 37 2.48 The "fps" filter ................................................................................. 81 2.17 Colorbalance filter .......................................................................... 39 2.49 Split a video in multiple segments ................................................ 82 2.18 Colorcontrast filter .......................................................................... 41 2.50 Switch between two cameras, using audio from camera1 .......... 83 2.19 Monochrome filter ........................................................................... 43 2.51 Stack videos side by side (or on top of each other) ................... 84 2.20 Gradation curves ............................................................................ 46 2.52 Horizontal and vertical flipping ...................................................... 84 2.21 Color grading with color look-up tables, full workflow ............... 47 2.53 Stack four videos to a 2x2 mosaic ................................................ 85 2.22 Color grading with color look-up tables, simplified workflow .... 49 2.54 Blink comparator ............................................................................ 86 2.23 Size of color-look-up tables ........................................................... 50 2.55 Creating animated GIF or PNG ...................................................... 88 2.24 Colorhold, chromahold and hsvhold ............................................ 54 2.56 Overlay an animated GIF over a video .......................................... 89 2.25 Atmospheric dispersion correction ............................................... 56 2.57 Changing the size of an animated GIF .......................................... 89 2.26 Amplify filter .................................................................................... 57 2.58 Replace one frame in a video by another ..................................... 90 2 2.59 Blend filter ....................................................................................... 91 2.97 Shifting the viewing direction in a fisheye image or video ....... 156 2.60 Circular mask (View through eyepiece) ........................................ 93 2.98 How the "drawbox" filter works ................................................... 158 2.61 Binocular view simulation .............................................................. 95 2.99 Stitching together double-fisheye videos ................................... 159 2.62 Vignetting ........................................................................................ 96 2.100 Remove stitching artefacts ........................................................ 161 2.63 Subtracting a darkframe ................................................................. 97 2.101 Stitch double-fisheye images with alignment errors ............... 165 2.64 Histogram ........................................................................................ 97 2.102 Preprocessing a flat video for fulldome projection .................. 169 2.65 Lagfun filter ..................................................................................... 98 2.103 Rotating the earth, moon or planet ............................................ 172 2.66 Deflicker a video ........................................................................... 100 2.104 Live rotation of the moon ........................................................... 177 2.67 Star trails ....................................................................................... 103 2.105 Insert a crosshair in a live video ................................................ 179 2.68 Bird trails ....................................................................................... 104 2.106 Tunnel effect ................................................................................ 180 2.69 Rainbow-trail effect ....................................................................... 107 2.107 Black hole simulation with remap filter ..................................... 184 2.70 Temporal slice-stacking effect ..................................................... 108 2.108 Wormhole simulation .................................................................. 189 2.71 Extract and merge planes, split planes ....................................... 109 2.109 Simulation of a moving wormhole ............................................. 194 2.72 Colorkey ......................................................................................... 110 2.110 Dynamically change commands with "sendcmd" or "zmq" .... 198 2.73 Chromakey ..................................................................................... 111 2.111 Sendcmd and commands ........................................................... 199 2.74 HSVkey ........................................................................................... 112 2.112 Sending commands with ZMQ ................................................... 203 2.75 Lumakey ......................................................................................... 113 2.113 FFmpeg and C# Programming ................................................... 205 2.76 Bluescreen / greenscreen ............................................................
Recommended publications
  • FOSS Links FOSS = Free and Open Source Software This Is an Introduction to Several Free and Open Source Software Packages

    FOSS Links FOSS = Free and Open Source Software This Is an Introduction to Several Free and Open Source Software Packages

    FOSS Links FOSS = Free and Open Source Software This is an introduction to several Free and Open Source Software packages. All of these applications have detailed documentation available as well as dozens of YouTube tutorials. “Thou shalt backup lest thy suffer the mega-agonies of last data!” LibreOffice LibreOffice is a free and open-source office suite and includes the following applications: • Writer: This is an excellent replacement for Word • Impress: This replaces PowerPoint • Draw: A simple paint/drawing program • Calc: This is a spreadsheet application • Math: If you need to create a document with advanced mathematics symbols https://www.libreoffice.org/ Darktable DarkTable is an open source photography workflow application and raw developer. A virtual lighttable and darkroom for photographers. It manages your digital negatives in a database, lets you view them through a zoomable lighttable and enables you to develop raw images and enhance them. https://www.darktable.org/ GIMP The Gnu Image Manipulation Program is a bit-mapped graphic editor similar to Adobe Photoshop and Paint Shop Pro. http://www.gimp.org Krita KRITA is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone. It too, is basically a bit-mapped editor. concept art texture and matte painters illustrations and comic https://krita.org/en/ Inkscape Inkscape is a vector art program similar to Corel Draw and Adobe Illustrator. This is the tool you would use to create cover art, posters, banners, business cards, etc. http://www.inkscape.org Audacity Audacity is an easy-to-use, multi-track audio editor and recorder for Windows, Mac OS X, GNU/Linux and other operating systems.
  • User Manual for Your Receiver Or Display for More Information on How to Enable HDMI Audio and Connecting a Display to Your A/V Receiver

    User Manual for Your Receiver Or Display for More Information on How to Enable HDMI Audio and Connecting a Display to Your A/V Receiver

    C M Y CM MY CY CMY K ECM 2 High Performance Balanced Network Media Player (with integrated DAC and Streamer) Owner's Manual Version 1.1 EN ENGLISH ENG Table of contents Safety & precautions ............................................................................................. 4 The contents of the carton ...................................................................................... 4 Front panel ........................................................................................................... 4 Navigator controls ................................................................................................ 5 Rear panel connections ......................................................................................... 5 Remote control ...................................................................................................... 6 Installation .................................................................................................................. 7 Connecting audio/video..................................................................................... 7 • Analog audio output – balanced XLR ................................................ 7 • Analog audio output – unbalanced RCA ........................................... 7 • Digital audio output – HDMI ............................................................ 7 • Digital audio output – S/PDIF............................................................ 7 Connecting to a network .................................................................................
  • UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
  • Darktable 1.2 Darktable 1.2 Copyright © 2010-2012 P.H

    Darktable 1.2 Darktable 1.2 Copyright © 2010-2012 P.H

    darktable 1.2 darktable 1.2 Copyright © 2010-2012 P.H. Andersson Copyright © 2010-2011 Olivier Tribout Copyright © 2012-2013 Ulrich Pegelow The owner of the darktable project is Johannes Hanika. Main developers are Johannes Hanika, Henrik Andersson, Tobias Ellinghaus, Pascal de Bruijn and Ulrich Pegelow. darktable is free software: you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation, either version 3 of the License, or (at your option) any later version. darktable is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with darktable. If not, see http://www.gnu.org/ licenses/. The present user manual is under license cc by-sa , meaning Attribution Share Alike . You can visit http://creativecommons.org/ about/licenses/ to get more information. Table of Contents Preface to this manual ............................................................................................... v 1. Overview ............................................................................................................... 1 1.1. User interface ............................................................................................. 3 1.1.1. Views ..............................................................................................
  • Edge Detection of Noisy Images Using 2-D Discrete Wavelet Transform Venkata Ravikiran Chaganti

    Edge Detection of Noisy Images Using 2-D Discrete Wavelet Transform Venkata Ravikiran Chaganti

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Edge Detection of Noisy Images Using 2-D Discrete Wavelet Transform Venkata Ravikiran Chaganti Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY FAMU-FSU COLLEGE OF ENGINEERING EDGE DETECTION OF NOISY IMAGES USING 2-D DISCRETE WAVELET TRANSFORM BY VENKATA RAVIKIRAN CHAGANTI A thesis submitted to the Department of Electrical Engineering in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Spring Semester, 2005 The members of the committee approve the thesis of Venkata R. Chaganti th defended on April 11 , 2005. __________________________________________ Simon Y. Foo Professor Directing Thesis __________________________________________ Anke Meyer-Baese Committee Member __________________________________________ Rodney Roberts Committee Member Approved: ________________________________________________________________________ Leonard J. Tung, Chair, Department of Electrical and Computer Engineering Ching-Jen Chen, Dean, FAMU-FSU College of Engineering The office of Graduate Studies has verified and approved the above named committee members. ii Dedicate to My Father late Dr.Rama Rao, Mother, Brother and Sister-in-law without whom this would never have been possible iii ACKNOWLEDGEMENTS I thank my thesis advisor, Dr.Simon Foo, for his help, advice and guidance during my M.S and my thesis. I also thank Dr.Anke Meyer-Baese and Dr. Rodney Roberts for serving on my thesis committee. I would like to thank my family for their constant support and encouragement during the course of my studies. I would like to acknowledge support from the Department of Electrical Engineering, FAMU-FSU College of Engineering.
  • Audio Engineering Society Convention Paper

    Audio Engineering Society Convention Paper

    Audio Engineering Society Convention Paper Presented at the 128th Convention 2010 May 22–25 London, UK The papers at this Convention have been selected on the basis of a submitted abstract and extended precis that have been peer reviewed by at least two qualified anonymous reviewers. This convention paper has been reproduced from the author's advance manuscript, without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org. All rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the Journal of the Audio Engineering Society. Loudness Normalization In The Age Of Portable Media Players Martin Wolters1, Harald Mundt1, and Jeffrey Riedmiller2 1 Dolby Germany GmbH, Nuremberg, Germany [email protected], [email protected] 2 Dolby Laboratories Inc., San Francisco, CA, USA [email protected] ABSTRACT In recent years, the increasing popularity of portable media devices among consumers has created new and unique audio challenges for content creators, distributors as well as device manufacturers. Many of the latest devices are capable of supporting a broad range of content types and media formats including those often associated with high quality (wider dynamic-range) experiences such as HDTV, Blu-ray or DVD. However, portable media devices are generally challenged in terms of maintaining consistent loudness and intelligibility across varying media and content types on either their internal speaker(s) and/or headphone outputs.
  • Filmmaking Camp Taught by Hans Rosenwinkel & Andrew Bateman

    Filmmaking Camp Taught by Hans Rosenwinkel & Andrew Bateman

    Filmmaking Camp Taught by Hans Rosenwinkel & Andrew Bateman The following camp will be held between the hours of 9:00 AM – 4:00 PM Monday-Friday with an hour lunch and around 2 hours of free work time. The participants will engage with our camp instructors and other participants via ZOOM and Canvas accounts. Course Description Students will create their own films and experience every step of film production from story premise inception, scriptwriting and pre-duction planning all the way through filming, editing and screening. This online taught class will provide a customized and individual experience for each student and provide an environment to learn about lighting, sound, location scouting, production design, cinematography, editing, graphics, and color correction. Students may also have the opportunity to work remotely in teams guided by experienced faculty and filmmakers. All filmmaking equipment is software and app based to simulate a high-end camera shot on a smart phone or tablet type device, as well as a variety of editing programs that can be accessed to work together in this unique virtual setting. Technology Details & Requirements: In order to participate in the Filmmaking Camp students will need a computer, camera/phone and internet access for the two weeks. Other than that, the instructors have set the camp up to be extremely flexible with software needs. Below are examples of different types of software that students may be able to use if they are interested. You do NOT need to download or install any software prior to the camp starting. The instructors will explain in more detail at camp.
  • Davinci Resolve & Adobe Premiere

    Davinci Resolve & Adobe Premiere

    COLOR CORRECTION GUIDE – DAVINCI RESOLVE & ADOBE PREMIERE (v2) If you haven't already - Create Account in DaVinci Resolve (User Name & Password) In Locked Project, duplicate your Premiere Sequence. Rename it: “xxF3_FF01.proj” Create a NEW PROJECT. Call it “xxF3_Finishing.prproj”. This is a blank project. Project should look like this in Finder: Import your “FF01” Sequence. This will give you a clean, more efficient project file. File Import > Select PR Project > Pick “Import Selected Sequences” > Choose “FF01” In “Finishing” Project, duplicate “FF01”. Name the sequence: "XXF3_ToResolve" Duplicate >>>> Rename it Export H264 QUicktime of “FF01” (locked cut) for your Final QC Reference Video. (to use as Reference after clips are colored – it will be one of your final steps) QT H264 1920x1080, 24P Put in Folder: XXF3_Title/Editorial/DaVinci Resolve/XXF3_FromResolve In “ToResolve” Sequence: Delete Front Sequence, Audio, all uncolored material - leave ONLY clips for coloring. You may need to Unlink your Audio / Video - Select all, right-click “Unlink” Consolidate all footage by dropping down layered clips. If it isn’t visibly in the cut, it shouldn’t go to Resolve. Transitions, reframes, and special overlays will translate. Before: After: Export an H264 QUicktime of this consolidated Sequence for “Offline Video” Path: Editorial/DaVinci Resolve/XXF3_ToResolve/REF_H264_Offline “XXF3_OfflineRef.mov” (QT H264 1920x1080, 24P) Export Final CUt Pro XML - File > Export > Final Cut Pro XML Save to: XXF3_Title/Editorial/DaVinci Resolve/XXF3_ToResolve/“XXF3_FF01.xml” Open DaVinci Resolve - Log In if you haven't already In DaVinci Resolve: Create a New Project - File > Import XML (AAF, EDL, XML) Your XML will be Importing into it – you’ll choose the settings then.
  • (A/V Codecs) REDCODE RAW (.R3D) ARRIRAW

    (A/V Codecs) REDCODE RAW (.R3D) ARRIRAW

    What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.
  • A Novel Edge-Preserving Mesh-Based Method for Image Scaling

    A Novel Edge-Preserving Mesh-Based Method for Image Scaling

    A Novel Edge-Preserving Mesh-Based Method for Image Scaling Seyedali Mostafavian and Michael D. Adams Dept. of Electrical and Computer Engineering, University of Victoria, Victoria, BC V8P 5C2, Canada [email protected] and [email protected] Abstract—In this paper, we present a novel image scaling no loss of image quality. One main problem in vector-based method that employs a mesh model that explicitly represents interpolation methods, however, is how to create a vector discontinuities in the image. Our method effectively addresses model which faithfully represents the raster image data and its the problem of preserving the sharpness of edges, which has always been a challenge, during image enlargement. We use important features such as edges. Among the many techniques a constrained Delaunay triangulation to generate the model to generate a vector image from a raster image, triangle and an approximating function that is continuous everywhere mesh models have become quite popular. With a triangle-mesh except across the image edges (i.e., discontinuities). The model model, the image domain is partitioned into a set of non- is then rasterized using a subdivision-based technique. Visual overlapping triangles called a triangulation. Then, the image comparisons and quantitative measures show that our method can greatly reduce the blurring artifacts that can arise during intensity function is approximated over each of the triangles. image enlargement and produce images that look more pleasant A mesh-generation method is required to choose a good subset to human observers, compared to the well-known bilinear and of sample points and to collect any critical data from the input bicubic methods.
  • Ease Your Automation, Improve Your Audio, with Ffmpeg

    Ease Your Automation, Improve Your Audio, with Ffmpeg

    Ease your automation, improve your audio, with FFmpeg A talk by John Warburton, freelance newscaster for the More Radio network, lecturer in the Department of Music and Media in the University of Surrey, Guildford, England Ease your automation, improve your audio, with FFmpeg A talk by John Warburton, who doesn’t have a camera on this machine. My use of Liquidsoap I used it to develop a highly convenient, automated system suitable for in-store radio, sustaining services without time constraints, and targeted music and news services. It’s separate from my professional newscasting job, except I leave it playing when editing my professional on-air bulletins, to keep across world, UK and USA news, and for calming music. In this way, it’s incredibly useful, professionally, right now! What is FFmpeg? It’s not: • “a command line program” • “a tool for pirating” • “a hacker’s plaything” (that’s what they said about GNU/Linux once!) • “out of date” • “full of patent problems” It asks for: • Some technical knowledge of audio-visual containers and codec • Some understanding of what makes up picture and sound files and multiplexes What is FFmpeg? It is: • a world-leading multimedia manipulation framework • a gateway to codecs, filters, multiplexors, demultiplexors, and measuring tools • exceedingly generous at accepting many flavours of audio-visual input • aims to achieve standards-compliant output, and often succeeds • gives the user both library-accessed and command-line-accessed toolkits • is generally among the fastest of its type • incorporates many industry-leading tools • is programmer-friendly • is cross-platform • is open source, by most measures of the term • is at the heart of many broadcast conversion, and signal manipulation systems • is a viable Internet transmission platform Integration with Liquidsoap? (1.4.3) 1.
  • Color Page Effects Chapter 116 Davinci Resolve Control Panels

    Color Page Effects Chapter 116 Davinci Resolve Control Panels

    PART 9 Color Page Effects Chapter 116 DaVinci Resolve Control Panels The DaVinci Resolve control panels make it easier to make more adjustments in the same amount of time than using a mouse, pen, or trackpad with the on-screen interface. Additionally, using a DaVinci Resolve control panel to control the Color page provides vastly superior ergonomic comfort to clutching a mouse or pen all day, which is important when you’re potentially grading a thousand shots per day. This chapter covers details about the three DaVinci Resolve control panels that are available, and how they work with DaVinci Resolve. Chapter – 116 DaVinci Resolve Control Panels 2258 Contents About The DaVinci Resolve Control Panels 2260 DaVinci Resolve Micro Panel 2261 Trackballs 2261 Control Knobs 2262 Control Buttons 2263 DaVinci Resolve Mini Panel 2265 Palette Selection Buttons 2265 Quick Selection Buttons 2266 DaVinci Resolve Advanced Control Panel 2268 Menus, Soft Keys, and Soft Knob Controls 2268 Trackball Panel 2269 T-bar Panel 2270 Transport Panel 2276 Copying Grades Using the Advanced Control Panel 2280 Copy Forward Keys 2280 Scroll 2280 Rippling Changes Using the Advanced Control Panel 2281 Chapter – 116 DaVinci Resolve Control Panels 2259 About The DaVinci Resolve Control Panels There are three DaVinci Resolve control panel options available and each are designed to meet modern workflow ergonomics and ease of use so colorists can quickly and accurately construct both simple and complex creative grades with minimal fatigue. This chapter provides details of the each of the panel functions and should be read in conjunction with the previous grading chapters to get the best from your panel.