[Bf-docboard-svn] bf-manual: [7194] trunk/blender_docs: Revert the addition of sphinx-panel (7176 & 7177)

[Campbell Barton]

Revision: 7194
          https://developer.blender.org/rBM7194
Author:   campbellbarton
Date:     2020-10-08 02:37:20 +0200 (Thu, 08 Oct 2020)
Log Message:
-----------
Revert the addition of sphinx-panel (7176 & 7177)

This added a new dependency for building without review,
Preventing a default sphinx installation from being usable to build the docs.

Hiding sections of a document has down sides too -
that text can't be searched on the page.

If a short list of error messages in one place is better we could look into
ways of doing this with the current system.

See replies to https://developer.blender.org/rBM7176

Modified Paths:
--------------
    trunk/blender_docs/manual/conf.py
    trunk/blender_docs/manual/movie_clip/tracking/clip/properties/stabilization/workflow.rst
    trunk/blender_docs/manual/render/cycles/gpu_rendering.rst
    trunk/blender_docs/requirements.txt

Modified: trunk/blender_docs/manual/conf.py
===================================================================
--- trunk/blender_docs/manual/conf.py	2020-10-07 16:11:37 UTC (rev 7193)
+++ trunk/blender_docs/manual/conf.py	2020-10-08 00:37:20 UTC (rev 7194)
@@ -53,8 +53,7 @@
     'sphinx.ext.mathjax',
     'sphinx.ext.intersphinx',
     'sphinx.ext.todo',
-    '404',
-    'sphinx_panels'
+    '404'
 ]
 
 # Is there a better way to check for PDF building?

Modified: trunk/blender_docs/manual/movie_clip/tracking/clip/properties/stabilization/workflow.rst
===================================================================
--- trunk/blender_docs/manual/movie_clip/tracking/clip/properties/stabilization/workflow.rst	2020-10-07 16:11:37 UTC (rev 7193)
+++ trunk/blender_docs/manual/movie_clip/tracking/clip/properties/stabilization/workflow.rst	2020-10-08 00:37:20 UTC (rev 7194)
@@ -1,148 +0,0 @@
-
-********
-Workflow
-********
-
-Depending on the original footage's properties, achieving good stabilization results might be simple and easy,
-or it might require some work, dedication and careful planning. This section covers some practical considerations
-to help improving the results.
-
-
-The Simple Case
-===============
-
-Whenever the camera is basically fixed, or at least "almost" stationary, and the footage is crisp and
-without motion blur, perfect stabilization is easy to achieve. This might be the case when a tripod was used,
-but wind or vibrations on the floor (e.g. on a stage) caused some minor shakes.
-Shoulder camera shots done by an experienced operator also frequently fall into this category.
-
-- Use as few points as possible. Start with a single point right on the main subject.
-- Track this single point as accurate as possible. Beware of movements and shape changes of the tracked feature.
-  Proceed in small increments (e.g. 50 frames), zoom in and readjust the target point manually when it drifts away.
-  Another option is to use a larger target area for tracking; since we're tracking only a single point,
-  the slower tracking speed might be acceptable.
-- After enabling the basic (location) stabilization, consider if you really need rotation stabilization.
-  Often, some minor, slow swinging movements are not really noticeable and do not warrant the additional working time
-  and quality loss caused by rotation and scale stabilization.
-- For rotation, start with one extra point, well spaced but preferably still attached to the main subject.
-- Consider to fix some slow residual motion by manually animating the "*Expected* \*" parameters,
-  before you even think of adding more tracking markers. Because doing so is often not worth the effort.
-- If you need to add more points, the most important goal is to achieve *symmetry.*
-  Place location tracking points symmetrically above and below the horizon.
-  Place rotation tracking points into diagonally opposed direction, always centered around the main focal area.
-
-
-Avoid Problematic Footage
-=========================
-
-The 2D stabilizer can not work miracles; some flaws simply can not be fixed satisfactory.
-Notorious issues are motion blur, rolling shutter, pumping autofocus and moving compression artifacts.
-Especially if you do succeed with basic stabilization, such image flaws become yet the more noticeable and annoying.
-When on set or on location, it might be tempting to "fix matters in postpro".
-Resist that deception, it rarely works out well.
-
-- Prefer a short exposure time to avoid motion blur.
-  While motion blur is good to render filmed movements more smooth and natural,
-  it seriously impedes the ability to track features precisely.
-  As a guideline, try to get at least to 1/250 s.
-- Prefer higher frame rates. The more *temporal resolution* the stabilizer has to work on, the better the results.
-  If you have the option to choose between progressive and interlaced modes, by all means use interlaced
-  and deinterlace the footage to the *doubled frame rate*. This can be done with
-  the `yadif <https://ffmpeg.org/ffmpeg-filters.html#yadif-1>`__ filter of FFmpeg: use the mode 1 (``send_field``).
-- Beware of the :term:`Rolling Shutter` effect. Avoid fast lateral movements.
-  If you can, prefer a camera which produces less rolling shutter.
-  Also, using a higher frame rate reduces the amount of rolling shutter; another reason to prefer
-  interlaced over progressive for the purpose at hand.
-- Switch off autofocus.
-  Better plan your movement beforehand, set a fixed focus and rely on depth of field through using a small aperture.
-  Pumping movements might not be so noticeable to the human observer, but the feature tracking tends to slide away
-  on defocused image elements; fixing this manually after the fact can cause a huge waste of time.
-- Increase the lighting level, at least use a higher sensitivity.
-  This helps to set a fast shutter speed plus a small aperture.
-  Better lighting and good exposure also help to reduce the impact of compression artifacts.
-  If you can, also select a codec with less data reduction, better color space, etc.
-  Inevitably, we're loosing some quality through the interpolation necessary for stabilization.
-  Plus we're loosing some quality due to color space conversion.
-
-
-Elaborate Movements
-===================
-
-When the footage builds on elaborate intended movement of the camera,
-the process of stabilization becomes more involved --
-especially when there is a shift in the main area of interest within the shot.
-When working with many tracks and fine-grained animation,
-it is easy to get into a situation where additional manipulations actually decrease the quality,
-while it might be hard to spot and locate the root cause of problems.
-Recommendation is to proceed systematically, starting from the general outline down to tweaking of specific aspects.
-
-#. Understand the nature of the movements in the shot, both the intended and the accidental.
-#. Track some relevant features for location.
-#. Establish the basic location stabilization.
-   This includes the decision, which feature to use for what segment of the shot.
-   Work with the track weights to get an overall consistent movement of the weight center,
-   in accordance with the inherent focus of the shot.
-#. Define the panning movements of the virtual camera (through animation of the *Expected Position* parameter).
-#. Add tracking for rotation and zoom stabilization.
-#. Fine-tuning pass:
-
-   Break down the whole duration of the shot into logical segments to define the intended camera movement.
-   Then refine those segments incrementally step-by-step, until the overall result looks satisfactory...
-
-
-Animating Stabilization Parameters
-==================================
-
-Animating some parameters over duration of the shot is often necessary, at least to get the final touch,
-including control of the scale factor to hide the dancing black borders.
-Unfortunately there is a **known limitation** in the current version:
-it is not possible to open the generic animation editors (Graph editor and Dope Sheet)
-for animation data beyond the 3D scene. So, while it *is possible* to set keyframes *right within the UI controls*
-of the stabilizer (either through pressing the :kbd:`I` key or with the help of the context menu),
-it is not possible to manipulate the resulting curves graphically.
-The only way to readjust or remove a misguided keyframe is to locate
-the timeline to the very frame and then use the context menu of the animated UI control.
-(Hint: the color of the UI control changes when you have located at precisely the frame number of the keyframe.)
-
-
-Irregular Track Setup
-=====================
-
-It might not be possible to track a given feature over the whole duration of the shot.
-The feature might be blurred or obscured; it might even move out of sight entirely,
-due to deliberate camera movement.
-In such a situation, we need *another tracked feature* to take on its role, and we need some *overlap time*
-to get a smooth transition without visible jump.
-
-.. figure:: /images/movie-clip_tracking_clip_properties_stabilization_workflow_irregular-tracks.png
-   :align: right
-   :width: 250px
-
-   Irregular Tracks.
-
-The stabilizer is able to deal with gaps and partial coverage within the given tracks.
-However, the basic assumption is that each track covers a single,
-fixed reference point whenever there is any usable/enabled data.
-Thus, you must not "reuse" a given track to follow several different points,
-rather you should disable and thus end one track, when tracking this feature is no longer feasible.
-You may include "gaps", when a tracking point is temporarily disabled or unavailable,
-but you should start a new track for each distinct new feature to be tracked.
-
-Each track contributes to the overall result by the degree controlled through its *Stab Weight* parameter.
-It is evaluated on a per-frame basis, which enables us to control the influence of a track by *animating* this
-*Stab Weight*. You may imagine the overall working of the stabilizer as if each tracking point "drags" the image
-through a flexible spring: When you turn down the *Stab Weight* of a tracking point,
-you decrease the amount of "drag"
-it creates. Sometimes the contribution of different tracks has to work partially counter each other.
-This effect might be used to cancel out spurious movement, e.g. as caused by perspective.
-But when, in such a situation, one of the involved tracks suddenly goes away,
-a jump in image position or rotation might be the result. Thus, whenever we notice
-a jump at the very frame where some partially covered track starts or ends, we need to soften the transition.
-We do so by animating the *Stab Weight* gradually down, so that it reaches zero at the boundary point.
-In a similar vein, when we plan a "handover" between several partially covered tracks, we define a *cross-fade* over
-the duration where the tracks overlap, again by animating the *Stab Weight* parameters accordingly.
-But even with such cross-fade smoothing, some residual movement might remain,
-which then needs to be corrected with the *Expected Position*
-or *Expected rotation* parameters. It is crucial to avoid "overshooting" movements in such a situation --

@@ Diff output truncated at 10240 characters. @@