That seems like a lot more work, converting from message to DSP and
back to messages. Do you think that the timing of [metro] is not
accurate enough?
I basically created a [line] that is driven by the frame numbers,
then feed that to [line~] when needed. Seemed to work pretty well.
See attached patch.
.hc
On Nov 12, 2008, at 5:55 AM, cyrille henry wrote:
hello,
you can use frame number as a trigger, that's not incompatible with
a sync from audio to video.see attachement patch.
cyrille
Hans-Christoph Steiner a écrit :
What I am working on are tools for composing audio to someone
else's video. I've worked on a couple projects like this, I am
in the midst of one know. Basically, think sound design for a
movie and things like it. They generate the movie, and so far, I
have found the easiest way to communicate with the people making
the video is to use frame numbers. Therefore, to compose my sound, I need to frame numbers as a
reference. Therefore, I need to generate line data from video
frame numbers, unless someone has a better idea. If the video
guys tell me, "this animation starts on frame 1234 and ends on
1623", then it seems to me that I want to be using frame numbers
as my triggers. .hc On Oct 31, 2008, at 11:08 AM, chris clepper wrote:Cyrille points out the correct method of syncing video to an
audio clock. All hardware devices and professional software use
the audio to clock the video.On Fri, Oct 31, 2008 at 4:48 AM, cyrille henry <cyrille.henry@la- kitchen.fr mailto:cyrille.henry@la-kitchen.fr> wrote:
hello, i'm wondering why did you sync audio on video : i think it is easier to sync the video on the audio. just make all the line~ as you wish for the audio, thensnapshot~ periodically and convert audio position to frame number...
cyrille Hans-Christoph Steiner a écrit : > I am trying to make a version of [line~] that gives me aline based > on the frame numbers I give it. Basically, I give it a frame counter > in the first inlet, then start frame and stop frame as
arguments. > The hard part is that I want it to behave like [line] in
that the > last value stays in effect until something else overrides it. > > How do I do that with DSP data? If I use [switch~], then the > [outlet~] will just retain its last value. > > .hc > > >
> ---- > > 'You people have such restrictive dress for women,' she said, > hobbling away in three inch heels and panty hose to finish out > another pink-collar temp pool day. - "Hijab Scene #2", byMohja Kahf > > > > _______________________________________________ > Pd-list@iem.at mailto:Pd-list@iem.at mailing list > UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list >
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If you are not part of the solution, you are part of the problem.
#N canvas 64 128 625 478 10; #X obj 79 193 line~; #X floatatom 79 25 5 0 0 0 - - -; #X text 130 25 frame number; #X obj 79 45 / 25; #X text 135 45 time in s; #X obj 79 73 * 1000; #X text 143 73 time in ms; #X obj 79 97 t f f; #X obj 79 146 pack f f; #X obj 111 119 + 100000; #X msg 79 169 $1 , $2 100000; #X text 186 169 go to 100 0 ms latter , in 100 000ms; #X text 126 194 master time for everything (in ms since beggining of files); #X obj 215 236 *~ 44.1; #X text 280 237 position in the audio file; #X obj 79 314 snapshot~; #X obj 100 288 metro 1; #X obj 100 265 loadbang; #X text 170 289 1ms precision for video is ok; #X obj 79 340 / 40; #X text 125 343 time of each frame; #X obj 79 363 i; #X obj 79 384 change; #X text 146 386 frame number; #X floatatom 92 409 5 0 0 0 - - -; #X connect 0 0 13 0; #X connect 0 0 15 0; #X connect 1 0 3 0; #X connect 3 0 5 0; #X connect 5 0 7 0; #X connect 7 0 8 0; #X connect 7 1 9 0; #X connect 8 0 10 0; #X connect 9 0 8 1; #X connect 10 0 0 0; #X connect 15 0 19 0; #X connect 16 0 15 0; #X connect 17 0 16 0; #X connect 19 0 21 0; #X connect 21 0 22 0; #X connect 22 0 24 0;
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