Define highlight reel rendering12/13/2023 ![]() ![]() What I am using as of now is an imitation of such storage/recalling logic which is based on incrementing frames, similar to Timo's strategy.Ī central abstraction manages the timed transfer from audio to linear matrix data (replacing the snapshot~ objects entirely for the recording process given they caused crashes all through when writing to coll-objects for instance) - synchronizing running FFT-analysis required some extra nesting to make up for timing inaccuracies between spectrum size and the desired framerate using layered poly~-objects -, it manages the recording of corresponding multichannel audio to accompany the video rendering 1:1 and uses the pre-recorded matrix data to finally control the video rendering process instead of previously used audio. Sir Zicarelli has dropped a few lines about the C74 take on this topic (thank you for sharing). Generic solutions as such can only be kept under continuous devlopment until those translation hubs (like snapshot~, jit.poke~ etc.) perhaps provide a support for internal storage to be recalled offline without realtime DSP and based on the desired framerate for the final product. Of course, the parts of a patch to work on here are those where audio is translated to data or matrices and vice versa. applying it to other patching environments on the fly which initially had been setup without offline rendering on the radar. There are numerous drawbacks to one such setup one may devise, i.e. This post has kept me occupied throughout the previous days and while I was (and somewhat am) in need for a solid solution to this within a short foreseeable space of time I did in fact come up with a realm of abstractions which somehow made a tight, hiQ, offline, frame-by-frame rendering process amazingly intuitive and effective. ![]() Thank you Julien for bringing this up in such detail. When was refurbished I had big hope, but it turned out it was tailored to a totally different use case scenario and so misses a lot of features that are required in big patches like compatibility to, the rest is summarised here I found that the parameter recorder from Best Practices in Jitter, Part 2 - Recording contains some interesting functionality, but it only works for float values. īut as Ableton Live already consumes too much of my GPU resources and running Live and Max on two different computers for offline rendering was not an option for me, I was looking for a solution inside Max. So I mean - If it is an option for you to work with Ableton Live and Max I would recommend to use MAX4Live and Max communicating via, for the parameter recording and playback and MIDI - Rob Ramirez shared some building blocks for sync here. Biggest missing feature in my opinion is this here. If Ableton and Cycling '74 would expand the LOM giving access to automation curves, I think it would be the most interesting strategy to pursue. I have not used touchdesigner so not sure how they go about implementing this timeline and especially how the environment switches (or combines) a fixed timeline versus a non-linear one. This could also be a way to extract audio amplitude with a or other descriptors. At the moment I usually make some kind of construction where I use a framecount (renderbang > counter) to store controller data (or any data) at an index, then when non-realtime capturing just use that exact framecount to retrieve the data from the coll and distribute to parameters. line etc.) are already quite useful since they are linked to the world and you can control their speed, but maybe a set of objects that are always synced to the rendering frames (and not the real time interval) could be included, like what does as alternative to and. I think it would be very nice indeed to have some kind of package that easily allows this non-realtime rendering and control of a timeline. ![]()
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