Hi:
I am currently building a tutorial on how to use a software
created by the client. The only way I know to do this, is to extend
the voiceover sprite whatever lenght it is in frames and animate
the other sprites in the correct frame of the time line. Now this
takes forever since I have to start the voice sprite from the
beggining every single time. Is there a smarter and more efficient
way to work with voiceovers in director? Curently, with all the
voiceover sprites in the timeline, I am up to frame 39,000. If you
know any tutorial that can help me with this, please let me know.
Thank you.|||
“rafa@mediatech” wrote:
> The only way I know to do this, is to extend the
voiceover sprite
> whatever lenght it is in frames and animate the other
sprites in the correct
> frame of the time line.
Hi,
Yes, that is not the best way. Before I give the answer, just
some explanation.
Director is frame based. Sound is time based. This means that
Director will play
every frame of your movie and may veer off your set frame
rate. Time based media
always plays to a fixed time.
As an example, say we have a 2 second animation playing at 15
frames per second -
so 30 frames. Say this exists as a Director movie (frame
based) and a QuickTime
digital video (time based). Now I play both on a computer
that has a very bad CPU
that can only manage 10 fps. My Director movie will still
play all 30 frames, so
my 2 second anim now takes 3 seconds. My QT on the other hand
behaves differently.
Instead of playing every frame, it will drop frames, so will
only play 10 of each
15 frame group. So, retains the time of 2 seconds.
Your ears are more sensitive to your eyes. Dropped frames may
be OK but dropped
bits of sound would be disturbing. So when playing sound in
Director, the
computing resources are optimised to play that at its right
speed without
compromising.
So, now we know Directors frame playback and time based media
work on different
systems, you can see that using the Score to synchronise
sound to animation will
be difficult and may vary from one computer to another. The
best thing to do is
make the animation shorter than the sound and let it wait at
key points for the
sound to ‘catch up’ with the anim. That way, you have a
buffer for slower
computers.
So, now to your project. If you have sounds perhaps over 30
seconds long with
different points within the sound to match to something on
the screen, I’s say use
Cue Points. I have a tutorial on this at:
http://www.fbe.unsw.edu.au/learning/Director/sound&inter/tut6.asp
This one uses the Temp channel to create ‘wait for cue point’
but you can use
Lingo instead. But, it should give you a start.
Hope that helps.
regards
Dean
Director Lecturer / Consultant / Director Enthusiast
http://www.fbe.unsw.edu.au/learning/director
http://www.multimediacreative.com.au
email: d.utian@unsw.edu.au
|||
Dean:
Thank you for your comments. I tried the tutorial you
suggested and it works fine. Now I just have to apply it to my
project.
Question, on the tutorial they mention a format called .pct.
I have Adobe Audition 2.0, and I dont see that format as part of my
“save as” options. Is this format recognize as something else?
Again, thank you
Rafael.|||
“rafa@mediatech” wrote:
> Question, on the tutorial they mention a format called
.pct. I have Adobe
> Audition 2.0, and I dont see that format as part of my
“save as” options. Is
> this format recognize as something else?
Hi Raphael,
The pct file is an image. At the start, it says download
JuliaRoberts.pct. Right
click that link and save and that will give you the file I’m
referring to. The
wav file is what you’d use in Adobe Audition to add cue
points.
Feel free to email me directly if you have any other
questions regarding the
tutorials.
regards
Dean
Director Lecturer / Consultant / Director Enthusiast
http://www.fbe.unsw.edu.au/learning/director
http://www.multimediacreative.com.au
email: d.utian@unsw.edu.au
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