Posted
So, grumble, grumble, I just took the plunge... Come on FedEx!
As I haven't even received the box, perhaps this already exists. If not, it would be great.
I want to be able to define cues points when scoring to picture that, while precise in frames/samples,are completely fluid in dealing with the tempos (which should have the ability to be ramped, stepped, or eased with no limitations) so that measures can be inserted or removed, time signatures changed, pickups etc... The shape of the user defined tempo map in a single cue would remain the same, it would just scale to fit.
So for example I could drop in three measures and have the tempo adjust itself so that it all fits in between the two cue points. Conversely a cue point could be adjusted and the music would stretch to meet it.
This would add the kind of separation between picture and sound that Synfire has already done for harmony and phrase. I have used Cubase until now and tempo mapping is my least favorite task (next to debugging glitchy project files)
In addition it would be important for separate cues to exist within container time lines so that the time in between cues can be placed precicely and without concern for the number of measures in between each or any cues that might need to be inserted or shifted on the fly to accommodate an edit or creative change.
I know this last part can be done with mastered audio files but if it were all done in synfire those cue could be easily bridged with original music, even late in the composing process, without much hassle.
Tue, 2009-02-03 - 10:10 Permalink
That's great feedback - thanks! As film scoring is a major target for Synfire Pro, you can expect significant development here.
This is how it works at this time:
Each arrangement document has its own SMPTE offset, that is, a specified time in the movie where the music is supposed to start. While editing the arrangement, a movie player connected via MTC (Midi Time Code) will locate the associated pictures automatically wherever you click inside Synfire.
As movies tend to be very long with arbitrary offsets that do not match a common rhythm, the way to go is to create separate arrangements with their respective SMPTE offsets, e.g. for each chapter or scene. We will eventually add a feature to bundle multiple arrangements in a single document.
Regarding your question: Tempo is a parameter that, although its effect is global, can be set in each container individually. That is, the tempo map moves with the container.
What's missing yet is a feature to say: "Please scale tempo inside this container, such that the entire container's duration is exactly 00:45:23". Or the other way round: "Please resize this container, such that, at its current tempo, its duration will be 00:45:24".
Is that what you want? I'd love to add it.
Andre
Tue, 2009-02-03 - 21:41 Permalink
hmm. I look forward to seeing multiple arrangements in a single doc, but there is a lot about the way your currently doing it that is quite nice.
As far as the implementation of the stretching... yes and no.
If its easy, the method you proposed would be a good temporary solution.
Let me see if I can clarify what I mean with an example.
Lets say I have a 20 second picture with five hard cues that must be hit. I want to be able to place those cues, which are all part of the same musical idea (separate containers would be awkward,) and then rapidly experiment with the number of measures and the their time signatures in order to find a tempo that hits all of the cues and is more or less steady. The important part we be not having to manually go and tell the program to adjust the container back after every change.
These cues would be more or less like markers
This, I am sure is a complex problem. It would be important to be able to push measures of music back across the cue. This would let me take any piece of music and push and pull it like clay till its perfectly locked into the image.
Visually I imagine it acting similar to the Apple dock, when an icon is dragged over, the others animate out of the way. While holding the icon and moving it over different parts of the dock, they adjust themselves to show where it is going to go.
The eyecandy is not the key but it illustrates the kind of automatic fluidity I'm talking about.
This is less relevant for films than it is for commercials or cartoons where there can be ten cues in a matter of seconds. As it is now, in cubase once I set those cues, I don't ever touch them, which is a bit stifling creatively.