assurance-tunnel
assurance-tunnel
assurance-tunnel
assurance-tunnel

Duration and OSC



  • Hello,

    Here is the product of my researches. All is working, and Duration make a perfect timeline for Isadora.
    Give me your advice.


  • I forget the file da69bd-isadoratoduration.zip


  • Tech Staff

    Nice work @jhoepffner!

    It's a shame there has to be a MAX patch in between but nice to know it is possible!


  • I wrote to the autor of Duration and I will also write to Mark to resolve the problem.

    I also wrote a little QC patch to obtain color with RGB entry in Isadora (plus alpha value). Un fortunately, QC patches are very processor consuming.
    All is now available in my new github repository (just discovering the service)
    https://github.com/jhoepffner/DurationToIsadora


  • I've being searching for something that would enable me to go to the middle of an Izzy scene for fine tuning dancers movement sincronized with lights and all the whistle and bells... Is this the (best) way to go?



  • I really dont understand your will, what is the "middle" of an Izzy scene, time? space? Its the light synchronised with movement or the reverse? how linked? who ring the bells and who whistle?

    Be more specific!
    What I am working at the moment is to slave some events in Isadora from Duration and some events in Duration from Isadora, no more.
    All the best

  • Tech Staff

    Glad you are having some luck with it. I will try to do the same on windows in the coming days.



  • Dear Jacques,

    Isadora's OSC Transmit actor is doing what you are telling it to do: send a string parameter ('play') to the OSC address "/duration/"
    The format of this messages is: address, type tags, value(s). What you were sending was this:

    OSC    | 127.0.0.1:1235 | 2F 64 75 72  61 74 69 6F  6E 2F 00 00  2C 73 00 00 | /dur atio n/.. ,s.. |

                            | 70 6C 61 79  00 00 00 00                           | play ....           |

    If you wish to send to the address /duration/play" then just put this in the 'address' input and set the 'value' input to '' (an empty string.) The output will look like this:

    OSC    | 127.0.0.1:1235 | 2F 64 75 72  61 74 69 6F  6E 2F 70 6C  61 79 00 00 | /dur atio n/pl ay.. |

                            | 2C 73 00 00  00 00 00 00                           | ,s.. ....           |

    Now, there will still be a type tag ",s" followed by an empty string, but this will hopefully not affect the receiver.
    Give it a try.
    Furthermore -- you really should **never** turn type tags off. If there is no type tag, then the OSC standard states that you should assume the parameter is a float. This is the quote from the OSC spec:
    Best Wishes,
    Mark


  • Dear Mark,

    I will give it a try (I give tomorow a 5 days class about Isadora, good time to try…).
    I have made some other tries, you can see it on github (address gived before),
    Thanks


  • Mark,
    I just tried it and sending a empty string with /duration/play adress doesn't work, that's works perfectly though OSCulator, suppressing the argument, or Max, suppressing the space.
    I wrote to James Georges, I think the fault is on his side, normaly a good OSC message have address: /duration/play and message, like timecode as string : 00:01:30:222 in /duration/seektotimecode who works perfectly.
    But the best way is to enslave Duration to Isadora: varispeed, stop and go in Isadora, capacity to change the parameters in live in Duration, recording it.
    I am just trying to record live OSC in Duration.
    That made a perfect partner for Isadora.
    Thanks



  • dear @jhoepffner, thanks for writing,
    Lets imagine I have 10 different scenes in Izzy. for the total duration of 1 hr.
    I don't have 1 hr to rehearse the all show, in fact there are a couple of scenes I need to review more times for different reasons, whether lights, sound or video or the choreographed movement of the dancers.
    Let's say that I have to review the middle of scene 5. To go to scene 5, normally I have the Jump actor on scene 4 that may goes to 5 automatically via an Envelope Generator that may started at the beginning of scene 4 with the Enter scene trigger, or manually via keyboard, or by pressing the Jump trigger. Let's say that on scene 5 I have a Movie Player that starts right at the beginning and a couple of Envelope Generators (or E.G ++) with more that 1 Segments, that command the intensity of the lights via Global DMX or the intensity of the Projector/s, the Sound Player, lets forget something like Wave or Wave Generator or others that would complicate the process.
    Scene 5 last exactly 5 minutes and I want to go to 3 minutes in of this scene and rehearse a few times from 3' in to 4' in of #5 . I'm now in scene 4, of course I can start at the end of #4 and loose 3' (that multiply, let's say 10 times, makes me loose 30 minutes) :
    What would be the best way to do it???
    Thanks



  • Dear bruper,

    I understand better why you ask it here… That's the reason because I found Duration so useful.
    With it you can go precisely to a point in your scene and have all the parameters set at the right level, without the need to play all the game. But it's necessary for that to have all the parameters coming from Duration.
    You can find some propositions to use it with Isadora here:
    https://github.com/jhoepffner/DurationToIsadora
    with a text explaining how to use it.
    The best way for me is to have a master time coming from Isadora, ideally a movie, as to play, stop, reverse, scrub manually in the film, sending time position (in second or in timecode) via OSC to Duration and Duration sending back osc values to Isadora.
    The other advantage is that, stopping the movie, you can adjust the level in Duration see directly the result in Isadora and play it again very quickly.
    Have a try!
    All the best

  • Tech Staff

    So you guys are literally using Duration to drive and sequence a show using Duration as the master timer so to speak?

    Interesting...


  • dear @jhoepffner, thanks for writing,
    I will look into it hopefully tomorrow, performing in Spain at the moment...



  • wait, wait, I am just discovering it… But I am finding some very interesting things, between Isadora, Duration and touchOSC on iPad. I am just preparing the second day of a 5 day workshop on Isadora for persons working in Theater and they are really interested by the timeline possibilities.

    I have some problems and questions and I try to intervene in the Duration google group, I register myself, but my contribution disappears, any idea?

  • Beta Tester

    I'm current programming a system that provides Watchout-like cuing capabilities like freerunning and looping playback, fully integrated MSC, and control cues using a tightly integrated combination of Duration and Isadora user actors I'm creating. I'm extremely excited about this prospect. I think if Isadora were ever to gain an integrated timeline, I would want it to be similar to Duration.


  • Tech Staff

    I think I am going to blogging this relationship between Duration and Isadora. 

    You guys (@[jhoepffner](http://troikatronix.com/troikatronixforum/profile/15/jhoepffner) @MatthewH and @[bruper](http://troikatronix.com/troikatronixforum/profile/929/bruper)) have got me thinking about this new idea in terms of timelines.... It really does open up Isadora into new territory. 

  • Tech Staff

    For sure.. as soon as I used it I thought that its a fantastic partner to Isadora, and I agree with Matthew that I can seen a similar component as part of Isadora at some future point.


  • Tech Staff

    Worth a look also....

    [http://www.iannix.org/en/index.php](http://www.iannix.org/en/index.php)

  • Beta Tester

    As per my earlier post I just finished building the first draft of a set of user actors I'm calling Duration Toolkit that provide some pretty powerful functionality for cuing in Isadora using Duration. Key features include:

    -Automatic creation of a database of cue numbers and positions to allow easy jumping to a particular cue by number as well as effortless integration with MIDI Show Control
    -An Isadora based clock that Duration is slaved to while still permitting full use of Durations' built in transport controls
    -Built in error reporting and troubleshooting messages in plain english for easy configuration
    -Watchout style freerunning and looping movie playback and straightforward picture playback
    -Extremely resource efficient
    -Built in controls for jumping to timeline positions based on time, percent, or cue number
    -Creating staggered fades across multiple channels of video is vastly easier than with any other cueing method in Isadora
    I am also working on implementing:
    -Movie playback that chases timecode
    -Full designer/tech controls with seamless integration
    -Cue names in addition to cue numbers
    -Jump cue type
    -Seamless integration with my master/slave and understudy/spare playback computer actors for easy cuing across multiple headless playback computers from a single master computer
    I'm using it on a show for which I am currently in tech and it is proving to be extremely stable and I will post a video of the programming/configuration process once I have a moment and in the meantime I have attached a screenshot. I honestly think that this is by far the most powerful and efficient cuing system that is currently available for Isadora. Even on this single channel show I am enjoying its benefits and on a show with numerous channels of video I think it will probably be pretty life changing compared to the typical approach of creating hundreds of scenes.

    7bb40c-untitled.tiff