Quartz composer patches show up blank vdmx
- #Quartz composer patches show up blank vdmx Patch#
- #Quartz composer patches show up blank vdmx portable#
- #Quartz composer patches show up blank vdmx code#
This is for a simple scroller, that moves the text along to the left, wrapping characters back to the end of the string when they fall ‘off the beginning’ (as it were). It’s pretty simple stuff really, but might look nice combined with some animation.
#Quartz composer patches show up blank vdmx code#
I’m not going to say too much about about how they work, because the code in each JavaScript module is pretty well-commented. I digress though: what we have here is a collection of basic string and ASCII effects, wrapped up in a simple demo QTZ. Notice the word ‘enthusiast’ I never got particularly good at it, though I narrowly-missed getting a job as a fulltime Lingo coder, back when CDRom was still a novel idea. Prompted by a request to investigate animated text effects for VDMX, I decided to dust off a few little techniques from my mispent early 20s as a Director/Lingo enthusiast. There’s a very good chance that I’m going to regularly forget to do this… The only potential downside is that you have to save a ‘flattened’ version of any QTZ incorporating virtual patches, for portability. This is going to be very useful in the future, I think!
#Quartz composer patches show up blank vdmx Patch#
After restarting QC, it appeared in the Patch Creator panel, complete with description. To test out the system, I created a comp with just a number splitter, with a range set from 0 to 1 (which I use all the time), published in and out ports, added a description, and saved it into the correct folder. You can also add a description for the patch by adding it to the meta info for the virtual patch QTZ using the Edit Information item in the Editor menu. Any published in or out ports of the QTZ will appear as in or out ports in the patch when you create it in a composition. (a folder that will be familiar to Kineme plug-in users) and they’ll show up as patches in the Patch Creator. Library/Graphics/Quartz Composer Patches The basic idea is that you can drop a QTZ into Now I think they’re going to be verrrry useful. I’d vaguely heard of Virtual Patches from the QC 3 release-notes, but I’d never really thought about using them until recently. OK, you’ve probably all beed using these for ages, but for me it’s a bit of a revelation. At some point in the future, I’m planning to release a set of QTZs to be used as virtual patches, so that everyone can get the dubious benefit of being able to drop tb patches straight into their compositions. In terms of working on your own stuff, I think virtual patches are probably a real time-saver, and I wish I’d discovered them earlier. I can tidy that up before release, anyway. I’m still a bit worried that since Macros can be a different size from patches, things may not line up as I’d like in my flattened QTZs, but that’s just me being excessively anal, I think. The problem isn’t by any means insurmountable- if you give the virtual patch a custom name, then that name is reflected in the macro that’s created when the flattened file is saved, so I’m not put off too much. Hopefully this will be incorporated into a future version of the program. I’ve submitted an Enhancement Request to the Apple Bug Tracker asking for the macros to be automatically named the same as the original virtual patch. Which isn’t helpful when it comes to readability. In fact, they’re all called ‘Macro Patch’. The problem is, the macros automatically created this way are not correctly named.
#Quartz composer patches show up blank vdmx portable#
So far, so good- you get a portable file that works fine for someone who doesn’t have your virtual patches installed on their system. If you use a virtual patch in a QTZ, then save a ‘flattened’ version of the file, the virtual patch will be converted into a ‘real’ macro patch. I’ve also discovered a great new bug to go with it! This is truly what I seek to enable the audience to experience in any of my clients’s performances using different elements of effects and patterns every-time to keep the audience guessing and entertained.So I’ve discovered a great new feature.
It is one of our primal instincts to recognize changes in symmetries within patterns among our senses from the sounds of music in our ears to the reflected light in our eyes building vision and especially when two or more of these sensory elements work together in tandem it takes us aback, keeping the audience in awe.
That is what truly gives me the goosebumps in a shows and always seems to bring me back to shows. Cymatics is unique tool that helps me through the process creating those visual elements according to the complexities within the music being showcased. We all may have experienced a moment where we were in complete awe of the visual elements ‘dancing’ or moving in merriment with the music. While Vjing or setting up any form of visual elements in a show this passion carries me through my work.
In order to explain my vision I’d like to reflect upon my passion towards Cymatics and it’s correlation to visualizing different forms of sound waves.