Understanding Timelines

I am learning JavaFX, have been through a few tutorials (all of which worked, thats something new in Java :) ) and have come to the conclusion that 'I like it'.
I am still at the beginning really, so the test pieces I am doing do not really have a purpose other than learning JavaFX.
The part I am stuck on at the moment is using Timeline. Each example seems to use a piece of magic dust to bind a timer event to something in the scene. I am a bit short of magic dust right now.
Lets say that I want to display a different word each time we get the timer event. I believe I have to bind a variable inside my scene to the timer. (ok, so I have already tried binding everywhere now). Nothing happens of cause, so what are the rules here? The JavaFX master index doesn't give any clues and all of the examples around do the same thing, assume you know what to bind to what in order to get a timer event to act on your scene.
You do not need to use my example here to explain it if you already have a nice neat example, but if you use something like
x => newX tween Interpolator.EASEBOTH;
I shall be cross with you.
Here is my diddy little example:
* Main.fx
* Created on 04-Feb-2010, 15:52:22
package textstuff;
import javafx.stage.Stage;
import javafx.scene.Scene;
import javafx.scene.text.Text;
import javafx.scene.text.Font;
import javafx.animation.Timeline;
import javafx.animation.KeyFrame;
import javafx.animation.Interpolator;
* @author robert
var arStrings = ["one ", "two ", "three ", "four "];
var iCount = 0;
//My timer, every 5 seconds iCount is incremented, the word onscreen should change
// iCount is incremented because I can see in the console output
var timer = Timeline {
     repeatCount: Timeline.INDEFINITE
     keyFrames : [
          KeyFrame {
               time : 5s
               canSkip : true
action: function () {
++iCount;
if(iCount > 3)
iCount = 0;
println(iCount);
//I had to use timer.play() though tutorials don't always use it.( Magic dust again )
timer.play();
Stage {
title: "Application title"
//I have tried this in various places, but can not update my scene
// var ar = bind iCount;
scene: Scene {
//I have tried this in various places, but can not update my scene
var ar = bind iCount;
width: 250
height: 80
content: [
Text {
font : Font {
size : 24
x: 10
y: 30
//this ought to change but it doesn't
content: "{arStrings[ar]}"
I would rather have an explanation than an auto changing text block, but just do your best, cheers
Edited by: rassler on Feb 4, 2010 9:41 AM

General advice: use the CODE button above the textarea to avoid issues like interpreting the asterisk as bold mark...
It just need a bind at the right place... :)
Stage {
    title: "Application title"
    scene: Scene {
        width: 250
        height: 80
        content: [
            Text {
                font : Font {
                    size : 24
                x: 10
                y: 30
                content: bind arStrings[iCount]
}There, bind acts on arStrings (defining it with a 'def' here would be more efficient) and on iCount.

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    This works to play the stage in reverse but its not the functionality I need.  Any help would be greatly appreciated and a great learning point for me and hopefully others in my situation!

  • Question? Best Workflow HD/HDV and Reframing/Scaling to Export to both HD and SD when working in an HD Timeline?

    Just wondering, what is the best method for working with HD Footage both HDV 1440x1080 and HD 1920x1080
    Not long been using Adobe Premiere Pro CC, just switched over from Grass Valley EDIUS 6.08 and atempting my first Stage Show Multi Camera.
    Source is 5 HDV PAL and 1x1920x180 60fps MP4 file from a Sanyo Handy Cam.
    Final delivery is going to be DVD.
    Have done a few smaller projects prior to and normally have edited in HDV 1440x1080 50i PAL and exported to whatever format I need.
    Slightly different this time, I need to I need to crop/reframe some video from a couple of the Static locked off cameras. I know what to do but at moment though, I'm very much undecided which method to use for best results.
    Doing some testing I notice that if I import the footage and edit in my usual  HD Timeline as said above, then I go into Motion and Scale and reframe to suit, then the picture still
    looks better still Full Screen on my 2nd Monitor in the HD Timeline than if I switch the Sequence Settings to SD DV PAL.
    I am wondering how the scaler works when exporting. Say I go with the original HD Sequence, scale the Locked off Shots as I want them, then export to SD DV PAL then does the Adobe Media Encoder take into account that I am working in a HD Sequence (HDV 1440x1080 50i PAL) and then Scale to suit or does upscaling go in an HD Timeline then Exporting to SD make things worse, I am asking this as I still like to have the option to output an HD file for the Web and possible Bluray or Mobile Device later on.
    I also still prefer working in an HD Timeline as for the other Camera Angles, then it is easier to judge focus since the image is sharper, as apposed to working in an SD Sequence.
    I guess the other option I suppose is to edit in HD and then switch the Sequence Settings later on to SD before Export, but not sure that would work with the scaling? Or is that the same as working in an HD Timeline anyway and then selecting an SD Preset in the Adobe Media Encoder anyway?
    I guess what I am saying is, if I say for example, Scale a HDV source to 130% or then export to SD in the AME then, is the AME upscalling the original HDV Source to 130% Loosing Quality firstly (making less pixels that to begin with), then downscaling back again to 100% SD Resolution, loosing quality once more, or does it see that the source is HD and has more pixels to use and take that into account? If you get what I am saying. Obviously if I am exporting to any HD Format then, I understand that where will be some quality lose with any amount of HD scale.
    I also read that it is less CPU resource full working in the native resolution of the media when editing, especially on an older system.
    The other option is to work in an 720 Preset possiblely?
    At the moment I don't have a proper Preview device and am making do with the 2nd Display on my Graphics Card GTX 760.
    I was looking at getting a Blackmagic Device for preview, or possible one of the Matrox.
    It is a shame really, since I already have the Canopus HD Storm in the PC, which I was using with EDIUS for a lovely full screen preview to a 32" TV, since looked great, so since switthcing to Premiere, I can't use it and am having to make do with the GTX 760. Which isn't as good.
    Maybe there is some setting I can alter to get a better Playback Image?
    Anyway, I notice that the Full Screen Image from the GTX 760 is not as clear as it should be when editing, especially whilst playing back the image is slightly soft and more so when in the Multicam Mode it is even softer.
    I am not sure if this is because my computer is not quiet fast enough? Maybe I should post this in a seperate thread in the Hardware forum, but I thought it was worth mentioned in this post aswell.
    SYSTEM SPECS
    Gigabyte EP45-UD3LR (Socket 775) Motherboard
    8GB DDR PC-800 RAM (4x2 Sticks)
    Intel Core2 Quad CPU Q9650 @ 3.00GHz
    60GB OCZ SSD (FM-25S2S-60GBP2 ATA Device)
    2 TB 7200 Sata 300 Hard Drive - For Video (Hitachi HDS722020ALA330 ATA Device)
    Windows 7 SP1 x64
    So in short At the moment I am undecided which method is best to use

    Your Creative camera is not the best one could wish for. Open a 1280 x 720 sequence, import some Creative footage, use motion scale to fit it in and judge the quality for yourself. My guess is you will be disappointed in the quality. Then when outputting to DVD you will reduce the resolution and quality again, making it even worse.
    So, my suggestion is, don't follow that route.
    Ultimately you will end up with 720 x 576 material for your DVD. You already need to upscale your Creative footage, and change the PAR and take serious quality hits, do not increase your problems by upscaling and then downscaling again.

  • New To AE from Motion (FCP) - timeline and other questions (PREVIEW)

    Okay, so like your normal person, I just install and open a template and delve into it seeing what can happen.
    So far, I learned that you need an update for macbook pro (opengl), no problem, downloaded and all is fine.
    However, I did notice something that coming from a Motion POV, I am not used to....
    If I open a template, I notice that the time line plays back about 200 milliseconds or 5 seconds to play about 1 second of video. Is there a way to make it realtime? Also, it seems as if it needs to be rendered when you play back on the timeline (green bar). Is there a way to play in realtime? Surely the newer Macs are fast enough to play back in realtime.
    Last, for now, what is the best training for this application? Lynda.com, books, other video resources?
    Thanks.

    >I think that makes sense since it is going to RAM.
    Yes, it does. To not "loose" the frames, enable the disk cache. This will dump frames that cannot be held in RAM, so they are available for spacebar playback and faster generation of successive RAM previews
    >Nonetheless, regardless of the settings, I could not get it to play in >realtime at all.
    Check the info panel and see if indeed it is as you say. If the issue persists, search this forum. There is tons of things that can screw RT abilities from incorrect graphics card configs to audio or certain QT CoDecs.
    >Surely this can't be the case is it?
    It can. Once more: you are letting your confusion get in the way of seeing things for what they are. AE is a program that still does most of its stuff in software running on the CPU, not your graphics card like it does in Motion. It functions on different principles. Effects have to explicitly be written to use hardware acceleration, which only a limited number of them do and then again, they will revert to software-only mode if you stack a number of effects that exhaust your graphics card resources or combine them with non-accelerated effects.
    This is no different than what happens in Motion when you use a given number of layers with blendmodes, distortion effects etc.. that can no longer be processed in realtime. At that point it actually behaves much worse than AE since it lacks the fallback software routines. It seems, that you just never work with anything remotely complex and thus never have reached that point, which would explain your disappointment and frustrations with AE. If you are not willing to understand the conceptual differences, it will forever be that way.
    I can only once more urge you to not see as a replacement for Motion as a background and title generator, but as a flexible, resolution independent compositing and effects package that does so much more, but at the cost of buying this flexibility with more generalised, software-only routines. You may see this differently and never use AE as deeply as some other people, but this is just how it is.
    Mylenium

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