Figure 53 Streamers: Print on Quicktime Video?

[mvoogt]

Anyone familiar with Figure 53 Streamers software?

http://figure53.com/streamers/

How can I print the punches and streamers onto a quicktime video?

[sndmarks]

Used it a few years ago to prep the conductor film for a silent music concert.

Had to set everything up in Streamers and then do a screen capture video of the whole film playing through.

Not an elegant solution, but it worked. Hopefully there has been an update that would allow for a more direct workflow.


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[MIDI Life Crisis]

Used it a few years ago to prep the conductor film for a silent music concert.

I'm sure you meant silent film... one of my wheelhouses. May I ask who it was for and what the film was? I know most of those guys (to some degree more than others) but I know several conductors and it's a pretty small world in silent film composing and scoring (and damn,m there's a difference between those two things... but I digress once again).

Speaking of silent film, I'm composing for this one now:

https://www.catalinamuseum.org/silent-film-benefit

I'm the old guy in the piano. That picture was at least 10 years ago... LOL

[sndmarks]

Hey MLC, it's Craig. And you are correct, sir! Duh.

It was my Sherlock Jr concert two years ago in NY.

How goes Pan?

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[MIDI Life Crisis]

I should have looked at your user name. Duh. We even kicked this shi... stuff over breakfast. Lol

Pan is going great. About 20 of 140 min. To go. Then a second pass to fine hone the themes, parts, print, and done. Then off to practice and rehearse the gang of 7. I'm loving scoring a fairytale and not your 'standard' run of the mill silent film. I have to play the TCM Festival this weekend for the Academy of Motion Pictures so I'll loose a few hours work, but will be done in plenty of time for the Catalina gig and the a-list musicians can run this down in one rehearsal. I do still have to play and conduct at the gig while watching the film (no streamers; no click tracks; just seat of your pants tempo estimates) for a 1200 seat sold out house. Can't effen wait!

Hope all is well with you, Craig. Maybe we can hang after the end of May? We can drag a cornie or two in. Frankmax is on winds. Frodo is swamped but I'm sworn to secrecy. I want one of those damn Rings!

[sndmarks]

140 minutes running free?!?!? You are a brave, brave man.

Let me know when you're up for air and we'll put something on the books for you, me, and whoever else wants to join.

Happy writing!


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[MIDI Life Crisis]

140 minutes running free?!?!? You are a brave, brave man.

Let me know when you're up for air and we'll put something on the books for you, me, and whoever else wants to join.

Happy writing!


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My first piece for piano and string qt for a silent film (The Gaucho) had a running time of 115 minutes (same deal serving as the piano/cond). However, I scored to the 115 minute DVD (24 fps). The Academy ran the picture at 19 frames per second (I discovered that a few hours before the premiere).

Do the math... but that slowed all the tempos down by about 7%. That's a lot! We adjusted and it worked out fine. Great a-list union players make all the difference!

Same thing at the Olympics and the Chicago Symphony. I scored to DVD at 24 fps but they ran film and they ran it at 19 or 20 fps. Fortunately at the latter gigs there was a brilliant conductor and I "only" had to perform as piano soloist. The Olympics was more challenging as we could not change the film speed. At least in Chicago the projectionist could speed up the projector a bit and the score came off just fine.

I don't know of any other silent film musicians working who perform linear scores that way without visual aids (streamers, etc) or else they're playing tunes that start and stop. In some cases, the score doesn't actually fit the movie anyway, so I suppose it doesn't matter (and who cares?)

My live scores for ensembles are timed the action to within a few frames (at most) and they stay in sync. It's really a matter of intense rehearsal (by myself and being able to play all parts of the score "just in case") and having the tempos ingrained in my muscles.

It makes me chuckle when I see composers scrambling to create 600 to over 1000 tracks to do what we normal composers do in no more than about 40 lines of score paper, and then they have to scramble again to get the damn thing in sync. Nobody is fooled by all that effort and all it does is serve the producers who don't have to pay an orchestra. It does not serve the music or the story, IMO. Then again, I don't have to worry about such things.

Long live the musician's union!

http://afm47.org