Fixed Audio

After much experimentation and help from the Cycling '74 community (thanks deKam), the solution to synchronizing all of this data without killing the CPU is to have 1 master audio track as the timecode for everything else. To begin, the time scale is gathered from one of the films (assumed to be the same across all films). This obviously could have been hard-coded at 600 for our particular library of films. Though as a modular program, it makes more sense to leave this as a simple dependency. The file position of the audio track is multiplied by the timescale to get the time in milliseconds. Dividing by 1000, this time is sent to each of the films to output the current video frame for that given time. This process is shown in Figure-5.

The original eye-tracked film has 8 channels or 4 mono channels of audio corresponding to the 4 narratives. This is the fixed audio tracks for the both the eye-tracked and the output film.

Figure 5: The fixed audio tracks for the 4 narratives are combined as 2 stereo tracks. Additionally, the time messages are coordinated by one of these tracks and the messages are sent to each of the films.