You have seen how a wide variety of things can be controlled in Resolume by moving parameter sliders, from the volume of the composition to an individual setting on an effect. You can create amazingly dynamic looks just by moving a few sliders.
The good news is you don't need to give yourself a repetitive strain injury to achieve this. Instead, you can set parameters to animate by themselves.
To access these options, click the little grey triangle next to the parameter name. A menu will appear.
The options in the menu will be slightly different depending on whether the parameter you are working with is for a clip, a layer, a group or the composition. However, they all work in much the same way.
The Timeline option presents you with an interface similar to the Timeline clip transport mode. You can have the parameter loop, ping-pong, random or play once and you can set the speed that the parameter animates at.
You can also set in and out points for the parameter, just like with a clip.
Tip! After setting in and out points, hold down Shift while dragging the range. This will let you move the range around, while keeping the length the same.
Similarly, BPM Sync is like the BPM Sync transport mode on the clips.
You set the number of beats that the parameter should animate over, whether it should loop or ping-pong and the in and out points. The parameter will then be animated in time with the global BPM.
This option is available on clips only.
It lets you sync a parameter to the playhead of the clip. The parameter will run exactly in time with the clip. You can scrub, skip, change speed, change direction or even beatloop the clip. The parameter will follow everything.
Audio analysis enables you to drive parameters directly from the music to make your visuals dance.
If you are really brave you could also use Audio Analysis to drive audio parameters. Who knows what would happen?
To activate audio analysis, select one of the FFT options in the control drop-down menu for a parameter:
Use the audio device specified in the audio preferences to drive the parameter. This is the one to use if you want to use a feed from a DJ or band or if you have an external microphone.
You have to select a source if you want to use the external option. This can be done via the audio tab of the preferences. First choose which Audio Input device you want to use, then select which channel from the list of its available channels.
Use the main audio output of the composition to drive the parameter.
Use the audio output of the clip, layer or group to drive the parameter.
The parameter display will now change to display the Audio Analysis options. The first thing you should do is click the small grey arrow to display the full options.
You can now use the L, M and H buttons to select the Low, Middle or High end frequencies to use to drive the parameter. You can take even finer control of the frequencies used by adjusting the in and out points below the audio spectrum display.
Use the Gain control to boost the signal until it is having the right amount of effect on the parameter. The Fall control sets how quickly the value falls back from a peak.
Tip! There's also a master gain in the audio tab of the preferences as well as in the main interface. Toggle it via View > Show Audio Gain, and it becomes visible on the center toolbar.
The buttons on the left enable us to drive the parameter directly from low to high (>), high to low (<) or to have the audio signal drive the speed the parameter moves at in either direction (- and +).