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add video timeline player and demo

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rlx 2012-03-14 10:35:46 +00:00
commit 8521eb36ba
5 changed files with 1347 additions and 14 deletions
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11
demos/videotimelineplayer/index.html Normal file
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<!DOCTYPE html>
<html>
<head>
<title>OxJS Video Timeline Player Demo</title
<meta http-equiv="Content-Type" content="text/html; charset=utf-8"/>
<script type="text/javascript" src="../../dev/Ox.js"></script>
<script type="text/javascript" src="js/demo.js"></script>
</head>
<body>
</body>
</html>

77
demos/videotimelineplayer/js/demo.js Normal file
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Ox.load('UI', function() {
Ox.Theme('modern');
var $innerPanel = Ox.SplitPanel({
elements: [
{
element: Ox.Element(),
resizable: true,
resize: [64, 128, 192],
size: 64
},
{
element: Ox.Element()
}
],
orientation: 'vertical'
}),
$outerPanel = Ox.SplitPanel({
elements: [
{
element: Ox.Element(),
resizable: true,
resize: [128, 256, 384],
size: 128
},
{
element: $innerPanel
}
],
orientation: 'horizontal'
}).appendTo(Ox.$body);
Ox.get('srt/0097514.srt', function(srt) {
var $videoTimelinePlayer = Ox.VideoTimelinePlayer({
duration: 3029.96,
getFrameURL: function(position) {
return 'http://0xdb.org/0097514/64p' + position + '.jpg'
},
getImageURL: function(i) {
return 'http://0xdb.org/0097514/timeline64p' + i + '.png'
},
height: window.innerHeight - 65,
paused: true,
position: 1000,
subtitles: Ox.parseSRT(srt),
timelineURL: 'http://0xdb.org/0097514/timeline16p.png',
videoRatio: 1.291667,
videoURL: 'http://0xdb.org/0097514/96p.webm',
width: window.innerWidth - 129
})
.bindEvent({
resizeend: function(data) {
Ox.print('RESIZE', data.size)
$videoTimelinePlayer.options({
height: data.size
});
}
});
$innerPanel
.replaceElement(1, $videoTimelinePlayer)
.bindEvent({
resize: function(data) {
Ox.print('RESIZE', data.size)
$videoTimelinePlayer.options({
width: data.size
});
}
});
$videoTimelinePlayer.gainFocus();
});
});

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demos/videotimelineplayer/srt/0097514.srt Normal file
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1
00:00:00,680 --> 00:00:04,389
Change nothing
so that everything is different.
2
00:00:24,560 --> 00:00:27,120
Don't show every side of things.
3
00:00:27,680 --> 00:00:30,672
Allow yourself
a margin of indefiniteness.
4
00:05:11,960 --> 00:05:16,272
Histories of cinema,
in the plural.
5
00:05:27,000 --> 00:05:29,719
All the stories
6
00:05:30,680 --> 00:05:33,240
that will be
7
00:05:34,560 --> 00:05:36,118
that have been.
8
00:09:06,760 --> 00:09:10,878
To tell the story of the last tycoon
9
00:09:12,480 --> 00:09:13,754
Irving Thalberg.
10
00:09:17,000 --> 00:09:21,835
A TV executive has, at most,
200 films a year in his head.
11
00:09:23,160 --> 00:09:25,799
Thalberg was the only person who,
12
00:09:26,000 --> 00:09:28,958
every day, had 52 films in his head.
13
00:10:50,440 --> 00:10:51,839
The foundation.
14
00:10:52,880 --> 00:10:54,598
The founding father.
15
00:11:02,720 --> 00:11:04,119
The only son.
16
00:11:10,200 --> 00:11:12,839
This story had to pass by this:
17
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A young body,
fragile and beautiful,
18
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as described
F. Scott Fitzgerald -
19
00:11:32,000 --> 00:11:35,072
so that this could exist:
20
00:11:38,160 --> 00:11:39,752
The power of Hollywood.
21
00:13:22,800 --> 00:13:25,075
The power of Babylon.
22
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A dream factory.
23
00:13:43,320 --> 00:13:45,231
History of cinema.
24
00:13:48,080 --> 00:13:51,470
Newness of history.
History of news.
25
00:15:59,920 --> 00:16:03,799
What has gone through cinema
and is still marked by it
26
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can no longer enter anywhere else.
27
00:16:10,240 --> 00:16:12,196
A dream factory.
28
00:16:22,800 --> 00:16:27,112
Communism wore itself out
trying to dream up such factories.
29
00:17:46,520 --> 00:17:50,638
Married to one of
the prettiest women alive.
30
00:18:07,440 --> 00:18:10,034
Or to tell the story of Howard Hughes.
31
00:18:35,720 --> 00:18:37,517
Braver than Mermoz,
32
00:18:38,200 --> 00:18:39,792
richer than Rockefeller.
33
00:19:13,400 --> 00:19:16,790
<i>Producer of Citizen Kane,
president of TWA.</i>
34
00:19:17,800 --> 00:19:21,270
As if Meliès ran Gallimard
and the SNCF.
35
00:19:55,680 --> 00:19:57,398
And before Hughes Aircraft
36
00:19:57,600 --> 00:20:02,116
began fishing up CIA submarines
from the bottom of the Pacific,
37
00:20:07,800 --> 00:20:11,793
he forced RKO starlets
to go on weekly limousine rides
38
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at one mile an hour
39
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so their breasts
wouldn't bounce up and down.
40
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His death, worse than anything
41
00:20:38,800 --> 00:20:41,519
Defoe had imagined for Robinson.
42
00:23:06,840 --> 00:23:11,277
To tell the stories
of all the films never made...
43
00:24:08,240 --> 00:24:12,791
To tell the stories
of all the films never made...
44
00:25:52,200 --> 00:25:55,875
To tell the stories
of all the films never made,
45
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rather than those that were.
46
00:26:11,800 --> 00:26:14,268
Those that were
can be seen on TV.
47
00:26:14,480 --> 00:26:16,675
Let's not exaggerate:
48
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They're not even
copies of reproductions.
49
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<i>1940. Geneva.
L'Ecole des femmes. Max Ophuls.</i>
50
00:27:55,080 --> 00:27:57,719
He fell on Madeleine Ozeray's ass,
51
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while the Germans were taking
the French from behind
52
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and while Louis Jouvet was giving up.
53
00:29:28,280 --> 00:29:31,078
Theater is something
too much known.
54
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The cinématographe, too unknown...
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up to now.
56
00:31:29,680 --> 00:31:33,514
History of cinema
newness of history.
57
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History of news.
58
00:31:37,160 --> 00:31:40,914
Histories of cinema, with "s".
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With SS.
60
00:32:21,160 --> 00:32:23,310
1939, 1940, 1941...
61
00:32:23,720 --> 00:32:25,472
Betrayal by radio,
62
00:32:26,200 --> 00:32:27,872
but cinema keeps its word.
63
00:32:37,160 --> 00:32:41,358
Because from Siegfried and M
to the dictator and Lubitsch,
64
00:32:42,520 --> 00:32:43,873
films were made.
65
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1940, 1941.
66
00:32:51,240 --> 00:32:55,552
Even scratched to death,
a simple 35-millimeter rectangle
67
00:32:56,080 --> 00:32:58,640
saves the honor of reality.
68
00:33:00,160 --> 00:33:01,991
1941, 1942.
69
00:33:02,480 --> 00:33:05,517
If poor images still strike
70
00:33:05,920 --> 00:33:09,276
without anger or hatred,
like a butcher,
71
00:33:10,280 --> 00:33:12,874
it is because cinema is there:
Silent film,
72
00:33:13,080 --> 00:33:16,959
with its humble and formidable
power of transfiguration.
73
00:33:19,080 --> 00:33:21,674
1942, 1943, 1944.
74
00:33:23,040 --> 00:33:24,758
That which plunges into the night
75
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is the echo of what silence submerges.
76
00:33:29,960 --> 00:33:31,871
What silence submerges
77
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sustains in light
that which plunges into the night.
78
00:35:43,160 --> 00:35:44,991
Images and sounds,
79
00:35:54,320 --> 00:35:56,993
like travelers whose paths cross
80
00:35:57,200 --> 00:35:59,156
and who can no longer part ways.
81
00:36:35,240 --> 00:36:37,993
To prove it, the masses like myths.
82
00:36:38,200 --> 00:36:40,236
Cinema speaks to the masses.
83
00:36:41,400 --> 00:36:43,709
But if the myth begins with Fantomas,
84
00:36:43,920 --> 00:36:45,512
it ends with Christ.
85
00:36:46,520 --> 00:36:49,751
What did those who listened
to St. Bernard hear?
86
00:36:49,960 --> 00:36:51,996
Not what he was saying?
87
00:36:52,200 --> 00:36:54,270
Maybe. Probably.
88
00:36:55,920 --> 00:36:58,559
How can we neglect what we learn
89
00:36:58,760 --> 00:37:02,548
when that unknown voice
plunges deep into our hearts?
90
00:37:35,480 --> 00:37:37,914
What the news can teach us:
91
00:37:38,840 --> 00:37:41,673
The birth of a nation,
of hope,
92
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of Rome, Open City.
93
00:37:50,560 --> 00:37:53,870
The cinématographe
never meant to create an event,
94
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but a vision.
95
00:38:10,680 --> 00:38:12,272
Because the screen
96
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is the same white canvas
97
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as the Samaritan's shirt.
98
00:38:24,440 --> 00:38:28,149
What Arnold and Richter's
cameras preserve,
99
00:38:28,840 --> 00:38:32,515
so as not to be outdone
by nightmares and dreams,
100
00:38:33,080 --> 00:38:37,392
will not be shown on a screen,
but on a shroud.
101
00:38:44,800 --> 00:38:47,109
If the deaths of Puig and the Négus,
102
00:38:47,320 --> 00:38:49,311
of Captain Boïeldieu,
103
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and of the little bunny
were inaudible,
104
00:38:53,280 --> 00:38:56,955
it is because life never rendered
what it stole from film.
105
00:38:58,360 --> 00:39:02,069
Forgetting extermination
is part of extermination.
106
00:39:35,400 --> 00:39:36,879
Histories of cinema,
107
00:39:37,680 --> 00:39:39,910
stories without speech,
108
00:39:40,560 --> 00:39:42,710
stories of the night.
109
00:40:12,040 --> 00:40:14,474
For nearly 50 years, in the dark,
110
00:40:14,680 --> 00:40:19,151
moviegoers burn imagination
to heat up reality.
111
00:40:19,760 --> 00:40:21,830
Now reality is seeking revenge.
112
00:40:22,040 --> 00:40:24,873
It wants real tears, real blood.
113
00:40:32,480 --> 00:40:33,674
From Vienna to Madrid,
114
00:40:33,880 --> 00:40:35,108
from Siodmak to Capra,
115
00:40:35,320 --> 00:40:37,675
from Paris
to Los Angeles and Moscow,
116
00:40:37,880 --> 00:40:40,189
from Renoir
to Malraux and Dovjenko -
117
00:40:40,400 --> 00:40:44,757
great fiction directors
couldn't control the vengeance
118
00:40:45,520 --> 00:40:48,159
which they had directed over and over.
119
00:42:05,120 --> 00:42:07,076
The poor cinema of news
120
00:42:07,280 --> 00:42:10,431
must clear the blood and tears
of all suspicion
121
00:42:10,640 --> 00:42:13,359
as streets are cleaned too late,
122
00:42:13,880 --> 00:42:16,519
after the army
has fired at the masses.
123
00:42:34,320 --> 00:42:35,673
What there is of cinema
124
00:42:35,880 --> 00:42:38,678
in wartime newsreels
says nothing.
125
00:42:38,880 --> 00:42:40,393
It does not judge.
126
00:42:53,520 --> 00:42:55,351
No close-ups.
127
00:42:55,560 --> 00:42:57,437
Suffering is not a star.
128
00:43:02,080 --> 00:43:06,392
Nor is the burned-down church
or the bombed-out countryside.
129
00:44:02,600 --> 00:44:06,388
The spirits of Flaherty and Epstein
took over.
130
00:44:06,600 --> 00:44:10,878
Daumier and Rembrandt,
with his terrifying black and white.
131
00:44:52,600 --> 00:44:54,033
A few pans,
132
00:44:54,240 --> 00:44:59,075
an occasional high angle, for a mother
mourning her murdered child.
133
00:45:45,400 --> 00:45:48,153
It is because this time alone
134
00:45:48,840 --> 00:45:53,197
the only veritable popular art form
rejoins painting,
135
00:45:53,400 --> 00:45:55,118
that is: Art.
136
00:45:55,320 --> 00:45:58,392
That is: What is reborn
from what was burned.
137
00:46:26,640 --> 00:46:30,474
We've forgotten that village,
its white walls and olive trees,
138
00:46:30,680 --> 00:46:32,432
but we remember Picasso,
139
00:46:32,920 --> 00:46:34,558
that is: Guernica.
140
00:46:44,120 --> 00:46:48,511
We've forgotten Valentin Feldman,
killed in '43,
141
00:46:49,320 --> 00:46:52,437
but we remember
at least one other prisoner,
142
00:46:52,640 --> 00:46:54,119
that is: Goya.
143
00:46:55,160 --> 00:46:59,915
And if George Stevens hadn't used
the first 16-mm color film
144
00:47:00,280 --> 00:47:02,396
in Auschwitz and Ravensbruck,
145
00:47:04,040 --> 00:47:08,192
Elizabeth Taylor would never
have found a place in the sun.
146
00:47:18,920 --> 00:47:20,638
1939, 1944.
147
00:47:21,760 --> 00:47:24,832
Martyrdom and resurrection
of the documentary.
148
00:47:28,600 --> 00:47:32,673
How marvelous to be able to look at
what we cannot see.
149
00:47:33,040 --> 00:47:35,918
What a miracle for our blind eyes.
150
00:47:41,600 --> 00:47:42,749
Besides that,
151
00:47:42,960 --> 00:47:44,552
cinema is an industry.
152
00:47:45,000 --> 00:47:47,560
And if World War I allowed
153
00:47:47,760 --> 00:47:50,228
American cinema
to ruin French cinema,
154
00:47:50,680 --> 00:47:52,352
with the advent of television,
155
00:47:52,560 --> 00:47:54,437
World War II allowed it to finance,
156
00:47:55,120 --> 00:47:57,395
that is, to ruin, European cinema.
157
00:48:15,200 --> 00:48:17,634
"Do you have two hands?"
Asks the blind man.
158
00:48:28,320 --> 00:48:31,232
But looking won't reassure me.
159
00:48:31,960 --> 00:48:35,430
Why trust my eyes, if I have doubts?
160
00:48:36,120 --> 00:48:38,793
Why check my eyes
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00:48:39,000 --> 00:48:41,355
to see whether I see my hands?
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Help!