![]() Specifying a higher number is not recommended, as it won’t result in any additional speed-up. You may choose to specify a lower number if you feel that Rhubarb Lip Sync is slowing down other applications. By default, it creates as many worker threads as there are cores on your CPU, which results in optimal processing speed. Rhubarb Lip Sync uses multithreading to speed up processing. Options: trace, debug, info, warning, error, fatal. Only events with the specified level or higher will be logged. Otherwise, a small number of essential events (startup, progress, etc.) will be printed even if their levels are below the specified value.Ĭreates a log file with diagnostic information at the specified path. If -quiet is also specified, only events with the specified level or higher will be printed. Sets the log level for reporting to the console ( stderr). ![]() For details, see Machine-readable status messages. All status messages to stderr will be in structured JSON format, allowing your program to parse them and display a graphical progress bar or something similar. This option is useful if you want to integrate Rhubarb Lip Sync with another (possibly graphical) application. If you decide not to use it, you can specify so using the extendedShapes option. Whether there should be any visible difference between the rest position Ⓧ and the closed talking mouth Ⓐ depends on your art style and personal taste. ![]() It is almost identical to Ⓐ, but with slightly less pressure between the lips: For Ⓧ, the lips should be closed but relaxed. This should be the same mouth drawing you use when your character is walking around without talking. This mouth shape is used for pauses in speech. In this case, there is no point in drawing this extra shape. Depending on your art style and the angle of the head, the tongue may not be visible at all. The mouth should be at least far open as in Ⓒ, but not quite as far as in Ⓓ. This shape is used for long “L” sounds, with the tongue raised behind the upper teeth. If your art style is detailed enough, it greatly improves the overall look of the animation. Upper teeth touching the lower lip for “F” as in for and “V” as in very. This mouth shape is used for “UW” as in y ou, “OW” as in sh ow, and “W” as in way. Both ⒸⒺⒻ and ⒹⒺⒻ should result in smooth animation. Make sure the mouth isn’t wider open than for Ⓒ. This shape is also used as an in-between when animating from Ⓒ or Ⓓ to Ⓕ. This mouth shape is used for vowels like “AO” as in off and “ER” as in b ird. This mouth shapes is used for vowels like “AA” as in f ather. So make sure the animations ⒶⒸⒹ and ⒷⒸⒹ look smooth! This shape is also used as an in-between when animating from Ⓐ or Ⓑ to Ⓓ. It’s also used for some consonants, depending on context. This mouth shape is used for vowels like “EH” as in m en and “AE” as in b at. It’s also used for some vowels such as the “EE” sound in b ee. This mouth shape is used for most consonants (“K”, “S”, “T”, etc.). This is almost identical to the Ⓧ shape, but there is ever-so-slight pressure between the lips. You may choose to draw all three of them, pick just one or two, or leave them out entirely.Ĭlosed mouth for the “P”, “B”, and “M” sounds. In addition to the six basic mouth shapes, there are three extended mouth shapes: Ⓖ, Ⓗ, and Ⓧ.
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