Thanks Guy's i will try it =) 

@dusx
Thank you so much for your answer, I've been trying and testing some things and your suggestion of testing Isadora to Isadora was very useful. there seems to be an ndi compatibility issue between touchdesigner and Isadora or something. right now I'm using syphon on the Touch macbook to get the visuals into Isadora and using ndi to send it to the other computer.

So syphon Touch > Isadora gives smoother results than using NDI it seems.

Hope this helps others as well who run into this problem

@cacoos

I do not speak Javascript, but I suspect these links probably contain examples of some of the code you'll need:

Defining variables (storing team scores as variables): https://www.w3schools.com/js/js_variables.asp

Javascript arrays (storing team names and scores together): https://www.w3schools.com/js/js_arrays.asp

Sorting Arrays (to sort the teams by score): https://www.w3schools.com/js/js_array_sort.asp 

This Youtube video might also help

@paul

If you are working on a Windows machine that's a laptop, make sure to read this article. Also feel free to send in a support ticket using the link in my signature if that article doesn't help.

@stagerabbit said:

There is some weirdness. When I add user input actors for intensity and active, they sometimes default to "0" or "1" no matter what I do. Also, the order that the user input boxes appear in the scene editor seems to be pretty arbitrary.

 You may want to watch our tutorial video on User Actors

@dbini

It could be that you connected them to something which has a range that can't include a negative number (like the intensity input of a Projector actor which goes from 0-100) which caused the actor to mutate and adopt the range of the input to which it was connected.

@notdoc Thanks, It's easy to do. As there as many seasoned users available, and the forum is very active, that a Tip's & Trick's area is established as tutorials usually miss this 'way to work' option. Just a thought.

@mr_j Thank you!

@steinster

These are the 2 parameter types supported for input at this time. Isadora does not have a matching list type available. If you need multiple values you will need to create multiple inputs.
That article is the most complete documentation for the actor currently.

@elena said:

Can you help me to address this add-on?

 Can you confirm that this link is to the specification you mentioned: https://eww.pass.panasonic.co.... ?

Looking at that document, it appears you can control the device by sending HTTP requests to structured URLs.
So you should be able to use the 'Get/Post URL Text' actor in the default get mode.
On page 8 of the pdf, it suggests that the URL structure: http://[IP Address]/cgi-bin/aw_ptz?cmd=[Command]&res=[Type]
will allow you to control the device. There are a number of URL examples on that page, as well the Placeholders [IP Address], [Command], and [Type] are defined.
Once you know the IP address of the unit it should be a matter of building the URL, entering it into the URL input of the 'Get/Post URL Text' actor and triggering Go.
Once sent, the device will respond with a text message that you will get from the 'url text' ouput of the 'Get/Post URL Text' actor.  (200 OK... means it worked)

On page 11 we can see some commands for turning on/off the device, with an example URL to reference.
NOTE: something that might be confusing is how the Command (made of the Command + Data text) needs to be URL encoded for the URL text.
In the table on page 11 we see:
The Power On control Command text is "#0"
and the Data value for On is "1"
So we might expect to put "#01" in the URL, however, this needs to be URL encoded. Once encoded it is "%2301"
so the URL to turn on the device is: 

http://[IP Address]/cgi-bin/aw_ptz?cmd=%23O1&res=1

and the URL for turning it off is

http://[IP Address]/cgi-bin/aw_ptz?cmd=%23OO&res=1

Luckily there are many free tools online to URL encode text for you. I used https://www.urlencoder.org/

OR you can easily use the Javascript actor to create a tool for quick encoding in Isadora

This script is all you need in the javascript actor to encode a text input into URL encoded Text.

// iz_input 1 "Text" // iz_output 1 "URL encoded" function main() { var value = arguments[0] var encodedValue = encodeURIComponent(value) return encodedValue; }

I hope this gets you started.

@dbini

Solo mode is only useful if you're trying to isolate one slice of many. It's not useful in your case where you have only one slice. (Also see my previous Solo Mode gif for the actual demo, but in order for a slice to show up in IzzyMap, you need to left-click the little "S" in the box to the right of the slice's name in the mapping slice list. Non-Solo slices have a white outlined box around a white "S". Solo-enabled slices have a filled-in white box around an "S".)

@woland said:

[...] hold shift, then left-click each of the points or edges along the desired side; you'll see the IzzyMap points become slightly opaque (instead of being transparent circles) to indicate that they're selected. When you've selected all the points along the desired edge, release shift, then left-click and drag a selected point [...] to drag the whole side.

Here's the gif of that. Shift-clicking the points along the desired edge to select them, releasing shift, then left-clicking and dragging one of the selected points will do what you want I think.

you can use the OSC projection mapping from the add-on page:

https://troikatronix.com/add-ons/projector-mapping-touch-osc/

Best regards, 

Jean-François 

What exactly do you mean by "moving background"? Are there elements in the background that are moving around, or are there multiple backgrounds that you're trying to switch between? If you're trying to scroll through the same or different backgrounds, you may want to google how to construct one or more crankies (which are often used in puppetry performances). Here's a simple example and more complex example.

I'm also not sure what you mean by:

Is there a way to track hands moving objects objects and cut them out from a surface to add them to an image? I dont know if this can be done in eyes ++, but if it is possible, then I can spare a videoscreen in the background and a camera pointing on to that - because it seems like a bit of a clumsy setup - but this is so far my imagination.

I understand that you are trying to remove the person's hands from the image, but are you trying to move a puppet around in front of a physical background, or a projected background? One possible solution could be to put the puppet on a stick shadow-puppet style, or attach fishing line in two places to the puppet and then hold both tightly outside the camera's view so that you can move the puppet around that way. If you did either of those you wouldn't have a hand in the shot at all. Another possible solution is to have two cameras, one that is aimed at your scenic background, and another that's aimed at a small, well-lit greenscreen with your performer wearing a glove of the same color (you could also try another color like blue, red, or yellow though since there's green in your character). Then you pull both video feeds together and use two different Projector actors with 'blend' set to 'transparent' and the 'layer' input for the character's Projector actor set to a higher number than the 'layer' input on the background's Projector actor.

Here's an example file for that: >>>Greenscreen Example File<<<

There's also a second Scene in that file that should show you how to do the same two-video feed combination workflow, but with a black background behind the character and your performer wearing a black glove.

Obviously, you'll need to tweak values and things to get either Scene to work with live video feeds but I included some Shapes and Text Draw actors to act as stand-ins that demonstrate how the background and character video feeds are combined in both Scenes.

If I misunderstood what you're trying to do, feel free to explain in greater detail.

Best wishes,

Woland

Hey everybody.

I'm searching some actor or procedure that allow me to have one part of an image ( video or picture ) in a projector, and another part of the same  image in another projector. If someone use Jitter, the closer operation that produce this effect is the objet Scissor that allow  you to separate a stage( matrix)  into evenly spaced sub stages. 

Thanks a lot

Hey guys, i'm triying to do a "Muybridge-Marey inspiration" material with some black and white pictures ( jpg 1mb ) that i put in a picture player and send to a 3D  projector to  move them in a 3d stage space.

I have 2 questions 

a)  my computer is very slow I guess the patch is not well done ( Mac RetinaPro, 2018, i9,  6hearts, 32g ram, 2400 mmhz,radeaon pro vega 4  gigas). He is using 35%  when Im runing it. I move picture with a Pulse generator, cause I want to be able to change the speed.I didnt make a preview in mp4  so you gonna say "but you can move the speed of the film also", maybe this is an issue?

b) do anyone know how to change a color picture to a black & white in an easy way in Isadora ?

Thanks a lot 

@laobra ( Ad Kaplan )

I'm here to ask an Help!!

I'm serially Interesting to run My Performance on Binary & Text Watcher, but the material of study is just it, or can i optane more of it???

The same discourse is valide for like active the synth on isadora, for example i can work with analog hardware music with other software, but I'm an older sympathizer of this easiest Software that is your...

Thank's guys😊

@chameau132

These are items we are looking at. I also do LED mapping with artnet and know there is more we can do here. 
We have big things coming.

Some final pictures and reflections from our research project "Shatterproof", conceived and directed by Sten Rudstrom, and performed by Ingo Rülecke and Ulrike Brand. I was so fortunate to work with such talented, generous and creative souls for this work.

The piece itself is concerned with how we regard the human form when it is pitted against video imagery. I used Isadora to capture live feeds from iPhones which the performers could place on their bodies or in various locations within the space. Then I performed a "live mix" of those images on as many as 8 displays. The mandate I received from Sten (the director) was to oscillate between two polarities: one where I attempt to tear the viewer's eyes away from the compelling improvisations of the performers, and another where I relax that tension by removing imagery from the displays or showing a single image on one of the smaller monitors. The goal in all of this was to raise the viewer's awareness of their own feelings as they are pushed and pulled them towards (or away from) the imagery and the performers.

It was such a great process for me. The piece is totally improvised – there is no script whatsoever for this work. This means the images I am able to capture are never the same. Because of this, I simply had no choice but to be utterly present to the material and relationships offered to me by the performers. I really felt ***SO**** alive with them as each rehearsal or performance progressed.

Thanks again to Sten, Ulrike and Ingo for such an enlivening process.

Technically, in Isadora, I created a very flexible 13 by 8 matrix router: I could choose any of 10 movies or three lives feeds (Three NDI Watchers receiving live video from the iPhones) as sources, and route these to any of the 8 displays in the room. For the displays that were doubled-up, I could choose to send an individual image to each display, or to send a single image to both, so that the two deploys formed as a single image. (See the face of the 'cello player in the first picture for an example.)

The patch ran on my MacBook Pro M1 Max, which offers up to three video outputs. It worked beautifully. It never showed a LOAD of more than 10% even while playing 10 movies as the same time and receiving three NDI feeds from the iPhones.

I originally tried two Triple Head 2 Go's to reach feed the eight diplsay, but failed to get them to work together. (They apparently had a differing tables of output resolutions/frequences, so they the Matrox software said they could not be used on the same computer.) In the end, I was able to get eight outputs as follows:

1. Data Path FX 4 (four)
2. Triple Head 2 Go (three)
3. Built-in HDMI output. (one)

So, aside from three days of mayhem at the beginning getting things to work, once I had this setup, everything worked beautifully for the remainder of the rehearsal period.

Pro Tip #1: If you ever try to use Blackmagic HMDI <-> SDI converters, you'll run into some issues if the resolution and frequencies aren't to their liking. From what other users have told me, using CAT 5 extenders for the HDMI is a much better bet.

Pro Tip #2: Make sure to turn off the HDCP copy protection in the Data Path FX 4. If you see solid red images at the output, it is turned on!

@jfg said

here 

 @DusX @jfg

Thanks a lot guys. I'll try and report back. It is interesting to know if it is possible since we have a c++ actor in izzy.

Cheers

@bonemapHI @bonemap 

Thanks for your suggestion, the idea of 2 /3 matching projectors sounds quite attractive since flexibility is desired. 

Checking your suggestions.

Thanks a lot.