@goddessmoon2017 said: Thanks to @Woland  and @Skulpture for this awesome tutorial. I am still reading over it and I"m amazed at the depth and time you took to make this. I cannot thank you enough! This will help me grow and learn more. I'l come back if I have any questions. Thanks guys   That was all @Woland work I can't take credit for it. But me and him have been talking about your project and the best way to approach it. I look forward to seeing your R&D into this. 

@mac said: The projection shows the desktop on the outer edges of the frame.  How can I get this software to fully project the image without parts of the desktop showing?  hi @mac, I think you need to disable 'Displays have separate spaces' in your Mac OS System Preferences - look for Mission Control. Best Wishes bonemap

@mark Thank you for quick answer. I will make precomposed animation.

For the past few months, I have been using Resolve v15 to create AVI uncompressed files which are transcoded into AVI HAP files using Virtual Dub, but these uncompressed files are extremely large(hundreds of GB). I determined I can transcode from any codec (in MOV or AVI) into HAP AVI on my Windows computer using After Effects CS6 or Adobe Media Encoder. I  typically use Prores 422 HQ as my intermediate codec when editing on a Mac, but I  cannot create Prores MOV on my Windows computer, Prores can only be read. I can output DNxHD MOV or Cineform MOV from Resolve, but Adobe Media Encoder cannot read these files. I have found the Avid website containing the DNxHD codecs at http://avid.force.com/pkb/arti.. does anyone know if I will able to use DNxHD MOV files within CS6 after installing these codecs on my Mac and PC, or is their another intermediate codec that would enable transcoding to HAP and moving files between Mac and PC Adobe software? many thanks,Don

i had a play around with an Optoma ST with an iPhone taped to it to use the spirit level - 1m from the wall so the image is 2m wide. here's some sketches of the results - not to scale. i wouldn't push the projector much further than 24 degrees from horizontal because the keystoning gets excessive and brightness starts to fall off. but up to 24 degrees i reckon mapping is no problem. i dropped it to -21 degrees, which - using a little table as a stand - got the image onto the floor. the top edge started to get a bit small and bright. i regularly prop this machine up with its front paws on the floor, so that the bottom edge of the image is also on the floor, and map it back to rectangular.i guess thats at about 16 degrees. i hope this helps....

@juriaanThanks for your detailed answer. Yes I did use the BCR2000 thats why I asked :-). Thanks again.Best Michel

thanks @DusX  I indeed did a mistake in my first attempt with if statement and then jump to Juriaan solution with the switch without spending much time on my first attempt. So the "or" operator works properly in the "if" statement when properly repeating the condition each time (well explained by Juriaan in his second comment) While the switch case like in @Juriaan first comment doesn't work because switch doesn't take "or" operator ( as explained here ) , instead, you must do something called a "fall-through": function main() { var step = arguments[0]; switch(step){     case 'seq1A':     case 'seq1B':     case 'seq1C':         return 1;     case 'seq2A':     case 'seq2B':         return 2;     default:         return 100; } } I've got it mixed up by trying several solutions in parallel without understanding the specificities of each one, but it's all working now.  Thanks for your help, I've learned something today! :)

I bit the bullet, sold the Z820 and am going to stick my current 5960x workstation into a 4U shorty case with a 1080 and assign it double duty as a render node and traveler workstation. While less portable than a laptop (I work 99% of the time in Toronto), I have become increasingly interested in (obsessed with) Isadora and think this change will make for a very sizable change in performance. Thanks again @DusX for the information you shared. 

The most simple way to solve this issue is to ask your Audio engineer / Source of the LTC to output 29.97 frames a second.Regarding your sync issues :"LTC, perhaps surprisingly, does not include the framerate anywhere in its data stream. MTC, on the other hand does—to an extent. So Lockstep has to wait until it's received enough frames of LTC to be able to tell definitively what framerate is being received before it can safely start transmitting MTC. This can take as long as a full second, depending on where the timecode stream starts."

@dusxThats very helpful, ThanksAndrew

@Woland Thank you for your reply!It’s true that sometimes it’s handy to have the tool-tip info, for instance actor input/output value info, or actor’s input/output name when actor is collapsed. However, if I put the mouse cursor over an actor in the “Toolbox”, it says “Click to select, then move mouse to editor and click to deposit”. This tip has no value for me and it displays over the actor name covering it all or part (depending cursor location). Also, sometimes after hovering over an actor and moving cursor elsewhere, the tip message comes visible there (the new location of the cursor that might be outside the interface area) and stays there for a while even I move the cursor. This happens at least when having an external monitor hooked on a MacBookPro. (Well, this misbehavior might be part of the misfit between Isadora v2.x.x and Mojave?)Lauri

@armandoSometimes sleep is good 

@markGreat, thanks very much. Putting that in the diary now. We can celebrate my birthday in Berlin!

ok, I just finished testing.I was routing audio in the movie player to a display port, once I put it back to default and then router the audio via OS to the Display port the problem went away.