@woland said:

I'm not sure why the data type for "hertz out" isn't Hz but I have now logged this. Regardless, the Router mutated to match the first actor it was connected to so it is behaving properly.

Well, the 'hertz out' output of the Tap Temp actor is just a floating point number -- it no different than the value that comes out of a Calculator. It is an oversight that it does not show 'hz' and we'll fix that. But the Hz indication is a totally cosmetic thing.

How do you find out the data type of an input or output? Hover over the input or output to see the tooltip for that input or output.

For example, here's the tooltip for the 'freq' input of the Pulse Generator (which does show Hz) and the Tap Tempo (which does not show Hz.) You can see that the 'type' for both is 'float'.

That's why a setup like this works fine:

The Calculator output is a float, and the 'freq' input of the Pulse Generator is a float, and so the value just gets transferred rom one actor to the other.

(FWIW, it is misleading to call the "hz" designation a "data type" -- the term data type more precisely refers to distinct forms of data that can travel through a link, e.g,. video, text, timecode, etc.)

I hope that illuminates the situation for you a bit. ;-)

Best Wishes,
Mark

New and improved

type into isadora LWS.izz

Thank you for your interest. 

Here is a more detailed video to describe the fun we are having with still images.

The image on the left is the original. The image in the middle is just a radial ramp for a better visualisation of the effect. Full white at 0 degrees and Full black at 360 degrees. Both the middle image and the image on the right have the same effect applied.

By 'cycling' I mean that the values incrementally shift (and wrap).

The 'intensity' * of the original RGB channels (image 1) is preserved as the 'map' for the new gradient to be applied.

The applied gradient can have many anchor points (handles) or just a few. This way a thin band can be set up if desired.

The upper images have a wide gradient applied: 
The lower images narrow gradient applied:
Both the lower images have the color cycle applied at the same rate and in the same phase But obviously rate, phase and the style of the superimposed gradient can be manipulated.

* For example: R*1+G*1+B*1, or however you want to pre-process the input, ie. ramp (or colour image grey scale conversion, ie R*0.33+G*0.59+B*0.11)

thanks @jfg worked well

Hello Bonemap,

Thank you for your input, its interesting to follow your string of thoughts! 

You are pointing my problem and dillema: I need to have an illusion of mouvement for the tempest, so maybe a little trail is necessary, but can't have long sand graines!

I'll play with the parameters you are suggesting, 

Thanks a lot!!!

Then you are all set. There is no such thing as performance mode in Isadora. Other programs have this like TD and Notch I believe but not in Izzy world.

Goodluck with your piece 

@mark_m ah ok...thanks for the warning

Best,

Thank you very much Reinhard, that's an ingenious workaround. I will try to integrate in my scene, wich is already quite complicate and with a live feed as source. But actually, may be the settings of the chroma key will do better than the original plugin to separate the color...

Thanks. A bit confused because when I opened Isadora and checked for newer versions, it said my 3.0.6 was the latest version. Downloading .7 now and again thanks for your instructive patch.

John

Hi there both, 
Ticket has been logged with id #4561383

Thanks !

@mark

Happy New Year Mark and many thanks for the IK patch. I was able to reconstruct it for Isadora 2.6.1 and it is working fine with a Kinect and NI-mate. So far I have built IK for the lower arms(elbow-hand) and lower foot(knee-foot), but I have some questions about the following JS code within 'Macro JS Quaternion Calc angle':

// create v1 from the x1/y1/z1 arguments
// this should be one point on a rigid body such as a hand
     var v1 = new THREE.Vector3(arguments[0], arguments[1], arguments[2]);
// print('v1 = ' + v1.x + ' ' + v1.y + ' ' + v1.z + '\n'); 
// create v2 from the x2/y2/z2 arguments
// this should be the second on the rigid body such as an elbow    
       var v2 = new THREE.Vector3(arguments[3], arguments[4], arguments[5]);

QUESTION 1: Is it correct that v1 is the end-effector(or target), and v2 is the rotating joint? I am asking because the IK works for the arm link when v1 is the hand's xyz coordinates and v2 is the elbow's coordinates, but for the foot link, the IK works when v1 is the knee's xyz coordinates and v2 is the foot's xyz coordinates.

QUESTION 2: when the arm link is moved to vertical with the hand straight up, the link rotates 360 degrees around its Y axis(around the spine of the link). Is this normal, or perhaps I have made an error?

QUESTION 3: see below for the orientation of my link. When this link is used for the left or right arm, the IK works correctly when +180 is added to the x rotation provided by the JS Quaternion Calc actor, but this modification is not needed when the link is used for the lower leg. Does this seem normal, or perhaps I have made an error?

many, many thanks Mark,
Don

@murbs

Based on some extensive testing of the texture mapping possibilities in Isadora, my advice would be to do the texture mapping in a 3D modelling software. For example, the latest iteration of Blender has an excellent UV mapping feature that will allow you to precisely position your video before it is all imported into Isadora. The options to move the texture on a model interactively in Isadora is fairly limited and also unpredictable you might have some luck with the 3D Player module in terms of resizing.

Best wishes

Russell

A very simple version of this can be accomplished, by using a live camera input (you may need to play with back vs front lighting).

Then applying a Threshold actor (to create a black and white only version of the video input). Then the Edge actor (this will trace the edge between the white and black) providing the outline.

You can then send this outline/shadow to any outputs and/or mapping you like.

@woland said:

 These are 3rd party FreeFrame Plugins, possibly Pete's plugins?

We have a knowledge base article that lists all of the Pete's Plugins for v2 (so you can find them by name) and gives the download links.

https://support.troikatronix.com/support/solutions/articles/...

Best WIshes,

Mark

@woland and the others: IT WAS A NETWORK PROBLEM! (not Hackintosh related)

I'm a bad network setter, I know it, but I thaught this time I learned my lesson... so I created a sub-network 255.255.255.255... meaning I was closing all gates! 

A friend explained why the receiver could anyway see the other mac but I don't get it.

after that I did a 255.255.0.0 sub-network and it worked fine.

For network alergics like me, I put a print screen (sorry in french)

IP Adress1: 168.168.0.2 , IP Adress2: 168.168.0.3

After that I was able to have two good NDI feed (both sides) and a OSC transmit.

Thanks for your help,

Best,

@woland

sorry for the long silence. and thanl you for your interest. The problem still persists, but I've some other priorities right now. Regarding the sawtooth we've made the lines somewhat thicker, this way it is not that obvious, and I'm getting a new machine in a couple of weeks, maybe it works better on the new computer, since my actual graphic card is a bit weak.

@dako-ark said:

how and what should i set from ableton to isadora?

 What are you trying to do? To route audio from one to the other? Or to route MIDI?

We need more information to try to answer your question.

Best Wishes,
Mark

@gaspar said:

value changed

 I love this new toy too <3

@woland thanks, this method is cool, for me also quite hard to manage. I ended up using virtual stages for each slice, and then sending each virtual stage to another mapper to do the masking. I prefer this mostly because the mapper interface is much nicer to use for quad warping, i don't have to build a secondary interface for the quad warping as I would with your suggestion (this gets rough with 16 slices and I don't have much time)- overall I think the solution I am using, although heavy (but I suspect without the 3d and ffgl it uses less resources than your example) keeps a pretty useable interface and one that is appropriate for mapping - especially large numbers of pieces.

I think an output mask on the mapper is a pretty valid feature and something that would make this and a few other scenarios I have faced a fair bit easier, Or also having the same blending options that exist in the composite mapper (additive subtractive and invert for all slices) would be great and allow for a lot of cool and fast variations. 

Yesterday I had made a similar solution to you creating a kind of fake alpha mask with shapes, it works quite well but it is cumbersome.

To answer this:

"If you've got 16 unique objects at unique angles to map onto, how would you avoid sending content to them separately?"

I only have 7 projectors, so if masking outputs on the mapper were possible I would not need any virtual stages (now I have 16) and I would only need 7 projectors (I now have 32) - my source material is one huge movie file.

As for screen capture and re-edit I need a completely flexible workflow, its mapping and will need to be checked and adjusted- the movie takes a long long time to render and I cannot wait 6 hours for masks that will need to be adjusted as the projectors and hanging slices will move a little.

While I was doing this I tried a few other things and wanted to also ask about the logic - if I have an image coming into the mapper that has alpha and I make a rectangle slice in the mapper that only has that alpha, what happens to that alpha- it is pretty much ignored in compositing at the moment, looking at the layer hierarchy logic I should be able to sample a piece of alpha inside the mapper and use it as a "mask" (depending on the layer hierarchy and settings) - this does not seem to be what is happening now, but what is the logic when I sample a piece of alpha material inside the mapper and layer it with other slices?

Fred

Actual footage of @mark , @DusX , @mc_monte , and myself at this moment: