@3perf
The ISO / ANSI standardizations are probably as well the reason, why you aren't getting the same numbers the manufactures propagate. As you are not using the distinctive measurement standards as they are defined. In the end, these numbers are only meant to have the possibility of a basic comparison between different devices, not exactly a quality aspect. It is kind like the PS/kw for cars.

Since the switch from conventional lights to laser and LED sources, some manufactures tend to push the power of their devices above the advertised Lumens, to compensate the loss of brightness (aging) over the much longer live expectancy (20 000 hours fixed light source vs. 2000 hours changeable conventional bulbs).

@jerryk00

There is more to this nowadays!
A couple of years ago ANSI was the value, most projector manufacturer used to define their light output level. Only a couple others already used ISO. Both stand for different standardization organizations (one might know them for keyboard layout and especially ISO for many other standardizations). In the case of projections, they are two different definitions on how to measure and define the average light output on a specific surface. As a white light output might differ on a square screen (higher brightness on the center, dimmer to the edges), the ANSI and ISO standards define different key aspects to get the average lux values of a light source, based on the reflections of a square meter of screen. As these standards are different, they are not directly comparable!
Nowadays most professional manufactures moved to ISO standard which are more strict and therefore result in lower numbers compared to the ANSI Lumen levels of the same device! Therefore you need to double check, which numbers (ANSI or ISO) are used by the advertisement (specs) of the specific projectors! This sometimes is difficult to find. If there is no standard named at all (Or "standard Lumens"), mostly ISO is meant. 

https://en.heimkinowelten.de/d...

@mark_m

Second this. I generally prefer properly wired connections, as wireless can never be as reliable. But there are scenarios.
We do that a lot at our theater in both directions, from wireless camera connections to free movable displays as a sink. Just now for a production we got a freely movable multi display platform, which gets its feed from two our Teradek bolt 4K lt 750. But it needs quite some experience and knowledge to navigate the caveats.
E.g. an issue to be aware of, can be the 5Ghz Wifi Networks in the same room. Especially if you go to have wireless (NDI) streams from a mobile device in the same frequency bands. As the Teradek doesn't recognize existing wifi networks, they just overpower them if on the same channel. This needs proper channel management, especially in Europe where most of the 5Ghz channels are DFS (radar saved) channels, leaving only two fixed channels for two wireless sets.
Therefore, if it doesn't need to be second hand for budged reasons, I very much recommend the 6Ghz versions.
For indoor usage, I can recommend the Mushroom Antennas as an upgrade. They are available for both Ghz variants and added connection stability for us big time. We don't have any experience with the internal antenna variant though.

Hello Izzadorians,

I do have an issue, which probably isn't unknown to many of you, since it is related to the user actor processing mode, which was introduced to Isadora 2, back in the days.

As I could not find an answer in the forum (I might not find an appropriate search term at last), I'll try it with a new thread.

Below you'll find a simplified user actor, which only is a part of a more complex one, just to represent the mechanics which results in the issue. The base Idea is an automatic source selection. When content like a movie, picture or live feed is selected, the selector should be set to the according player/source actor.

The issue here is, that every time the scene is activated, the first user input value triggers to update any connected actor, which in return sets the selector to input 1, despite any other setting done in that scene before.

Example:
Scene 1: choose a content ID at user input 2, which sets the selector in scene 1 to input 2 
switch to scene 2
Scene 2: select live input, which sets the selector in scene 2 to input 3
switch back to scene 1
On scene activation, the user actor sets back the selector to input 1
Same goes for the selector in scene 2, etc. when activated.

My intuitive solution would be, to build a mechanism which catches the first user input update, after scene activation and only allows updates to the selector after this first one.
But maybe there is some basic, more general solution to it I don't know and which you can tell me about?

My second question is about this mechanism in general;
Why does always the first user input is the one winning this?
As the actor processing order is from top to bottom, shouldn't be the last user actor win this, as all these values will be updated one after another, having the fourth input giving his trigger at last, setting the selector to input 4?

Maybe someone can put light to this?
Thank you

Hi friends,

Brand-new user here, please be gentle! :') 

I'm in the process of following the protocol to rescan all my VST3 plugins in Isadora USB Key (I quit this process during install, so went back and deleted the Preferences file, and it did re-start the scanning/validation process—KUDOS to the forum for helping with this!).

All of my plugins work fine in Ableton, but it looks like many of them have a Validation Warning in Izzy. Soundtoys and Native Instruments have a green check mark for Validation Passed, but UAD, Antares, and Aberrant DSP all have a "Validation Warning." 

Can anyone offer guidance as to why this might be happening & best practices on how to proceed? Should I just stick to the validated plugins and ignore the others?

In case it's relevant, I'm on an M5 Macbook Pro and many of the VST3s that come with a warning are connected to UA Connect / iLok. I don't have access to regular Isadora, only the USB Key version.

THANK YOU!

Hi, it's been a minute since I have used IZZY, but I was curious about the DMX workflows. Now that we're in Izzy 4 (last time I used Izzy it was somewhere still in a 3 variant), what are the current best practices for sending and receiving DMX? I am mostly concerned about Art-Net and sACN because I never use ENTEC or USB DMX on my shows. I am interested in receiving cueing and show control data from an sACN source and doing projector dimming via Art-Net. Do you separate these out into indiviual VLANs on the machine? Do I have to do DMX over a single VLAN?

@wjmackwood

Hi,

I have tested SurgeXT extensively in Isadora. however, I used OSC communication to programmatically control presets and other parameters. Of all the VST’s I looked at during the testing phase Surge XT stood out because of the functionality of accessing preset effects lists through accessible communication protocols inside Isadora.

Best wishes

Russell

I'm impressed! Congratulations for the really cool implementation of audio actors, i am looking forward to working with them in my next project!

Gunther

@woland  De acuerdo! Muchas gracias!

@jaio

You can, but make sure that your display shows up with arefresh rate of at least 60Hz, otherwise there's no reason to go above 30Hz.