ay, thanks, that works.

Since the 3d projector doesn't have a second video input I double the amount of actors to achieve this look

 Why not change the video texture/picture player assignment of the 3d projector based on comparing the rotation degree e.g trigger change at 90° and 270° (you would need to use a flip actor with the image for the backface).

A thought about the rotation/anchor/pivot point, this has come up for me before and I don't believe there is any simple solution. However, one option is to try your 3D elements with their own Virtual Stage, you can then use multiple 3D Stage Orientation actors set to each virtual stage to extend the xyz translation while the 3D element retains its pivot point, therefore introducing the ability/potential to make independent translation and rotation.

[EDIT] I have come back to this and found that my proposal has some limitations in terms of the ability for Isadora to swap and redraw the textures at speed. So my sample patch linked below has two scenes that attempt the same thing in different ways - as a comparison.

With so many moving elements I can imagine that the patch and control are quite challenging and it sounds ambitious. I would love to see a video of the stage output.

Here is my solution I hope it is helpful. Flipping 3D 2.zip

Best Wishes

Russell

Great !

All the best to you

Thanks for your answers guys. The math is indeed a bit odd. Since I have 33 projections surfaces which all have differents ratios, I can tell that the z translate value is "ratio dependant", but it is still unclear in which ways. And it clearly depend of the 3D projector style.

In the mean time, I progressed quite a bit. Here is what I came up with, as a reference and in the hope it might help others :

- First, I ended up using 3D rect project because it was more suited for the tilting effect I was trying to achieve. (you can easily change the horizontal and vertical reference, which allows to rotate around the border of the image)

- As the 3D rect is more of a 3D square (doesn't respect the texture ratio by default), the ratio has to be adapted afterwards. And this is a really strange input range. In case, the javascript function that does the ttrick :

function main()
{
    var x = arguments[0] // Size in px of input stream
    var y = arguments[1] // Size in px of output stream

    // The output goes in "aspect mod" of 3D Rect projector

    if (x < y){
        return -100 * ( y/x ) +100
    }else if (x > y) {
        return 100 * ( x/y ) -100
    }else {
        return 0
    }
}   

- For the Z values, I brute forced it also, with something like that (It's inside a user actor, which I have 33 instances of, so each get his own little z value)

For the brute forcing itself, I did this : (this is quite a mess, but basically I generate two background colors with one pixel of difference, I send it to the corresponding virtual stage. Then the virtual stage is grabbed, and displayed on the "preview stage" with a normal projector. This way I can see clearly when the yellow border touches the blue border, and using a midi controller (with a few knob, each doing a different factor 10 increment) I managed to achieve excellent precision quite smoothly.

- So, quite a mess I have to say. A "match stage target size" actor that would have been nice, clearly. But each of the 33 virtual stage is re-projected on the main stage (called Real VP here) using a similar mechanism and a 3D Quad Distort projector to match then angle of the scenery (the scenery is 33 actual frames) so at the end I was able to re-use 80% of my calibration mechanism" for this other purpose, so it was less of a waste of time than I originally belived.

On the bright side, the result is pretty cool ...

If you go with passive polarized glasses, there is no single projector only solution, as you need two different physicaly optical systems (lenses/filters).

There is a single projector solution though.

An actively alternating polarization filter takes the position of the active glases and 'convertes' the picture for passive polarized ones.

But keep in mind, that this solution has a reduction of the projectors brightness in half of the original. 50% for each eye.

As far as I know, '3D ready' projectors usualy have an option to choose between the 3D modes, 'side by side', 'top - bottom' or interleaved (alternating frames). But every Projector works a little bit different and you should study the specs.

Especialy the side by side may differe by the projectors. While some only take FullHD content (resulting in two times 980 x 1080 scaled to 1920), others may take 4k (but usually you then would need 4k content with two times 1920 x 2140)

In both cases the content is squeezed horizontly to fit next to each other in the full frame. The projector then unsqueezes them and scales it to its native output resolution with alternating the left and right picture.

Best

Dill

I asked a related question a couple of weeks ago. 3D Lines appears to have a particular behaviour related to the z depth - they do not conform to any perspective. The 3D Lines that are generated remain the same stroke width no matter the z distance from the virtual camera. I have also found that using layers and line size was the only way to simulate perspective and distance occlusion. But that is not going to work for every situation.

Best Wishes

Russell

static version:

dynamic version:

3D Quad distort version:

Hi, If I mix a standard projector and a 3D project I can never get the 3D to be the layer under, Changing layer numbers has no effect, it's always on top.

I would correct @DusX here regarding this being a "known issue," i.e., a bug. It's actually a design decision that was made with some thought behind it.

The 3D Space and the 2D Space in Isadora are separate. That's why you can't layer in the way you were hoping.

In the 3D space, one must consider the depth (z-coordinate) when rendering objects to see if they are on in front of or behind each other. That way, when you move objects around they will obscure each other appropriately. (I.e., there's a sphere behind a cube and it is totally or partially obsured; but then you move the sphere forward and appears in front of the cube because it's closer to you.)

In the 2D space (i.e., the Projector actor), there is no z coordinate, which means you can't really render that image in the 3D space. (What's the Z-coordinate? What would obscure what?) My decision was to do it this way: render all of the 2D material first, and then render the 3D objects on top of that, so that the 2D space becomes a background to the 3D space.

Hopefully that makes things clear.

Best Wishes,
Mark

Anyway, I'm glad to share. Your expertise with the particle actors has been an inspiration to me as well.