@danielpineiro Many thanks for this. I today got onto another guru session about cue's and scenes which gave me a clue as to how you keep some logic running all the time, and your link will, I'm sure resolve this for me. I'm still at the 'add a bit and see stage', so a full 'show' is a tricky thing to conceptualize for me.
I like to have my 'ducks in a row' as it where before I setout, which is probably not the way to use Isadora, but it's all good knowledge. I'm a bit blown away buy what can be done with this system, it's staggering!
Thanks again, now what was that next guru session.... :-)
Jared Mezzocchi has been systematically exploring what Zoom and the editing program Isadora can offer theatre practitioners during the pandemic. He has been working in the field for over a decade and has explored it from multiple points of view—designer, director, playwright, artistic director. As a theatre educator, he launched an MFA program at University of Maryland in projection design, and he recently designed and co-directed Russian Troll Farm, the highly acclaimed Zoom theatre production. We Zoomed in November to talk about the production, how to reverse-engineer Zoom, Isadora as the way forward, and more."
@mark great session, although using MIDI in Isadora for quite a while, you can always learn. Was working last year on a project with a brainsensor connected to piano and drone synthesizers in Reason. Although a EEG brainsensor as such is a simple controller, it needs a lot of handling which is controlled in Isadora. Also the sound triggering and musical evolution, related to brainwave intensity and brain state are managed by Isadora. The baseline is that no other physical intervention is taking place and that the resulting sound is unique for its moment in time. Fun :-)
I thought It was because of my projector definition
What is your projector definition? The higher the resolution the better (obviously) but also understand that the larger the image you're trying to project on a surface, the more visible the individual pixels will be.
I never made soft edge with 2 or more projectors, but I remember that the position and the distance between the 2 projectors has to be the more precise possible, even if Isadora let user to make changes through Izzymap and Stage Setup. I found in my notes this drawing which explains how to calculate the best set up, if it's useful for someone.
My 3D ropes actor assignement. Not sure if replying here is the way to post an assignement, but here it is. I tried to mimik watching algae move whilst floating above them with a snorkel. Summer feelings came up.
I've got a bit of trouble in properly "repelling" the algae with the mousewatcher (possibly I got lost somewhere in rotating spaces). Anyway it kind of works.
Older machines may struggle a bit, mine almost hits the 50% load.
Cheers to all of you, (justy noticed that "all of you" sounds pretty similar to "I love you" ... 😘 )
@mark Thank you for a brilliant session! I didn’t have time to join it then. But after seeing it through yesterday, one question emerged into my mind.
Back in the times of Isadora v1.x, I remember reading that using excessively User Actors / Macros with heavy load video processing within them would have slowed down the processing (compared to that that they would be all in the base level – no macros or user actors).
Hopefully I remember totally wrong, but I would like to ask if – with Isadora v3.x – it makes any difference to compose complicated heavy duty patches using “heavy” actors inside “multi-layered” User Actors or Macros?