@woland I think I've been sending the crash data, when invited to. I've now got the Netgear Nighthawk with cables and adaptors setup between the two macs but doesn't seem to connect? Are there settings I need to change in Isadora? Thanks, David
This bundle includes our OpenNI Tracker Plugin, the Skeleton Decoder plugin and our Skeleton Visualizer that allows you to draw the Skeleton on your stage.
You said that you tried this / had issues with it? Could you elaborate a bit more about your setup, what kind of sensor, what kind of computer are you using (Mac / Windows, and what version of the operation system)
Hello! I'm trying to use the Realsense Depth Camera D435 and the most recent version of the OpenNI Tracker for tracking, and I can't seem to get them to work. OpenNI status stays resolving, and there is no indication that the camera is on. Is there a driver or steps that I'm missing?
You may also find this (as of yet unreleased) motion tracking mini-tutorial I've made to be helpful. (It's bundled with another mini-tutorial on alpha masks, but the motion tracking one will be the one you'll want to look at for this particular topic.)
I am researching around and intuitively I would use OPENNI tracker to track my hand and then hook up the motion to the width and height dimensions but, because I don't have a Kinect compatible with the plugin, before I buy it I would like to know if there is a better way, and even if this method can be successful.
to change the anchor point of a shape you can use the FFGLPanSpinZoom actor (spin ctrl x and spin ctrl y). It is not a real anchor point but could simulate it.
This plugin doesn't come with a fresh install of Isadora. You'll need to download the TroikaTronix FFGL plugins from our plugin page and install them if you want to use them. Personally, I use FFGLPanSpinZoom all the time because it's more convenient than using both a Zoomer actor + Panner actor + Spinner actor.
@dbini Thanks a lot for that idea. I would need to dynamically split the window to do that, since the dancer might turn in any place on stage. Maybe I could on one side find the blob center and use it to place the split and have several eyes++ running on different virtual stages. I'll have to check out some day. Unfortunately I'm not very constant in my dedidaction to dig into izzy.
@citizenjoe thanks for the info, very nice page! I was afraid that my machine had some issue, fortunately it isn't the case. I would like that the sound player had the same features that the movie player... and the windows version these of the mac! Cheers, AZ.
Question: Are you currently working on building the Isadora Patch for this project yourself? I've been meaning to play more with the Kinect and skeletal tracking via Processing for a while, (since it has been on my ever-growing list for a number or months), so I could dive into building a skeleton of an Isadora Patch around your concept if you'd like.
Heat shield is really effective. If you’ve not used it before though there is one golden rule. There has to be an air gap between the shield and the dark gels/filters you’re protecting, the bigger the better. It can be a few millimetres, say with gel held perfectly tight in frames in separate slots. That will work and you will see an improvement. But if you can increase that gap, ideally by getting the dark colours further from the light source, then you’ll get better results. It’s tricky to do this on profile/lieko type units. On fresnel/pc/flood/parcan type units a good method is to use is to put the heat shield in the normal gel-frame slot and to tape the dark gels to the barn-doors. You have to use much bigger cuts of the colours but they’ll last a lot longer. A lot of tv and film type lighting use this method all the time. Make sure you’ve got heat proof tape though, matt black ‘black-tak’ aluminium tape is perfect but expensive. You can also use cheap plumbers aluminiuminsulation tape, it’s silver so looks ugly but does the job just as well if looks aren’t a concern.
A final trick is to consider how the lights are focused. With fresnel/pc type units you adjust the spot/flood by physically moving the lamp closer to the lens. A fully flooded unit will have the lamp as close to the lens as possible meaning the heat is much much more direct as there’s less of an air gap between the heat source (the lamp) and the gel/filters. Refocusing slightly, moving the lamp back from the lens just a small amount, can have a big impact on gel/filter life time. You won’t be able to light such a wide area of course, but 4x not-quite-full-flood fresnels would be a better option than 3x full-flood fresnels covering the same sized area.
It’s a bit trickier with profile/zoom units as you’re moving the lens rather than the lamp, but the basic principle is try to focus with the lens further from the gel. Here the trick is more that a wider focus helps dissipate the heat over a larger area of the gel.