@kathmandale said:

could have been by doing something clever like the methods discussed here (with a tutorial by the brilliant Jamie @primaldivine).

@primaldivine

 the script of Jamie is still working in Isadora 2.6.1 but no more in Isadora 3. You get this error message:

sorry, here the translation:

Error importing file into Isadora: "Isadora USB Key" has received an error: document 1 does not understand the message "import media into".

best, Jean-François 

Hi there,

Looking for this I found a discussion from 2016 on this. Has there been any progress since?

https://community.troikatronix...

Is there a low-cost (resource-wise) solution for that? I could possibly use the NDI watcher, but you don't recommend using the audio yet.

Actually, I might not even need to feed the audio into ISADORA (which would be nice) but just receive it in reasonably quality and send it out via OBS together with the ISADORA video output.

Thank you

@Woland Thanks it works and it is more or less what I was trying to do.   Thanks

@bonemap Hi there! Thanks so much I will definitely look into this! By the way I'd like to produce a patch that enables the dancer's arms to work like paintbrushes and assign colours to skeleton points so each part can paint a stroke of colour on the screen. Going to look into some of your patches eg. audio bloom! Cheers, Dave

@Juriaan @DusX Thank you guys... I made something clearly less elegant with multiple Trigger value actors and comparators, completely skipping the Selector. It works, but your solution is definitely nicer and more versatile as it works for as many inputs as you want. I guess I'll use it more than once.

Cheers

@DStrohan 

A step that you may be missing (it's easy to forget) is to edit the channel map of a fresh Matrix Value Receive actor that you've placed. This configuration is already done on the example file, which may be why you're getting different behavior when you're trying to do it yourself

http://recordit.co/SW0D4fEeEn

Best wishes,

Woland

@Notdoc said:

To save shader code inside the project, the code has to be cut & paste into a new GLSL actor in every instance.

See my comment below, you don't need to paste the code into a new GLSL actor in every instance.

@woland said:

If you need to update them globally, do the same as I said above, but wrap the normal GLSL Shader in a User Actor.

More specifically:

Put the GLSL code into one GLSL Shader actor.Create a User Actor.(Optional) Rename the User Actor to whatever you want.Copy the GLSL Shader actor (with the code inside it) and paste it inside a User Actor.Create User Inputs for the video in, height, width, and any other parameters you want to expose and connect them to the inputs on the left side of the GLSL Shader actor.Create a User Output for the video out and connect it to the video out of the GLSL Shader.Leave the User Actor and Save & Update All.(Optional) tRight-Click the User Actor and select "User Actor to Document Toolbox"Now you can go to the User Actor bin (the one with the little person icon) and from there you can add the User Actor anywhere in the file that you need that particular GLSL code. Also, if you go inside the User Actor and make changes to the code of the GLSL Shader, you can save and update all to push those changes to every instance of the GLSL Shader User Actor that are in the file.

Best wishes,

Woland

Hi Johan

This might be a bum steer as I do not know Sunlite and there are many more experienced wiser heads on the forum who could probably give you a correct answer.

Have you looked at talking to Isadora via artnet if you are looking to control DMX? You can download actors for the artnet send/receive from the plugins page.

Again, this might be pushing you in the wrong direction?

eamon

@kineticmusings

Hi there!

Welcome to the Isadora community forum.

What kind of Skeletal tracking are we talking about? We support a variety of Body tracking solutions with our OpenNI intergation, which can be found here;

https://troikatronix.com/add-o...

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)

@juriaan Hi Juriaan, sorry to be a little late with my reaction. I'm working with part time students so I just so her this weekend again. But, it worked indeed!  Sot thank you very much for your help.

Best wishes,

Hans

@bennnid

Perhaps you can send the Current scene value to the background scene, and switch between behaviours in this way.
You would program follow controls for each scene (if current scene is a match) which would run after receiving the current scene value.

@bennnid

I don't have your setup and don't really know exactly what you are doing, but I added Speak text to your channel 99 listener to see if any value was being missed, and so far I don't see any issue with values being broadcast to the background scene.

I used the JS to convert number to text (change the code so it doesn't +1).
With this in place I am hearing each value as expected.

@woland said:

 That's brilliant! exactly what I was looking for.

in terms of minimising lag are there any best practices that I should be aware of?

obviously even with the output and input being the same machine as they are in your example the 2 versions of the video won't be perfectly in sync (although here it doesn't seem to be any more than a couple of frames so probably no-one would ever notice) but it would be good to have a heads up of the kinds of things that might cause problems for when I need to troubleshoot in the future.

Thanks

@dusx  Thanks so much. Using Hap Alpha worked. I can now get an opaque animation in a layer in front of an image. 

Now back to Blender to create the final beanstalk. 

@nic said:

I must say that Apple keep springing extra unannounced security measures every five minutes

 Yes. While security is important, I can say that this is a pain in the neck for everyone. Sigh...

Best Wishes,
Mark

grazie!!!

Siete fantastici, proprio quello che cercavo...

@ytanokura

Excellent!

The next exciting thing for you is to control the switcher with Isadora using atemOSC!!

PS For Windows users this app works OK:
https://mcmillan.id.au/broadca...

@bonemap Thanks a lot, I'll give it a try. Even if I don't end up using that, for sure I learn new approaches.
I tried to play around with my ropes approach, but did not get anything close to what I wanted. I found a GLSL shader that could work, but it lacked control inputs and I have no skills for that.

@juriaan said:

DMX is 512 channels, 256 is exactly .5 of 512. So I would personally think that if it expects 14 Bit MIDI that we should divide by 0.5 * 16384 = 8192

 Hi Jurian, thanks for jumping in. But divide where? I am not sure what you mean. The size of the incoming number could be relatively arbitrary as the servos will just stop moving outside their scope. I changed my script from 256 to 127 and I get pretty consistent movement from 0 to 16384.

Now if it really makes the movement so much more high res is another question. I have come to believe that it really only matters if you need to make very precisely positioned stops.

Cheers

@josafat Thanks- that works... what confused me was when I did that, ALL the points seem to disappear. Now I realize that I need to click on the image again to see the remaining points. Much appreciated!

- John