The majority of the following notes are taken from the Content Creation User Group (CCUG) meeting, held on Thursday, February 21st, 2019 at 13:00 SLT. These meetings are chaired by Vir Linden, and agenda notes, meeting SLurl, etc, are usually available on the Content Creation User Group wiki page.
SL Viewer Updates
The BugSplat RC viewer, version 126.96.36.1994670, was promoted to de facto release status on Thursday, February 28th.
The EEP viewer was promoted to RC status with the release of version 188.8.131.524683 on Wednesday, February 27th.
No update; Vir is still working on the clean-up following the inventory issues users experienced over the weekend of February 9th /10th.
Bakes on Mesh
Again, no update, other than a back-end Bake Service update is due (presumably to fix the “black skirt issue”. Once this is deployed, it should allow a resumption in progress with the viewer.
This is the project to re-evaluate object and avatar rendering costs to make them more reflective of the actual impact of rendering both. It has been stalled for some time and may remain so for a while.
The overall aim for this work to try to correct some inherent negative incentives for creating optimised content (e.g. with regards to generating LOD models with mesh), and to update the calculations to reflect current resource constraints, rather than basing them on outdated constraints.
BUG-226427 “Root bone is not centred on avatar”: some content rigged to mRoot may appear broken in Animesh-enabled viewers. This appears to be a variation of an issue initially seen in Bento, and had been thought to have been fixed. Vir has pulled this issue into his current viewer workload.
Animesh on the Marketplace: it is becoming difficult to locate genuine Animesh within the Marketplace Animated Objects category (which is being used for assorted items). A request has been informally made for a new, more Animesh-focused category / sub-category to be added, although this is more a request for the Web User Group.
It has also been noted that Animesh is becoming subject to keyword spamming.
Custom Pivot Points (BUG-37617): this had been awaiting further information, Vir to review.
Date of Next Meeting: The next CCUG meeting will most likely be in three weeks, on Thursday, March 21st, 2019.
La Maison d’Aneli, curated by Aneli Abeyante, has opened its doors on its March ensemble exhibition, and once again presents the work of six very different artists, all of whom offer unique perspectives and styles.
As I didn’t manage to make a return visit to cover three of the artists in the February exhibition (the three I did write about can be found in Art and artists at La Maison d’Aneli), I’ll attempt to give a thumbnail look at all six appearing through to late March.
Serena Parisi is a long-time Second Life photographer and explorer, who also appears to be well-travelled in the physical world, as the selection of her photography offered here more than demonstrates, and as she explains. “This exhibition is about my trip to Vietnam.Between smiles, laughs and emotions, my encounters with the population in an explosion of colour that characterises this country.”
Thus, across the upper level of the gallery space, and on the mezzanine above it, Serena offers 17 images of the people of Vietnam, the majority in colour – although I did find the four presented in monochrome quite captivating. Focused on the women and children of the country, they offer fascinating portraits of work and play, happiness and, in some, that understandable wariness of having a camera pointed at you by a stranger. Tightly focused, they portray living individuals but, at the same time reveal a lot about the lifestyle of many Vietnamese people.
Across the lobby area on the same level, and also split between floor and mezzanine is an exhibition of avatar studies by Jean (jeaneos7), who also hails from France. The pieces here both collectively contrast and compliment Serena’s work. Contrast, simply because they are avatar studies, rather than physical world studies, and compliment in that they are also largely tightly focused on the subject such that we are drawn into the lives portrayed, even without the aid of the backdrop that some of the images additionally offer.
Avatars are also the focus of Kiana Jarman’s selection of work, located on the floor and mezzanine of the gallery’s lower level. She notes that, “Photography is like writing with light, making music with shades.” This is aptly demonstrated within many of her images; while they are focused on avatars, they provide a broader setting, offering a rich canvas on which a story or song might be written. I confess that I found some of her pieces vibrant with life and/or playfulness, and other so rich in tone and narrative, that my eye and camera were constantly drawn back to them.
Pointing out particular images in this respect is hard, and none of the pieces are titled. However, to the right of Kiana’s biography giver are two truly marvellous pieces, one above the other, that respectively offer a wonderful depth of narrative and capture the pure vitality of adventurous living. Further around the mezzanine, the sense of fun is reflected through a Queen Of Hearts like figure peering through curtains, while the elegance and beauty of the human body as reflected in the avatar is perfectly frame in the two images I’ve chosen to use as the banner image for this article.
Also on the lower level of the gallery is a mixed media presentation by Rofina Bronet, that presents her work both as an artist and as a machinima maker. This is the most eclectic of the selections presented within this exhibition, with the artwork split between expressive, almost abstract pieces, and those focused on specific avatar subjects: Bryn Oh and Paris Obscur (JonathanDimitri Soderstrom). As well as the large images mounted on the gallery’s walls, Rofina has provided small view screens which, when clicked, will page through the images as well. To see the machinima offered as a part of the selection, make sure you have media streaming enabled in your viewer.
Rounding out this exhibition, and located in the end halls of both the upper and lower gallery spaces are displays be Reycharles and Oema.
The former presents a mix of his 2D and 3D art, the majority of which is wonderfully abstracted. While he often works with colour, manipulating it experimentally and seeing where it leads, the pieces Reycharles presents here are largely monochrome in tone. There is a wonderful feeling of some of the pieces – both 3D and 2D – having been extruded rather than being intentionly drawn / painted / formed; an organic feel that is itself utterly fascinating.
Artist and blogger Oema, located on the lower level of the gallery, presents 14 pieces running from landscapes to avatar studies to original paintings.
I’ve always admired her work for its sense of fantasy / dream, and many of the pieces within this selection demonstrate this to the full. However, it is the studies to the right of the hall as you enter it that utterly captivated me. Each of them holds a unique beauty within what are very different styles when viewed one to the next. Each also – as with all of Oema’s work, is rich in both detail and expression of story.
Taken together this is a richly diverse exhibition that is nevertheless drawn together by incidental, rather than deliberate themes, and which will be available through until late March.