2020 Simulator User Group week #41 summary (w/uplift)

Broken, August 2020 – blog post

The following notes were taken from the October 6th Simulator User Group meeting.

Simulator Deployments

Please refer to the server deployment thread for news and updates.

  • There are currently no planned deployments for week #41. An RC update that had been planned had to be pulled after QA found an issue when attempting to uploading items that had been previously uploaded and edited.
  • This means that Some RC regions should be started during the Wednesday, October 7th deployment window, but they will not receive any updates.

SL Viewer

There have been no updates to the current list of official viewers, leaving the pipelines as follows:

  • Current release viewer :Love Me Render #4 (EEP fixes), version 6.4.9.549455, released September 24th, promoted September 28th – No Change.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • Cachaça Maintenance RC viewer, version 6.4.10.549752, issued October 1st.
    • Mesh uploader RC viewer, version 6.4.10.549686, October 1st.
  • Project viewers:
    • Project Jelly project viewer (Jellydoll updates), version 6.4.10.549690, October 1st.
    • Custom Key Mappings project viewer, version 6.4.5.544079, June 30th.
    • Copy / Paste viewer, version 6.3.5.533365, December 9th, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, November 22nd, 2019.
    • Legacy Profiles viewer, version 6.3.2.530836, September 17th, 2019. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16th, 2019.

Cloud Uplift

More regions on the main (Agni) grid are being noted as being on AWS (see my previous TPV Developer meeting and CCUG meeting notes). As a result some are (prematurely) proclaiming this to be a sign that “the end of the uplift work is in sight”; however, Oz Linden sobered such statements, commenting:

I’m not sure that we’re at the beginning of the end … but we’re past the end of the beginning.

To which Mazidox Linden added:

We’re currently running some tests with production data on AWS regions, yep. … There are definitely some outstanding issues we’re aware of, and more we’re probably not (yet) that we’re trying to shake out.

One aspect of the current situation is that while there may be some regions with associated experiences running via AWS, the core data handling for experiences still lies within the Lab’s co-lo facility; this may affect the experience performance in those regions, but should be rectified as the uplift work continues.

In terms of when specific aspects of the uplift will be “completed” (remembering that LL is looking to have a majority of the work done by year-end), Oz Linden further commented:

We’re lifting as quickly as we can, consistent with checking for problems. So far it’s going better than expected, but making any prediction would jinx it.
For the curious – spotting a region hosted in the cloud via Help About. Top: a region hosted at the Lab’s co-location facility (note the agni.lindenlab.com in the address). Bottom: and a region running on a simulator in the cloud, using an AWS address.

As per K.T. Kingsley’s comment below, scripters confused about obtaining host names via scripted means should refer to this forum thread.

In Brief

  • The Jejina region (old-style Linden Homes) has been reported as having “weird” EEP settings that are out of sync with the surrounding regions, and also has a odd Map tile. The exact cause is unknown. Anyone seeing similar oddities in Mainland EEP settings / Map tiles should contact support.
  • A large swath of Satori suffered significant issues with regions staying up during a 24-hour period over the weekend. Exact cause is unknown, but the issue now appears resolved.

Jamee and Matt at Raging Graphix in Second Life

Raging Graphix Gallery: Jamee and Matt

The October exhibition at Raging Graphix Gallery, curated by Raging Bellls, brings us a joint exhibition by Jamee and Matt Thompson, perhaps between known to many in Second life as Jamee Sandalwood and MTH63, who recently officially partnered in SL.

Both are well known for their photography depicting the sights and art of Second Life, their individual styles an engaging mix of the contrasting and the complimentary, depending on subject and  – I assume – mood. Indeed, so complimentary are their styles that but for the tell-tales evident in some of the piece in this exhibition, and the occasional presence of a name in a canvas corner, all of the photographs offered here might be mistaken as being captured by the same photographer.

Raging Graphix Gallery: Jamee Thompson (Jamee Sandalwood)

Jamee’s work encompasses several genres, including landscapes, avatar studies, fashion photography and abstract pieces, although her landscapes predominant here. These generally tend towards softer tones and lighting, carefully processed to give a genuine feel for the time of day that frames them. However, more recently she has moved towards what she refers to as”shadow photography”, using both the play of light and shadows to create elements within her images, while at times also leaning towards darker tones in over composition.

Matt has also built a reputation as a landscape photographer, again as evidence in the pieces included in this exhibition. However, were Jamee sways towards softer tones and post-processed finishes, Matt often tends towards sharper, cleaner lines and finishes that – even when portraying reflections on the water – give his work a more crystalline finish, one so sharp in places that it feels as if a brush of the fingers over some of the lines of his images might well cut the finger.

Raging Graphix Gallery: Matt Thompson (MTH63)

This sharpness gives his pieces a sense of life and realism comparable to Jamee’s work, one that like hers reaches beyond the digital realm in which they were taken to offer something very tangible, whilst that same sharpness mentioned above offers that subtle contrast to Jamee’s work, gently pointing to the fact these these are pieces produced by two individual artists, even as they are unified by subject matter and tonal quality that can unify them into a single exhibit.

This complimentary flow is perhaps seen in the four pictures along the longest wall of the exhibition space, in which two of Matt’s landscapes bracket two of Jamee’s pieces that lie within her more “shadow photography” approach. The contrast of hard and soft lines, be it through finish or the use of the shadows inherent within the location where an image was taken and the tonal qualities of all four pieces, even with the differing approaches to post-processing offer all four as a continuous whole, the eye running easily across them as if they had sprung from the one artist’s eye and hand.

Raging Graphix Gallery, Matt and Jamee

Engaging, bold, and with a personal touch through the inclusion of The Rings, a piece marking their recent union in Second Life, this is another excellent exhibition at Raging Graphix, and it will run through until the latter later of October.

SLurl Details

Ruegen Island in Second Life

Ruegen, October 2020 – click any image for full size

Ruegen is a Homeland region designed by Andre Nalin (ReizWolf) we were pointed towards recently by Shawn Shakespeare. It takes its name – and is inspired by – Rügen, lying just off the coast of Germany’s Pomeranian coast in the Baltic Sea.

At some 926 square kilometres, Rügen is Germany’s largest island. – and as such, potentially a difficult subject to represent within the confines of the 65,536 sq metres that form the land area a single region. So rather than trying to model it in whole, Andre has used some of the features it is noted for as his inspiration, and created a sandy haven; an island clearly in more northern latitudes, and with features of its own to attract the eye.

Ruegen, October 2020

Rügen is particularly noted for its coastline, characterised as it is by numerous sandy beaches, lagoons, peninsulas, headlands, and inlets and bays that project into the island. Part of this coastline comprises the Jasmund National Park, famous for its vast stands of beech trees and chalk cliffs like King’s Chair. Awarded the status of a UNESCO World Heritage Site in 2011, it is one of the locations paid homage to within this build: a line of cliffs mark the region’s south side, topped by tall Scots pines.

I  can’t speak too much to the physical world Rügen as I only have Wikipedia and tourist sites to go by, so offering any real comparisons here would be a little pointless. However, this doesn’t matter, as the region’s design more than speaks for itself.

Ruegen, October 2020

The landing point lies on the east side of the island, just above a sweeping beach looking out over a cold blue sea – itself looking as one might imagine the Baltic to be. Two hills rise from behind this curving coastline, running to the west and another beach, a broad, shallow valley sitting between them. This valley is home to an ultra-modern house (a Cain Maven design that is eye-catching in its looks and has something of a Nordic twist to it).

Again, whether this is representative of the style of housing on the actual island is immaterial; it has a certain look to it that makes it a fitting subject for the region. It shares its space with a single greenhouse and a free-standing swimming pool that offers a break from the surrounding salt waters washing the coast. This house, looking down on the broad beach, is an automatic draw to the eye and feet, but I would note that while it appears to be open to the public, it sits within its own parcel, so could be private.

Ruegen, October 2020
Two other houses can be found on the island, both on the beaches. There’s a wooden house standing over the coastal waters as the beach curves around the north side of the island, whilst to the south, where the sands split into a small, shallow bay, there sits a thatched cottage watching over working fisher huts and a small pier with a fishing boat moored alongside.

Outside of these three houses, the only other buildings on the island are a little café, also built out over the eastern waters, a ruined beach house to the north and a little gazebo up on one of the hilltops. The rest of the island has been left wild and and open to exploration; the hilltops are crowned by trees (and a home to a camp site and deer), whilst the beaches offer multiple places to sit, some watched over by horses that graze on the tough grass that has pushed its way up through the sands.

Ruegen, October 2020

All of this makes Ruegen both easy on the eye and an easy, relaxing explore.

SLurl Details

  • Ruegen (Valium Sea, rated Adult)