Month: November 2021

Space Sunday: Debris, Artemis delays, SpaceX Plans

Posted on by Inara Pey
The International Space Station. Credit: NASA

Anyone  who follows news on space activities will be aware that on November 15th, Russia carried out the test of an anti-satellite(ASAT) missile system that resulted in the destruction of a defunct Soviet-era electronic signals intelligence (ELINT) satellite – and required the crew of the International Space Station (ISS) to move to their respective Earth return vehicles (Soyuz MS-19 and Crew Dragon Endurance) due to risk of being hit by the debris.

To be clear, ASAT systems are not new. The United States and Russia (/the Soviet Union) have between them spent decades developing and testing such systems (the last successful US test was in 2006, with both the USAF and USN having significant ASAT capabilities), and China and India have also demonstrated ASAT systems as deliberate demonstrations of force.

However, the November 15th test by Russia was somewhat different. Occupying a polar orbit at an average altitude of around 470 km, the 2.2 tonne Kosmos 1408 as both a substantial target risking a massive debris cloud, and routinely “passed over” the orbit of the ISS (ave 420 km), putting it at clear risk.  Nor did Russia give any forewarning of the test.

Instead, the US Space Command only became aware of what had happened after they tracked the missile launch all the way to impact – and then started tracking the cloud of debris. This presented no danger to the ISS in its first orbit, but tracking showed it was a very define threat to the station on its 2nd and 3rd orbits, prompting mission controllers to order the ISS crew to start shutting down non-essential operations and sealing-off hatches between the various science modules.

Some 15 minutes before the second pass of the debris field across the station’s orbit, controllers called the station to order the US / European astronauts in the “US section” of the station to secure all remaining hatches to minimise the risk of explosive decompression in the event of a hit, and evacuate to Crew Dragon Endurance both in case an emergency undock was required, and because it presented a significantly smaller target for any stray debris travelling at 28,000 km. The controllers also noted the Russia cosmonauts on the station were engaged in similar actions, and would be retiring to their Soyuz MS-19 vehicle.

In all, the crews were restricted to their Earth return vehicles for somewhere in the region of 3-3.5 hours before it was considered the most significant risk of and impacts had for the most part passed. Even so, it was not until November 17th that all hatches on the ISS were unsealed to allow normal operations to resume throughout all modules. Currently, NASA is still monitoring the situation and may postpone  a spacewalk planned for November 30th as a result of the debris risk.

Ironically, on November 11th, the ISS had to raise its orbit somewhat using the thrust from a docked Progress re-supply vehicle in order to completely remove the risk of debris from 2007 Chinese ASAT weapon test striking it, 14 years after the test.

In these images, Kosmos 1408 can be seen ringed on the left. The image on the right highlights some of the larger clumps and pieces of debris left after the kinetic “kill” by the Russian ASAT weapon. Credit: Numerica and Slingshot Aerospace

Following the test, Russia attempted to play down the risk, stating it posed “no threat” to other orbital vehicle, crewed or uncrewed – a less than accurate statement. Analysis of the debris cloud by both US Space Command and civilian debris tracking organisations reveals much of the cloud will remain a threat for the next several years – if not decades – as the convoluted nature of orbital mechanics and impact velocity gradually increases the cloud’s orbital altitude for a time as it continues to disperse, putting satellites in higher orbits at risk – particularly the likes of the SpaceX Starlink and the OneWeb constellations.

Russia has demonstrated a deliberate disregard for the security, safety, stability, and long-term sustainability of the space domain for all nations. The debris created by Russia’s DA-ASAT will continue to pose a threat to activities in outer space for years to come, putting satellites and space missions at risk, as well as forcing more collision avoidance manoeuvres.

– U.S. Army General James Dickinson, Space Command.

Some 1500 individual pieces of debris from the test are of a trackable size, with potentially tens of thousands more that are too small to be identified. Tim Flohrer, head of the European Space Agency’s (ESA) Space Debris Office noted that the test means that debris avoidance manoeuvres made by satellites in the 400-500 km orbit range may increase by as much as 100% for the next couple of years before the threat is sufficiently dissipated. One of the biggest risks posed by this kind of action is the Kessler Effect (or Kessler Syndrome), wherein debris from one impact causes a second impact, generating more debris, and so setting off a chain reaction.

Given its size and orbit, there is simply no way Russia was unaware of the threat posed by Kosmos 1408 to low-orbit vehicles – particularly crewed vehicles and facilities – if the test was successful. As such, some have seen it as irresponsible due to the impact it could have on general orbital space operations, while others see it as a sign of aggressive intent on Vladimir Putin’s part.

Currently, Russia has not indicated as to whether this was a one-off incident (a previous test in 2020 missed its target), as has been the case in the US, Chinese and Indian tests, or if it could be a part of a wide series of tests. If the latter, then international relationships are liable to be further strained.

NASA OIG: No Moon Landing Before 2026

Following NASA’s indication that the first Artemis lunar laying won’t come “earlier” that 2025, the agency’s own Office of Inspector General (OIG) has thrown a bucket of realism over the entire project, pretty much confirming comments made in this blog concerning vehicle development timelines, whilst also questioning the sustainability of the programme.

Having carried out an extensive audit of the programme, OIG has issued a 73-page report which critiques the current Artemis programme and time frames, although it can only offer suggestions on what might be done, not instigated changes.

Artemis 3 mission (1): the OIG report outlines the first mission to return 2 humans to the Moon – Artemis 3 – as designed by NASA / SpaceX. This uses the SpaceX Starship HLS – which will now be supported by a SpaceX “fuel depot” (a modified Starship hull) sitting in Earth orbit, and frequently refuelled by between 4 and 8 additional Starship vehicles – and the Orion MPCV for transporting a crew of 4 forth and back between Earth and the Moon. Credit: NASA / NASA OIG

It terms of the development of the Human Landing System (HLS), required to get crews to / from the surface of the Moon, the report follows what has been noted in Space Sunday: the 4-year development time frame is simply unrealistic. In particular, the report notes that even in partnerships such as the Commercial Crew Programme, NASA tends to require around 8.5 years to develop a new spaceflight capability – more than double that allocated for HLS (in fact, NASA / SpaceX believed Crew Dragon could be developed and ready for operation in 6 years – it took 10). It also indicates that while a reliance on a single vehicle design / contractors (currently SpaceX) reduces costs, it also places further risk on the entire programme time fame and operations.

Further, the OIG report states that realistically, the first flight of the first Space Launch System (SLS) rocket is unlikely to take place until mid-2022; somewhat later than NASA is still projecting (early 2022). It goes on to point of that given the delays on Artemis 1, it is unlikely that the Artemis 2 mission scheduled for 2023 and which will fly a crew around the Moon and back to Earth in a manner akin to Apollo 8 is unlikely to be ready until mid-2024, simply because NASA plan to re-use elements from the Artemis 1 Orion vehicle in the Artemis 2 Orion, and these will need a comprehensive post-flight examination and refurbishment.

Artemis 3 (2): The report shows the rendezvous with the HLS for the surface mission (2 crew), and leaps ahead to future missions and the establishment of the Lunar Gateway station. What is left unclear is whether the HLS vehicle will be reused (returning it to be refuelled) or simply abandoned (marking it as a waste). Credit: NASA / NASA OIG

Beyond this, the report also raises concerns whether the space suit required for lunar operations – the Exploration Extravehicular Mobility Unit (xEMU) – will actually be ready for operations in 2025, issues in technical development, and in NASA flip-flopping between in-house and commercial contract development of the suit being pointed to as reasons for the delays.

The biggest critique in the report, however, is related to costs. The OIG report notes that at current levels of expenditure, Artemis will cost US $93 billion by 2025/26, with the first four Artemis SLS / Orion launches (Artemis 1 through 4) alone costing US $4.1 each – and this estimate does not include the development of the actual HLS system or the costs to launch / operate it.

NASA OIG estimates the Space Launch system will cost US $4.1 billion per launch for the 1st four flights, with total Artemis development and infrastructure costs (excluding HLS) being some US $93 billion by 2026. Credit: NASA

To reduce these costs, OIG suggests looking to alternate launch vehicles  to deliver crews to lunar orbit, but NASA management has already rejected such ideas and had refuted OIG’s cost analysis and call for most closely accounting for expenditure. However, it has accepted the report’s other concerns; although it will take time to see if this translates into any form of re-assessment of the programme as a whole.

Continue reading “Space Sunday: Debris, Artemis delays, SpaceX Plans” →

Bif’s wings of wonder in Second Life

Posted on by Inara Pey
AmandaT Tamatzui Gallery: Bif Mopp, November 2021

If it seems my recent art reviews have been somewhat focused on artists who bring their work from the physical world into Second Life, then there is a simple explanation: it’s because they are. Admittedly, some of it is simply down to the manner in which I receive invitations or find them within the various art group notices I frequently check; however, it is also because  – contrary to the statement I’ve heard made more than once – I think SL is actually a very good medium for artists to present their physical world art as much as it is for presenting in-world images.

Take Bif Mopp, for example, whose work is now being displayed at the AmandaT Tamatzui Gallery, owned and curated by AmandaT Tamatzui, who is herself an accomplished professional artist in the physical world who hails from New Zealand. Bif is a most extraordinary artist who dedicates a good portion of his talent and portfolio to aviation paintings, capturing aircraft, military and civil and of times past and times present. And he does so with amazing skill and imagery, perfectly capturing his subjects in all of their majesty and / or going about their business. Such accuracy, in fact that his work has been displayed not only in galleries, but also aviation museums – and even the office of a former US Air Force Chief of Staff.

AmandaT Tamatzui Gallery: Bif Mopp, November 2021

As an aviation enthusiast myself, I was immediately captivated by the paintings presented within this exhibition, not only because of their technical accuracy – I challenge anyone with a love of aviation through the 20th century not to be able to recognise any of the aircraft here, even when viewed at a distance, such is the skill with which Bif have portrayed them – but because each image carries within it an entire story of an aircraft, and / or its era and or / or pilot.

Take, for example, 27 August 1941 (which I’ll state up-front is my favourite among favourites within this selection). At first glance, it is very obviously a Supermarine Spitfire Mark IID, possibly from the Battler of Britain. However, the markings reveal it to be aircraft P7308 of No. 71 (Eagle) squadron, one of three squadrons so-called as they were formed with volunteer pilots from the United States.

In particular, this aircraft was flown by Pilot Officer William R. Dunn, a man so determined to fly with the RAF, he lied his way into the Canadian Army (claiming he was from Moosejaw, Saskatchewan!), then once in the UK sought a transfer to the RAF, making a “pen slip” on his application form, so that it was believed he had 560 flying hours under his belt (500 being required to be accepted for pilot training), rather than his actual 160. In particular, on August 27th, 1941, Dunn’s squadron was escorting RAF light bombers over France when they engaged with enemy fighters. Dunn took two out before his own aircraft  – and Dunn himself – took hits, forcing him to return across the channel and a trip to hospital. He eventually re-joined the war as a member of the US Army Air Force – and already recognised at the first American fighter Ace of WWII (and in conclusion, I’ll note that Dunn went on to a distinguished USAAF/USAF career and became an artist himself).

AmandaT Tamatzui Gallery: Bif Mopp, November 2021

It’s a story that brings the image even more to life, as do the stories bound within other paintings here – such as the long tradition of Dallas Doll, (Buzz Job), the P51D Mustang flown by the 352nd Fighter Squadron, US 8th Air Force and which still flies today, a favourite of several aviation artists. Then there is Bunker Hill, with its Corsair fighter (as piloted by ace Lt. Dean Caswell), showing just how small and lonely the deck of an aircraft carrier can be on an ocean as big as the Pacific – and the relief felt on finding it in the fading light of day, a sentiment also shared by Almost Home. Elsewhere, US Mail evocatively captures the pioneering days of the US air mail service as exemplified by the men who flew the rugged Pitcairn Mailwing, specifically designed to ply US government airmail routes of the 1920s and 1930s, while a high-flying DC3 hails the aircraft that really kick-started mass passenger transport after the end of WWII.

Rounded-out by a trio of beautiful landscape / seacape, this is genuinely a superb exhibition, and SL aviators from across the grid (as well a lovers of art) really should come and see.

AmandaT Tamatzui Gallery: Bif Mopp, November 2021

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VWBPE 2022: calls for proposals and sponsors

Posted on by Inara Pey
via VWBPE

The 2022 Virtual Worlds Best Practice in Education (VWBPE) conference will be taking place between March 31st and April 2nd inclusive, and both a call for proposals and a call for sponsors are currently open.

VWBPE is a global grass-roots community event focusing on education in immersive virtual environments which attracts over 2,000  educational professionals from around the world each year, who participate in 150-200 online presentations including theoretical research, application of best practices, virtual world tours, hands-on workshops, discussion panels, machinima presentations, and poster exhibits. For the purposes of the conference, “virtual world” refers to any on-line community through which users can interact with one another and use and create ideas irrespective of time and space, whether 3D in presentation or as characterised through platforms such as Meta, LinkedIn, Twitter, etc., in which the direction of the platform’s evolution is manifest in the community. The conference itself is hosted within Second Life.

The theme for the 2022 conference is Phoenix Rising, with the organisers describing it thus:

In every culture, from China in the east to the Indigenous cultures in the west, the phoenix as a symbol of hope and renewal is ubiquitous across the ages. Whether it is referred to as Feng Huang, Garuda, Ho-Oo, Bennu or the Quetzal bird, in every case the phoenix ushers in an era of prosperity and transformation that goes beyond the individual to encompass our home and surroundings.
The world is forever a changed place. Those in education find themselves on the front lines of how the next generation of students are going to perceive and integrate a post-COVID society into opportunities for growth, for renewal, and for a redefinition of the values that once drove us.
The past two years have represented a global case study in real time of the merits and limitations of virtual education: what works, and what doesn’t. Educators have immersed themselves in online learning methodologies that have been mostly talked about but never implemented on a wide scale until recently. There is now a plethora of real-world evidence supporting the practical application of teaching virtually that we have never truly had access to until now.
Like the newly reborn phoenix arising from the ashes of its previous life, virtual education is also experiencing a renaissance of abundance and transformation. Whether it be fully immersive or simple video conferencing, the practical application of tools and techniques over the past two years represents a wealth of inspiration for connecting teachers and students in ways that are comprehensive, progressive, and meaningful.

Call For Proposals

VWBPE 2022 will include six formats for presentations the familiar Spotlight Presentations, Hands on Technology Workshops, Compass Points Roundtable Discussions, Micro Burst presentation Clusters (each no more than 15 minutes), together with two new formats – Tool Talks, and Poster presentations.

  • Tool Talks: The big ideas are often shared at conferences, but what about those “little” things that you cannot do without in your practice – be it a tool, technique, or technology? Share a short and engaging demonstration showing us why this idea is not to be missed.
  • Poster presentations: Share your research in our new Posters venue, with time for both asynchronous exploration and scheduled synchronous presentation times during the conference. Students are strongly encouraged to share their current work with a poster presentation.

In addition, there will be Immersive Experiences that will take place in the 2 weeks prior to and 2 weeks after the conference itself. New for 2022 will be an opportunity for video engagement to promote your Immersive Experience, details of which will be provided for all accepted Immersive Experience proposals. Full details on submitting any form of proposal and general guidelines can be found via the following links:

The closing dates for submissions are as follows:

  • Presentations: 10 January 2022
  • Exhibits: 14 February 2022
  • Immersive Experiences: 14 February 2022.

Sponsorship Opportunities

The VWBPE organiser are currently seeking sponsors for this year’s conference to help to keep this open source conference free for all to participate and to help with the conference’s informational systems, live streams, and archives active.

Your generous support will help raise your organisation’s profile to gain the attention of over 1000 conference participants, including K-12 instructors, post-secondary instructors, researchers, non-profits, creative designers, education business leaders, and social media influencers in the field of education.

– From the VWBPE sponsorship page, 2020

Sponsorship opportunities start at US $250 for organisations and groups, and US $20 for smaller communities. Those interested are referred to the official VWBPE Sponsorship Opportunities pack, or sign-up directly / contact the organisers via the conference sponsorship page.

Additional Links

Experiencing The Way of Life in Second Life

Posted on by Inara Pey
The Way of Life, November 2021 – click and image for full size

As I’ve mentioned recently, the end of 2021 is approaching, bringing with it (for the northern hemisphere at last) the cold of winter. For Second Life it means we’re in the time of year that sees outburst of snowy realms across Second Life. Over the last few days I’ve been hopping around a number either as a direct result of my own poking around or on the recommendation of friends. One of the latter is The Way of Life, a Homestead region held and designed by Dum (dumeric Asp), and which came to my attention by way of Shawn Shakespeare.

If sledding and snowboarding happen to be you thing, then this is a good place to visit – although these are far from the only reasons, as we’ll get to shortly. I mention both here and now because the landing point sits on the top of a towering table of almost sheer-side rock, running east-to west across the southern side of the region, dropping from its squared top by means of a snow-covered slope as it does so.

The Way of Life, November 2021

Bounded on three sides by Tuscan-style buildings, the fourth side of this mesa is formed by the aforementioned slope, which has at its lip both sled and snowboard rezzers. These allow the adventuresome to descend the slope via the piste, either directly or using the slalom markers and ski jump, to reach the region’s lowlands. For those not so enamoured of such pursuits, a path does descend the slope close to one of the sheer sides of the snowy mesa, marked by fir trees that stand to attention on either side of it, guarding the way.

At the foot of the slope, the region spreads itself northwards from a snow-dusted Zen garden, the land almost entirely flat in nature, cut through in part by a meandering stream that flows southwards from the large lake that sits to the north, its frozen surface yet offering a glimpse of water moving below, flowing towards the throat of the stream. Around the lake lay a trio of cabins, all of them apparently open to the public to enjoy as they explore, whilst a second stream winds inland from a larger, mountain-bound (and off-region) body of water to feed the lake, explaining the movement of water under its covering of ice.

The Way of Life, November 2021

Whilst somewhat transparent, the ice is nevertheless dense enough to allow for ice skating, and skate givers are dotted around the rough shoreline for this purpose, offering more opportunities for exercise and fun.

The lake, cabins and landscape are caught under a midnight sky (other EEP setting are available, consult your viewer for details 🙂 ), with bright pools of grass rising above the snow to vie with the lake for attention. One of these is fenced-off, the retreat for horses, straw bales stacked alongside the cabin nearest them in readiness to become a source of food. Elsewhere, the grass is home to lantern-bearing snow deer and white-furred wolves.

The Way of Life, November 2021

Under the lee of the region’s mesa lie the ruins of some ancient structure tucked tightly into the lee of the mesa, the wreck of a helicopter alongside. Quite how the latter got here is open to conjecture, but it offers one of many interesting backdrops for photography.

The three cabins within the setting are all lightly but comfortably furnished, Dum here being assisted by a number of friends in supplying décor elements and furnishings. Thus they make for welcome breaks from the cold outside – although there are a number of sit points to be found out under the stars and on porches for those who prefer. At the time of my visit (given it was only pre-US Thanksgiving November), Christmas / holiday decorations were at a minimum (some lights strung around a couple of the outdoor trees, and a tree and holly around the mantelpiece within one of the cabins), so the region sit as a nice wintertime setting rather than a holiday time setting, which frankly makes it all the more (to me) attractive place.

The Way of Life, November 2021

For those who wish to use the setting a s backdrop for avatar photography, rezzing is open to all, with auto-return set to 2 hours – but if you do put props out, please do remember to take them back to inventory rather than leaving to to auto-return to vacuum them up and drop them on you; that way the environment is left cluttered for other visitors.

Aside from the glowy grass (the wonder / irritant of Full Bright) that to me didn’t feel quite right, even allowing for the lanterns placed out (or carried by the snow deer presumably in an attempt to explain its glow, The Way of Life is an easy-to-explore, tranquil setting that offers a charming and cosy location that should not be overly stressful for most systems (the default environment gave me between a 30-45 FPS average with shadows enabled), while the snowboarding, sledding and skating give visitors the option to have a little fun whilst visiting.

The Way of Life, November 2021

My thanks, as always, to Shawn for the pointer and LM.

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Suzen’s Illusion in Second Life

Posted on by Inara Pey
Kondor Art Garden: Suzen JueL – Illusion

Now open at the Kondor Art Garden, curated by Hermes Kondor, is Illusion, an exhibition of 2D art by photographer-artist Suzen JueL (JueL Resistance). It offers an engaging range of pieces that mix styles and ideas to present images that are visually engaging and carry with them strong narratives.

Within these pieces might we find photo-collages, measures of surrealism, expressionism and more; stories with an edge of abstraction and / or the broad strokes of impressionism, some of which sit as dream states in their form and colour. Primarily produced within Second Life and richly post-processed, these are pieces that also encompass elements and images drawn from the physical world.

An intriguing aspect of several of the pieces is that rather than using a traditional avatar, Suzen presents a mannequin-like personage that, while female in form, offers us – male or female – the opportunity for greater association with it, and thus themes and emotions contained within the pieces where it is used.

Kondor Art Garden: Suzen JueL – Illusion

With their focus on the mannequin presence, these particular images offer a sense of dual narrative. Backwards into Depths, for example offers the suggestion of taking a leap of faith. On the one hand, they colours stand in emphasis of the fact it is into the unknown we might jump whilst also presenting the sense of fear that such leaps often entail. Similarly, Monster at first seems to suggest the coming of a horror, a strange, looming creature that might well be in pursuit of us – but then on second look, it perhaps suggests we are the monster, looming forth to inflict something on the unwary.

Elsewhere the narrative is more direct, as with Whale Dreaming, a marvellous photo-collage that folds into itself considered elements of surrealism, impressionism and realism. Beside it, Hanging with the Zebra similarly offers a mix of surrealism and over-exposed expressionism that holds the eye before the magnificent Elephant awaits to again offer use entwined stands of narrative.

In their mixing of styles, narrative, these are pieces that live up to the title of the exhibition. Each gives us an illusion to ponder, be it directly through the image (again, I’d point to the likes of Whale Dreaming) or in the manner in which meaning and narratives might be seen to be intertwined to hold our attention, making it an engaging and captivating exhibition.

Kondor Art Garden: Suzen JueL – Illusion

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2021 CCUG meeting week #46 summary: Graphics work

Posted on by Inara Pey
Bella’s Lullaby, September 2021 – blog post

The following notes were taken from my audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, November 18th 2021 at 13:00 SLT. These meetings are chaired by Vir Linden, and agenda notes, meeting SLurl, etc, are are available on the Content Creation User Group wiki page.

AVAILABLE VIEWERS

This list reflects those viewers available via Linden Lab.

  • Release viewer: version version 6.5.0.565607, formerly the Maintenance RC and dated November 10, promoted November 15 – this viewer now contains a fix for the media issues caused by the Apple Notarisation viewer.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • The Tracy Integration RC viewer version 6.4.23.563771 (dated Friday, November 5) issued Tuesday, November 9.
    • 360 Snapshot RC viewer, version 6.5.0.564863, issued October 21.
    • Simplified Cache RC viewer, version 6.4.23.562623, dated September 17, issued September 20.
  • Project viewers:
    • Performance Improvements project viewer updated to version 6.4.24.565324 (dated November 5) November 9.
    • Performance Floater project viewer, version 6.4.23.562625, issued September 2.
    • Mesh Optimizer project viewer, version 6.4.23.562614, issued September 1.
    • Legacy Profiles viewer, version 6.4.11.550519, dated October 26, 2020.
    • Copy / Paste viewer, version 6.3.5.533365, dated December 9, 2019.

General Viewer Notes

  • It is possible the 360 Snapshot RC viewer and the Simplified Cache RC viewers may be merged prior to either being individually promoted to de facto release status.

Graphics Work

  • The core of the graphics team is shifting emphasis from making performance changes to the rendering pipe to focusing on stabilising the changes thus far made. As Vir has elsewhere noted, the problem with moving operations between threads / to their own threads is that there can be undesired consequences which then must be addressed.
    • This work has comprises a number of elements, both in moving processes that should logically have their own threads, and in moving processing that can cause the main thread to stall while it is handling them (e.g. processes that talk to the graphics API, the texture upload to OpenGL, etc.) to other background threads.
  • Runitai Linden continues to update how avatar rigged meshes are rendered.
    • In short, he hopes to use the same approach to handling static meshes to rigged mesh (including Animesh creations), allowing the latter to be handled in batches, reducing the overall number of draw calls and giving a potentially substantial performance boost.
    • The improvements should be particularly noticeable when rendering the “onion layer” avatar meshes that have multiple layers and are segmented into multiple cuts. Runitai reports his testing shows a 50% improvement in rendering 20 avatars – but improvements will be hardware dependent.
    • There are some issues: as it stands, the updated code does change the order of sorting / rendering alphas, which could be problematic for some creators. If so, LL will look at what can be done to prevent this (as an aside to this, vertex ordering within Blender, etc.), should not be impacted). There are also limits on how far this can be taken due to things like how faces with unique textures or with separate materials must be handled.
    • Currently, Runitai plans to spend the next few weeks testing and improving the changes with a view to having a view publicly available in the New Year.
  • Part of the discussion centred on texture use (and over-use), which covered a number of elements including:
    • A reminder of why the use of 1024×1024 textures on every surface, no matter how small is really bad idea, both because of the amount of VRAM each texture (+ any associated materials) uses (up to 4MB each); and because even if the face used only exposes a small portion of the texture, the viewer still has to process the entire texture before it can be rendered at full resolution, so it’s just leaving people with a greater amount of time the texture is blurred in their view.
    • The pros and cons in using a texture atlas. On the plus, this always multiple textures to be handled as a single draw operation, and is done where possible. However, unlike a conventional game, texture use in Sl is less predictable (e.g. an avatar can use the same texture “as is”, alpha masked, alpha blended and as a specular map, impacting the ability to use it within any texture atlas.
  • Whilst on the back burner at present, it is hoped that Vulkan, if / when adopted, could solve a lot of texture batching and draw call issues on the Windows platform, as it has a “fundamentally different” way of handling the latter. However, any shift in graphics API is held depending the current clean-up of the rendering code. On October 30th, Runitai described the options under consideration as:
    • Using Vulkan (Windows) and Metal (Apple).
    • Running Vulkan extraction layers on top of G3D on Windows (and MoltenGL for Apple?)
    • Implementing an off-the-shelf multi-API extraction layer.
    • Home-brew a dedicated extraction layer.
    • Stick with OpenGL for Windows and use MoltenGL for Apple (as noted above).
    • Initially supporting Vulkan + OpenGL for Windows and then retiring OpenGL and running Vulkan extraction layers on top of G3D (no word on Apple solutions in this scenario).
  • As a part of the current  work, LL has tested using OpenGL Core Profile rather than the currently-used OpenGL Compatibility Profile.
    • Core Profile offers a performance win for nVidia GPUs – but presents a performance hit for AMD and Apple systems, so a determination on its use has yet to be made.
    • Core Profile also does not work GLOD for mesh uploads, so if adopted, GLOD support may be entirely dropped from the viewer in favour of the Mesh Optimiser (as found in the current Mesh Optimiser project viewer).
  • Other updates the graphics team are considering include:
    • Making VSync enabled by default in the viewer, which should give a more consistent rate at high (100+) FPS.
    • Removing the ability to uncheck OpenGL Vertex Buffers and Hardware Skinning, as disabling either isn’t particularly good for performance.