Category: Second Life

2018 SL UG updates #10/2: CCUG summary

Posted on by Inara Pey
Queen of Dragons? Surrounded by Animesh dragons by Wanders Nowhere and used by Lucia Nightfire as Animesh test models

The following notes are primarily taken from the Content Creation User Group (CCUG) meeting, held on  Thursday, March 8th, 2018 at 13:00 SLT. For the purposes of Animesh testing, the meetings have relocated to the Animesh4 region on Aditi, the beta grid – look for the seating area towards the middle of the region. The meeting is chaired by Vir Linden, and agenda notes, etc, are usually available on the Content Creation User Group wiki page.

There is no video to accompany this update, notes are taken from my own audio recording of the meeting.

Animesh

Project Summary

The goal of this project is to provide a means of animating rigged mesh objects using the avatar skeleton, in whole or in part, to provide things like independently moveable pets / creatures, and animated scenery features via scripted animation. It involves both viewer and server-side changes.

In short, an Animesh object:

  • Can be any object (generally rigged / skinned mesh) which and contains the necessary animations and controlling scripts in its own inventory  (Contents tab of the Build floater) required for it to animate itself.
  • Can be a single mesh object or a linkset of objects (link them first, then set them to Animated Mesh via the Build floater > Features).
  • Has been flagged as and Animesh object in the project viewer, and so has an avatar skeleton associated with it.
  • Can use many existing animations.
  • Will not support its own attachments in the initial release.
  • Will not initially include the notion of a body shape (see below).

Resources

Viewer Update

An updated to the Animesh project viewer occurred on Wednesday, March 7th with the release of version 5.1.3.513013. The focus of this update has been bug and crash fixes (e.g. correcting some of the issues of LODs getting stuck).

Current Progress

  • The major piece of work to be completed (other than further bug fixing) is performance profiling: looking at possible limits on tri count, LI, to ensure Animesh can scale across regions without becoming a major performance impact. This work takes object scaling into consideration.
  • Remaining bugs to be resolved include the animation timing issue, whereby an avatar entering a region were an Animesh object is already running may not receive the animations updates for the object. This is liable to require both viewer and server updates to fix.

Body Shapes

Providing a notion for Animesh objects to have a body shape is being considered as an initial follow-on for the project. If implemented, this would mean that Animesh creations could:

  • Make use of the shape sliders.
  • Utilise the Appearance / Baking Service.
  • Have a fully avatar-like inventory.
  • Make use of the server-side locomotion graph for walking, etc.

The assumption is that if the Lab look to add this functionality, it will be handled in much the same was as is the case for avatars. However, this aspect of the work will be opened up for discussion and ideas once it has been officially adopted as a follow-on project, rather than having speculative (and premature) discussions about how body shapes might be applied / managed.

Bakes on Mesh

Project Summary

Extending the current avatar baking service to allow wearable textures (skins, tattoos, clothing) to be applied directly to mesh bodies as well as system avatars. This involves server-side changes, including updating the baking service to support 1024×1024 textures, and may in time lead to a reduction in the complexity of mesh avatar bodies and heads. The project is in two phases:

  • The current work to update the baking service to support 1024×1024 textures on avatar meshes.
  • An intended follow-on project to actually support baking textures onto avatar mesh surfaces (and potentially other mesh objects as well). This has yet to fully defined in terms of implementation and when it might be slotted into SL development time frames.

This work does not include normal or specular map support, as these are not part of the existing baking service.

It is important to note that this project is still in its preliminary stages. Any release of a project viewer (see below) doesn’t mark the end of the project, but rather the start of initial testing and an opportunity for creators to have input into the project.

Project Viewer

  • Currently with the Lab’s QA team.
  • Will support a basic means of applying system bakes to mesh faces, although their will be caveats as to how well this initially works (e.g. matching to mesh UV maps).
  • The majority of this work is viewer-side, allowing mesh faces to be flagged with a special texture ID which allows a specific part of an avatar bake to be applied to them.

Feature Request JIRA

It is recognised that there are numerous questions / concerns relating to Bakes on Mesh (see my week #8 update). Because of this, and the lack of a specifications document, user Elizabeth Jarvinen (polysail) has started putting together a Feature Request JIRA outlining some of the specifics which need to be considered with regards to the project. Some of the ideas offered might be considered as a part of the initial Bakes on Mesh project, so might be left for a follow-up project. For more information on this follow the links below:

Project Arctan

This is the code-name for the project to re-evaluate avatar and object rendering costs (avatar complexity and Land Impact). Again, just to be clear on this project:

  • It is only just starting.
  • The aim is to make avatar complexity and Land Impact values more reflective of the actual “cost” to render avatars and objects. This might lead to ARC / LI values changing.
    • However, there are currently no details of how LI / avatar complexity values may change or when, as the Lab is still gathering data at this point in time.
    • The Lab is aware of the potential for increases in LI values to cause disruption, and if this is the case, they will seek to minimise the impact as far as possible.
  • The work is not related to Animesh – which will see a “basic” cost (in terms of geometric complexity) applied to Animesh objects (see performance profiling, above). Animesh objects may be subject to further revision as a result of Project Arctan’s findings.
  • It is hoped that Graham Linden, who is leading the project, will attend future CCUG meetings to discuss Arctan as the project progresses.

Other Items

  • PBR Shaders: there have been requests for the Lab to implement physically based rendering (PBR) – using realistic shading/lighting models along with measured surface values to accurately represent real-world materials. Such requests have been noted by the Lab. While adding support for PBR shaders has not been ruled out, it is seen as a significant undertaking, and is thus seen more as a “someday, maybe” piece of work, rather than being a part of the current SL enhancement roadmap.
  • Terrain texture improvements: terrain textures in SL suffer from a low texture density, causing blurring, etc. Again, the Lab is aware of this, and considering making improvements to terrain texture as a possible future project.

Next Meeting

The next CCUG will be on Thursday, March 22nd, 2018, and 13:00 SLT.

Gaia Calling in Second Life

Posted on by Inara Pey

Gaia Calling; Inara Pey, March 2018, on FlickrGaia Calling – click any image for full size

Update: Gaia Calling no longer exists at Serena Kiraly. The sim is under new management and has been repurposed.

Gaia Calling is the name given to the Homestead region design by Gidgy (Gidgette Adagio) – who has previously presented Savor Serenity and Hobbiton (see here and here respectively). It is something of a departure from these previous builds, which were rooted in Tolkien’s mythologies, offering instead a take on more classical mythology – specifically that of the primordial deity, Gaia, the ancestral mother of all life and primal Mother Earth goddess. But while a departure from Gidgette’s past designs, it is nonetheless as enchanting as they have been.

A visit begins on a transparent octagonal platform serenely floating above a deep gorge cutting into an elevated landscape. This platform contains an echo of Gidgette’s earlier builds in that it is ringed by a circle of elven-like arches. A single arched walkway points the way to a second platform, almost at the centre of the region. From this, a tall figure of Gaia rises, arms uplifted as she becomes a tree – the perfect symbol of mother Earth – framed by a rising Sun.

Gaia Calling; Inara Pey, March 2018, on FlickrGaia Calling

The roots for this great tree / statue reach down beneath the platform, extending down to the surface of the water below. The waters of this gorge are served by a series of waterfalls that tumble-down the cliffs and slopes of the surrounding ring of land – a right richly forested, but which doesn’t quite connect to either of the platforms, presenting visitors with an interesting quandary of how to get from platforms to land.

Flying is one means of crossing the divide – but there are preferable alternatives: the arrival platform includes a bubble rezzer for those who like to travel on their own. Simply touch to rez, sit in the bubble and use the WASD / arrow keys for forward / back motion and turnings, and PAGE UP and PAGE DOWN to increase / decrease altitude. For couples, there is a flying leaf rezzer, with the same principles applying to flying it.

Gaia Calling; Inara Pey, March 2018, on FlickrGaia Calling

The surrounding lands offer various paths through the aged trees, some of which are strung with lights. Along these paths visitors can find numerous points of interest: lanterns offering dances, “magic” mushroom that rez picnic spots and / or cuddle spots, a gazebo rich with flower growing in an old bathtub, a cosy camp fire … all offering places to sit and appreciate the ethereal surroundings.

Nor is this all: bears and wolves and rabbits are scattered across the landscape, and for those willing to take the plunge – preferably via bubble or flying leaf –  there is a world under the surface of the waters to be found, where whale, porpoise, shark and more swim together, their surroundings rich in colour from corals and plants.

Gaia Calling; Inara Pey, March 2018, on FlickrGaia Calling

“Many moons ago, many sunrises ago, Gaia called.” Gidgette says of the region, “Her song singing the essence of our being, the calling of the soul, the oneness of our dream, and as our consciousness arises, Gaia smiles.” Wandering this landscape, beautifully lit, it isn’t hard to imagine being one of Gaia’s first Earth-born, and even encouraging spiritual / conscious growth through the mediation platform extending from one of the cliffs of the gorge.

Gaia Calling is a marvellously ethereal setting, rich in content and beautifully photogenic (and photos can be submitted to the region’s Flickr group). It makes for both a restful and fun visit – particularly when floating around in the bubbles. There’s also a lot more to discover than might at first appear to be the case – not only because of the underwater setting mentioned above, but also because of other little spots I’ve refrained from mentioning here so that you might enjoy discovering them for yourself – just be sure to look underground and under tree…

Gaia Calling; Inara Pey, March 2018, on FlickrGaia Calling

SLurl Details

  • This sim is under new management, and Gaia Calling as a region no longer exists.

Second Life Dance: Pathmaker, Lotta, Paramount and Desire

Posted on by R.
Paramount Grand Theatre

Hi there!

It’s your Dance Correspondent, R. Crap Mariner.

Paramount Grand Theatre and Desire Art Theatre perform on the Hell Lust region on Saturdays at 7:00PM SLT, with two Paramount shows a month and the racier Desire performing twice.

Here’s one of their show announcements:

Paramount Grand Theatre

March 3rd & 10th at 7pm SLT.

Spring Into March! Paramount Grand Theatre’s brand new show for March. Come join us for an evening of classy but sassy entertainment as we the Paramount Players dance for you, March 3rd & 10th at 7pm SLT.

The Players are bringing the Irish, the Scottish, the Leprechauns and the Celts to Paramount. Maybe even some American marching may make an appearance!

http://maps.secondlife.com/secondlife/Hell%20Lust/77/83/22

That’s the TL;DR, but I want to know more. Who is Paramount Grand Theatre and why do they create in Second Life? What does sassy but classy mean? What sets them apart from other venues and performance groups? I know I want to know. So, let’s go exploring, shall we?

Ascent into Hell Lust

I arrived at the Hell Lust region in the park that separates the Paramount Grand Theatre and the Desire Art Theatre. Both theatres contain art galleries that show highlights of past productions, with a few erotic statues on the grass. (This inspired me to buy one of the Zensual statues, tint it gold, and put it in my own photographic gallery.)

Photos for Paramount Article

Pathmaker Campbell and Lotta Difference manage this region and these theatres, and Pathmaker met me at a bench by the park to begin the discussion.

The Path of Pathmaker

Where did Pathmaker’s and Lotta’s paths begin? “Lotta and I both have Fine Arts Degrees,” said Path. “ I achieved my Bachelor of Fine Arts degree in the 1980’s from the University of Oklahoma and did much work toward an MFA. After using up my GI Bill for Education, the pay for GA’s at OU was just too pitiful, and I went back to work full-time – as a civilian in order to make a living.”

A career pays the bills, but does it nourish the soul? We all have a need for something, and his was the stage. “I was a ‘born performer’ – when I was a child I was somewhat shy – until I got on a stage or other opportunity to perform at which time I would lose all shyness and . . . just ‘perform’.  Singing, acting in plays, making presentations to senior navy staff, giving speeches representing the Navy at various events including Memorial Day, Veteran’s Day, etc.”

And from a born performer, to the day that they rez into one.

The Journey to the Stage

Now that we know where the urge to perform came from, how did that shape his Second Life? “When I came to SL I had intentions of role-playing as a Barbarian Character – based upon “Conan the Barbarian”  That never came to fruition.  I did RP for a while as a Gangster in a 1920’s Chicago Gangster Sim – That Sim has a theatre called the “Empire Burlesque” and that was where I first began dancing on stage as an entertainer in SL.”

Barbarity’s loss is Burlesque’s gain, I say.

As Path said, that sim has a theatre called the “Empire Burlesque” and that was where he first began dancing on stage as an entertainer in SL.

“We started out doing things the way I learned at Chicago Empire – drag the animations across the top of the screen, do timing by the amount of time chat emotes were displayed on the bottom of the screen. 20 seconds, all movement was done with the keyboard, so things were – well more like live theatre.”

If you want to see something similar to this traditional style, Ballet Pixelle and a few other groups rely on the hand-triggered animation style instead of the scripted mover tools many other groups use, and Paramount and Desire use as well.

“The choreography tools are wonderful,” said Path.”They allow us to do so much more. And like what Lotta said about being a Learning Theatre, I learned how to use Spot On and I taught Lotta.”


Video by Tristan Lyonesse

The Path to a New Stage

Sometimes, our dreams outgrow our minds, and our plans outgrow our current locations, and it’s time to strike out on our own.

“The Chicago Empire was a great and wonderful training ground and I am eternally grateful to the sim owners for bringing me in to their troupe for the better part of a year.  I was, however, champing at the bit to not just perform in others creations, but to create my own productions, I decided to break loose and start a theatre of my own.  Our own it turned out because Lotta and LeAnn threw themselves into the project full force and thus, in November 2012 The Paramount opened.  Rather shakily – but open.”

Sure, you can build a place, but it takes a little bit more, as Path found out.

“At that time we were totally ignorant of the SL Dance community – we did things as we had been taught ‘in Chicago’ -.  By the winter of 2013 we performed our version of the Rocky Horror Show (not the “Picture Show”, the Play) and by word of mouth we were joined in the production by BabyPea and Gunner VonPhoenix and some others affiliated with Guerilla Burlesque.  That December The Paramount made enough money to pay the rent – first and only time that has ever happened.  (Good thing I don’t measure success in this endeavour by Profit Margin!)”

(I think you need to sell mesh feet and bodies and shoes to do that, right? Oh, sorry, let’s continue…)

Paramount Grand Theatre - May 13 2017

“As Paramount began to succeed as in attracting fairly large and consistent audiences, we also became somewhat more “mainstream” and with that, less and less focus on rebellion – pushing the envelope; an attitude of – ‘hey if you don’t want to see what we show then please change the channel’.”

Continue reading “Second Life Dance: Pathmaker, Lotta, Paramount and Desire” →

Looking at RFL of SL 2018

Posted on by Inara Pey

The 2018 Relay for Life season is approaching, and with it comes a change in how RFL of SL is structured and operates – including a new RFL website: Project Relay Refresh.

Under the new structure, RFL is being co-ordinated by a core team of five people, lead by American Cancer Society staff partner, Stingray9798 Raymaker. Four of these individuals each take responsibility for a key aspect of bringing together the core RFL of SL events (e.g. the Kick-off weekend and the Relay Weekend):

  • Nuala Maracas – fund-raising and sponsorship
  • MamaP (Beerbaum) – connecting people and community-focused activities (on-boarding new RFL participants, managing campsite registrations, organising a cancer survivor recognition/celebration/campaign, etc. )
  • Alter, Random (Padar) Darrow – building the experience (building infrastructure, scripting, design mission materials, etc.)
  • Nikki Mathieson – producing events (writing PR, help plan events, co-ordinate / organise event schedules, etc.).

Volunteers are being asked to offer their services via the Relay Task List for as many of the tasks associated with these core activities as they feel comfortable with applying for. There is apparently no restricting on volunteering for tasks in different key areas (e.g. volunteering for tasks in fund-raising / sponsorship and in producing events, for example.

Some Key Dates For Events

Note: this list not intended to be an exhaustive list of FRL-related events; rather it is a list of those known to be forthcoming in the next few months.

Core Events

  • RFL of SL 2018 Kick-off: Saturday, April 7th, 2018.
  • RFL of SL Relay Weekend: Saturday, July 14th – Sunday July 15th, 2018.
  • RFL of SL Wrap Party: Saturday July 28th, 2018.
Kakushi Pasu, Fantasy Faire 2017

Fantasy Faire

Sci-Fi Expo

Home and Garden Expo

Home and Garden Expo 2017

 

2018 SLUG updates #10/1: Simulator User Group

Posted on by Inara Pey

Meraki Islands; Inara Pey, February 2018, on Flickr Meraki Islands – blog post

Server Deployments

As usual, please refer to the server deployment thread for the latest updates.

  • There was no deployment / restart to the Main (SLS) channel on Tuesday, March 6th, leaving it on server maintenance package 18#18.02.12.512536.
  • No deployments are scheduled to either the Magnum or LeTigre RCs on Wednesday, March 7th, leaving them on server maintenance package 18#18.02.12.512536. However, given it is now two weeks since these channels were last restarted, they should undergo a restart this week.
  • The BlueSteel RC should receive a new server maintenance package on Wednesday, March 7th. 18#18.03.05.513046 is said to comprise “internal fixes”.

SL Viewer

360-Snapshot Viewer 5.1.3.513006

The 360-snapshot project viewer updated to 5.1.3.513006, intended to offer improved image resolutions and clarity. However, the update includes some significant issues of its own, including:

  • A failure to render in-world objects / Linden Water in 360-snapshots if Object-Object Occlusion (CTRL-SHIFT-O) is active.
  • A failure to render Linden Water (and possibly in-world objects) when saving snapshots to disk when using the Custom drop-down and leaving Constrain Proportions unchecked.
  • Include HUDs option in the snapshot viewer is inverted: when unchecked, HUDs are displayed in snapshots (and might appear in 360-snaps), when checked, HUDs are not displayed.
  • UI placement issues when the UI is displayed in the snapshot floater preview window – these issues do not translate to captured images, which display the UI correctly.

JIRAs have been raised against these issues.

Other Viewers

Apart from the 360-snapshot project viewer update, all viewers currently in LL’s pipelines remain unchanged from the end of week #9:

  • Current Release version 5.1.2.512803, dated February 23, promoted March 1 – formerly the Nalewka Maintenance RC – NEW
  • Release channel cohorts:
  • Project viewers:
  • Linux Spur viewer, version 5.0.9.329906, dated November 17, 2017 and promoted to release status 29 November – offered pending a Linux version of the Alex Ivy viewer code.
  • Obsolete platform viewer, version 3.7.28.300847, May 8, 2015 – provided for users on Windows XP and OS X versions below 10.7.

Region Crossing Issues Investigation

As noted over the last few weeks, user Joe Magarac (animats) has been digging into the viewer code handling region crossings (See Firestorm JIRA FIRE-21915),SL Forum thread, and this Google document, plus my last update here for more).

He has now come up with s further approach, using  a scripted means to turn off physics and freeze a vehicle on hand-off to the next region and then wait for the avatar data to arrive, using llGetObjectDetails (avatar, [OBJECT_ROOT]) to check for the presence of avatars. On confirming they are present, the vehicle resumes. Overall, the delay is a few milliseconds, and seems to work. However, as Rider Linden notes, Linden Lab still needs to address the crossing logic, although where such work might fit in the current schedule is unclear.

Environment Enhancement Project (EEP)

Project Summary

A set of environmental enhancements, including:

  • The ability to define the environment (sky, sun, moon, clouds, water settings) at the parcel level.
  • New environment asset types (Sky, Water, Days – the latter comprising multiple Sky and Water) that can be stored in inventory and traded through the Marketplace / exchanged with others.
  • Experience-based environment functions
  • An extended day cycle (e.g a 24/7 cycle) and extended environmental parameters.

This work involves simulator and viewer changes, and includes some infrastructure updates.

Current Status

“I got my first inventory objects on the test grid yesterday,” Rider noted at the Simulator User Group meeting. “I’m cleaning up the inventory code today and will wire the old editors in so you can create assets. I expect to have a viewer that people can play with very, very soon.”

Bryn’s Tilt-a-Whirl in Second Life

Posted on by Inara Pey
Bryn Oh: Tilt-a-Whirl

At the end of February 2018, Bryn Oh opened Tilt-aWhirl, the third in a series of single-scene poems  she has been putting together whilst also working on a new immersive installation to succeed Hand (reviewed here). It joins Lady Carmagnolle and 26 Tines (both of which I wrote about here) on a darkened Immersiva. However, in difference to the first two pieces, Tilt-a-Whirl has something of a personal foundation for Bryn.

“It is pretty much a nostalgic memory of being young at a fairground or carnival,” Bryn says of the piece – albeit it a carnival with fantasy overtones. Two rides form the piece, the titular tilt-a-whirl ride, with flashing lights and regular-looking cars, and a carousel with a quite unusual set of animals on which to ride: a dragon, ball-balancing unicorn, a butterfly, and a mechanical octopus, seahorse and horseshoe crab …

Bryn Oh: Tilt-a-Whirl

These are not a random selection of creatures for the ride, however. In her notes accompanying the piece, Bryn notes how some of the creatures have a personal link to her – notably the dragon and the octopus – a creature she’s clearly fascinated by, and with good reason.

There seems to be a further personal element contained within this piece, a reflection of another childhood memory revealed by the accompanying 3-stanza poem, which opens:

I dreamt of my youth
when I met a girl
and kissed her by the
Tilt-a-Whirl

Bryn Oh: Tilt-a-Whirl

Glance under the front of the Tilt-a-Whirl, and this memory is revealed through two figures – Flutter and Juniper – cautiously leaning towards one another, one shrouded by a blanket, hands reaching for one another, heads tilting. It’s a poignant moment caught in time; an echo of a childhood event made manifest once more through art and expression. Click on them, and you can view the video accompanying the scene, and which I’ve taken the liberty of embedding below (the video, and those for Lady Carmagnolle and 26 Tines can also be video by clicking the images on the floor of the arrival point).

Like Lady Carmagnolle and 26 Tines, Tilt-a-Whirl is haunting in theme, but it is also perhaps warmer in tone and feel. All three make for a striking visit.

SLurl Details