It is called the MJ rule because MJ first stumbled upon it.
In this example the total wait times for event #3 is (3+4) = 7. While it is less than the event time on event #3 (9), this is not the event that is applied. It is always the difference between the PREVIOUS event and CURRENT event when ELAPSED time is used which is the DURATION of Event #3, which is the most common type of EVENT TYPE used.
Subtract Event #2 time (5) from Event #3 Time (9). 9 – 5 = 4
Event #3. Its duration is only 4. And so 7 seconds is greater than 4 seconds. There is not enough time for the WAITS to happen. This is an ERROR!
What we found out is that the consequences often happen many events later so its not obvious that the problem is on Event #3 because functions attached to event #3 might work fine. In the real life case, the emote attached to event #7 did not fire. Where the behaviour will falter and suffer is complex and unpredictable.
This was argued to me. But once I found the problem and fixed the WAIT times so they were less than the duration of Event #3, the problem in Event #7 was fixed
When using DURATION as the Event Type, it is a lot easier and intuitive to detect. The DURATION for EVENT #3 is 4.
Good Day all the folks of Artiste land.
I am reporting today what I should have done awhile ago, but with a major overhaul and reopening of a venue coming soon, things have been rather busy.
But i am writing this post to say why I would do a small routine with near 80 commands in just over 4 mins to a song.
Well simply said its to push things enough to see limitations if any, or problems if any.
I have made a lot in the past 6 months. I won’t say how many routines i have made but lets just say the final could be pretty high and each routine I have incorporated different measures.
But this one I am writing on now uses 4 huds, not all working at the same time but with attach and detach, and with a lot of varying commands so if you break the structure down a hud is issuing something at the average percentile of 2-4 seconds per event.
I know that is not a figure set in stone but a estimate for the math wise folks, why push the limits of a routine? Well why treat it like a Rolls Royce? And get under the hood of a Ferrari and take it for a spin?, so that’s my reason!.
rez a palette near an anchor, let it fully load to ready status, then drag the palette outside of a 20 meter radius and then configure its initial, reset the palette on the initial position and you can then move the palette anywhere and somehow it will always go back to the initial but the initial is not based on grid position it is still based upon the the corelation to the anchor, so setup a palette todo the InitialOffset, on reset to find the anchor, then drag away and do the initial and wala palette can go anywhere and is still able to find the anchor 😀 even if it doesn’t say it does in local, if you need any help contact lat or myself. ty
THE BLACK ROOM
When I first heard “Breath Control” by Recoil I was driven to do a routine around it but I had no idea what form it would take or even when I could perform it as it was rather dark and more suited to an “After Dark” audience. Then, a couple of months ago, Imajica asked me if I would join her and Zed do a one-off show at a BDSM club. I had another old routine in store but I wanted to see if I could pull this new one off in a couple of weeks.
The set and costume were no real problem but it was the essence of the song and its cut-up sections leading me to want to do something more than just a dance. It became more cinematic in my mind and so the idea of having a fade to black in certain places made sense. Easily achieved with a simple fade screen timed to the breaks in the song.
It was only a small step from there to imagining cutting the action up into segments and making them very different to suggest the passing of time while the protagonist is running through these memories.
I decided to use force-sit from one area to another masked by the black out.
Originally this was going to be about 6 palettes as I was going to move her around more than I did. It also got me thinking about economy again. Palettes can be used to do so many things and they don’t have to be used discretely as one thing in a routine.
For example, in this routine the first palette (Pal A) is by the window for the smoking stand. She then moves to the palette in front of the chair where she walks back and forth (Pal B). Then comes the palette on the day-bed (Pal C). I used tiny moves up and down to accommodate the height difference in poses (one of these days we will have poses that don’t fling you around while changing from one to another).
The next sit is to the chair. In my original idea I would have needed at least another two palettes to complete the routine. In fact I used only three. While she is sitting on the bed, the first palette (Pal A) moved to the chair to become the sit there. I then moved her back to Pal B for the rest of the routine (which I simplified from my original idea as I thought it was too much).
so Pal A > Pal B > Pal C > Pal A >Pal B
Using one palette for all the moves might have been asking too much, but the whole thing could actually have been managed by alternating two.
All the animations were in the Sequence notecard and the moves were directed from there as well. Only the screen fades and the sit-to-sits were directed from *autofx.
Example of Autofx:
The resulting video has had some post-production but the routine is pretty much as it was performed live and I am sure with some judicious use of autocam we could have gotten those delicious “through-the-fan” shots!
I know I bang on about this all the time, but the key is simplicity and planning. I was up against the clock to get a routine done start to finish in 2 weeks when I had so many other things going on in SL and RL. You can’t do that and assure quality if you don’t plan sufficiently well. Draw your ideas out, map them, put them on sticky-notes, draw them in mashed potato..what ever helps you sort them out into a coherent form. Then pare it all down to the simplest way of doing it.
Don’t just think about recycling palettes as movers. Could the mover you used 3 minutes ago move to the other side of the stage and be a particle generator?
Could it appear on stage as something else? Can it just sit where you let it and direct another palette to do something else or even speak? There are many ways in which they can use their chameleon talent to swap from one role to another. Think outside the box.
Makes one less thing you have to add to your rezzer…and hey, that can only be a good thing, right?
How are you all doing? I’m very well thanks.
The reason I post this is to comment on the recent performance and the making of the Girl On Fire video that will be linked in this brief summary and edited by Lat.
Ffirst, the making of the routine was a lot of fun. The hat-throw itself was an SL dance at first, not from the adorn point-of-view but the throw itself. Lat (Yummy) has done it before for the demo videos for everyone to learn from.
It was a subtle change from the original sword throw, to actually use it in a routine performed live at The Wolf Theater. Lat will cover all the aspects which I used in this routine so I won’t go over them as I know she is quite eager to do it.
Learning new things can be time consuming and to implement them into something thats original or that has not been done before is even harder to do at times while at the same time associating it with dance.
But the point is, it can be done. And the more complex you make a routine the quicker you feel gratification in the work you have accomplished,
If someone asked me to sum up the complexity of it, most is pretty easy. The hat, being the trickiest part of it all, really didn’t take long to do, building on the previous sword-throw. So, as the thrower is now, a few hours is all I need to make something throwable. That includes rotation, velocity, and distance. Anyone can do it but it takes time to learn so best of luck to everyone!. Oh I forgot the link
The preparation, creation, live-performance thru the making of the video conjured up a books-worth of ideas, thoughts, and emotions, but I will try hard to pare down my thoughts and be as concise as I can.
First and foremost this is the first effort and results from a person not only new to the Artiste but new to SL show-dance as well. This routine prioritized learning and using features of the Artiste over any other routine-creation-criterium. It is the 1st live-show ‘throw’ .
I think we have isolated key factors required to become proficeint in the Artiste way of life.
This effort shows some of what CAN be accomplished when a person:
1) sets aside a LOT OF TIME to learn,
2) PRIORITIZES learning and mastering tool-skills over performing and other distractions,
3) acquiring almost DAILY ONE-ON-ONE tutoring, and
4) really WANTS IT and BELIEVES in the RESULTS
5) usually didn’t avoid letting me know when there were ISSUES as in, errors, omissions, lack-of-clarity, missing steps, etc and set about getting them resolved.
Is all the effort worth it? I often ponder and wonder that. And even when answered, I realize the answer will be personal. What is worth it to one might not be worth it to another.
So, that is a question I cannot answer. Only a person like Sarah who has gone thru the ordeal can answer. I can never be “new” to the Artiste experience. I repeatedly asked her on several occasions and she always answered in the affirmative. Proof may well be in the pudding as she seems to have an unending craving for more Artiste feature-knowledge, experience, mastery, and practical application. Her enthusiam remains at an all-time high always trying to top her previous endeavors..
The focus on what has been done here should be placed on the mastering of intermediate as well as advanced Artiste skills in a relatively short span of time by a relative new-comer… more so than polish of a final product as she is new and should be allowed the time to grow and mature like all of us had.
Tha Artiste is not an easy product to learn much less master but now i know that with a new person…it CAN be done in a reasonable amount of time and with extreme sacrifice.
Many of the accomplishments are visually apparent. Many will have significance only to those familiar with the internal machinations of the Artiste. There are just a whole lot of hurdles that trip up 95% of those who try.
I will delineate the techniques that I identified in this performance:
1 – Dance-Sequencing
2 – Group-Dancing
3 – Cane-Adorn
4 – Group-Cane Adorn
5 – Hat-Swap (head-to-hand)
6 – HatThrow (Thrower) (1st live use in a show)
7 – Compound-Palette design (Fire Particle and Thrower)
8 – Sit-2-Sit
9 – Group Sit-2-Sit (Relay)
10 – Multiple Movers
11 – Lower
12 – Raise
13 – Extendibles (Extractions) (Phoenix) (1st live use in a show)
13 – SetRez
14 – SetSwap (HUD-sequenced control
15 – AutoCam design (1st live use in a show)
16 – HUD sequenced Curtain Control
17 – Rez Object (Palette)
18 – Kill Object (Palette)
18 down, only 182 more to go.