Discoveries – Unequal Sequences and Uninvited Group Dancers

Sometimes people do things i’ve not seen before. Good to share them so we all benefit.

1) When dancing more than 1 group sequence…the HUD will stop on the shortest sequence so make sure
that ALL sequences last the SAME amount of time

2) A sequence will NOT play if you have NOT invited that person (i,e. GROUP B) on your HUD. This also means commands from inside it to trigger palettes wont fire as well.

SequenceOnPlay – Caveat

NOTE

SequenceOnPlay, when NOT zero, tells the HUD to start playing dance sequences upon pressing play. It ignores events

Most people use 0 or 7.

But now I strongly suggest you USE values of 1,2,3, or 4 if just you
or
its just you AND a group who will all do the SAME dance sequence.

The reason i say this is that you could use 7 when doing a single sequence  IF you have the same number of dances in *sequence1 and *sequence2. And that is a terrible precedent to set. Its not something that makes sense having to do or remember especially if you are only playing one sequence.

USE 7 when you have groups dancing different dances

USE 0 when you want to dance from autofx sometime after pressing PLAY.

AGAIN, using NON zero AND triggering a sequenc

Anchors, Rezzers, and Movers

Hear ye, hear ye.

VERY IMPORTANT!

Take heed!

================

The Artiste Anchor is a reference point for movers primarily… but also a reference point for a few other Artiste tools.

– Movers mover relative to the Anchor.

– Moves also move relative to the InitialOffset value in the *moves nc….to the Anchor which is a point and rotation relative to the Anchor that is considered the “home” or starting point of a move. Each Palette-Mover will have its own InitialOffset.

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It was asked if an anchor can be linked to the stage.

Yes but with extreme caution

In fact…there is no need to link it to the stage.

Let the stage be the anchor…

IF…
you create your movers last..ie. your stage is all done,
meaning you do NOT add any more items to it…NOR do you reposition any.

Doing so will most likely change the center-point of your combination ‘stage-anchor’
and will cause your movers to re-rez in the wrong place.

If you add mesh, after creating rezzers, it could even cause severe mis-positioning

ALSO….items in sets can sometimes rez differently when not given enough time to rez. They can compete for time and sometimes item A will rez before item B and other times item A will rezz after item B is complete.

Sometimes they will only rez successfully if the first one to rez has enough time to finish. It can depend on sim scripts, no. of items on the sim and probably a host of other factors I am not aware of. This can cause a failed set-rez as order can change things. It could cause the global set-center-point and maybe set-rotation to be different than when you created your movers.

So don’t be afraid to increase the RezDelay time on the *setmaster in the MasterRezzer to help solve the rez-ordering issue.

Bottom line is heavily-linked set pieces or mesh set pieces can cause havoc when rezzing. Linking a non-mesh prim as the root of mesh items can help reduce the havoc. I recommend NOT linking-mesh …but DO LINK non-mesh.
============
The Anchor has scripts in it now. It used to have zero scripts. It was and still is just a place-marker for movers.

BUT…

In the process of creating mover paths using a breadcrumb method akin to what many of you are used to (we call ours Controller/Marker method)…the Anchor makes use of a lot of intelligence to control path creation along with a whole host of other cool features and controls communications between controller, markers, and Palettes..

As Kat wisely noted, once you create your mover paths, the scripts can be removed from the Anchor.

==============
We found a workable method of orienting the Anchor to a set or sets is:

– to align the Anchor with the MasterRezzer (i.e. place the Anchor under the MasterRezzer) because….sets rez relative to the MasterRezzer when the set is “not locked”

– Another method is to use the MasterRezzer as your Anchor and not have an anchor.. But then locking the set at the show-venue loses its advantages. But if you go with an unlocked MasterRezzer then this might be a solution that fits your style.

For increased stability and reliability, we suggest:
1) rezzing the Anchor 1st as the only thing in its set
2) rezzing the PaletteMovers 2nd as the only thing in their set
3) rezzing your set or sets

Also recommended is building your sets on your work platform in the same direction as your show-venue.

Also recommended is taking your set and rezzing it at the actual show venue prior to actuals show time to insure there are no hiccups. You can’t make assumptions.

Example: A show-venue built close to parcel borders can cause failed rezzing if items need extra temporary room to rez that crosses a region or parcel border. This can cause mangled rezzing. Solutions are: moving your MasterRezzer and redoing your rezzes or increasing MaxRelDist,20 on your *setmaster nc or locking the set.

Experiment but just pretest your rez operation prior to show-day.

But feel free to experiment and find something that works for your particular set of circumstances.

Be sure to save a copy of your unlocked MasterRezzer before locking it. so you can easily recreate it on your work-platform later.

The Artiste SetRezzer – TroubleShooting

Some day you may have issues rezzing a set.

The Artiste SetRezzer is very comprehensive and is the most sophisticated rezzer I have ever seen.

It comes with parameters that address non-standard rez issues including built-in cross-fade-alpha issues.

======
Keep this information handy as it can get you out of just about all jams regarding failed rez attempts.

1) For mesh items that fail to rez properly, link them to a non-mesh root.

2) Try increasing the value of RezDelay on the *setmaster nc

3) Try increasing MaxRelDist on *setmaster nv

4) Try increasing the DubiousDistance on the *setchild nc

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I was asked it other product movers can be used (rezzed)with it. I honestly do not know.

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We have developed a method for rezzing Artiste Anchors and Artiste Movers separately and in logical order in concert with your main sets.

1) Rez the Artiste Anchor first in its own set
2) Rez the Artiste Movers in their own set
3) Rez the rest of your set (or sets)
4) You can rez sets on the fly just-in-time (visible and invisible)
5) You can kill sets when no longer needed
6) You can rez, crossfade, kill, etc. all from *autofx as well as manually

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NOTE: Its best to create your set on your work-platform to face the same direction as the show-venue. (North, South, East, West) It avvoids hassles

BUT……

So often performers perform the same set at different venues

and more likely than not, the new venues stage faces a different direction that your initial show-venue where you first did your set.

SOOO……….

The Artiste now has a convenient way to reprogram movers to reorient in a different compass direction (North, South, East, West).

It is covered in BK11 – The Artiste – Book – Mover (Advanced) v2.0
in the Set Reorientation chapter. I can help walk you thru it in a one-on-one if you need help.

I mention SetReorientation here because you will need to to it 1st before placing them in your rezzer. I suggest making copies and keeping your original set of movers. That way you likely have 2 of the 4 directions covered for future use.

======================
There will be classes given on the Artiste SetRezzer covering the topics below:

Artiste Class Curriculums

1 – Basic Set-Rezzing – Master and Child
2 – Handling Rezzer Issues Mesh – When to link and when not to)
3 – Rezzing Movers Special Handling
4 – Setting up CrossFades, Manual and Automatic
5 – Controlling Rezzer from HUD
6 – ChildRezzer Menu Options
7 – MasterRezzer Menu Options
8 – SaveBackToObjectContents
9 – NoCopy Set-Rezzing
10 – NoModify Set-Rezzing
11 – Locking, Unlocking, & Freezing
12 – Particle-Masking & Set-Swapping
13 – TroubleShooting

Behind the Curtain

After teaching the Intro to Artiste course, I realized that even though I had tried to strip things down to the bare bones, people were still having issues and difficulties with visualizing how all the puzzle pieces fit together.

A discussion with Zed led to the idea of doing a ‘walk-through’ of a routine – to take a completed routine and to break it down into the various parts, to show how everything works together come showtime.

Since I had already made a video of an Artiste routine, I thought it would be easiest to use it. 🙂

The routine is one I did for a Christmas show and it’s really fairly simple. Here is the finished routine:

If you can’t see the embedded video, click here.

To make this routine, I needed the following puzzle pieces:

a dance sequence (on the *sequence1 nc)
events for each piece (on the *events nc)
appropriate RLV folders/subfolders for costume pieces
adorn/remove commands for costume pieces/changes (on the *autoadorns nc)
chat commands for my set faders (on the *autofx nc)
a configuration for the HUD buttons so I could push-n-play (on the *config nc)

DANCE

To create the routine, I first picked out my music.  Once I had my music picked, I created the rough choreography using my Barre HUD and its recording feature.

I then tweaked my choreography, added in some beginning and ending poses, and put the sequence in the Artiste HUD.

The finished sequence went on the *sequence1 notecard like so:

Xmas Sequence

Xmas Sequence

The first line (palette=) is to activate the palette mover, something I haven’t taught you yet. However, you can see my sequence, including the beginning and ending poses, along with the dance animations and times.

Now that I knew what animations I would be using, I could load those into the Artiste HUD as well. With the *sequence1 notecard loaded,  the dance piece of the puzzle was complete.

EVENTS

Next, I added my events. Since I wasn’t sure how many events I would need, I just entered about 15 events with 10-15 second durations. Doing it this way lets me ‘tweak’ the durations of individual events as I need to make all the timings work the way I want.

I ended up making several changes to my events notecard as I progressed in creating the routine.  Since I made several changes, you’ll notice that the final *events nc actually has 19 events, not my original 15.

Xmas Events

Xmas Events

Notice that I did not use the quotation marks around the event names.  For safety’s sake, you should use them. 🙂

ADORNS/REMOVES

The next puzzle piece I needed to work on were the costumes. Since I planned to change outfits in this routine, I had to figure out when, where, and how I was going to do that. I had also decided to wear my mesh body (which presents its own set of challenges), so careful planning was required.

The first outfit was going to be a winter costume – a mesh coat and some boots. The second outfit was a risque Boudoir costume with strings of Christmas lights strategically placed. To hide the costume change, I was going to use a rather large particle effect that I could wear.

First I created ‘outfits’ for each costume, including hair, clothes, shoes, makeup, tattoos, etc. Once I knew what I would be wearing for each costume, I could then figure out which pieces I would need to add or remove and when I would need to do that.

I was also going to be using several different particle effects (worn on my hands), so I needed to be able to add/remove them as well.

RLV FOLDERS

The first step in setting up your adorns/removes is to set up the necessary RLV folders. In my case, I would need 6 RLV subfolders.

I had 2 folders for the 2 different hand particles I would use. I had 1 folder for the large wearable effect I was using to mask the costume change.  I had 1 folder to remove the pieces of the winter costume and 1 folder to add the pieces of the risque costume. I also needed 1 folder because I would be removing a mesh body. (I’m not going to explain why here, if you’re interested in knowing, just ask me.)

Once I knew how many folders I needed, I created them and then pasted each item I wanted to add/remove as a link into the appropriate folder.

So my RLV subfolders (created under the !Adorn folder) looked like this:

Xmas RLV Folders

Xmas RLV Folders

All the subfolders follow the required nomenclature (a). So the aLMXMBaubles and aLMXMSnowHands folders are for the two different particle effects I wanted to wear.

Notice that even though I plan to both add AND remove them, I only need one folder.

The aLMXMWinter folder removes the appropriate pieces of the winter costume, the aLMXMBigLight folder adds a large particle effect to mask my costume change, and the aLMXMLights folder adds the appropriate pieces of the second risque costume.

Now that all the RLV folders are set up, I can create my *autoadorns notecard so that the HUD will know when I want each of those things to be added or removed.

Xmas AutoAdorns

Xmas AutoAdorns

Ok, a bit of explanation here, because this will confuse people. In the course of practicing my routine, I decided to add some particles I’d worn in a different routine (those in the aWOTWPixie folder).

Reading through the *autoadorns nc, you can see that on event #1, the HUD will add (‘a’) the WOTWPixie particles. On event #2, the HUD will add the LMXMSnowHands particles.

On event #6, the HUD will remove (-) the LMXMSnowHands particles, and on event #7, will remove the WOTWPixie particles.

On event #10, the HUD will add the LMXMBigLight effect, on event #11 add my alternate mesh body, on event #12 remove the pieces of the winter costume I have specified, on event #13 add the pieces of the risque costume I have specified, and finally, on event #14, remove the ‘big light’ particle effect.

That seems like a lot of things going on, and it is. However, if you look back at the *events nc, you will see that events #10-14 only take a total of 10 seconds. When you watch the final routine, you will see that everything happens very quickly.

AUTOFX

Because I wanted to change costumes in this routine, I also decided to do a set change. The first set is an outdoor snowy scene, and then I wanted it to fade into an intimate indoor setting.

So I created both my sets, placed everything where I wanted, and then added my fader scripts to the pieces (using the ShowHideFade script).

I would need to trigger the fade commands via the *autofx nc, as well as activating a couple of particle effects that I would be rezzing (not wearing).

Xmas Autofx

Xmas Autofx

As you can see, my *autofx notecard doesn’t have much on it. I have a start and stop command for my snow effect, a hide command and a show command for my sets to crossfade, and then start/stop commands for an additional particle effect.

That’s it. (Yes, I know I have two commands on one autofx line; that’s something I haven’t shown you how to do, but it is very simple.)

CONFIG

The last piece of the puzzle is to update my *config nc.  Because I am going to be using various tools, I will want to make sure those buttons are set to ‘on’ in my *config nc so that I don’t have to remember to turn them on each time I wear my HUD and perform.

Here’s my *config nc, showing the buttons I have set to be green/on for the HUD:

Xmas Config

Xmas Config

Here, I have set AutoAdorn to on, AutoFX to on, and AutoSequence to on. (AutoStrip is on as well, but you don’t have to turn it on if you only use the *autoadorns nc.)

FINISH LINE

Once all of these notecards are done, I did a HUD reset to make everything reload and update.

You may, of course, need to tweak your timings and other items to make everything work the way you want, but that’s all there is to it. The HUD does all the heavy lifting from here on out. 🙂

If you go back and look at what I created, you’ll notice that even though I put 19 events in my *events nc, I didn’t use that many. I used only 5 events in the *autofx nc, and only 10 events in the *autoadorns nc. So really, I only needed 12 events for this routine (3 of the events in the *autoadorns nc are the same events as in the *autofx nc).

I could have gone back and changed the event numbers and timings, but since it doesn’t hurt anything to have extra events, I just left it how it was.

Now that you have seen how I created the routine and how I set up my notecards, go back and watch the video again and see how it all works together.

It’s not as complicated as you think! 😀

Preview YouTube video Let’s Make Christmas Merry
click here.

 

Artiste Quiz #1: Events – Answers

==========
1

TRACE,on
ELAPSED
1,”FadeInSet”,0
END

A: Time cannot be zero.
==========
2

TRACE,on
ELAPSED
1,”FadeInSet”,1
2,”FadeOutSet”,1.5
END

A: Time must be at least 1 second greater than the previous time. The 2nd event should be 2 or greater. It can be 2.5.
==========
3

TRACE,on
ELAPSED
1,”FadeInSet”,15
2,”FadeOutSet”,5
3,”EmoteBigBen”,35
END

A: Time must be a greater than the previous time when
ELAPSED is the event type. Second event must be greater than the 1st. Perhaps 5 should be 25.

==========
4

Trace,on
1,”FadeInSet”,10
2,”FadeOutSet”,20
END

A: Trace shuold be all CAPS (TRACE,on)
==========
5

TRACE ,on
Duration
1,”FadeInSet”,21
2,”FadeOutSet”,20
END

A: Duration shuold be all CAPS (DURATION)
==========
6

TRACE,on
DURATION
1,”FadeInSet”,20
3,”FadeOutSet”,20
END

A: Event #2 is missing. Can not have missing events number or gaps.
==========
7

TRACE,on
DURATION
1,”FadeInSet”,15
2,”FadeOutSet”,10
3,”EmoteBigBen”10
END

*autofx
4,r25=CloseCurtain

A: AutoFX wants to trigger on event #4 but there is no event #4 defined in the *events nc.

==========
8

TRACE ,on
ELAPSED
1,”FadeInSet”,15
2,”FadeOutSet”,15
3,”EmoteBigBen”,15
END

A: Each time must be at least 1 second greater than the previous time.

==========
9

TRACE,on
ELAPSED
1,”FadeInSet”,15
2,FadeOutSet.20
3,”EmoteBigBen”,25
END

A:  A period is used instead of a comma on the 2nd event AND there are no quotes around the 2nd event name.

==========
10

TRACE,on
ELAPSED
1,”FadeInSet”,15
2,FadeOutSet,20
3,”EmoteBigBen”,25
END

A:  There are no quotes around the 2nd event name.

==========
11

TRACE,on
ELAPSED
1,”FadeInSet”.15
2,”FadeOutSet”20
3,”EmoteBigBen”,25
END

A:  Period used instead of a comma on 1st event AND missinc comma on 2nd event.