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Fluffy Sharkfin

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Everything posted by Fluffy Sharkfin

  1. While I agree with you 100% I do have to wonder what the reaction would be if someone who bought a Stradivarius were able to examine it (i.e. the RL equivalent of right-clicking and checking the General Tab in the build window) and see "Creator: Johann Russo" or some other common name they didn't recognize!
  2. I don't think the demand for "original mesh" equates to "unique content" since it's most likely that having unique scripts is of far less importance to consumers than unique mesh or (in the case of furniture, etc) unique animations. For the most part the average consumer is probably more concerned with whether the script actually functions properly than if its unique and created solely for use in the creators own products. I think the saddest part of creators misusing content from illegitimate sources in order to keep up with a busy workload is that, in most cases, if a creator is successful enough to be so in demand that they automatically receive invites to all the large events and have such a heavy workload then chances are they're in a position to hire other aspiring creators to help out, but choose not to for whatever reason. Personally I've never used AV-Sitter or other similar scripted systems but then I create more for my own amusement and because I enjoy a challenge, so will create the mesh, write all the accompanying scripts, and on the occasions (which are rare since I don't often make furniture) that the item in question requires them I'll also try my hand at creating the animations as well. That being said any creator that's running a popular store on their own and providing 100% unique content must, in my opinion, be some kind of SL savant since the workload involved in just creating the content alone is heavy enough, when you then consider the marketing, social media, customer support, etc that's also necessary to make a business successful in SL these days I just don't see how any one person could find the time to do all those things and still be able to release multiple quality products per month.
  3. And what leads you to believe that I've misunderstood your argument, cos I'm fairly sure I understand what you were saying quite well?! ETA: @FionaleinOkay, having re-read your post a couple of times I will freely admit that I got the wrong impression. I misconstrued your meaning and assumed that the part I quoted was condoning the use of models acquired from such sites when what you meant was that it's better to purchase mesh created by others and customize it rather than upload "unique" meshes from illegitimate sources. I'll leave my original ramble as is since the information regarding the TOS constraints of 3rd party model repositories may be of some relevance to the discussion in this thread, but I do hereby sincerely and profusely apologize for the misunderstanding and will now go sit in the corner and think about what I've done... Sorry Fionalein!
  4. I'm talking about creators of original content sold on 3rd party sites, not SL store owners... perhaps you'd like to read the rest of my post before responding?
  5. This isn't so much about some "craze" over unique mesh, it's about respecting the rights and wishes of the people that spend time creating the original content. Personally I have absolutely no problem with an SL store owner hiring someone else to create mesh for them or purchasing the rights to upload their creations, but as ChinRey pointed out in the above post there are some online stores that don't allow content sold on their site to be uploaded to SL, or even distributed on other official 3rd party repositories (in the case of those that do the online store will often take a much higher percentage of the profits from each sale than they would if the item were available exclusively on their site alone). Creators who choose to make content and sell it on those sites often rely on those profits in order to help pay their RL bills, and by allowing those creations to then be uploaded to SL they are in effect breaking the online stores TOS and therefore risk having their accounts disabled and losing the income on which they rely. This can lead to them being put in a situation where they have no choice but to file DMCA takedowns to protect their livelihood. If a creator is selling their content on one of these online stores they have invariably had to agree to a TOS, and, regardless of how cute an item is or how much anyone may want a copy in SL, that doesn't give anyone the right to put someone elses livelihood in jeopardy, regardless of whether the SL store owner pays for a limited license or not. If a content creator has agreed to an online repositories TOS and an SL store owner really wants a copy of an item that they can upload to SL then they should contact the original creator of that item and negotiate a price for them to create a similar item which won't be covered by any existing TOS and can therefore be uploaded to SL legitimately.
  6. While I'm sure to some this will seem like stating the obvious, I think it's worth pointing out for the sake of this discussion that there's a huge difference between a creator being "inspired" by other designs and making something similar (or, in the case of some, copying that design outright) and someone downloading 3D models from a site and attempting to pass those items off as their own original works. While the former may indicate a lack of imagination (and a certain amount of dishonesty if the creator in question is attempting to pass said items off as their own original creations), the latter is, as Tourdeforce points out, nothing short of theft and clearly against the law if the person doing it hasn't been granted a license to do so (and even in the case of those that have been granted license to use that content within SL, if said license doesn't permit them to grant LL the rights to use it according to the current TOS then it's still against the law). Furthermore trying to use the excuse that "I'm so busy that I just can't keep up with the workload" is simply unacceptable, the truth is that in SL we always have a choice as to how much work we take on since each creator is essentially self-employed, so the "I just couldn't keep up" excuse basically translates to "I'm greedy and/or incapable of admitting my own limitations". The sad thing is, nature is literally full of weird and wonderful things which can be drawn upon for inspiration. Some of my favourite RL artists are those that have managed to combine inspiration gained from the world around them with their own imaginations to create stunning and original works. Am I outraged? I can honestly say I really wish I was, but for the most part SL content creation seems to rely on the honour system, and my faith in humanity has long since waned beyond the point of shock or outrage, these days the most I can muster in cases such as this is a general feeling of disappointment.
  7. @Krystle Poikolainen It sounds as though the mesh surface is displaying the entire sprite sheet and not running the texture animation at all. Any chance you could post a copy of the script and maybe a screenshot?
  8. I don't know if you have anything else going on in your script that you've omitted which would require you to decrement the value of Countdown but if not then using a 1 second timer then only performing an action once every 6th time the event is triggered is hideously inefficient, you may as well just remove Countdown entirely and use a longer duration for the timer instead. Also there's no need for the llSetTimerEvent command in the Check() function since you set a timer in the state_entry event after calling the function and you only need to set the timer event once rather than each time the function is called. I'd strongly recommend you heed Roligs advice and use a much slower timer, 1 second (or even 6) is far too rapid for detecting a change that only happens once every few hours (you can always use the changed event to detect changes in sun position when moving between different regions, there really is no need to be using a timer that fast if all you're doing is checking to see if the sun is up). Additionally I can't help wondering if it would be simpler and more efficient to remove vector sun_dir = llGetSunDirection(); IsDay = (sun_dir.z < 0); from the state_entry event and replace the multiple if statements in the Check() function with Check() { vector sun_dir = llGetSunDirection(); IsDay = (sun_dir.z > 0); } so the final script would look something like this... integer IsDay; Check() { vector sun_dir = llGetSunDirection(); IsDay = (sun_dir.z > 0); } default { on_rez(integer start_param) { llResetScript(); } state_entry() { Check(); llSetTimerEvent(120.0); } timer() { Check(); } changed(integer change) { if (change & CHANGED_REGION) { Check(); } } }
  9. You can offset the spawn point for particles by using the PSYS_SRC_PATTERN_ANGLE_CONE pattern, setting PSYS_SRC_ANGLE_BEGIN and PSYS_SRC_ANGLE_END to 0 (PSYS_SRC_INNERANGLE and PSYS_SRC_OUTERANGLE have been deprecated and replaced with ANGLE_BEGIN and ANGLE_END, so the script in the op is outdated), then just use PSYS_SRC_BURST_RADIUS to set the distance from the center of the prim that you want the particles to be generated at.
  10. @animats Polygon Cruncher by mootools is another commercial product that works pretty well for mesh optimization.
  11. Tips for drawing folds and wrinkles and blender tutorials probably aren't going to be of much use to the OP given that he's asking for info on how to create clothing for Marvelous Designer (a 3D app dedicated mainly to cloth simulation). @131129 You'll find tons of tutorials for MD on youtube, but I'd suggest starting with the ones available on the official website. ETA: If the official tutorials don't have the info you're looking for I'd recommend checking out CG Elves youtube page, they have a large selection of video tutorials for Marvelous Designer, including one for the Solidify tool, which seems to be an important part of the wrinkle-making process.
  12. If you're thinking of using llSetTextureAnim then you may want to reconsider, since it's a client-side effect it's impossible to keep it synced with SL sun position. Each new avatar you meet will see the animation from the beginning, rather than at the stage it should be at based on current sun position (as well as the texture animation restarting at odd times, like when you enter a new sim). It would be useful for fast, smooth transitions between pupil states but really won't work for long, slow transitions. You're much better off using llSetPrimitiveParamsFast to change the texture offset. As for an example script there are plenty of them on the wiki pages I linked to earlier in this thread which should help you understand the usage for each function, but the general idea is to start a timer running in your state_entry event using llSetTimerEvent, then in the timer event check the sun position and update the pupil size accordingly. Personally I'd opt for using a very slow timer (since the effect you're trying to create is extremely subtle and most likely the only person that's going to be staring into your eyes long and hard enough to notice it is you it would be a poor use of sim resources to have a fast timer updating them constantly), and possibly detecting region/parcel change and updating the pupil size for those to accommodate custom windlight settings.
  13. As long as the object isn't deeded to group and they don't have the owners mod rights then they shouldn't be able to delete another avatars objects, only return them. Of course, you're absolutely right about using copiable items rather than no copy, but with the popularity of gacha these days I'd imagine that's not always an option.
  14. Another approach would be to use two spheres, one slightly larger than the other, with a black 32-bit texture on the outer sphere (with a small strip at the top of the image being opaque and the rest being transparent), and the iris and sclera (the white part of the eye) on a separate texture on the inner sphere. Due to the way spheres are UV mapped adding the black texture with alpha channel to the outer sphere will create a black spherical cap, the size of which can be controlled by altering the vertical offset of the texture (or by using llSetLinkTextureAnim).
  15. You could probably do it using llGetSunDirection and llSetLinkPrimitiveParamsFast. Of course if you want it to be really realistic, you could also take into account the direction the avatar is facing using llGetLocalRot so that the pupils dilate when the avatar is facing away from the sun and contract when facing towards it.
  16. In addition to ChinReys suggestion, you can also reduce the triangle count significantly by optimizing the sphere topology. There are some excellent examples on this page, Sphere Topology (I usually use the method illustrated below, but there are other methods which may better suit your needs). Also since you'll only ever see the sphere from the inside you shouldn't have to worry so much about having a smooth curved surface as you're never going to see the silhouette of the object.
  17. You can find more general information on Linden Homes on this page and the signup page for requesting your own is here. As JimTondini pointed out they only recently increased the amount of land you get for free from 512 to 1024 and the linden home plots are still only 512 so if you want to take advantage of your full allowance then you'll need to go buy a plot on the mainland, but if all you want is a free home at no cost then just signup for a linden home.
  18. After studying the image you posted for a minute or two it occurred to me that texture animation isn't really an option since you seem to have the land and the water as a single object so animating the texture is going to slide the puddles of water around rather than just animating the surface of the water. You could consider adding a single flat plane at water level and then putting a separate water texture on that which would allow you to have an animated water surface that people could walk "into" rather than on (assuming that the object you're using isn't just a flat plane of course), then you could dispense with the specular exponent and environment intensity channels but if you're intent on having a single object for both land and water then yes you would of course need alpha channels for your normal and specular maps. Unfortunately when it comes to reflective things in SL the environment map is pretty basic and doesn't really work well on large flat surfaces, you'll most likely achieve a more realistic and aesthetically pleasing effect using a separate plane so that you can have an animated normal map to disrupt the waters surface and scatter the reflection a little. As for which of the two specular alphas in your image works best, I guess that's just a matter of personal preference, mine would be the one on the left, since the one on the right makes the water look a little too light during daytime, but then that's probably going to depend on windlight settings as much as anything else.
  19. From the wiki Texture Channel Encoding How the renderer will treat each color value in a texture image channel Parameter Red Green Blue Alpha Diffuse Map Red Green Blue selectable see Alpha Mode Normal Map Normal X Axis Normal Y Axis Normal Z Axis Specular exponent Specular Map Red Green Blue Environment intensity As you can see the Specular exponent is controlled by the alpha channel of the normal map, and the Environment intensity by the alpha channel of the specular map. So adding an alpha channel to the normal map won't have any effect on the reflectiveness, only the glossiness of the object (and having a solid white alpha channel is pointless, you may as well use a 24 bit image instead of 32 bit and control the specular and environment strength using the values in the edit window). In the case of water there's no need for a specular exponent or environment intensity map, since the surface properties of water are uniform and don't tend to vary unless you're dealing with whitewater (aka waterfalls, rapids, etc). When dealing with objects that do require specular exponent and environment intensity maps once you have them set up properly you should be able to ignore the values in the edit window (just set each to 255 and rely on the alpha channels of the specular and normal maps to adjust the values on a per-pixel basis). The same goes for the specular color picker in the edit window, if your specular map is set up correctly there should be no need to mess with the color picker since the RGB channels of the specular map are already doing the same job at a per pixel level. No need to use setprimparamsfast, settextureanim works on all three maps simultaneously, and since its client side not server side will give much smoother results without all the extra lag setprimparamsfast would create.
  20. @OptimoMaximo Agreed, Maya definitely has a lot of excellent features, and no app is going to be able to do absolutely everything the way you want, you just have to weigh the available features of each app and make your choice based on the task at hand. 3D apps are just tools after all, and no matter how skilled you are with a particular tool it's always worth having an entire toolkit to work with and knowing which to choose for a particular task.
  21. The problem is that only works when creating duplicates of your initial object rather than allowing you to apply a specific modifier to other pre-existing objects in your scene. Of course Maya also has the Transfer Attributes option and there's the connection editor and deformer sets which allow you to do something similar to Max's stack modifier in that you can add other objects to a deformer after it's been created, however it's not quite the same thing and the number of deformers in Maya are quite limited in comparison to the list of available modifiers in Max. Unfortunately I don't have Max on my PC anymore so can't really provide any visual examples but to try and illustrate my point imagine you've created a basic set of walls and wish to apply a bevel to each piece. In Max you can simply add a bevel modifier to the stack of one section, copy that modifier and paste instances of it to the stack of every other section, then modifying the settings for any of those instances will apply the same changes to all objects containing that bevel modifier. The modifier stack is definitely one of the major advantages Max has over Maya, but then I don't really use either much anymore since I prefer the freedom of voxel-modeling in 3D Coat and the more stylized results it tends to produce.
  22. @OptimoMaximo True Maya allows you to duplicate the history of an object, but that's not quite the same thing as being able to select a single modifier from an objects history and create an instance of that modifier in the history/stack of a range of other objects, after which editing the controls for that modifier will effect every object which has an instance of said modifier in its stack.
  23. Yes it can definitely confuse things horribly when you start rearranging the history of an object. For me one of the more powerful features of the Max modifier stack was the ability to instance a modifier and apply it to other objects, which can be a real time saver when creating modular components, etc.
  24. @Alekso Minotaur Thanks, it never occurred to me that the list of inputs was editable in that way (since it doesn't really give that impression visually), that's definitely handy to know. I still think Max has the edge with its modifier stack both from a UI and functionality standpoint, but it's good to know Maya isn't completely lacking.
  25. Max does have an object history feature but, unlike Maya, it's referred to as the "modifier stack". The equivalent to Mayas delete history in Max is "collapsing the stack" which removes all modifiers and commits those modifications to the mesh. The really nice thing about Max's modifier stack is that it provides finer control over an objects history than is available in Maya, including partial collapse of the stack, changing the order in which modifiers are applied, copy/pasting and instancing of modifiers, etc. It's probably the one feature from Max that I miss most of all since swapping to Maya since it allows for a more versatile, less linear approach to modelling.
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