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Geldsbard Freck

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About Geldsbard Freck

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  1. The one thing you didn't include in your System Spec. is the graphics board you are using. To find out (if you are not sure) in Windows 7 or before open the Start window (round Window's logo button in bottom left corner of your screen) and type in the search/run entry box "dxdiag" and hit [RETURN] This will start a DirectX Diagnostics program. Under the "Display" tab of that program you will find the name of the graphics board currently being used by Windows. Some of the less powerful graphics processors just can't display all the real time bump mapping, reflections, shadow casting lights, environment shaders, etc, even though the SL preferences will allow you to activate them. Your included images look to me like abandoned shadow or highlight renders which would mean you have too many graphic bells and whistles activated or your GPU is simply incapable of rendering all you have active in a "frame rate friendly" manor - so it doesn't! If this is an effect that has just started showing up, it could be a sign of a failing GPU (most likely due to over heating)
  2. Varified! (@Dora) 100 point lights shining brightly! Lights and Shadows turned on in preferences. Forgot to test to see what happens if I turned Lights and Shadows off.
  3. This is an educated guess because I know nothing about Wings 3D: Most "permission" conflicts come from Windows Vista or Windows 7. The folder where you are trying to install the plugin is most likely "protected" or limited access. If Wings or the plug-in is trying to either alter or create, say, an *.ini file, or any other file in that folder, Windows will not allow this with the above protection or security level setting. To correct this you can do one of two things. Decrease the overall security level for the entire computer in your System Settings in the Windows Control Panel - not really a good idea if you spend a lot of time on the Internet or download a lot of free, non-certified software. Find the folder where the plug-in resides and open the "properties" for that folder. Click on the "Security" tab and increase the permissions for that folder. Be sure that the "program", "user", and "administrator" can all write to that folder and all it's sub-folders. Nine times out of ten this will solve "permission" errors whether they are general Windows' error messages or as in your case - program specific.
  4. Understand what a "sculpty" is. The sculpty image is actually called a "height map" in 3D modeling terms; the RGB values for each pixel are actually the X,Y,Z coordinates for each vertex in the wire mesh for the object relative to the objects center. When uploading any image to Second Life, Sl turns the image into a TGA ("Targa" ) image. This includes Scuplty maps. (If you are unsure this is the case, download ("save as") any image in your inventory and it will save as a TGA image file). TGA, like PNG, JPG, and many others have compression schemes that help to reduce the final file size. Sometimes these compression schemes will, among other things, merge two pixels by finding a visual medium - such as a blue pixel and a red pixel, side-by-side can be merged into a single purple pixel. To our eyes, this is visually acceptable, but when each pixel in the sculpty map is actually representative of the numerical position of a point in the mesh, this can begin to distort the object or even delete points. When DirectX or OpenGL (the graphics drivers in our computers that actually draw Second Life on our screens) performs a LOD function (Level Of Detail) on an object mesh, it "culls" (removes) vertex at specific intervals - sometimes every other, sometimes every third, sometimes every forth vertex, according to your graphics settings. If the height map (Sculpty map) has been compressed in the upload to SL, thereby distorting the mesh to begin with, the LOD function has a much more difficult time deciding which vertex to remove and can (and many times does) removes the wrong one creating an even more heavily distorted object. Many casual (?careless?) builders either do not know or don't care to check the "losses compression" box in the image upload dialog when they upload their maps to SL. You may not be able to detect any "smudging" with your eyes but an analisis of the numerical data would show missing vertex or out of place vertex as a result of even slight compression of the image. If this is the case with your purchased object, unfortunately, there isn't much you can do about a disappointing LOD reduction. If it is your own creation, simply re-upload the map and be sure "use lossless compression" is checked in the upload dialog.
  5. Just a few things to consider before you throw your laptop through the window. Sometimes ... especially if you use a "drag select" to select your prims ... you can include one or more objects in your intended link that may not belong to you. If you try, you get a failed link message, Depending on where you are working, this could be an object (prim) underground, behind a wall, invisible, anywhere in the background in your view. - In your build options be sure to check "select only my prims" (what ever it says) this prevents selecting a non-owned object in the background in a drag-select. If you are only trying to link two objects, try selecting one object by clicking on it, then [sHIFT] + click to select the second object. Another possible reason: you are working in "edit linked" mode. This mode will not allow you to create new links, and a common oversight not to turn this off before attempting to link objects This may seem rather self evident, but I mention it just to help you sort out the problem from all aspects. If one of the objects was not your creation originally and has been marked "No Modify" you can not link it to anything else. Both objects must be modifiable.
  6. Helium Loon: Excellent reading! “Fundamentals of Computer Graphics" I'm going to look that one up. This isn't my thread but thanks for your input. My own knowledge is based purely on self study and I will be the first to admit that not everything I "understand" is necessarily 100% correct. What I do know came from creating content for a little known simulation game from Germany. The distributor bought the software distribution rights but could tell me nothing about the display system it used (DirectX only) or even the particulars of the model format to import my contributions. Until that time my experience was only with trueSpace, creating stills and animations; I didn't really care how it worked! I began a very tangled learning journey into the different X formats, and how DirectX used the data, and what was available in DirectX in the way of capabilities that I could utilize in creating my models. To explain the length of this journey, when I began I was having to use DDS textures in power of two, square dimensions. I STILL tend to make textures in square dimensions. After being away from it for a while I find myself arguing over things that no longer apply, or at the very least are legacy functions. From the "intuitive" side I understand the excerpt you quoted from the book but I think a little more reading is necessary for me to fully wrap my head around the process. I think we probably all agree that SL's lack of true reflectivity on prim surfaces and limited control over specularity is one of the reasons metal surfaces are so difficult to create. I guess that's one thing that hasn't changed is that the most convincingly realistic surface is still created with a well made texture. But look how far the technology has come in ten years - wait a few more years and you will be able to render your grandmother's false teeth with a simple slider control adjustment.
  7. Part of what gets my mind going in circles is trying to keep separate the two rendering operations that go on in a 3D package like trueSpace, which is a real-time render and then there is single fram render. The first is attempting to re-draw the screen as fast as it can to create animation or the dynamic aspect of the 3D environment - hopefully no less than 24 FPS. This is the type of rendering going on in SL Because of the speed required to draw that many screens in one second it sort of necessitates the use of simplified methods of displaying the 3D scene. DirectX has improved it's abilities over the years and anyone who has used MS Flight Simulator from the early days has witnessed these improvements in DirectX. MSFS 9 finally included ground shadows projectd from planes and scenery objects, and MSFS 10 has shadows being cast ON planes and scenery objects. This is all done in DirectX as MSFS uses no "interum" (for lack of a better term) rendering engine. In the case of trueSpace, DirectX (or OpenGL) is ONLY used for real time rendering. I'm not certain I remember correctly but LightWorks (i think) was actually created in partnership with Caligari as tS's single frame rendering engine. Until tS 7.6 LightWorks was part of the package - now it must be purchased as a stand alone or plug in rendering engine. I learned early on that SecondLife used LightWorks for it's display. Where my brain scrambles sometimes comes from not knowing exactly how or to what level LightWorks contributes to each frame image. I have had single frame renders with deep level reflections (mirror reflecting mirror reflecting mirror reflecting ....and on) that took several hours to draw one screen (or cell) and an entire week to finish a 20 second animation clip. Helium Loon, your explanation of a texture based reflection is what I suspect the water reflections are in SL (not including the specular shine that comes off the surface of the water) I'm still not convinced SL uses shadow mapping. I really have no evidence to prove my assumption one way or the other, but I would think that if shadow maps are being produced dynamically, as in the animated shadow cast by an avatar, then a form of raytrace or projection as you stated would seemingly be the best way to produce those maps. Again my question is where are the shadows coming from, DirectX (which is now capable of this) or LightWorks, and are their methods different for producing the effect. Back to topic: Mizana, ... face it ... (procedural) shiny metal in SL just plain sucks! Its the nature of the beast that makes it appear on your screen, and your best results will come from a well thought out and carefully produced texture.
  8. This Hi there Chosen Few (Mr. Bones? ... maybe not) Let me explain. I realize there are many accomplished modelers, texture artist and animators in Second Life, but I am aware also that they have only learned the SL terminology and I hesitate (but do anyway) to deviate too far from those terms. It's true that without full explanations and definitions of standard terms used in CGI and 3D graphics and animation, it can be more confusing than if I were to just stick to the SL terms and I get tripped up trying to find a happy medium. So I apologize if I left anyone more confused than I needed to. You are correct and I misused the term "diffusion". This term describes how much an object's surface absorbs light. The less diffuse - the darker the apparent surface. This has nothing to do with that surface's shine or reflectivity and the overall effect is that an objects surface will be more, or less intense in color. This is not a setting you can adjust in SL but can simulate by using slightly darker hues of a given color or adding a gray level color behind (or to darken) a texture. I have to disagree with you that specularity is not employed in SL. I have approached this area of observation both as a 3D artist and game content creator and as a graphics programer. Ultimately it is either DirectX or OpenGL that is doing the rendering and both have the native capability to render specular shine. Neither have the ability to calculate reflections. In the case of SL this would be handled by LightWorks and uses an algorithm called "RayTracing" if it were used A simplified form of raytracing is used by DirectX to produce shadows in SL, an improvement that came in DirectX 9.0c, but it is not used for reflections because it is a time intensive calculation and frame rates would go down to several per minute instead of per second. The amount of specularity and the hue of that shine are an included part of a meshes material data that is sent to DirectX. There is no data template or software command to send to DirectX (or OpenGL) to turn on RayTracing - they do not posses the capability. It is the controlling software like LightWorks that tells DirectX where and how to apply reflections and this is only feezable for single cell rendering for recording animations or single renders. (taken from an x format mesh directly readable by DirectX. I don't know the format of data that SL uses and each set can be set individually through software commands, but this same set of data MUST be sent to DirectX for it to render the object) Material SelectionMaterial_0_26 { 0.000000; 0.094118; 0.541176; 1.000000;; /R.G.B.A. phong color and alpha The alpha here is set by the SL "transparency" control found in the object's "texture" tab in build or edit mode and has nothing to do with texture transparency masks. 0.000000; / Specular Shine amount 0.0 to 1.0 0.000000; 0.000000; 0.000000;; / R.G.B. hue of specular shine 0.000000; 0.000000; 0.000000;; / R.G.B. levels of lumanance 0.0 to 1.0 (as in full bright) By checking "Full Bright" these numbers change to 1.000000, 1.000000, 1.000000 TextureFilename { "C:\\rtr\\Scenes\\PDK\\stateFlag.dds"; / texture name and location associated with mesh } } this is the material data that DirectX reads for every object and then applys to that object when rendering. Examin and compare these two images - One is SL and the other is trueSpace. Both are set with a neutral gray color, and a mid level shine. The specularity in both images effects the size of the shine "halo" (if you will) - a less specular shine would cause a more defined red area and the less defined area of red (at the corner) is actually the red light, lighting and altering the color of the fully defuse material. Both of these show the inherent Phong shader effects of DirectX. Notice in the tS image a small box in the lower right corner of the control box to change the color of the specular shine, also a native rendering ability of DirectX Phong shader (third line of data in the material definition). What is missing in the tS image is the environmental map used in SL to represent reflectance. Had I applied a reflectance layer to the objects in tS it would have had no effect because there is nothing else in the scene for it to reflect! It is my observation that SL does indeed use DirectX's ability to render specular shine but it does this in combination with the environment map. The overall effect is that a low "shininess" presents a higher specularity and less defined environment map, while a higher "shininess" renders a lower specularity and very defined environment map. (even though the environment map itself is an extremely simplified light on top, dark on bottom image and a fuzzy, high-lite area between that represents a hazy horizon (I guess?) Adding Lumanance to an object to overcome diffusion and specular shine caused dimming/darkness. Yes, this is kind of a remnant legacy left over from the very early days of 3D, especially in real-time rendering when 3 lights was maximum. Surfaces that were highly reflective became much less diffuse and except for high-lites, became almost black silhouettes. it was necessary to add some luminance to the material to overcome this. Many "old-timers" still use this technique to create reflective metal surfaces like gold, silver, copper or brass. It gives the material a kind of "glow" if not overused, but not an option in SL. In trueSpace 3.2, DirectX 7. something or other, and a very early version of LightWorks, oh around 2000 or 2001, this luminance adjustment was very necessary to create a shiney metal material unless you built an entire enviroment into your scene. Even then the surface of the metal itself would appear dark. Actually, in the REALLY early days when DirectX was first purchased by Microsoft from SubLogic, there were no lights - directional or omnidirectional and the only way to vary the lighting was to adjust the (self) luminance for each face of the object. Take a look at the first version of Microsoft Flight Simulator, the reason MS purchased the graphics driver from SubLogic. (1987 If I remember) There was no "shading" at all, no textures - everything was phong, and all objects in the 3D enviroment were self illuminated. Chosen Few wrote: ... but I'd also add that the artist should carefully texture the objects, with baked-in (or painted-in) specular highlights, placed where they would most likely be under neutral lighting conditions, and from a neutral viewing angle. Apply a low or medium shine, and it can look pretty good. It will never look truly great, since, as you already mentioned, the baked highlights cannot behave dynamically, but this is the kind of thing we're all so used to seeing in SL that our brains do end up going "Oh, that's metal." Also, I highly recommend paying attention to the colors that tend to be incoprorated into the highlights (specular color) and shadowed areas (ambient color) in various metals. Gold, for example, tends to have bright yellow spec, and dark brown ambient. Copper tends to have pale salmon colored spec, and reddish brown ambient. Aluminum tends to have pale gray spec, and dull blue-gray ambient. Polished steel tends to have a bright gray, almost white spec, and very dark gray, almost black ambient. The list goes on and on. As with all things artistic, the first step to effective simulation is learning how to look. On these points we are in total agreement!:matte-motes-wink: (one last edit) I am not certain what is used for the complex water simulation in SL. It is not an accurate reflection as RayTracing would produce and to my knowledge RayTracing does not distinguish between types of objects as you can set in your preferences. RayTracing can render varying amounts of reflectivity but it is an "all or nothing" function in LightWorks. There may be a whole 'nother algorithm going on there. I suspect that this may be a post render effect (while the graphics page is not yet "flipped" into view) where a mirror image of the viewers angle of the scene is superimposed (with bump map distortions) and masked to the area of water in view. This method could be accomplished much faster tha RayTracing a reflection and could make decisions on which objects to include in the "reflection".
  9. Madelaine McMasters wrote: Perrie Juran remarked that a physical move in RL, as for a job, allows one to start over, perhaps with a new, improved, persona. Would we still miss aspects of the old one? I can attest to this after three complete career changes in my lifetime and having lived in nearly every state down the south-east coast and gulf coast that it is a unique opportunity to leave behind some undesirable aspect of yourself and re-write your own character - not necessarily a complete reformat but a noticeable change. Unfortunately there can be collateral casualties that take away some good aspects as well. It's difficult not to look back fondly on those missing aspects we liked about ourselves and wish we could find them again. (back to topic) I just believe that allowing our emotions to run away with us in a virtual (un-real?) relationship is a self deception. We can see almost anything we want in the other person and the virtual world is hard pressed to prove us wrong. The real test is to bring the relationship out of the virtual world and and see how our imaginations stack up to the reality. I think nine times out of ten both parties realize there was no foundation for their "perfect" on-line relationship and was mostly based on virtually supported phantasies. Most walk away saying to themselves "... what was I thinking!" I think this is a pretty common outcome with on-line dating as well. My final thought: Be aware that not everything you see, hear, experience, or feel in the virtual environment is as real as maybe we wish they could be. Dear 12212012, I hope you can resolve this without animosity on either part, but none-the-less, as in the real world, life goes on in spite of ourselves.
  10. Hi Madelaine, It really is amazing to discover how feelings can develop in us (me) towards a fictitious entity in this way. I created a female AV because I am a "builder" and wanted to try my hand at making female clothing and jewelery. For practical reasons - it just sells better and seems to do so if created by a female. It just doesn't look right for a male AV to be putting on dresses. I found that my "manikin" was being approached quite a bit and I felt that a profile that indicated a lack of interest in virtual relationships might at least slow that down. So I began creating her personality. Over time "she" sort of took on a life of her own and without conscious forethought, I followed this experiment and was amazed at what she had become, both as an individual and to me. She still is very much active in SL, making clothing and jewelry, and "partners" with me in some of my CGI projects. She is far more gregarious than myself and goes out dancing in blues clubs all the time and is absolutely essential for testing couple dance animations. She chats without a self-conscious thought and has taught me it's OK to pipe up in chat once in a while. She'll talk with anyone, but is not out to deceive and turns away would-be suitors gently and kindly - having a unique perspective from the male point of view and understanding. She DID wander into a lesbian pool party once and was terribly and completely confused about how to react - embarrassed and run - or intrigued and remain and ogle!:smileytongue: I guess I have reveled my hand (as it were) and a look into my in-world profile will revel who "she" is, and a peek into "her" profile will revel MY ideal woman. [edit] actually I don't think you can find this out from my profile, and I don't plan on telling who she is. "... the girl's gotta' have SOME secrets, ... right?" The difficult thing to admit is that in a strange way, she exist in the SL world. Even though I know she is my own creation I could never delete her, and I feel bad (for her!!!) if I don't bring her out of the box once in a while. But all this makes my point. What are we basing our emotions and feelings on in virtual relationships - can we really trust that what we feel is any more real than the world in which they developed?
  11. Ladies, please try this psychological experiment before you make decisions based on what you believe about "virtual relationships" It's a serious, legitimate experiment, and one that will most certainly surprise most ...not all, but most of you, and enlighten you on the self deceptive nature of virtual relationships. Here's the experiment: Create an alternate ego SL character. Make this a completely new account with different sign in password and everything, and make it the gender of your attraction. I say this because I assume this experiment will work for ALL sexual persuasions.Think about this character's physical attributes carefully! Customize his/her AV to match your ideal physical description - those physical attributes you find irresistible; strong, tall, blue eyes, bald, beard, from head to toe, what ever appeals to you the most.Think carefully about this character's personality traits: Create your ideal person in intelligence, interests, manors, life's experience, sense of honor and honesty ..., everything you find "perfect" in a potential partner. Over a period of time, you must actually fill out the profile of this character, thinking as much as you believe this character would think based on these attributes to add comments and such to the profile. An extreme step is to find a photo on the internet of someone you find attractive that fits the AV's physical attributes and use it for the profile's "real world" photo. (be careful with this - you do not want to post a photo of a real person unless you have permission to do so. There are some clip-art photos that are free and openly publishable)Now live your character for a while. Remember, the purpose of this is NOT to fool others in Second Life. You, as this alter ego, will undoubtedly meet others that may express interest in starting a friendship or relationship. Use what ever reason you can think of to avoid this, but make the reason about you; you only use SL to listen to live music, you use SL to create art, you think SL cartoon sex is pointless, your real life partner is the jealous type and watching the screen with you, whatever works. However, don't avoid talking with others as this alternate. Talk and think as you believe they would. This helps to develope the character's personallity details.Take the time to go shopping as this alter ego. Find the clothing YOU find ideal - that you wish your ideal partner would ware and make sure he/she has a dozen or so outfits.After a while, when you feel you really know how this character would react to almost any situation, open your preferences and check "allow multiple viewers". This will allow you to sign on as both yourself and your alter ego at the same time.Teleport both characters to the same place. The first time you do this it helps if it is a low population area - there is less lag and fumbling around working two AVs will not be so embarrassing. You may actually experience a giddy sort of excitement that your AV and your alternate have finally come face to face.When you are together be sure to accept friendship offers from each. This makes it easier to teleport each other around to different locations.If you take both AVs shopping at the same time, rather than buying something for your alternet and giving it to him/her, give him/her the money to buy it for themselves. (this is a very important psychological step)Learn how to control both AVs well enough to go out to entertainment venues, dance, listen to live music, do together what you find most interresting in SecondLife. You do not need to carry on fake conversations in chat windows but be sure if sitting at a bar or table you focus your alternate's eyes on your AV and vice-verse. If standing, face each other as you would face any other AV in SL.Look at the image on your screen and imagine the conversation that would take place.I am not recommending you do this, but IF you are into the sexual capabilities in SL ... well ... that's up to you, but I imagine that experience would totalize this experiment. Here's what you will find: It may take a little while and it will be a slow undetected progression - but you will begin to have feelings for this alternate ego AV! You will get to the point where deleting the character is out of the question. You may find yourself jealous of attention it gets from others in SL when you are together or even more amazingly - feeling guilty or concerned for your alternate if you are paying more attention to someone else. You may find yourself feeling protective of your alternate. You will find yourself caring about this "individual" at many surprising levels. Understand what this means! You are experiencing emotions based on a total lie that you perpetrated against yourself ... deliberately and knowingly! The "individual" you find yourself concerned over does not exist, yet your feelings are very, very real! Think about that and what it possibly means about any other virtual relationship you have in Second Life. The full impact of the self deceptive nature of this phenomena can't be realized unless you actually carry out this experiment, and do it seriously, and be aware of, and not embarrassed or ashamed of the feelings that develop in you. WARNING! Multi-personallity schizophrenics should probably not try this experiment! It is ultimatly important to remain clear on who this character actually is. I'll leave any conclusions and evaluations to you, who ever are brave enough to go down this self revealing path! Post Script: This post in no way is intended to say that it's not real people using Second Life, with real feelings and emotions, that can be hurt virtually just as much as in reality. The point is that if you can knowingly decieve yourself in this way, how can you trust your own feelings at all in a virtual enviroment.
  12. The fact that it leaves your inventory listing would indicate that it is a "no copy" object and is normal behavior for that permission type. If it didn't do this you would now have two copies - one on the ground and one in your inventory. There may be many reasons it is not showing up when rezzed but it would help to know what it is, what size it is, etc. If it's a "packed box" (containing other objects) I have seen some of these with a transparent texture - the box rezzed, you just can't see it (can't tell you why anyone would do that, but ... they're out there). Try this: rezz the object; go into build mode and drag a selection box (left click + drag) over the area you intended to rezz the object. If it rezzed invisible or transparent you will see a yellow outline of the object when your selection box includes the entire object. If this is the case and the object is modifiable; open the object's texture tab and remove the transparent texture. You will now be able to see the object. If the above is true and you "lost" the object, check in your "lost and found" folder - it was most likely returned to you.
  13. The main problem with reflective metal (or any other reflective surface) in SL is that it only reflects the sky and active lights, and even those reflections are extremely diffuse. I realize that you didn't say anything about reflective metals but if you think about it nearly any metal surface you can think of in RL has a certain amount of reflectivity. In the 3D (and real) world, three things make up the look of a metal surface; grain (texture), shine (diffuse), and reflectivity. The diffuseness of both shine and reflectivity depend on the grain or tactile texture or roughness of the surface. Shine itself comes from environmental lighting and reflection comes from environmental lights and surroundings. The very best you can accomplish in SL is a poor representation because both DirectX and OpenGL do not do reflectivity. This must be done with texture. The reason the texture method is inadequate is that reflections on an object move as our vantage point moves around - a simulated reflection remains fixed regardless of the viewing angle. Whats worse is that if there are no active lights nearby, the "shinyness" settings merely seem to darken and haze the surface of the object. In most 3D applications the darkening effect is overcome by adding from 5 to 10% "luminance" (self light) but in SL our choice for this is 100% luminance (full bright) or none at all and 100% just looks plane silly. things to try: Create a "noisy" or fine grain surface texture that resembles the grain of the metal you are trying to represent and superimpose a reflection image (in an image editor). Think about how this reflection must be oriented on the object but generally speaking things reflect light sky tones on their top surfaces and darker earth tones on their lower surfaces.Add SL shine but do it sparingly. Full shine works very well for small, shiny brass and copper objects like door knobs if your colors are correct, but will wash out a steel surface.The realistic appearance of highly reflective surfaces like mirrors and chrome will largely depend on a well planned reflection texture. Take a moment to "study" the reflections coming from objects in your real world environment. Look at the color variations it causes in the surface of the object. There is a fairly decent "brushed steel" texture in the Library > Texture folder that's a good starting point. BUT generally speaking, metal surfaces are fairly disappointing in SL.. The good news is that the inhabatants of Second Life have the visual instinct to accept a dark and dull, fuzzy glowing surface as "shiny metal"!
  14. Yes , correct, ... if the idea is to have a color variation also, say, dark blue at the bottom to light yellow at the top, well you will have to make the texture specifically for those colors.
  15. If you run Windows Vist or later this is most likely caused by the folder permissions settings on your system. You will find that SL stores some profile info in a folder C:\User\(YourName)\App Data(hidden folder)\Local\SecondLife ... When you downloaded and installed SL the installer program was given permission (by you or system administrator) to create and install files to this folder, but in a Default Windows Vista or Windows 7 install or one where the security level is set very high, the SL viewer DOSE NOT have the permission to alter and save files to this folder even though it can read them. Since some of your profile status is kept in this hidden folder in key coded, binary files, it remains unchanged from a basic user as it is installed. Since this info is not being changed, every time you log in to SL the "status" info kept in these files is used to set your "in world profile" status which also will not change from it's default. This is different from your on line account info as this information is kept on the server side and does not depend on your system settings. The reason your "Preferences" remain consistant from one session to the next is because that info is kept in the folder where the viewer runs - Windows allows a program to write to it's own folder and sub-folders (just in case someone raises the question) You need to find this folder and change it's security level. If you don't know how to change the permissions for a specific folder and are not brave enough to "hunt and peck" your way through the process send me a PM and I'll write a step by step instruction. You can also find the instructions at the Microsoft Help Center (HomePage - select your system) and / or other Windows tips sites around the Internet. Windows XP and versions before Vista and 7 do not behave this way so if you are running earlier Windows .... ummmm ..... ?!?
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