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  • Deferred Rendering With Diffuse,Specular, and Normal maps

    - by John
    I have been reading up on deferred rendering and I am trying to implement a renderer using the Sponza atrium model, which can be found here, as my sandbox.Note I am also using OpenGL 3.3 and GLSL. I am loading the model from a Wavefront OBJ file using Assimp. I extract all geometry information including tangents and bitangents. For all the aiMaterials,I extract the following information which essentially comes from the sponza.mtl file. Ambient/Diffuse/Specular/Emissive Reflectivity Coefficients(Ka,Kd,Ks,Ke) Shininess Diffuse Map Specular Map Normal Map I understand that I must render vertex attributes such as position ,normals,texture coordinates to textures as well as depth for the second render pass. A lot of resources mention putting colour information into a g-buffer in the initial render pass but do you not require the diffuse,specular and normal maps and therefore lights to determine the fragment colour? I know that doesnt make since sense because lighting should be done in the second render pass. In terms of normal mapping, do you essentially just pass the tangent,bitangents, and normals into g-buffers and then construct the tangent matrix and apply it to the sampled normal from the normal map. Ultimately, I would like to know how to incorporate this material information into my deferred renderer.

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  • Does anybody know of any resources to achieve this particular "2.5D" isometric engine effect?

    - by Craig Whitley
    I understand this is a little vague, but I was hoping somebody might be able to describe a high-level workflow or link to a resource to be able to achieve a specific isometric "2.5D" tile engine effect. I fell in love with http://www.youtube.com/watch?v=-Q6ISVaM5Ww this engine. Especially with the lighting and the shaders! He has a brief description of how he achieved what he did, but I could really use a brief flow of where you would start, what you would read up on and learn and the logical order to implement these things. A few specific questions: 1) Is there a heightmap on the ground texture that lets the light reflect brighter on certain parts of it? 2) "..using a special material which calculates the world-space normal vectors of every pixel.." - is this some "magic" special material he has created himself, or can you hazard a guess at what he means? 3) with relation to the above quote - what does he mean by 'world-space normal vectors of every pixel'? 4) I'm guessing I'm being a little bit optimistic when I ask if there's any 'all-in-one' tutorial out there? :)

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  • Shooting Print Quality Pictures with a Camera Phone [Video]

    - by Jason Fitzpatrick
    Camera phones get a lot of grief for being underpowered but in this video tutorial the crew at SLR Lounge shows how basic technique and a good eye overcome all. Last year over at the photo blog FStoppers they put together a video showing off how you could use the iPhone as a fashion camera–essentially arguing that the camera wasn’t as important as the photographer. A lot of people said “Well yeah, but you had professional models and thousands of dollars in lighting equipment!” in reaction to the video. In turn the crew at SLR Lounge decided to make their own video showing that using only an iPhone camera and two reflectors (as well as an attractive but informal model). It of course helps to have some side kicks to help hold up your reflectors but the point still stands about modern camera phones being perfectly capable of good photos. The SLR Lounge iPhone Photo Shoot – A Follow Up Tribute to The FStoppers [YouTube] What is a Histogram, and How Can I Use it to Improve My Photos?How To Easily Access Your Home Network From Anywhere With DDNSHow To Recover After Your Email Password Is Compromised

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  • Efficiently rendering to 3D texture

    - by TravisG
    I have an existing depth texture and some other color textures, and want to process the information in them by rendering to a 3D texture (based on the depth contained in the depth texture, i.e. a point at (x/y) in the depth texture will be rendered to (x/y/texture(depth,uv)) in the 3D texture). Simply doing one manual draw call for each slice of the 3D texture (via glFramebufferTextureLayer) is terribly slow, since I don't know beforehand to what slice of the 3D texture a given texel from one of the color textures or the depth texture belongs. This means the entire process is effectively for each slice for each texel in depth texture process color textures and render to slice So I have to sample the depth texture completely per each slice, and I also have to go through the processing (at least until to discard;) for all texels in it. It would be much faster if I could rearrange the process to for each texel in depth texture figure out what slice it should end up in process color textures and render to slice Is this possible? If so, how? What I'm actually trying to do: the color textures contain lighting information (as seen from light view, it's a reflective shadow map). I want to accumulate that information in the 3D texture and then later use it to light the scene. More specifically I'm trying to implement Cryteks Light Propagation Volumes algorithm.

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  • Questions before I revamp my rendering engine to use shaders (GLSL)

    - by stephelton
    I've written a fairly robust rendering engine using OpenGL ES 1.1 (fixed-function.) I've been looking into revamping the engine to use OpenGL ES 2.0, which necessitates that I use shaders. I've been absorbing information all day long and still have some questions. Firstly, lighting. The fixed-function pipeline is guaranteed to have at least 8 lights available. My current engine finds lights that are "close" to the primitives being drawn and enables them; I don't know how many lights are going to be enabled until I draw a given model. Nothing is dynamically allocated in GLSL, so I have to define in a shader some number of lights to be used, right? So if I want to stick with 8, should I write my general purpose shader to have 8 lights and then use uniforms to tell it how many / which lights to use? Which brings me to another question: should I be concerned with the amount of data I'm allocating in a shader? Recent video cards have hundreds of "stream processors." If I've got a fragment shader being used on some number of fragments in a given triangle, I assume they must each have their own stack to work on. Are read-only variables copied here, or read when needed? My initial goal is to rework my code so that it is virtually identical to the current implementation. What I have in mind is to create my own matrix stack so that I can implement something along the lines of push/popMatrix and apply all my translations, rotations, and scales to this matrix, then provide the matrix to the vertex shader so that it can make very quick vertex translations. Is this approach sound? Edit: My original intention was to ask if there was a tutorial that would explain the bare minimum necessary to jump from fixed-function to using shaders. Thanks!

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  • Directx vs XNA - Which is better for me? [closed]

    - by tristo
    Recently I got Visual Studio 2012 from visual studio 2010, although did not expect Visual Studio to 2012 to designed the way it was. Anyway I am pleased with some of VS 2012 technology and have moved all of my projects to it. At this point of time since I got VS 2012 I have been into making windows applications and other non-game activities. ALTHOUGH have recently gotten into the spirit of game development and I am planning to make a 3d comical game, shader effects, not too complicated meshes, but it requires alot of lighting effects to emphasise certain parts of the game. When I was using VS 2010 I had a great time making 2d games with XNA, it uses a great language, and has a very awesome system. But I no longer have XNA with me, and the workarounds described in stackoverflow always gives me errors while using xna. Anyway it seems that microsoft have stuffed themselves up with xna anyway with the weirdness of Windows 8, and it being only avaliabe on pc and xbox. Due to these reasons I have decided to work with Directx and Direct3d to produce my new game, although the overflowing credits after each directx game gives me the shivers, and the low-level coding of directx also puts me on thin ice with my games, left in a confusional mess with what decision I should make. I don't know anything about directx or direct3d. I am an indie developer, but I am planning to take on alot of professional aspects of games. I don't have heaps of time(2-3 hours a day) I don't mind the complexity of how directx works, as long as I can learn how to make the fundementals of a game in a week. I am also unsure if directx is really for my situation, and keep with xna game development. Anyone can tell me the best technology for me would be great.

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  • HTG Reviews the CODE Keyboard: Old School Construction Meets Modern Amenities

    - by Jason Fitzpatrick
    There’s nothing quite as satisfying as the smooth and crisp action of a well built keyboard. If you’re tired of  mushy keys and cheap feeling keyboards, a well-constructed mechanical keyboard is a welcome respite from the $10 keyboard that came with your computer. Read on as we put the CODE mechanical keyboard through the paces. What is the CODE Keyboard? The CODE keyboard is a collaboration between manufacturer WASD Keyboards and Jeff Atwood of Coding Horror (the guy behind the Stack Exchange network and Discourse forum software). Atwood’s focus was incorporating the best of traditional mechanical keyboards and the best of modern keyboard usability improvements. In his own words: The world is awash in terrible, crappy, no name how-cheap-can-we-make-it keyboards. There are a few dozen better mechanical keyboard options out there. I’ve owned and used at least six different expensive mechanical keyboards, but I wasn’t satisfied with any of them, either: they didn’t have backlighting, were ugly, had terrible design, or were missing basic functions like media keys. That’s why I originally contacted Weyman Kwong of WASD Keyboards way back in early 2012. I told him that the state of keyboards was unacceptable to me as a geek, and I proposed a partnership wherein I was willing to work with him to do whatever it takes to produce a truly great mechanical keyboard. Even the ardent skeptic who questions whether Atwood has indeed created a truly great mechanical keyboard certainly can’t argue with the position he starts from: there are so many agonizingly crappy keyboards out there. Even worse, in our opinion, is that unless you’re a typist of a certain vintage there’s a good chance you’ve never actually typed on a really nice keyboard. Those that didn’t start using computers until the mid-to-late 1990s most likely have always typed on modern mushy-key keyboards and never known the joy of typing on a really responsive and crisp mechanical keyboard. Is our preference for and love of mechanical keyboards shining through here? Good. We’re not even going to try and hide it. So where does the CODE keyboard stack up in pantheon of keyboards? Read on as we walk you through the simple setup and our experience using the CODE. Setting Up the CODE Keyboard Although the setup of the CODE keyboard is essentially plug and play, there are two distinct setup steps that you likely haven’t had to perform on a previous keyboard. Both highlight the degree of care put into the keyboard and the amount of customization available. Inside the box you’ll find the keyboard, a micro USB cable, a USB-to-PS2 adapter, and a tool which you may be unfamiliar with: a key puller. We’ll return to the key puller in a moment. Unlike the majority of keyboards on the market, the cord isn’t permanently affixed to the keyboard. What does this mean for you? Aside from the obvious need to plug it in yourself, it makes it dead simple to repair your own keyboard cord if it gets attacked by a pet, mangled in a mechanism on your desk, or otherwise damaged. It also makes it easy to take advantage of the cable routing channels in on the underside of the keyboard to  route your cable exactly where you want it. While we’re staring at the underside of the keyboard, check out those beefy rubber feet. By peripherals standards they’re huge (and there is six instead of the usual four). Once you plunk the keyboard down where you want it, it might as well be glued down the rubber feet work so well. After you’ve secured the cable and adjusted it to your liking, there is one more task  before plug the keyboard into the computer. On the bottom left-hand side of the keyboard, you’ll find a small recess in the plastic with some dip switches inside: The dip switches are there to switch hardware functions for various operating systems, keyboard layouts, and to enable/disable function keys. By toggling the dip switches you can change the keyboard from QWERTY mode to Dvorak mode and Colemak mode, the two most popular alternative keyboard configurations. You can also use the switches to enable Mac-functionality (for Command/Option keys). One of our favorite little toggles is the SW3 dip switch: you can disable the Caps Lock key; goodbye accidentally pressing Caps when you mean to press Shift. You can review the entire dip switch configuration chart here. The quick-start for Windows users is simple: double check that all the switches are in the off position (as seen in the photo above) and then simply toggle SW6 on to enable the media and backlighting function keys (this turns the menu key on the keyboard into a function key as typically found on laptop keyboards). After adjusting the dip switches to your liking, plug the keyboard into an open USB port on your computer (or into your PS/2 port using the included adapter). Design, Layout, and Backlighting The CODE keyboard comes in two flavors, a traditional 87-key layout (no number pad) and a traditional 104-key layout (number pad on the right hand side). We identify the layout as traditional because, despite some modern trapping and sneaky shortcuts, the actual form factor of the keyboard from the shape of the keys to the spacing and position is as classic as it comes. You won’t have to learn a new keyboard layout and spend weeks conditioning yourself to a smaller than normal backspace key or a PgUp/PgDn pair in an unconventional location. Just because the keyboard is very conventional in layout, however, doesn’t mean you’ll be missing modern amenities like media-control keys. The following additional functions are hidden in the F11, F12, Pause button, and the 2×6 grid formed by the Insert and Delete rows: keyboard illumination brightness, keyboard illumination on/off, mute, and then the typical play/pause, forward/backward, stop, and volume +/- in Insert and Delete rows, respectively. While we weren’t sure what we’d think of the function-key system at first (especially after retiring a Microsoft Sidewinder keyboard with a huge and easily accessible volume knob on it), it took less than a day for us to adapt to using the Fn key, located next to the right Ctrl key, to adjust our media playback on the fly. Keyboard backlighting is a largely hit-or-miss undertaking but the CODE keyboard nails it. Not only does it have pleasant and easily adjustable through-the-keys lighting but the key switches the keys themselves are attached to are mounted to a steel plate with white paint. Enough of the light reflects off the interior cavity of the keys and then diffuses across the white plate to provide nice even illumination in between the keys. Highlighting the steel plate beneath the keys brings us to the actual construction of the keyboard. It’s rock solid. The 87-key model, the one we tested, is 2.0 pounds. The 104-key is nearly a half pound heavier at 2.42 pounds. Between the steel plate, the extra-thick PCB board beneath the steel plate, and the thick ABS plastic housing, the keyboard has very solid feel to it. Combine that heft with the previously mentioned thick rubber feet and you have a tank-like keyboard that won’t budge a millimeter during normal use. Examining The Keys This is the section of the review the hardcore typists and keyboard ninjas have been waiting for. We’ve looked at the layout of the keyboard, we’ve looked at the general construction of it, but what about the actual keys? There are a wide variety of keyboard construction techniques but the vast majority of modern keyboards use a rubber-dome construction. The key is floated in a plastic frame over a rubber membrane that has a little rubber dome for each key. The press of the physical key compresses the rubber dome downwards and a little bit of conductive material on the inside of the dome’s apex connects with the circuit board. Despite the near ubiquity of the design, many people dislike it. The principal complaint is that dome keyboards require a complete compression to register a keystroke; keyboard designers and enthusiasts refer to this as “bottoming out”. In other words, the register the “b” key, you need to completely press that key down. As such it slows you down and requires additional pressure and movement that, over the course of tens of thousands of keystrokes, adds up to a whole lot of wasted time and fatigue. The CODE keyboard features key switches manufactured by Cherry, a company that has manufactured key switches since the 1960s. Specifically the CODE features Cherry MX Clear switches. These switches feature the same classic design of the other Cherry switches (such as the MX Blue and Brown switch lineups) but they are significantly quieter (yes this is a mechanical keyboard, but no, your neighbors won’t think you’re firing off a machine gun) as they lack the audible click found in most Cherry switches. This isn’t to say that they keyboard doesn’t have a nice audible key press sound when the key is fully depressed, but that the key mechanism isn’t doesn’t create a loud click sound when triggered. One of the great features of the Cherry MX clear is a tactile “bump” that indicates the key has been compressed enough to register the stroke. For touch typists the very subtle tactile feedback is a great indicator that you can move on to the next stroke and provides a welcome speed boost. Even if you’re not trying to break any word-per-minute records, that little bump when pressing the key is satisfying. The Cherry key switches, in addition to providing a much more pleasant typing experience, are also significantly more durable than dome-style key switch. Rubber dome switch membrane keyboards are typically rated for 5-10 million contacts whereas the Cherry mechanical switches are rated for 50 million contacts. You’d have to write the next War and Peace  and follow that up with A Tale of Two Cities: Zombie Edition, and then turn around and transcribe them both into a dozen different languages to even begin putting a tiny dent in the lifecycle of this keyboard. So what do the switches look like under the classicly styled keys? You can take a look yourself with the included key puller. Slide the loop between the keys and then gently beneath the key you wish to remove: Wiggle the key puller gently back and forth while exerting a gentle upward pressure to pop the key off; You can repeat the process for every key, if you ever find yourself needing to extract piles of cat hair, Cheeto dust, or other foreign objects from your keyboard. There it is, the naked switch, the source of that wonderful crisp action with the tactile bump on each keystroke. The last feature worthy of a mention is the N-key rollover functionality of the keyboard. This is a feature you simply won’t find on non-mechanical keyboards and even gaming keyboards typically only have any sort of key roller on the high-frequency keys like WASD. So what is N-key rollover and why do you care? On a typical mass-produced rubber-dome keyboard you cannot simultaneously press more than two keys as the third one doesn’t register. PS/2 keyboards allow for unlimited rollover (in other words you can’t out type the keyboard as all of your keystrokes, no matter how fast, will register); if you use the CODE keyboard with the PS/2 adapter you gain this ability. If you don’t use the PS/2 adapter and use the native USB, you still get 6-key rollover (and the CTRL, ALT, and SHIFT don’t count towards the 6) so realistically you still won’t be able to out type the computer as even the more finger twisting keyboard combos and high speed typing will still fall well within the 6-key rollover. The rollover absolutely doesn’t matter if you’re a slow hunt-and-peck typist, but if you’ve read this far into a keyboard review there’s a good chance that you’re a serious typist and that kind of quality construction and high-number key rollover is a fantastic feature.  The Good, The Bad, and the Verdict We’ve put the CODE keyboard through the paces, we’ve played games with it, typed articles with it, left lengthy comments on Reddit, and otherwise used and abused it like we would any other keyboard. The Good: The construction is rock solid. In an emergency, we’re confident we could use the keyboard as a blunt weapon (and then resume using it later in the day with no ill effect on the keyboard). The Cherry switches are an absolute pleasure to type on; the Clear variety found in the CODE keyboard offer a really nice middle-ground between the gun-shot clack of a louder mechanical switch and the quietness of a lesser-quality dome keyboard without sacrificing quality. Touch typists will love the subtle tactile bump feedback. Dip switch system makes it very easy for users on different systems and with different keyboard layout needs to switch between operating system and keyboard layouts. If you’re investing a chunk of change in a keyboard it’s nice to know you can take it with you to a different operating system or “upgrade” it to a new layout if you decide to take up Dvorak-style typing. The backlighting is perfect. You can adjust it from a barely-visible glow to a blazing light-up-the-room brightness. Whatever your intesity preference, the white-coated steel backplate does a great job diffusing the light between the keys. You can easily remove the keys for cleaning (or to rearrange the letters to support a new keyboard layout). The weight of the unit combined with the extra thick rubber feet keep it planted exactly where you place it on the desk. The Bad: While you’re getting your money’s worth, the $150 price tag is a shock when compared to the $20-60 price tags you find on lower-end keyboards. People used to large dedicated media keys independent of the traditional key layout (such as the large buttons and volume controls found on many modern keyboards) might be off put by the Fn-key style media controls on the CODE. The Verdict: The keyboard is clearly and heavily influenced by the needs of serious typists. Whether you’re a programmer, transcriptionist, or just somebody that wants to leave the lengthiest article comments the Internet has ever seen, the CODE keyboard offers a rock solid typing experience. Yes, $150 isn’t pocket change, but the quality of the CODE keyboard is so high and the typing experience is so enjoyable, you’re easily getting ten times the value you’d get out of purchasing a lesser keyboard. Even compared to other mechanical keyboards on the market, like the Das Keyboard, you’re still getting more for your money as other mechanical keyboards don’t come with the lovely-to-type-on Cherry MX Clear switches, back lighting, and hardware-based operating system keyboard layout switching. If it’s in your budget to upgrade your keyboard (especially if you’ve been slogging along with a low-end rubber-dome keyboard) there’s no good reason to not pickup a CODE keyboard. Key animation courtesy of Geekhack.org user Lethal Squirrel.       

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  • why do game engines prefer static libraries over dynamic link libraries

    - by numerical25
    I've been reading a few gaming books. And they always prefer to create the engine as a static library over dynamic link. I am new to c++ so I am not highly knowledge when it comes to static libraries and dynamic link libraries. All I know is static libraries increase the size of your program, where DLL link libraries are loaded as you need them within your program. [edit] I've played games where it almost seemed they used DLL's to load in sound, lighting, and what not all individually. as the level was loading up. cause you don't necessarily need that when your at the game menu.

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  • Java OpenGL color material darkens when depth test is disabled

    - by Jeff Storey
    I've been working with the depth buffer in OpenGL (JOGL) to ensure certain items are rendered in front of others by disabling the depth buffer (detailed in my previous question http://stackoverflow.com/questions/2516086/java-opengl-saving-depth-buffer). This works, except when I set the color of an item that is being drawn when the depth test is disabled, none of the material shininess shows up. The item is rendered as a darker version of the original color (it seems like there is no lighting effect really applied to it). Is there a reason why this would be happening? and how might I prevent this? thanks, Jeff

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  • OpenGL Wrapper in .Net

    - by Ngu Soon Hui
    This question is similar to the one here. But I feel that the answers recommended ( such as Tao and OpenTK) are not good enough because they are just a direct port from OpenGL, with no OOP design, and hard to use. What I'm looking for is a .Net OpenGL wrapper that is written in clear OOP principles, easy to use ( easy to apply textual and lighting, easy to debug etc), able to rotate the 3D diagram with mouse ( a feature that is critically missing from OpenGL and TAO), and the ability to export to other file formats ( such as dwg or dxf or Google Map file format). Any suggestion? Both Open source or commercial components would do.

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  • How to create sub category on Magento APi

    - by demonchand
    I am currently using Magento ver. 1.5.0.1. Can anyone tell me how do i create a sub category using soapv2. Here my code format category_data = { "name" => "LIGHTING", "is_active" => 1 } soap.call('catalogCategoryCreate',session,4,category_data,1, "include_in_menu") I got some errors when i run this code. : Attribute "include_in_menu" is required. (SOAP::FaultError) Is that any solution for this problem. Thanks.

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  • Edit form not being instantiated

    - by 47
    I have two models like this: class OptionsAndFeatures(models.Model): options = models.TextField(blank=True, null=True) entertainment = models.TextField(blank=True, null=True) seats_trim = models.TextField(blank=True, null=True) convenience = models.TextField(blank=True, null=True) body_exterior = models.TextField(blank=True, null=True) lighting = models.TextField(blank=True, null=True) safety = models.TextField(blank=True, null=True) powertrain = models.TextField(blank=True, null=True) suspension_handling = models.TextField(blank=True, null=True) specs_dimensions = models.TextField(blank=True, null=True) offroad_capability = models.TextField(blank=True, null=True) class Vehicle(models.Model): ... options_and_features = models.ForeignKey(OptionsAndFeatures, blank=True, null=True) I have a model form for the OptionsAndFeaturesclass that I'm using in both the add and edit views. In the add view it works just fine. But the edit view renders the OptionsAndFeatures as blank. The code for the edit view is as follows: def edit_vehicle(request, stock_number=None): vehicle = get_object_or_404(Vehicle, stock_number=stock_number) if request.method == 'POST': # save info else: vehicle_form = VehicleForm(instance=vehicle) photos = PhotosFormSet(instance=vehicle) options = OptionsForm(instance=vehicle) #render_to_reponse What could be the problem here?

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  • Dice face value recognition

    - by Jakob Gade
    I’m trying to build a simple application that will recognize the values of two 6-sided dice. I’m looking for some general pointers, or maybe even an open source project. The two dice will be black and white, with white and black pips respectively. Their distance to the camera will always be the same, but their position on the playing surface will be random. (not the best example, the surface will be a different color and the shadows will be gone) I have no prior experience with developing this kind of recognition software, but I would assume the trick is to first isolate the faces by searching for the square profile with a dominating white or black color (the rest of the image, i.e. the table/playing surface, will in distinctly different colors), and then isolate the pips for the count. Shadows will be eliminated by top down lighting. I’m hoping the described scenario is so simple (read: common) it may even be used as an “introductory exercise” for developers working on OCR technologies or similar computer vision challenges.

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  • How do I use .NET to find an orange ball in an image?

    - by JohnS
    I'm getting images from a C328R camera attached to a small arduino robot. I want the robot to drive towards orange ping-pong balls and pick them up. I'm using the C# code supplied by funkotron76 at http://www.codeproject.com/KB/recipes/C328R.aspx. Is there a library I can use to do this, or do I need to iterate over every pixel in the image looking for orange? If so, what kind of tolerance would I need to compensate for various lighting conditions? I could probably test to figure out these numbers, but I'm hoping someone out there knows the answers.

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  • Best method to compress JSON string in term of performance and compress radio

    - by Eric Yin
    For a JSON string, contains all kinds of settings, numbers, string etc. Total JSON string fairly fall into 10k~50K range. I want to compress it before save to database. So I wonder which compress method should I choose, I am using c# 4, I know I can choose gzip and deflate but the compression radio is not good (although speed is good). More specific, compress can be a little slow (since only once) but should be small. Decompress should be lighting fast since decompress happens lots. Please give some advice.

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  • Decent JavaScript IDE

    - by thatismatt
    What is a decent IDE for developing JavaScript, I'll be writing both client side stuff and writing for Rhino. Ideally It needs to run on Mac OSX, although something that runs on Windows too would be nice. ADDITIONAL: Having had a play with both js2 and Aptana, I think I'll be continuing to use Aptana. Mainly because I find emacs a bit hard to get my head round, although I did think that the error hi-lighting in js2 was better than that in Aptana. I'm still looking for a way to visually debug my js code that is running atop Rhino...

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  • Kerning problems when drawing text character by character

    - by shekel
    I'm trying to draw strings character by character to add lighting effects to shapes composed of text. while (i != line.length()) { c = line.substring(i, i + 1); cWidth = g.getFontMetrics().stringWidth(c); g.drawString(c, xx += cWidth, yy); i++; } The problem is, the width of a character isn't the actual distance it's drawn from another character when those two characters are printed as a string. Is there any way to get the correct distance in graphics2d?

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  • Optimum ordering for packed vertex arrays on iPhone

    - by Pestilence
    Is there an optimum packing format for vertex arrays on the iPhone hardware? My textured (triangle) arrays are ordered: Vertex (x, y, z) Vertex Normal (x, y, z) Texture Coordinates (u, v) This is the way I've always done it. Should the UVs come before the normals? I'm not sure if it matters. I'd assume that the texturing & lighting units would have a preference, but I can't find anything about it. I certainly can't detect a difference.

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  • Changing stylesheet href with jQuery doesn't quite work

    - by Michael Itzoe
    I'm creating a web app that user will be accessing in the field, so they'd like to be able to manually toggle the styles from light to dark depending on the ambient lighting. I'm using jQuery. I added an id attribute to my stylesheet, then created a button using the toggle() event, in which I change the href attribute to the CSS file I want. The CSS file has several @import directives as I split the styles into several files for maintainability. My problem is only the main CSS file is being applied. I tried using the absolute path in the @import directives, but no luck. Is there a fix here I'm missing, or do I have to inlcude everything in a single CSS file? Edit: Apprently this is only a problem in IE8, works fine in Chrome and Firefox. Unfortunately, my client wants only IE8. Looks like this is a duplicate of this question.

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  • Edit form not being instanciated

    - by 47
    I have two models like this: class OptionsAndFeatures(models.Model): options = models.TextField(blank=True, null=True) entertainment = models.TextField(blank=True, null=True) seats_trim = models.TextField(blank=True, null=True) convenience = models.TextField(blank=True, null=True) body_exterior = models.TextField(blank=True, null=True) lighting = models.TextField(blank=True, null=True) safety = models.TextField(blank=True, null=True) powertrain = models.TextField(blank=True, null=True) suspension_handling = models.TextField(blank=True, null=True) specs_dimensions = models.TextField(blank=True, null=True) offroad_capability = models.TextField(blank=True, null=True) class Vehicle(models.Model): ... options_and_features = models.ForeignKey(OptionsAndFeatures, blank=True, null=True) I have a model form for the OptionsAndFeaturesclass that I'm using in both the add and edit views. In the add view it works just fine. But the edit view renders the OptionsAndFeatures as blank. The code for the edit view is as follows: def edit_vehicle(request, stock_number=None): vehicle = get_object_or_404(Vehicle, stock_number=stock_number) if request.method == 'POST': # save info else: vehicle_form = VehicleForm(instance=vehicle) photos = PhotosFormSet(instance=vehicle) options = OptionsForm(instance=vehicle) #render_to_reponse What could be the problem here?

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  • Blender mesh mirroring screws up normals when importing in Unity

    - by Shivan Dragon
    My issue is as follows: I've modeled a robot in Blender 2.6. It's a mech-like biped or if you prefer, it kindda looks like a chicken. Since it's symmetrical on the XZ plane, I've decided to mirror some of its parts instead of re-modeling them. Problem is, those mirrored meshes look fine in Blender (faces all show up properly and light falls on them as it should) but in Unity faces and lighting on those very same mirrored meshes is wrong. What also stumps me is the fact that even if I flip normals in Blender, I still get bad results in Unity for those meshes (though now I get different bad results than before). Here's the details: Here's a Blender screen shot of the robot. I've took 2 pictures and slightly rotated the camera around so the geometry in question can be clearly seen: Now, the selected cog-wheel-like piece is the mirrored mesh obtained from mirroring the other cog-wheel on the other (far) side of the robot torso. The back-face culling is turned of here, so it's actually showing the faces as dictated by their normals. As you can see it looks ok, faces are orientated correctly and light falls on it ok (as it does on the original cog-wheel from which it was mirrored). Now if I export this as fbx using the following settings: and then import it into Unity, it looks all screwy: It looks like the normals are in the wrong direction. This is already very strange, because, while in Blender, the original cog-wheel and its mirrored counter part both had normals facing one way, when importing this in Unity, the original cog-wheel still looks ok (like in Blender) but the mirrored one now has normals inverted. First thing I've tried is to go "ok, so I'll flip normals in Blender for the mirrored cog-wheel and then it'll display ok in Unity and that's that". So I went back to Blender, flipped the normals on that mesh, so now it looks bad in Blender: and then re-exported as fbx with the same settings as before, and re-imported into Unity. Sure enough the cog-wheel now looks ok in Unity, in the sense where the faces show up properly, but if you look closely you'll notice that light and shadows are now wrong: Now in Unity, even though the light comes from the back of the robot, the cog-wheel in question acts as if light was coming from some-where else, its faces which should be in shadow are lit up, and those that should be lit up are dark. Here's some things I've tried and which didn't do anything: in Blender I tried mirroring the mesh in 2 ways: first by using the scale to -1 trick, then by using the mirroring tool (select mesh, hit crtl-m, select mirror axis), both ways yield the exact same result in Unity I've tried playing around with the prefab import settings like "normals: import/calculate", "tangents: import/calculate" I've also tired not exporting as fbx manually from Blender, but just dropping the .blend file in the assets folder inside the Unity project So, my question is: is there a way to actually mirror a mesh in Blender and then have it imported in Unity so that it displays properly (as it does in Blender)? If yes, how? Thank you, and please excuse the TL;DR style.

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  • Don&rsquo;t Forget! In-Memory Databases are Hot

    - by andrewbrust
    If you’re left scratching your head over SAP’s intention to acquire Sybase for almost $6 million, you’re not alone.  Despite Sybase’s 1990s reign as the supreme database standard in certain sectors (including Wall Street), the company’s flagship product has certainly fallen from grace.  Why would SAP pay a greater than 50% premium over Sybase’s closing price on the day of the announcement just to acquire a relational database which is firmly stuck in maintenance mode? Well there’s more to Sybase than the relational database product.  Take, for example, its mobile application platform.  It hit Gartner’s “Leaders’ Quadrant” in January of last year, and SAP needs a good mobile play.  Beyond the platform itself, Sybase has a slew of mobile services; click this link to look them over. There’s a second major asset that Sybase has though, and I wonder if it figured prominently into SAP’s bid: Sybase IQ.  Sybase IQ is a columnar database.  Columnar databases place values from a given database column contiguously, unlike conventional relational databases, which store all of a row’s data in close proximity.  Storing column values together works well in aggregation reporting scenarios, because the figures to be aggregated can be scanned in one efficient step.  It also makes for high rates of compression because values from a single column tend to be close to each other in magnitude and may contain long sequences of repeating values.  Highly compressible databases use much less disk storage and can be largely or wholly loaded into memory, resulting in lighting fast query performance.  For an ERP company like SAP, with its own legacy BI platform (SAP BW) and the entire range of Business Objects and Crystal Reports BI products (which it acquired in 2007) query performance is extremely important. And it’s a competitive necessity too.  QlikTech has built an entire company on a columnar, in-memory BI product (QlikView).  So too has startup company Vertica.  IBM’s TM1 product has been doing in-memory OLAP for years.  And guess who else has the in-memory religion?  Microsoft does, in the form of its new PowerPivot product.  I expect the technology in PowerPivot to become strategic to the full-blown SQL Server Analysis Services product and the entire Microsoft BI stack.  I sure don’t blame SAP for jumping on the in-memory bandwagon, if indeed the Sybase acquisition is, at least in part, motivated by that. It will be interesting to watch and see what SAP does with Sybase’s product line-up (assuming the acquisition closes), including the core database, the mobile platform, IQ, and even tools like PowerBuilder.  It is also fascinating to watch columnar’s encroachment on relational.  Perhaps this acquisition will be columnar’s tipping point and people will no longer see it as a fad.  Are you listening Larry Ellison?

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  • Silverlight Cream for March 14, 2011 -- #1060

    - by Dave Campbell
    In this Issue: Lazar Nikolov, Rudi Grobler, WindowsPhoneGeek, Jesse Liberty, Pete Brown, Jessica Foster, Chris Rouw, Andy Beaulieu, and Colin Eberhardt. Above the Fold: Silverlight: "A Silverlight Resizable TextBlock (and other resizable things)" Colin Eberhardt WP7: "Retrofitting the Trial API" Jessica Foster Shoutouts: Rudi Grobler has a post up that's not Silverlight, but it's cool stuff you may be interested in: WPF Themes now available on NuGet From SilverlightCream.com: Simulating rain in Silverlight Lazar Nikolov has a cool tutorial up at SilverlightShow... Simulating rain. Nice demo near to top, and source code plus a very nice tutorial on the entire process. Making the ApplicationBar bindable Rudi Grobler has a couple new posts up... first this one on making the WP7 AppBar bindable... he's created 2 simple wrappers that make it possible to bind to a method... with source as usual! All about Splash Screens in WP7 – Creating animated Splash Screen WindowsPhoneGeek's latest is about splash screens in WP7, but he goes one better with animated splash screens. Lots of good information including closing points in more of a FAQ-style listing. Testing Network Availability Jesse Liberty's latest is on testing for network availability in your WP7 app. This should be required reading for anyone building a WP7 app, since you never know when the network is going to be there or not. Lighting up on Windows 7 with Native Extensions for Microsoft Silverlight Pete Brown's latest post is about the Native Extensions for Microsoft Silverlight or NESL library. Pete describes what NESL is, a link to the library, installing it, and tons more information. If you wanna know or try NESL... this looks like the place to start. Retrofitting the Trial API Jessica Foster paused on the way to shipping her WP7 app to add in the trial API code. Check out what she went through to complete that task, as she explains the steps and directions she took. Good description, links, and code. WP7 Insights #2: Creating a Splash Screen in WP7 In the 2nd post in his series on WP7 development, Chris Rouw is discussing a WP7 splash screen. He gives some good external links for references then gets right into discussing his code. Air Hockey for Windows Phone 7 Andy Beaulieu shares a tutorial he wrote for the Expression Toolbox site, using the Physics Helper Library and Farseer Physics Engine -- an Air Hockey game for WP7. A Silverlight Resizable TextBlock (and other resizable things) I think Michael Washington had the best comment about Colin Eberhardt's latest outing: "Another WOW example" ... drop this in the pretty darn cool category: an attached behavior that uses a Thumb control within a popup to adorn any UI element to allow the user to resize it! Stay in the 'Light! Twitter SilverlightNews | Twitter WynApse | WynApse.com | Tagged Posts | SilverlightCream Join me @ SilverlightCream | Phoenix Silverlight User Group Technorati Tags: Silverlight    Silverlight 3    Silverlight 4    Windows Phone MIX10

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  • flicker when drawing 4 models for the first time

    - by Badescu Alexandru
    i have some models that i only draw at a certain moment in the game (after some seconds since the game has started). The problem is that in that first second when i start to draw the models, i see a flicker (in the sence that everything besides those models, dissapears, the background gets purple). The flicker only lasts for that frame, and then everything seems to run the way it should. UPDATE I see now that regardless of the moment i draw the models, the first frame has always the flickering aspect What could this be about? i'll share my draw method: int temp = 0; foreach (MeshObject meshObj in ShapeList) { foreach (BasicEffect effect in meshObj.mesh.Effects) { #region color elements int i = int.Parse(meshObj.mesh.Name.ElementAt(1) + ""); int j = int.Parse(meshObj.mesh.Name.ElementAt(2) + ""); int getShapeColor = shapeColorList.ElementAt(i * 4 + j); if (getShapeColor == (int)Constants.shapeColor.yellow) effect.DiffuseColor = yellow; else if (getShapeColor == (int)Constants.shapeColor.red) effect.DiffuseColor = red; else if (getShapeColor == (int)Constants.shapeColor.green) effect.DiffuseColor = green; else if (getShapeColor == (int)Constants.shapeColor.blue) effect.DiffuseColor = blue; #endregion #region lighting effect.LightingEnabled = true; effect.AmbientLightColor = new Vector3(0.25f, 0.25f, 0.25f); effect.DirectionalLight0.Enabled = true; effect.DirectionalLight0.Direction = new Vector3(-0.3f, -0.3f, -0.9f); effect.DirectionalLight0.SpecularColor = new Vector3(.7f, .7f, .7f); Vector3 v = Vector3.Normalize(new Vector3(-100, 0, -100)); effect.DirectionalLight1.Enabled = true; effect.DirectionalLight1.Direction = v; effect.DirectionalLight1.SpecularColor = new Vector3(0.6f, 0.6f, .6f); #endregion effect.Projection = camera.projectionMatrix; effect.View = camera.viewMatrix; if (meshObj.isSetInPlace == true) { effect.World = transforms[meshObj.mesh.ParentBone.Index] * gameobject.orientation; // draw in original cube-placed position meshObj.mesh.Draw(); } else { effect.World = meshObj.Orientation; // draw inSetInPlace position meshObj.mesh.Draw(); } } temp++; }

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  • Multiple render targets and gamma correctness in Direct3D9

    - by Mario
    Let's say in a deferred renderer when building your G-Buffer you're going to render texture color, normals, depth and whatever else to your multiple render targets at once. Now if you want to have a gamma-correct rendering pipeline and you use regular sRGB textures as well as rendertargets, you'll need to apply some conversions along the way, because your filtering, sampling and calculations should happen in linear space, not sRGB space. Of course, you could store linear color in your textures and rendertargets, but this might very well introduce bad precision and banding issues. Reading from sRGB textures is easy: just set SRGBTexture = true; in your texture sampler in your HLSL effect code and the hardware does the conversion sRGB-linear for you. Writing to an sRGB rendertarget is theoretically easy, too: just set SRGBWriteEnable = true; in your effect pass in HLSL and your linear colors will be converted to sRGB space automatically. But how does this work with multiple rendertargets? I only want to do these corrections to the color textures and rendertarget, not to the normals, depth, specularity or whatever else I'll be rendering to my G-Buffer. Ok, so I just don't apply SRGBTexture = true; to my non-color textures, but when using SRGBWriteEnable = true; I'll do a gamma correction to all the values I write out to my rendertargets, no matter what I actually store there. I found some info on gamma over at Microsoft: http://msdn.microsoft.com/en-us/library/windows/desktop/bb173460%28v=vs.85%29.aspx For hardware that supports Multiple Render Targets (Direct3D 9) or Multiple-element Textures (Direct3D 9), only the first render target or element is written. If I understand correctly, SRGBWriteEnable should only be applied to the first rendertarget, but according to my tests it doesn't and is used for all rendertargets instead. Now the only alternative seems to be to handle these corrections manually in my shader and only correct the actual color output, but I'm not totally sure, that this'll not have any negative impact on color correctness. E.g. if the GPU does any blending or filtering or multisampling after the Linear-sRGB conversion... Do I even need gamma correction in this case, if I'm just writing texture color without lighting to my rendertarget? As far as I know, I DO need it because of the texture filtering and mip sampling happening in sRGB space instead, if I don't correct for it. Anyway, it'd be interesting to hear other people's solutions or thoughts about this.

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