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Doom3 Editing Tips/etc
Posted by
on 2004/08/04 12:38:27
Figured with Doom3 out now, we should start a seperate thread from the other Doom3 thread dedicated solely to getting into mapping for it. Ask questions, post some tips you've seen posted elsewhere, etc.
Myself, last night I quickly attempted to open the editor (run doom3 with +editor for a setting to open it), but it opens in whatever my Doom3 resolution is, and I don't have a mouse pointer :( Makes it difficult to map.
I'm sure issue will be solved through some settings, and this is the perfect place for them, so we can all learn the new little tricks together.
First Tip.
#1 posted by biff_debris on 2004/08/04 12:43:45
Thanks to AceC at #ddom3world and RaP7oR in #tf for the following:
To have the editor run in a windowed mode (if your game isn't -- and who would want that?), and make it more accessible to run doomedit with say, IRC, add have the following in the properties window for a seperate doom3 shortcut (in the "Target:" box)
"C:\Program Files\Doom 3\Doom3.exe" +editor +seta com_allowConsole "1" +seta r_fullscreen "0"
Works for me.
#2 posted by
on 2004/08/04 14:26:46
The one major thing to note is the difference in compiling your maps compared to the 'Quake way'
D3 does vis(afaik)/lighting on the fly, so you just have to do a bsp compile. This can be done in game if you want to quickly test your map (how cool :) by typing;
dmap [mapname]
Then the normal
map [mapname]
to load the map (or
devmap [mapname]
for loading with cheats enabled)
You will also instantly notice that an unlit map loads full black rather than full bright, so you'll either have to use the flashlight or (more usefully) stick a large light in to be able to see what's going on.
Oh, and pressing F2 in DoomEDIT will drop you straight back into the game, which is nice.
(And as an addition to what biff said, you'll probably want to add
+r_fullscreen 1
to your normal D3 shortcut. You don't actually have to use seta in the command line anymore, just note the + rather than the - suffix)
#3 posted by
on 2004/08/04 14:27:21
Bah. Stupid quote tag (or foolish use of it anyway :)
Let Me Dump Some Of What I Know Already
#4 posted by
on 2004/08/04 16:25:28
Some of you may know this also but to get our knowledge base started:
Lights are now brushes.
Because of how very important it is to keep track of how light volumes overlap (because each light means at least 3 passes on every surface it shines on or something insane like that) lights all have definite bounds. All are rectilinear, or pyramidal.
For a rectilinear light, that's your basic area light. The pyramid is basically a cone but since it's projecting a square image it's a pyramid, thus being a spotlight.
The actual size of a light is determined by two things - the origin and the bounds. The origin is the usual diamondy light thing, and you can define three radii for X, Y, and Z. The volume is always centered on the light entity itself, and the light will fade from the center to the edge of the volume.
You can, however, make the engine fake that the light is originating from somewhere else. The pool of illumination you might want right by the floor to mimic light from up above, but that would mean the shadows would have to be cast from that direction. In the light editor you can check a box and move the light's perceived origin away from the diamond (it becomes a pink square) wherever you like. Note that if you move it into a brush the light goes dark because the whole room is now in shadow.
Note also, that to actually illuminate walls and floor, the light volume has to extend past the walls. Since the light's intensity at the edge of the volume is zero, if a light volume is the size of the box it's in then someone standing next to it will be lit nice and brightly on his face, but his feet will extend into darkness and no walls will be lit.
This means that your light volume might extend into other rooms. I presume Carmack was intelligent enough to cull lighting based either on vis or on shadowing, so there probably isn't any worry about a light from a room next door slowing down rendering in the one you're in despite not doing anything. I have not, however, tested this.
Light volumes also split the faces of the world where they intersect. Poly counts in this game are basically "nothing you need to worry about," but it never hurts to try and keep your lights close to the grid and not overlap them in terribly funny ways. So, of course, the default light radius is nowhere near the grid at a rather stupid 300x300x300, ensuring you have to change every light.
Lights are also no longer just gradients. You can create an image for whatever light you like. The flashlight is a good example of that, but nearly every light in the game is like this as well. Even the default light has an image with a kind of squarish gradient in it. When you see the soft-edged shadow of a spinning fan, it's actually a projection of a shader with a rotating texture pass. Lights casting a chain-link pattern on a wall usually aren't shining through the chain link fence, they're just an image of a blob with an X pattern over it.
That can lead to some pretty cool shit. See: stained glass windows, film projectors, etc.
Much more from me later.
Oh Yeah
#5 posted by
on 2004/08/04 16:30:40
Forgot to add, if you create a light with a shader that's basically a full white image, you'll create a box of fullbrightness cast from a central point, that doesn't fade towards the edges. Fade is determined by the shader image itself. If you create a spotlight, and the shader assigned is a black image with a filled white circle, you'll have a spotlight with no penumbra.
Area lights are by default projected from above. So, if you have that white circle light on an area light that intersects with walls, you'll have a circle on the floor but rectangles on the walls where the circle intersects them. See what I mean? AFAIK the only way to rotate the projection of an area light is to rotate the entity itself, but that makes it hard to work with because then you don't know what X is Y to what Z in what direction who what X whatever.
For Resolution
#6 posted by
on 2004/08/04 17:35:31
+r_mode X
Where x is some number, 5 is 1024x768, 4 is 800x600, you should get the idea.
Scampie - when I started mine up, I had no mouse pointer, when I added +r_mode 5 to the short cut, all was good.
My DooMed shortcut looks like this
"G:\Doom 3\Doom3.exe" +editor +r_mode 5 +r_fullscreen 0
I Lurned This Tonight:
#7 posted by
on 2004/08/06 00:14:59
Materiallist.txt is not necessary.
To start the editor in the basedir of a mod, start doom3 itself with "+set fs_game whatever", and the editor will work out of the mod folder and fall back on /base/ as usual.
Scampie, here's the MEL for the light arrangement. To the unintiated, I'm doing my normal maps in Maya, and have this bit of code to slap in the correct arrangement of lights to create the RGB contour.
// Make the default lambert white so I don't have to fuck with anything
setAttr "lambert1.color" -type double3 1 1 1 ;
setAttr "lambert1.diffuse" 1;
// Create the five directionals, and position them
defaultDirectionalLight(-0.5, 0,1,0, "0", 0,0,0);
rename "greenDark";
rotate -r -os 0 180 0;
move -rpr -z -12;
defaultDirectionalLight(0.5, 0,1,0, "0", 0,0,0);
rename "greenLight";
move -rpr -z 12;
defaultDirectionalLight(-0.5, 1,0,0, "0", 0,0,0);
rename "redDark";
rotate -r -os 0 -90 0;
move -rpr -x -12;
defaultDirectionalLight(0.5, 1,0,0, "0", 0,0,0);
rename "redLight";
rotate -r -os 0 90 0;
move -rpr -x 12;
defaultDirectionalLight(0.5, 0,0,1, "0", 0,0,0);
rename "blueLight";
rotate -r -os -90 0 0;
move -rpr -y 12;
// Create the ambient light that compensates for shadow lights
defaultAmbientLight(0.5, 0, 1,1,1, "0", 0,0,0, "1");
rename "ambientLight";
move -rpr -y -12;
// Orthographic camera looking down at this beautiful arrangement
camera -centerOfInterest 5 -filmFit Fill -orthographic 1 -orthographicWidth 16; objectMoveCommand; cameraMakeNode 1 "";
rename "orthoCamera";
rotate -r -os -90 0 0 ;
move -r 0 12 0 ;
setAttr -lock true "orthoCamera.tx";
setAttr -lock true "orthoCamera.ty";
setAttr -lock true "orthoCamera.tz";
setAttr -lock true "orthoCamera.orthographicWidth";
select -cl;
// Layerize it
select -r greenDark greenLight redDark redLight blueLight ambientLight orthoCamera ;
createDisplayLayer -name "utilities" -number 1 -nr;
select -cl;
The orthographic camera it creates will face onto an area 16 maya world units on a side. Model to that scale (use the grid!), being sure to remember which direction is up on your surface. The bright red light should come from the
, and the bright green from
Render at whatever native size you want - I do 512x512 - and it will frame perfectly.
. Production quality will anti-alias a black border into the image along all the edges, which you don't want. You're better off rendering at a higher res than you'll eventually use, and scaling the image down in Photoshop.
Wow Lunaran
#8 posted by
on 2004/08/06 02:00:08
You're really all over this stuff.
I'm probably not even going to run the editor until I finish the game. I just got it by the way.
Thanks For The Info Lun
#9 posted by
on 2004/08/06 15:57:32
You the man. I'll be getting into some editing late this weekend I suspect.
Yaey Lun
#10 posted by biff_debris on 2004/08/07 14:50:04
Specially with the light info -- I had figured out the directional thing with the lights from playing with the id maps, but you've saved a great deal of time with notes =D
Oh Dear...
#11 posted by Tron on 2004/08/08 13:25:41
This all sounds slightly more complicated than Worldcraft. :)
Yeah It Does!
#12 posted by
on 2004/08/10 01:45:39
Something tells me there wont be a huge number of mappers for D3. I suspect a rather large learning curve with this new engine.
While this may _sound_ bad I dont think it will be. I just means that what mappers we do get will be a bit smarter than the average bear, and will likely mean better maps. So... if any of you big-brains need a play tester ;)
I Disagree
#13 posted by
on 2004/08/10 01:57:01
Intelligence is not the determining factor in learning to map for a game; it helps but it's not the most important thing.
Determination is more important and unfortunately there are alot more determined people out there than there are intelligent people. So enjoy the first month or so of crappy Doom/Doom2/Quake remakes and box maps with 10 cacodemons, because people out there are determine to show you they can make a map for D3 :D
I'd Have To Disagree
#14 posted by
Mr Fribbles
on 2004/08/10 07:25:21
I'd be more inclined to think that there will be a huge amount of mappers for Doom3. Consider the following:
- the editor is radiant; anyone who has mapped for any Quake 2 or Quake 3 engine game is pretty damn familiar with it, and there's tutorials available on the basics of the editor.
- Doom 3 engine looks so good that it will probably attract new mappers, or drag them away from other games.
- in some ways D3 editing is actually _easier_ than earlier games; there's less worries with compiling the levels (you just run the BSP, yeah?), you have real time lighting previews
in the editor
, the bump mapping and all that business makes it easier than ever before to make a map look good, even if its just a simple box room (look at some of the Doom 3 maps!)
- the level of control you have (I assume, from looking at the levels) over moving geometry, lighting, etc is great, and will allow people to do things they've wanted to do before but weren't possible in older engines.
- You have the editor and all the media if you've installed the game, you don't even have to download it!
- They've included all the
.map files in the game paks! That makes it pretty damn easy to figure out how things are done, and gives people the opportunity to use bits of the id levels in their maps if they so desire.
- Because the interest in Doom 3 mapping
be huge, there's already tutorials and stuff popping up, even easy to follow video tutorials (from what I'm told) for newbies! You can't get much better than that. They're available here btw, if it wasn't already posted:
#15 posted by
on 2004/08/10 09:03:41
I'm glad you guys feel the need to debate if there will or will not be a doom3 map community, but this is a editing tips and tricks thread for those who would like to start working toward one, so go discuss elsewhere.
Today's trick/tip? "J". This magical key opens the light editing window. You wouldn't believe how much of the time I spent last night just starting with the editor was wasted trying to figure out why the fuck I couldn't change the brightness. Lunaran's explination of the game's lighting makes more sense after seeing it in action in the editor.
Just To Piss Scampie Off By Continuing The Discussion....
#16 posted by
on 2004/08/10 09:44:17
It seems very easy to make good looking doom3 maps as long as you stick with the id content. If you want to make your own textures, models, scripted machinery, , gui scipts though it will of course require a lot of work.
Mapping Tip #1
#17 posted by
on 2004/08/10 10:05:51
If you want to make your own textures, models, scripted machinery, , gui scipts though it will of course require a lot of work.
The greater part of success comes from doing what others are not willing to do.
I Always Thought
#18 posted by
on 2004/08/10 10:56:52
the greater part of success was lots of beer and women?
#19 posted by
on 2004/08/10 11:13:30
It's a part of the success as well, but not in mapping..
Caulking Methods?
#20 posted by
on 2004/08/16 10:51:12
I was curious to see what type of methods you all are using to caulk your levels for performance. I understand now, thanks to non/grind that it speeds up the bsp compile dramatically, and provides better performance in game as it does not draw any texture on its faces. The question I have tho is exactly how you guys go about using this caulk texture. To you all build the rooms and halls in the caulk then go back and texture just the visible faces? Or, like I have been doing do you create your work then just select all the outside faces and apply the caulk that way. The way I've been doing it however probably isn't the most effect as I've skipped over the brushces with metered angles, or brushes that come up against one another. I've also heard people just creating the room with the regular textures, then remember what textures they used, selecting everything inside a large brush, then auto caulking. Then of course they go back and retexture the visable faces. Any comments, suggestions?
#21 posted by
on 2004/08/16 12:39:06
I was reading elsewhere that the kind of obsessive caulking of non-visible faces people (including me) use in Q3 engine maps may actually be a bad thing in Doom 3. Apparently the stencil shadows are cast from faces whose where the normal faces away from the light rather than towards it - so there is potential for caulking non-visible faces to actually cause the shadowing to fuck up.
Haven't tried this myself yet though so this may be entirely untrue of course!
Going One Further Shallow
#22 posted by
on 2004/08/16 13:48:50
from what I've read of various tests, there's no reason to caulk everything anymore anyway since the game is really good in removing unseen faces as is. Plus, there aren't anymore structual/detail brushes anymore, so the use of caulk-hull techniques is out of the question.
Oh! Link!
#23 posted by
on 2004/08/16 13:51:30
#24 posted by
on 2004/08/16 21:40:36
who caulks the outer faces of structural hull brushes???
#25 posted by
Mr Fribbles
on 2004/08/16 22:17:13
I've also wondered myself why people would caulk faces that are going to be culled anyways.
#26 posted by
on 2004/08/16 22:24:22
metlslime: people who don't relieze why they're doing something, but do it anyway.
From My Understanding
#27 posted by
on 2004/08/17 00:03:09
Appearantly the caulk-hull method has it's roots in Quake 3 engine games. Newer games such as Call of Duty rely on this technique as the current tools are not that efficient at removing faces from structual hull brushes. As a result many people have adapted to using the caulk for everything, then going back, retexturing and using massive ammounts of detail brushes.
In Doom3 the bsp compiler is efficient enough that the caulk-hull method is no longer needed. I believe some people in the Doom3world.org boards are having a hard time moving away from this technique. A few guys there have done some performance testing to back up this believe, and as Scampie linked a fairly knowledgable sounding guy also said caulk-hull is no longer needed.
Not That Any Of Us Need It...
#28 posted by
on 2004/08/17 01:59:35
But I thought I'd post a link to the little tutorial I just wrote up regarding geometry.
I Needed It.
#29 posted by
on 2004/08/17 03:15:02
Thanks scampie nice work :D I can never get my head around curves tho, would you do a wall curve the same method and how do you apply a texture to just the curved side of wall and caulk to the back?
#30 posted by
on 2004/08/17 11:10:45
Nice job. :)
That Forum
#31 posted by
on 2004/08/17 14:26:13
Just taken a look around, followed some tuts and I didnt know it was that easy :)
#32 posted by
on 2004/08/17 22:06:09
#33 posted by
on 2004/08/17 23:39:57
whoa! what they say is true! mitering IS a thing of the past with d3's bsp process!
I must say, I am impressed.
#34 posted by
on 2004/08/17 23:58:53
um... by mitering, i assume you're talking about the way the brushes meet at 45 degrees?
how would that affect the lighting like you mention in your tutorial?
Nice Test Scamp
#35 posted by
on 2004/08/18 00:25:07
Thanks for pointin that out. I'll probably still miter like normal tho, I for some reason believe it keeps my map cleaner... what that means I'm not sure. I just feel it's tider with stuff mitered, not everything mind you.
I'll try to be more vague next post.
#36 posted by
on 2004/08/18 00:33:13
er? i never said it helped with lighting... never even mention lights.
but in Quake engines, had I made the example on the left, it'd have almost twice the polygons as compared to the section on the right, due to how they meet end to end instead of side to end.
To Best Show What I Mean...
#37 posted by
on 2004/08/18 00:51:18
here's the same test done in q3. show is taken the opposite way to show how it splits the wall bad too, so the mitre section is on the left now.
Uhm, That Is A Debatable Point,
#38 posted by
on 2004/08/18 00:52:01
but I would not be suprised if Scampie knocked this one clean out of the park.
Cool Screenies
#39 posted by
on 2004/08/18 00:54:19
I'll probably keep mitering out of sheer habit, and also because it makes the map look cleaner in-editor and helps me to see what's what at a glance, but it's nice that you don't have to be really anal about it and sweat performance anymore...
#40 posted by
on 2004/08/18 02:33:40
Headthump: I shouldn't even dignify a Half-Life mapper's claims with a response, but if you insist.
His argument is based on tests that don't have anything to do with real life mapping. In his first, he shows a light inserted within a 'pole', and somehow claims this proves that the bsp splitter is god's gift to render speeds. Without showing the tris, I see little reason to believe his argument. Here's the same piece, done in q3, on the bottom showing an unmitred peice, the top mitred.
If he's in fact not lying about there being no cut there, then there's more to the story than we're seeing. Possibly a decal? I know they exist in HL, but don't know how common they are in level design.
His second piece of 'evidence' just shows an example of the splitter doing it's job correctly and how we'd all expect it to work. A real world example, like in my first Q3 mitre comparision (
), shows the compiler just doesn't how how to effeciently deal with all the vertices of the various faces coming together and has to split things up. By mitering, and making more vertices meet at common places, less splits occur and thus less polygons are created.
Mitred brushes making the map cleaner is a personal call, I find in my mapping where I'm very concerned with overall design, it's much easier to see things. As for his final point, plane counts are a Half-Life compiler specific concern, and may well be true for all I know.
That's all I have for now.
Left Out Part...
#41 posted by
on 2004/08/18 02:37:44
His second piece of 'evidence' just shows an example of the splitter doing it's job correctly and how we'd all expect it to work.
Compilers do know enough to combine all brushes they lay flat as he's showing, and will merge all the faces that have the same surface properties.
#42 posted by
on 2004/08/18 02:51:41
thanks for that, scampie.
i don't know why i had it in mind that mitering affected light... O_o
i'll need to keep that in my for future maps. :)
The Penis Mitre
#43 posted by
on 2004/08/18 03:00:38
Mitre-ing revelation
Nice work, Scampie. I'll have to remember that.
Very Useful Info Scampie
#44 posted by
on 2004/08/18 04:12:03
Mind you, I miter instinctively in Q1 and will no doubt continue to do so in Doom3 (if I ever get around to mapping for it).
You Know,
#45 posted by
on 2004/08/18 04:25:19
I always thought the whole bsp/csg way of making levels would be phased out with the Doom3 engine, but after seeing those pics of how Doom3 "automatically" miters brushes, it looks as though the Carmack is perfecting it.
Thanks Scampie,
#46 posted by
on 2004/08/18 11:30:59
I shouldn't even dignify a Half-Life mapper's claims with a response, but if you insist.
Too true.
I wasnt sure it I should have posted that link, but I'm glad I did. I've used both methods in the past, and mitering does look cleaner; esp. on the x/y plane where I organize my layouts anyway.
#47 posted by
on 2004/08/18 12:54:38
and i've seen so many threads on Doom 3 forums by people claiming the Doom 3 engine is "inferior". Inferior to what, Half-Life? Doom 3 may not be perfect, but the engine IS technically impressive. Carmack isn't some 15 year old who makes counter-strike mods, even if he looks like one.
#48 posted by
on 2004/08/19 21:50:59
I've started futzing with the GUI scripts, following the tutorials on d3world mainly. As soon as I started, I made a beeline (lol!) in my tests to see if you could apply normal-mapped shaders to a GUI, my goal being to create a switch panel or a keypad that reacted to light the same as other textures, and thus actually looked functional and real and not like a happy shiny hi-tech LCD screen.
Sadly, putting a material shader in a GUI object doesn't work - Apparently to Carmack it wasn't conceivable that you could possibly create an environment in which happy shiny LCD screens would be advanced and out of place - and thus begins the slow process of my starting to hate all the shortcomings this engine will no doubt limit me with.
If I hack something up to fake it I'll post the process but I doubt it will be elegant, pretty, or even satisfactory.
#49 posted by
on 2004/08/19 22:22:22
Send him an e-mail, he just might care and add it to a patch.
#50 posted by
on 2004/08/19 22:32:42
well, there's a secret in the game which seems to be what you're looking for... when the crosshair goes over it, it still beeps, but the mouse crosshair isn't displayed. it looks like a normal block texture... you can probably not make it beep too...
i don't know if this is exactly what you're talking about. i'm still trying to figure out how to make most of the funky moving stuff and haven't even looked at the GUI things...
#51 posted by
on 2004/08/20 08:40:09
That's kind of the hack I was thinking of. You can make a GUI that's just one layer with an alpha of 0 so it's essentially not there, but still responds to mouseovers and such.
I haven't even tried most of the funky moving stuff, I'm still revamping the PDA. :)
#52 posted by
on 2004/08/20 09:42:05
Lun, just make a new dm map. We don't need another dune mod fiasco.
Deathmatch Or Glory, Lunaran
#53 posted by
on 2004/08/20 12:11:05
Deathmatch or glory.
or else,
its just another story.
#54 posted by
on 2004/08/20 12:35:52
Don't talk like that Headthump, he may start thinking about Pissboat or Quake4 and become suicidal.
Good Point
#55 posted by
on 2004/08/20 12:46:30
I wouldn't want that on my hands; normally, I just drive people to drinking.
Tips From Kiltron
#56 posted by
Mr Fribbles
on 2004/08/28 05:32:13
#57 posted by
on 2004/08/28 16:26:29
has anyone seen it?
#58 posted by
on 2004/08/29 14:40:40
I love innapropriate ports.
That Looks
#59 posted by
on 2004/08/29 14:43:03
Automated map porter...Kinda cool still.
Is It Just Me
#60 posted by
on 2004/08/30 00:22:54
Or is the D3R vertex edit mode fundamentally broken? Splitting faces it shouldn't, crashing after snap-to-grid, horribly deforming perfectly valid brushes...
I Think The Vertex-edit Is Kinda Wonky Too...
#61 posted by
on 2004/08/30 01:13:42
And I don't know how to snap vertices to the grid if they're not on it already...Is there a quick and easy way to do this?
Also, I don't know how I managed it, but I had D3 applying two different diffuse textures to one face. Does anyone know how I could've possibly done that, and how to fix it or not do it again in the future?
BTW, they really should fix the patch editing...I can't see patches I've created in the camera view unless I restart the editor.
Vertex Edit
#62 posted by Friction on 2004/08/30 01:35:35
Don't use vertex edit for anything but patches. For brushes, 3D clipper is your friend. Seriously :I
#63 posted by
Mr Fribbles
on 2004/08/30 06:53:30
Try CTRL+G and see if that will snap the verts to the grid. You may have to select the vert first, not sure (that's if it works at all, it works in GtkR, that's all I know).
Thx Frib
#64 posted by
on 2004/08/30 09:40:56
That's what I was lookin for...I'm usin verts for patches, and when you create patches, sometimes the control points in the middle don't fall on gridpoints. Ctrl-G snaps points to grid, it appears to do all verts on the selected object.
Now if only I could figure out how I applied 2 materials to the same patch :-\
#65 posted by
on 2004/08/30 10:55:29
You can't
#66 posted by
on 2004/08/30 11:12:30
alphamaps -- like you would do with Quake Arena terrain (see the manual on qeradiant, I don't believe I have seen it used for non terrain but Paul Jaquays says there is no reason it can't be used that way).
Also, I don't know if the method carries over to Doom3; those martian landscapes were certainly done in a high end modeler like Maya.
Alpha Maps Are Cool
#67 posted by
on 2004/08/30 21:14:33
But that's not the problem I have...let me find a place to stick the screenshots, and I'll show you: I have 2 textures visible on the same surface. I want to know how I did that, and how to get rid of it...Or at least not do it again in the future.
Sorry, I Can't Help Much
#68 posted by
on 2004/08/30 21:55:44
I'm still a lowly Quake SP mapper though I am using Q3 bsp format on my latest stuff. I'm experimenting with alpha maps (for the first time!) in hopes of making my rocks prettier.
Glass Slow In Windowed Mode?
#69 posted by
on 2004/09/05 18:28:53
Am I the only one with extremely slow glass when editing/playing in windowed mode, or am I doing something wrong?
#70 posted by
on 2004/09/06 00:46:19
It's really fucking slow for me. Explosions and heat distortion too. r_skipPostProcess 0 required. I'm running an ATI Radeon 9600Pro with the latest Catalysts.
#71 posted by
on 2004/09/06 00:48:55
r_skipPostProcess 1, of course.
I Am In Hell
#72 posted by
on 2004/09/22 05:38:33
After familiarizing myself quite well with GTKRadiant in preparation for Doom3 editing, I'm quite disappointed to see that D3Radiant is nothing like it.
More than half of the textures don't load, texture alignment is a bitch, so on and so forth. Bleh. You'll find me trudging through the D3World forums for the next month while I try and crank out blitztest.map.
(PS this is a not so subtle cry for help. Please. I need tuts.)
"Alphamaps" In D3
#73 posted by
on 2004/09/22 06:40:25
Sort of. The blending is done by using vertex painted models.
Put vertexcolour in a material stage, and that stage's RGB data will be multiplied by the vertex colour. Black vertex = black texture, white vertex = normal texture. Add another stage using inversevertexcolour instead, and you can blend between the two stages by changing the vertex colour from black to white (or shades of grey). This is nice because it's very flexible, but you do need a modelling app.
Take a look at rock.mtr to see how it works in practice.
#74 posted by
on 2004/09/22 06:51:43
To fix broken textures, get this:
Bleh, I was going to write lots of stuff here and then I figured most of is was stupid, so fuck you hitler.
#75 posted by
on 2004/09/22 09:49:03
Just use GtK 1.5. It's a lot better.
I Thought
#76 posted by
on 2004/09/22 16:40:04
gtkr d3 support was ass?
#77 posted by
Mr Fribbles
on 2004/09/22 22:11:48
Yes, GtkR D3 support = ass.
GtkR 1.5 = ass.
GtkR 1.5 with D3 support =
#78 posted by
on 2004/09/22 22:52:46
I like 1.5 a lot better than d3r. It's a lot easier to use imo. D3r is so hard to get a knack for, but I picked 1.5 up in like 30 minutes. Besides, it's still in beta.
#79 posted by
on 2004/09/22 23:09:41
d3r is full off pantaloon bugs...
#80 posted by Friction on 2004/09/23 01:26:18
D3Edit is GOLD. Solid gold I tell you. There's only two things annoying me there which is a record of some sort.. 3D clipping is broken (try it, funky) and texture streching on rotated textures provides hours of puzzlement. Strech first, then rotate!
I like the in-editor rendering (and the ability to switch into D3 for entity testing) too much to switch to 1.5 which doesn't do all the stuff like particles and GUIs.
Blitz, don't worry about missing textures. There's a lot of obsolete material files. Just get the fix if all the black boxes in texture view bother you. I personaly don't care.
And since this is a editing tips thread.. I assume everyone knows this already, but just splitting faces at light boundaries isn't enough. They get merged back together in the compile. You can stop this by mirroring the texture on some axis, or giving it 1 unit (or less, haven't tried) offset. In some cases you can't even notice it in the game unless you don't know what to look for. Brings up framerates nicely.
Another thing.. when running D3 in a window, never ever type 'QUIT' in the console. Instead just pull console down and shift focus back to the editor. I've noticed this almost completely eliminates crashes related to reloading the map in D3 after compile.
Don't bother carefully placing and rotating the moveables, ragdolls and whatnot. Just rougly place them, launch game, show ragdolls who's the boss with g_dragEntity 1, push & shoot the moveables around and then do saveMoveables and saveRagdolls. Loading up the map again in editor shows that stuff is nicely disorganised now.
Objects and Decals texture folders are totally worth of extreme abuse. Loads of good stuff for building all the cool small things. Base_wall also has some stuff that should belong to either of those. Func_FX stuff is also something worth checking out. The syntax is quite simple and you can do nice combined effects with it (light, sound and particles in the same entity).
Don't use lights with shadows turned on, unless it makes the area look cool, monsters or other objects need to cast shadow there or you have movers that should cast shadows. In most cases, lights player can't reach can have their shadows turned off, which helps framerates. Fog is just a light with all options turned off and fog texture selected. Thickness can be controlled with shaderParm3, value being the distance in units where it turns completely opaque. Darker (really dark) colors look generally better than bright.
Use speakers liberally but with moderation. If you think some detail in map could emit a sound, add speaker to it. To avoid oversaturation, use short s_maxDistance and low volumes when dealing with directional sounds. Sounds with s_omni set are great for adding general ambience sounds for areas, don't overuse these or the sound will get murky. IE. 8 s_omnis in a small room isn't that great idea. Since there's no music, you'll want 100% ambient sound coverage for the map. Add sounds as you go, it inspires mapping a lot.
And if you add that goddamn mars buggy model to your map, go play CS.
A Big Issue
#81 posted by
on 2004/09/23 03:02:21
I hate the camera in D3Radiant. It's so hard to point at excatly what you wantt, which I think is the main draw of having a 3D view. Anyway my hope is that GTKRadiant gets better support, someone makes a new editor, or D3Radiant gets patched/optimized.
#82 posted by Friction on 2004/09/23 03:36:08
The camera is plenty accurate enough. And if you really want to finetune it, press mouse 2 in 3d viewport and move mouse around. I find it quite speedy enough just with keyboard commands.
#83 posted by
on 2004/09/23 03:48:13
speaking of sounds, Ive been having issues getting them to work.
Most cases I want untriggered area sounds with low volume. but so far I've managed silence... :(
#84 posted by Friction on 2004/09/23 05:04:37
You have s_looping 1 set? Do you have the entire path in s_shader, including the extension? (.ogg in most cases)
#85 posted by
on 2004/09/23 08:13:20
And CTRL+MOUSE2 in the 2D view jumps the camera to the clicked point
#86 posted by
on 2004/09/23 09:34:44
That should of course be mouse3, not mouse2.
And just clicking mouse3 on it's own in the 2d port faces the camera at the point you clicked
Qwik Tip
#87 posted by
on 2004/09/23 09:37:09
shift+rclick in z-checker sets lower bounds, ctrl+rclick in z-checker sets upper bounds, ctrl+shift+rclick in z-checker enables/disables vertical bounds, so radiant only draws brushes and objects that appear between the bounds. Useful if you're working on a level that's somewhat vertical.
Custom Entity Names
#88 posted by Zombie on 2004/09/23 09:39:14
adding +seta radiant_nameprefix <yourname> to your doomedit shortcut is quite handy if you are working with someone on a map, for example if you make a light, it will be light_yourname, atleast that way you know who put what where, hope that helps somehow :)
#89 posted by
on 2004/09/23 12:05:43
good to know zombie, cheers
#90 posted by
on 2004/09/23 18:41:05
actually that is a very tasty feature for larger projects indeed.
Probably Answered
#91 posted by
on 2005/05/13 14:29:37
But I did not see it: When I click my shortcut my desktop gets fullbright. You know what I mean - Everything becomes SUPER bright, like maximum brightness. Why is this?
My shortcut looks like this:
"C:\games\Doom 3\Doom3.exe" +seta com_allowConsole "1" +seta r_fullscreen "0" +editor +r_mode 5
I couldn't find a shortcut or answer to why this happens, even browsing Doom3World.org.
#92 posted by
on 2005/05/13 14:52:35
probably the ing-game gamma -- hardware gamma correction occurs on the entire screen, rather than just on a single window.
#93 posted by
on 2005/05/13 16:32:40
probably the ing-game gamma -- hardware gamma correction occurs on the entire screen, rather than just on a single window.
Yes, which is annoying as hell when DOOMEdit crashes, leaving my desktop gamma the same as what I was using in DOOMEdit (which I set as super-bright so that I can actually see shit in real-time lighting mode).
Save Your Retinal Integrity - Get QuickGamma
#94 posted by
on 2005/05/13 23:09:00
From shaderlab.com. It puts a nice simple gamma control in your tray, making it fairly easy to use DoomEdit at the same time as other things without going blind.
Or Setgamma
#95 posted by
on 2005/05/14 00:20:49
which is available on the fitzquake page -- it's command-line activated, which might suit your needs better (or worse.)
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. All posts are copyright their respective authors.


text:
David Chipperfield's restoration will see palace on Piazza San Marco open to the public after 500 years
British architect David Chipperfield is set to restore the Procuratie Vecchie on Venice's historic Piazza San Marco, which hasn't been open to the public since the past 500 years.
The major restoration works will be completed by 2020, and will be open to the public for the first time in five centuries – the building had been used by politicians and royalty – and will host various art exhibitions and seminars.
The building will also be home to the Human Safety Net, a non-profit organisation funded by the building owners, insurance company Generali Group. The organisation backs initiatives dealing with issues such as the refugee crisis and children in poverty.
"I am delighted to be working on this architecturally and socially coherent project, which will convey and connect ideas and people around the world," said David Chipperfield.
"Working closely with Generali, we have a vision to transform the Procuratie Vecchie into a more active and engaged space, which embodies the global mission of The Human Safety Net, while retaining the dignified beauty and history of the buildings."
The restoration will include opening a hidden passageway between Piazza San Marco and the Royal Gardens.
"By opening the Procuratie Vecchie to the public for the first time in nearly five centuries, we are creating new and vibrant spaces where people can meet to discuss some of today's most pressing social and global issues," said Philippe Donnet, CEO of Generali Group.
"David Chipperfield Architects was a natural choice due to his love of Venice and shared vision for an architecturally and socially coherent restoration," he added.
Last year, Chipperfield had also unveiled his design for a museum located in Agra, India which is currently under construction next to the world renown Taj Mahal.

subset: commoncrawl


text:
Jeroen messaged me that he wanted to surprise Angela with a photoshoot for their 5th wedding anniversary I was a bit surprised since I didn't realised how time has passed by so quickly.
For the photoshoot he wanted to make it into a more family photoshoot as now they have Naily as their foster child. Naily came couple years back as their temporary foster child but since last year she will always stay with them as a family. I know how she was in the beginning and how she is now. I can see how love can change everything. In the end of the day a family is not only bind by blood, but bind with love.


text:
A wonderful sea trip to the island of Utopia from the resort of Safaga! We recommend the excursion because it allows tourists to land on one of the most sand healthy islands in Egypt. This trip allows spending a good time at sea seeing beautiful corals and various fishes, enjoying a sea picnic through the Red Sea, and getting on the Utopia Island itself. It is really an amazing experience to heel both the body and soul!
Main points of the trip program to Utopia Island
- Swimming in open sea from the yacht
- Fishing activity
- Lunch on boat
- Also, Landing on the island of Utopia
Program of excursion to Utopia Island from Safaga
- Picking you up from the hotel at approximately 08:00
- After taking all comers, the bus goes to the port. The way to the port takes approximately 45 minutes
- You'll find your yacht in the port. It's big and chic one! The yacht has two floors. As soon as to get into the yacht, it is necessary to take off your footwear, and to rise on the second floor for tanning in the upper sun deck
- The yacht moves through the Red Sea, as soon as the group gathers. On the beautiful corals, you will make a stop in open sea. There, you can swim and snorkel with masks and flippers
- Next, you will have a stop at another place to go fishing
- After fishing, you ride a transparent-bottomed boat to the island of Utopia
- From the island, you will be able to go into the sea, or to wallow on the soft sand of the beach
- Then, we take you back to the boat for lunch. During lunch time, the buffet will be open
- This "Snorkeling Trip to Utopia Island from Safaga" ends at approximately 16:30
What is included in the trip price
- Snorkeling equipment
- Food & drinks
- Also, Transfer to the port, and back to the hotel
What is not included in the price of the trip
- Video DVD
- Also, Photo CD
What to take with you for the trip
- Towel
- Also, Sunscreen
- Daily from 08:00-17:00


text:
Football Drill Demonstration
Groups of 4, each player on the edge of a square
players pass to their right using their stronger foot then move around the square into the position the player they just passed to is.
Focus on opening up the body to receive the ball and follow through the ball to be accurate.
if players find it to it try to speed up the passes or add another ball in.
15 min duration


text: Catastrophic Crunch 2017-09-12 17:58:10 82570 The building which is being used as the headquarters of the TSAB Remnant on Earth looks like any other Tokyo officebuilding- tall, square, with windows. Unassuming would be the proper term, and it's very likely that that was a deliberate choice. Ask any member of the organization and they'd say it was a 'temporary HQ', but they've been here for more than two years now with no hint of any way to escape the magical vortex which is Earth, and so the building has become quite well-developed in its role. Of course, nothing on the outside speaks to this. It appears perfectly ordinary. There is a security officer by the automatic sliding glass doors, however- a rather tall, muscular man with sunglasses and a suit. A regular Earth-suit, not a TSAB uniform. Subtlety, remember.


text:
We can help solve your application questions in three ways: experimental testing, computational modeling and prototyping/consulting.
Experimental Testing
Testing involves analyzing a spray's most important performance characteristics and we do this using the most advanced instrumentation on the market.
This may be drop size, volume distribution, spray velocity or shape, spray viscosity and more. Using our state-of-the-art spray laboratory, we can diagnose and solve nearly any spray-related problem.
Computational Modeling
Perhaps your spray environment or spray material is extremely hazardous or your application can't be efficiently replicated in a lab environment. In these cases, modeling software is the best, most precise option.
Prototyping and Consulting
Depending on your process goals or your spray-related problem, you may require a custom solution.
We can help design, create and manufacture nearly any nozzle or product to meet your process specifications. If you need help bringing your unique idea to fruition or want to move your design forward, our prototyping services can help.


text:
Women are hitting back against a popular hair care product, claiming that it has resulted in extreme hair loss.
Wen hair products promise to strengthen your hair, with no additives or harmful chemicals. Their website says, 'What sets Wen apart is its cleansing conditioner, a single-step process that cleanses and conditions the hair simultaneously.
'The cleansers include a perfect blend of special ingredients, including natural botanicals and herbs…'
Now, lots of women are coming forward to show a truly worrying side effect. Their hair seems to be falling out. And, in some cases, it appears to be in massive clumps, rather than just a few strands.
See: Bootea – Everything You Need To Know
Taking to the company's Facebook page, customers are uploading pictures of their hair loss, showing the effect that they believe Wen products have had on their locks.
One wrote: 'I can't leave my house. I'm depressed… I'm overwhelmed and frustrated [and] I cry when I look in the mirror.'
Another acknowledged that the issue may not be experienced by everyone, but went on to explain: 'It's really great that there are women out there having a good experience with this product, however, it is not the case for many of us.
'I only used it a month and lost hair by the handfuls… You sell a product that makes hair fall out like a horror movie for many women.'
Other side effects that consumers are attributing to the product include scalp burn, itchiness and rashes.
See: Mentality Nail Varnish Has Been Ruining Women's Nails
In November, a class action lawsuit was filed against Wen, and the legal firm representing the claimants says that as many as 'thousands or tens of thousands' could also be set to sue the company.
So, what's causing the hair to appear to fall out at such an alarming rate?
Whilst it hasn't been proven, attorney Amy Davis, who is representing those affected, has an idea.
Latest Stories
She told CBS News, 'What we understand about the product and how it causes hair loss is it contains virtually no cleanser. It's like using lotion to wash your hair, so instead of removing the product, when you rinse it off, it just becomes impacted in your hair follicle.'
Speaking to Buzzfeed, Wen have said that they intend to 'vigorously contest the allegations' made against their products and they also stress that 'there is no scientific evidence whatsoever to support any claim' that their products have caused anyone to lose their hair.
Either way, their Facebook page is racking up the complaints.


text:
Rzetelność i trafność egzaminów Cambridge English
Egzaminy i testy językowe tworzone przez Cambridge English mogą być różnie wykorzystywane: "lokalnie"przez nauczycieli, np. dla zbadania postępów uczniów, w celach diagnostycznych (umożliwiających np. planowanie lekcji), lub też na szeroką skalę, jako egzaminy o charakterze doniosłym, których wyniki mogą być uwzględniane w rekrutacji na uczelnie czy przez pracodawców. Zespół Cambridge English Language Assessment, zajmujący się konstruowaniem tego typu egzaminów, ma na celu tworzenie testów odpowiadających powszechnemu zapotrzebowaniu i stanowiących trafne i rzetelne narzędzie ewaluacyjne. Tekst w języku angielskim jest poprzedzony krótką syntezą w języku polskim, opracowaną przez dr Agnieszkę Dryjańską, redaktor JOwS.
Item writing draws on a set of Item-Writer Guidelines, which are test specification documents produced for each exam and used by the item writers who are commissioned to produce tasks. (The slimmer Handbooks published for teachers are also test specification documents, in this case intended to support teaching and learning, rather than generate test items.) The Guidelines take a practical approach and include information about the test construct and task requirements, as well as example items and guidelines about topic choice. There is also information, based on past experience, which can help item writers in the writing process; for example advice on what to look for – and avoid – when searching for a source text. The Guidelines contain information relating to the relevant Common European Framework of Reference (CEFR) level, including appropriate grammar, vocabulary and functions or the amount of support or scaffolding to be included. For example, tests at A1 and A2 tend to offer more visuals to provide support and there are empirically sourced wordlists at these levels to guide learners' lexical development. At all levels, minimum and maximum word lengths are specified for any input reading for each task.
Questions that do not meet the quality criteria from the outset are rejected or rewritten. Questions that are accepted are taken through a thorough editing process. A key component is pretesting, where material is tested on student populations who are as similar as possible to the future candidate populations. This provides performance data for each task, including how difficult the sample of candidates found the questions and how well the questions discriminated between stronger and weaker candidates. These statistics, along with the expert judgement of a pretest-review panel, enable further adaptations to be made.
Materials which finally meet all requirements go into an item bank, the database for the management of test content, ready for test construction. Along with the item-writing process, the item bank supports test comparability and thus plays a pivotal role in the test construction process. The quality of an item bank depends not only on the number of items it contains, but also on the quantity and quality of the data it holds about the items: more information stored about an item allows for more automated selection processes. Item features such as task type, topic, word count, testing focus and target age-group are logged. Other details, such as accent for Listening tasks, can also be recorded. Statistical information, produced after a test administration from candidate responses, is uploaded to the relevant item. This data includes the difficulty of the item, the facility, which is the proportion of candidates who answered the item correctly, and the discrimination index, which indicates how well the item discriminates between the strong and weak candidates. Items are also classified according to their calibration status. An uncalibrated item has no item statistics; an item that is part-calibrated has been pretested, so with statistics indicating how the item is expected to perform in a live test; fully calibrated items have been included in a live test session and taken by a sufficiently high number of candidates with different first language backgrounds. The information stored in the item bank is then utilized for test construction, when a test is compiled for live use.
Quality assurance for marking
Objectively scored items are those which do not require expert judgement for marking, in other words which can be reliably marked using automated processes or where a key containing all possible answers can be supplied to a human marker. This type of marking is used for the task types currently found in the Reading, Listening and Use of English components of Cambridge English examinations.
For the Writing and (face-to-face) Speaking components, assessment scales tied to the Common European Framework of Reference are used, applied by expert examiners, in this case experienced language teaching professionals. It is self-evident that wherever marks are given by human raters using open scales, a comprehensive quality assurance (QA) system needs to be in place to ensure a standardized application. For both Writing and Speaking in Cambridge English examinations, examiners must fulfil Minimum Professional Requirements in order to be considered. They commit to a process of induction, training and ongoing (annual) certification, as well as monitoring during live marking sessions and regular statistical reliability checks afterwards. Examiners receive feedback about their performance and may only continue to mark if the checks indicate they are on track.
To support these QA processes, Cambridge English Language Assessment employs a highly structured Team Leader System which works on a cascade principle. Speaking Examiners are grouped under Team Leaders. Team Leaders are grouped under Regional Team Leaders, who in turn are overseen by Professional Support Leaders. This system is critically important, as Speaking examiners are recruited locally by exam centres. In other words, quality and consistency of marking have to be maintained across a worldwide network of 20,000+ Speaking examiners. The system is similar for Writing, but less elaborate in terms of the Team Leader System, due to the smaller number of examiners involved, in fewer places.
For the examiners' yearly certification requirements, a series of exemplar videos for Speaking, and a series of scripts for Writing, are marked by groups of senior examiners. The submissions are analyzed and the outcome is a set of robust, standardized marks. All examiners are given a selection of the exemplar scripts/videos, first a set to analyse, then sets to mark. The marks they award are compared to the standardized marks, and examiners must meet a specified level of accuracy before they are certified to conduct live sessions. All examiners up to and including Professional Support Leaders, must undergo the standardization process including marks collection, much of which today takes place online.
In the case of the Speaking tests, alongside reliability with respect to marking, the aspect of procedure is an additional requirement of the QA system. Here again, the Team Leader System around the world ensures that expertise cascades through the system. Team Leaders guide new examiners through a practical training process, familiarizing them with the procedures as well as the assessment of Cambridge English Speaking tests. This includes examiner roles, test security, test format, materials handling, and the function of the standardized interlocutor scripts ("frames"). Training is followed by certification, which from then on, as for assessment, is an annual standardization process. The monitoring which takes place during live tests every two years, either face-to-face or through audio recordings, covers procedure as well as marking. Thus candidates can rely not only on standardized marking but also on standardized administration of the Speaking tests.
Further reading
This article has outlined processes routinely implemented to produce each Cambridge English test paper version, as well as some of the quality assurance processes governing the use of examiners. If you would like to read more about these and other aspects involved in the production and processing of a Cambridge English examination, including grading and score reporting, use of the Cambridge English Scale, and malpractice detection, you will find longer and more detailed articles in Research Notes 59, February 2015. Research Notes is a quarterly published by Cambridge English Language Assessment, reporting on learning, teaching and assessment. Issue 59 centres on the life cycle of Cambridge English language tests, explaining which analyses and processes are used to ensure delivery of accurate and meaningful results. It is downloadable free of charge from http://www.cambridgeenglish.org/research-notes/.
The following five volumes in of the Studies in Language Testing (SiLT) series set out the theories of communicative language ability underpinning Cambridge English examinations and how they feed into test development and design (all published by Cambridge University Press):
- Geranpayeh, A. and Taylor, L. (eds) (2013) Examining Listening: Research and Practice in Assessing Second Language Listening. SiLT, vol. 35.
- Khalifa, H. and Weir, C. J. (2009) Examining Reading: Research and Practice in Assessing Second Language Reading. SiLT, vol. 29.
- Shaw, S. D. and Weir, C. J. (2007) Examining Writing: Research and Practice in Assessing Second Language Writing. SiLT, vol. 26.
- Taylor, L. (ed.) (2011) Examining Speaking: Research and Practice in Assessing Second Language Speaking. SiLT, vol. 30.
- Weir, C.J., Vidakovic, I., Galaczi, E.D. (2013) Measured Constructs. A history of Cambridge English Language Examinations 1913-2012. SiLT, vol. 37.


text:
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How To Improve Your Hearing Naturally?
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Tinnitus should not be dismissed by you as a problem that is insignificant, the discomfort might have a toll. That will help you cure Tinnitus, keep a very low-stress level and unwind more! By controlling your anxiety and learning how to relax, you enhance the status and can relieve the symptoms.
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Will It Make Your Hearing Clear & Louder?
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You are able to fall asleep easier if you have. Some find the white noise will make their symptoms worse. Each situation differs so you'll need to try several methods Hearing Hero Customer Reviews to get what's going to work best for you.
Things You Should Know Before Buying?
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Not really sure where to start to describe the skiing so will just start with the facts and muddle into it as I fly home from Anchorage while I type this. It was Big Alaskan mtn skiing at its best and I was lucky to hit it at the right time. It had not snowed for 10 + days but the temps stayed cold, 15 degrees up high to 25 at the valley floors and the sky was crystal clear blue with not even a hint of wind. Snow was well settled but soft. Spoke with others who had been here in prior years who described weather down days that dragged on for days while the heli stayed grounded and they passed time away in the lobby of the hotel or seeing the town on Valdez which takes about an hour. Two weeks earlier they had been grounded for 8 straight days.
Wake up, eat breakfast, heli ski, drink beer, have dinner and then repeat. Nice hot breakfast in hotel and then jump in the vans around 9:30 ish. Not exactly an early fast start and of course you are frothing at the mouth to go. Pretty slow start with lots of standing around. If you are lucky you go right to the airport(I did the first 2 days) and jump in the chopper, 4 or 5 skiers and a guide in the chopper plus pilot. The other few groups jump in vans and drive up to Thompson Pass which is 30+ minutes away and a beautiful drive especially when you get to check out up close the Damalanche that plugged that pass a few months ago and backed the river up. Unbelievable avy field.
The chopper that leaves the airport gets a killer ride of about 30 minutes only to get dropped off on some remote peak 50 miles from the nearest road. Then the chopper goes back to Thompson pass to ferry in the other 3 or 4 groups into the particular zone you are skiing that day which was typically around a certain glacier. If you are the last group in to be dropped on some peak you might not be skiing till close to noon but if you are the last group then you also ride the chopper all the way back to Valdez. Like I said a pretty slow start for some but its light till 8 PM and they will fly as long as you want too and can pay for.
The drop offs were nothing short of spectacular. Many times on knife edge ridges with just enough room for the chopper skids with the nose and tail hanging out over cliffs. Barely enough room for 5 guys and ski's to unload. Everywhere you look for as far as you can see is rock and ice and glaciers and crevasses and couloirs. The size and grandeur is impossible to describe and pictures do not do it justice. It is incredibly overwhelming not just the first time but everytime you look up. What is really conflicting is how loud your visual sensors are overloaded but when nobody is moving or talking and the chopper is gone... it is completely quiet. I mean there is no wind and absolutely no sound yet everything is so big and so loud. Perspective was impossible. Pitches that looked so small as you choppered toward them just grew and grew. You stood at the top of a run and thought maybe a 1000 feet to the valley glacier floor but it was 4000. Features that looked small like cliffs you would drop were 100 footers.
First run was a test run for your ability and was pretty tame with creamy boot top powder that was just great for making high speed turns as you followed the guides tracks weaving down thru a labyrinth of roll over short steep pitches and low angle runs. Guide would set the track and you would stay tight or loose depending on instructions on either side going one at a time sometime spacing at 1-300 foot lengths. He would warn of cliffs and crevasses and snow bridges and you best listen. When he said stay in my tracks it meant stay in his tracks. Each run got progressively steeper and more technical depending on how well he thought the group could handle and then the last few runs would taper down to runs similar to the first runs which was smart as your legs would tire. You would do 6 runs in all and could add more if you wanted to pay. The record is 18 runs.
It was great to be there 10 days after the storms as the slopes were very stable and we were able to ski much steeper runs than I expect would have been safe to ski shortly after big storms. I think this is what sums up this big mountain Alaskan skiing. Skiing big dumps here I think means lower angle slopes and the true beauty of these mountains is to really experience its steep lines(2000 foot drop averaging a 48 degree pitch with a 400 foot section pushing 55 degrees which we skied as an example). I don't think you woul have been able to ski these safely if there was waist deep powder on them. As it was, the snow on these steep pitches was calf to knee deep and the sloughs you would kick off skiing were huge mini avys to the point that you either skied faster than them or you got 3-5 turns and would have to break right or left 5-10 feet to avoid your slough and watching it chunder down next to you as you skied 4-5 more turns and worked your way across the slope. Sometimes terrain would not allow this and you would just have to stop and let it rumble by or else it could sweep your feet out from right underneath you and you would not stop for awhile. We named this slough management and actually named a run this. It was key to determine the fall line this slough would go and the real thriller was to ride a spine so the slough broke off each side of you. Riding spines oh yeah, where do you get to practice that. It was way cool.
Sitting at the top of the really steeps runs looking at a blind rollover to nothing was nervous and a definite pucker factor. You would go one by one and that person would disappear and you would not see them for 5-10 minutes until they came out in a safe zone towards the valley floor 3000 feet below. Typically the guide went first and it was good and bad if you were the last person as you were standing there alone. All by yourself in complete silence in complete awe of your surroundings. Some people go to a church for their religion, I find my chapel in the outdoors and this was a hellava chapel. We would scout the slope by chopper so you had some idea but it never looked the same when you dropped in and the guide would give you some advice on the run but other than that it was game on and your responsibility.
Definitely the steepest and most challenging and technical skiing I have ever done. From pucker factor drop ins to adrenaline bursting runs and exhilarating finishes it was everything I would have hoped for in this Alaskan experience and glad I did it while I had the ability to do it.
The guides and operation were top notch. I was lucky to ski with owner Dean Cummings the first day and the stories he told of the early years and crazy pistol packing, alcohol drug crazy chopper pilot Chet Simmons could fill a book. He also pointed out famous ski movie pitches and first and only descent lines that he has skied as we flew near them that would brown your shorts. We went into the Pencil and Woodward glacier area the first day. My partners that day were 3 skiers from Switzerland, Jyoun, Andreas and Bernie. Solid skiers and Dean ran us on a run called .Fukemgood. 3 of our 6 runs in different spots by a mountain called Ice King that was way steep and Fukengreat. We did have a Code Brown from a frenchman in another group this day that is a whole other story.
Second day was a less stronger group with 2 guys from LA and 2 guys from Seattle. Of our 6 runs only 1 was really steep and big with the others great skiing and killer but really no pucker factor. I so wanted to do that one again but Mike who was a very cool guide pulled me aside and said he was not comfortable with the other guys as they struggled with it and there were chutes at the bottom that would ping pong you off rocks before spitting you out if you crashed and were not able to stop at the bottom of a 1500 foot run and cut skiers right to exit the area. I charged this run hard and in control and at the very bottom waiting for the chopper just fell over in the snow laughing my head off as the others just looked at me like I was on drugs. I was, a potent cocktail of adrenaline, endorphins and exhilaration. Our last run was pretty mellow and when he asked if we wanted to do extra runs I would have maxed out the credit card but the others in my group were not in the same mode I was.
I spoke with Mike that night to put me with a stronger group the next day. Prior to this night I was having a few beers and hitting the bed by 10 ish so I was feeling good and strong the next day. Then the Prop man took me over. I did not know he traveled all the way to Alaska from the Bomber cliffs. I ended up having dinner with 5 swiss guys and 2 aussies with me being the lone American. Yes I had to show them that Americans know how to drink beer .peeecchers. as they called them. I introduced them to PBR which they called .sheeeet. beer. We settled on pitchers of Alaskan Amber until it got pretty silly with a bunch of us going right out in front of the bar and jumping in Valdez Harbor. No, it was not that cold considering the shape we were in. I ended the night in the bar with the Aussies introducing them to Fireball. Word of caution, never hang out with Aussies late. Not sure when late was except day 3 morning I was not in top shape.
I got 3 other 30 year old swiss guys, Louie, Sevy and Andreas and a new guide Eric for day three. They were all on snowboards including the guide with me being the lone skier. It was an awesome group and they all ripped. My head was foggy but rotor wash and 3000 foot descents will wake you up real fast. We went into the Shwan Glacier area. Cannot describe how great the first three runs were as he had ridden with the swiss guys already and knew their capability and had seen me ski a run prior when his group backed up ours on a real steep run. Right out of the gate our warm up run, a 2800 foot drop, was high speed turns in soft powder but then turned to variable conditions with some sun crust in places as we neared the bottom. Run 2 was just plain awesome as we stared in a huge bowl with corn snow GS turns and then threaded thru a cliff line with an angled slot maybe 30 feet wide and a 1500 foot drop. I was last and Eric told me to run the ridge line as the swiss dudes tore up the middle first. It was way good snow and rip city and only at the bottom did I see that if I had lost it on the skiers right of the ridge I would have gone off a 500 foot cliff and into a glacier hole. We had looked at this other wicked pitch prior that was part of an area called Detention Center made famous in a ski movie called TB5? As we were waiting for the chopper for our bump Eric pointed at it across the other side of the glacier and said lets go ski that. We were all in. That is the way it was. The guide just looked at stuff and said lets ski it. The landing was a postage stamp. Just standing there after the chopper left made me light headed. I got a good video of this with it being about a 2000 foot steep ass descent around 45 degrees riding multiple spines with an ending 1500 feet drop of high speed big turns over rolling terrain. Hard to tell but this might have been the run of the trip. Run 4 called clam shell just kicked my ass. It started out pretty calm but midway down we got in some tight areas with lots of rocks and tight chutes. On top of that the snow was really funky and chunky. From above everything looked cool but once you got in, the terrain just changed. I was glad to get out of there . Luckily we broke for lunch at the bottom as the chopper needed to get fuel. I was sweating beer and needed food, water and rest to recover and lunch on a glacier in the bright sun hit the ticket. Our last two runs were Clam Shell south which were rocking GS turns in easy soft pow over rolling terrain features. The swiss guys were grabbing air all over the place.
The chopper pilots were amazing. Multiple times the chopper dropped us and just backed up off the ridge. Did a half turn and then just plummeted down the fall line we were about to ski 20 feet above the snow and just disappeared in the steepness only to reappear at the bottom of the run just like he was a skier.
Total cost was $4000 which covered three days of heli skiing, 5 nights of lodging, all transfers to/from airport, hot breakfast and lunch, trip cancellation and emergency evacuation insurance. Dinner and beers you paid for yourself. I tipped the each guide $50 each day and bought the pilots dinner one night. I was able to get roundtrip Seattle to Valdez for only 25K miles. There are other operations in Valdez but H20 has an exclusive permit for almost 2 million acres that the other guys can't get to. This is due to their perfect saftey record. This is big because many of the other operators were running out of terrain since it had not snowed in so long. I feel very fortunate that the weather cooperated for this trip after hearing stories of long down times . One note is that we bounced from 3 to 5 groups while there so I am sure they take any last minute people they can get. In fact they were taking groups from the Tailgate Alaska event at the end of our day from Thompson pass for 3 bumps at $500 which tells me that you can do last minute trips up there no problem.
It was pretty weird taking a ski vacation all by myself but was almost kind of cool as I ended up meeting some really fun like minded people. H2O will take you into any terrain you want to ski from mellow runs kids could ski or to scare the pants off you terrain.
I was able to get out a day earlier over to Anchorage as the clouds moved in overnight which led to flat light conditions for Friday and they did not run a chopper that day but I did get my full three days and all the other guys got their full 5 days. Spent the weekend with my little sisters family and built a nice treehouse platform for the nieces and enjoyed the weekend with them.


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Our weekly programs for children include: Baby Time on Wednesdays at 2:00 pm. Toddlers Time is on Thursdays at 10:00 am, Stories & More for pre-school children meet on Tuesdays at 10:00 am, and enrichment programs for home-school youth meet on Tuesdays at 1:00 pm. We hope you'll make visiting the library a part of your child's weekly routine.
On Thursday, November 8 at 5:00 pm, teens are invited to make a galaxy jar.
Do you ever wonder about your family history? If so, make an appointment with Ms. Amanda on Monday, November 12 or Monday, November 26 for Monday Roots.
If you want to learn how to knit to crochet, Loose Ends will teach you. Stop by the library on Tuesdays at 3:30. First time crafters will be supplied with a crochet hook, or knitting needles and yarn to start.
The Lego Club will meet on Saturday, November 17 at 11:00 am. This is open to all school-age children.
New books for children this week include: Zola's Elephant by Randall de Seve, The Dreamer by Il Sung Na, Small Spaces by Katherine Arden, The Train to Impossible Places by P.G. Bel, Soof by Sarah Weeks, Max Einstein: The Genius Experiment by James Patterson, Start Now! by Chelsea Clinton, Wonderland by Barbara O'Connor, Anne Arrives by Kallie George, Ogre Enchanted by Gail Carson Evans, Louisana's Way Home by Kate Dicamilo, There's a Dinosaur on the 13th Floor by Wade Bradford, The Snow Nap by Jan Brett, Construction Zoo by Jennifer Thorne, I'll Root for You by Edward va de Vendel, and Counting Dinos by Eric Pender.
New books for adults include: All I Want for Christmas by Robyn Carr, A Season to Celebrate by Fern Michaels, Christmas by Accident by Camron Wright, Yule Log Murder by Leslie Meier, River Bodies by Karen Katchur, Murder in her Stocking by G.A. McKevett, The Whitet Christmas Inn by Colleen Wright, Lady of a Thousand Treasures by Sandra Byrd, A Vineyard Christmas by Jean Stone, Remembrance by Mary Monroe, Triple Homicide by James Patterson, Burden of Proof by DiAnn Mills, A Cloud in the Shape of a Girl by Jean Thompson, The Witch of Willow Hall by Hester Fox, Lethal Target by Janice Cantore, Hidden Among the Stars by Melanie Dobson, Bitter Orange by Claire Fuller, The Line by Martin Limón, Death of a Neighborhood Scrooge y Laura Levine, The Ragged Edge of Night by Olivia Hawker, The Red Coat by Dolly Carlson,
New books on the adult non-fiction shelf include: The Fisherman's Tomb: The True Story of the Vatican's Secret Search, by John O'Neill, Bake from Scratch: Artisan Recipes for the Home Baker by Hart Hoffman, and Bathed in Prayer by Jan Karon.
If you love e-books or audio-books, check out our digital collection at www.allencountylibary.com and click on digital books. We have thousands of new e-books and audio-books available for FREE with your library card. Download the free Overdrive App or the Libby App and start reading today. WHY buy these products from internet stores when you can download them for free with your Allen County Public library card?
To access our digital resources or to borrow movies or music from the library, simply get a library card. Library cards are free. Just provide us with a photo I.D. and a recently postmarked piece of mail. If there's a special book, movie, or music artist you would like to see offered, please let us know. We'll do our best to meet your needs.


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NDiff Film Festival
Language: English
Reviews and Venue information for London restaurant, London Clubs, London Cinemas, London hotel bookings, London Bars and Pubs. London events information, theatre tickets, tourist information and London maps.
The Library of Congress is the nation's oldest federal cultural institution, and it serves as the research arm of Congress. It is also the largest library in the world, with more than 162 million items. The collections include books, sound recordings, motion pictures, photographs, maps, and manuscripts.
PBS and NPR for San Diego, California. Get the latest news, listen online, watch the latest episodes, check our schedules, become a member. KPBS - Where News Matters.
Home of the Best of the Bay, Clean Slate election endorsements, and the Bay Guardian Archives (coming soon).
Features Ten Minute Plays, 10 Minute plays, Short Plays, Novels, Poems and Scripts to download. Website of Alex Broun and Malcolm Broun. Features Ten Minute Plays, Short Plays, Novels, Poems and Scripts to download
IndieWire is an online publication covering film, TV, and digital news, reviews, and interviews for passionate fans and industry insiders.
Home of SIFF Cinema, Seattle International Film Festival, and SIFF Education. SIFF's mission is to create experiences that bring people together to discover extraordinary films from around the world.
TIFF is a charitable cultural organization with a mission to transform the way people see the world, through film.
The Reel Paddling Film Festival shows the world's best canoeing, kayaking, SUP, and fishing films at over 100 venues every year.
Kickstarter exists to help bring creative projects to life. A home for film, music, art, theater, games, comics, design, photography, and more.
AFF furthers the art and craft of film by inspiring and championing the work of all artists who use the language of film and television to tell a story.
The 43rd annual Atlanta Film Festival takes place April 4 - 14, 2019. Showcasing diverse feature and short films and connecting audiences to filmmakers from around the world.
Founded by Robert Redford, Sundance Institute is a nonprofit organization that actively advances the work of independent storytellers in film and theatre.
44th Cleveland International Film Festival (CIFF). March 25 - April 5, 2020. Tower City Cinemas at Tower City Center in Downtown Cleveland, Ohio. For the past 42 years, the CIFF has been the premier film event in Ohio. Today the CIFF presents a full survey of contemporary international and American Independent filmmaking, with 211 features, 237 short subjects, 18 VR/interactive projects from 71 countries on 18 screens.
Glasgow Film Theatre is Glasgow's original independent cinema and the home to Glasgow Film Festival, Glasgow Youth Film Festival and Glasgow Short Film..
Festival Genius is the premier platform for connecting film festivals to audiences through online ticketing, calendars, iphone apps, and more!
Based in Charlottesville at the University of Virginia, the VFF has been celebrating the art of film for over 30 years..
Latest Denver news, top Colorado news and local breaking news from The Denver Post, including sports, weather, traffic, business, politics, photos and video.
The Magestic Maui Film Festival at Wailea, the one and only theater under the stars.


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Few days ago I gave my source code of First Android App to tech section of SKDRDP as my computer broke up. The app I was building was for Cash Collection Tracking which will be used by Field Staff of SKDRDP. It was one heck of journey to build the first android app. This app building forced me to use many of the core android features namely Activities, Services, and Content Providers. On top of that I was not a "professional coder" but a MBA who codes. Do read on how an app taught me coding.
The events leading to picking me up:
On one fine day in month of May I was approached by staff of tech section asking whether I knew android application development. I replied them as yes but I am not a proficient developer as I did course long ago. Later they asked me to help them in building their app for cash collection. Technically they wanted me to port the app but I had to resort to building form scratch as that was much easier. Then we had tons of discussion how they had built the app for Nokia Platform, what all features they were expecting etc… I categorize this discussion as "Requirements" Capture phase.
Understand the app's requirements(what it is supposed to do?) correctly, that will avert costly reworks down the line.
After all the discussions were over, I asked them how they came to know about my skills in Android and they told me, that they found out using Google. I was bit astonished as My Name in Search Term wouldn't have revealed Android aspects of me. I later came to my desk and checked various combinations of Keywords which would throw out my name in top search results. After trying for hours, I decided to key in the same term which I would search If I were looking out for developers, That is – "android developer Dharmasthala". Which would lead to me ruling the search results. Also my article on setting android IDE adds relevancy in the eyes of search engine. They went from search result to my blog to read this article How to set up Development Environment for Android? and later decided to contact me.
After I was on-boarded, they got permission of SKDRDP's CEO to help them in building app as I report directly to him. Once the permission was obtained I got going. But the events that culminated in me doing the app rested on "bad events" shaping my past.
Dots of Past:
I did my Android App Development course soon after I finished my MBA somewhere in 2012. At that time majority of the budget phones were running Gingerbread 2.3.3 version of android. later I had to quit one of the job, But immediately after quitting I ordered some books that would change my path forever.
The above said books changed my path in programming forever. Design Patterns affirmed why I need to handle every thing via Interfaces only. Refactoring helped me in changing patterns to make code readable. Code complete is one which gave a big bird's eye view of Software Construction landscape. Luckily Steve Jobs speech did help in affirming my gut feeling about ordering these books.
Apart from books there were much of learning from Unrelated courses done on sites likes Coursera, EdX, Udacity. One of the key features of these courses were on having our own coding style. If you see the code I have written on github you can see glimpses of my coding style. The Code Complete also focuses on this.
Every Programmer is an Artist. Like every artist they have their Style etched into their works.
Role of Design Patterns and Code Complete 2 in My First Android App:
Some time after I did my course on android, I was introduced to "Design Patterns" book. I was so much immersed in this book, I even flunked in Google interview. Its because of this book I can appreciate why Java doesn't support multiple inheritance for classes but allows the same for interfaces. Why there is clone() method attached to every java class. Also using the techniques like always pointing to the interface and serving requests to it.
Majority of problems in programming are at times repeating in nature. So chances are there for another programmer to encounter the same in past as well future. For that reason, the design patterns was written. The patterns were distilled by looking at various practical problems and how they were solved in past. The jUnit testing framework also depends on these patterns itself. By giving names to these patterns it becomes part of programmer's lexicon.
Access a class through its interface only. Don't break encapsulation.
If work can be accomplished by Object composition do it, don't inherit.
The major role design patterns played was in preparing the interfaces. With stricter interfaces, it was easy to communicate with other parts of program. Database was abstracted into Content Providers. UI were segregated into their own package with DB operations abstracted. If activity had to communicate with adapter, it was enforced on usage of that adapter's interface instead of direct access. The main advantage of this was in Code Readability.
Code like
boolean isMemberPresent = memberAdapter. isPresent( memberAtPosition );is readable, isn't it?
The other book that played a pivotal role in bringing the app to fruition was the Code Complete 2nd Edition. Its this book that cemented my style. In above code example if member at position was replaced with i, the code wouldn't be that readable. The code complete has many more tips like that. Its based on the tips and techniques given in book my first android app could be completed instead of throwing my hands at first sign of trouble.
Refactoring and My First Android App:
The books of code complete and design patterns did provide me with a solid foundation in programming. It was refactoring that smoothed the rough edges of my skill and made things really manageable. Refactoring mean making small meaningful changes to program. Its the various refactorings that made code more readable.
Earlier my logic in fragment swapping was embedded deeply in method in Fragment Class. Later I ran Extract Method refactoring to separate the fragment swapping into its own method. Once this was done I moved the method to activity as the job of managing fragments was supposed to be in Activity. Rename was used excessively as I preferred names which are easy to tell and contextual. The reason why I kept every thing simple was because I wrote the code which would be read by tech section. Also the ultimate responsibility of extending the app was resting on them, simple code was paramount.I also did some "Replace Inheritance with delegation" on my text watchers and on click listener classes. As I was moving them to my newly formed Adapter class. All these refactorings were done with purpose of keeping the encapsulation intact. Its because of these refactorings the code of my first android app is "Readable".
How GitHub helped in versioning my First Android App:
Initially I disregarded importance of keeping the version control in place. I later did one code change and it broke the app completely. Luckily I was able to figure out that code change itself was buggy. Then I rolled back all the changes and immediate setup GitHub on my PC.
Once the version control was set up. I integrated my IDE with it. Its because of this I was able to write what all things I added to code in English. The naming convention for version numbers was 1.x was for major UI change. 1.x.x was for adding a small new feature. the 4th digit was for smaller fixes done to code. Also in code complete 2 there was mention of creating daily builds hence I committed all the changes I made at the end of the day..With each commit a build was created and tested. Due to faster commit and build cycle the debugging was considerably easier. The commits with D in names were builds which I had set up for debugging purposes. That code was littered with
Log. d( "xxxx", "yyyyy" ) messages which kept pulse on everything happening in my program.
The main advantage of Version control was I could only concentrate at what all was changed and fix if the build was broken. This concentrated scope aided a lot in debugging. With each commits synced to GitHub at the end of they I was guarded against my PC breaking up, which it did when I finished the app.
This was my journey of writing first android app. Do share your views and first android app experience in comments.


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After my recent epic roller coaster-palooza trip, I noted in my recap that one thing I noticed was that the places with the best guest service also had leaders who were out-and-about and visible to guests and employees.
While I'll expound on that in the future, it also occurred to me that just being visible isn't always a good thing. If you are a jerk, maybe it's best that people DON'T see you.
What got me thinking about this was looking back at some of the blogs and articles I've read about leadership best practices. Many of them contain very good advice about recognizing the positive in people and showing appreciation for their contributions. They may even say, "be visible to your employees!" But if you are a jerky-jerk, that might back-fire.
What these articles fail to include (and I am probably guilty of this as well) is not mentioning one of the most important, foundational, critical and experience-influencing characteristics of all.
In order to show appreciation for people, you have to genuinely appreciate them and the work they do.
And sadly, that's not always the case.
We can all tell the difference between sincere recognition and somewhat positive words being thrown at us by someone who thinks that's what they are supposed to do. The delivery is different, the tone is different, and the impact is different.
To appreciate simply means: to be grateful or thankful for, or to value or regard highly.
Let's see which of these sound more like you… how you view employees:
Leader A
- Glad they are part of the team
- Welcome their ideas and contributions
- Interested in their development and growth
Leader B
- A drain on your energy and time
- Necessary evil
- No-good slackers
I would love it if my Leader B descriptions were a little far-fetched, but experience tells me otherwise. If that sounds like you, call me. Seriously. 407-435-8084. It's very possible that you are the leader employees DON'T want to see.
If you related more with Leader A – WONDERFUL! You probably already appreciate, recognize and value your employees. If you aren't doing it, but you THINK it, it's time to put those thoughts into action!
Like so many things, our actions are nothing more than the physical manifestations of our thoughts. You want to show GENUINE appreciation? You've got to be genuinely appreciative.
Thanks for reading!
About the author: Matt founded Performance Optimist Consulting in 2011 with one goal in mind: to help leaders get the most out of themselves and their teams. He does this through speaking engagements, training workshops and one-on-one coaching. His book, the Myth of Employee Burnout outlines why some employees start off strong but eventually fizzle out. It has been called a "great resource" and "an eye-opener".


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Regular price $20.00
Michael Collins' view from the Apollo 11 Columbia Command Module, printed in a retro plastic-y style on a super soft (and modern!) premium black cotton blend shirt. Just in time for the 50th anniversary of the moon landing, and 1 year after the release of The American Egypt. Shirts run true to size.


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