![]() As it is executed as a root, it has potential for causing direct harm or giving access to unauthorized people. It is not properly tested, code reviewed or anything. ![]()
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![]() It's not quite the same as generating new geometry from a compute shader, but unfortunately there aren't a lot of tutorials on that topic. See this tutorial that describes using Compute shaders to do deformation. You then have to write custom shaders that can take the output of the Compute shader in place of mesh's vertex data. If you want to take some mesh and modify it with a Compute shader you have to manually copy the mesh data into buffers that you pass to the Compute shader. Unfortunately using Compute shaders for this requires a lot more work to implement, and Unity doesn't make things particularly easy here. Those are emulated with a Compute shader.Īnd that's kind of the answer, if you want to use Geometry shaders for something, you probably actually want to use a Compute shader. Metal technically doesn't even support Tessellation shaders, not directly. Which is why Apple's Metal API supports Compute, but not Geometry shaders. ![]() That's not to say that Geometry shaders are always the slowest option, just that there are more efficient options. So the question you might be wonder is, why?īecause Geometry shaders, while convenient, are horribly inefficient. In part because Apple's Metal graphics API does not support Geometry shaders, and so they don't bother to support it with their own chips. Likewise, there are features of both the URP and HDRP that will not work as they are also Compute shader based.Īdditionally, while you can run "OpenGL 4.1" applications on the new M1 based Macs, those will not support Geometry shaders as the hardware does not support them, at all. There are also several assets on the store that make use of Compute shaders which will also obviously not work. Not having Compute shader support means a lot of Unity's post processing effects no longer work, or run using slower versions of the effect. Apple explicitly chose to not support any version of OpenGL past 4.1 in MacOS. If you ran Windows on the Intel based Macs they would be able to use OpenGL 4.3 or better, which supports both Geometry shaders and Compute shaders. Note: the hardware in desktop Macs from roughly the last decade have all supported Compute shaders. ![]() This means it does not support Compute shaders, when using OpenGL. MacOS's OpenGL support is limited to OpenGL 4.1. ![]() Permission Handling: The Vuforia Engine behavior of triggering. To use Geometry shaders you must force the game (and editor if you're developing on the Mac) to use OpenGL instead of the default Metal API.īut this comes with several huge caveats. Unity on MacOS Notice: If you are experiencing DLL related issues on Mac when working in. ![]() ![]() This ensures it wraps the right way when we turn it into a planet. Use Image > Image Rotation > 180° to flip your image upside down. Set the left-hand opacity slider to 100% and the right-hand one to 0%.ĭrag a gradient from the top of your photo downwards a little distance, to produce a smooth transition to the solid colour. Select the gradient tool and set the left and right colour sliders to match the dominant sky colour. Ths step is optional but will prevent the corners of the final image looking stretched and warped. This will squash your image and make it look distorted. Uncheck "Constrain Proportions" and set the height to match the width. Make the image squareīecause of the way stereographic projections are made, we need to start with a square image. I'll be using the following photo which you can download here if you want to follow along. ![]() If you're struggling to find a suitable photo then there tons freely available under the Creative Commons licence, such as this selection on Flickr. If in doubt, give it a go - breaking the above "rules" can sometimes lead to weird and wonderful effects that you wouldn't have got otherwise, so don't be afraid to experiment. ![]() This might sound like a lot of criteria to meet, but you'll find that the majority of panoramas will be suitable. If yours don't then you can easily rotate and re-crop in Photoshop. The horizon - This needs to be perfectly level so the edges of the picture meet neatly. As with the sky, a flat colour or simple texture such as grass, sand or water looks best. The ground - The bottom of your photo will be squashed together to form the centre of the planet, and this can lead to some extreme distortion. A clear sky tends to produce the best results, although clouds can give an interesting, stretched effect. The sky - Your panorama's sky will be severely distorted in the final image. Wider images tend to produce smoother planet surfaces, while narrower panoramas give more height variation. Image width - The aspect ratio (width divided by height) of your photo affects how smooth the planet looks. Narrower angles can work but you might need to do some work to match colours and textures where the edges meet. The viewing angle - 360 degree panoramas work best because their edges line up perfectly, making for a seamless planet photo. Here are the things you need to consider: Virtually any panorama can be turned into a little planet photo, but certain images tend to work better than others. Turn your panoramas into eye-catching miniature planets. I'll be using Photoshop in this example but you can do it in most graphics programs, including GIMP, which is free. The technical name for this technique is "stereographic projection" but don't let the name put you off - it's very simple to do and only takes 5 minutes. This little tip adds an extra pinch of creativity, turning standard panoramas into miniature planets that really have the "wow" factor. They contain so much interest and detail that they practically beg you to explore them. Panoramas are one of my favourite ways to show off a scene. ![]() ![]() I would never say never, but from having had that experience, I think people who aren’t musicians or trying to make a living as an artist will understand that it’s just become the norm now, you don’t pay for anything you just get it for free. In fact we did “Flame Still Burns”, and we’ve done certain things and added them to pieces of our releases lately, but I think it’s going to be more a song or two at a time from now on. I don’t think that model really works anymore I think it’s better to do a song or two at a time. ![]() Mick was coming out to LA, and it was incredibly exhausting, it was a lot of hard work, took up any empty time that we had and our energy, and it took huge amounts of money to complete that record, and the day that it was released people were trading it for free on the internet!! That’s really disappointing when you know how much time and effort you put in to something. The one story that I constantly tell, is that we took a year in 2009 to create “Can’t Slow Down” and we were on the road in America and Europe, and in all our “off” time we were writing and recording, in New York and LA. Kelly: I think that you’re likely to hear new songs, I don’t know if it makes sense to do an entire CD anymore in this day and age. Mark: It is, and it’s a wonderful DVD, I would definitely recommend it! We are actually fans from way back and we loved the album “Can’t Slow Down”, it’s been almost ten years since we had some original Foreigner music, are we likely to see another new album from Foreigner? Kelly: Well, yeah, there were a lot of goose bumps actually! You are used to hearing and playing these songs in a certain way for so long, and then you have this added dimension which is just huge, it was quite moving. Mark: Did you find it very different working with an orchestra on stage compared to the traditional rock band? Dave had had this experience before doing stuff with Evanescence, but there was making sure you chose songs that work with an orchestra, and will be complementary, and then flushing out those arrangements so that they are complementary and actually expanding their composition, not just mirror it. Kelly: Well, there were several months of preparation, preparing the arrangements, and Mick was in New York meeting with Dave Eggar and Chuck Palmer, and then they would get together with a cello player, then a violinist and a trumpet player and they would work on these parts of pieces with singular instruments. Mark: Wow! Is it something Mick’s been working on for a long period of time? Was it a long term project? I think it shows a real side to the band performing these songs, with the juxtaposition of this fantastic, epic sound of an orchestra, and they are all volunteers by the way! It’s exciting times you’re coming over to Australia, and coming over here to sunny Perth too! I’ve been watching the DVD all week, and it’s amazing! A lot of bands have done that, but not pulled it off as well as you guys have. Mark: Hi, Kelly thanks for taking the time to talk to us today. We talked to the man with the golden voice – Kelly Hansen to find out all about the tour and the release of the mighty ‘Foreigner with the 21st Century Symphony Orchestra & Chorus’ ![]() For fans in Australia and New Zealand the great news is that they’re coming over to see us in October – but it’s not going to be just any rock show – this time they’re giving their catalogue the orchestral treatment. With a band with a pedigree like Foreigner an introduction seems rather redundant – a classic rock giant with songs that have more than stood the test of time. ![]() |