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  1. Here's a cheat sheet for interior rows and columns of a color palette defined as: Put your favorite color group in D4! Overlap Groups Result A2|A3 A4 B1|C1 D1 B2|B3 B4 A2|B3 B4 B2|A3 B4 C2|C3 C4 A2|C3 C4 C2|A3 C4 B2|C2 D2 B1|C2 D2 B2|C1 D2 B3|C3 D3 B1|C3 D3 B3|C1 D3 D2|D3 D4 A2|D3 D4 B2|C3 D4 B2|D3 D4 C2|B3 D4 C2|D3 D4 D2|A3 D4 D2|B3 D4 D2|C3 D4 B4|C4 D4 B1|C4 D4 B2|C4 D4 B3|C4 D4
  2. Coincidentally, I have been discussing the 64-color color overlap priorities on a different thread. I hope I'm wrong, but if I understand correctly how it works, there are limited ways to avoid the unwanted color "summations" because they apply both vertically (to the inner 2 columns) as well as horizontally ( to the inner 2 rows) and, therefore, very limited ways to avoid the "collisions" when prioritizing. So if your scene has many potential color overlapping opportunities, it's not going to be possible to eliminate them all, regardless of how clever or creative the placement in the palette.
  3. I just thought you might know off hand since you're the creator. I just have one DMD and it's installed in my pinball, so not that easy to do, but I've actually played around with it and couldn't figure it out. Maybe someone will be able to break the code for us. I'm not sure what the benefit of having the 2 overlapping middle groups in a each row end up resulting in the 4th color group, but it just makes it very confusing in my opinion. Not so much when dealing with only 16 colors, but in 64 colors it's like playing 3d chess.
  4. So if the color palette groups are: A1 A2 A3 A4 B1 B2 B3 B4 C1 C2 C3 C4 D1 D2 D3 D4 ...then if B2 and C2 overlap, then the result would be D2? what is the result if B2 and C3 overlap?
  5. Good instructional video. I thought the explanation of the color priorities was really useful (specific) , but it makes me curious what the color priority rules are for 64-color mode when objects overlap that contain colors from different rows & groups. I assume the rules would be the same for color groups in rows 2-4, but not sure how the hierarchy works between overlapping groups within the same column, or overlapping groups from different rows and columns.
  6. Thanks, I sure do, but I have a long way to go, and I can't release it with "bugs" like this. The LCM, Replace & Colormask Sequence modes, and 64-color palettes have made handling difficult scenes like this one possible. Lucky1 has done a great job continuously improving PIN2DMD firmware and editor.
  7. OK, that's interesting. It seems odd that it reliably detects what are essentially the same background frames (same masked hashes) in attract mode, but not during the match sequence. I guess it really is still detecting all of them in the match sequence, but the intermediate transition frames (that are not visible to the naked eye when using a only a 4-color colormask) are messing things up. I still wonder why those transition frames are reverting to the default black & white colors - I thought, by design, a colormask frame would persist until a new hash is recognized, and these transition frame's hashes are not set. Anyways, I will get some raw dumps on it and see if it can be improved. Thanks for taking a look at it for me.
  8. Here's one that I don't understand (and probably @lucky1 can quickly assess what I'm doing wrong here). There is a scene in Breakshot (consisting of about 50 frames) that is used both in attract mode and for the end-of-game match sequence. Both animations use the same frames, but of course the match sequence has numbers overlayed on it. I know the LCM is usually used on video modes, but I thought it would be perfect for this application as well, and it would take care of both the attract and match animations all in one fell swoop. In fact, I couldn't think of any other mode that could actually do this particular scene better. So I created the LCM scene, colored and masked all the match numbers and ran it on my pinball machine. It works perfectly in the attract mode animation (see first video). But it only "sort of works" in the match animation (see second video). It's difficult to see in the video (looks worse in person), but it appears like the frames are intermittently being colored, so it looks "choppy". If I isolate a frame (see picture), it appears what I'm intermittently seeing is white, black and 2 shades of grey (and probably not by coincidence, those are the 1st four colors in the color palette for this scene). I'm using 64-color mode, latest editor, and f/w 4.20. The pink/red match colors remain solid throughout the entire animation, however. Any ideas of what the problem might be and/or suggestions how to fix? Attract.3gp Match.3gp
  9. Yes, I think you are correct. So, I used the newScene button to assemble all the frames, and it works well to preserve the hash. The Replace Sequence scene that I created works flawlessly as well. thank you @lucky1.
  10. This is a scene that has the same starting frame and the same ending frame, but it has many (about 60) intermediate frames in between (of which about 20 are used), and each time it is played it uses different frames (at random) to get from the opening scene to the closing scene. That is why it takes many scenes to capture all the frames, some of which are in different recordings. It seems like a perfect application of the Replace Sequence mode to me. I hadn't tried the Add2SCENE button for this. I have used it for LCM and it works fine for that. The way I was doing this was cutting frames (which by default are cut as ColorMask scenes), then, coloring them, then appending them together using Frame+, copy, and replace. Then finally just converting the scene to Replace Sequence, and then that is where the frames and hash were not in sync. So, now let me try the Add2SCENE method of building up the Replace Sequence scene - thanks for the advice.
  11. @lucky1,I finally had some time to go back and revisit this. Maybe I don't understand how this works, but it seems like nothing has changed. When I put frames together from different recordings for the purpose of making a Replace Sequence, the hashes always are out of sync with the frames, and I could conceivably have to single step thru hundreds or even thousands of frames to link the frame to the correct hash. Let me ask you this - would it be possible to make it so the user could just type in the 8-digit hash number? Seems to me like it would save a lot of time and frustration.
  12. Speed bumps? https://www.amazon.com/Bumpers-Adhesive-Furniture-Electronics-Mirrors/dp/B07ZD89HHV
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