space engineers adding textures to lcd panel factory
8) Now you need to finish text below (no brackets) :
How to make your own custom LCD image mod like Splitsie"s Impossible Images? To install such a custom mod, you will need admin access to the Space Engineers server, or use it in singleplayer locally only. You will need basic knowledge how to edit XML files (for example in NotePad++) and how to create images (in Paint.net).
Use Layers>Layer Properties to reduce the opacity a bit (e.g. 250 instead of 255) if the image does not look translucent on a transparent LCD in game.
Each LCDTextureDefinition adds one image, this example has two. In each definition, edit two attributes:Enter the name of the image in the
In this directory, go into the Data subdirectory and look at existing SBC files to learn how game rules, sounds, planets, images, models, etc. are defined.
You recognise the list of LCD images that are included in the game. To create a mod, you mirror the structure and create a copy along the same pattern, with new IDs and paths inserted (as described here). Of course it"s not always so simple -- sometimes you don"t know what values to enter, which ones are optional, and which ones mandatory, and so on... But after you have found a related file, you can at least start asking questions about it in Keen"s modding Discord.
Tip: To search keywords in XML files fast, open the Data directoy as workspace in NotePad++, right-click it, and use the Find in Files option to search the whole directory.
The various LCD Panel blocks are a great way to add a human touch to a ship or base by displaying useful images or text. For LCD configuration and usage, see LCD Surface Options.
Note: Some functional blocks, such as Cockpits, Programmable Blocks, Custom Turret Controllers, and Button Panels, have customizable LCD surfaces built in that work the same way as LCD Panel blocks, which are also discussed in detail under LCD Surface Options.
LCD Panels need to be built on a powered grid to work. Without power, they display an "Offline" text. While powered without having a text, image, or script set up, they display "Online".
LCD Panel blocks come in a variety of sizes from tiny to huge (see list below) and are available for large and small grid sizes. Note that LCD Panel blocks all have connections on their backs, and very few also on a second side.
All LCD Panels and LCD surfaces work with the same principle: They are capable of displaying dynamic scripts, or few inbuilt static images accompanied by editable text. Access the ship"s Control Panel Screen to configure LCD Panels or LCD surfaces; or face the LCD Panel block and press "K".
A Text Panel, despite its name, can also display images. On large grid, it is rectangular and does not fully cover the side of a 1x1x1 block. On small grid it is 1x1x1, the smallest possible LCD block in game.
On large grid, you choose the Text Panel when you need something that has rectangular dimensions that make it look like a wall-mounted TV or computer screen. If you want to display images, this one works best with the built-in posters whose names end in "H" or "V" (for horizontal or vertical rotation). On Small grid, you place these tiny display surfaces so you can see them well while seated in a cockpit or control seat, to create a custom display array of flight and status information around you.
Corner LCDs are much smaller display panels that typically hold a few lines of text. They don"t cover the block you place them on and are best suited as signage for doors, passages, or containers. They are less suitable for displaying images, even though it"s possible. If you enable the "Keep aspect ratio" option, the image will take up less than a third of the available space.
These huge Sci-Fi LCD Panels come in sizes of 5x5, 5x3, and 3x3 blocks, and can be built on large grids only. These panels are only available to build if you purchase the "Sparks of the Future" pack DLC.
They work the same as all other LCD Panels, the only difference is that they are very large. In the scenario that comes with the free "Sparks of the Future" update, they are used prominently as advertisement boards on an asteroid station.
This LCD panel can be built on large and small grids. The transparent LCD is basically a 1x1x1 framed window that displays images and text. It is part of the paid "Decorative Blocks Pack #2" DLC.
What is special about them is that if you set the background color to black, this panel becomes a transparent window with a built-in display. In contrast to other LCD Panels it has no solid backside, which makes it ideal to construct transparent cockpit HUDs, or simply as cosmetic decoration.
While configuring an LCD Panel, the GUI covers up the display in-world and you can"t see how the text or images comes out. In the UI Options, you can lower the UI Background opacity to be translucent, so you can watch what you are doing more easily.
The LCD Panel is a thin panel that takes an entire block face and can display a variety of messages and textures that can be displayed constantly or triggered by the Programmable Block, Sensor, Timer Block, or any other block capable of triggering.
Choosing "Edit Text" allows inputting custom text such as the name of a room to use above doors. The text can then be scaled up to fit the screen dimensions or preferred size by using the "Font Size" slider.
The "Color" sliders allow setting the text colour using RGB slider and "Backgr." allows setting background fill colours (default black). If using a transparent LCD then the text will be against transparency unless fill colour is added.
"Loaded Textures" has a list of the available default and modded (where applicable) images available for display on the screen. Select the desired image and select "Add to selection". The selected image will then show in the second "Selected textures" panel.
When multiple images are applied they can be set to cycle between with the duration between images being set by the "Image change interval" slider. To remove an image from display select it in the second panel and select "Remove selected".
The "Preserve aspect ratio" checkbox can be used to prevent the image being stretched if it does not fit the screen properly such as when using a wide LCD.
To set the LCD to display a script, choose "Script" from the dropdown. Choosing Script allows the display of information such as weather, artificial horizon for vehicles, Energy and Hydrogen level etc.
The panel"s title and text can be made public, private, or a combination of both. Textures applied can be selected from a list or custom textures can be selected. Textures can be set to rotate on a timer, changing from one to the next. GPS coordinates shown in the GPS format in the text panel will appear in the GPS and can be activated (=shown on HUD).
Selected textures - Any textures that were added, will be displayed here. The order in which they are placed effects which image is displayed first (top of the list is displayed first).
The LCD Panel could be accessed with the programmable block as IMyTextPanel. It could work in ´Texture Mode´ in which the selected textures are shown or the ´Text Mode´ in which the text is shown. The following methods are available:
Adds an image/texture to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.
Adds the images/textures to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.
TitleThe Operative Mechanic, and British Machinist; being a practical display of the manufactories and mechanical arts of the United Kingdom. Second edition
On top of prettifying textures with PBR enhancements, PBR-enhanced resource packs can also add custom fog definitions and apply them through the new fog stack (for further info, head to Minecraft.net). This fog stack is ordered by lowest priority to highest:
identifier: A quoted unique name, prefixed with a namespace followed by a colon. The unique identifier is used to refer to a Fog Definition, e.g. from biomes_client.json and from the /fog Command.
fog_color: the color of the fog as a square bracketed list of 3 values in the range of 0 to 255; or as a quoted hexadecimal RGB value following a pound sign.
uniform: A boolean value: false scales the fog density based on depth into the enumerated medium and true makes the fog distribute evenly across height, ignoring the values of zero_density_height and max_density_height.
scattering: A square bracketed list of 3 values for red, green, and blue colors to spread for the light passing through the enumerated medium. These values range between 0.0 and 1.0. It can also instead be a quoted hexadecimal RGB value following a pound sign.
absorption: A square bracketed list of 3 values for red, green, and blue colors to absorb for the light passing through the enumerated medium. These values range between 0.0 and 1.0. It can also instead be a quoted hexadecimal RGB value following a pound sign.
pop: removes the top-most fog definition, from the selected player(s), that matches the user-provided ID (i.e. as provided previously via a /fog Command using the push mode).
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The type of soil moisture regime can be used to infer the direction of water movement in soil, which affects soil development and morphology. The following case study illustrates this point. Figure 9 shows two soils, Mollisols (Xerolls and Ustolls) with 450 mm of mean annual precipitation that differ in the timing of precipitation (i.e., the soil moisture regime). Mollisols are typically described as grassland soils that have large stocks of below ground soil organic matter. The Ustoll is a Mollisol with an ustic soil moisture regime that formed in a bunchgrass prairie east of the Rocky Mountains (Figure 9a). The Xeroll is a Mollisol with a xeric soil moisture regime that formed in a bunchgrass prairie on the Columbia Plateau in eastern Washington (Figure 9b). These soils share similarities in soil forming factors including parent material, vegetation, age, and topography. The notable difference between these two profiles is the nature of the B horizons (subsurface zones of accumulation of clay, salts or iron). The Ustoll has a Bk horizon, which is a zone of accumulation of calcium carbonate (CaCO3) (Figure 9a). This semi-soluble salt tends to accumulate in subsoils where deep percolation is minimal (Jenny 1994). The Xeroll has a Bw horizon, a subsoil where salts have been removed by deep percolation and the development of soil structure and slight accumulation of clay are detectable.
Examples of Mollisols (grassland soils) formed from loess. Both soils have mean annual precipitation of 450 mm. The Ustoll (a) has an ustic soil moisture regime and the Xeroll (b) has a xeric soil moisture regime. Note the presence of calcium carbonate filaments and masses throughout the Bk horizon of the Ustoll (a).
Potential evapotranspiration and precipitation over time in these soils illustrate the effects of timing of rainfall on soil moisture dynamics (Figure 10). In the Xeroll, precipitation is low during the growing season facilitating a period of utilization of stored water during the early growing season followed by a prolonged deficit (Figure 10a). Soil moisture is recharged at the onset of fall rains when the dormant season begins. As precipitation continues throughout the winter months a surplus is achieved. Surplus occurs when soils become saturated and water is allowed to freely drain with the force of gravity. A surplus in soil moisture results in the loss of free water stored between saturation and field capacity, which is subject to gravitational flow. In this scenario there are two main flowpaths: 1) deep percolation of free water beyond the root zone, and 2) losses of stored water by ET during the growing season. The large proportion of surplus water present during the winter months when plants are dormant facilitates the leaching of soluble and semi-soluble salts out of the soil profile and into the groundwater.
Climatic information and soil water balance for an Ustoll (a) and Xeroll (b). Note that the Ustoll never reaches a surplus condition, free drainage of saturated macropores.
In the Ustoll, most precipitation occurs during the growing season and is utilized through transpiration until a soil moisture deficit occurs (Figure 10b). As evapotranspiration decreases during the dormant season, soil recharge occurs, but precipitation is not high enough at this time to create a surplus. As a result, soil moisture is stored over the dormant season (winter months) and the major flow path is upward via capillary rise as plants become active in spring, extracting water by evapotranspiration. The absence of a surplus results in incomplete leaching of the soil profile and the accumulation of semi soluble salts (white coatings), as symbolized by the Bk horizon (Figure 9a).
This comparison of ustic and xeric soil moisture regimes provides an example of how soil moisture dynamics and timing of precipitation govern water utilization and movement in soil. Timing of precipitation is equally as important as its magnitude when considering soil water dynamics. This case study demonstrates that the fate of water in soil (e.g., deep percolation or evapotranspiration) governs the expression of soil morphologic features. Thus, soil features can be used to infer hydrologic processes.
Textures are a central topic in rendering. Although they have many uses, one of their primary purposes is to provide a greater level of detail to surfaces than can be achieved with vertex colors alone.
In this post, we’ll talk about texture mapping, which helps us bring virtual characters to life. We’ll also introduce samplers, which give us powerful control over how texture data is interpreted while drawing. Along the way, we will be assisted by a cartoon cow named Spot.
Textures are formatted image data. This makes them distinct from buffers, which are unstructured blocks of memory. The types of textures we will be working with in this post are 2D images. Although Metal supports several other kinds of textures, we can introduce almost all of the important concepts by walking through an example of texture mapping.
Texture mapping is the process of associating each vertex in a mesh with a point in a texture. This is similar to wrapping a present, in that a 2D sheet of wrapping paper (a texture) is made to conform to a 3D present (the mesh).
Texture mapping is usually done with a specialized editing tool. The mesh is unwrapped into a planar graph (a 2D figure that maintains as much of the connectivity of the 3D model as possible), which is then overlaid on the texture image.
In Metal, the origin of the pixel coordinate system of a texture coincides with its top left corner. This is the same as the coordinate system in UIKit. However, it differs from the default texture coordinate system in OpenGL, where the origin is the bottom left corner.
The coordinate system of the texture coordinates must agree with the coordinate system of the image data. Since it is most natural to work in an image editor where the origin is in the top left, the saved image will often be upside-down from the perspective of the Metal texture coordinate system. This can be solved either when the image is written, by storing the image “upside-down”, or when the image is read, by flipping the image data vertically before it is copied into the texture.
The sample code chooses to flip images when loading. The image utilities from UIKit are used to load the image, which is then transformed into the Metal texture coordinate system by drawing it into a “flipped” context. The code for this is shown in a later section.
Metal is flexible enough to allow us to specify texture coordinates in pixel coordinates or normalized coordinates. Pixel coordinates range from (0, 0) to (width – 1, height – 1). They therefore depend on the dimensions of the texture image. Normalized coordinates range from (0, 0) to (1, 1), which makes them independent of image size.
Textures are discrete images composed of a finite number of pixels (called texels). However, when drawing, a texture may be drawn at a resolution that is higher or lower than its native size. Therefore, it is important to be able to determine what the color of a texture should be between its texels, or when many texels are crunched into the same space. When a texture is being drawn at a size higher than its native size, this is called magnification. The inverse process, where a texture is drawn below its native resolution, is called minification.
Nearest (also called “nearest-neighbor”) filtering simply selects the closest texel to the requested texture coordinate. This has the advantage of being very fast, but it can cause the rendered image to appear blocky when textures are magnified (i.e., when each texel covers multiple pixels).
Linear filtering selects the four nearest texels and produces a weighted average according to the distance from the sampled coordinate to the texels. Linear filtering produces much more visually-pleasing results than nearest-neighbor filtering and is sufficiently fast to be performed in real-time.
When a texture is minified, multiple texels may coincide with a single pixel. Even slight motion in the scene can cause a shimmering phenomenon to appear. Linear filtering does not help the situation, as the set of texels covering each pixel changes from frame to frame.
Although it is possible to build your own mipmap sequence manually, Metal can do this for you when creating a texture. The texture2DDescriptorWithPixelFormat:width:height:mipmapped: convenience method (which we will use later) will calculate the number of mipmap levels necessary and assign it to the texture descriptor it returns. Otherwise, you are obligated to set the mipmapLevelCount property to the appropriate value, which happens to be
Typically, when associating texture coordinates with the vertices of a mesh, the values are constrained to [0, 1] along both axes. However, this is not always the case. Negative texture coordinates, or coordinates greater than 1 can also be used. When coordinates outside the [0, 1] range are used, the addressing mode of the sampler comes into effect. There are a variety of different behaviors that can be selected.
Before we actually ask Metal to create a texture object, we need to know a little more about pixel formats, as well as how to get texture data into memory.
A pixel format describes the way color information is laid out in memory. There are a few different aspects to this information: the color components, the color component ordering, the color component size, and the presence or absence of compression.
Colors may be represented with any degree of precision, but two popular choices are 8 bits per component and 32 bits per component. Most commonly, when 8 bits are used, each component is an unsigned 8-bit integer, a value between 0 and 255. When 32 bits are used, each component is usually a 32-bit float ranging from 0.0 to 1.0. Obviously, 32 bits offer far greater precision than 8 bits, but 8 bits is usually sufficient for capturing the perceivable differences between colors, and is much better from a memory standpoint.
We will use the powerful utilities provided by UIKit to load images from the application bundle. To create a UIImage instance from an image in the bundle, we only need one line of code:UIImage *image = [UIImage imageNamed:textureName];
Unfortunately, UIKit does not provide a way to access the underlying bits of a UIImage. Instead, we have to draw the image into a Core Graphics bitmap context that has the same format as our desired texture. As part of this process, we transform the context (with a translation followed by a scale) such that the result image bits are flipped vertically. This causes the coordinate space of our image to agree with Metal’s texture coordinate space.CGImageRef imageRef = [image CGImage];
A texture descriptor is a lightweight object that specifies the dimensions and format of a texture. When creating a texture, you provide a texture descriptor and receive an object that conforms to the MTLTexture protocol, which is a subprotocol of MTLResource. The properties specified on the texture descriptor (texture type, dimensions, and format) are immutable once the texture has been created, but you can still update the content of the texture as long as the pixel format of the new data matches the pixel format of the receiving texture.
The MTLTextureDescriptor class provides a couple of factory methods for building common texture types. To describe a 2D texture, you must specify the pixel format, texture dimensions in pixels, and whether Metal should allocate space to store the appropriate mipmap levels for the texture.[MTLTextureDescriptor texture2DDescriptorWithPixelFormat:MTLPixelFormatRGBA8Unorm
It is now quite straightforward to create a texture object. We simply request a texture from the device by supplying a valid texture descriptor:id
Setting the data in the texture is also quite simple. We create a MTLRegion that represents the entire texture and then tell the texture to replace that region with the raw image bits we previously retrieved from the context:MTLRegion region = MTLRegionMake2D(0, 0, width, height);
This texture is now ready to be used in a shader. To pass a texture to a shader function, we set it on our command encoder right before we issue our draw call:[commandEncoder setFragmentTexture:texture atIndex:0];
In Metal, a sampler is an object that encapsulates the various render states associated with reading textures: coordinate system, addressing mode, and filtering. It is possible to create samplers in shader functions or in application code. We will discuss each in turn in the following sections.
We will use samplers in our fragment function, because we want to produce a different color for each pixel in the rendered image. So, it sometimes makes sense to create samplers directly inside a fragment function.
The following code creates a sampler that will sample in the normalized coordinate space, using the repeat addressing mode, with linear filtering:constexpr sampler s(coord::normalized,
Samplers that are local to a shading function must be qualified with constexpr. This keyword, new in C++11, signifies that an expression may be computed at compile-time rather than runtime. This means that just one sampler struct will be created for use across all invocations of the function.
All of these values belong to strongly-typed enumerations. Strongly typed enumerations are a new feature in C++11 that allow stricter type-checking of enumerated values. It is an error to omit the type name of the value (i.e., you must say filter::linear and not simply linear).
The parameters may be specified in any order, since the constructor of the sampler is implemented as a variadic template function (another new feature of C++11).
Getting a color from a sampler is straightforward. Textures have a sample function that takes a sampler and a set of texture coordinates, returning a color. In a shader function, we call this function, passing in a sampler and the (interpolated) texture coordinates of the current vertex.float4 sampledColor = texture.sample(sampler, vertex.textureCoords);
To create a sampler in application code, we fill out a MTLSamplerDescriptor object and the ask the device to give us a sampler (of type id
Note that we had to individually specify the magnification and minification filters. When creating samplers in shader code, we used the filter parameter to specify both at once, but we could also use mag_filter and min_filter separately to get the same behavior as above.
Passing samplers looks very similar to passing textures, but samplers reside in a different set of argument table slots, so we use a different method to bind them:[commandEncoder setFragmentSamplerState:sampler atIndex:0];
The major change is the use of a texture/sampler pair to determine the diffuse color of the mesh at each pixel instead of interpolating a single color across the whole surface. This allows us to draw our textured cow model, producing a greater sense of realism and detail in the scene.
You can download the sample project here. If you run it on a Metal-enabled device, you can spin Spot around in 3D to show off those specular highlights. Be careful, though: if you spin her too fast, you might hear her moo in protest…
· Each SunCast licence allows you to use up to 4 cores. Additional licences may be used to increase the number of cores used in the simulation.
· Important: To use this feature you must have a multi-core machine and Microsoft’s MPI library installed. If for some reason it was not installed as part of the VE installation, or has been subsequently removed, you can download it here (VE2013FP1 onwards, or side-by-side use with VE2015) or here (VE2015 onwards).
· Note: Due to the way parallel simulations are run, specifying the use of 2 cores is equivalent to using just 1 core. However the option is still quicker than turning faster calculations off completely.
This allows you to select which colours are active when using the software. The main use is to change the default canvas colour from white to black (and grid from black to white), but there are a number of other elements that are listed that you can change to what you prefer.
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