Transcript 2015-moving-light-and-led-2015

Moving Lights and LED
Programming
Dana Taylor
www.mvhsfinearts.com
Sponsored by
Design will continue to be
driven by technology.
Stefan Sagmeister
Programming Exercise
1. Select one of the lights and bring it to full
2. Select Color Function
3. Set color to a blue using the encoders
4. Record as a cue (go sequentially)
[RECORD] <CUE> # [ENTER]
5. Record as a Color Palette as well
(sequentially, but remember you color and
number) [Record Only] [Color Palette] #
[Enter]
What We’ll Cover
• Solid State Lighting (LED's) and How To
Incorporate SSL Into Your Lighting Design
• Patching Fixtures
• Basic Console Control
• Organization and Planning
• Color and Color Issues
• Electrical and Data Requirements
• Differences Between LED's and Conventional
Lighting Fixtures
• Basic Programming
Differences Between Conventional Light and
Moving Fixtures
The obvious…
1.They can move
2.They can change color
3.In some instances, they can use multiple
gobos
4.They can make possible some very
dynamic effects.
Differences Between Conventional Light and
Moving Fixtures
The not so obvious…
1.Using them will add to your programming
time (Baskin-Robbins with 809 Flavors)
2.They may necessitate technical upgrades
to accommodate the new technology
3. Using them will add to your prep time
4. Using them will add to your budget
Please Remember
Technically speaking….one moving light can
replace several conventional fixtures…
unless it malfunctions.
Painting With a New Palette
Differences Between LED’s and
Conventional Fixtures
• The light source
Differences Between LED’s and
Conventional Fixtures
• Quartz Halogen
Differences Between LED’s and
Conventional Lamps
• Temperature
• LED fixtures do produce heat (the Source
4 LED Series 2 shows a 104 degree
operating temperature)
• A traditional S4 in Flat field - 595˚F and
Peak field 905˚F
• Low power consumption
Differences Between LED’s and
Conventional Lamps
• Use additive color mixing rather than gel
(although you can use gel). In short,
adding color does not diminish intensity
• Use multiple channels of DMX rather than
one
• Lightweight (not so much the profile
fixtures)
• Life calculated in tens of thousands of
hours compared to 1500-2000 hours
Color
“You buy an RGB LED fixture that claims
16.7 million colours. You plug it in... yet
out of those 16.7 million available colours,
you seem unable to find any of the subtle
hues, deep blue or even white or amber....
In fact, any colour except red, green, blue,
cyan or magenta.”
Blake Garner
Lighting Applications Engineer – Jands Pty Ltd
Differences Between LED’s and
Conventional Fixtures
• The visible spectrum of light
Differences Between LED’s and
Conventional Fixtures
• The visible spectrum of light is different
Differences Between LED’s and
Conventional Fixtures
• The visible spectrum of light is different
Differences Between LED’s and
Conventional Fixtures
• As is color temperature
Differences Between LED’s and
Conventional Lamps
• As is color temperature
• Conventional fixtures using quartz halogen
lamps will actually change color
temperature as they dim (amber drift)
• LED’s do as well but it looks different.
Differences Between LED’s and
Conventional Fixtures
• Light Sources RGB
Differences Between LED’s and
Conventional Fixtures
• Light Sources RGBW
Differences Between LED’s and
Conventional Fixtures
• Light Sources RGBA
Differences Between LED’s and
Conventional Fixtures
• Light Sources: Seven Colors!
Red, Lime, Amber, Green, Cyan, Blue, Indigo
Differences Between LED’s and
Conventional Fixtures
• Shadows can be an issue
Differences Between LED’s and
Conventional Fixtures
• As can color
Differences Between LED’s and
Conventional Fixtures
• As can color
Differences Between LED’s and
Conventional Fixtures
• How our eyes respond to color
Differences Between LED’s and
Conventional Fixtures
• What Red, Green and Blue LED’s produce
Differences Between LED’s and
Conventional Fixtures
• What Red, Green and Blue LED’s produce,
then add four more colors
Patching, Addressing and
Programming
Patching, Addressing and
Programming
• Although the process varies from console
to console, you will need to patch LED (or
any other multi-channel fixture) to your
console.
• Patching allows you to communicate with
the fixture using, on newer consoles, a
single channel which then organizes the
fixture attributes, assigning them to
different controllers in the board.
Moving Light Attributes
(Parameters)
1.
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3.
4.
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6.
7.
Intensity
Color
Position (Pan and Tilt)
Gobos
Focus
Iris
Effects
Encoders
Function Keys
Standard Communication
Protocol
DMX
DMX
• The patch allows you to communicate with the
fixture using the standard protocol of DMX 512.
512 channels equals one universe
• Everything a fixture does requires a channel of
DMX
• If you have a 96 channel board, you have 96
control channels but still only 512
communication channels. This matters because
you can run out of communication channels if
you are using multiple LED or moving fixtures.
Patching
Patching
• At it’s most basic RGB, a three color light
needs three channels of communication,
multiply that by 10 and you have now used
30 channels as opposed to 10 for a
conventional fixture.
• A moving light can require over 20
channels of communication.
• Simply said, you need to plan your patch.
Addressing Fixtures
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Every fixture will requite a DMX address (1-512).
Addressing procedures will vary by fixture.
The fixture address will match the patch number
This can (and should) be planned ahead of time.
Addressing Fixtures
• In some instances, such as LED cyc lights, you may
apply a single address to each of the cyc fixtures. This
will allow them to function as one fixture. However,
patching them separately will gain you greater control
and add to your options.
• If you are using a second universe to control your LED’s,
fixtures will still be addressed 1-512. Your patch will
determine which fixtures use the second universe.
DMX Universes
• Most newer consoles offer more than one
universe of DMX.
• You may opt to run your LED’s on a
different universe (although you are still
DMX via
restricted by channel count)
Ethernet
DMX
via 5
Pin
Patching
• Multiple Universes. To use a splitter, you
will need a DMX out at stage level or run
cable from your board to the stage.
Programming
Programming Tips
• Because moving lights have more than
one programmable feature……
• Be organized
• Know how to use your board
• Know how to use your lights
• Write home (50/50), position, color, gobo
and other palettes ahead of time
Programming Tips
• Tracking is good (mostly)
• Create block cues
• Create mark cues. Mark cues allow you to
dim lights before they move to the next
position. A more theatrical application.
• “Auto Move While Dark”, “Auto Mark”
Programming Tip
1.
2.
3.
4.
Select Light(s)…keypad or mouse
Call up function you wish to change
Make the change
Record as a cue
Encoders
Function Keys
Electrical Concerns/Needs
Electrical Issues
• Although you don’t need more dimmers,
you still will want dedicated power.
• You can select to replace some dimmers
with constants (non-dim units)
• Limited applications can use “house”
electric
• LED fixtures pull very low amperage
allowing you to daisy chain power as well
as data.
Electrical Issues
• W = V * A (West Virginia Formula)
• 2400w = 120v * 20a
• 2400w/120v = 20a
• 20a * 120v = 2400w
Know the electrical requirements of your
fixtures so that you can power them
correctly
Electrical Issues
• Example: a 200 watt Altman Spectra Cyc
would pull only 1.66 amps (most circuits
are 20 amps) Watts/Volts = Amps
(Watts = Volts * Amps)
• In this case, you could safely run an
typical cyc wash of 5 fixtures on 8’ centers
on a single circuit.
Electrical Issues
• You should use this
• Not this
Buying or Renting
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Pros for Renting
Lower cost
Equipment is used but well maintained
If something doesn‘t work, they will usually
send a replacement.
Technical help is readily available
You get what you pay for.
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Cons of Renting
You lack experience with the equipment
Costs will likely be your department’s
responsibility as opposed to capital projects
Limited programming time
Uncertainty if you have rented the
equipment that will do the job. The rental
house will help but is dependent on you
knowing what you want it to do and being
able to communicate your needs.
Infrastructure may not support the
equipment. (Do you know how many
separate circuits are available on your stage
beyond the dimmers?)
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Pros for Purchasing
Larger cash outlay (but more likely from your
school district and not your department)
Equipment is new.
A theatre consultant (we hope) has helped
select the appropriate equipment
You can up the training of your students
Cons for Purchasing
May be difficult to convince your school
district to spend more for LED’s
Can you maintain the equipment?
You may have to live with a manufacturer's
error.
You get what you pay for.
Terminology
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Additive Color Mixing: Adding color to create a new color.
Attributes: Any of the functions of a light. This will include pan/tilt, color, iris, shutter, etc.
Beamage: Refers to the visible beam of light in the air. Beamage is increased by the use of hazer
or other atmospheric effects.
Block Cue: A cue with all values set to zero. Designed to stop unwanted tracking of values
between cues.
Busking: Changing attributes such as color or position “on the fly”.
Color Correction: Changing the color temperature of a lamp by virtue of color media.
CMY Mixing: Subtractive mixing using the secondary colors cyan, magenta and yellow.
Cut Sheet: A data sheet relating to a fixture or other equipment.
Daisy Chain: Connecting fixtures in a series. Fixture one is plugged into fixture two, which is
plugged into fixture three, etc. (Can apply to power as well as data)
Dichoric Filter: Color media typically used in moving fixtures. Unlike standard gel, these filters
reflect unwanted colors back to the light source rather than absorbing them.
Dimmer Per Circuit: patching dimmer 1 to channel 1, dimmer 2 to channel 2, etc. (1:1)
DMX512: Digital Multiplex. A communications protocol.
DMX Splitter: Splitters are distribution products that provide many outputs from one input to
distribute DMX512 to multiple locations such as stage left, stage right, first electric, and dimmer
room.
Terminology
• Dowser: A mechanical method of creating a black out. Literally, a dowser is placed in front of the light
source to create a black out.
• Fade: A change in intensity. Fades are generally associated with the beginning or ending of a cue.
• Fixture Library: Associated with consoles. A fixture library is the fixture attribute information required
for a console and fixture to communicate.
• Kelvin. The higher the Kelvin temperature, the “bluer” the appearance of the light. Arc lamps
generally function above 5000 degrees Kelvin while conventional lamps are rated around 3200 degrees
and appear to be “warmer” in color.
• Mark Cue: Creating a blackout before resetting moving lights
• Nanometer: A measurement of color within the visible spectrum.
• Patch: Assigning a fixture to a channel or a channel to a dimmer.
• Palette: A user defined memory featuring color, position, gobos, focus, etc.
• Pan: Side to side movement of a fixture.
• Parameters: See attributes
• Personalities: see attributes
• RGB: Red, Green and Blue. The three primary colors of light
• SED Curve: Spectral Energy Distribution curve. A graph indicating in nanometers and percentages the
colors found in a gel.
• Submaster: A specific range of fixtures or attributes pre-assigned by the programmer to a console
fader.
• Terminator: A DMX plug inserted in the last multi-channel fixture in a universe.
• Tilt: Up and Down movement of a fixture.
• Tracking: The retention of unchanged values between cues.
• Universe: 512 channels of DMX.
Suggested Reading
• The Automated Lighting Programmer’s
Handbook by Brad Schiller
• Automated Lighting: The Art and Science
of Moving Light in Theatre, Live
Performance, Broadcast, and
Entertainment by Richard Cadena
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Lighting and Sound America
Live Design
PLSN: Projection Lights and Staging News
Stage Directions Magazine
Get Involved
United States Institute for
Theatre Technology
www.usitt.org
800-938-7488
Dana Taylor
[email protected]
812-455-9763
Dana W. Taylor has served as director of Vocal Music at Mt. Vernon Senior High School for twenty five years.
Dana holds a Bachelor of Music Education degree and a Master of Music degree in Choral Conducting, each from
Indiana University (Bloomington, IN). Dana is a member of the American Choral Directors Association, United
States Institute for Theatre Technology, PLASA and the Educational Theatre Association. Dana contributes
articles to Projection Lights and Staging News, Dramatics magazine and Teaching Theatre Journal and was
named Technical Editor of Dramatics magazine in 2006. Additionally, he serves as Individual Member
Representative for PLASA NA, an entertainment technology trade organization.
Dana was named Technical Theatre Educator of the Year by Stage Directions Magazine in 2006. In 2011, he was
named "Artist of the Year" by the Arts Council of Southwestern Indiana and received the Founder's Award from the
Educational Theatre Association for significant contributions to Theatre Education in the United States. In
February 2014, his women's ensemble, Angelus presented a mainstage concert at the ACDA Central Division
Conference. In March of 2014, he received the Distinguished Achievement Award in Education from The United
States Institute for Theatre Technology.