The Automated Lighting Programmer's Handbook

215 Pages·2011·7.61 MB·English

by  Brad Schiller (Auth.)

The Automated Lighting
’
Programmer s Handbook
The Automated Lighting
’
Programmer s
Handbook
Second Edition
Brad Schiller
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Dedication
I would like to dedicate this book first to my grandfather, Maurice,
who always encouraged everyone in the family to write. Then to
my parents, Don and Annette, for teaching me “the best job is one
you love.” Finally, I also dedicate this book to my wonderful wife,
Robin Joy, and my fantastic son, Matthew. They both remind me
on a daily basis about the excitement and richness of life.
List of Tables and Figures
Figure 2.1 Nontracking console cue 1 example.
Figure 2.2 Nontracking console cue 2 example.
Figure 2.3 Tracking console cue 1 example.
Figure 2.4 Tracking console cue 2 example.
Table 2.1 Sample DMX Protocol
Figure 3.1 Labeling FOH power cables helps identify plugs and purpose.
Figure 3.2 An example of a plot showing fixture numbering and DMX
addressing.
Figure 3.3 Various forms of media used for show storage and backup.
Figure 3.4 The “leapfrog” method of data storage.
Table 3.1 Suggested Front of House Items
Table 3.2 Sample DMX Patch
Table 4.1 Sample Gobo Channel DMX Protocol
Table 4.2 Common Position Palettes
Figure 5.1 A block cue stops the flow of tracking data.
Figure 5.2 An example of a sine wave effect with a base value of 128.
Figure 5.3 An example of a sine wave effect with a base value of 255.
Figure 5.4 An example of offset starting points within a sine wave effect.
Figure 5.5 Examples of ramp and step wave effects.
Figure 5.6 Fireworks gobos used with a fireworks chase.
Table 5.1 Sample Iris DMX Protocol
Table 5.2 Rainbow Color Chase
Table 5.3 Fanning Pan Values from 50%
Table 5.4 Fanning from the Start with Pan at 50%
Table 5.5 Fanning with a Random Fixture Order
Table 5.6 Fanning Time Values
Figure 6.1 Lawrence Upton and Brad Schiller used visualization at home
for a show in Brazil.
Table 6.1 Common Frame Rate Standards
Table 6.2 An Example of a Cuelist Using Timecode
Table 6.3 Basic MIDI Commands
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xvi ListofTablesandFigures
Table 6.4 MIDI Show Control Command Formats
Table 6.5 Basic MIDI Show Control Commands
Figure 7.1 Digital lighting fixtures and media servers combine with lights for
total visual control.
Figure 7.2 A digital backdop manipulated by the lighting console.
Figure 8.1 A pixel mapping screen and the live stage.
Table 8.1 LED Lighting Categories
Table 9.1 Console Networking Categories
Figure 10.1 Structured and corporate theatre productions have unique
requirements.
Figure 10.2 Concert tour programming can be very challenging.
Figure 10.3 Televised events add a new eye to the situation.
Figure 10.4 Music festivals and one-offs often present unique situations.
Figure 10.5 Architectural installations can run for many years.
Figure A.1 A bold lighting look during the Sydney 2000 Olympic Games
Opening Ceremony.
Figure A.2 Brad Schiller at his console prior to the Sydney 2000 Olympic
Games Closing Ceremonies.
Figure A.3 Consoles and WYSIWYG computers setup at Spectak
Productions.
Figure A.4 A WYSIWYG screen displaying output from all consoles.
Figure A.5 The number titled “Nature” as it appeared during the show.
Figure A.6 The number titled “Fire” as it appeared during the show.
Figure A.7 The number titled “Tin” as it appeared during the show.
Figure A.8 A moment from the Closing Ceremony.
Table A.1 The Automated Lighting Programming Team
Table A.2 Sydney 2000 Olympic Games Lighting Equipment
Figure B.1 Metallica 2003 Summer Sanitarium tour.
Figure B.2 Two stages together in Detroit.
Figure B.3 A different version of the Metallica rig.
Figure B.4 Butch Allen and Brad Schiller bringing the metal.
Figure B.5 Operating the lights in the rain.
Figure B.6 Another touring rig with Metallica.
Figure C.1 The Crystal Method Divided by Night Tour.
Figure C.2 Lawrence Upton and Brad Schiller during preproduction.
Figure C.3 A portion of the patch for the tour.
Figure C.4 The plot with DMX addressing for The Crystal Method tour.
ListofTablesandFigures xvii
Figure C.5 The Excel spreadsheet helped with organization during
programming.
Figure C.6 The Position Palettes for the show.
Figure C.7 The Color Palettes for the show.
Figure C.8 Songs broken down to a cue structure.
Figure C.9 A cuelist with CD times notated.
Figure C.10 Completed notes pages.
Figure C.11 A concept for the flash key layout.
Figure C.12 The Tech page and an associated cuelist.
Figure C.13 Spherical mapping is very challenging.
Figure C.14 A powerful moment of the show.
Figure C.15 The Crystal Method show with its many layers.
Table C.1 The Crystal Method Tour Equipment List
Acknowledgments
I strongly believe in sharing my knowledge of automated lighting with others.
I could not have gained my knowledge and experience without the assistance
of many great people and organizations.
First, I would like to thank High End Systems and Flying Pig Systems for
the great exposure to the industry. During my many years working as an
employee of High End Systems, I have been able to learn much more than I
couldhaveeverexpected.Therearetoomanynamestolist,butIthankevery-
one involved with both organizations throughout the years.
NextIwouldliketothank ProjectionLightsandStagingNews (PLSN) for
inspiring me to write on the subject of automated lighting programming. My
monthly column “Feeding the Machines” was the catalyst for this book.
TerryLowe,RichardCadena,andBruceJorhdalhaveallbeenveryenthusiastic
when encouraging my writing.
In addition, I would like to thank all the professional programmers and
designers that I have met throughout the years. Our industry is a great one
with many creative and intelligent people. We all contribute our skills and
knowledge to continually improve our fast-changing business. I especially
would like to express thanks to the many that were able to participate in this
book by providing a quote for Chapter 13.
Finally,Iwouldliketothankyouforreadingthisbookandhavinganinter-
est in programming automated and digital lights. Whether programming is a
hobby or a career choice, I am sure you will find it a fulfilling, challenging,
fun, and expressive skill that you will enjoy every time you sit down behind
a lighting console.
xix
Introduction
I find working as an automated lighting programmer a truly wonderful career
choice. Sitting at a console controlling many moving lights and exercising
my creativity ispure fun and extremely rewarding. Italso enables meto travel
throughout the world, meet many different people, and work on all types of
productions.Eacheventpresentsadifferentsetofchallengesandopportunities.
I always enjoy sharing my knowledge in this field with others and hope to do
just that with this book.
Automated lighting is a fairly new development in our industry, and there
are many who are only now beginning to explore this field. With this book,
the plan is to share basics of programming automated lighting fixtures while
also providing useful information for those who have been working with this
technology for several years. Much of this information comes from my own
experience and knowledge. In addition, many esteemed programmers and
designers have been consulted to ensure that the data is accurate and timely.
Becausethisbookisaguidestrictlyontheprocessofprogramming,which
is essentially the same regardless of the fixture and console types, there is no
mention of specific manufacturers’ fixtures or consoles (except in the Appen-
dixes). Specific console syntax and fixture operations can be studied via the
user’smanualsprovidedbyequipmentmanufacturers.Thebasicprinciplespre-
sentedwithinthisbookapplytopast,current,andfuturelightingtechnologies.
Programming automated lights is very much an art. Just as almost anyone
can learn to hold a paintbrush and put paint on a canvas, the actual entering
of data into a lighting console is fairly simple. The real art comes from years
of experience, fine-tuning the procedures for painting the canvas or program-
ming the console. Similar to painting, there is no right or wrong way to pro-
gram, only the requirement to get the data into the desk in a method that
produces the best show possible given all the constraints.
If you have ever wanted to know what goes on at the lighting console, or
have a desire to become an automated lighting programmer, then please read
on and enjoy.
xxi
10 Things Every Programmer Should Know
Thereare many thingsthat every automated lighting programmerjust ought to
know.Thesebasicconceptsandroutineshelptocreatethegroundworkforany
production’s lighting. A solid understanding of the following should help any-
oneinterestedinprogrammingmovinglights.Thefollowingispresentedinno
particular order.
#1—UNDERSTANDING THE FIXTURES
When starting with a new rig, you should first find out as much as you can
aboutthefixturesyouwillhave.Downloadthemanualsandreaduponthefea-
turesandfunctionsofthelights.Studythefixture’sdigitalmultiplexing(DMX)
protocol so you understand what happens to the fixture with different DMX
values. A good understanding of how the fixture responds to DMX (and
whatisavailable)willaidinanyprogramming.Inaddition,studyingthediffer-
ent modes and options of the fixtures can result in optimal settings for your
production.
#2—BASIC CONSOLE OPERATIONS
Of course, if you do not know much about your console, how can you be
expected to program it? You do not need to be a full-fledged expert on every
aspect of the desk (although this does not hurt), but at the very least you
must be able to patch, create cues, recall cues, and backup the data.
#3—PATCHING AND ADDRESSING
Once you have studied the fixtures and grasped the concepts of your console,
itisessentialthatyouknowhowtoconnectthetwotogether.Properlypatching
the desk and addressing the fixtures is a skill every programmer must possess.
The more information you can provide to the crew about the patch, the
better.ToooftenIhaveseenproductionswheretheprogrammerdidnotcreate
apatchuntilheorshewason-site,leavingeveryonewaswaitingaroundforthe
information.
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