are powered from there. A standard WORKING WITH theatre type console can be used to MOVING LIGHTS AND program all devices used in a show.

DIGITAL ACCESSORIES Each accessory device, (moving light, color changer, etc) has an address, which is the controller’s target when sending out Over the past decade, moving lights have information. This address is changeable, moved from being novelty items for rock and can be reset by the user. When shows to standard items for just about any loading in the show, electricians set the theatre. In the early eighties the address of each device at a specific number technology was brand new, and moving between 001 and 512, depending on what fixture lights were the exclusive domain of the hookup requires. Many multichannel the Vari-Light® corporation. This devices set at a certain address will company didn’t sell their fixtures, but automatically take up whatever following rather rented them to rock and roll tours channel numbers are required to assign a and kept their technology a closely different channel for each attribute. Thus, guarded secret. The High End Systems a 16 channel moving light addressed at Intellibeam® came on the market as an channel 301 will also use all the following alternative. Intellibeams use the same core channels up through 316. This illustrates digital technology, but the mechanical how quickly 512 channels can be taken up systems are very different. In a moving in lighting a show. If more than 512 are fixture light, a motorized yoke allows the required, a second set or universe, can be optical section to pan and tilt so that the added. light beam shines in different directions. An Intellibeam is a moving mirror light, The dimmers in a system most frequently the tilting of its mirror is used to direct use the lowest numbers in universe one, the light beam, and the fixture itself does and are semi-permanently addressed as not move. In the past few years, many devices 001 through 096, 192, 288, or different manufacturers have entered the however many dimmers are in use. As a moving fixture market, prices have result, any accessory device will need to dropped, and the equipment has become have an address higher than this. If much more accessible to theatre groups. moving light addresses are in the zone used by the dimmers, changing dimmer The digital age has made other sorts of values will inadvertently affect the fixture. equipment more controllable. Color When no more addresses are available in changers are motorized strings of gel color the first universe, the second must be used. on a scroll, which can be rotated across the The address numbering system starts over front of a lighting instrument so that the again in the second universe. The next position of the string determines the color address after universe 1, #512 is universe 2, of the filter in the light. Gobo rotators are #001. A single universe cannot recognize tiny motorized units that spin the gobo in a number higher than 512. its slot. In early versions, these pieces of equipment were controlled entirely by an Restarting the address number after 512 analog 0 – 10 volt signal from a separate works perfectly well for individual controller. Now however, a digital signal universes that do not interact with one is sent to a control unit, and the motors another, but the control board must communicate with every universe, and a

1 different numbering system must be used input when its particular section of the so that each address in each universe has a data stream (its address) tells it to do so. unique channel number for cuing Information for other devices can run purposes. Channels for the first universe through it without difficulty. The end are numbers 001 through 512, the second device in the chain should have a are 513 through 1024, the third 1025 terminator on it to end the signal. A through 1536, and so forth. The terminator is an XLR connector with a hardware outputs on the board should resistor placed across two of the terminals. reflect those numbers, but it is important to remember that they are not used in If an Emphasis system is in use, nodes are addressing the device. This is made easier used to distribute the DMX signal rather to remember by the fact that accessories than the outputs on the back of the have only a three digit address capability. console. Nodes must be properly On the board, an address of universe 3, configured for the universe that the #276 will be controlled by channel 1301. address will be in. The Node Configuration Editor is used to assign the node output to a particular universe of addresses. The node itself gets its information from the server via Ethernet connection.

Understanding the methods used to address equipment is very important in completing the first task that must be done in programming a show, creating the patch. The patch is determined by information supplied by the designer on the hook-up sheet. In some cases, if visualization software has been used, it may be possible to do this digitally inside the computer itself. If not, the numbers must be entered manually.

Each board manufacturer has a specific To configure a light or other device to the series of keystrokes to achieve a patch, but third universe, a cable must be run from in general terms this means entering a that port to the first fixture in the line. dimmer number, then entering the Most DMX operated devices have both an channel number that will control it. The input and output for the DMX signal so lighting designer should put the dimmers that up to 32 of them can be run from into an order that makes sense from a one board output by daisy chaining them design standpoint, and create a hookup together. The output cable runs from the sheet listing each channel and what should console to the input of the first light. be patched into it. As a result, patching From that point a jumper runs the signal for the technician means the process of from the output of the first light to the entering that data into the computer. input of the second light. This continues Before starting, it is important to clear out until all of the fixtures are hooked up. A any old data so that the patch is set at 1 to DMX controlled device will only take 1, meaning that each channel has a direct

2 correlation to a dimmer number. Channel the cues. Coarse pan numbers for four 1 = dimmer 1, ch2 = dim2, and so forth. moving lights would be 301, 321, 331, If this is not done, any unassigned and 341. Coarse tilt numbers would be channels may later pop up in an 303, 323, 333, and 343. Randomly unintended and unfortunate way. chosen numbers would be much more difficult to work with. Digital equipment does not need to be patched in the same manner, because Moving lights contain attributes, which is setting the address has already done that a name used to describe the different for you. The channel number will be the controllable properties of the light. As same as the address number, with an discussed earlier, a moving light requires a adjustment for the universe location as large number of channels to operate. If a mentioned previously. Assuming that the light requires 16 channels of the DMX patch was reset at 1 to 1 to clean the slate, signal, it has 16 different attributes. Each the following associated channels for a channel controls one specific attribute, moving light’s attributes will be which in turn controls what the light automatically designated. As an example, looks like on stage. Setting a value for the if the address number is of a moving light channel affects the appearance of the light is 301, the first attribute (most likely beam by changing color, shape, intensity, coarse pan) will be channel 301. The etc, or by seeing the light move through second (most likely fine pan) will be 302, space. Setting cues for moving lights the third (most likely coarse tilt) will be requires that levels be entered for the 303, and so forth until the entire 16 different channels/attributes so that the channels are used. desired look is achieved. Just four lights could mean up to 64 channels, so special An additional moving light can be techniques are required to make the job assigned 321 as its address, and the same easier. method of automatically assigning channels will follow. This actually leaves Newer ETC consoles have encoders that 4 unused channels between the fixtures use personalities to make it easier to when using a 16 channel fixture. The manipulate the channels and thus to pan, attributes of each type of moving light tilt, change color, etc. The encoders are have the same place in line for each similar knobs to the right of the board that the fixture so that 1 is always pan, 3 is always operator can rotate to change values. A tilt, etc, and after working with them for a personality is digital information about a while you will remember what they are. specific make and model of fixture that Each equipment manufacturer publishes a tells the computer and the encoders what sheet describing the attributes of its should happen when the knobs are fixtures, what channel number each is, adjusted. Personalities for the different and what level must be entered for a fixture types can be downloaded from the specific effect to take place. ETC website, and then loaded into the computer. 301 and 321 are not randomly chosen numbers. Choosing addresses that end Submasters are an alternate method of with the number 1 will ensure that the controlling moving light fixtures, and is channel numbers for each of the moving much simpler to set up. However, this lights have the same ending numbers, method will only work for a limited something that makes it easier to program number of fixtures, or if not all attributes

3 of each fixture will need to be used. then adding more moving lights by Moving lights are designed to be used in shifting to a new submaster page, bringing many different types of venues. Some of up the channels, and then re-recording the the attributes such as gobo shake, prism, cue. At a certain point this becomes too color spin, etc are mostly intended for use complicated to work well, but if only a in nightclubs or some other entertainment small number of lights are in use the venue where effects are important. These submaster method works best because attributes are not particularly theatre moving the sliders to get a specific channel friendly for most shows, and may not be value is very intuitive. needed for the legitimate stage. The High End Systems Cyberlight® and the Coemar ProSpot Lx® are very different types of moving lights. The Cyberlight is a moving mirror light with many expensive extras. The Coemar ProSpot is a much more budget conscious moving fixture light. Even so, their lists of attributes have some striking similarities. Each of them uses channels 1 – 4 for positioning of the beam via pan and tilt. As with regular light focusing, pan means to move back and forth along the horizontal, and tilt means to move up and down. Both fixtures have a coarse and fine setting because of the number of values available in DMX512A.

If the designer needs to use only 12 of the attributes, and 24 submasters are available, two lights can be used on one submaster page. If only 8 attributes are required, three can be run from one page, and 4 lights can be run if only 6 attributes are used. Of course, an ETC board has 10 pages of submasters, but they cannot all be run at the same time, and if the operator changes pages, the settings of any previous channels will be lost when the new page is brought up. It is possible to circumvent this issue by recording levels in a cue, and

4 Remember that a DMX signal has an entered in order for light to come out of output of 512 channels of information. the fixture. Each channel can be set at any one of 256 different values. (Computer engineers Color in a moving light can be produced work with the Hexadecimal numbering either by selecting a color from a rotating system which is base 16, and uses both wheel of dichroic filters, or by color mixing numbers and letters. 16 X 16 = 256) If the from the three primary colors of light. If a yoke of a moving fixture light can pan color wheel is used, setting a value for that 360°, each of the 256 steps will be slightly channel will select one of the preset colors, more than one degree of rotation. Most or at full can cause the wheel to rotate of the time the coarse adjustment is close through all colors in succession. Color enough, but if it is not, channel 2 can be mixing is done by varying the values of the used to fine tune. three color channels so that the proper amount of red, green, and blue are used, The movement or motor speed attribute and can produce a nearly infinite number makes the pan and tilt happen faster or of different colors. slower in a global sense, making everything faster or everything slower. Patterns in a moving light are on a When programming a theatre show with rotating wheel inside the fixture. Setting timed cues, this function is not always a value for the selection channel causes the required because the fade time of the cue wheel to rotate to the proper position to tends to override it. A setting of put a specific pattern into the beam. maximum speed is best, which is the Another channel will cause the gobo to default 0 setting on the Coemar unit. rotate at a certain speed and in a certain direction, clockwise or counter clockwise Most moving lights use an arc lamp of depending on the value set. A third some type, so the dimmer is actually a channel may index the gobo so that it has dowser and not a voltage altering device as a specific orientation, but is not moving. you might expect. Moving lights need a The focus attribute will change the focal constant 120VAC supply, and should be length of the lamp/reflector, and can make connected to a non dim or wall outlet a pattern sharp-edged at a specific because the fixture will not operate fixture/stage distance. properly if the voltage is reduced. Changing the value of the dimmer Zoom and iris are used to adjust the size of channel sets the position of the dowser the beam, and frost will diffuse it. Most from fully closed to fully open. fixtures have a number of other effects built in that cause the light to move in The shutter is physically very similar in directions that are unexpected by the operation to the dimmer, but rather than viewer. varying the amount of light emitted by the fixture, it is either open or closed. The The submaster sliders can be used to shutter is primarily used to strobe the light manipulate moving lights in the following on and off at some rate of speed. Some way: Use the first submaster to control values for the channel will have the shutter the coarse pan attribute for the first fully open, some fully closed, and the moving light by bringing it to full and others strobing open and closed at a recording. Do the same for the coarse tilt particular speed. A shutter level must be attribute, the dimmer attribute, and so forth. After each useful attribute of the

5 first fixture has been assigned to a be taken in moving from one position to different sub, do the same for the second the next. The movement of the beam is fixture. If all of the attributes are used, not the only change that will take place, as there will not be enough room on the there will also be changes to other submaster panel, but if only the most attributes such as color, intensity, pattern useful attributes are selected, at least two placement and so forth. If a color wheel is or more lights can be controlled from the used, the fixture may need to cycle first submaster page. If three fixtures can through several other colors in order to get be used from the first page, and three to the desired hue, and this may be a from the second page, a reasonable distraction to the audience. This might number of lights can be programmed not be such a problem in a discotheque, or using the submaster sliders. Coarse pan, a concert, or even a musical, but can be coarse tilt, dimmer, and shutter are fairly very distracting to a play where a larger mandatory. Controlling pan and tilt degree of subtlety is required. from the submaster sliders allows the operator to intuitively see where the beam To get that higher degree of subtlety, it is is moving, and to focus it on a target. often necessary to fade out the moving Dimmer and shutter attributes are needed lights entirely and have them reestablished to turn the light on so that it can be seen. at some other point. To do that, the If at least these four attributes can be dimmer channel must fade out first as a controlled by the submaster sliders, the separate cue. A second, or perhaps linked job of focusing the lights is made much cue is used to move the light to its new easier. The standard keypad functions position while the light is off. Any and the control wheel can be used for attributes for color or beam shape must most other attributes. change while the lamp is dimmed so that when the dimmer fades the light back in If more than one submaster page is used, its controllable properties are already in the values of the first page will be lost place. It is often best to insert these when page two is selected using the page unseen “housekeeping” cues after the tech command button to the left of the keypad. rehearsal is over because they take may If it is necessary to use more than one some time to get just right. submaster page, you will need to record a cue that includes the first page before A similar problem arises when using color switching to the second. Re-record the changers. The scroll of color media same cue number after levels for the cannot change instantly, and takes a bit of second group of lights is established. time to move from one color to another, especially if they are at opposite ends of A set of levels tells a moving light what to the scroll. The changer unit must be do when a particular cue number is played programmed to shift to its new color back. Crossfading to another cue will before the light comes up on stage. To do cause the levels to change over a period of this, the values must be inserted into a time, and the fixture will take its natural previous cue where the light was off. This path to the new position. The light may be problematic if the light fixture follows the direction dictated by the must stay on, with just a shift in color. If constantly changing channel numbers. the gel string can be made so that the two For some fades, this may mean that the desired colors are right next to each other, light beam will move in a way that is this may work but otherwise more than somewhat unexpected, so some care must

6 one set of lights and color changers must Dowser be used. Shutter

Gobo rotators must also be set to spin Strobe before the light comes up, so the channel that controls speed must be programmed Dichroic filter to begin in a previous cue. This does not Color wheel usually present such a difficult situation as a color changer or moving light, since Color mixing rotating gobos tend to be used for only Zoom one specific moment and not for general lighting of the scene. As a result it is easy Iris to find a moment when the light is not on, Frost and when the rotation can begin.

TERMS USED IN THIS CHAPTER

Moving fixture light Moving mirror light Color changer Gobo rotator Universe Daisy chain Jumper Terminator Node Node Configuration Editor 1 to 1 patch Attribute Encoder Personality Submaster Submaster page Pan Tilt Hexadecimal Motor step

7