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    ProDooorina: Szeretem a blogot! :) (egy leendő kollegina,színpadtechnikusnak tanulok :)) ) (2013.03.09. 21:07) A színpadi világítás funkciói
    csontosbal: "u.i. mai marosvásárhelyi beszólás: "add be 15-öst kukac 5." :DDD" :DDDDDD (2012.04.19. 10:41) ETC kavalkád
    csontosbal: Hát nem unatkoztok..Milyen fesztivál van nálatok most? (2012.04.01. 09:58) Fesztivál 1. nap
    csontosbal: :-)) (2012.03.08. 22:35) Esőben
    csontosbal: persze, persze.. csontos.balazs@chello.hu (2012.02.18. 20:20) Bemutatóra kész

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Ki teremtette Istent? Itt a Papríkató sorozatunk tizedik része! Ti kérdeztetek, papok megválaszolják! 'Ki teremtette Istent?' Emlékeztek még, mikor a Campus Fesztiválon megkérdeztük, hogy ha egy kérdést tehetnél fel Istennek, akkor mi lenne az?  Két egyetemi lelkész vállalta, hogy a legjobb kérdéseket kivesézi. Persze… szoljbeapapnak.blog.hu
blog.hu
2016.12.21. 03:49 Dimmerkobold
Fesztivál alapok

http://plsn.com/current-issue/6-ld-at-large/21544-dear-festival-lighting-designer.html



I am well aware that you are more than capable of designing, operating, teching, programming and facilitating every single show that comes through your fine festival grounds. But today, you are my festival lighting designer. I only need a few things from you and I need them done to the best of your ability. I need a patch, a plot and a functional rig. A smile would be nice, but not necessary. I don’t need your résumé nor do I need your sob story. After checking in with a handful of my favorite programmers and directors, I have come up with a comprehensive list of tips on how to help me help you to make our time together as de-light-ful as possible.

The Patch

Standard is as standard does. Please patch your fixtures, especially B-Eyes, in standard mode. Extended mode is great for pixel mapping, but I’m not taking the time to pixel-map your albatross in the few hours that I have to clone my 300-fixture show into your 48-fixture rig. I don’t want 8-bit pan and tilt, but I don’t want two fixtures per universe, either.

Patch in order. Please patch your rig sequentially whenever possible. If I can patch your rig in fewer than one thousand keystrokes, I will be happier than a Chinese product sales rep that just discovered LinkedIn.

Expect the unexpected. You will make changes to the rig during load-in. I know that. The Sharpys that were drawn on the plot hanging from the non-existent speaker towers had to be moved to the upstage truss. That happens to everyone. It’s up to you to let me know sooner rather than later. If you keep your patch up to date and inform me of changes, then I will come prepared.

The Plot

Keep it Simple, Stupid. Please keep your rig to three or four fixture types. Just use one type of spot, one type of wash, beams and strobes etc. Adding too many fixture types is far too time-consuming for my daylight programming session.

Channel up. You must include fixture numbers on your plot that correspond to the patch sheet. Simply put, I can’t address the fixtures if I don’t know which one is which. I know this seems like a simple request but it is far too often overlooked.

Which way did they go? Chances are that, a day before I arrive at your festival, I will have time to pre-viz during my rehearsal for the prior show. I will be able to map out which of your fixtures I will use to replace my existing fixtures. Please notate display/whip orientation and coordinates. Laying down a few truss measurements and trim heights would be useful as well. This will help me save countless hours of position updating.

Plots Aplenty. Have several copies of your plot or cheat sheet that match your current rig. Letter-sized (8.5” x 11”) is best, but legal-size works as well. I need a copy that I can keep to make notes on. If it’s really good, I will take it to the next venue to show their LD what a good plot looks like. If it sucks, I will still take it but I will show the next LD what I was forced to work with, and I will whisper your name in vain. Patching the show based on the numbers in your head is worse than trying to argue with your promoter about sight lines during sound check. I want to patch on my timeline, not with you looking over my shoulder waiting to tell me the next patch number from your hand-drawn scribble sheet.

The Functional Rig

Duh. Make sure that your rig is fully functional at the start of each day. There are few things that make you look worse than having to explain to the incoming LD that half your rig isn’t working because of a dangling connection 30 feet above the deck. Have at least one spare of each fixture on hand to swap out if the schedule of rock ever allows for it. Confirm that the locally supplied generator is powerful and stable enough to support your fixtures and my floor package. Ensure that there is one or more reachable technicians who are able to leave their hammock and competent enough to repair the previously mentioned connection.

Balanced Beams. Remember to add spots, washes, beams, strobes and moles in balanced, symmetrical counts. Do not put 17 Sharpys on the DS truss and three washes. Your rig needs to be versatile. A festival rig is not the time to get overly creative. I need my fixtures to be on straight trusses at similar angles and degrees. You need to include as many audience blinders as it takes to illuminate the entire audience. Your strobe count needs to directly reflect your lineup’s heavy metal-ness. If you have three days of jazz trios, then save the strobes for another day. If you have one night of Pantera and Skrillex, get the strobes out and hang them everywhere. Remember the strobes!

Hazy Situation. Haze and smoke is no place to skimp on budget. Programming during the day is hard enough. Programming during the day without haze leads to disaster. Most hazers are acceptable indoors, but outdoor festivals require haze and smoke options. One solid hazer and a dependable smoke machine with fans in the upstage left and upstage right corners are generally acceptable.

Wide Open Spaces. Whenever possible, please allow enough real estate at FOH for traveling LDs. You get extra points if I don’t have to wade through two days worth of beer cans and empty water bottles. At least two empty tables with good visibility and an apple box for shorter LDs will suffice. I’m talking about Gigi. A toilet at FOH is a great idea. Not for me but for my 65-year old audio engineer who has to pee every 20 minutes. I know that’s not your gig, but maybe you could mention it to the promoter.

Network Flow. Your life will be much better if you remember to specify an easy and accessible network system that allows data from one desk to be switched over to the next as fast as possible. Remember that not every console speaks Hog-Net. You need to include the option to use SACN, Art-Net, MA-Net or even DMX if possible.

Above and Beyond

Don’t step on my toes. When the festival includes four co-headliners, two opening acts, three local bands, a children’s choir and a magician, please provide a clear programming schedule so that no one is stepping on each other over programming time.

Get the Picture? An up-to-date Wysiwyg, MA3D, Capture or even ESP pre-viz suite with a capable programmer is always a good idea, always.

Festivals can be challenging, with short changeovers, little or no programming time, daylight focusing, network problems, smoke blowing into the dressing rooms instead of the stage. If you take these tips into account, our day together will go smoother than
Rosco #127 (Amber Cyc Silk).

Chris Lose is a touring LD based in Las Vegas. He has been on both sides of the snake for several music festivals around the world.
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Szólj hozzá!	Címkék: koncert
2016.11.10. 23:40 Dimmerkobold
Don Juan / Vígszínház, Pesti Színház

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Szólj hozzá!
2016.10.09. 18:51 Dimmerkobold
Angol nyelvű pulttapasztalatok

http://plsn.com/current-issue/6-ld-at-large/5135-whats-in-your-console.html

In the last 20 years we have seen more lighting consoles come on the market than I can remember. They all strive to achieve the same thing; talk to lighting fixtures, dimmers and media servers. They all get the job done eventually, but I've come to conclude that certain consoles execute some tasks well and others, not so much. In the Beginning



In the 1980s there were two kinds of lighting desks; the ones that ran conventional fixtures and the ones that ran automated fixtures built by the same company that made the console. Every show needed two board operators to run cues on separate consoles. The automated fixtures all had their own proprietary protocol that spit data at the fixtures, so they needed their own controllers. But in the early 1990s, lighting equipment manufacturers decided to start making their lights run off of DMX and the race was on. See Factor developed the Light Coordinator in an effort to become the first console that could run any fixture from a dimmer to a scroller to moving light. Compulite had the Animator and High End released the Status Cue along the same vein. Even the mighty Avolites figured out a way to run movers off of the same style desk.



Console Evolution



The majority of these new consoles all worked with various spreadsheets and computer jargon that most people didn't understand back then. But then the Flying Pig Systems Wholehog burst onto the scene. It was simple and it followed the logic of such consoles as the ETC brands with cue lists as well as lots of faders for different tasks. Its simplicity and easy learning curve made other consoles pale in comparison. By the late 1990s the Hog 2 and its effects engine ruled the lighting industry. It set a precedent for the way we run shows. Most manufacturers have followed this formula to this day. But that console had limitations and now the times have changed.



There are still a few poor souls who can only run that console, and I feel sorry for them. Nowadays lighting consoles have become so powerful and departmentalized that I pity the fool who only knows how to run one type of console. So many of them have different features and things the others cannot do. It's amazing. That's why I use certain consoles for certain gigs and trade off on them constantly.



The MA series of lighting consoles is probably the most popular console on the market these days. After more than 10 years, they have finally released the grandMA 2. This is good because no matter how well you design the hardware, eventually it will wear out. The grandMA 1 was rock solid for a long time and set the bar for all other desks in the last millennium. Its built-in effects and chase options are second to none. The executor buttons and many ways for an operator to lay out a desk how they want it are fab.



grandMA, Hog - Different Strengths



But it is my opinion that this desk is old now, and in a few years will join the Hog 2s as they get farmed out for parts. But that's really okay, because all the users want the next model anyway. I like the grandMAs because of their ability to network with each other and the way they run video components. In this department, they can do things no other console can do, and their loyal followers won't use anything else. I feel the MAs are more set up to run a tracked cue list type of show. They never added a few software options that would have made it a great rock console. But it's their prerogative to go in that direction.



Flying Pig Systems took so long to stabilize the Hog 3 operating system that they unfortunately lost a lot of users. It is a good desk now, and I still use it on certain types of shows. Whenever I am going on a gig where I need to collage a lot of images from different media servers or DL.3s, it is the easiest of all the consoles. It can also effortlessly track large cue lists for any theatre type show. The hardware is rock solid, but sometimes this desk exhibits time lags in executing cues. I can still crash this console when programming too fast or furiously activating cues for a rock show, so I will use something else for those gigs.



Martin, Compulite-Nook's "Mattel" Desk



I like the Maxxyz by Martin. It is still the simplest console in the world to operate without a manual. I call it my "Mattel" lighting desk. I prefer this desk whenever I run an awards show, theatrical show, or corporate theatre. The compact models have better flash buttons now and are much more stable in the hardware department than the larger desk was. And they are cost efficient. Unfortunately, the effects engine cannot perform up to speed with the latest technology, and that is a liability in this world of flashing LEDs.



The Compulite Vector has followed a natural progression through the years. This console is pretty solid, and I found it could now do anything I asked it to. Like the grandMA, there are so many ways to execute cues, each operator will have different keystrokes to accomplish the same task. I don't see too many of these desks in the U.S. so I don't know if they will stand the test of time.



And the List Goes On...



There are consoles that do things their own way, refusing to follow anyone else's way of thinking. And this is good. The Jands Vista thinks outside the bun. It uses timelines and writes cues the way a video editor would. It is extremely powerful, but few have mastered it. Avo has had great worldwide success for years. While I have never mastered this console, many users swear by it, and I have used it in more clubs and festivals than I can remember. The Virtuoso is loved by a select few, especially in the TV industry and by old Vari-Lite operators. But there aren't enough of these desks in existence for the general - public to ever grasp how to operate one. ETC has put out so many different consoles from the Congo to the EOS to whatever the latest is - that I simply couldn't keep up with them. But they still to this day made the best conventional desk I've ever operated for TV and practical lighting - the Expression.



Chamsys - A New Favorite Toy



This brings me to my new favorite toy, the Chamsys. Mark my words: this console will be the desk of choice for the next 10 years. There are models for clubs, theatres and huge rock shows. It has every option I have ever dreamed about and more faders (58 on the one I am using) than I need - almost. Plus the manufacturers listen to users. If I request something, they provide it quickly. They have taken all of the little things that every other console has and made them better; bit-mapping, turning chases into global effects, tons of priority settings and it saves your show in mere seconds. It is the ultimate rock console.



I don't think there are any bad consoles out there. Everyone should learn a few different types and not get stuck on one model. It limits your horizons and your ability to work on certain shows where the console being used may not be your choice. If you don't try something new, you may never know what you are missing.
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Szólj hozzá!	Címkék: fénypult
2016.10.09. 01:58 Dimmerkobold
MA Lighting dot2 fénypult gyorsteszt

ma_dot2_700.jpg

A dot2 kipróbálva az az érzése az embernek mint MA2 Lighttól lefele a cég minden olcsóbb pultjánál: a cég filozófiája hogy megcsinált egy jó pultot, és mindent amit attól olcsóbban árul abban szándékosan elront minél több dolgot hogy inkább ne azt vegyék meg.  Hiába a sok hangzatos reklám anyag a nagy esszenciális fejlesztésről, nekem ez az érzésem a dot2 esetén.

Jó persze aki nem ismeri a MA2 annak nem fog hiányozni abból semmi. De alapvetően zsákutcás iránynak tartom, mivel  hogy kompaktabb, meg nem Windowson fut, nem tudok semmi előnyt mondani, a hasonló húzószámú ám olcsóbb PC Commandwinghez képest. Amerikai árakon: dot2 Core Console $12,800 - MAonPC command wing $ 7,250. Na jó kell hozzá egy számítógép, meg egy jó rack.
ma-lighting-ma-tour-pack-for-ma-onpc-command-wing_1_lig0010413-000.jpg

Amihez akkora érintőképernyőt vehetünk amekkorát akarunk. Első pontom: a nagyon kicsi képernyőn nem tűnik túl kényelmesnek a kicsike dolgokat nyomkodni. Sok lámpa esetén, sokáig is kell lefele görgeti pl. Egyébként a kezelő felület helyenként igen jól átgondolt, a smart képernyő egyes tulajdonságaival vegyített, de a lecsökkentett gomb kombinációkkal és funkciókkal meglehetősen jelentős visszalépés, ami nem biztos hogy sokaknak elég a konkurens pultokhoz képest. A testre szabható képernyők a méret miatt nem várható, macro írási lehetőség éppen nem ártana. A szoftver valamelyest fejlesztgetik, így már nem annyira vérlázító mint a piacrakerülésekor, amikor tényleg a használhatóság határát súrolta. ÁM nagy csodákban így sem hinnék  és a hardware örökre visszahúzó erő marad.

És el is érkeztem fő vessző paripámra, amit ám a command wing számlájára is ugyan úgy írhatunk: fő crossfader nem motoros és a szoftver az Istenért is mozgatni akarja azt GO nyomás esetén. Ilyenkor ha a húzó fizikálisan fent volt a szoftverben a pozíciója alsó állásban ugrik - és a következő fényváltást így csak egy dupla mozdulattal tudjuk megtenni: először lehúzzuk a húzót abba a helyébe ahová a szoftver gondolja - ilyenkor a színpadon nem történik semmi - majd kezdhetjük azt a fényváltást amit igazából szerettünk volna. Nos ez csak olyankor gond ha ezt nem vettük észre, és csak gondolkodunk hogy most mi van.,, állandó figyelmet igényel, lassúbb időzítéseknél pedig kifejezetten megsemmisítő erejű. Ezért színházba nem ajánlanám. Koncertekre, ahol igazából majd minimális bonyolultságú dolgokat akarunk gyorsan kipakolni húzókra ott elfogadható lehet, de ha ilyen a célfeladatra könnyen lehet hogy kedvezőbb árú fénypultot is találunk (Chamsys? Sokan választják...).

Nem említettem még a legnagyobb gyengéjét, ha összevissza, mindig változó körülmények között dolgoznánk a dot2-vel. A robotlámpa fájlok (fixturetype, device, personality vagy ki hogy hívja) a pulton nem szerkeszthető, nem hozható létre! Ha valami kiderül a helyszínen hogy nem jó rajta, laptop-számítógép nélkül megszívtad.... Ez részemről elfogadhatatlan, mert ilyen könnyen megeshet idegen helyszínen.


Mindenesetre a szoftver a gyártó oldaláról letölthető bárki kipróbálhatja, értékelheti. Csupán az elsőre nem könnyen kiderülő dolgokat szerettem volna közzétenni. Ha pénznek nem kéne szempontnak lenni azt mondanám hogy a fénypultnak minimum egy ultralight tudásnál kéne kezdődnie, de a fejlesztők másfele vették az irányt. Ha képesek vagyunk a PC-től való idegenkedésünkön túl lenni, én inkább egy Command wingre szavazok, ha mindenképpen ennyiért MA-t akarunk.

 ***Frissítés: a Grand MA3 a hírek szerint minden méretben motoros faderrel érkezik - érdemes meglesni.

------------------------

ANGOL TESZT http://www.lightpower.de/fileadmin/user_upload/malighting/Service_Downloads/Kataloge_Broschueren/LSi_dot2_series.pdf


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Szólj hozzá!	Címkék: fénypult
2016.10.01. 09:49 Dimmerkobold
"Ez egy jó fény!"

Egy darab lámpát beadok az egy darab színészre.

Rendező: "Ez egy jó fény!"

Kész is vagyunk. :D
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Szólj hozzá!	Címkék: humor idézet
2016.09.25. 03:25 Dimmerkobold
Kábeldob

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Szólj hozzá!	Címkék: humor
2016.08.22. 18:22 Dimmerkobold
Top 10 priorítás egy új show programnál

Top 10 priorítás egy új show programnál

Ten Top Priorities when Building a Punt Show

    by Chris Lose
    in Focus on Fundamentals
    Created: 13 August, 2016

Punt faders

Punt faders
Punt faders
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Having completed years as a house lighting designer and working at several festivals around the globe, I have become streamlined when building punt shows. Rock ‘n’ Roll rarely sticks to a cue stack, so I decided to put together my 10 top priorities for a punt show.

1. Patch

Patching the show is obvious. You have to patch a rig to control it, but there are a few tricks that aren’t obvious.

Make sure that your fixtures are in basic mode. When you are building a punt show, time is precious. Patch your lights in basic or standard mode. You get the same impact.

Patch your fixtures into layers with generic labels. I like to use 4 or 5 layers. Wash, Spot, Strobe, Beam, LED. Keeping your fixtures grouped by generic purpose allows you to change and clone them more easily when the fixture type or locations change.

Keep your fixture profiles handy. Nothing worse than arriving on site and the fixture mode your show is programmed on does not appear in the console. KEEP your profiles. Save it to a stick and again to dropbox.
Punt Groups

Punt Groups

2. Groups

I usually allow the console to generate my ALL groups for me. The ALL group incudes all fixtures of a fixture type. Then I will take those fixtures and break them into purpose-based groups. Washes, Spots, Strobes, Beams and LEDs.

3. Positions

Program as few position presets as possible. Programming too many positions is time consuming and most of them won’t be used because you won’t have time. I like to use 10 position presets.

Position 1 — This is my workhorse. It is symmetrical, beautiful and effective. The front light covers the entire band, the sidelights are hitting the stage, the sharpies are in an array, etc.

Position 2 — is very similar to Position 1 but it crosses the beams when they move.

Position 3 — is similar to Position 1 but is farther upstage so that when my tilt effects spill into the audience I can throw them into Position 3 to bring them back to the stage.

Position 4 — is similar to Position 1 but it’s asymmetrical and abstract. I use this position when the song is weird and I’m tired of symmetry.

Audience — I point the lights at everyone in the audience except me and I save this as a position for later use.

DSC — This will be used for lead singers

DSL/DSR — This is usually where the guitar player will be and the random MC that wants to make an exciting announcement before the show.

Drums — There is often a drum solo. Be prepared for it.

50/50 — Tilt at zero and pan at zero. Prevents flips when focusing.

4. Colors

I try to use color-mixing fixtures whenever possible when punting. Poorly timed color wheel scrolls can ruin a look for too easily, but are often unavoidable. Having a huge color selection is key for a programmed show, but when time is important, you need to limit your palette. I program my colors in this order: OPEN, Congo, Blue, Cyan, Green, Magenta, Pink, Yellow, Orange, Red, CTO, LED White.

I store all of the color attributes for the fixture into each color. Many color mixing fixtures cannot mix a bright green or blue. They are nice to bump between. Now I can bump between the color wheel and a color mix color without worry that the wheel will get stuck in color when I change. Same applies to the CTO channel.

I build an executor button for each color separated by spots and washes. When punting, I limit my looks to two colors. When punting, you need to keep it simple but effective.

5. Moles/Audience Blinders

Audience Blinders are crucial. Do not abuse the audience with blinders. I see too many young designers use the moles as a kick snare and they smash the audience in the face with Mole Richardson for 45 minutes. Stop it.

I usually build three faders that double as flash bumps:

Odd

Even

Sine Wave (A sine wave effect through all of the blinders that adds some sparkle)

6. Strobe Hits

I store six strobe hits, depending on the heavy metal of the band.

Odd/Even — Odd/Even half-flash bumps that I can tap with time when necessary

Pulse — Slow, pulse-y strobe with no color information

Random — Random strobe with no color information

RANDOM — Fast random strobe that takes the strobes to open white

NUKE — Super fast random strobe that takes the strobes to open white and includes beam fixtures.

HYPER BURST— Put the strobes or Flares at full intensity — no strobe rate = retina burn.

7. Movement

I want to maximize my fixture movement options on as few faders as possible. In order to do that, I build four different movement faders set up as temp faders that Crossfade the cue on when pulled up, and off when pulled down. This allows me to have a small/slow movement look and a big/fast movement look on the same fader dependent on speed and rate. I attach all of my movement effects to a speed master that lives on the main punt page.

Wash Pan Sine — All of my U.S. Wash fixtures in a pan sine wave effect.

Wash Tilt Sine — All of my U.S. Wash fixtures in a tilt sine wave effect.

(If I push up both faders, I can get a ballyhoo/circle effect, depending on the crossfade. Repeat the cues with the spot fixtures.)

8. Color Effects

I apply the same thought process as my movement faders to my color effects. I want as many color options taking up minimal desk space.

I build three effects that are attached to a speed master: a cyan flag sine wave, a magenta flag sine wave and a yellow flag sine wave. One at a time, I apply these effects across an effective group of my upstage color-mixing spot fixtures. I store each effect to a temp/crossfade ICBF/Overide fader. This gives me thousands of two-color effects on three faders. If I simultaneously push up the cyan and the magenta fader to full, I will get a Congo/white chase. If I push up the magenta and the yellow faders, I will get a red white chase. You get the idea.

9. In-Between Look

I always build a crossover look on a fader that is easily accessible. This is a simple blue wash with a front wash that works between songs.

I also add a macro into the cue that kills all the running effects and resets the colors of the upstage fixtures. This allows me to get out of whatever hectic look I am in from the prior song and give me a clean slate.

10. Haze/Smoke

I separate haze from smoke whenever possible. I keep haze on all the time and save smoke for big moments in the song.

Chris Lose is a lighting director, content designer and programmer with Las Vegas-based Q3 Las Vegas.