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lkcubsrule last won the day on December 27 2016

lkcubsrule had the most liked content!

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About lkcubsrule

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  • Birthday September 1

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    Muncie, Indiana
  • Occupation
    Graduate Student

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    Lighting Design, Building Science, Architecture
  • How I learned about Light-O-Rama -
    Through Planet Christmas back in 2004
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LOR Software

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  1. In my limited research, this too is what I found. It seems that the synchronization license is different than the license to publicly perform it. The difference, though, is that for a performance license, you'll pay the BMI -- who represents the music industry (They're one of three large conglomerates - ASCAP, BMI, SESAC). The Sync License is purchased directly from the publisher. It is usually a one-time fee and is negotiated through the publisher. This means you could have music from several different publishers, and you'd have to get a "sync" license from each. If you're anything like me, this gets really confusing rather quickly. I'd love to have an industry professional give us a final word, as I feel like this comes up every other year or so.
  2. RIght on. I was running all my pixels on 18awg wire this year, and I have some 35' of lead wire on one string, and about 18' of lead wire on about a dozen strings of pixels. I also extended (voided string warranty) the Cosmic Color Pixel from a 2' lead to about a 12' lead. No issues anywhere. A lot of the data/information LOR gives you will be safe operating values. They won't give you information that *might* work. By saying no more than 7', their products will always work. Will they work on further distances? Yep, and I've tested it. But they're safeguarding themselves for good reason. Also, has great prices for controller enclosures and waterproof cabling, too. They've also got several sizes of the CableGuard enclosure products. EDIT: Do It Yourself Christmas has a great wiki resource for DIY RGB lighting. You might want to check that out as a reference point for a lot of different products, enclosures and system setups.
  3. Correct. You can't program a channel in both editors. The other alternative is to make props with your individual pixels that you want to program by themselves (props of 1 pixel). They you can program them somewhat like the SE, and you can always add those props back into groups to apply your effects. It's not the easiet method, but it does work just as well. Sent from my SM-G930T using Tapatalk
  4. I'd start looking at what you want to add to your show. If you want a screen, you'll likely not want to use the Cosmic Color Ribbons/Pixels, but a larger controller setup. If you're looking at a larger number if pixels, you HS e s few options: the Pixie controllers, the Pixcon16, or 3rd party vendors. It is worth looking ahead at the next 2-3 years and seeing how you want to grow your show. If it's a few pixels here and there, a Pixie controller would work great. If you're looking at adding thousands of pixels watch year, you might want to consider an E1.31 route, building your pixel and controller stick around that. Obviously you can mix and match technologies, but it's best if you can plan ahead and avoid using several different types of pixels and controllers if you don't need to. Sent from my SM-G930T using Tapatalk
  5. Welcome to the forums! There's a few things you probably need to know about the workflow: Sequences (from Sequence Editor, Pixel Editor, Superstar) get placed inside a show (using the Show Player) and then the shows are placed in to the schedule (Schedule Editor). Light-O-Rama created the Sequence Editor over 10 years ago as a standalone product. In recent years, they've developed SuperStar and the Pixel Editor to manage tens of thousands of pixel channels. These programs use the Sequence Editor as a base, and create additional file types associated with the "base" sequence to handle different kinds of data. When you save your Pixel Editor sequence, it does not give enough data for the Sequence Editor to read and playback your pixel data information; it's only saving the Pixel Editor's data so that you can "read" it over and over -- unlike the way the Sequence Editor operates. You need to click "Save Intensity Data" within the Pixel Editor (File -> Save Intensity Data) By doing this, all the pixel programming data is now "saved" with your sequence file as a file type, or Light Intensity Data. The reason this is not integrated into the "Save" command (You would think so, right?) is because the software needs to process and output all the raw on/off data, and it takes time. I have sequences that take 15-20 seconds (at minimum) to Save Intensity Data. But, you really only need to "output" this information when you're prepping your show to be read by the Sequence Editor and/or Show Player. You should then have three file type associated with your sequence: .lms (Sequence Editor file) (Pixel Editor 'editable' file) (Raw Intensity Data, uneditable) I know this might seem "wierd" to someone just jumping in, but it's the result of a lot of software changes / additions. New versions are rumored to a bit less complex, but this is the workflow as of now.
  6. The PE Software will not allow you to control the same set of channels with two different props. To solve this, as you figured out, you need to use groups. When creating your display, it's best to think about the smallest controllable portions you want to have (i.e. Roof Line 1, A window, An arch, etc.). Then, you'd go through and build up groups with different props in order to apply effects to larger areas. I'm not sure exactly how it works, but in some testing the other day it seems that the first prop listed in the Preview Design Window with the channel mapping seems to accept commands, and any subsequent prop with duplicate channels does not seem to receive commands. So, that might explain your conundrum. With Arrangements, the PE takes your props and "rearranges" them in a simplified manner. I'll start from the end for the sake of intuition: Use Preview lays out the elements just like you've drawn them. This is what I use 98% of the time. Nested - I *think* this crams the elements together in a some-what similar way to the above effect, but with no spaces between. (Don't quote me on this.) Vertical Stack - takes each element and piles it on top of each other. To the computer, your 4 rooflines would be stacked on top of each other. Horizontal Stack - takes each element and lines them up from left to right. To the computer, your 4 rooflines would be stacked in a row. This is the best option for applying an effect to a single, linear roofline. There are situations when you'd use the 4 effects effects, but I usually stick to the Preview. I still become confused by them, and the easiest way for me to understand them was to make 4 groups with each of them and figure out when it might be helpful. I believe stacking aligns props to the left and bottom, unrolls every string, and then stacks them up or to the right. To the computer, it essentially looks like a giant matrix. If you have custom props (like a candy cane, for example), the HS preview will flatten the prop to a single line. But, if you're working with a roofline, it will line it up rather intuitively.
  7. I'm sure there is a maximum time. Why not just make a 10 minute sequence and loop it in the show? Sent from my SM-G930T using Tapatalk
  8. I'm not at my computer, but there's a dropdown menu that should currently say "rainbow". If you click that, it will give you additional options for color selection. You likely want the "Palette" option. Sent from my SM-G930T using Tapatalk
  9. Make sure that your Control Panel is open. The PE has a prompt about this after checking "Control Lights", the SE does not. From the help file:
  10. You don't have to, but that's probably the most logical and most intuitive.
  11. Pixel packing is a way of maximizing the number of DMX channels while minimizing the number of universes. You can't assign more than one universe to an output, but you can assign more than one output to a universe. Because additional networks increase your data bandwidth (regardless of the number of pixels on it), some people like to use as few as possible. Let's say you have 6 candy cane props at your house. Each one uses 25 pixels. Instead of using 6 universes (the first 75 channels of each universe), some people would prefer to only use one universe, but send a part of it to each output. So, it might look like this: Channels 1-75 Channels 76-150 Channels 151-225 Channels 226-300 Channels 301-375 Channels 376 - 450 In this case, you're "packing" the pixels into the universe, and you'd simply configure your pixel controller's outputs to look like this.
  12. I agree, this would be a nice function to have. For better or for worse, there are a limited number of "speed" choices. In my case, I've tried 3 or 4 to find the one that "fits" the best. Could be a nice addition to S5.
  13. Agreed. I've been extremely successful this fall, especially on a house with rooflines and windows. Curtain, meteor, and butterfly are my go-to effects. After I get through setup this November, I hope to put together a library of effects and commands that have enabled success. It requires creativity, but renders some really great effects. Keep trying - it gets easier!
  14. Yep. I download it and it works great on my Pixies. Sent from my SM-G930T using Tapatalk
  15. Mine arrive today, and they seem to work well from some basic testing! They're essentially the exact same size as the CCB boards, except without a PS. The software update has been fine, but it seems there are extra settings in the HU that we can't yet use until further releases. I guess we'll wait until next year. But for now, they work great. Sent from my iPad using Tapatalk