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About lkcubsrule

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  • Birthday September 1

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    Hudsonville, MI
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  • Interests
    Lighting Design, Building Science, Architecture
  • How I learned about Light-O-Rama -
    Through Planet Christmas back in 2004
  • Favorite Decorating Holiday?

LOR Software

  • LOR Software Version
    A Beta Version
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  1. Great question, and like all complicated questions, the correct answer is: it depends. They both control RGB lights, but their functionalities are geared towards two separate areas. In a nutshell, the PE is the software for large-scale RGB displays. SuperStar is geared towards a "custom-sequenced" element or set of elements where you will want individual control of each pixel at any point in the timeline. A lot of people use SuperStar for CCR trees, a situation where you might have 12 vertical lines as a "mini" matrix, displaying characters, text or graphics in perfect sync. Much like the original Sequence Editor, you have individual control over each RGB light at each moment in time -- if want it. The software enables you to get perfect synchronization with your graphics, but you really have to do a majority of it "manually". On the other hand, people who have lots of RGB elements tend to use the Pixel Editor. Pixel editor enables you to overlay live media files on your elements (think patterns, videos, color fades, etc.) and you control the entire effect at once, using ramps, on/off commands, shimmer commands, etc. You do not* have individual control of each pixel, but the strength of the PE is that you can program tens of thousands of pixels in just seconds. You can group your elements differently, and apply color in a lot of creative ways. Click here for a video of a display I did with the Pixel Editor (S5) (*You can get super creative to control individual bulbs / sections, but the majority of what you do in the PE is applied to large groups of lights) This is a super high-level overview of both pieces of software, but it gives you the gist. Would you mind sharing what things you are desiring to control? We might be able to diagnose better what may fit your situation best.
  2. lkcubsrule

    Tee Shirt

    Wowzers; I remember seeing that shirt over a decade ago. It says on CafePres's website that it was created back in 2005! Makes me feel old, and I'm only 25 !
  3. TL;DR: I've been experiencing seemingly random sticking and "shimmering" of my lights throughout the show, and I'm looking for a way to make it play correctly. The background: I'm running a G3 MP3 Director with two networks. Regular Network: 500k Enhanced with ~800 pixels; no issues. Aux A: 56k Enhanced with 323 channels of full-wave LED lights. Half of them (163 ch) are hardwired and run on enhanced programming, the other half (160 ch) run on non-enhanced programming over wireless transmitters. I'm outputting enhanced and regular commands, and the hard-wired channels respond to both, the wireless channels only respond to their regular commands; and everything on the programming end of things works and looks as planned/programmed, except the occasional glitching. Wiring: There's probably no more than 250' of cable total from the first controller to the last controller on both the wired and wireless portions; the wireless transmitters/receivers are 75' away from each other. ELLs are the first connected device to the MP3 director. All equipment is brand new for 2017. The challenge: On the Aux A network, I'm having random channels (often on the same controller) that will "stick" on and stay on, or they will shimmer instead of their normal "on" command at various times throughout the show. The problems persist until I either a) unplug / reset the controller with issues or b) remove and reinsert the SD card for the show. Once I do that, things go back to normal. The glitching / sticking occurs on both the wireless and wired portions alike; there's no difference between the two portions; each portion (wired/wireless) glitches equally. There's also no lag issues, either; I'm not using any compression or throttling. It doesn't appear that any particular commands or places "trigger" the lights; sometimes they onset after a few songs, other times it starts with the first song. While that's the most current configuration, I've also tried the following: Prior to rewiring things yesterday to the aforementioned configuration, I had the lights on a different arrangement: the 163 channels (of enhanced prog.) were on the 500k network with the ~800 pixels (2400 channels; 2563 total); the wireless portion (160 ch) was on Aux A running at 115k (non-enhanced). Still glitching in various places on all the channels. When I lowered the Aux A network to 56k by itself (i.e. 160 channels on it's own Aux A wireless network) all issues on that network only subsided; the 500k network continued to stick/glitch. When I lowered the 500k network to 115k, we experienced a lot of lag, and throttling didn't seem to do much. I originally was running 500k and 115k, but per Mike's post (linked below) I thought lowering the speeds would help. They didn't really solve any of the sticking or shimmering issues; the only thing that worked well was to switch the 115k to 56k...but that only solved half of the problem (and now everything is at 56k w/ issues still persisting). To recap, I'm experiencing the glitching / shimmering on the Aux A network only; the 323 normal channels of LOR (CTB16PCs). It occurs on both the wired and wireless portions, and we're not seeing any lag issues; we're already running at 56k. And the problems fix themselves after a reset of the show and/or controllers. I'd appreciate anyone's insight into this strange issue.
  4. lkcubsrule

    Color Effect only works on 50 string or less?

    You can create props as large and as long as your technology can handle them. In your prop definition, make sure you have your # of Nodes set to 80. Here's a screen capture from one of my props using 100 nodes:
  5. lkcubsrule

    Redo a sequence

    If you have the original Pixel Editor file, you should be able to access the effects / programming. If you only have the intensity data, you will be unable to use that. Here's another reply from earlier this month on the same topic:
  6. I'm trying to test my setup this evening, and I'm running into communication issues. I'm running a lot of non-RGB elements over wireless networks, and they're programmed in S5 using motion-effect rows. Correct me where I go wrong: The ELLs do not operate over enhanced networks; they still have to use non-enhanced networks. The Pixel Editor (and Motion Effect Rows in S5) operate exclusively on enhanced networks. Even if I am placing non-RGB elements into my show and desire to control them via ELLs, it appears that I am not able to control them via motion effect rows; they must be on standard-programming, right? So though it might seem as if S5 is one integrated program, the motion effect and standard rows output different types of data, correct? Is there, then, a way to run non-RGB elements over wireless networks using motion effects?
  7. lkcubsrule

    Kia Commercial

    Looks like something actually high quality. Reminds me of a Tom BetGeorge-looking light show.
  8. lkcubsrule

    Help with PE Prop Setup

    Either way, that's not a problem. Model them as two separate lines, and give them the same Unit ID, but change the "Start Circuit" on the second one. So, for instance, the first string would be Unit 1 with 20 bulbs using channels (circuits) 1-60 and string two would be Unit 1 with 20 bulbs, but channels (circuits) 61-120. Edit: Just realized you want control from the middle down either side. I"m not sure exactly why this is necessary, as the Pixel editor effects can be applied in any way you wish. You can apply any effect in the PE to go from left to right or right to left; it's just a matter of reversing the effect on either strand. As I mentioned earlier, you may want to just model them separately and apply the same effect to each, but "mirror" it when you want them doing separate things.
  9. lkcubsrule

    Custom Colors - locking them in

    I've found pallets to be extremely helpful, and they save me so much time. What I've also found helpful is to make my own color "chart". I've found that choosing a purple on the computer (R: 255 and B: 255) is not exactly a "purple" they way my lights make it look. So, I've monkeyed around and found what values produce the colors I like for each type of pixel (yes, they are all different in subtle ways) and then store them as palettes. I have 20 standard color variations stored so I can get any shade or hue as I need it.
  10. lkcubsrule

    Pixcon16 channel config help needed

    Sounds like you haven't mapped each board's individual ports. (If you've done this, help us understand how you've mapped them; this is a common issue). You mention that some lights are receiving data; others are not. The Preview Screen is NOT a direct output of your setup; you'll always see everything on your preview screen regardless of what is connected. While you've told the computer that you're using DMX universes 1-32 (or whatever you have) and that it should transmit them via E1.31 as you've setup correctly in Network Preferences, you need to tell your controllers which universes they should each accept and where to route them. If you go into the PixCon16 Manual, head to page 19 for "Pixel Port Setup". By default, I believe each board is set to receive Universe 1-16. On the PixCon Configuration (still within Network Preferences), head to "Pixel Port Setup" and start "mapping" out your channels across each device. Depending on your setup, you could either use the Simple Configuration or the Advanced if you are packing your pixels pretty tightly. You need to make sure that you have every universe accounted for on the controller side (you already have it done on the computer side). See if this helps. If not, continue back here and we'll try to keep getting you off the ground!
  11. lkcubsrule

    Pixcon16 channel config help needed

    It's helpful to think backwards through your setup. You mentioned you have 8 PixCons. Figure out which props are connected to each PixCon, then decide how you want to assign each output to a universe / unit ID. When you've decided "on paper" how to address each controller, you need to go in the Network Preferences to assign an IP address and universes (Or Unit ID) to each PixCon. Before we go any further, let me suggest this: Because you're using PixCons, those can run on an enhanced LOR network or E1.31 (over a local network / IP). This will make a difference in how the computer talks to the controller, and setup looks different. Let us know ow how you intend to control them and we can proceed with setup help.
  12. lkcubsrule

    Mirror Pixie2D Outputs

    Is there a way to mirror the outputs on a Pixie2D (the new 2nd Generation 200ct CCP) such that both outputs receive the same data? I could create two props and copy/paste the data, but I'm wondering if there's a better way. I've also noticed the "Uses the same channels as XXX" in the Prop Definition window (S5 beta version). Might this be a clue towards what could happen?
  13. lkcubsrule

    5.0.10 Unicolor / Start-End Mode Issues

    Thanks. I'll avoid opening my completed sequences for now; my working ones will be fine...I've made necessary adjustments.
  14. I've done a lot of programming to date using the traditional color pickers - and the uni-color/start/end modes. Often, I would be in "Unicolor" mode, however; and start/end color mode is only hidden - I usually had irrelevant colors there. With the upgrade to 5.0.10, ALL of my modes on EVERY programmed cell are by default "start/end" colors as a result of the new color chooser (which is great, BTW). If I had colors hidden on the "Start/End" mode (which I often did), they're now visible! Many of my sequences require me to now go back and change those modes back to "single color", because the are all seen as "start/end" colors now. I have color fades happening all over where I didn't have beforehand. This is a really minor issue for people beginning in 5.0.10, but for those of us importing work from last year or things we've programmed to date, this is annoying to diagnose and re-program affected areas
  15. As I've been programming for this season, I've found myself wanting a "UV meter" (Volume Unit Meter) of sorts to use with my lights such that spikes in the music will cause my light meter (fire sticks) to spike, much like the animation we find in the SE / PE's Audio VU Wizard. I've got several fire sticks that I want to "fire" on beat (essentially doing a quick ON with a ramp down), and so I've developed the following programming method to achieve that. This isn't a "true" VU meter; it's meant to fire only on pre-marked beats, not according to a section of music. The premise of the effect uses the Fire HEIGHT and a differing low/high value. With a low/high value, the height value will change over the course of the duration of the effect. When started high and ending low, the height in essence does a "ramp down", giving a little more organic ramp than you would find with the curtain effect or similar effect. If you lay this on one single cell, then you get a quick ramp down. If you place the fire effect with a locked height of your low value (34 in my case) on both sides of this effect, then you get a spike happening at your desired timing mark. You should have a "normal" height that's less than or equal to half the full height (0-50ish). In this case, mine is 34. Then in the cell(s) where you'd like the VU meter to spike, you set the Height to 100, and your low to your "normal". In this case, mine is 34. Here's what my Effects Generator window looks like In the cells following the "spike", you should keep the Slider Mode locked at your "normal" level (again, in my case 34). Then, when you desire a spike, use the separate start/end values. Here I've pictured my lines of programming. You'll notice that for the first 3 cells, the effect is constant. This is my "normal". Then I applied the effect to the following 4 cells (for four beats; two top and two bottom), making sure to alternate effect lines as the PE does not restart duplicate back to back effects. Finally, the ramp down is the "normal" where the entire effect fades out to black. You'll find an animation of the section below (with some other random elements, showing up, too) You can see (4) separate spikes (though the GIF is a bit fuzzy) that correspond to the four cells in which I've placed the unlocked effect. The timing marks just before these 4 effects are 4 major beats within the song's phrase. I think the beauty of a standard VU meter is that you get a bit more organic look; each element isn't doing exactly the same thing. With the fire effect, you get the same idea; however, it is not in correspondence with the music. By using the aforementioned trick, you can emulate a VU meter manually for some specific beats. I've also tried to set the fire effect's Slider Mode to "Use The Audio Waveform", but I haven't had much luck with this. Hope this is helpful! Has anyone else tried to do a similar effect?