Jump to content
Light-O-Rama Forums

lkcubsrule

Members
  • Content count

    263
  • Joined

  • Last visited

  • Days Won

    2

lkcubsrule last won the day on December 27 2016

lkcubsrule had the most liked content!

Community Reputation

18 Good

About lkcubsrule

  • Rank
    Member
  • Birthday September 1

Contact Methods

  • Website URL
    www.kamplights.com

Profile Information

  • Gender
    Male
  • Location
    Hudsonville, MI
  • Occupation
    Architect

More About Me

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

LOR Software

  • LOR Software Version
    A Beta Version
  • License Level
    Pro

Recent Profile Visitors

764 profile views
  1. 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?
  2. Kia Commercial

    Looks like something actually high quality. Reminds me of a Tom BetGeorge-looking light show.
  3. 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.
  4. 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.
  5. 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!
  6. 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.
  7. 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?
  8. 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.
  9. 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
  10. 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?
  11. In a lot of my recent programming, I've found myself needing to copy the left effect to the right side (and vice versa) inside of the Motion Effects Generator. Just like we have a "swap" button, I'd love to see a "copy" button that will duplicate the sides either way. It could almost be a dropdown button (like all of the new transition LOCK buttons) that the default is to swap, while the dropdown enables you to "copy to left" or "copy to right".
  12. Copying in Pixel Editor

    You're in luck; there are several things you can do to "save" your current situation, and through a work around, you can enjoy the "legacy" mode and the full pixel mode of your devices. First, if you're daring, you can skip straight to S5. S5 allows you to have both "motion effects" and traditional channels right in the same editor, and you could literally copy and paste all of your work from before if you set your props up correctly. If you're wanting to stick with S4, you can continue to create 7 segments (each made up of several pixels), and they will show up as 7 separate props. You can "group" them in order (horizontal stack) to use the pixel editor functionality, and when not in a group they will function like a normal SE entity. However, you're still going to have two rows. You can't get away from that in S4, but you can in S5 (another reason to switch!) by only creating one row (or a dozen rows). (I'll end my marketing speech for S5). Ultimately what you may want to do is select the entire ROW of the entire sequence of one prop / arch segment and copy each prop at a time. This will speed things up a lot, but you'll still have to copy each row separately. Go to a fixed time grid, select the first cell, press (and hold) shift, and hit the "END" key. It will select the entire row, then copy and past into the first row of your Pixel Editor prop.
  13. Group Arrangement Question

    That's a great question. May need Matt to chime in here, but I believe that whatever the setting is, that will be the intensity data that is output. And yes, computer performance is DIRECTLY correlated to resolution. I usually do most of my programming at half resolution (or lower) and then bump it up when I'm ready to export intensity data for my shows. It just needs to render once, and then it's good to go at highest resolution for your show.
  14. Enhancement request - back to start button

    The old "home" button on your keyboard does the trick... you just have to click a cell first.
  15. Enhancement Request

    I thought this was a huge problem until I figured out about "Reset Props". You're right -- the entire process is not very intuitive, but the "Reset Props" does exactly what you want it to do. To create a new grid, you "Save Current View As" whatever you want. We'll call it "Grid 2". Then, while on that new grid (which is an exact copy of the previous grid), go to "reset props" and select the props you want on it, then click ok. It 'resets' it back to a blank grid and adds your new props. It's not possible to have a completely empty grid, so you'll get an error message if you try to "Reset Props" and select nothing. Select one item, and you've got a grid with only that item. There's definitely a reason to save a new copy of the current view, and (in agreement with you) it would make just as much sense to add another option called "New View" that combines the two actions in one click -- creates a new view, then prompts you to select the props you want.
×