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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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  • Gender
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    Hudsonville, MI
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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?

LOR Software

  • LOR Software Version
    A Beta Version
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  1. Enhancement request - back to start button

    The old "home" button on your keyboard does the trick... you just have to click a cell first.
  2. 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.
  3. what do i wrong?

    Hey Mark. The SE, PE and SS are three separate entities that have no interrelation within themselves; they all will exist separately. In the S4 software, all three enable you to program, but the SE acts as a "viewer" and "player" for the other two components. You cannot edit the SS files in the PE, or the PE files in the SE, or vice versa. It's not possible to do some programming in the SS and then import it into the Pixel Editor; they aren't interconnected in that way. Part of the challenge of this is the fundamental way in which effects are created in the three parts of the software: the SE effects are fully manual, while the pixel editor is 100% computer generated. And SuperStar is somewhere in between. They all turn lights on and off, but the way the interface with humans is in three separate ways. That's just the way it works. With the new S5 software, you have further flexibility with your programming -- you can use both the manual and computer-generated effects on the same props; however, you still cannot edit the computer-generated effects.
  4. Lost in PE.

    Might be; the best way to check would be to isolate the issues. I usually get everything working from the Hardware Utility before I jump into adding it and/or programming with it in the SE/PE. Work on setting up your device in the Hardware Utility; there should be settings for making each output its own unit ID, as well as condensing them. There's a special pixie setup window of the HU, and you can find more detailed instructions in the user manual. See what you can do with that, then get back to us with more specifics. See if you can't test them in the HU before heading to the PE.
  5. Error - Calculating Intensity Data

    I'm now receiving this error when applying an effect to a specific group. When the effect is applied, I can't play the sequence; so I save and exit. However, when I go back in to the sequence, I'm met with the same error. When I delete the effect over the cells, the error is gone.
  6. After spending some time in S5, I've found a few annoyances that I could see being fixed. They're all relatively small, but they would improve workflow a lot. Ideally these could be corrected with simple keyboard shortcuts, warning boxes, or simple fixes: If one accidentally clicks on the "lock" button found after most sliders within the Motion Effects Generator, it opens a dialog box. The only way to exit this is to click out it. It would be really nice just to hit ESC to close out of this. A converse to the previous statement, I often find myself inside the Preview Design (Manage Previews) window accidentally pressing the ESC key. It automatically exits the Preview Design window and doesn't save any changes. I'd like this to warn me if I have unsaved changes when I'm laying out the display. I've lost a fair amount of work this way. I can no longer double click on the sliders within the Motion Effects Generator to lock or unlock the slider mode. I have to click my way through one of the options in the Lock Button dropdown (taking several clicks). Could we bring the double click functionality back -- and maybe have it default to the Linear Ramp function? (And, for a even future development, add this into preferences -- so we can create a preference for where we'd like it to default to) I'd like to see the "Mode" button in the Motion Effects Generator be a toggle button instead of a dropdown menu and then a selection. Currently this function lets you switch between two options; and it takes two clicks to accomplish a simple toggle. Could that button -- instead of opening a dropdown menu, just toggle from Unicolor to Start/End Colors and vice versa?
  7. Group Arrangement Question

    Check out a previous post of mine as well as the subsequent post of MattBrown's. This explains the difference in each layout. The challenge with using the Preview, though, is that the computer needs to process the exact layout, whereas the other options it knows already how to process the data. When you select Use Preview in the Group Definition window, it offers you the options of "higher res" or "lower res", and this, I think, is where you're experiencing issues. The default is a lower-resolution setting to minimize processing time. Try setting that value to a higher resolution, and you should see finer detail in your twinkle function. The horizontal / vertical / nested arrangements don't have a resolution setting; they're already at the highest...so you're likely seeing a finer level of detail while using these settings than when you've selected the Use Preview option. Unless you're doing thousands of pixels, you're probably safe using the highest resolution for your programming needs.
  8. ELL Questions

    You mention the "ELL system" and "G3" system. Only one of these is a "control" system by nature; the other is a means of controller connection. With LOR, you can either control your lights via a computer or with a director unit (G3 MP3 or Gen 3 Mini). Both of these require a wired connection to your controllers. However, you may substitute some or all of those wired connections with an ELL, or Easy Light Linker. For most people, a simple CAT5 connection does the job. If you want to eliminate a wire going out of your house or garage, or eliminate a long distance between controllers, the ELL will do just that...but it's definitely not needed. An experts advice? I'd recommend to go wired. Buy yourself an extra controller with they money you'd otherwise spend on a wireless connection. However, we don't know your exact setup, so take that with a grain of salt.
  9. 50W Flood Photos (in use)

    Does anyone have photos of your LOR 50W floods in use? I'm familiar with the 10W devices, but I'm wondering how bright the 50w are and how big they spread when placed near a wall or tree. Got any photos to share of your display?
  10. Shapes in Pixel Editor

    Welcome aboard, Greg! I'm not sure if I completely understand your question, but I'll give it a try. Both the connected and unconnected do the exact same thing: they let you place pixels (bulbs) in a line. The difference is that the connected lines, visually, do not separate; they are a line with several control points. The unconnected line is the same thing as above; except the individuals lines. In essence, you have several disconnected lines that are a part of a single prop. Because both options are a part of a single prop, the bulbs will space equally across all sections. You can use any pre-defined shape for pixel strings. When you work with pixels, we apply effects across the entire prop. Unlike the traditional sequence editor, the locations of each pixel IS important for the pixel editor. Regardless of your design, the predefined shapes all work in tandem to enable us to create props in their true location. The unconnected line is a slight variation of the connected line to enable you to model something in a slightly different way than if it was connected. If you still have questions, don't hesitate to continue asking them!
  11. Music Copyright laws???

    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.
  12. 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, www.diyledexpress.com 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.
  13. Adding effects from PE messes up SE

    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
  14. Looking to buy smart pix, rgb's, and controllers

    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
  15. Trying to schedule a Pixel Editor created sequence

    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 SONGNAME.lms.pe.lid 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) .lms.pe (Pixel Editor 'editable' file) .lms.pe.lid (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.