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Everything posted by lkcubsrule

  1. @Orville, my understanding is that while the N4-G4 uses Network 1 to sync them, you still have three remaining networks that could be run at 1000k speed. Thus, it might make sense to use Network 1 as your traditional LOR network, while the remainder could be for RGB network(s). I'm also really interested in real-world testing of this. Keep us posted on what you experience.
  2. Valid, though you can run animation and musical sequences concurrently during a desktop show, in addition to background sequences. In essence you could have 3 sequences playing at once.
  3. With the G4-MP3 (or G3 for that matter) is it possible to run multiple shows concurrently? I'm hypothesizing for a particular setup where I'd want: Show 01 - musical show, controlling elements in group A (timed an/or running continuously) Show 02 - animation show, controlling elements in group B Show 03 - triggered animation, controlling element in group C Show 04 - triggered animation, controlling element in group D Show 05 - triggered animation, controlling element in group E The idea would be that each show controls it's own elements (Show 01 doesn't control any elements in group B-E) and each area operates relatively independently. Is this remotely possible with the hardware, or might I need several director units to accomplish this? I can't seem to find any indication in the G3 manual (G4 isn't published) where you can run multiple shows concurrently. Thoughts?
  4. This seems like a poor workaround for a feature used very often, but perhaps we're using it differently than it was designed. @MattBrown is there a better way to modify an existing motion effect with a fade, as shown below? As @DocBrown86 mentioned, you can't apply a simple fade to an existing motion effect like you could in both S4 and in previous version of S5. It makes it a new effect. Edit: It appears that if you select "Motion" as the type above, you can work as normal. The cursur will change to a pencil (as you're using motion effects) but that signifies you're making motion effects, not just "on" effects.
  5. @scodavis, I did a custom matrix much like you did. I've shared a screenshot below. Here's a few things I noticed you might change: You are making 1 prop. It should show up as a 1 or 2 line prop in your sequencing timeline; you're showing multiple lines with an error message. I'd suggest you scrap that and start over from scratch; something is clearly wrong there. Please, please, please do not type in 1,494 numbers, you should be using a spreadsheet for this. For a custom matrix, you should do all your "organizing" in excel or Google Sheets, and you can copy over your matrix numbers from Excel to LOR. That's what the copy/paste buttons are for! With a spreadsheet program, you can type the first few numbers, select them, and drag...and excel will fill in all the numbers. This should take you seconds, not hours. To create custom strings, you need to modify your numbering system. A "hidden" feature of the custom layout window is that you can create a new "string" by bumping up the number by 1000. "For RGB pixels, the number you enter is the pixel number. 1-999 are pixels on the first RGB string. 1001-1999 are pixels on the second RGB string, 2001-2999 are on the third RGB string, etc." Later, you can go back in and assign a Unit ID to each string or a DMX universe (Take a look at this LOR help file) Your workflow should look like this: Column 1 (down): 1, 2, 3, ....83 Column 2 (up): 84, 85, 86...99,100, 1001, 1002, 1003...1065,1066. Column 3 (down): 1067,1068....1099, 1100, 2001, 2002, ... Using this approach, you can set a custom length for each string (which, yours all happen to be 100) and you can organize them in any zig-zag organization you want. By bumping the "string" numbers up by 1000 for each string (string 1 = 1-100, string 2 = 1001 - 1100, string 3=2001, etc.) you can control the number of strings you have. Hope it helps.
  6. LSUFiregal, Your situation is not uncommon; a lot of people will want to upgrade their shows as you're doing. The best workflow to get to S5 from S3/S4 is to FIRST create your preview. Your preview is where all your controller connections, colors, naming, etc. is all setup. When you import an old sequence, LOR is going to attempt to "create" a preview from your information, and often it's a lot more work to rearrange it than to start fresh. First, create your 2018 preview in S5 with your layout as you have it now. Then, import a sequence as you've done. Instead of having LOR make your layout, choose the one you've just created. Once inside the sequence, you may have some archived props; however, you can simply copy/paste programming from archived props to your new props and get rolling. You mentioned you were able to get them to work in the Hardware Utility; that's a great first step. If they don't work in programming yet test OK, there's an issue with some sort of sequencer or network configuration. To get them to work, you need to make sure the following things are in order: Ensure your preview unit IDs and channel IDs correspond to your actual setup (i.e. Unit 03 is your arches) Create Playback Files (this will export enhanced programming) Make sure your network speeds are compatible with your hardware, and that enhanced networks are enabled in the Network Configuration Ensure that the control panel is open Make sure you don't have any wireless linkers on your enhanced network
  7. This is a great example of how to use nested groups in Light-O-Rama to achieve effects not originally possible in a traditional layout, or even the custom layout. By breaking down an element into further subgroups, you can have additional flexibility in programming -- as Alan's exhibiting.
  8. Joe, TL;DR: Your observation is somewhat correct. On my matrix-less displays of thousands of pixels, I find myself reverting to the following effects when I'm animating it across a single "line" of pixels: Colorwash Bars / Blended Bars Butterfly Single block (MOST of my programming - TY Matt for intruducing this) Occassionally Garland You can also use twinkle, scanner, snowflakes, and meteors on a single line. I'm counting 10 . Scroll down to the end of my post to watch my videos which primarily only use these effects. Let me know if you want to do these in the traditional Sequence Editor... Long Answer: 1) Perhaps this is about discussion on technology design / automation of said display. Hang on for a second. If you have a 'light display' of one flood light (a single point - 0 dimensions), there's not much you can do with just one, single-colored flood light. You can turn it on, off, fade up, fade down, shimmer, twinkle, etc. (Heck, why even use LOR when a home dimmer switch can do all these effects?!) When you order a bunch of lights in a row (a line - 1 dimensional), you suddenly have a lot more options for how to animate said 'line' of lights (chases, fades, twinkles, scanner, etc.) . It's a lot more lights to control, but it's possible to do manually. When you enter 2D space, as a "matrix", you have even more ways to animate said grouping of lights (a plane - 2 dimensions). Programming this without the pixel editor is near impossible. And when you move to 3D light setups (a 'cube' - 3 dimensional), you have even more ways to illuminate and animate; and this is impossible to do without complex software. LOR doesn't support "3D" lighting yet, and xLights is just beginning to support it. So we'll stay in the 2d realm. In some ways, using the Pixel Editor on a line of lights is overkill; it's designed for a 2d setup (i.e. video content). We've been 'manually' programming a line of lights for years (row of mini trees; rows of windows, etc.) in the traditional sequence editor. But now that we have the pixel editor, I find myself using more complex technology to accomplish a simpler task -- simply because it's easier and quicker. It's way easier to throw the "bars" effect on 8 RGB flood lights (heck, even 8 normal flood lights) in order to chase them along the house than manually drawing that in the sequence editor. Is it possible manually? yes, but it's faster to do so in the PE. It's also muuuuuch easier to quickly program different colors and different effects at once; something that doing manually would take hours. On a simple "line" setup, I think it boils down to the ease of using automation to programming 50 or 100 lights in a row, and I think that's a lot of the value that it can bring to your workflow. 2) Or, perhaps your question might suggest that because you can only find 2 effects to apply to a single line, there may not be value in using pixels in forms other than a matrix. This is certainly an assumption on my part, but I would challenge that notion! While the effects I tend use are relatively simple, their ability to create a neat display grows exponentially when combined with other pixel elements. I would find it difficult to make a single roof-line of pixels visually interesting -- given the 10 or so effects. It's almost like a drawing, or a painting: one single stroke doesn't do much for you; but even a few dozen brush strokes or pencil lines can create something interesting. If you have 6 roof lines, even the simplest effects can be interesting! Your options increase by six-fold. (Think: going from 1 mini tree to 16 mini trees) And I think this is the key when working with pixel elements: the more the merrier; the more pixel elements you have, the more options you have for animating elements across your home. (Heck, this is even true with 'traditional' lights and channels). One last comment with which to leave you. The easiest way to use a 2D grid is in a matrix - like most people do. However, there are other ways to use 16x50 strings, and I would challenge ANYONE to re-organize their matrix in something other than a grid. I've taken it and wrapped it around a round tree. Sure, it's a "matrix", but when you animate it, it can look like a tree is growing. I've also taken a 24x50 matrix and spread it apart and hung it from the limbs of trees. Now, I can walk through said "matrix" and it's visual quality takes a drastic turn from the traditional "TV screen on your house". I've also taken a traditional "line" and curved it: I've wrapped it around pillars and placed them on curved paths. Garland is another way to use them; wrap them around windows, along path ways, etc. The animation component to a light display, as your question targets, becomes less about applying video content to a TV, but more about telling a story with display elements. IMHO, there's something much more compelling about a house wrapped in pixels if the areas of light move across different elements, as opposed to a constant "blanket" of the house in various effects. Here's some videos of mine: https://www.youtube.com/watch?v=LHWXm7IIUfs Pixels on the trees, in the trees, on the roof, on the windows. https://youtu.be/Uz6X3SR8BdI?t=72 Used pixels on the pillars, on the roofline, on the "logo feature". (skip around, but please ignore the erroneous LOR glitching near the end) A cool logo feature I made using pixels in a non-linear methodology. The logo also lights up and "joins" the strings.
  9. What types of network are you running? What's the speed? Is it enhanced (because it should be!). Do you have the control panel running?
  10. Alan, You don't have your waveform turned on; it shows on there. See at 00:42.50 in the image below. Apparently I can't take a screenshot of my cursor. Trust me
  11. I did live in Muncie, Indiana for a few years. I know plenty of people there, though I don't currently live in the area.
  12. What Orville said is a great place to start. The other thing I generally do is run a shutdown sequence to close out my show. I have several types of lights, and sometimes my DMX flood lights will stay on when they don't receive a final "off" command. This shutdown sequence turns everything on (even to a small intensity) and then turns it off. It ensures a second time that all lights have received a final off command for the show.
  13. I don't believe it's possible to open a .lid file. If you have the .lms file and the .lpe file, you can open it; however, you cannot with just the .lid (light intensity data) file. The reason for this is that the "raw effect data" is saved in the .lms / .lpe file. When you save it as a .lid, it "bakes" the effects into the code that's uneditable, but in a playable format.
  14. Sounds like a decent deal. The sister site run by the same individual is www.holiday-light-express.com. This website is known to many in the decorating community for wide varieties of lighting supplies at good prices.
  15. This is a very common nuance learned by a lot of new RGB users. Here's what I've done, and it's been very successful for my setup: I found a "rainbow" color chart on the interwebs, one that displays the range of color I like using in my display (albeit probably heavy on the reds and blues). Then, I set up my pixels (CCB, CCP, whatever you have) next to my printout. I then opened up the Hardware Utility and started messing with the sliders in order to produce a color that "looked" like the color on this sheet. I wrote those down (AND created presets in my pixel editor - see below) so I now can always have a "yellow" when I want it. I also went as far as comparing my RGB lights with my cool and warm white LEDs so I could also get a perfect match It may be difficult to program with these initially, because most yellow/orange colors look very reddish in the preview; however, they're correct in your eyes -- because you calibrated them . It may be helpful to create a few scales like this for floods, CCB, and other pixels -- as RGB devices of different sizes and manufacturers will vary in color; I notice this especially in my flood lights. Here's what my graphic looks like: I also created custom palettes in my Pixel Editor / S5 so that I can easily recall the 20 colors with 3 clicks. If anyone wants the .ai (Illustrator) file to edit for yourself, feel free to PM me and I'd be more than happy to send it to you. My RGB values will likely work for your setup, but you may disagree with my version of a hot pink...so you may want to make your own calibrated variants of colors, too.
  16. Negative. Most RGB products, notably those programmed in the Pixel Editor and SuperStar (and S5) use enhanced programming. Enhanced programming is not supported over wireless. Your options are to use only non-enhanced programming (dumb RGB fixtures) and standard LOR controllers, or create a wired link between those portions of your setup. Peruse through the Network Speeds page on the main website. You'll notice that the Easy Light Linkers are only capable of 19.2K-57.6K-115K network speeds, and do not support ELOR. Your other pixel controllers, while they can use a "slow" network speed, require the use of Enhanced networks for data communication.
  17. I believe it's saved within the sequence until you "export" it. Not sure how to export it in S4. I've only done so in S5.
  18. Every time I use the Fill (F) command in S5, I am prompted with the following error: "Trying to fill between effects, but the row is empty". I click "OK", and it fills as normal. Is there a reason for the dialogue box? It occurs on both Motion Effects and traditional programming.
  19. Yes, this is very true. I've used them up north for several years. YMMV in Florida.
  20. I'm looking to understand how Previews are stored and used by the Light-O-Rama Software suite. I have multiple previews on my computer; and I'm looking to transfer a specific preview to another machine without transferring all of my previews. Is this something that can be completed independent of a sequence, or do sequences "store" the Preview information inside of them? For example, would I need to create a dummy sequence -- like a basic animation sequence -- in order to transfer all the Preview Design information to another machine? Looking for the best available methods to accomplish this.
  21. I've mounted my CCBs just like my old C9s; strung along ridges and individually clipped. They're pretty rugged components; I'm not sure you need to treat them differently than traditional C9s. If anything; they've got no glass and won't break if dropped! Mine have held up just fine. I love Menards' light clips (Midwest home improvement store) and I've used them for a decade. The bulbs fit just fine; no problemos.
  22. This is a great question, and unfortunately there is no finite answer. Part of it depends how you're running your technology. If you're running all your pixels on an Enhanced LOR network, I'm going to guess you might hit a ceiling near the +/- 10,000 mark, depending on your speed, programming, and device layout. If you're running your pixels on an E1.31 network, you can throw tens of thousands without a hitch, granted your computer can output that many at once. It really comes down to CPU / Graphics output and network throughput...those will be your limiting factors at some point. These are relative figures, and your mileage WILL vary.
  23. 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.
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