Jump to content

DMX native for 2008?


mmaness
 Share

Recommended Posts

Is there any chance we'll have native DMX values for LOR this year? Any timeframe?

The reason I'm asking is that I have a DMX moving yoke that has 510 degrees of pan, and 260 degrees of tilt. Using 100 intensities means that my yoke's pan is controllable in 5.1 degree increments. That doesn't exactly give me a fine enough control for what I need to do. But if it won't be available shortly, I'll have to do the best I can this year and live with it, 'cause I'm near the point where I need to incorporate the DMX values into my sequence.

Mike M.

Link to comment
Share on other sites

Charles Belcher

Mike,

LOR was supposed to have native support released for this season, but for me it is already too late and I have programmed around the conversion percentages.

Besides, so what if a fixtures pans 540 degrees? A circle is 360 degrees and in my case much of that angle is wasted anyway. In cases where I need the light beam to be on at one location and on at again another location, quite a few degrees away, I will just fade the light, move the yoke in the dark then turn the dimmer back on when the fixtures reaches the new location.

That way I don't see the jerkiness of the beam.

Charles

Link to comment
Share on other sites

Charles Belcher wrote:

"In cases where I need the light beam to be on at one location and on at again another location, quite a few degrees away, I will just fade the light, move the yoke in the dark then turn the dimmer back on when the fixtures reaches the new location."


When each LOR intensity percentage moves the beam several feet, it's difficult to point at an object. Having native DMX values available would at least allow for a more precise aiming of the light.

Unfortunately, I have an older model moving yoke. Some of the newer modes have a fine adjustment DMX channel as well as a broad adjustment DMX channel. I don't have that. I can only move the yoke via one channel. So going from an intensity value of 50% to 51% moves the spot several feet. Moving the objects is not an option. So I'm either off to the left or right on each object. I just don't have fine enough control with 100 intensity values.
Link to comment
Share on other sites

Mike is right. I have 4 moving yoke Q-Spot 575's that can't be fine adjusted. For me, it is pretty important as these yokes are about 70' in the air pointing down on a mall's center court. Currently, by just moving the intensity by one, it overshoots my desired area by 10'.

So, true DMX control would be ideal to have. I'm just not sure if Dan and the boys will have it for us this year.

Wayne

Link to comment
Share on other sites

Charles Belcher

Mike,

I understand your situation.

I am not illuminating any specific object with my automated fixtures but rather I am using them as effect only.

A couple of weeks ago, I placed the units outside where they will be used this year and moved the beam to several locations then noted the percentage values at each location.

I guess that is a form of reverse engineering or reverse programming if you will.

Good luck with your display. I am in Rowlett and would like to come by Forney to see your display this year. Please PM me with your address.

Charles

Link to comment
Share on other sites

Put me down for needing actual intensity values as well. It is hard to move lasers/appliances at such large increments.

IT is GREAT that LOR interfaces and I think it is awesome to have it. Just would like to put my request in for future upgrades.

On another note- my music production friends think this stuff is too cool. They pay $1300 for their software to do DMX shows and it is not any more robust than LOR. (except it controls DMX fixtures exactly- BUT only DMX)

Link to comment
Share on other sites

FBW4 wrote:

On another note- my music production friends think this stuff is too cool. They pay $1300 for their software to do DMX shows and it is not any more robust than LOR. (except it controls DMX fixtures exactly- BUT only DMX)

I can see where that could be a problem! I use pretty precise movements (not in LOR, but for concerts!)

I use Martin Light Jockey and it's a $1300 program (thank goodness I wasn't the one who purchased it!). It does like what the sequence editor does...but much more basic...you have to enter in times for events...but it has so many awesome movement features and it's so easy to change things....instead of using channel intensities. Too bad I don't have to sync to pre-recorded music...other wise I'd use the SE.
Link to comment
Share on other sites

lkcubsrule wrote:

I can see where that could be a problem! I use pretty precise movements (not in LOR, but for concerts!)

This brings up an off-topic question: I've been to concerts where DMX is used and I've always wondered: How is DMX kept in sync with live music?
Link to comment
Share on other sites

It is run with live cues. Some of it is presequenced and fired on cue.
Some of the others may have done it differently. I have only done SMALL time shows.
RW

Link to comment
Share on other sites

Richard Hamilton

Steven wrote:

This brings up an off-topic question: I've been to concerts where DMX is used and I've always wondered: How is DMX kept in sync with live music?

I hope my comments don't turn into a huge discussion thread or we have to take it off line so our Christmas lunatic friends can stay focused. :P

Steven, it isn't easy keeping things in sync with DMX as I expect you know because you asked the question. In the past Pink Floyd concerts, lots of DMX and midi were used. DMX and midi are relatively slow for a complex show with lots of devices such as lasers, Daleks (rotating colour light panels), occasional exploding flashpot pyrotechnics, Xescans, Obie 2500 Watt Telescans, HMI dousers, 30+ gobo patterns (moveable illumination shields), 36 VariLite automated multi-colour luminaires, lightning stokes, smoke machines, 600+ light channels, Cameleon teleprojectors, and oh yes, let's toss in a few fkilowatts of power along with a couple of inflatible pigs into the action. And you thought you had power problems on your Christmas lights!

The trick to getting it all working is to have multiple independent DMX controllers and custom professional controllers with some things being automated and other things being manually controlled with Wholehog, VariLite, and audio control boards run by Gareth, Bobby, Buford, and other crew members back stage and on the podium in the center of the arena. Lots of practice needed, but with all the action going on, people don't notice occasional mis-timing nuiances. A crew of 180+ people should give you a hint.

Of more importance is that DMX equipment will sometimes mis-cue on signals and cause unexpected movement if it isn't done properly. When using those very high powered isotope copper vapor lasers that cost over $100K each, some really nasty things can happen to the audience and the equipment if there aren't safety devices built-in like mechanical stops or fixed postion illumination.

Before LOR came along, I used some of our older sequencers and DMX in my early Christmas shows from about 1994 (when I stated doing this stuff). LOR is much better in capability for this task than the clunkly stuff from years ago. I never want to go back to that. lkcubsrule makes a good point about LOR used with stage control. I wish I had LOR 15 years ago. Now aren't you sorry that you asked?
Link to comment
Share on other sites

Speaking of Pink Floyd- I see you are going to co COmfortably Numb this year. I am too but the Dar Williams version.

Link to comment
Share on other sites

Richard Hamilton

FBW4 wrote:

Speaking of Pink Floyd- I see you are going to co COmfortably Numb this year. I am too but the Dar Williams version.

Yes, I do 3 PF songs for two nights at New Years to break away from the Christmas pattern. I'll be taking them out of my regular Christmas Rock Set, but I have not updated that web page yet. I'm now in the mindset that my set should be more about Christmas and less about other music. I bring in the New Year with different music.

I have heard the name Dar Williams, but I presume he is an independent musician performing Comfortably Numb because he was never a PF session musician at any time. My version of CN is my own, recorded live in 1987 at Reunion Arena in Dallas TX. Lights follow the patterns and sequences of the original stage choreography from parts of 1987 and most of 1994.
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

×
×
  • Create New...