Automated Fixtures First time being asked to operate moving heads

Tim Ardner

Member
I am wondering how to operate moving heads. I have been told by the owner of a local dance studio that they would like to use 2 moving heads that the venue has for their annual recital this year. I have mastered conventional lighting, know how LED units work, but don't know how to operate moving heads. I am not aware of the make and model of the moving heads, nor am I aware of the console used with them (When at the venue, we normally use an ancient Lehigh console that only supports conventional lights). Also are the connections similar to LED fixtures? Hope someone can help me on this topic. BTW the location is on the 1st electric.
 
well, my answer is going to be based on theory, since without knowing specifics of the fixture or the console I can really only give a theory.

As far as the connections, yes if they are dmx than they are either 5 pin or 3 pin, you can get an adapter to go between either, power is not really standard in a lot of fixtures so you might end up with a computer IEC cable for one type of fixture, and a powercon cable for the other, so keep that in mind, but not really that big of a problem. Every company is different.

Every lighting fixture that is on a dmx system uses a certain amount of addresses. Most conventional dimmers only have 1, for led's they usually start at 3, and go up... 1 for red, 1 for green, 1 for blue, etc, every fixture is different, there are RGB or CMY, yada yada. For movers, they go up quite a bit. most of what I use, clay pakys start at 26 addresses...

Now if you take that to its very basic concept, each address is one fader controlling one parameter of that light. (Yes this can get complex when dealing with 8bit vs 16bit yada yada, that's NOT important for my explanation here.)

But at its absolute basic, dmx deals with a digital value of each parameter going from 0-255. If you look at a fixture with an understanding that every address has its own fader, then it might help you to understand any kind of fixture, from a basic conventional all the way pixel mapping...

With a standard conventional it has 1 fader with an intensity anywhere from 0-100%.
Wtih a standard RGB it has 3 faders that allow you to mix colors.1 for red, 1 for green, 1 for blue; when they are all up the light output is white.
With a mover, it is no different (the manual will tell you what order they are in, so thats important to download if you can) example:

Lets look at the Chauvet Maverick for example:
upload_2017-4-25_17-53-3.png


Fader 1 pans the fixture, a 001 value puts it to the as far counterclockwise where 255 puts it as far clockwise
Fader 2 pans the fixture with smaller increments, which is based on where fader 1 is.
Fader 4 tilts the fixture up and down
Fader 5 tilts the fixture with smaller increments
Fader 6 turns the intensity up or down (actually closes and opens an iris, think of a lense, an arc type lamp stays on)
Fader 7 strobes the unit in different ways (macros) depending on where the fader is...
and on it goes...

At its very core this is how all fixtures works. In theory you can run this mover on a 12 channel preset board with nothing but faders, although not ideal.

Hopefully, that helps you understand what is actually going on in a fixture at its very basic level, like when you asked if a led is similar to a conventional, the answer is yes, just more faders controlling the one unit.

Now as you can imagine having to move 24 faders for 1 fixture is normally not an option as you run out of faders real fast.
If you only had one light for your rig and only needed it in one position and you just needed to ride the intensity than that's not so bad, but for all the rest of us lampys that's just not an option.

So we use programming desks or computer based software that turns those parameters into virtual faders, allowing us to move more efficient, plus automating effects allowing us to really get the benefit of movers. I would not recommend running movers on an old preset board... Personally, i would strongly suggest bringing a different console in and placing it next to the old one that the venue has, and just take the dmx cable from the old console and plug it straight into your console.

honestly, the most fun way I can think of for you to play with moving heads for the first time is to use ADJ's My DMX... it's very basic I understand that, but it will make movers way less daunting to just have fun with and get a feeling for.

My best recommendation is to go to your closest church [there hours are easy to work with ;) ] that has movers and see if they would be willing to take an hour after rehearsal or service and show you how they use them. What can it hurt to ask? plus depending on your location there are lots of churches around if one says no. Plus churches are usually nicer than your local theater house or club... don't give up. Also, rental houses might have a test rig set up that they check fixtures out on that they might let you play with, but not usully for free, and not usually unless your already scheduled to rent gear.

Now if you know specifics about a different board you have access to and the type of movers you will be using, we can definitely go more specific on how to program those lights and, if the board allows it, make them dance. However, if you are locked into the rig as it stands, I would just tell them that movers aren't an option unless they bring in another board and you have time to learn it. It's ok to say no if you can't do something, don't know how to do something or don't feel confident that you can understand it by the time doors open.

This can seem complex but it's rather simple, just like a soundboard, if you understand what one fader does, you understand what all of them do.
Just keep it simple, we have all been there. You are in the right place looking for advice. Hope this helps.
Remember to breathe... You can do this. :)

http://www.etcconnect.com/EosFamilyVideos/Level-1/
If you have time, watch every video on that page, while they are steps are console specific the concepts aren't. this may help intro you to concepts of moving light control...
 
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Hi Tim,

The real answer to this question is nearly 100% dependent on the console you end up using. When the studio says they'd like to use moving heads...who's are they? Are they being rented or are they owned, or are they expecting you to provide them? The same question goes for the console. If possible, try to find these two details out (make and model). We can be a lot more helpful then! As suggested, watching some generic tutorials can help. Moving lights all behave relatively similar in terms of how to control them, but the light boards can vary wildly. This is why I travel with my own console! Good luck!
 
I have an update on being asked to operate moving heads. I know what equipment I will be dealing with. I will be working a Martin M2go lighting console controlling 2 Martin Mac 550s. Please help me as much as you can. Everything else is conventional lighting instruments, which I mastered a long time ago.
 
They are asking you to do artistic interpretation on the fly!
Usually, it works the other way around in that you decide on what look you want and then pick the equipment you need to create the look. What they are effectively saying is "Here is some equipment we want you to use and make look good."
The only way to plan things out would be to see a rehearsal of the performance, and then schedule a few hours alone in the venue to play with the equipment and see if you can develop some "looks" that would augment the show. Take time, get a feel for what you can do with them. To try to do it real-time during a show without having worked with the equipment before hand is a nightmare.
Kind of like handing a brush to an artist and saying, "Quick, paint a picture!" The logical reply would be "Of what?"
 
They did say that I could program everything the day before dress rehearsal. It is a local dance studio that is renting them, and there will be one tech day, one dress rehearsal day, and then two show days.
 
I would start here:
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This is going to sound trite but it comes from the heart: "First tilt, then pan". If you don't tilt first then the pan won't appear to do anything.

You may want to try playing with some visualizer software and whatever default tutorial show file they provide just to familiarize yourself with the console and the way moving lights behave. I use Nomad and Capture Nexxum. Other vendors, like Martin, have their own visualizer.
 
You're asking rather a lot from a forum post. You will have more luck watching YouTube videos to get the hang of the concepts as it's bigger than a bread box. When you have specific questions, come back and we can help more.
@TJCornish ; You've got to realize he's already "mastered conventional lighting". Speaking for myself, I've been lighting for more than sixty years and the more I learn the more I realize remains unlearned and how far I am from "mastering" many, many aspects. I'm constantly amazed at how many young "masters" we have posting here on CB. I do like your "breadbox" analogy. Personally, I caught on to most of the electrical and angular aspects of conventional lighting comparatively quickly but my mini-stroke in the midst of 2014 brought blindness and the end of my continuing quest for color knowledge.
Say la vee, and that's my best Phrench. It could've been worse, as things always can be.
I'm still trying to learn ALL about women too but that's a whole other subject.
Toodleoo!
Ron Hebbard.
 
I have an update on being asked to operate moving heads. I know what equipment I will be dealing with. I will be working a Martin M2go lighting console controlling 2 Martin Mac 550s. Please help me as much as you can. Everything else is conventional lighting instruments, which I mastered a long time ago.
Tim, with respect, you're not ready for this, and there isn't enough that we can do on a forum thread to get you there. You can't just walk up to a console you've never used before with a totally different structure and thought process and go from finding the power button to having a show in 24 hours.

Download M-PC and the visualizer, then watch the videos Victor posted about M-PC as well as others on YouTube. Once you get quasi-oriented, get your hands on some gear and figure out basic concepts. For your upcoming show either get some help or at the very least, run all of the existing gear on the board you know and only use M-PC for the movers. That way you might be able to program a couple looks for the movers without trying to navigate your whole rig.
 
Tim, with respect, you're not ready for this, and there isn't enough that we can do on a forum thread to get you there. You can't just walk up to a console you've never used before with a totally different structure and thought process and go from finding the power button to having a show in 24 hours.

Download M-PC and the visualizer, then watch the videos Victor posted about M-PC as well as others on YouTube. Once you get quasi-oriented, get your hands on some gear and figure out basic concepts. For your upcoming show either get some help or at the very least, run all of the existing gear on the board you know and only use M-PC for the movers. That way you might be able to program a couple looks for the movers without trying to navigate your whole rig.
I have used Consoles capable of running moving heads before, just not with moving heads. I have used them with LED pars before.
 
Personally, I don't like the M-PC software very much. I understand it's flexible and *incredibly* capable, but from trying to use it, it is overly complex and not the kind of thing you want to learn on short notice.

If you're looking for something basic and simple to use, you can try QLC+. The biggest limitation I feel with it is the way it handles programming, and the limited number of built in movement patterns for moving heads.

Of course, you need to acquire a USB-DMX adaptor, but the widely supported uDMX dongles go for under $20 bucks online.
 
If you're hanging and cabling these yourself, CHECK VOLTAGES. A lot of movers, especially if they are arc sources, want 208 or 240V. Either way, they tend to only operate on 1 voltage and usage of any other will let the magic smoke out. Read the manual on if the arc lamp is hot restrike capable or not. Take mandatory cool down times into account if you have to douse or power cycle the fixture. And the big one I see people running in to is not ensureing adequete clearance for the full range of motion. Lost track of number of times I've seen a S4 Revolution do its power on self-test and ram the S4 right next to it because the show techs didn't take the 360 degrees of rotation into account.

Edit: Fixed pair of typos
 
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I have used Consoles capable of running moving heads before, just not with moving heads. I have used them with LED pars before.

Which ones? My Behringer Eurolight can run moving heads. So can my ETC Congo Kid. So can a grandMA. Virtually any console can technically run moving heads, though some will do a much better job at it than others. All three consoles I just listed are all over the spectrum in terms of cost, capability, and programming technique. Pushing "GO" on an ETC ION is easy - learning how to leverage the programming behind the desk to produce the vision you have in mind is much more difficult and takes practice. While it is possible to walk in and design a show with a console you've never used in a very short period of time (been there, done that), I have to agree with TJ on this one - if you are unsure of even the basic concepts of intelligent light programming let alone how to implement them with something you've never touched, this probably won't end too well. With enough determination you can do it, but asking an online forum to essentially design this for you isn't going to help. If I were in your position, I'd either study up as much as possible on the concepts of programming, particularly on the platform you'll be using...understanding that this will take major dedication on your part, or decline to use the moving lights and stick with what you know. Believe me, you don't need moving lights to make things cool. I've seen far more designs ruined by someone who HAD TO HAVE those moving lights but was clueless on how to program them tastefully (where they aren't darting around the stage like angry insects) compared to a simple but effective lighting design that fit the energy on stage without needing the flashy movers to distract from the talent. Either way, best of luck with all this!
 
Even if you were a really good ML programmer, two movers won't look overly impressive. Instead of thinking in terms of dynamic effects, just try programming some nice static looks that can change between numbers. "Point-n-shoot" is a good place to start and if you just want to add some texture, and I think you can handle that (just make sure that you know how to move-while-dark or whether or not the console does). Few things look more tacky than an ML hunting for its next position with the douser open.

I do agree that you will be in the weeds if you're wanting to program chases, sweeps, etc (unless the console has a decent effects engine). Even then, two moving heads doing a ballyhoo or color chase isn't much to write home about. If you are using haze, consider floor-mounting them and possibly adding more depth/height to the design. Just choose a nice aerial gobo and color which complements the rest of the scene and program it in.
If no haze, maybe consider balcony rail (if applicable), FOH, or anywhere you can get the most [visible] spread for texturing. Again, static looks with a slow gobo rotation or color change (if anything).

Doesn't sound like there is any need to make this look like a rock concert.
 
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Easy, you'll be fine keep with some simple looks. with 2 movers I definitely agree with @Les but you'll definitely want to check with the director to see what they had in mind.

the simpler the better. best to not to overcomplicate it and remember to have fun.

Check out the manual to the Mac 550's http://www.martin.com/Martin.Downlo...ents/11_MANUALS/999/UM_MAC550Profile_EN_E.pdf and keep a digital copy of the board's manual on your phone or laptop.

these are pretty simple arc lamp fixtures. There are a few things to watch for:
1. If you have the newer version than these are variable voltage fixtures they auto switch to accept the right voltage, so as long as you're in the U.S. you shouldn't have any voltage issues (i don't know the electricity for other countries), just bare in mind that they are 400w lamps so you'll need the room on a circuit. Best to keep them on a constant on (relay or breaker) so you don't have to worry about the power check the manual and verify it with the fuse in the fixture so you know which version you have. And they are hot striking so if you mess up and shut them off you dont have to wait for them to cool down to turn them back on like a lot of other fixtures

2. Keep spare lamps and a long Philips head screwdriver on hand. best to start with fresh lamps if you can. (the manual will tell you how to change them) DONT TOUCH THE GLASS!

3. With arc lamps, the lamp is struck and stays at full until told to turn off. there is an iris that opens and closes like a camera lens that acts as the dimmer but the lamp stays at full. Keep that in mind so you don't leave the lamp struck overnight and end up with some dead lamps. There are generally 2 ways this is set up in the menu on the actual fixture itself (the mover has an actual menu display). Either it will strike when it is turned on or it will strike only when a dmx strike command from the board. the easiest way to tell is just to turn the fixture on without dmx cable plugged in and if the lamp comes on your good. You'll want to make sure you either kill the power to the movers (this doesn't harm the fixture) after the show or douse the lamp from the console. I prefer to home the fixture, than douse, than shut the relay off.

4. Keep in mind that these are only 400watt lamps so they really cant compete with your standard 750watt leko at full. And once you throw color on it and a gobo you can lose up to 70% of its brightness. So maybe use them for color or texture wash in a dramatic dance scene.

just remember to keep it simple and have some fun.


Don't forget to douse the lights after the show ;-)
 
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I really like @Les 's advice above.

One last thing... talk to whomever is paying you to do the gig and be honest with them. You will work your butt off and do your best, but you've never done this before. The last thing you need is them thinking you are God's gift to theater and being mad when they find out you are faking it. Because they will find out. At this point in your career you need to impress people with your hard work and skill. You can't afford to have an angry customer on your resume.
 
Just a few thoughts, myself coming from a conventional position. Your time is very limited at just one rehearsal. You will need to prioritize how much time you can spend programming the movers. Get the show solid with your trusted plot before spending time on mover programming. For an inexperienced operator it is very easy to loose much time trying to make movers do what you want them to.
 
I have used Consoles capable of running moving heads before, just not with moving heads. I have used them with LED pars before.
How did it go for you?
Toodleoo!
Ron Hebbard.
 

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