Programming Discussion?

[Franklinscott57]

Hey CB. Thought I'd start a discussion on automated fixture/console programming.

The theatre I work in has a lot of down time, and we use it to fine tune our automated programming skills. I'll often find myself spending the better part of a Friday afternoon going through different programming exercises and make-believe scenarios. As a student I find these afternoons to be extremely helpful, and of an immense value. But, my creativity fails me at times, and repeating the same exercises continuously (while very helpful) can begin to get kind of boring. I know there are some professionals here with much more experience programming automated lighting consoles (obviously) than myself. I'm sure there are non-professionals who can say the same.

So, I ask of you (Being programmers, lighting designers, technicians, teachers, directors, fellow students, volunteers, whoever); would you like to discuss different exercises that can help make everyone a better programmer? Perhaps you have some favorites you would enjoy sharing. Perhaps you are interested in hearing how other programmers hone their abilities when they are not working on a show. I know I am.

Since I'm starting the thread, I suppose I'll post some of the simple exercises I enjoy.



[FONT=&quot]PLOT PATCHING[/FONT]


[FONT=&quot]Scenario: You have been hired to pre-program a console, using someone else[/FONT]’[FONT=&quot]s lighting plot.[/FONT]


[FONT=&quot]Exercise: Using any given lighting plot (not your own), set up a lighting console so that it is ready for a cue-to-cue. First patch all of the plot[/FONT]’[FONT=&quot]s fixtures into the console. Then proceed to create groups, or submasters, which will make programming cues easier. Since this is a fictional lighting plot, you won[/FONT]’[FONT=&quot]t have the physical equipment to actually move around and view. But, if you have visualization software you can use it to also create position, effect, and color presets.[/FONT]


[FONT=&quot]OLD SCHOOL BASICS[/FONT]



I say "old school" because most automated lighting consoles now come with built in effects processors that can help speed programming along. Before these engines, effects had to be painstakingly created manually. Sadly, many programmers now heavily rely on these effects engines. Our technical director will often challenge us to create chases and effects without the aid of this effects engine. He believes that this is an extremely important skill set as it forces one to develop an understanding of how these effects engines work. I agree, and believe that it can also lead to greater creativity in lighting designs



[FONT=&quot]Scenario: Your console does not have an effects generator (if it does, ignore it). You want to program some simple and common chases for a show.[/FONT]


[FONT=&quot]Exercise: Without the use of an effects generator, manually program the following chases.[/FONT]


[FONT=&quot]Kicks [/FONT]–[FONT=&quot] All fixtures are blacked out and pointing down on stage. One at a time, a fixture will turn on its intensity and move to a position pointing upward. As it finishes its move, it will black out and return to the starting position while at the same time another fixture will begin a similar move.[/FONT]


[FONT=&quot]Ballyhoo [/FONT]–[FONT=&quot] All fixtures move about in an area (stage or house) in a random fashion.[/FONT]


[FONT=&quot]Stabs [/FONT]–[FONT=&quot] All fixtures are irised down to their smallest size and placed in a static position with no intensity. Then, one fixture at a time snaps to full intensity. As each fixture snaps on, the previous fixture will snap off. Try having the fixtures mark to a new position after being blacked out. This will add some dynamics to the effect.[/FONT]


[FONT=&quot]Fading Pulse [/FONT]–[FONT=&quot] All fixtures randomly fade intensity from 0 to 100%.[/FONT]


[FONT=&quot]Indigo/Red [/FONT]–[FONT=&quot] A rapid snap change from an indigo or congo color to a red or orange color. This can be with all fixtures changing at the same time, or half the fixtures being indigo while the other half are red. I favor indigo and red. Really though, any two highly contrasting colors would work for this effect. [/FONT]


[FONT=&quot]Random Strobe [/FONT]–[FONT=&quot] Have all fixtures strobe at various rates to create a random strobing effect.[/FONT]


[FONT=&quot]Line Chase [/FONT]–[FONT=&quot] All fixtures are blacked out. Then, turn on one at a time in a linear order. This works best with fixtures placed all in a row.[/FONT]


[FONT=&quot]Smooth Color Mix (Rainbow) [/FONT]–[FONT=&quot] Have color mixing fixtures crossfade through all possible colors except white. This can often be created with six steps or cues.[/FONT]


[FONT=&quot]Gobo Rockers [/FONT]–[FONT=&quot] Rotating gobos are set to an indexed position and then crossfaded or snapped between two indexed positions. This, obviously, causes the gobo to rock back and forth.[/FONT]


[FONT=&quot]OLD SCHOOL CIRCLES[/FONT]


[FONT=&quot]Scenario: Your console does not have an effects generator (if it does, simply ignore it). You want to program a circle effect with moving lights, and will have to do it manually.[/FONT]


[FONT=&quot]Exercise: Start by charting the positions manually. This is achieved by marking the stage with eight to twelve different positions in a circle layout. Spend time (it[/FONT]’[FONT=&quot]ll take awhile) to focus every fixture in the effect to each mark on stage and record each of these positions. Then build a chase that has the fixtures move together from point to point, thus creating a circle on the stage. For added measure, you can focus two fixtures to each mark and program a similar chase. This adds crossing beams above the circle pattern.[/FONT]


[FONT=&quot]SURPRISE BAND[/FONT]


[FONT=&quot]Scenario: You have been hired to program lights for a small two day business meeting, using about twenty fixtures. Late in the first day, the client informs you that a band will be performing during the second day[/FONT]’[FONT=&quot]s lunch break (a one hour period). You can only be in the venue for three more hours, and need to program lighting for the small concert.[/FONT]


[FONT=&quot]Exercise: Taking up to three hours only, program twenty fixtures for this surprise concert. Remember, you want to be prepared for about an hour of playback time. When you have finished programming, ask a friend to grab a mixed selection of CDs. Have your friend pick a CD at random and play it for you. Playback your programming to the various types of music. Do so for about an hour, being sure to switch up the music style every couple of songs. This helps evaluate your ability to program and operate lighting for acts which you have never seen or heard before. If the playback is able to fit well with the various songs selected then you, sir, have won.[/FONT]



These are a few of the very basic programming exercises we will go through every week.

What are some exercises you have developed?


I (and others I'm sure) would love to know. So please, don't hesitate to join the conversation.

 

[derekleffew]

How about developing a new/better way of working with color palettes for color mixing fixtures? I once had a HogII disk where color palettes 1-99 were Roscolux 01-99 for my most often-used fixtures.

I also like Christian Choi's approach, described here:

...
At a minimum, one should immediately create color palettes for the seven basic colors (WHT, CYN, MAG, YEL, RED, GRN, CGO) as soon as one sits down at a console, if the console does not auto-generate them. Other colors needed will depend on the show and preference of the designer.

Copied from Christian Choi's Programming Tutorials:
The first color mixing colors that I’ll record in my color palette are the ones that are easiest to mix, the full primaries and secondary colors. To do this, I’ll select my color mixing fixtures and the first color I’ll record is full unadulterated magenta. I’ll record this color in the top right button of my screen. From there, I’ll roll in the cyan leaf in addition to the magenta. Any guesses which color this might mix? If you said congo you were correct. I’ll record the congo just under the magenta. Next I’ll completely roll out the magenta leaf and leave only the cyan leaf to be recorded. I’ll record cyan under the congo. Now I’ll add the yellow on top of the cyan which will mix a green. I’ll record the green just under the Cyan. If I take out the cyan leaf, I’ll leave only the yellow to be recorded under the green. This leaves me with just one more combination to record, which would be yellow plus magenta. This would mix a fire red. If you take a look at figure 8 you can see how the colors line up on the right side. From top to bottom wee have magenta, congo, cyan, green, yellow, and fire. To the left of these colors I’ll create about 5 lighter shades of each hue. When you combine 2 leafs such as cyan and yellow to mix a green, if you take the cyan out about 40% you will yield more of a yellow green or chartreuse. Instead, if you take out the yellow leaf 40% you will yield a blue green or turquoise. This demonstrates that with every combination you can have 2 possible hues of that color. When I organize my color palette, I’ll separate these 2 hues into 2 areas of the same row of palettes.

I’ll organize my color-mixing colors from darkest to lightest going left. It’s important that whatever organizational technique you come up with, you group similar shades of color together from darkest to lightest. When a designer asks for a color they rarely ask for it be the number of your palette, instead they’ll say "give me a blue-green". It’s then up to you to supply them with a blue-green. If they want a different blue-green, they’ll usually give you some indication as to whether they want a more or less saturated one or they’ll simply say "lighter" or "darker" and sometimes "bluer" or "greener". If your colors are organized chromatically and from darkest to lightest, it will be easy for you to keep up and finally produce the exact color the designer is looking for.

Building one's own palettes, be they color, beam, position, or whatever, allows the programmer to build speed and muscle memory.

 

[Franklinscott57]

Somehow, I had a feeling you would be the first to respond to this.

I like the idea of creating color palettes that match up with commonly used ROSCO gels. I had never thought of trying to re-create those specific colors, as I usually just pick hues that I'm feeling at the time.

This is definitely something I will find myself working on later today.

Did the HogII not come with pre-made palettes? We work with a hogIII, and I am not entirely familiar with the differences.

 

[derekleffew]

...Did the HogII not come with pre-made palettes? We work with a hogIII, and I am not entirely familiar with the differences.

Immediately after adding fixtures and patching, most users would select "Auto-Generate Palettes." I never did, as I found it gave unnecessary/unwanted palettes: All Fixtures; All Odd, All Even, etc. It only made Color palettes for Wheel colors, no Mixed colors. It also named some fixtures' gobos odd names, neither the manufacturer's nor the most commonly-used names.

Color pickers are great; but once you've called up a color onstage mixed with CMY, and the LD says "make it a little more red," what do you do?

Another tip: Many lights have on-board macros that can quickly make for interesting effects. Learn what they are and when they could be useful. Some are hideous and you'd never use them. Others, such as "Iris pops" can look like raindrops hitting and evaporating.