What should I learn about how to build shows/live control beyond the basics
- Thread starterDragonfire
- Start date
Dragonfire
Member
I'm trying to avoid saying specifics about my setup. It seems that people will start talking about what gear I should get or be critical of what I have instead of talking about what I should learn.
So without being too vague, I use software on my computer that has no proprietary hardware, outputting using an Enttec box. I recently got an Akai APC40 and an APC mini to use for hardware. Most of the interface is a virtual control board with cues I programmed that I activate either for full scenes, or that will tweak individual elements on sets of fixtures (dimmer for pars, colors for zoom washes, prism for beams, etc.)
The reason why I say that I don't like grouping is because with my software I can just select all of the lights I want to use and make a group for just that effect or fanning, but if I set the lights to what the program defines as a "group", when I select one light it forces me to select all of them. So that is probably just a stance I have because of how this particular software works.
Part of the reason why I moved to software from a small controller was because after I got moving heads I needed something that could coordinate them. Sorry for being a little misleading about what my software did or didn't do, I think that was just a terminology difference. I am definitely familiar with having the lights move in sync and fanned.
I do have a friend who is getting GrandMA hardware soon, so I'm looking forward to learning on that and enjoying the flexibility and power of GrandMA, but I highly doubt I will be able to afford the nice stuff like that for a while considering their cheapest hardware is about $5k.
So without being too vague, I use software on my computer that has no proprietary hardware, outputting using an Enttec box. I recently got an Akai APC40 and an APC mini to use for hardware. Most of the interface is a virtual control board with cues I programmed that I activate either for full scenes, or that will tweak individual elements on sets of fixtures (dimmer for pars, colors for zoom washes, prism for beams, etc.)
The reason why I say that I don't like grouping is because with my software I can just select all of the lights I want to use and make a group for just that effect or fanning, but if I set the lights to what the program defines as a "group", when I select one light it forces me to select all of them. So that is probably just a stance I have because of how this particular software works.
Part of the reason why I moved to software from a small controller was because after I got moving heads I needed something that could coordinate them. Sorry for being a little misleading about what my software did or didn't do, I think that was just a terminology difference. I am definitely familiar with having the lights move in sync and fanned.
I do have a friend who is getting GrandMA hardware soon, so I'm looking forward to learning on that and enjoying the flexibility and power of GrandMA, but I highly doubt I will be able to afford the nice stuff like that for a while considering their cheapest hardware is about $5k.
I'll go against the grain and say, while the hardware matters, what you do with it matters a heck of a lot more. At the same time, I always recommend a programmer learns as many consoles as they can. Just looking at the way different consoles program, and what they assume and don't assume, can be really informative to your programming process. That's the half that isn't art and visualization. That half you have to work on seeing what you want in your head based on your experience and knowledge of what light, and your lights, can do. If you get a good handle on those two things, your console won't really matter.
Echoing those comments above. Another great learning idea would be to take advantage of all the free software and training right now and learn to program MA, Hog, EOS, and AVO. Learn the concepts that are similar vs those that are different. Getting underneath the thinking of why they work the way they do will help you be a better programmer overall.
Lynnchesque
Well-Known Member
No one is likely to criticize you for your gear here, it just helps to know what you're working with to give advice.
Unfortunately, there is a lack of information of the kind you're looking for. There are plenty of books on theatrical lighting, but not a whole lot describing busking- which is what it seems like you are doing. Your best bet is to watch those 'advanced' videos about the higher end gear, and see if you can glean some of the concepts, and work out how to apply it to your own rig.
Unfortunately, there is a lack of information of the kind you're looking for. There are plenty of books on theatrical lighting, but not a whole lot describing busking- which is what it seems like you are doing. Your best bet is to watch those 'advanced' videos about the higher end gear, and see if you can glean some of the concepts, and work out how to apply it to your own rig.
macsound
Well-Known Member
I guess I didn't quite understand that you were trying to learn more about concert lighting vs theatrical lighting, but I think my points still apply if you're looking to learn lighting foundations and excel.
The reason I mentioned what I did about creating a mood using a few (conventional) lights and understanding how to scale it up is because every concert will have a time when it needs the performers lit. While you can use moving lights, understanding subtle colors of offwhite using specific gel colors is a bit easier to digest than trying to use your eye when mixing CMY color on the console. Also understanding the concepts of key, fill and backlight, although not strictly a theatrical lighting concept, work in the fact that you usually have specified directions of lighting in any venue that you have to decide how to best utilize for the entire show. Getting the same 3 lights to make different looks is the crux of what makes a good LD.
It doesn't matter how great your chases follow the builds and drops in the song if there's insufficient lighting on the performers for them to be seen.
Obviously this is different based on how many performers there are, but even in an arena show, the importance of the illumination of the stage is far higher than what lights are creating the mood.
If I had 10 moving lights, I might have 5 Front + 3 Back with the remaining 2 dedicated to in-air effects. Of course fixtures can have multiple uses but getting the coordination between the chases and effects while maintaining visibility onstage is a talent.
Also, getting in the swing of programming moving lights for a chase is somewhat easier than trying to make a smooth wash that looks like it came from a pile of source fours. And the larger the gig, the harder a "simple" stage wash becomes. You may also find yourself in venues that have houseplots and being able to incorporate those fixtures means you need to know how and when to use them.
The reason I mentioned what I did about creating a mood using a few (conventional) lights and understanding how to scale it up is because every concert will have a time when it needs the performers lit. While you can use moving lights, understanding subtle colors of offwhite using specific gel colors is a bit easier to digest than trying to use your eye when mixing CMY color on the console. Also understanding the concepts of key, fill and backlight, although not strictly a theatrical lighting concept, work in the fact that you usually have specified directions of lighting in any venue that you have to decide how to best utilize for the entire show. Getting the same 3 lights to make different looks is the crux of what makes a good LD.
It doesn't matter how great your chases follow the builds and drops in the song if there's insufficient lighting on the performers for them to be seen.
Obviously this is different based on how many performers there are, but even in an arena show, the importance of the illumination of the stage is far higher than what lights are creating the mood.
If I had 10 moving lights, I might have 5 Front + 3 Back with the remaining 2 dedicated to in-air effects. Of course fixtures can have multiple uses but getting the coordination between the chases and effects while maintaining visibility onstage is a talent.
Also, getting in the swing of programming moving lights for a chase is somewhat easier than trying to make a smooth wash that looks like it came from a pile of source fours. And the larger the gig, the harder a "simple" stage wash becomes. You may also find yourself in venues that have houseplots and being able to incorporate those fixtures means you need to know how and when to use them.
Sins to avoid: Simultaneously blinding the talent while removing light from the sheet music she / he WAS reading.
Cross lighting a key board from such a low angle that the black keys create black shadows on the white keys.
Don't ask me how I learned these.
Think POSITIVE.
Test NEGATIVE.
Toodleoo!
Ron Hebbard
