Typically during a cue, the operator sets the next scene. The operator sets the faders into their positions based on the cue sheets. Generally, at least with a preset board, the operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions, as determined by the lighting designer. So the console operator can build a scene offline or in "blind", a cross-fader or submaster is used to selectively mix or fade between the different scenes. Each scene has the same number of channels which control the same dimmers. The faders (control slides) on these scenes can be manually adjusted. They consist of two or more identical fader banks, called scenes. Preset boards are the most basic lighting consoles-and also the most prevalent in smaller installations. Most consoles accept MIDI Show Control signals and commands to allow show control systems to integrate their capabilities into more complex shows.Īn Avolites Pearl Expert with optional Touch Wing, running the Titan control system. The purpose of all lighting consoles, however is the same: to consolidate control of the lights into an organized, easy-to-use system, so that the lighting designer can concentrate on producing a good show. A common protocol for this is ESTA E1.31 sACN (pronounced: streaming A.C.N.) or Art-Net.Ĭonsoles vary in size and complexity, from small preset boards to dedicated moving light consoles. Some lighting consoles can communicate over a Local IP network infrastructure to provide control over more scalable systems. 0-10 V analog lighting control) may still be found in use, and newer protocols such as ACN and DMX-512-A are evolving to meet the demands of ever increasing device sophistication. The most common protocol used in the entertainment industry today is DMX512, although other protocols (e.g. Lighting consoles communicate with the dimmers and other devices in the lighting system via an electronic control protocol.
0 Comments
Leave a Reply. |