Live mode
Live mode is used for graphically simulating the output of a lighting control console or compatible offline editor. Live mode also has rendering ability, enabling you to create photo-realistic pictures of the simulated lighting looks. Unlike Design mode, Live mode displays transitions from cue to cue, allowing you to see the programmed movement of light over time. If you have configured a patched video source, you can use Live mode to control the progress of your video with the console device. And if you have patched and mapped an image to a light-emitting surface, you can control it with the Image Console.
Live mode is available only in WYSIWYG Perform.
In this section
Beneath the work area in each mode is a series of Layout tabs. These tabs provide various configurations of the views that you are working with. To change layouts, click the appropriate tab.
Live mode contains the following Layout tabs:
nWireframe: The work area displays a full-screen wireframe view.
nQuad: The work area is divided into quadrants, three of which can be modified to show plan, front, or side views. The lower-right quadrant contains a Shaded view.
nShaded: The work area displays a full-screen Shaded view.
nCustom: A custom layout, with views defined by the user. See “Custom tab window layout”.
Notes:
nThe wireframe views in Live mode are used for fixture selection only. To make any drawing modifications, you must return to CAD mode.
nYou can change the properties of the fixtures in LIVE mode by double-clicking on the fixture, which opens its Properties window.
To use Live mode, you need to insert and connect to a control console or compatible offline editor. If you use a DMX console, you require a DMX interface device to connect to WYSIWYG.
You must ensure that the patch you have created in WYSIWYG and the patch in your console are exactly the same for simulation to work properly.
1Connect the console to the computer with the appropriate hardware.
2From the Managers menu, choose Device Manager.
Result: The Device Manager window appears.
3Click New.
Result: The console library is displayed.
4Navigate through the console library until you find the console or device that you are connecting to. Click the console name to highlight it.
5Click Insert.
Result: The console appears in the Device Manager.
6With the console name still selected, click Properties.
Result: The Properties dialog box appears.
7From the Protocol drop-down list, select the protocol used by the console. For example, DMX, SandNet.
Result: The console model is displayed in the Model box. The name of the console is displayed in the Name box.
8In the Address box, type the designated address of the console, if applicable.
9A list of the output ports from the console appears in the Ports list. You must assign these outputs to WYSIWYG patch universes. Click the appropriate port to highlight it.
Notes:
nMotion control systems have a single port named “Motion.”
nIf you are working with a motion control system, then you can assign only to motion universes; if you are working with a DMX console then you can assign only to DMX universes.
10Select the desired Patch Universe, and then click OK.
11Repeat the above steps to bind all ports to their appropriate patch universes.
Note: You cannot control a channel count exceeding that of the WYSIWYG Perform package that you purchased.
12Click Close to close the Properties box.
13Click Connect.
Result: The status of the console changes to “connected.”
14Click OK to exit the Device Manager.
Notes:
nOnce the console is running and connected to the WYSIWYG drawing, operate the console as you would in the live venue. Run up channels and record cues using the console. Remember that WYSIWYG does not store or save cues—this is done in your console’s memory. Once the console information is set up, you can set WYSIWYG to automatically connect to the console every time the file is opened.
nYou can also perform the above procedure through the Device Manager Toolbar. For details, see “Device Manager Toolbar”.
To unassign the patch binding settings of multiple ports
1From the Managers menu, choose Device Manager.
Result: The Device Manager dialog box appears.
2Select the console.
3Click Properties.
4Select the ports for which you want to change the patch binding.
5Click Unassign.
Result: All the selected ports will become unassigned.
To patch multiple ports simultaneously
Note: When assigning multiple ports to universes, the selected ports will be assigned to universes in sequential order. The universe sequence is based on availability, then alphabetical order.
1From the Managers menu, choose Device Manager.
Result: The Device Manager dialog box appears.
2Select the console.
3Click Properties.
4Select the ports for which you want to patch.
5Click Assign.
Result: The Quick Patch Assignment dialog box appears.
a.To have all universes available for patching, even ones that were previously assigned, select the checkbox by Show Assigned universes (Indicated by *). Otherwise, only unassigned universe will be available to patch.
6In the Quick Patch Assignment window, from the Available Universes drop-down list, select the universe that will be assigned to the first selected port.
Result: A summary of the assignments are displayed in the dialog box. The summary notifies if there is a conflict with either a universe being unassigned or reassigned.
7Click OK.
Result: The ports will be patched to universes. The first port selected will be assigned to the first universe selected. The next sequential port will be patched to the next sequential universe. This continues until all the selected ports are assigned, or there are no more available universes to assign.
8Click Close to close the Properties box.
9Click Connect.
Result: The status of the console changes to “connected.”
10Click OK to exit the Device Manager.
The Image Console is produced by CAST Software and ships with WYSIWYG. It acts like a lighting console, media, or video server, enabling you to control color, intensity, and the image display of all patched LED surfaces that you have created with the LED Wizard.
1From the Managers menu, choose Device Manager.
Result: The Device Manager window appears.
2Click New.
Result: The console library is displayed.
3Double-click Consoles > Manufacturer > CAST Software, and then highlight Image Console.
4Click Insert.
Result: The console appears in the Device Manager.
5With the console name still selected, click Properties.
Result: The Properties dialog box appears.
6Leave the defaults for Protocol, Model, and Name.
7In the Address box, type the designated address of the console. Note that this address must match the Device Address that you type in the Image Console window. For details on configuring the Image Console, see “To configure the Image Console”.
8A list of the output ports from the console appears in the Ports list. You must assign these outputs to WYSIWYG patch universes. Double-click the appropriate port to open the Quick Patch Assignment window.
9In the Quick Patch Assignment window, select the appropriate patch universe, and then click OK.
10Repeat the above steps to bind all required ports for your LED grid to their appropriate patch universes.
Note: You cannot control a channel count exceeding that of the WYSIWYG Perform package that you purchased.
11Click Close to close the Properties box.
12Click Connect.
Result: The status of the console changes to “connected.”
13Click OK to exit the Device Manager. You can now control the patched LED grid with the connected Image Console. For details, see “To control a patched grid of LEDs with the Image Console”.
The Device Manager Toolbar simplifies your regular device connect/disconnect operations. You can use the drop-down list on this toolbar to select a device (Consoles, Devices, Networks), and then click the connect icon or the disconnect icon.
The “All Devices” option in the drop-down list enables you to easily connect/disconnect all devices with one click without opening the Device Manager.
This section contains instructions for editing the console settings, as well as using consoles to control various types of elements, such as video and motion axes.
Note: For information about the mapping of images onto patched light-emitting surfaces, see “Image Console”.
To set the console to connect on load
1From the Managers menu, choose Device Manager.
Result: The Device Manager dialog box appears.
2Select the console.
3Select the Connect on load checkbox.
4Click OK to close the Device Manager.
To remove a console from the Device Manager
1From the Managers menu, choose Device Manager.
Result: The Device Manager dialog box appears.
2Select the console that you want to remove.
3Click Delete.
Result: The console is removed and all patch binding information is lost.
Controlling a DMX patched video source with a console
Note: If the video control is patched and DMX connected in Live Mode, then you will not be able to control the video using any of the Video Designer tool commands in Design mode. Video sources can only be controlled by a Designer tool when the DMX source is disconnected; therefore, you must first disconnect the applicable console device from Live Mode before using any of the Video Designer tool commands.
After you have patched the control of a video source in Data mode, you can use the applicable console device to control the progress of the video in Live mode.
In WYSIWYG, you patch the control of a video source, not the actual video. This means that you can use the console device to control the progress of a live video stream or a video file by making the video play, pause, or rewind; you cannot use WYSIWYG to change different aspects of the video itself.
To control the video source, the DMX patch is allocated three channels with the following controls:
nFirst channel (Intensity): The video is off if the value is set between 1—128 (below 50%), it is on if the value is between 128—255 (above 50%).
nSecond channel (Control): The video is controlled by the position that you set on the third channel if the value is set between 1—84 (between 1% and 33%), it is paused if the value is set between 85—169 (between 33% and 66%), and it plays if the value is set between 170—255 (between 66% and 100%).
nThird channel (Position): If you have set a value within the bottom third level of the second channel (between 1% and 33%), then you can use the third channel like a slider, advancing the video either backward or forward to the exact position that you want to see. If the value on the second channel is set to any level above 84 (between 33% and 100%), then the third channel is disabled.
To control a DMX patched video source with a console
1Ensure that the console device is connected to the patched video source. For details on connecting a console, see “To connect to a console”.
To play the video from start to finish, perform the following steps:
a.Set the first channel to a value between 128—255 (above 50%).
b.Set the second channel to a value between 255—170 (between 100% and 66%).
To pause the video, perform the following steps:
a.Set the first channel to a value between 128—255 (above 50%).
b.Set the second channel to a value between 255—170 (between 100% and 66%) and play the video to the spot where you want to pause it. Then move the second channel to a value between 169—85 (between 66% and 33%) to pause the video at this spot.
To control the progress of the video manually, perform the following steps:
a.Set the first channel to a value between 128—255 (above 50%).
b.Set the second channel to a value between 84—1 (between 33% and 1%).
c.Slide the third channel up and down to control the progress of the video, forward and backward.
Controlling a DMX patched motion axis with a console
After you have patched a motion axis in Data mode, you can use the applicable console device in Live mode to control the movement of any objects that are attached to the axis.
To control the object, the DMX patch is allocated two channels with the following controls:
nFirst channel (Move): The first channel is for coarse movement and can be used to advance the object quickly to any position along the entire path, from start to finish.
nSecond channel (Move Fine): The second channel is used for further refining the object’s position that you set with the first channel. Adjust the slider on the second channel to move the object very slightly either forward or back from its current position. The movement achieved with this channel is so fine, that it is best viewed on linear axes that are quite long. Note that for rotation axes, the movement is so slight, that you may not be able to see it.
To control a DMX patched motion axis with a console
1Ensure that the console device is connected to the patched motion axis. For details on connecting a console, see “To connect to a console”.
2To move the object quickly along the motion axis, adjust the slider on the first channel, stopping at the position where you want to leave the object.
3To move the object in fine increments either forward or back from its current position, adjust the slider on the second channel.
Tip: To view fine movement, the object must be attached to a very long linear axis, or be set to rotate in a very wide arc. It is also a good idea to zoom in quite close to the object before moving it.
Controlling a motion-control patched motion axis with a motion control system
After you have patched a motion axis in Data mode, you can use the applicable motion control system in Live mode to control the movement of any objects that are attached to the axis.
Based on the type of system that you are using, you can control the object in different ways. The following procedure outlines how to control the object(s) with WYSIWYG Motion Control Console.
To control a motion-control patched motion axis with a motion control system
1Launch the Motion Control Console.
2Ensure that the Motion Control Console (or the motion control system if you are using one) is connected to the patched motion axis. You connect the Motion Control Console (and motion control systems) in much the same way as you connect consoles. For details, see “To connect to a console”.
3To change the settings of a patched motion axis, highlight the axis in the left pane, and then choose from the following settings:
nID box: To change the ID of the motion axis, type the new motion control ID.
nTravel box: Type the distance (in meters for linear axes, in degrees for rotational axes) that you want the object to travel along or around the axis. This can be the full length/angle of the axis, or only a portion of it if you do not want the object to travel along/around the full path. For linear axes, if you type a value that is longer than the actual axis, the object stops at the end of the physical axis.
nType: If you change the axis type so that it does not match the axis that you have drawn (for example, if the actual axis is linear, but you choose rotational here), the cell in patch view turns to red.
In the Mode area, select the type of movement for the object:
nManual: Select this option if you want to specify the precise location of a static object on the motion axis. You can then use the position slider at the bottom of the window to adjust the position and control the movement of the object manually.
nBounce: Select this option if you want the object to move forward and backward in a continuous loop along the motion axis.
nForward: Select this option if you want the object to move forward along the axis from start to finish, and then start over again at the beginning in a continuous forward loop.
nBackward: Select this option if you want the object to move backwards along the axis from finish to start, and then begin over again in a continuous backwards loop.
nDuration (sec) box: If you have chosen any moving Mode value (that is, any value except Static), you can specify the length of time (in seconds) over which you want the full range of motion to take place. The larger the number you type in this box, the slower the object moves.
nPosition slider: For all moving modes (bounce, forward, backward), the slider indicates the position of the object when the console is sending data to WYSIWYG. For the static mode, while the console is started, drag the slider to adjust the position of the object on its axis. The position value changes in the box in the left pane.
nPosition box: While the console is sending data to WYSIWYG, for all moving modes, this box shows the progress of the object’s movement along its axis; for the axes in the static mode, you can type the precise location of the object on the axis.
4Click Update Axis to view your new settings.
5Click Save to save the changes.
Note: If you make any changes to the axis settings and save the changes, you can revert to the previous settings by clicking Load.
WYSIWYG contains an application that simulates a small console, called the Mini Console. You can use this application in lieu of a real console. To use the Mini Console, run the Mini Console application, found in the WYSIWYG section of the Windows Start menu. Connect as if you are using an external console.
The Mini Console gives you control of a single DMX universe but does not record or playback cues.
The Image Console is a control device much like the existing Mini Console, only specifically for controlling LED elements.
It acts like a lighting console, media, or video server, enabling you to control color, intensity, and the image display of all patched LED surfaces that you have created with the LED Wizard.
This console enables you to control and test color, intensity, and image mapping independently or simultaneously in Live mode.
Note: It is recommended that you configure the Image Console first and then use the LED Wizard to create the LED grid that will display the image.
If you are going to choose multi-patch for color, single patch for intensity and you are going to use the Image Console to display an image on the LED grid, then it is recommended that you note the last patch address for intensity that is displayed in the configured Image Console and type this same address for the Dynamic Intensity Control Patch in the LED Wizard.
In the following example of a configured Image Console, the last address for intensity is 193, so this is the value you would type in the LED Wizard for the Dynamic Intensity Control Patch. For details on using the LED Wizard, see “LED Wizard”.
To configure the Image Console
Note: After you configure the Image Console, you configure and patch a grid of light-emitting surfaces using the LED Wizard. For details, see “To use the led wizard”.
For optimum image viewing, the patch settings that you have defined for both intensity and color in the Image Console must match those that you define for the LED grid. For example, if you choose multi patch for both intensity and color in the Image Console, then you must also choose multi patch for both properties in the LED Wizard.
1From the Start menu, choose WYSIWYG > Image Console.
Result: The Image Console appears.
2Click Show multi-patch numbering if you have enabled multi-patch and want to see a graphical representation of the numbering of the surfaces in the grid, either along columns/rows or in a serpentine pattern.
Note: The graphic appears only after you have chosen an image and clicked Apply.
3Complete the following fields on the Dimensions tab:
nHeight: Type the number of rows that you are going to configure in the LED grid.
nWidth: Type the number of columns that you are going to configure in the LED grid.
4Click the Intensity tab and complete the following fields:
nEnable Dynamic Intensity: Select this checkbox to control the intensity of the light emitting surface in Live Mode when connected to a console. Then choose the patch properties below.
nIntensity slider: Use the slider to select the maximum intensity value of the light-emitting surface when connected to a console and viewed in Live mode, with 255 representing the brightest possible intensity. This value enables you to control the scale of the intensity over a series of light-emitting surfaces. (When you disconnect from the console, the intensity is fixed at the static value.) Note that the DMX intensity value is treated as a percentage of the dynamic intensity value. For example, a DMX value of 127 results in 50% of the maximum intensity value that you set.
nSingle Patch: Select this value to apply a single address that controls the intensity of the surface as a whole, and then choose whether you want to use the Default Single-Patch Address or specify the port and channel of the single patch address.
nMulti Patch: Select this value if you want to use different addresses for each individual element in the grid. With multiple addresses, you can make different parts of the grid have varying intensity levels.
5Click the Color tab and complete the following fields:
nEnable Dynamic Color: Select this checkbox to control the color of the light-emitting surface in Live Mode when connected to a console. Then choose the patch properties below.
nSingle Patch: Select this value to apply a single address that controls the grid as a whole, and then choose the color properties. For example, if you choose red from the drop-down color-picker, every surface in the entire grid will be red. You could use this setting to create a string of holiday lights with the same color, and then control the intensity of the lights as one string to turn them all on or off simultaneously. Then choose the default single patch address or specify an address.
nMulti-Patch: Select this value if you have chosen different addresses for each individual element in the grid. When you choose multi patch, you can apply a graphic to the grid, with the colors in the graphic mapped to each of the grid’s surfaces.
nImage: Click the ellipsis button (...) to browse for the image that you want to map to the LED grid in your plot. You can choose from multiple graphic formats such as .gif, .jpg., or .bmp. For optimum results, the image size should be proportional to the grid size. For example, if your grid is 20 columns wide by 20 rows high, then your image should be perfectly square. If your grid is 30 columns wide by 20 rows high, then your image size should be in the ratio of 3 X 2 (for example 600 X 400 pixels).
nMode: Choose how the image is mapped to the surfaces in the grid. The 1:1 option is ideal for images that have the exact same dimensions as the grid on a pixel per row/column mapping (for example, if your grid is 20 x 20, then the image should also be 20 x 20 pixels). Choose Stretch to have the image stretched over the surfaces of the grid. Note that based on the image size, there might be distortion. Choose Stretch Preserving Aspect Ratio to stretch the image over the grid and keep its original aspect ratio. Note that this option is only suitable when the grid shape and image shape are the same. For example, if the image is rectangular, but the grid is square, some of the surfaces in the grid will remain blank because the image will not stretch to cover them.
6Click the Multi-Patch Numbering tab and complete the following fields:
nStart From: For multi-patch, choose where you want to start the numbering of the surfaces in your grid.
nNumber Along: Select the direction of the numbering, either along the rows or columns of the grid.
nAlternate direction for each row/column: Select this checkbox to have the numbering progress in a serpentine pattern throughout the grid.
Note: Click Apply to see a preview of your numbering choice.
7Click the Advanced tab and complete the following fields:
nDevice Address: Type the address of the Image Console. This name must match the Image Console address configured in the Properties window of the Device Manager. For details on using the Device Manager to connect the Image Console, see “To connect the Image Console”.
nDMX Channels per Port: Type the number of DMX channels required per port. Leave the default value of 512 for DMX universes. If you are using a universe with a greater number of ports, type the number of channels in this box. If you are using a protocol that supports more than 512 channels per port, type the value here.
8Click Apply.
Result: A preview of the grid appears in the left pane. To change the look of the grid, adjust any of the values, and then click Apply again.
9To save your settings so you can open the Image Console and use the same properties at any time, click the Save icon, and then type a name for the console.
What’s next?
If you are going to choose multi-patch for color, single patch for intensity and you are going to use the Image Console to display an image on the LED grid, then it is recommended that you note the last patch address for intensity that is displayed in the configured Image Console and type this same address for the dynamic Intensity Control Patch in the LED Wizard.
In the following example of a configured Image Console, the last address for intensity is 180, so this is the value you would type in the LED Wizard for the Dynamic Intensity Control Patch. For details on using the LED Wizard, see “LED Wizard”.
To control a patched grid of LEDs with the Image Console
There are three prerequisites to this procedure:
nFirst you must configure the Image Console.
nSecond you must create and patch an LED grid. For details, see “To use the led wizard”.
nLastly you must connect the Image Console. For details, see “To connect the Image Console”.
1Click Live mode > Shaded tab and adjust the view so you can clearly see the grid that you have created.
2From the Start menu, choose WYSIWYG > Image Console.
3To open a configured and saved console, click File > Open, and then navigate to the .lxi file containing your saved console properties. If you have not yet configured your Image Console with the image you would like to display, perform the steps in the procedure “To configure the Image Console”.
4When you are satisfied with your settings, click Apply. Note the appearance of the LED grid in the Shaded tab. Adjust the properties of the Image Console as desired, and then click Apply again.
AutoPatch is a protocol by which WYSIWYG can transfer the patch hookup to a compatible console. AutoPatch is only available in WYSIWYG Perform.
You must be connected to a compatible console for this feature to be enabled. All ports for which you want the patch information to be transferred must be properly bound. Only the hookup information in patch universes bound to the console’s outputs will transfer.
The patch information is transferred over Ethernet.
To perform an AutoPatch
1Connect to the console as described in “To connect to a console”.
2From the Live menu, choose AutoPatch.
Result: The AutoPatch dialog box appears.
3Click Send Patch.
Result: WYSIWYG assembles the patch information for all the fixtures in the plot and then attempts to send the relevant patch information to each connected AutoPatch-capable device.
Notes:
nA fixture’s patch information is transmitted to a console only if the following conditions are met:
nThe fixture has at least one part that is patched to a patch universe.
nThe patch universe is bound to the console.
nThe console is connected to WYSIWYG through the Device Manager.
nSome fixtures might have parts patched to two (or more) different consoles. In this situation, both consoles will receive the patch information for that fixture, but the port numbers given for each part will be set appropriately for each console.
nIt is recommended that you click Clear Patch prior to sending the patch to clear out the existing patch.
4Click Close.
To clear the patch
1Connect to the console as described in “To connect to a console”.
2From the Live menu, choose AutoPatch.
Result: The AutoPatch dialog box appears.
3Click Clear Patch.
Result: WYSIWYG prompts each AutoPatch-capable device to clear the patch for each port that is bound to a WYSIWYG patch universe.
4Click Close.
There is a limitation on the number of DMX channels that can be simulated in Live mode. 131,072 channels (256 universes) of simulation are available in WYSIWYG.
In Live mode, WYSIWYG will not simulate the DMX values being received on channels that exceed the channel count of your system. The unused channels display on the Status bar tracks the remaining channels for simulation.
Note: Fixtures on layers that are not visible or not included in the current scene are not counted.
For more information on the Status bar, see “Status bar”.
The Simulation options affect how fixtures respond in Live mode and how the beams are displayed in Shaded view. Turning options off will yield faster simulation performance while compromising aesthetics. For optimal results, increase the processing power of your computer.
To change the simulation options
1From the Options menu, choose Document Options.
Result: The Document Options window appears.
2Click the Fixture Settings tab.
3Make your selections, and then click OK to exit.
Autofocus is the protocol that WYSIWYG uses to “talk back” to a compatible console. Using the mouse in a Wireframe view or using the concept shortcuts and design tools at any time, you can direct the console to select fixtures, set focus, and control intensity, iris, and color. Autofocus is connected through MIDI, Serial, or Ethernet.
The following consoles are compatible with the Autofocus protocol:
nFlying Pig Systems WholeHog II
nHigh End Systems WholeHog III
nETC/High End Systems WholeHog IV
nCompulite Vector
nETC Congo, Pronto, Prisma NT, Focus NT
nMA Lighting grandMA 1 and 2
nLeHigh Rendition and Millenium
nRosco Horizon software
nChamsys MagicQ
nLightFactory software
nSGM Regia (all)
Assigning spot numbers to fixtures
In addition to assigning DMX addresses to fixtures, you must assign specific Spot Numbers to them in Data mode. The Spot Number that is assigned to the fixture in WYSIWYG must match the Fixture ID/Spot Number assigned to the fixture in the console.
Note: Unless you assign a Spot Number, you cannot control the fixture using AutoFocus.
To bind Autofocus to the console
1Follow steps 1 through 14 of “To connect to a console”.
2Click Bind Autofocus.
Note: The Bind Autofocus button is only available when a compatible console is selected in the Device Manager.
Result: The autofocus icon appears beside the name of the console in the Device Manager.
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The autofocus icon. |
3Click Connect.
4Click OK to close the Device Manager.
Autofocus tools and menu commands
To select fixtures
The procedure for selecting fixtures in Live mode is the same as selecting fixtures in Design mode using the design tools and Concepts shortcuts. For more information, see “Using the design tools”.
To use the Autofocus tools
The procedure for using the autofocus tools is the same as using the design tools. For more information, see “Using the design tools”.
To use the Autofocus menu commands
Right-click on a selected fixture or fixtures to open a menu with the following Autofocus commands:
nAt Level and Focus: Sets the intensity of the selected lights on the connected Autofocus-compatible console to the level last specified by the Intensity command, and then launches the Focus command.
nFocus: When you click in a Wireframe view, the selected automated fixtures will focus (if they can) to that point. Click and drag to position them in real-time. Change the missing focus coordinate to alter the height at which you want to focus the fixtures.
nIntensity: Reveals a sub-menu where you can specify the level to set the intensity for the selected fixtures. The first option in the list is the last level you specified and by default is set to Full. You can also set the level to half and out.
nIris: Sets the iris to either tight or wide. There is also a Specify option where you can set the iris to any percentage. The Specify value is retained for the session.
nColor: Fixtures that can mix color can be directed to either a palette color or an approximation of a manufacturer’s gel color. You can specify and save palette colors using the custom color creator or Palette shortcuts.
nYou can repeat Autofocus commands by touching the Space bar. This way, you can select one fixture, adjust it, select another, and then press the Space bar to perform the same operation repeatedly.
nAlter the missing focus coordinate to focus fixtures at different heights.
nWhen focusing fixtures, you can click and drag in the wireframe view. If you are using WYSIWYG in the theatre, launch this command, and then look to the stage to position your lights.
nWorking in an Isometric view, you can use the snap tools to focus fixtures to points on your set pieces.
nIf you set the intensity to a specific value, the right-click menu option At Full and Focus changes to At ##% and Focus where ## is the specific value that you set.
nSelect multiple fixtures by dragging a window around them. If you drag the window from right to left across projected beams, you can select the fixtures that produced the beams.
nTo select fixtures by type, draw a box using the right mouse button. You will be prompted to isolate one or more types of fixtures.
nUse the Concept shortcuts to create and select groups of fixtures.
nUse the Palette shortcuts to save and send color commands.
At any time in Live mode you can generate a rendering of a lighting cue or static look. The Render Wizard calculates the rendering based on the DMX values being received at the moment when you click Finish.
To render a lighting look
1In the working area of the screen, display the lighting look that you want to render.
2From the Design menu, choose Render.
Tip: You can also click the Render Wizard tool on the Design toolbar.
Result: The Render Wizard appears and guides you through a series of options. Click Next and Back to navigate through the Render Wizard.
3Click Finish.
Result: WYSIWYG generates the rendering of your lighting look or cue. If the rendering is saved internally, it is available as an image in Presentation mode.
Note: For more information, see “Rendering”.
With the DMX Camera utility, the camera's orientation (position and target), zooming, and roll features can all be manipulated and recorded to create a realistic rendering of a professional, fully edited film clip.
It is important to distinguish between DMX Camera and cameras drawn in the CAD mode of WYSIWYG. Drawn cameras provide a single viewpoint; the camera can be moved, but only by one parameter at a time and there is no possibility to track or record camera movements. DMX Camera is not drawn in your plot and is completely maneuverable; each attribute is patched to a DMX channel and controlled through the console of your choice. Changes can be recorded on a separate cue list, if the console allows it; alternatively, camera changes can be recorded directly into previously created cues. The result is a recorded camera track that runs simultaneously with your show.
To use DMX camera
1From the Live menu, choose DMX Camera Patch.
Result: The Enter DMX Camera Patch dialog box appears.
2In the Enter DMX Camera Patch dialog box, select the method to control the DMX Camera orientation.
n Target-based Orientation Control (Legacy): Select this radio button to use the traditional method of setting DMX values for the XYZ coordinates of its Target.
nYaw-, Pitch- Roll-based Orientation Control: Select this radio button to provide DMX values for its Yaw and Pitch angles.
The control method is selected after DMX Camera is patched via the LIVE menu in LIVE mode.
3In the Starting Address (Universe Channel) box, enter a new patch (for example, type Camera.1, where the "1" indicates the first channel number that the camera attributes will patch into).
Result: The Specify Patch dialog box appears.
4Select the patch universe or create a new patch universe.
5From the Manager menu, choose Device Manager.
Result: The Device Manager window appears.
6In the Device Manager window, bind the appropriate output of your selected console with the camera's patch universe, and then connect to the console.
7In LIVE mode, click the Shaded tab.
Result: The position and focus point coordinates and roll and zoom angles of the camera display on the Status bar.
8From the Options menu, choose View Options.
9Select the Options tab.
10From the Camera drop-down list, select DMX control.
11Click OK.
Result: You should now have direct control over the DMX camera. It may be helpful to record the camera patch as a pop-up frame in data to view the attributes that you are modifying.
DMX Camera Patch for Target-based Orientation Control (Legacy):
DMX Camera Patch for Yaw-, Pitch- & Roll-based Orientation Control:
To provide a neutral starting point, we recommend that you initially set the majority of the DMX Camera channels at a level of ~50%, with the following two exceptions:
n"Camera Y Coarse", should be set at ~40%.
nWhen using the Target-based Orientation Control, "Target Y Coarse", should be set at ~60%. (This ensures that the Location and the Target do not occupy the same point in three-dimensional space.)
The camera's initial position will be dictated by the document origin (not to be confused with the user origin, which can be altered at any time).
The camera parameters for Target-based Orientation Control (Legacy) are:
|
Channel |
Function 16-bit |
|---|---|
|
1 |
Location X Coarse |
|
2 |
Location X Fine |
|
3 |
Location Y Coarse |
|
4 |
Location Y Fine |
|
5 |
Location Z Coarse |
|
6 |
Location Z Fine |
|
7 |
Target X Coarse |
|
8 |
Target X Fine |
|
9 |
Target Y Coarse |
|
10 |
Target Y Fine |
|
11 |
Target Z Coarse |
|
12 |
Target Z Fine |
|
13 |
Roll Coarse |
|
14 |
Roll Fine |
|
15 |
Zoom Coarse |
|
16 |
Zoom Fine |
The camera parameters for Yaw-, Pitch- & Roll-based Orientation Control are:
|
Channel |
Function 16-bit |
|---|---|
|
1 |
Location X Coarse |
|
2 |
Location X Fine |
|
3 |
Location Y Coarse |
|
4 |
Location Y Fine |
|
5 |
Location Z Coarse |
|
6 |
Location Z Fine |
|
7 |
Roll Coarse |
|
8 |
Roll Fine |
|
9 |
Pitch Coarse |
|
10 |
Pitch Fine |
|
11 |
Yaw Coarse |
|
12 |
Yaw Fine |
|
13 |
Zoom Coarse |
|
14 |
Zoom Fine |
nThe DMX Camera and its Target, have a 100 m range of movement, from -50 m to 50 m on all axes; for its Location and Target:
nThe "coarse" parameter is defined as 100 meters/256 steps, or 0.39 meters per step.
nThe "fine" parameter is defined as 100 meters/65536 steps, or 0.0015 meters per step.
nThe DMX Camera can rotate 360° around all axes, from -180° to 180°; for Roll, Yaw, and Pitch:
nThe "coarse" parameter is defined as 360°/256 steps, 1.40625º per step.
nThe "fine" parameter is defined as 360°/65536 steps, or 0.00549° per step.
nThe DMX Camera’s Zoom has a range of 5° to 100° and:
nThe "coarse" zoom parameter is defined as 95°/256 steps, or 0.37° per step.
nThe "fine" zoom parameter is defined as 95°/65536 steps, or 0.00145° per step.
Once you draw a Camera Path in CAD mode, you can patch it to a DMX universe to control the camera’s movement along the path in Live mode.
For details on Camera Paths, see “Camera paths”.
The Camera Path requires seven DMX channels, as shown in the DMX map below:
nChannel 1: Stop/Pause/Play… Stop: 0; Pause: 1-127; Play: 128-255.
nChannel 2: Looping… Enable: 0-127; Disable: 128-255.
nChannel 3: Direction… Forward: 0-127; Reverse: 128-255.
nChannel 4: Speed… x1: 0-127; x1/4: 128-159; x1/2: 160-191; x2: 192-223; x4: 224-255.
nChannel 5: Position (Scrubbing): controls the playback start position along the Camera Path. This is similar to dragging the marker in the timeline but relative to Camera Path's total spatial length; please note that it is not possible to ‘scrub via DMX’ when a Flying Camera is playing, only when it is paused (i.e., Channel 1 is receiving a DMX value of 1 through 127).
nChannel 6: Reserved.
nChannel 7: Reserved.
1Select the Camera Path.
2Right-click and select Properties (or press ALT+<enter>).
3Click the Camera Path tab.
4In the Patch area at the bottom, click the DMX Patch radio button.
5Select an existing Universe and then enter a channel number or click the ellipsis button to create a new Universe.
6Click OK.
Tips for controlling camera path playback via DMX
After binding the universe to which the Camera Path was patched to the connected console’s output, set Channel 1’s level to 128 or above to begin playback.
Pause playback by setting this channel’s level to anywhere between 1 and 127. While paused, increase the level of Channel 5 to begin scrubbing along the Timeline.
Note: The flying camera will only move when scrubbed once the Position channel’s level becomes higher than the position along the Camera Path where playback was paused. This means that if playback was paused around the (physical) middle of the Camera Path, Channel 5’s level will have to reach above 127 (or so) before the Shaded view starts to update. Once the correct level is reached though, decreasing this channel’s level will scrub the flying camera back towards the start point of its Camera Path.
Much like when scrubbing along the timeline by clicking and dragging the marker with the mouse, Direction is ignored. In other words, regardless of whether Channel 3 tells the flying camera to move forward or backward, increasing Channel 5’s level will always move the flying camera towards the physical “end” point of its Camera Path, while decreasing this channel’s level will always move the flying camera towards the physical “start” point of its Camera Path.
Using cues on a console, it is very easy to begin playback of a flying camera from a position other than the Camera Path’s “start” point:
nPlay; record Cue 1.
nPause; record Cue 2 with a zero-count and make it auto-follow Cue 1.
nScrub to the position where playback is to start; record Cue 3 with a zero-count and make it auto-follow Cue 2.
nPlay; record Cue 4 with a zero-count and make it auto-follow Cue 3.
When multiple Camera Paths are patched, starting playback for a Camera Path that’s currently paused/stopped will “switch” to that flying camera immediately. To “switch back” to the flying camera that was playing initially, simply ‘nudge’ its Playback channel (i.e., set its level to something else within the “Play” range). This helps achieve ‘cutting’ between different camera shots.
To use multiple cameras
Using cues on a console, it is easy to Pause one camera, Play another, scrub the initial camera to a different position and then start its playback from that position:
1Play the first camera; record Cue 1.
2Play the second camera and Pause the first camera; record Cue 2. (Timing for Cue 2 depends on how far the first camera needs to move before cutting to the second.)
3Scrub the first camera to a new position and ‘nudge’ the Playback channel for the second camera so it continues to play; record Cue 3 with a zero-count and make it auto-follow Cue 2.
4Play the first camera; record Cue 4. (Timing for Cue 4 depends on where the second camera needs to get before cutting back to the first.)
