I can’t help but notice a lot of DSA aligned candidates aren’t actually proposing a restructured economic system, just kinda extending social welfare and offering more public programs.
Being they get so much flack for being “socialists” do you think they perhaps should change their name and clarify this distinction?
Hey, so I’m working on two things. One of them is a functionality my boss requested, the other is one I’m just curious on. Both are getting stuck with this concept of User 0 running background macros, because preferably these macros would be used during live playback, and therefore ran in background mode.
The first one (the request) is to take a state on stage that has been busked with effects playing and copy it to a cue to be played later. The idea being let’s say you’re doing a song and you get a really good look for the chorus. You’ll want to store it, and play it again next time the chorus comes around. The showfile we busk with uses all cuelists to create looks on stage, ie color is a cue, focus is a cue, intensity is a sub and any effects are played by their own cues. What I did was create a macro that makes all the parameters being played into manual and absolute values, then go to blind, open the cue, at enter all the fixtures, then take all the fixtures and recall from live, and then grabs just the intensity of the fixtures and puts it at enter (so subs are still functional), then go back to live and sneak the fixtures back to return them to their cuelists which would already be playing. The issue is when done as background macro, I see the effect skip and restart once it is stored, which doesn’t make sense to me as technically everything I did was in blind, and from what I see, the cue was never played, only created. As a foreground macro, I think it works, but I’m also using only augmented so I can’t see the output when I run it that way, and I wouldn’t want my screens to go to blind either any way.
The second issue is creating macros to add discrete timing to cuelists. Mainly I want my cuelists with colors to have discrete timing to create things like mirror out as step or left to right as a fade. How I’m doing this is I created macros that takes each group of fixtures and give them their time offsets. I then have macroception going on because I created a longer macro that goes into the first cue of each cue list and doles out the time offset macros, and then takes the timing from the first cue and copies it to the subsequent cues in the cuelist. There’s about 9 cuelists total, some with 13 cues, some with only 2. In any case, with these macros I’m finding that both the bigger macro and the smaller component macros need to be run in foreground mode for these to work. It works perfectly, except your displays spazz out for a bit as you watch all these cuelists update. When run in background mode, it just doesn’t work at all. It seems to work for the second cue in the lists, but none of the rest, not even the first which is odd.
I’ve been at this for about 3 weeks and am completely lost on why the console is acting like this. The first one I understand it may just be how EOS does and understands effects, and also it could be that I have auto playback off on my user profile, but user 0 likely doesn’t. The second one I just don’t understand at all what about my settings could preclude it from working in background mode. It seems like straightforward commands to me.
Anyway if anyone has any insight into what’s going on here or can even explain why EOS doesn’t work this way or provide me with a way to change the settings of user 0, it’d be much appreciated.
Thanks.
I think I do really well at theatre. I like taking the time to make the beautiful shot/moment. Creating a sunset, my favorite thing. Creating a sequence of cues that go through a sunset to a beautiful night, that’s my jam man.
I also like to think I’m pretty good at busking rock shows. It’s my occupation, I got a good showfile to quickly pull up looks, and I know I can pull off good shit with very little notice of what I’m doing.
Theatrical Rock shows though, like musical theatre style but with modern rock music, are the bane of my existence. I think it’s cause in theatre you wanna isolate everything to one specific area of the stage and be impactful, whereas with a rock concert you wanna be big and the whole rig goes to creating your moments. Mixing the two thought processes and getting the story across while also having the lights rock out is just mixing two parts of my brain. Plus so many cues!
My rants done. Feel free to share your own thoughts.
Hey so here’s something I’ve never encountered before. I’m using some Mac 700s, and I also have VL6s. Whenever I apply a focus pallette to the Mac’s, they turn off, move, and then come back on. I don’t have them in a cue, I’m just giving them reference data. So I turn them off, and turn them back on and I just give them manual pan and tilt and they stay on, then I punch in a focus pallette again and they turn off, and now if I go back to give them manual pan and tilt they also turn off. I’ve used these exact lights on this exact console before and haven’t had this problem. Only thing I can think of is I did patch them in a new location this time, but I know this is the same profile, and I don’t see anything in the patch that could be doing this. And for reference, the VL6s don’t have this behavior which is why I think it’s gotta be how the Macs are patched.
Thanks in advance.
So I’ve been watching Marvelous Mrs. Maisel, and enjoying it, but one thing that bothers me is whenever they are on stage, the lights are a little overboard, and that’s okay, I mean we’ve all seen movies where the spontaneous performance at the school talent show is time-coded with a rig that rivals a headliner at Coachella, but what bothers me is that the show is supposed to take place in 1960, and they always have these very bright lights with super saturated colors that I know could only be achieved with LEDs unless they had about 500 conventionals, and several specials that are obviously moving heads.
Hey, I’m thinking of buying two cases for my iPad. Reason being is my job is kind of a combination of office days and field days. On office days. I’m actually fairly mobile and going to multiple places on campus, I often find myself stopping and working for a bit in a lobby or break room for a while and away from my desk. But then I have field days where I’d also need the iPad, and these involve being on worksites and often at great heights.
For these two cases I feel like I’d want a type case for office days but then a rugged shell for days that I’m on the worksite. How practical is this? Is it damaging to be constantly switching cases for my iPad?
So I am doing the Ken Billington training. For those who don’t know, Ken Billington uses two programmers, one for moving lights, one for conventionals. In the training you take on the role of both.
Something I noticed is that the moving lights need to be marked, and the programmer the first couple of times will quickly chime in as Ken is calling, explaining which light he is marking and back to which cue, and he’s using automark behavior, ie marking the light back to the last cue where it went to intensity zero. He seems to instantly know where his lights need to be marked. As you get deeper into the programming session, Ken and the programmer stops calling them as obviously they are rushing to get things done. But obviously he is still ensuring changes in NIPs are marked .So perhaps the moving lights operator is just keeping track of which cue each light needs to be marked, or is there a way he is automating this function with a macro so they can quickly place the mark.
I’ve thought perhaps just place a mark flag on every cue that I take a moving light out, but as they may come in the middle of a bunch of conventional light commands, and I’m doing both, I may not always remember I took out a moving light.
So im wondering what is the best way to automate this process, and either whenever I turn on a moving light, I can easily mark it back to the earliest possible cue, or ensure that every time I take a moving light out, i can be sure a mark flag will be placed when I hit record.
She’s an instructor at a technical college and was recently made head of the program. Today’s her first graduation as faculty and some of her students are graduating and one is even giving a speech. and I wondered if it’d be appropriate to show up with flowers for her, or if that would be a bit underneath the pomp of her position.
Hey I am a longtime lighting designer. My one thing I love, but I don’t do as much as I should is unsaturated/white light. I feel like it’s because when push comes to shove I can just hit a subject with a supersaturated gel/LED and instant emotion. But I really want to do a design that’s “classic” using all near white lights and communicating just as effectively. Does anyone have any suggestions of resources or designs/designers to check out for inspiration of how to communicate emotion without being obvious, or just how to learn to effectively use unsaturated colors.
Okay so I’m doing a dance show. So I created two inhibitive subs, one for my front lights and one for my onstage lights. However i may need to go to a blue out. However my blues are used in cues so I can’t just exclude those channels from the sub. Can I exclude another sub from my inhibitive, or set those channels to not go down past a certain level?
I went to a BFA program, I did an internship/residency and came out on the other side and ended up in tech position. Recently I was seated with an upcoming college grad and they were so excited about their future and told me how they wanted to direct regional theatre, but having been in that place and know countless of my colleagues who didn’t end up there, I wasn’t sure what to say to them. So I encouraged them, knowing full well it’s not a likely career path. I’d love to meet someone who proved me different, but I feel we all know this isn’t actually how it plays out. What do you say?
So I do have LED fixtures, but I also have two systems of a top wash and two traditional hi side colors from each side, in addition to LED hi sides that meet on center. I need to pick a warm amber for my conventional top lights and I’ve never done ballet before, but I really wanna do a good job despite not knowing at all what I’m lighting until day of.
For my booms, I have an LED shin, an LED par for shoulder, and a conventional for head high, I’d probably put in a pink like R33 or R34
So R05 is usually my go to for a neutral light. An in FOH will be 05, so for my neutral top light I’m debating doing R04 (for me an under utilized color that I love as a sidelight) R09 (just pops so well with its gold accents) and R321 (definitely the most saturated, but not easily recreated with LEDs)
So I ask what would you choose to be the most ultilatrian. Give that R321 to be flash, the 09, not quite as flashy but still will push the point, or the 04, which is the most versatile.
Hey does anyone have a window screen mesh simulated in augmented, can I ask you how you made it or even if you’d be willing to share the file with me?
Sorry for posting this without really looking at the functionality at all first, but we have a dance show coming up. They gave me the tracks, and a list of cues they want that reference times in the songs. I built a Qlab file with their tracks, but I don’t have a midi input cable, but I can know when play gets hit on each track, so I’m wondering if I can hit first cue simultaneously as a track starts and start an internal timer to time code each piece out based on the cue sheet they already gave me.