Posts Tagged ‘grandMA2’
Quick Tip Tuesday: Parameters, Channels, Universes… Part 2
This is Part 2 of the series written by Michael Adenau of MA Lighting regarding parameter, channel and universe calculation on grandMA and grandMA2 consoles.
A grandMA1 session has a limitation of 64 patchable DMX universes. As mentioned before, this is handled separately from the parameter count. The user is welcome to patch instruments as desired to any of the 64 available universes. For another extreme example, imagine a show with only 64 standard dimmers patched, but with only one dimmer patched to each of the 64 universes. From a cabling standpoint, there will be 64 universes of data snaking around. But from the console’s perspective, this show only has 64 parameters; well within the 2048 parameter capability.
Once again, the grandMA2 goes a few steps farther by offering 256 patchable universes.
Adding NSP’s (Network Processing Units) to a grandMA1 session increases the parameter limit. There’s an upper limit of 16,384 parameters per session, which can’t be exceeded, no matter how many NSP’s are added. In addition to adding processing power, each NSP has four XLR ports on the back; each can be configured from the console to output any desired DMX universe. Also, any grandMA 2-Port Node added to the network provides two more XLR ports, which can also be configured from the console as any DMX universe output or input. 2-Port Nodes don’t add any parameter calculation, just ports.
The network communication in a grandMA2 session has advanced to the point where a NSP can no longer aid in parameter calculation. Instead, expansion is accomplished with the addition of NPU’s (Network Processing Unit). Each NPU adds 4,096 parameters and eight XLR ports to the network (twice the capability of a NSP at less than twice the price). The grandMA2 can also take advantage of 2-Port Nodes. And even though NSP’s can’t add parameter calculation, they can actually work as 4-Port Nodes in a grandMA2 session.
All of the above provides the user with the flexibility to patch a show however it best makes sense while maintaining reliably frame-synchronous DMX output. This frame-sync becomes ever more important with lots of LED fixtures running any snap change or quick chase.
Quick Tips are exactly what the name should imply. We’re adding these to our blog in an effort to help programmers and operators of all levels. If you’d like to suggest a Quick Tip, drop us a message on this blog, or on our Facebook page, or even via Twitter.
Quick Tip Tuesday: Parameters, Channels, Universes… Part 1
We’ve talked before about how the grandMA console series deals with parameters, channels and universes differently than any other console. Adding the grandMA2 series to the family expands this capability, so we felt that this was a topic we should revisit. Recently, Michael Adenau of MA Lighting wrote a piece explaining how the calculation works and we are presenting that information here in two parts. Part 2 will be available here in one week.
The grandMA and grandMA2 have a very flexible method for dealing with parameter and universe limitations. Essentially, these consoles see a pretty distinct difference between a “parameter” and a “DMX channel.” At the same time, the DMX universe limitation in the patch is not coupled to the parameter limit.
A parameter is something like ‘PAN’ or ‘COLOR1′ or ‘GOBO2′.
On a grandMA1, a parameter can be 8-bit (for 256 steps of resolution) or 16-bit (65,536 steps of resolution), depending on the resolution. 8-bit means it uses 1 DMX-channel; if it is 16-bit, it uses 2 DMX channels.
Most lights use two DMX channels (16-bit) each for Pan, Tilt, etc. Most dimmer racks only use one DMX-channel (8 bit) per dimmer.
A grandMA1 full-size can process 2048 parameters without any additional equipment. Because the internal CPU calculation of a grandMA1 is always 16-bit, we count parameters in grandMA, not channels. So in an extreme scenario, we could patch 2048 16-bit parameters. This would actually require 4096 DMX channels to output. More realistically, Patching something like a Clay Paky Alpha Beam 1500 requires 27 DMX channels of output, but since Pan, Tilt, and Dimmer are all 16-bit, it only counts at 24 parameters, leaving enough extra headroom in the parameter limitation to add one more RGB LED. On the surface, it may seem strange for the console to calculate 8-bit parameters at 16-bit, but it actually requires less internal conversion between resolutions and is therefore easier on the CPU and network.
As with all things, the grandMA2 ups the ante when it comes to parameter processing and limitations. Without any additional equipment, the full-size console can process 8192 parameters. On top of that, the grandMA2 software adds support for 24-bit parameters, using three DMX channels for the output of a parameter (for 16,777,216 steps of resolution). Admittedly, there are scant few instruments that currently take advantage of 24-bit parameter resolution, but it’s very possible we’ll see more in the future.
Quick Tips are exactly what the name should imply. We’re adding these to our blog in an effort to help programmers and operators of all levels. If you’d like to suggest a Quick Tip, drop us a message on this blog, or on our Facebook page, or even via Twitter.
Quick Tip Tuesday: Making Effects Using Presets in grandMA2
This week’s Quick Tip comes from Aron Altmark, aka “Aron the Intern.”
The grandMA2 incorporates a very powerful effects editor that allows the user to make effects of all shapes, sizes, and levels of complexity quickly and easily. You may have played with this effect editor already, but in this week’s quick tip we’re going to talk about using presets within effects. While you may be used to building effects using Value 1 and Value 2, we are going to build our effect using presets as the referenced values. This way, updating presets also updates your effects! Yay, easy!
You can open the Effects Editor by pressing Edit and then touching an effect space in the Effects Pool (or typing Edit Effect in the command line). You will add lines to your effect here—adjusting the quantity of fixtures affected, desired attribute, mode, rate, value ranges, phase, width, and modifiers.
While you can use presets with any attributes, for our purposes here let’s say we want to make a Pan/Tilt effect. It will bring our lights from a band wash up and out to the audience in a nice smooth bally. Add two lines to your effect, one using Pan and one using Tilt as attributes. Note: Be sure to have your desired fixtures selected while creating lines—you should see the desired number of fixtures in the “Quantity” column on the left. If not, make your fixtures active in the programmer and press “Take Selection”.
Once you’ve added lines for Pan and Tilt and given them an appropriate rate (for a starting rate with pan/tilt effects, try 0.2 Hz or 12-15 BPM)—tap Edit Effect Line on the right-hand side of the screen. Underneath the bars for Value 1 and Value 2, there are buttons that say “Value 1 Simple”. Tap these until they say “Value 1 Preset” & “Value 2 Preset”.
Now, when you tap in the empty bar for the value, you can select your starting and ending position presets for your effect values. From here, select your desired waveform, adjust phase & width, and you’re good to go! When you look at the lines of your effect now, you will see the presets being referenced as values. Start your effect by double tapping the name of the effect in the Effects Pool and look at your pretty swoopy effect.
Note: When making effects that reference presets using Pan/Tilt and ColorMix, be sure to add lines for all parts of that attribute. Pan/Tilt must have two lines, one for Pan and one for Tilt, while a ColorMix effect must have one line for each color (three total for CMY/RGB). In the case of ColorMix effects using presets, each line has to be identical in all aspects, and all lines must reference the same presets.
Protip: Use Joe’s favorite waveform, PWM (pulse-width modulator) for the most control over your effect. With this one, you can also play with attack and decay times, giving your effect some added punch—good for smacking ravers in the face with effects.
Quick Tips are exactly what the name should imply. We’re adding these to our blog in an effort to help programmers and operators of all levels. If you’d like to suggest a Quick Tip, drop us a message on this blog, or on our Facebook page, or even via Twitter.
Visit us at 4 Wall Lighting today
ACT Lighting is participating in the Vendor Showcase at 4 Wall Lighting in New Jersey today. We’ll have a grandMA2 for you to poke!
From 4 Wall Lighting’s Press Release:
It’s back! 4Wall Entertainment, UsedLighting.com, and UsedAV.com will hold their Annual Vendor Showcase on May 20, 2010 at 3 PM at the 4Wall facility in Moonachie, NJ.
The event is free to the public and will include representatives from many of the hottest manufacturers in the lighting industry today.
Refreshments will be served, join us for a great time!
Vendors scheduled to attend the showcase include:
ACT Lighting, Altman, Arri Group, Chauvet Lighting, City Theatrical, Coemar, Color Kinetics, ETC, GAM Products, L&E, Lee Filters, Lex Products, Martin Professional, Morpheus Lights, Robe, Opus Lighting, Prism Projection, Rosco, SeaChanger, Strand Lighting, TMB, Vari*lite, Wybron Inc.
4Wall Entertainment- NY
2 Empire Blvd.
Moonachie, NJ 07074
201-329-9878
Console Cocktails #5: HTP, LTP and Gummi Bears
This time we’re talking about priority levels when you have multiple playbacks and how to determine which will win. There are two general rules that most consoles will follow: HTP (Highest Takes Precedence) and LTP (Latest Takes Precedence). We’re also having drunken gummi bears… which are always full of win.
Visit ACT Lighting in New Hampshire for Port Lighting
Port Lighting Systems, of Seabrook, NH is holding an open house in honor of their 25th Anniversary, and ACT Lighting will be there. The event takes place March 10, 2010 at Port Lighting’s offices beginning at 4pm. You can grab a cocktail, enjoy some food, mingle with other entertainment lighting industry guests and check out some new gear. ACT Lighting’s Brian Dowd will be on hand with a grandMA2 Full Size console.
Port Lighting’s 25th Anniversary Celebration
March 10, 2010
4:00pm – 9:00pm
Port Lighting Systems
24 London Lane
Seabrook, NH 03874
(Directions)
View Larger Map
RSVP to andrew@portlighting.com
This post is ACT Lighting content. You may reproduce, but only in whole – not in part. You can visit Port Lighting’s website here.
Pictures from ACT Lighting at LMG Orlando
Earlier this month, ACT Lighting held a demo of the grandMA2 console line, along with the MA Lighting VPU at LMG’s headquarters in Orlando, FL. In addition to the open house, Joe Cabrera of ACT Lighting also offered onsite grandMA training.
Steve (BOZ) Bodzioch, Lighting Design & Services Manager at LMG was good enough to grab a few pictures of the event and share them with us.
ACTLIGHTING
BOSTON SYMPHONY ORCHESTRA UPGRADES AND STREAMLINES PRODUCTIONS WITH GRANDMA2 AND THE MA LIGHTING VPU
For immediate release.
The prestigious Boston arts institution, the Boston Symphony Orchestra just went through a major overhaul of their lighting and video systems – ultimately upgrading to a grandMA2 light and an MA Lighting VPU. In fact, the Boston Symphony Orchestra is the first installation in the United States to utilize the MA Lighting VPU.
The upgrade was a truly collaborative process involving the Symphony Staff, their Technical Director, Russ Costa, Designer Rob Smith, Lighting Equipment Supplier High Output, Inc and A.C.T Lighting.
Russ Costa, Technical Director for the Boston Symphony Orchestra approached High Output, Inc of Boston for assistance in determining which product could help him consolidate their lighting and projection systems into a single, more powerful installation. “It’s always hard when you want to upgrade a system that’s currently working without too much issue, but as soon as I was able to show the capabilities of the system and the savings that we’d see, it was an easy pitch. Using the grandMA2 along with the MA VPU allows us to eliminate the extra Show Control system and the additional projectionist. The grandMA2 is our single, unified control solution for both lighting and video.”
Jess Klarnet, Director of Production at High Output, Inc was instrumental in placing the right product for Russ’s needs. “The timing of the Boston Symphony Orchestra project could not have been better, for High Output was in the process of determining what product line in which to invest. We have had success with the grandMA and the Boston Ballet and with additional input from Rob Smith and other notable programmers we decided that the MA line was the right choice. Brian Dowd, our representative with A.C.T Lighting, was instrumental in pulling together a demo that included grandMA2 light and the MA Lighting VPU. As an aside, the technical support through out this process including this successful Holiday Pops season was outstanding, kudos to Jason Baeri.”
“Knowing the reliability of the grandMA line, I was confident the VPU would be just as solid,” says Rob Smith, who served as the Video Designer/Programmer and a content creator utilizing a grandMA2 and the MA Lighting VPU. When the Boston Pops perform, certain video scenarios need to be met. One of the regular set pieces is a custom built DMX controlled roll down screen. The screen measures 42′ wide by 21′ high, split into 3 sections that can be individually controlled, and is capable of opening or closing in just under 2 seconds at top speed. “The grandMA2 allowed us to program the automation moves of the screen precisely with the video from the VPU. Adding that to the lighting cues gave us a fully synced show that was controlled by one operator.”
Rob continued to creatively use the MA VPU to meet the additional video needs of the Boston Pops. “The easiest is displaying images from a Broadway show or Hollywood film. During the holidays, Sing-A-Longs are a crowd favorite. The MA Lighting VPU allowed us to add a new level of creativity by being able to animate backgrounds and layer the words over the top as opposed to the old slideshow style. The most critical style of playback was handling what we call “streamers”. Two files would start simultaneously, one being projected to the audience, the other being sent to a monitor at the conductor’s podium. The conductor’s version would have colored lines that scroll across the screen in time with the music so changes would happen at precisely the right moment in the film. We never experienced any lag between the files even with HD quality movies.
“The MA Lighting VPU’s ability to have any number up to 32 layers available was a unique feature that we took full advantage of. New Year’s offered a rather eclectic mix of music, from Opera to Disco to current Top 40 hits. We were able to create image files that could be mapped to the architecture of the iconic organ pipes of the Symphony Hall. Highlighting the individual architectural elements with lighting fixtures would have required 32 color-changing luminaries. We accomplished the same look with one VPU and a pair of 12k projectors -and we weren’t just limited to colors and a handful of gobos – the possibilities are endless.”
High Output, Inc has served as the lighting equipment provider to the Boston Symphony Orchestra for the past 20 years. High Output Inc offers the grandMA2 light along with the MA Lighting VPU as part of their extensive rental inventory.
Staff at the Boston Symphony Orchestra involved in this installation included Pam Smith as grandMA 2 Lighting Programmer, and Mark Rawson – lighting technician, along with the aforementioned Rob Smith as grandMA2 and VPU Programmer and Video Content Creator; Russ Costa – Technical Director and Margo Saulnier, Assistant Artistic Director to the Boston Symphony.
MA Lighting is exclusively distributed by A.C.T Lighting. A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.
For more information call 818-707-0884.
Copyright © ACT Lighting 2010. All rights reserved.
Podcast episode focuses on grandMA2
Last month, you may have seen our video preview of an interview with ACT Lighting’s own Joe Cabrera and Brian Dowd. This interview, conducted by Justin Lang of iSquint.net, was part of a longer podcast detailing the new features of the grandMA2 console. The complete interview is now available, and you can enjoy it here (below), or by visiting iSquint.net.
Console Cocktails #3: What’s New in grandMA 2
ACT Lighting’s Director of Software Support and Development, Joe Cabrera, sits down with Justin Lang from iSquint.net to talk about what’s different with the grandMA 2 console hardware and software. This interview is part of a longer audio podcast which is forthcoming from iSquint.net. Once the full podcast is posted, I’ll be sure to add it to this blog.