Pearl Techniques

[Beaker]

First off, special thanks to Nic & Dave who have helped me incredibly on my Pearl learning curve.

Today is going much smoother than days past. I’ve been able to set up an assortment of color, position, & FX palettes with no problem. Now I need some technique advise. When I store a scene I have created using my palates to the playbacks I get the following results. If I run a playback using all my movers (spots & washes) everything comes back as expected. If I run a playback with just say spots, sometimes my washes will be in weird states like on in home position, etc. I understand it has to do with other playbacks that I have left up & LTP vs HTP. My question;

Now that I have a slight clue as to what I’m doing, can you accomplished LD’s start to share some of your techniques for various modes of running the board. To start with, lets say I’ve set my playbacks up with some good old rock-n-roll scenes. What I would do to avoid the problem I stated in the above paragraph, would be to run the show off the flashes, only locking in a scene with a fader if I had to. Sound technique? I’d like to hear some of yours to get creative ideas.

[niclights]

Regarding your example, LTP based faders left up will have no effect on new ones raised, this being the meaning of 'latest takes precedence'. The only time a raised fader might influence another is with HTP (highest takes precedence) - ie. dimmer channels. Be careful that you record exactly what you need using record by channel. If you use record by fixture you might get unexpected results. Seeing 'strange' results will be because of a mistake in programming.

I'm not sure what you mean by running off flashes/running by fader - as above they will have exactly the same effect on LTP information - ie. raise PB above 'on' value and values will become active in the same way as if you press a flash button. Leaving the fader raised/releasing the flash will have no further effect.

The only time this is not true with LTP channels is if they are set to Mode1 or 2.


My main advice would be to always use record by channel.

The layout of your board will depend on the type of show you are running and how you like to operate.

In a rock'n'roll busking environment I like to reserve most PB's for generic washes/chases & limit movers to as few faders as possible.

I will keep all colours/positions/gobos etc. in palettes, all single attribute/single fixture type and use 'quick palettes' mode (this allows quick single button access and two buttons for timed recall).
I will program a movement PB set to mode 2 with size & speed timed (this allows 'fading' in of a shape and control of size/speed by fader level) and with no position information (the origin will be determined by positional palette). I will have dimmer masters for the intelligents and possibly shutter chases.
I will look at whether I need fast access to other 'specials' (ie. strobes/blinders/spots/ACL's) depending on show and if so will program into PB's. Otherwise I will access via preset handles and use as few PB's as possible. Crucially I will never overlap any dimmer information on PB's that I intend to control from presets. This avoids the danger of taking control by accident (moving preset fader will put that handle into the programmer in Run Mode Takeover).

Finally, I will keep page layout similar and only make slight variations - ie. vary generic wash/chase or vary intelligent shutter chase, but always keep to the same respective faders across pages.

[Beaker]

>Regarding your example, LTP based faders left up will have no effect
>on new ones raised, this being the meaning of 'latest takes
>precedence'. The only time a raised fader might influence another
>is with HTP (highest takes precedence) - ie. dimmer channels.
>Be careful that you record exactly what you need using record
>by channel. If you use record by fixture you might get
>unexpected results. Seeing 'strange' results will be because of a
>mistake in programming.

I've been useing record by channel to record my palettes & record by fixture to record playbacks. My thought is that RBC gives me control over just the spacific atribute. Then record by fixture will give me the entire look of the scene recorded in the playback.

I guess you could record positions in say half the playbacks and colors in others, then combine for different looks? My next step is to watch other LD's now that I know what i'm looking at. We have a Pearl in one of our casinos I do alot of sound in. I'll pick his brain next time.

>I'm not sure what you mean by running off flashes/running by fader

hitting the bumps instead of raising the faders. An old habit I had to brake from my days on a Leprecon LPX-24. You would have your looks in the playbacks. You could raise playback 1 (leave it up) and raise say playback 3. The scene would snap to 3. You could stack multiple looks on each playback so everytme you hit a bump, it snapped to the next scene in that handle.

>- as above they will have exactly the same effect on LTP information
>- ie. raise PB above 'on' value and values will become active in
>the same way as if you press a flash button. Leaving the
>fader raised/releasing the flash will have no further effect.

Hmmm, the way I programmed the playbacks (RBF), yes & no. If I leave a playback up and raise another, I can get weird results. If I lower the previous playpack at the same time as I raise a new one, I get the results I want. Or simply bump. This is why I started this thread. This is the way i'm used to doing things on the LPX-24, I need to retrain myself on how things are done on the 2004.

>The only time this is not true with LTP channels is if they are set
>to Mode1 or 2.

So I know nothing about the modes yet. Have left mine in 0. I'll do some manual reserch on this subject. Common to change modes?

>My main advice would be to always use record by channel.

More creative freedom than saving "static" looks?

>The layout of your board will depend on the type of show you
>are running and how you like to operate. In a rock'n'roll
>busking environment I like to reserve most PB's for
>generic washes/chases & limit movers to as few faders as possible.

Ya, I can see were I would set up one way for busking at a concert, vs static timed looks durring a drama or musical.

>I will keep all colours/positions/gobos etc. in palettes, all
>single attribute/single fixture type and use 'quick palettes' mode
>(this allows quick single button access and two buttons for timed
>recall).

So you wont put all your colors for mixed fixtures in one location? Such as Red for both spots and washes in palate 2 for example? You would store the red for each seperatly?

>I will program a movement PB set to mode 2 with size & speed
>timed (this allows 'fading' in of a shape and control of size/speed
>by fader level) and with no position information (the origin will
>be determined by positional palette). I will have dimmer masters for
>the intelligents and possibly shutter
>chases.

now your over my head. That's OK. I'll look back over the post in a few weeks and it will make sence. Keep it coming! I am a sponge.

>I will look at whether I need fast access to other 'specials'
>(ie. strobes/blinders/spots/ACL's) depending on show and if so
>will program into PB's. Otherwise I will access via preset handles
>and use as few PB's as possible.

Gotcha. That makes sence.

>Crucially I will never overlap any dimmer information on PB's that
>I intend to control from presets. This avoids the danger of taking
>control by accident (moving preset fader will put that handle into
>the programmer in Run Mode Takeover).

That makes sence as well. I also know about takeover mode, but haven't been proficient enough to use it yet.

>Finally, I will keep page layout similar and only make slight variations
>- ie. vary generic wash/chase or vary intelligent shutter chase,
>but always keep to the same respective faders across pages.

You keep all your shows in a familure layout. Is that what you mean?

Thanks,
Beaker

[niclights]

Raising faders above on value or pressing PB Add (bump/flash) will have exactly the same effect, assuming memory contains LTP attributes in mode 0 (no timing) and is static (ie. not chase).
Raise PB1 containing just a colour memory. Raise PB2 containing a different colour memory & it will replace the first. It will make no difference if PB1 remains raised or not. If PB2 contained just gobo then gobo will be loaded & colour will remain from PB1, again, regardless of whether PB1 stays raised.

If PB1 had a colour chase then colour from PB2 would quickly be overriden when next step is reached in PB1 chase. If both PB1 and PB2 had colour chases running at the same time then you will see random results!

So, unless both are chases or PB1 contained dimmer/HTP info it should make no difference if it is left raised or is lowered when PB2 is raised.



You can store a stack of looks on a fader by creating a chase and then 'unlinking' the setps. To unlink all steps you use [edit times], [Link on/off]. To unlink only specific steps [unfold] chase and then use [edit times] on each step. To bump through the unlinked steps use PB Add button or [go] button (chase must be connected). Linked and unlinked steps can all be with their own timing info. You can even manually 'wheel' through an unlinked step.

Common to change modes?

Mode is automatically changed to mode1 if you use [edit times] and enter some LTP timing.
Mode 2 is common for controlling shape speed/size by fader or for making an LTP memory act as HTP (ie. fadable).
A good example of a mode2 memory:
Select fixtures.
Select colour attr.
Wheel in to 100% (hold [shift] to get there quickly)
Store memory. At this point you are given the option to store as mode2 - just enter numeric 2 on the keypad before hitting the PB Swop to store. You can edit modes via [edit times] menu.
Now manually wheel colour back to 0%.
Press [clear].

Raise handles of fixtures so you can see them & try raising the PB. You will be able to fade through the colour wheel. This can be useful, also with gobos.

A more advanced example is where a strobe function exists on an LTP shutter attribute. You might want to be able to momentarity 'strobe' a fixture. Normally, being an LTP attribute you would need two memories - one with strobe value and one with the normal 'on' value. Using mode2 you can store the strobe value. So long as you initially reset the shutter to 'on' manually, you can then raise/bump the fader for strobe. On lowering/release you get non-strobe again. Being LTP this works even if the on value were 100% and the strobe was 50%. Raising the mode2 fader effectively will fade down to 50.

So you wont put all your colors for mixed fixtures in one location? Such as Red for both spots and washes in palate 2 for example? You would store the red for each seperatly?

Correct. I do this to avoid selecting fixtures/attributes. Trade-off between quick access and number of available palettes.

You keep all your shows in a familure layout. Is that what you mean?

Pages. Keep pages structured.

[iadwm]

As in Roller Pages 1,2 and 3

Changing Pages has the same effect on PB's as changing facets (Roller Segments A-J) - you have control over the PB but as soon as the fader reaches 0 it changes control to the new PB facet or page.

If you have PB1 A (on Page 1) up and change to facet B, you have control of PB1 A until the fader hits 0 then it changes control to PB1 B.

If you have PB1 A up (Page 1), change to Roller Page 2, lower and raise PB1, it will fade out PB 1 A (Page 1) and load PB1 A (Page 2).

This is useful because you can change pages and facets to get ready for a cue, fade out the previous PB and you're ready with the new one.

You will also notice the PB SWOP LED stays lit for an active PB on an active Facet and slowly flashes if you change pages or facets - to warn that you have a PB running either on a different facet or page.
And the VDU shows what's active, if you legend the PB's even easier to follow.

So the layout needs to follow through the pages, otherwise, it could get messy...


Regards,

Andy

[Beaker]

>Raising faders above on value or pressing PB Add (bump/flash)
>will have exactly the same effect, assuming memory contains
>LTP attributes in mode 0 (no timing) and is static
>(ie. not chase).
>Raise PB1 containing just a colour memory. Raise PB2 containing
>a different colour memory & it will replace the first.

Hmmm. OK. I'm sure it will make sence to me in the future. I'm working around it just fine now.

>You can store a stack of looks on a fader by creating a chase
>and then 'unlinking' the setps.

Oh thats great. Makes total sense! I'm lovin this thread! So if I was doing R&R lighting, I could write a bunch of n/c looks on a couple of playbacks, and add color if I wanted to with other playbacks.

>Mode is automatically changed to mode1 if you use [edit times]
>and enter some LTP timing.

Hmm. Good to know.

>Mode 2 is common for controlling shape speed/size by fader or
>for making an LTP memory act as HTP (ie. fadable).

Hmm. Cool. Good future info for me. I can tell i'm going to keep coming back to this thread!

Quote:
So you wont put all your colors for mixed fixtures in one location? Such as Red for both spots and washes in palate 2 for example? You would store the red for each seperatly?

>Correct. I do this to avoid selecting fixtures/attributes.
>Trade-off between quick access and number of available palettes.

I understand. Good technique to know.

Quote:
You keep all your shows in a familure layout. Is that what you mean?

>Pages. Keep pages structured.

Got it.

Thank you Nic, Thank you Andy.