Stupid Guest Tricks

Fantasmic_Freak wrote:Ouh my fav, a GrandMA! I'm working of a eos right now with 15 m-faders and 6 vl2500's plus dance tree's and down pools, all that jazz. World of Color looks amazing with their 8 GrandMA 2's that are running the show.

Likely the 8 consoles are in order to allow 8 separate programmers to work on the show simultaneously. They are all networked into the system, and the different channels are partitioned off to the appropriate programmer. For example one programmer might be doing the outer fountains, another the high altitude fountains, another the video servers, and so on. I could probably make a fairly accurate guess at what each partition might consist of if I had a look at the drawings and layout. Usually the programming tasks on large shows are divided up by type of gear, physical location, or type of device (moving lights vs. non moving (conventional) lights). That way each programmer can focus on doing cool stuff with his gadgets, while the show design team directs the overall look.

That console is capable of 256 universes, so WOC might well exceed its capacity, depending on the system layout. Some video servers need 2 complete universes to themselves, and I have no idea how the moving head fountains map out control wise. If another galaxy of dmx is needed, the second galaxy can just be slaved to the main one with midi show control, or a separate smpte feed.

On Wicked we used 4 grand MAs if I remember correctly. One for Movers, one for conventional, one for video, and then a fourth one to actually operate the whole mess. I did not stick around for the programming so I was done once the rig was up and working.

Vl2500s are great. My rig uses about 80 of them. I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago. What a difference. Much less repair time involved, and a much brighter looking, more colorful show.

I am so jealous of you people who get to play with this stuff. Unfortunately, I didn't keep going after high school so I don't get to. :(

delsdad wrote:Likely the 8 consoles are in order to allow 8 separate programmers to work on the show simultaneously. They are all networked into the system, and the different channels are partitioned off to the appropriate programmer. For example one programmer might be doing the outer fountains, another the high altitude fountains, another the video servers, and so on. I could probably make a fairly accurate guess at what each partition might consist of if I had a look at the drawings and layout. Usually the programming tasks on large shows are divided up by type of gear, physical location, or type of device (moving lights vs. non moving (conventional) lights). That way each programmer can focus on doing cool stuff with his gadgets, while the show design team directs the overall look.

That console is capable of 256 universes, so WOC might well exceed its capacity, depending on the system layout. Some video servers need 2 complete universes to themselves, and I have no idea how the moving head fountains map out control wise. If another galaxy of dmx is needed, the second galaxy can just be slaved to the main one with midi show control, or a separate smpte feed.

On Wicked we used 4 grand MAs if I remember correctly. One for Movers, one for conventional, one for video, and then a fourth one to actually operate the whole mess. I did not stick around for the programming so I was done once the rig was up and working.

Vl2500s are great. My rig uses about 80 of them. I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago. What a difference. Much less repair time involved, and a much brighter looking, more colorful show.

That is a beautiful control room. The last time I worked in that environment, we were stuck with a single universe... using ethernet for the control had not been thought up yet, we were kinda at the end of the simple DMX dynasty.

Funny thing is, without actually having studied, I can figure out the difference between a universe and a galaxy. Some things never die.

Perhaps someday I will get back into it again.

Doctor McKey wrote:Excuss me

Unf*** you. Is that what you were looking for? Or would it be exf***? Maybe def***? I don't know if you can unsh**. Maybe something less harsh is in order, like undamn.

Sorry, couldn't resist.

This is a thread about lighting. PLEASE do not get off topic like I just did.

delsdad wrote:I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago.

This in & of itself is a fete Del! Props to you. :) darph, you understand cars waaay more than most. Stop with the brickwall. ;)

Main Streeter wrote: darph, you understand cars waaay more than most. Stop with the brickwall. ;)

Not the new ones.

darph nader wrote:Not the new ones.

Who wants a new car @ Dry Lake or BV Salt Flats! Guys like you are gold at these runs/races. :auto:

delsdad wrote:Likely the 8 consoles are in order to allow 8 separate programmers to work on the show simultaneously. They are all networked into the system, and the different channels are partitioned off to the appropriate programmer. For example one programmer might be doing the outer fountains, another the high altitude fountains, another the video servers, and so on. I could probably make a fairly accurate guess at what each partition might consist of if I had a look at the drawings and layout. Usually the programming tasks on large shows are divided up by type of gear, physical location, or type of device (moving lights vs. non moving (conventional) lights). That way each programmer can focus on doing cool stuff with his gadgets, while the show design team directs the overall look.

That console is capable of 256 universes, so WOC might well exceed its capacity, depending on the system layout. Some video servers need 2 complete universes to themselves, and I have no idea how the moving head fountains map out control wise. If another galaxy of dmx is needed, the second galaxy can just be slaved to the main one with midi show control, or a separate smpte feed.

On Wicked we used 4 grand MAs if I remember correctly. One for Movers, one for conventional, one for video, and then a fourth one to actually operate the whole mess. I did not stick around for the programming so I was done once the rig was up and working.

Vl2500s are great. My rig uses about 80 of them. I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago. What a difference. Much less repair time involved, and a much brighter looking, more colorful show.

now you need to do freddy's I was born to love you.

delsdad wrote:...Vl2500s are great. My rig uses about 80 of them. I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago. What a difference. Much less repair time involved, and a much brighter looking, more colorful show.

But do they go to eleven?

(I know that's for amps, not light boards.)

delsdad wrote: Vl2500s are great. My rig uses about 80 of them. I converted "We Will Rock You" from Mac 2ks to VL2500s a couple of years ago. What a difference. Much less repair time involved, and a much brighter looking, more colorful show.

Hey, I actually saw "We Will Rock You" in Toronto! I was there on a business trip a couple of summers ago and took my nephew who came down from Kingston, where he was attending university.

Cool show! Great lighting and sound!