- CAST WYSIWYG DMX INPUT PATCH
- CAST WYSIWYG DMX INPUT FULL
- CAST WYSIWYG DMX INPUT PLUS
- CAST WYSIWYG DMX INPUT SERIES
For the show, I put everything on the first bank of 10 submasters, which are all on the surface. “In the V676, there are three banks of 10 submasters. “PRG has put a DMX input into their console so we can map any regular desk with faders to be the V676s faders,” Owen explains. There’s a new feature of the V676 that Owen used on this year’s Halftime show-DMX input, which allows for any console to be used as a fader wing with the V676. With a show that is ultimately very tight to time and the tempos are very regular, I like to program all of that with realtime parameters so I can very precisely time things to the tempos of the music. I like building effects as I can do with the V676. Most lighting consoles apply wave dynamics applied to the mechanism, but I don’t like that method. I also prefer the effects system of the V676, which takes custom-made groups and applies them to sequences of presets. Depending on what I’m doing I can switch between those layouts to select lamps. Some layouts the lights are just in long lines some are in groups that I will use some are in layouts that are more 3D accurate. With the V676 I can efficiently layout the lighting rig very geometrically but in various different layouts. “I find that it’s much more efficient than trying to find a lamp on a paper plot. “If someone says ‘go to these lights,’ I go to it on the Plan View layout,” he explained. Owen likes that he can setup the layout of the V676 to how he prefers to work, using the console’s Plan View layouts as his starting point to select lights. All of the S400 node positions, FOH, and around the stadium were furnished with uninterrupted power supplies. Just for the stage alone, there were 10 streams of Art-Net used for control.
CAST WYSIWYG DMX INPUT PLUS
The PRG Node Plus units distributed 38 total streams of Art-Net around to the various lighting positions. This allowed Owen to control the 1,466 LED pucks that outlined the edges of the stage, which was shaped to look like the profile of Beyoncé’s face, via the lighting console. Four streams of Art Net data were sent to video programmer Jason Rudolph’s computer to convert to a DVI signal. The V676 console output Art-Net into three S400 7-Port Switches, which split out into 11 PRG Node Plus units.
CAST WYSIWYG DMX INPUT PATCH
“So when I laid out the patch in London for the pre-viz sessions, I did a lot of balancing of the data across the nodes to make sure it moved quickly around the stadium.” Owen operated the show from two PRG V676® Lighting Control Consoles, one main and one backup. “There is a lot of data coming from Oz’s console,” explains Gorrod. Using the fiber optic cable with the S400 allows us to cut down on the optos we need to boost signal for the data and cuts way back on the amount of cable needed.” The team ran DMX over Art-Net along fiber optic cable running a main line, back up, and a redundant back up fiber line between locations. “It’s great, especially in such a large stadium.
CAST WYSIWYG DMX INPUT FULL
“We took full advantage of the PRG S400 system,” comments Gorrod. It was over 1,000’ from the FOH position in the press box level down to the field. An important consideration since the production required extremely long data runs from the FOH control position to the numerous lighting locations around the New Orleans Superdome.
CAST WYSIWYG DMX INPUT SERIES
Knowing that the critical backbone for the lighting system was the power and data network, Gorrod laid out the system by choosing to once again use the PRG Series 400® Power and Data Distribution System, which offers solid reliability and streamlines the distribution runs while decreasing failure points. We also had a set up in New Orleans as well to keep working on the programming.” “After doing wysiwyg programming in London at PRG, then we went to New York and set up our wysiwyg system at the Alvin Ailey dance studios where Beyoncé was rehearsing. “With this show, I would say that 90% of it was programmed virtually,” points out Owen. The Halftime show is unique compared to other large-scale productions as there is very little time on site to work with the full lighting system and the whole set on the field, so much of it must be pre-programmed.