Martin LJ getting started guide by Len Woelfel

This is a supplement to help users of Martin's LightJockey program, a software-based DMX control system. This will be posted in installments to this sites on an intermittent basis. First and foremost you should read the help menu with the software, and the user manual, available at ftp://ftp.martin.dk/Controller/Lightjockey/lj-Help.pdf You can also find a user forum at http://www.martin.com/forum/forum.asp?FORUM_ID=14 Whether you are a new user or an experienced hand, I hope you find something of value here. Also, since there is no pre-defined list of topics, please feel free to contact me with input or questions and I will try to respond here. Finally, I don't pretend to know everything about LightJockey, nor am I saying that my way is the only way to do something. As with every lighting desk, the best way to do something is the way that works best for you.

 

Sequence and Cue Architecture

This section will cover the best way to lay out sequences and cues. It will probably be the most important section covered in these supplements. I say it will be the most important because if you lay out all your sequences and cues correctly, when you make changes and additions to your light rig, or new sequences, cues, or even cuelists, you will have a solid base from which to work. If you don't, you'll find (as I had to) that you will be changing a lot of things, re-doing, and even starting over from scratch. How you ultimately decide to lay out sequences and cues will be up to you. As no two programmers use a desk exactly the same way or have exactly the same needs, there is no right or wrong way to use any desk. There is only the way that works best for you. So instead of telling you what to do in this section, I will try to crystalize your thinking as to how LightJockey can work best for you. To begin, you should review the definitions section, especially covering sequence, cue, background cue, transparent cue, etc.

Last time we made a sequence that turned the Mac 300 fixtures on for two seconds and dimmed them to off over three seconds. That is one way to make a sequence. You could also make sequences using one fixture but controlling several attributes of that fixture. Or you can control all of a similar attribute (color, for example) in all fixtures. If you have a large rig you might want to have a sequence for each cluster or group of fixtures. There is no incorrect way. However, I must stress that as you assemble sequences into cues, the sequence style you use may create problems. This is due to the Highest Takes Precedence architecture of a cue. If you have a sequence affecting color in cue slot #1, and another sequence affecting color in cue slot #4, only the data in slot #4 will be sent to the fixtures.

This is the order I use for building a cue.

1. Intensity of all fixtures
2. Movement macro for all fixtures
3. Position Preset for all fixtures (more on this later)
4. Color sequence for all fixtures
5. Gobo sequence for all fixtures
6. Effect (such as prism)
7. Secondary intensity (selected fixtures)
8. Secondary movement (selected fixtures)
9. Secondary position (selected fixtures)
10. Secondary Color (selected fixtures)
11. Secondary Gobo (selected fixtures)
12. Secondary Effect (selected fixtures)

The first six cue slots contain a sequence for all fixtures in the rig. Each sequence has a similar attribute for all fixtures in the rig. Currently, I have over 70 fixtures programmed but I only use between 6 and 12 of those fixtures at a time, and typically they are all the same type of fixture (Mac 250, Technobeam, etc.). Rarely do I work with more than two or three different fixture types, and the above cue slot structure provides me with the control and flexibility I need. The second six are for some sub group of fixtures programmed to do a different thing. For example, a cue contains a sequence for with all fixtures set to open gobo in slot 5. That same cue also has one Technobeam with a break-up gobo in slot 11. All fixtures will be open with the exception of the Technobeam, because slot 11 is higher than slot 5.

If you work with a very diverse rig, say six or more different types of fixtures you may find it best to create sequences for each type of fixture which include all the attributes of that fixture. Or if you have fixtures clustered in several locations you may want to create a couple sequences for each cluster. Again, there is no wrong way to set up sequences, only the way that works best for you.

The key to creating sequences is to make sure that ONLY the attributes you want to include are active. Going back to our example rig of two Mac 300, two Technobeams and one dimmer, let's say that we create an intensity sequence where all lights are on; a separate sequence where all lights are moving in a circle, and a sequence where all lights are red. However, in the red sequence we mistakenly close the shutter of one of the Technobeams. Using the cue slot structure I listed above, the Technobeam with the closed shutter will remain closed, even though there is a sequence in cue slot one with all shutters open and intensity set to 100%. The easy way to remember whether an attribute is doing something is to open a sequence and look at the Off/Fade/Snap button in each attribute window. If the button indicates Off that fixture attribute is not doing anything. Also note that if you have multiples of the same fixture selected the attribute window will show the status of the last fixture selected. In order to make sure that an attribute is doing what you want, you must check each fixture individually.

Background cues can be a powerful tool when programming. They work just like a regular cue. The only two differences are that a background cue only has five slots instead of 12, and what a background cue does. Programming for them can be a challenge due to the lower number of slots because you may have to duplicate a sequence originally written for an active cue and add in multiple attributes in order to get it to fit into the background cue. Most important is what a background cue does. It takes higher precedence over an active cue. For example, you have a background cue in which the Technobeams are strobing. No matter what else you are doing, the Technobeams will continue to strobe until that background cue is cleared.

So why use background cues? There is no wrong way to use them. Typically, I use them for things that I won't need to change too often during an event, such as conventionals (par cans and the like) which I want to leave on for most of the event and then turn off later. Or I may use them for such effects as the color mixing fixtures that control a fiber optic curtain. Or I may just use them to provide me with five more sequence slots. How you use them is up to you.

Earlier in this section I mentioned a Position Preset slot in my cue. This is a simple way of expanding the number of movement looks you can create and works in conjunction movement macros, so let's talk about movement macros for a minute. Select the two Mac 300 and click on the attribute box with the two crossed arrows. This is the movement attribute box and allows you to position the light where you need it. Across the top of the movement box you'll see a set of menus. For now we'll talk about macros and leave the rest for later. When you click on the Macro menu another window opens. There are more menus but we'll concentrate on the main part for now. The first thing you'll see is another movement grid. To the right is a pull down menu with a list of macro types. As you select a macro type the window shows attribute sliders; Pan Amplitude, Pan Cycle, Tilt Amplitude and Tilt Cycle. Note that the macro type can only be set to Off or Snap. Some macro shapes will not include a Tilt Cycle. The amplitude controls the distance the fixture will travel relative to it's total range, and the cycle will control the amount of time the fixture will take to complete the cycle. As you change the Amplitude and Cycle, the movement pattern will change. For those familiar with Hog consoles, this is very similar to the Effects Engine. There's more to discuss with movement macros, but we'll save that for another day as well.

Close the macro window and go back to the movement attribute. The first menu is a Preset. This allows you to create and name a position preset for any situation. If you are working with a live band, you may want a preset for the drum riser or for the guitar, etc. Once you create this preset, save it and every sequence that uses this preset will incorporate it. When you change venues, or change the rig, etc., you only have to change the preset once and all sequences and cues involving that preset will follow. I discovered this long before position presets were incorporated into LightJockey, and I made a sequence which did the same thing. That is why I have a macro sequence and a position preset slot. The macro slot controls the movement of the lights. The preset controls the center point of that macro. By separating those two things, and creating several presets, each movement macro takes on a different look for every different preset.

Transparent cues are like working with individual submasters. A transparent cue is one or more sequences in cue slots saved as a cue, but with a difference. When you activate a transparent cue, only the sequences in that cue will become active. Anything in a sequence slot not in the transparent cue will remain. For example:

Cue 1 includes:

Slot 1 All Fixtures Strobe
Slot 2 Circle Movement
Slot 3 Home Position
Slot 4 All Fixtures Blue
Slot 5
Slot 6
Slot 7
Slot 8
Slot 9
Slot 10
Slot 11
Slot 12

Transparent Cue 16 includes only:

Slot 1
Slot 2
Slot 3
Slot 4
Slot 5 Gobo Chase
Slot 6 Fixture Prism
Slot 7
Slot 8
Slot 9
Slot 10
Slot 11
Slot 12

When Transparent Cue 16 is activated, the new cue will look like:

Slot 1 All Fixtures Strobe
Slot 2 Circle Movement
Slot 3 Home Position
Slot 4 All Fixtures Blue
Slot 5 Gobo Chase
Slot 6 Fixture Prism
Slot 7
Slot 8
Slot 9
Slot 10
Slot 11
Slot 12

If you were to make a sequence with all fixtures open and 100% intensity and save it in a transparent cue using slot one, you could activate that new cue and all lights would continue as before, only with open and 100% intensity and would stop strobing.

To save a cue as a transparent, simply drag the sequence(s) into a new cue, and save. There will be a check box asking to save as a transparent cue. Make sure to include only sequences you want in a transparent cue. This feature is also available in background cues and works the same way.

To this point I have purposely avoided programming the dimmer pack we set up previously. This is because there is another option for conventional lights besides using a sequence slot in the cue. On the CueList toolbar is a button with a red dot marked "Static." Open that and you'll see a list of 20 slots (if you don't, expand the window until you do). Now click on the dimmer pack icon and open the one attribute that is available, which is the fader button. Using your mouse drag the intensity of faders one and three to 100%. Now move to the Statics window and right click on Static line 1. Record and save the entry as "1 and 3". Clear the sequence. Now raise the intensity of dimmers 2 and 5. Right click on static line 2 and save that as "2 and 5". You can control Statics either by a Hotkey or by patching them to the Fingers console, or by a number of other means.

So try some cues and have some fun. As always, if you have questions, comments or criticism, I'm happy to hear it.