The practice of programming a show from an automated lighting console can be broken down into 12 straightforward steps. Rarely have I seen a production fail when a programmer has followed these simple steps. Those that do fail seldom completely follow these simple guidelines for programming. While this manner of programming is filled with complexity and important elements, do not balk at it. If you follow these simple suggestions, you will be guaranteed a well-programmed show.
Here are the steps I follow as a tool for programming:
Step 1
Make a decision about using a console that best suits my programming knowledge and the needs of the production.
Once you have been hired as an automated lighting programmer, it is usually up to you to decide the best console for the task at hand. You will need to consider your knowledge and experience on the particular console as well as the needs of the production. The lighting designer might also have some input into the console selection.
Step 2
Create a patch by gathering and entering data necessary to control the lighting rig.
In order to allow proper communication between the console and fixtures, an accurate patch must be created. This data defines the starting DMX512 address for each fixture and also assigns a unique number in the console. The patch data is the relation between the console numbering and the DMX addressing. Although each console displays patch windows differently, the purpose and importance of patching can not be overlooked.
Step 3
Make a list of all fixtures and their possible uses, and then carefully organize them into groups.
By studying the lighting rig and understanding the needs of the production, you can determine common fixture selections. Then by using the procedures outlined in the user manual of your console, you can record these as groups for quick selection in the future. The use of groups aids greatly in fixture selection during the programming phases of our lighting show development.
Step 4
Continue to realize what is required and carefully build palettes or presets to aid in upcoming programming.
After determining the best fixture selections, you should create palettes for common fixture parameter settings. These tools are usually referred to as either palettes or presets and contain values for fixture parameters. Then when they are recorded into cues, only the reference to the palette is recorded instead of actual parameter values. This allows you to later change the values within the palette and have all cues that reference that palette automatically updated. Position palettes are the most common type, followed by color and beam parameters.
Step 5
Having realized the importance of the data we created, select and follow a rigorous program of data backup and protection.
The 12 steps of programming are supported by all the steps together, but many programmers find step five to be the most important. You should never lose more than 30 minutes of programming for any reason. This means that you should be saving your show’s data often. Also since most consoles now use an internal hard drive, it is imperative that you regularly store the data on external media such as CDs or USB drives. There is no excuse for loss of data. It is the programmer’s responsibility to ensure the security of the data at all times. Backup practices will continue through all phases of a show’s programming and playback.
Step 6
Seek to properly adjust fixture parameters through console syntax and procedures to meet the requirements of the lighting designer.
Once the building blocks of a show are created and stored, they can now be used with other console functions to alter the fixture parameters and create lighting looks on stage. Modern consoles offer all types of tools to aid in the creation of lighting looks and the varying of fixture parameter values. A good understanding of both the console and fixture capabilities is imperative when working this step.
Step 7
Continue to utilize console syntax and procedures to record the lighting looks as they were understood.
Once the look on stage is as the designer and programmer intend, it must be recorded as a cue for future playback. Usually there are many options to consider and understand such as tracking, state, and masking. A thorough reading of the console’s user manual will reveal all the recording options and possibilities.
Step 8
Make a list of cues and modify this list in regards to timing and automation.
As each cue is recorded, it should be organized into a cuelist that includes crossfade, delay, and follow times. Further abilities to trigger other console functions or label the data should be completed during this step. Clear labeling of a cue’s purpose and other notes will aid in an accurate completion of the rest of the steps.
Step 9
Humbly play back cues and rehearsed timing as the production permits.
Once the cues are created and stored within a cuelist, they must be played back to match the needs of the production. Care should be taken in regards to playback timing and synchronization. Whether synchronizing with music, listening to a stage manager, or following a script, a deep insight of the playback procedures should be pursued.
Step 10
Make a list of all cues that need editing and make direct edits wherever possible.
While working step nine, you will identify portions of the lighting looks that need to be edited or updated. By using proper console syntax you should make the changes quickly and smoothly. During rehearsal you should take notes of items to change and swiftly make these changes as time permits.
Step 11
Continue to rehearse and edit the cues in a manner dictated by the lighting designer.
As rehearsals continue, you should look closely at what further changes are required and also listen carefully to the lighting designer to meet his needs and expectations. Often the timing within cues or actual cue data may need to be rewritten or palette data may need to be updated.
Step 12
Having created a miraculous lighting show, continue to practice and maintain these principles for the run of the show.
Whether the production is a one-off, tour, or extended run, you should continue to practice the 12 steps throughout the life of the show. Editing cues, rehearsing timing, backup data, and creating new programming are required to maintain serenity in a stressful production environment.
After reading these steps, you might want to exclaim I can’t go through with it! Do not be discouraged. No programmer can maintain perfect adherence to all these principles. Remember they are merely guidelines that you should try to follow as you trudge the road of your happy programming destiny. May the consoles be good to you and keep you — until then.
