Automated lighting programmers depend on many longstanding processes and procedures, but one of the most important concepts that must be mastered is called tracking. This concept is essential for programming multi-parameter fixtures and is also very useful for the most basic dimmer or desk channels. Without a good understanding of how tracking works, how it affects playback and how to maximize the usage, a programmer will have a tough time with automated lighting fixtures. I often describe tracking as the most difficult concept to understand, but also the most important to understand. Luckily, with some knowledge and practice, most any programmer can master tracking and make use of its benefits during every programming session.
The Basics
Tracking describes the process in which fixture parameter values are stored and played back within a cuelist, chase, sequence or other location. In the early days of automated lighting programming, most consoles stored all information about all parameters. This meant that when you moved a fixture that the two cues would require all the other parameter information to be stored as well. For instance, when you wanted a fixture with a certain color and gobo to move from point A to point B, then both cues would need to have the same color and gobo information stored (along with intensity, position, and other parameters). This quickly became very tedious — you’d have to copy the previous cue to the next cue, and then make your changes. Eventually it was determined that a better method was required.
Tracking came to the rescue by allowing programmers to only record the changes they make. If a parameter has no changes (untouched), then it will not be recorded into the cue. Instead, the cue will hold a blank placeholder for the cue data. This placeholder is similar to a window that allows the console to “see through” to previous data values.
In the chart above, non-recorded values are represented with an asterisk (*). In these instances, the data for the parameter in the previous cue will “pass through” to the subsequent cue. For instance, when Cue 2 was recorded, the intensity, gobo, and focus values were not changed. This means that, during playback, the value will remain the same from the previous cue. If in the future Cue 1 is edited so that it has a circle gobo instead of a stars gobo, then Cue 2 will also have the new circle gobo, because Cue 2 is tracking gobo data from Cue 1.
When It All Goes Bad
Tracking might sound relatively simple, however it will often surprise new programmers when it causes cues to playback differently than expected. For example, let’s say you built the three cues above and then cleared your programmer and released all playbacks. Now you grab your fixtures and set them to full intensity and point them at the center stage. They are in an open white look, with no color or gobo, which is as desired for Cue 4. So you record this look as Cue 4. Now, when you play your cuelist and move from Cue 1 through to Cue 4, you will find a big surprise. Cue 4 will no longer be in an open white spot. Instead, you’ll see a blue color, with the lines gobo! This is because you did not record any color or gobo data, and the console is simply tracking in the previous values for these parameters. Here is what you recorded for Cue 4:
To prevent this, you should have recorded all parameters for your fixture when it was in the open white spot. Depending on your console, you might be able to do this with a simple record option or setting. Alternately, you could slightly adjust the color and gobo parameters so that they will show a changed value, but still be in the open white spot. The key here is to remember that tracking is the result of having recorded only the changes you made to fixture parameters and that anything not recorded will allow previous values to pass through.
The Advantages
Once it is fully understood, tracking allows for many advantages. Look back at the first example of three cues. You will see that the intensity is set to 100 percent in Cue 1 but does not change in Cues 2 and 3. Now, if you edit Cue 1 to have an intensity of 75 percent, this same value will continue on through Cues 2 and 3. Hopefully, that is what you wanted; otherwise, you will need to edit Cue 2 to restore to the 100 percent that it used to have. (Alternately, use the Cool Trick described later in this article). I find it very advantageous that tracking allows me to have a value continue through multiple cues. This means I can set the color for a fixture and then do many things with the fixture through subsequent cues without the color changing. However, if I later need to change the color through all the cues, I only need to edit the first cue.
Tracking is also very useful when making flash keys or overrides. With these types of playbacks, you might be looking to strobe your fixtures no matter what their current values are for all their parameters. Tracking allows you to record a cue with only a strobe value. Now this can be played anytime and will cause your fixtures to start strobing without affecting their other parameter values.
Cue Only
One of my favorite tools of tracking is an editing function typically called “Cue Only.” This recording option will allow you to record changes without altering the current tracking in a cuelist. For instance, in our cuelist above, say you want to change the intensity of Cue 2 to 50 percent — but only for Cue 2. You could record 50 percent into Cue 2, but then this will track into Cue 3. Sure, you could then edit Cue 3 to restore to the 100 percent value, but that seems like a lot of work. Instead, you could use Cue Only when recording your edit to Cue 2. This will cause the console to take the results of values tracking into Cue 3 before your edit and automatically record them into Cue 3. As you record your edit to Cue 2, the desk not only stores this information, but is also ensuring that Cue 3 (the next cue) is not altered by the changes made to Cue 2. The console will automatically also update Cue 3 to have a 100 percent intensity value. Remember that Cue Only is only used when editing or deleting cues that utilize tracking. Also be sure to consult your console’s user manual for the exact terminology and functionality.
Staying on Track
Tracking is a concept that all programmers must understand, as it is an essential part of most any automated lighting programming session. If you are not familiar with this concept, I suggest that you take some time to practice recording and editing values to gain a full understanding. Also, read up on how your console reports tracking values and what the options are for recording with and without tracking, Cue Only and touching values. Tracking can be your friend during programming, and it can also bite you by causing parameters to play back differently than you expected. Even the best programmers sometimes get surprised by something that tracks unexpectedly into a cue!
