December 2001 marked the first article I wrote for my “Feeding the Machines” column. As I write this article 15 years later, I am thinking about how much our industry has changed, yet also stayed the same. The most popular console brand back then was different and LEDs were used as indicators, not sources. Many of the programming processes and procedures have not changed, though. I still find myself using much of the same syntax and methodology to create looks as I did long ago. It is amazing to look back and see what has changed and what has remained the same.
Nothing’s Changed
On the surface, the process of programming and running a show has not changed. You must patch fixtures, create groups and palettes/presets, build cues and execute playback with faders and buttons. DMX is still the primary form of communication (Art-Net and sACN are Ethernet versions), and correct fixture libraries are still extremely important.
The process of selecting lights, adjusting parameters with encoders and storing values is still pretty much the same as in 2001. This is great for those of us that have been programming for all this time, as it keeps our position and tasks routine. Even the fixtures still have the same basic parameters: intensity, color, gobo, focus, zoom, framing shutters, iris and the rest. Most effect generators still use a basic system of sine and other waveforms to manipulate parameter values. Working with timecode to automate shows is also nearly untouched from 15 years ago.
Everything is Different
Although I just said that nothing has changed, it is true that there have been many changes and improvements to automated lighting programming over the last 15 years. First and foremost, the position is much better defined and respected. It has been widely proven that one can make a career from lighting programming. The average daily rate is much greater now than in 2001, and there is a much larger pool of programmers available within the industry.
The lighting consoles have all improved both in terms of hardware and software. Full color multi-touch screens, networking, nearly unlimited universes, layout/plot views, and even pixel mapping are all standard on most consoles. Gone are the floppy disks, wired remotes and monochrome screens. Effects are now possible between specific values or even palettes/presets and compound or multi-part fixtures are commonplace. I remember back in 2001 that one of the only multi-part fixtures was the VL5! Now, nearly every LED wash or strip light has multiple color and intensity parts.
The Networking Age
Since 2001, our industry has fully adopted computer networking into our systems. It is common for a console to communicate with other consoles, DMX expansions and other devices over Ethernet protocols. Automated lighting programmers now need to have an understanding of basic computer networking. Many productions use Art-Net, sACN, or other Ethernet based protocols to distribute DMX information to fixtures. Without proper configuration in the console, no communication could be possible.
Networking has also led to many multi-user usages with lighting consoles. I remember in 2001 it was customary to have several programmers on their own consoles only connected together via MIDI triggers. Now it is commonplace to have many consoles connected via a session where everyone is working within the same show file. This has enabled an entirely new era of programming along with new features.
With multi-user programming, different levels of control can be assigned to each programmer or user to define their unique abilities and load their preferences. Different devices can be utilized together to allow not only multiple programmers, but also technicians, designers and others to easily access the lighting console data. Wireless remotes, or even cell phones, are regularly used to log into a system and make changes, view data, or even trigger cues. Many show files are saved via a network with the show file storing in multiple locations at once.
Death of Digital
Back in 2001, the promise of digital lighting was strong. Automated luminaires using video projectors and built in media servers were barely off the ground. Today, DMX-controlled media servers still exist, and a few digital lights are available, but the promise of projecting anything you want from mainstream lights is still a dream. Over the course of the last 15 years, I have seen some success with digital lighting, but unfortunately the technology is still too expensive and large to truly replace traditional automated lighting.
Automated lighting programmers do need to understand how to program media servers as they are frequently used. Furthermore, the addition of pixel mapping within lighting consoles often works in conjunction with (or similarly to) manipulating media on a server. The increasing number of controllable pixels from LED products continues to make this type of application very important.
LEDs, Oh My!
Of course, no mention of changes in our industry over the last 15 years could be written without talking about LEDs! Practically every wash light, strip light, cyc-light, strobe and effect light is now available with an LED engine. We are even seeing LED-based profile fixtures becoming standard. I think everyone is amazed by how quickly these little diodes have taken over all lighting industries. For the automated lighting programmer this has meant learning several new procedures.
Color mixing methodologies have switch from CMY to RGB and now towards HSI. How colors are mixed and what values are common have certainly changed. Defining white is something that must be considered as never before. Furthermore, the ability to change colors instantly has led to many new eye-popping effects.
As mentioned earlier, LED fixtures often also include many different sections of control, and while a programmer needs to understand how to patch and control these zones, the consoles are also making this easier too. Compound or multi-part fixture types certainly make the control of multiple zones and fixture numbering much simpler for the programmer.
The Next 15
What will the next 15 years bring to automated lighting programming? I have seen many futuristic technology concepts tried, but most have failed. Voice commands, hand gestures, autonomous programming, and more have not yet been successful. I do suspect that we will see new programming paradigms and processes related to augmented reality systems such as Microsoft HoloLens in the future. In addition, more video-based control will become standard. As shows become more and more integrated with video elements and custom content, this content will take over control of lighting in new methods unknown to us at this time.
We are already seeing a change in how programming is accomplished, as the rise of layout/plot views seems to be removing the necessity to memorize fixture numbers. Furthermore, these systems easily lend themselves to pixel and video mapping as well as quick selections and modifications. The idea of an outboard visualizer may even be replaced by the on-console displays.
Change is Inevitable
Over the last 15 years, automated lighting programming has grown and changed in many wonderful ways. However, much of the process has also remained the same. Change is great, especially when it comes to technology. I look forward to the next 15 years to see how lighting programming will evolve. At least I don’t have to wonder about my hair for the next 15 as, during the last 15, it has changed from brown to gray to gone! I am honored that during this time I have also written 182 “Feeding the Machine” articles totaling over 220,000 words. Here’s to the next 15 years!
