Whether you’re programming lighting or video, one of the most important aspects of driving a lighting console is organization. If your workflow doesn’t match the type of show you’re working on, you are probably going to struggle and find it challenging to feel comfortable pushing those buttons unless you’ve laid out your desktop in such a way that allows you to easily execute the cues you intend to use in the show. As a programmer who bounces between programming lighting, video and a combination of both, I’ve found that the best way to ensure a successful show is through paying attention to organization during your workflow.
While what you put into the console is just as important as anything, how you organize it for efficient and fast recall is equally as important. How do you know where to store that cue or that preset when you’re creating it? It starts with understanding the expectations of the show. Here are a few tips for workflow organization that I’ve found valuable.
Concept 1: Don’t “Over-Engineer” Things
The first concept is what I like to refer to as the “don’t over-engineer” methodology. If I am running a simple corporate event with a dozen movers and a media server playing some clips, I don’t need to program the wiz out of the console before I get to cue one. Chances are, I’m only going to use one or two effects in the entire show; maybe a bally at the top when the CEO enters and then one at the end when the confetti cannons pop and drop all that feel-good swag into the clamoring hands of the loyal employees of that company. If I’ve programmed a hundred color chases but used one of them, then who am I really impressing?
Concept 2: Intentional Approach
Knowing what you absolutely need to have in that desk in order to do your job is a must. You must establish an intentional approach to organizing the building blocks. For instance, lighting and video are similar in that programming for either element requires palettes (presets); but knowing what types of palettes are essential and creating them at the start requires forethought. When I’m programming lighting, I know I need position palettes and color palettes. When I’m programming a media server, I know I need media file presets and visual compositing presets like alpha blends, dissolves, and scaling. And I usually don’t program many other types of presets at first. Instead, I tend to create additional presets for specific gobos, focus, zoom, etc., as I work through the sections of the show. Why would I spend time creating palettes for every attribute of every fixture or layer I have in my patch window? I don’t want to sort through all those windows looking for the handful of presets that I intend to use.
Concept 3: Layout
Or the “I know I need to put this somewhere, but where does it make the most sense for finding it later?” question. This is often a question that you make a best guess on, and the answer comes later. But the beauty is that the next time you find yourself in that same situation, you will have an answer that makes sense. Deciding how to lay out the workspace on the console requires experience. And the eventual result of a well-planned desktop is that muscle memory can develop, which increases your speed and efficiency as a programmer.
Concept 4: Speed & Efficiency
Speed and efficiency are major deciding factors behind an LD’s choice of programmer. Why? Because time is money. Or maybe this is better known as the “don’t make the LD wait” concept. If I’m fumbling around looking for fixture numbers while the LD is waiting for me to bring up that 19 degree Leko she’s ready to focus, then I’ve already fallen behind the mark. Same is true for video programming. If the CEO of a company is expecting his video to play while he walks onstage during rehearsal, yet I can’t seem to locate the clip because I didn’t program a media file palette for it, and I have to dial through 20 other videos in that same folder, then I’m the one who’s going to suffer the most, because chances are that the client will lose confidence in my skills and likely won’t call me for the next gig.
Concept 5: Simplicity
When programming for either lighting or video, I tend to follow the “K.I.S.S.” rule: Keep It Simple Silly. Having things nearby and not buried in layers of views means I’ll be faster recalling it later on. For most programmers, developing a simplified and organized layout comes from working through similar show setups and crafting your approach. I usually start laying out a show on a console by trying to aim for efficiency and simplicity, and then adding layers of complexity when it is needed (macros, timecoding, pixel mapping, etc.). If I can achieve an effect using a chase, and it takes me longer to set up an effect for a similar result, then I’m likely going to go the chase route. The LD usually appreciates this, too.
And last but not least (at least to me), the most important part of programming is Attitude. Or some call this Ego. Since ego usually has a direct effect on the attitude, it’s best to check it at the door. No one is so smart or so clever to be able to know everything. And if a colleague with somewhat more experience in a specific genre of the business has a suggestion for how to better organize your workflow, it’s in your best interest to accept that tip as a piece of real world experience that can enrich your skill set; and the best part is that you didn’t have to pay for it. No one wants to work with a difficult personality.
In the end, I’m not always impressed by knowing how many macros or effects a show file has in it. Instead, I think it is impressive to see a show that’s been crafted by a highly organized programmer with an approach that is efficient and laid out in such a way that it can be executed consistently show after show. But it takes a lack of ego to recognize that the path for becoming this type of programmer is through keeping an open mind, constantly challenging your own workflow, and evolving through training, practice, and experience.
