The Patch Window
All automated lighting consoles must provide a method for the programmer to assign DMX addresses and universe assignments to console specific fixture numbers. Typically it is one of the first windows that must be used, as it is required to properly configure the console to communicate with the luminaires. Once the fixtures are patched, this window is rarely used again during the show programming and operation.
The patch window will contain various fields including fixture number, fixture type, DMX universe and DMX address. Often, console software provides additional settings per fixture in the patch window. These can include pan/tilt swap or invert, dimming curves, fixture modes and more. Be sure to understand the various parameters that your console provides you access to in the patch window, as they often have ramifications that can affect data throughout your entire show.
The Programmer Window
It is very common for automated lighting consoles to utilize the concept of a programmer window, although more “theatrical” based consoles do not operate in the same manner. A programmer window will display only the fixtures and data that are being modified, and this window also becomes a placeholder for the data. If you clear the programmer, then the data will disappear.
The programmer window is like a workspace where lighting fixture data is assigned and organized before being recorded into cues, palette/presets, groups or other data storage. Usually, the programmer window data is given a higher priority than any of the other playback methods on the desk. This means that, if you assign certain fixtures to full intensity and a red color, nothing else on the desk can change these fixtures’ intensity or color until the data is removed from the programmer.
Programmer window based consoles provide a level of color-coding within the programmer window to help you identify the state of the programmer data. For example, data that is from the currently selected fixture(s) (and editable by the console hardware) may appear in a specific color on the screen that differs from that of other values that are in the programmer, but not currently editable. Once you record the contents of the programmer, the text color or background of the programmer window values will usually also change to indicate that the values have been recorded, yet are still active in your programmer. Depending on your console and its options, this data may or may not be valid for recording into another cue. As always, you should read your console’s user manual to gain a full understanding of the color-coding available in your programmer window.
It is also very important to pay attention to the programmer window as you program. This window will show you the current fixture selection as well as the data that you are entering. This is key to ensuring that you are actually editing the fixture you planned on changing. For instance, if you selected fixture 2 but accidently pressed the “2” key twice, you would mistakenly select fixture 22. The only way you would know this before editing data would be to look at your programmer window to see what is selected. Actually, you could also look at your command line (if available) to see what you typed. Even so, it is a good habit to often glance at your programmer window to see what is currently selected and/or recently edited.
The Output Window
Another important window on an automated lighting console is commonly called the output window. Here you will see all the fixtures in the show file and their current data that is live on stage. This is extremely useful as it provides a method for you to see all the current values for all parameters of your fixtures in a single window.
Traditional automated lighting consoles do not allow you to edit data from the output window. However, those “theatrical” based consoles I referred to earlier that do not use a programmer window usually do allow it. These types of consoles will overlay currently edited information on the same screen that shows all the fixture and parameter data. In this manner, a single screen is always showing you what all your fixtures are doing, even those that have been recently edited. Typically, there will be different colors, shaded or outlined boxes or other indicators that inform you of the source of the data. When you look at this type of output window, you can assess the same information as with a programmer window, although it can become more crowded, because it always displays all the fixtures in the show file.
Color-Coding Abounds
Throughout your lighting console, you will see lots of information displayed on the screens, and often, it is shown in different colors of text or background colors. It can be very helpful to understand the meaning behind these colors. The software engineers probably spent a lot of time determining what the different variations mean.
A common theatrical use of color-coding values is derived from older intensity-only based lighting systems. You will usually find a similar system carried over to automated lighting consoles when working with intensity values. On your output screen, cue data windows, level windows and pretty much any screen showing parameter values, an “Earth” based system will be used for color-coding. Different colors are used to identify intensity values that remained the same versus those that are increasing or decreasing from their previous value. In most cases, those that are increasing will be a yellow or amber color to represent the sun. Those that are decreasing will be a green or brown color to represent the grass or ground. Values that are unchanged will be black or blue to represent the sky. Whatever the scheme, it makes it easy to understand and remember if it is based on a system of the sky and the ground.
A House Made of Windows
An automated lighting console software system is comprised of many different windows. I have mentioned only a few key windows above, but there are many other important ones to understand and master. Console manufacturers are also providing graphical information on the windows such as gobo images, output color, framing shapes and more. As console software becomes more powerful, we will see even more dynamic windows appearing.
A good programmer will make use of the various types of data displays available from the lighting console. We always have lots of data to keep up with when programming a show, and the software helps us keep track by organizing into various windows. It is up to you to determine which windows you will use and switch between them at the appropriate times. Make use of view storage tools for quick recalling of customized window layouts to further enhance your programming experience. And be sure to keep an eye on the most important window of them all: the stage!
