What is an often-overlooked- but-essential element of any lighting or video control system? The Backup. Whether it’s a lighting console or a media server, the backup is the unsung hero of the show. Often it sits there — quietly, lonely almost — as if to say “Put me in coach, I’m ready to play,” but never getting called upon (hopefully). Yet it shows up the next day without complaint. How do you plan for this important piece of the control puzzle? The answer: Very carefully.
Planning for redundancy with lighting consoles is getting to be much easier these days. Consoles like the grandMA2, V676 and the ChamSys, for instance, plan for network failure and make switching from the Primary console to the Backup console practically seamless. If you plan to use Art-Net or SACN on the grandMA2, for instance, you can simply start a session on the Primary console, join the session on the backup console, and then, if the primary console stops outputting Art-Net for any reason, the backup console can be configured to immediately begin transmitting Art-Net. (If you plan to use XLR5 pin DMX cables, however, you will need a DMX A/B switching device in line).
Remote processing devices like the DP8000 or the NPU also require backups. There are differences between these two types of DMX connectivity, though, so it’s important to weigh the pros and cons of both before deciding which is best to use.
With media servers, however, redundancy still almost seems like an afterthought in many ways. Here are some important points for planning ahead, along with some tips for creating a redundant media server setup.
Elements necessary to be included:
- Media Server (2+ units)
- IP addresses
- Patching
- Programming
- Outputs (switchers)
- Control signal (network switch) (Ethernet based DMX signals like Art-Net and SACN)
- Cables
- Cost
- Availability of replacements
- Budget
Element #1: The Media Servers
For each active server, you have to have a backup server. In an Ethernet-based control network like Art-Net, each device must have a unique IP address so for controlling via a lighting console, this means for every one active media server you will need to patch two. Then both servers will be programmed into the cues, doing the exact same thing.
Element #2:
All video outputs of the servers will have to be connected to a video switching device. Blackmagic Design makes some great ones; check them out here: plsn.me/BMD-atem. The ideal setup would let users switch between the output of main server to the backup server with a simple button toggle in an emergency.
Elements #3 + 4:
The control signal plays an important role in laying out a redundant system. When possible, I would recommend using an Ethernet based DMX signal like Art-Net over DMX cables for one reason: an extra piece of gear. With Art-Net, all servers and consoles are connected to a switch, so all are actively receiving and sending signal. If one stops working, the others are already in line. If you use DMX cables, then those cables all have to connect to some kind of DMX switcher. Simple ones exist, but it means that you will physically have to press another button. that means you’re going to be pressing the video switcher button and the DMX switcher button simultaneously — actions that have to happen in a panic situation — so delays and/or mistakes are possible. With Ethernet based DMX systems, the work is already done for the most part.
Elements #5, 6 & 7:
These last three elements are really all tied together. Budget is going to dictate everything, of course. A bigger budget will allow for a complete duplicate control package for lighting and video. But we don’t always get what we want and need because of costs. It’s not cheap to get gear, but it’s not always possible to get replacements on the road if you don’t take the gear out with you from the start. So you have to create some sort of contingency plan for gear failure that is a balance between keeping the show running while not breaking the bank. There are no easy answers to this question, but the budget always has the final word in planning for backups.
While it’s easy to not pay attention to the details for a backup control system until the last minute (or even after an emergency has occurred), it’s always in your best interest to plan the backup system while you’re planning the primary system. If it’s in the FOH gear package from the start then there won’t be any pushback down the road if something does happen but the show isn’t affected. Everyone will know you’ve done your job well and thank you for it.
Now, if I could just make a backup for myself some days. (Wait, did I just hear someone say, “Use the Clone button?”)
