High End Whole Hog 2

®
Handbook
Version 4.0
Featuring the
Copyright
Copyright © 1995-2001 by Flying Pig Systems. All Rights Reserved.
No part of this Handbook may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying and recording, for any purpose (except for the training purposes described
below), without the express written permission of Flying Pig Systems. For WHOLEHOG II training purposes,
copies can be made and freely distributed provided that:
1) The Handbook is not altered in any way and is copied in its entirety.
2) All copies are distributed free of charge.
3) All copies are used for no purpose other than to educate users in WHOLEHOG II
operation.
Flying Pig Systems reserves the right to determine what constitutes a legitimate training purpose and to revoke
the right for anyone to duplicate this Handbook at any time.
Flying Pig Systems
53 Northfield Road
London W13 9SY
England
Tel: +44 (20) 8579 5665
Fax: +44 (20) 8579 8469
Internet: support@flyingpig.com
Trademarks
The Flying Pig Systems logo, the WHOLEHOG, and the WHOLEHOG II are registered trademarks of Flying
Pig Systems. Flying Pig Systems, Effects Engine, and Hog are trademarks of Flying Pig Systems.
All other brand names and product names used in this book are trademarks, registered trademarks, or trade
names of their respective holders.
Changes
Information in this Handbook is subject to change without notice and does not represent a commitment on the
part of Flying Pig Systems. Flying Pig is not liable for errors contained in this guide or for incidental or
consequential damages in connection with furnishing or use of this material.
Table of Contents
®
WELCOME TO THE WHOLEHOG II
1
INTRODUCTION ........................................................................................................................................................1
OPERATIONAL OVERVIEW .......................................................................................................................................2
USING THE HANDBOOK ...........................................................................................................................................3
USING THE TOUCH SCREENS ...................................................................................................................................6
SAFETY INFORMATION ............................................................................................................................................7
PROBLEM SOLVING .................................................................................................................................................8
SOFTWARE UPDATES ...............................................................................................................................................9
GETTING ADDITIONAL HELP .................................................................................................................................10
QUICK START
11
SETUP ....................................................................................................................................................................11
PROGRAM A CUE ...................................................................................................................................................13
RECORD THE CUE ..................................................................................................................................................13
PLAYBACK THE CUE ..............................................................................................................................................14
FINDING YOUR WAY AROUND
15
PROGRAMMER .......................................................................................................................................................15
TOOLBARS .............................................................................................................................................................16
PLAYBACK MASTERS ............................................................................................................................................17
WINDOWS AND DISPLAYS .....................................................................................................................................18
SETTING UP VIEWS................................................................................................................................................20
ACCESSORIES ........................................................................................................................................................22
GETTING STARTED
25
SET UP THE CONSOLE............................................................................................................................................25
SETUP ACCESSORIES .............................................................................................................................................26
FIXTURE SELECTION AND PATCHING .....................................................................................................................28
SAVING AND LOADING SHOWS ..............................................................................................................................32
BASIC PROGRAMMING
33
A NOTE ON PROGRAMMING ..................................................................................................................................33
PROGRAMMER OVERVIEW .....................................................................................................................................33
SELECTING FIXTURES ............................................................................................................................................34
RECORDING A BASIC CUE......................................................................................................................................36
A BRIEF PLAYBACK OVERVIEW ............................................................................................................................38
FEEDBACK DISPLAYS ............................................................................................................................................38
SELECTING FOCUS, COLOUR, AND BEAM ..............................................................................................................42
RECORDING CUES WITH TIME ...............................................................................................................................44
GROUPS AND PALETTES
47
CREATING AND MODIFYING GROUPS ....................................................................................................................47
CREATING AND MODIFYING PALETTES .................................................................................................................48
MANIPULATING GROUPS AND PALETTES ...............................................................................................................51
CUES, CUELISTS, AND PAGES
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CUELIST WINDOW .................................................................................................................................................53
CUE TIMING ..........................................................................................................................................................55
MANIPULATING CUES............................................................................................................................................57
SPECIAL CUES .......................................................................................................................................................61
CUELIST DIRECTORY .............................................................................................................................................62
PAGES....................................................................................................................................................................63
OTHER CUELIST WINDOW FUNCTIONS ..................................................................................................................66
ADVANCED PROGRAMMING
67
TRACKING .............................................................................................................................................................67
RECORDING AND EDITING OPTIONS ......................................................................................................................68
MORE ON SELECTING FIXTURES ............................................................................................................................70
MORE ON ADJUSTING LEVELS ...............................................................................................................................72
MANIPULATING PROGRAMMING ............................................................................................................................72
FAN .......................................................................................................................................................................74
REMOVING PROGRAMMING ...................................................................................................................................75
PATH .....................................................................................................................................................................76
PROGRAMMING WITH XYZ COORDINATES............................................................................................................76
GROUPING .............................................................................................................................................................78
PARKING................................................................................................................................................................79
DMX TEST MODE .................................................................................................................................................79
EFFECTS ENGINETM
81
USING THE EFFECTS LIBRARY ...............................................................................................................................81
MAKING CUSTOM EFFECTS ...................................................................................................................................82
PLAYBACK
87
MASTERS ...............................................................................................................................................................88
CENTRAL CONTROLS .............................................................................................................................................88
MANUAL CROSSFADING ........................................................................................................................................89
OVERRIDING PROGRAMMED TIMING .....................................................................................................................90
MASTER PRECEDENCE ...........................................................................................................................................91
CUSTOMIZING PLAYBACK WITH CUELIST OPTIONS ...............................................................................................92
CHASES .................................................................................................................................................................94
VIRTUAL MASTERS ...............................................................................................................................................96
MACROS
99
COMMENT MACROS ..............................................................................................................................................99
RECORDED MACROS..............................................................................................................................................99
CUSTOMIZATION
105
PROGRAMMING DEFAULTS AND SETTINGS ..........................................................................................................105
HARDWARE CONTROL .........................................................................................................................................107
CONSOLE LOCKING .............................................................................................................................................108
MEMORY CONTROL .............................................................................................................................................108
OPTIONS FILE ......................................................................................................................................................109
ADVANCED SETUP
111
EDIT FIXTURES ....................................................................................................................................................113
AUTOMENUS........................................................................................................................................................114
FIXTURE TALKBACK ............................................................................................................................................115
CURVE EDITOR ....................................................................................................................................................117
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SAVING AND MERGING SHOWS
121
SAVING A SHOW ..................................................................................................................................................121
CHANGE SHOW WINDOW ....................................................................................................................................121
ZIPPING AND UNZIPPING SHOWS .........................................................................................................................123
MERGING SHOWS ................................................................................................................................................123
REPORTS
127
ACCESSORIES
133
EXPANSION WING ...............................................................................................................................................133
REMOTE ..............................................................................................................................................................134
OVERDRIVE .........................................................................................................................................................135
HOG UNIT ............................................................................................................................................................136
HOG PC ...............................................................................................................................................................136
MIDI, TIMECODE, AND DMX IN
137
TIMECODE ...........................................................................................................................................................137
MIDI ...................................................................................................................................................................140
MIDI NOTES .......................................................................................................................................................141
MIDI SERIAL OUTPUT ..........................................................................................................................................146
MIDI SHOW CONTROL ........................................................................................................................................148
DMX INPUT ........................................................................................................................................................149
24 HOUR CLOCK .................................................................................................................................................151
FREQUENTLY ASKED QUESTIONS
153
HARDWARE .........................................................................................................................................................153
SETUP ..................................................................................................................................................................154
DISKS AND FIXTURE LIBRARY .............................................................................................................................155
PROGRAMMING ...................................................................................................................................................155
PLAYBACK...........................................................................................................................................................157
WINDOWS/NAVIGATING ......................................................................................................................................159
EXTENDED KEY CHART
161
PIG FUNCTIONS ....................................................................................................................................................161
SETUP FUNCTIONS ...............................................................................................................................................161
EXTERNAL KEYBOARD SHORTCUTS ....................................................................................................................162
CHOOSE ...............................................................................................................................................................163
FIXTURE LIBRARY
165
WRITING A FIXTURE FILE ....................................................................................................................................165
X Y Z INFORMATION ..........................................................................................................................................168
AUTO MENUS ......................................................................................................................................................170
COMMON ABBREVIATIONS IN LABELS.................................................................................................................170
COLOUR LABELS .................................................................................................................................................171
GOBO LABELING .................................................................................................................................................171
PARAMETER REFERENCE TABLE .........................................................................................................................172
REPORTING ERRORS IN THE LIBRARY ..................................................................................................................178
LOADING THE FILE ..............................................................................................................................................179
HARDWARE NOTES
181
INDEX
183
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®
Welcome to the WHOLEHOG II
Introduction
Development of the WHOLEHOG II was driven by the convergence of three formerly separate
segments of the lighting world: touring, theatre, and television. As moving lights gain
increasing acceptance in the theatre and television communities, designers are finding traditional
consoles unsuitable for programming this new technology. At the same time, tours are
employing ever-increasing numbers of fixtures—usually a theatrical indulgence—and finding
their sheer numbers cumbersome to program with existing touring consoles. What's more,
touring LD's now use these fixtures to design more complicated shows requiring the advanced
functionality that theatre and television LD's rely on.
To address these issues, we've created a console flexible enough to handle the entire spectrum of
lighting design—from complex theatrical shows to unstructured television or touring events.
Yet, the WHOLEHOG II remains simple to operate. That's because it retains the original
WHOLEHOG's speedy programming system in addition to the keypad access of theatrical and
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television consoles. On top of this foundation we've added an array of sophisticated software
features to automate mundane and time-consuming programming tasks.
The hardware is just as flexible. User-definable touchscreens can configure the console for any
operating style. Plus, SMPTE, MIDI, and DMX In let the WHOLEHOG II connect with
virtually any piece of auxiliary equipment.
Operational Overview
For Original WHOLEHOG Users
While many changes have been made between Hogs I and II, you'll find that the basic
WHOLEHOG operating philosophy remains intact. Programming still revolves around the
palettes (or presets), but large touch-sensitive LCD's now give access to many more of them at
once. In addition, the keypad section is much more powerful, allowing nearly all programming
to be accomplished with its buttons.
Cue storage has been completely overhauled with the WHOLEHOG II: instead of storing every
programmed parameter in every cue, now only the changes are recorded. This means that a look
recorded in one cue will “track” through subsequent cues until explicitly changed again. In
other words, the Hog II is a tracking console. However, some users may not like the playback
implications normally associated with a tracking console; they can choose a non-tracking option
from the cuelist options window.
For Theatre Console Users
The Hog 2 has been designed to be similar in many ways to a traditional theatrical memory
console. For example, cues are programmed in much like on a theatre console; the keypad gives
access to dimmer levels, fade times, and cue numbers. Plus, the editing keys and programming
operations are similar. Playback uses cuelists and multiple part cues, and timing can be split into
in and out times.
However, in some respects the WHOLEHOG II is different:
• Multiple cuelists—one on each fader—can be executed at a time. Faders are not
submasters; each has the capabilities of a normal theatre console’s full playback. (In
this manual, we use the term fader and Master interchangeably.) If there’s a conflict
between the same fixtures or parameters active on multiple cuelists, then priority is
usually determined by Latest Takes Precedence (LTP).
• The Programmer is the part of the console used to set levels for cues. It accumulates
all programming selections until Record is pressed. The Programmer overrides
output from the cuelists unless Blind is pressed.
• An individual fixture is viewed as a fixture and not as a collection of channels. For
example, a VL5 is one fixture with 6 independently controllable parameters. It’s
not necessary to remember which DMX channels control which parameters; simply
refer to pan, tilt, etc.
• Fixtures have meaningful parameter names and level settings, for instance “Blue”
instead of 53%.
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• Most parameters use LTP, but Intensity channels can operate in both Highest Takes
Precedence (HTP) and LTP on different Masters at the same time.
For Television Users
The WHOLEHOG II’s versatility makes it ideal for television applications, where flexibility in
unstructured situations is paramount. Up to eight independent cue lists can be run
simultaneously on their own Masters, each one with its own active cues and timings. And with
an Expansion Wing, 48 cuelists are possible. When working on sets, this allows each set to have
its own cue list. Cue lists can be quickly copied from memory onto a fader, or all can be
replaced—with crossfading—in one button press by changing the page. This makes it easy to
access and reorder programming to cope with running order changes.
Powerful programming functions allow programming changes to be executed quickly; fixtures
can be automatically updated in their cues and presets, and snapshots can be taken to combine
the output of several cue lists. Plus, palettes, cues, and cue lists can be imported from old shows
and incorporated into the current one.
For Touring Dimmer Console Users
The WHOLEHOG II is a jump from the traditional touring console, but you’ll soon find that
accessing fixtures on the WHOLEHOG II is as quick as reaching for a fader. And you’ll also
quickly discover that it’s much easier to program moving lights on a console that’s been
designed to do so from the start.
The differences are the same as for theatrical consoles, but also:
• There are no preset faders for direct access. Instead, use the keypad to select a
fixture, and the Palettes or parameter wheels to grab the position, beam or colour
parameter you want.
• You set fade times as you program cues. Each parameter in a cue can have its own
fade time.
• Masters can control a full cuelist rather than an individual scene or simple chase.
Using the Handbook
Where to Start
There are a few different ways to approach this Handbook when learning the WHOLEHOG II.
If you’re a seasoned board operator—or just impatient—jump right to the Quick Start section
after reading this chapter to create looks right away. Then use the Index to quickly find the
information you need. There’s also a Frequently Asked Questions chapter to assist you with
responses to the most common questions/problems and a Extended Key Chart which summarizes
certain function buttons.
For a thorough overview, begin with the Getting Started chapter, which shows how to prepare
the console for programming. Continue with the following chapters that explain the basics of
programming and playback.
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Welcome to the Wholehog II
Terminology
The following terms are used on the WHOLEHOG II:
Cue
Tells one or more instruments to change settings for intensity, beam, colour,
and/or focus using their delay and fade times. Theatre designers will recognize
this term; WHOLEHOG users know this as a “scene,” while others may refer to
this as a “memory” or a “look.”
Cuelist
Cues grouped in a specific order to run one after another, or even
simultaneously. These may or may not be linked. A chase is one type of cuelist.
Master
The Fader, Go, Pause, Flash, and Choose buttons comprise a Master. One
cuelist can run on a Master at a time. Cuelist are not permanently linked to a
Master and can be moved to another Master or be stored in the Cuelist Directory
without actually residing on a Master.
Page
A group of cuelists residing on the Masters. Pages can be changed, allowing the
eight faders to be used for many cue lists. The number of faders can be expanded
with the addition of the Expansion Wing.
Parameter
An attribute of a fixture. A PAR can has one attribute: intensity. Moving lights
also have pan and tilt and usually several others such as colour and gobo.
ICBF
ICBF stands for Intensity, Colour, Beam, Focus, and is an easy way to keep
track of the parameters for an instrument or a group of instruments.
Intensity
also known as level, or percentage.
Colour
the colour wheel, the gel string, and colour mixing.
Beam
the pattern and quality of the light; this includes such specifics as
gobo, gobo rotation, sharp or soft edge, iris and diffusion. An
open beam is full iris, no pattern, no diffusion, sharp edge.
Focus
also referred to as position. Indicates the placement of the beam
on stage, as opposed to sharp or soft optical focus.
Palette
A stored parameter setting—such as a colour—for one or more fixtures.
Fixtures of different types can share a palette. Changing a palette changes all
the cues using that palette. A palette is also known as a preset.
Timing
The timing elements used by the Hog II are:
Fade Time The time, in seconds or minutes, for a cue to execute a crossfade.
In Time
The fade time for instruments which are fading intensity up.
Out Time
The fade time for instruments which are fading intensity down. In
time = out time, unless otherwise specified.
Delay
The time that the console waits before starting a cue’s crossfade.
Wait
The time a cue will wait to execute after GO is pressed.
Path
The type of crossfade used by a cue or fixture. Path is sometimes known as a
dimmer curve or a profile.
Warm Start When the desk is turned off and then turned back on using the rocker switch by
the power input. This leaves the show in the desk.
Cold Start
When the desk is reset using the shielded blue button. This clears the memory
completely and removes the show from the desk.
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Welcome to the Wholehog II
Symbols and Text conventions used in this Handbook
Different fonts are used in this handbook to indicate different actions:
This text for buttons to press on the console.
This text for buttons or text appearing on the displays.
Particularly important information will be shown on a black background
with bell.
Useful WHOLEHOG II tips will be boxed like this.
Symbols on buttons
Several of the buttons on the WHOLEHOG II have symbols rather than words:
The Flying Pig is a shift key, used in conjunction with other buttons. It’s known as PIG and is
used like the Apple symbol on a Macintosh Computer. It must be held down while pressing
another button.
The @ key means “at” and is used for patching and setting levels on the keypad.
The triangle pointing to the right is Go.
Pause is two bars.
The double triangle to the right is Skip Forward.
The double triangle to the left is Skip Back.
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Welcome to the Wholehog II
Using the Touch Screens
The touch screens are a critical part of operating the WHOLEHOG II system and merit special
mention. Much of your programming will be accessed directly through the Liquid Crystal
Display (LCD) touch screens, but they must be treated with care to ensure a long and healthy
life.
A few words on touch screen maintenance:
• Don’t touch them with sharp objects. However, if you want to press them with
something besides your finger, a pencil eraser is OK and works fine.
• Keep them out of direct sunlight. Exposure to the sun will cause the screens to turn
black, which will put them out of commission for several hours while they cool off.
To avoid this problem, we advise keeping the console in the shade when working with
the WHOLEHOG II outdoors. If the screens become unreadable, use a Microsoft
compatible mouse and the external monitors to access displays.
• Beware that some mice also stop working in direct sunlight. Use a black mouse or
keep it covered as well.
• The operating temperature range for the screens is 0 to 45 degrees Celsius (32 to 113
Fahrenheit.)
• The console will beep when you press on an LCD button correctly. It gives a
different sounding beep if you miss the button. If you’re pressing the button
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Welcome to the Wholehog II
correctly, but a different button is being activated, then the touch screens need
recalibrating.
Recalibrating the Touchscreens
Calibration settings are stored on the console, so normally this is nothing to worry about. To
recalibrate, either hit Backspace during start up or press Recalib Touch in the Control
Panel menu. Then touch the upper left corner and the lower right corner of each touch screen.
Press Enter when finished.
Setting Contrast
Before starting, you’ll also want to set the contrast of the screens, in order to get the best view.
To do this, hold down the Setup key and rotate the right parameter wheel to adjust the right
screen, and the center parameter wheel to adjust the left screen.
Disabling a Touchscreen
Should a touchscreen ever cease working properly, it may be desirable to turn it off. To do so:
1
Move the mouse pointer onto the
touchscreen display.
2
Simultaneously press Setup and a right
mouse button click to turn the touchscreen
on or off.
Safety Information
Please keep in mind the following safety instructions:
Do not use the WHOLEHOG if the power cord is damaged or not properly
connected to a grounded socket.
Protect the system from extremes in temperature and wet weather.
Operating temperature range for the console is 0 to 45 degrees Celsius (32
to 113 F).
Keep drinks away from the console. More than one console has been
destroyed by having a drink knocked into it.
Always handle the system with care and use a flight case when moving.
Certain components are sensitive to shock and a drop could break them.
Only people with electrical expertise should open the front panel. There
are exposed power items inside which can shock.
An authorized service representative should only undertake repairs. The
warranty is void otherwise.
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Use a soft cloth to clean the console and touch panel from time to time.
Don’t use cleansers or solvents, as they could take off the paint.
As long as these instructions are followed, and the system is treated with care, the WHOLEHOG
II should last for many years.
Problem Solving
If you’re having trouble with the WHOLEHOG II, there are several places to look for answers.
If you have a specific question regarding a function or a feature, use the Table of Contents or the
Index to find information on it. If you’re not sure where to look, or the console just seems to be
acting strangely, look through the Frequently Asked Questions section for a problem which
matches your own.
Crashes
As with any software product, crashes do happen on occasion, so while we do everything
possible to make sure that they happen rarely, we can’t guarantee that they won’t happen at all.
Please help us eliminate any problems by reporting them back to us.
There are two types of crashes: fatal errors and program faults.
• When a fatal error occurs, the right LCD will say I’m sorry I’ve croaked.
Please write down the entire message and what you were doing at the time, such as:
“1. Trying to edit a cue list. 2. The cue list was on a template page.”
• If you get a program fault, a bunch of information will appear on the display screen.
The top line will start with Fault at and the second line will say Trace with
several numbers following. Please write down all of the numbers on the Trace line
and send them to us along with a description of what you were doing just prior to the
crash.
If you’ve had a crash, reset the console by pressing the blue Reset button on the back of the
console (also called a cold start). Do not merely cycle the power; this will not clear corrupted
software out of the console’s memory. Because your show may have been corrupted by the
crash, you’ll need to load your most recent backup from disk. This is why it’s important to back
up to disk frequently.
If you have time, try to reproduce the problem by repeating your actions. If you can send us a
description of how to repeat the problem reliably, then we are much more likely to be able to
solve it rapidly.
Bugs
A bug makes the console behaves strangely but does not crash. For example, you might find
that a function button does not work properly in certain circumstances, but works fine otherwise.
This is a bug. If you find bugs in the software, please let us know; the only way we can fix them
is if our users tell us about them.
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Welcome to the Wholehog II
Reporting Crashes and Bugs
The more information you can give us about the problem, the faster we can sort it out. Please
use the following format to report bugs:
Reported By:
Your reference:
Software version:
Build number:
Date:
Is the Bug repeatable:
Description:
Your name.
If you report more than one, please number them.
You can find the number in the Control Panel title bar, or the on
start up screen.
Also found on the Control Panel.
Can you reliably reproduce the problem?
The steps from reset needed to reliably reproduce the problem, or
failing that, what you were doing to make the problem happen.
Please fax the bugs reports to +44 (20) 8579 8469 or preferably e-mail them to
support@flyingpig.com.
Software Updates
We constantly update the WHOLEHOG II software with new features and enhancements
through the Internet. In addition, revised fixture libraries are released as we generate
personalities for new instruments.
It’s worth checking the Flying Pig web site (www.flyingpig.com) periodically to see if there’s a
more recent version that the one loaded on your console. Software versions come in two types:
Beta release and Full release. Beta releases are test versions which are not meant for use on real
shows. Once Beta releases are tested and proven reliable, they become Full releases.
It’s a good idea to make a backup copy of the show before upgrading it.
Software is distributed on floppy disks. Files downloaded from the Internet are compressed
using WinZip software.
To ensure that you can take advantage of updates, please complete and return to FPS the
registration card that was shipped with your WHOLEHOG II. If you include your e-mail
address, we’ll notify you when new versions are released.
The URL for Flying Pig Systems is www.flyingpig.com. Once you’ve reached the site,
download new software by going to the WHOLEHOG II technical page.
Loading an upgrade is simple:
1
2
Wholehog II Handbook
Insert the new disk into the disk drive.
Press the blue Reset button on the back
panel of the console, while holding down
the Enter key on the keypad.
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Welcome to the Wholehog II
3
When the menu appears on the
touchscreen, press 3, Load New
Software.
Build Numbers
Software versions are referred to by build numbers. This is the only way to determine exactly
what version of software you're running, since a version can have multiple build numbers. Look
at the top of the Control Panel to find the build number.
Getting Additional Help
If you have questions or need help, contact your local dealer. They’re trained to give you the
support you need.
Another good resource is the Light Network—a discussion forum for
lighting professionals. There’s a dedicated Flying Pig Systems forum here
monitored by FPS support personnel: www.lightnetwork.com.
Contact us directly at either the Flying Pig office in London or High End Systems in the US:
E-mail
support@flyingpig.com
England:
+44 (20) 8579 5665
America:
+1 (800) 890 8989
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Welcome to the Wholehog II
Quick Start
This chapter gives a quick overview of how the WHOLEHOG II operates. Here you’ll find
what’s minimally required to setup the console, program a cue, and play it back. This chapter is
deliberately brief; for a complete explanation of how the console works, start with the next
chapter.
Setup
Set Up the Console
1 Connect the keyboard, mouse, trackball,
or monitors to the appropriately marked
ports on the back panel. DMX leads
should be plugged into the ports marked 1
through 4.
2
Plug in the power lead and turn the power
switch on.
3
If the startup screens says No show in
memory, press New Show.
4
Open the Control Panel where you tell the
console which items are attached to it:
Press the Setup button, then press
Control Panel.
5
Once there, select the external items
(keyboard, mouse, monitors) you
connected to the WHOLEHOG II.
6
Close the window.
Select Fixture Types to Use
1 Open the Patch window by pressing the
Setup button, then Patch on the
toolbar.
2
Wholehog II Handbook
Press Add Fixtures to see the list of
available fixture types.
11
Quick Start
3
Select a type like Desk Channels by
pressing its button on the touch screen.
Or use the cursor keys on the keypad
(they share keys with -, +, Thru and
Full) or the Page Up and Page Down
buttons to move the selection box up and
down the buttons.
4
Press Set and use the keypad to type the
new quantity (such as 24) into the edit
box that appears.
5
6
Press Enter.
7
Press Okay to return to the Patch
window.
Repeat for each fixture type you are
using. (In the remainder of this section
we’ll assume that some moving lights
were selected.)
Patch the Fixtures
1 Press Group to toggle through a list of
the fixtures you selected for use.
2
Press the output to patch to. It will turn
grey.
3
Choose an address for the desk channels;
typing 1 Thru 24 @ 1 Enter patches
units 1 through 24 starting at DMX
address 1.
Create Palettes
The Auto Menu function sets up standard palettes for the fixtures you’ve chosen.
Wholehog II Handbook
1
Press Auto Menus on the top patch
toolbar followed by Generate Menus
and the Hog II will create them
automatically.
2
Press the Close button (shown to the
left) to close the Patch window.
3
Press the Palettes button located on
the top left corner of the left touchscreen
to view the resulting palettes.
12
Quick Start
Program a Cue
Select Fixtures
1
Select a group by pressing a button in the
Group window. Or select individual
fixtures by typing them in on the keypad.
Select a different type by pressing Group
and then touching it on the toolbar.
Set Intensity
1
Press @ Full. This brings the selected
fixtures up to 100% intensity.
If you don’t want your instruments at full, enter a different percentage on the keypad instead:
press @65 Enter to program 65% intensity. When choosing a level other than full, you must
press Enter after your selection.
Set Focus (Position)
If you’ve selected moving lights, go ahead and aim the fixtures.
Colour
1
Type 1 Enter to select the first fixture in
your group.
2
Aim the lights—pan and tilt—by moving
the center and right parameter wheels.
3
To select the second fixture, press Next.
1
Select all fixtures, so that the colour
selection applies to them all. Pressing
Select and then All on the toolbar is
a quick way to do this.
2
Select a colour palette from the Colour
Window by pressing it. The lightly
colored palettes cannot be used by the
group you are working with.
Alternatively, press Colour and select a
colour with the parameter wheel.
Beam
Beam parameters are changed just like colour ones.
Record the Cue
Once a look has been created in the programmer it’s easy to record it as a cue. To record cue 1
on the first Playback Master:
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13
Quick Start
1
2
Press Record.
Press the Choose button above Playback
Master 1.
If you’re not going to record any more cues, press Clear to empty the contents and prevent it
from overriding playback. Alternatively, temporarily hide the programmer contents by pressing
Blind instead.
Playback the Cue
Press the GO button (shown to the left) above Playback Master 1. The Pause button below it
stops playback. To turn off a cue list, first press fader 1’s Choose button to select it and then
Release.
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Quick Start
Finding Your Way Around
This chapter gives an overview of the console’s three main sections—the Programmer, the
Playback Masters, and the displays—as well as the external items which connect to the console.
Programmer
The programmer is where you:
• Select fixtures to patch and enter their addresses.
• Select fixtures for programming using the numeric keypad or group buttons.
• Adjust levels using the parameter wheels or palette buttons to create looks on stage, or
to record into your own palettes.
• Adjust timing to turn your look into a multipart cue.
• Record cues into cuelists.
• Copy, move, merge, delete, or update cues.
• Park and test DMX channels.
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Finding Your Way Around
At the top of the programmer are three Parameter Wheels, which control all of a fixture’s
parameters. They can be used to change pan and tilt values, mix colours, or change gobo
settings. The parameter wheel bar at the bottom of the right screen shows what each wheel
controls:
The area immediately above each wheel on the screen indicates what parameter the wheel
controls and its current value. The four buttons below the wheels—Group, Focus, Colour,
and Beam—change the type of parameters that the wheels control. Groups and palettes can be
accessed instantly by typing a number after pressing one of these buttons (e.g., Group 6
Enter).
Also located at the bottom of the right touch screen is the command line, which
lists the most recent key presses and is a convenient way to keep track of
programming selections. Before pressing Enter, you can backspace through the
command line with the back arrow key to change selections.
Numerous windows are used in conjunction with the programmer, such as:
• Palette menus
• Group menus
• Time editor
• Effects Engine
Toolbars
At the bottom of the right display is a long, rectangular window known as the Toolbar. It has 10
buttons which work just like regular keys on the console; however, the functions change
depending on what’s happening. For example, when recording a cue the toolbar will display all
of the recording options. The default tool bar looks like this:
Other toolbars appear from time to depending on what's happening. A Fixture Selection toolbar
shows fixtures selected for use on the console. A Recording Options toolbar appears in the
middle of recording cues. These and other toolbars are described in the appropriate sections of
this Handbook.
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Finding Your Way Around
Playback Masters
The Playback section consists of:
• Eight Masters: the fader and the bottom button, Flash, control the intensity levels.
The two middle buttons, Go and Pause, control cue list activity. The top button,
Choose, selects the Master for editing purposes, and to links it to the Central
controls. The blue LED will light when the Master is selected.
• Central controls: the large Go and Pause buttons function the same way as those
immediately above the fader; Release removes the master’s look from the stage;
Skip Up, Skip Down, move up and down the cues in a cuelist without using the
times; Goto followed by a cue number starts executing the cuelist from that point; the
manual crossfader fades between cues designated as manual.
• Grand Master: the fader and DBO have overall control of intensity levels.
While programming it’s possible to record a cue on any of the eight playback masters on the
console. By default, the programmer records cues to the selected master.
Cuelist Directory and Pages
Up to eight different cue lists can be active simultaneously and be independently controlled by
their own playback masters. However, cue lists are not permanently attached to playback
masters; they can be moved or replaced by different cuelists. Every cue list is visible in the
Cuelist Directory window, from where they can be moved onto any master. A Page remembers
which cuelist is assigned to which master; by changing page, you can instantly move different
cuelists onto your eight masters.
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Finding Your Way Around
Windows and Displays
Countless window and displays present detailed information on fixtures, cues, and cuelists as
well as control options. They work much like windows you’d find on a Macintosh or PC and
can be resized and moved around to suit your needs. Unlike most computers, the WHOLEHOG
II has four separate displays—two touch-sensitive screens built into the console and two
optional external monitors. Any window can be moved to any of the four displays and be
resized to allow up to four different windows on a display at one time.
Windows are used to access and view almost everything on the console, including:
Programming
Type Selection
Group
Position
Colour
Beam
Timing
Effects Engine/Library
Setup
Patch
Control Panel
Change Shows
Playback
Cue List
Cue List Options
Cue List Directory
Pages
Input Controls
Timecode Controls
Feedback
Programmer Contents
Stage Output
Cue List Contents
Intensity Levels
How to Open Windows
Windows are opened either by pressing a button on the touch screen or by holding down the
PIG while pressing the relevant function. For example, PIG plus Group opens the group
window.
Once a window is opened, it remains so until shut. Any number of windows can be open at the
same time; however some may get buried behind other windows where they can’t be seen. To
see them again, press the function button (such as Focus) again.
How to make a Window Active
When a new window is opened, it becomes the active window, indicated by a dark bar along the
top. The active window is the one that can be controlled by commands from the keypad. To
make a different window active, simply touch any item within it. If you touch only the bar at the
top of the window, it will become active without selecting anything. Or, you can press the
corresponding function button (such as Group) again.
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Finding Your Way Around
Closes window
Selected group
Dark bar indicates Active
Maximizes window size
Group number (13)
Select box
How to Select Items inside a Window
To select a button on one of the buit-in console displays, press it with your finger. The window
becomes the active window.
Once a window is active, use the arrows on the keypad (located on the -, +, Thru, and Full
keys) to move the Select Box around within a window. The Select Box is a black rectangle that
surrounds the item that can be currently chosen with the keypad. Depending on the window,
either Set or Enter selects the item for use or modification.
If the command line has something in it, the cursor keys will not work—they
will give -,+, Thru, and Full instead. Press Clear to empty the command line
and try again.
- Moves left
+ Moves right
Thru moves up
Full moves down
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Finding Your Way Around
How to Select Items on the External Monitors
To select something on an external monitor, you’ll need to use the keypad or a mouse.
Clicking the right mouse button moves the mouse cursor from window to window. The left
mouse button selects items on the screens.
The Window Select button goes through the displays and makes the top window active on each,
starting with external display number 1. Press PIG along with this button to activate every
window on a single display in turn.
Setting Up Views
Because windows are central to Hog II operation, it’s worth taking a minute to set up views that
give quick access to programming tools and feedback displays. On startup, the consoles displays
a variety of default views to use as a starting point. However, experienced operators will often
spend a significant amount of time optimizing their views before programming.
To open a window, press and hold the PIG and then press the function button for which you’d
like to see a display. For example, to see the Group window, press and hold the PIG and press
Group while still holding the PIG button down.
+
=
A display like this should now appear on the right LCD:
If the window is empty (no groups are shown), you probably forgot to press Auto Menus
while patching.
Open up some other windows for programming: Focus, Colour, and Beam. These windows are
opened the same way as the Group window: press Pig plus the function button. Arrange the
windows so they’re positioned the way you want to see them.
Pressing a view button adds the windows held in the view to the windows onscreen. Pressing a
view button while holding Pig replaces the windows currently onscreen with the windows
stored in the view. The depth order of the windows is now stored in the view, and windows are
recalled in that order.
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Finding Your Way Around
The are options in the control panel window that can be used to alter how views are stored and
recalled. Save Visible means that when a desktop view is saved, only the visible windows
are stored. If the Recall Visible option is set and a desktop view is recalled, any windows
which are not visible are closed.
Moving or Resizing Windows
The windows may be moved or resized using the Window Control buttons above the right
touchscreen. These buttons are duplicated in the function buttons F1 through F10 at the top of
an external keyboard.
To move or arrange a window, make sure it’s active (indicated by a dark bar at the top of the
window.) If it’s not active, touch its top bar. Then choose one of the following:
To Close the window
Page Up, or hold PIG to scroll up by one line
Page Down, or hold PIG to scroll down by one line
It’s also possible to scroll through a window by holding down the Setup and turning the left
parameter wheel.
Page Left
Page Right
Split the active window into two parts. This is helpful for looking at two different parts of the
same window at the same time or for locking one half of a window onto a particular cuelist.
Toggle the window through one of 9 possible sizes and positions within the display screen.
Shuffle the window over to the next display screen. They will move in this order: right touch
screen display, left touch screen display, external monitor 1, external monitor 2.
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Finding Your Way Around
Maximize the window size temporarily, or return it to its previous size.
Saving a View
When you like the arrangement you’ve set up using the window buttons, save this view on one
of the View buttons at the top of the left LCD.
1
2
Press the Setup button on the console.
Press Save View on the menu that
appears. The View buttons will turn
dark.
3
Select the View button to save your look
on.
4
Press Set. Enter a name such as
“SHOW.”
The view buttons will now look like this:
Any time you need access this new view, just touch SHOW.
Keep in mind that window optionssuch as Track Current in the Cuelist window and
Fixture Type selections in the Output windowwill be stored along with the view. This way
the window looks identical the next time it’s opened.
Before setting up more views, remember to close the previous view’s
windows, otherwise they will also be recorded in the new view—even if
hidden behind another window.
Deleting a View
Just record a new view over the top of the old one, and then rename it.
Accessories
The following optional items expand the capabilities of the WHOLEHOG II:
Monitors
Two additional displays (standard PC monitors up to 1024x768 resolution) can be connected to
increase the viewing area to four displays total. This gives more space to expand custom views
of cue lists, output, etc.
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Finding Your Way Around
Mouse/Trackball
A port is available for connecting a mouse or a trackball, making it possible to select items on
the external display monitors. Also, a mouse or trackball can be used as an alternative for
setting pan and tilt values on moving lights.
Keyboard
A keyboard can be connected to the WHOLEHOG II to replace the touchscreen keyboard which
appears when naming; a real keyboard may be faster to use than the touch screen version.
Expansion Wing
The Expansion Wing has an additional 16 playback Masters for users requiring more than 8. It
also features 18 faderless masters which operate just like regular Masters, but without fader
control.
Remote
The Remote is a hand-held device—complete with trackball—that allows updating of focus
positions and basic programming.
Overdrive Box
For exceptionally large rigs, the number of channels supported by the Hog2 can be increased to
3,584 channels using Overdrives Boxes.
Hog Unit
The Hog Unit is simply the brains of the Wholehog put in a rack mount case. It has no faders or
touchscreens, but does have all the functionality of a regular console—plus a 24 hour and
astronomical clock. Program your show on a regular console and then leave behind a Hog Unit
for playback.
Hog PC
The Hog PC software includes a full version of the Wholehog II operating system and a virtual
console front panel. The software runs on a Windows PC and allows unlimited editing and
creation of shows. Attaching one or more USB interfaces allows Hog PC to output DMX
information and function as a lighting controller. Download the software at
www.flyingpig.com.
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Finding Your Way Around
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Finding Your Way Around
Getting Started
This chapter covers preparing the console for programming. In general, it only takes four steps:
1
Connect together the accessories, cables,
and console.
2
3
4
Select the fixture types to use.
Patch them.
Set up window views (optional).
Set Up the Console
First, connect the keyboard, mouse, trackball, and monitors to the appropriately marked
connectors on the back panel. DMX leads should be plugged into the ports marked 1 through 4.
These four ports are referred to as the DMX outputsfour outputs times 512 channels equals
2,048 control channels for the console. An additional 1536 channels are possible by using the
Overdrive boxes.
Plug in the power lead, making sure the lead is properly grounded and sharing the same ground
as the fixtures.
As with any DMX system, the console and the fixtures, or the console and
an optically isolated buffer box must share the same ground (i.e., be run off
the same power), otherwise signal corruption can occur.
Now turn the power switch on. If there’s a show resident in memory, the console is ready for
instant use. The start up screen will say Show loaded.
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25
Getting Started
If there is no show in memory (which may happen if the battery has become drained), the start
up screen will say No show in memory, and the New Show and Load Show buttons.
Press New Show to create a show from scratch.
Calibrating and Setting Contrast
Whenever you load a show, the console gives the option to recalibrate the touch screens.
Generally, this won’t be necessary. However, if the screen buttons don’t react properly when
pressed, recalibrate the screens following the directions in the touch screen section in Welcome
to the Wholehog.
If you can’t see the screens well—or at all—you may need to adjust the contrast to achieve the
best viewing angle. To adjust the contrast:
1
2
Hold down the Setup key.
Rotate the right parameter wheel to adjust
the right screen, and the center wheel to
adjust the left screen.
Setup Accessories
Since the accessories are optional, you must let the console know which items are attached to it.
This is done in the Control Panel. Access it by pressing Setup and then Control Panel.
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Getting Started
External Displays
If you have attached external monitors to the console, you'll need to specify the display
resolution for each in the appropriate box. Select a box and press Set to view the list of
supported resolutions (640x480, 600x800, and 1024x768).
It’s important to set the monitor resolution correctly. Some monitors will
be damaged if they receive the wrong resolution.
Mouse/Trackball
Make sure that the mouse or trackball is connected before turning on power to the console. If
you also want to control pan and tilt with it, then press the Trackball does Pan/Tilt
button so that it turns dark gray.
Keyboard
If you’re using an external keyboard with your WHOLEHOG II, be sure to press Use
external keyboard and also to select the proper country setting. Press the keyboard box
and then Set to enable the cursor keys to scroll to the correct country.
The remaining control panel functions are not essential to getting started, and are covered in the
Customization chapter.
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Getting Started
Fixture Selection and Patching
Open the Patch window by pressing the Setup button and then Patch on the toolbar. Once
this is done, you’ll notice that the toolbar has also changed to show patch functions.
Adding Fixtures to the Schedule
Once you’ve opened the Patch window, first tell the console how many fixtures of each type
you’ll be using:
1
Wholehog II Handbook
Press Add Fixtures to see a list of the
fixture types available. This opens the
Change Schedule window.
28
Getting Started
2
Select a type by pressing it on the touch
screen. Use the cursor keys on the
keypad (they share keys with -, +, Thru
and Full) or the Page Up and Page
Down buttons to move around the
window.
3
Press Set to change the number of
fixtures to be used from 0. Use the
keypad to type in the new quantity in the
edit box that appears.
4
5
6
Press Enter.
Repeat for each fixture type to be used.
Press Okay to return to the Patch
window.
The fixtures listed in the schedule are all contained in the Fixture Library, which has
personalities for most major multiparameter fixtures. If you aren’t able to find the fixture type
you need, see the Fixture Library Appendix for information on how to add it.
The examples in this Handbook use the following fixture schedule. You may want to set up
your own console this way and follow along.
24 Desk Channels for conventional instruments
6 Vari-Lite® VL5™
6 High End Studio Color
6 Martin MAC 500
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Getting Started
6 Clay Paky Golden Scan HPE
Desk Channel is the term we use for a single parameter fixture controlling
intensity. It can be patched to one or more DMX addresses. It’s important
to understand that a Desk Channel is not the same thing as a DMX address.
Patch Fixtures
Now that you’ve chosen the fixtures to use, you can patch them. When you’re
done, the patch window will look like the one shown at the start of this section.
First select the instrument types to patch. Note, this is how you would select fixtures at any
time, not just to patch. Patching instruments is a three-stage process:
1
2
3
Change to the correct type of fixture.
Press Group and press the appropriate
fixture button on the toolbar.
Type 1 Thru 24 to select the 24 desk
channels.
Type @ 1 Enter to patch the 24 desk
channels consecutively from channels 1
through 24 on DMX output 1.
While the Patch window is open, the @ key means “patch at address,” rather than the normal
“set at intensity.”
Keep an eye on the command line to keep track of what you’re patching.
Patching Multiple Times
Fixtures Can also be patched to multiple locations. For example, typing 11 @ 200 Enter will
patch desk channel 11 to DMX channel 200 of the current output, in addition to its first patch
location. Or, 2 @ 301 @ 305 Enter will patch desk channel 2 to addresses 301 and 305.
Patching To A Different Output
Any fixture can be patched anywhere on the four outputs. Every time you use the @ key, it will
patch onto the current output, indicated by a dark background. To change the current output,
press the output on which you’d like to patch. (Unless you’re in the Fixtures view, in which
case you must press the Output button.)
If you can’t see all of your outputs on the screen, use Scroll <> to move back and forth.
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Getting Started
Patching Split Fixtures like VL5s
Let’s proceed by patching the VL5’s onto the next DMX output (number 2). Simply press the
output to select it as the new current output. The background colour on the output will turn dark
gray to confirm the change.
VL5s differ from most other fixtures in that they must be patched twice: once for intensity and
once for the other parameters. Press Fixture Part to toggle between the two. The
command line on the display will let you know exactly which part is being patched.
To patch the VL5s:
1
Press Group, and then press VL5 on the
touch screen.
2
Type 1 thru 6 @ 1 Enter on the keypad.
This patches the VL5 intensities to
channels 1 through 6.
3
Press Fixture Part to select the other
parameters for patching.
4
Type 1 thru 6 @ 7 Enter on the keypad
to patch the rest of the parameters.
This automatically patches all remaining VL5 parameters in the correct order for all 6 fixtures.
It is not necessary to patch them individually.
Now patch the rest of the fixtures on output 3:
Patch the Golden Scans @1.
Patch the Studio Colors @ 73.
Patch the MAC 500s @ 169.
Look at the Next free address line at the top of each output's patch to
see which address to patch your next fixture at.
Clearing Fixtures from the Patch
To eliminate fixtures from the patch:
1
Select the fixtures—just as if you were
going to patch them.
2
Select the output you want to clear them
from.
3
Press Unpatch. This will remove the
chosen fixtures from the selected output.
To clear an entire output, press Unpatch while no fixtures are selected (i.e., after you’ve
pressed Clear).
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Getting Started
To clear only one patch location for a fixture patched to multiple DMX addresses, enter the
fixture number followed by @ and the location to unpatch: e.g., 1 @ 25 will unpatch fixture 1
from address 25.
Auto Menus
It’s a good idea to use the Auto Menu function to set up standard palettes for the fixtures to be
used. While these palettes may not cover every need, they’ll provide a good base to start with.
Just press Auto Menus on the patch toolbar followed by Generate Menus and the Hog 2
will generate them automatically.
It’s best to do this only once, after you’ve set up your schedule with all the fixtures you’re likely
to use.
Saving and Loading Shows
To avoid any potential loss of programming, save your show periodically and at the completion
of every programming session. Shows should be saved on 3.5 inch 1.4 MB HD floppy disks just
like those used with a PC. Disks can be formatted in the Change Show window.
IMPORTANT: Always back up your shows to floppy disk. Do so frequently
while programming and always after completing a programming session.
Also, we recommend having several sets of backup disks and alternately
saving to each one.
Saving shows
To save to floppy disk:
1
2
Press Setup on the desk.
3
4
Press Save Show.
Insert a disk into the drive. If it hasn’t
been formatted yet, the console will do so
automatically.
Press Okay in confirmation window.
Battery-Backed RAM
The RAM in the console is battery-backed, so that if you lose power accidentally, your
programming will be preserved. The battery will only last a few days when fully charged, so do
not rely on it for storing your show. To fully charge the battery, leave the console on for a few
days.
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Getting Started
Basic Programming
This chapter covers the basics of programming. Once you’ve read it, you should be able to
create and record cues.
This chapter assumes that you have correctly set up the console as covered in the previous
chapter.
A Note on Programming
Because the Wholehog II is so flexible, there are often several different ways to accomplish the
same thing. Which approach is best for you will be determined by your programming style.
Philosophically, the console is a programming tool which adapts to the way you work, and not
the other way around.
Most experienced users spend a significant amount of time setting up the console before even
programming a single cue. Windows and palettes are arranged to allow quick access; and
fixtures are configured to respond appropriately. We suggest that you first learn the console and
its options and then start to think about how to put together your show.
Programmer Overview
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Basic Programming
The Programmer is where cues are created and manipulated. Here, fixtures are selected, levels
are set, and commands are executed. Programming is a 3-step process:
1 Select the fixtures or group to program.
2 Adjust the parameter settings in one of
3 ways:
3
•
•
•
Wheels
Keypad
Palettes (On Displays)
Record the cue using Record or
Update.
It’s important to remember that the programmer has priority over everything else on the board
(with the exception of the Grand Master and the Dead Black Out button). This makes it easy to
see what’s happening as cues are created. Plus, it makes it possible to quickly grab a fixture
during a show and override the playback masters.
Selecting Fixtures
The first step in programming is always to select fixtures.
For example, to select all Desk Channels
1
Press the Palettes view button to
access the main programming windows.
2
Press the Group menu button labeled All
desk chan. It will turn white to
indicate that it’s selected. If you didn’t
select these fixtures during setup (previous
chapter) and press Auto Menus, this
group will not exist.
All desk channels are now selected.
Alternatively:
1
Type Group 1 Enter on the keypad. The
Group window does not need to be open
for this to work.
Or you can select fixtures individually:
1
Wholehog II Handbook
Type in the numbers you want, e.g. 1
Thru 24, or 1 Thru 5 + 9 - 3, or Group
1 - 13
34
Basic Programming
You’ll notice that after you selected the All Desk Channels group that some
of the tiles in the Focus, Colour and Beam windows turned white. This
indicates that those palettes are for other fixtures and can not be used with
your current selection.
To program VL5’s instead, press the Group button to open the Fixture Selection toolbar.
Toggle through the choices by pressing Group repeatedly or just touch a fixture type. You can
also type in the fixture type number (determined by the order of the fixtures in the fixture
selection toolbar) followed by a slash and the fixture number. For example, 1 / 5 would select
Desk Channel 5 (fixture type 1 / fixture number 5.)
Selecting different types at the same time
You can select different fixture types simultaneously. For example:
1
Press Group, Press Desk channel,
type 1 Enter
2
Press Group, Press Cyberlight, type
1 Enter
This selects Desk Channel 1 and Cyberlight 1 together. You can also press the All Desk
Channels and All Cyberlights group buttons. Recording different types into one group
lets them all be selected with just one button push.
Deselecting fixtures
If you are still selecting fixtures and haven’t adjusted any parameters or pressed Enter, you can
use the back arrow key to backspace over unwanted groups or fixtures.
Once you have made adjustments:
• Hit Backspace to cancel the latest adjustments
• Remove fixtures by selecting them and pressing Knockout.
• Deselect Groups by
1
2
Press PIG and hold it down.
Press the group button to deselect
Finally, you can also press Clear, but this will also erase any programming you did on previous
selections.
The Keypad functions
The keypad selects fixtures, groups, palettes, and times.
On the keypad, you’ll find the following keys in addition to the numbers:
+
Thru
Wholehog II Handbook
Selects more than one item: Group 8 + Group 12.
Selects a series of items: Studio 6 thru 15.
35
Basic Programming
Backspaces through the previous item on the command line, which shows the
most recent selection you have made in the programmer. Selections become
deleted as you backspace through them. We call this key Backspace.
Full
Sets the intensity at 100%. It’s not necessary to press Enter after Full, it enters
automatically.
@
Sets an intensity level or a patch location: VL5 6 @ 40. Or use the shorthand
@ 4 to indicate 40%.
/
Used for split fade times and sometimes fixture and cuelist selection: Time 5 /
7.
Subtracts one item from a series: fixture 1 thru 10 - 5.
Enter
Completes an operation.
The four buttons above the keypad—Group, Focus, Colour, and Beam—are used to select
specific groups or palettes (like group number 19).
Recording a Basic Cue
In this section we'll program a simple intensity cue.
Setting Intensity
Select Desk Channels as above, then
1
Move the left parameter wheel. The labels
above the wheels indicate what the wheels
control and their current setting.
1
Press @ Full to set to 100%.
1
Press @ 65 Enter. It is possible to skip
the last digit for levels ending in zero. For
example, @ 6 Enter sets the fixtures to
60%. For 6%, type @ 06 Enter.
OR:
OR:
Select other fixtures and set intensities for them.
Intensities can also be set using the +10%, -10%, and Out keys. (Out sets intensity to 0%.)
We will see how to change other parameter types later in this chapter.
Blind
During programming, the Programmer always has output priority over the rest of the console. If
you don’t want the programmer to output its contents, press Blind. The Blind LED illuminates
until the button is pressed again, returning the programmer to normal. This is also a handy tool
when editing cues while a show is running live; changes can be made without them being visible
on stage.
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Basic Programming
Recording a Cue
Once a look has been created in the programmer you can record it as a cue. To record cue 1 on
the first Playback Master:
1
2
Press Record.
Press the Choose button above Master
number 1.
Cue 1 has now been recorded on fader 1. The time for cue 1 will automatically be the default
time specified in the Control Panel. Don’t worry about setting your own times for now.
When cue 1 was recorded on the fader, a cuelist for that cue was automatically created. To see
this cuelist, open the cuelist window by pressing Pig and Choose above fader 1. Note that this
also selects fader 1, as indicated by a lit blue LED on the Choose button. The selected fader
becomes the default fader for all cuelist actions.
Other ways of Recording
• Pressing Record followed by Enter appends the cue to the end of the cue list on the
selected master.
• Pressing Record followed by Choose appends the cue to the end of the cue list on
the chosen master. (This lets a master remain selected while recording cues to
another master.)
• Pressing Record 1.5 and Enter inserts a cue numbered 1.5 into the cuelist on the
selected master.
• Pressing Record and then a cue in the cue list window brings up a confirmation
window asking: Insert Merge or Replace.
• Finally, typing Record 3/1.5 Enter inserts cue 1.5 on fader 3.
Cue numbers
Every cue that’s created is given a number and assigned to a cuelist. Numbers can be up to 4
digits to the right of the decimal, such as cue 12.0001. These numbers refer to cues in a specific
cuelist, not the entire console. So there can be a cue 1 for cuelists 1, 2, and 3, which are
completely different and not related in any way. Regardless, it’s possible to copy or move cue 1
into any other cuelist.
It’s important to remember that cuelists are not permanently attached to a Master. Eight new
cue lists can be loaded on the faders by changing page. Cuelists can also be copied and moved
around just like cues.
Cues can be given text names and have comments attached to them.
Cue Storage
Although the programmer retains all selections made since pressing Clear, only the parameters
which have changed since the last record are recorded into cues. In most cases, this has no
effect on running the show; during playback the console automatically calculates what a cue
should look like based on what comes before it in the cuelist. Nevertheless, it’s possible to play
back cues without this calculation function on (see the Playback chapter). There’s also an
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Basic Programming
option to record the entire state—not just the changes—to allow for a variety of playback styles.
More on these features in the Cues, Cuelists, and Pages chapter.
Clearing the Programmer
The programmer retains everything that’s loaded into it until Clear is pressed. For example, if
you select some dimmers and record them into a cue then select some VL5s, the programmer
will contain both fixture types. Once Clear is pressed, the programmer becomes empty and the
Clear LED turns off.
If you're recording a sequence of cues into a single cue list, it's not necessary to press Clear
after every cue. Because this is a tracking console, only new programming (changes) are
recorded in cues. However, it's possible to use the recording options to capture more
information. This can get complicated, so we'll cover these options later.
To restore the most recent contents back into the programmer, press PIG plus Clear.
It’s a good habit to always press Clear before starting to program new cues.
This ensures that lingering items from previous unrelated cues won’t be
included in your new cues.
A Brief Playback Overview
Let’s take a look at the cue we’ve made. To do so, you’ll need to clear the programmer since it
has priority over the rest of the console: press Clear. Or press Blind to stop outputting the
programmer contents.
First, bring up the fader on cue 1 to full. The fader acts as a submaster for intensity only. It has
no impact on colour, beam, or focus. Now press the Go button above Fader 1. The cue fades in
with the programmed time. If you didn’t see anything happen, make sure that the Grand Master
is up.
To freeze the fade at any point, press Pause. Pressing it again will fade back to the previous
cue
Press Release to deactivate (i.e., turn off, or remove from stage) the chosen cue list. If this
isn’t working, make sure that the master’s blue LED is lit.
To see the cues in a cuelist, press PIG and Choose.
If you used Blind while inspecting the cue, don’t forget to turn it off before continuing.
Feedback Displays
Four windows provide useful feedback while programming to help keep track of what the
fixtures are doing: Programmer Contents, Output, Levels, and Cue Contents.
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Basic Programming
Programmer Contents Window
The easiest way to see what’s actually in the programmer is to use the Programmer Contents
window. It only shows the fixtures and parameters selected in the programmer. Open it by
pressing Setup, Open Windows, and then Program.
The fixtures and parameters are shown in different colors to indicate their status:
Blue background Parameters currently selected in the programmer
White background Parameters of selected fixtures that have not been programmed
Black text
Parameters active in the programmer, but previously recorded.
Pressing the menu buttons at the top of the window shows more information:
Setting
What’s Shown
Values
Values programmed for each parameter.
Fade
Fade time programmed for each parameter.
Delay
Delay time programmed for each parameter.
Path
Crossfade path (profile) programmed for each parameter.
Output Window
The Output window is also useful while programming. It shows the output of the entire console,
not just the programmer, and is accessed by pressing Setup, Open Windows, and then
Output. You may want to put the programmer display on one external monitor and output on
the other.
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Basic Programming
The white background in the output window shows what’s active in the programmer. The
chosen master controls parameters with the dark gray background. If you can’t see a certain
fixture type, press its button to bring it to the top.
If fixtures or parameters are unpatched or parked, the output window displays “Unpatched” or
“Parked” to signify that they have no effect on the output.
Levels Window
The Levels window is designed for people who prefer to view intensity levels in a standard
theatrical format. Color is also shown for fixtures having a single color parameter—most
notably scrollers. Fixtures with no intensity channel will not be displayed, so make sure you use
the Scroller Dimmer fixture type if you intend to use this screen with scrollers.
Open the window by pressing Setup, Open Windows, and then Levels.
The Levels Display will show Programmer contents information even when the programmer is
blind. Select Hide Programmer in order to remove the programmer information.
Information can be viewed in several modes. Press the View Mode (upper right) button to
access the list of options:
Setting
What’s Shown
Live
Active console output. Will not show programmer when in Blind.
Contents
Contents of the currently selected master.
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Basic Programming
Show All
All fixtures, even if they are not programmed on the current
master.
Show Active
Only the fixtures in the programmer and on the current master.
Hide Programmer
The effects of the programmer are hidden.
25 Across
Change the format to 25 fixtures across.
A parameter’s characteristics are shown by its color:
Color
Background Color
Characteristics
Black
Grey
Parameter is not programmed on the current master.
Grey
White
Settings programmed in a previous cue.
Red
(Shows channel is
programmed on selected
master)
Settings changed in the current cue. For intensity, the
level has gone up.
Green
Black
Intensity level has gone down in the current cue.
Settings in the current cue, but unchanged from previous
cues.
White
Blue
Settings currently selected in programmer.
White
Dark Grey
Settings touched in programmer, but not currently
selected.
Grey
Dark Grey
Setting in programmer, but not touched (won’t normally
be recorded).
To look at the contents of a different cue:
1
2
Move to the View Cue box
3
Type in a cue number, or use the left
parameter wheel to scroll through
numbers.
4
Press Enter.
Press Set. Note that the view mode will
automatically change to Contents.
To return to the current cue, press the Current Cue button.
The Menu buttons work the same way as the Programmer Window. One additional button,
Source, shows which Master (or the programmer) is controlling each parameter.
Cue Contents Window
Press Contents in the cuelist window to open the cue contents window:
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Basic Programming
This window shows what's programmed in the current cue of a cuelist. If you use Go or
Pause, or Skip Up and Skip Down to move up or down the cuelist, the window will change
to show the new current cue. You can use the <<, >> screen buttons to override this and look at
another cue without changing cuelist position. Press Set and type a cue number to go directly to
it.
Only programmed values are shown in the display; they are displayed in different colors:
Black
Red
Green
White
Programmed in the displayed cue but unchanged from previous cues.
Parameters changed from the previous cue; Intensity levels going up.
Intensity levels going down from the previous cue
The level was programmed in a previous cue, and is not changed in this cue
In addition, the programmer contents overlay themselves over this window to aid programming,
even when the programmer is in blind:
White fixture number
Blue background
Grey background
The fixture is selected in the programmer
The level is set in the programmer
Not in programmer
Select Hide Programmer in order to remove programmer information.
Selecting Focus, Colour, and Beam
Continuing with our example, let’s create a new cuelist that controls the Intensity, Focus,
Colour, and Beam of Studio Colors.
First press Clear to empty the programmer to make sure that the desk channels don’t get
included in the new cue. Then press the Choose button above Master number 2 to select it as
our programming destination.
Start by selecting the All Studio group and set them to Full.
Focus
Typing 1 Enter selects the first Studio. Its positional focus—pan and tilt—can now be adjusted
with the center and right parameter wheels. Note it’s also possible to attach a trackball and use
it to control pan and tilt, but the trackball option must be selected in the Control Panel.
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Basic Programming
To select Studio number 2, press Next. Adjust its focus settings and then press Next again to
select the next Studio. Continue this cycle until all of the Studios have been focused.
Colour
Reselect all the Studios by pressing All on the toolbar. Press Colour to make the parameter
wheels swap to controlling colour. If at any time you want to go back to adjusting focus
parameters, simply press Focus to return the focus parameters to the wheels.
The parameter wheels are now ready to mix a colour for all the Studios. It’s also possible to
access a colour wheel setting with the parameter wheels. Since there are four colour parameters
on the Studio, there's not room for them on one set of parameters wheels. Pressing Colour
activates the Parameter Selection toolbar; use it to toggle between the color mixing parameters
and the color wheel.
Alternatively, let’s select the Red palette from the colour window to put the colour wheel in its
red setting. The palettes that are not faint are the ones that can be used by the Studios. All we
need to do is touch Red with our finger. Alternatively, we can type Colour 3 Enter.
To deselect palettes, hold PIG and then touch the palette.
As you can see, there are several ways to set parameter levels:
• Wheels
• Keypad
• Palettes
Beam
Beam parameters include such things as iris, gobos, gobo-rotators, and edges. To access them
on the wheels, press Beam. Fixtures such as Cyberlights have a number of beam parameters,
so it’s necessary to press Beam several times to scroll through all of them:
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Basic Programming
Beam parameters are adjusted the same way as colour parameters: i.e. using the wheels, keypad,
or palettes on the touchscreens.
You may notice that with some fixture types, like Cyberlights, there’s more than one wheel for
Gobo, and that one of these is followed by this symbol: <>. This indicates a gobo rotator. The
> and < signs on the parameter settings point in the direction that the gobo will rotate.
Other parameter symbols include >> and << for wheel rotation direction and + for split colours.
Once you’re happy with the cue, record it: press Record and then Enter.
Linked parameters
In contrast to focus and colour, only the adjusted beam parameters were recorded in the cue.
While it usually doesn’t make sense to record pan without tilt or magenta without cyan and
yellow, beam parameters are best recorded separately. Regardless, these default settings can be
overridden if necessary in the Control Panel by pressing the appropriate Keep Parameters
Separate option, allowing a pan chase to be programmed independently of a tilt chase.
Saving a Show
Now try saving your show to disk:
1
2
Press the Setup key.
3
4
Press Setup and Save Show.
Insert a 3.5” 1.44MB floppy disk into the
drive at the rear of the console.
Press Yes to confirm that you’d like to
save.
Remember to SAVE OFTEN.
Recording Cues with Time
Usually you’ll want to use a fade or delay time other than the default. This is easily
accomplished by pressing Time:
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1
2
Select fixtures and set levels.
3
Press Record to record the cue on the
selected Master.
Press Time 3 Enter to select a fade time
of 3 seconds.
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Basic Programming
When Time is pressed, a window opens showing all the parameters for the programmed
fixtures, like this one for the Super Scan Zoom:
The All line in this window sets times for all parameters.
Creating a Multipart Cue
The Programmer Times window allow quick creation of multipart cues. Use the Intensity,
Focus, Colour, and Beam lines to set fade and delay times for all parameters of those types,
or enter time settings for a specific parameter. Simply type the number directly into the box; it’s
not necessary to press Set. Below these lines, times can be entered for specific parameters.
Once you’re done adjusting the times, press Enter to close the Time window.
To keep the Time window permanently open, press Pig and Time. You’ll still
need to press Set before editing time.
Different Times For Different Fixtures
If different fixtures need different times, repeat selecting fixtures and setting times, for as many
different times as you need. For example, to create a peel off where fixtures move from a point,
one by one:
1
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Create the starting position and record it as
a cue.
45
Basic Programming
2
Select fixture 1, press Time Right
Arrow 1 Enter to give it a delay time of
1 second. The Right Arrow key is
located on the + key and moves the entry
box to the Delay column.
3
4
5
Press Next Time Right Arrow 2 Enter.
Continue for all fixtures.
Record this as the second cue.
Alternatively, this can be programmed in one step by using Fan on the delay time.
Check Your Cue Before You Record
You don’t have to record a cue to see how the timing will work out.
Press Try Cue to fade out the programmer (note this is an alternative to the snap change of
Blind).
Press Try Cue again to fade the cue in with time.
Changing Timing After Recording
After recording, it’s possible to adjust a cue’s time in the cuelist window with the Time button.
However, to set different times on individual parameters—and not one time for the entire cue—
it’s necessary to first Load the cue back into the programmer.
Split Timing
Split timing means that when the cue executes, fixtures whose intensities are going up (“In”
fixtures) will have different timing to those fixtures whose intensities are going down (“Out”).
So a split time has both an In time and an Out time.
Use / to enter a split fade time. For example, 2/4 would have an in time of 2 seconds and an out
time of 4 seconds. / can also be used to enter a split delay time or path.
Specifying Minutes
Hold the PIG key plus to get minutes. Time values can have up to 2 decimal places of
precision (e.g., 5.11 seconds).
.
Changing The Default Cue Times
You can change the default times for fade and delay in the Control Panel window. The console
will automatically use these for your cues unless you make a change while programming. See
Customization.
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Basic Programming
Groups and Palettes
In addition to the groups and palettes created by Automenus, you can create custom ones for
your own needs. These may be combined with one another or manipulated in any way. This
chapter shows you how to do this.
Creating and Modifying Groups
You can make your own groups for quick fixture selection. A group can include any number of
fixtures and any combination of fixture types.
To create a fixture group:
1
Select the fixtures for the group, such as
Robo1220 cmyr 1 thru 3 Enter +
Superzoom x 1 thru 3 Enter.
2
3
Press Record.
Select the destination by pressing an
empty space in the Group window. (Or
type in a destination group number:
Group 13 Enter.)
Groups are recorded with fixtures ordered in the sequence they’re selected
in the programmer. This ordering controls how fanning and effects are
applied to fixtures.
Naming a Group
To give the group a name:
1
2
Press Set.
3
Press Enter.
Type in a name, like Stage Right, on the
keyboard that pops up
Changing an existing Group
To remove fixtures from a group or combine fixtures into a group:
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1
Select the desired fixtures to add or
remove
2
Press Record. The programmer toolbar
will be replaced by the Options toolbar.
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Groups and Palettes
3
Choose an option from the Options
toolbar: Merge to combine fixture into
the destination or Remove to eliminate
them from the destination.
4
Select the group to be changed.
You can also use Load and Update to modify a group
1
Press Load, followed by the group you
want to change.
2
Either Knockout existing fixtures, or
select new ones.
3
Press Update.
Creating and Modifying Palettes
Palettes are a useful programming tool giving quick access to parameter levels. There are three
types of palettes: Focus, Colour, and Beam. Focus palettes are also referred to as preset
focuses.
Why are palettes useful?
• They’re a quick way to retrieve common positions or colour mixes.
• They automatically update: any change in the original palette will be automatically
reflected in all cues that use it.
• They can be named properly. These names appear across all display types.
Like groups, palettes can be made from any combination of fixture types. For example, a Red
palette could contain red for scrollers, VL5’s, Cyberlights, Super Scans, and Roboscan 1220’s,
assuring that colours match every time.
To create a palette:
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1
Select fixtures and adjust the parameters
to include in the palette.
2
3
Press Record.
4
To name: press Set, type in a name, and
press Enter to name the palette.
Press the destination palette location. (Or
type in a destination palette number:
Focus 21 Enter.)
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Groups and Palettes
If you create a palette with one fixture, this setting will apply to all of the fixtures of that type.
Otherwise, each fixture will receive its own value.
Masking
When palettes are recorded, the programmer automatically filters out parameters that are not
appropriate to that palette type. For example, if intensity is at full when creating a focus palette,
the intensity will not be included.
However, it’s possible to override this masking if you want to record intensity into a Focus
palette, for instance. To override masking:
1
Select fixtures and adjust the parameters
to include in the palette.
2
Press Record. You will see that the
programmer toolbar is replaced by the
Edit Options toolbar.
3
Press the Use I and Use F buttons so
that they are dark gray. That means that
Intensity and Focus will not be masked.
4
Press the destination palette location.
Embedded Palettes
It’s possible to create a palette that is comprised of other palettes. One particularly useful
application for this feature is with focus palettes. Often stage looks are built up from many
individual focuses. Embedded palettes make putting multiple fixtures in their own focus
positions as simple as one button press.
To make this more concrete, let’s say we created a palette using the following palettes:
Fixture 1
Fixture 2
Fixture 3
Fixture 4
Fixture 5
Drums
Singer
Bass
Keyboard
Guitar
The name of this new palette—not the names of the underlying palettes—will appear on all
screens and reports. To see what the underlying palettes are after creating an embedded palette,
Load the palette into the Programmer and look at the Programmer contents display.
Embedded palettes let us recycle existing palettes (Drums, Singer, etc.), so we don’t have to
create this new look from scratch. This not only saves work while programming, but reduces the
number of focuses to be updated.
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Groups and Palettes
Modifying Existing Palettes
There are two ways to modify a palette: 1) use Record with either the Merge or Remove
option or 2) use the Load and Update buttons.
The first method works just like modifying groups:
1
Select the fixtures you want to change
and set the new parameters. (If you are
removing parameters, touch the ones to
be removed.)
2
3
Press Record.
4
Select the destination palette.
Choose an option: Merge to combine
them with the destination or Remove to
eliminate them from the destination.
Merge combines the programmer contents with the destination cue. If there’s a conflict, the
information in the programmer has priority. It’s possible to merge into multiple palettes
simultaneously: select the destination palettes numerically on the keypad or hold down Record
while pressing them in the palette window.
Remove deletes selected fixtures and parameters from a palette. It is parameter specific: if the
palette has all parameters for a VL5 but only Intensity has been altered in the programmer, only
the Intensity parameters are wiped out, while the other parameters remain in the palette.
In the second method, the item to modify is first selected:
1
2
3
4
Press Load.
Select the palette to modify.
Select the fixtures and modify their
parameter settings as though you were
setting them up in the programmer in the
first place. Use Knockout or Undo to
remove unwanted programming.
Press Update.
Modifying Palettes while running a Show
While running a show, you can override fixtures using the programmer. If you want to store the
new settings permanently, you can use the auto update feature to identify what programming
was overridden and thus where to store the changes. For example:
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1
Hit Go on several Playback Masters with
cuelists.
2
Grab some fixtures and modify their
settings.
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Groups and Palettes
3
Hit Update. The command line will
show Auto Update. A window will
pop up showing all the cues and palettes
that have been overridden. Note, the
current cue of the selected master will
always be selected by default. If the
window does not pop up, then either you
have not made any adjustments in the
programmer, or you already had
something loaded.
4
Press the items you want updated,
followed by Enter.
This method is useful when playing back a cuelist during a show and a preset focus position
needs updating. You need only select the fixtures to modify and adjust their pan and tilt
settings. Once Update is pressed, the update window shows the fixtures’ preset focus and lets
you select them for immediate updating.
Cues can also be modified this way.
Random Notes on Palettes
When you record a palette, the parameters automatically reference the new palette. This saves
having to reselect the palette before recording into a cue.
If Live Programmer is on and the programmer is empty, the selection defaults to the
palette’s contents.
Manipulating Groups and Palettes
Groups and palettes are flexible items that can be moved, copied, or deleted at will. Note: all of
the following edit functions also work for cues, cuelists and pages.
Copying and Moving
To copy or move a palette (or group) to a new location:
1
2
3
Wholehog II Handbook
Press Copy (or Move).
Press the item to copy.
Press the new location for the item.
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Groups and Palettes
To copy or move multiple items, use this syntax:
1
2
Press Copy (or Move) and hold it down.
3
4
Let go of Copy (or Move).
Select the items to copy (these must all be
in the same window)
Press the new location.
Alternatively, you can use the keypad. For example: Copy Colour 5 thru 12 Enter 20
Enter.
Merging Groups or Palettes
Palettes (or Groups) can be combined with one another by selecting the Merge option:
1
Press Copy. The Options toolbar will
have opened on top of the programmer
toolbar
2
3
Select the item to merge
4
Press item to merge into.
Press Merge (or Remove) from the
Options toolbar, and apply any masking
options that might be necessary.
Again, it is possible to Merge multiple items at a time by using the hold Copy, or the keypad,
syntax. It is not possible to merge a Group into a Palette. Where there is conflict between
what’s in the programmer and what’s in the cue, the programmer takes priority.
Deleting Groups and Palettes
To delete a group or palette:
1
2
3
Press Delete.
1
2
3
Press Delete and keep holding it down.
Press the palette to be deleted.
Press Enter.
OR:
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Press the palette to be deleted.
Let go of the Delete button.
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Groups and Palettes
Cues, Cuelists, and Pages
This chapter covers the console’s organizational elements: cues, cuelists, and pages. In this
chapter you’ll learn how to edit, copy, and work with all three items.
Cues are the fundamental building block of the consoles. Each cue can contain programmed
levels and different fade and delay for every parameter of every fixture. Cue numbers are
specific to a cuelist, so there can be as many cue 1’s as there are cuelists.
Cuelists are how cues are organized. To be played back, cuelists must reside on a Master.
However, they can be stored in the Cuelist Directory when not in use.
A cuelist on a Master has the functionality of an entire traditional theatrical lighting controller;
an entire show’s programming can be placed in one cuelist, under the control of one Master. To
achieve this flexibility, cuelists are designed so that:
• Each cue can have many different times and timing can be overridden on the fly.
• Cuelists can run many cues simultaneously.
• Cues can be triggered manually, via a macro, after a delay, or by timecode.
• Cuelists can contain loops and links, or be setup as chases.
• The fader and buttons can be customized to tailor playback operation to your exact
needs.
Eight masters together make up a page. Cuelists can belong to one, none, or many pages.
Changing pages loads a new set of cuelists to the Masters.
Cuelist Window
The cuelist window shows what’s going on in a cuelist. Here, timing is modified, options are
selected, and cue contents are examined. To open a cuelist’s window, hold down the PIG and
press Choose for the desired Master.
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Cues, Cuelists, and Pages
Window Layout
The wait column of the cuelist window shows the wait time for cues, and also indicates the
current playback state of cues. As we’ll see in the next section, this column is used to change
Wait times.
As cues execute, the cues in this column turn white to indicate they are active. In addition,
• >> symbol denotes the current cue.
• R denotes a crossfading cue along with a number showing the percentage of the fade
completed.
• H denotes a halted cue.
• Pending cues have a countdown to when the cue will execute.
The Cue column shows the cue number and any name associated with the cue. This column of
buttons also select cues during edit operations.
To change a cue number:
1
Select it by pressing it or moving the
cursor box over it.
2
3
Press Set.
Type in the new number, followed by
Enter.
Cue numbers can have up to 4 digits to the right of the decimal (e.g., 1.0001).
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Cues, Cuelists, and Pages
To change a cue name, type in a name instead of a number.
The Fade, Delay, and Path columns show timing characteristics for the cues in your cuelist.
Timing can be edited directly using these columns. Special cues such as Link cues or Mark cues
use these columns for other purposes.
The comments column is used for attaching comments to cues. Move the cursor box or press the
desired button, press Set and type in your comment.
Cue Timing
There are three timing elements for every cue: one wait time, and one or more fade and delay
times.
The wait time is the time between pressing the Go button and when the cue begins to execute.
The delay time is the time in between the cue starting (after its wait has elapsed) and the
crossfade starting. The fade time is crossfade duration.
The reason there is a distinction between wait and delay time is that the wait time schedules the
execution of a cue inside a cuelist, whereas the delay time(s) schedule the execution of fades on
different parameters within a cue. A cue can have multiple delay times, while it will only have
one wait time.
If you’re feeling confused about waits, delays, and fades look at the following cuelist and then
compare it with the diagram below to see how the cues will react.
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Cues, Cuelists, and Pages
Setting the Wait Time
The wait time can only be adjusted using the cuelist window. There are five options for a wait
time
Halt
Represented by an empty wait box: the cuelist stops executing cues and waits
for Go.
Wait
The cuelist waits this time after starting the previous cue before starting this one.
Follow On
The cue starts immediately after the previous one has ended.
Manual
The cue starts when the manual crossfader is moved from its end stop, and the
cue crossfade time will be ignored. Instead, the crossfade will be controlled by
the crossfader. Make sure that the master is selected.
Timecode
This is discussed in the MIDI and Timecode chapter.
To change a wait time, select a cue’s wait box and press Set. The following options appear on
the toolbar:
Enter a wait time by typing the number and pressing Enter. If the time is in minutes, press
Minutes after typing the number, or press Pig + . Timecode can be entered by typing in a
frame number, distinguished by using a / to indicate 00/00/01.00. Otherwise, pick on option
from the toolbar and press Enter.
Changing Several Cues at Once
You can select several cues to change at once.
1
2
Press the start of the selection.
1
Using the cursor keys, move the cursor
box to the start of the selection.
2
Hold Pig and move the cursor to the end
of the selection. As long as the Pig key is
held, you can grow or shrink the selection
using the cursor keys.
Hold Pig and press the end of the
selection (if necessary, you can scroll the
window to find the ending position first).
You can change the end point if you
want, as long as you are still holding the
Pig key.
OR:
This range selection syntax can be used throughout the entire console.
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Cues, Cuelists, and Pages
Setting the Fade and Delay times
Fade and delay times can be adjusted by selecting the appropriate boxes, pressing Set, and
typing in a new time. Again, several cues can be adjusted at once by selecting several boxes
together. Times can have up to two decimal points of precision.
However, if different times are assigned to different parameters, the cue must be loaded back
into the programmer for modification with the Time window.
It’s possible to enter split fade or delay times (and split paths) to give different values to the
fixtures whose intensities are coming up or going out in a cue. Use the / to enter a split time.
For example, entering 2/3 in the fade window gives a 2 second fade to the fixtures going up (the
“in” time) time and a 3 second fade to those going out (the “out” time.)
Learn Timing
You can automatically setup cue wait times by using the Learn Timing function. While it’s
turned on, every time you press the master’s Go, the console will store the correct wait time for
the cue. If timecode is running, it will store the current timecode frame instead.
The function only overrides empty (i.e., Halt) wait boxes—not preexisting wait settings.
Cuelist Window - Changing Values
Cue values in the cuelist window can now be adjusted using the left hand wheel. This works for
wait times, cuelist numbers, delay and fade times, loop durations, etc.
1
Move to the column of the cue you want
to edit.
2
3
4
Press Set to edit the value.
Move the wheel.
Press Set or Enter to confirm the new
value.
This will work with range selections. If you adjust a range of timecode wait times, they will still
be adjusted relatively (ie you can shift a range of cues forwards or backwards in time).
Manipulating Cues
How to Select Cues During Edit Operations
Cues are selected like Groups or Palettes. After pressing the Record, Copy, Move, or Load
button:
1
Open the cuelist window by pressing Pig
+ Choose and press the cue button.
2
Type in the cue number on the keypad.
OR:
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Cues, Cuelists, and Pages
When you type in a number, the console assumes you are referring to cues in a cuelist on the
selected playback master (the one with the Choose LED lit). The / key can be used to select
cues on other masters. For example, typing 2/3 Enter would select playback master 2, cue 3.
Modifying Existing Cues
The technique is the same as for modifying palettes:
1
Use Record along with Merge or
Remove
2
Use Load / Update
3
Use Update without Load (Auto Update)
OR:
OR:
The first method uses the Record button in a similar manner to the way cues are created in the
first place:
1
2
3
4
Select fixtures and adjust parameters.
Press Record.
Press Merge or Remove on the toolbar.
Select destination.
Merge combines the programmer contents into the destination cue. If there’s a conflict, the
information in the programmer has priority. It’s possible to merge into multiple cues
simultaneously: select the destination cues on the keypad or hold down Record while pressing
the cues in the cuelist window.
Remove deletes selected fixtures and parameters from a cue. It is parameter specific: if the cue
has all parameters for a VL5 but only Intensity is altered in the programmer, only the Intensity
parameters are wiped out, while the other parameters remain in the cue.
The second method uses Load to bring the cue into the programmer where it can be modified
directly, before updating back to the original cue.
1
2
3
Press Load.
4
Press Update to record the changes.
Select the cue to modify.
All fixtures in the cue are automatically
selected and ready for instant
modification. To only modify some
fixtures, just select them normally and
only they will be changed.
The third method uses Update on its own. Load must not be pressed for this to work.
1
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Select fixtures and adjust parameters.
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Cues, Cuelists, and Pages
2
Hit Update. The command line will show
Auto Update. A window will pop up
showing all the cues and palettes that have
been overridden. Note, the current cue of
the “selected” master will always be
selected by default. If the window does
not pop up, then either you have not made
any adjustments in the programmer, or
you already had something loaded.
3
Press the items you want updated,
followed by Enter.
This method is a convenient way of adjusting programming while in a live environment.
Copying, Moving, and Deleting Cues
Cues are copied, moved, and deleted with the same commands used elsewhere on the console.
To copy or move a cue:
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1
Make sure that the cue’s cuelist window is
the active window.
2
3
Press Copy or Move.
4
Press the destination. The cue will be
inserted just before the pressed destination
if Insert is pressed when the following
window appears.
Select the source cue (in the cuelist
window).
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Cues, Cuelists, and Pages
To select multiple items, hold down Copy while selecting several cues. Or use the keypad to
select a range of cues, just like selecting multiple fixtures: Copy 1 Thru 4 Enter to 12.
Like with Palettes, you can use Copy in conjunction with the Options toolbar to Merge,
Remove or Use IFCBT while copying cues.
To delete a cue:
1
2
3
Press Delete and keep holding it down.
1
2
3
Press Delete.
Press the cue to be deleted.
Let go of the Delete button.
OR:
Select the cue.
Press Enter to confirm.
Copying and Moving Cues between Cuelists
Cues can be copied or merged from one cuelist to another. This can be either a few select cues
or the entire cuelists. Both the source and destination cuelists must be on Masters for this to
work.
First, select the source in one of three ways:
1
2
3
Open source cuelist window.
4
Release Copy or Move.
1
Press and release Copy or Move.
Press and hold Copy or Move.
Press source cues in window, or type cue
numbers on keypad.
OR:
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Cues, Cuelists, and Pages
2
Type Fader number / Start Cue number
Thru end cue number
Note: Pressing Thru without an End Cue number selects to the end of the cuelist.
OR:
1
2
3
Press and release Copy or Move.
Press the Fader Choose button.
Type Fader number / Start Cue number
Thru End Cue number.
Then, select the destination in one of three ways:
• Type Fader number / Cue number Enter.
• Open the destination cuelist and press the destination cue.
• Press the destination Choose button to append.
Cuelists can be combined by using the Merge option on the options toolbar. Make sure to
press Merge before selecting the source. If the selected destination has more cues than the
source, the source cues will repeat themselves until the end is reached. If the reverse is true,
then merging will cease once the end of the destination is reached.
Special Cues
Mark
A Mark cue is a setup cue inserted prior to the cue it marks. It contains the position, colour, and
beam settings of the original cue it marks, but only for fixtures that are not active on stage at the
time the mark cue is executed. This means that a mark cue will never change what is seen on
stage, but it simply presets all the non-intensity parameters for doused fixtures, so that they are
at the correct value when the next cue executes.
Pressing Insert Mark (from the Cuelist Window) inserts a mark cue in front of the current
cue—the one with >> in the wait box.
Loops and Links
Links are used to create loops, or to interrupt the normal flow of a cuelist by jumping to a
different point. Note that the cuelist loops back to the first cue by default, so that there is no
need to add a link back to 1 at the end of a cuelist.
Pressing Insert Link inserts a link cue after the current cue. The fade and delay columns
change to Link to Cue and Duration. In the cue box, enter the cue number to link to. In the
Duration column, either enter the number of times to perform the link or the amount of link
time. Make sure to enter a decimal when setting a time value to distinguish it from a count.
Timecode can also be entered into the Duration field. Entering zero will leave the field blank,
which means that the link (or loop) will always occur until Go is pressed again. There are
cuelist options to control exactly how this occurs.
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A link cue has its own wait time. When a link is taken, the console uses that wait time instead of
the wait time of the cue that it’s linking to.
In the example at the beginning of the chapter, cue 4.3 is a link cue designed to perform a loop
back to cue 4. Cue 4 has a wait time of Halt, but this is ignored when the loop occurs—the
follow of the link cue is used instead.
You can also specify a duration time or a timecode exit point for loops. Move to the link cue’s
Duration column, and enter either a time (e.g. 10.0) or a timecode frame 2/13/12.00. The loop
will now exit when the timecode frame is reached, or the time has elapsed from the start of the
loop.
Cuelist Directory
Every cuelist is stored in the cuelist directory window. Open the window by pressing PIG and
List:
Any cuelist can be accessed at any time from this window. The same cuelists can be used in
multiple locations throughout a show. (See Pages section below)
Cuelists can be selected, copied, moved, and deleted, just like groups, palettes and cues. To
merge a cuelist, see the Manipulating Cues section.
It's possible to directly record to cuelists in the cuelist directory. Pressing
Record followed by a button in the cuelist directory will record a cue onto
that cuelist. If the button does not contain a cuelist then a blank cuelist is
created, and a cue is recorded into it.
Naming Cuelists
Cuelists cannot be named via the Master itself. You must find the cuelist in the cuelist directory
and name it there.
Deleting Cuelists
To delete a cuelist permanently on all pages, delete it in the cuelist directory window. To only
remove it from the Master, hold Delete while pressing the Master’s Choose button; the cuelist
will gone from the Master but still resident in the cuelist directory window.
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Cues, Cuelists, and Pages
Pages
Pages are a useful way to organize programming. They let cuelists be grouped and loaded
quickly onto the Masters with one button press. For concert design, shows are often organized
with one song per page. When the set list arrives before each show, it’s a simple matter of
moving the pages around so they reflect the running order. To see the available pages, press
PIG and Page.
What Is a Page?
Cuelists are not stored on masters. The masters merely reference cuelists in the cuelist directory;
the referencing details are stored in a page.
When you change page, the masters receive new reference information, and hence all the
cuelists on all masters change instantly.
The same cuelist can be used several times within a page or on several pages. The number in the
upper right corner of each cuelist button in the cuelist directory window shows the number of
times the cuelist is used in pages.
Changing Page
There are three ways to change pages:
Press Next Page. (To move backwards through the pages, hold the PIG and press Next
Page.)
Type Page number Enter.
Press the desired page button in the Page window.
The page is now the current page. Any changes you make as to which cuelists are on which
masters will now affect this page.
Creating a New Page
To create a page, just press an empty page button, or press Page and an unused page number.
As elsewhere, you can name pages using Set.
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Cues, Cuelists, and Pages
Modifying a Page
Change to the page to be modified, and either record cues into a brand new cuelist or add an
existing cuelist to the page. New cuelists are automatically added to the cuelist directory and to
the current page.
To add a existing cuelist to the page:
1
2
Press Move or press Copy
3
Press the Choose button for the desired
Master.
Select the cuelist by pressing its button, or
using the keypad.
Moving a cuelist onto a page does not make a new cuelist; any changes made to it will also
affect all other uses of that cuelist in other pages.
When a cuelist is moved to multiple masters in the same page, the second and successive moves
actually create hidden copies of original cuelist. These hidden copies get re-synced with the
original cuelist on a page change. Changes may not appear on all cuelists until this happens.
Any edits which are performed on the hidden cuelists however will always be applied to the
original cuelist.
When a cuelist is copied onto a Master, a brand new cuelist is made with no links to any other
pages. Any changes made to it will not affect other pages (unless, of course, the new cuelist is
subsequently moved onto a master in another page).
To delete a cuelist from the page, but retain it in the cuelist directory window for future use:
1
2
Press Delete
3
Press Enter.
Press the Choose button for the Master
the cuelist is sitting on.
This will delete the cuelist from the page, but the cuelist will still be located in the cuelist
window for future use.
Clearing a Page
Press Clear Page in the Page Window. Note: this does not delete any cuelists.
Page Holdover
When changing page, the console automatically releases the cuelists from the old page. To
temporarily hold over the cuelist on faders while changing Page, hold down the faders’ Choose
buttons while changing page. To indicate a holdover, the cuelist name above the master is
highlighted.
To have all active cuelists hold over without having to press Choose, select Page holdover
if Active in the Control Panel.
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To remove the holdover, release the Master and the cuelist for the new page will now appear. If
you didn’t hold Choose while changing page, the Master will also release if the cuelist
becomes fully overridden.
Crossfading Between Pages
It is possible to crossfade straight from one page’s look to another just by changing page. This
is done by storing in the incoming page which masters must be activated on this page change
(i.e., which masters have Go pressed automatically).
1
2
Change to the incoming page.
3
Press Save Activity.
Press Go on some masters, so that the
looks you want to change to are now
active.
Now when you change to this page, the looks will be put on stage automatically. You can now
use the Next Page button as a “Go” button for the first cue on the incoming page.
To turn off activity, change to the page and press Save Activity.
Template Pages
A template page allows you to specify cuelist(s) that will appear in every page, without you
having to move that cuelist into all the pages. It’s useful when operating a master cuelist for
playback with different specials on each page. Or use it to store handy manual control cuelists.
To setup a template page
1
2
3
Create the page as normal.
Make the page current.
Press Set As Template in the Page
window
A T will appear on the page button to indicate that it has been loaded as a template page.
If you now change to a different page, you should still see the template page’s cuelists
appearing. If both the normal page and the template page are using the same master, the normal
page will override the template page.
Make sure that the normal pages do not have cuelists set up on the Masters
where the template cuelists reside. The cuelists on the normal pages will
override, except where an override is intended.
To turn off the template page, press No Template at any time.
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Cues, Cuelists, and Pages
Other Cuelist Window Functions
Cuelist Options
The button opens the Cuelist Options window, which customizes cuelist behavior and is
described in the Playback chapter.
Follow Current
On the cue list menu bar you’ll find Follow Current which toggles in and out of “screen
lock” mode like on a PC. Screen lock holds the current cue on the screen as you go through the
list
Renumber
Press Renumber, then type the range to renumber and then Enter to automatically renumber
cues to whole numbers.
Use Move to move a cue to a different location.
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Advanced Programming
This chapter describes more sophisticated programming functions. It starts by explaining
tracking. Understanding the logic behind tracking is crucial if you are to master the Wholehog.
Tracking
The Wholehog II is a tracking console—meaning it only saves programmed changes and not
entire states. This concept directly impacts how you need to program your show; not
understanding how tracking works can lead to confusion and mistakes.
Normally when recording a cue, only the parameters which have changed since the last record
are included in the new cue. For example, if only the pan and tilt wheels are touched before
recording, the cue won’t contain information for intensity, colour, or any other non-focus
parameter.
This system has several advantages. From a technical perspective, cue storage is extremely
efficient and less memory is consumed, since programmed values are not repeated throughout a
cuelist. This means that in order to change a range of cues, only the first one needs to be
modified. The advantages of tracking extend to playback. Multiple cues can be simultaneously
executed, which would not be possible if cues held entire states. Also, some shows are
programmed with only one parameter type in each cue or sequence, allowing them to be
combined with each other in different ways to achieve a wide selection of looks. In other
situations, a single parameter override needs to be manually triggered from a different Master at
varying points during a show. This would not be possible if the console always stored values for
each parameter.
Common Problems
Unfortunately, this system can occasionally be confusing to those used to a different approach
on another lighting console. Sometimes recorded cues sometimes don’t appear the same during
playback as they did while in the programmer. This problem usually has one of two causes:
1) Active cues on the playback masters while recording. The look on stage is a combination of
the programmer and the playback masters, but only what’s in the programmer is recorded in the
cue. Later, when the cue is played back, it will look different if the cues that were active while
recording are now turned off.
2) Active cues during playback outputting values for parameters not included in the recorded
cue. If a Cyberlight is programmed with only intensity, colour, and focus information, an iris
setting will not be included in the cue. If this cue is activated after another cue has put the same
fixtures in a tight iris, the iris will remain tight even though it was open when recorded. This is
because no information was programmed for iris since it was not touched.
An Example of Tracking
Looking at an example will help make sense of tracking.
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Advanced Programming
Let’s program three cues with Desk Channels (or dimmers) as in the following diagram:
Cue
1
2
3
Action
1 @ Full
2 @ 50
3+5 @ 80
Cue Contents
1 2 3 4 5
FL
50
80
80
Output
1 2 3 4 5
FL
FL 50
FL 50 80
80
The first column is the cue number. The second column shows what programming activity takes
place in that cue (assuming Enter and Record). The third column (Cue Contents) shows what
actually is recorded in the cue. The fourth column (Output) shows the resulting state of the
cuelist as the cues are executed. This assumes that Maintain State has been kept as the
default setting in the cuelist options window.
Only the items that are programmed since the last record actually get recorded in the cue (unless
one of the other recording options described below is used). As cues are executed in a cuelist,
the console automatically calculates the output state for that point in the cuelist. If Maintain
State is deselected, output will be the same as the programmed cues:
Cue
1
2
3
Action
1 @ Full
2 @ 50
3+5 @ 80
Cue Contents
1 2 3 4 5
FL
50
80
80
1
FL
Output
2 3 4
5
50
80
80
The Cue Contents window is helpful for showing what’s actually in a cue
versus what results from Maintain State.
Recording and Editing Options
Just because the Wholehog II is a tracking console doesn’t mean that you’re stuck with this style
of operation.
Several options on the pop-up toolbar let you control exactly what gets included in each cue.
Default Recording Behavior
When recording cues in the default manner, the console decides what will be recorded into the
destination cue in using the following rules:
Adjusted Parameters
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These are always recorded, regardless of whether the fixture is
currently selected
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Advanced Programming
Old Recorded Parameters
Parameters which are present in the programmer but have not
been modified since the last record operation are only recorded
into the destination cue if they are not already present with the
same value in the cuelist state (in others words, only if an
Unblock operation would not remove them).
Note: This is a change to the default behavior in version 2 software. In v2
old recorded parameters would only be recorded if the destination cuelist
was different from that of the previous record operation.
Using State
The state of a cuelist refers to what it is currently outputting—the result of all the cues executed
so far during playback. The State option controls how much information is included during
cue manipulation:
When recording cues
When copying cues
When loading cues
Pressing State records all parameters in the programmer
(adjusted or previously recorded) regardless of whether they are
in the state of the destination cuelist.
Pressing State copies the entire state of the cuelist up to the
point of the selected cue, not just the cue. This corresponds to the
sum of all the cues up to and including the selected cue.
Pressing State loads the cuelist state into the programmer.
Pressing State again returns the programmer to act in the default manner.
Record Options
After Record is pressed, pressing the Options button on the toolbar gives four further
choices:
Normal
Selected
Whole Fixture
Snapshot
Wholehog II Handbook
Records parameters in the default way detailed above.
Records parameters of currently selected fixtures (which may not be all
fixtures currently in the programmer) in the default way, and ignores
programming for unselected fixtures.
Records all parameters of fixtures with any adjusted parameters, even
though some parameters may have not been adjusted.
Records a snapshot of the entire output, as though Active Enter had
been previously used.
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Advanced Programming
Unblock
Whenever State or an abnormal record option is used, parameters will often repeat settings
programmed in earlier cues. These are known as hard commands. Hard commands are also
created during the normal course of programming. Sometimes these hard commands are
deliberately included, but sometimes they are the byproduct of cue manipulation. To eliminate
unwanted hard commands, use Unblock (Cuelist window toolbar):
1
2
3
Press Unblock on the cuelist toolbar.
Select the cues to unblock.
Press Enter.
Eliminating unnecessary hard commands is a good way to reduce the show
size and save memory.
Track Forward
This button appears on the edit toolbar and is used after Record, Copy, Delete or Update
and has two settings:
On
The button is dark grey. When Maintain State is on, the cue tracks its
changes through the subsequent cues during playback until there’s a change
programmed. This is the normal programming mode.
Off
This puts the console in Cue Only mode. Changes apply to one cue only. The
following cue is modified so that the changes are undone in it. This function
does not work if the cue being created or edited is the last cue in the list.
If you press the Track Forward, the change will stay for one edit operation only. It will
revert to the default setting for the next operation.
Merge and Remove
Use these options after Record and Copy to combine cues rather than insert new cues.
Masking
As we’ve seen, it’s possible to filter out Intensity, Focus, Colour, Beam, or Time settings by
pressing the relevant Mask buttons (Use IFCBT) on the toolbar while recording. For example,
if all parameters for a fixture are selected in the programmer and only Use C is pressed after
Record, only color information will be included in the cue.
More on Selecting Fixtures
Select Menu
Pressing Select on the toolbar, gives the following selection buttons:
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Advanced Programming
The All, Odd, and Even buttons act on the selection already in the programmer. All selects
all fixtures currently in the programmer. Odd and Even select the odds and evens of the most
recently selected fixtures in the programmer. For example, to select the even fixtures from your
backlight truss:
1
2
Select the group.
Press Even on the Programmer toolbar.
Prev reselects the previous Programmer selection.
Invert captures the fixtures not chosen in the previous selection. For example, if all VL5’s
are first loaded in the programmer and Odd is pressed, pressing Invert selects the evens.
Only selects the intersection between two groups. For example:
1
Select a group containing fixtures 1
through 3.
2
3
Press Select… and then Only.
4
Fixtures 2 and 3 will now be selected in
the Programmer.
Select a group containing fixture 2
through 6.
None selects nothing, but leaves all of the information currently in the programmer intact.
Random shuffles the order of the current selection, and leaves it selected.
Calibrate is used with XYZ programming.
Next
Pressing Next automatically selects the next fixture. If nothing is selected in the programmer,
or a single fixture is selected on the command line, then Next cycles through all of the fixtures
for the currently selected fixture. If no user numbers have been allocated then Next will cycle
through every fixture of each fixture type in turn. If every fixture has been allocated a unique
user number then Next will cycle through them in numerical order.
Pressing PIG plus Next moves back to the previous fixture.
When using a trackball or mouse to aim fixtures, the left button works as Next and the right as
Previous.
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Advanced Programming
Highlight
Highlight temporarily brings the currently selected fixture to 100% intensity and an open beam,
without this information being stored in the cue. It’s useful for updating preset focuses or for
focusing a specific instrument in the middle of a cue.
Highlight remains active until turned off by pressing Highlight again.
It’s possible to adjust the default Highlight settings by creating a custom highlight palette. To
do this:
1
Create a palette with fixtures in the desired
highlight settings.
2
3
4
Select this palette.
Press Set twice.
Select the Highlight option.
Highlight settings for fixtures can also be adjusted in the Edit Fixtures window.
More on Adjusting Levels
Fine Wheel Movement
Some fixtures have 16 bit resolution for parameters like pan, tilt, and gobo rotation. In order to
access the fine level of resolution, hold Pig while turning the parameter wheels. The levels will
be adjusted at the finest setting possible. Note that although the parameter wheels generally
work at 8 bit resolution, all crossfades in the Hog 2 are performed at full 16 bit resolution.
Flip
Flip rotates a moving-head instrument so that it hits the same point on stage, but from the
other end of its movement range. To achieve this, select the instruments you want to flip and
press Flip.
Remainder Dim
When Rem Dim on the Programmer toolbar is pressed after a fixture selection, all other fixtures
will receive an intensity value of 0.
Other Toolbar Items
Out sets the intensities of selected fixtures to 0.
+10 increases the intensities of selected fixtures by 10%.
-10 decreases the intensities of selected fixtures by 10%.
Manipulating Programming
These functions make it easy to access and manipulate existing programming.
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Advanced Programming
Take a Snapshot of Live Output
Pressing Active followed by Enter takes a “snapshot” of the console’s current output and loads
this into the programmer. For example, if four cues are active with their faders at various levels,
Active will combine the states of all the cues. This can then be recorded as a cue anywhere on
the console.
To use Active:
1
2
3
Set the look you want with the Masters.
Press Active.
Press Enter.
Conditional Snapshots
You can also use Active to load a subset of the console’s output. For example, to pull into the
programmer all fixtures that are currently red, press Active, the red palette, and then Enter.
This syntax can be used with fixtures, groups, and palettes.
Grab parameters of a certain type for fixtures selected in the programmer by holding Active and
pressing the appropriate key: Group (for intensity), Focus, Colour, or Beam.
Hold Active and move a parameter wheel to grab that parameter for fixtures selected in the
programmer.
Active @ 50 grabs all fixtures with intensity of at least 50%. Substitute any other number for
50.
To force values into all parameters for the selected fixtures in the programmer, press Pig and
Active. This works just like using the Whole Fixture option upon recording. If the
parameters are not controlled by any cues, then this will be the default setting from the fixture
library.
Extract Values from Cues into the Programmer
To extract fixture settings from a cue and load them into the programmer:
1
2
3
Select the fixtures.
Hold Pig and press Load. The command
line shows Extract.
Choose the cue from which to extract the
settings.
Extract leaves the data in the cue in tact. It is not removed as part of the command.
Masking commands (covered in the Groups and Palettes chapter) can be used to with Extract to
filter out undesired parameter types.
Copying Values from One Fixture to Another (Clone)
The Clone function copies parameter and timing information from one fixture to anothereven
fixtures of different types.
To Clone information from source fixtures to the destination:
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Advanced Programming
1
Select the destination fixtures in the
programmer.
2
3
4
Press Pig and Copy.
Select source fixtures.
Press Enter.
Both the source and destination fixtures must be present in the programmer while cloning.
The standard Edit Toolbar is used to control what is cloned. For example, select Use T, and
deselect all the others (Use IFCB) to clone timing only.
Clone can be used with overlapping sets of source and destination fixtures. For example, if you
have set up a staggered fade on Cybers 1>10, and want to reverse the order in which it occurs:
1
2
3
4
Select Cyber 1 Thru 10.
Press Pig and Copy.
Press Use T only.
Cyber 10 Thru 1.
Clone also works with XYZ programming, so that you can copy a position to any number of
lights (as long as they are all calibrated).
And Clone works across different fixture types, as long as the types have some parameters in
common, e.g. Cyber 1 Thru 10 Clone From Gscan 1
Note that Clone cannot be used to grab information from running cuelists –
first use Active, and then Clone to different fixtures.
Fan
Don't overlook this feature! It's extremely powerful, but easy to miss
because it doesn't have a dedicated button.
Fanning Parameters over a Range
You can Fan several fixtures at once to create symmetrical looks. When used with pan and tilt,
fixtures placed in a line will be aimed so their beams fan evenly or form a fan or a knot.
To use Fan:
1
2
3
Wholehog II Handbook
Select the fixtures to program.
Press and hold Set.
Use the center and right parameter wheels
to pan and tilt, opening and closing the
fan.
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Advanced Programming
Fanning Pan on five fixtures in a row might yield beams like this:
Fan
Although originally intended for pan and tilt, Fan can also be used elsewhere:
• To create a nice rainbow effect across colour mixing fixtures.
• To evenly spread delay or fade times for a set of fixtures.
• To stagger the offset of effects using the Effects Engine.
Using Fan with Time
Timing can be staggered in the programmer time window just like any parameter. Press Set and
move the left hand wheel or enter the timing from the keypad. In addition, 1 Pig Thru 10 will
evenly spread timing from 1 to 10 across the fixtures.
Don’t overlook this feature! It can instantly generate awesome effects which
would otherwise be laborious to produce.
Removing Programming
Canceling Modifications
If you change your mind about a level adjustment, press the
backspace key before pressing Enter. The current selection and any changes you just made
will be canceled.
Removing Fixtures from the Programmer
The knockout function removes selected fixtures and their programming from the programmer:
1
2
Select the fixture(s).
Press Knockout.
Undoing Parameters of a Certain Type
You can knock out parameters of a certain type by holding Undo and pressing the appropriate
key from Group (for intensity), Focus, Colour, and Beam.
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Undoing Individual Parameters
Holding Undo while moving a parameter wheel knocks out any programming for that
parameter out of the programmer.
Path
Path is the type of crossfade a cue, a fixture, or a parameter executes; it defines how a cue will
change over time. Paths are also known as profiles. Path settings can be changed in the Cuelist
and Programmer Times windows. The following paths are available:
Path
Linear
Start
End
Damped
Brake
Speed Up
Under
Over
Shake
Description
Smooth, proportionate fade over time
Snap change at the beginning of the cue
Snap change at the end of the cue
Slower crossfading at the beginning and end of a cue
Slower crossfading at the end of a cue
Slower crossfading at the beginning a cue
The fade first goes in the opposite direction of its destination
The fade overshoots its destination and then returns to it
Chaotic, sawtooth fade over the course of the cue.
Default paths for fixtures are set in the fixture library.
If a fixture’s parameter—like a color wheel—isn’t crossfading correctly, it
could be that the path is set to Start or End. This is changeable in Edit
Fixtures.
Programming with XYZ Coordinates
Instead of using pan and tilt values for fixtures, it's possible to program positions in 3
dimensional space using XYZ stage coordinates. Why is this useful? Let's say you wanted to
aim 100 fixtures at a specific point on stage. Normally, you'd have to adjust the pan and tilt
positions for those 100 lights individuallya long and tedious process. In contrast, with the
XYZ system, all you have to do is enter the XYZ coordinates on the parameter wheels and the
lights will go there instantly. Likewise, if you need to nudge the lights up a bitmaybe so they
hit the top of a mike standyou only need to adjust the Z parameter wheel and all the lights will
move there together.
If you're in a touring situation, then the XYZ system can eliminate the daily task of updating
preset focuses. Instead, just recalibrate the lights and all focus palettes created with XYZ
coordinates will now be adjusted for the new venue.
Fixture library version 3.0 or higher must be used for the XYZ system to
work. Also, not all fixtures have necessary 3D space information. See the
Fixture Library Appendix to adapt an old library or calibrate a fixture.
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Calibration
The XYZ system must first be calibrated before use. This process is simply a matter of aiming
every fixture at each of four calibration points. Accuracy is quite important, so you may want to
iris down the fixtures when aiming, if possible.
The map below shows the X and Y coordinates mapped onto a stage. Z is the height above the
stage.
Audience
X Axis
(10,0)
DSL
Downstage Left
(0,0)
DSR
Downstage Right
Stage
Y Axis
Shown in (X,Y) Coordinates
USL
Upstage Left
USR
Upstage Right
(10,10)
(0,10)
To calibrate fixtures:
1
Choose 4 points of a rectangle on stage
which correspond to the diagram above.
The bigger the rectangle, the better.
2
Create four focus palettesone for each
point:
USR
USL
DSR
DSL
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Upstage Right
Upstage Left
Downstage Right
Downstage Left
77
X=0
X=10
X=0
X=10
Y=10
Y=10
Y=0
Y=0
Advanced Programming
3
Aim all moving lights at each one of the
four points and record them into the
respective palette.
4
Select each of the four focus palettes in
turn, press Set twice and then chose the
appropriate identifier (e.g., Cal USR).
5
6
Press Calibrate on the Select menu.
Press Focus twice to change the
parameter wheels to X, Y, and Z controls
for programming in 3D space.
Recording Cues with XYZ
XYZ information can only be recorded into palettes, and not into cues. Therefore, it is advised
to record all XYZ information first as preset focus palettes, and then record these into cues, so
that the cues are updated when the fixtures are recalibrated.
When manipulating yoke lights in the programmer using XYZ, be aware that
at the point where tilt is at 50%, any value of pan is valid the fixture may flip
temporarily. However, this problem will only be during programming since
during playback all fades are performed on the pan and tilt parameters. This
problem is more pronounced the faster the fixture is being moved.
When a cue is loaded for editing, the XYZ parameters are untouched, even though it is using an
XYZ palette. This is correct, and avoids the temptation to modify XYZ in the cue and press
update (which would just copy the hard pan and tilt values to the cue, and break its reference to
the palette).
To modify an XYZ position, load and update the palette, not the cue.
Recalibration
If fixtures are moved, they’ll need to be recalibrated to ensure proper performance. In a touring
environment, every fixture will need to be recalibrated every time a new venue is reached. In
order for this process to work properly, it’s important that the four points be in the same position
relative to the stage elements.
Grouping
Pressing Grouping on the Programmer toolbar will group together fixtures in the designated
parts during fanning. For example, pressing 3 Part means:
Fixture
1,4,7,...
2,5,8,...
3,6,9,...
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Movement during fanning
all go one way
all stay still
all go the other way
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Advanced Programming
Parking
Sometimes it’s useful during programming to put a fixture in a setting and leave them there
indefinitely. When fixtures are selected and Park (Programmer toolbar) is pressed, these
fixtures will be “parked” at their existing levels. Cues can be programmed and playback occur,
but these fixtures will remain where they are. Think of it as a super-high priority setting on the
console.
If any parameters are touched, then only they get parked or unparked. If no parameters are
touched, then all parameters of selected fixtures are parked or unparked.
Press Pig and Park to unpark.
Parked channels are labeled Parked in the Output display and the Patch window and Patch
Channels window.
The Grand Master does not affect parking. Fixtures parked at full will
remain there even when the Grand Master is at 0%.
DMX Test Mode
To bring up a specific DMX channel in the Programmer, use the DMX Test Mode. It works just
like selecting an extra fixture type.
To enter DMX Test mode, press the Group button to display a list of the available fixture types,
and select the last item in the menu: DMX Test. The normal syntax for fixture selection,
highlighting and adjustment now controls DMX channels instead of fixtures. For example 1
Thru 10 @ FULL puts DMX channels 1 thru 10 to full. You can also park/unpark DMX
channels in the same way as parking/unparking fixtures.
To change the DMX Output, press Group and the menu displays the available outputs (1-4, or
more if you are using overdrive). Alternatively, select Absolute Addressing in the Patch
window to refer to all outputs simultaneously (e.g. 1 Thru 2048).
Use the Patch window instead of the programmer window to see what is programmed: open the
Patch window, and choose View… then Channels.
To return to normal fixtures mode, press Group and select the last menu item: Fixtures.
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Effects EngineTM
This chapter covers the Effects Engine both in summary and in detail. Users who do not need to
create custom effects should read the initial sections and then skip to the next chapter.
The Effects Engine is a way of creating dynamic effects very quickly. You can use it to make
circle effects, ballyhoos, shutter chases, fluctuating rainbows, and many more.
Previously, to make a dynamic effect, you had to create each static look first, turn them into a
chase, and finally run the cuelist to obtain the effect. Now, only a few button pushes will create
the same effects within the programmer for recording into a single cue.
Using the Effects Library
The WHOLEHOG II comes with a library of prerecorded effects to make programming as
simple as pressing a button. For example, to create a circle chase:
1
Select the fixtures for the effect and put
them in the desired intensity and colour
settings.
2
3
Press Pig and Effects.
Press Circle in the Effects Library
window.
A circle chase is generated for the fixtures. Now press Ballyhoo (and some of the other
effects) to see what it does. If you have trouble finding them, try scrolling down the Effects
window.
Recording Effects
To record this look as a cue, just press Record as you normally would. A single cue will be
created. To modify an effect after it’s recorded, load it back into the programmer.
It’s possible to crossfade from one effect to another while running a cuelist.
e.g., a circle effect can smoothly crossfade to a ballyhoo.
Adjusting Rate, Size, and the Center Point
The rate and size for an effect can be adjust quickly with the left and center parameter wheels.
Certain effects—like circles—use a parameter setting as the center point (or base value). The
center point will be the programmer’s setting for that parameter when the effect is recorded. To
change the center point, press Effects to turn it off, change the parameter setting, and press
Effects again. If a palette is used as the center point, then the effect will change to reflect
changes in the palette.
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Effects Engine
Press parameters in the left column of the Effects Engine window to control
which ones are controlled by the wheels.
Offset
Offset refers to where in an effect cycle a fixture begins the effect. A single effect can have
many looks by using different offsets. Many of the preprogrammed effects in the Effects
window have several permutations with different offsets depending on the number of fixtures.
Fanning Effects
A quick way to evenly spread the offsets across a range of fixtures is to fan them; hold Set while
turning the Offset wheel. This can generate some interesting looks. Fan also works on rate and
size
Turning off the Effects Engine
Simply close the Effects window. The parameter wheels will return to normal once Focus,
Colour, or Beam are selected.
If you just want to turn one component of an effect off:
1
2
Select the fixtures.
3
Press Set, and choose <none> from the
list of tables.
Move to the row of the parameter to be
cleared, and position the entry box on the
table column.
Color and Gobo Wheels
The Effects Library contains preprogrammed profiles for specific fixture color and gobo wheels.
Real-time effects take up 8 times more memory than a normal static look.
This means that you would be able to store 8 times fewer cues than normal,
if all cues were made up of effects. Keep this in mind when planning your
show.
Making Custom Effects
It’s also possible to create effects from scratch if the Effects Library doesn’t have what you
need. Effects are usually transferable from one fixture type to another (provided they have the
same parameter names), so an effect created on an Intellabeam can be used on a Cyberlight.
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Effects Engine
To make your own effect:
1
2
Select your fixtures.
Press Effects on the programmer
toolbar.
3
Select one of the boxes labelled Table
next to the parameter you want to apply
an effect to.
4
Press Set. A window will pop up,
allowing you to chose different types of
effect, as listed below.
5
6
Do the same to other parameters.
7
Select other fixtures, and set more effects.
There are no restrictions on effect
combinations within a cue.
8
Record to a cue using the normal syntax.
Adjust the rate, size, and offset either
selecting a parameter and using the
wheels or by moving to the boxes next to
a parameter and pressing Set (to adjust
just that parameter) and typing in a new
number.
These are some of the possible effect tables that appear in the Effects Engine window.
Table
Effect
Sine
Standard wave movement
Cosine
When combined with sine on the other focus parameter, makes up circle
movements
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Step
Gives snap changing on / off
Sawtooth
Gives faded on / off
Ramp
A ramp with a snap return at the end
Spiral
Used to make spiral effects
Tan
Spiky effects
Random
Various random effects
Custom effect tables are created in the Curve Editor window.
The Effects Engine window shows the setting of the first fixture in your selection (like the
parameter wheels do for normal values). This means that you may see no effect details in the
window even though some fixtures have effects programmed. If you select several fixtures with
different settings, you will need to use the Next key to step through the values.
Moving the parameter wheels adjusts rate, size and offset settings in proportion across
parameters and fixtures. That means, that if you had a figure of eight effect (where tilt is double
the rate of pan), then increasing the rate with the wheel will increase the rates in proportion so
that the figure eight is maintained. Similarly, if you select two fixtures with different rates, and
then move the rate wheel, the fixtures’ rates will be adjusted in proportion. You can achieve the
same result by editing the setting boxes in the ‘All’ (i.e. all parameter) row.
All changes made to the settings in the All row are relative to the current value in the box. So
if you select a fixture, and want to change its offset by 50%, you must add another 50% to the
current setting.
In contrast, the edit boxes for rate, size and offset for a specific parameters allow you to make
absolute adjustments. That means if you select several fixtures with different values for a box,
editing it will force all selected fixtures to the new value.
Sometimes the console may not be able to synchronise all your effects in
the programmer correctly (if they have come from many different sources).
To resynchronise, turn Blind on and off.
Base Values
Most of the effects that are provided on a new show disk are relative. This means that they
expect to be added to a base value.
You set the base value just like setting up a normal value, using the parameter wheels or by
choosing a palette. This can be done before or after you have selected an effect.
You can remove the base value from the effect by changing the Combo column against a
parameter from “Use Base” to “Ignore.”
Part Setting
The Part Setting option automatically spreads any effect across groups of fixtures. You
can also select the effect to run as a one shot effect.
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To choose a part setting:
1
2
Open the Effects Editor window.
3
Press Set and select a new setting from
the list. New tables and offsets are
automatically calculated to achieve the
new part setting.
Move the entry box to the Setting
column. The All row will affect all
effects on selected fixtures. Other rows
will affect only the effect on the
corresponding parameter.
One Shot mode is selected the same way as choosing a part setting (one shot options are at the
bottom of the list). Once the effect has run, you can test it again in the programmer by turning
blind on and off.
Effects Library
Custom effects can be stored in the Effects Library. Use either the pre-prepared effects from a
new show, or record your own. Effects Libraries can be merged from other shows. This way,
it’s possible to build up a personal library of effects which are used from show to show.
To store a new effect:
1
2
Create the effect as above.
3
Choose an Effects palette.
Press Record, and mask out any
unwanted parameters (e.g. intensity in a
movement effect).
The new effect button will store the effects and any base values you set up. An IFCB indicator
will show what has been stored.
Effects in the effects library do not automatically update like palettes in a
cue.
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Playback
This chapter covers playback of programmed cues.
The WHOLEHOG II is designed for maximum playback flexibility:
•
Powerful timed playback of cuelists for theatrical shows. They can be controlled manually
or fully integrated with timecode inputs from tape or MIDI, or triggered via MIDI show
control.
•
Simultaneously operation of multiple independent cuelists for unstructured shows.
•
Quick access to fixtures, cues, and cuelists. Use of the DMX Input and Expansion Wing
features increases the number of available Masters.
•
An instant and crossfading page changing system simplifies page changing to one button
push, and allows set list changes at the last minute.
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Masters
The Masters are the bank of faders and buttons located below the left touchscreen. Each Master
has the power to control a complete cuelist, a single chase, or a single cue; all of them can be run
simultaneously or in any combination.
Each Master includes four buttons and a fader. The buttons are, from top to bottom:
Choose
Go
Pause
Flash
Fader
Used to select the Master during programming operations. Pressing it otherwise
selects the Master. The selected Master is the one controlled by the Central
Controls. It is also the master that is the default destination for programming
operations, e.g. Record.
Press Go to start a cue fading and start the cuelist executing cues (running). If the
cuelist is already running, press it to skip cues or to exit from loops.
Freezes any crossfading cues, and stops the cuelist from running. Pressing Go
will resume fading and execution of cues. Once a cuelist is stopped, pressing
Pause again fades backwards through the cuelist.
Bumps the cuelist’s intensity to full. You can configure the cuelist so that its
intensity is controlled in an HTP or LTP fashion.
Fades the cuelist’s intensity. You can configure the cuelist so that its intensity is
controlled in an HTP or LTP fashion.
Alternate Actions
Holding down the choose button while using a Master’s controls will give different actions:
Choose + Go
Choose + Pause
Choose + Flash
Choose + Fader
Step to the next cue without fading and without starting the cuelist
running.
Step back to the previous cue without fading.
Activates the master. This is like pressing Go, but the cuelist does not
start executing cues, and stays on the same cue. Use it to reassert a
master that’s been overridden.
Manually crossfades all the cuelist’s programmed parameters.
Central Controls
Masters can be linked to the Central controls by
1
pressing a master’s Choose button, so
that it is the selected master.
2
by holding any number of Choose
buttons. Those masters will be linked to
the Central Controls while the Choose
button(s) are held down.
OR
The Central Controls consist of: Release, Skip Forward and Back, Goto, the manual
crossfader, and the large Go and Pause buttons.
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Turning Off a Fader—Releasing
Pulling down a fader only forces programmed intensities to 0%. To release all parameters of the
selected fader so that they have no effect on output, press Release.
To release all faders at once, press PIG plus Release.
When releasing a master it’s normal to select it first (i.e., press its Choose button). However,
sometimes it may not be desirable to change the selected master—for instance, keep a master’s
cuelist display visible. (The cuelist display always shows the cuelist on the selected master.)
To release a master’s cuelist without selecting it:
1
Press and hold down Choose on the
master to be released.
2
3
Press Release.
Let go of Choose.
Goto
To jump straight to a cue, and start the cuelist running:
1
2
Press Goto.
3
Press Enter to execute a fade to the
destination. The console will use the time
of the incoming cue.
Enter the cue number to jump to, say 45,
or just press its button.
Skip Forward and Back
These buttons skip forward and back through the cuelist on the selected master without fading.
Go and Pause
These buttons work exactly like those on the Master; they’re just bigger and are easier to reach.
Manual Crossfading
There are several methods to manual execute a crossfade.
Designate a cue as Manual
The fader in the Central Controls manually controls the crossfade from one cue to another within
a cue list when a cue’s wait time is set to Manual.
To start the crossfade, make sure the crossfader is at an end stop, then move the fader. Until the
crossfader reaches the end, it’s possible to fade the cue in and out.
Manual Override
It's also possible to take control of a crossfade without presetting it as manual wait in the cuelist
window. Bring a crossfade under manual control by holding the relevant Choose button and
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moving the manual crossfader (not the master’s own fader). This halts the present fade and its
remaining duration will correspond to the length of the manual fader. Once the fade is
completed the master is returned to its normal state, as if no interference had taken place.
The manual fader must start at an end-stop for this operation. However, moving the fader to an
end-stop while holding Choose will halt the cue and place it under manual control
immediately. Once the fade is halted and under manual control it is not necessary to hold the
choose button.
This operation will take control of fades that are running or halted, or if there are no running
fades it will initiate the next crossfade, under manual control. Pressing the Go button in either
case will return the fade to its original automatic timing, and it will complete over its remaining
duration.
Masters with manual fades in progress have their Pause (red) indicator solidly lit, and their Go
(green) indicator flashing. It is not possible to start another manual fade while one is in
progress. However, it is possible to run a manual fade on a master other than that currently
selected by holding the appropriate choose button.
Manual Crossfades between Masters
To crossfade between two or more masters:
1
Make sure that the incoming master’s
fader is at 0. Hold down the Choose
button of the incoming master.
2
Pull down the faders of the outgoing
master(s). At this point, NO fades will
occur.
3
Move up the incoming master’s fader.
This will now perform the crossfade
between the outgoing masters and the
incoming master.
4
Release Choose on the incoming master
Overriding Programmed Timing
Timing can be overridden by holding down a Master’s Choose button and turning one of the
three parameter wheels:
on the right wheel changes the rates of all fades across the whole console
regardless of the Choose button pressed.
Cuelist Rate on the center wheel adjusts fade rates on that Master only. This setting
remains until changed again.
Single Q Rate on the left wheel adjusts the time for the current fade (either in progress or
at the Go) and is automatically reset to 100% when that fade completes.
Thus, the override will not effect other fades or masters.
Console Rate
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Note that the percent value relates to the length of the fade. So 200% means
that all times will be twice as long as what their programmed values, and
50% means that all times will be half as long.
Master Precedence
Because the console can simultaneously run eight separate cuelists—more with the expansion
wing or virtual masters), there is possible conflict over which master actually has control of a
parameter. In order to decide which master has control, the console applies the following rules:
For Focus, Colour And Beam Parameters:
The console uses Latest Takes Precedence (LTP). This means, the most recently activated
masters will override earlier masters. (Note: Only the specific conflicting parameters are
overridden; non conflicting parameters on the earlier masters will be left untouched.)
Releasing overriding masters will return the overridden parameters back to the control of the old
masters.
Masters which are fully overridden (i.e., all programmed parameters have been overridden by
other masters) are released automatically. This is called stomping.
The Programmer always has priority over the Playback Masters. (Remember, you can press
Blind to suspend Programmer output).
For Intensity Parameters:
By default these are also controlled by LTP, but you can set cuelist options to make a master
work in a Highest Takes Precedence (HTP) fashion. In this case the console will output, for a
particular intensity channel, the highest programmed value of all the HTP masters and the
highest priority LTP master.
Cuelist options exist for fully customizing the priority scheme for a cuelist. See the Cuelist
Options section in this chapter.
The Levels window is a good way to determine what Master is controlling a
fixture.
What is an Active Master?
An active Master is a master that has had Go pushed, has been manually faded up, or has been
activated using Choose + Flash.
Masters, once activated, remain active until fully overridden or manually released. Partially
overridden masters are still active, and thus still control the remaining, non-overridden
parameters. Cuelist options customize overriding.
Playback Master LEDs
The Masters’ LEDs give feedback as to the active and override status of a master.
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LED
Solid
Flashing
Go
Executing Crossfade
Crossfading, but fully overridden
Pause
Controlling Colour, Beam or
Focus Parameters
All CBF overridden, or no CBF
Flash
Controlling Intensity
All I overridden, or no I
Default Values
When no playback masters are active, and nothing is selected in the Programmer, the console
will output the default values for each parameter. These values may be modified in the Edit
Fixtures window.
Grand Master
The Grand Master is the overall intensity control for the entire console. Most often, it’s simply
left at full. Only intensity parameters are controlled by the Grand Master; it has no impact on
colour, beam, or focus.
DBO
This button sits above the Grand Master and stands for Dead Black Out. When pressed, it
immediately brings all intensity levels to 0%, where they’ll remain as long as the button is held
down.
Release DBO to immediately restore light to the stage.
Customizing Playback with Cuelist Options
Press Options to open the cuelist Options window for customizing Master response.
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All these options are stored in the cuelist. If you change to a different cuelist (by changing page,
for example), the option settings may change and the Master will behave differently.
Indicators will appear above the Masters on the LCD for important options to show what has
been set.
Flash Button Action
Flash buttons are the clicky buttons in the first row above the faders, and are used for bumping
Intensity on and off. They can be set up to operate one of the following ways:
Swaps
+Go
+Release
If not pressed, the console runs in an additive mode. If selected, pressing the
Flash button forces all other master’s intensities to 0%.
Pressing the Flash button will also press Go.
Releasing the Flash button releases the entire cuelist.
Fader Action
Faders are used for controlling Intensity levels. Intensity from different masters is combined
together according to the options set for each cuelist:
Use HTP
+Go when off 0
Crossfade ICBF
Unless this item is selected, the console runs intensities in LTP.
Go is also pressed automatically as soon as the fader is moved from
zero.
All parameters crossfade when the fader is brought up.
Action of Go While Running
These options determine what happens when the Go button is pressed while a cuelist is already
executing cues.
Start next, skip loop
Start next, exit loop at end
Restart
Stop at next
Starts next cue immediately. Or, if the cuelist is
in the middle of a loop, it goes immediately to
the first step after the loop.
Starts next cue immediately. Or, if the cuelist is
in the middle of a loop, it completes the loop
before moving on.
The cuelist starts again at the first cue.
Finishes fading the current cue, and stops at the
next cue. In contrast, Pause freezes the current
cue instantly.
Manual Fade
This is the fade time used by the cue list for all manual operator activity, namely
• Releasing.
• Jumping to different parts of the cuelist using Goto.
• Using Pause to go backwards.
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This fade time is also used for fading operations where no other appropriate time exists, namely
fades for jumps inside a cuelist, where the parameters are not in the immediate next cue (i.e., the
fade time used for resetting the ‘state’).
Priority
Latest Takes Precedence cuelists can be prioritized manually to prevent certain masters
overriding others. If there is a conflict between two cuelists sharing the same priority level, then
normal LTP rules apply.
For high priority. Use this to make sure that something won’t
get overridden.
Release on next Go
For low priority. The cuelist releases automatically when
another fader is activated, even if not fully overridden.
In normal operation, the console automatically releases masters that have been fully overridden
(a process called ‘stomping’). This is to make it easier for you to see what is actually active.
However, in certain circumstances this is inconvenient, so it is possible to prevent this from
occurring.
High Priority
Persist on override
Prevents the cuelist from getting stomped. This way, you can
return to looks on this master when other masters are released.
Advanced Options
Further options help get the cuelist to respond the way you would like.
Add blank first cue
Reset when released
Maintain state
...but not in jumps
Inserts an empty cue at the start of the cue list, as a safe place for
the cuelist to rest before starting, or after the last cue in the list
has been executed. This is useful when you want to start with
the first cue, but don’t want to have to release the master to do
so. This function is turned on automatically when timecode is
used.
Resets the cuelist to the first cue when released. Normally, the
cuelist will remain on the current cue, and will restart there if
you press Go again.
The cuelist automatically outputs the cumulative effect of all its
cues (the state), even though only changes are recorded in cues.
If this option is not selected, then only the information
specifically programmed in each cue will be output when that
cue is active.
If Goto or a link cue is used to jump to a new cue, the state will
not be recalculated to reflect the state at the new position (i.e.,
the cues in between the old cue and the cue jumped to will be
ignored.).
Chases
Chases are simply cuelists with different timing settings. Each chase step is a normal cue.
To create a chase:
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1
Record a series of steps just like you
would to create a cuelist.
2
Open the cuelist options window by first
opening the cue list window and then
pressing Options.
3
In the Chase section, press Chase. Your
cuelist has now been turned into a chase.
Chase Timing
A chase plays back its steps (cues ) using beats per minute (BPM) to control the rate, and
crossfade % to control the amount of fade between steps.
There is no upper limit on rate nor crossfade %. A crossfade of 0% means that the chase will
snap change. Chases crossfading at 100% will fade smoothly from step to step, with no
intervening stationary time. A crossfade of 200% means that only half the crossfade will be
completed before moving onto the next step.
To adjust rate and crossfade:
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1
Hold down the master’s Choose button.
The parameter wheel display will change
to show Rate and Fade % (the right
wheel becomes the rate thruster, a
console-wide rate control).
2
Adjust the left and center parameter
wheels.
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Or, timing can be adjusted by typing settings into the timing boxes in the options window:
Rate, Fade%.
Cues inside a chase do not have to have simple default fade and delay
times. You can adjust them parameter by parameter as though they were a
normal cue.
Chase settings
In the options window, you can select the chase direction:
The chase runs from the first to the last step.
The chase runs from the last to the first step.
(Random) The chase randomly picks the next step.
(Bounce) The chase runs from the first step to the last, then
back to the first, etc.
Up
Down
Rnd
Bwnc
Normally the chase loops continuously. To change this:
Stop on last:
Release and stop:
Stop on first:
Release on stop:
Executes the chase once and then stops.
Runs the chase once and then automatically releases it upon
completion.
Runs the chase once and then returns to step one and stops.
Releases the chase when Pause is pressed.
Virtual Masters
Virtual masters are masters that run from the cuelist directory and have no buttons or fader.
They default to working at full intensity.
Virtual masters are created and assigned as needed. Users can have an almost unlimited number
of virtual masters all running different cuelists.
The more things the desk tries to do at once, the slower its response will
get. If too many cuelists are all running at once then the desk might not
respond quickly enough to more important functions such as sending
DMX!
To replay a cuelist on a virtual master, the cuelist must not be loaded on any other master. Then:
1
Press Pig and List to bring up the cuelist
directory.
2
Press and release the macro’s entry in the
directory.
OR:
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1
2
Press List.
Type the number of the cuelist and press
Enter.
OR:
1
Press Pig and List to bring up the cuelist
directory.
2
Press and hold the cuelist’s entry in the
directory.
3
The Go, Halt, Forward, Backwards,
and Release buttons of the central
controls can now be used to control the
cuelist.
You will see that the x0 in the top right hand corner of the cuelist button changes to VM. This
signifies that the cuelist has been connected to a virtual master. To the left of this will be a
couple of other characters. An H signifies that the cue has halted and is waiting for a go press,
an R signifies that the cue is running. A plain number signifies the progress through the cue as a
percentage, a number preceded by a Q signifies the cue that the cuelist is on.
You can only run one copy of a cuelist on a virtual master at once. If you push the button in the
cuelist window a second time it does NOT allocate the cuelist to another virtual master. Cuelists
are only connected to a virtual master if they are not connected to another master of any type.
Pushing the button in the directory window when the cuelist is connected to a master (of any
type) has the same effect as if the cuelist were connected to a normal master and you pushed go.
Pushing and holding the virtual cuelist’s button mimics the action of holding the down the
Choose button on a normal master. When the Choose button is held down, the central
controls can be used, including the manual fader. To release a cuelist attached to a virtual
master, users should choose the master by pushing and holding its button in the cuelist directory
and then press Release.
Control Panel Options
Pushing and releasing the cuelist’s button mimics the action of pressing the Go button on a
normal master. Since this is easy to do accidentally, there is a Guard Cuelists option in the
Control Panel window to turn this functionality off. With this option enabled the cuelist can still
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be run from the command line or by choosing the cuelist and pressing the large Go button in the
middle of the desk.
When a cuelist running on a virtual master is released the virtual master disappears. Cuelists
that are stomped get released. If the virtual master that a cuelists is running on keeps
disappearing it is probably because it is being stomped by another cuelist. Selecting the
Persist On Override option will prevent stomped cuelists from being released. Virtual
Masters disappearing at the end of a cuelist is similar. If the Stop Release On End option
is selected, the cuelist will be released once it reaches its end, de-selecting this option will keep
the cuelist connected to the virtual master.
Editing Virtual Cuelists
Virtual Cuelists are edited just like normal ones: Press Pig and push a button in the cuelist
directory to open a cuelist window for that cuelist. Since the cuelist is not necessarily connected
to a master, some of the options may be unavailable.
It is possible to insert Mark, Link and Macro cues into virtual masters. If the cuelist is active,
then the cue is inserted at the current cue, the one with >> in the wait box. If the cuelist is not
active then the cue is inserted at the selected cue, the one with the outline around it. Mark cues
are inserted before the cue, link and macro cues are inserted after the cue.
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Macros
There are two type of macros. Comment macros are placed in the cuelist comment box and
trigger activity on the console. Recorded macros allow a sequence of screen and button presses
to be recorded for later playback.
Comment Macros
The macro commands are typed into the comments box of a cue using Set. They execute when
the cue starts. If you don’t have a cue at an appropriate point, record a blank cue.
The available commands are:
G
S
R
P
Go
Pause
Release
Page
T
C
V
J
K
L
M
I
H
Fn
Goto
Choose
View
Release (virtual)
Release (macro)
Go (virtual)
Go (macro)
Tcode
Tcode
Reset n
G2 to Go the second Master.
S2 to pause the second Master.
R4 to release Master 4.
P12.1 to change to page 12.1 (Use the page numbers
shown in the page window buttons
G6 to goto cue 6 on currently selected master
C5 chooses master 5
V1 selects the first view
Releases a virtual cuelist.
Releases a macro.
Mimics a Go push on a virtual cuelist.
Mimics a Go push on a macro.
Starts timecode.
Stops timecode.
Resets timecode option 1, 2, or 3, where n is the
number
To distinguish the macro from a normal comment, it is preceded by >. Multiple macro
commands can be separated on the same line by :. A range can be triggered using >.
For example, >G2:G4 triggers the Go buttons on Playback Masters 2 and 4. >G4>7 triggers
the Go buttons on Playback Masters 4through 7. To trigger DMX masters, insert a D, e.g. >GD1
Recorded Macros
Recorded macros are series of macrocues that store keypresses and other actions that the user
may perform, such as mouse clicks and touchscreen presses. When the cue is executed, the
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Macros
keypress or action is regenerated. Macrocues are stored in cuelists and can be freely mixed with
link and mark cues that normally comprise cuelists.
Recording Macros
Keypresses can be recorded interactively. Keypresses are always recorded into cuelists in the
macro directory. To begin recording keypresses:
1
2
3
Press Record.
Press Macro.
Press one of the blank entries in the macro
directory
OR:
1
2
3
Press Record.
Press Macro.
Type in the number of a blank macro
cuelist and press Enter.
The console will beep and the phrase Record appears on the left hand side of the command
line bar on the right touchscreen to signify that recording has commenced.
All subsequent button presses will be recorded into the cuelist. If the Learn Macro Timing
option in the Control Panel window is set then the time interval between the previous and
current button press will also be recorded.
Only one macro can be recorded at a time, the console will not allow you to record another
macro if a macro is already being recorded.
Stopping Recording
To stop recording:
1
2
Press and hold Pig.
Press Record.
There will be another beep to signify that the console has stopped recording and the indicator on
the command line bar returns to displaying the current page.
To see the cuelist that has just been recorded press and hold Pig, then press Macro. The macro
window will appear. While still holding Pig press the entry that has just been recorded, and a
cuelist window will appear that contains the macrocues that have just been recorded.
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Macros
Appending To A Macro Cuelist
To append to a macro:
1
2
3
Press Record.
Press Macro.
Press the button corresponding to the
cuelist that is to be appended to.
OR:
1
2
3
Press Record.
Press Macro.
Type the number of the cuelist that is to be
appended to.
You cannot append to a macro that is being played.
You cannot append to a macro if you are already recording a macro.
Replaying Macro Cuelists
Pressing and releasing an entry in the macro directory will run it. Or:
1
2
3
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Press Macro.
Type the macro number.
Press Enter.
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Macros
Macros automatically have an option set that stops and releases them once the end of the list is
reached. This makes them ready to be re-run.
Editing Macrocues
Pressing Set while over a macro cue will bring up different editing menus depending upon
which column is selected, and which type of cue is being edited.
Pressing Set while in the column labeled Type brings up a list of key presses that macros can
record and replay. At the very bottom of this list are a couple of entries that perform more
complex functions that are difficult or impossible to do with keypresses. These are described in
the additional functions section.
With some buttons it is important to know whether the button is being pushed or released. Pig is
a good example of this; it is important to know when the Pig key is pushed and released since it
changes the way other buttons operate. Some buttons in the type column have Push and
Release next to them. Pushing Set twice on the type column brings up a small menu that can
be used to alter the push and release attributes.
Other entries have coordinates and numbers in the two columns to the right. Pressing set over
these brings up an edit box that allows you to change their value. Some entries comprise of two
values, both values should be entered into the edit box separated by a space. The original values
will not be updated if the new values are not understood.
…but I didn’t press that button!
The macro recording code adds a couple of additional cues automatically.
•
It will automatically record a Load View into the first cue, so that when a macro is
run the windows are set up in the correct places for touch screen presses and mouse
clicks. This means that the windows that are currently onscreen will be lost, if the
macro does not contain any touch screen presses or mouse clicks then the Load View
cue can be removed. If additional key presses are appended then another Load View
cue will be recorded at the point where appending started. The Don’t Store View
option in the control panel window can be used to disable the automatic recording of
desktop views.
•
Wait For, Empty… cues are added after key presses which initiate complex tasks,
eg. a load view operation, or a record operation. The complex tasks take a small amount
of time to complete, the Wait For command waits for the task to complete before
proceeding with the next cue in the cuelist. The subsequent cue in the cuelist will
automatically be set to a Halt cue.
•
Extra cues may also be added at the end of the cuelist to release any keys which were
still being pushed when recording stopped. Typically this is the Pig key since the pig
key has to be held in order to stop recording.
Additional Functions
• Load View displays a desktop view. When editing the load view cue you are presented
with a menu containing the currently stored views. The view that is selected is copied
into the cue, so it remains the same even if the original desktop view is re-recorded. It is
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Macros
not possible to directly copy a view stored in a macro cuelist back onto one of the view
buttons. Try running the cuelist so that the view stored with it is loaded onto the screen
and then record this onto the desired view button.
•
Wait For is used to wait for processes that take a substantial period of time. The Wait
For cue adds the cuelist to a list of cuelists that are waiting, and once the process that is
being waited for has finished a Go press is sent to the cuelist. The macro recording cue
automatically sets up the subsequent cue to be a Halt cue, although there is no reason
why the immediately subsequent cue has to be the Halt cue. If the Go button is
pressed at any time then the cuelist proceeds as normal, and is removed from the waiting
list.
•
Message pops up a warning box. The text used in the warning box is taken from the
comment field of the cue.
•
Beep produces a beep, a menu allows you to choose between a good beep or a bad beep.
Warnings On The Use Of Macros
While macros provide users with increased functionality, they can also
cause severe problems if misused, even causing the console to lock up. It
is therefore recommended that you have a recent backup of the show at all
times.
Avoid recording key press sequences which leave the desk in an unstable state when replayed.
For example:
If the sequence Record, Macro, X, Enter is included in a macro, when that macro is run it
will start a macro recording and leave it recording once the macro has completed. You may
not notice that there is a macro recording for quite a while, and all the time it is recording
every key press made.
Macros have no intelligence, avoid recording sequence that accesses items that are likely to be
moved or deleted. For example:
Consider the sequence where a cuelist is opened by holding Pig and touching the cuelist
directoy, some edit operations are then performed on this cuelist. The cuelist is then deleted
from the cuelist directory, and the macro replayed. No cuelist window will be created since
the cuelist no longer exists, and all of the subsequent edit operations will occur on whatever
it was below, possibly altering the contents.
When opening a window it will appear in the position in which it was last used. This means that
unless the window is open when the macro is recorded, there is no guarantee that it will open in
the right place when the macro is replayed. For example:
Consider recording a sequence with a blank set of screens. The group window is opened and
a couple of buttons are touched, then recording is stopped. Move the group window to the
other touch screen and close it. When the macro is replayed the group window will get
opened on the other touch screen, but all of the touch screen presses will still be on the
original touch screen.
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Users may also find that macro cuelists run faster than the desk can keep up with. This problem
tends to manifest itself as keypresses being missed out when replaying the macro cuelist.
Adding a short wait time in place of the Follow On command will solve this problem. The
size of the wait required varies depending upon the number things the desk is trying to do at
once, and the complexity of the task initiated by the preceding keypress, but times of no more
than half a second usually suffice.
Macros are platform specific; you can not transfer them between different
console types.
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Customization
This chapter covers all the functions in the Control Panel window which let you customize the
WHOLEHOG II’s settings to fit your requirements.
To open the Control Panel window, press Setup followed by Control Panel.
Programming Defaults and Settings
Keep parameters separate
Live Programmer
Wholehog II Handbook
The WHOLEHOG II treats certain parameters as a
group; for example, it normally makes sense to
record colour mixing parameters (Cyan, Magenta, and
Yellow) as a group. However, many times you don’t
want a parameter such as Beam recorded as a group.
If it were, you couldn’t have a gobo chase operating
simultaneously with an iris chase. The default is
Beam parameters recorded independently, and others
grouped.
The programmer crossfades to new palette selections
using the default time.
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Customization
Trackball does Pan/Tilt
Use external keyboard
Top left buttons do views
Front reselected windows
Page Holdover if Active
Confirm overwrite
Edits track forward
Guard Cuelists
Don’t Store View
Recall Visible
Save Visible
Learn Macro Timing
Cuelist Defaults
Default Timing
Allows a mouse or trackball to set pan and tilt values
without having to press Focus and use the parameter
wheels. You cannot use the on screen mouse with
this option turned on.
If you’ve plugged in a keyboard, use this button to
prevent the internal keyboard from popping up.
Remember to also select the country type.
The tool buttons above the left LCD can trigger the
views on the view menu below, or they can activate
the menu buttons on the right LCD.
When this button is selected, windows that have been
covered up by others will resurface when their
function button is pressed.
Active cuelists are not released during a page change
when selected.
Confirmation window appears when copying over a
cue.
Defaults the console to tracking mode when selected.
Otherwise, the default is Cue Only.
Prevents virtual cuelists and macros from executing
when pressed in the cuelist directory.
Disables the automatic recording of desktop views in
macros.
When a desktop view is recalled, any windows which
are not visible are closed.
Only the visible windows are stored when a desktop
view is saved
Records in macros the time interval between button
presses.
Press this menu button to open a window to set the
default option settings for all new cue lists. The
window layout and function is identical to the normal
cue list Options window.
Unless you enter a different time while programming,
all cues will automatically use these times.
AutoExec Macro
Macros entered in this box will execute when the console is turned on. Use the same format as
cuelist macros.
The autoexec macro should not have a > character at the start.
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Customization
Hardware Control
Recalibrating the Touch Screens
Generally, it’s not necessary to recalibrate the screens each time you start up the console, but if
the buttons on the touch screens don’t respond properly, this should solve the problem.
To calibrate the touch screens:
1
Press Recalib Touch on the Control
Panel menu.
2
Touch the upper left corner and then the
lower right corner of each screen.
3
Press Enter.
If the screens are functioning so badly that you cannot even select the buttons, the screens can be
recalibrated on power on, by pushing Enter while the banner screen is still open.
Setting the LCD Contrast
To set the contrast on the LCD screens, hold down Setup, and move the right parameter wheel
to set the right contrast, and the center parameter wheel to set the left screen.
Controlling the LCD Backlighting
Unfortunately, the backlighting on the HOG II will not last forever and will die out after a
certain amount of use. If the LCD screen is dark, and setting the contrast makes no difference,
the backlighting has expired and needs to be replaced. Contact your local dealer.
To make the backlighting last as long as possible, you can set them to turn off when the console
is on but hasn’t been used for sometime. Think of this like a screen saver on a PC.
Set the time after which the backlighting turns off if the
console hasn’t been used. If you use 0, they will never turn
off. To specify minutes, add an m using Pig + . .
To restore the backlighting once it has turned off, press any button on the console. Pig is a
good one if you don’t want anything else to happen.
Backlight off after:
External Keyboard
The console can use any IBM AT keyboard.
Keyboard
Set your keyboard to the correct country configuration.
External Displays
No. external displays
Sets the number of external displays hooked up to the
console. If you’re only using one display, make sure it’s
plugged into connector 1 on the back.
Event Monitor
This is a helpful hardware troubleshooting window. It monitors the activity transmitted by every
button press and fader slide. For example, it’s a useful way to determine if your faders are out
of trim. It also shows MIDI events, and DMX input frames being received.
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To close the event monitor window, hold PIG and press Enter.
Note that the Event Monitor window strips the terminating F7h byte off when displaying
received MSC messages.
Sensitivities
Sensitivities to movement can be set in the control panel for both the parameter wheels and the
trackball. Press the entry boxes after Wheels and Mouse/Tball.
Bus Devices
When using an Expansion Wing or remote, set it up here.
Console Locking
There are two locking options: Lock Edit which just locks the programming and editing
functions, and Lock All, which locks everything.
To lock the console:
1
2
Press Lock Edit or Lock All
3
Press Enter to lock
A prompt will appear asking you for your
PIN (personal identification number)
With Lock Edit, the menu button will be dark to indicate that the lock is on. To unlock,
press it again and enter your PIN.
With Lock All, then a warning window will appear indicating that the console is locked.
There is an entry box for entering your PIN to unlock.
The default PIN number is 0. To change this, press Change PIN.
Once the console is locked, there is no way to get back in to your show without knowing the PIN
number. If you’ve locked yourself out, try resetting the console and reload the last saved version
of your show.
If you use the locking feature, make sure you remember your number.
There’s no way to access your show otherwise.
Memory Control
Before performing an operation, the console checks to see if it has enough memory. If memory
is running low, it will give a beep and an alert saying Not enough memory. In some
instances, you may not have enough memory to save your show—in this situation, you will have
to delete items until you have enough memory. In low memory situations, playback may also
get disabled. User alerts will tell you when this has happened. Again, to restore playback,
delete unessential programming.
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To help prevent low memory situations, a memory counter in the control panel shows the total
memory left. Also shown is the corresponding number of full cues you can program. Note: a
full cue is a cue with all channels programmed—much larger than a typical cue—so the full cue
number will always understate the number of cues left.
Periodic cold starts (resets) can help regain memory space.
Options File
A variety of esoteric options can be set in the moreopts.txt file in the setup directory of a show
disk. It can be edited using any standard text editor.
Current options supported are:
MIDI Step Back
To enable MIDI output from cue comments on stepping back, set MIDI_step_back = 1. 0
is the default = 0.
Page Reload
Set ignore_same_page = 1 to prevent a page reload if you change to the page that you
are already on (default = 0).
Postpone HTP Assert
When this option is on (i.e. postpone_htp_assert = 1), then an incoming HTP master will only
assert itself on a page change if:
• The outgoing master was also an asserted HTP master, or
• The slider is pulled to 0 and then moved up again, or
• Go is pressed
For example, this would be used to stop a master unexpectedly jumping to full, if the fader is up
and you change pages from an LTP cuelist to an HTP one.
If the option is off or not specified, an incoming HTP master will automatically assert itself.
This option affects the behavior of all masters, and cannot be set on a master by master basis.
Key Repeat
If you hold down cursor and scroll keys, the keys will now repeat. Adjust the settings with
(values in hundredths of a second):
delay_before_repeat = 20
repeat_interval = 5
Disable Release Key Action
Pressing the Release key on its own releases the current Master. There is a new option to
disable this, so that you have to press Choose or Pig in combination with Release.
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Customization
release_needs_choose = 0
Release works as normal, on its own or in combination with
Choose or Pig
release_needs_choose = 1
Release only works in combination with Choose or Pig
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Customization
Advanced Setup
This chapter covers advanced setup functions—such as patching options, parking, fixture
talkback, etc.— not covered in the Getting Started chapter.
Different Patch Views
In addition to seeing the first DMX address for each fixture, there are two other views that show
patch information. Pressing View… opens a window with 3 options: Fixtures, Outputs,
and Channels. The default window shown above is the Outputs view. Press Scroll <> to
view outputs not shown.
The Fixtures view lists all of the fixtures selected on the console along with their alignment and
patch location(s). For example, the [3] 81 shown after Superzoom x 6 indicates that it is
patched to address 81 on output 3. This information is useful when a fixture is patched to
multiple locations.
To select a new output while in the Fixtures view, you’ll need to press the Output button.
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Advanced Setup
The Channels view shows the patch location for every parameter of every fixture including its
profile setting.
Absolute Addressing mode
Pressing Absolute Address lets you patch fixtures to addresses 1 through 2048 instead of
the output number plus addresses number 1 through 512. For example, to patch on output 2
address 1 you type @513 in absolute addressing mode. All displays show absolute addresses in
this mode.
Proportional Patching
DMX Channels can have their output reduced by a percentage:
1
2
3
Select DMX Channels
Press Reduce to %
Use the keypad to type in a percentage.
Full will have no effect.
To remove a proportional patch, either:
• Unpatch the DMX Channel and then re-patch it.
OR
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Advanced Setup
• Select Reduce to % 100.
OR
• Set Profile to Use Default. This uses settings established in the Edit Fixtures window.
Edit Fixtures
Pressing Edit Fixtures in the Patch window opens a spreadsheet with which you can
customize various parameters on a fixture by fixture basis.
Opening the spreadsheet displays all fixtures belonging to the currently active type. Use the
Group button to move through each type in the schedule. Columns are displayed relating to
user number, intensity profile, tilt offset (if relevant) and all slotted parameters which have
labels that may be edited (e.g. gobo and color wheels).
Press Set in the appropriate cell to make a change. Select a range of cells by holding Pig and
cursoring down or clicking the endpoint of the range. Alternatively, selecting the All row
selects all the fixtures of the current type.
User Numbers
It's possible to give fixtures custom unit numbers, instead of using the default system that starts
the first unit of each type with 1. This allows fixtures to be numbered continuously across types.
For example, VL5 unit numbers could start at 25. Doing so eliminates having to select fixture
types.
Custom numbers do not have to be continuous. For example, VL5s could be numbered 25
through 30, 40 through 44, and 48.
When a range of fixtures is selected, subsequent cells are assigned consecutive values. Two
fixtures of the same type may not share the same user number. An asterisk next to a number
indicates it is shared by fixtures of another type.
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Fixture Alignment
Occasionally it’s necessary to hang a moving light upside down or sideways. To have all of the
fixtures moving in the same direction regardless of how they’re hung, use the alignment
functions.
Invert Pan and Invert Tilt make the pan and tilt parameters respond in reverse of how
they normally would, and should be used for fixtures hung in reverse orientation to the others.
Swap Axes swaps the pan and tilt parameters for sideways-hung fixtures. The Channel View
shows any inverted channels using a ~; swapped axes fixtures will have pan and tilt in reverse
order.
Intensity Profiles / Dimmer Curves
Profiles or dimmer curves can be set for DMX Channels: The available profiles are:
Profile
Description
Linear
An even, proportionate fade throughout the cue
IES square law
Mildly accelerated in the first half of the fade.
Slow bottom
The fade is proportionately slower at the beginning.
Fast bottom
The fade is proportionately faster at the beginning.
Fast top
The fade is proportionately faster at the end.
Non dimmable
Binary, On/Off setting
Preheat 5%
Stays at 5% for 5% of the fade time before starting.
Preheat 10%
Stays at 10% for 10% of the fade time before starting.
To turn off a profile, select the fixture/DMX Channel and choose the Use Default profile.
Defaults and Labels
Names for parameter ranges and default values for parameters can be set in the right columns of
the spreadsheet. Ranges which do not appear in automenus have a # next to the heading.
Automenus
Pressing Automenus in the Patch window opens a window which allows you to specify
options for menu generation.
Number of palettes per row
Replace existing automenus
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For preferred alignment in different windows, e.g.
the Hog has 5 palettes on each row for vertical
half-screen windows, 10 for full-screen windows.
Removes all previous groups and palettes
generated by automenus, whether or not they
would be overwritten. Note that if you have
manually edited a group or palette in any way, it
will not be deleted.
Advanced Setup
Specify the maximum repeat value for groups, e.g.
2 generates all, even and odd, 3 generates even,
odd, 1,4,7, 2,5,8, etc.
Generate intensity palettes
Specify whether you wish intensity palettes to be
generated, and if so in what increment (eg 10%,
20%, etc)
Separate palettes by type
Specify whether you wish to group all common
range labels together in a single palette for all
types (e.g. “red”), or keep them separate (e.g.
“Cyber m2 red”, ”Gscan HPE red”, etc). If you
select the former option you can also specify
which type to take the palette order from.
Note that Automenus incorporate any changes made in the Edit Fixtures window, so that if range
labels are swapped or changed, the palettes will reference the new ranges (However, automenus
must be regenerated to take account of any subsequent modifications).
Groups max repeat value
Fixture Talkback
Using Fixture Talkback, the Wholehog II can automatically detect the presence of fixtures
attached to DMX ports 2-4, interrogate them for useful information, and remotely change menu
panel settings—such as the fixture patch address. Check with Flying Pig or the fixture
manufacturer to see which fixtures currently support this protocol.
DMX Port 1 on the Hog does not support Fixture Talkback. Fixtures on this
output will not appear in the Talkback window
The window is accessed by pressing Fixture Talkback on the Setup toolbar. It displays a
spreadsheet showing data on all the fixtures that the Hog has located. Select a range of fixtures
by clicking on the first desired row in the fixture column, holding down Pig and (after scrolling
if required) clicking on the last fixture row you wish to select. Any information appropriate to
the action you are performing, such as scan progress or fixture errors, will appear in the top right
of the window. Editable cells will change colour. Set a new value by pressing Set and then
type in a new entry.
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Advanced Setup
The user number of the fixture used in programming. If the located fixture
matches one in the current show (i.e. same fixture type, output and patch
address) it is assigned that user number, otherwise the entry is blank. For
fixtures present in the show, the user number can be changed just as in the
Edit Fixtures window.
Output
The DMX output on which the fixture was found.
Patch Address The current patch address of the fixture.
Lamp Status
Whether the fixture lamp is off, striking, on, or has an error. This is useful
for detecting fixtures that have developed problems.
Lamp Hours
Total time the lamp has been struck.
Power Hours
Total time the fixture has been powered up (but not necessarily struck).
Software versionThe fixture’s current software version – useful for knowing which fixtures
need new software uploading.
Fixture ID
The fixture’s unique Talkback ID (this cannot be edited).
Errors
Number of errors encountered for this fixture. Clicking on this cell will
display any found errors in the area above the spreadsheet.
User Num
Scanning the Rig
The rig is scanned automatically every time you open the Fixture Talkback window. You may
rescan at any time by pressing the Rescan Rig. The Scan button does not search for new
fixtures but instead refreshes all information for the currently selected fixture(s).
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Advanced Setup
Highlighting Fixtures
To make identifying fixtures on a large rig easier, the Highlight feature causes the currently
selected fixture(s) to strobe their intensity and circle their pan and tilt (if they support
movement). The feature can be toggled on/off by pressing the Highlight button.
Patching Fixtures
The Add and Patch button automatically adds the selected fixtures to the schedule and
patches them to their current patch addresses on the appropriate output. Once a fixture is
patched, it will be matched in the show and a default user number will be assigned. This can all
be changed, if so desired. Any fixture, whether in the show or not, can have a new patch address
assigned by pressing Set on the cell and typing in a new value. If the fixture is present in the
show, its show patch address will automatically be updated at the same time.
Fixture Errors
Any errors encountered when polling a fixture for information (e.g. sensor fault, light out, etc)
can be viewed by clicking on the error cell for the desired fixture. An error text message can
then be viewed in the display region just above the spreadsheet.
Curve Editor
The curve editor allows users to create and edit the various curves used by the Hog—including
effects tables, dimmer profiles, and crossfade paths. Press Setup followed by Curve
Editor to open the window:
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Advanced Setup
The toolbar across the top of the window performs operations on curves, such as selecting the
curve that is currently being edited, creating new curves, and renaming curves.
The toolbar on the right hand side contains a number of tools to manipulate the curve.
The main part of the window displays a graphic representation of the curve; the currently
selected portion is highlighted in white.
The parameter wheels are also set up to select and manipulate the curve.
Selecting and Manipulating Points
The left wheel is used to select points. Winding the wheel moves the selection along the curve,
holding down the Pig key and turning the wheel alters the size of the selection. Selected points
are shown in white. The start and end of the selection are displayed above the wheel.
The middle wheel is used to alter the value of all of the points in the selection. If no other keys
are held, all of the points hold their relative positions as they move up and down. If Pig is held
down while the wheel is moved, then all of the points snap to the value of the start point and
follow that. If Set is held down then the points have a fanned movement with points further to
the right moving quicker. The value of the start and end points is displayed above the wheel.
The right wheel performs a custom tool action. The current tool is displayed above the wheel
and can be changed by selecting another tool from the toolbar on the right side of the window.
All of the custom tools need more than two points to be selected before they will have any
effect. If the wheel is wound on its own then the tool will apply relative to the original positions
of the points. If Pig is held down whilst the wheel is moved then the tool applies itself based
around the value of the start point. If Set is held down then the tool has a fanned action, with
points further to the right being affecting by the tool more than those on the left. The tool
buttons all have graphical pictures to show a thumbnail of what the tool will do.
The touchscreens or a mouse can also be used to change the selection. Pressing or touching will
set the start of the selection, holding down the Pig key and touching will set the end of the
selection.
The curves are updated as they are modified. This makes it possible to have a fixture that is
repeatedly running a crossfade between two points using a custom crossfade path. As the path is
manipulated the movement during the crossfade will reflect the modifications that have been
made to the crossfade path.
Other tools
There are several other buttons in the right toolbar. They are Flip Horizontally and
Flip Vertically. The two flip tools flip the curve about its horizontal and vertical axis
respectively.
The Clear Selection button resets the size of the selection to just a single point, and the
Select All button selects all of the points.
The Select All button selects all of the points in the curve.
The final button, Interpolate, is only available when manipulating effects tables. It controls
whether the desk interpolates between points. By turning interpolate off you create step effects,
eg. snapping between the slots of a colour wheel, by turning it on you create smooth transitions.
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Advanced Setup
The Parser Box
Below the bank of toolbuttons is a text entry box. This takes text of the format "x>y@a>b" and
applies it to the curve. Where x and y are the start and end points of the selection that you wish
to modify and a and b are the values that the selection should be interpolated between.
If Absolute mode is turned on, then the values used in the text should be in absolute values for
both the points selection and the interpolation values, otherwise they should be percentages. The
values will be clipped to the maximum extents of the curve that is being manipulated. The start
of the selection must always be to the left (lower) than the end of the selection.
Ranges do not need to be specified, i.e. "x@a" will set point x to value a. Similarly, "x>y@a"
will set all of the points between x and y to value a.
Main Toolbar
The main toolbar is across the top of the window.
The Type button allows you to change between the type of curves that can be edited. The three
different types are Crossfade Paths, Dimmer Profiles and Effects Tables.
The Curve button allows you to change between all of the different curves in the desk that are
of the current type.
The New button creates a new curve and selects it ready for editing. The new curve will always
be linear.
The Copy button create a copy of the currently selected curve. The copy is then selected ready
for editing.
The Restore / Delete button. This button changes depending upon the curve you are
editing. If you are editing one of the built in Crossfade Paths or Dimmer Profiles then the button
will display "Restore", pressing the button will restore the curve to its original settings. If you
are editing a new curve or and effects table then the button will display Delete, pressing the
button will prompt you for confirmation since deleting the curve will remove any references to it
in your programming.
The Name box allows you to rename the curve by selecting the box and pressing the Set key.
The final box is dual purpose. For crossfade paths it displays the Return Path that should be used
when releasing a crossfade, pressing the button will bring up a list of all the crossfade paths and
allow you change the setting. For effects tables the button displays the Size of the table, pressing
the button will allow you to change the table to a number of pre-defined sizes. Reducing the size
of the table will prompt for confirmation.
The Absolute button toggles whether the displays above the wheels show absolute values or
percentages.
Using Custom Curves
The interface for using custom curves has not changed. To use crossfade paths press set over the
path column in either the timing window, or a cuelist window, the list will display all of the
custom paths that have been created. To use dimmer profiles press set over the profile column in
the fixture editing spreadsheet (the fixture editing spreadsheet is accessed via the patch window).
To use effects tables press set over the table column in the effects window.
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Advanced Setup
Saving & Merging
When saving back to pre-v4.0 builds any custom curves are reset to the default curve.
When merging curves the curves are always appended to the curves that currently exist in the
desk.
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Advanced Setup
Saving and Merging Shows
This chapter explains how to use floppy disks to save shows and combine shows from two
separate consoles.
Saving a Show
To save a show:
1
Press Setup. You will see the usual
setup toolbar.
2
Insert a standard 1.44 MB 3 1/2 floppy
disk into the disk drive on the back panel.
3
4
Press Save Show.
Press Yes to confirm the save. A
progress window will open and list the
items it’s saving as it goes along. ‘Save
Finished Okay’ appears when everything
has been copied to the disk. You may
need more than one floppy disk: an alert
box will open to prompt you to change
disks.
Change Show Window
More advanced floppy disk functions are accessed through the Change Show window, opened
from the Setup toolbar.
When you open the window, it automatically tries to read the catalogue information off a disk in
the disk drive. If none is present, you will get an error message. This can be ignored safely. It
is okay to open the window without a disk in the drive.
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Saving and Merging Shows
Note that the Save Show command is identical to the one in the Setup toolbar.
Changing to a Different Show
If you change to a different show, make sure that you have saved your
current show, since you will lose all of its programming.
To load a different show from floppy, insert the first disk of the show and press Load Show.
The console will ask you to confirm that it is okay to eradicate the current show. Then a
progress window will open that lists each item as it is loaded. Load Finished Okay
appears when everything has been loaded successfully.
Naming a Show
To avoid mixing up disks and accidentally overwriting a different show, give your show a name
before saving it.
To name a show, touch the box under Name of current show and type in a name.
The floppy disks on which the shows are saved are labeled with this name plus a number. The
number refers to the disk number, in case your show spills over onto more than one disk. If you
ever need to change a disk’s label (such as when using a show downloaded from the Internet) ,
use a Windows PC (File Manager), or DOS (label a: ), or a Mac.
Format
To format a disk, insert it into the drive and press Format.
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Saving and Merging Shows
It’s a good idea to periodically reformat your disks. Disks can periodically
develop bad sectors; reformatting can spot this and prevent you from losing
data.
Verify
If you’d like to be sure that your show has been properly saved to disk, turn on the Verify
option. When it’s on, the console checks the disk while saving to confirm accuracy of the save.
Saving in this mode takes about twice as long as a normal save.
Save As
Shows can be saved as previous versions. Note that features not supported in the older version
will not be saved. In a few special cases (such as macro cues stored within a normal cuelist) the
show will be saved, but the problem data will be discarded.
It is recommended that a show is also saved normally. A show saved as a
previous version may not retain all features of your show.
Zipping and Unzipping Shows
Flying Pig uses WinZip software to electronically distribute software. The same software can
also be used to send a show disk to another user or to Flying Pig for support purposes. A copy
of the software can be obtained from www.winzip.com.
When zipping up a show:
•
Check the recursive folders and save extra folder info boxes
When unzipping a show:
•
Check the use folder names box
Unzip to a temporary directory on your hard drive, and then copy just the show files and folders
to the top level of a blank floppy disk. This avoids putting any long file names from the zipped
files’ path onto the show disk.
Remember to label the disk with the show name (In Microsoft Windows, the
label is changed in Properties), otherwise the disk won’t be read. The
default name used by the console is no_name1.
Merging Shows
Using the Change Show window, you can select items from a different show and merge them
into your current show.
To merge items into your new show
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Saving and Merging Shows
1
Insert the floppy containing the show you
are merging from into the disk drive.
2
Open the Change Show window. If you
do this before inserting a disk, the change
show window will not show what is in
your disk, so it will not be possible to
pick items for merging.
3
Pick items for merging from the merge
list at left. Hold down Pig to pick
multiple items. Note, the palettes will be
selected automatically as soon as you
pick something that depends on them.
You can deselect them by continuing to
hold Pig and toggling them off.
4
Press Merge. A progress window will
open to show you the progress of the
merge.
Merged groups and palettes do not replace existing groups and palettes, even if they have the
same name.
If you merge in a cuelist, but don’t merge in associated palettes, you have to make absolutely
sure that the cuelist has been programmed using the palettes that are already programmed in the
machine. If the console cannot find a palette when it merges in a cuelist, it will ignore all
programming associated with that palette.
How to Combine a Show That Has Been Programmed on Two Consoles
There are two approaches:
• Split the programming into fixtures. e.g. one console does dimmers, while the other
does Cyberlights. To merge, save the Cyberlights component to disk, add the
Cyberlights to the dimmer console’s schedule, then merge all the Cyberlight palettes,
cuelists, and pages into the dimmer console.
• Split the programming between cuelists. For this to work, each console must start
with the same setup and palettes. This is best done by setting up and making palettes
on one console, then saving to disk and loading onto the other console. From then on,
parallel programming of cues and cuelists can occur. When you come to merge back
into one console, just select cuelists to merge. Do not merge the palettes back, since
you will end up duplicating existing palettes, with some cuelists using one set, and the
merged cuelists using the other.
Merging Shows
This window now contains options which let you specify the way palettes are merged when two
shows are merged together. In addition, the automatic selection of palettes when you select
other items has been removed.
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When a palette from the show on floppy disk matches an existing palette in the console’s show,
one of the following happens, depending on the option selected:
Information from the palette on disk and the palette in
memory is merged together. The palette information
from disk takes precedence if they clash.
Replace matching Palettes
Information for the palette in memory is completely
erased, and the information from the palette on disk is
put in its place.
Append matching Palettes
The palette on disk is appended at the end of the
palette directory. The existing palette in memory is
left untouched.
Normally, palettes are matched on the basis of their names. So if a palette in the show on disk
has the same name as a palette in the show in memory, they will be matched together.
Merge matching Palettes
Obviously this won’t work if you have different palettes in the same show with the same name
(e.g. two palettes called “Red”). If this is the case, you can try turning off the option Match by
Name Only. The console will then match palettes if they have the same name AND they both
came from the same original show – i.e., a show which was saved onto two disks, then each disk
was loaded, edited and saved separately, and now the two are being merged back together again.
Don’t turn off Match by Name Only if you are trying to merge palettes that
come from different shows.
Summary of Merge Action:
Parameter Functions
Fixture Library
Fixture Schedule
Output Patch
Desktop Views
Options
Input Panel
MIDI Mapping
More Options
Effects Table
Reports
Groups
Palettes (Positions, Colours,
Beam Effects)
Cuelists
Pages
Effects Library
Not merged
Not merged
Not merged
Patch on disk replaces existing patch
Views on disk replace existing views
Not merged
Not merged
Not merged
Not merged
Effect Tables on disk appended to existing tables
Not merged
Groups on disk appended to existing groups
Merged according to options
Cuelists on disk appended to cuelist directory
Pages on disk appended to existing pages
Effects on disk appended to existing Effects
Note: When merge an output patch from one show into another, fixtures must be present in the
schedule of the show into which you are attempting to merge. If a fixture is not present or
would overwrite an existing patch it is ignored.
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Saving and Merging Shows
Reports
The console can output reports about various parts of a show to a printer or a file.
To access the Report Manager, press Setup and Reports.
Printers Supported
The Hog 2 supports any printer that uses either PostScript (level 2) or PCL (level 5) as its
command language. The printer must also contain some internal scaleable fonts for the Hog to
use.
Connect the printer to the port on the back of the console.
Printing a Report
After opening the Report Manager window, the first step is to setup the console with information
about your printer. Press Printer Setup. The following window will appear:
1
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Choose which printer driver to use,
PostScript or PCL.
127
Reports
2
Choose some internal resident fonts for
the three parts of the report. Check your
printer manual for which fonts are
available. Many printers print a self-test
page which lists all the resident fonts.
The Hog only uses fonts which are ‘resident’ in your printer
3
When finished setting up, press OK.
Now the console is ready to print a report. Press Print… and then choose a report in one of the
following two ways:
For cues, cuelists, palettes etc. that are usually selectable on the command line, select them in
the same way as when you edit. For example, to print a cuelist:
1
2
3
4
Press Print…
List (to display the cuelist directory)
Select the cuelist in the window
Press Enter.
For items that aren’t available on the command line, press Print…, and then the …Others
button. This opens up a window from which various reports can be selected (e.g. patch reports).
Some items have a few report options associated with them. In these cases, a window will
appear asking you which type of report you want.
Layout Window
Next, a page layout window will appear. Setup the page size, orientation, margins etc. as you
would with a normal computer. You can also type in header and footer text.
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Reports
The following three codes can be used inside the header and footer text to print specific
information:
&n
Name of the item that is being printed
&s
Show Name
&p
Page number
Once you are happy with the page layout, press OK. Alternatively, you may abort the whole
process by pressing Cancel.
The report will now appear as a Print Job in the Reports window, showing its status as it prints.
You may cancel printing at any time by pressing Cancel Printing.
Report Formats
The following reports are currently available:
Report
What it Prints
Press Print… and then …
Cuelist directory
A list of all cuelists with the
number of pages each is used
in.
Press List and Enter.
Cuelist
Same information as the Cuelist
window
Choose a cuelist from the cuelist
directory, press Enter and then choose
Cuelist when asked for the report type.
Cue Contents
Cue Contents
1.
Select a cuelist from the cuelist
directory, press Enter and then
choose Cue Contents when
asked for the report type, OR
2.
Select individual cues from a cuelist
window and then press Enter.
1.
Press the Group button and Enter
to print all groups, OR
2.
Press Pig and Group to open the
group directory, select individual
groups to print, then press Enter.
1.
Press the Page button and Enter to
print all pages, OR
2.
Press Pig and Page to open the
page directory, select individual
pages to print, then press Enter.
Groups
Pages
Groups
Pages
Palette Directory
A list of all palettes in the
directory with the number of
cues each is used in.
Press Focus, Colour or Beam then
Enter.
Palette Usage
For each selected palette, a list
Select palettes from one of the palette
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Reports
Summary
of fixtures that are used.
directories, press Enter and then choose
Summary when asked for the report type
Palette Usage
Detail
A list of all fixtures, and which
cues they are used in with the
selected palette.
As for Palette Usage Summary, but
choose Detail.
Patch Fixtures
A list of all fixtures, with their
alignment details, and patch
addresses.
Press …Others and choose Patch
Fixtures.
Patch Outputs
A list of all output addresses,
with the fixtures that use them.
Press …Others and choose Patch
Outputs.
Creating a Batch of Reports
As well as printing reports to the printer immediately, you may create a batch of reports, that can
be stored and then printed all in one go. This feature is useful for printing a standard set of
reports at different stages of programming a show, without having to individually select them all
every time.
To create a Batch, press Learn Batch in the Reports window. The view will change from the
current Print Jobs, to the reports in the Batch (probably empty if this is the first time you’ve used
it).
To store reports in the Batch, just select them as usual, pressing Print… etc.. Instead of going
to the printer, you will see them appear in the window. You can select print jobs and delete
them, or delete all jobs from the Batch using the buttons Delete Selected and Delete
All.
To go back to viewing the current Print Jobs, press Learn Batch again.
To print the batch at any time press Print Batch. This copies all the jobs from the Batch into
the print queue, and leaves them in the Batch so they can be used again.
Troubleshooting
If the printer does not do anything, check that it has paper, that is properly connected, switched
on, and on-line. You may need to press Abort Reports and start again.
If the printer produces garbled output, check that you have selected the correct driver in the
Printer Setup window, and that your printer is fully capable of supporting it.
If the printer produces text, but it is badly aligned, or does not appear in the correct font, then it
is likely that the fonts you selected in the Printer Setup window are not resident inside your
printer. Check your printer’s manual for which fonts are available.
You may encounter the error message “The printer is not responding. Either Sort it, or Abort it”.
Check that the printer is fully ready to print - that it has paper, and is properly connected,
switched on, and on-line. Once you have solved the problem press Sort to continue printing.
Cue Contents Reports
Values have the following formats depending on their meaning:
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Reports
Format
normal
italics
brackets
grey
>
<
Example
5%
Open white
(Full)
Full
>5%
<Full
Meaning
normal parameter value in cue
palette name (may be spread across several parameters)
hard command (i.e. repeated value)
tracked value from previous cues
decreasing intensity value
increasing intensity value
Timing is shown by splitting the cues into parts. Each part has different timing information
displayed in the left-hand column as delay, fade, and path (e.g. “0s F:3s P:End”).
The first part of a cue includes any tracking information. Subsequent parts in the same cue show
new parameter values only.
You can choose whether or not to show tracking and timing information with four cue contents
options. When you select a cuelist to print, the following options will be given:
Full Contents
Tracking Contents
Timing Contents
Simple Contents
Wholehog II Handbook
Timing and tracking information is shown
Tracking information is shown, but not timing
Timing information is shown, but not tracking
No tracking or timing information is shown
131
Reports
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Reports
Accessories
The following accessories increase the functionality of your console.
Expansion Wing
The Expansion Wing has an additional 16 playback Masters for users requiring more than 8. It
also features 18 faderless Masters which operate just like regular Masters, but without fader
control.
To use it, connect the Wing to the expansion port with a standard DMX cable.
When you turn the Wing and the console on, the Wing should show Searching for
Console in the top right display. Once the console has detected the Wing, the Wing displays
will change to show the normal Master displays.
It is safe to disconnect the Wing while playing back. The Console will spot that it is missing and
bring up an option window. If you intend to recover the connection, select Ignore which does
nothing, or Release which removes the effects of the masters from the stage (until you are
able to recover the connection).
If you don’t want to use the wing, select Remove.
When an Expansion Wing is used on its own, a terminating resistor should
be plugged into its Expansion Out connector.
Control Panel
In the Control Panel Window, use the Bus Devices button to access the controls for the
Wing.
The contrast entry box (and left wheel) lets you enter a contrast value between 0 and 7.
Use the Remove Wing button to remove Wing masters if you previously chose not to scrub
them when the Wing connection was lost.
Numbering
The masters on the Wing are numbered from 9 to 42. Use these numbers when accessing the
masters numerically, or when writing macros that act upon the masters.
Using with a Backup Console
The Wing buttons and faders can be sent via MIDI to a backup slave console. See the MIDI
section for a description of the MIDI notes used, and how to customise them.
Provided that you setup MIDI before you plug the Wing into the master, then you do not need
another Wing on the slave. It will behave as though it did have a Wing attached.
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Accessories
DMX Masters are not available while the Wing is in use.
Remote
The Remote is a hand-held device—complete with trackball—that allows updating of focus
positions and basic programming. It connects to the console using standard 5-pin DMX cable.
Menu items are selected using the 4 buttons above the LCD (for menu items on the top line) and
the Group, Focus, Colour and Beam buttons (for menu items on the second line) below it.
The main menu just uses the top line of the display.
Normally it has items:
+10, -10, Full, Undo
With the pig key held down it has:
Flip, Knockout, Park, Unpark
The Type and Wheel menus use both lines of the screen. For example, press Beam to see a list
of all available beam parameters, and then press any of the top eight buttons to select which
parameter is controlled by the trackball. In the following example, pressing Group would
select Iris.
Gob Go2 Fx/ G<>
Iri Foc Fro More
Group
Focus
Colour
Beam
The Rigger’s Remote has two buttons which are not on the main console:
Fan
Press once to switch on fan mode, move the trackball, and then press again to
switch off. This is equivalent to holding down Set on the main console
Ortho
Orthogonal mode forces the Rigger’s Remote to only accept trackball
movements along one axis at a time. For example, this means that you can
adjust Pan without moving Tilt.
Update only works on the Rigger’s Remote if you have loaded an object.
The rest of the Rigger’s Remote is exactly the same as the main console. For example:
• Record, load and update cues or palettes using the normal command line syntax.
• Press Group and select DMX to enter DMX Test mode. Press Group and select
Fixt to return to fixtures mode.
The Rigger’s Remote does not allow two people to work simultaneously on
the console, because the command line is shared between them.
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Accessories
Locking The Remote
An option has been added to the Bus Devices window (accessible through the Control Panel
toolbar) to lock the remote. When the remote is Locked it will display Locked By Desk in
the LCD panel, and pressing buttons will not affect the command line on the desk. This means
that the remote can be left connected during a performance without fear of someone knocking it
and selecting something on the command line.
Connection
The Rigger’s Remote plugs into the console’s Expansion connector—connected with a fully
wired 5-pin cable. The connections are:
Pin1
Pin2
Pin3
Pin4
Pin5
Data ground/cable shield
Data complement
Data true
Power ground
Power 24V DC @375/205mA with/without custom low power Littlelite.
Items other than the remote should NOT be plugged into the remote cable
since the cable carries power. Use of this cable with other equipment
could result in their failure.
Screened twin twisted pair cable with one pair for data and the other for power will suffice. The
maximum cable length is 1000 metres.
When the Rigger’s Remote is used with an Expansion Wing it is the Wing that provides the
power. In either case, the 24V DC supply is protected by a 1A FAST fuse.
The Rigger’s Remote terminates the line and thus an additional terminating resistor is not
required.
The Rigger’s Remote is supplied with a custom low power Littlelite.
Standard high power Littlelites should not be used as they require too
much power and may cause the unit to malfunction.
Overdrive
For exceptionally large rigs, the number of channels supported by the Hog2 can be increased to
3,584 channels. This is achieved by modifying an output (via software) so that it sends two
times as many channels than normal DMX. To maintain the refresh rate, a special Flying Pig
Systems protocol is used. Then, by plugging the output into an Overdrive unit, 2 DMX channels
can be obtained from the one modified output.
This feature only works when the console is connected to an Overdrive
Unit.
To configure an output for use with Overdrive:
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Accessories
1
2
Select the Output (e.g. output 2)
Press Overdrive
You will now see two outputs (2a and 2b). You can use all the patch functions on these two
outputs as per normal.
To turn off overdrive, select either of the outputs, and press Overdrive again.
You can run up to 3 Overdrive outputs at once. Output 1 cannot be overdriven.
The Overdrive Unit does not increase the memory available nor the power
of the console’s processor. Therefore, as a result of the increase in
channel load, expect a decrease in the number of cues that can be
programmed, and reduction in the response time and refresh rate of the
console.
Hog Unit
The Hog Unit is simply the brains of the Wholehog put in a rack mount case. It has no faders or
touchscreens, but does have all the functionality of a regular console—plus a 24 hour and
astronomical clock. Program your show on a regular console and then leave behind a Hog Unit
for playback.
A complete manual for the Hog Unit accompanies it.
Hog PC
The Hog PC offline editing software includes a full version of the Wholehog II operating system
and a virtual console front panel. The software runs on a Windows PC and allows unlimited
editing and creation of shows. Attaching one or more USB interfaces allows Hog PC to output
DMX information and function as a lighting controller.
Download the software at www.flyingpig.com. View the accompanying Read Me file for more
information.
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Accessories
MIDI, Timecode, and DMX In
This chapter covers the use of MIDI, timecode, and DMX Inputs. These features are accessed
through the Input Panel window
To open the Input Panel window, press Setup and Input Panel.
Timecode
The Hog2 can receive all forms of Linear Time Code (LTC), as well as timecode from MIDI. It
has programmable error correcting features. The console can also simulate timecode to help
with programming when the timecode tape is not ready.
Setting up the console to read Timecode
Before using timecode, the console must be configured to accept timecode:
1
2
3
Wholehog II Handbook
Press Setup.
Press Input Panel to bring up the
options window for timecode input.
Press TCode Controls to open up the
toolbar for timecode controls.
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MIDI, Timecode, and DMX In
4
Select a Source and Format: Timecode
or MIDI; SMPTE 30, EBU 25, Film
24, NTSC 30. (Numbers indicate
frames per second.)
5
If the timecode source is a tape, connect
the tape output to the timecode input.
If the timecode is MIDI, connect the
MIDI to the MIDI Input.
6
Press TCode to turn timecode reading on
and off.
When timecode is being read correctly, the frame number at right should change smoothly. The
indicator panel shows the timecode source (Tape, MIDI, Sim, Err or None) and the format
detected.
The frame number on the left is the raw value read before error correcting is applied.
To ensure trouble-free operation, the timecode source and receiver must
share same ground.
Timecode Error Correction
Should timecode signal drop out, automatic generation of timecode will continue for the amount
of time selected in the Regenerate For: entry box. If you enter 0, regeneration will be
continuous.
Bad timecode tapes will have drop outs that look like timecode jumps to the console. Increase
the value in the Ignore Jumps for: entry box to reduce the sensitivity of the console to
jumps in timecode signal.
Simulating Timecode
To simulate timecode from a certain frame, choose the right-hand frame number in the LTC
Controls, and type in the starting number. Then press Simulate to start. Reset returns the
value to 00/00/00.00.
To select the format to simulate, choose a format in the Inputs Control Panel. “Drop Frame” is
labeled NTSC.
Programming Timecode into Cuelists
Timecode functionality is built into the normal cue list timing structure (wait), making it very
easy to run programmed cues to timecode. Any cue list active on a master on the console can
receive timecode.
To setup a cuelist to use timecode, program the cuelist as normal, but instead of using normal
cue wait times, use timecode frame numbers:
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1
2
3
4
Select a cue wait box.
Press Set.
Enter a timecode number in the form
hh/mm/ss/.ff, e.g. 1/0/10.02, or 0/0.5
You need to use at least one slash / for the
console to interpret it as a timecode value.
Press Enter. The console automatically
turns on the Add Blank Cue option
when you use timecode, to prevent the
cuelist from wrapping around at the end.
You don’t have to use timecode frames for the waits of all the cues. You can mix them with
normal wait times, follows and halts. This is useful to avoid having to synchronize every cue to
frame times. Instead, the first cue can be synchronized, and then subsequent cues set with
normal wait times relative to the first.
Loops can be triggered with timecode, but do NOT put timecode inside the wait fields of a loop.
To exit a loop at a certain point in timecode, put the appropriate value in the delay column of the
link cue.
Instead of entering numbers by hand, it’s possible to use the Learn Timing function to enter
them automatically, editing manually later for fine tuning. Simply turn on the function and press
the Go button to signal when cues are meant to execute. Only cues set to Halt (Wait is blank)
will receive values.
Timecode Behavior
When TCode and Simulate are both off in the LTC control bar, cues using timecode waits
will act as if they used Halt. This prevents timecode from having any effect. This is useful for
testing your programming without timecode, using the Go buttons only.
Editing a Range of Timecode Values
You can move a range of cues’ timecode frames by selecting the cues, and then editing one
frame. All the other selected cues will then move by the same amount.
Playing back with Timecode
To playback cuelists under timecode control:
1
2
Press Tcode
3
Press Go on the playback master. This is
needed since the operator still has overall
manual control.
Start the tape running, or press
Simulate.
Cues will now be triggered by timecode.
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Rewinding
There is no need to do anything to the master when rewinding the tape. When you start playing
timecode again, all active masters will reposition their cuelists to the correct position in the
cuelist.
Hour-less Timecode Frames
You can setup timecode frames which trigger every hour. To do this:
1
Choose the cue, or range of cues (or link
cue count field)
2
3
Press Set
Enter in the frame using a ‘.’ instead of an
hour, e.g. “./12/30.20”, or “.//3”.
It will be displayed like “../12/30.20”.
Do not try and mix normal frames and hour-less frames in the same cuelist,
since it will prevent the hour-less frames from working properly.
MIDI
MIDI (or Musical Instrument Digital Interface) is a communications protocol originally
developed to connect electronic musical instruments together in a standardised way. Although
developed for the music industry, MIDI does not transmit music directly. It is a means of
sending control instructions. As such, it has found many applications, principally within the
entertainment industry, where one piece of electronic equipment needs to control another.
The console fully supports the MIDI protocol and can use MIDI in several distinct ways to
control, or be controlled by, a second console, or other electronic equipment.
A brief explanation of MIDI:
The MIDI hardware interface consists of three ports. The IN connector receives MIDI data from
another devices’ MIDI OUT. The OUT connector transmits data that the console itself has
generated. The THRU connector is a direct relay of the data received by the IN connector—this
allows multiple devices to be chained together all responding to a MIDI signal originated by a
single MIDI OUT.
It is a basic concept of MIDI that multiple devices can be chained together to receive the data
transmitted by a single controlling device. In such a system, some mechanism is needed so that
pieces of data can be addressed to particular receiving devices. In MIDI this mechanism is
known as channels. Each device in a MIDI chain can be set to transmit and receive on specific
MIDI channels (there are 16 available), or to receive on all channels, known as omni.
The channels on which the console sends and receives MIDI are set in the Input Panel of the
console. The default setting for MIDI notes is to transmit on channel 1 and to receive all
channels (omni).
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Specific information on how a MIDI message is actually composed is included in the manual
section on MIDI Serial Output.
MIDI Notes
The console can send and receive MIDI messages corresponding to all actions on the console.
The messages defined for transmitting musical notes are used, as the terminology of switching
notes on and off is also appropriate for key presses on the console.
In practice this functionality is used in two distinct ways. It can be used to slave together
identical consoles so that one tracks all operations of the other. Alternatively another piece of
standard MIDI equipment can trigger specific operations on the console, or vice-a-versa.
Which “note” corresponds to which console operation is defined in the file setup\midimap.txt on
the show disk. This file can be viewed and edited on a PC. The default file is suitable for
slaving consoles together, but if connecting another piece of MIDI equipment to the console, the
user may need to edit the file. The structure of this file is explained below.
Console Slaving
A second console can be set-up as a tracking redundant backup. You should only slave together
identical consoles running identical shows.
1
Connect a standard MIDI cable from the
MIDI Out of the designated master
console to the MIDI In of the slave
console.
2
To make sure they start from the same
point, reset both consoles and load
identical software and an identical show
onto both machines.
3
Close all windows so that both Hogs have
the same display.
4
Open the input panel on both and make
sure that the two consoles agree on which
Midi channel is being used.
5
Select Notes Out from the Input Panel
on the master console.
6
Select Midi In on the slave console. It
will now track the master console fully.
It is possible to set-up the master/slave connection going both ways. This means that actions on
either console will take effect on both (rather than just the slave tracking the master). This is
achieved by connecting from MIDI Out of one console to MIDI In of the other, and then with a
second cable doing the same in the other direction. Then Notes Out and Midi In are
selected on both consoles.
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When operating in this fashion it must be remembered that both machines
are acting in unison, effectively one console. It is not possible for two users
to work independently on each console
Interfacing with other MIDI equipment
Other MIDI equipment can also receive and transmit the messages used to represent console
operations.
To trigger the console from a piece of MIDI equipment:
Select Midi In from the Input Panel, and make sure that the console and the MIDI
equipment agree on which channel is being used under Notes: Rx chan (setting the
console to channel 0 puts it in omni mode, so that it responds to all channels).
To trigger other midi equipment using the console:
Select Notes Out from the Input Panel, and set the Midi channel to the correct channel for
the receiving equipment under Notes: Tx chan.
When using the console with other MIDI equipment you may want particular MIDI notes to
relate to particular console operations. As an example, one might want to use the keys of a
MIDI keyboard to act as Go buttons. In this case the default mapping of console operations to
MIDI messages will not be suitable and you should edit it on a PC. The following section
explains the format of this file.
Changing the Notes Messages
A Midi note on message carries two pieces of data. The first specifies the note, and the second
specifies a velocity with which that note is struck. Console operations can be represented in
MIDI by a specific note, in which case the velocity is set to a default 63. Alternatively, a logical
group of console operations may be assigned to a single note, and the velocity data is used to
identify a specific operation within that class.
The default mapping of console operations to MIDI notes uses this second format as it enables a
very large number of possible operations to be represented in a compact and logical way. Some
console operations, such as presses on the touch screen and fader moves, require additional
information than a simple on and off message. In these cases a different type of MIDI message
known as a controller is used to send the value of the fader, or the co-ordinate on the touch
screen. By default, console actions are mimicked using low MIDI note numbers and MIDI
controllers.
Here is the default midimap.txt file from a Wholehog 2 show disk:
version = 30
; NB: MIDI Note & Controller numbers range from 1 to 128
group_menu = note:1
position_menu = note:2
colour_menu = note:3
beam_menu = note:4
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macro_menu = note:5
page_menu = note:6
choose = note:7
go = note:8
halt = note:9
flash = note:10
fader = note:11
lh_tool = note:12
rh_tool = note:13
keypad = note:14
wheel = note:15
touchpanel = note:16
others = note:17
coord_x = controller:1
coord_y = controller:2
fader_val = controller:65
wheel_val = controller:66
ext_keys = note:18
func_keys = note:19
The format of these lines, assigning classes of operation to particular notes, is:
<operation_type> = <message_type>:<note_value>
e.g. if fader 3’s go button is pressed then, according to the above file, a note on event for note #8
with a velocity of 3 is transmitted. When the key is released, a note off event for note #8,
velocity 3 is transmitted. (In actuality the MIDI message data would be note #7 and velocity
2—for although in the midimap file counting starts from 1, the actual values sent by MIDI will
be 1 less, starting from 0).
You can assign specific actions to a specific note, using the syntax:
<operation_type>:<index> = <message_type>:<note_value>
For example, to assign fader 3’s go button to a unique note (such as middle-C) you could add the
line go:3 = note:72. In this case a note on for note #72 will be sent when that button is
pressed, and a corresponding note off sent when it is released. (64 is the default note-on velocity
for unique button assignments). In the same way an input of note on for note #72 will trigger a
go for fader 3.
A particular note value cannot appear more than once in the midimap file, otherwise an alert will
be generated. So each note can either be assigned a class of operations (e.g. Go), or a single
unique operation (e.g. Go:3). However it is possible to assign particular Go buttons (for
example) to specific notes and still have the class of Go buttons assigned to another note.
The classes of console events that can generate MIDI and their map file name are listed below:
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MIDI, Timecode, and DMX In
Wholehog 2
Map file name
Choose buttons
choose
Go buttons
go
Halt buttons
halt
Flash buttons
flash
Faders
fader (preceded by value sent by fader_val)
Tool buttons above
rh_tool
right hand lcd
Numeric keypad
keypad
Parameter wheels
wheel (preceded by value sent by wheel_val)
Next page button
next_page
DBO button
dbo
Release button
release
Step up
skip_up
Step down
skip_down
Main stop
main_stop
Main go
main_go
Tool buttons above
lh_tool
left hand lcd
Touchpanels pressed
touchpanel (preceded by X and Y coords sent
by coord_x, coord_y)
group_menu (for all menus, index 21 & 22
are the scrollup & down keys)
position_menu
colour_menu
beam_menu
macro_menu
page_menu
ASCII keys (external
ext_keys
keybrd)
Function keys
func_keys
(external keybrd)
All other buttons (see
others
table below)
The following are used to encode continuous values, and precede
other messages as listed above:
coord_x
coord_y
fader_val
wheel_val
Note that a number of possible map file names do not appear in the current default file. This is
because a number of special buttons, such as Go of the Central Commands, are now including in
the others class. The old functionality is retained for backwards compatibility however, and can
be used if desired.
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The possible MIDI messages that you can map to are:
Map file name
Index
Console events which can be
mapped to the MIDI event
note
note number, e.g. ‘note:34’
All button events
polyatouch
note number, e.g.
All button events
‘polyatouch:34’
controller
controller number, i.e. 1 > 32
Value events
[14 bit] & 65>128 [7 bit]
progchange
program number
All button events
pitchwheel
none
Value events
chanatouch
none
Value events
Controllers 33 to 64 are the LSB parts of controllers 1 to 32, so are unavailable.
Console button events can only map to MIDI notes, polyphonic aftertouch and program change
(note that fader and touchpanel are also button events as they refer to which fader or touchpanel
was used, the actual values are sent separately).
Continuous values (like a fader position) can only be sent via a controller, pitch wheel or
channel aftertouch. In addition, coord_x & coord_y must be mapped to a 14 bit controller, i.e.
controller 1 to 32 or pitchwheel.
All console numbering in the midimap file starts at 1 rather than 0, e.g. use fader 1, not fader 0.
However when interfacing to other MIDI equipment the user should be aware that actual values
transmitted in MIDI will be 1 less than those which appears in the midimap file. The same is
also true of velocity values. Fader 31 is the manual crossfader (hog2) and fader 32 is the grand
master.
The range of fader master numbers extends to encompass the external DMX fader masters and
rockwing fader masters as well. To map DMX faders use fader:33 to fader:56 and for
Expansion Wing faders use fader:57 to fader:90.
Some keys cause events to occur when they are released as well as when they’re pressed - if a
single key is mapped to a note then the console will respond to either a note off or a zero
velocity to release the key. If a key that needs a release message is mapped to a non-releasable
midi event (like program change) then a warning will occur when the show disk is loaded.
Others
Set
others:1
Time
others:35
Setup
others:2
Blind
others:36
Slash
others:3
Try cue
others:37
Dec
others:4
Pig
others:44
Minus
others:5
Next page
others:45
Plus
others:6
DBO
others:46
Thru
others:7
Release
others:47
At
others:8
Full
others:9
Hog2 Specific
Backspace
others:10
Goto
others:34
Enter
others:11
Skip up
others:48
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Group
others:12
Skip down
others:49
Position
others:13
Main stop
others:50
Colour
others:14
Main go
others:51
Beam
others:15
Activate
others:52
Active
others:17
Next
others:20
Copy
others:21
Move
others:22
Delete
others:23
Undo
others:24
Clear
others:25
Load
others:26
Update
others:27
Record
others:28
Macro
others:29
Page
others:30
Cue
others:31
List
others:32
Highlight
others:33
For example, to map the Record key to middle C then the midimap.txt entry would be
others:28 = note:72.
Midi Serial Output
Custom Midi messages can now be output using a cue’s comment box. You can use this to
trigger equipment that cannot receive Midi Notes or Midi Show Control.
To use Midi Serial Output:
1
2
Open the Input Panel Window.
3
Open the cuelist window, and move the
cursor to the cue which is to output the
message.
4
Edit the comment box and type in a midi
message as described below.
Press “serial out” to turn serial out on. It
can be used in conjunction with “Notes
Out” or “Msc Out”.
This message will now be output whenever the cue is executed or on Step forward. On step
backwards, the midi message will be output provided midi_step_back = 1 in the moreopts.txt file
(see below).
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Composing Midi Messages
Use ‘/’ to indicate that the following comment is a midi message. Then type in the message
numerically:
Any number preceded by a ‘.’ is decimal.
Any number preceded by a space or another two digit hex number is hex.
For example:
/a0b0c0
/90.14.12
/90.14.12 90.5.6
outputs hex bytes a0, b0, c0
outputs hex 90 followed by decimal 14 and decimal 12
outputs hex 90, decimal 14, 12, hex 90, decimal 5, 6.
Reference Table
The following table gives the structure of the more common MIDI messages. The status byte is
given in hexadecimal format and, for those messages which are channel specific, ‘n’ represents
the channel number (which can be between 0 and F hex).
Message
Status (in Hex)
Data 1
Data 2
Note off*
Note on
Polyphonic aftertouch
Controller
Program change
Channel aftertouch
Pitch wheel
8n
9n
An
Bn
Cn
Dn
En
Note number
Note number
Note number
Controller number
Program number
Pressure
Least Significant Byte
Velocity
Velocity
Pressure
Value
System exclusive (start)
System exclusive (end)
Timecode - Quarter Frame
Realtime – Active sensing
Realtime – Timing Clock**
F0
F7
F1
FE
F8
Manufacturer’s code
Data,(Data),…
Most Significant Byte
Data
A note on message with a velocity of 0 is defined as having the same meaning as note off. The
console does not use this message and ignores it completely. All other messages received (and
on a channel the console is receiving if omni is not set) are shown in the Event monitor window
when it is open.
Example: a note on message on channel 1 for note #72 with velocity 64 would consist of 3
bytes, “90 47 3f” in hex. As a comment macro this would be “/90473f” or “/90.71.63”
The channel numbers that appear in the input window, and the note and
index values that appear in midimap.txt and which are quoted are all one
greater than the actual MIDI data. This is because the midi values begins at
zero rather than at one.
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MIDI Show Control and WYSIWYG Autofocus commands are achieved by means of system
exclusive messages.
MIDI Show Control
A complete description of MIDI Show Control is beyond the scope of the Handbook; here we’ll
give an overview of how MSC is handled by the Wholehog. For more information on MSC, we
suggest reading other books like John Huntington’s Control Systems for Live Entertainment or
the latest MIDI Show Control recommended practice from the MIDI Association.
MSC messages contain a device id and a format number. Make sure that you setup these
numbers in the window entry boxes correctly.
MSC has been implemented on the console to send absolute messages (i.e., not depending on
current cue positions, arrangement of cuelists on masters, or keys being held). This means that
the greatest playback accuracy can be achieved, even if manual overriding leads to cuelists being
in the wrong place or out of order.
The following is an implementation chart for seeing how console actions lead to transmitted
MSC commands:
Console Action
MSC Command
Console actions which MSC commands can reproduce exactly:
Activate (choose+go)
Open cue list
Go
Go
Go - Skip
Go - Resume
Go
Resume
Goto
Go
Pause - Stop
Stop
Release
Go Off
Step Up
Step Down
Page Change
Grand Master / DBO
Rate Thruster
_+
Standby_Open Cue Path
Set
Set
Data Description
1B Q_list
01 Q_number
Q_list
01 00 Q_list
03 Q_number
Q_list
01 Q_number
Q_list
02 Q_number
Q_list
0B Q_number
Q_list
11 Q_list
12 Q_list
1D Q_path
06 7E 01 value
06 7F 01 value
Console actions which MSC commands can not reproduce exactly:
Move Fader (Choose button
Set
06 0..7 00 value
held ignored)
Pause - Back
Standby_- (no MSC command 12 Q_list
for fade backwards)
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Q_list
Q_number
Q_path
is the cuelist decimal number
is the cue decimal number
is the page decimal number
These items should be expressed in hex format ASCII codes.
Note: cues which are triggered automatically via wait times or follow do not cause an MSC
command to be sent.
The following is an implementation chart showing how received MSC Commands map onto
console actions:
MSC Command
Data Description
Console Action
For a command expecting a Q_list, if none is sent then the cuelist on the ‘selected’ master is
assumed.
Go
01 Q_number Q_list
Goto cue
01 00 Q_list
Press Go
Stop
02 Q_number Q_list
Halt cuelist (cue ignored)
02 00 Q_list
Halt cuelist
Resume
03 Q_number Q_list
Resume cuelist (cue ignored)
03 00 Q_list
Resume cuelist (cue ignored)
Set
06 FE 01 value
Grand master move
06 FF 01 value
Rate thruster move
06 0..7 00 value
Fader move
Standby_+
11 Q_list
Step Up
Standby_12 Q_list
Step Down
Open Cue List
1B Q_list
Activate cuelist
Open Cue Path
1D Q_path
Change page
Reset
0A
Ignored - use Open Cue Path
All other MSC commands are ignored
DMX Input
DMX Input functions are accessible through the Inputs Control Panel.
There are three modes of operation controlled by three menu buttons in the Inputs Control Panel:
DMX Capture, DMX Trigger, and DMX Masters. When any of the modes is active, you can use
the ‘Show DMX’ button to open a diagnostic window. (DMX Merge is not implemented yet).
Only DMX Capture will show the whole frame correctly. The other two
modes only read the bytes they need, so that the Show DMX window will be
erroneous.
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Show DMX
DMX Capture
This mode reads in each frame, and converts it to fixture parameter settings using the patch on
one of the outputs as a conversion map. The captured frame appears in the programmer so you
can then record it.
If you start with the programmer clear when you turn on DMX Capture, then all the fixtures in
the mapping output will be captured. If you start with a selection, then only the selected fixtures
will be captured.
DMX Trigger
To trigger a cue, use the first ten addresses as a binary number. A zero level corresponds to digit
0, any other level represents 1. Bit 0 of the number is at address 10. Bit 9 is at address 1. Thus,
any cue trigger up to 1023 can be sent. Once a non-zero number is read, the cue with that
number on the current master will be triggered.
DMX Masters
This mode allows you to use the DMX console as an extension to the Hog 2 masters.
To setup:
1
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Specify the number of masters in the
DMX Submasters box.
150
MIDI, Timecode, and DMX In
2
Patch enough preset faders, or program
submasters, on the DMX console, so that
adjacent faders control consecutive DMX
bytes, starting at address 1.
3
Then, set the fader master level so that
full fader on the DMX console gives the
value hex E3 on the corresponding
channel (check using Show DMX
window). Keep the flash master so that it
outputs hex FF. If it is not possible to
separate fader and flash levels, avoid
bringing the fader to above a point that
outputs hex E3.
4
Turn on DMX Masters mode.
You can now treat the DMX console masters exactly as though they were real masters:
Use the DMX flash button as Choose and Flash. For your convenience, cuelists on DMX
masters will have the Flash+Go option already set so you can Go cues. Also, the DMX flash
button will act only as Choose during edit operations, and you will hear a beep to confirm the
edit.
Use the DMX fader as the fader.
If you turn off DMX Masters mode, or reconfigure the number of masters while in DMX
Masters mode, you will lose the cuelist to master assignments. You will not loose cuelists
programmed on the DMX masters, since they will still be accessible through the cuelist
directory window.
24 Hour Clock
This feature is supported on the Hog Unit, Hog PC, Hog 1000, and Hog 500.
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Frequently Asked Questions
If you’re having difficulty figuring out how to do something or why the console is behaving the
way it is, look through the following section to find a problem that matches your own.
Hardware
The mouse has stopped working.
Mice are sensitive to sunlight or strong light, as they have internal optical encoders. Ambient
light can screw up the encoders. Move your mouse out of the light, or use a black mouse.
The faders won’t bring my cues up to 100% intensity.
You’ll need to adjust the trim pots. To do this:
Open the front of the console, and look for two blue plastic towers located on the front panel
circuit board, between the circuit board and the metal work. They’re located between the large
Go button and the PIG key.
Use a small screwdriver to adjust the right trim pot until the fader gives full range. There is no
need to touch the left one. Use the Event Monitor in the Control Panel to check
levels.
If this doesn’t work, the fader itself is most likely defective. Try cleaning the fader with a dry
cloth. Do NOT use any cleaning fluids. They will make it worse.
I have to reload a show from disk every time I turn on the power.
It’s likely that the battery is not fully charged. Leave the console powered on for two days to
give the battery a chance to fully recharge.
Buttons are getting pressed automatically on the touch screen even though I’m not
touching them.
Debris has most likely gotten stuck in between the touch screens and the metal work. Slide a
piece of paper in between the two to dislodge the debris. Another possibility is that a key on the
external keyboard is stuck.
The screens are black and I can’t see anything.
Try pressing Setup and turning the center and right parameter wheels to adjust the contrast.
During disking the DMX signal drops causing a flicker in the instruments. Can that be
fixed?
This will eventually be corrected with software modifications.
When I powered back up my console: all LED's flash, LCD screens black, I couldn't tell if
there was backlighting.
Continuous flashing of all LEDs means that the processor board has not started correctly. Try
pressing the blue reset button with the power on. If the condition persists, contact your dealer
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The left hand touch screen contrast adjustment keeps going through its full range on its
own. On boot up from cold it takes around 20 seconds per cycle after a few minutes it
only takes 3/4 seconds.
A hardware bug with earlier consoles which has now been corrected. Can also lead to power on
problems (console locks up with blank touch panels) due to software bug in EPROM. Contact
your dealer to arrange for modification.
My console seems to have slowed down. What’s going on?
Here’s a list of things which slow the console down:
• Using Overdrive boxes
• Having lots of windows open (watch out for ones hidden beneath others in views).
• Running lots of HTP masters.
• Not doing a cold start and fresh reload from disk often (eg once a day).
• Large Cuelists with backwards loops.
Setup
What’s the best way to handle scrollers?
We highly recommend using the scroldim fixture type. This links the scroller and the dimmer
together for easy handling. It also means that the two show up together logically on displays
like Levels.
The console is sending out erratic DMX.
Make sure the fixtures and the WHOLEHOG II are receiving power from the same source.
I’ve patched my fixtures, but they aren’t responding as they should (or they’re not
responding at all).
There are a few things worth checking:
• Make sure the grand master is up.
• Make sure Blind is not on.
• Make sure the protocol is set correctly in the patch window.
• Make sure the switches and addresses on the fixtures are set correctly. Consult
Appendix A for further information on this.
• Make sure the console is properly grounded and that it’s on the same power source as
the fixtures.
• Test the cabling. Use a DMX tester and work your way down the data line from the
console to the fixtures.
Make sure the fixtures have the correct EPROM’s on board.
I’m trying to patch, but the fixtures don’t show up in the patch window after I press Enter.
Make sure that the patch window is active.
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How do I access a fixture that’s not shown in the schedule?
See the Fixture Library chapter to learn how to set it up yourself or contact your dealer for
further assistance.
I’ve lost my PIN. How do I get back into my show.
Press the Reset button and reload the show.
I can move my VL5’s, but I can’t get any Intensity.
Make sure that you’ve also patched the Intensity.
How can I have my color changer display my color in steps instead of %. OR: How do I get
DMX values to appear on the parameter wheels?
Change its settings in the fixture library.
My patch screen is no longer working.
The patch window only works while sitting on the right LCD. This way, you can keep it open
for reference purposes elsewhere and not affect it when selecting fixture for programming.
If I type desk channel 1 @ Full while the patch window is open the offending item gets
patched to 100.
This isn't a bug. Full is interpreted as 100, whether the patch window is open or not.
When you go into the Control Panel and change the keyboard to US, the English
disappears.
It’s still there; you just need to use the cursor keys to scroll the list back up
Disks and Fixture Library
Are show disks recorded on an early version of software compatible with later versions of
software?
Yes. Note, really old shows (ie v1.0 shows) will have the old looping scheme converted to the
new link cues. You will see a user alert when this occurs. The timing conversion may not be
perfect, so will need checking.
Are show disks recorded on a later version of software compatible with earlier versions of
software?
Yes: Use Save As.
In my library file, why does Douser = b still allow the channel to be controlled on the
fader?
Because you probably still had it set as htp8bit. All HTP parameters are fader controlled.
How do I change fixtures so that they fade colour wheels?
Use the Edit Fixtures window to change the path. You can also use the time window to override
on a cue by cue basis
Programming
When I touch a button on the touch screen either a different button is selected or nothing
gets selected at all.
Recalibrate the touch screens in the Control Panel.
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How do I only grab fixtures in a certain colour (beam, etc)?
Press Active, then select the constraint (such as a palette or parameter setting), and then Enter.
All active fixtures of that type will be loaded into the programmer.
I recorded a cue, but nothing appeared in the cue list.
Make sure the desired cuelist was chosen.
I have selected Cybers & VL5 groups. When I select a colour, the Cybers change, but
VL5's don't.
You pressed a palette that only contained information for the Cybers.
My I-beams or Cybers will not respond to colour or gobo timing, even through I'm using
the M speed.
Make sure the fixtures are set to the correct personality setting.
I'm trying to create a palette with ICBF in it, but I only get color (or focus or beam)?
Adjust the Masking settings while recording.
If I program colour mix channels, the colour wheel gets programmed as well even though I
didn’t touch it
All the colour parameters are linked; recording one records the others. You can unlink them by
using the control panel Keep params separate option. If you do unlink them, watch out!
People usually become confused by forgetting to touch all the wheels when recording looks.
Undo will also release undesired parameters.
My color changer will not crossfade to the new color even though I've put timing on the
cue.
The color parameter may be set to snap change in the Edit Fixtures window.
If I change a cuelist on one page, will it change on the other pages.
Yes.
If I change the cuelist option settings, does this apply to all cuelists or just this one?
Just the one being changed. The options are specific to each cuelist. To change settings for new
cuelists, use the control panel Cuelist defaults function.
How do I track parameter information through a series of cues?
Use Copy or Record with the Merge option selected and then select the destination cue range.
Masking can be useful in these situations to quickly eliminate unwanted parameters.
How can I copy a palette created for x amount of lights to another light if I decide to add it
to the patch afterwards.
When making the palette, make sure that you specify for one fixture only. All fixtures will then
use this value, as will all additional fixtures added later (of same kind).
How do I knock out individual parameters from a Q or a pallet?
Load cue/palette, select the fixture, hold Undo, move the relevant parameter wheel, Update,
Enter.
How do I remove fixtures from a cue?
Load the cue, select the fixtures, press Knockout, press Update.
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How do I remove a fixture from a cuelist?
Select the fixtures to remove, press Pig and Active to grab all parameters, record with the
Remove option, select all cues in the destination cuelist.
Can I give a cuelist a name?
Yes. Go to the cuelist window. Select the cuelist. Press Set. Type in the name. Press Enter.
Do I have to keep pressing Back space after Set to erase what’s already there.
No. Just start typing and the old items get wiped out.
If I accidentally hit Update, how do I get rid of it?
Press Backspace.
Do I need to press the @ before Full, i.e., 6 Full.
You can hit Full straight off, provided that that you've just done a selection. If not, the
command line is empty, and the Full button is interpreted as cursor down.
Is there a way (besides using the open white palette) to record values into all parameters?
Select lights, PIG + Active grabs all parameters of selection. Or Record with 'Everything'
How I can change the Open White parameters.
Either edit the palette itself or edit the parameter default values in the library file.
Move Choose syntax does not move a cuelist from one fader to another. It gets copied
instead.
This is correct. Actually, it doesn't get copied, it gets referenced again. It is as though you had
“moved” from the cuelist directory in the first place.
When I merge in new times to my cue, the times don’t get changed
You need to merge values and times at the same time. You cannot currently merge time on its
own. Also, make sure you turn off the time mask when you do the merge.
When do you see the Update Dialogue box?
If you override lights in the programmer without first pressing Load, and hit Update, it gives
you a window of things to change.
How can I tell which Masters are controlling which fixtures?
Open the Levels window and press Source.
The Fan and Effects are working in a strange manner.
Check to make sure that the groups on which you’re using the effects weren’t created using a
fixture order different from what’s desired.
How do I get the programmer to crossfade to a new palette I select?
Turn on the Live Programmer option in the Control Panel
Playback
How am I supposed to cope with only 8 faders? I’m used to have 20 or more.
The Save Activity functions allows the 8 faders to accomplish a lot more than might seem
possible at first glance. This is because it’s possible to instantly crossfade to an entire new set of
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looks on the incoming page. Because it’s so fast, it’s easy to hop around to a lot of different
pages.
If this is still not satisfactory, use Virtual Masters to access more cuelists or use an expansion
wing.
My timing seems all screwed up and the actual fade time is not what I have entered in the
cues.
Check to make sure that the rate override and thruster settings are at 100%.
I created a chase on my fader, but want to adjust the rate on the fly.
Hold down Choose on the chase’s Master and dial the parameter wheels.
Can I release a fader without it getting selected in the process.
Yes, press and hold Choose for the fader to be released then Release.
I have an Intensity Only cue on a fader, but nothing happens when I bring up the fader.
If it’s an LTP fader, you must press GO first. Otherwise, set it to be HTP. Also, make sure that
the Add blank first cue option is off.
My cues are playing back differently than how I programmed them.
This is likely a State problem. See the Summary of Editing Options section in the Cues,
Cuelists, and Pages chapter.
I've recorded a cue to a fader, but when I advance to the next cue it stays in the same look.
Try clearing the programmer.
I have only one page. How do I create more?
Press an empty page in the page window.
When I change pages all my cues fade out. How can I hold a few over?
Hold Choose while changing page for the cuelists to hold over.
Can I run cuelists from the cuelist directory window?
Yes, they can be run on a virtual master.
When I change pages, my cuelists get released even though they’re on a template.
Make sure you haven’t re-recorded your template cuelists into your normal pages. If so, the
template gets continually overridden by new pages.
I can't get Save Activity to work.
Save Activity only works on current page.
When I’m playing back a long cuelist, the page does not scroll automatically when I hit the
GO.
Turn on the Follow Current option on cuelist display.
I'm unable to scroll through a cuelist. It always jumps back to the top of the list.
Turn off the Track/Current option
I really need a way to jump to any point with in my cue list and continue on from there.
Try Goto 100 Enter. Make sure the master is selected.
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I have a chase Master running strobe chases. If Q8 then goes on my main Master it seems
to dim all the fixtures and change their position focus. Why does it do this? Q8 does not
have any Trackspot data in it at all.
This is because you have the cuelist option Maintain state on, and ...but not in
jumps off. When but not in jumps is off, the cuelist will reassert its state on cue
execution (in case parameters have been overridden by other masters). The Trackspots may not
be in the cue 8, but they are in earlier cues, and it is this that causes the problem. To prevent
this, turn but not in jumps ON.
I have cues 1 to 3 looped each with part times (delays on fixtures 1s,2s,3s,4s). Q4 is a
dead blackout of all lights involved in Q1->3. When you hit GO (to jump out and go to Q4),
they all blackout for a second then the delays kick in and you can see them counting down
in the loop above. The problem is the lights come on when they should be happily sitting
in the Black Out of Q4.
Currently, the console does not check to see if a cue with a delay is overriding a cue later on in
the cuelist. This will be corrected. Meanwhile, either make sure the cues are done, or get last
cue to trigger another cuelist for the black out via a comment macro.
A fixture’s intensity is at full no matter where the fader is
Check the settings in the Edit Fixtures window. Looks at the Levels display to see what’s
controlling it. Make sure the fixture is not parked.
How can I trigger (with SMPTE) a Halt on a running chase or loop?
You can use the cuelist macro commands on another SMPTE cuelist to start & stop chases
Hitting Go to exit a loop zaps fade time of other running cues. How do I stop this?
You can fix this problem by turning on the ...but not in jumps cuelist option.
I can't get Learn Timing to work with Simulate in SMPTE.
Learn timing will only replace wait times that are currently set to Halt (blank in the cuelist).
This is to allow you to build up the timing over several passes, and not have your previous work
eradicated every time.
Windows/Navigating
The Keypad arrows don’t work.
Make sure there’s nothing on the command line. Otherwise, the console thinks you want to use
the keys on the keypad for thru, full, etc.
Pressing PIG plus an item no longer gives me the window.
This could be because the last time the window was open, it resided on an external monitor. If
the monitor has been removed since then, the window will open on a monitor that isn’t there.
Press the shuffle window button,
, to bring it back to an available display.
Be sure that the correct number of external displays is set in the control panel to avoid windows
going to displays that aren’t there.
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I can’t get anything to show up on my external displays.
Make sure that the displays are set in the Control Panel.
Track Current is no longer on whenever I re-open the cuelist window.
Resave the cuelist view with Follow Current on.
Sometimes when recalling a saved view, the screen will only halfway overwrite the
previous screen. Once it starts, it continues to happen even when resaving the view. This
seems to be more common when saving the Cue list screen (pig+choose).
The second view was recorded with the cuelist views over the palettes. When the view is used,
all windows get opened, but the last window is set to front. In this case, this happens to be one
of the palette windows you had hidden beneath the cuelist window.
Solution: only record the windows you need. Make sure hidden windows are closed, rather than
just hidden.
I save a view with a window full size (filling up the whole screen), but it’s only half size
when I recall it with the View button.
Make sure to size the window with the toggle button and not Maximize
Page Up and Down don't work in the programmer times window.
They won't work due to the entry box being open. They do work if the time window is locked
open with pig key.
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Extended Key Chart
This chapter gives a quick reference to keystroke commands.
Pig functions
The chart below shows what happens when PIG is pressed in combination with other items:
.
Active
Beam
Clear
Color
Choose
Copy
Effect
Focus
Group
List
Load
Next
Next Page
Park
Page
Release
Time
Thru
Page Up/Down
Parameter Wheels
Palettes and Groups
Built-in keyboard
Cuelist Selection
Minutes
Puts values into all parameters for currently selected fixtures in
programmer
Opens Beam palette window.
Restores programmer to its previous state before Clear was
pressed.
Opens color palette window.
Opens cuelist window for selected Master.
Clone
Opens effects library window.
Opens focus palette window.
Opens group selection window.
Opens cuelist library window.
Extract
Goes backwards
Goes backwards
Unpark touched attributes in Programmer. If none touched,unparks
selected fixtures
Opens page window.
Releases all Playback Masters
Keeps the Time window from closing after each entry
Makes Thru work in the Programmer Time window
Scrolls one line at a time.
Fine movement for parameters larger than 8 bit.
Deselects chosen palettes and groups.
Shift.
Selects range.
Setup functions
Setup also has special functions when used with other items:
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Right Parameter Wheel
Center Parameter Wheel
Left Parameter Wheel
Scrolls up and down a window
Adjust left touchscreen contrast
Adjust right touchscreen contrast
External Keyboard Shortcuts
When using the keyboard, the letter keys obviously let you type names, which may be easier
than using the touch screens to name items. The following also duplicate console keys
F1
F2
F3
F4
F5
F6
F7
F8
F9
A
B
C
D
G
H
L
M
N
O
P
Q
R
S
T
U
X
Group
Position
Colour
Beam
Macro
Page
Effects
List
Time
Active
Blind
Clear
Delete
Goto
Highlight
Load
Move
Next
Undo
Copy
Try Q
Record
Setup
Time
Update
Thru
Function Keys (F1, etc) +
Shift
Toolbar Buttons
Tab
Window Controls
Where x is a Master #:
Shift + x
Choose x
Tab + x
Go x
`+x
Stop x
]
[
Z
J
K
;
G
Main Go
Main Stop
Release
Skip Up
Skip Down
Next Page
Goto
+
*
/
‘
\
Numlock
Backspace
Enter
Plus (+)
Minus (-)
Thru
Slash (/)
At (@)
Full
Set
Backspace
Enter
Ctrl Pig
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Extended Key Chart
The main command keys might perform unwanted operations if accidentally pressed. So on a
Hog II external keyboard, the Alt key must be held down in order for the command to be
accepted. The Alt key may be released once the command key has been pressed, even if the
command key is still being held down. Adding the line “no_keyboard_guard = 1” to the file
moreopts.txt will disable this protection (not present on Hog PC).
Choose
Choose also has added functionality when used in combination with the following:
Go
Pause
Flash
Fader
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Step up
Step down
Activate without “going”
Fade all parameters
163
Extended Key Chart
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Extended Key Chart
Fixture Library
The console uses fixture library files to configure fixtures for use on the console. These files
contain information such as the number and types of channels and to display them.
The operating software contains a ROM Library that updated with each new release. However, if
you need to change fixture parameters or add a new fixture not contained on the ROM file, then
you’ll need to write a new personality and load it into the console. This file is called “_lib.lib”.
Below is a detailed layout of how to do this.
Writing a Fixture File
The “_lib.lib” file contains all of the information the console needs to determine how the
different fixtures work. It contains a version command and then a count of the number of the
number of fixtures specified in the file. Then follow a number of fixture specifications that are
started with a fixture command—all of the commands up until the next fixture command
pertains to that fixture. Each fixture contains a name, manufacturer, product ID and a number of
parameters. Each parameter starts with a parameter command; all subsequent commands up
until the next parameter command belong to that parameter. A parameter contains a type,
default, highlight and one or more ranges.
The following is a dissection of a typical _lib.lib file, and the commands found therein:
Version = 0
This needs to be zero so that the desk recognizes the file as a library file. Shows saved to disc
also contain _lib.lib files but these have a non-zero version command and should not be edited.
Count =
Number of units in the _lib.lib file.
fixture =
Name of the fixture. This label will be displayed in the output/cue contents window when you
select the unit. Therefore this label should be kept to a maximum of 8 characters. NB: spaces
are not permitted in the label.
manufacturer =
Unique product code. Check www.flyingpig.com for a current listing. If uncertain, use 99. This
will appear in the fixture schedule as User Manu.
product =
Unique product number. Check www.flyingpig.com for a current listing.
Both manufacture = and product = references a unique number that then defines what type of
fixture it is and also who makes it. This is most useful when a fixture has more than one mode
and is still called the same thing. This table can be found in the appendix.
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name =
The Name of the Fixture. This should be between 1 and 15 characters long. This appears in Add
Fixtures menu list when you select units to be patched. If you use spaces then these will count as
a character. If you do use more than 15 characters then the name will be truncated and can cause
problems when trying to merge shows.
yoke =
The console will assume that a fixture is a mirror unit unless it’s told otherwise. If the fixture is a
yoke light then the line, yoke = yes should be added after the fixtures name and before any
parameter listings. The console needs to treat yoke lights slightly differently from mirror fixtures
since a yoke light can often point at the same location via two separate pan and tilt DMX values.
output = dmx
This should be placed before any parameters that you may need to keep separate when patching.
So if the intensity needs to be patched away from the other parameters then this will separate it
out. Output = dmx only needs to be added where you need to define a split in the parameters for
patching purposes. If the unit does not require the parameters to be separated then this line only
needs to be before the start of the first parameter.
If the intensity is the first channel on the fixture then below is how you would start the file.
output = dmx
Parameter = intensity
Default = 0
Range = 0, 255 %
Then
output = dmx
Parameter = pan
Then carry on as normal.
constant = 0
This line is optional and can be added when a channel on the fixture has no purpose or has been
reserved for future use. It pads out the channel allocation so that when patching all the
parameters line up correctly with channels. Any constant value between DMX values 0 and 255
is permitted.
parameter =
specifies the name of the parameter. The desk will look in function.txt to see if
a parameter of that name already exists and what kind it is. If the desk doesn’t have any other
reference to the parameter then it assumes that it is a “beam” parameter, unless it is explicitly
given a kind using the “kind =” command
parameter =
kind =
is used to define the type of parameter. This is used when a parameter is not found in
and is not a beam parameter. If you needed to tell the console that funnycol is a
colour parameter (for example) then all you need to do is add the line kind = c after the
parameter = funnycol line. The syntax for this can be: kind = i,f,c,b or x. The letters
kind =
functions.txt
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represent Intensity, Focus, Colour and Beam respectively. x is used for parameters that are
needed but you don’t want to appear in the displays.
default =
The default is where the fixture sits when it is powered up. If no parameter is recorded into a cue
or held in the programmer then each channel will stay in the position that has been set as default.
With most fixtures that is 50/50 for pan and tilt, 0 for intensity and whatever value corresponds
to open for colour and beam parameters. The fixture will also return to its default position if a
parameter is moved and then [clear] is pressed. Again only if it’s not active in a cue.
highlight =
Give the value to be outputted when “highlight” is pressed. This can be overridden by editing
the highlight palette. This applies to all parameters except Pan and Tilt.
crossfade =
Default crossfade path. 0 is Linear. 1 is snap change at start. 2 is snap change at end. This is
the crossfade path that will be used when the parameter is recorded into a cue.
type =
Specifies the control method and resolution.
Channel Type
Description
htp8bit
8 bit highest takes precedence
htp16bit
16 bit highest takes precedence
ltp8bit
8 bit latest takes precedence
ltp16bit
16 bit latest take precedence.
Highest takes precedence is generally used for fader controlled parameters such as intensity. It
will look at all the cuelists that are trying to control it and select the one with the highest value.
All HTP attributes will be under the control of the Grand Master and cuelist faders.
Latest takes precedence is used for focus, beam and colour parameters. It will take it’s value
from the last cuelist that tried to control it.
8 bit channels take up just a single channel. 16 bit parameters take up two successive channels;
they are usually used for Pan and Tilt.
When entering the type do not include any spaces in the name. ie “ltp8bit” rather than
“ltp_8_bit”
range =
The syntax for the range command is:
range = (DMX value range start), (DMX value range end) , (label) , (modifiers)
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For 8 bit parameters, the DMX values can be anywhere between 0 and 255.For 16-bit
parameters the DMX values can be anywhere between 0 and 65535. If the DMX value range end
is not given then the desk assumes that the range only exists for the given start value.
Label details the text that will be displayed above the wheels when the wheel is within the
specified DMX range, it should be no longer than 8 characters and must not include spaces. If
the % symbol is used as a label then the desk treats range slightly differently; it will show how
far the encoder is through the range as a percentage. Therefore if you write “range = 50, 75, %”
then this will show on the encoder what is between ranges 50 and 75 in the DMX range and this
will show as a percentage.
There are two optional modifiers that can be added after the label, they are noauto and centre.
Noauto means that the range will not appear in the palettes that the desk can generate
automatically. Centre means that the desk will goto the middle of the range when it is selected.
Usually a number of range commands are used to describe the different ranges that exist on a
parameter, eg. for a colour wheel with 6 colours including open white then you would expect to
see 6 range commands, one for each colour.
Ranges do not have to follow the order that they are listed within the DMX spec. So this will
enable you to group the common ranges together.
Eg: range = 10, orange
range = 50, aqua
range = 20, mauve
Now when you move the encoder it will display orange, aqua and green in that order, whilst the
DMX channel will jump from 10 to 50 then back to 20.
Ranges must not overlap.
Eg: range = 0, 120, %
range = 100, a
range = 130, b
In this example, the first two ranges clash with each other so the desk doesn’t know whether it
should be displaying a percentage value, or the label “a”.
When writing library files try to make the ranges as simple as possible. So instead of,
Range = 206, stop, noauto
Range = 210, <<slow, noauto
DO
Range = 215, <<med, noauto
Range = 207, 235,
>>, centre
Range = 220, <<fast, noauto
Range = 225, >>fast, noauto
Range = 230, >>med, noauto
Range = 235, >>slow, noauto
X Y Z Information
In order for X Y Z to function, lines need to be added to the Pan and Tilt Parameters.
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168
Fixture Library
Deflection
Offset
100%
50%
50%
Offset
0%
Deflection
100%
0%
These lines go between type and range. Below is a diagram showing how to measure the
required items for XYZ to work correctly.
Pan and Tilt Deflection
the angle the beam moves between min and
max DMX, i.e. Deflection is the total angle
over which the beam can be directed.
Pan Movement (normal or inverted)
if increasing pan moves the head or mirror
clockwise when looking out from the lamp, the
direction is normal otherwise its inverted.
Tilt Movement (normal or inverted)
for a mirror light the diagram above shows the
normal direction; for a yoke light, trial and error
is the best policy!
Tilt offset
the angle shown in the above diagram, given in
degrees. Offset is the difference between
“straight down” and where the fixture sits when
it’s tilt parameter is set to 50%. For mirror
fixtures, “straight down” is classed as
perpendicular to the optical path that all of the
fixtures lens lie in. For moving head fixtures
“straight down” is classed as the axis that the
head pans around.
Deflection and offset need to be added to the Pan and Tilt parameters for XYZ to work. With
Pan you just need to add deflection and with tilt you need to add deflection and offset. These
lines are added after the type = line.
movement = invert
When this line is added it will reverse the range information. So if you have a range that is 0,
255, % and the default is 0, with the movement = invert line it will set the default to 255. This
is only used for Pan and Tilt attributes and colour mixing.
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169
Fixture Library
Auto Menus
Palettes are created when you patch in a fixture and then select “auto menu.” This then places
the main features of the unit onto the 4 palettes of the HOGII. So if you then look at the screen
after patching you will see all the colours in that unit on the colour palette, the gobos on the
beam palette and so on. What the Hog does is to look and see if units share any common items.
So if two different fixtures are patched and both of them have red on their colour wheel then it
will only need to make one red colour palette. This matching is done by name, so it is important
that if you want items to appear in automenus that they use exactly the same name.
The AutoMenus option in the patch window uses the library information to compile palettes
for the fixtures you select. With the cloning feature it is important that labels are standard so that
there is no conflict between fixtures. You can select parameters not to “auto” by adding a
modifier at the end of the range label. This is also a good guard against unuseful ranges.
Noauto or centre are modifiers. “noauto” is used to stop the label being added to the palette
when auto menus are created. “centre” is used to center the range to the middle for things such
as split colour. It will default to the centre of the range.
ie Range
= 0, 23, randomsr, noauto
Label
DMX range
Modifier
A palette will be generated for every “range” entry in a library that:
• Is for a parameter of type “beam” or “colour”
• Has a valid label, ie not blank or %
• Does not have noauto set
The value stored in the palette will be the minimum of the range unless “centre” is specified.
Common Abbreviations in Labels
Labels should be no more than 8 characters long. If you use spaces in labels then this will count
as a character space and will be part of the 8 characters. In order to keep them short the
following abbreviations are commonly used:
Rotate. To be used with colour or gobos.
<>
>>
or <<
Continuous spin ie Spinning wheels
lt
or dk
Use instead of “Light” and “Dark”
+
The plus symbol is used to indicate a value partway between two slots. Use this
for split colours. These inbetween ranges should be marked ‘noauto’ since only
the full colour positions are required in the automenus.
Mod
Mode
*
Is used to signify that the parameter is controlled by MSpeed or timing values.
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170
Fixture Library
Colour Labels
The labels used for the colours on a colour wheel need to be kept consistent, as when the console
makes the colour palettes it will look and see if different fixtures have the same colours and then
merge them all into one palette. For example, if you patch a Studio Spot and a Mac500 it will
look and see that they both have Red and instead of making a palette for the S/Spot and one for
the Mac they share the same Red Palette. This becomes very important when trying to clone and
merge.
Standard Colour Labels
white
cyan
cto(1/2, qtr, full. Add before)
magenta
yellow
warm
red
green
cold
blue
pink
orange
amber
congo
uv (only if true uv)
turquoise
purple
aqua
indigo
ctb
mauve
Any colour with the prefix “light”: use “lt”
ie
ltgreen : ltblue
etc
Do not use filter numbers after the colour. eg:
Deep purples should be labelled indigo or
violet
blue108
congo
green106
not UV unless the unit can achieve true ultra
Full Colour Mixing
If the fixture has subtractive colour mixing ie. dichroics then it should use the Cyan, Magenta
and Yellow parameters labeled as CMY regardless of the names the manufacturer use to
describe the system. The movement = invert command can be used to alter the way the
channels work so that all fixtures act in a uniform manner. If the fixture uses an additive colour
mixing system ie. a red lamp, a blue lamp and a green lamp then its parameters should be
labeled Red, Green and Blue.
Gobo Labeling
When adding labels to Gobo Parameters it is important to keep a consistency going. This helps
to create sensible auto menus. Fixed gobos should be named using the manufactures defaulted
names. If an operator wants to change these then that can be achieved in the Edit Fixtures
window on the console. This rule can also be applied to Prisms and Frost effects.
If the gobos or prisms or frosts can be removed and replaced with other types or styles then they
should be labeled as Gobo1, Gobo2 or Prism1, Frost1 etc. Then they can be renamed to suit in
the Edit Fixtures window.
All Labels must be no longer than 8 Characters and contain no spaces.
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171
Fixture Library
Parameter Reference Table
This table is designed for easy reference to each parameter, and what default, crossfade and type
to use when writing a library file. There will always be one or two fixtures that do not follow the
rules and in that case common sense should be used.
Description
Pan and Tilt
Pan and Tilt can take up
either 2 channels (8bit).
Or 4 channels (16bit).
16bit just means that
there are pan and tilt fine
channels. This makes for
smoother movement and
a much better degree of
control.
Default
Crossfade
If the unit is of 8bit
resolution then the
default value will be
128 (half of 255), on
a 16bit unit it will be
32768. (half of
65535)
crossfade = 0 (linear )
Type
ltp8bit or ltp16bit
Default
Intensity
From the start point
winding the encoder
clock-wise should
increase the light output.
The default should be
DMX value 0, if the
channel just has
intensity on it.
If the intensity channel
also controls strobe or
other effects
functionality then
winding counter
clockwise should access
the strobe range. The
further counter
clockwise the strobe is
wound the quicker the
fixture should strobe.
If the channel is
shared with the strobe
attribute then the
default should be the
lowest DMX value of
the intensity range.
Wholehog II Handbook
172
crossfade = 0 (linear)
Intensity
parameters are
almost always
htp8bit. So that the
faders have control
of the intensity
attribute.
Fixture Library
Increasing Intensity
Default
Highlight
Increasing Strobe Speed
Increasing Intensity
Default
Colour Wheel
Colour labels should
adhere to the given
standards so that clone
and auto menus work.
(see list of common
colour labels). Arrange
the colours as they are
on the wheels. If you are
just dealing with a Fixed
colour wheel then wind
Clockwise to go through
the colours and Counterclockwise for FX’s.
If the fixture is capable
of supporting split
colours, it should!
The default for the
colour parameter is
White, no colour or
the open position.
White is normally
mapped to DMX
value of 0. If white is
mapped to DMX
value check the spec
and alter the default
number accordingly.
Highlight
crossfade = 1 (Snap on
start)
ltp8bit
Example of centre (for split colour purposes)
Range = 100, Red
Range = 101, 119, Red+, centre,
noauto
Range = 120, Green
This will allow the Red to use the split colour
function and will not appear on the Palette
after auto menus has been selected.
Increasing Colour Cycle Speed
Colour Slot 1
Colour Slot 2
Colour Slot 3
Default + Highlight
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173
Fixture Library
Colour Mixing
NB: There are
some fixtures
that have colour
mixing wheels
with one or two
fixed colours on
the end of the
wheels. If this is
the case then
treat the colour
mixing as CMY
and tag the fixed
colours onto the
end of the range.
If colour mixing is
subtractive, i.e.
dichroics, then the
attributes should always
be labelled as CMY
regardless of what the
manufacturer states in
their publicity.
If colour mixing is
additive, i.e. red, green
and blue lamps, then the
attributes should be
labelled as RGB.
Wind clockwise to
access CMY or RGB
starting from White (0%
should then be white).
The default for the
colour parameter is
White, no colour or
the open position.
White is normally
mapped to DMX
value of 0. If white is
mapped to DMX
value check the spec
and alter the default
number accordingly.
crossfade = 0 (linear)
ltp8bit
Increasing Colour
Default + Highlight
Increasing Colour
Slot Colour 1
Slot Colour 2
Cycle
Effect
Default + Highlight
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174
Fixture Library
Iris
Winding encoder
counter clockwise
should close the iris.
Iris strobes or other
effects (such as pulse)
that share this should be
clockwise of the default
point. If the effects have
a speed component, they
should increase in speed
the further clockwise the
encoder is turned.
Default should be Iris
open with no effects.
crossfade = 0 (linear)
Iris Effect 1
Decreasing Iris
ltp8bit or ltp16bit.
Iris Effect 2
Iris Effect 3
Default + Highlight
Strobe
Strobe should wind
clockwise to increase
speed. The first position
Counter Clockwise from
the default position
should be closed, and
any effects should be
counter clockwise after
that.
Closed
Open
Default is open
Strobe 1 Speed
crossfade = 1
(snap on start)
Strobe 2 Speed
ltp8bit
To prevent faders
from altering the
strobe rate, do not
set strobes as
htp8bit.
Strobe 3 Speed
Default + Highlight
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175
Fixture Library
Timing
(MSpeed)
Timing values should be
specified as discrete
ranges rather than a
percentage parameter so
that the users can see the
exact time assigned to
the fixture, or fixture
parameter group.
Turning the encoder
clockwise will always
increase the time taken
for the movement.
Timing parameters
should always be beam
parameters, if units have
colour timing (eg
Vari*lite) then this
attribute should be a
beam parameter and not
a colour parameter.
The default here
should be the
Manufacturers
recommended setting.
This value will be
listed in the unit’s
manual and thus will
differ when writing
different
personalities. Label
the default “xfade”
and use noauto with
all the other ranges.
crossfade = 1
(snap on start)
ltp8bit
Example of the correct layout for M-Speed Parameters
Range = 0, xfade
Range = 255, 0.15s, noauto
Range = 253, 0.17s, noatuo
range = 252, 0.19s, noauto
Control
Control is dependent on
what features there are
on the unit. For all
control functions (such
as lamp on lamp off
reset etc) wind counter
clockwise.(Home or
Reset should be one turn
counterclokwise)For any
other attributes such as
modes, wind clockwise.
Wholehog II Handbook
Default here should
be “Idle”
176
crossfade=1
(snap on start)
ltp8bit
Fixture Library
Gobo / Prism
Select
Winding the encode
clockwise from the start
point cycles through the
different types of gobo
or prism.
Default here is no
gobo or prism
crossfade = 1
(snap)
ltp8bit
If the parameter also
controls effects then
these should be counterclockwise from the
default. Effects, which
affect a single gobo,
should be first grouped
together by effect type.
Effects, which affect the
wheel as a whole, should
be the furthest counter
clockwise from the start
point.
Gobo 1
Gobo 2
Gobo 3
Gobo 4
Gobo 5
Gobo 6
Default + Highlight
Wheel
Spin
Wheel
Cycle
Shake 3 Shake 2 Shake 1 Spin 3
Spin 2
Spin 1 Open
Gobo 1 Gobo 2 Gobo 3
Default + Highlight
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177
Fixture Library
Gobo / Prism
Rotate
Some fixtures (eg. Clay
Pakys) have separate
gobo select and rotate
parameters.
Default is no spin.
crossfade = 1
(snap on start)
ltp8bit
Winding clockwise
should change the index
position of the gobo.
Winding counter
clockwise should access
the gobo spin speed, the
centre modifier should
be used so that the user
goes straight to the
centre and can then wind
clockwise for increasing
clockwise spin, or
counter clockwise for
increasing counter
clockwise spin.
Gobo Spin
Gobo Index
Default + Highlight
Zoom / Focus
Wind clockwise to zoom
wide Counter-clockwise
to zoom narrow. For
focus wind clockwise to
focus nearer to the
object and counter
clockwise to focus
further away. For a
pictorial representation
see the Iris function.
Default is “open” for
zoom and “50%” for
focus.
crossfade = 0
(linear)
ltp8bit
Reporting Errors in the Library
Any errors and omissions to the library need to be mailed to support@flyingpig.com.
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178
Fixture Library
Any corrections to library files that are submitted to support need to be accompanied by a list of
changes and a brief description of why the changes have been made. This procedure will enable
the support team to evaluate the changes and keep track of what alterations have been made.
Corrections should be submitted as one fixture per file and also one error correction per file.
Therefore if a fixture has two errors logged against it, the corrections need to be submitted
separately.
Loading the File
There are two ways to add a fixture to the library:
Use an old library disk from version 2 shows. Add the file as normal and increase the count
number by one.
Save a clean show to disk and open up the Library folder. Open the _lib.lib file and paste in the
text of the new fixture file. Increase the count at the top of the file by one.
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179
Fixture Library
Wholehog II Handbook
180
Fixture Library
Hardware Notes
There are six LEDs on the processor board inside the console which indicate:
LED1
On: Processor in reset or failed start-up self test
Off: Processor normal
LED2
On: Processor accessing system bus
Off: Processor not accessing system bus
LED3
- Flashes @ 16Hz under normal operation to indicate refresh DMA interrupt service
- Strobes position of bit 0 under processor fault condition
LED4
- Irrelevant under normal operation
- Strobes fault code under processor fault condition
LED5
On: Flash VPP (12V programming supply) on
Off: Flash VPP off
LED6
On: VCC (5V supply) on
Off: VCC off
There are also four DIP switches (that should not be altered):
SW1
On: Processor reset (identical to back panel button)
*Off: Processor running
SW2
*On: 2Mb Flash memory fitted
Off: 1Mb Flash memory fitted
SW3
On: Processor in black box
*Off: Processor in console
SW4
On: Power fail flag set
*Off: Power fail flag clear
Timecode
3pin XLR used to receive linear timecode signal:
PIN1
Audio ground/shield - isolated from digital ground unless JP2 moved
PIN2
Audio -ve (link to ground or move JP1 for unbalanced)
PIN3
Audio +ve
Use balanced audio @ 0dB for optimum results
JP1 & JP2 are jumpers on back panel circuit board
MIDI
5pin DIN used to receive & transmit MIDI signal:
PIN1
not used
PIN2
Digital ground
PIN3
not used
PIN4
Data -ve
PIN5
Data +ve
NOTE: MIDI cables are wired 1:1 - purchase/make dedicated cables as audio cables will not
work
Wholehog II Handbook
181
Hardware Notes
Desklight
3pin XLR used to power desklight:
PIN1
0V
PIN2
0V
PIN3
12V fused - F1: 1A FAST on back panel circuit board
Ports (x4)
5pin XLR used to transmit & receive RS485 signal, typically DMX512:
PIN1
Ground
PIN2
Transmit data -ve
PIN3
Transmit data +ve
PIN4
Receive/transmit data -ve (ports 2-4 only)
PIN5
Receive/transmit data +ve (ports 2-4 only)
JP3/5/7 & JP4/6/8 select second data pair function (full or half duplex with repeater control) by
port
DMX Input
5pin XLR used to receive RS485 signal, hardwired DMX512 on port1:
PIN1
Ground
PIN2
Receive data -ve
PIN3
Receive data +ve
PIN4
not used
PIN5
not used
Expansion
5pin XLR used to receive/transmit RS485 expansion signal + provide remote power:
PIN1
Ground
PIN2
Data -ve
PIN3
Data +ve
PIN4
0V
PIN5
24V fused - F2: 1A FAST on back panel circuit board
RS232/Parallel/VGA Wiring as IBM PC standard
Mains
90-250V 50-60Hz AC
Fuses - 2x 250V 5A T in IEC connector housing
Wholehog II Handbook
182
Hardware Notes
Index
@ .......................................................................... 5
24 Hour Clock .......................................... 136, 151
3D Space............................................................. 76
Command Line................................................... 16
Connecting The Cables ...................................... 25
Console Rate ...................................................... 90
Contents ............................................................. 41
Contrast ................................................................ 7
Contrast ...................................................... 26, 107
Control Panel.............................................. 26, 105
Copy ............................................................. 51, 59
Crashes ................................................................. 8
Croak.................................................................... 8
Cue ....................................................................... 4
Cue Contents ...................................................... 41
Cue Numbers...................................................... 37
Cue Only ............................................................ 70
Cue Storage ........................................................ 37
Cuelist ............................................................ 4, 62
Cuelist Options................................................... 92
Cuelist Rate ........................................................ 90
Cuelist Window.................................................. 53
Cuelists, Merging ............................................... 61
Cues, Modifying................................................. 58
Cues, Selecting................................................... 57
Curve Editor ..................................................... 117
A
Absolute Address.............................................. 112
Active ................................................................. 73
Active Master ..................................................... 91
Active Window................................................... 18
All ....................................................................... 71
Astronomical Clock .......................................... 136
Auto Menu........................................................ 170
Auto Menu.................................................... 12, 32
Auto Update........................................................ 50
Automenus........................................................ 114
B
Backlighting...................................................... 107
Backspace ........................................................... 36
Ballyhoos ............................................................ 81
Base Values ........................................................ 84
Beam............................................................... 4, 43
Blind ................................................................... 36
BPM.................................................................... 95
Bugs...................................................................... 8
Build Numbers.................................................... 10
D
DBO ................................................................... 92
Default Values.................................................. 114
Default Values.................................................... 92
Defaults ............................................................ 106
Delay .............................................................. 4, 55
Delete ........................................................... 52, 59
Deselecting Palettes............................................ 43
Deselecting, Fixtures.......................................... 35
Desk Channel ..................................................... 30
Dimmer Curve...................................................... 4
Dimmer Curves ................................................ 114
Displays............................................................ 107
DMX Input ....................................................... 149
DMX Test .......................................................... 79
Don’t Store View ..................................... 102, 106
Drop Frame ...................................................... 138
C
Cables ................................................................. 25
Calibration .......................................................... 77
Central Controls............................................ 17, 88
Change Show.................................................... 121
Chase Timing...................................................... 95
Chases................................................................. 94
Chases, Automated ............................................. 81
Choose .......................................................... 17, 88
Circle Effects ...................................................... 81
Clear ................................................................... 38
Clone................................................................... 73
Cold Start.............................................................. 4
Color ..................................................................... 4
Colour ................................................................. 43
Wholehog II Handbook
183
Index
HTP ................................................................ 3, 91
E
Edit Fixtures ..................................................... 113
Effects Engine..................................................... 81
Embedded Palettes.............................................. 49
Even.................................................................... 70
Expansion Wing ............................................... 133
Extract................................................................. 73
I
ICBF..................................................................... 4
In Time ................................................................. 4
Intensity.......................................................... 4, 13
Intensity Profiles .............................................. 114
Intensity, Color, Beam, Focus .............................. 4
Invert .................................................................. 71
Invert Pan ......................................................... 114
Invert Tilt ......................................................... 114
F
Fade .................................................................... 55
Fade Time ............................................................. 4
Fader ................................................................... 88
Fan ...................................................................... 74
Fault At................................................................. 8
Fine Wheel Movement ....................................... 72
Fixture Alignment............................................. 114
Fixture Library.................................................. 165
Fixture Orientation............................................ 114
Fixture Selection................................................. 28
Fixture Talkback............................................... 115
Flash ............................................................. 17, 88
Flip...................................................................... 72
Floppy Disk ...................................................... 121
Focus............................................................... 4, 42
Follow Current.................................................... 66
Formating Disks ............................................... 122
Full...................................................................... 13
Function Buttons................................................. 21
K
Keyboard ...............................................23, 27, 107
Keyboard Shorcuts ........................................... 162
Keypad ............................................................... 35
Knockout............................................................ 75
L
Latest Takes Precedence .................................... 91
LCD...................................................................... 6
LCD Contrast ..................................................... 26
Learn Macro Timing ................................ 100, 106
Learn Timing.................................................... 139
Learn Timing...................................................... 57
Levels Window .................................................. 40
Lib.Lib.............................................................. 165
Library.............................................................. 165
Library Errors................................................... 178
Light Network .................................................... 10
Link .................................................................... 61
Liquid Crystal Display ......................................... 6
Load ................................................................... 58
Load View........................................................ 102
Locking ............................................................ 108
Loop ................................................................... 61
LTP................................................................. 3, 91
G
Go ................................................................... 5, 88
Gobo Rotator ...................................................... 44
Gobos.................................................................. 43
Goto .................................................................... 89
Grand Master ................................................ 17, 92
Groups ................................................................ 47
Selecting ......................................................... 34
Guard Cuelists ............................................ 97, 106
M
H
Macros................................................................ 99
Maintain State .............................................. 68, 94
Manual ............................................................... 89
Mark ................................................................... 61
Mask............................................................. 49, 70
Master................................................................... 4
Memory............................................................ 108
Hang Orientation .............................................. 114
Hard Commands ................................................. 70
Highest Takes Precedence .................................. 91
Highlight..................................................... 72, 117
Hog PC ....................................................... 23, 136
Hog Unit ........................................................... 136
Wholehog II Handbook
184
Index
Merge............................................................ 50, 58
Merging Shows................................................. 123
MIDI ................................................................. 140
Midi Messages.................................................. 146
MIDI Show Control.......................................... 148
Minutes ............................................................... 46
Moreopts.Txt .................................................... 109
Mouse ................................................................. 23
Operation In Sunlight ....................................... 6
Move............................................................. 51, 59
MSC.................................................................. 148
Multipart Cues .................................................... 45
Part Setting ......................................................... 84
Patch Views...................................................... 111
Patching.............................................................. 28
Path................................................................. 4, 76
Pause .............................................................. 5, 88
Persist On Override ............................................ 98
Pig ........................................................................ 5
PIN Code.......................................................... 108
Playback ............................................................. 17
Playback Masters ............................................... 88
Playback Options ............................................... 93
Position............................................................... 16
Power ........................................................... 11, 25
Preset Focus ....................................................... 48
Prev .................................................................... 71
Printing............................................................. 127
Priority ............................................................... 94
Programmer.................................................... 34
Priority System................................................... 91
Problem Solving................................................... 8
Profile................................................................... 4
Profiles ............................................................... 76
Programmer........................................................ 15
Programmer Contents......................................... 39
Programming................................................ 13, 34
Proportional Patching....................................... 112
N
Naming Shows.................................................. 122
Next .................................................................... 71
Next Page............................................................ 64
None ................................................................... 71
O
Odd ..................................................................... 71
Offline Editing Software............................. 23, 136
Offset .................................................................. 82
Only .................................................................... 71
Original WHOLEHOG......................................... 2
Out ................................................................ 36, 72
Out Time............................................................... 4
Output ................................................................. 25
Output Window .................................................. 39
Overdrive .......................................................... 135
Override .............................................................. 89
Override Priority System .................................... 91
Override Timing ................................................. 90
Q
Q Only................................................................ 70
R
Random .............................................................. 71
Range Selection.................................................. 56
Recall Visible ............................................. 21, 106
Recording Cues .................................................. 13
Recording Cues .................................................. 37
Reduce To % .................................................... 112
Release ............................................................... 89
Rem Dim ............................................................ 72
Remote ............................................................. 134
Remote Locking ............................................... 135
Remove .................................................. 47, 50, 58
Renumber ........................................................... 66
Reports ............................................................. 127
Reset..................................................................... 8
Restore Programmer Contents............................ 38
Rigger’s Remote............................................... 134
P
Page ...................................................................... 4
Page Holdover .................................................. 106
Page Reload ...................................................... 109
Pages................................................................... 63
Palette ................................................................... 4
Palettes................................................................ 48
Palettes, Embedded............................................. 49
Palettes, Modifying............................................. 50
Parameter .............................................................. 4
Parameter Wheels ............................................... 16
Parameters Separate.......................................... 105
Park..................................................................... 79
Wholehog II Handbook
185
Index
ROM Library .................................................... 165
Trackball ...................................................... 23, 27
Tracking ............................................................. 67
Tracking ......................................................... 2, 70
Tracking Console ............................................. 141
Try Cue .............................................................. 46
S
Safety Information ................................................ 7
Save As............................................................. 123
Save Visible................................................ 21, 106
Saving ......................................................... 32, 121
Screen Contrast................................................... 26
Scrollers ............................................................ 154
Select Box........................................................... 19
Selected............................................................... 69
Sensitivities....................................................... 108
Shortcuts ........................................................... 162
Show Name....................................................... 122
Simulate ............................................................ 138
Single Q Rate...................................................... 90
Snapshot ....................................................... 69, 73
Software Updates.................................................. 9
Split Fade Times ................................................. 57
Split Timing........................................................ 46
State .................................................................... 69
Stop Release On End .......................................... 98
Sunlight................................................................. 6
Support ............................................................... 10
Swap ................................................................... 93
Symbols ................................................................ 5
U
Unblock.............................................................. 70
Undo................................................................... 76
Unpatch .............................................................. 31
Unzipping......................................................... 123
Update ................................................................ 58
User Numbers................................................... 113
V
Verify ............................................................... 123
View, Saving ...................................................... 22
Virtual Masters................................................... 96
VL5s, Patching................................................... 31
W
Wait................................................................ 4, 55
Wait For, Empty…........................................... 102
Warm Start ........................................................... 4
Whole Fixture..................................................... 69
Windows, Opening............................................. 20
Winzip.............................................................. 123
T
Temperature...................................................... 6, 7
Template Pages................................................... 65
Terminology ......................................................... 4
Timecode .......................................................... 137
Timing ...................................................... 4, 44, 55
Toolbar ............................................................... 16
Touch Screen Calibration ..................................... 7
Touch Screens....................................................... 6
Touchscreen, Disabling ........................................ 7
Wholehog II Handbook
X
XYZ ................................................................... 76
Z
Zipping ............................................................. 123
186
Index