High End Systems Hog 4 lighting control system User Manual
Below you will find brief information for Hog 4. This manual describes how to launch and manage a show, add and patch fixtures, select fixtures and modify parameters, create groups and palettes, record cues and cuelists, and utilize scenes. It covers timing and advanced playback for professional lighting control.
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Lighting Control System
User Manual
Version 3.0.1-EN
High End Systems 1
Hog 4 Lighting Control System: User Manual
High End Systems by Chris Muenchow and Michael Graham
Copyright
© High End Systems, Inc. 2015, All Rights Reserved.
Changes
Information and specifications in this document are subject to change without notice. High End Systems, Inc. assumes no responsibility or liability for any errors or inaccuracies that may appear in this manual.
Trademarks
The High End Systems, Flying Pig Systems, and Hog 4 logos are registered trademarks of High End Systems, Inc.
All other brand names and product names used in this book are trademarks, registered trademarks, or trade names of their respective holders.
FCC Information
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful interference, in which case the user will be required to correct the interference at his own expense.
Product Modification Warning
High End Systems products are designed and manufactured to meet the requirements of United States and International safety regulations. Modifications to the product could affect safety and render the product non-compliant to relevant safety standards.
Mise En Garde Contre La Modification Du Produit
Les produits High End Systems sont conçus et fabriqués conformément aux exigences des règlements internationaux de sécurité. Toute modification du produit peut entraîner sa non conformité aux normes de sécurité en vigueur.
Produktmodifikationswarnung
Design und Herstellung von High End Systems entsprechen den Anforderungen der U.S. Amerikanischen und internationalen
Sicherheitsvorschriften. Abänderungen dieses Produktes können dessen Sicherheit beeinträchtigen und unter Umständen gegen die diesbezüglichen Sicherheitsnormen verstoßen.
Avvertenza Sulla Modifica Del Prodotto
I prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti delle normative di sicurezza statunitensi ed internazionali. Qualsiasi modifica al prodotto potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di sicurezza pertinenti.
Advertencia De Modificación Del Producto
Los productos de High End Systems están diseñados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales. Las modificaciones al producto podrían afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes.
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製品変更に対する警告
High End Systems 製品はアメリカ合衆国及び、国際安全基準の必要条件を満たすよう設計及び製造されてい
ます。この為、製品に対する変更は安全に対して影響を及ぼす場合及び、関連安全基準に満たない状態にす
る場合があります。
Important Safety Information
Please read all instructions prior to assembling, mounting, and operating this equipment.
Important: Informations De Sécurité
Les instructions se rapportant à la protection permanente contre les incendies, l'électrocution et aux blessures corporelles
se trouvent dans Informations Importantes Sur La Sécurité (p.454).
Veuillez lire toutes les instructions avant d'assembler, de monter ou d'utiliser cet équipement.
Wichtige Sicherheitshinweise
Hinweise Für Ihre Sicherheit (p.454).
Vor der Montage, dem Zusammenbau und der Inbetriebnahme dieses Geräts alle Anleitungen sorgfältig durchlesen.
Informazioni Importanti Di Sicurezza
Si prega di leggere tutte le istruzioni prima di assemblare, montare e azionare l'apparecchiatura.
Informacion Importante De Seguridad
descarga eléctrica y lesiones personales.
Lea, por favor, todas las instrucciones antes del ensamblaje, montaje y operación de este equipo.
重要な安全に関する情報
継続した火災、感電、及び、人の負傷からの保護に関する指示は、
い。
この装置を組み立て、設置、操作等を行う前に全ての指示を読んで下さい。
Warranty Information
Limited Warranty: Unless otherwise stated, your product is covered by a one year parts and labour limited warranty. It is the owner's responsibility to furnish receipts or invoices for verification of purchase, date, and dealer or distributor. If purchase date cannot be provided, date of manufacture will be used to determine warranty period.
Returning an Item Under Warranty for Repair: It is necessary to obtain a Return Material Authorization (RMA) number from your dealer or point of purchase BEFORE any units are returned for repair. The manufacturer will make the final determination as to whether or not the unit is covered by warranty.
Any Product unit or parts returned to High End Systems must be packaged in a suitable manner to ensure the protection of such Product unit or parts, and such package shall be clearly and prominently marked to indicate that the package contains returned Product units or parts and with an RMA number. Accompany all returned Product units or parts with a written explanation of the alleged problem or malfunction. Ship returned Product units or parts to: 2105 Gracy Farms
Lane, Austin, Texas 78758, USA.
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Note: Freight Damage Claims are invalid for products shipped in non-factory boxes and packing materials.
Freight: All shipping will be paid by the purchaser. Under no circumstances will freight collect shipments be accepted.
REPAIR OR REPLACEMENT AS PROVIDED FOR UNDER THIS WARRANTY IS THE EXCLUSIVE REMEDY
OF THE CONSUMER. HIGH END SYSTEMS, INC. MAKES NO WARRANTIES, EXPRESS OR IMPLIED, WITH
RESPECT TO ANY PRODUCT, AND HIGH END SPECIFICALLY DISCLAIMS ANY WARRANTY OF MERCHANT-
ABILITY OR FITNESS FOR A PARTICULAR PURPOSE. HIGH END SHALL NOT BE LIABLE FOR ANY INDIRECT,
INCIDENTAL OR CONSEQUENTIAL DAMAGE, INCLUDING LOST PROFITS, SUSTAINED OR INCURRED IN
CONNECTION WITH ANY PRODUCT OR CAUSED BY PRODUCT DEFECTS OR THE PARTIAL OR TOTAL
FAILURE OF ANY PRODUCT REGARDLESS OF THE FORM OF ACTION, WHETHER IN CONTRACT, TORT
(INCLUDING NEGLIGENCE), STRICT LIABILITY OR OTHERWISE, AND WHETHER OR NOT SUCH DAMAGE
WAS FORESEEN OR UNFORESEEN.
Warranty is void if the product is misused, damaged, modified in any way, or for unauthorized repairs or parts. This warranty gives you specific legal rights, and you may also have other rights specific to your locality.
Third Party Software Acknowledgements
AMD: This product uses the Catalyst fglrx drivers.
Boost: The product include Boost software distributed under the Boost Software License, Version 1.0, http://www.boost.org/LICENSE_1_0.txt.
Botan: This product includes software developed by the Botan Project and its contributors. Copyright © 1999-2005 The
Botan Project. All rights reserved.
Libtar: This product includes software developed by the University of Illinois Board of Trustees and Mark D. Roth.
Copyright © 1998-2003 University of Illinois Board of Trustees. Copyright © 1998-2003 Mark D. Roth. All rights reserved.
QT: The Qt GUI Toolkit is Copyright (C) 2011 Nokia Corporation and/or its subsidiary(-ies). Contact: Nokia Corporation
([email protected]). Qt is available under the LGPL version 2.1 (GNU Lesser General Public License version 2.1).
X11(TM) and X Window System(TM): is a trademark of The XFree86 Project, Inc.
XFree86: is a trademark of The XFree86 Project, Inc.
Xorg: Xorg is copyright software, provided under licenses that permit modification and redistribution in source and binary form without fee. Xorg is copyright by numerous authors and contributors from around the world. Licensing information can be found at http://www.x.org. Refer to the source code for specific copyright notices.
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Declaration of Conformity
According to ISO/IEC Guide 22 and EN45104
Manufacturer's name:
Distributor's name:
Distributor's address:
High End Systems
High End Systems
2105 Gracy Farms Lane, Austin TX 78758, USA
Declares that the product:
Product Name:
Product Number:
Product Options:
Hog 4
All
All
Conforms to the following EEC directives:
73/23/EEC, as amended by 93/68/EEC
89/336/EEC, as amended by 92/31/EEC and 93/68/EEC
Equipment referred to in this declaration of conformity was first manufactured in compliance with the following standards in 2002:
Safety:
EMC:
EN60950:2000
EN55103-1:1996 (E2)
EN55103-2:1996 (E2)
I, the undersigned, hereby declare that the equipment specified above conforms to the above
Directives and Standards.
Kenneth Stuart Hansen, Compliance Engineer
30 June 2012
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Table of Contents
1: Getting Started .................................................................. 19
1.1 About this Manual .................................................................. 19
1.2 Manual Symbols ..................................................................... 19
2: Hog 4OS Fundamentals ....................................................... 21
2.1 The Command Line ................................................................ 21
2.1.1 Command Line Syntax ................................................ 21
2.1.2 The Status Bar ............................................................ 22
2.2 The Graphical User Interface .................................................. 23
2.2.1 Window Management .................................................. 24
2.3 Abstraction ............................................................................ 29
2.3.1 Referring to Fixtures .................................................... 30
2.3.2 Real World Units .......................................................... 30
2.3.3 Complex Parameters ................................................... 30
2.3.4 Interchangeable Fixtures ............................................. 30
2.4 Tracking ................................................................................. 31
2.5 HTP and LTP ........................................................................... 31
2.6 Colour Matching ..................................................................... 32
2.6.1 Colour Models ............................................................. 32
2.6.2 The Colour Matching System ....................................... 34
2.7 Palettes and Directories ......................................................... 34
2.7.1 Automatic Naming of Directory Items .......................... 37
2.7.2 Colour Coding Directory Items ..................................... 38
2.8 Spreadsheets ......................................................................... 39
2.8.1 Compact Mode ............................................................ 41
2.8.2 Aggregation ................................................................ 42
2.8.3 Cut, Copy and Paste .................................................... 44
2.9 Editors ................................................................................... 45
2.9.1 Editor Window Controls ............................................... 45
2.9.2 Changing Parameter Values in the Editor ..................... 46
2.10 Modifier Keys ....................................................................... 47
2.11 Undo and Redo .................................................................... 47
2.12 The File Browser ................................................................... 48
2.12.1 Moving, Copying, Deleting and Renaming Files ........... 48
2.12.2 Creating New Folders ................................................ 49
2.12.3 Ejecting Disks ........................................................... 49
2.12.4 Burning files to CD .................................................... 49
3: Setting Up the System ........................................................ 51
3.1 Setting Up the Console ........................................................... 51
3.1.1 Starting Up the Console ............................................... 51
3.1.2 Adjusting the Date and Time ....................................... 51
3.1.3 Calibrating the Touch Screens ...................................... 52
3.1.4 Adjusting the Touschscreen LCD Backlight ................... 52
3.1.5 Changing the LCD Backlight Timeout ........................... 52
3.1.6 Adding External Monitors ............................................. 53
3.1.7 Adding External Touch Screens .................................... 53
3.1.8 Keyboard .................................................................... 55
3.1.9 Trackball ..................................................................... 56
3.1.10 Shutting Down and Restarting the Console ................. 57
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3.1.11 Locking the Console for Access .................................. 57
3.2 DMX Processor 8000 Setup ..................................................... 59
3.2.1 Setting the Net Number .............................................. 59
3.2.2 Setting the Port Number .............................................. 59
3.2.3 Setting IP Addresses for the HogNet Adapter on a DMX
Processor 8000 ..................................................................... 59
3.2.4 Setting the DMX Processor DMX Output Refrsh
Rate ..................................................................................... 60
3.2.5 Setting the DMX Processor back to Defaults ................. 60
3.2.6 Locking the DMX Processor Front Panel Controls ........... 60
3.2.7 Backlight Off Time ....................................................... 61
3.2.8 Watchdog ................................................................... 61
3.2.9 Resetting the DMX Processor ....................................... 61
3.2.10 Checking a DMX Processor's Status ............................ 61
3.2.11 Expanding the DMX Outputs of a DP8000 .................. 62
3.3 HogNet Network .................................................................... 64
3.3.1 Configuring Console Network Adapters ........................ 64
3.3.2 Port Number ............................................................... 68
3.3.3 Node Types and Net Numbers ...................................... 69
3.3.4 Connecting Multiple Consoles ...................................... 69
3.3.5 Configuring the Network for Client/Server .................... 70
3.3.6 Configuring the Network for Console Failover ............... 71
3.3.7 Configuring the Network for Console Tracking .............. 75
3.3.8 More than One Show on the Network ........................... 77
3.3.9 Connecting to an Existing Network .............................. 77
3.3.10 Network File Sharing ................................................. 77
3.4 Art-Net and E1.31(sACN) ........................................................ 79
3.4.1 Identifying the FixtureNet Port ..................................... 79
3.4.2 Configuring the FixtureNet Port .................................... 80
3.4.3 Configuring Art-Net Output .......................................... 81
3.4.4 Configuring E1.31(sACN) Output ................................. 81
3.5 Adding Playback Wings .......................................................... 83
3.6 Adding Master Wings ............................................................. 85
3.7 Adding DMX Widgets .............................................................. 86
3.8 DMX Widget Status LEDs ........................................................ 87
4: Shows ................................................................................ 89
4.1 Launch a New Show ............................................................... 89
4.2 Launch an Existing Show ........................................................ 89
4.3 Connect to a Network Show ................................................... 89
4.4 Change the Currently Loaded Show ........................................ 90
4.5 Automatically Launch a Show at Console Startup .................... 90
4.6 Managing Show Data ............................................................. 91
4.7 Startup Comment Macros ....................................................... 91
4.8 Backing Up Your Show ............................................................ 92
4.9 Repairing Show Files .............................................................. 93
4.10 Optimizing Show Files .......................................................... 93
4.11 User Preferences .................................................................. 94
4.11.1 Desklight, Worklight, and Vent Light Preferences ........ 94
4.11.2 Touchscreen Backlight Brightness .............................. 94
4.11.3 Trackball and Trackball Ring Preferences .................... 94
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4.11.4 Center Wheel Preferences ......................................... 96
4.11.5 Encoder Wheel Button Options .................................. 98
4.11.6 Keys and Button Preferences ..................................... 98
4.11.7 Importing and Exporting Show Preferences ................ 98
4.12 Merging Shows .................................................................... 99
4.12.1 Merging Fixture Types .............................................. 100
4.12.2 Merging Fixtures ...................................................... 101
4.12.3 Merging Programming ............................................. 103
4.12.4 Dependencies ......................................................... 104
4.12.5 Patching after show merge ...................................... 104
4.12.6 Merging Examples ................................................... 104
5: Adding, Patching, and Managing Fixtures .......................... 105
5.1 Adding Fixtures .................................................................... 105
5.2 Patching Fixtures .................................................................. 106
5.2.1 Patching Several Fixtures at Once .............................. 108
5.2.2 Patching Fixtures to Multiple Addresses ...................... 108
5.2.3 Finding Unused DMX Addresses ................................. 109
5.2.4 Adding and Removing DMX Processors ....................... 110
5.2.5 Fixtures with Multiple Patch Points ............................. 110
5.2.6 Cloning Universes ..................................................... 112
5.2.7 Cloning DMX Processors ............................................ 113
5.2.8 Unpatching Fixtures .................................................. 114
5.3 Replicating Fixtures .............................................................. 116
5.4 Changing the Fixture Type .................................................... 116
5.5 Removing a Fixture from the Show ....................................... 117
5.6 Creating Palettes and Groups Automatically .......................... 117
5.7 Configuring Fixtures ............................................................. 119
5.7.1 Fixture Configuration ................................................. 119
5.7.2 Parameter Configuration ........................................... 122
6: Selecting Fixtures and Modifying Parameters .................... 127
6.1 Selecting Fixtures ................................................................. 127
6.1.1 Selecting Single Fixtures ............................................ 127
6.1.2 Selecting Multiple Fixtures ......................................... 127
6.1.3 Select All .................................................................. 128
6.1.4 Inverting the Selection .............................................. 128
6.1.5 Sub Selections .......................................................... 129
6.1.6 Deselecting Fixtures .................................................. 129
6.1.7 Reselecting Fixtures .................................................. 130
6.2 Selection Order .................................................................... 130
6.2.1 Reverse, Shuffle and Reorder ..................................... 130
6.3 Modifying Parameters ........................................................... 131
6.3.1 Intensity ................................................................... 131
6.3.2 Position ..................................................................... 133
6.3.3 Continuous Parameters: Colour and Beam ................. 134
6.3.4 Slotted Parameters: Colour and Beam ........................ 135
6.3.5 Working with Colour .................................................. 136
6.3.6 Fine Control .............................................................. 140
6.3.7 Touching Parameters ................................................. 140
6.3.8 Copying Parameter Settings ...................................... 142
6.3.9 Restoring Default Values ........................................... 144
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6.4 Fanning ............................................................................... 144
6.4.1 Using the Fan Key ...................................................... 144
6.4.2 In the Programmer Window ....................................... 145
6.4.3 With the Command Line ............................................ 145
6.4.4 Fanning Options ........................................................ 146
6.4.5 Multipart Fanning ...................................................... 147
6.4.6 Fanning with Groupings ............................................. 147
6.5 Removing Values .................................................................. 148
6.5.1 Removing Entire Fixtures from an Editor .................... 149
6.5.2 Removing Kinds from an Editor .................................. 149
6.5.3 Removing Individual Parameters from an Editor ......... 149
6.6 Separating Parameters ......................................................... 149
7: Groups ............................................................................. 151
7.1 Recording Groups ................................................................. 151
7.2 Naming Groups .................................................................... 151
7.3 Using Groups in Programming .............................................. 152
7.4 Editing Group Contents ........................................................ 152
7.4.1 Removing Fixtures from Groups ................................. 152
7.5 Deleting Groups ................................................................... 152
7.6 Copying and Moving Groups ................................................. 153
7.7 Insert, Merge and Replace .................................................... 154
8: Palettes ........................................................................... 155
8.1 Recording a Palette .............................................................. 155
8.1.1 Naming a Palette ....................................................... 155
8.2 Using Palettes in Programming ............................................. 156
8.3 Editing Palette Contents ....................................................... 156
8.3.1 Updating Palettes with Different Parameter Types ...... 157
8.4 Deleting Palettes .................................................................. 158
8.5 Copying and Moving Palettes ................................................ 158
8.6 Record Options .................................................................... 159
8.6.1 Global, Per Fixture Type, and Per Fixture ..................... 159
8.6.2 Recording Palettes with Kind Masking ........................ 161
8.6.3 Palette Timing ........................................................... 163
8.6.4 Reference Palettes .................................................... 164
8.6.5 Direct Palettes .......................................................... 164
8.7 Insert, Merge and Replace .................................................... 165
9: Directory Windows ............................................................ 167
9.1 Mask (IPBCE Palette Directories Only) ................................... 167
9.2 Color Coding ........................................................................ 168
9.2.1 Coloring the entire button ......................................... 168
9.3 Button Sizes ........................................................................ 169
9.4 Show Fewer Buttons ............................................................. 169
9.5 Show Auto Color Swatch ....................................................... 170
9.6 Spreadsheet View ................................................................ 171
10: Media Picker ................................................................... 173
10.1 Media Picker Window Options ............................................. 173
10.2 CITP Previews in the Media Picker ....................................... 175
10.2.1 Supported CITP Media Server Clients ....................... 175
10.2.2 Configuring DP8000 for CITP Discovery .................... 175
10.2.3 Patching fixtures to CITP discovered fixtures ............ 175
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10.2.4 Refreshing CITP Previews ......................................... 176
10.2.5 Disabling CITP on DP8000 ........................................ 176
10.3 Catalyst Previews in the Media Picker ................................. 177
10.3.1 Configuring DP8000 for Catalyst Previews ................ 177
10.3.3 Refreshing Catalyst Previews ................................... 178
10.3.4 Disabling Catalyst Preview Fetching on DP8000 ........ 178
10.4 Adding Previews to Pre-v2.0.0 Show Files ............................ 179
10.5 Renaming & Customizing Preview Images ........................... 179
10.6 Managing Preview Packages ............................................... 180
11: Cues and Cuelists ............................................................ 183
11.1 Recording a Cue ................................................................. 183
11.1.1 Recording to a Cuelist on a Master ........................... 183
Programmer contents after Recording a Cue ........... 183
11.1.3 Insert, Merge and Replace ....................................... 184
11.1.4 Numbering Cues ..................................................... 184
11.1.5 Naming Cues .......................................................... 184
11.2 Record Options .................................................................. 185
11.2.1 Recording Selected Fixtures Only ............................. 185
11.2.2 Record, Remove Values from Cues ........................... 185
11.3 Deleting Cues .................................................................... 185
11.4 Copying and Moving Cues .................................................. 186
11.4.1 Copying Cues .......................................................... 186
11.4.2 Moving Cues ........................................................... 187
11.5 Renumbering Cues within a Cuelist ..................................... 187
11.6 Editing Cue Contents .......................................................... 188
11.6.1 Viewing Different Cues in the Editor ......................... 189
11.7 Working with Tracking ........................................................ 189
11.7.1 Tracking Values Backwards When Recording ............. 189
11.7.2 Stopping Values from Tracking Forward .................... 190
11.7.3 Deleting without Tracking Forward ........................... 191
11.7.4 Blocking Cues ......................................................... 192
11.7.5 Unblocking .............................................................. 193
11.8 Mark Cues (Move in Black) ................................................. 194
11.8.1 How to Mark to a Cue .............................................. 194
11.8.2 Fade Mark verses Time Marks .................................. 195
11.8.3 Marking the First Cue in a Cue List ........................... 196
11.8.4 Cuelist Feedback for Mark Cues ............................... 197
11.9 Understanding Cuelists ...................................................... 197
11.10 Naming Cuelists ............................................................... 198
11.11 Deleting Cuelists .............................................................. 199
11.12 Copying and Moving Cuelists ............................................ 200
11.12.1 Copying Cuelists .................................................... 200
11.12.2 Moving Cuelists ..................................................... 200
11.12.3 Insert, Merge and Replace ..................................... 200
12: Scenes ........................................................................... 203
12.1 Recording Scenes ............................................................... 203
12.1.1 Recording to the Scene Directory ............................. 203
12.1.2 Recording to a Physical Master ................................ 203
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12.1.3 Naming a Scene ...................................................... 203
12.2 Deleting Scenes ................................................................. 204
12.3 Copying and Moving Scenes ............................................... 204
12.4 Editing Scene Contents ...................................................... 205
12.5 Scene Timing ..................................................................... 205
12.6 Insert, Merge and Replace .................................................. 205
13: Timing ............................................................................ 207
13.1 Timing Basics ..................................................................... 207
13.2 Fade, Delay, and Path ......................................................... 208
13.2.1 Fade Time ............................................................... 208
13.2.2 Delay Time .............................................................. 209
13.2.3 Paths ...................................................................... 210
13.2.4 Assigning Cue Timings in the Cuelist Window ........... 210
13.3 Individual Parameter Timings .............................................. 212
13.3.1 Assign Parameter Timings using Wheels ................... 213
13.3.2 Assign Parameter Timings with the Command
Line .................................................................................... 214
13.3.3 Assign Parameter Timings in an Editor .................... 215
13.3.4 Fanned Timings ....................................................... 217
13.4 Cue Wait Timing ................................................................. 218
13.4.1 Learn Timing ........................................................... 219
13.4.2 Clock Triggers ......................................................... 220
13.5 Loops and Links ................................................................. 223
13.5.1 Creating a Link ........................................................ 223
13.5.2 Creating a Loop ....................................................... 223
13.5.3 Tracking Through Loops ........................................... 225
14: Effects ............................................................................ 227
14.1 Table Effects ...................................................................... 227
14.1.1 Effect Tables ............................................................ 227
14.1.2 Table Effect Attributes ............................................. 228
14.1.3 Building Table Effects in the Effects Engine .............. 230
14.1.4 Building Table Effects in Editors ............................... 232
14.1.5 Tracking Table Effects .............................................. 233
14.1.6 Cue Timing and Table Effects ................................... 233
14.2 Effect Palettes .................................................................... 235
14.2.1 Predefined Effect Palettes ........................................ 235
14.2.2 Adjusting Predefined Effects .................................... 236
14.2.3 Recording an Effect Palette ...................................... 236
14.2.4 Using Effect Palettes in Programming ....................... 237
14.2.5 Editing Effect Palettes ............................................. 237
14.2.6 Deleting Effect Palettes ........................................... 238
14.2.7 Copying and Moving Effect Palettes ......................... 238
15: Kinds and Wheelsets ....................................................... 239
15.1 Kinds ................................................................................. 239
15.1.1 Fixed Kinds .............................................................. 239
15.1.2 User Kinds .............................................................. 239
15.2 Wheelsets .......................................................................... 242
16: Advanced Programming .................................................. 245
16.1 Selecting from What is Onstage .......................................... 245
16.2 Bringing Parameter Values Into the Programmer ................. 246
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16.2.1 Suck ....................................................................... 246
16.2.2 Using Live and Touch ............................................... 248
16.2.3 Using Copy to Bring Values into an Editor ................. 250
16.3 Highlight and Lowlight ........................................................ 251
16.3.1 Customising Highlight ............................................. 251
16.3.2 Lowlight .................................................................. 252
16.4 Auto Update ....................................................................... 252
16.5 Editing Discreetly ............................................................... 254
16.5.1 Fade Changes ......................................................... 254
16.5.2 Blind ....................................................................... 254
16.6 Parking .............................................................................. 255
16.6.1 Viewing and Editing What is Parked ......................... 255
17: Playback ......................................................................... 259
17.1 Physical Master Playback .................................................... 259
17.1.1 Attaching Cuelists and Scenes to Masters ................ 259
17.1.2 Controlling Playback ................................................ 260
17.1.3 Releasing Masters ................................................... 263
17.1.4 Choosing and Selecting Masters .............................. 266
17.1.5 Cuelist and Scene Options ....................................... 266
17.2 Virtual Master Playback ...................................................... 271
17.2.1 Running Virtual Masters from the Cuelist Directory
........................................................................................... 272
17.2.2 Using Cuelist Play Controls to Play a Master ............. 272
17.2.3 Running Virtual Masters from the Command Line ..... 273
17.3 Running Multiple Cuelists & Scenes .................................... 273
17.3.1 Using HTP and LTP ................................................... 274
17.3.2 Asserting One Cuelist Over the Others ..................... 275
17.3.3 Changing a Cuelist's Priority .................................... 276
17.3.4 Multiple Cuelists with Effects ................................... 277
17.4 Understanding Feedback .................................................... 278
17.4.1 Control and Playback Toolbar Feedback .................... 278
17.4.2 Cuelist Feedback ..................................................... 280
17.4.3 The Output Window ................................................. 281
17.4.4 The Levels View Window .......................................... 284
17.5 Advanced Playback ............................................................ 285
17.5.2 Adjusting the Effect Size of a Master ........................ 286
17.5.3 Manually Crossfading Cuelists .................................. 286
17.5.4 IPCB Faders ............................................................. 287
17.5.5 Using a Cuelist as a Chase ....................................... 288
17.5.6 Cuelists and Tracking ............................................... 291
17.5.7 Triggering Automatic Tasks When a Cue Runs ........... 291
17.5.8 Playback Masking .................................................... 291
17.6 Grand Master ..................................................................... 292
17.6.1 GM Key ................................................................... 292
17.6.2 DBO Key ................................................................. 293
17.6.3 Flash key below the Grand Master ........................... 293
17.7 Inhibitive Masters ............................................................... 293
17.8 Configuring Playback Controls ............................................ 294
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17.8.1 Configuring Master Controls ..................................... 296
17.8.2 Configuring the Main Controls .................................. 300
18: Pages ............................................................................. 301
18.1 How Pages Are Used ........................................................... 301
18.2 Creating a New Page .......................................................... 301
18.3 Changing Page ................................................................... 302
18.3.1 Options When Changing Page .................................. 302
18.3.2 Matching Levels When Changing Page ..................... 304
18.3.3 Restoring Activity When Changing Pages .................. 304
18.4 Modifying Pages ................................................................. 305
18.4.1 Copying Lists, Scenes and Inhibitive Masters to a
Page ................................................................................... 306
18.4.2 Moving Lists, Scenes and Inhibitive Masters to a
Page ................................................................................... 306
18.4.4 Clearing Lists, Scenes and Inhibitive Masters from a
Page ................................................................................... 306
18.5 Copying and Moving Pages ................................................. 307
18.6 Deleting Pages ................................................................... 307
18.7 The Template Page ............................................................. 308
19: Command Keys ............................................................... 311
19.1 Creating Command Keys .................................................... 311
19.2 Copying, Moving, and Deleting Command Keys ................... 311
19.3 Changing the Action of a Command Key ............................. 312
19.4 Command Key Feedback .................................................... 313
20: Plots .............................................................................. 315
20.1 Creating Plots .................................................................... 315
20.2 Editing Plots ....................................................................... 316
20.2.1 Fixtures ................................................................... 316
20.2.2 Gangs ..................................................................... 317
20.2.3 PixelMaps ................................................................ 318
20.2.4 Tips for editing multiple plot objects ........................ 319
20.3 Using Plots ......................................................................... 320
20.3.1 Fixture Selection ..................................................... 320
20.3.2 Navigation (zoom/scroll) .......................................... 321
20.3.3 Feedback ................................................................ 321
20.4 PixelMapping ...................................................................... 322
20.4.1 PixelMap Layers ...................................................... 322
20.4.2 Programming lighting fixtures to use PixelMaps ........ 323
20.4.3 Programming PixelMap Layers ................................. 323
20.4.4 Managing PixelMap Layer Content ........................... 324
21: MIDI ............................................................................... 327
21.1 MIDI Show Control .............................................................. 327
21.1.1 Bringing MSC into the Console ................................. 327
21.1.2 Sending MSC from the Console ................................ 328
21.1.3 Using MIDI Show Control .......................................... 329
21.2 MIDI Notes ......................................................................... 329
21.2.1 Bringing MIDI Notes into the Console ....................... 330
21.2.2 Assigning MIDI Notes to Playback Bars ..................... 330
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21.2.3 Assigning MIDI Notes to Programming Keys .............. 331
21.2.4 Assigning MIDI Notes to Encoders and Wheels .......... 332
21.2.5 Assigning MIDI Notes to Monitor Soft Keys ................ 333
21.2.6 Assigning MIDI Notes to Comment Macros ................ 334
21.2.7 Using Midi to Control Faders .................................... 336
21.3 MIDI timecode .................................................................... 336
21.3.1 Connecting Midi Timecode Input .............................. 336
21.3.2 Viewing Incoming MIDI Timecode ............................. 337
21.3.3 Triggering Cues from MIDI Timecode ........................ 337
21.3.4 Editing Timecode Values .......................................... 338
21.3.5 Simulating MIDI Timecode ....................................... 339
22: Open Sound Control ........................................................ 341
22.1 Introduction to OSC ............................................................ 341
22.2 Configuring OSC Input ........................................................ 341
22.3 Configuring OSC Output ..................................................... 342
22.4 OSC Mappings .................................................................... 343
22.4.1 OSC Playback Mappings .......................................... 343
22.4.2 OSC Midi Note Mappings .......................................... 344
22.4.3 OSC Hardware Mappings ......................................... 344
22.4.4 OSC Status Mappings .............................................. 346
23: Linear Timecode (LTC) ..................................................... 347
23.1 LTC Input into Console ........................................................ 347
LTC Input into a DMX Processor 8000 ................................. 348
23.3 Viewing Incoming LTC ......................................................... 349
23.4 Triggering Cues from LTC .................................................... 350
23.5 Editing Timecode Values for a Cue ...................................... 351
23.6 Simulating LTC ................................................................... 351
24: Macros ........................................................................... 353
24.1 Intro to Macros ................................................................... 353
24.2 Comment Macros ............................................................... 353
24.2.1 Entering Comment Macro Commands ...................... 356
24.2.2 Additional Comment Macro Syntax .......................... 356
24.3 Keystroke Macros ............................................................... 357
24.3.1 Recording Keystroke Macros .................................... 357
24.3.2 Naming Keystroke Macros ........................................ 358
24.3.3 Keystroke Macro Playback ....................................... 358
24.3.4 Editing Keystroke Macros ......................................... 361
24.3.5 Deleting Keystroke Macros ....................................... 362
24.3.6 Copying and Moving Keystroke Macros ..................... 363
25: Direct Control of DMX Channels ....................................... 365
25.1 Manually specifying DMX Channel Values ............................ 365
25.2 Setting DMX Channels to External Art-Net Source ............... 365
25.3 Reverting DMX Channels to HogNet Control ........................ 366
25.4 DMX Test ........................................................................... 366
26: Reporting ....................................................................... 369
26.1 Building, Saving, Deleting, and Running Report Queries ...... 369
26.2 Organizing and Saving Report Results ................................. 370
26.3 Using Report Results to Edit Programming .......................... 370
27: The Fixture Builder ......................................................... 371
27.1 Working With the Fixture Builder ......................................... 371
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27.1.1 Creating, Editing and Deleting Fixture Libraries ........ 371
27.1.2 Building the Fixture ................................................. 374
27.1.3 Adding User Created Libraries to a Show .................. 377
27.2 Fixture Builder Tutorial ........................................................ 378
27.2.1 Step 1: Create the New Fixture ................................ 379
27.2.2 Step 2: Enter Fixture Details .................................... 379
27.2.3 Step 3: Configure Channel Features ......................... 382
27.2.4 Step 4: Build the Fixture .......................................... 392
27.2.5 Step 5: Add the Fixture in the Fixture Schedule ......... 394
27.2.6 Step 6: Edit Fixture to Define Default Values ............ 394
27.2.7 Step 7: Programming Your Custom Fixture ................ 395
28: Key & Button Combinations ............................................. 397
29: Visualiser Connectivity .................................................... 401
29.1 Installing the Connectivity Application ................................ 401
29.2 Connecting the Console to the Visualizer ............................ 404
29.2.1 Configuring Visualisers ............................................ 404
29.2.2 Configuring the Network Connection ........................ 404
29.2.3 Configuring the Visualiser Universes ........................ 405
29.2.4 Using the Visualizer ................................................. 406
29.3 Connecting to WYSIWYG ..................................................... 406
29.3.1 Configuring the Network Connection ........................ 406
29.3.2 Configuring WYSIWYG ............................................. 407
29.3.3 Additional Steps for WYSIWYG Console Edition ......... 409
29.3.4 Using the Connectivity with WYSIWYG ..................... 409
29.4 Troubleshooting ................................................................. 410
29.5 Visualiser Support Contacts ................................................ 411
30: Updating Console Software ............................................. 413
30.1 Software Update ................................................................ 413
30.2 Full Install (System Restore) ............................................... 413
30.2.1 Creating a Full Install USB Flash Drive on a Windows
Computer ........................................................................... 414
30.2.2 Creating a Full Install USB Flash Drive on a Macintosh
Computer ........................................................................... 415
30.3 Updating the DMX Processor Software ................................ 416
30.3.1 DMX Processor 8000 Reset Options .......................... 416
30.4 Upgrading HedgeHog Consoles (2015 and later) ................. 417
30.5 Upgrading USB DMX Widgets .............................................. 421
31: Installing Hog 4PC .......................................................... 425
31.1 Software Installation ........................................................... 425
31.2 Software Removal .............................................................. 429
31.3 Hardware Installation ......................................................... 429
31.3.1 Unpacking Hardware Components ........................... 429
31.3.2 USB DMX Widgets ................................................... 430
31.3.3 USB Wings .............................................................. 431
31.4 Operation .......................................................................... 432
31.4.1 Using the Hog 4PC Interface .................................... 432
32: Cheat Sheets .................................................................. 435
32.1 Keyboard Shortcuts ............................................................ 435
32.2 Magic Key Combinations ..................................................... 437
32.3 Front Panel Diagrams ......................................................... 441
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33: Troubleshooting .............................................................. 443
33.1 Console won't startup ......................................................... 443
33.2 No DMX Output from Console's built-in DMX Outputs ........... 443
33.3 No ArtNet Output from console's FixtureNet Port ................. 444
33.4 The console appears to have crashed or frozen ................... 444
33.5 Console isn't talking to DMX Processors .............................. 445
33.6 Playback controls don't behave as expected ....................... 445
33.7 The Front Panel Reboots Unexpectedly ................................ 445
33.8 How to Report Problems to Support .................................... 446
33.8.1 Reporting Problems with the Console ....................... 446
33.8.2 Reporting Problems with Hog 4PC ............................ 447
33.8.3 Reporting Problems with the User Manual ................ 448
33.8.4 About Software Version Numbering .......................... 448
33.8.5 About Beta Software ................................................ 448
34: Service ........................................................................... 449
34.1 Replacing the Screens ........................................................ 449
34.2 Replacing Faders ................................................................ 449
34.2.1 Replacing faders on Hog 4, Full Boar 4, and Playback
Wing 4 ............................................................................... 450
34.2.2 Replacing faders on RoadHog 4 and NanoHog 4 ....... 450
34.3 Cleaning Faders ................................................................. 450
34.3.1 Cleaning faders on Hog 4, Full Boar 4, and Playback
Wing 4 ............................................................................... 451
34.3.2 Cleaning faders on RoadHog 4 and NanoHog 4 ......... 451
34.3.3 Cleaning faders on HedgeHog 4 ............................... 451
34.4 Replacing the Trackball ....................................................... 452
35: Safety Information .......................................................... 453
35.1 Safety Warnings ................................................................. 453
35.1.1 For Continued Protection Against Fire ....................... 453
35.1.2 For Continued Protection Against Electric Shock ....... 453
35.2 Informations Importantes Sur La Sécurité ........................... 454
35.2.2 Pour Une Protection Permanente Contre Les Chocs
Électriques ......................................................................... 454
35.3 Wichtige Hinweise Für Ihre Sicherheit ................................. 454
35.3.1 Zum Schutz Vor Brandgefahr ................................... 454
35.3.2 Zum Schutz Gegen Gefährliche Körperströme .......... 454
35.4 Información Importante De Seguridad ................................. 455
35.4.1 Para Protección Continua Contra Incendios ............... 455
35.5 Importanti Informazioni Di Sicurezza ................................... 456
35.5.1 Per Prevenire Incendi ............................................... 456
35.5.2 Per Prevenire Le Scosse Elettriche ............................ 456
35.6 Vigtig Sikkerhedsinformation .............................................. 456
35.7 安全に関する情報 ................................................................. 457
35.7.1 警告: 火災からの継続的な保護の為に ............................ 457
35.7.2 警告: 感電に対する継続的な保護の為に ......................... 457
36: Technical Specifications .................................................. 459
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36.1 Hog 4 Console .................................................................... 459
36.1.1 Input and Output Connections ................................. 459
36.1.2 Power, Weight and Dimensions ................................ 459
36.2 RackHog 4 Console ............................................................ 459
36.2.1 Input and Output Connections ................................. 459
36.2.2 Power, Weight and Dimensions ................................ 460
36.3 Full Boar 4 Console ............................................................. 460
36.3.1 Input and Output Connections ................................. 460
36.3.2 Power, Weight and Dimensions ................................ 461
36.4 Road Hog 4 Console ........................................................... 461
36.4.1 Input and Output Connections ................................. 461
36.4.2 Power, Weight and Dimensions ................................ 461
36.4.3 Back Panel Drawing ................................................. 462
36.5 Hedge Hog 4 Console ......................................................... 462
36.5.1 Input and Output Connections ................................. 462
36.5.2 Power, Weight and Dimensions ................................ 462
36.6 Hedge Hog 4 Console (Jan 2015 and later) .......................... 463
36.6.1 Input and Output Connections ................................. 463
36.6.2 Power, Weight and Dimensions ................................ 463
36.6.3 Back Panel Drawing ................................................. 463
36.7 Nano Hog 4 Console ........................................................... 463
36.7.1 Input and Output Connections ................................. 463
36.7.2 Power, Weight and Dimensions ................................ 464
36.8 DMX Processor 8000 .......................................................... 464
36.8.1 Input and Output Connections ................................. 464
36.8.2 Power, Weight and Dimensions ................................ 464
36.9 Playback Wing 4 ................................................................. 465
36.9.1 Input and Output Connections ................................. 465
36.9.2 Power, Weight and Dimensions ................................ 465
36.9.3 Performance ........................................................... 465
36.10 Master Wing 4 .................................................................. 465
36.10.1 Input and Output Connections ............................... 465
36.10.2 Power, Weight and Dimensions .............................. 466
36.10.3 Performance .......................................................... 466
36.11 Hog 4PC ........................................................................... 466
Glossary ................................................................................ 467
Index .................................................................................... 479
High End Systems
List of Figures
2.1 The Command Line ........................................................................ 22
2.3 The View Toolbar ............................................................................ 27
2.4 The Views Directory ....................................................................... 27
2.5 The Views Directory in Spreadsheet View ........................................ 29
2.6 The HSI Colour Wheel ..................................................................... 33
2.7 A Typical Directory ......................................................................... 35
2.8 A Typical Directory in Spreadsheet View .......................................... 37
2.9 The Default Naming pane of the User Preferences window .............. 38
2.10 Directory Item Colour ................................................................... 39
2.11 The Preset Colour Options ............................................................ 40
2.12 A spreadsheet with and without Compact Mode ............................ 41
2.13 A Spreadsheet with Aggregation Turned On .................................. 43
2.14 An Aggregated Spreadsheet With Collapsed Rows ......................... 43
2.15 The Jump Toolbar ......................................................................... 44
2.17 The CD Burning pane of the Show Manager window ...................... 50
3.1 Start Screen, your console is ready to use ...................................... 51
3.2 The Calibration Screen ................................................................... 52
3.3 The On-screen Keyboard ................................................................ 56
3.4 The Shut Down Dialog .................................................................... 57
3.5 The Lock Button on the quit toolbar ................................................ 57
3.6 The Lock Window Requesting Pin .................................................... 58
3.7 Security Settings Tab of Console Settings Window ........................... 58
3.8 Widget Outputs pane of the DMX Processor Settings window ........... 63
3.9 HogNet and FixtureNet Connections on back panel of RoadHog 4
3.10 The Network pane of the Control Panel ......................................... 65
3.11 Art-Net Outputs pane of the DMX Processor Settings window ........ 82
3.12 E1.31 pane of the DMX Processor Settings window ........................ 82
3.13 Docking Playback Bars with wings and external displays ............... 84
4.1 The Auto Launch window ................................................................ 90
4.2 The Show Manager Window ............................................................ 91
4.3 The Track Ball pane of the User Preferences window ....................... 95
4.4 The Source Location page of the Merge Show window ................... 100
4.5 The Type Merge page of the Merge Show window .......................... 101
4.6 The Fixture Merge page of the Merge Show window ...................... 102
4.7 The Group Merge page of the Merge Show window ....................... 103
5.1 The Fixture Schedule window ....................................................... 106
5.2 The Fixture Patch window ............................................................. 107
5.3 The View by DP view of the Fixture window ................................... 109
5.4 Examples of Fixtures requiring Multiple Patch Points ...................... 111
5.5 A Fixture with Multiple Patch Points ............................................... 112
5.6 The Clone Universe window .......................................................... 112
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5.7 The Clone DP window ................................................................... 114
5.8 Fixture window, before and after replicating .................................. 116
5.9 Changed Fixture Type ................................................................... 117
5.10 The Auto Palettes window ........................................................... 118
5.11 The Fixture window .................................................................... 119
5.12 The Edit Fixtures window ............................................................ 123
5.13 The Edit Fixtures window sorted by Function ............................... 124
6.1 The Select Toolbar ........................................................................ 128
6.2 Wheels Toolbar for the Beam Parameters of a Studio Spot 575 ...... 134
6.3 The Wheelsets Toolbar for a Studio Spot 575 ................................. 134
6.4 The Wheels Toolbar Direct Entry Dialog ......................................... 135
6.5 The Slot Toolbar for a Studio Spot 575 .......................................... 135
6.6 The Colour Slots Toolbar for a Studio Spot 575 .............................. 136
6.7 The Colour Wheel ......................................................................... 137
6.8 The Colour Picker ......................................................................... 139
6.10 The Fanning Toolbar ................................................................... 146
6.11 The Grouping Toolbar ................................................................. 148
8.1 Example of Parameters set to reference a Palette ......................... 156
8.2 The Palette Editor window ............................................................ 156
8.3 A Palette with Global Parameter Values ......................................... 160
8.4 A Palette with Per Fixture Type Values ........................................... 160
8.5 A Palette with Per Fixture Values ................................................... 160
8.6 Example of Palettes containing different parameter types ............. 162
8.7 The Record Options Toolbar .......................................................... 163
9.1 Directory Kind Mask Menu ............................................................ 167
9.2 Directory Kind Mask Legend ......................................................... 168
9.3 Right Click Color Coding Menu ...................................................... 168
9.4 Color Coding Entire Button ........................................................... 168
9.5 Button Sizes Option ...................................................................... 169
9.6 Show Fewer Buttons Option .......................................................... 170
9.7 Auto Color Swatch Option ............................................................. 170
9.8 Spreedsheet View vs. Button View of Colour Directory ................... 171
10.1 Media Picker Window .................................................................. 173
10.2 Media Picker Window .................................................................. 180
10.3 Fixture Window .......................................................................... 181
11.1 The Cue Editor window ............................................................... 188
11.2 Cue 3 with a Fade Mark .............................................................. 197
11.3 Cue 3 Actively Fading into its Mark ............................................. 197
11.4 Cue 3 Fully Marked ..................................................................... 197
11.5 The Cuelist Directory window ..................................................... 198
11.6 The Cuelist window .................................................................... 199
13.1 Cue timings ............................................................................... 208
13.3 Selecting a Path in a Cuelist Window ........................................... 212
13.4 The Wheels Toolbar showing Timing ............................................ 213
13.5 Selecting Parameter Types from the Wheels Toolbar .................... 214
13.6 The Slot Toolbar showing Paths ................................................... 214
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13.7 The Paths Toolbar ....................................................................... 214
13.8 The Cue Editor window with Fade selected .................................. 216
13.9 Selecting a Path in an Editor ....................................................... 217
13.10 The Trigger Toolbar ................................................................... 218
13.11 A Cuelist with a Loop ................................................................ 224
14.2 The Effects Engine ..................................................................... 231
14.3 Controlling Effect Transitions with Timing .................................... 234
14.4 The Effect Directory ................................................................... 235
14.5 The Wheels Toolbar showing Effect Attributes ............................. 236
15.1 Fixed Kinds in the Kinds Directory ............................................... 240
15.2 User Kinds as displayed in the the Kinds Directory and on the Front
15.3 Auto Kinds Button in the Kinds Directory ..................................... 241
15.4 Wheeslets displayed in a kind editor ........................................... 243
16.1 The Auto Update window ............................................................ 253
16.2 The Update Toolbar .................................................................... 254
16.3 The Parked column of the Fixture window ................................... 256
16.4 The Parked Output window ......................................................... 257
17.1 The Master Controls ................................................................... 260
17.2 The Main Playback Controls ........................................................ 262
17.3 Example: Master 1 is chosen / Masters 2 thru 4 are selected ....... 266
17.4 The Cuelist Pane of the Playback Options Window ....................... 267
17.5 The Playback Bar ....................................................................... 279
17.6 The Cuelist Window with a Cue Running ...................................... 281
17.7 The Output Window .................................................................... 282
17.8 The Levels View Window ............................................................ 284
17.9 The display of Inhibitive Masters on the Playback Bar .................. 294
17.10 The Master pane of the Cuelist Options window ........................ 295
17.11 The Main Controls pane of the Cuelist Options window .............. 296
18.1 The Misc pane of the User Preferences window ........................... 303
18.2 Matching Levels when Changing Page ......................................... 304
18.3 Playback Bar with Master 10 loaded from the Template Page ....... 308
18.4 The Playback Bar with the Template Page loaded ........................ 309
19.1 Command directory in list view; selecting an action .................... 312
20.1 The Plots Directory ..................................................................... 315
20.2 Example of a Basic Plot .............................................................. 315
20.3 Example of Plot Window with Feedback ....................................... 321
21.1 The MIDI pane of the Console Settings window ............................ 328
21.2 The Timecode Toolbar ................................................................ 337
22.1 The OSC pane of the Console Settings window ............................ 342
22.2 The OSC pane of the Console Settings window ............................ 343
23.1 The Timecode Toolbar ................................................................ 350
24.1 The Macro Window ..................................................................... 361
24.2 Command Data Selection ........................................................... 362
25.1 DMX Output Window .................................................................. 365
27.1 The Create New Custom Type window ......................................... 373
27.2 The Create New Custom Type window ......................................... 374
27.3 The Fixture Builder window ......................................................... 375
31.1 Widget Outputs pane of the DMX Processor Settings window ....... 431
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31.2 The Displays pane of the Control Panel ....................................... 434
32.1 Keyboard Status in the Command Line Toolbar ............................ 435
32.2 Programmer section of the Hog 4 front panel .............................. 441
32.3 Playback section of the Hog 4 front panel ................................... 442
33.1 The Launched Processes window ................................................ 446
36.1 Back panel of RoadHog 4 Console ............................................... 462
xviii High End Systems
Section 1: Getting Started
1.1
About this Manual
This manual describes the Hog 4OS as it pertains to the Hog 4 range of consoles (Hog 4, Full
Boar 4, Road Hog 4, Hedge Hog 4, Nano Hog 4, RackHog 4, and Hog 4PC).
Some of the information contained in this manual will only apply to specific consoles in the Hog
4 family but that information will be clearly identified as console specific.
In this manual the word ‘key’ is used to indicate a hardware button on the console's front panel.
For example: ‘press the Enter key’. The word ‘button’, when used in this manual, refers to
‘virtual’ buttons that can be pressed on the touch screens or clicked on with the Trackball or mouse.
This manual can be read in any order but if you haven't used a Hog 4 console before you may
want to start with the Hog 4OS Fundamentals (p.21)
You can open your console's built in User Manual at any time by pressing the Help button on the Window Control Toolbar, at the top of the right-hand screen.
1.2
Manual Symbols
The following formatting conventions are used in the text of this manual:
XXXX - text that is italicized and underlined indicates a reference to a term in the glossary.
XXXX
- dark red text indicates the name of an interface element such as a button, key, or window.
[XXXX]
- dark red text inside a set of brackets indicates a button that has a label specific to the show that is created by the console or the user.
XXXX
- dark blue text indicates information that you should literally input into the Hog 4OS verbatim.
[XXXX]
- dark blue text inside a set of brackets indicates the manual is only describing the type of information that you should input into the Hog 4OS.
XXXX , XXXX , XXXX - dark red text separated by commas indicates key or button presses that are sequential.
XXXX + XXXX - dark red text followed by + indicates a key or button press that is held down while the second key or button is pressed.
XXXX
→
XXXX
→
XXXX - dark red text mixed with arrows indicates a sequence of operations that navigate you through windows and toolbars.
High End Systems 19
Section 1: Getting Started
You will also find important or useful information highlighted:
!
Caution
Information regarding potetial hazards to the equipment or your personnel.
»
Important
Information regarding items require special attention.
Tip
Information to help you be more productive in your programming.
20 High End Systems
Section 2: Hog 4OS Fundamentals
2.1
The Command Line
The majority of user input into the Hog 4 Operating System is handled through the command line. Keystrokes and button presses accumulate on the Command Line Toolbar where users build executable commands such as recording a cue. In some cases command line entries are executed immediately but in most cases you must press Enter to confirm that the command is complete and ready to be executed. To remove any unwanted keystrokes from the command line press
Backspace once. To completely clear the command line double-press
Backspace
.
2.1.1
Command Line Syntax
The basic order and structure of the Hog 4 OS command line syntax is: Source, Mask, Command,
Options, Destination.
• Source: The source is the object within the show that you want to take data from. It might be a palette, scene, cue, or the editable editor. With most commands the source object is not modified.
• Mask: The Mask is a filter for when you only want some of the data from that object. There are two types of mask: a fixture mask specifies only data for certain fixtures (for example Cyberlight 1); a kind mask specifies only data for certain kinds (for example Colour, Beam). If no mask is specified then the entire contents of the current active editor are included in the command.
• Command: The Command is the operation you want to perform. Commands include Copy, Record, Delete, Move, Merge, Knockout. Some of these only need a source to be specified, others only need a destination, but they all have the same syntactical form.
• Options: The behaviour of some commands (for example Record) can be altered with options. These usually appear on a popup toolbar once the command key is pressed.
• Destination: The destination is the object that will be affected by the command.
Again it might be a palette, cue, scene or the editable editor. If the destination already exists, and the action to take is unclear, then you will be asked what the console should do.
Some examples of command line syntax are shown below. Note that a final press of the Enter key is required to tell the console to the command is complete and ready to be executed.
High End Systems 21
Section 2: Hog 4OS Fundamentals
Figure 2.1. The Command Line
Source
Position
Position
Cue
1
1
1
Mask
Group
2
Group
3
Command Options
Record
Destination
Position
1
Record
Copy
Move
Record
Copy
Replace
Replace
Position
Comments
Position
1
Position
2
Position
2
Position
3
Cue
5
Records a position palette to location 1 in the position palette directory. No source is given, so the content of the current editor is assumed.
The Replace option (on the Record Options Toolbar) ensures that the new palette replaces the previously recorded palette.
The Copy command takes the Position 1 palette as its source.
This example combines using a source and a record option.
Here Group 2 acts as a mask for the record command, so that only fixtures in Group 2 are recorded into the Position 3 palette.
Here the parameter values of fixtures in Group 3 are copied from Cue 1 to
Cue 5. The Position option applied to the copy command means that only position parameters are included.
Tip
The text of the command line turns red if your syntax is not valid.
2.1.2
The Status Bar
To the right of the command line is the Status Bar .
Figure 2.2. The Status Bar
22 High End Systems
Section 2: Hog 4OS Fundamentals
The Status Bar gives you basic information about the status of the console as well as connected network items.
Below is a list of the different kinds of data the status toolbar can show:
Description
The Trackball mode
The name of the current page
Current Mode of the Function Keys
The current editor
The currently chosen master
The network status
Example
--- (pointer)
POS (position)
POS, ortho (ortho mode)
Page 1
CMD (command key mode)
KIND (kind key mode)
Programmer
Cue 3
Master 4
The network is working normally.
Consoles are syncing show data.
Connected DP8000's need a software upgrade.
The current time in hours and minutes.
There is a problem with the network.
16:28
2.2
The Graphical User Interface
In addition to the conventional command line, the Hog 4OS uses a graphical user interface
similar to those found on personal computers.
The advantages of the graphical user interface are far-reaching, and will become fully apparent as you get more familiar with Hog 4OS.
Key features of the GUI are:
• You can work with on-screen controls and windows using the touch screen or through a pointer controlled by the built in Trackball, or an external mouse.
Left-clicking the mouse is the same as touching the screen and is used for selecting or activating controls, while right-clicking brings up a context-sensitive range of menu options.
• The Soft Keys adjacent to the touch screens provide another method of accessing
functions, changing to match whichever toolbar is docked along that edge of
the screen.
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• The graphical environment is highly customisable, giving you complete control of the console and individual window layout. For example, you can rearrange column headers in list windows (e.g. the
Cuelist and
Programmer windows) to prioritise information that is most pertinent to a specific show or user. Information displayed can also be sorted or filtered. When a user logs out these preferences and settings are stored, and retrieved again on logging in.
2.2.1
Window Management
Opening Windows
Windows can be opened in four ways:
• From a Toolbar: Some windows may have a dedicated button that can be pressed; the Programmer, for example.
•
With the Open
Key: To open a window using console keys, hold down Open and press the window's associated key or button. For example:
• Open + Position : opens the Position Directory window.
• Open + List : opens the Cuelist Directory window.
• Open + Choose : opens the Cuelist window for the chosen master.
You can also hold down the Open key to gain access the second level of the main toolbar with buttons for many of the console's windows, such as the Output and Parked windows.
• From the Command Line: You can specify the window to be opened using the command line, and then press the Open key. For example:
•
Position
5
Open
: opens the editor window for Position
Palette 5.
•
Cue
4 / 8
Open
: opens the editor window for Cue 8 in the cuelist on Master 4.
• Double Pressing Keys: You can also open some windows by double-pressing the appropriate key:
• Position , Position : opens the Position Directory window.
Tip
If you prefer not to use the double-press shortcut to open windows, then
assign the double-press time to zero to disable it: see Keys and Button
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Closing Windows
Windows can be closed using the window's Close button (marked with a cross, at the right hand end of its title bar), by pressing Open + Backspace , or with the Close button
Control Toolbar .
on the Window
Fronting, Resizing and Moving Windows
You can open as many windows as you wish, but you can only work in one at a time. To work in a window make it the frontmost by clicking or pressing the touch-screen within it, or use the
Focus button on the Window Control Toolbar . The window's title bar will turn blue to show that the window is frontmost; otherwise it is grey.
Windows and toolbars can be placed any where within the console's internal touch-screens, or on the (optional) external displays.
You can move and resize windows using keys and buttons, or by using the mouse or trackball.
Using Keys and Buttons
The Window Control Toolbar sits at the top of the right-hand touch screen, and provides a quick and easy way to manipulate windows. Its functions are also available as keyboard shortcuts.
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Button Function
Page Up, Page Down, Page Left and Page Right scroll the currently selected window. The cursor isn't moved.
Shortcut
Copy creates a copy of the selected window. This is helpful when you need to view two parts of the same window at once.
Open + [slash]
Size rotates through a range of set positions and sizes for the selected window within its current screen. The options are full screen, and top, bottom, left and right half and quarter screens. Holding down the Pig key while pressing Size rotates through the options in the reverse order.
Open + [plus] or
[minus]
Open + @ Move Screen moves the selected window between touch-screens and external displays.
Maximise toggles the size of the currently selected window between full screen and its previous size.
Focus switches between windows in turn, bringing each to the front.
Open + Full
Open + Thru
The unlock button allows the positions and sizes of all windows to be changed by the Trackball or mouse
(but not the toolbar buttons). Windows are unlocked when this button is enabled.
Open + .
Close closes the frontmost window.
Open + Backspace
Using the Mouse or Trackball
To move a window, click and hold on the window's top status bar whilst dragging it to its new position. To move a toolbar click and hold its left-hand edge and drag to its new position.
Windows can be resized by clicking and holding on corners until the resize arrow appears. You can then drag the corner to make the window bigger or smaller.
Note that you can only use the mouse or Trackball to move and resize windows if you have unlocked them with the
Lock button on the
Window Control Toolbar
. Keeping the windows locked is useful when using the touch screens, so that you do not accidentally drag or resize windows with their title bars or borders. You can still move and resize windows with the buttons on the toolbar.
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Scrolling Window Contents
When a window's contents is too great to fit inside the window, scroll bars appear along the right and bottom edges of the window. You can scroll by pressing or clicking and then dragging on the scroll bar's slider, or by pressing or clicking on the arrows at the ends of the scroll bar.
In addition, you can scroll window contents by holding down the Open key and using the
Trackball, I-Wheel or parameter wheels to scroll.
Desktop Views
Figure 2.3. The View Toolbar
Desktop views allow you to store arrangements of windows for quick access so you do not have to re-open and re-arrange windows to perform specific tasks. For example, you could create a programming view that shows the group, palette and effects directories along with the Programmer window. A playback view could display the cuelist and scene directories, and the Output window.
Desktop views are managed by the
View Toolbar at the top of the left-hand touch screen (see
Figure 2.3, “The View Toolbar”) and the
Views Directory
(see Figure 2.4, “The Views Direct-
Views Directory by holding down the Open key and pressing the View button on the View Toolbar .
Figure 2.4. The Views Directory
Tip
When you create a new show, it automatically contains desktop views for palettes, cuelists, output and the Programmer.
Recording a Desktop View
To record a desktop view using the View Toolbar :
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1.
Arrange the console's windows as you want them stored in the desktop view.
2.
Hold down the Record key and press one of the numbered buttons on the
View Toolbar .
Naming a Desktop View
To name a desktop view using the View Toolbar :
1.
Press the Set key together with the appropriate button on the View Toolbar .
The Quickname window will open.
2.
Enter a name, and click on OK .
To name a desktop view using the Views Directory :
1.
Open + View : opens the Views Directory .
2.
Select the button for the view you want to name. Make sure that the Guard button is depressed, otherwise you will activate the view instead of just selecting it.
3.
Press the Set key. The Quickname window will open.
4.
Enter a name, and click on OK .
Tip
You can also assign view names, and add comments to them, in the
spreadsheet view of the Views Directory. See Desktop View Options (p.28).
Recalling a Desktop View
You can recall desktop views in two ways:
•
With the View Toolbar
: located at the top of the left hand screen. The views each have their own button, and are loaded in pages of ten onto the toolbar.
You can load the next page by pressing the
Next button at the right hand end of the toolbar, while Pig + Next loads the previous page.
•
With the Views Directory
window: press the view's button in the Views
Directory window. Make sure that the Guard button is not depressed, otherwise you will only select the view, rather than activating it.
Desktop View Options
By default, when you recall one desktop view it replaces the previous one, so that all windows not part of the new view are closed. However, you can set views so that they are additive instead:
1.
Open + View : opens the Views Directory .
2.
Select the directory's spreadsheet view.
3.
Select the view's cell in the Additive column.
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4.
Press the Set key to toggle between Yes and No .
Figure 2.5. The Views Directory in Spreadsheet View
Deleting a Desktop View
To delete a desktop view using the View Toolbar :
1.
Hold down the Delete key and press the appropriate button on the View
Toolbar .
2.
Press OK to confirm.
To delete a view using the Views Directory :
1.
Open + View : opens the Views Directory .
2.
Check that the directory's Guard button is depressed, so that you can select buttons within the directory without activating them.
3.
Press the appropriate directory button and then the Delete key.
4.
Click OK to confirm the delete.
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
2.3
Abstraction
A key advantange to the Hog 4OS is that you don't have to worry about the technicalities of how each lighting manufacturer implemtents the features of their lighting fixtures because the Hog
4OS acts as a layer between you and the lighting hardware, automatically converting ‘abstract’
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ideas of intensity, colour, and so on into the specific instructions that the fixtures need, defined by their DMX protocol.
2.3.1
Referring to Fixtures
The Hog 4OS treats every fixture as a single entity. Every fixture is assigned a user number that allows users to easily recall a fixture and manipulate it's feature set no matter how many parameters
it has. For more information on giving your fixtures custom user numbers , see Modifying the
Hog 4OS treats conventional lights, consisting of a luminaire controlled by a dimmer, as a special kind of fixture known as a ‘desk channel’. A desk channel has only one parameter: intensity.
2.3.2
Real World Units
Fixture parameters are described as far as possible in real world units. For example, rotation is described in degrees while chases are described in beat per minute. This speeds up programming and allows fixtures of different types to be selected and adjusted at the same time: for example, you can assign several fixtures of different types to all strobe at 10 Hz without having to worry about the different DMX values required by each fixture to achieve this. Hog 4OS will give you the best possible match between fixtures; the only limitations are those of the fixtures themselves.
2.3.3
Complex Parameters
Some fixtures put more than one parameter onto a single DMX address. For example, a fixture might use DMX values in the range 0-127 for intensity, 128-250 for strobe, and 251-255 for fixture reset. The Hog 4OS separates such functions into independent parameters, so that you do not need to remember the detailed workings of a particular fixture; in the example given above, the intensity, strobe and reset functions all appear as separate parameters, so there is no possibility of going from strobe into reset. With parameters that share a DMX address, changing the value of one will override the value of all the others, since there can only be one DMX value.
In the case of our example, assigning a strobe speed will override any intensity value; the console will show a ~ in place of the intensity value to indicate that this has happened.
2.3.4
Interchangeable Fixtures
Any fixture already programmed into a show can be replaced by a fixture of a different type at any time and Hog 4OS will as far as possible convert the programmed data to apply to the new fixture type. If the new fixture has more limited capabilities than the old one, this is handled as
gracefully as possible. For more on replacing fixtures, see Changing the Fixture Type (p.116).
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2.4
Tracking
All Hog 4 family consoles are tracking by default which means the Hog 4OS records only changed cue data into cues and scenes allowing unchanged data that was recorded in previous cues and scenes to track through until a change is recorded for that particular fixture parameter.
Below is an example of how a series of cues might be seen by a viewing audience:
Fixture:
Cue 1
Cue 2
Cue 3
A
100
100
100
B
50
25
75
C
100
50
75
With a non-tracking console, each value would have to be recorded into each cue as displayed above. However, with a tracking console such as the Hog 4, the only data that really needs to be recorded is much simpler as shown in the table below:
Fixture:
Cue 1
Cue 2
Cue 3
A
100
B
50
100
75
C
100
As you can see fixture A only has to be recorded at 100% in cue 1 because that value will track all the way from cue 1 to cue 3. On the other hand, since fixtures B and C change value in each cue, the tracking console needs to have unique values recorded in each cue.
When discussing the contents of a cue or the state of playback on stage, the following terms are commonly used:
• Hard Values / Touched Values: Values programmed into the current cue
• Tracked Values / Transparent Values: Values assigned
• State: The summation of both tracked and hard-coded values in playback. The
Hog 4OS automatically recalls the state of any cue regardless of whether or not the cuelist was played in order; this allows allows the console operator to jump around and play cues out of order while preserving the way the cue was meant to look.
2.5
HTP and LTP
Taditional theater desks that are not designed to handle moving lights will work on a Highest
Takes Precedence (HTP) basis. This means that if a fixture's intensity is being controlled by two different parts of the console, such as a playback and a submaster, the intensity will be at the highest of the two levels. For example, if in the playback fixture 1 is at 50%, and in the submaster
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it is at 100%, then the level seen on stage will be 100%. If the submaster is reduced to 40%, then the on-stage level will be 50%, because the level in the playback is higher and will take precedence.
This system generally works well for non-moving light consoles, but moving lights introduce a problem. Parameters other than intensity don't have ‘higher’ and ‘lower’ values: a colour of red is not higher or lower than green, and a pan of 50% is not higher or lower than one of 20%.
Working with moving lights needs a new way to decide the precedence, called Latest Takes
Precedence (LTP).
With this system, the fixture parameters are at the value they have been most recently assigned.
In our example, moving the submaster to 40% would result in a level of 40%, because this is the latest instruction and will take precedence. The submaster would effectively ‘grab’ control of the parameter from the playback. Of course, running another cue in the playback might grab it back again.
Many moving light consoles use HTP for intensity and LTP for all other parameters. By default,
Hog 4OS uses LTP for all parameters, but you can assign individual cuelists to use HTP for in-
tensities (all other parameters are still LTP); see Using HTP and LTP (p.274).
2.6
Colour Matching
Fixtures of different types use different methods to perform colour mixing. Sending the same parameter values to fixtures of different types might produce a different colour on each type.
For example, sending C=50%, M=50%, Y=0% will always produce a shade of blue, but it'll be a different blue with different fixture types.
Usually, you have to compensate for this yourself by manually creating colour palettes by eye to produce similar colours on all fixture types. This is a time consuming process, and later restricts you to using the palettes you have already set up.
The Hog 4OS's colour matching system provides a new way to choose colours, without these problems.
2.6.1
Colour Models
Traditionally, colour mixing fixtures use the CMY (Cyan, Magenta, Yellow) system to uniquely define each colour they can produce. With the increasing popularity of LED fixtures, the RGB
(Red, Green, Blue) system is also becoming more common. These two systems are called ‘colour models’. Any colour can be represented equally well by either of these two colour models - they are just different ways of conveying the same information. Many other colour models exist, perhaps the most useful of which (for lighting control, anyway) is the HSI (Hue, Saturation, Intensity) system:
Hue: This is the term used to specify the colours position in the possible range a colours, from red, going through yellow, green, cyan, blue and magenta, and finally returning to red. As the range ‘wraps around’, you can visualise it as a circle with the colours positioned around the edge, with red at the top, green at
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the lower right, blue at the lower left, and the intermediate colours in between.
The angle between 0 and 360 degrees specifies the hue of the colour: red has a hue of 0 degrees, yellow has a hue of 60 degrees, and cyan has a hue of 180
degrees; see Figure 2.6, “The HSI Colour Wheel”.
Saturation: This is how ‘strong’ or ‘pale’ the colour is. Pale colours have low saturations, while strong colours have high saturations. Saturation is specified as a percentage between 0% (white) and 100% (the strongest possible saturation).
Intensity: This is simply a measure of how much light is being emitted, from
0% (black) to 100% (the brightest possible). This is identical to the dimmer control on most fixtures.
Figure 2.6. The HSI Colour Wheel
With these three pieces of information (hue, saturation and intensity), every possible colour can be represented. As most fixtures already feature a dimmer to control the intensity, it is only necessary to specify the Hue and Saturation to uniquely represent any colour.
The Hue and Saturation of White Light
White is defined as the colour with 0% saturation; the hue doesn't matter. However, while tungsten and arc lamps both produce ‘white’ light, when you compare them side to side their colours are considerably different. The tungsten lamp has a ‘warmer’ colour with a higher red and yellow content, while arc lamps usually have a ‘cooler’ light with more blue in it. One version of white is not more ‘correct’ than the other, so either may be chosen to be the reference point depending on the situation. In a theatrical environment where tungsten sources are more common tungsten white is likely to be most appropriate base. In other environments predominantly using arc sources, it will be more convenient to use arc white; for information on changing the white point,
see Using Colour Matching (p.138).
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2.6.2
The Colour Matching System
The Hog 4OS's colour matching system is based on a fixture library that contains colour calibration data for the fixture types in use. This calibration ensures that fixtures of different types can easily be assigned to the same colour, including to a chosen definition of ‘white’. It can also be used for fixtures that have not been calibrated, but the colours that will be produced may not match the colours from fixtures that do have calibration data.
You can choose colours using the parameter wheels to assign cyan, magenta and yellow values
or hue and saturation values, or you can use the on-screen visual colour picker; see The Colour
It is preferable to program using Hue and Saturation whenever possible. The advantages are:
• Selecting colours using Hue and Saturation or the colour picker will produce the same visual colour output on all calibrated fixture types.
• You can use fanning and effects on Hue and Saturation to produce attractive looks quickly.
• When you use Hue and Saturation to pick a colour, Hog 4OS will automatically use the best possible DMX value settings for each fixture type to achieve maximum light output from each fixture.
• You can crossfade from a saturated red to a saturated green without the saturation changing. The crossfade will work through all the saturated colours between red and green, rather than taking an unexpected path to get there, as can happen when using CMY programming.
• Crossfades between colours recorded using Hue and Saturation will remain matched on all fixtures through the progress of the crossfade. This produces a better, more even-looking colour crossfade.
Tip
It is strongly recommended that you do not change between the HSI and
CMY systems within a show.
2.7
Palettes and Directories
Palettes help to simplify the programming process by allowing pre-defined lighting ‘elements’ to be created and then used as required. Once you have created a palette, such as a particular set of position settings with moving lights, you can recall those settings instantly, and record them into cues. Palettes are stoed in windows called directories.
A great advantage of palettes is that when you record a cue using the palette, the cue contains a reference to the palette, rather than the parameter values that the palette contains. If, later, you change the palette then all cues that have been recorded using the palette are also changed. This is especially useful if, for example, the position of a piece of set on stage is moved, and moving
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lights have been programmed to light it. The palette can be updated once to accommodate the
change, rather than in every cue. For more information, see Palettes (p.155).
Palettes allow intensity, position, colour and beam parameters to be recorded as easily accessible
‘building blocks’ to be used when programming. Palettes are stored in classified directories. For general information on working with directories.
When you use a palette to assign parameter values in the Programmer, and then record the contents of the Programmer as a scene or cue, the Hog 4OS records a reference to the palette rather than numerical values for the parameters. During playback, the console refers to the parameter values stored within the palette when outputting cue data to the stage. Because of this referencing, when you modify a palette's content, the cues and scenes that were programmed using it will, in effect, be automatically updated with the new values. The palette is said to be ‘referenced’ in the cue.
This is a very powerful feature that allows you to make global changes to the show very simply and quickly, rather than having to re-program every cue individually.
If you wish to make a palette that is just a programming tool, where later changes to the palette will not cause cues, scenes and other palettes recorded with it to be updated, then you can use direct palettes. With direct palettes, actual parameter values are placed into cues, rather than
references. See Direct Palettes (p.164).
Tip
Hog 4OS can automatically generate a useful set of palettes based on
the fixtures in your show: see Creating Palettes and Groups Automatically
Directory windows give you quick access to groups, palettes, scenes, cuelists and so on, and they all work in essentially the same way.
Figure 2.7. A Typical Directory
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36
Section 2: Hog 4OS Fundamentals
Figure 2.7, “A Typical Directory” shows a typical directory. The main part of the window is
filled with large buttons, used to access the group, palette, scene, cuelist or page, as well as displaying their names and some other key information:
Display
. . C .
Applies To
Palettes
Palettes
Palettes
Palettes
Palettes
Cuelists
Cuelists
Description
Shows the parameter types recorded in the palette.
I = intensity, P = position, C = colour, B = beam,
E = effect, T = time. See
Recording Palettes with Kind Masking (p.161).
The palette is a direct palette. See
The palette contains references to other palettes.
See Reference Palettes (p.164).
The palette is the Highlight Palette. See
Customising Highlight (p.251).
The palette is the Lowlight Palette. See
Customising Highlight (p.251).
The cuelist is a chase. See
Using a Cuelist as a Chase (p.288).
The cuelist has timecode active. See MIDI (p.327).
Cuelists
Pages
Pages
The cuelist has clock triggers that are enabled. See
The page is the template page. See
The page has a Restore Activity macro defined.
See Restoring Activity When Changing Pages (p.304).
You can rename the selected button (with the red border) by pressing the Set key. You can also hold Set and press any button to rename it.
At the top of the window there are four buttons common to all directories:
Switches to a spreadsheet view, allowing you to edit attributes of the
items in the directory such as their names. See Spreadsheets (p.39) and
Figure 2.8, “A Typical Directory in Spreadsheet View”.
Reports. This allows you to print the contents of the window.
Guard
Configure. This allows you to control various aspects of how the directory window displays information.
When this is depressed, pressing the directory's buttons does not activate them. Instead it selects the item and inserts it in the command line.
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Figure 2.8. A Typical Directory in Spreadsheet View
Tip
You can override the effect of the Guard button by holding down the Pig key while pressing a directory button.
2.7.1
Automatic Naming of Directory Items
When you create or copy a directory item, the console automatically generates a name for the new item. For example, if you have two position palettes and them create a third, the new one will be recorded into location 3 in the directory and named ‘Position 3’. If you then copy this position palette, the copy will be recorded into location 4 in the directory and named ‘Copy of
Position 3’.
You can customise how the console automatically generates these names in the Default Naming
pane of the User Preferences window; see Figure 2.9, “The Default Naming pane of the User
Preferences window”. To open the Default Naming pane:
• Setup
→
Preferences
→
Default Naming
To customise the generated labels:
1.
Click or press on the text box for the required type of directory (group, intensity, position, and so on). Labels for when the new directory item is created by recording or by copying are handled in separate text boxes.
2.
Set
,
[new label text]
,
Enter
: type in the label you want.
3.
Alternatively, click or press on the arrow at the right hand end of the text box to get a list of useful labels. Click on the one you want.
You can use special tags to have the console insert text into the name for you, according to the directory name and the location in the directory:
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Figure 2.9. The Default Naming pane of the User Preferences window
• &d: the directory name
• &D: the directory name (dynamic)
• &n: the directory number
• &N: the directory number (dynamic)
• &o: the original text. This is used when a directory item is copied; the original text is the name of the item that has been copied.
Lowercase tags are resolved once only, when the name is applied, while uppercase tags remain unresolved until the name is displayed (known as ‘dynamic’). So, pressing Set and entering the name of colour palette 3 as ‘&d &n’ will assign the name to be ‘Colour 3’. If you assign the name to be ‘&D &N’, the name will also be assigned to ‘Colour 3’. The difference is that moving this palette to position 4 will automatically correct the name to ‘Colour 4’.
2.7.2
Colour Coding Directory Items
Each directory window allows for unique colour coding of each button within the directory. The default colour for new directory items is standard grey. When you copy a directory item, the
console will automatically copy the directory item's custom colour as well see Figure 2.10,
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Figure 2.10. Directory Item Colour
To customise a directory item in button view:
1.
Using the mouse, right click on the directory button to open the right click menu.
2.
Click on one of the 15 options shown in Figure 2.11, “The Preset Colour
Options” to assign the directory item this colour.
3.
Alternatively, click on
Choose to select a custom colour from a colour wheel or click None to select the standard grey colour. Click on Auto to have palettes in the Colour directory automatically determine the button color based upon the dominate colour value recorded in the palette.
To customise a directory item in spreadsheet view:
1.
Select the Colour cell and press
Set to open the colour selection menu.
2.
Click on one of the 15 preset colours to assign the directory item this colour.
3.
Alternatively, click on Choose to select a custom colour from a colour wheel or click None to select the standard grey colour. Click on Auto to have palettes in the Colour directory automatically determine the button color based upon the dominate colour value recorded in the palette.
Tip
You can select multiple buttons or cells by clicking and dragging to assign the same colour to multiple items.
2.8
Spreadsheets
Similar to Excel spreadsheets, many windows in the Hog 4OS such as the programmer, output window, and cue editors are presented as spreadsheets.
All of the spreadsheets in the Hog 4OS share a common set of features:
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Figure 2.11. The Preset Colour Options
• To resize a spreadhseet column: Place the cursor over the right-hand edge of the column header. The cursor will change to a double-ended arrow. Click and drag to resize the column.
40
• To move a spreasheet column: Click and drag on the column header.
• To hide a spreadsheet column: Right-click on the column header, and choose
Hide
.
• To show a hidden spreadhseet column: Right-click on a column header, and choose the name of the column from the menu.
• To sort the spreadsheet: Right-click on a column header and select Sort to sort the spreadsheet by the values in that column. Select
Sort again to the reverse the direction of the sort. You can also right-click on a column header and select
Sub-sort to assign a second level of sorting. For example, if you sort the Fixture window by fixture type, and sub-sort by Patch, then all the Desk Channels will be shown grouped together, in the order of their patch address.
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• To select all the cells in a spreadsheet column: Double-click on the column header at the top of the spreadsheet.
• To select a single spreadsheet cell: Click or press in the cell. You can use the cursor keys below the Trackball to change which cell is selected. If the cell is editable, it will have a red border.
• To select a range of cells in a spreasheet: You can click or press and then drag across a range of cells to select them all. Alternatively, you can click in the first cell, press and hold Thru , and click in the last cell; this is useful if you want to select a large range and need to scroll the window.
• To edit the contents of cells in a spreadsheet: Click or press in the cell and press the Set key, or double-click in the cell. Type in the new value, and press
Enter . This works for both a single selected cell and a range. Cells that are editable have a red border when selected. Cells labeled Colour in cuelists and scenes will open the colour selection dialog to allow you to colour code the cell.
2.8.1
Compact Mode
In editor windows such as the Programmer, you can use compact mode to save space and get
more information onto the screen without having to scroll; see Figure 2.12, “A spreadsheet with
and without Compact Mode”. In compact mode, fixtures only have columns for the actual para-
meters that they have, rather than for all the parameters of any fixture in the editor. The console uses the display space more efficiently by having multiple columns for fixture types with few parameters, such as desk channels.
You can toggle compact mode on and off with the Compact button in the window's toolbar.
Figure 2.12. A spreadsheet with and without Compact Mode
Note that you cannot sort a spreadsheet that is in compact mode.
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2.8.2
Aggregation
In windows such as the Programmer, it is often useful to keep fixtures of the same type together; this is known as ‘aggregation’. The spreadsheet effectively becomes a list of fixtures in fixture
type order, with headings in the list separating each fixture type; see Figure 2.13, “A Spreadsheet
To use aggregation:
1.
Make sure the spreadsheet is sorted by Fixture Type: right click on the Type column and select
Sort
. If the Type column isn't visible, right click on any column heading and select Type .
2.
Press to open the Configuration window.
3.
Select Enable Aggregation .
4.
Click on OK .
Note that aggregation is always on if the spreadsheet is in compact mode; see Compact Mode
Tip
Aggregation is turned on by default in all editors, such as the Programmer.
Collapsing Aggregated Sections
You can collapse aggregated sections to hide all the rows in that section; see Figure 2.14, “An
Aggregated Spreadsheet With Collapsed Rows”. To collapse an aggregate section, right click
the black heading bar and select
Collapse
.
To expand the aggregation section again, right click the section's black heading bar and select
Expand .
42 High End Systems
Section 2: Hog 4OS Fundamentals
Figure 2.13. A Spreadsheet with Aggregation Turned On
Figure 2.14. An Aggregated Spreadsheet With Collapsed Rows
Priority of Aggregated Sections
You can change the position of an aggregation section in the list by altering its priority. Raising a section's priority will make it appear nearer the top of the spreadsheet.
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Section 2: Hog 4OS Fundamentals
To move an aggregate row up or down in priority, right click the section's black header bar and then select Raise Priority or Lower Priority .
Jumping Between Aggregated Sections
You can quickly bring aggregated sections into view using the Jump Toolbar located on the upper
right of a spreadsheet window, see Figure 2.15, “The Jump Toolbar”. This has a button for each
aggregation section; clicking a button will scroll the list to bring the section into view.
Figure 2.15. The Jump Toolbar
To enable the jump toolbar:
1.
Press to open the Configuration window.
2.
Select
Enable Jump Toolbar
.
3.
Click on Apply .
Tip
The jump toolbar is turned on by default in all editors, such as the Programmer.
2.8.3
Cut, Copy and Paste
You can copy and paste the contents of selected cells:
• Right-click, and select Copy or Paste from the contextual menu.
Or:
• Pig + Copy : copy.
•
Pig
+
Record
: paste.
44 High End Systems
Section 2: Hog 4OS Fundamentals
2.9
Editors
Editors are windows where you can view and assign the parameter values of fixtures. The most important editor in the Hog 4OS is the programmer which acts as the default active editor for all parameter changes when no other editors are open or active. Individual cues, scenes, and palettes can all be openned in editors. Editing parameter values works in essentially the same
way for all of editors; see Selecting Fixtures and Modifying Parameters (p.127).
Figure 2.16. A Typical Editor
You can open an editor window for any cue, scene or palette by holding down the
Open key and selecting it from its directory window. Alternatively, you can use the command line:
•
Cue
1
Open
: opens an editor for Cue 1 and makes it editable.
2.9.1
Editor Window Controls
The main part of an editor window shows the fixture parameter values in a spreadsheet view,
with each row representing a single fixture; see Spreadsheets (p.39).
At the top of the window there are three toolbars with buttons: the Editor Values Toolbar toolbar, the Editor Toolbar, and the Jump Toolbar. The following sections describe the buttons that are common across all editors; some editors have additional buttons that are specific to that type of editor, and these are described in the relevant part of the manual.
The Editor Values Toolbar
The Editor Values Toolbar has buttons for: Value, Fade, Delay, Path, Size, Rate, Offset, Length,
Table, and N Shot. Use these buttons to display the different kinds of information associated
with the fixture's parameters; see Fade, Delay, and Path (p.208).
The Editor Toolbar
The Editor Toolbar has the following buttons:
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Section 2: Hog 4OS Fundamentals
Button Purpose
Press this to make the contents of the editor editable, rather than just to view it. Instructions given to the command line, or using the parameter wheels and I-Wheel, are directed to the editable editor.
In cue editors, press this to see all the parameters that will appear on stage, including those that have tracked through from earlier cues in the cuelist. With Show State deselected, only the hard values actually recorded in the cue are displayed.
Press Show Palettes to see the palette name, rather than the parameter
Press this to have parameter values changed in this editor fade rather
than snap onto stage; see Fade Changes (p.254).
Press this to toggle compact mode on and off. Compact mode fits more information into the editor without having to scroll. However, the column for a particular parameter won't necessarily be aligned across different fixture types, so sorting is not possible.
Reports. This allows you to print the contents of the window.
Configure. This allows you to control various aspects of how the editor window displays information.
The Jump Toolbar
The Jump Toolbar has a button for each type of fixture currently in the editor, allowing you to quickly jump to the parameter values for that type of fixture. The Jump Toolbar only appears if
aggregation is turned on; see Aggregation (p.42).
2.9.2
Changing Parameter Values in the Editor
To make changes to the contents of an editor, you need to have its Edit button selected. You can have up to eight editors open, but only one can be editable at a time, and the parameter wheels,
I-Wheel and command line all operate on the contents of the currently editable editor. If you have several editors open at once, you can use the Edit button to determine which one you are controlling (even if it is not the frontmost window) or to ‘lock’ the editor to prevent accidental changes.
Tip
When you open an editor, all the fixtures within the editor are automatically selected. This aids quick editing of cues or palettes. You can also deselect the Select All on active editor option under the Misc tab of the preference window so that editors can be opened and closed without changing fixture selection.
After you have finished editing a cue, scene or palette, press the Update key to apply changes.
Until you do this, changes won't show up if you run the cue or scene, or use the palette. The exception to this is when you are working in the Programmer, when the Update key will perform
the Auto Update function; see Auto Update (p.252).
46 High End Systems
Section 2: Hog 4OS Fundamentals
If you hold down the Update key, the Update Toolbar will appear. This allows you to select which parameter types are recorded, whether changes should track forwards, and whether refer-
ences should be allowed when recording palettes. See Stopping Values from Tracking Forward
(p.190) and Reference Palettes (p.164).
If you close the editor without updating, you will be asked whether you want to save or discard the changes, or cancel the closing of the editor.
Tip
The name of the current editable editor is shown in the Command Line
Toolbar. By default, it is the Programmer. The name of the item being edited appears in the title bar of the editor window.
2.10
Modifier Keys
The Hog 4 family of consoles all share a common set of useful multi-purpose modifier keys that when held down extend the base functionality of other keys and wheels on the front panel similar way to a Shift or Control key works on personal computers. There are several modifier keys but the core modifier keys in the Hog 4OS are Pig, Open, Delete, Backspace, Set, Cue and Move.
Pig Key Modifier Examples:
1.
Pig + I-Wheel : Changes wheel to proportional intensity mode.
2.
Pig + Record : Pastes information into the selected location.
Key & Button Combinations (p.397) has a full list of commands that use the Pig key.
2.11
Undo and Redo
The Undo button found on the Main Toolbar is similar to the undo command found in computer applications, allowing the user to work back through the last commands entered by the user, undoing them each time the button is pressed. In the Hog 4OS the undo key is global, working back through operations in chronological order, and you can go back all the way to the point at which you logged on to the console (generally, this is when you started the console up). In cases where multiple consoles are networked together the undo task will only undo actions of the local desk.
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Section 2: Hog 4OS Fundamentals
Pressing the Pig button, together with the Undo button, will redo the last undone action. Again, if you have gone back through several undos, you can redo repeatedly until you get back to the most recent action.
The undo and redo feature works on your show data, but generally not on other things.
Undo is not available for:
• Changes to the fixture selection in the Programmer. However, the selection may change as a side effect of an undo action.
• Changes to Control Panel settings, and other things not directly related to your programmed show.
• Changes to window positions and views, and the like.
If undo is not available, you will always be asked to confirm important changes before they take place.
2.12
The File Browser
You can browse and organize several different kinds of system files in the File Browser pane of
the Show Manager window; see Figure 4.2, “The Show Manager Window”. On the left is a list
of the main console folders and the console's drives. Clicking on one of these will display its contents in the right hand list.
The browser shows the name, description, and creation date and time of the file, as well as the version number of the library used to create the show in parentheses. If the show is marked as modified, then the library has been altered through a library merge.
2.12.1
Moving, Copying, Deleting and Renaming Files
To move a file:
• Drag and drop files to destinations in the left hand folder list. Generally, you will find dragging with the mouse or Trackball much easier than using the touchscreen.
To copy a file:
• Drag and drop files while holding down the Pig key (or the Control key on an external keyboard).
To delete a file:
• Right-click on the file and select Delete from the contextual menu. You will be asked to confirm the action.
To rename a file:
48 High End Systems
Section 2: Hog 4OS Fundamentals
• Right-click on the file and select Rename from the contextual menu. Type in the new name and press Enter.
Tip
You can also copy and paste files by right-clicking on them and selecting
Copy or Paste from the contextual menu.
2.12.2
Creating New Folders
You can create sub-folders in the Shows and Libraries folders to help organise your work:
1.
Click on the folder you want to make a new folder in.
2.
Click on the button.
3.
Enter a name for the folder and press Enter.
Note that you cannot create folders on a CD-ROM.
Tip
You can also create a new folder inside an existing one by right clicking on it and using the contextual menu.
2.12.3
Ejecting Disks
You cannot eject a disk in the console' CD drive if it is in use. Before ejecting, make sure that you don't have the disks folder selected in the File Browser. If a disk will not eject, check that you are not browsing its contents elsewhere, and that the console is not currently accessing it.
2.12.4
Burning files to CD
To burn files onto a recordable CD:
1.
Setup
→
Shows
→
CD Burning
: see Figure 2.17, “The CD Burning pane
2.
Select a file to be copied in the left-hand list, and click the Add to CD button to move it to the right-hand list. You may be asked to archive the file before adding it to the list; click
OK to agree to this.
3.
Repeat for all the files you want to copy to the CD.
4.
Insert a recordable CD into the CD drive, located under the console's front wrist rest.
5.
Press the Burn button, and then the Start Burn button in the CD Burning window. The window will show the progress of the writing operation.
High End Systems 49
50
Section 2: Hog 4OS Fundamentals
Figure 2.17. The CD Burning pane of the Show Manager window
Tip
You can use drag and drop to move files to the CD Master list. Note that files will always be copied, not moved.
High End Systems
Section 3: Setting Up the System
3.1
Setting Up the Console
3.1.1
Starting Up the Console
To power on and start up the console plug one end of a standard IEC power cable into any 100-
220 VAC power source and plug the other end into the console's dedicated IEC power port and then turn the power switch on the back of the console to the on position. Make sure that any external bootable media such as bootable USB flash drives or CDs are removed from the console before booting as the console may try to boot to that media instead of to the installed operating system. When the console has finishing booting you will see two windows: the Hog 4OS splash screen and the Hog 4OS start screen. Your console is now ready for operation.
»
Important
Using an ungrounded power source leads to a greater risk of shock and may cause the motorized faders on the Hog 4 and Full Boar 4 consoles to not function properly. Always make sure that the power source for your console is properly grounded.
Figure 3.1. Start Screen, your console is ready to use
3.1.2
Adjusting the Date and Time
The console has a built in clock which is shown at the far right end of the command line toolbar.
To change the console's date, time, and time zone open the Control Panel and navigate to the
Time and Date tab. To change the format in which the console displays the date and time in
High End Systems 51
Section 3: Setting Up the System
your show file open the Preferences window and navigate to the Appearance tab. The format preference is stored in the show file and will change based on which show file you load.
Note: In order to permanately store changes made to the time and date of the console you must restart the Hog 4OS or properly shutdown/reboot the console. Simply switching the console's power switch off/on will result in any time and date changes being lost.
3.1.3
Calibrating the Touch Screens
The touch screens may occasionally need to be calibrated. To recalibrate the touchscreens before launching a show, select the
Touchscreens button in the
Start window. Touch each target as
it appears sequentially; see Figure 3.2, “The Calibration Screen”. After the calibration sequence
is complete, press Enter . You can press the Set key to start the process again if necessary. You can also calibrate the touch screens at any time while loaded in a show by pressing the Calibrate
Touch Screens button in the Displays pane of the Control Panel . Users can also start the touchscreen calibration at any time on their console by holding the
Set key and pressing the encoder wheel button below the first main encoder wheel.
Figure 3.2. The Calibration Screen
3.1.4
Adjusting the Touschscreen LCD Backlight
You can adjust the brightness of the built-in touchscreens by adjusting the LCD backlight settings of the console (Hog 4 and Full Boar 4 only). To adjust the LCD backlight hold down the Setup key and adjust the parameter wheels labelled Left Backlight or Right Backlight .
Tip
If you find the graphics on the screens are too bright, you can change the console's colour scheme to a darker one in Setup
→
Preferences
→
Appearance.
3.1.5
Changing the LCD Backlight Timeout
The backlights that illuminate the console's primary touch screens switch off automatically after a period of time if the console is idle. You can adjust the amount of time the backlights will wait before switching off in the Appearance pane of the User Preferences window:
52 High End Systems
Section 3: Setting Up the System
1.
Setup
→
Preferences
→
Appearance
2.
Adjust the Backlight Off time located at the bottom of the pane, either by pressing the arrows to increment or decrement the value, or by clicking on the value, pressing Set and typing in a new value.
3.
Select OK to apply and close.
Tip
Once the Hog displays are asleep you can wake them up by pressing any key. It is a good idea to use the Pig key as this will prevent you from accidentally changing any data within the show.
3.1.6
Adding External Monitors
You can attach three external displays to the Hog 4 using standard DVI or VGA connectors.
To use external displays, you must enable them and set the screen resolution in the Displays pane of the Control Panel :
• Setup
→
Control Panel
→
Displays
You will need to restart the console to enable the external monitors.
NOTE: The Full Boar 4’s DVI-D monitor output connections do not support analog output to
VGA displays such as those featured on the older Full Boar 3 playback and programming wings.
3.1.7
Adding External Touch Screens
External USB touch screens are supported on the Hog 4, Full Boar 4, and Road Hog 4 consoles.
When an external touchscreen is required High End Systems recommends using Master Wing
4 or Playback Wing 4 for the greatest level of compatability and integration. Additionally Hog
4 OS consoles are compatible with touchscreen monitors listed below:
High End Systems 53
54
Manufacturer
Model
ELO
ELO
ELO
ELO
AccuTouch
ET1229L
AccuTouch
ET1215L
Size
12"
12"
Part
Number
Video
Notes
All Part
No.
E432532
E103047
VGA
Only /
Must use
VGAto-DVI adapter with for use with
Full
Boar 4
VGA
Only /
Must use
VGAto-DVI adapter with for use with
Full
Boar 4
VGA/DVI AccuTouch
ET1725L iTouch
ET1519L
17"
15.6" E232070 VGA
Only /
Must use
VGAto-DVI adapter with for use with
Full
Boar 4
Section 3: Setting Up the System
High End Systems
Section 3: Setting Up the System
Manufacturer
Model
ELO iTouch
ET1919L
Size
ELO Intellatouch
Plus
ET2201L
VIEWSON-
IC
TD2340 23"
Part
Number
Video
Notes
18.5"
22"
E176026
E107766
VGA
Only /
Must use
VGAto-DVI adapter with for use with
Full
Boar 4
VGA/DVI
VS15023 VGA &
HDMI /
Must use
HDMIto-DVI adapter with for use with
Full
Boar 4
To connect an external touchscreen to your console connect your touschscreen montor's DVI or
VGA video signal cable to one of the video output connections on the back of the console.
Navigate to the displays tab of the control panel and use the appropriate drop down menu to set the resolution of the external monitor and hit apply. You will then be prompted to restart the console. After the console has restarted plug in the touschscreen monitor's USB cable to any one of the USB ports on the console. Once plugged in the touchscreen will automatically be detected
and begin working but may need to be calibrated; see Calibrating the Touch Screens (p.52).
3.1.8
Keyboard
Using an External Keyboard
You can connect an external keyboard to the console via the console's USB ports. Choose a keyboard model, and assign the keyboard layout according to the language of the keyboard you have connected, in the Keyboard pane of the Control Panel .
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Section 3: Setting Up the System
You can adjust the timings for Repeat Delay, Repeat Period, and Double Press in the Key Timings pane of the User Preferences window.
Tip
You can use an external keyboard to control many of the console's func-
tions, as well as entering numbers and text; see Keyboard Shortcuts
Using the On-screen Keyboard
You can use the on-screen keyboard to enter text when an external keyboard is not present; see
Figure 3.3, “The On-screen Keyboard”. When prompted to insert text, press the
Set key to launch a touch-screen keyboard. You can use the Pig key as a 'shift' for uppercase characters.
Press the Enter key when you have finished typing.
To close the on-screen keyboard without making any changes, press Set instead of Enter .
Figure 3.3. The On-screen Keyboard
3.1.9
Trackball
Using an External Trackball
External USB trackballs can be connected to the console via the console's USB ports. Most external USB trackballs are supported only as an external mouse with left and right click capabilities however a select set of trackballs (listed below) are fully supported as functional Hog 4 OS trackballs (support for all four trackball buttons and support for the use of the trackball in both pointer and POS mode):
Kensington Expert Mouse (Model K64325)
Kensington Orbit Wireless Mobile Trackball (Model K72352US) - (note: does not have top left and top right buttons)
Kensington SlimBlade Trackball (Model K72327US)
56 High End Systems
Section 3: Setting Up the System
3.1.10
Shutting Down and Restarting the Console
To properly shut down or restart the desk, select Setup
→
Quit . The Quit button is on the right hand end of the Setup ToolbarAfter press the quit button the Shut Down dialog will open (see
Figure 3.4, “The Shut Down Dialog”), with the following options:
Figure 3.4. The Shut Down Dialog
• Shut Down: shutting down will turn the Hog console off completely.
• Restart Console: restarting is like shutting the console down and turning it on again, and will take you to the Start window.
• Log Off: logging off will close your current desktop, Programmer and output screens, as well as closing the current show file. The console remains powered up and running, and returns to the Start window.
• Cancel: cancels the quit command.
In all cases your show data is automatically saved to disk.
3.1.11
Locking the Console for Access
Consoles can be locked for access at any time by hitting the setup key on the console front panel and then pressing the lock button on the quit toolbar. Consoles can also be locked remotely by enabling the "lock local access" button under the security tab of the console settings window for the console on the network you wish to lock.
Figure 3.5. The Lock Button on the quit toolbar
When the console is locked the user cannot access any part of the show file or change any dmx output to the stage. To unlock the console enter the PIN code you have setup for your console using the touch screen, the numeric keypad on the front panel, or an external keyboard.
High End Systems 57
Section 3: Setting Up the System
Figure 3.6. The Lock Window Requesting Pin
By default the lock code for consoles is 1234. To change the lock PIN code for the console open the network window, right click on the console you want to change the settings for, click on settings, and navigate to the security tab. Change the PIN code to the desired value and hit apply.
58
Figure 3.7. Security Settings Tab of Console Settings Window
If you forget the passcode and are locked out of the console you will need to powercycle the console and relaunch the show in order to regain access to the show. Lock pin codes are stored per show and per console.
High End Systems
Section 3: Setting Up the System
3.2
DMX Processor 8000 Setup
To begin setting up your DMX Processor 8000 plug in mains power at any voltage between 100 and 240V AC. The DMX Processor 8000's most fundamental settings are available using the built in front panel menu system.
To navigate through the front panel menu system of the DMX Processor 8000:
Move the cursor through the options backwards.
Select the option currently highlighted by the cursor.
Move the cursor through the options forwards.
3.2.1
Setting the Net Number
The net number is displayed on the main screen of the DMX Processor in the top right-hand corner. To assign the net number:
1.
Main
→
Network : navigate to the Network Configuration screen.
2.
Assign the net number to any value between 01 and 99.
3.
OK : return to the Main screen.
3.2.2
Setting the Port Number
To assign the Port Number:
1.
Main
→
Network : navigate to the Network Configuration screen.
2.
Assign the Port Number as required.
3.
OK : return to the Main screen.
3.2.3
Setting IP Addresses for the HogNet Adapter on a DMX Processor
8000
By default, DMX Processor 8000s are set to use DHCP to get an IP address automatically from
a Hog console. You can turn this off in the IP Config screen:
1.
Main
→
Network
→
Console
→
Console Link Config : navigate to the IP
Config screen.
2.
Set DHCP On or Off.
3.
OK : return to the Console Link Status screen.
4.
Close : return to the Network Configuration screen.
5.
OK : return to the Main screen.
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Section 3: Setting Up the System
You may want to assign a fixed or ‘static’ IP address, perhaps if the Hog system is sharing a network with non-lighting devices such as personal computers. You should contact your system administrator to determine the optimum settings for your network.
To assign a static IP address:
1.
Main
→
Network
→
Console
→
Console Link Config : navigate to the IP
Config screen.
2.
Set DHCP Off.
3.
Set the IP Address and Subnet Mask as required.
4.
OK : return to the Console Link Status screen.
5.
Close : return to the Network Configuration screen.
6.
OK : return to the Main screen.
3.2.4
Setting the DMX Processor DMX Output Refrsh Rate
You can use set the DMX Processor's dmx output refresh rate from 2HZ to 42HZ. The default dmx refresh rate for a new show is 25HZ.
To set the dmx refresh rate of a DMX Processor locally using the onboard LCD panel:
1.
Select DMX from the main menu.
2.
Use the front panel buttons to set the desired dmx refresh rate.
1.
Setup
→
Network on the Setup Toolbar . Select the required DMX Processor in the network window and click Settings .
2.
Select the dmx tab of the dmx processor settings window.
3.
Enter the desired dmx refresh rate in the dmx refresh rate field and press apply.
NOTE: In order to achieve rates above 29Hz users must first set the inter-slot time of the DP8000 to 0 microseconds. For refresh rates below 29Hz users can choose to use either 0ms or 20ms as the inter-slot time.
3.2.5
Setting the DMX Processor back to Defaults
In the Control Panel screen you can set the DP back to it's factory default settings:
• Main
→
Control PanelSet to Defaults .
3.2.6
Locking the DMX Processor Front Panel Controls
You can use the Lock function to lock the DMX Processor's controls. The default PIN is 1234; a new PIN can be assigned from a Hog console via Setup
→
Network on the Setup Toolbar .
Select the required DMX Processor in the network window and click Settings . Change PIN and
OK to apply and close the window.
To lock the DMX Processor locally:
60 High End Systems
Section 3: Setting Up the System
• In the Control Panel , select Lock : the Enter PIN to Unlock screen will appear.
To unlock the DMX Processor locally:
• Enter your chosen 4-digit code number, and cursor right to confirm. The code number will be the default 1234 if you have not changed it to your own.
You can lock and unlock remotely from a console via the DMX Processor Settings window for each specific DMX Processor:
1.
Setup
→
Network : the Network button can be found on the Setup Toolbar .
2.
Select the required DMX Processor in the Network window and click Settings to open the DMX Processor Settings window.
3.
Lock or unlock the DMX Processor and OK to apply and close the window.
»
Important
Make sure that you keep a record of your lock code close to hand if your
DMX Processor is located away from the console. The DMX Processor cannot be unlocked without it or a console operator.
3.2.7
Backlight Off Time
Selecting Backlight in the Control Panel opens a screen where you can assign the delay time before the backlight goes off. The Permanent setting keeps the light on continually.
3.2.8
Watchdog
The Watchdog feature automatically restarts the DMX Processor if its software stops running for some reason. Watchdog is on by default, and generally it is best to leave it switched on.
However, if you suspect that an DMX Processor is not working correctly, you may want to turn
Watchdog off so that you can see any error messages before restarting it:
1.
In the
Control Panel
, select
Watchdog
.
2.
Deselect the Watchdog checkbox, and select OK .
3.2.9
Resetting the DMX Processor
There are two types of reset: soft and hard.
Soft Reset resets the DMX Processor so that it reinitialises communication with the network.
Hard Reset is equivalent to turning off and on the
DMX Processor's mains power. You can do both types of reset from the Control Panel . In addition, you can reset a DMX Processor by right clicking on its entry in the Network window of the console ( Setup
→
Network ) and selecting Reset Node .
3.2.10
Checking a DMX Processor's Status
The indicator lights on the front of a DMX Processor 8000 display its status on the network.
High End Systems 61
Section 3: Setting Up the System
Light
Status
DMX Data
Net Data
USB
HogNet
FixtureNet
(Art-Net)
Write
On
Connected to a show
DMX Data output
Writing flash memory
Blinking
Connecting
2Hz Keep Alive
Off
Not Connected to a show
No DMX sending
Art-Net output Art-Net configured, but not connected
Art-Net not configured
USB Device connected and active
USB Device found but not configured
No USB Device found
HogNet activity HogNet not connected Link light for HogNet connection
Link light for fixture connection
Fixture activity Fixture not connected
Fast: bootloader active
Slow: updating firmware
Normal activity
3.2.11
Expanding the DMX Outputs of a DP8000
The DMX Processor 8000 is always processing 16 universes of DMX. These universes are available via the eight 5-pin XLR outputs on the front of the unit as well as via Art-Net. You can expand the XLR outputs to access the full sixteen universes by using external USB Widgets.
Expanding a DMX Processor 8000 Using an Expander
When you connect a USB Expander to a USB port of a DMX Processor 8000 you will need to configure it to outputs 9-16 of the DMX Processor.
To manually configure Widgets:
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 in the list by clicking on its net number, and press the Settings button to open the DMX Processor Settings window; see
Figure 3.8, “Widget Outputs pane of the DMX Processor Settings window”.
3.
Select the Widget Outputs pane.
4.
To configure an expander to output ports 9-16 of a DMX Processor 8000, click on a box associated with a port (9-16) and select the expander from the list of serial numbers that appears. Repeat for all the universes you want to output via the widget.
5.
Click OK to confirm the settings. The Expander should now have its DMX
Data indicator illuminated.
Expanding a DMX Processor 8000 Using Widgets and Super Widgets
When you connect a USB DMX Widget or Super Widget to a USB port of a DMX Processor
8000 you will need to configure it to the next available output of the DMX Processor.
To manually configure Widgets:
62 High End Systems
Section 3: Setting Up the System
Figure 3.8. Widget Outputs pane of the DMX Processor Settings window
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 in the list by clicking on its net number, and press the Settings button to open the DMX Processor Settings window; see
Figure 3.8, “Widget Outputs pane of the DMX Processor Settings window”.
3.
Select the Widget Outputs pane.
4.
To configure an expander to output ports 9-16 of a DMX Processor 8000, click on a box associated with a port (9-16) and select the widget from the list of serial numbers that appears. Super Widget ports will appear with the serial number followed by an output number. Repeat for all the universes you want to output via the Widget.
5.
Click OK to confirm the settings. The Expander should now have its Active ,
DMX OK and TX Mode indicators illuminated.
A single Widget or single output of a Super Widget may only be connected to one port at any one time. If a Widget that is already connected to one port is connected to a second port, it will automatically be disconnected from the first port.
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3.3
HogNet Network
On the back of every Hog 4OS console is a dedicated Base-T Ethernet jack that can be used for connecting to a network of DMX Processors, computers, and other consoles. If there is more than one Ethernet jack on the back of the console, then the jack labeled HogNet should be used.
The Ethernet jacks on some HedgeHog and RoadHog consoles may not labeled in which case the HogNet port is the Ethernet jack on the RIGHT when viewing the console from the rear (see backpanel drawing below) The hardware on personal computers running Hog 4PC will vary but at least one 100 Base-T Ethernet hardware device must be properly installed and enabled in order for Hog 4PC to successfully communicate to other nodes on a network.
Figure 3.9. HogNet and FixtureNet Connections on back panel of RoadHog 4 Console
All components of a Hog network should be connected using category 5 Ethernet cables and using at least a 100mb Ethernet switch or router. Gigabit switches are also HogNet compatible.
The simplest HogNet network consists of a console and a DMX Processor connected to the lighting rig. Only slightly more complex is the case of a system with a single console and several
DMX Processors connected together with an Ethernet switch. Large systems can have several consoles, Hog 4PC systems, and DMX Processors, controlling large lighting rigs.
3.3.1
Configuring Console Network Adapters
At the top of the HogNet tab in the Control Panel, is a drop down menu of all the installed network adapters usable by the Hog OS. The Hog 4 console will only list one network adapter and it will be greyed out while Windows computers running Hog 4PC might have more than one network adapter listed depending on how many network adapters are installed and enabled on the computer.
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Figure 3.10. The Network pane of the Control Panel
After selecting an adapter from the drop down menu, the area below the menu will show the adapter’s current status:
• A link status of Up indicates the adapter is connected to a network and is ready to be configured to communicate to other network devices.
• A link status of Disconnected indicates the adapter is running but is unable to communicate to other nodes because the network cable is not connected to a network.
• A link status of Down indicates the adapter is either disabled or in an unstable state and is not usable for show operation.
»
Important
Only network adapters with a link state of UP will be able to communicate with other nodes on the network. If none of the listed adapters are in the
UP state then the Hog 4OS will not operate on a network and will instead operate as a standalone console using a loopback address.
Configuring an IP Address for the HogNet Network Adapter
In order for a network adapter to properly communicate on a network it must be configured with an IP address setting that is compatible with other devices on the network. There are three main options when configuring an IP address for a HogNet adapter:
Default IP address: select this option to use an IP address of 172.31.0.1.
Obtain an IP address using DHCP: select this option when running the console on a network that contains a DHCP server such as a DHCP router or a Hog console running a DHCP server.
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»
Important
If you choose to obtain an IP address using DHCP on the console and no
DHCP server is present on the network, then the console will revert to a loopback address of 127.0.0.1 which is not a usable network address for network show operation. In this case you should use a custom IP address.
Custom IP address: This option allows you to specify the IP address and subnet mask settings of the Console. This option is most commonly used on networks where a DHCP server is not present but multiple unique IP addresses need to be specified.
Enabling the DHCP Server
In addition to being DHCP client compatible, all network enabled consoles are also capable of running a DHCP server themselves. Enabling DHCP allows the console to hand out IP addresses to other consoles, DMX Processors, and computers on the network without needing to manually configure static IP addresses for every device on the network.
Choosing BOOT Server ONLY
Included in the DHCP server options of the console is the Boot server. The Boot server process is separate from the DHCP server and is used by Hog consoles to provide remote software imaging for the DMX Processor 8000. You can select options to either run only a Boot server (with or without a custom address range) or to run both a Boot server and a DHCP server. When running both, the custom address range applies to both the DHCP server and the Boot server.
Using a Custom DHCP Server Range
Sometimes in more complex networks where more than one DHCP server is present, specifying a custom DHCP server range is necessary to avoid IP address conflicts. Using a custom DHCP address range applies to both the DHCP server and the Boot server processes. To use a custom
DHCP range on your console enable the Use custom address range button and specify the start and end addresses in the fields below the button.
Firewalls and Hog 4PC
Firewalls help to provide increased network security by controlling access to private networks and computers based on the public IP address of the client. Since the Hog 4OS depends on multicast network traffic for communication to other system devices it is encouraged that users configure their network and computer firewalls and security settings to allow for HogNet network traffic. For some firewall applications this might mean turning off the firewall completely.
Configuring HogNet Network Settings on a DMX Processor
In the front panel menu system of the DMX Processor 8000 is a network configuration menu used to configure IP address settings for that particular node. This menu can be accessed by first selecting Network , HogNet , HogNet Config .
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Configuring the IP addresses and subnet addresses on Hog processors follow the exact same
rules and principals as outlined for network adapters consoles in Configuring Console Network
Typical HogNet Network Configurations
Example A: A single console and single DMX Processor.
Example B: The console is a DHCP server, and all other nodes obtain an IP address from it.
Example C: A DHCP Router serves all components.
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Example D: All components have a custom unique static IP address.
3.3.2
Port Number
Since multiple shows can be run on a single network, each show server running on the network must have its own port number to keep lighting data for each show on the network seperated.
Nodes connecting to the show server must then have the same port number as the show server console. For example, a console running a show server on the network on port 6600 means other nodes such as DMX Processors on the network will need a port number of 6600 as well to join that same show.
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3.3.3
Node Types and Net Numbers
There are two elements that help to identify a node’s role in a network show: node type and net number. The node type is inherent to device hardware and cannot be changed. For example, a
Hog 4 is a “console” node type while a DMX Processor 8000 is a DMX Processor node type.
Secondly, there is the device’s net number. The net number is a user-configurable setting that further defines the node’s role in a network show. For example, a DMX Processor 8000 set to net number 1 means the DMX Processor 8000 will load and output patch information stored in the show file for DMX Processor 8000 #1.
»
Important
Within a single node type each device must be set to a unique net number. For example you cannot set two physical DMX Processor 8000s to net number 1 in a show. Only one of the DPs will actually load show data while the other DP will sit idle as a duplicate. Consoles are the only exception to the duplicate net number rule. Individual consoles can be set to identical net numbers which allows them to fully track one another in terms of their current page, chosen master, and playback state. This
“tracking” feature, when combined with the failover functionality dis-
cussed in Configuring the Network for Console Failover (p.71) provides
the user with the ability to configure a tracking backup console on the network.
3.3.4
Connecting Multiple Consoles
Multiple Hog consoles can be connected together in various configurations when running on the same port number. Client/Server configuration allows multiple users to program on the same show file. Console Failover provides network backup of two or more consoles running the same show. Console Tracking creates redundancy of all console functions across multiple consoles.
You should link all consoles and network devices to an Ethernet switch using certified Category
5 non-crossover cables.
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3.3.5
Configuring the Network for Client/Server
Section 3: Setting Up the System
Running the Console as a Show Server
When the Run Server option in the Settings window of the start screen is checked, the console is enabled as a show server. A show server console is able to do three main things that it would not otherwise be able to do as a client:
1.
Start New Shows
2.
Launch existing shows from disk
3.
Connect to and sync a local copy of show data from other show server consoles on the network.
Since consoles that are enabled as show servers continuously sync and store local copies of show data during programming, setting up more than one show server in your network allows for continued show operation should one console fail. This is method of redundancy is called “fail-
over”. See Configuring the Network for Console Failover (p.71)
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Running the Console as a Client
When the Run Server option in the Settings window of the Start screen is not checked, the console will operate only as a client to other show server consoles on the network. As a client, the console will not keep a local copy of the network show file and as a result will be forced to log off the connected show session if all show servers running on the network are logged off.
Tip
The generic word server is often mentioned when working with a Hog
4OS system. There are three types of servers that are at work in a networked Hog show. The DHCP server manages IP address assignments to other consoles, nodes, and computers on the network through the use of Dynamic Host Control Protocol (DHCP). A Show server refers to the server process running on the console, which manages show data and distribution. The DHCP server and the Show server are independent of one another and do not need to be running on the same console. The
Boot server process is used by Hog consoles to provide remote software imaging for the DMX Processor 8000.
3.3.6
Configuring the Network for Console Failover
When two or more show server consoles are connected to a network show, a feature known as failover is automatically enabled, allowing for one of the consoles to “fail” without causing a loss of control over the show data or dmx output. Each show server on the network has the ability to take over control of the show should one of the other show server consoles suffer from power loss, a severed network connection, or localized failure. Users are encouraged to run at least two networked show server consoles in live performance situations in the event that, if one console fails, the show can remain running on the secondary console while the first console is recovered.
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72
To enable console failover:
1.
Connect two consoles via an Ethernet switch.
2.
Enable the Run Server option in the Settings window on each console.
3.
Configure the primary console as Net number 1 and the secondary console as
Net number 2.
4.
Log on primary console and then connect secondary console.
After configuring the network for failover, each console connected to the show will monitor the status of the primary console (the console that first loaded the show on the network) for any failures or forced log offs.
In the event that the primary console suffers a critical error or is disconnected from the network, all other consoles connected to the show will post the message shown below, notifying the user that a failover has occurred and indicated which of the other server consoles has taken over as the active show server (primary console).
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If you see this message, first check to see if the original primary console is still physically connected to the network, then power cycle the original primary console and reconnect it to the show.
In the event that the console operator intentionally logged off the primary console, all other consoles connected to the show will post the failover message shown below to indicate that the primary server console has logged off and another server console has assumed the role as the active show server (primary console).
Since this message is the direct result of the primary console being willfully logged off from the show there is no need to perform any troubleshooting. Simply reconnect the logged off console to the show and it will once again participate as a show server console on the network.
Understanding Multi-Server Failover Behavior
Below are some specific rules and examples that describe how the Hog 4 OS works when setup in a Multi-Console / Multi-Server environment:
1. The server that initially launches a show is the active server. Other servers that join the show are backup servers. The active server replicates it's copy of the show to all backup servers as they join the show, replacing any existing copy of the show on the backup servers.
2. If all servers stay connected to the network and remain visible to each other, then all servers will have the same copy of the show. New data created on any console will immediately replicate to all servers.
3. If any server logs off, then the remaining servers will continue to store the show and can replicate the show to new consoles that log on. As long as at least one server is always available, then consoles can log off and log on at will.
4. If any server logs off the show and later rejoins, it will always rejoin as a backup server, and the active server will replicate it's current copy of the show to the backup.
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5. If all servers log off at the same time then any server can initially launch the show, since all servers will have the same data. However, the last server to shut down will also clean up the database, so it's preferable that this be the initial server when starting up next time. So it's preferable to designate a single console to store the "master" copy of the show, and ensure it's always the first server to start and the last server to shut down.
6. If some servers log off, then new data continues to be replicated to the remaining servers. If all servers then log off, some consoles will have newer data (the consoles that remained logged in), and some will have older data (the consoles that logged off early). Launching a server using an older copy of the show makes that the active server, and any servers that then join will be backup servers and the old data will be replicated to them. That includes servers that may have had a newer copy of the show. So here is one way that new show data may be lost, replaced with old show data from a console that never saw it.
Understanding Multi-Server Partitioning and Rejoining
1. All servers in a networked show constantly check for connectivity to each other. If connectivity is broken for more than a few seconds, the servers consider themselves isolated from the servers they can't reach. This is called a partitioned network. The servers within each partition will continue to replicate changes amongst each other, so newly created data will be replicated amongst all servers in a partition. However, since there are multiple partitions that can't communicate with each other, there are multiple (different) copies of the show.
2. A partition can happen very easily. For example, by disconnecting a server's network cable for a few seconds, then reconnecting it, it will be partitioned from the rest of the servers.
3. Even after a severed network connection is repaired and connectivity is restored to all servers, they will still artificially remain partitioned. There is no way to automatically merge different copies of the show. There simply is no way for the software to know which copy of the show is
"correct", since conflicting changes may be made within each partition. Since Hog 4 OS can't automatically resolve the differences, the servers artificially maintain the partition. So each partition's copy of the show is maintained only within that partition, and new data is only replicated within each partition.
4. Although the partitions are artificially maintained, all consoles will continue to have control over all aspects of the show that they have connectivity to.
5. Logging a console off a show and rejoining allows that console to rejoin a partition is was previously excluded from. If multiple partitions exist, there is no guarantee which partition it will join.
6. After shutting everything down, different consoles will have different data, based on the partition they were in. Copies of the show from a partition that didn't see any changes will essentially be "old". Changes made in other partitions will be saved on those consoles, but they may be considered backup/client consoles, and thus they are not expected to store the master copy of the data.
7. Data loss is a real risk if the master server is briefly disconnected from the other consoles then reconnected. In this case it will remain artificially partitioned from the other consoles, even though it will be shown as online in the Network Window. New data created on your consoles will be replicated amongst those consoles (since they have their own partition), but the master server won't see any of it since it stays isolated in its own partition. After logging off all consoles,
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their partition is gone, and they will each have a current copy of the show with all new changes.
The master server will have an old (unmodified) copy of the show. If it's rebooted and it initially launches the show, it will still be using it's old copy. The consoles can now rejoin the master server, but their current copy of the show will be replaced with the old show from the master server.
8. To avoid data loss, it recommend that users log off every console/server that's NOT in the partition that has (or will have) the current copy of the show. So in the above case, the only recourse is to leave the consoles online, logoff the master server, and log on the master server to the show. It will then replicate the current show from the consoles.
3.3.7
Configuring the Network for Console Tracking
Console tracking allows two or more consoles to track each other in terms of the chosen page, the chosen master, and playback state while still maintaining individual desktop/programmer experiences between the desks. A backup secondary networked show server console set to the same net number as the primary console is recommmended when setting up Hog control systems for live shows. This creates system redundancy and protects from total loss of control should the primary console fail.
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76
To enable Console Tracking:
1.
Connect two consoles via an Ethernet switch.
2.
Enable the Run Server option in the Settings window on at least one of the consoles. You can choose to enable the Run Server option on both consoles to also engage failover functionality.
3.
Set both consoles to Net number 1.
4.
Log the primary console to a show and then connect the secondary console to the same show.
The two consoles will now mirror each other in terms of chosen master, current page, and playback state.
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3.3.8
More than One Show on the Network
If you want to run more than one show on the same network, you need to choose a port number for each show. The default port number is 6600, so the second show could be on 6601, the third on 6602, and so on. You need to assign the port number of each console system and network device according to the show it is used with.
3.3.9
Connecting to an Existing Network
You can connect the console to an existing ethernet network if desired. Contact the administrator of the network to obtain the correct network settings.
»
Important
You should disable the DHCP server of the console before connecting to an existing computer network, otherwise it may interfere with the correct operation of the network.
3.3.10
Network File Sharing
You can connect to drives on a local network or remote computer to transfer show files. Only compressed show file backup (.tar.gz or .shw) files can be transferred with Network File Sharing.
Mapping Network Drives
Network drives are available within the Start window and the Backup window.
To map a network drive:
1.
Connect a remote computer or network to the HogNet network.
2.
Click the Browse button in the Start or Backup window.
3.
Click on the Map Network Drive button.
4.
Enter data for the following fields in the Connect to Network Disk window:
• Server name: the host name or IP address of the remote computer
• Share name: the name of the shared directory on the remote computer
• Username: the user name to access the shared directory on the remote computer (if required)
• Password: the password to access the shared directory on the remote computer (if required)
• Domain: if the user account is a member of a windows domain, enter that domain name here, otherwise leave this field blank.
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Note that depending upon your network drive configuration, not all fields may be required.
5.
Check the box if you want the connection to be saved with the console. If this option is not selected, then this mapping will be lost when the console is rebooted or power cycled.
6.
Check the box to save the password if you wish to have the password for the drive mapping saved with the above option.
Accessing Network Drives
Once a network drive is mapped, it will appear in the Start and Backup windows under the console heading as a valid drive to browse to. Sub folders of the primary networked drive will also be available.
Disconnecting Network Drives
When browsing a network drive, the Eject button is available in the top right corner of the browse window. Pressing this button will un-map and disconnect the network drive.
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3.4
Art-Net and E1.31(sACN)
Art-Net and E1.31 (also known as streaming ACN) are two communication protocols supported by the Hog 4OS that allow for DMX512 data to be sent over Ethernet. While each protocol is unique in terms of specification and implementation, they both provide the ability to carry many
DMX universes over a single cat 5 Ethernet cable. This section of the manual will help you to understand how to properly configure your console or Hog 4PC to output Art-Net and E1.31.
Platform
Hog 4 Console
DMX Processor 8000
Hog 4PC
Art-Net / sACN Output Capability
16 unique universes (adding DMX
Processors to HogNet network increases output capability)
16 unique universes matches output capability of physically connected USB DMX widgets (8 universe maximum)
3.4.1
Identifying the FixtureNet Port
The FixtureNet port is the ethernet port Hog 4OS uses to send Art-Net and/or E1.31 data to fixtures, media servers, and DMX converters that are capable of receiving these protocols over ethernet. The FixtureNet port is located on the rear panel of the Hog 4 Console as well as on the rear panel of the DMX Processor 8000. Depending on the age of your DMX Procressor 8000 the port will either be labeled FixtureNet or Fixture Link.
When using Hog 4PC you have the option to select which of your computer's network adapters will act as the FixtureNet port for outputting Art-Net and/or E1.31.
To assign one of your computer's network adapters to act as the Hog 4PC FixtureNet port:
1.
Control Panel
→
FixtureNet
2.
Select a network adapter from the list of available adapters at the top of the window. If only one network adapter is available then it will be selected automatically and the drop down box will be greyed out. If no network adapters are available the drop down menu will be blank and greyed out.
»
Important
Hog 4PC will only output Art-Net and sACN for universes 1 thru 8 and a
USB DMX Widget must be connected and assigned to the matching universe.
»
Important
It is recommended that you do not combine HogNet and Art-Net or
E1.31(sACN) within the same network. This can produce network errors and unreliable data. When using Hog 4PC you have the ability to assign
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both HogNet and Art-Net/E1.31 to a single adapter but using separate network adapters is strongly advised.
3.4.2
Configuring the FixtureNet Port
In order to successfully output Art-Net or E1.31 from your Hog 4 console, DMX Processor 8000, or Hog 4PC, you must first properly configure the FixtureNet's IP address to settings that are appropriate for your network.
To configure DMX Processor 8000's FixtureNet from the DP8000 front panel:
• Network
→
Fixture
→
FixtureNetConfig
To configure DP8000's FixtureNet from the console:
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 and press Settings .
3.
Select the FixtureNet pane of the DMX Processor Settings window;
To configure the Hog 4 console or Hog 4PC's assigned FixtureNet port from the console:
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 assigned to net number 1 (or whichever DMX
Processor is associated with the local internal DMX Processor 8000 in your show) and press
Settings
.
3.
Select the FixtureNet pane of the DMX Processor Settings window.
From these configurations menus you can configure the FixtureNet's IP address (source address) in one of two ways:
• Obtain an IP address using DHCP: select this option when running the Art-
Net side of the console on a network that contains a DHCP server such as a
DHCP router. When using DHCP, the IP Address , Netmask , and Gateway fields will be grayed out. The information contained with them is not relevant to the DHCP configuration.
»
Important
If you select Obtain an IP address using DHCP on the console and no DHCP server is present on the FixtureNet network then the FixtureNet adapter will revert to a loopback address of 127.0.0.1.
• Use Custom IP Settings: This option allows you to specify the IP address and subnet mask settings of the FixtureNet adapter. This option is most commonly used on networks where a DHCP server is not present. Once selected you will need to enter the IP Address , Netmask , and Gateway for this device on the network.
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3.4.3
Configuring Art-Net Output
Art-Net output is configurable using the Art-Net Outputs pane of the DMX Processor Settings window.
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 and press Settings .
3.
Select the
Art-Net Outputs pane of the
DMX Processor Settings window,
see Figure 3.11, “Art-Net Outputs pane of the DMX Processor Settings win-
• Universe: this field denotes which DMX universe to configure.
• Broadcast: check this box to enable Broadcasting. When enabled, all Art-Net information will be sent to all nodes.
• UnicastIP: when the Broadcast field is not checked, enter an IP address of an
Art-Net node to Unicast the universe’s data to.
• Subnet: click to select the Art-Net subnet (0-15) to transmit this universe’s data on. By default, the subnet will match the Node number of the DMX Processor 8000.
• Universe: click to select the Art-Net Universe (0-15) to transmit this universe’s data on.
• Changes Only: check this box to transmit only changes to Art-Net data.
• –/ + : click these keys to expand or reduce the number of Art-Net configurations for a specific DMX universe.
3.4.4
Configuring E1.31(sACN) Output
E1.31 Output is configurable using the E1.31
pane of the DMX Processor window.
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 and press Settings .
3.
Select the
E1.31
pane of the
DMX Processor Settings
ure 3.12, “E1.31 pane of the DMX Processor Settings window”.
• Universe: this field denotes which DMX universe to configure.
• Multicast: check this box to enable Multicasting. When enabled, all E1.31 information will be sent to all nodes.
• Destination IP: when the Multicast field is not checked, enter an IP address to
Unicast E1.31 data to.
• Universe: click to select the E1.31 Universe to transmit this universe’s data on.
• Changes Only: check this box to transmit only changes to E1.31 data.
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Figure 3.11. Art-Net Outputs pane of the DMX Processor Settings window
82
Figure 3.12. E1.31 pane of the DMX Processor Settings window
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E1.31 supports two styles of priority. The first is a per-universe priority that defines a single priority for all of the slots within the universe. The second style, per-slot priority, allows a separate priority be be assigned to each individual slot within that universe. Not all E1.31 receivers support per-slot priority. On those receivers that support per-slot priority, the per-universe priority will be ignored when per-slot priority is enabled.
• Priority : : click to the per-universe priority for the E1.31 data being sent for that universe of data. Valid settings range from 0 to 200, with higher numbers representing higher priority.
• Per Slot Priority : : click on the Enable button to enable per-slot priorities for the universe. Click on the
Configure button to set the per-slot priority values for individual slots within that universe. Valid settings range from 0 to 200.
Higher numbers represent higher priority. A slot priority of 0 indicates that the slot should be ignored.
• –/ + : click these keys to expand or reduce the number of E1.31 configurations for a specific DMX universe.
When E1.31 is configured and fixtures are patched, the Net Data LED on the DMX Processor
8000 will illuminate to indicate E1.31 Output.
3.5
Adding Playback Wings
You can increase the number of physical masters on your console as well as add an additional touchscreen monitor by attaching a Hog 4 Playback Wing.
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84
Figure 3.13. Docking Playback Bars with wings and external displays
To attach a Playback Wing:
1.
Apply AC power to the wing and connect the wing's USB port and DVI port to the console.
2.
Setup
→
Control Panel
→
Wings : open the Wings pane of the Control
Panel window (see Figure 3.14, “The Wings pane of the Control Panel with
3.
Attach the wing to one of the playback bars by selecting the wing's unique ID number in the drop down menu for that playback bar.
4.
If you have more than one wing, you can identify which is which by pressing the Beacon button for the appropriate playback bar. The LEDs on the wing will flash.
5.
Ensure that the playback bar is visible by selecting its Display button.
6.
Enable the external monitor included on the wing navigate to the Dispalys tab of the control panel and enable the cordinating DVI output where you plugged in the wing.
NOTE: The Full Boar 4’s DVI-D monitor output connections do not support analog output to VGA displays such as those featured on the older Full Boar
3 playback and programming wings.
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Figure 3.14. The Wings pane of the Control Panel with Playback Wing Mapping
3.6
Adding Master Wings
You can increase the number of physical masters by adding Master Wings to the console. The
Master Wing is a USB device with 30 faderless masters, a rate wheel, and a 15" LED baclit screen. The backit LED screen can be enabled to display any information you move to that monitor including Playback Bars. The Master Wing connects to the console in the control panel under the playback wings section. The Master wing's desklight and front panel LED settings will always match the console. The virtual fader level of the 30 faderless masters on the Master Wing can be configured in the Virtual Faders pane of the User Preferences window.
To attach a Master Wing:
1.
Apply AC power to the wing and connect the wing's USB port and DVI port to the console. The rate wheel on the Master Wing will already begin to function at this time with no further configuration.
2.
Setup
→
Control Panel
→
Wings : open the Wings pane of the Control
Panel window (see Figure 3.15, “The Wings pane of the Control Panel with
3.
Click on the drop down menu for one of the playback bars listed in the control panel and select one of the master wing's sections to assign it to that playback
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bar. The Master Wing has three three assignable sections: Hog4Master Top,
Hog4Master Middle, and Hog4Master Bottom which cordinate to the three rows of masters on the control surface of the Master Wing.
4.
If you have more than one wing, you can identify which wing is which by pressing the Beacon button for any assigned playback bar. The LEDs on the wing will flash.
5.
Ensure that the playback bars that you have assigned to the Master Wing are visible by selecting the Display button for those particular playback bars.
6.
To enable the external monitor included on the wing navigate to the displays tab of the control panel and enable the cordinating DVI output where you plugged in the wing.
Figure 3.15. The Wings pane of the Control Panel with Master Wing mappings
3.7
Adding DMX Widgets
The number of physical dmx connections on the back of the Hog 4 Console and the DP8000 is actually lower than the number of dmx universes these devices are actually capable of outputting.
Connecting external USB dmx widgets to your Hog 4 Console, DMX Processor 8000, or Hog
4PC is the best way realize the full dmx output potential of your setup.
DMX
Output
Potential
Hog 4
Console
16 Universes
16 Universes
DMX
Processor
8000
Full
Boar 4
Road
Hog 4
12 Universes
8 Universes
Hog 4PC 8 Universes
Hedge-
Hog 4X
Hedge-
Hog 4,
4N, 4S
6 Universes
4 Universes
Built-in
DMX Outputs
Widgets to fully reach DMX output potential
8 Universes 8 Single or 2 Super or
1 Super-duper
8 Universes 8 Single or 2 Super or
1 Super-duper
4 Universes
4 Universes
None
8 Single or 2 Super or
1 Super-duper
4 Single or 1 Super or
1/2 Super-duper
8 Single or 2 Super or
1 Super-duper
2 Universes 4 Single or 1 Super or
1/2 Super-duper
2 Universes 2 Single or 1/2 Super
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To attach an external DMX widgets:
1.
Connect the USB port of the dmx widget to the an open USB port on the console (Superwidgets also require an external DC power source).
2.
Setup
→
Network......
3.
Assign the dmx widget to one of the available dmx outputs of the internal
DP8000 by selecting the wing's unique ID number in the drop down menu.
4.
If you have more than one dmx widget plugged in, you can identify which is which by pressing the Beacon button for the appropriate universe output mapping.
3.8
DMX Widget Status LEDs
LED
TX Mode
RX Mode
DMX OK
Active
Link
On
widget is transmitting dmx not implemented widget is mapped and connected to an active
DP widget has loaded its firmware
Slow Blinking
not implemented not implemented
Off
widget is not transmitting dmx not implemented not implemented widget is outputting dmx widget has lost connection to active DP and widget is transmitting
DMX at a 2HZ keep alive refresh rate widget is not outputting dmx not implement DMX widget is not mapped to an active
DP widget has not loaded its firmware
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4.1
Launch a New Show
To launch a new show press the
Launch New Show button in the start window. A browser window will open. Select the directory where you wish to store the show, give it a name, and then press the finish button. The console will then launch all the neccessary processes to get you up and running in your new blank show.
TIP
If the launch new show button is greyed out or unavalaible make sure that the "run server" option is checked in the start screen's settings window. If "run server" is checked but the new show button is still greyed out then it's possible another console is running a show on the same port on the network.
4.2
Launch an Existing Show
To launch an existing show press the Launch Existing Show button in the start window to launch the last launched show file. Alternatively you can press the Browse button to select from existing shows on your console's hard drive, a USB flash drive, or a CD. Show files with a icon are "ready to launch" existing show files. Show files that have a icon are archived show files and will need to be extracted to the hard drive in order to load. The unarchiving process is done automatically by the console but will slightly lengthen the amount of time needed to launch the show.
4.3
Connect to a Network Show
To connect to a show already running on the network look at the "connect to show" section of the start window. If a show is running on the network and on the same port number then it's file name will show up on the button. Pressing the button will connect the console to that show.
If "No Show found" is displayed on the button then it's possible your network settings may need to be reconfigured in order to connect to a network show. First check the following :
• Make sure your console is set to the same port number as the server console on the network.
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• Check that your console's IP address settings are correct for that particular network setup.
4.4
Change the Currently Loaded Show
If you are logged into a show but want to change to a different show:
1.
Setup
→
Quit
2.
Select Log Off .
3.
In the Start window, either launch a new show or browse to launch an existing show.
4.5
Automatically Launch a Show at Console Startup
You can assign the Hog 4OS to automatically launch an existing show file at startup:
1.
Setup
→
Control Panel
→
Auto Launch :
2.
Select Enable Auto Launch .
3.
Choose a show file you wish to auto-launch.
4.
Assign a delay time which will determine how long the console will wait before the show is automatically launched.
At startup, a pop-up window will tell you that the show will be launched automatically after the
assigned delay; see Figure 4.1, “The Auto Launch window”. Click
Load Now to ignore the remaining delay and launch the show immediately. Click Cancel to return to the Start window. If you specified a delay of 0 seconds, the delay window will not be displayed.
Figure 4.1. The Auto Launch window
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4.6
Managing Show Data
All show data is stored on the internal hard disk of the console. Show files and folders are stored in the Shows folder while libraries are stored in the Libraries folder.
As you edit your show file all of your changes are immediately saved to the console's internal hard disk. In the event of power failure the Hog 4OS will have already saved the show data to disk so that none of your work is lost.
You can use the Show Manager
window (see Figure 4.2, “The Show Manager Window”) to
backup your current show file, check the integrity of your current show file's data, or to move, copy, and delete existing shows files.
To open the Show Manager:
• Setup
→
Shows
Figure 4.2. The Show Manager Window
4.7
Startup Comment Macros
You can assign comment macros to be executed when a show file is launched. Comment macros can be used to automate a variety of tasks such as recalling views or changing pages. Startup comment macros are assigned in the Misc pane of the User Preferences window:
• Setup
→
Preferences
→
Misc
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For details of the macro syntax, see Macros (p.353).
4.8
Backing Up Your Show
It is recommended that you backup your show file regularly by saving a compressed copy of your show file on the console's hard disk or on a USB Flash Drive. Backup files are small in size and are also easy to transfer from one console to another. Compressed backups provide a method for reverting to older archives of your show file should a major problem occur with your show file.
Use the following steps to make a compressed show file backup:
1.
Setup
→
Shows
→
Current Show
2.
Click Backup .
3.
Browse to a location on the hard drive or an external disk to save the backup file.
4.
Click OK . A compressed copy of your show will be saved with ‘_bck’ appended to its file name.
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Tip
You should backup your show files to external media regularly so that if something catostrophic happens to you console or internal hard drive you can still access the backups.
The Hog 4 and Full Boar 4 consoles also feature a quick backup button on the bottom right hand side of the right screen's main toolbar. Clicking on the "backup" button will quickly generate a backup of your show file in the shows directory using your show file's name. If other backups with the same name exist in the shows directory the console will automatically append the new backup file with a number.
4.9
Repairing Show Files
On rare occassions show data may become unreadable or unreliable due to local hard drive failure, sudden power loss during programming, or poor network connectivity in multi-server setups. If you are experiencing problems with the reliability or integrity of data within a show file try using the following steps to attempt repairing the show file:
1.
Setup
→
Shows
→
Current Show
2.
Click Check Integrity .
3.
The console will now scan the data in the show and attempt to fix any broken database links and perform other show database maintenance. In some cases show data may not be repairable and reverting to an archived backup of the show file will be required. Remember to back up show files often.
Tip
In some cases when the check integrity procedure is unable to repair a faulty show file, merging the affected show file into a new show file may stabilize the data. This is most effective in cases where a faulty show file is undesirably removing palettes and or cues from the show when logging off/on.
4.10
Optimizing Show Files
When working with show files originally created with older versions of the Hog 4 OS or Hog 3
OS it is sometimes beneficial to optimize the show file's data to take advantage of the latest methods used by the Hog 4 OS to compress and store show data. Running the compress show utlity can sometimes help to significantly reduce the size of a show file, improve log on/off times, speed up show backups, and/or improve network reliability.
1.
Setup
→
Shows
→
Current Show
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2.
Click compress show .
3.
The console will now scan the look data in the show (cues, palettes, scenes, etc.) and re-write the data in the show file using the most current and optimized methods utilized in the Hog 4 OS.
4.11
User Preferences
Settings within the User Preferences window are stored as part of the show file and are applied whenever the show file is launched.
4.11.1
Desklight, Worklight, and Vent Light Preferences
You can individually adjust the brightness of the console's desklights, worklight, and front panel key LEDs by holding down the Setup key and adjusting the cordinating parameter wheel.
The vent light brightness level on the Hog 4, Full Boar 4, and Road Hog 4 consoles is controlled by a slider that is located in in the
Appearance pane of the
User Preferences window. The
vent light will turn off during periods of console unactivivity as determined by the Changing the
LCD Backlight Timeout (p.52) setting. Similar to the desk lights, the vent light will come on at
full intensity on a cold boot before you have loaded a show file.
The desklights feature both blue and white LEDs. By default the desklights are white during
normal activity and turn blue during periods of unactivivity as determined by the Changing the
LCD Backlight Timeout (p.52) setting. If you prefer the desklights to always be blue, you can
select Use Blue Desklights in the Appearance pane of the User Preferences window.
4.11.2
Touchscreen Backlight Brightness
You can adjust the brightness of each of the console's touchscreen backlights by holding down the
Setup key and adjusting the cordinating parameter wheel.
4.11.3
Trackball and Trackball Ring Preferences
The Trackball and it's outer ring have two modes:
• Pointer Mode: The trackball controls the on-screen pointer, like a mouse on a personal computer while the trackball ring acts as a vertical scroll wheel.
• Position Mode: The trackball lights up in blue and controls the position (pan and tilt) of fixtures while the trackball ring controls whichever function is assigned to it in the Trackball tab of the User Preferences window.
You can switch between the two modes by pressing the top right Trackball key.
To lock the Trackball to one mode:
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1.
Setup
→
Preferences
→
Trackball
2.
Select Pointer or Position from the drop down menu to lock the Trackball in that mode. Select Toggles to restore the ability to change modes with the top right Trackball key.
3.
Select OK to apply and close.
Tip
Make sure you have an external mouse connected if you lock the Trackball in position mode, and you don't want to control the on screen pointer only by pressing the touchscreens.
Trackball Keys
You can configure the function of the four keys surrounding the Trackball according to the current mode (pointer or position). For example, in pointer mode you can have Right Click, Left Click,
Flip and Ball Mode mapped while in position mode you could have Flip, Next, Ortho Toggle and Ball Mode mapped. The Trackball keys are assigned in the Track Ball pane of the User
Preferences
window; see Figure 4.3, “The Track Ball pane of the User Preferences window”.
Figure 4.3. The Track Ball pane of the User Preferences window
The following navigation functions are available:
• Ball Mode: switches the Trackball between position and pointer modes.
• Ortho Toggle: switches the Trackball between Ortho and Normal. When in position mode, with ortho on, the Trackball will only control pan or tilt, not both at the same time. This can be useful for accurately setting fixtures.
• Right Click: the same as a right-click with the mouse. This is usually used to bring up a contextual menu with commands such as copy and paste.
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• Left Click: the same as left-click with the mouse.
• Shuffle: shuffles the pointer across windows, bringing that window to the front
(unlike shuffle on the Window Control Toolbar which shuffles the screen view).
• Swap to Screen: moves the pointer between screens (useful for when external displays are connected to quickly move between screens).
• Set: the same as the Set key, but closer to the Trackball for quick cell editing.
• Close Window: closes the active window.
• Toggle KindKeys/CmdKeys: toggles the function keys between kind mode and command key mode.
In addition, the following fixture and playback functions are available:
•
Next: sub-selects the next fixture in the current selection. See Sub Selections
•
Back: sub-selects the previous fixture in the current selection. See Sub Selections
•
Select All: selects all the fixtures currently in the Programmer. See Select All
• Flip: changes the pan and tilt of a moving head fixture to point at the same
position on the stage, but from the other end of its movement range. See Flip
• Fade Changes: toggles the state of the Fade Changes button in the active editor.
•
Next Page: advances to the next page in the page directory. See Changing Page
•
Out: assigns the current selection's intensity to zero; see Intensity (p.131).
The default settings for the Trackball keys are:
Trackball Key
top left top right bottom left bottom right
Pointer Mode
flip ball mode left click right click
Position Mode
flip ball mode next ortho toggle
4.11.4
Center Wheel Preferences
The user preference for which fixture functions are assigned to the center wheel on the front panel of the Hog 4 Console is managed in the Center Wheel pane of the User Preferences window. In this window you can assign as many functions as you like to the center wheel by dragging functions from left hand side of the window to the wheel display on the right hand side of the window. To delete functions from the center wheel click on the function in the right hand
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pane of the preferences window to highlight the function in blue and then press the delete key on the console front panel.
When a fixture selection is made functions assigned to the center wheel will be diplayed on the toolbar located at the bottom of the front panel's center display. Functions that you've assigned to the center wheel wil only be displayed if they are valid for your current fixture selection.
To cycle the center wheel through the functions press the button to the bottom right of the center wheel. The action of the button to the bottom left of the center wheel is determined by the Encoder
Wheel Options preference (see See Encoder Wheel Button Options (p.98)). The inner part of
the center wheel acts exactly like the main encoder wheels on the desk. The outer spring loaded ring of the center wheel acts more like a shuttle whereby a move in either direction will initialize a value change at a fixed rate. The more you turn the ring the high the rate of change.
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4.11.5
Encoder Wheel Button Options
You can adjust the action that occurs when pressing the grey encoder wheel button (located to bottom left of each encoder wheel) in the Programming pane of the User Preferences window:
Setting
Fine Mode (default)
Cycle Feature
Mode
Set
Max/Min
Neg/Pos
Adjust by One
Function
makes encoder wheel adjustments more refined (same as holding pig key) when encoder wheel button is held down changes the feature mode of the function assigned to the encoder wheel when the encoder wheel button is pressed opens a direct entry dialogue box for the encoder wheel when button is pressed (similar to holding set and turning encoder wheel) sets wheel to max value when button is pressed first time; sets wheel to minimum value when pressed second time sets wheel to negative value when button is pressed first time; sets wheel back to positive value when pressed second time increments wheel by one real world value when button is pressed
(descreases wheel value by one when holding pig and pressing button)
4.11.6
Keys and Button Preferences
You can adjust various key timings in the
Key Timings pane of the
User Preferences window:
Setting
Key repeat delay
Key repeat period
Key double press time
Function
When you hold down a key, this is the delay before it starts to repeat.
When you hold down a key, this is the time between repeats.
When you press a key twice within this time, the console interprets this as a double-press.
Note: these timings only apply to the physical keys on the console's front panel, and not to the on-screen buttons.
Tip
Double-pressing a key is often a shortcut way of opening the window associated with the key; for example, double pressing the Beam key will open the Bean directory window. If you prefer not to use the double-press shortcuts, then assign the double-press time to zero to disable it.
4.11.7
Importing and Exporting Show Preferences
You can export the user preference settings as a separate file so that you can later import them into any show that you are working on. To export your user preferences:
1.
Setup
→
Preferences : open the User Preferences window.
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2.
Click on the Export button, and select a location to save the preferences file to.
To load your preferences into the current show:
1.
Setup
→
Preferences : open the User Preferences window.
2.
Click on the Import button, browse to the location of your preferences files, and select a preferences file to import.
4.12
Merging Shows
Show merging allows you to take the programming from one show and merge it into another show. To merge show files you must first load the show you want to merge data into. This is known as the current show. The show you then select to merge data in from is called the source show.
To select a source show to merge in:
1.
Setup
→
Shows
→
Current Show : opens the Current Show pane of the
Show Manager.
2.
Press
Merge to be guided through the merge process. The Merge Show window
will open; see Figure 4.4, “The Source Location page of the Merge Show
3.
Choose a source show file. Note that if you have chosen a backup (.bck or
.shw) file, it may take a few extra moments for the console to uncompress the show file and read its contents.
4.
Once you have chosen a source show, you will be offered several options for data that can be merged: Fixture Types, Fixtures, and Programming (user kinds, groups, palettes, plots, cuelists, scenes, pages, macros, views, and reports).
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Figure 4.4. The Source Location page of the Merge Show window
4.12.1
Merging Fixture Types
Once you have selected a source show, Hog 4OS compares the fixture types contained within
each show file and creates a list of fixture types which have changed; see Figure 4.5, “The Type
Merge page of the Merge Show window”.
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Figure 4.5. The Type Merge page of the Merge Show window
An expanding tree shows the fixture types that do not match exactly and will explain what their differences are:
• Newer: the fixture type in the source show is a newer revision.
• Older: the type in the source show is an older revision.
• Not In Show: the type is in the source show but not the current show.
If you want to see all fixture types in the source show file even if they match the fixture types destination show, press
Show Same Revision
.
Select the fixture types to merge by clicking on their check boxes. The
Deselect All button allows you to clear the current selection and start again. Press Next to continue.
4.12.2
Merging Fixtures
After choosing to merge fixture types, you can merge the fixtures used in the two shows; see
Figure 4.6, “The Fixture Merge page of the Merge Show window”. If you choose not to merge
fixtures, you will not be able to merge any programming other than macros, views, and reports.
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102
Figure 4.6. The Fixture Merge page of the Merge Show window
There are two options for merging fixtures:
Append: appending fixtures will add a copy of all of the fixtures from the source show into the current show. Any programming that is merged from the source show will use the appended fixtures and all programming in the current show will continue to use the same fixtures as before.
Replace: replacing fixtures will match fixtures from the source show with fixtures in the current show using a combination of the fixture type and user number. If a match is made, the fixture in the current show is replaced with the one in the source show and all programming in the source and current show that used that fixture will use the merged fixture. If no match is made, the source fixture is appended to the current show as above.
»
Important
If you merge fixtures and then merge programming, because both the source show and the current show are using the same fixture, any programming from the source show using that fixture will overwrite the programming in the current show.
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Section 4: Shows
4.12.3
Merging Programming
After merging fixtures, you can merge the programming (user kinds, groups, palettes, plots,
cuelists, scenes, pages, macros, views, and reports) from the source show; see Figure 4.7, “The
Group Merge page of the Merge Show window”.
Figure 4.7. The Group Merge page of the Merge Show window
When merging programming the following merge methods are available from the drop down menu in the Merge field:
• Append: adds all of the programming from the source show to the current show.
• Append Different: if programming with the same name cannot by found in the current show, the programming from the source show is appended.
• Merge By Name: if programming with the same name is found in the current show, merge the source programming into the current show. If there are any clashes, the source programming will overwrite the current programming. This option is not available when merging views.
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• Merge By Number: is the same as Merge By Name, but the matching is done by number. This option is not available when merging views.
• Replace: if programming with the same number is found in the current show, it is overwritten with programming from the source show. If no match is found, the source programming is appended to the current show.
After selecting the merge method, you can select which programming objects to merge by clicking on each item displayed in the window. Items highlighted in blue are selected for merging.
Tip
You cannot replace palettes in the current show because you could replace a palette with one that doesn't contain programming for fixture parameters that other programming expects it to have.
4.12.4
Dependencies
In order to merge certain parts of a show, you must have chosen to merge other parts:
• To merge groups, you must have merged fixtures.
• To merge palettes, you must have merged fixtures.
• To merge cuelists and cues, you must have merged fixtures and palettes.
• To merge scenes, you must have merged fixtures and palettes.
• To merge pages, you must have merged fixtures, cuelists, and scenes.
• To merge plots, you must have merged fixtures.
4.12.5
Patching after show merge
If you chose to merge fixtures using the replace method during the show merge process, then you will have to re-patch any replaced fixtures and/or patch any un-matched appended fixtures in the current show file following the show merge. In addition, you must also re-assign PixelMap layers to PixelMaps following a show merge that involves fixture replacement as well.
4.12.6
Merging Examples
Example 1: You have programmed your show on two separate consoles (perhaps one controlling moving fixtures and one controlling conventionals) and you want to merge the shows for playback on one console. Each show file contains identical palette and cuelist structures, but they just control their own fixtures.
In this case, Append fixtures and Merge By Name for all programming.
Example 2: You have two shows programmed using the same rig, which you now want to merge.
Each show contains exactly the same fixtures.
In this case, Replace fixtures, and Append Different all of the programming (assuming all of the programming has unique names).
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Fixtures
5.1
Adding Fixtures
To add a fixture to a show:
1.
Setup
→
Patch : opens the Fixture window.
2.
Press the Fixture Schedule button in the top left hand corner of the Fixture window. The Fixture Schedule window will open with a list of fixture personalities in the current show file as well as fixtures that are part of the currently chosen Fixture Library.
The currently chosen fixture library is listed at the bottom of the fixture selection window. To add fixtures from another library you must first install the library onto your console by openning the file browser and dragging the fixture library archive file from a USB stick or CD into the libraries folder. After the library is installed you can select it as your current library in the fixture selection window.
Each fixture is listed under its manufacturer, while conventional fixtures such as Desk Channels and Scroller-Dimmers are listed under Generic. You can filter the list of fixtures to only the fixtures currently scheduled in the show by clicking on the Limit to fixture in use button at the top of the Fixture window. Alternatively, you can type a fixture name into the Search fixture name field at the top of the window to filter the names of the fixtures to more quickly find the exact fixture type you are looking for.
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Figure 5.1. The Fixture Schedule window
3.
Once you find the fixture type you wish to add, click on or touch the fixture in the list and use the count column to input the number fixtures of that type your wish to add.
4.
When you have finished select OK and you will now see these added fixtures list in the patch window where you will patch them to outputs.
5.2
Patching Fixtures
Once fixtures have been added to the show, they need to be patched to the appropriate DMX
address. Many fixtures, such as moving lights, use several DMX channels to control their various
parameters. Generally, these DMX channels are in a continuous numerical range, and it is the first of these channels (known as the ‘start address’) that is the DMX address that you assign during the patching process. Hog 4OS uses the information about the fixture contained in the
Fixture Library to calculate how many DMX channels are used by the fixture, and assigns them accordingly, starting at the Start Address you have given.
To patch a fixture:
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1.
Setup
→
Patch : this opens the Fixture window.
2.
Select the fixture fixtures you wish to patch and then press the Patch @ button to open the Fixture Patch
window. See Figure 5.2, “The Fixture Patch win-
3.
Select a DP8000 in the list on the left-hand side of the window. If there are no DP8000s shown, or you want to patch to one that isn't listed shown in the
list, you need to add it. See Adding and Removing DMX Processors (p.110).
4.
Click or press one of the available DMX universes shown to select a universe to patch to. The display gives a graphical indication of which addresses are already occupied. Type in a number for the fixture's DMX start address; the next free address is shown below each universe.
5.
Click on OK or press Enter .
6.
If you have finished patching, click on Apply Patch or close the Fixture window to send the new patch information to the DMX Processors.
Figure 5.2. The Fixture Patch window
You can also use the keypad to patch fixtures. For example, to patch Studio Color 1 to DMX
Processor 2, Universe 4, at address 17:
• Fixture
1
@
2/4/17
Enter
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To patch further fixtures to the same DMX Processor and universe, you can use the shorthand:
• Fixture
2
@
33
Enter
To patch a fixture at the next available address on the same DMX Processor and universe:
• Fixture
3
@ Enter
Again, if you have finished patching click on Apply Patch or close the Fixture window to send the new patch information to the DMX Processors.
5.2.1
Patching Several Fixtures at Once
If you select several fixtures and patch them, Hog 4OS will allocate them to a continuous range of DMX addresses, assigning each fixture's patch address so that it follows on from the last.
For example, to patch 5 Studio Colors, starting at DMX address 1:
1.
Open + Fixture : open the Fixture window
2.
Fixture
1
Thru
5
Patch @
1
, Enter : You can use the @ key as an alternative to the Patch @ button.
Studio Colors 1 to 5 will now have the incremental patch addresses of 1:1, 1:17, 1:33, 1:49, and
1:65. Note that the fixtures selected do not have to be from a contiguous range, and they can be of different types.
Tip
When you patch a range of fixtures, Hog 4OS takes the selection order into account, so that Fixture
1
Thru
10
@
1
patches the fixtures starting with Fixture 1 and going up in numerical order, while Fixture
10
Thru
1
@
1
patches the fixtures starting with Fixture 10 and going down in reverse numerical order.
5.2.2
Patching Fixtures to Multiple Addresses
You can patch one fixture to multiple different DMX addresses; this can be useful with desk channels, where you want one desk channel to control several dimmer channels. This is sometimes known as ‘soft patching’.
To patch a fixture to a second DMX address, select the fixture again and patch it as before. Alternatively, using the command line:
• Fixture [Desk Channel]
1
@
2/1/1 + 4/2/5
, Enter : patches the desk channel to DMX Processor 2, universe 1, address 1, and to DMX Processor
4, universe 2, address 5.
Similarly, you can patch a fixture multiple times so as to fill a specified range of DMX addresses.
This can be useful if you want to soft patch a desk channel to a continuous series of dimmer
DMX addresses.
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• Fixture [Desk Channel]
1
@
1
Thru
10
, Enter : patches the desk channel to each address between 1 and 10.
Tip
You don't have to patch fixtures before you start programming. Once the fixtures have been added they can be programmed. However, without a patch, you will not be able to output DMX.
5.2.3
Finding Unused DMX Addresses
Figure 5.3. The View by DP view of the Fixture window
You can see an overview of all patched fixtures in the Fixture window by using View by DP;
see Figure 5.3, “The View by DP view of the Fixture window”. This shows a spreadsheet with
start address, fixture type and user number for each DMX universe. Additional rows show where there is an available space in the allocated DMX addresses. This is useful when you are patching additional fixtures and you need to know what ranges of DMX addresses are free. To show this view:
• Setup
→
Patch
→
View by DP : the View by DP button is on the toolbar at the top of the Fixture window.
You can use the buttons in the toolbar at the top of the window to view each group of four universes of a DMX Processor.
Deselect the View by DP button to return the Fixture window to its normal view.
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5.2.4
Adding and Removing DMX Processors
All fixtures in the Hog 4OS are patched to DP8000s. The Hog 4OS automatically detects and makes available any connected DP800s for patching but if you want to patch fixtures to DP8000s that are not currently connected to the console, you must first add the DP8000s to the show:
1.
Setup
→
Patch
→
Patch @ : open the Fixture Patch window. The Patch
@ button is on the toolbar at the top of the Fixture window.
2.
Press the Add button below the list of DP800s. The Add DP window will open:
3.
Assign a net number.
4.
OK : close the Add DP window.
5.
OK : close the Fixture Patch window.
To remove a DP8000 from a show file:
1.
Setup
→
Patch
→
Patch @
: open the
Fixture Patch window. The Patch
@ button is on the toolbar at the top of the Fixture window.
2.
Select the DP8000 you wish to remove from the show file.
3.
Press the Remove button below the list of DP800s. A confirmation dialog will open. Press
OK to unpatch and remove the DP8000.
5.2.5
Fixtures with Multiple Patch Points
Some fixture types consist of several separate elements that work together, each with their own
DMX address. An example is a parcan with a scroller, which operationally you want to treat as a single fixture (‘a light that can change brightness and colour’) but that physically consists of a dimmer-controlled lamp and a colour scroller. Similarly, some moving fixtures such as the
Vari*Lite VL5 consist of the moving head with its own control electronics, fed by an external
dimmer. See Figure 5.4, “Examples of Fixtures requiring Multiple Patch Points”.
With such fixtures, there are two or more DMX start addresses, which may not be numerically adjacent, and indeed may be on different universes and DP800s. Hog 4OS handles this by giving these fixtures multiple ’Patch Points‘, which you address separately in the Fixture Patch window.
For example, to patch the fixture with a scroller (of fixture type ‘Scroller Dimmer’) shown in
Figure 5.4, “Examples of Fixtures requiring Multiple Patch Points”:
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Figure 5.4. Examples of Fixtures requiring Multiple Patch Points
1.
Setup
→
Patch : Open the Fixture window.
2.
Fixture [Scroller Dimmer]
1
@ : Opens the Fixture Patch window.
3.
Select the Fixture Patch Point (for the scroller) from the drop down list in the top right corner of the Fixture Patch window:
4.
Click DMX 2 to select the second DMX universe.
5.
[501]
Enter : Enter the DMX address for the scroller.
6.
Fixture [Scroller Dimmer]
1
@ : Opens the Fixture Patch window again.
7.
Click DMX 4 to select the fourth DMX universe.
8.
Select the Intensity Patch Point (for the dimmer) from the drop down list.
9.
[2]
Enter : Enter the DMX address for the dimmer.
10. Click on Apply Patch or close the Fixture window to send the new patch information to the DP8000s.
In the Fixture window, these types of fixture will span more than one row - one for each Patch
point; see Figure 5.5, “A Fixture with Multiple Patch Points”.
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Figure 5.5. A Fixture with Multiple Patch Points
5.2.6
Cloning Universes
Cloning patching copies fixture and associated patch information from one DMX universe to another. A selected fixture will therefore control recurring patch locations across several universes.
To clone the patching of one universe to another:
1.
Setup
→
Patch
→
View by DP : open the Fixture window in View by DP view.
2.
Select the universe to clone by clicking on the column in the spreadsheet. The selected universe is highlighted in blue.
3.
Press Clone Universe. The Clone Universe window will open; see Figure 5.6,
4.
Select a destination DP8000 and universe. You can create a new DP8000 if you want to clone to a universe on a DP8000 not currently connected to the console, and you can specify an offset for the patch addresses to position them differently in the universe. Click on
OK when you have finished.
5.
Click on Apply Patch or close the Fixture window to send the new patch information to the DP8000s.
112
Figure 5.6. The Clone Universe window
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If cloning will overwrite patch information in the destination, you will be asked for confirmation.
The console will only unpatch previous fixtures that are in the way of new ones; the rest of the destination universe will be untouched.
Tip
You can also move patching from one universe to another by cloning the patch to the new universe, and then unpatching the old universe; see
5.2.7
Cloning DMX Processors
You can copy fixture and associated patch information from one DP8000 to another by cloning a DP8000's patch. A selected fixture will then control recurring patch locations across several
DP8000s.
To clone the patching of one DP8000 to another:
1.
Setup
→
Patch
→
View by DP : open the Fixture window in View by DP view.
2.
Select the DP8000 to clone by selecting it from the DP8000 drop down menu.
3.
Press Clone DP. The Clone DMX Processor window will open; see Figure 5.7,
4.
Select a source DP8000 from the source section of the window. Click Unpatch
Source if you wish to move patch entries to the destination DP8000 instead of copying them.
5.
Select a destination DP8000 from the destination section of the window. If there is conflicting patching on the destination DP8000 you can choose to unpatch only fixtures in conflict from the destination DP8000 or to unpatch all fixtures already patched to the destination.
6.
You can create a new DP8000 if you want to clone to a universe on a DP8000 not currently connected to the console. Click the Add DP button.
7.
Click OK .
8.
Click on Apply Patch or close the Fixture window to send the new patch information to the DP8000s.
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Figure 5.7. The Clone DP window
5.2.8
Unpatching Fixtures
You can unpatch a fixture in order to repatch it with a different start address, or to stop DMX output being sent to it. Unpatching does not erase any programming for the fixture in groups, palettes, cues and so on.
There are two ways to unpatch. Unpatching by fixture removes all patching information for that fixture, even if it has been patched to several start addresses or has multiple patch points. Unpatching by start address only unpatches a specific start address, leaving other start addresses associated with the fixture intact.
Unpatching by Fixture
To unpatch all patch information associated with a fixture:
1.
Setup
→
Patch : open the Fixture window.
2.
Select the fixture by clicking on it, then press Unpatch at the top of the Fixture window. This unpatches the fixture, but leaves all programming for the fixture intact.
3.
Click on Apply Patch or close the Fixture window to send the new patch information to the DP8000s.
Or, using the command line:
1.
Setup
→
Patch : open the Fixture window.
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2.
Fixture
1
Pig + @ , Enter
3.
Click on Apply Patch or close the Fixture window to send the new patch information to the DP8000s.
Unpatching by DMX Address
To unpatch a specific DMX start address you need to change the Fixture window to View by
DP.:
1.
Setup
→
Patch : open the Fixture window.
2.
View by DP : change the Fixture window to View by DP.
When View by DP is selected, the Unpatch @ button is available on the top toolbar of the Fixture window. To unpatch start address 200 in the currently selected DMX universe (highlighted in blue):
•
Unpatch @
200
To unpatch several start addresses:
• Unpatch @
1/2/200 + 2/3/300
To unpatch a range of start addresses:
• Unpatch @
200
Thru
300
: unpatches all start addresses between 200 and
300.
To unpatch an entire universe:
1.
Click or press on the universe to unpatch, so that it is highlighted in blue.
2.
Press Unpatch Universe at the top of the Fixture window and confirm that you want to unpatch.
Click on Apply Patch or close the Fixture window to send the new patch information to the
DP8000.
To unpatch an entire DP8000:
1.
Select the DP8000 to unpatch from the dropdown list at the top of the Fixture window.
2.
Press
Unpatch DP
, and confirm that you want to unpatch.
Click on Apply Patch or close the Fixture window to send the new patch information to the
DP8000.
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5.3
Replicating Fixtures
You can expand your show to accommodate a larger rig using the Replicate Fixture function.
This will create copies of fixtures, including all their programming. To replicate fixtures:
1.
Setup
→
Patch : open the Fixture window.
2.
Select one or more fixtures in the Fixture window by clicking on its numbered button in the left hand column.
3.
Press Replicate Fixture , located in the toolbar at the top of the Fixture window.
Figure 5.8, “Fixture window, before and after replicating” shows the contents of the Fixture
window before and after replicating fixtures.
The new fixtures are an exact copy of the originals, and will be added to every palette, cue and scene that contains programming for the original fixture. The comment cell shows you which fixture it is a copy of. New fixtures are given User Numbers that follow on sequentially from the original fixtures' numbers, but they are not patched or added to any groups. An asterisk will appear next to User Numbers that may now conflict with existing ones.
Figure 5.8. Fixture window, before and after replicating
5.4
Changing the Fixture Type
It is sometimes useful to change the type of a fixture, for example because of production changes where one fixture of one type is replaced by another of a different type, or because the rig has been changed, perhaps by adding a scroller to a desk channel fixture such as a Par.
To change the fixture type:
1.
Setup
→
Patch
2.
Select the fixtures you want to change by clicking on the numbered button in the left-hand column.
3.
Press the Change Type button and select the new fixture type from the list.
4.
Hog 4OS cannot change a fixture's type while it is patched. You will be asked if you want to unpatch any patched fixtures; don't forget to repatch them afterwards.
Figure 5.9, “Changed Fixture Type” shows the contents of the Fixture window before and after
changing the fixture type.
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»
Important
Changing a fixture's type may cause ambiguities in any programming that has already taken place. Whilst Hog 4OS translates all real world figure data, including colour and beam, between fixture functions, it cannot match the performance of a higher specification unit with a greater number of functions to that of a lower specification unit.
Figure 5.9. Changed Fixture Type
5.5
Removing a Fixture from the Show
To remove a fixture:
1.
Setup
→
Patch : open the Fixture window.
2.
Fixture
1
Remove : Select the fixture(s) you want to remove, and press
Remove .
3.
You will be asked to confirm. Select OK .
»
Important
If you remove a fixture, all of its associated programming in groups, palettes, cues and so on will be removed from the show. To disable a
fixture while retaining its programming, unpatch it; see Unpatching Fix-
5.6
Creating Palettes and Groups Automatically
Hog 4OS can create groups and palettes automatically, based on the fixtures in your show. This rapidly gives you a set of ‘building blocks’ to start programming with. To use the
Auto Palettes function:
1.
Setup
→
Patch : open the Fixture window.
2.
Click on the Auto Palettes button (located in the toolbar at the top of the
Fixture window) and select from the options in the Auto Palettes window;
see Figure 5.10, “The Auto Palettes window”.
3.
Click on Generate .
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118
Figure 5.10. The Auto Palettes window
You can choose to have the console automatically make:
• Groups: If the Make Groups button is depressed, the console will make groups for each fixture type. You can specify the repeat multiple for the groups to be created. For example, with a value of 3 Group 1 will contain fixtures 1, 4, 7,
10…, Group 2 fixtures 2, 5, 8, 11…, Group 3 fixtures 3, 6, 9, 12…
• Intensity Palettes: If the Make Intensity Palettes button is depressed, the console will make intensity palettes.
• Position Palettes: If the Make Position Palettes button is depressed, the console will make position palettes.
• Colour Palettes: If the Make Colour Palettes button is depressed, the console will make colour palettes. If you press the adjacent Separate by Wheel button, the console will create separate colour palettes for each colour wheel in fixtures that have more than one. This ensures that you can use the palettes to program looks that use both wheels simultaneously, without the palettes conflicting with each other. Auto generated Colour palettes that make use of colour mixing information will automatically have their buttons colour coded with appropriate custom colour selections.
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• Beam Palettes: If the Make Beam Palettes button is depressed, the console will make beam palettes. If you press the adjacent Separate by Wheel button, the console will create separate beam palettes for each beam effect wheel in fixtures that have more than one. This ensures that you can use the palettes to program looks that use both wheels simultaneously, without the palettes conflicting with each other.
The Auto Palettes window also allows you to choose the alignment spacing of the palette's directory window. The alignment spacing controls how many palettes are displayed across the directory window; for example 6 for a half screen window, 12 for a full screen window.
For more information on groups and palettes, see Groups (p.151) and Palettes (p.155).
5.7
Configuring Fixtures
Each fixture has a variety of settings that control how Hog 4OS handles it. Settings that control how the fixture as a whole behaves are configured in the Fixture window, while settings that are specific to individual parameters are configured in the Edit Fixtures window.
5.7.1
Fixture Configuration
To open the Fixture
window (Figure 5.11, “The Fixture window”):
• Setup
→
Patch
Or:
• Open + Fixture
Figure 5.11. The Fixture window
In the Fixture window, you can view, but not alter, the fixture type and communications protocol for each fixture. To show these columns, right-click on any column header, and select either
Type or Protocol .
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Modifying the User Number
The User Number is the number that you use to select a particular fixture when programming.
By default, Hog 4OS gives each fixture type its own range of user numbers, so that there might be several fixtures numbered 1, of different types. If this is the case, the fixture number has an asterisk next to it in the Fixture window:
To change the User Number:
1.
Open
+
Fixture
2.
Select the fixture's Num cell (short for User Number).
3.
Set ,
[new number]
, Enter
To change several User Numbers at once:
1.
Open
+
Fixture
2.
Select a range of User Number cells by pressing or clicking, and then dragging.
3.
Set ,
[new number]
, Enter : allocates a range of User Numbers starting with the number that you enter.
Tip
You can renumber the fixtures in your show so that each one has a unique number irrespective of its type. By doing this you never have to specify the type when selecting fixtures, which can speed up programming. See
Notes
Notes can be used to attach a comment to a fixture, such as its location or intended use.
To add a note:
1.
Open + Fixture
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2.
Select the fixture's Note cell.
3.
Set
[text of note]
Enter : Type in the note text.
Tip
Fixture notes can be displayed in editors such as the Programmer, but this is turned off by default. To display notes, right click on any column header in the editor, and select Note.
Patch Notes
Patch Notes can be used to attach a comment to a fixture regarding its patching.
To add a Patch Note:
1.
Open + Fixture
2.
Select the fixture's Patch Note cell.
3.
Set
[text of note]
Enter : Type in the note text.
Inverting and Swapping Pan and Tilt Axes
Depending on a fixture's orientation in the rig, you may want to invert or swap its pan and tilt axes. For example, inverting the pan can ensure that when moving the Trackball left, a fixture rigged facing the operator moves to the operator's left, not the fixture's left.
Similarly, if units are rigged facing across the stage rather than facing up or down stage, then swapping the axes keeps the Trackball movement and the fixture movement the same. This also ensures that fixtures selected in groups all move in the same direction as the Trackball is moved.
Fixtures that are rigged in other positions, for example on the stage floor as opposed to hanging, then combinations of swap and invert (either pan, tilt or both) may be required.
To invert axes:
1.
Open + Fixture
2.
Scroll to the desired fixture, and select either its Pan Invert or Tilt Invert cell.
3.
Press Set , and choose Yes to invert the axis.
To swap axes:
1.
Open + Fixture
2.
Scroll to the desired fixture, and select its SwpAxes cell.
3.
Press Set , and choose Swap to swap axes.
Proportional Patch
You can use proportional patching to change the intensity value output by the console to a fixture, relative to the intensity value that has been programmed. All intensity values for the fixture are
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reduced in proportion, so that with a proportional patch of 80%, a programmed intensity of 100% would be output as an intensity of 80%, and one of 50% would be output as 40%. You can use this to limit the maximum intensity of a fixture so that it never goes above 80%, for example, by assigning the proportional patch to 80%.
To assign a fixture's proportional patch:
1.
Open + Fixture
2.
Select the Intensity % cell for the fixture required.
3.
Set ,
[percentage]
, Enter : enter a percentage.
4.
To return the proportional patch to normal, assign the value to 100%.
You can assign a proportional patch value of above 100%. For example, if you patch at 200%, the intensity value that the console outputs will be twice that programmed. A programmed value of 25% will give 50% output, and 50% will give 100%. Programmed levels above 50% will not, regrettably, give fixture intensities above 100%.
Note that if you proportionally patch a fixture, its intensity will still be displayed on the console in the range 0 to 100%, even though the output value will be varying over the range defined by the proportional patch value.
Colour Calibration
The Fixture window has a column labeled Col Cal , which shows whether the fixture has colour calibration data in the fixture library. You cannot edit this column, but it is useful to be able to
check if the fixture is colour calibrated when working with the Colour Picker; see Working with
5.7.2
Parameter Configuration
You can configure settings that are specific to individual parameters in the Edit Fixtures window
(Figure 5.12, “The Edit Fixtures window”):
• Setup
→
Patch
→
Edit Fixtures
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Figure 5.12. The Edit Fixtures window
You can select a fixture type from the list on the left hand side of the window. The main part of the window then shows the configurable settings for each fixture of that type. The numbered buttons in the Jump Toolbar at the top of the window take you quickly to a particular fixture of that type.
Pressing the Sort by Function button in the top left of the window changes the view, so that the main list groups each parameter together for all the fixtures of the type selected in the list. This is often the easiest way to work in the window, as you can easily click or press and then drag to select a range of cells to edit. For example, you could assign in one action the default value for
the pan parameter of all the Studio Color 575 fixtures in the show; see Figure 5.13, “The Edit
Fixtures window sorted by Function”.
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Figure 5.13. The Edit Fixtures window sorted by Function
Assigning Minimums and Maximums for Parameters
When fixtures are placed close to obstacles, such as trussing or set pieces, it may be important to limit movement to prevent accidental damage, especially when the fixture is out of view of the operator. However, other functions can also be limited, for example to implement a house or event policy on the use of strobe lighting.
Note that limits can only be assigned for continuous parameters, not slotted ones.
To assign limits:
1.
Setup
→
Patch
→
Edit Fixtures
2.
Select the Minimum cell of the parameter you wish to limit.
3.
Set ,
[new value]
, Enter : Enter a value as a real world unit. In the case of pan and tilt, it will be a plus or minus number of degrees from the fixture's default position.
4.
Repeat to assign the Maximum value.
Assigning a Custom Default
The default value is the value that the parameter will take when no playbacks or editors are controlling it. Fixtures also go to their default setting when the console starts up.
To assign a custom default:
1.
Setup
→
Patch
→
Edit Fixtures
2.
Select the Default cell of the desired parameter.
3.
Set
,
[new value]
,
Enter
: Enter a value as a real world unit.
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Assign a Parameter Offset
This setting allows you to offset the range of values over which a parameter varies. For instance if one fixture is hung at an angle to the bar, so that it has a different pan centre-point from all the others on that bar, then you could assign an offset so that the fixture appeared to line up from a programming and operating point of view.
To assign a parameter offset:
1.
Setup
→
Patch
→
Edit Fixtures
2.
Select the Offset cell of the desired parameter.
3.
Set ,
[new value]
, Enter : Enter a value as a real world unit.
»
Important
Applying an offset to a parameter after you have programmed values for it into your show will mean that those values will also be offset.
Naming Slots
Some fixture parameters are continuously variable, for example CMY colour mixing. On the other hand some parameters, for example gobo or colour wheels, work in discrete increments or
‘slots’.
The Fixture Library loaded into Hog 4OS defines the fixture's default slots, displayed on the
Slot Toolbar , in palettes and the Programmer. When custom gobos or colours are used, you can customise the show file to display a suitable name for each gobo or colour slot, chosen from those in the fixture library.
To name a slot parameter:
1.
Setup
→
Patch
→
Edit Fixtures
2.
For the desired fixture, scroll right and select the Slot cell for the parameter required.
3.
Press Set , select the desired slot name from the list, and press Enter .
Releasable Parameters
Fixture parameters move to their default values when they are released. You can prevent specific fixture parameters from returning to their default values, so that they hold their current value until they are assigned to a new programmed value:
1.
Setup
→
Patch
→
Edit Fixtures : open the Edit Fixtures window.
2.
Click on the Releasable cell for the required fixture parameter.
3.
Press the Set key to assign the fixture parameter to be releasable or not as required.
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Parameters
6.1
Selecting Fixtures
There are three ways to select fixtures: using the command line with the numeric keypad, visually
selecting and clicking on the fixture's number in the programmer, or by selecting groups from the groups directory.
6.1.1
Selecting Single Fixtures
To select a single fixture visually in the programmer or other open editor, click on the fixture's number in the Num column of the spreadsheet.
To select a single fixture using the command line type the fixture's user number using the keypad and then press enter. For example, to select Studio Color number 1. If more than one fixture in the show file has the same user number then you must first specify the fixture type as demonstrated below:
• Fixture , [Studio Color 575] ,
1
: when you press the Fixture key, types of available fixtures will appear at the bottom of the right hand touch screen, where you can select [Studio Color 575] :
Hog 4OS maintains the type of the last fixture selected. If, for example, Studio Colors are selected then all fixture numbers entered into the command line will refer to Studio Colors until a new fixture type is selected.
Tip
Repeated pressing of the Fixture key will cycle through the available fixture types.
Note that throughout this manual, the examples generally assume that you have assigned user numbers so that they are unique.
6.1.2
Selecting Multiple Fixtures
You can select more than one fixture using the + , – and Thru keys. For example:
1
+
5
, Enter : selects fixtures 1 and 5.
1
Thru
5
, Enter : selects fixtures 1 to 5.
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1
Thru
5
–
4
: selects fixtures 1 to 5, but not 4.
1
Thru
5
+
7
: selects 1 to 5 and also 7.
5
ThruEnter : selects from fixture 5 of the current type through to the last fixture of the current type.
ThruEnter : selects all fixtures of the current type.
Note that selections are cumulative, building the total selection, until the selection is used to perform an action on the selected fixtures. After that, subsequent selections start from nothing, unless you use + or – to add or subtract from the previous selection.
Tip
To select all fixtures of a particular type, press the Fixture key then Pig
+ [Fixture type] from the toolbar at the bottom of the right-hand touch screen.
6.1.3
Select All
You can select all the fixtures in the Programmer by pressing the ALL key on the front panel of the console or by using the All button on the Select Toolbar . For example:
1.
Studio Colors 1 to 5 are in the Programmer, but not selected.
2.
Main Toolbar
→
Select
: open the Select Toolbar; see Figure 6.1, “The Select
3.
All : the selection is now Studio Colors 1 to 5.
Figure 6.1. The Select Toolbar
6.1.4
Inverting the Selection
You can invert the current selection of fixtures so that the fixtures in the editor that were previously
not selected become the new selection. For example:
1.
Studio Colors 1 to 5 are in the Programmer.
2.
Fixture
1
+
3
+
5
: select Studio Colors 1, 3 and 5:
128
3.
Main Toolbar
→
Select
: open the Select Toolbar; see Figure 6.1, “The Select
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4.
Invert : the selection is now Studio Colors 2 and 4:
6.1.5
Sub Selections
You can make sub selections from within the current selection, using the Next and Back keys, and the Odd , Even and Random buttons on the Select Toolbar:
• Main Toolbar
→
Select
Random: The
Random button selects a single fixture at random from the current active selection in the Programmer.
Even and Odd: The Even and Odd buttons on the Select Toolbar select the even and odd fixtures
from the current selection, according to the Selection Order (p.130). Note that the selection order
is not related to fixture user numbers, so the sub selection produced by Odd might contain evennumbered fixtures.
Next and Back: The Next and Back keys on the console select a single fixture from within the current selection. Repeatedly pressing Next or Back steps forwards or backwards through the
current selection, with the order determined by the Selection Order (p.130).
To select even or odd fixtures from the current selection based upon fixture user numbers, use
Pig + Even or Pig + Odd .
Tip
When the Trackball is in position mode, the bottom left Trackball key also acts as a Next key. This can make it very fast to work through a selection of fixtures assigning their position.
6.1.6
Deselecting Fixtures
To deselect all selected fixtures, press the Backspace key when the command line is empty.
You can also use the following command line syntax:
• Fixture
0
Enter : deselects all fixtures.
To deselect specific fixtures, use the – key:
•
– Fixture
1
: deselects Fixture 1.
Alternatively, you can deselect a fixture visually in the Programmer or editor window by clicking on its number in the
Num column.
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Section 6: Selecting Fixtures and Modifying Parameters
Reselecting Fixtures
You can recall the last sub selection made before deselecting fixtures by pressing Previous on the Select Toolbar.
6.2
Selection Order
The order in which you select fixtures is significant in controlling how fanning and effects are
applied to them; see Fanning (p.144) and Effects (p.227). For example, applying a fan or effect
after selecting fixtures 1-5 can appear different than if you selected fixtures 1 + 3 + 2 + 4 + 5.
The selection order is relevant during programming, and is recorded as part of groups, but it is not recorded in palettes, cues or scenes.
Tip
Because the console records the selection order as part of groups, you can select the group and use the Next and Back keys to subselect each fixture in a particular order. By controlling the selection order when you record the group, you can then work through a series of fixtures in the order they are physically positioned in the rig, instead of in numerical order.
6.2.1
Reverse, Shuffle and Reorder
You can change the selection order of fixtures in predefined ways. The Reverse , Shuffle , and
Reorder buttons are on the Select Toolbar and Fanning Toolbar:
• Main Toolbar
→
Select : open the Select Toolbar.
Reverse: reverses the selection sequence, so that the last is first and the first is last. For example, the fixture selection 1-5 becomes 5-1.
Shuffle: randomises the selection order of the current selection. For example, the fixture selection
1-5 becomes 3 + 5 + 2 + 1 + 4.
Reorder: sorts the selection order to match the User Number order. For example, the fixture selection 3 + 5 + 2 + 1 + 4 becomes 1-5.
Tip
The Reverse, Shuffle, and Reorder buttons can also be found on the
Fanning Toolbar, which you can open by pressing and holding the Fan
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6.3
Modifying Parameters
Once fixtures are selected within an editor, you can modify their parameters.
Hog consoles provide several ways to adjust the different parameter types:
• Command Line: Use for intensity and selecting palettes.
• I-Wheel: Use for intensity.
• Trackball: Use for position (pan and tilt). Use the top-right Trackball key to switch the Trackball between controlling the on-screen pointer and the position of selected fixtures.
• Parameter Wheels: Use for all fixture functions. To change the parameter type currently controlled by the parameter wheels, select one of the fixed kind keys on the front panel: Intensity , Position , Colour , Beam , Effect , and Time or one of the user kind keys on the front panel. For consoles that don't have a dedicated user kind keys on the front panel you may select user kinds using the kinds directory as long as the guard button for the kinds directory is turned off.
If the fixture has more parameters of a particular type than there are parameter wheels you can press the parameter type keys to page through the parameters.
• Center Wheel: Functions assigned to the center wheel in the user preferences can be adjusted using the inner wheel and outer jog shuttle controls of the center wheel. (Hog 4 Console Only)
• Slot Toolbar: Use for parameters that have discrete rather than continuous values (known as ‘slotted’), such as the positions of a colour wheel. This gives you button-press control of the possible values.
The Slot Toolbar also has buttons to access the control functions: Enable , Mode and
Control
.
• Spreadsheet: You can directly edit a parameter's value in an editor's spreadsheet view. Click on the cell, press Set , type in a value and press Enter .
•
Colour Picker: You can assign hue and saturation values for a fixture's colour
using the Colour Picker. See The Colour Picker (p.138).
• Gel Picker: You can assign the colour of fixtures to match a colour filter from
various manufacturers' ranges using the Gel Picker. See The Gel Picker (p.139).
6.3.1
Intensity
Fixture intensities can either be assigned from the keypad or using the I-Wheel , as well as the parameter wheels and by editing directly in the editor spreadsheet.
With the @ Key
To assign intensities using the @ key and the numeric keypad:
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• Fixture
4
@
70
, Enter : assigns Fixture 4 to 70%.
• Fixture
4
@
5
, Enter : assigns Fixture 4 to 50% (not 5%).
• Fixture
4
@
05
, Enter : assigns Fixture 4 to 5%.
To assign fixtures to full or zero:
• Fixture
4
Full : assigns Fixture 4 to full.
• Fixture
4
Out : assigns Fixture 4 to zero. The Out button is on the Main
Toolbar .
The intensity of a fixture can be changed relative to its current level, for example:
• Fixture
4
@ +
5
, Enter : increases the intensity of Fixture 4 by 50%.
• Fixture
4
@ –
10
, Enter : reduces the intensity of Fixture 4 by 10%.
The intensity of a fixture can be scaled proportionally, for example:
• Fixture
4
@ /
70
, Enter : scales the intensity of Fixture 4 to 70% of its original value.
•
Fixture
4
@ /
120
,
Enter
: scales the intensity of Fixture 4 to 120% of its original value.
With the i-Wheel;
On the Hog 4 Console and on Hog 4PC only: Moving the
I-Wheel changes the level of the selected fixtures. When selecting several fixtures and adjusting levels, the wheel will maintain relative differences between them, so that all intensities change by the same amount. For example, if fixture 1 is at 10%, 2 at 50% and the wheel is increased by 10%, then fixture 1 will move to 20% and 2 will move to 60%.
By holding the Pig key whilst using the wheel, intensities will be increased or decreased in proportion to their individual level. For example, if fixture 1 is at 10%, 2 at 50% and the wheel is increased by 10%, then fixture 1 will move to 11% and 2 will move to 55%.
On the Hog 4 Console and Hog 4PC only: The Nudge Up and Nudge Down keys can be used to increase and decrease the intensity by a preset amount. The size of the increment is 10% by default, but you can change it in the Programming pane of the User Preferences window.
Using Pig + Nudge Up and Pig + Nudge Down will create a half nudge step. It will increase or decrease the intensity by half of the assigned amount. For instance if the nudge value is set to +10% a Pig + Nudge Up will produce +5%.
Remainder Dim
The Rem Dim button on the Main Toolbar takes to zero the intensity of any unselected fixtures in the current editor that currently have above-zero intensity. You can use the Undo button to reverse the Rem Dim command.
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6.3.2
Position
Using the Trackball
To switch the Trackball from controlling the cursor to controlling fixture position, press the top right selection key adjacent to the Trackball. When controlling fixture position the Trackball will glow blue, and can be used in two modes. To change mode press the top right Trackball selection key.
• Position Mode: In the default mode, the pan and tilt of the fixture follows the movement of the Trackball.
• Ortho Mode: Ortho mode helps the accurate positioning of fixtures by constraining pan while changing tilt, or vice versa.
The Status Bar at the right hand end of the Command Line Toolbar shows when the Trackball is in Position Mode with the legend 'POS', and when it is in Ortho Mode with the legend 'Ortho'.
You can assign the way that fixtures move in relation to the Trackball. See Inverting and Swapping
Tip
An external mouse will always control the graphical pointer, so you can keep the Trackball in position mode to save having to change modes as you program.
Using the Parameter Wheels
The pan and tilt parameters also appear on the parameter wheels after the Position key is depressed, and can be used as an alternative to the Trackball.
Flip
With some moving lights, there is more than one combination of pan and tilt that results in the beam hitting the same point on the stage. You may sometimes want to change the pan and tilt combination being used, for example to ensure that the fixture takes the most direct route during a position change.
The Flip function cycles the selected fixtures through the possible combinations in turn. To do this, select the fixture or fixtures and press Flip on the Main Toolbar .
Holding the Pig key down while pressing Flip cycles through the combinations the other way.
Tip
When the Trackball is in position mode, the top left Trackball key also acts as a Flip key, for quick access while positioning fixtures.
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6.3.3
Section 6: Selecting Fixtures and Modifying Parameters
Continuous Parameters: Colour and Beam
Colour and beam parameters can be either discrete (known as ‘slotted’) or continuous. An example of a slotted parameter is the gobo and colour wheels in a moving light, which can be assigned to values such as Gobo 1 and Colour 3. Examples of continuous parameters are the colour mixing controls on some moving lights, irises, and variable-speed strobes; these can be assigned to a percentage or real-world value. It is sometimes useful to treat slotted parameters as continuous; for example, you might want to assign a gobo or colour wheel part way between two positions to achieve a particular effect. Hog 4OS allows you to treat such parameters as either slotted or continuous when assigning values to them.
To control continuous colour and beam parameters:
1.
Press the appropriate parameter type key : Colour or Beam or any user kind key that contains colour and beam functions. The Wheels Toolbar shows the
available parameters and their current value; see Figure 6.2, “Wheels Toolbar
for the Beam Parameters of a Studio Spot 575”.
2.
If the selected fixture has more parameters of the selected type than there are wheels, the Wheelsets Toolbar
will open; see Figure 6.3, “The Wheelsets
Toolbar for a Studio Spot 575”. Page through the available parameters by
pressing the parameter type key again, or select a button on the toolbar.
3.
Adjust the parameter value using the parameter wheels.
Figure 6.2. Wheels Toolbar for the Beam Parameters of a Studio Spot 575
Figure 6.3. The Wheelsets Toolbar for a Studio Spot 575
Some parameters that appear on the parameter wheels have more than one mode. These modes are shown as a list on the Wheels Toolbar, and you can select the modes by clicking on the wheel's button on the toolbar.
Direct Value Entry
For parameters appearing on the parameter wheels, you can hold Set , then press the associated
button on the Wheels Toolbar to open a direct value entry dialog; see Figure 6.4, “The Wheels
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Figure 6.4. The Wheels Toolbar Direct Entry Dialog
Enter a value for the parameter in the direct value entry box and select any available modes.
Press
Enter to complete the direct value entry.
Snapping to a Single Value
When you have several fixtures selected, you can make all the values of a parameter the same as that of the first fixture:
• Press and hold the / key while turning the appropriate parameter wheel.
Jumping to Endstop Values
You can assign a parameter to its endstop values:
• Press and hold the + key and adjust the appropriate parameter wheel clockwise to assign the parameter to its maximum value, and anticlockwise to assign the parameter to its minimum value.
Inverting Parameter Values
Some parameters have values either side of zero; for example, gobo rotation speed. You can invert such parameters so that they have the same value but the other side of zero. In the case of gobo rotation, this reverses the direction whilst maintaining the current speed. To invert a parameter:
• Press and hold the – key and adjust the appropriate parameter wheel.
6.3.4
Slotted Parameters: Colour and Beam
To control slotted colour and beam parameters such as gobo and colour wheels:
1.
Press the appropriate parameter type key : Colour or Beam . The Slot Toolbar
shows the available parameters; see Figure 6.5, “The Slot Toolbar for a Studio
2.
Click on the required parameter, and an additional toolbar will open showing
the available slot positions; see Figure 6.6, “The Colour Slots Toolbar for a
3.
Select a slot from the available slot positions.
Figure 6.5. The Slot Toolbar for a Studio Spot 575
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Section 6: Selecting Fixtures and Modifying Parameters
Figure 6.6. The Colour Slots Toolbar for a Studio Spot 575
6.3.5
Working with Colour
Fixtures that have continuously variable colour mixing create colour in different ways. The two main systems are:
• CMY: this system is used by most moving lights that have continuous colour mixing; the colour is controlled by three parameters: Cyan (C), Magenta (M) and Yellow (Y). Fixtures that use the CMY system start by producing white light, and then filter out the unwanted colours to leave the desired colour; higher parameter values produce a greater filtering effect, so that setting them all to 100% produces black. To avoid wasting the light intensity of the fixture, you should always keep at least one of the CMY parameters at 0%, setting the other two at higher values to get more saturated colours. For example, values of 0%C, 0%M, 20%Y will produce a pale yellow tint, while 0%C, 100%M,
0%Y will produce a fully saturated magenta. Mixing two of the colours will produce further shades, so 50%C, 0%M, 50%Y will produce a middle-saturation green.
• RGB: this system is used mainly by fixtures based on LEDs. The colour is controlled by three parameters: Red (R), Green (G) and Blue (B); with the three parameters at 0% the fixture produces no light output, and the higher than value of these parameters, the greater the fixture's total light output. If the three parameters have equal values, then the light output will be white (within the limits of the technologies used). Use one or two of the parameters to get the colour you want, and then add the other(s) to de-saturate it (‘dilute’ it towards white). For example, values of 0%R, 0%G, 100%B will produce a bright, saturated blue, while 80%R, 80%G, 100%B will produce a bright, blue tint. 50%R,
100%G, 100%B will produce a middle-saturation cyan.
While Hog 4OS allows you to control the CMY or RGB parameters of fixtures directly, this method has several disadvantages:
• With both the RGB and CMY systems, it is difficult to remember what combination of settings will achieve the colour you want.
• With both systems, colour and fixture intensity are linked. Under the CMY system, giving all three parameters values above 0% unnecessarily reduces the light output; with the RGB system, fixtures often don't provide a separate intensity parameter so you have to control it with the colour parameters. However, it is usually much more convenient when programming to keep colour and intensity completely separate.
• The different colour systems, together with different lamp types used, make it difficult to match colours between fixtures of different types. Furthermore,
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during crossfades colours tend not to remain matched through the duration of the cue, producing uneven colour fades.
Hog 4OS solves these problems by using a third colour system: Hue and Saturation (HS). Under the HS system, a fixture's colour is determined by two parameters:
• Hue: the colour's position in the possible range of colours, from red, going through yellow, green, cyan, blue and magenta, and finally returning to red. As the range ‘wraps around’, you can visualise it as a circle with the colours positioned around the edge, with red at the top, green at the lower right, blue at the lower left, and the intermediate colours in between. The angle between 0 and
360 degrees specifies the hue of the colour: red has a hue of 0 degrees, yellow
has a hue of 60 degrees, and cyan has a hue of 180 degrees. See Figure 6.7,
• Saturation: how ‘strong’ or ‘pale’ the colour is. Pale colours have low saturations, while strong colours have high saturations. Saturation is specified as a percentage between 0% (white) and 100% (the strongest possible saturation).
Figure 6.7. The Colour Wheel
When you program with the HS parameters, Hog 4OS stores all values as HS, and converts them to CMY or RGB as required when sending DMX data to the fixtures. As part of this process, the
console is able to match the colours of different fixture types; see Using Colour Matching (p.138).
The Hue and Saturation parameters of fixtures with continuous colour mixing are controlled in
the same way as other continuous parameters; see Continuous Parameters: Colour and Beam
Colour Picker and Gel Picker
; see The Colour Picker (p.138) and
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Section 6: Selecting Fixtures and Modifying Parameters
Using Colour Matching
One of the advantages of the Hog 4OS's HS colour system is its ability to match colours across different fixture types. Assigning the Hue and Saturation parameters of two different types of fixtures will set them to the same visual colour (within the limitations of the fixtures), but it might send different DMX values to each. Furthermore, they will maintain that match through a crossfade, ensuring even colour fades.
For colour matching to work, the fixtures need to have a colour calibration in the fixture library; you can check this in the Fixture window:
• Setup
→
Patch
If the fixture has Yes in the Col Cal column, then it has a colour calibration. Fixtures that are not calibrated will use a standard DMX mapping to determine hue and saturation.
Different types of fixture have different colours for ‘white’, because of the different types of lamp used. Tungsten lamps have a ‘warmer’ colour with a higher red and yellow content, while arc lamps usually have a ‘cooler’ light with more blue in it. One version of white is not more
‘correct’ than the other, but there needs to be a single agreed ‘white point’ for all fixtures to match when the Saturation parameter is assigned to 0%. Hog 4OS allows you to assign the White
Point to Tungsten or Arc:
1.
Setup
→
Preferences
→
Misc
2.
Choose between Arc and Tungsten .
In a theatrical environment where tungsten sources are more common tungsten white is likely to be most appropriate base. In other environments predominantly using arc sources, it will be more convenient to use arc white.
»
Important
Before assigning the colour of fixtures using Hue and Saturation, make sure that you have selected your preferred white point. Changing it after you have started programming will change the appearance of previously programmed colours.
The Colour Picker
You can use the Colour Picker to graphically select Hue and Saturation values. To open the
Colour Picker:
• Hold down the Open key and select HS Picker .
Or:
• Pig + Open + Colour
There is also a button to open the Colour Picker in the Colour Directory window.
The Colour Picker will change its display according to the fixture selection:
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Figure 6.8. The Colour Picker
• With no fixtures selected, you just see the colour wheel with saturated colours around the outside, and paler colours towards the centre.
• When a calibrated fixture is selected, a dashed line will be superimposed on the colour wheel. This line represents the fixture's gamut, or range of colours that it can achieve. To select any colour within this range, simply click on it.
The new selection will be marked by a superimposed cross and circle. If you select a colour outside the fixture's gamut, one marker (‘ X ’) indicates the colour that was chosen, while a second (‘ O ’) indicates the closest colour that the fixture can produce. The two markers are joined by a line to indicate they are related.
• Fixtures that do not have colour mixing capabilities do not appear in the Colour
Picker.
• If you have several different fixture types selected, the lines on the colour picker change to display the range of colours that all of the selected fixtures can achieve (shown as a dotted line), as well as the range of colours that at least one of the fixtures can achieve (shown as a dashed line). When you select a colour, a single target marker (‘ X ’) is displayed, connected to a series of ‘ O ’ markers, one for each fixture type.
• The Colour Picker also displays the gamuts and markers for fixtures that are currently in the editor, but not selected. These are shown in grey.
• Fixtures that are not color calibrated use a standard HS method and the Colour
Picker will appear without any dashed lines.
The Gel Picker
You can use the Gel Picker to select colours matched to traditional gels. Clicking on a button in the Gel Picker sets the Hue and Saturation parameters of the selected fixtures to values that match the selected colour as closely as possible.
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You can select colours from the Lee, Rosco E-Colour, Rosco Supergel and GamColor ranges, using the buttons in the toolbar at the top of the window. You can also select whether to match to the gel as it would appear in a Par 64 or similar conventional tungsten source, or in a Source
4, which has a slightly bluer light output.
There is a button to open the Gel Picker in the Colour Directory window.
Figure 6.9. The Gel Picker
Note that the Gel Picker colours are not palettes, and will not be embedded in programming; they are simply shortcuts to the appropriate HS values. Gel Picker colours are a closer match when applied to colour calibrated fixtures than non calibrated ones.
6.3.6
Fine Control
Holding the Pig key and moving the encoder wheel allows fine adjustment of the currently selected parameter, so that each turn of the wheel will change the parameter value by a smaller amount.
This is useful for making exact adjustments to values.
6.3.7
Touching Parameters
When you start to record your programming as cues you will find that only the parameters that you have assigned values to are stored; these are known as ‘Hard Values’. This is important because in cuelists values track through until they are changed, and this allows different playbacks
to interact to create a single onstage look. For a complete explanation of tracking, see Tracking
However you will sometimes want to ensure that a value is stored at its current value in a cue or palette. To do this you can Touch it:
• To touch all parameters of the current selection simply press the Touch key on the Main Toolbar.
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• To touch only the parameters of a particular kind, press the appropriate parameter type key followed by Touch . For example:
• Position Touch : touches all position parameters of the selected fixtures.
• To touch a single parameter you can hold the Touch button while moving that parameter's wheel slightly. The current value will be touched without modification from the parameter wheel.
Untouched values appear in the editor with a white backgound. Once you have touched parameter values they are available for recording in the same way as any value that you have assigned.
They are shown with a blue background, indicating that they have been modified:
Using Pig + Touch
You can bring parameter values into an editor without touching them using Pig + Touch . As the parameters haven't been touched, they won't be recorded as part of the contents of the editor.
This can be useful if you want to have the parameter values in the editor in order to copy them to other fixtures.
For example, to copy parameter values from fixtures 1-5 that are on stage to fixtures 6-10 in the current editor:
1.
1
Thru
5
Pig + Touch : select the fixtures 1-5, and bring their onstage values into the editor without touching them:
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2.
Copy
6
Thru
10
, Enter : copy the parameter values to fixtures 6-10:
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142
3.
Record : the contents of the editor is recorded with only fixtures 6-10, not 1-
5.
If the above example had used Touch instead of Pig + Touch, then you would have to untouch or knockout 1-5 before recording.
Tip
Values with a dark or light blue background in the Programmer or editor are recordable, while those with a white or gray background are not recordable.
6.3.8
Copying Parameter Settings
You can copy the parameter values of one fixture to another.
»
Important
If you copy parameter settings between fixtures of different types, only those parameters that the fixtures have in common will be copied.
Using the Command Line
To copy from the current selection:
• Copy
8
Enter : copies the parameters of the current selection to fixture 8.
To copy from specified fixtures:
• Fixture
1
Thru
4
Copy
8
Thru
11
, Enter : copies the parameter settings of
Fixtures 1-4 to 8-11.
To copy parameter values from the fixtures of one group to the fixtures of another group within an editor:
• Group
1
Copy Fixture Group
2
Enter : copies the parameter values of the fixtures in group 1 to the fixtures in group 2.
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You can add parameter, location and destination masks to any copy command:
•
1
Thru
4
Intensity Copy List
3
Cue
1
Fixture
8
Thru
11
, Enter : copies the intensities of fixtures 1 to 4 in the current selection to fixtures 8 to 11 in cue 1 of cuelist 3.
You can use Copy to reverse the order of values. For example, if fixture 1 is at 10%, fixture 2 at 20%, and fixture 3 is at 30%:
•
1
Thru
3
Copy
3
Thru
1
Enter : the fixtures will now be at 30%, 20% and 10% respectively.
Tip
When you press the Copy key, the words ‘Copy to’ appear on the command line. This is a useful reminder of the syntax of the copy command.
In the Programmer or Editor Window
You can copy fixture data by using the Copy and Paste commands: click the right-hand mouse or Trackball button on the desired cell(s) in the editor window and select Copy or Paste from the menu.
You can also use the Pig key to copy and paste selected cells:
• Pig + Copy : copy
• Pig + Record : paste
Copy Options
By default, when you copy parameter values from one fixture to another, the console will copy exactly the data from one fixture to another, including any palette references. You can optionally have the hard values from within the referenced palette copied to the destination instead of the palette references:
1.
Fixture
1
: select the fixture you want to copy.
2.
Copy
3.
Deselect the Allow Refs button on the copy toolbar.
4.
8
: select the fixture to copy to.
5.
Enter : copies the parameters of Fixture 1 to Fixture 8, converting any palette references to hard values.
Tip
You can copy a fixture to itself with Allow Refs deselected to convert palette references to hard values.
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6.3.9
Section 6: Selecting Fixtures and Modifying Parameters
Restoring Default Values
You can reset parameter values to their default settings by using the .
(point) key or Pig + .
keys as a modifier. Default values for parameters can be set in the Edit Fixtures window.
When using the .
key as a modifier, modes such as gobo rotate will be restored to default value but the current mode will remain (gobo rotate). When using the Pig + .
keys as a modifier, modes such as gobo rotate will be restored to default value and default mode (index).
To restore the default value for a single parameter of the current selection:
• Press and hold the .
key or Pig + .
keys and turn the appropriate parameter wheel.
To restore the default values of a parameter kind for the current selection:
• Press and hold the .
key or Pig + .
keys and press the appropriate kind key.
To restore the default values for all parameters of the current selection:
• Press and hold the .
key or Pig + .
keys and press the Fixture key.
6.4
Fanning
Fanning allows you to assign a parameter across several fixtures, so that the parameter values are equally spaced. For example, if you have five fixtures all at 50% intensity, you can use fanning easily to assign intensities of 30, 40, 50, 60 and 70% across five fixtures. Note that in this example, the middle value of the five stays the same, and the end values change the most, while the other values change proportionally.
You can fan any values including parameters and timings. For example, you can use fanning with position: suppose that you have seven moving lights on an upstage position, all pointing downstage towards the audience. You could fan the Pan parameters so that the centre fixture still points downstage, and the others turn progressively out to stage left and right.
The fixture selection order is significant when fanning; see Selection Order (p.130). The value
change when fanning is always relative to its current value; if there is no current value the parameter will fan from its default value.
Tip
Choosing the initial, or ‘base’, value is important when fanning, as the parameter values cannot go below 0% or above 100%. Make sure that you leave enough of the value range for the value to fan into.
6.4.1
Using the Fan Key
To fan a parameter:
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1.
1
Thru
5
@ 30 , Enter : select the fixtures and assign the intensities to 30%:
2.
Press and hold the Fan key, whilst slowly moving the I-Wheel . The fixtures at either end of the range take the values 10% and 50%, with those in between evenly spread across the intervening range:
6.4.2
In the Programmer Window
To fan a parameter:
1.
Select a range of cells, for example the intensity cells of Studio Colors 1 to 5.
2.
Set
10
Thru
50
, Enter : The fixtures at either end of the range take the values
10% and 50%, with those in between evenly spread across the intervening range.
You can also fan backwards; continuing the above example:
•
Set
50
Thru
10
,
Enter
: Studio Color 1 has an intensity of 50% and
Studio Color 5 an intensity of 10%.
You can also fan several columns at once, fanning both Pan and Tilt for example.
6.4.3
With the Command Line
To fan intensities from the command line:
•
1
Thru
5
@
10
Thru
50
, Enter : The fixtures at either end of the range take the values 10% and 50%, with those in between evenly spread across the intervening range.
You can also fan backwards:
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Section 6: Selecting Fixtures and Modifying Parameters
•
1
Thru
5
@
5
Thru
10
, Enter : fixture 1 has an intensity of 50% and fixture
5 an intensity of 10%.
6.4.4
Fanning Options
By default, fanning adjusts parameter values proportionally from the centre of the fixture selection.
You can have fanning work in other ways:
• Fan Normal: As described above, the middle fixture remains unchanged, while the first and last fixtures' values change the most, in opposite directions. For example:
Before fanning:
After fanning:
30
10
30
20
30
30
30
40
30
50
• Fan From Start: The first fixture in the selection order remains unchanged, while the last one's value changes the most. For example:
Before fanning:
After fanning:
30
30
30
40
30
50
30
60
30
70
• Fan From End: The last fixture in the selection order remains unchanged, while the first one's value changes the most. For example:
Before fanning:
After fanning:
30
70
30
60
30
50
30
40
30
30
• Fan To Centre: the middle fixture remains unchanged, while the first and last fixtures' values change the most, in the same direction. For example:
Before fanning:
After fanning:
30
50
30
40
30
30
30
40
30
50
You can set the fanning mode from the Fanning Toolbar:
• Press and hold the Fan
key to display the Fanning Toolbar; see Figure 6.10,
All subsequent fans will follow the currently selected fanning mode, until the editor is cleared.
Figure 6.10. The Fanning Toolbar
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6.4.5
Multipart Fanning
With the command line, you can enter multipart fanning:
•
1
Thru
9
@
10
Thru
50
Thru
10
: The fixtures at either end of the range take the value of 10%, that in the middle 50%, and the others spread between:
10 20 30 40 50 40 30 20 10
You can fan in as many parts as you want, separating values with the Thru key. Note that multipart fanning only works with the command line, not when editing values in the spreadsheet.
6.4.6
Fanning with Groupings
Grouping allows you to control the way that parameters are fanned to make complex patterns.
You can group fixtures in two ways:
• Repeat: The repeat is the number of fixtures that are fanned before the fan is repeated. For example, fanning a selection of twelve fixtures with a repeat of three would result in four identical fan patterns (or ‘parts’), each with three fixtures in:
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• Buddying: The buddying number puts the fixtures into ‘gangs’ that all take the same value. For example, fanning a selection of twelve fixtures with a buddying value of three would result in fixtures 1 to 3 having the same parameter value, fixtures 4 to 6 having the same value, and so on:
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You can combine repeats and buddying to create complex patterns very simply. Repeats and buddying are selected from the Grouping Toolbar : press Grouping on the Main Toolbar. The toolbar will remain open to allow you to combine Grouping and Buddying; press Enter or click on the toolbar's Close button when you have made your selection.
Figure 6.11. The Grouping Toolbar
The toolbar displays the current repeat and buddying size, and has buttons to increase and decrease the repeat and the buddying. There are also shortcuts for repeats of 0, 2, 3, 4 and 8, and No
Buddying.
Note that grouping and buddying are only used during fanning; the grouping and buddying information is not recorded into cues and palettes, but the resulting parameter values are recorded.
Tip
By default grouping and buddying options are retained even after pressing the Clear key. To reset grouping and buddying options when
Clear is pressed, enable the option in Setup
→
Preferences
→
Programming.
6.5
Removing Values
As well as assigning values for parameters, you will sometimes want to remove parameter values from editors. For example:
• You no longer want to use a particular fixture in a cue, scene or palette.
• You decide to have the colour of several fixtures controlled by a different cuelist on another playback. To do this, you need to remove colour parameter values, so that they don't take over control of the colour parameters under the
LTP rule. See HTP and LTP (p.31).
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Section 6: Selecting Fixtures and Modifying Parameters
Tip
If you want to clear the entire contents of an editor, use the Clear key.
6.5.1
Removing Entire Fixtures from an Editor
To remove selected fixtures from an editor (known as ‘knocking out’), press the Knockout button on the Main Toolbar. For example:
• Fixture
1
Thru
5
Knockout : removes Fixtures 1 to 5 from the editor.
• Group
2
Knockout : removes all fixtures in Group 2 from the editor.
6.5.2
Removing Kinds from an Editor
You can remove specific parameter types from the selected fixtures in an editor using fixed kinds or user kinds keys:
• Colour , Knockout : Select the parameter type and press Knockout
6.5.3
Removing Individual Parameters from an Editor
You can remove individual parameters from the selected fixtures in an editor:
• Hold Knockout and move the relevant parameter wheel, or press the relevant button on the Slot Toolbar .
• Hold
Backspace and move the relevant parameter wheel.
• Hold Backspace and press the relevant parameter type key; this gives singlehanded operation.
• You can remove the values from the currently highlighted cells in the Programmer by pressing Pig + Backspace .
6.6
Separating Parameters
When recording a cue, scene or palette, Hog 4OS only records parameters that have been changed
or touched since the last cue was recorded. See Tracking (p.31) and Working with Tracking
However, some parameter types are treated as a single fixture ‘attribute’, so for example when you touch one of the three colour parameters of a colour mixing fixture (cyan, magenta or yellow), the other two are automatically touched at either their current value from playback, or at their default values.
High End Systems 149
150
Section 6: Selecting Fixtures and Modifying Parameters
For most purposes this provides the results that you would expect but there may be situations where you want to separate the linked parameters, for example to run separate chases with the cyan, magenta and yellow parameters.
By default, Hog 4OS links all position parameters together, and all colour parameters together.
You can separate linked parameter types in the kinds editor window for both fixed and user kinds:
1.
Hold Open key and select the Kinds; button from the steup toolbar.
2.
Toggle separating parameters on and off by pressing the parameter type buttons;
see Figure 6.12, “A Kind Editor for the Colour kind with seperate parameters
Figure 6.12. A Kind Editor for the Colour kind with seperate parameters turned on.
High End Systems
Section 7: Groups
7.1
Recording Groups
When recording a group, only the active fixture selection is recorded, not all the fixtures currently in the editor. To record a group:
1.
Select the desired fixtures in the Programmer or editor.
2.
Record , Group : the Group Directory window opens.
3.
Select the destination location in the Group Directory window.
4.
Alternatively, enter a number on the keypad and press Enter .
5.
If the destination location is already used, you will be asked to choose an op-
tion: Insert, Merge and Replace (p.154).
When you record a group the selection order is also saved. This controls how fanning and effects are applied to the fixtures in the group, and is significant when using the Next and Back buttons;
see Selection Order (p.130), Fanning (p.144) and Effects (p.227).
Tip
Hog 4OS can automatically generate a useful set of groups based on the
fixtures in your show: see Creating Palettes and Groups Automatically
7.2
Naming Groups
You can give a group a name that will be displayed in the Group Directory window:
1.
Open + Group : opens the Group Directory window.
2.
Select the group to be named.
3.
Set
[name]
Enter
: type in the name.
Tip
You can name a group, cue, scene or palette immediately after recording it by pressing the Set key. The Quickname window will open, and you can enter the name and select OK.
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Section 7: Groups
7.3
Using Groups in Programming
You use groups in the same way that you would use fixture selections, for example:
• Group
1
, Enter : selects all the fixtures in Group 1.
• Group
1
@
50
, Enter : selects all the fixtures in Group 1 and sets their intensity to 50%.
• Group
1
+ Fixture
3
@
50
, Enter : you can mix fixture and group selections.
One particularly useful syntax to use with groups is the / key:
•
Group
1
/ Group
3
: selects only fixtures that are in both groups.
7.4
Editing Group Contents
To edit a group's contents, select the group within the Programmer or editor, make changes to
the selection and re-record the group. Hog 4OS will ask you to choose from Insert, Merge and
Replace (p.154). Select Replace to update the group with the new selection.
7.4.1
Removing Fixtures from Groups
You can remove the fixtures that are currently selected in the Programmer or editor from a previously recorded group. If you have a fixture selected in the Programmer or editor that is not in the group, that fixture is ignored.
For example, if you have a group containing fixtures 1-5, and you want to remove Fixture 2:
1.
Fixture
2
, Enter : select the fixture you want to remove.
2.
Record
,
Remove
: the Remove button is on the Record Options Toolbar at the bottom of the right-hand screen.
3.
Group
5
, Enter : removes Fixture 2 from Group 5.
7.5
Deleting Groups
To delete a group:
1.
Group
1
Delete : deletes group 1.
2.
Click OK to confirm the delete.
152 High End Systems
Section 7: Groups
Or from the group directory:
1.
Press and hold Delete whilst selecting the group to be deleted from directory.
2.
Release the Delete key. A dialog will appear asking you to confirm the delete.
3.
Click OK .
You can also delete several groups at once:
1.
Group
1
Thru
5
Delete : deletes groups 1 through 5.
2.
Click OK to confirm the delete.
Or from the group directory:
1.
Press and hold
Delete whilst selecting all the groups to be deleted from directory.
2.
Release the Delete key. A dialog will appear asking you to confirm the delete.
3.
Click OK .
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
7.6
Copying and Moving Groups
To make a copy of a group:
• Group
1
Copy Group
2
Enter : copies the contents of Group 1 to Group 2.
Similarly, to move a group to a new location:
• Group
1
Move Group
2
Enter : moves Group 1 to Group 2.
If the destination group already exists, you will be asked to choose an option: Insert, Merge and
To copy parameter values from the fixtures of one group to the fixtures of another group within an editor:
• Group
1
Copy Fixture Group
2
Enter : copies the parameter values of the fixtures in group 1 to the fixtures in group 2.
Similarly with masking options:
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Section 7: Groups
• Group
1
Intensity Copy Fixture Group
2
Enter : copies the intensity values of the fixtures in group 1 to the fixtures in group 2.
7.7
Insert, Merge and Replace
When recording or copying a group, if the destination location already has a group recorded in it, you will be prompted with record options of Insert, Merge or Replace.
If you are moving a group, only the Insert option is available.
• Insert: creates a new destination group. The new group will be assigned a free location just before the one chosen, using a point number if necessary.
• Merge: Incorporates the new information into the destination group.
• Replace: Overwrites the group information in that destination.
Tip
If you know that you are about to record, copy or move a group to an existing destination, you can pre-select Insert, Merge or Replace from the Record Options Toolbar. This appears after you press the Record,
Copy or Move keys.
154 High End Systems
Section 8: Palettes
8.1
Recording a Palette
There are five palette directories (intensity, position, colour, beam, effects) into which users can record preset values for easy recall during show programming. The Hog 4OS determines which function values are recorded into palettes based the kind masking specified at the time of recording.
If the kind mask is empty (no kinds selected) at the time of recording then the palette directory's kind mask settings will determine which function values are recorded into the palette.
By default, Hog 4OS records the appropriate parameter values of all fixtures in the Programmer
ing Only Selected Fixtures (p.163).
To record, for example, a position palette:
1.
In the Programmer or editor, assign the position parameters of the desired fixtures as you want them in the palette.
2.
Record Position : the Position Directory opens.
3.
[Palette 2] : choose a location in the directory.
Or, using the command line:
• Record Position
2
Enter
If you leave out the palette location:
• Record Position , Enter the palette will be recorded in the next available location.
If the destination palette already exists, you will be asked to choose an option: Insert, Merge and
8.1.1
Naming a Palette
You can give a palette a name that will be displayed in the Palette Directory:
1.
Open + Position : opens the Position Directory.
2.
Check that the Guard button is selected, so that you don't accidentally activate a palette when pressing its button in the directory.
3.
Select the palette to be named by pressing its button in the directory.
4.
Set
[name]
Enter : type in the name.
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Section 8: Palettes
Tip
To name a palette immediately after recording it, pressing the Set key will open a Quickname window. Enter the palette name and select OK.
8.2
Using Palettes in Programming
In the Programmer or editor, you can apply a palette by selecting it from its directory window.
The palette will be applied to the current fixture selection, as long as the palette contains parameter information for the selected fixtures. Doing so assigns the parameter value to be a reference to the palette. A palette that puts all Studio Colors in the rig to deep red will therefore apply this
immediately to any Studio Colors that are in the current selection; see Figure 8.1, “Example of
Parameters set to reference a Palette”.
For example:
1.
Open + Colour : open the Colour Directory window.
2.
3
Thru
5
: select the fixtures.
3.
[Colour 2] : select the palette from the Colour Directory window.
Or, using the command line:
•
3
Thru
5
Colour
2
Enter
Figure 8.1. Example of Parameters set to reference a Palette
8.3
Editing Palette Contents
156
Figure 8.2. The Palette Editor window
High End Systems
Section 8: Palettes
You can change the parameter values that are applied when a palette is referenced during playback
by editing the palette's contents in an editor window, see Figure 8.2, “The Palette Editor window”.
For example, to open Colour Palette 2 for editing:
1.
Open + Colour : opens the Colour Directory.
2.
Open
+
[Colour 2]
: opens the palette editor for Colour Palette 2.
3.
Alternatively using the command line : Colour
2
Open
4.
Press the Edit button in the editor window to select this as your current editor.
Within the editor, you can assign fixture parameters and timing in the same way as in the Pro-
grammer; see Individual Parameter Timings (p.212). Press
Update after editing to save the
changes to the palette. For more information on working with editors, see Editors (p.45).
Tip
When you open a palette for editing, you may only appear to see one fixture when you recorded several. This is due to the way palettes can be ‘global’, with a single set of parameter values that can be applied to
any fixture; see Global, Per Fixture Type, and Per Fixture (p.159).
8.3.1
Updating Palettes with Different Parameter Types
Palettes contain one or more parameter types. If you edit a palette and add values for parameters of a type that was not previously in the palette, and then update the palette, these values will not be stored. If you want to change the parameter types that a palette contains, you need to select the type from the Palette Masking Toolbar:
For example, suppose that you wanted to add a gobo (a beam parameter) to the existing Colour
Palette 2:
1.
Open + Colour : opens the Colour Directory.
2.
Open + [Colour 2] : opens the palette editor for Colour Palette 2.
3.
Press the Edit button in the editor window to select this as your current editor.
4.
Select the B (Beam) button on the Palette Masking Toolbar.
5.
Edit the fixture parameter values to assign the required gobo.
6.
Press Update to save the changes.
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Section 8: Palettes
Tip
You can also use the Palette Masking Toolbar to quickly remove all values of a particular parameter type from a palette by deselecting the appropriate button before updating.
8.4
Deleting Palettes
»
Important
Deleting a palette will remove all references to the palette that have been recorded in cues, scenes and other palettes, and replace the references with numerical parameter values. Creating a new palette in the same location will not replace the references, which are removed once the palette is deleted.
To delete a palette using the command line:
1.
Colour
1
Delete : deletes Colour Palette 1.
2.
Click OK to confirm the delete.
Or, from the palette directory:
1.
Press and hold Delete whilst selecting the palette to be deleted from directory.
2.
Release the Delete key. A dialog will appear asking you to confirm the delete.
3.
Click OK .
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
8.5
Copying and Moving Palettes
To make a copy of a palette in a new location:
1.
Open + Colour : open the Colour directory.
2.
Make sure that the
Guard button is pressed, so that you do not accidentally apply palettes when trying to select them.
3.
Select the palette that you want to copy by pressing its button in the directory.
158 High End Systems
Section 8: Palettes
4.
Press the Copy key.
5.
Press the button of the location in the directory you want to copy the palette to.
Or, using the command line:
• Colour
2
Copy Colour
3
Enter : copies the contents of Colour Palette 2 to
Colour Palette 3.
• Group
5
Colour
2
Copy Colour
3
Enter : copies fixtures that are in Colour
Palette 2 and Group 5 into Colour Palette 3.
Similarly, to move a palette to a new location:
• Colour
2
Move Colour
3
Enter : moves the contents of Colour Palette 2 to
Colour Palette 3, leaving 2 empty.
If the destination palette already exists, you will be asked to choose an option: Insert, Merge and
Tip
References to palettes refer to the palette, not its location in the directory.
If you move a palette from location 3 to location 4, references to the palette still refer to it in its new location, not to another palette you put in location 3.
8.6
Record Options
8.6.1
Global, Per Fixture Type, and Per Fixture
When you record a palette, parameter values can be recorded as global, per fixture type, or per fixture. The three kinds work in different ways when you apply the palette to fixtures during programming:
• Global: the palette's parameter values are applied to all selected fixtures that have that parameter. For example, a colour palette containing hue and saturation parameters is applied to all selected fixtures that have hue and saturation.
• Per Fixture Type: the palette's parameter values are applied to all fixtures of that type. For example, a palette containing parameter values for Studio Color
575s will only be applied to selected Studio Color 575s.
• Per Fixture: the palette's parameter values are applied only to those specific fixtures that are both in the palette and selected in the editor. For example, a palette containing parameter values for Studio Color 575 1 will only be applied to that fixture (and only then if it is selected).
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Section 8: Palettes
By default, the following rules determine how the palette is recorded:
1.
Position palettes are always recorded Per Fixture.
2.
If all the fixtures to be recorded have exactly the same parameter values, then the palette is recorded as Global.
3.
Otherwise the palette is recorded Per Fixture.
In the palette's editor, the parameter values in a Global palette will appear as All Types . Similarly,
a palette with Per Fixture Type values will show them grouped by fixture type; see Figure 8.3,
Figure 8.3. A Palette with Global Parameter Values
Figure 8.4. A Palette with Per Fixture Type Values
160
Figure 8.5. A Palette with Per Fixture Values
High End Systems
Section 8: Palettes
You can override the default settings using the Record Options Toolbar; for example to record a single fixture's parameter values as per fixture:
1.
Assign the parameters of the fixture as required.
2.
Press Record .
3.
The Record Options Toolbar will appear on the bottom of the right-hand touch screen. Select Per Fixture .
4.
Press the key to choose the palette type, for example Colour . The Palette
Directory will open.
5.
Select the palette location by pressing it in the Palette Directory window.
Similarly, to force a palette with one of each fixture type to be recorded as Per Fixture Type rather than the default Per Fixture, use the
Per Fixture Type button on the Record Options
Toolbar.
Forcing a palette to be Per Fixture Type can be useful if you want a palette that contains programming for more than one type of fixture, but that you can apply to any fixture of a type included in the palette. For example, you want to create a ‘red’ palette that can be applied to both Studio
Colors and Studio Spots. If you select the first Studio Spot and make red then select the first
Studio Color and make red (with different parameter values) and record this as palette, it will by default be by fixture and work only for those two fixtures. However if you select Per Fixture
Type when recording, then the palette will work for all Studio Spots and all Studio Colors, assigning them the same values as was used to create the palette.
8.6.2
Recording Palettes with Kind Masking
The Hog 4OS determines which function values are recorded into palettes based on the kind masking specified at the time of recording. If the kind mask is empty (no kinds are selected) then the directory's kind mask will determine which function values are recorded into the palette. In this section we will look at using kind masking as a method for filtering which function values are recorded into palettes.
The Palette Directory will display which fixed kinds are included in each palette, indicated by I for intensity, P for position, C for colour, B for beam, E for effect, T for time and L for control;
see Figure 8.6, “Example of Palettes containing different parameter types”.
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Section 8: Palettes
Figure 8.6. Example of Palettes containing different parameter types
Masking Using the Record Options Toolbar
To specify masking when recording a palette using the Record Options Toolbar :
1.
Assign the parameters of the fixtures as required.
2.
Press Record . The Kind Mask menu will automatically pop up above the record options toolbar and displays a grid of buttons containing all of the fixed kinds
and user kinds included in your show.see Figure 8.7, “The Record Options
Toolbar”. (If kind masking menu does not automatically appear then check
the "Automatically show kind masking toolbar" option in Programming pane of the user preferecnes window)
3.
Deselect which kinds you do not want to include in the palette by toggling off the buttons.
4.
Press one of the fixed kind keys to choose a palette type destination, for example Colour . The Palette Directory will open.
5.
Select a palette location in the directory by pressing on any button in the
Palette Directory window.
162 High End Systems
Section 8: Palettes
Figure 8.7. The Record Options Toolbar
Masking Using the Command Line
When recording a palette using the command line, you can choose which fixed kinds and/or user kind functions you want to start off with in the mask by listing them on the command line before the Record command:
• Colour Position Record Colour
3
Enter : records the colour and position parameters of the Programmer or editor contents into Colour Palette 3.
Recording Only Selected Fixtures
By default, all fixtures currently in the Programmer or editor are recorded. To record only selected fixtures:
1.
Fixture
2
: select the fixture(s) you want to record in the palette.
2.
Record
3.
On the Record Options Toolbar press : Selected
4.
Position , Enter : records only the position values for fixture 2 into the next available position palette, rather than values for all fixtures in the Programmer.
8.6.3
Palette Timing
To include timing when recording palettes ensure that the "Time" kind in the kind masking menu
is selected after pressing record; see Masking Using the Record Options Toolbar (p.162).
You can also record palettes that contain only timing information (no function values) by only masking in "Time" when recording the palette. For example, to record a time only colour palette
with a fade time of 6 seconds:
1.
Assign any values to the fixture functions you want to create a timing palette for.
2.
Assign a fade time to the fixture functions such as 6 seconds.
3.
Time Record Colour
2
Enter : records only the timing information that was in the programmer into Colour Palette 2.
You can also edit timings in the palette's editor. See Editing Palette Contents (p.156).
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Section 8: Palettes
8.6.4
Reference Palettes
When you record a cue using a palette, a reference to the palette is recorded instead of a numerical value for the parameters. Similarly, you can record palettes using other palettes, so that the new palette contains references rather than numerical values. A palette recorded in this way is known as a reference palette, and is marked in the palette directory window by a icon.
Reference palettes are useful when you want to create palettes to use as simple ‘building blocks’ which you then make more complex building blocks from. For example, you might create a position palette that focuses some Studio Spot 575s onto the lead singer, and further position palettes that position other fixtures onto the remaining band members. You could then make an ‘All
Band’ position palette with one fixture lighting each band member, in which each fixture references another palette, instead of having parameter values. If the drum riser was later moved, you could adjust the position palette that focused onto it, and the change would not only be updated in all scenes and cues programmed with that palette, but also all programming done with the ‘All
Band’ palette.
By default, palettes are not recorded as reference palettes; any fixture parameters assigned using another palette is recorded as a numerical value. If you want to record a palette as a reference palette, select the Allow Refs record option:
1.
Assign the parameters of the fixtures using other palettes as required.
2.
Press Record .
3.
The
Record Options Toolbar will appear at the bottom of the right-hand touch screen. Press the Allow Refs button.
4.
Press a key to choose the palette type, for example Colour . The Palette Directory will open.
5.
Select the palette location by pressing it in the
Palette Directory window.
8.6.5
Direct Palettes
Normally, when you use a palette to assign parameter values for recording in a cue or scene, a reference to the palette is inserted rather than numerical values. To insert numerical values instead of references, use direct palettes. Cues and scenes recorded using direct palettes will not update if the palette is later changed, because they contain ordinary parameter values rather than references to a palette.
You can use a palette as a direct palette on a one-off basis as you program, or you can assign it to always act as a direct palette; a direct palette is shown by a symbol dow.
in the directory win-
To temporarily use an existing palette as a direct palette when calling it into the Programmer or editor:
•
1
@ Colour
1
: the @ key indicates that the palette should be used in direct mode.
164 High End Systems
Section 8: Palettes
To create a direct palette:
1.
Assign the fixtures as required.
2.
Record
3.
As Direct
4.
[Position 2] , Enter : choose a location for the palette.
To convert an existing palette to a direct palette:
1.
Open + Colour : open the appropriate Palette Directory.
2.
Set the directory window to spreadsheet view by pressing the button.
3.
Select the
Is Direct cell for the palette you want to change, and press
Set to toggle the value to Yes .
Note that converting a palette to a direct palette will not alter any programming done previously using the palette; cues and scenes already recorded will still contain references to the palette.
Only subsequent programming will be effected.
8.7
Insert, Merge and Replace
When recording or copying a palette, if the destination location already has a palette recorded in it, you will be prompted with record options of Insert, Merge or Replace.
If you are moving a palette, only the Insert option is available.
• Insert: creates a new destination palette. The new palette will be assigned a free location just before the one chosen, using a point number if necessary.
• Merge: incorporates the new information into the destination palette. If the same fixtures and parameters are in both palettes, the new values will replace the old.
• Replace: overwrites the palette information in that destination.
Tip
If you know that you are about to record, copy or move a palette to an existing destination, you can pre-select Insert, Merge or Replace from the Record Options Toolbar. This appears after you press the Record,
Copy or Move keys.
High End Systems 165
Section 9: Directory Windows
Directory windows are the windows that allow users to access recorded data such as palettes, cuelists, scenes, pages, effects, kinds, and groups using a grid of buttons. Directory windows and their contents can be displayed in a number of ways. In this section we will cover the different options available for directory windows.
9.1
Mask (IPBCE Palette Directories Only)
The Palette Directories (IPCBE) mask settings determine which fixed function kinds are recorded into palettes for that directory if the command line kind mask is blank at the time of recording
(no kinds selected). To change which kinds are included in the directory's mask open the configuration window for that directory, navigating to the mask tab, and enable/disable the individual function kinds in the menu.
Figure 9.1. Directory Kind Mask Menu
A directory mask legend is shown at the top of each directory window and indicates which kinds will be recorded into palettes for that directory if the kind mask is blank at the time of recording.
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Section 9: Directory Windows
Figure 9.2. Directory Kind Mask Legend
9.2
Color Coding
Each button within a directory window can be color coded to help distinguish it from the other buttons in the directory. To color code a directory button right click on the button in the directory window and choose from a preset palette of 12 colors, mix a custom color, or choose to have the console auto-color code the button based on the dominant mixed color data recorded in the button
(palette buttons only).
Figure 9.3. Right Click Color Coding Menu
9.2.1
Coloring the entire button
By default each directory window displays color coding using an outline around the directory buttons. If you prefer that the console color the entire background of the directory buttons click on the icon to open the window configuration menu and enable the "Color Code Entire
Button" option. The option to color code the entire button is unique for each directory and is also stored when you record a directory window into a view.
Figure 9.4. Color Coding Entire Button
168 High End Systems
Section 9: Directory Windows
9.3
Button Sizes
By default each directory window displays its buttons using a medium size. To change the displayed button sizes in any directory window open the window configuration menu by clicking on the icon located at the top of the directory window. Locate the drop down menu option called "button sizes". Here you will see the option to display the directory's buttons in three different sizes: small, medium, and large. Set the button size menu option to the desired setting and press okay. The button size option you select for each directory is unique to that directory and is also stored when you record a directory window into a view.
Figure 9.5. Button Sizes Option
9.4
Show Fewer Buttons
By default directory windows display both active buttons (buttons that contain data) and inactive buttons (buttons with no data). In some cases you may wish to hide the inactive buttons in the directory. To hide the inactive buttons in a directory click on the icon to open the window configuration menu and enable the "show fewer buttons" option. The option to show fewer buttons is unique to each directory and is also stored when you record a directory window into a view.
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Section 9: Directory Windows
Figure 9.6. Show Fewer Buttons Option
9.5
Show Auto Color Swatch
The "show auto color swatch" option is avaiable only in palette directory windows and is only useful in cases where the user has programmed color mixing values into a palette within that directory. When this option is turned on any buttons in the directory window that contain palettes with color mixing data will display a small color swatch in the middle of the button to indicate a dominant mixed color is recorded in that palette. To enable the "auto color swatch" option click on the icon and enable the "show auto color swatch" option. The option to show the auto color swatch is unique to each directory window and is also stored when you record a directory window into a view.
170
Figure 9.7. Auto Color Swatch Option
High End Systems
Section 9: Directory Windows
9.6
Spreadsheet View
By default directory windows are displayed as a grid of touch-sized buttons, however you can also view the contents of any directory as a spreadsheet by clicking on the button. When in list view the directory buttons can be selected and/or applied by pressing on it's number in the num column. The option to display a directory in list view is unique to each directory and is also stored when you record a directory window into a view.
Figure 9.8. Spreedsheet View vs. Button View of Colour Directory
High End Systems 171
Section 10: Media Picker
The media picker is a tabbed, graphical window that allows users to view and select slotted function values for the current fixture selection using previews.
To open the media picker window hold the open key and press the “media picker” button on the main toolbar or press Pig + Open + Beam on the console front panel.
When a fixture selection is made the console will populate the media picker with previews as defined by the preview package assigned to that fixture. See section 10.6 for details on how preview packages are created and how to manage them.
In general, automated lighting fixtures will display previews for slotted functions such as strobe, gobo, color, and prism, while digital media servers such as the DL.3 will display previews for media files, 3-D objects, and masks. Preview selections made in the media picker window are applied to the current active editor.
Figure 10.1. Media Picker Window
10.1
Media Picker Window Options
The media picker has several options for how previews are displayed in the window:
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174
1.
Merged Different (default on) : when this option is turned on the media picker window merges previews for content across the current fixture selection even if the preview images do not match. When in this mode a "page turn" icon will appear in the upper right corner for preview that is not the same across the entire fixture selection.
2.
Show/hide dmx value (default on) : shows and hides the dmx value of the previews displayed in the media picker
3.
Show/hide name : shows and hides the preview names in the media picker
4.
Reverse Display Order : reversed the order in which the previews are displayed in the media picker
5.
Search Filter : input text to filter the contents of the media picker window
6.
Package Status Icon : Icon indicating the health status of the preview package for the current fixture selection. Click on the icon for a detailed view of all runnning and completed preview package tasks.
7.
Function Tabs : fixture functions such as gobo wheels, color wheels, media indexes, etc. are grouped into selectable tabs for easy navigation
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10.2
CITP Previews in the Media Picker
By default the media picker displays previews for fixtures using a default preview package for that fixture type as supplied by the fixture library. However, the media picker can also display previews that have been downloaded and cached from connected CITP enabled fixtures. In this section we will review which CITP clients are supported by the Hog 4OS for previewing, how to configure the DP8000 for CITP fixture discovery, how to associate fixtures to CITP media servers in the patch window, and finally how to use the patch window to refresh CITP media preview packages.
10.2.1
Supported CITP Media Server Clients
Hog 4OS v2.0.0 supports the following CITP Media server clients:
•
Arkaos MediaMaster
• Coolux Pandoras Box (software version 4.7 or greater)
• Green Hippo Hippotizer (software version 3.2.1 or greater)
• High End Systems Axon (software version 2.1.2 or greater)
• High End Systems DL.2 (software version 2.1.2 or greater)
• High End Systems DL.3 (software version 2.1.2 or greater)
• High End Systems DLV (software version 2.1.1 or greater)
• PRG Mbox Studio & Mbox Mini (software versions 3.6.1 & 3.8)
10.2.2
Configuring DP8000 for CITP Discovery
In order for the console to properly discover CITP enabled fixtures on a DP8000's FixtureNet network, the FixtureNet adapter for the DP8000 must be properly configured:
1.
Open the node settings window for the DP8000 that is connected via FixtureNet to the CITP enable fixtures
2.
Select the FixtureNet tab of the node settings window
3.
Ensure that the IP address and subnet settings are appropriate for the network environment in which the CITP discovered fixtures are connected. This is similar to configuring the FixtureNet adapter for Art-Net and sACN output.
To better ensure connectivity it is recommended that the IP address assigned to the FixtureNet adapter be within in the same sub-network as the CITP fixtures it is receving preview thumbnails from.
10.2.3
Patching fixtures to CITP discovered fixtures
Once a fixture is scheduled into the patch window and patched to a DMX output, the fixture can then be patched to a CITP fixture that has been discovered on the FixtureNet network of any
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active DP8000 connected to the console. Follow these steps to patch a fixutre to a CITP discovered fixture:
!
1.
Open the patch window
2.
Select the fixture(s) you wish to associate with a CITP fixture in the rig
3.
Press the "patch media" button at the top of the patch window
4.
Select the IP address of a discovered CITP fixture from the media patch window
5.
Press okay. You will now see the IP address of the CITP fixture in the patch window listed for the fixtures you selected in step 2.
6.
With the fixtures still selected press the "refresh media" button at the top of the patch window to fetch previews from the CITP fixture.
Caution
If the IP address of a discovered CITP fixture in the rig changes you will need to perform the "patch media" task again.
Tip
Selecting "None" from the list of CITP discovered fixtures in the media patch window will disassociate/unpatch the selected fixtures from CITP discovered fixtures and revert the fixture to using the default preview package supplied by the fixture library.
10.2.4
Refreshing CITP Previews
The content stored on CITP discovered fixtures may change during the programming of your show. For example, the video clip file used in the openning scene might have been changed on the media server. The console is not automatically made aware of these content changes and so it is necessary to request new previews from the fixture in order to update the cached preview package on the console. Follow these steps to update cached CITP previews on the console:
1.
Open the patch window
2.
Select the fixture(s) you wish to refresh the media
3.
Press the "refresh media" button at the top of the patch window. A green and white animated refresh icon will appear at the top right of the media picker window to the right of the search field. The media refresh is finished when the icon disappears.
10.2.5
Disabling CITP on DP8000
By default CITP is enabled on all DP8000s in new shows. To disable CITP on a DP8000:
1.
Open the node settings window for the DP8000
2.
Select the CITP tab of the node settings window
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3.
Deselect the enable button and hit apply
10.3
Catalyst Previews in the Media Picker
In addition to CITP and fixture library defined preview packages, the Hog 4OS is also capable of displaying previews for content stored on Catalyst media servers. In this section we will review how to configure D8000s for downloading Catalyst previews, how to associate Catalyst fixtures to Catalyst media servers in the patch window, and how to use the patch window to refresh cache
Catalyst preview packages on the console.
10.3.1
Configuring DP8000 for Catalyst Previews
In order for the console to properly fetch and display thumnail previews for Catalyst media servers on a DP8000's FixtureNet network, the FixtureNet adapter for the DP8000 must be properly configured:
1.
Open the node settings window for the DP8000 that is connected via FixtureNet to the Catalyst media servers
2.
Select the FixtureNet tab of the node settings window
3.
Ensure that the IP address and subnet settings are appropriate for the network environment in which the Catalyst media servers are connected. This is similar to configuring the FixtureNet network adapter for Art-Net and sACN output.
To better ensure connectivity it is recommended that the IP address assigned to the FixtureNet adapter be within in the same sub-network as the Catalyst it is receving preview thumnails from.
10.3.2
Patching Catalyst fixtures to Catalyst Media Servers
Once a Catalyst fixture is scheduled in the patch window and patched to a DMX output, the
Catalyst fixture can then be patched to a Catalyst media server that is connected to the FixtureNet network of any active DP8000 connected to the console. Follow these steps to patch a Catalyst fixture to a Catalyst media server:
1.
Open the patch window
2.
Select the Catalyst fixture(s) you wish to associate with a Catalyst media server in the rig
3.
Press the "patch media" button at the top of the patch window
4.
Select the Catalyst tab in the media patch window
5.
Enter the IP Address of the Catalyst media server
6.
Press okay. You will now see the IP address of the Catalyst media server in the patch window listed for the Catalyst fixtures you selected in step 2. This will now associate the Catalyst fixtures in your show file with the Catalyst
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!
media servers in the rig as long as the Catalyst media server's IP remains the same.
7.
With the fixtures still selected press the "refresh media" button at the top of the patch window to fetch previews from the Catalyst
Caution
If the IP address of a Catalyst Media server in the rig changes you will need to perform the "patch media" task again.
Tip
Entering an IP address of 0.0.0.0 in the Catalyst tab of the media patch window will disassociate/unpatch the selected fixtures from Catalyst media servers and revert the fixture to using the preview thumbnails in the fixture library.
10.3.3
Refreshing Catalyst Previews
Catalyst media server content may change during the programming of your show. For example, the video clip file used in the openning scene might have been changed on the Catalyst media server. The console is not automatically made aware of these content changes and so it is necessary to request new preview thumbnails from the Catalyst media server. Follow these steps to update the previews on the console:.
1.
Open the patch window
2.
Select the fixture(s) you wish to refresh the media
3.
Press the "refresh media" button at the top of the patch window. A green and white animated refresh icon will appear at the top right of the media picker window to the right of the search field. The media refresh is finished when the icon disappears.
10.3.4
Disabling Catalyst Preview Fetching on DP8000
By default Cataylyst thumbnail preview fetching is enabled on all DP8000s in new shows. To disable Cataylyst thumbnail preview fetching on a DP8000:
1.
Open the node settings window for the DP8000
2.
Select the Catalyst tab of the node setting window
3.
Deselect the enable button and hit apply
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10.4
Adding Previews to Pre-v2.0.0 Show Files
Hog 4 OS and Hog 3 OS show files built with fixture library v4.7 and older will not display library based preview thumbnails in the media picker until the fixtures in the show file are updated using the follow steps:
1.
Open the patch window
2.
Select the fixture(s) you wish to update with library based preview thumbnails
3.
Press the "refresh media" button at the top of the patch window
10.5
Renaming & Customizing Preview Images
Users can define custom names and images for fixture previews using the media picker. For example, if a fixture in the rig has a custom gobo installed the user may want to change the library defined preview image to a custom image or change the library defined preview name to a custom name in order to better represent the custom gobo being used in the rig.
Customizing preview images and/or names in your show can be done using the follow steps:
1.
Open the media picker window
2.
Select the fixture(s) you want to customize
3.
In the media picker window select the preview you wish to change
4.
Hit the [set] key
5.
Use the text field to rename the preview and/or click on the "Change..." button to browse for a custom image. Images can be imported from a USB flash drive or chosen from the thumbnail library folder on the console. (supported image formats: jpeg, png, gif)
6.
The custom preview name and image you chose will now appear anywhere that preview is presented in the show such as on the slot toolbar, in the media picker, and in direct entry menus.
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Figure 10.2. Media Picker Window
10.6
Managing Preview Packages
To view which preview package a fixture is using open the fixture window and locate the "preview package" column for that fixture. Listed in this column will be the name of the preview package currently being used by the fixture to display preview names and thumnails on the slot toolbar, in the editors, and in the media picker.
To change which preview package a fixture is using double click on the preview package cell and select from the list of available packages in the menu.
Default Library Packages: Are the packages defined by the fixture library. These packages contain previews based on manufacturer documentation and stock fixture configuration.
Custom Packages: Are created when the user has modified the default library preview package for fixture or set of fixtures by adding custom images or names to the previews for that fixture.
Once a custom package is created for one fixture, other fixtures of that same type can also be assigned to use this preview package using the fixture window.
Cached Packages: Are created when a fixture's previews are downloaded via CITP. In this case a "cached" preview package for that fixture will be created. Like custom packages, cached packages can also be assigned to other fixtures of the same type using fixture window.
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Figure 10.3. Fixture Window
Tip
Custom preview packages and CITP cached preview packages can be associated with more than one fixture of the same type. For example, you can create a custom preview package for Solaspot fixture 1 and then use the fixture window to assigned Solaspot fixtures 2<10 to the same preview package enabling those fixtures to display the same custom previews. Likewise you can utlitize a single CITP cached preview package by assigning it to multiple fixtures your show.
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Section 11: Cues and Cuelists
11.1
Recording a Cue
To record a look created in the Programmer or editor as a cue within a cuelist, you need to specify a cuelist and cue number to record to. If the cuelist does not yet exist, Hog 4OS will create it automatically.
For example, to record Cue 4 into Cuelist 2:
• Record List
2
Cue
4
Enter
11.1.1
Recording to a Cuelist on a Master
You can choose a master rather than a cuelist when recording a cue. This will record the cue to the cuelist currently attached to the chosen master, or create a cuelist if it doesn't exist. For example:
1.
Press the Choose key above Master number 10. The Choose key will light up to show that Master 10 is the chosen master.
2.
Record
1
Enter : records Cue 1 in the cuelist attached to Master 10, creating it if necessary.
To record more cues:
•
Record
1.5
Enter
: inserts a new cue numbered 1.5 into the cuelist on the currently chosen master.
• Record Enter : appends the cue to the end of the cuelist attached to the currently chosen master.
•
Record Choose
: appends the cue to the end of the cuelist of the selected master. This allows the current master to remain chosen while recording cues onto other masters.
11.1.2
Programmer contents after Recording a Cue
When you record a cue, the values remain in the Programmer, but the background colour changes from blue to grey. This indicates that the parameter values in the Programmer are no longer
touched, and so are available for recording to another cuelist, but not to the same cuelist. You
can keep the values in the Programmer to act as the basis for the next cue on the same list, but because of tracking, only the changed parameter values will be recorded. For an overview of
tracking, see Tracking (p.31).
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11.1.3
Insert, Merge and Replace
When recording, copying or moving a cue, if the destination location already has a cue recorded in it, you will be prompted with record options of Insert, Merge or Replace:
• Insert: creates a new destination cue. The new cue will be assigned a free location lower than the one chosen, using a point number if necessary.
• Merge: Incorporates the new information into the destination cue. If the same fixtures and parameters are in both cues, the new values being merged will take priority.
• Replace: Overwrites the cue information in that destination.
If you are copying a cue, all three options are available. If you are moving a cue, only the Insert option is available.
Tip
If you know that you are about to record, copy or move a cue to an existing destination, you can pre-select Insert, Merge or Replace from the
Record Options Toolbar. This appears after you press the Record, Copy or Move keys.
11.1.4
Numbering Cues
If you leave out the cue number when recording cues, Hog 4OS will give the cue the next whole number in the list. If you specify a cue number, you can use numbers with up to five digits before the decimal and four digits after; for example:
11111.1111
. This can be useful to insert cues between previously recorded ones.
You can later renumber a complete cuelist; see Renumbering Cues within a Cuelist (p.187).
11.1.5
Naming Cues
You can give a cue a name that will be displayed in the Cuelist window and on the Playback
Bar:
1.
Open + Choose : opens the Cuelist window of the selected master.
2.
Select the cue's name cell.
3.
Set
[name]
Enter
: type in the name.
Tip
To name a cue immediately after recording it, press the Set key. This will open a Quickname window. Enter the cue name and select OK.
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11.2
Record Options
11.2.1
Recording Selected Fixtures Only
Normally, recording a cue records the total contents of the Programmer or editor, but you can choose to record only the currently selected fixtures. For example:
1.
Select the fixtures that you want to record.
2.
Record
3.
Press Selected on the Record Options Toolbar.
4.
Choose : records the selected fixtures as a new cue in the cuelist on the selected master.
11.2.2
Record, Remove Values from Cues
You can remove the contents of the Programmer or editor from a previously recorded cue. For example, you might have made changes to a cue, and you want the changes to track through
subsequent cues (see Tracking (p.31) for an explanation of tracking). To remove parameter
values:
1.
Ensure that the parameters that you want to remove are in the Programmer.
The parameter values do not matter, only that the parameters have values.
2.
Record , Remove : the Remove button is on the Record Options Toolbar at the bottom of the right-hand screen.
3.
Cue
5
, Enter : removes the selected parameter values from Cue 5.
To remove a whole fixture ensure that all parameters are selected. You can do this by selecting the fixture and pressing the Touch button on the Main Toolbar.
11.3
Deleting Cues
To delete a cue:
1.
Cue
1
Delete : deletes Cue 1 in the currently chosen cuelist.
2.
Click OK to confirm the delete.
Or:
1.
List
1
Cue
1
Delete : deletes cue 1 in cuelist 1.
2.
Click OK to confirm the delete.
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Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
You can delete a range of cues:
1.
List
1
Cue
1
Thru
4
Delete : deletes Cues 1 to 4 in Cuelist 1.
2.
Click OK to confirm the delete.
Tip
To delete a cue ‘cue only’, so that changes caused by deleting the cue
don't track through to later cues, see Deleting without Tracking Forward
11.4
Copying and Moving Cues
Tip
Copying or moving cues affect hard values only; the cue you wish to copy/move may also contain tracked values that create the current onstage state. If you wish to copy this look rather than just changes made
by the current cue, use Copy and Move with State; see Using State (p.192).
11.4.1
Copying Cues
To make a copy of a cue in the same cuelist:
1.
Make sure that the cuelist you want to work with is on the currently chosen master.
2.
Cue
1
Copy Cue
2
Enter : copies the contents of Cue 1 to Cue 2.
To copy in a cuelist other than the chosen one, or to copy between cuelists, specify the cuelist with the List key. For example:
• List
1
Cue
1
Copy List
2
Cue
2
Enter : copies the contents of Cue 1 of
Cuelist 1 to Cue 2 of Cuelist 2.
To copy a range of cues:
• List
1
Cue
1
Thru
4
Copy List
2
Cue
2
Enter : copies the contents of cues
1 to 4 of Cuelist 1 to Cuelist 2, starting at Cue 2.
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If the destination cue(s) already exist, you will be asked to choose an option: Insert, Merge and
11.4.2
Moving Cues
To move a cue to a new location:
• Cue
1
Move Cue
2
Enter : moves the cue from 1 to Cue 2, effectively removing Cue 1.
If the destination cue(s) already exist, you will be asked to choose an option: Insert, Merge and
11.5
Renumbering Cues within a Cuelist
If your cuelist has many point cues (1.2, 1.5, 2.5, etc.) or if cues have been deleted, you may wish to renumber the cues so that they are all whole numbers. You can renumber cuelists using the Renumber button; press More on the Main Toolbar:
• Renumber , Choose : renumber cues in the cuelist on the selected master, starting at 1 and increasing by 1.
• List
1
Cue
3
Thru Renumber , Enter : renumber all cues from Cue 3 upwards in Cuelist 1, starting at Cue 3 and increasing by 1.
• List
1
Cue
3
Thru
10
Renumber , Enter : renumber Cues 3 through 10 in
Cuelist 1, starting at Cue 3, finishing at Cue 10, with other cue numbers equally spaced between.
Alternatively, you can specify the range of new numbers to be given:
• List
1
Cue
3
Renumber
5
, Enter : renumber cue 3 as cue 5, in cuelist 1.
• List
1
Cue
3
Thru
10
Renumber
20
, Enter : renumber cues 3 through 10, in cuelist 1, with new numbers starting at 20. The rest of the new numbers will have the same order and spacing as before.
• List
1
Cue
3
Thru
10
Renumber
20
Thru
30
, Enter : renumber cues 3 through 10 in cuelist 1, starting at 20, finishing at 30, with other cue numbers equally spaced between.
Note that renumbering does not moves cues within the cuelist; if you try to renumber Cue 5 as
Cue 3, you will get an error message. You should use Move for this purpose; see Copying and
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»
Important
Using Renumber will affect the number column and numeric entries in the Name column. Also, renumber will not rewrite macros or links that refer to renumbered cues; you will need to update these manually.
11.6
Editing Cue Contents
You can edit the contents of a cue in an editor window: see Figure 11.1, “The Cue Editor win-
dow”. To open the current cue of the chosen master:
•
Cue
,
Open
Or:
• Cue , Cue
To open a specific cue in a specific cuelist, for example Cue 2 of Cuelist 1:
1.
Open + List : opens the Cuelist Directory window.
2.
Open + [Cuelist 1] : opens the Cuelist window for Cuelist 1.
3.
Open + [Cue 2] : opens the Cue Editor for Cue 2.
Alternatively, using the command line:
• List
1
Cue
2
Open
You can also preview a cue using View Cue in the Cuelist window; however, you will need to press the Edit button in the Cue Editor window to select this as your current editor in order to make any changes.
If the cue to be edited is on stage, selecting
Edit will enable blind mode until changes are updated, or Edit
is deselected, see Blind (p.254). You can leave the mode otherwise by pressing the
Blind key.
188
Figure 11.1. The Cue Editor window
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Section 11: Cues and Cuelists
Within the editor, you can assign fixture parameters and timing in the same way as in the Pro-
grammer. See Selecting Fixtures and Modifying Parameters (p.127). Once you have made changes
be sure to press the
Update key to save them, the Cue Editor will then automatically close.
11.6.1
Viewing Different Cues in the Editor
In addition to the usual functions available in all editors, described in Editors (p.45), the Cue
Editor window has controls that allow you to select which cue is displayed:
• Next and Back: The Next and Back buttons to allow you to easily step through the cues in the cuelist to view or edit them.
• View Cue: You can jump to another cue by typing its number in to the
View
Cue box and pressing the Enter key.
• Follow Current: If you select the Follow Current button, the Cue Editor window will always show the current cue as the cuelist is played back. If you use Next, Back or View Cue to view another cue, or if you edit the current cue, then Follow Current is disabled.
• Follow Next: This is similar to Follow Current, except that the next cue is displayed rather than the current one. When the last cue is played, the first cue in the cuelist is displayed.
Tip
As well as the buttons in the Cue Editor window, you can also step through the cues using the Next and Back keys while holding down the Cue key.
11.7
Working with Tracking
Hog 4OS uses tracking, which gives it some very powerful abilities. Tracking can also add extra complexity, but Hog 4OS has several functions that make working with tracking straightforward.
For a detailed discussion about tracking, see Tracking (p.31).
11.7.1
Tracking Values Backwards When Recording
You can use the Track Backwards feature when you record a cue to assign the parameter values to the last cue they appeared in, rather than the cue being recorded. For example, suppose that you have a series of cues with intensity values for three fixtures:
Fixture:
Cue 1
Cue 2
Cue 3
1
50
60
70
2
50
60
3
50
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If you assign all three fixtures to 100% and record with merge into Cue 3 (see Insert, Merge and
Replace (p.184) for recording with merging), you would get these values:
Fixture:
Cue 1
Cue 2
Cue 3
1
50
60
100
2
50
60
100
3
50
100
However, if you did the same thing with Track Backwards, you would get:
Fixture:
Cue 1
Cue 2
Cue 3
1
50
60
100
2
50
100
3
100
The value of 100% has been applied to the last cue that the intensity parameter had a value in.
If you Track Backwards a parameter that hasn't been given a value since the start of the cuelist, the value is added to the first cue in the cuelist.
To record a cue with Track Backwards, select the Backwards button on the Record Options
Toolbar that appears after you press the
Record key:
1.
Fixture
1
Thru
3
@
100
Enter .
2.
Record Cue
3
3.
Select Track Backwards on the Record Options Toolbar.
4.
Enter
Tip
You can also Track Backwards when you update cues using Auto Update;
11.7.2
Stopping Values from Tracking Forward
When you insert a new cue into a cuelist, or merge changes into an existing cue, the new values track forwards into later cues in the cuelist. For example, your cuelist has Cues 1 to 4, and Cue
1 has Fixture 1 programmed into it at 30%, so that it tracks through the subsequent cues:
Fixture:
Cue 1
Cue 2
Cue 3
Cue 4
1
30
2
50
100
40
3
100
60
50
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You now insert a Cue 2.5 with Fixture 1 at 100%. Because cues 3 and 4 do not change the intensity of Fixture 1, it will remain at 100% for the rest of the cuelist:
Fixture:
Cue 1
Cue 2
Cue 2.5
Cue 3
Cue 4
1
30
100
2
50
100
3
100
60
50
40
You may want to record the new cue so that parameter values in the new cue return to their original value in the next cue (so that the inserted cue does not change the original looks due to tracking):
Fixture:
Cue 1
Cue 2
Cue 2.5
Cue 3
Cue 4
1
30
100
30
2
50
100
40
3
100
60
50
Hog 4OS allows you to record a cue between other cues without destroying existing tracking values. To do this, record the inserted cue without tracking forwards by deselecting the Forward button on the
Record Options Toolbar that appears after pressing the
Record key. For example:
1.
Press the Record key.
2.
Deselect
Forward on the
Record Options Toolbar
.
3.
Cue
2.5
Enter : insert Cue 2.5 into the cuelist on the currently chosen master.
This is sometimes refered to as recording ‘cue only’ as the changes only affect the recorded cue and do not track into subsequent cues. Note that you can only turn tracking forwards off when you insert a new cue into a cuelist or when you merge values into a cue, not when adding new cues to the end of a cuelist.
»
Important
When recording or merging as ‘cue only’ any parameter values that did not previously exist in a cuelist, an ‘Off’ indication will be placed into the subsequent cue for these parameters. This Off indication will release the parameter value back to its previous state (as if it were not programmed in the list).
11.7.3
Deleting without Tracking Forward
When you delete a cue, this can have unexpected consequences on later cues in the cuelist if the deleted cue contained parameter values that tracked through to contribute to the state of the later cues. For example, you have the following cues:
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Fixture:
Cue 1
Cue 2
Cue 3
Cue 4
1
30
100
2
50
80
3
100
60
50
40
If you now delete Cue 2, Fixture 1 will track from Cue 1 through Cues 3 and 4 at 30%, rather than going to the expected 100% in Cues 3 and 4:
Fixture:
Cue 1
Cue 3
Cue 4
1
30
2
50
3
100
50
40
You can prevent this happening by deleting the cue ‘cue only’ which adds any values that previously tracked through from the deleted cue into the next cue:
Fixture:
Cue 1
Cue 3
Cue 4
1
30
100
2
50
80
40
3
100
50
To delete a cue without tracking the changes forwards:
1.
List
1
Cue
3
: select the cue to be deleted.
2.
Press and hold the
Delete key. The Record Options Toolbar will appear.
3.
Deselect Forward from the Record Options Toolbar.
4.
Release the Delete key.
11.7.4
Blocking Cues
Blocking cues prevent changes made earlier in the cuelist from tracking through to subsequent cues in the cuelist.
Using State
You can create blocking cues using the State button on the Record Options Toolbar . For example, suppose that you have the following cues:
Fixture:
Cue 1
Cue 2
Cue 3
Cue 4
1
30
2
50
100
40
3
100
60
50
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to turn Cue 4 into a blocking cue, you copy it to itself ‘with state’:
1.
Cue
4
Copy State Cue
4
Enter : the State button is on the Record Options
Toolbar that appears when you press Copy.
2.
Select Replace .
The values are now:
Fixture:
Cue 1
Cue 2
Cue 3
Cue 4
1
30
30
2
50
100
40
3
100
60
50
50
Because of tracking, when you copy a cue to another location you only copy the hard values,
so you do not create a new cue that actually represents the on-stage look that you would get by running the original cue.
To copy both hard and tracked values, you can use Copy and State:
•
List
1
Cue
5
Copy State List
2
Cue
1
Enter
: creates a new cue in Cuelist
2 that is the state of Cue 5 in Cuelist 1.
11.7.5
Unblocking
Unblocking removes redundant hard parameter values. A parameter value is redundant in a cue if it is the same as the value for that parameter in the previous cue in the same cuelist. For example:
Channel:
Cue 1
Cue 2
Cue 3
1
100
50
50
2
0
3
50
100
100
4
50
100 50
In this cuelist, the values for channels 1, 3 and 4 are redundant in cue 3. After unblocking, the values in the cuelist would be:
Channel:
Cue 1
Cue 2
Cue 3
1
100
50
2
0
100
3
50
100
4
50
To unblock cues, use the
Unblock button in the Main Toolbar:
• Cue
3
Unblock , Enter : unblock cue 3 on the currently chosen master.
• List
1
Cue
3
Unblock , Enter : unblock cue 3 of cuelist 1.
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• Cue
1
Thru
10
Colour Unblock , Enter : unblock only colour parameters in cues 1 through 10 of the cuelist on the currently chosen master.
• List
1
Cue
3
Group
10
Colour Unblock , Enter : unblock only the colour parameters of fixtures in Group 3, in cue 3 of cuelist 1.
To unblock complete cuelists:
• List
1
Unblock , Enter
Or on a master:
• Unblock Choose
Tip
Unblocking obeys the linked parameter preferences assigned in Setup
→
Preferences
→
Programming. For example, if position parameters are not separated and Pan is blocking but Tilt is not, Pan will not be unblocked.
For more on linked functions, see Separating Parameters (p.149)
»
Important
Unblocking will remove parameter values from blocking cues, so any future changes to subsequent cues will be tracked through the whole cuelist.
11.8
Mark Cues (Move in Black)
A Mark cue is a special designator for a cue that looks at the previous cue and any fixtures with an intensity of zero after completion of the cue. If a fixture meets these requirements, the mark cue allows the fixture(s) to ‘preset’ for the next cue by executing the crossfade for all parameters except intensity. This allows the fixture(s) to ‘move in black’ as they change to their new parameter values. When the next cue is later executed, only the intensity parameter changes as all other parameters will already be at their new values due to the mark. The timing used to mark a
cue is determined by the mark method you choose. See Fade Mark verses Time Marks (p.195)
for details on the different timing methods you can use when marking cues.
11.8.1
How to Mark to a Cue
There are several methods to assign a cue to mark:
• Select the Mark cell of a cue, press Set , and then Enter . If you wish to "time mark" the cue, then first input a time using the keypad and then Enter . To remove the mark from a cue select the
Mark cell of the cue, press
Set
, hit
Backspace , and then Enter .
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• Enable the Mark Fade New Cues or Mark Time New Cues option in the
Cuelist Options window. All new cues will be created with the mark type.
Note that when Mark Time New Cues is selected all newly recorded cues will get a 2s mark time by default.
• Toggle the
Mark Fade or
Mark Time button in a Cue Editor window of the cue you wish to mark.
11.8.2
Fade Mark verses Time Marks
Cues can be marked with either a fade mark or a time mark. While the basic principles of marking are the still the same, the timing in which the mark is executed varies between the two methods.
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A Fade mark uses the fade and delay times assigned in the marked cue to mark fixtures. Fade marking occurs on a fixture by fixture basis, so several fixtures could be marking at different times and rates depending upon their individual cue data in the marked cue.
In the fade mark example below, when cue 2 completes its 2 second fade to 0% intensity, cue 3 will automatically play all of its data except intensity in a 5 second fade. Then when cue 3 is played only the intensity will crossfade at 5 seconds. The fixtures will have moved from centre to left and changed from red to green automatically while in ‘black’.
Cue 1
Cue 2
Cue 3
Mark
Fade
Fade
2s
2s
5s
Intensity
100%
0%
100%
Position
Centre
Centre
Left
Colour
Red
Red
Green
A Time mark uses the time you enter into the mark column to mark fixtures. Time marking occurs at a single uniform rate so all fixture parameters will mark at the same rate regardless of the data in the next cue.
In the time mark example below, when cue 2 completes its 2 second fade to 0% intensity, cue 3 will automatically play all of its data except intensity in a 0s second fade. Then when cue 3 is played only the intensity will crossfade at 5 seconds. The fixtures will have moved from centre to left and changed from red to green automatically while in ‘black’.
Cue 1
Cue 2
Cue 3
Mark
0s
Fade
2s
2s
5s
Intensity
100%
0%
100%
Position
Centre
Centre
Left
Colour
Red
Red
Green
Tip
Marking occurs with the intensity parameter for standard fixtures as well as I Red, I Green, and I Blue parameters for RGB fixtures such as LEDs.
11.8.3
Marking the First Cue in a Cue List
If the first cue in a list is assigned to mark, it will only mark after the last cue in the list is played.
By recording a blank cue prior to the first cue in the list, you can create a mark cue for the first look of a show. For example:
Cue 0.5
Cue 1
Cue 2
Mark
Fade
-
Fade
0,2s
2s
-
Intensity
100%
50%
-
Position
Right
Left
-
Colour
-
Blue
When cue 0.5 plays it will mark cue 1 so that cue 1 will fade up intensities on stage after the fixtures are already in position and color. Furthermore, since the intensity time of cue 1 is assigned to 2 seconds and the other parameters are assigned to zero, the mark cue will occur as quickly as possible.
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Section 11: Cues and Cuelists
11.8.4
Cuelist Feedback for Mark Cues
The following figures show the different states of a marking cue.
Figure 11.2. Cue 3 with a Fade Mark
Figure 11.3. Cue 3 Actively Fading into its Mark
Figure 11.4. Cue 3 Fully Marked
11.9
Understanding Cuelists
Cuelists are lists of cues, usually used to play back the cues in a defined order. A cue number is specific to each cuelist, not the entire console, so there can be a cue 1 for cuelists 1, 2 and 3.
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Section 11: Cues and Cuelists
Cuelists are held in the Cuelist Directory
(Figure 11.5, “The Cuelist Directory window”), and
it is possible to copy or move cues between cuelists; see Copying and Moving Cues (p.186).
To open the Cuelist Directory:
• Open + List
Alternatively:
• List , List
Figure 11.5. The Cuelist Directory window
To open a cuelist (Figure 11.6, “The Cuelist window”):
•
Open
+ [Cuelist 1] : select a cuelist from the Cuelist Directory.
Or with the command line:
• List
1
Open
Or:
• Open + Choose : select the master with the cuelist.
Tip
Cuelist windows can be set to always show the same cuelist or to follow
the currently chosen master: see Cuelist Feedback (p.280).
11.10 Naming Cuelists
You can name cuelists:
1.
Open + List : open the Cuelist Directory.
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Section 11: Cues and Cuelists
Figure 11.6. The Cuelist window
2.
Check that the Guard button is selected, so that you don't accidentally activate a cuelist when pressing its button in the directory.
3.
Select the cuelist.
4.
Set
[name]
Enter : type in the name.
Tip
You can rename a cuelist when it is attached to a master by pressing Set
+ Choose.
11.11 Deleting Cuelists
To delete a cuelist:
1.
List
1
Delete : deletes cuelist 1.
2.
Click OK to confirm the delete.
Or from the cuelist directory:
1.
Open
+
List
: open cuelist directory.
2.
Check that the Guard button is selected, so that you don't accidentally activate a cuelist when pressing its button in the directory.
3.
Delete , [Cuelist 1] : delete the cuelist. You will be asked to confirm the action.
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
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Section 11: Cues and Cuelists
Tip
To detach a cuelist from its master rather than deleting it completely from the show file, hold Delete while pressing the master's Choose button.
This removes the cuelist from the master but not from the cuelist directory.
11.12 Copying and Moving Cuelists
Cuelists can be copied and moved within the Cuelist Directory . To open the Cuelist Directory:
• Open + List
11.12.1 Copying Cuelists
To make a copy of a cuelist:
• List
1
Copy List
2
Enter : copies Cuelist 1 to Cuelist 2.
If the destination cuelist already exists, you will be asked to choose an option: Insert, Merge and
11.12.2 Moving Cuelists
To move a cuelist to a new location within the Cuelist Directory:
• List
1
Move List
2
Enter : moves Cuelist 1 to Cuelist 2.
If the destination cuelist already exists, you will be asked to choose an option: Insert, Merge and
11.12.3 Insert, Merge and Replace
When copying or moving a cuelist, if the destination location already has a cuelist in it, you will be prompted with record options of Insert, Merge or Replace:
• Insert: creates a new destination cuelist. The new cuelist will be assigned a free location just before the one chosen, using a point number if necessary.
• Merge: Incorporates the source information into the destination cuelist. If the cue numbers are in both cuelists, the new parameter values of the cues will replace the old.
• Replace: Overwrites the cuelist information in that destination.
If you are copying a cuelist, all three options are available. If you are moving a cuelist, only the
Insert option is available.
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Section 11: Cues and Cuelists
Tip
If you know that you are about to copy or move a cuelist to an existing destination, you can pre-select Insert, Merge or Replace from the Record
Options Toolbar. This appears after you press the Record, Copy or Move keys.
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Section 12: Scenes
12.1
Recording Scenes
You can record scenes either directly to a physical master for immediate playback, or to the
Scene Directory.
12.1.1
Recording to the Scene Directory
To record a scene:
1.
Create the look for the scene in the Programmer or editor.
2.
Record , Scene : the Scene Directory window opens.
3.
Select the destination location in the Scene Directory window.
4.
Alternatively, enter a number on the keypad and press Enter .
12.1.2
Recording to a Physical Master
You can record a scene directly to a physical master. Hog 4OS will automatically put it in the next available location in the Scene Directory:
1.
Create the look for the scene in the Programmer or editor.
2.
Record , Scene
3.
Press the Choose key above the desired physical master.
12.1.3
Naming a Scene
You can give a scene a name that will be displayed in the Scene Directory window:
1.
Open + Scene : open the Scene Directory .
2.
Check that the Guard button is selected, so that you don't accidentally activate a scene when pressing its button in the directory.
3.
Select the scene.
4.
Set
[name]
Enter
: type in the name.
Tip
To name a scene immediately after recording it, pressing the Set key will open a Quickname window. Enter the scene name and select OK.
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Section 12: Scenes
12.2
Deleting Scenes
To delete a scene:
1.
Scene
1
Delete
2.
Click OK to confirm the delete.
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
You can delete a range of scenes:
1.
Scene
1
Thru
4
Delete : deletes scenes 1 to 4.
2.
Click OK to confirm the delete.
Tip
To detach a scene from its master rather than deleting it completely, hold Delete while pressing the master's Choose button. This removes the scene from the master but not from the scene directory.
12.3
Copying and Moving Scenes
To make a copy of a scene:
•
Scene
1
Copy Scene
2
Enter
: copies the contents of Scene 1 to Scene 2.
Similarly, to move a scene to a new location:
• Scene
1
Move Scene
2
Enter : moves Scene 1 to Scene 2, effectively deleting
1.
If the destination scene already exists, you will be asked to choose an option: Insert, Merge and
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Section 12: Scenes
12.4
Editing Scene Contents
You can edit the contents of a scene in an editor window. For example, to open Scene 1 for editing:
1.
Open + Scene : opens the Scene Directory.
2.
Open + [Scene 1] : opens the scene editor for Scene 1.
3.
Alternatively using the command line : Scene
1
Open
4.
Press the
Edit button in the editor window to select this as your current editor.
Within the editor, you can assign fixture parameters and timing in the same way as in the Pro-
grammer; see Selecting Fixtures and Modifying Parameters (p.127). For general information on
working with editors, see Editors (p.45).
12.5
Scene Timing
Scene timing controls the fade-in and delay of a scene when it is run on a master.
You assign and edit scene timings in the same way as for cues; see Fade, Delay, and Path (p.208).
You can assign scene timing in the Programmer before recording the scene, or later in the scene editor. You can also assign the fade time of a scene from the command line. For example, to give Scene 1 a fade time of 6 seconds:
•
Scene
1
Time
6
Enter
You can also record fade times with a mask. For example:
• Scene
1
Fixture
1 + 2
Colour Time
4
Enter : sets the fade time for the colour parameter values of fixtures 1 and 2 in Scene 1.
12.6
Insert, Merge and Replace
When recording, copying or moving a scene, if the destination location already has a scene recorded in it, you will be prompted with record options of Insert, Merge or Replace:
• Insert: creates a new destination scene. The new scene will be assigned a free location just before the one chosen, using a point number if necessary.
• Merge: Incorporates the new information into the destination scene. If the same fixture parameters are in both scenes, the new values will replace the old.
• Replace: Overwrites the scene information in that destination.
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Section 12: Scenes
If you are copying a scene, all three options are available. If you are moving a scene, only the
Insert option is available.
Tip
If you know that you are about to record, copy or move a scene to an existing destination, you can pre-select Insert, Merge or Replace from the Record Options Toolbar. This appears after you press the Record,
Copy or Move keys.
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Section 13: Timing
13.1
Timing Basics
With Hog 4OS you can assign individual crossfade timings for each parameter of each fixture, giving you complete control of how each parameter changes during a cue. Because of this, there are no cue parts as found on some other consoles. Hog 4OS gives you easy ways to assign timings for the whole cue, for individual fixtures and by parameter type (intensity, position, colour, beam, and so on) as well as for each parameter.
You can control three aspects of timing in the Hog 4OS:
• The speed and manner in which the transition of parameter values happens
when a cue/scene is played back. See Fade, Delay, and Path (p.208).
•
The time a cue/scene waits before it is triggered. See Cue Wait Timing (p.218).
•
The order in which cues in a cuelist are played back. See Loops and Links
The different types of timing values are:
• Fade time: The time that it takes fixture parameters to change from their initial value to their value in the cue that is being played back. You can assign a single fade time for the cue, or have separate fade-in and fade-out times. The fade-in time is the fade time for parameters belonging to fixtures that are increasing in intensity, while the fade-out time is the fade time for parameters belonging to fixtures that are decreasing in intensity.
• Delay time: The time between the cue being triggered and parameter values starting to change. As with fade times, you can assign a single delay time, or have separate in delay and out delay times. The in delay time is the delay between the cue being triggered and parameters belonging to fixtures that are increasing in intensity starting to change, while the out delay time is the delay between the cue being triggered and parameters belonging to fixtures that are decreasing in intensity starting to change.
• Path: How parameter values change during the fade. The simplest path is a straight line, so that parameter values change smoothly and evenly throughout the fade, but you can use paths that make all of the change happen at the start of the fade, for example.
The different types of trigger values are:
• Wait time: The time from the previous cue being triggered to the current cue being triggered.
• Follow-on time: The time from the end of the previous cue to the current cue being triggered.
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Section 13: Timing
•
Timecode: A specific timecode value when a cue is triggered; see Triggering
Cues from MIDI Timecode (p.337).
•
Clock: A real-world time and date value when a cue is triggered; see Clock
Figure 13.1, “Cue timings” shows how the main kinds of timing and triggering values control
the playback of cues.
Figure 13.1. Cue timings
Hog 4OS allows you to assign timings to each parameter of each fixture in a cue, scene or palette.
Often, you will want to assign the same value to every fixture parameter; this is described in
Fade, Delay, and Path (p.208). Assigning timings for individual parameters is described in Indi-
vidual Parameter Timings (p.212).
13.2
Fade, Delay, and Path
You can assign fade time and delay times, as well as paths, to cues and scenes. Cues recorded
without assigning any time information will be given the default time; this can be adjusted in the Default Timing pane of the User Preferences window.
13.2.1
Fade Time
To record a cue with a fade time other than the default:
1.
Create the desired look for the cue in the Programmer.
2.
Fixture Enter : select all the fixtures currently in the Programmer.
3.
Time
7
Enter : assign a fade time of 7 seconds.
4.
Record Cue
1
Enter : record the cue on the currently chosen master.
To assign times greater than 1 minute, enter the number of minutes followed by the number of seconds:
208 High End Systems
Section 13: Timing
• Time
140
Enter : select a fade time of 1 minute 40 seconds.
To change the time of an already recorded cue:
1.
Cuelist
1
: select the cuelist unless the desired cuelist or master is already the chosen master.
2.
Cue
2
Time
7
Enter : assigns a fade time of 7 seconds.
Different Fade-in and Fade-out Times
You can assign different fade-in and fade-out times (known as a ‘split time’) using the / key. For example:
1.
Create the desired look for the cue in the Programmer.
2.
Fixture Enter : select all the fixtures currently in the Programmer.
3.
Time
7
/
10
Enter : select a fade-in time of 7 seconds, and a fade-out time of 10 seconds.
4.
Record : record the cue on the currently selected master.
»
Important
Hog 4OS's definition of fade-in and fade-out times is different to that used by some other consoles. Some consoles use fade-in and fade-out times for intensity parameters only and have a separate time for all other parameters; Hog 4OS has fade-in and fade-out times for each individual parameter. Also, with some consoles the fade-out time applies when the cue goes out, so that cue 2's fade-out time takes effect during the change from cue 2 to cue 3 rather than (as with Hog 4OS) cue 1 to cue 2.
Fade Time with Masks
You can record fade times with a mask. For example:
• Cue
1
Fixture
1 + 2
Colour Time
4
Enter : sets the fade time for the colour parameter values of Fixtures 1 and 2 in Cue 1.
Tip
If you want to assign individual times for several fixtures or fixture parameters, you can edit them in the Cue Editor window by clicking on its
Fade button; see Individual Parameter Timings (p.212).
13.2.2
Delay Time
You can create a delay between the cue being triggered and the fade times beginning to execute by assigning the Delay time:
1.
List
1
Open : open the cuelist.
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Section 13: Timing
2.
Select the cue's Delay cell and press Set .
3.
5
, Enter : enter the delay time. As with fade times you can assign separate delay times for the incoming and outgoing parts of the cue, for example
3/5
.
Alternatively, you can use the command line, pressing the Time key twice to assign the delay time:
• Cue
2
Time Time
5
Enter
Tip
Note that the Delay time should not be confused with the Wait time; see
13.2.3
Paths
Paths determine the way parameter values change during a cue. For example, with the simplest
(linear) path, an intensity parameter travels from its start value to its end value at a steady rate
for the duration of the cue. The paths available are shown in Figure 13.2, “Path Types”.
To select a path for a cue:
1.
List
1
Open : open the Cuelist window.
2.
Select the cue's Path cell and press Set . The Crossfade Paths window will open.
3.
Select the path type required for the incoming and outgoing parts of the cue.
4.
Press OK
Tip
The shape of the paths described above applies when the cue is asserted.
When it is released, the path is effectively reversed. For example, attributes with a ‘Start’ path will snap on the Go of a cue, but will snap at the very end of that cue being released (behaving like an ‘End’ path).
13.2.4
Assigning Cue Timings in the Cuelist Window
You can edit fade or delay times in the Cuelist window. Assigning fade or delay times here will assign the new value to all the parameters of all the fixtures in the cue.
1.
Open + Choose : open the cuelist of the desired master.
2.
Click in the cell for the fade or delay time of the desired cue, and press Set .
3.
Type in a time value, and press Enter .
When entering a time value, it should be in the form:
[hours] h [minutes] m [seconds] s / [hours] h [minutes] m
[seconds] s
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Section 13: Timing
Path
Default
Linear
Start
Description
Uses the default path from the fixture's library definition. This is generally Linear for continuous parameters and Start for slotted parameters.
Fades at a steady rate for the duration of the cue.
Snap change at the beginning of the cue.
End
Over
Under
Damped
Brake
Snap change at the end of the cue.
The parameters overshoot their destination and then return to it.
The parameters move first in the opposite direction before going to their destination.
The parameters change more slowly at the start and end of the cue than in the middle.
The parameters change more slowly at the end of the cue.
Speed Up The parameters change more slowly at the start of the cue.
Shake The parameters follow a chaotic, sawtooth fade over the course of the cue.
Figure 13.2. Path Types
For example:
•
2s
: 2 seconds in and out times.
•
2s/5s
: 2 seconds in, 5 seconds out.
•
1m
: 1 minute in and out times.
•
1m10s
: 1 minute and 10 seconds in and out times.
•
1h10m30s/1h
: 1 hour, 10 minutes and 30 seconds in time, and 1 hour out time.
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Section 13: Timing
Use the H , M and S buttons that appear when editing a fade or delay time cell to enter the H, M and S text into the cell. Alternatively, you can use an external keyboard.
Note that if you enter
140
the time will be 1 minute 40 seconds, not 140 seconds (2 minutes 20 seconds).
To assign paths directly in the Cuelist window:
1.
Click in the Path cell for the desired cue, and press Set .
2.
Choose a path from the displayed list; see Figure 13.3, “Selecting a Path in
The In path is applied when a fixture is increasing in intensity during the crossfade, and the Out path when a fixture is decreasing in intensity.
3.
Press OK .
Figure 13.3. Selecting a Path in a Cuelist Window
The different types of path are explained in Paths (p.210).
13.3
Individual Parameter Timings
When you record a cue, all of the fixture parameters in the cue are assigned the default fade, delay and path values. Similarly, when you assign timings to a cue after recording, the timing value is applied to all fixture parameters in the cue. However, you can assign fade, delay or path values to individual parameters in the Programmer, and these settings are then included when you record cues and scenes, and (optionally) palettes. You can also assign timings to parameters
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in the cue, scene and palette editors. Note that you can only assign timings for a parameter that has a value in the editor.
To display parameter fade times, delay times or paths in an editor, select the Fade , Delay or
Path buttons from the top left of the editor window.
You can assign the individual timings of parameters using the parameter wheels, the command line or directly in editor windows. You can also assign timings to all parameters of a fixture using the parameter wheels or the command line.
»
Important
If you assign individual timings for parameters and subsequently assign an overall cue time, then the individual parameter timings will be replaced by the overall cue time.
13.3.1
Assign Parameter Timings using Wheels
To assign fade and delay timings to all the parameters of a fixture:
1.
Select the fixtures that you want to assign timings to, making sure that they have been given parameter values.
2.
Press the Time key.
3.
The Wheels Toolbar will show the available timing types (Fade In, Fade Out,
Delay In and Delay Out) together with their current settings; see Figure 13.4,
“The Wheels Toolbar showing Timing”.
4.
Use the parameter wheels to assign the desired Fade In, Fade Out, Delay In and Delay Out.
Note that if you want to see the timings that you have assigned in the editor, you can select the
Fade or Delay views using the buttons in the top left of the editor window. You don't have to be in these views to assign timings, however.
Figure 13.4. The Wheels Toolbar showing Timing
To assign fade and delay timings to specific parameter types:
1.
Select the fixtures that you want to assign timings to, making sure that they have been given parameter values.
2.
Press the Time key.
3.
The Wheels Toolbar will show the available timing types.
4.
Click on Fade In , Fade Out , Delay In or Delay Out and select a parameter
type; see Figure 13.5, “Selecting Parameter Types from the Wheels Toolbar”.
5.
Use the parameter wheels to assign the desired timing.
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Figure 13.5. Selecting Parameter Types from the Wheels Toolbar
To assign a path to all the parameters of a fixture:
1.
Select the fixtures that you want to assign a path to, making sure that they have been given parameter values.
2.
Press the
Time key.
3.
The Slot Toolbar will show buttons for All , In and Out
4.
Choose In to assign a path to be applied to the parameters when the fixture they belong to is increasing in intensity during the crossfade. Choose
Out to assign a path to be applied to parameters when the fixture they belong to is decreasing in intensity during the crossfade. Choose All to assign a path to be applied to parameters of fixtures irrespective of whether their intensity is increasing or decreasing.
The Paths Toolbar will open; see Figure 13.7, “The Paths Toolbar”.
5.
Select the desired path from the Paths Toolbar. The different types of path are
Figure 13.6. The Slot Toolbar showing Paths
Figure 13.7. The Paths Toolbar
13.3.2
Assign Parameter Timings with the Command Line
To assign the fade time for all parameters of a fixture:
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1.
Fixture
1
: select the fixtures you want to assign a time to, making sure that they have been given parameter values.
2.
Time
4
, Enter
: assigns the fade time to 4 seconds.
To assign separate fade in and fade out times:
1.
Fixture
1
: select the fixtures you want to assign a time to, making sure that they have been given parameter values.
2.
Time
4
/
7
, Enter : assigns the Fade In time to 4 seconds and the Fade Out time to 7 seconds.
To assign a fade time for a particular parameter type:
1.
Fixture
1
: select the desired fixtures.
2.
Colour Time
4
, Enter : assigns the fade time of the colour parameters to 4 seconds.
To assign a delay time, press the
Time key twice:
1.
Fixture
1
: select the desired fixtures.
2.
Time Time
2
, Enter : pressing Time
To assign a path, press the Time key three times:
1.
Fixture
1
: select the desired fixtures.
2.
Time Time Time
2
, Enter : enter a number to represent the path.
Select the path by entering a number; the mapping is the same as the order they appear on the path toolbar, starting at zero for the default path.
13.3.3
Assign Parameter Timings in an Editor
To assign fade or delay times directly in the spreadsheet of an editor:
1.
View the required timing type by pressing either the Fade or Delay button in the top left of the editor window.
2.
Click in the cell for the desired parameter, or click and drag to select a range of cells.
3.
Press Set .
4.
Type in a time value, and press Enter .
When entering a time value, it should be in the form:
•
[hours] h [minutes] m [seconds] s / [hours] h
[minutes] m [seconds] s
For example:
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Section 13: Timing
216
Figure 13.8. The Cue Editor window with Fade selected
•
2s
: 2 seconds in and out times.
•
2s/5s
: 2 seconds in, 5 seconds out.
•
1m
: 1 minute in and out times.
•
1m10s
: 1 minute and 10 seconds in and out times.
•
1h10m30s/1h
: 1 hour, 10 minutes and 30 seconds in time, and 1 hour out time.
Use the H , M and S buttons that appear when editing a fade or delay time cell to enter the H, M and S text into the cell. Alternatively, you can use an external keyboard.
Tip
If you enter
120
, this will be interpreted as 1 minute 20 seconds. To have the console interpret it as 120 seconds (i.e. 2 minutes), enter
120s
.
To assign paths directly in the spreadsheet of an editor:
1.
Press the Path button in the top left of the editor window.
2.
Click in the cell for the desired parameter, or click and drag to select a range of cells.
3.
Press Set .
4.
Choose a path from the displayed list; see Figure 13.9, “Selecting a Path in
The In path is applied when the fixture is increasing in intensity during the crossfade, and the Out path when the fixture is decreasing in intensity.
5.
Press OK .
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Section 13: Timing
Figure 13.9. Selecting a Path in an Editor
The different types of path are explained in Paths (p.210).
13.3.4
Fanned Timings
You can fan timings across multiple fixtures, just as you can fan colour or position. For example, to fan times across 10 fixtures:
• Fixture
1
Thru
10
Time
5
Thru
14
Enter : fans the fade times of Fixtures
1 through 10 between 5 and 14 seconds:
Similarly, you can fan delay times:
• Fixture
1
Thru
5
Time Time
5
Thru
10
Enter : fans the delay times of Fixtures 1 through 5 between 5 and 10 seconds.
For more on fanning, including fanning using the parameter wheels and in spreadsheet views,
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13.4
Cue Wait Timing
In addition to manually pressing Go to execute you can also automate the triggering of a cue by assigning a wati value for the cue. The wait value for a cue is assigned in the wait column of the cuelist window. To assign how long a cue timing:
1.
List
1
Open : open the cuelist.
2.
Select the Wait cell for the desired cue, and press Set .
3.
The Trigger Toolbar will appear below the Wait
Trigger Toolbar”. Select an option from this.
218
Figure 13.10. The Trigger Toolbar
A cue's wait column options are:
• Halt: Does not allow the cue to be triggered automatically unless a timecode value later in the list causes the cue to be jumped. In all other cases the Go key must be manually pressed to execute this cue. Halt is shown by an empty Wait cell and it is the default wait column value for newly created cues.
• Wait: Triggers the cue after the specified time has passed from the triggering of the previous cue (either automatically or by pressing Go ). It should not be confused with the Delay, which is the time between the cue being triggered
(after a Wait if there is one) and the fade starting. The Wait time schedules cues within the cuelist, whereas the Delay time schedules the fades of each parameter within the cue. A cue can contain multiple Delay times, but it can only have
one Wait time. See Figure 13.1, “Cue timings”.
A wait is displayed as the time value in the Wait cell.
• Follow: Triggers the cue once the previous cue has completed all its fade and delay times. You can enter a time after pressing the Follow button, which determines the time between the previous cue completing and the follow cue being
triggered. See Figure 13.1, “Cue timings”.
The follow is displayed in the Cuelist window as ‘Follow + [time]’.
The follow time should not be confused with the wait time. The follow time controls the time between the end of one cue and the triggering of the next, while the wait time controls the time between the triggering of one cue and the triggering of the next.
• Timecode: Triggers the cue when the specified timecode value is received. See
MIDI timecode (p.336). The timecode value will be displayed in the wait cell.
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Section 13: Timing
• Manual: A manual cue can only be triggered by pressing the Go key. This means the cuelist will stop until the Go key is pressed, irrespective of any wait, follow or timecode triggers that later cues in the list may have.
Manual cues are useful because the word ‘Manual’ appears in the Cuelist window to remind the operator that they need to press the Go key. They are also
useful to prevent times being recorded into the Wait column when using Learn
• Clock: Triggers the cue when the specified real-world time and date is reached
on the Hog 4OS built in clock; see Clock Triggers (p.220).
13.4.1
Learn Timing
Learn Timing allows you to assign a cue's wait time value by manual executing the cues with the Go key when the learn timing option is selected for the cuelist. If a timecode clock assigned to that list is running when learn timing is enabled then the wait value recorded into the wait cell will be a timecode value.
To use Learn Timing with timecode:
1.
Open
,
Choose
: open the Cuelist window of the required cuelist.
2.
Options
→
Cuelist Options : open the Cuelist pane of the cuelist's Options window.
3.
Select Enable Timecode , and choose a timecode source. Close the Options window.
4.
In the Cuelist window, click View Timecode . The Timecode Toolbar will open.
5.
If your timecode source is not currently running, click Simulate on the
Timecode Toolbar to have the console create a timecode source. Controls for the timecode will appear.
6.
In the Cuelist window, select Learn Timing .
7.
Start the timecode, and press the Go key when the timecode reaches the time that you want each cue to go. A timecode frame value will appear in the Wait cell for each cue.
8.
When you have finished, deselect Learn Timing .
Now when you run the timecode, the cues will be triggered when the timecode reaches each
cue's assigned frame. For more information on timecode, see MIDI timecode (p.336).
To use Learn Timing without timecode:
1.
Open , Choose : open the Cuelist window of the required cuelist.
2.
Ensure that Enable Timecode is not selected.
3.
Select Learn Timing .
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Section 13: Timing
4.
Press the Go key to run the first cue, and again to run subsequent cues after the required time interval. A time value equivalent to the duration between
Go presses will appear in the Wait cell for each cue.
5.
When you have finished, deselect Learn Timing .
Now when you run the first cue, the subsequent cues will be triggered at the same intervals as when you ran them manually.
Tip
Learn Timing will only set a trigger on a cue that is currently set to Halt
- that is, it has an empty Wait cell. To remove existing wait times from cues, select the wait cell(s) and press Set. Select Halt from the toolbar.
13.4.2
Clock Triggers
To assign a cue to be triggered at a particular time and date using Hog 4OS's internal clock:
1.
List
1
Open : open the cuelist.
2.
Select the Wait cell for the desired cue, and press Set .
3.
The Trigger Toolbar will appear below the Wait
4.
Select Clock ; the Clock Trigger window will open:
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Section 13: Timing
5.
Adjust the Start Time and Start Date to assign a single shot trigger.
6.
If you want the trigger to recur at regular intervals, check the
Recurrence
Pattern check box. Then click the frequency (Time, Daily, Weekly, Monthly,
Yearly) with which you want the trigger to recur, and select options for the specified frequency.
Tip
The next valid trigger date and time is shown at the bottom of the Clock Trigger window.
7.
Click OK .
Once you have set a clock trigger, the cuelist window will now indicate the trigger time and type in the cue’s Wait column:
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Section 13: Timing
To enable or disable the clock functions on a cuelist, toggle the Enable Clock button in the cuelist window:
Tip
You can also enable or disable the clock functions for a cuelist in the
cuelist's Cuelist Options window, or using macros; see Macros (p.353).
The Clock Toolbar
The Clock Toolbar shows the time and date according to the Hog 4OS clock, and information about the next cue due to be triggered. To open the Clock Toolbar:
• Open + Clock : the Clock Toolbar will open on the left touchscreen:
The Clock Toolbar will automatically update its fields according to the next valid trigger.
Tip
You can assign the format of the date and time in the Appearance pane of the Preferences window. The Clock Toolbar, Cuelist triggers and the
Command Line Toolbar clock will display in the selected format.
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13.5
Loops and Links
Normally cues in a cuelist will be replayed in numerical order, but you can use links to change this. Links can be used to jump to other points in the cuelist, or to create loops.
Unlike some consoles, Hog 4OS creates a link as a special type of cue, rather than an attribute of an ordinary cue. Because it is a separate item in the cuelist, you can move cues within the list without disturbing the link.
Tip
When a cuelist gets to the end, it will link back to the first cue by default, so there is no need to put a link in.
13.5.1
Creating a Link
To create a link:
1.
Open + [Cuelist 1] : open the cuelist window.
2.
Play the cues in the list until the current cue (shown by -> in the wait column) is the cue before where you want the link.
3.
Click on the Insert Link button in the window. The link cue will be inserted after the current cue.
4.
Select the Fade cell of the link.
5.
Set
[cue number]
Enter
: assign the cue number to be linked to.
You can delete link cues in the same way as any other type of cue. For example:
• Cue
3.5
Delete
13.5.2
Creating a Loop
To create a loop, you need to have two things:
• A link that points to a cue earlier in the cuelist.
• All the cues in the loop (between the linked-to cue and the link cue) must be
assigned with wait or follow triggers; see Cue Wait Timing (p.218).
Hog 4OS will recognise this as a loop; see Figure 13.11, “A Cuelist with a Loop”.
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Section 13: Timing
Figure 13.11. A Cuelist with a Loop
Exiting Loops
You can determine when the cuelist stops looping and continues with cues after the loop. The options are:
• Forever: the loop will run indefinitely until you press the Go key.
• Count: the cuelist will loop the assigned number of times. Assigning a count of zero will make the cuelist ignore the link.
• Timed: the cuelist will loop until the assigned time period has elapsed.
To assign the looping behaviour:
1.
Open + [Cuelist 1] : open the cuelist window.
2.
Select the link cue's Delay cell, and press Set .
3.
Select an option from the Loops Toolbar:
4.
If you have selected Count or Timed, enter a count or timed value.
You can also configure what happens when you press the Go key during a loop; see Action of
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13.5.3
Tracking Through Loops
By default, Hog 4OS's feature ensures that, when you use links to change the order of cue playback, the cues appear on stage as if they had been played back in the order they appear in the cuelist.
Sometimes, however, you might want to track through links rather than maintain state. For example, you are creating a loop where the first time through you want the four fixtures to come on one at a time, and throughout the loop you want them to alternate colour between red and blue. To do this, you might plot:
Cue
3
4
5
1
2
Fixture 1
Int.
Colour
↓
↓
50%
↓
Red
Blue
Red
Blue
Link to Cue 1
Fixture 2
Int.
Colour
Blue
Red 50%
↓
↓
Blue
Red
Fixture 3
Int.
Colour
Red
Blue
50%
↓
Red
Blue
Fixture 4
Int.
Colour
Blue
Red
50%
Blue
Red
The idea is that the intensity of the next fixture is brought to 50% in each cue, and that these values then track through for the duration of the loop (shown by the arrows). However, because of the Maintain State function, when the cuelist loops back to cue 1 Hog 4OS will make cue 1 look as it would have if you had run the cuelist in order. The result is that fixtures 2 to 4 will go out, just as they were the first time round the loop.
To stop this happening, you need to enable Track Through Loops , in the Cuelist Options window:
1.
Open List
1
: open the cuelist window.
2.
Press Options and select the Track Through Loops tickbox.
Note that Track Through Loops also applies when the cuelist automatically loops back to the start of the list after you play back the last cue in the list.
»
Important
The Track Through Loops option applies to the whole cuelist. Using it may have unintended consequences when playing back other cues in the cuelist out of sequence.
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Section 14: Effects
Effects can be used to create a repeating change or ‘movement’ in the value of fixture parameters.
Effects are recorded as part of cues, scenes and palettes.
14.1
Table Effects
Table effects are effects applied to fixture functions using wave tables that apply mathematical functions (such as sine or tangent) to values against time. Table effects have seven main attributes: table, size, rate, offset, and length, bounce, and direction. Each effect table also has its own timing parameters for fade, delay, and path.
There are three ways to apply table effects to a fixture selection:
Predefined Effect Palettes: A range of pre-programmed effects can be found in the effects directory window that can be quickly applied and then tweaked if desired
The Effects Engine: A special editor window where users can assign and edit the effects values for the current fixture selection.
Using the Programmer / Cue Editors: You can assign and edit effects values for specific fixture in editors such as the programmer just as you do with other values.
14.1.1
Effect Tables
One of the main components of a table effect is the effect table iteself, which applies a mathematical function (such as sine or tangent) to the parameter values. The available tables, and how
the parameter value varies over time,are shown in Figure 14.1, “Effect Tables”.
Note that the effects table varies the value of the parameter either side of its base level, represented by the dotted line in the diagrams. The three types of random table are weighted differently, biasing the random parameter values towards the low, high or middle part of the possible range.
Using Effect Tables
Listed below are examples of combinations of effects tables in use:
• Circular Motion: A Sine table is applied to pan and tilt, with tilt given an
Offset of 90 degrees.
• Square Motion: A Sawtooth table is applied to pan and tilt, with tilt given an
Offset of 90 degrees.
• Can-Can Motion: A Step table is applied to pan, a Sine table is applied to tilt.
• Fly In Motion: A Step table is applied to pan, a Ramp table is applied to tilt.
• Blue Step Colour Effect: A Mark On table is applied to cyan and magenta.
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Section 14: Effects
Sine
Sawtooth
Tangent
Ramp
Step
Inverse Ramp
Mark On Mark Off
Random 1
Low-weighted
Figure 14.1. Effect Tables
Random 2
High-weighted
Spiral
Random 3
Centre-weighted
• Iris Chase: A Sawtooth table is applied to the iris.
Tip
You can create many of these useful combinations of tables using the
predefined effects palettes; see Predefined Effect Palettes (p.235).
14.1.2
Table Effect Attributes
The appearance of the effect table through a combination of adjustments to its attributes: rate, size, offset, begin, end, start, length, direction, bounce, and N-shot.
Effect Rate
The effect rate controls the speed of the effect in cycles per minute.
Adjusting an effect's rate globally will increase or decrease the number of cycles it completes per minute. When combining effects, you can use the rate attribute to build a specific look. For example, if you create an effect where a fixture performs a circular motion fading in on the first circuit, out on the second, then the effect on the intensity parameter would need to be half of the rate on the position parameters.
The following diagram shows how the value of a parameter assigned to the sawtooth table changes over time, with different rate values:
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Section 14: Effects
Effect Size
The range over which the parameter value varies. This is described in terms appropriate for the parameter, for example degrees for position parameters, or slots for slotted colour parameters.
For example, applying a Sine wave with the default size of 5Hz to a base value strobe rate of
5Hz will vary it from 0Hz through to 10Hz. You can decrease this range by adjusting the size:
2Hz will give a range between 3Hz and 7Hz.
When combining effects, adjusting specific parameters' effect sizes will change the look of the effect. For example, a circle effect comprising of a sine table on the pan and tilt can be modified to look like an elipse by altering the size of either pan or tilt.
The following diagram shows how the value of a parameter assigned to the sawtooth table changes over time, with different size values:
Effect Offset
The offset sets the effect start and finish point for each effect, so they can be staggered. It is assigned in degrees.
For example, to create an intensity ripple across a range of fixtures, divide 360 degrees by the number of fixtures and offset each fixture by multiples of this amount. For example, with six fixtures offset at 0, 60, 120, 180, 240, 300 degrees. The easiest way to do this is to use fanning;
The following diagram shows how the value of a parameter assigned to the sawtooth table changes over time, with different offset values:
Effect Begin , End, Start
The begin and end values of an effect represent the limits that the function value will hit as it passes through the effect table. The begin and end values can be edited diretly in the effects editor window or in the programmer / cue editor. Be aware that editing the begin and end values an effect result in an adjustment to the base value for that fixture function as well.
The start value of an effect is the real world value at which the function will start the effect. The start value of an effect is directly tied to the offset value of an effect.
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Section 14: Effects
The following diagram shows the begin, end, and start points of a simple efffect:
Effect Length
The length is the proportion of the effect's period that it is active for. It is assigned as a percentage.
The following diagram shows how the value of a parameter assigned to the sawtooth table changes over time, with different length values:
N Shot
This is the number of times that the effect repeats before finishing. A dash (—) in the N Shot cell denotes that the effect will run indefinitely.
Bounce
When bounce is enabled for an effect the fixture function will run one direction through the effect cycle and then reverse direction to run through the cycle in the oppositie direction and will continue to alternate the direction in which it runs through the cycle.
Direction
The direction of an effect determines whether the selected wave table will be applied to the function in a forward or reverse direction.
14.1.3
Building Table Effects in the Effects Engine
To apply an effect:
1.
In the Programmer or editor, select the required fixtures and assign their base parameter values. These settings will be the ‘underlying’ state for the effect: for example, the center position of a fixture doing a circular movement effect.
230 High End Systems
Section 14: Effects
Equally, an intensity ripple between 0-100% will need a base value of 50% in order to use the full length of the effect.
2.
Open + Effect : the Effects Engine and Effect Directory will open.
3.
In the Effects Engine, select the Table cells for the fixture parameters that you want to apply the effect to.
4.
Press Set , choose the effect table from the menu and press Enter .
Figure 14.2. The Effects Engine
Once the effect table is assigned, you can modify the effect attributes either by editing the values in the spreadsheet or using the parameter wheels when the Effect key is selected.
Tip
You can quickly edit the attributes of all one parameter type (All Intensity,
All Position, All Colour, All Beam) or for all parameters within the top five rows of the Effects Engine.
To edit the values in the spreadsheet:
1.
Select the cells for the parameters that you want to edit, and press
Set
.
2.
Type a new value, and press Enter .
Or, using the parameter wheels:
1.
Press the Effect key.
2.
Select the individual parameters that you want to edit in the left hand
Function column of the Effects Engine window.
3.
Adjust the Size , Rate , Offset and Length parameter wheels as required.
Note that the parameter wheels only control the current effects row, selected using the buttons in the Function column. There are buttons for all parameter types, for all intensity, all colour, all position, all beam, and for each individual parameter type.
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Section 14: Effects
Tip
All effect attributes can be fanned using the Fan key and parameter wheels; remember to select the required parameter types in the Effects
Engine Functioncolumn first. You can also enter a value of, say,
50
Thru
80
in a cell of the Effects Engine window. See Fanning (p.144).
14.1.4
Building Table Effects in Editors
Effects can be assigned directly to specific fixtures and their attributes in any editor including the Programmer. This is helpful when you wish to make small changes without opening the Effects
Engine. Effect types are assigned and edited in the Table view, whilst effect attributes can be adjusted in the Size , Rate , Offset , Length , Table and N Shot views. The views are selected by buttons at the top of the Programmer or editor window.
For example, to create an offset circle effect using fixtures in positions from the current onstage look:
1.
Main Toolbar
→
Programmer : open the Programmer.
2.
1
Thru
5
Position Suck : sucks position information from fixtures 1 through
5 that are currently live on stage.
3.
Table : select the Table view in the Programmer; the pan and tilt column will read [Off] .
4.
Select all pan and tilt cells of the selected fixtures by clicking and dragging.
5.
Set
→
Sine , Enter : choose the Sine table from the drop-down menu and confirm by pressing Enter.
6.
Select
Offset
: select the Offset view in the Programmer; the pan and tilt column will read [0-Deg] .
7.
Select all pan and tilt cells of the selected fixtures by clicking and dragging.
8.
Set
1
Thru
288
Enter : offset pan and tilt equally across the fixtures.
Once you have applied an effect to a parameter, it will appear in the Value view of the Programmer or editor with the effects symbol next to the value:
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Section 14: Effects
Tip
When assigning effect parameters such as Offset, remember that values
0 and 360 Degrees are the same. Fanning a range of fixtures from 0 through to 360 degrees of offset will mean that the first and last fixtures will share the same offset value.
14.1.5
Tracking Table Effects
By default, effects values track through to subsequent cues until a new value for the particular parameter is reached. You can turn effects on and off, set them to track through in the Table column of the
Effects Engine
,
Programmer or editor.
In the Programmer for example:
1.
Select Table view.
2.
Select the cell of the parameter for which you want to turn the effect off or allow to track through, and press Set .
3.
Select Off or Track from the drop down menu.
14.1.6
Cue Timing and Table Effects
When you record a cue, scene or palette that includes effects values, each fixture parameter has
its fade, delay and path value in the usual way; see Individual Parameter Timings (p.212). These
timings control how the fixture parameter changes from its starting value to its underlying value in the cue or scene, as the cue or scene is played back.
You can assign separate effects timings (fade, delay and path) to control how the effects movement
changes as the cue or scene is played back. Figure 14.3, “Controlling Effect Transitions with
Timing” shows how different timing values control how a parameter with a step effect changes
during playback of a cue.
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Section 14: Effects
234
Figure 14.3. Controlling Effect Transitions with Timing
You can assign effect fade times using the command line:
1.
Fixture
1
: select the fixtures you want to assign an effect time to, making sure that they have been given parameter values.
2.
Effect Time
4
, Enter : assigns the effect fade time to 4 seconds.
To assign a effect delay time:
1.
Fixture
1
: select the desired fixture(s).
2.
Effect Time Time
2
, Enter : pressing Time twice assigns the delay time.
You can also view and assign effect timing values in the Effects Engine window:
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Section 14: Effects
14.2
Effect Palettes
14.2.1
Predefined Effect Palettes
You can quickly apply effects to the current selection using predefined effects palettes in the
Effect Directory; see Figure 14.4, “The Effect Directory”. Effects palettes for parameter functions
not available in the current selection will be greyed out; for example the
Iris Step palette is not available for Studio Color 575s as they do not have an iris parameter.
To open the Effect Directory:
• Open + Effect
Or:
• Effect , Effect
Figure 14.4. The Effect Directory
To apply an effects palette:
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Section 14: Effects
1.
1
Thru
5
@
50
Enter : select the required fixtures and assign an intensity value
2.
Effect
13
Enter : assigns Effect Palette 13. Studio Colors 1 to 5 fade their intensity between 0 and 100%.
You can also select the effect palette by pressing or clicking on its button in the Effect Directory window.
14.2.2
Adjusting Predefined Effects
Once you have applied a predefined effects palette to the selected fixtures, you can alter the attributes (Rate, Size, Offset and Length) of the effect using the parameter wheels; for explanations
of the different attributes, see Table Effect Attributes (p.228). The Wheels Toolbar shows the
current parameter value being assigned by each wheel whenever the Effect key is selected; see
Figure 14.5, “The Wheels Toolbar showing Effect Attributes”. For more on the different effect
attributes see Table Effect Attributes (p.228).
Figure 14.5. The Wheels Toolbar showing Effect Attributes
14.2.3
Recording an Effect Palette
You can record any combination of effect parameter values into a palette:
1.
In the Programmer or editor, select the fixtures, and assign the required effects.
You can do this directly in an editor or using the Effects Engine.
2.
Record , Effect : the Effect Directory window opens.
3.
Select a location by pressing a button in the directory window.
This will only record parameters that have been touched in the Effect window, and does not in-
clude the parameters' underlying values. To include underlying intensity, position, colour, beam
and time information use the mask function:
1.
Select the fixtures, and assign the desired effect table.
2.
Record , Effect
3.
Select Mask from the Record Options Toolbar , and select the parameter types that you wish to record:
Use I for intensity,
Use P for position,
Use C for colour, Use B for beam, and Use T for time values.
For more on masking when recording palettes, see Recording Palettes with
4.
Select a location from the Effect Directory window.
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Naming an Effect Palette
You can give an effect palette a name that will be displayed in the Effect Directory:
1.
Open + Effect : opens the Effect Directory.
2.
Check that the Guard button is selected, so that you don't accidentally activate a palette when pressing its button in the directory.
3.
Select the palette to be named.
4.
Set
[name]
Enter : type in the name.
Tip
To name an effect palette immediately after recording it, pressing the
Set key will open a Quickname window. Enter the palette name and select
OK.
14.2.4
Using Effect Palettes in Programming
In the Programmer or editor, you can apply an effect by selecting it from the Effect Directory.
The effect will be applied to the current fixture selection, providing that it contains parameter information for the selected fixtures. An iris step effect cannot therefore be applied to a fixture
that has no iris function. By default, predefined effect palettes are direct; see Direct Palettes
For example:
1.
Open + Effect : open the Effect Directory window.
2.
1
Thru
5
: select the fixtures.
3.
[Effect 1]
: select the effect from the
Effect Directory window.
Or, using the command line:
•
1
Thru
5
Effect
1
Enter
14.2.5
Editing Effect Palettes
You can edit an effect palette by opening it in an editor window; you can then edit its contents
in the same way as you edit values in any editor. See Building Table Effects in Editors (p.232).
To open an effect in an editor:
1.
Open + Effect : open the Effect Directory.
2.
Open + [Effect 1] : open the editor for [Effect 1] .
You can select the editor view ( Table , Size , Rate , Offset , Length , N Shot ) you wish to edit in. Also ensure that the editor is active with its Edit button selected.
You can also open an effects palette with the command line. For example:
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• Effect
1
Open
14.2.6
Deleting Effect Palettes
To delete an effect palette using the commandline:
1.
Effect
1
Delete
: deletes Effect Palette 1.
2.
Click OK to confirm the delete.
Or, from the Effect Directory:
1.
Press and hold Delete whilst selecting the palette to be deleted from directory.
2.
Release the Delete key. A dialog will appear asking you to confirm the delete.
3.
Click OK .
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
14.2.7
Copying and Moving Effect Palettes
To make a copy of an effect palette in a new location:
• Effect
1
Copy ; Effect;
2
Enter : copies the contents of Effect Palette 1 to
Effect Palette 2.
• Effect;
1
Position;
2
Copy Effect
2
Enter : copies fixtures that are in Effect
Palette 1 and in Position 2 into Effect Palette 2.
Similarly, to move an effect palette to a new location:
• Effect;
1
Move Effect;
2
Enter : moves the contents of Effect Palette 1 to
Effect Palette 2, leaving 1 empty.
If the destination effect palette already exists, you will be asked to choose an option: Insert,
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Section 15: Kinds and Wheelsets
15.1
Kinds
Kinds are collections of fixture functions organized into wheelsets. The wheelsets determine how the fixture functions assigned to the kind will cordinate with the console's main encoder wheels when the kind is selected and a fixture selection is made. Kinds are stored in the kinds directory and exist in two different forms: fixed kinds and user kinds.
15.1.1
Fixed Kinds
Fixed kinds are automatically generated by the console and collectivity contain all of the fixture functions used in your show. Every function of every fixture scheduled in your show will exists in one of the seven fixed kinds: Intensity, Position, Colour, Beam, Effects, Time, or Control.
The fixed kinds can be selected using dedicated front panel keys or by clicking on their respective buttons in the kinds directory. The kinds directory can be openned by holding
Open and then selecting Kinds from the main toolbar at the bottom of the right hand screen.
When a new fixture type is added to a show through the fixture scheduler its functions are automatically populated in the fixed kinds and organized onto wheelsets based on a default master wheelset template established by the Hog 4OS. Fixed kinds cannot be deleted or moved. This is why they are known as "fixed" kinds.
Functions that are marked with a lock icon on the wheelsets within a fixed kind cannot be deleted.
This is because those functions are considered to be permanent residents of that fixed kind and are fundamental to the masking scheme of that fixed kind. However, you can add additional functions to a fixed kind if you wish. For example, you can add a colour mixing function such as Cyan to the fixed position kind if you desire. Be aware that any additional functions you add to a wheelset in a fixed kind will not function as part of that fixed kind's masking. The arrangement of the functions on the wheelsets within a fixed kind are completely customizable regardless of whether or not they are marked with a lock icon.
15.1.2
User Kinds
User kinds, unlike fixed kinds, are not automatically generated when adding fixtures to the show.
User kinds are custom built by the user, allowing you to create smaller collections of fixture functions on fewer wheelsets.
User kinds are stored in the kinds directory and are also accessable using the 12 function keys on the front panel of the console (when the function keys are set to kind mode). To toggle the function keys between "Kind" mode and "Command" mode hold down Pig and press Enter . The mode of the function keys is displayed on the main toolbar. To open the kinds directory hold the open key and press the "kinds" button on the main toolbar. Note: The user kind keys on the
Road Hog 4 console do not have LCD displays. Once created, user kinds can be selected by pressing the cordinating function key on the front panel or by selecting the kind from the kinds directory when guard is turned off. If you create more than 12 user kinds the console will auto-
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Figure 15.1. Fixed Kinds in the Kinds Directory matically change the last function key on the front panel to a next button. You can create as many user kinds as you want.
Tip
TIP: To quickly edit a user kind simply hold Open and press the user kind's button on the front panel.
Manually Creating User Kinds
To manually create a new user kind:
1.
Open + Kinds opens the Kinds Directory Window.
2.
Press Record and then press any empty cell in the Kinds Directory window.
Auto-generating User Kinds
You can auto-generate user kinds for your show by pressing the auto-kind button a the top of the kinds directory or fixture schedule window. Auto-generated user kinds are based on predefined families of functions established by the Hog 4OS. For example, Cyan, Magenta, Yellow,
Hue, and Saturation are all part of the colour mixing family as defined in the Hog 4OS library model, therefore a fixture that features they functions would automatically generate a user kind containing CMY and HS functions.
Deleting Users Kinds
To delete a user kind:
1.
Open + Kinds opens the Kinds Directory Window.
2.
Press and hold Delete and then press the cell of the kind you wish to delete in the Kinds Directory window.
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Figure 15.2. User Kinds as displayed in the the Kinds Directory and on the Front
Panel
Figure 15.3. Auto Kinds Button in the Kinds Directory
Copying and Moving Users Kinds
To copy a user kind:
1.
Open + Kinds opens the Kinds Directory Window.
2.
Click on an existing user kind in the Kinds Directory, press the Copy key, and then click on any empty cell in the Kinds Directory window.
To move a user kind:
1.
Open + Kinds opens the Kinds Directory Window.
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2.
Click on an existing User Kind in the Kinds Directory, press Move and then click on any empty cell in the Kinds Directory window.
15.2
Wheelsets
Wheelsets are the building blocks of both fixed kinds and user kinds. They specify how fixture funtions assigned within a kind are displayed on the console's main encoder wheels when a fixture selection is made.
Note: The center wheel located below the center touchscreen on the Hog 4 console's front panel is configured separately from the wheelsets established in the fixed or user kinds. For more in-
formation on the center wheel's function assignments: Center Wheel Preferences (p.96)
Every effort has been made by the developers of the Hog 4OS to provide you with a logical wheelset arrangement by default but sometimes a re-arrangement of the functions within a wheelset or a re-arrangement of the wheelsets themselves is neccessary. This section is intended to increase your understanding of how to manage the wheelsets in your show.
To access the wheelset for any particular fixed or user kind:
1.
Open + Kinds opens the Kinds Directory Window.
2.
Hold Open and click on any existing kind in the Kinds Directory
Within each kind editor are two main sections. On the left is a list of functions. On the right is a graphical interface showing sets of encoder wheels arranged in groups of five. Each one of these groups of encoder wheels is called a wheelset.
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Figure 15.4. Wheeslets displayed in a kind editor
Wheels are holding places for fixture functions and cordinate with the encoders on the front panel. You will notice that several wheelsets can exist within a single kind editor.
To assign a function to a wheelset: Click and drag a function from the list of functions on the left hand side of the window to any wheel on one of the wheelsets.
To delete a function from a wheelset: Click on the function. It will highlight in blue. Press delete. The function will be deleted from the wheelset.
To add a wheelset: Click and drag a function from the list of functions on the left hand side of the window to wheel on the greyed out wheelset at the bottom of the right hand side side of window.
To delete an entire wheelset:Click anywhere on the wheelset's frame. The wheelset will highlight in blue. Press delete. The entire wheelset and its contained functions will be deleted.
To move a function on a wheelset: Click and drag the function you wish to move.
Tip
Functions marked with a lock icon and wheelsets containing functions marked with a lock icon cannot be deleted.
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Section 16: Advanced Programming
16.1
Selecting from What is Onstage
You can select fixtures from what is on stage using the
Live key. Fixtures are considered to be on stage if their intensities are non-zero. If you wish to select fixtures that are onstage but have intensity values at zero then you can use Pig + Live .
Below are some examples of how live can be used:
• Live Enter : selects all fixtures that are on stage with intensities above 0.
• Pig + Live Enter : selects all fixtures that are on stage regardless of intensity.
You can apply a mask to the selection. This allows you to select all fixtures that are onstage that
are assigned to particular values or palettes. For example:
• Live @
50
: selects fixtures that are on stage at 50%.
• Live @
50
Thru
80
: selects fixtures that are on stage at 50% to 80%.
• Live @
0
: selects fixtures that are at 0%.
Using a palette as a mask:
• Live [Blue] : selects fixtures that are on stage that are at their ‘Blue’ palette settings.
You can use the Live and / keys together to select fixtures that are both live on stage and in a specified fixture selection:
• Live
1
Thru
5
selects fixtures that are in the range 1 to 5 that are live on stage.
• Live / Group
1
selects fixtures that are in Group 1 that are live on stage.
Note that in all the above examples using the Live key only selects fixtures; it does not alter values in the Programmer or editor.
Tip
Fixtures that do not have an intensity parameter such as a colour scroller are always considered live on stage and will be selected when using the
Live key.
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16.2
Bringing Parameter Values Into the Programmer
Sometimes you will end up with a look onstage or in a cue, scene or palette that you want to reuse in further programming. There are various ways in which you can bring those fixtures and parameter values into the Programmer or editor.
16.2.1
Suck
You can use Suck to assign fixture parameters to the values that they currently have ‘on stage’.
It doesn't assign parameters that are at their default value, or that belong to fixtures with an in-
tensity value of zero. This helps to ensure that you don't have redundant values in the cues that you create, which can cause problems later by blocking values that should track through. The
Suck button is located on the Main Toolbar.
You need to have fixtures selected before using the
Suck command. For example, if Group 3 contains Studio Color 575s 1 to 3:
• Group
3
Suck : assigns the fixtures in Group 3 to their current on stage values:
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Similarly, you can apply this to palettes, scenes and cues, using the Live key to bring in fixtures and their parameter values that are on stage:
• Live [Red Palette] , Suck : fixtures on stage assigned to Red Palette are brought into the Programmer:
Or, you can use a mask to bring particular parameter type values from specific palettes that are on stage. For example, to bring the intensity values of [Red Palette] into the editor:
• Live [Red Palette] , Intensity Suck : the intensity values of fixtures on stage assigned to Red Palette are brought into the Programmer:
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16.2.2
Using Live and Touch
Using Live and Touch together touches all parameters that belong to fixtures that are at nonzero intensity on stage, including parameters at their default values. This is similar to suck, except that it will bring all values into the Programmer or editor, including those that are at their default values. The Touch button is located on the Main Toolbar.
For example, if Studio Color 575s 1 to 3 are in the output with an intensity of 100%:
•
Live Touch
: brings all the parameters of Studio Color 575s 1 to 3 into the
Programmer, not just the intensity values (as suck would):
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You can select the parameter types to touch:
• Live Colour Touch : only the colour parameters are touched:
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16.2.3
Using Copy to Bring Values into an Editor
You can bring parameter values from a palette, scene or cue into an editor such as the Programmer using Copy :
• Cue
1
Copy , Enter : copies the contents of Cue 1 of the currently chosen cuelist into the current editor.
You can chose which fixtures or parameter types are copied into the Programmer. For example:
• Cue
1
Position Copy , Enter : copies only the position values from Cue 1 into the current editor.
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16.3
Highlight and Lowlight
Pressing the Highlight key temporarily adjusts the selected fixtures to ‘open white’, with intensity at full and all other parameters at their default settings. This function can be useful when you want to see the beam of a fixture on a lit stage, when assigning focus positions for example.
Highlight only changes the parameter values in the output, not in the current cue or in the Programmer or editor, and highlight has the highest priority when the console determines a parameter's output value.
Highlight will remain active until you press the Highlight key again, and you can use the Next and Back keys to highlight in turn each fixture in the current selection.
You can release each parameter from highlight by adjusting its value in the Programmer or editor, letting you modify parameters whilst keeping the fixture beam as visible as possible. For example, suppose that you have a Studio Spot 575 subtly lighting a part of the stage setting with a dark blue breakup gobo, softened using the frost parameter and with the iris controlling the beam size.
The piece of set that the Studio Spot is lighting has been moved, and you need to refocus it while keeping the rest of the lighting state on stage so that rehearsals can continue. To do this using
Highlight:
1.
Select the Studio Spot in the Programmer.
2.
Press the Highlight key. The Studio Spot will retain its position on stage, but the intensity will go to full, the colour to white, the gobo and frost to open, and the iris to 100%, so that you can see the beam clearly on the lit stage.
3.
Adjust the pan and tilt parameters to position the Studio Spot as required.
4.
Adjust the iris parameter to give the correct beam size.
5.
Press the Highlight key again to release the colour, gobo and frost parameters from Highlight, so that they return to their original programmed values. The values for pan, tilt and iris retain their new values in the Programmer.
6.
Press Update and OK
to record the changes in the appropriate cue; see Auto
16.3.1
Customising Highlight
By default, highlight brings intensity to full, with all colour and beam parameters at their default values. However, you can use a palette to assign the highlight values for each parameter of each fixture. This can be useful as the default highlight values for some parameters may not be what you want; for example, you may prefer to leave zoom, focus and iris settings unaltered by
Highlight so that you can see the programmed beam size and edge quality.
To assign a pre-existing palette to be the highlight palette, right-click it in the palette directory and select it as the highlight palette. The highlight palette is shown by the directory window.
icon in the palette
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Tip
You can use masking when creating the highlight palette to ensure that
all the required parameter types are included; see Recording Palettes
16.3.2
Lowlight
By default, the parameters of fixtures that are not selected when you use highlight remain at their current output values. You can customise the output values of these parameters during highlight by creating a lowlight palette. For example, you could create a lowlight palette that sets the intensity of all fixtures to 30%, to give the highlighted fixture greater contrast.
Note that lowlight only affects parameter values of the non-selected fixtures in the current editor.
Parameter values being output by playbacks will not be affected.
To assign a pre-existing palette to be the lowlight palette, right-click it in the palette directory and select it as the lowlight palette. The lowlight palette is shown by the directory window.
icon in the palette
Tip
You can use masking when creating the lowlight palette to ensure that
all the required parameter types are included; see Recording Palettes
16.4
Auto Update
When you are programming a complex show, the look on stage may be built up from cuelists and scenes on several masters. You can change the look by assigning fixture parameter values in the Programmer, but it is difficult to know which cue or scene is contributing which values to the total on stage. Hog 4OS's Auto Update feature automatically suggests the appropriate cues, palettes and scenes to merge the changes into, allowing you to choose how the updates are performed.
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Figure 16.1. The Auto Update window
When you have finished editing in the Programmer you can merge the parameter values into the currently playing cues, palettes and scenes by pressing the Update key. The Auto Update window will open, showing which cuelists, cues, palettes and scenes are contributing to the look on stage so that you can choose which to update
For cuelists, you have several choices:
• Either update the current cue in the cuelist, or track the programming backwards so that the new values are merged into the last cue with a hard value for that
parameter; see Tracking Values Backwards When Recording (p.189).
• If you have existing programming that refers to a palette, you can choose to update the palette instead of adding new parameter values to a cue. In this case, these updates will be performed first, and anything left in the Programmer after this will be used to update the selected cue or Track Backwards.
For scenes, you have the option to merge the programming into the scene, or into the palettes that are referred to in that scene.
Once you have chosen your options, press OK to perform the update. Note that the parameter values remain in the Programmer.
Tip
If there is no playback on stage when you press Update, the Auto Update window will not appear and the Update key press is ignored.
When you press the Update
key, the Update Toolbar will also appear; see Figure 16.2, “The
Update Toolbar”. This allows you to select which parameter types are updated, whether changes
should track forwards, and whether references should be allowed when updating palettes. See
Recording Palettes with Kind Masking (p.161), Stopping Values from Tracking Forward (p.190)
and Reference Palettes (p.164).
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Figure 16.2. The Update Toolbar
16.5
Editing Discreetly
It is often useful to make changes to parameter values discreetly, or without them appearing on stage at all; during a rehearsal or performance for example. To do this, use Hog 4OS's Fade
Changes and Blind functions.
16.5.1
Fade Changes
If you select the Fade Changes button in an editor window, any changes you make will appear on stage over the current time settings for the changed parameters. For example, if you have intensity values in the Programmer with a fade time of ten seconds, and you select all of the fixtures and press @
0
Enter , all of the lights would fade to 0 over 10 seconds. This is useful for making changes on the fly during a performance.
Parameters that don't have timing values in the Programmer will fade in the default time, which you can assign in the Default Timing pane of the User Preferences window:
• Setup
→
Preferences
→
Default Timing
Press the Fade Changes button again to revert to having parameter values appear in the output instantly.
To view and assign time values for parameters, see Individual Parameter Timings (p.212).
Tip
You can set a trackball key turn Fade Changes on and off; see Trackball
16.5.2
Blind
Blind mode allows you to continue programming and editing cues, groups, palettes and scenes without changing the onstage parameter values of fixtures. The Blind key is located above the
Trackball; when in blind mode, the
Blind key will illuminate.
Note that when you turn off blind mode all parameter values that you have changed in the Programmer or editor will instantly appear on stage.
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To exit blind mode gracefully, hold down the Pig key while pressing Blind ; parameters will fade to their new values in the assigned or default fade time. Alternatively, select Fade Changes in the editor you are using prior to turning blind on or off.
Tip
Using Pig + Blind on Hog 4OS is equivalent to using the Try Cue key on the Wholehog II.
16.6
Parking
Sometimes it is useful to lock certain parameter values of fixtures independently from programming, playback and the Grand Master. For example, you might want to lock a particular dimmer at a certain level as a working light, or point a fixture to provide light for maintenance whilst a rehearsal or programming is in progress. Park is also helpful for dealing with a fixture malfunction, locking its pan and tilt so that it doesn't make a noise as it tries to move during the show.
Parking holds a fixture's parameters on stage, but still allows you to edit the data in the Programmer or other editors.
To park fixture parameter values:
1.
Fixture
1
@
50
: Select fixture(s) and assign the parameter(s) you wish to park.
2.
More
→
Park : Select Park from the More options of the Main Toolbar.
To unpark fixtures, select the fixtures, set any value for the parked parameters, and hold the Pig key while pressing
Park
.
Both the park and unpark commands will accept a parameter mask on the command line, for example:
• Position Park : parks only position parameters of the selected fixtures.
16.6.1
Viewing and Editing What is Parked
You can view which fixtures have parked parameters in the Fixture window and the Output window, and you can view and edit parked parameters in the Parked Output window. Parked parameters are also indicated in the Wheels Toolbar.
The Fixture Window
To view which fixtures have parked parameters in the Fixture window:
• Open + Fixture
: the Fixture window opens; see Figure 16.3, “The Parked
column of the Fixture window”.
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Section 16: Advanced Programming
Figure 16.3. The Parked column of the Fixture window
The Output Window
Parked parameters are shown in the Output window with black text on an orange background.
When the Output window Source view is selected the word ‘Parked’ is displayed.
The Parked Output Window
You can view and modify the parked settings of fixtures in the Parked Output window; see
Figure 16.4, “The Parked Output window”. To open the
Parked Output window:
• Open + Parked : the Parked button is on the toolbar that appears when you press the Open key.
Within this window you can edit parameter values in the same way as in any editor. You can knockout fixtures or parameter values to stop them being parked, or add or modify parameter values to park them.
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Figure 16.4. The Parked Output window
The Wheels Toolbar
Parked parameters are shown in the Wheels Toolbar with an orange background or hatch pattern.
• Solid orange outline: all selected fixtures have the parameter on this wheel parked.
• Diagonal line orange background: some of the selected fixtures have the parameter on this wheel parked.
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Section 17: Playback
17.1
Physical Master Playback
Hog consoles have ten physical playback masters that cuelists, scenes, and inhibitive submasters
(groups) can be attached to for playback. Each master (‘masters’) has a fader, a Go, key, a
Halt/Back key, a Back key and a Flash key. Additional physical playback master can be added to your console by adding a playback wing or executor wing.
17.1.1
Attaching Cuelists and Scenes to Masters
Cuelists and Scenes are automatically attached to a master when you create them with the Record ,
Choose
syntax; see Recording to a Cuelist on a Master (p.183). Otherwise, to attach a cuelist to
a master:
• List or Scene
1
Move Choose : attaches Cuelist 1 onto the chosen master.
Tip
You can reference several cuelists and scenes to different masters using
Moving and Copying Cuelists between Masters
Moving a cuelist between masters will detach it from its original master. Copying a cuelist between masters will leave the cuelist in its original location, and attach a copy of the cuelist to the new location.
To move a cuelist:
1.
Press the Choose key of the master that you want to move the cuelist from.
2.
Move
3.
Press the Choose key of the master that you want to move the cuelist to.
To copy (and so duplicate) a cuelist:
1.
Press the Choose key of the master that you want to copy the cuelist from.
2.
Copy
3.
Press the Choose key of the master that you want to copy the cuelist to.
Detaching a Cuelist from a Master
To detach a cuelist from a master:
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• Delete + Choose : detaches the cuelist from the chosen master.
Note that this will not delete the cuelist itself or remove it from the cuelist directory, only detach it from the master.
17.1.2
Controlling Playback
Once assigned to masters, cuelists can be played back using the master's contols, or using the main controls.
Master Controls
Each of the ten masters has a Choose , Go , Halt/Back, Back, and Flash key, as well as a fader;
see Figure 17.1, “The Master Controls”.
260
Figure 17.1. The Master Controls
By default, the controls work as follows:
• Choose: allows the master to be chosen or selected. If the blue LED is illuminated solid then it is the chosen master and you can use the main playback controls to control this master. If the blue LED is flashing then it is a selected master and you can use the rate wheel to control the playback and effect rates for the
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Section 17: Playback
master. The console allows for multiple selected masters but only one master can be chosen at any time.
• Go: if the cuelist is inactive pressing Go will activate it onstage. If the cuelist is already active then pressing Go will run the next cue, or restart paused fades
(see Halt/Back below).
• Halt: pauses any running fades. If there are no running fades then pressing Halt will start a fade back to the previous cue.
• Back: immediaetly begins a fade into the previous cue.
• Fader: controls the intensity of fixtures under the control of this playback.
When the fader is at full, fixtures appear on stage at their programmed intensity.
As the fader level is reduced, the intensity of fixtures is reduced proportionally.
• Flash: momentarily puts the intensity of fixtures under the control of this playback to their full programmed value, as if the fader had been put to maximum.
You can customise the function of master controls to suit the requirements of the user or a par-
ticular show; see Configuring Playback Controls (p.294).
Tip
Pressing or clicking on the Playback Bar is equivalent to pressing that master's Choose key.
The Main Controls
The main playback controls, positioned to the right of the masters (see Figure 17.2, “The Main
Playback Controls”) work with the currently chosen master. You can also use them with another
master by holding down the required Choose key while pressing a key from the main controls.
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262
Figure 17.2. The Main Playback Controls
The main playback control keys are:
• Assert: reasserts control of fixture parameters by the chosen master if other
masters have taken control under the Latest Takes Precedence rule; see Asserting
One Cuelist Over the Others (p.275).
• Release: releases the chosen master's control of fixture parameters, making the
cuelist inactive; see Releasing Masters (p.263).
• Skip Forward/Skip Back: steps forward or backward through the chosen cuelist by one cue. Cue timing information will not be used - the cue appears on stage immediately.
• Back: immediaetly begins a fade into the previous cue.
• Halt: pauses any running crossfades on the chosen master. If there are no running crossfades then pressing Halt will start a fade back to the previous cue.
• Go: if the chosen cuelist is inactive pressing Go will activate it onstage. If the cuelist is already active then pressing Go will run the next cue, or restart paused crossfades.
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17.1.3
Releasing Masters
You can remove a cuelist's look from the stage, so that it relinquishes control of all fixture parameters and effectively turns the cuelist's output off; this is known as releasing the cuelist.
To release a cuelist on a master:
• Release : releases the currently chosen master.
Or:
• Release + Choose : use the Choose key of the master with the cuelist you wish to release.
Pressing Go after a cuelist is released will resume playback from the current cue. To have the
cuelist go back to the beginning when it is released, see Resetting Cuelists on Release (p.265).
Tip
You can release all playbacks at once by pressing Pig + Release.
If you have no other cuelists, scenes, or groups active when you release the cuelist, then releasing returns all fixture parameters to their default values. A fixture's default parameter values will be determined by the Fixture Library; you can change the default values in the Edit Fixtures window,
see Assigning a Custom Default (p.124).
If you have other cuelists, scenes or groups active, then control of fixture parameters may be
transferred to one of them on releasing the cuelist; see Running Multiple Cuelists & Scenes
Release Time
When you release a cuelist and fixture parameters go to their default values, they do so over the release time, and this change may be visible if you have fixtures that are visibly live on stage
(i.e. with intensities above zero). To assign the cuelist's release time:
1.
Open + Choose : open the Cuelist window for the cuelist on the selected master.
2.
Options
→
Cuelist : open the Options window and select the Cuelist pane.
Alternatively, press Pig + Choose to open the Options window for the selected master.
3.
Select the Release Time cell:
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4.
Set
5
, Enter : assign the desired release time.
You can also set a default release time for all newly created cuelists in the Cuelist pane of the
User Preferences window:
• Setup
→
Preferences
→
Cuelist
Tip
If you have assigned a release time to a cuelist, and you want to revert to the default release time, press the Default button adjacent to the Release Time cell.
Auto Release
You can use auto release options to send fixture parameters to their default values at the end of a show, or to relinquish control of parameters for use by other cuelists when a cuelist is no-longer needed.
There are two Auto Release options for cuelists:
• Auto-release at End: Use this to automatically release the Cuelist at the completion of the fade and delay times of the last cue.
• Add Release End Cue: After the last cue has run another press of the Go key will release the cuelist rather than running the first cue again.
You can assign auto release options in the Playback Options window of each cuelist:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select the desired release option from the Action at End of List menu:
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You can also assign the default Auto Release options for new cuelists in the Action at End of
List menu in the Cuelist pane of the User Preferences window:
• Setup
→
Preferences
→
Cuelist
Resetting Cuelists on Release
You can assign a cuelist to reset when released so it will proceed from the first cue when Go is pressed again. You can assign Reset on Release in the Playback Options window of each cuelist:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Reset on Release :
Alternatively, you can turn on Reset on Release for all new cuelists in the Cuelist pane of the
User Preferences window:
• Setup
→
Preferences
→
Cuelist
Releasing on Another Go
When running several cuelists in a show, see Running Multiple Cuelists & Scenes (p.273), you
may want a cuelist to release when another cuelist is triggered. This effectively gives the cuelist
the lowest possible playback priority; for more on playback priority, see Changing a Cuelist's
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Priority (p.276). You can set Release on Other Go in the
Playback Options window of each cuelist:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Release on Other Go :
Alternatively, you can turn on Release on Other Go for all new cuelists in the Cuelist pane of the User Preferences window:
• Setup
→
Preferences
→
Cuelist
17.1.4
Choosing and Selecting Masters
At all times one of the physical masters of the console is chosen. When a master is chosen its choose LED will be illuminated, the title of the master will be shown on the playback bar with a blue background, and the master's name will be announced on the main toolbar. The chosen master can be controlled using the play, halt, back, and pause keys in the main playback section of the console. The chosen master also directly receives commands from the command line such as record, goto, and delete when a destination is not otherwise specified. There can only be one chosen master at a time. To choose a master simply press the choose button associated with that master.
Masters can also be selected. Selected masters only respond to rate wheel changes. Selected masters do not respond to the main playback controls and do not directly receive commands from the command line. To select a master hold down the choose key of one master while pressing the choose keys of other masters. When selecting multiple masters the last choose key to be released will become the choosen master. When a master is selected it's choose LED will flash and the title of the master will be shown on the playback bar with a striped blue background.
Figure 17.3. Example: Master 1 is chosen / Masters 2 thru 4 are selected
17.1.5
Cuelist and Scene Options
You can configure various options that determine the cuelist's priority, timing, and other properties that affect how it is played back in the Playback Options window of each cuelist:
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1.
Open + Choose : open the Cuelist window of the chosen master.
2.
Options
→
Cuelist : open the Cuelist pane of the Cuelist Options window.
Alternatively, you can quickly access many cuelist options from the Cuelist Options Toolbar by holding down the Choose key of the master the cuelist is on:
Tip
You can quickly open the Playback Options window of a cuelist attached to a master by holding the Pig key and pressing the master's Choose key.
Figure 17.4. The Cuelist Pane of the Playback Options Window
You can configure the default settings for new cuelists in the Playback Defaults pane of the User
Preferences window:
• Setup
→
Preferences
→
Playback Defaults
You can also customise the function of each of the master controls and main controls; see Con-
figuring Playback Controls (p.294).
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Tip
You can revert all of the settings in the Cuelist pane of the Playback Defaults window by pressing the Reset to Defaults button in the bottom left corner of the window.
Cuelist Timing and Rate Settings
You can assign several settings that control cuelist timing:
Timing Function
Release Time
Assert Time
Back Time
Playback Rate
Cue Only
Default
2s
Notes
2s
2s
100%
Off
The time over which parameter values go to their default values when the cuelist is released; see
The time in which parameters go to their values determined by the cuelist when the cuelist is asserted;
see Asserting One Cuelist Over the Others (p.275).
The time in which the cuelist steps back to the previous cue when the Halt key is pressed twice (to first halt the cuelist and then send it back).
Default proportion rate of the cuelist. A rate of 50% will double all cue timings, a rate of 200% will halve all cue timings.
Releases previous cue's tracking values as you advance the list to the next cue. Tracking values are released using the total fade time of the cue being played.
Tip
If you have assigned a release, assert or back time to a cuelist, and you want to revert to the default time, press the Default button adjacent to the appropriate cell.
Cuelist Wrapping
Wrapping decides what happens to a cuelist when it reaches the final cue. Configure the wrapping in the Action at End of List menu:
• Wrap to beginning of list: Pressing Go after the final cue is reached sends the cuelist to its first cue.
• Add release end cue: Pressing Go after the final cue is reached releases the list and sends it to its first cue.
• Auto-release at end: The cuelist is released as soon as the last cue in the cuelist has completed all its fade and delay times.
• Don't allow wrapping: The cuelist stays on the final cue until released or sent backwards.
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Cue Only
Cue Only enables a cuelist to playback cue data one cue at a time (otherwise known as a nontracking cuelist). For example: any cue data in cue 1 is released as you play cue 2 so that only data from cue 2 is onstage. The release time of the previous cue is determined by the longest fade time in the cue being played.
Action of go when Looping
When the cuelist is performing a continuous loop with the use of a link cue, you can configure the effect of pressing the Go key using the Action of Go When Looping menu:
Action
Exit loop immediately
Exit loop at end
Restart
Stop at next
Ignore
Notes
Jumps the cuelist to the link cue at the end of the loop. Use a wait time on the cue after the link if you want to go to that cue automatically when exiting the loop.
Allows the loop to proceed to the last cue before jumping to the link cue at the end of the loop. Use a wait time on the cue after the link if you want to go to that cue automatically when exiting the loop.
Jumps immediately to the first cue in the loop.
Stops at the next cue in the loop.
Ignores any press of the Go key whilst in a loop and the press is during an actively running wait time.
For more information on loops, see Loops and Links (p.223).
Action of Halt when Halted
By default, pressing the Halt key when a cue is halted steps the cuelist back a cue in the assigned
back time, see Cuelist Timing and Rate Settings (p.268). You can change this action using the
Action of Halt When Halted menu:
Action
None
Resume
Release
Toggle FX
Notes
The current cue remains halted.
The current cue continues to fade.
The cuelist is released, see Releasing Masters (p.263).
Toggles effects between running at 0 BPM and the programmed rate
Configuring Fader Assignment and Actions
You can assign the physical fader of a master perform one of several different functions. Some fader options have additional configuration options:
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Fader Assignment
Description
None
I Fader fader has no effect on master's output fader controls fixture intensities being output by the master.
Configuration Options
--
• Go Off Zero: The cuelist is triggered when the fader is moved from zero, as if you had pressed the Go key.
• Release At Zero: The cuelist is released when the fader returns to zero; see
IPCB
Crossfader controls the play back and release state of the current cue/scene; programmed fade and delay times are ignored and the cues are executed based on movement of the fader
-NONE-
Manual
Crossfader controls the forward playback of one cue to another; programmed fade and delay times are ignored and the cues are executed based on movement of the fader
-NONE-
Scale Playback Rate adjusts the playback rate of the master by applying a scaling value to the base playback rate of the master
• Upper Bound: Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
Scale Effect Rate adjusts the effect rate of the master by applying a scaling value to the base effect rate of the master
• Upper Bound: Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
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Fader Assignment
Description
Scale Effect Size adjusts the effect size of the by applying a scaling value to the base effect size of the master
Configuration Options
• Upper Bound: Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
Configuring Flash Button Actions
You can configure the level and actions of the Flash key:
Setting
Flash on/Flash off
Level
Solo
Latch
Go on flash
Release on flash
Default
On
100%
Off
Off
Off
Off
Notes
Set to off to prevent accidentally flashing of a cuelist's contents. When on, pressing the Flash key will output the cuelist's intensities at their programmed values, irrespective of the fader position.
The proportion of the programmed intensity that a cuelist's contents is flashed to. If programmed levels are 60% and the flash level is set to 50% the flashed output intensity will be 30%.
Flashes the contents of the cuelist to the full programmed level, whilst sending the intensities output by all other masters (including Virtual
Masters) to zero.
If set to on, the Flash key stays on as if it were being held down, until you press it again.
The cuelist is triggered when you press the Flash key, as if you had pressed the Go key.
The cuelist is released when you press the Flash key.
17.2
Virtual Master Playback
You can run cuelists without assigning them to a physical master by using virtual masters. Virtual masters are always at full intensity, so the intensity of fixtures is that programmed in the cues. An almost unlimited number of virtual masters running different cuelists can be in operation at any one time.
You can operate virtual masters from the Cuelist Directory window, from the Cuelist window, or from the command line.
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Tip
You can press List + Release to release all running cuelists playing back as virtual masters.
17.2.1
Running Virtual Masters from the Cuelist Directory
You can run cuelist virtual masters from the Cuelist Directory window:
• Open + List
Or:
• List , List
To run a cuelist, make sure that the Guard button in the Cuelist Directory window is deselected.
Then press a cuelist button in the directory, and it will playback onstage, as if Go had been pressed on a physical master. Holding your finger down on the cuelist's button is the equivalent of holding the master's Choose key, and you can then use the central playback controls.
The cuelist buttons in the directory are coloured to show the cuelist status:
• Green: cuelist is crossfading into a cue.
• Red: cuelist is paused in the middle of a crossfade.
• Purple: cuelist is releasing.
• Grey: cuelist is overridden.
• Blue: cuelist is active on stage and halted
• Teal: cuelist is active on stage, halted, and running effects.
17.2.2
Using Cuelist Play Controls to Play a Master
To run a cuelist virtual master from the cuelist window:
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1.
Open + List : open the Cuelist Directory window.
2.
Check that the Guard button is depressed.
3.
Open + [List 1] : open the required cuelist.
4.
Press the Play Controls button in the Cuelist window. The on-screen playback controls will appear:
The controls are, from left to right, the Go , Halt/Back , Skip Back , Skip Forward , and Release
buttons. These function in the same way as their front panel equivalents; see The Main Controls
17.2.3
Running Virtual Masters from the Command Line
To run a cuelist on a virtual master from the command line:
•
List
1
,
Enter
: sends a Go command to cuelist 1.
17.3
Running Multiple Cuelists & Scenes
Because Hog consoles can simultaneously run ten cuelists on masters (and more if virtual masters and playback wings are used) the question arises as to which master actually has control over a particular fixture parameter. To decide which master takes precedence Hog 4OS applies the following rules:
• For intensity parameters: by default, intensity parameters are controlled on a Latest Takes Precedence (LTP) basis, therefore the value of an intensity parameter that appears in several cuelists will be output from the cuelist with
the highest playback priority; see Changing a Cuelist's Priority (p.276). In addi-
tion, you can assign cuelist options so that a master works on a Highest Takes
Precedence (HTP) basis; this means that if several masters have programming for the same intensity parameter, the highest programmed level will be output
to stage. For a full discussion of HTP and LTP, see HTP and LTP (p.31).
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• For position, colour and beam parameters: Hog 4OS deals with position, colour and beam parameters on a Latest Takes Precedence (LTP) basis. If several masters have programming for the same parameter then the value from the most recently activated master will override the value from previously activated masters. Parameters that are only programmed into a single master will remain at that value. When you release the most recently activated master, control will be returned to the previously activated master. Alternatively you can assert a previously activated master's parameters so that they override the most recently
activated master; see Asserting One Cuelist Over the Others (p.275). You can
prevent an (LTP) parameter from being overridden by master actions or asser-
tions by giving its cuelist a high playback priority; see Changing a Cuelist's
Tip
The Programmer, or the current editor with blind mode off, will always have priority over all masters and virtual masters.
17.3.1
Using HTP and LTP
You can switch a cuelist's precedence from LTP to HTP, allowing intensity parameters that have programming to be output at their highest level rather than the most recently activated level. For example, you may have a series of intensity chases that you wish to fade in and out over a stage look without overriding the intensity information of the original look, or when touring with smoke machines you may wish to manually boost the level of smoke programmed into the main cuelist to combat changes in air conditioning or venue size at specific points in the show.
For a full explanation of LTP, see HTP and LTP (p.31).
To assign a cuelist's precedence to HTP:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Use HTP :
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Alternatively, you can turn on Use HTP for all new cuelists in the Cuelist pane of the User
Preferences window:
• Setup
→
Preferences
→
Cuelist
»
Important
If you have an HTP master with the fader up (i.e. intensities above zero), then using Release or Pig + Release has no effect on the intensity parameters. To release the intensities of HTP masters, bring the fader to zero.
For more on releasing cuelists, see Releasing Masters (p.263).
17.3.2
Asserting One Cuelist Over the Others
When you have several cuelists active at the same time, control of fixture parameters programmed into one cuelist may be taken by another cuelist that also has programming for that fixture parameter. For example, if Cuelist 1 has programming for desk channels 1-3, and Cuelist 2 has programming for desk channels 3-6, then running a cue in Cuelist 2 will override the intensity parameter of desk channel 3.
You may want to return control of desk channel 3 to Cuelist 1 without having to run a cue in
Cuelist 1; this is known as asserting Cuelist 1. Asserting a cuelist forces all fixture parameters to their programmed value in the cuelist.
To assert parameters on the cuelist attached to Master 3, for example, press and hold the Choose key for Master 3, and press the Assert key.
The Assert Time
When you assert a cuelist, the parameters that have been asserted change to their new values over the assert time. The default is 2 seconds, but you can assign your preferred assert time for each cuelist:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select the Assert Time cell:
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3.
Set
5
, Enter : change the assert time to 5 seconds.
Alternatively, you can assign the Assert Time for all new cuelists in the Cuelist pane of the User
Preferences window:
• Setup
→
Preferences
→
Cuelist
Tip
If you have assigned an assert time to a cuelist, and you want to revert to the default assert time, press the Default button adjacent to the Assert
Time cell.
17.3.3
Changing a Cuelist's Priority
Under the LTP rule, the most recent action determines the value of a fixture parameter; see
Running Multiple Cuelists & Scenes (p.273). However, you can override this precedence by as-
signing cuelists different priorities, so that cuelists with a higher priority take precedence over those with a lower one. If their priority is equal, then the LTP rule is used to determine which cuelist will take precedence and determine the parameter's value.
A cuelist's default priority is 0, and you can assign the priority value in increments of 10. For example, if the priority of the cuelist attached to Master 5 is at default (0) and the priority of that on Master 4 is 50, then a Go triggered on Master 5 will not override common parameters currently active on Master 4. Conversely, you can apply a minus priority so if the cuelist on Master 3 has a priority of -50, common parameters on Master 5 will override those on Master 3.
To change a cuelist's priority:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select the Playback Priority cell:
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3.
Set
50
, Enter : change the priority to 50.
Alternatively, you can assign the Playback Priority for all new cuelists in the Cuelist pane of the User Preferences window:
• Setup
→
Preferences
→
Cuelist
In the event that two or more cuelists share the same priority level, normal LTP rules are applied.
Persist on Override
Hog 4OS automatically releases cuelists when all of their parameter contents have been overridden by other cuelists. However, sometimes it is useful to return to a cuelists's look when overriding cuelists have been released; in this case you can use Persist on Override. When this option is activated, the overridden cuelist will not automatically release and will remain active when the overriding cuelist is later released.
To turn Persist on Override on for a cuelist:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Persist on Override :
Alternatively, you can assign Persist on Override for all new cuelists in the Cuelist pane of the
User Preferences window:
• Setup
→
Preferences
→
Cuelist
17.3.4
Multiple Cuelists with Effects
If a cuelist contains parameters that are running an effect, when another cuelist or scene changes the underlying values of those parameters the effect continues to run. Use Pile-Add FX to allow the second cuelist or scene to override the effect as well as the underlying values.
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For example, to allow the cuelist on Master 10 override effects running on other masters:
1.
Open + Choose : open the Cuelist window for Master 10.
2.
Options : open the cuelist's Playback Options window.
3.
Select the Cuelist pane and select Pile-Add FX :
17.4
Understanding Feedback
There are several ways in which you can tell the status of the console's output:
• The status of masters is shown by the playback control key LEDs and the onscreen Playback Bar .
• You can use a cuelist window to follow the progress of running cuelists.
• The total output of all fixtures' parameter values is shown in the Output window, and the total output of all fixture's intensities is shown in the Levels View window.
17.4.1
Control and Playback Toolbar Feedback
Playback Control LEDs
The LEDs of the playback controls give information about the cuelist's status:
• Go key (Green): When solidly lit, this indicates that a fade is in progress. When flashing it indicates that a fade has been paused.
• Halt/Back key (Red): When solidly lit, this indicates that this playback is controlling parameters other than intensity. When flashing it indicates that its control of those parameters has been overridden by other playbacks.
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• Flash key (Red): When solidly lit, this indicates that this playback is controlling intensity. When flashing it indicates that its control of intensity has been overridden by other playbacks.
The Playback Bar
Figure 17.5. The Playback Bar
The Playback Bar is located at the bottom of the left touchscreen, giving feedback for each
master; see Figure 17.5, “The Playback Bar”. For each master, the Playback Bar displays the
following information:
• If the master is empty, its number is shown. Console masters are numbered 1 to 10, while masters on playback wings are numbered 1/1 to 1/10 for the first wing, 2/1 to 2/10 for the second wing, and so on.
• The number and name of the cuelist. This is shown in blue if the master has
been held over after a page change; see Options When Changing Page
(p.302).The name and number will appear in lavender if the master is from a
template page; see The Template Page (p.308).
• The current cue and its overall time. When the cue is running, it is displayed in green text and the time counts down. If the cuelist has been released, then
....
is displayed, with the next cue shown below.
• The next few cues and their times. If you want to see more cues, click and drag the top of the Playback Bar upwards to make it larger.
• The master level as a percentage. If the master is below 100%, then a red bar appears indicating the level. It is possible for the position of the physical fader to be different to the master level of the cuelist, in which case the vertical bar
will be blue; see Matching Levels When Changing Page (p.304).
•
Whether the cuelist is a chase. If it is, then its rate in BPM is shown; see Using
• Any options set for the cuelist. The symbols used are shown below.
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Symbol Description
The cuelist is working under the HTP rule.
The cuelist is set to Persist on Override. See
Changing a Cuelist's Priority (p.276).
The cuelist is set to Release on Other Go. See
Releasing on Another Go (p.265).
The cuelist has a high priority. See Changing a Cuelist's Priority (p.276).
The cuelist has a low priority. See Changing a Cuelist's Priority (p.276).
The scene uses the master as an IPCB fader. Note that this applies to scenes only.
The cuelist uses the master as a manual fader. See
Manually Crossfading Cuelists (p.286).
Using the Playback Bar with Playback Wings
Whether wings are connected or not, multiple Playback Bars can be displayed using the Wings pane of the Control Panel. You can drag these and dock them at the edge of an external display placed adjacent to the wing, to make cross-referencing the screen display and the physical wing playback controls easier.
If your external display is set to a resolution higher than 1024x768, you can drag the ends of the
Playback Bar to ‘stretch’ it to better align with the spacing of the controls of the wing.
For information on adding and setting up playback wings, see Adding Playback Wings (p.83).
17.4.2
Cuelist Feedback
You can view in detail the running of the cues of a specific cuelist by opening the cuelist window
(see Figure 17.6, “The Cuelist Window with a Cue Running”):
• Open + Choose
Or:
• Double click the Playback Bar above the required cuelist.
Or:
• Open + [List 1] : select the cuelist from the cuelist directory.
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Figure 17.6. The Cuelist Window with a Cue Running
The current cue is displayed with an arrow in the wait column of the cuelist, when triggered the arrow turns green and the letter R(for Running) is displayed; the cue's progress is indicated by the percentage completed in the same column. Pausing a cue will turn the arrow red and the letter
H(Halted) is displayed.
Customising Cuelist Feedback
There are several view options selected by buttons at the top of Cuelist window:
• Play Controls: displays alternative play controls at the top of the Cuelist win-
dow. These are useful for running virtual masters, see Using Cuelist Play
Controls to Play a Master (p.272).
• View Cue: opens the current cue (as denoted by an arrow in the wait column) in an editor.
• Follow Cue: selecting Follow Cue from the top of the Cuelist window will make the list of cues scroll to keep the current cue in view as the cues are played back.
• Follow Chosen: during playback, you may not want to have multiple Cuelist windows open. Select Follow Chosen from the top of any Cuelist window so
Hog 4OS automatically displays the cuelist of the currently chosen master. If
Follow Chosen is off, the same cuelist will always be shown in the window irrespective of the chosen master.
• View Timecode: turn the display of timecode information on or off.
17.4.3
The Output Window
The Output window displays the output value of all parameters controlled by Hog 4OS from all cuelists, virtual cuelists, scenes, the Programmer and other editors, and parked parameters. It provides an accurate indication of the status of shared parameter values when multiple cuelists
are running simultaneously; see Figure 17.7, “The Output Window”.
To open the Output window:
• Press and hold the
Open key, then select
Output from the Main Toolbar.
Or:
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• Select Output from the View Toolbar at the top of the left hand touchscreen.
282
Figure 17.7. The Output Window
The Output window by default displays raw parameter values; you can configure it via buttons at the top of the window to display output information in the following ways:
• Values: displays the raw parameter values.
• Effects: displays the base value before the effect is applied, along with a percentage indication of the effect cycle.
• Sources: displays the source that currently has control of a parameter, for example, the Programmer or a cuelist and cue number.
• Plots: displays the name of the plot that has control of the parameter; if you want to see the real world value being calculated by the plot for the parameter then choose "value" instead of "plots"
• Show Palettes: as with sources, displays the palette that is supplying the parameter value.
•
Compact: Compacts the display of information in the window; see Compact
Crossfading values will appear in the Output window in the following colors:
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17.4.4
The Levels View Window
The Levels View window displays the output value of all intensities controlled by Hog 4OS from all cuelists, virtual cuelists, scenes, the Programmer and other editors, and parked parameters.
It provides an accurate indication of the status of shared intensity values when multiple cuelists
are running simultaneously; see Figure 17.8, “The Levels View Window”.
To open the Levels View window:
• Press and hold the Open key, then select Levels from the Main Toolbar.
284
Figure 17.8. The Levels View Window
The Levels View window by default displays raw intensity values; you can configure it via buttons at the top of the window to display output information in the following ways:
• Values: displays the raw parameter values.
• Source: displays the source that currently has control of an intensity, for example, the Programmer or a cuelist and cue number.
• Plots: displays the name of the plot that has control of the parameter; if you want to see the real world value being calculated by the plot for the parameter then choose "value" instead of "plots"
• Show Palettes: as with source, displays the palette that is supplying the intensity value.
Crossfading values will appear in the Levels View window in the following colors:
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17.5
Advanced Playback
17.5.1
Adjusting the Playback and Effect Rates of a Master
The playback and effect rates of a master (cuelist, scene, chase) can be adjusted several different ways:
•
Changing the playback and effect rate fields in the cuelist/scene options
window: The simplest way to adjust the playback and effects rates of a master
(cuelist, scene, chase) is to open the options window for that master and modify the playback and effect rate fields. Any modifications made to the playback and effect rate fields in the options window are stored and persisted for that cuelist/scene as the "base rate".
• Holding choose and adjusting the main encoder wheels: Press and hold the
Choose key for a master and use the parameter wheels to adjust the playback and effects rates. Any modifications made to the playback and effect rates via the encoder wheels are stored and will persist for that cuelist/scene as the "base rate".
• Using the Rate Wheel: The wheel located on the left hand side of the console is known as the rate wheel. The rate wheel allows users to make temporary modifications to the base playback and effects rates for the chosen and selected masters. To toggle the rate wheel mode (playback, effect, none) press the rate key located below the rate wheel. The rate wheel's mode is displayed on the main playback bar (base rate + rate wheel modification). Moving the rate wheel in the upward direction will increase the selected rate while moving the wheel in the downward direction will descrease the selected rate. To clear the rate wheel's modifications for the active rate mode of the rate wheel press the restore key located above the rate thruster. You can also clear rate wheel modifactions by holding choose for a master and pressing the encoder wheel button for the matching rate on the main endoder wheels. To permantently store the rate wheel's modifications for a cuelist/scene master hold the pig key and press the restore key. You can also permanantely add the rate wheel's modifications into the base rate of a master by holding choose and turning the encoder wheel matching the rate on the main encoder wheel. Any rate thruster modifications that are not stored are be lost when the master is released.
•
Assigning the fader of the master to "Scale Playback Rate" or "Scale Effect
Rate" in the cuelist/scene options window: Assigning the physical fader control of a master to "Scale Playback Rate" or "Scale Effect Rate" allows users to utilize the physical fader of the master to scale (multiply & divide) the base playback rate (or base effect rate) of the master. The middle of the fader travel always equals 1x scaling (no scaling applied) while moving the fader up or down adjusts the associated rate by multiplying/dividing against the base playback/effect rate. The upper and lower boundary options of the scale options determine how much scaling is applied as the fader is moved.
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•
Assigning the button controls of the master to "Scale Playback Rate" or
"Scale Effect Rate" in the cuelist/scene options window": Assigning any of the physical button conrols of the master to "Scale Playback Rate" or "Scale
Effect Rate" allows users to scale (multiply & divide) the base playback rate
(or base effect rate) of the master with a single button press.
17.5.2
Adjusting the Effect Size of a Master
The effect size of a master (cuelist, scene, chase) can be adjusted several different ways:
• Changing the effect size field in the cuelist/scene options window: The simplest way to adjust the effect size for a master (cuelist, scene, chase) is to open the options window for that master and directly modify the effect size field. Any modifications made to effect size field in the options window are stored and persisted as the "base size".
• Holding choose and adjusting the main encoder wheels: Press and hold the
Choose key for a master and then use the parameter wheels to adjust the effects size for the selected master. Any changes you make the base effect size for a master are stored and will persist as the "base size".
•
Assigning the physical fader of the master to "Scale Effect Size" in the
cuelist/scene options window: Assigning the physical fader control of a master to "Scale Effect Size" allows users to utilize the physical fader to scale (multiply
& divide) the base effect size of the master. The middle of the fader travel always equals 1x scaling (no scaling applied) while moving the fader up or down will beging to adjust the size of the effects playing back on the master by multiplying/dividing the base effect size of the cuelist/scene. The upper and lower boundary options of the "Scale Effect Size" option determine how much scaling will be applied to the master's base effect size when the fader is moved.
•
Assigning the button controls of the master to "Scale Effect Size" the
cuelist/scene options window: Assigning any of the physical button controls of the master to "Scale Effect Size" allows users to scale (multiply & divide) the base effect size of the master with a single button press.
Tip
Pressing an encoder wheel cell on the touchscreen while holding choose for a master will assign the physical fader for that master to the cordinating fader function (scale playback rate, scale effect rate, scale effect size, intensity). The current fader assignment of a master is indicated by a blue outline around the cordinating encoder wheel cell on the touchscreen.
17.5.3
Manually Crossfading Cuelists
You can assign any cuelist to be operated manually, allowing you to perform the crossfades from one cue to the next manually using the fader. Once a cuelist's Manual Fade option is selected, the Master's fader will no longer control intensity but instead the crossfade progress of all para-
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meters from the current cue to the next; starting when moved from any end stop, finishing when the opposite end stop is reached.
If you select Manual Fader mode when the fader is at 50%, a manual fade cannot take place until the fader is moved to and then from an end stop, further moves from end stops will manually work through the cuelist sequentially.
To assign a cuelist's Manual Fade function:
1.
Open + Choose
→
Options
→
Master
2.
Select Manual Crossfader from the Fader menu:
Manual crossfade mode will be indicated on the Playback Bar above the selected master by .
Tip
You can still run cues to time when manual fader mode is selected by pressing the master's Go key. Note that you have no individual fader control of intensity and accidentally moving a fader will start to run the next cue manually.
17.5.4
IPCB Faders
You can adjust the output values of any intensity, position, colour or beam parameter information in any cuelist by assigning its fader as a IPCB fader.
To assign a cuelist to use the IPCB fader function:
1.
Open the Programmer from the Main Toolbar. In the Programmer select the fixtures and parameters that you wish to adjust with the fader, then assign a maximum level.
2.
Record
1
Enter : record the cue to the chosen master.
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3.
Pig + Choose
→
Playback Options : open the options window for the cuelist's master.
4.
In the Master pane, select IPCB Crossfader from the Fader drop down menu.
You can now adjust the value of the parameters contained in the IPCB fader cue by adjusting the master’s fader level.
17.5.5
Using a Cuelist as a Chase
You can use a cuelist to make a chase. Any wait times are ignored, and each cue becomes a step in the chase where the rate is set in Beats Per Minute(BMP).
To use a cuelist as a chase:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Is a Chase :
288
The Playback Bar displays Chase and the playback rate (which defaults to 120 bpm):
Each cue step is by default equivalent to a beat, so to set a chase that advances every second the rate needs to be 60 bpm. By holding down the master's Choose key you can modify the playback rate, effect rate, and effect size on the parameter wheels:
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When you select Is a Chase the Cuelist pane of the Playback Options window, the following chase options appear:
• Playback Rate: the speed of the chase defined in Beats Per Minute (bpm).
• Crossfade: the amount of each step that a crossfade is active for, as a percentage.
• Step Length: by default each cue step is the equivalent to a beat. This is helpful when you enter a rate using Tap Sync, but then wish the chase to step at half
or double speed. For more on Tap Sync, see Adjusting Chase Rate with Tap
• Direction: four directions are available: Up, stepping up through cue numbers;
Down, stepping down through cue numbers; Random, stepping randomly through cue numbers; and Bounce, stepping up then down through cue numbers.
You can also configure the following loop types in the Cuelist pane of the Playback Options window:
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• Continuous: the chase steps indefinitely until paused or released.
• Stop On Last: the chase stops at the last cue in the cuelist until released or triggered again with a Go.
• Release On Last: the cuelist chase is released when it reaches the final step.
• Stop On First: the chase completes one cycle and stops on the first cue until triggered again.
If any loop type other than continuous is chosen then you can assign the number of cycles the chase completes before the loop behaviour is actioned. Selecting Release on Stop releases the chase cuelist either when it stops because of an actioned loop behaviour or because of a manual stop using the Halt key.
Tip
The Playback Options of a master can be quickly accessed by holding Pig and pressing the master's Choose key.
Adjusting Chase Rate with Tap Sync
A cuelist chase can be manually sync'ed to a beat, such as a piece of music, using Tap Sync.
Once sync'ed Hog 4OS maintains the chase rate until a new one is assigned.
To adjust the rate of a chase using Tap Sync, hold down the Choose key of the master the chase is attached to, while pressing the master's Go key repeatedly to the required beat. Hog 4OS will learn the speed of the chase from you, in a minimum of two beats; after this, you can release the
Choose key.
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Note that you can only use Tap Sync with chases loaded onto physical masters, not virtual ones.
17.5.6
Cuelists and Tracking
You can define how a cuelist deals with tracking in the Cuelist pane of the Playback Options
window (shown in Figure 17.4, “The Cuelist Pane of the Playback Options Window”):
• Open + Choose
→
Options
→
Cuelist
The options are:
Option
Cue Only
Default
Off
Track Through Loops Off
Notes
Use this to run the cuelist without tracking. Any
parameter that has no value in a cue will go to its
default value, rather than tracking through from
the previous cue.
Determines whether parameter values track from the end of a loop back to the beginning. See
Tracking Through Loops (p.225) for a full descrip-
tion.
17.5.7
Triggering Automatic Tasks When a Cue Runs
You can use Trigger Macros to perform a variety of tasks when a cue runs. Macros are simple text instructions placed in the cue's Macro cell:
1.
Open
+
Choose
: open the Cuelist window.
2.
Select the Macro cell for the desired cue, and press Set .
3.
Type in the Macro command, then press Enter .
For a full description of the available macro commands, see Macros (p.353).
Tip
You can display a list of available commands on the console by selecting the Macro cell in the Cuelist window and pressing the Set key.
Tip
You can enable trigger macros to occur when using the Back key to go
backwards through a cuelist. See Configuring Master Controls (p.296).
17.5.8
Playback Masking
You can mask which fixture function kinds that a cuelist or scene will playback by applying a playback mask to that cuelist or scene. Playback masking does not determine how data is recorded into a list or scene and does not change existing recorded data. Playback masking only determines which parts of the already recorded cue/scene data will be executed when that cuelist or scene
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is played. Follow these instructions to enable and configure playback masking for a cuelist or scene:
1.
Pig + Choose : opens the options window.
2.
Enable the Mask Playback button. A mask icon will now appear on the cuelist or scene in the directory window as well as on the playback bar.
3.
Press the Select Playback Mask...
button.
4.
Select which fixture function kinds you want to enable for playback in that cuelist or scene. Kinds that are selected will play back. Kinds that are not selected will not playback.
5.
Any changes made to a cuelist or scene's playback mask (including enabling/disabling the playback mask) will be reflected in output the next time that cuelist or scene is played or asserted.
17.6
Grand Master
The Grand Master inhibits the intensities of all fixtures on the console, including those within the Programmer. Parked intensities are NOT effected by the Grand Master level.
17.6.1
GM Key
Since the Nano Hog 4 and Road Hog 4 consoles do not have a dedicated Grand Master fader it is possible that you can write a cuelist over the grandmaster portion of the playback bar. When you do this fader 1 and it's corresponding flash key will no longer act as a control for the Grand
Master but rather as a control for the assigned cuelist on that master. However, you can still access the Grandmaster by holding down the GM key. This allows you to access the Grand Master when a normal master on the current page is obscuring it. The GM key LED shows the state of the
Grand Master:
• Off: Grand Master is at 100%.
• On: Grand Master is at 0%.
• Slow flashing: Grand Master is between 0 and 100%.
If you use the GM key in conjunction with fader 1 on the console to change the Grand Master level, it is possible for the position of the physical fader 1 to be different from the Grand Master's actual stored level. If this happens then when the GM key is held down the Grand Master level will be shown on the in blue and the level of the physical fader 1 will be shown as a red dot. To rematch the levels and capture the Grand Master's level with the physical fader you must move the fader until it is at the same level as the blue bar; at this point the fader will take control of the Grand Master level in the normal way.
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17.6.2
DBO Key
The DBO key above the Grand Master toggles the console between dead black out and the grand master's level. When you engage the DBO key it will light up in red and all fixture intensities will be restricted to 0% with the exception of parked intensities. When you disengage the DBO key its red light will turn off and the Grandmaster fader will regain control.
17.6.3
Flash key below the Grand Master
The Flash key below the Grand Master fader is a non-latching key that can be assigned in the user preferences window to send the grand master's level to zero, to full, or to whichever value is opposing the grandmaster's current fader position.
17.7
Inhibitive Masters
Inhibitive masters allow you to limit the intensity of a group of fixtures. If the inhibitive master is at full, then the fixtures that it controls will be at the level determined by the playbacks, Programmer, and so on. As the inhibitive master level is reduced, the fixture intensities will be reduced in proportion. For example, if you have four fixtures at 0%, 50%, 80% and 100% in a cue that is being output, and these fixtures are also in an inhibitive master, then the levels will change as follows:
Fixture:
Master at 100%
Master at 50%
Master at 0%
1
0
0
0
2
50
25
0
3
80
40
0
4
100
50
0
Pressing the Flash key of an inhibitive master is the same as momentarily changing its fader level to 0%, taking all fixture intensities controlled by the inhibitive master to 0%. Intensity values are restored when you release the key.
To create an inhibitive master:
1.
Record a group containing the required fixtures. See Recording Groups (p.151).
2.
Group
,
Group
: open the Group Directory.
3.
Select the required group. To ensure you don't select the group in the Programmer or editor, enable the Guard button in the Group Directory, or press and hold the Pig key while selecting the group.
4.
Move
,
Choose
: move the group to the required master.
Or, using the command line:
1.
Record a group containing the required fixtures.
2.
Group
[group number]
Move Choose
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The Playback Bar will show the group name above the chosen master. When the master level is less than 100%, the Playback Bar will also display a bar showing the level. When the Flash key is pressed, the Playback Bar will display
BO
; see Figure 17.9, “The display of Inhibitive Masters
Figure 17.9. The display of Inhibitive Masters on the Playback Bar
17.8
Configuring Playback Controls
For each cuelist and scene you can configure how the playback controls work. For example you can:
• Assign the master
Go key to assert the selected cuelist over 3 seconds.
• Assign the main Halt/Back key to Halt the selected cuelist with the option to
‘Release if already halted’.
• Assign the Fader to be a manual crossfader rather than an intensity fader.
• Assign the
Flash key to only flash to 50% and to Go the cuelist.
To assign the function of each control, together with any associated options:
1.
Open + Choose : open the Cuelist window.
2.
Options : open the Options for the cuelist.
3.
Under
Controls
, select the
Master or
Main Controls
“The Master pane of the Cuelist Options window” and Figure 17.11, “The
Main Controls pane of the Cuelist Options window”.
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4.
Select the action you want controls to have from the corresponding drop-down list, together with any options.
5.
Press OK when you have finished.
Tip
Holding down the PIG key while pressing any one of a master's playback keys will release that playback regardless of the function assigned to that key.
Figure 17.10. The Master pane of the Cuelist Options window
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Figure 17.11. The Main Controls pane of the Cuelist Options window
17.8.1
Configuring Master Controls
When you configure master controls, these settings are part of the cuelist and will be applied to the master that the cuelist is on. The configuration options for the master controls are shown in the following tables:
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The Master Go and Master Halt keys
Function Options and Notes
None
Assert
Release
Go
Halt
Back
Restart
Goto cmdline
Disables the control
Asserts the master. Deselect Use default cuelist time to enter your own assert time for the master, overriding the cuelist's assert time.
Releases the master. Deselect Use default cuelist time to enter your own release time for the master, overriding the cuelist's release time.
Go's the master. Deselect Use default cuelist time to enter your own fade time for the master, overriding the cuelist's time.
Halts the master, stopping any fades that are in progress. Select
Use Fade Time to use the previous cue’s fade time when going backwards instead of the cuelist’s Back Time. Select
Trigger Cuelist Macro to trigger the previous cue's macro when going backwards.
Reverses the currently running crossfade. Deselect
Use default cuelist time to enter your own back time for the master, overriding the cuelist's back time.
Goes to the first cue in the cuelist.
Goto
Enters the Goto command into the command line, so that you can enter a cue number and press Enter to go to that cue.
Enter a cue number to go to in the Target Cue cell. Deselect
Use default cuelist time to enter your own fade time, overriding the cue's time.
Skip forward
Skip back
Scale Playback
Rate
Go instantly to the next cue.
Go instantly to the previous cue.
Adjusts the playback rate of the master by applying a scaling value to the base playback rate of the master.
• Temporary: When temporary is turned on scaling will be applied when button is pressed down and released when when button is released.
• Action and Value: When action = "multiply" then button press will multiply scaling value by the value specified; when action = "set" then button press will change rate scaling value to value specified.
Scale Effect Rate Adjusts the effect rate of the master by applying a scaling value to the base effect rate of the master.
• Temporary: When temporary is turned on scaling will be applied when button is pressed down and released when when button is released.
• Action and Value: When action = "multiply" then button press will multiply scaling value by the value specified; when action = "set" then button press will change rate scaling value to value specified.
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The Master Go and Master Halt keys
Scale Effect Size Adjusts the effect size of the master by applying a scaling value to the base effect size of the master.
• Temporary: When temporary is turned on scaling will be applied when button is pressed down and released when when button is released.
• Action and Value: When action = "multiply" then button press will multiply scaling value by the value specified; when action = "set" then button press will change rate scaling value to value specified.
Scale Fader Assignment
Adjusts scaling based on fader's control assignment. (i.e. if fader is assigned to "Scale Playback Rate" then a button assigned to "Scale
Fader Assignment" will scale the playback rate).
• Temporary: When temporary is turned on scaling will be applied when button is pressed down and released when when button is released.
• Action and Value: When action = "multiply" then button press will multiply scaling value by the value specified; when action = "set" then button press will change rate scaling value to value specified.
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Function
None
I Fader
Options and Notes
Disables the control
The fader controls fixture intensities being output by the master.
• Go Off Zero: The cuelist is triggered when the fader is moved from zero, as if you had pressed the Go key.
• Release At Zero: The cuelist is released when the
fader returns to zero; see Releasing Masters (p.263).
Manual crossfader
Scale Playback
Rate
The fader control cues manually: move the fader to the bottom to
‘pick up’ the next cue, then move it up to start the crossfade.
The fader adjusts the playback rate of the master by applying a scaling value to the base playback rate of the master.
• Upper Bound: : Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
Scale Effect Rate The fader adjusts the effect rate of the master by applying a scaling value to the base effect rate of the master.
• Upper Bound: Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
Scale Effect Size The fader adjusts the effect size of the by applying a scaling value to the base effect size of the master.
• Upper Bound: Determines the amount of scaling applied to the master when the fader is at top of travel (Full).
• Lower Bound: Determines the amount of scaling applied to the master when the fader is at bottom of travel (0).
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The Flash key
Function
None
Flash
Options and Notes
Disables the control
The Flash key brings either the intensity, playback state, or current scaler value (determined by the assignment of the fader) to a specified level, determined by the cuelist or scene on the master. This is equivalent to momentarily bringing the fader to a certain value.
You can enter a percentage level for the Flash function.
Press Go On Flash to go the master when the Flash key is pressed.
(does not operate if fader is assigned to scale)
Press Release on Off to release the master when the Flash key is released. (does not operate if fader is assigned to scale)
Press Solo to have the intensity outputs of all other masters taken to zero when the Flash key is pressed.
If you select Latching, the action of the Flash key is maintained until it is pressed a second time.
17.8.2
Configuring the Main Controls
When you configure the main playback controls, the settings are part of the cuelist and will be applied whenever you select the Choose key for the master that the cuelist is on. The configuration options for the main control keys are shown in the following table:
The Assert, Release, Goto, Skip Forwards, Skip Backwards, Main Halt and
Main Go keys
Function Options and Notes
None
Assert
Release
Disables the control
Asserts the chosen master. Deselect Use default cuelist time to enter your own assert time, overriding the cuelist's assert time.
Releases the chosen master. Deselect Use default cuelist time to enter your own release time, overriding the cuelist's release time.
Go
Halt
Back
Restart
Goto cmdline
Goto
Skip forward
Skip back
Go's the chosen master. Deselect Use default cuelist time to enter your own fade time, overriding the cuelist's time.
Halts the chosen master, stopping any fades that are in progress.
Reverses the currently running crossfade on the chosen master.
Deselect Use default cuelist time to enter your own back time, overriding the cuelist's back time.
Goes to the first cue in the cuelist on the chosen master.
Enters the Goto command into the command line, so that you can enter a cue number and press Enter to go to that cue on the chosen master.
Enter a cue number to go to in the Target Cue cell. Deselect
Use default cuelist time to enter your own fade time, overriding the cue's time.
Go instantly to the next cue on the chosen master.
Go instantly to the previous cue on the chosen master.
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18.1
How Pages Are Used
Pages allow you to predefine layouts of cuelists, scenes and inhibitive masters, so that they can be loaded quickly on to the available playback masters.
For a concert, for example, cuelists can be organized in one page per song, so that before each performance it is possible to re-arrange the pages to reflect the current running order of the songs.
One cuelist can be used several times within a page or on several pages, or it can be unique to a specific page. A template page can define certain masters to be the same on every page.
18.2
Creating a New Page
Selecting a page that currently does not exist will automatically create a blank page and load it onto the masters. Cuelists, scenes and inhibitive masters can then be assigned to the masters on the newly created page.
To create a new page:
1.
Open + Page : opens the Page Directory.
2.
Make sure that Guard is not selected in the Page Directory, otherwise you will not be able to create a new page using this method.
3.
Press a button in the Page Directory where you want to create the new page.
A new, blank page is created.
4.
Set
[name]
Enter : name the page.
Or, using the command line:
1.
Page
[number]
Enter : a new, blank page is created.
2.
Set
[name]
Enter : name the page.
»
Important
When you create a new, blank page, it is automatically loaded onto the physical playback masters. By default, any cuelists, scenes and inhibitive masters that were previously loaded will be released, and their contents will no longer be output from the console. You can change this behaviour;
see Options When Changing Page (p.302).
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18.3
Changing Page
Changing the page loads a different set of cuelists, scenes and/or inhibitive masters onto the physical playback masters. You can do this in several ways:
• Press the Next Page key to go to the next page in the Page Directory. To go to the previous page hold Pig and press Next Page .
• Using the command line : Page
[number]
Enter .
• Select the desired page from the Page Directory window. Check that the Guard button in the directory window is not selected.
•
Use a macro within a cuelist; see Macros (p.353).
•
Set a trackball key to select the next page; see Trackball Keys (p.95).
The current page is shown in the status area at the right hand end of the Command Line Toolbar:
Tip
You can control which page loads next when you use Next Page to change pages by having the pages in the desired order in the Page Directory.
See Copying and Moving Pages (p.307).
18.3.1
Options When Changing Page
When you change page, there are three options for what happens to any cuelists, scenes or inhibitive masters that are still active:
• Release All: releases all cuelists, scenes and inhibitive masters on the old page and replaces them with the cuelists on the new page.
• Hold Over If Active: keeps active cuelists, scenes and inhibitive masters from the old page on their master, until you release them. They are then replaced with the contents on that master on the new page.
• Leave In Background: leaves the old cuelist, scene and/or inhibitive master active in the background, and attaches the new one to the master. To get to the background item, go back to the page that it is on. On the Hog 4 Console the built-in motorized faders will automatically adjust themselves to match the master's stored level.
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Tip
You can think of changing pages using the Leave In Background option as being similar to having one very long page, and moving the masters to ‘look’ at different sections of it.
A further option, Remember Fader Values, allows a page's fader levels to be restored back to where they were the last time the page was loaded. If the physical faders have moved then the motorized faders on the Hog 4, Full Boar 4, Master Wing 4, and Playback Wing 4 will move to match the stored values. The Road Hog 4, Hog 4 Nano, and other non-motorized fader hardware are not capable of moving their faders to match the stored value so a blue "unlocked fader" bar will appear to show the difference between the restored value and the actual physical potion of
the front panel fader; see Matching Levels When Changing Page (p.304).
By default, Release All and Remember Fader Values are selected for new pages, but you can change this in the User Preferences window:
• Setup
→
Preferences
→
Misc
: see Figure 18.1, “The Misc pane of the User
Figure 18.1. The Misc pane of the User Preferences window
If you want to hold over a particular cuelist, scene or inhibitive master when changing page, hold the master's Choose key when changing the page. The item's name in the Playback Bar will have a blue background to indicate it is in holdover mode.
To remove a held over master simply release it and the cuelist, scene or inhibitive master for that master on the new page will replace it (if there is one).
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18.3.2
Matching Levels When Changing Page
When you change page using Leave In Background, it is possible for the actual position of the physical master faders to be different to the stored master level of the cuelist. For example, if you have the physical fader at 100% while on Page 1, then go to Page 2 and reduce the physical fader to 50%, and then go back to Page 1 the console must resolve the difference between the
stored value of the master and the new physical position of the fader ; see Figure 18.2, “Matching
Levels when Changing Page”. If this situation happens on a Hog 4 or Full Boar 4 console the
built-in motorized faders will automatically adjust themselves to match the master's stored level.
Console such as the Road Hog 4 and Hog 4 Nano that do not feature motorized faders or for connected wing hardware that does not feature motorized faders, the master level of the cuelist will be shown on the Playback Bar in blue, together with a red dot showing the physical fader position. This state is known as having the fader "unlocked". To "relock" (rematch) the levels, move the fader until it is at the same level as the blue bar; at this point the fader will take control of the cuelist master level in the normal way.
Figure 18.2. Matching Levels when Changing Page
18.3.3
Restoring Activity When Changing Pages
You can trigger cues to go and assign masters to specific fader levels when changing page by using Restore Activity. To do this, you capture the desired activities as a macro, which is later executed when the page is loaded.
To capture page activity:
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1.
Page + Open : open the Page Directory.
2.
Go to the desired page, and assign the page activity: you can playback cuelists and scenes, and set fader levels. For example, Master 1 Go, Master 4 at 50%,
Master 8 at 25%.
3.
Select Capture Activity from the Page Directory to store the activity as a macro for the page.
To directly edit a page's macro:
1.
Page + Open : open the Page Directory.
2.
Select to change to the spreadsheet view.
3.
Select the Macro cell and press the Set key. Type in the macro you require, and press Enter.
For details of the macro syntax, see Macros (p.353).
Tip
You can display a list of available macro commands on the console by selecting the Macro cell and pressing the Set key.
To clear the macro:
1.
Page + Open : open the Page Directory.
2.
Deselect to change to the button view.
3.
Right click on the page and select Clear Activity Macros from the contextual menu.
Similarly, you can enable or disable Restore Activity without deleting the macro itself by right clicking on the page and selecting from the contextual menu. A that Restore Activity is on.
icon will appear as a reminder
18.4
Modifying Pages
You can copy or move cuelists, scenes and inhibitive masters to a page, or remove them, as well as clearing the whole page. If you change which cuelists, scenes or inhibitive masters are assigned to the current page, then that assignment will automatically be recorded as part of the page.
Changes made to cuelists, scenes and inhibitive masters (such as editing their contents) remain with that item, and not with the page.
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18.4.1
Copying Lists, Scenes and Inhibitive Masters to a Page
Copying a cuelist to a page creates a new cuelist which is independent of the one it is a copy of.
Any changes made to this new cuelist will not effect the original cuelist. To copy an existing cuelist to a page:
• List
2
Copy Choose : copies cuelist 2 to the selected master.
You can also copy a cuelist from one master to another:
1.
Choose
: press the Choose key of the master with the cuelist you want to copy.
2.
Copy
3.
Choose : press the Choose key of the master you want to copy the cuelist to.
You can copy scenes and inhibitive masters in the same way.
18.4.2
Moving Lists, Scenes and Inhibitive Masters to a Page
Moving a cuelist to a page does not create a new cuelist, so changes made to the cuelist will affect all other uses of that cuelist on other pages. To move an existing cuelist to a page:
•
List
2
Move Choose : moves cuelist 2 to the selected master.
You can also move a cuelist from one master to another:
1.
Choose + Move : press the Choose key of the master with the cuelist you want to move.
2.
Choose
: press the Choose key of the master you want to move the cuelist to.
You can move scenes and inhibitive masters in the same way.
18.4.3
Removing Lists, Scenes and Inhibitive Masters from a Page
To remove a cuelist, scene or inhibitive master from a page:
•
Delete
+
Choose
Note that this will only remove the item from the master; the item will not itself be deleted from the show.
18.4.4
Clearing Lists, Scenes and Inhibitive Masters from a Page
To clear all cuelists, scenes and inhibitive masters from the current page:
1.
Open + Page : opens the Page Directory window.
2.
Press Clear Current Page in the Page Directory.
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Note that clearing the current page will remove items from the masters; the items themselves will not be deleted from the show.
»
Important
When you clear the current page, any cuelists, scenes and inhibitive masters that were previously loaded onto the physical masters will be released, and their contents will no longer be output from the console.
18.5
Copying and Moving Pages
You can copy and move pages:
1.
Open + Page : open the Page Directory.
2.
Make sure that the
Guard button is selected, otherwise pressing a directory button will activate the page, rather than just selecting it.
3.
[Page 1] Copy [Page 3] : copies Page 1 to Page 3.
Similarly, using the command line:
•
Page
2
Move Page
4
,
Enter
: moves Page 2 to Page 4.
Tip
The order of the pages in the directory determines which page you get when changing pages using the Next Page key. You can copy and move your pages so that they appear in the correct order for your show. You can then go through the performance using Next Page rather than selecting from the directory.
18.6
Deleting Pages
To delete a page:
1.
Page
1
Delete
2.
Click OK to confirm the delete.
You can delete a range of pages:
1.
Page
1
Thru
4
Delete
2.
Click OK to confirm the delete.
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Note that you cannot delete the current page. Deleting a page does not delete cuelists or scenes from the show.
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Setup
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
18.7
The Template Page
The template page specifies which cuelists will appear on specific masters for every page without physically having to load them onto the same masters on all pages. For example, you could have a primary cuelist containing the commonly used cues of the show, which you want available on the same master, regardless of which page you are on. When you move this cuelist to a master on the Template page, it will then appear on the same master of all pages. If a normal page and a template page have a cuelist on the same master, the normal page's cuelist will override the template page's cuelist.
To make a page into the template page:
1.
Open + Page : opens the Page Directory window.
2.
Right-click on the page, and select Set As Template Page from the menu.
To turn off the template page, right-click on the template page and select Clear Template Page from the menu. There can only be one template page; assigning a new template page will restore the previous one to a normal page. The template page is shown by a window.
symbol in the directory
Since the template page typically does not relate to a specific portion of your production (a song for example), template pages are never loaded from the Next Page key. When cycling through pages with this key, the template page will be skipped. You can always directly load the template page using either the page directory or the command line.
Cuelists, scenes and inhibitive masters that appear on a master of a page because they originate
from the template page are shown in blue on the Playback Bar by default; see Figure 18.3,
“Playback Bar with Master 10 loaded from the Template Page”. You can turn this off in
Setup
→
Preferences
→
Misc by deselecting Highlight Template .
Figure 18.3. Playback Bar with Master 10 loaded from the Template Page
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If the template page is the current page, the entire Playback Bar, including empty masters, are
also shown in blue; see Figure 18.4, “The Playback Bar with the Template Page loaded”.
Figure 18.4. The Playback Bar with the Template Page loaded
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Section 19: Command Keys
Command Keys are user-created single button executers that trigger existing show objects including palettes, groups, views, lists, scenes, and keystroke macros. Command keys are stored in the commands directory and are also accessable using the 12 function keys on the front panel of the console (when the function keys are set to command mode). To toggle the function keys between kind mode and command mode hold down Pig and press Enter . The mode of the function keys is displayed on the main toolbar (KIND / CMD). To open the command directory hold the open key and press the "Commands" button on the main toolbar.
19.1
Creating Command Keys
Command keys are created by using the "move" syntax of the console to assign existing show objects to empty cells in the commands directory or to blank function keys on the front panel
(when the console's function keys are set to CMD mode). Please note that the original show objects are not actually being moved.
Here is an example of how to create a command key for cuelist 1:
1.
List 1
2.
Move
3.
Press any empty cell in the command directory or press any empty function key on the front panel (if the console's function keys are set to command mode)
Tip
When command keys are created they automatically inherit the name and color-coding of the show object that they are linked to. Changing the name or color-coding of a command key will change the name and colorcoding of the show object it is linked to and vice-versa.
19.2
Copying, Moving, and Deleting Command Keys
Command keys can be copied, moved, and deleted using both the commands directory and the function keys on the front panel (when the console's function keys are set to command mode).
To delete a command key: Press and hold delete; then press a command key on the front panel or in the commands directory.
To move a command key: Press and hold move; then press a command key on the front panel or in the commands directory; after you release the move key press any empty command key on the front panel or empty cell in the commands directory.
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To copy a command key: Press and hold copy; then press a command key on the front panel or in the commands directory. after you release the copy key press any empty command key on the front panel or empty cell in the commands directory.
19.3
Changing the Action of a Command Key
The action that occurs when a command key is pressed can be configured by viewing the commands directory in spreadsheet view and editing the "Action" cell.
312
Figure 19.1. Command directory in list view; selecting an action
Not all command keys have the same action options. The list of available actions for a Command
Key depends on the capitiblities of the show object that it is linked to:
For Command Keys linked to Groups, Pages, Views, Keystroke Macros & IPCBE Palettes:
The only available action is "Select"
For Command Keys linked to Lists and Scenes: The available actions include "Go", "Pause",
"Back", and "Flash". The default action is "Go".
Tip
Holding down the PIG key while pressing a command key linked to a lists or scene will release that list or scene.
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Section 19: Command Keys
19.4
Command Key Feedback
When a command key is executed the function key associated with that command key will provide the following feedback to indicate the running state of the show object linked to the command key:
For Command Keys linked to Groups, Pages, & IPCBE Palettes: Blue LED on indicates the object is selected; Blue LED off indicates the object is not selected
For Command Keys linked to Lists, Scenes, & Keystroke Macros: Blue LED on indicates the object is onstage; Blue LED off indicates the object is not onstage (released); Fast flashing blue LED indicates the linked object is actively executing (cross-fading, running, releasing); slow flash blue LED indicates the linked object is paused
For Command Keys linked to Views : No LED feedback is provided for command keys linked to views as views are simply recalled when executed and do not have a status
The commands directory also provides feedback for the running state of the show objects linked to by the command keys.
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Section 20: Plots
Plots are user created graphical layouts that contain programable objects such as fixtures and
PixelMaps. Plots can be used to select fixtures, gather fixture feedback, and apply PixelMapping values to fixtures.
Plots are stored in the plots directory. To open the plots directory window hold the Open key and press the Plots button on the main toolbar or press Pig + Open + Fixture on the console front panel).
Figure 20.1. The Plots Directory
To open a plot hold the Open key and press the coordinating plot button in the directory. You can also open a plot using the command line by pressing Pig + Fixture (this will put the word plot on the command line), specifying a plot number, and then Open . For example: Pig + Fixture
,
1
,
Open will open plot 1.
Figure 20.2. Example of a Basic Plot
20.1
Creating Plots
Plots can be created as entirely blank or pre-populated with fixtures.
To create a blank plot:
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1.
Ensure that no fixtures are currently selected.
2.
Record
3.
Pig + Fixture ("plot" should now appear on the command line after record)
4.
Use the numeric keypad to enter the plot number you wish to create.
5.
Enter
6.
A new and entirely blank plot has now been created.
To create a plot pre-populated with fixtures:
1.
Select the fixtures you want to have in your new plot.
2.
Record
3.
Pig + Fixture ("plot" should now appear on the command line after record)
4.
Use the numeric keypad to enter the plot number you wish to create.
5.
Enter
6.
A new plot has now been created containing a box gang that contains all of the fixtures you selected in step 1.
NOTE: You can also use the plots directory to create a new plot by pressing on a blank directory button in the plots directory window after pressing record.
20.2
Editing Plots
All plots contain three main types of objects: fixtures, gangs, and PixelMaps. In this section we will review how to add, remove, and edit these different types of objects as well as a few tricks on how to quick manipulated multiple plot objects at once.
20.2.1
Fixtures
To add fixtures to a plot:
1.
Open the plot ( Pig + Fixture , # , Open )
2.
Enable the fixture edit button at the top of the plot window.
316
3.
Click on the add fixtures tab of the properties pane located on the right side of the plot window.
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Section 20: Plots
4.
Use the buttons listed under the add fixtures tab to choose what type of gang arrangement you will like to use for adding the fixtures to the plot.
5.
Make a fixture selection.
6.
Drag your finger across the plot window to add the fixtures (or click and drag using the trackball/mouse)
7.
The fixtures are now added to the plot using the gang type you selected.
To remove fixtures from a plot:
1.
Enable the fixture edit button at the top of the plot window
2.
Select the fixtures in the plot you wish to remove (fixture selection can either be done directly in the plot window or by using the command line or groups)
3.
Press the Delete button in the properties pane located on the right side of the plot window.
To edit a fixture (change its properties):
1.
Enable the fixture edit button at the top of the plot window.
2.
Select the fixture(s) you wish to edit.
3.
Use the properties pane located on the right side of the plot window to adjust the the fixture's position and/or rotation. You can also reposition a fixture by using the mouse or touchscreen to click and drag the fixture into position.
Note: fixtures that are attached to gang must first be detached (dragged off the gang) in order to be custom positioned.
20.2.2
Gangs
Gangs are collections of fixtures arranged in geometrical shapes. Gangs themselves can be resized and rotated. Gangs also feature several options for how the fixtures contained with the gang are ordered. In this section we will review how to edit gangs, add/remove fixtures from gangs, and delete gangs.
To remove a gang:
1.
Enable the gang edit button at the top of the plot window.
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2.
Select the gang you wish to delete.
3.
Press the Delete button in the properties pane located on the right side of the plot window; the gang and all the fixtures attached to it will be deleted from the plot.
To edit a gang (change its properties):
1.
Enable the gang edit button at the top of the plot window.
2.
Select the gang you wish to edit.
3.
Use the properties pane located on the right side of the plot window to adjust the the gang's position, size, fixture layout, fixture ordering, etc...). You can also reposition the gang by using the mouse or touchscreen to click and drag the gang into position. Similarly, you can resize and rotate the gang using the blue object handles that appear when the gang is selected (circle handle for gang rotation / square handle for gang sizing).
20.2.3
PixelMaps
PixelMaps are rectangular plot objects which can be used to map the pixels of rich media content
(photos and videos) onto lighting fixtures through a process known as PixelMapping. In this section we will discuss how to add/remove PixelMaps in plots. For more detailed information on PixelMapping refer to section 20.4.
To add a PixelMap:
1.
Enable the PixelMap edit button at the top of the plot window
2.
Click on the add PixelMap tab of the properties pane located on the right side of the plot window
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3.
Touch (or left click) and drag across the plot window to draw a pixel map
To remove a PixelMap:
1.
Enable the gang edit button at the top of the plot window
2.
Select the gang you wish to delete
3.
Press the Delete button in the properties pane located on the right side of the plot window
To edit a pixelmap (change its properties):
1.
Enable the PixelMap edit button at the top of the plot window.
2.
Select the PixelMap you wish to edit.
3.
Use the properties pane located on the right side of the plot window to adjust the the PixelMap's position, size, rotation, and layer assignments). You can also reposition the PixelMMap by using the mouse or touchscreen to click and drag the PixelMap into position. Similarly, you can resize and rotate the
PixelMap using the blue object handles that appear when the PixelMap is selected (circle handle for gang rotation / square handle for gang sizing).
20.2.4
Tips for editing multiple plot objects
This section will cover some handy shortcuts and tips for editing multiple plot objects at once.
These tips can help you to build complex plots more quickly and symetrically.
To equalize the properties of multiple plot objects:
1.
First select a plot object that has a property value that you want to apply to other objects in the plot (for example, you may want to align objects to have the same X position as one of the objects already in the plot)
2.
Now select the plot objects you wish to adjust to match the first plot object you selected
3.
Hold the / key on the front panel of the console
4.
Press the up or down scroll button for the property you want to equalize all the selected objects to (for example, if you want all the selected plot objects
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to align horizonally then press the up or down arrow button for the X position property while holding the / key)
20.3
Using Plots
Plots can be used to accomplish a variety of important programming tasks. In this section we will review how to make simple and complex fixture selections using the plot window, how to navigate the plot window, and how to use the plot window to quickly view feedback for fixtures.
20.3.1
Fixture Selection
Fixture selections made in plots are sent to the current active editor and can be used in conjunction with command line and group directory fixture selections as well. In this section we review the selection tools available in the plot window and the plot window fixture selection syntax.
There are three selection tool buttons at the top of the plot window. These tools can be used for selecting fixtures when programming looks and also for selecting fixtures, gangs, and PixelMaps when editing plots:
Button Selection Tool Name and Function Selection Order
Path Selection Tool: selects fixtures by drawing a line through the fixtures you wish to select
Based on the order in which fixtures are touched by the line as you draw it.
Rectangle Selection Tool: selects fixtures by drawing a rectangle around the fixtures you wish to select. Any fixture that is entirely inside the rectangle will be selected. If a fixture is only partially inside the rectangle it will not be selected.
Fixtures inside the selection rectangle are selected in the order in which they are touched.
Lasso Encompassing Selection Tool:
selects fixtures by drawing a free form circle around the fixtures you wish to select. Any fixture that is entirely inside the lasso will be selected. If a fixture is only partially inside the lasso it will not be selected.
Fixtures inside the selection lasso are selected in order in which they are touched.
Plot window fixture selections follow many of the same rules as the selections made using the command line. The syntax for selecting fixtures in plots is as follows:
• Fixture selections made in a plot are added to the current fixture selection until an edit is made. Once an edit is made, such as adjusting pan/tilt, then a new fixture selection is started.
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• Holding the + key while selecting fixtures in a plot adds those fixtures to the current fixture selection.
• Holding the key while selecting fixtures in a plot removes those fixtures from the current fixture selection.
• Tapping on an a fixture that is already selected will deselect the fixture.
20.3.2
Navigation (zoom/scroll)
Plots are 2-dimensional layouts that can be zoomed and scolled to ensure good visibility and easy selection.
There are three main ways to zoom in and out of the plot window:
1.
Use the zoom tool at the top left hand corner of the plot window.
2.
Hold Open and turn the third encoder wheel on the front panel.
3.
Hold Open and turn the trackball ring.
There are three main ways to scroll the plot window horzontally and vertically:
1.
Use the scroll bars in plot window.
2.
Hold Open and turn the first and second main encoder wheels on the front panel.
3.
Hold Open and move the trackball up/down/left/right.
20.3.3
Feedback
The plot window provides feedback for the fixtures in the plot in terms of intensity and mixed color (CMY, HS, RGB).
Note: Slotted colors, gobos, and other media are not yet supported in the plot feedback system.
Figure 20.3. Example of Plot Window with Feedback
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20.4
PixelMapping
One of the more complex objects that can be added to a plot is a PixelMap. A PixelMap allows the fixtures inside of it to dynamically change their parameter values based on the PixelMap
Layer content being sent to the PixelMap. This process is called PixelMapping. Section 20.2.3
covers how to add and remove PixelMaps in a plot. In this section we will discuss how to add and assign PixelMap Layers to PixelMaps, how to program fixtures to use PixelMap values, and how to manage PixelMap Layer content.
20.4.1
PixelMap Layers
PixelMaps are responsible for mapping media content onto lighting fixtures, but, they do not supply the media content themselves. The content comes from programable fixtures known as
PixelMap layers, which are added to the show using the fixture window. Once added to the show
PixelMap layers are then assigned to PixelMaps.
To add a PixelMap layer fixture to the show:
1.
Open the patch window.
2.
Click on the fixture schedule button.
3.
Look under the "Hog" manufacturer for a fixture called "PixelMap Layer"
4.
Use the count column to specify how many PixelMap layer fixtures you want to add to the show.
5.
Click Ok on the fixture schedule window.
To assign a PixelMap Layer fixture to a PixelMap:
1.
Open the plot containing the PixelMaps to which you wish to assign PixelMap layers.
2.
Enable the PixelMap edit button at the top of the plot window.
3.
Select a PixelMap in the plot.
4.
Locate the "Pixel Map" section of the properties tray located on the right hand side of the plot window.
5.
Under the text label "Layer fixture patch" you will see all of the PixelMap layers scheduled in the show.
6.
Select the layers to assign them to the pixel map.
IMPORTANT NOTE: Regardless of the user numbers you assigned to the
PixelMap layers, they are layered onto PixelMaps using the order in which you select them in step 6. Layer order is important when working with multiple layers as Z position is not adjustable: High numbered layers will always appear on top of low numbered layers.
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20.4.2
Programming lighting fixtures to use PixelMaps
PixelMaps are applied to fixtures very similar to how IPCB palettes are applied to fixtures.
To assign a fixture's parameters to a PixelMap:
1.
Make a fixture selection
2.
Open the plots directory ( Pig + Open + Fixture )
3.
At the top of the plots diretory choose which fixture parameters you wish to pixelmap (RGB, CMYI, HSI)
4.
Select a plot from the plot directory (be sure to choose a plot in which the currently selected fixtures are plotted inside a PixelMap)
5.
The parameter values of the current fixture selection are now assigned to the plot in the editor. This means that those fixture values will now be determined by the content being passed into the PixelMaps in that plot.
6.
Now select and program the PixelMap layers assigned to the PixelMaps in the referenced plot.
!
Caution
Deleting a plot automatically removes any references to that plot in all existing cues and palettes.
20.4.3
Programming PixelMap Layers
PixelMap Layers are used to send media content to PixelMaps which are then output to the mapped lighting fixtures. In the previous section we discussed how to program lighting fixtures to listen to PixelMaps. In this section we will discuss how to program the PixelMap layers to output content to the PixelMaps they are assigned to.
To program a PixelMap Layer:
1.
Select a PixelMap Layer by entering its user number in the command line and pressing Enter .
2.
Adjust the intensity parameter to the desired level.
3.
Choose a media folder and media file using the encoder wheels or the MediaPicker window ( Pig + Open + Beam opens the media picker window).
4.
The PixelMap layer will now output the selected content to the PixelMaps it is assigned to.
5.
Use the other programmable parameters of the PixelMap Layer fixture such as scaling, position, rotation, and playspeed to create dynamic and interesting pixelmapping output.
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20.4.4
Managing PixelMap Layer Content
A PixelMap layer is a programmable fixture that supplies media content to PixelMaps. When a
PixelMap layer fixture is added to a show a small collection of stock media content is also added to the show's PixelMap Content Package. The PixelMap Content Package is shared by all
PixelMap layers in the show and is organized using a folder and file structure similar to how many standalone media servers store content.
Adding custom content to the PixelMap Content Package is easy. In this section we will review how to import media into the PixelMap Content Package, how to assign dmx values to the folders and files in the PixelMap Content Package, which file types are supported for import, and how to choose and optimize content to ensure smooth playback and effective visual representation.
Importing Custom Media to the PixelMap Content Package
The PixelMap Content Package supports up to 255 folders which can contain up to 255 media files each. All custom media added to the PixelMap Content Package is stored in the show file and is included in show file backups.
To add custom media content to the PixelMap Content Package:
1.
Put the custom content you wish to import into the show onto a USB Flash
Drive.
2.
Insert the USB Flash Drive into one of the console’s USB ports.
3.
Open the shows window on the console (Press Setup key on front panel and select Shows from the main toolbar).
4.
Select the PixelMap Content tab of the shows window. On the left hand side of the window you will see a normal file browser where you can access files and folders on both the internal hard drive as well as on external drives such as USB flash drives. On the the right hand side of the window is a broswer that allows you to see the contents of the PixelMap Content Package. (Note:
If the PixelMap Content tab doesn't show up in the shows window then you have not yet scheduled a PixelMap layer in your show and will need to do so first).
5.
Create a new folder in the PixelMap Content Package by clicking on the new folder icon at the top of the window or by right clicking in the browser and selecting "new folder".
6.
Give the folder a dmx address assignment by right clicking on the folder and selecting "renumber". Enter a numeric value and confirm by pressing Enter .
7.
Use the browser on the left hand side of the window to locate media stored on the external USB flash drive that you inserted into the console in step 2.
8.
Drag and drop the media files you wish to import from the USB flash drive into the folder you created in step 6. Hold pig to select multiple files. You can also drag entire folders of content from the USB Flash Drive to the PixelMap
Content Package as long as the folder you are importing does not contain subfolders.
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!
9.
All files imported into the PixelMap Content Packages are automatically assigned a dmx address. To manually change the dmx address assignment of a file in the PixelMap Content Package right click on the file and select "renumber". Enter a numeric value and confirm by pressing Enter .
Note: If you wish to have more control over how the console auto-assigns dmx addresses to files during import, then simply prefix the names of the folders and files you are importing with a three digit number that coincides with the desired dmx address value. For example, if you import a file named
“023 BigBird.png” it will automatically be assigned a dmx address value of
23.
Caution
Any folders or files in the PixelMap Content Package that do not have a dmx address assignment will still show up in the media picker window but will not be selectable for output.
File Types Supported for PixelMap Content Package Import
The following file types have successfully been tested and are supported for import into the
PixelMap Content Package:
Image Formats
• JPEG
• PNG
• TIFF
• BMP
• GIF (only first frame of animated GIFs will be imported)
Video Formats
• H.264
• MPEG-4 Part 2
• MPEG-2
• Cinepack
• Windows Media Video
Choosing and Optimizing PixelMapping Content
When media content is imported into the PixelMap Content Package it is automatically optimized for playback in the PixelMap layer, however certain measures should be taken when choosing and preparing content for import to ensure a more reliable import, smoother playback, and effective mapping. Here are some basic tips for choosing and preparing content for import:
Images:
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• Even though high resolution content can be imported most of the resolution is thrown away during import. For faster import conversion it is best to use lower resolution image files.
• Remove black pixels from images in favor of transparency and save image as
PNG; this will give you more flexibility when using multiple layers in a single
PixelMap.
• Avoid images that feature complex objects such as faces, logos, or text unless you are using a very dense grid of target fixtures in your PixelMap.
Movies:
• Trim videos to 60 seconds or shorter in length (longer videos will get cut off at 60 seconds).
• Choose videos that loop seamlessly.
• Choose video files with frame rates of 30 fps or less and that have a high number of keyframes.
• Even though most HD (1080p and 720p) video content can be directly imported to the PixelMap Content Package most of the resolution is thrown away during import. For faster conversion during import it is best to use lower resolution video files such as 352×240 (VideoCD) or 720×480(DVD).
• Avoid using video files that feature complex objects such as faces, logos, or text unless you are using a very dense grid of target pixel fixtures to display this content.
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Section 21: MIDI
21.1
MIDI Show Control
MIDI Show Control (MSC) is supported on every console in the Hog family including Hog 4PC.
Midi Show control allows you to control the basic playback functionalities of the Hog 4 OS from other MSC enabled consoles or from a Midi Show Control output device such as a personal computer running show control software.
21.1.1
Bringing MSC into the Console
To bring MSC into a Hog Console:
1.
Connect the output of an MSC device to the MIDI In port on the back of the console. If you are using a USB Midi device such as a USB keyboard or an external USB Midi Widget to send MSC into the console then connect the
USB connection of your external USB midi device to one of the USB ports on your console.
2.
Setup
→
Control Panel
: Navigate to the midi tab of the control panel. If you are using the console's built in midi input port then make sure USB LTC
Midi Midi 1 is selected as the midi input device. If you are using a USB Midi device such as a USB keyboard or external USB Midi widget to bring MSC into the console then select that device from the input drop down menu.
3.
Setup
→
Network : open the Network window.
4.
Select the console in the list.
5.
Settings : open the Settings
window; see Figure 21.1, “The MIDI pane of
6.
In the MIDI pane, check MSC In .
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Figure 21.1. The MIDI pane of the Console Settings window
Tip
You can selectively disable MSC input for individual cuelists or scenes by enabling the "Ignore MSC in" option in the options window.
21.1.2
Sending MSC from the Console
To send MSC from a Hog Console:
1.
Connect the input of an MSC device to the Midi OUT port on the back of the console. If you are sending MSC output directly to a USB Midi device such as a third party control system then connect the USB connection of that external
USB midi device to one of the USB ports on your console.
2.
Setup
→
Control Panel : Navigate to the midi tab of the control panel. If you are using the console's built in midi output port for MSC output then make sure USB LTC Midi Midi 1 is listed and selected as the midi output device.
If you are outputting MSC directly to a connected USB device then select that device from the output drop down menu.
3.
Setup
→
Network : open the Network window.
4.
Select the console in the list.
5.
Settings : open the Settings window.
6.
In the MIDI pane, check MSC Out .
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Tip
You can selectively disable MSC output for individual cuelists or scenes by enabling the "Supress MSC out" option in the options window.
21.1.3
Using MIDI Show Control
Hog 4OS recognises and sends the following MSC commands:
Hog 4OS Command
Go
Halt
Resume
Skip Forward
Skip Back
Release
Change Page
MSC Command MSC Data
0x1 GO
0x2 STOP
0x3 RESUME
0x4 TIMED_GO
0x4 TIMED_GO
0xb GO_OFF
0x1d OPEN_CUE_PATH cue number, cuelist number cuelist number cuelist number time=0, cue number, cuelist number time=0, cue number, cuelist number cuelist number page number
MIDI show control is enabled by default for all cuelists and scenes. You can assign a cuelist or scene to ignore incoming MIDI Show Control commands:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Ignore MSC In .
Similarly you can prevent the MIDI Show Control commands for a cuelist being sent out from the console:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Suppress MSC Out .
Tip
MSC doesn't distinguish between cues and scenes as Hog 4OS does, so there are no MSC commands to control scenes. To work round this, you can send an MSC command with a CUE_PATH value of 5. Hog 4OS will treat the cue number as a scene number instead.
21.2
MIDI Notes
MIDI Notes is a common language of the well-established MIDI standard that can be used to control console features such as Programming buttons, Playback buttons, Touch Screen Soft
Keys, and Comment Macros. Each of these feature categories uses a specific MIDI map to associate notes with console functions.
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21.2.1
Bringing MIDI Notes into the Console
To bring MIDI Notes into the console:
1.
Connect a MIDI device to the MIDI In port on the back of the console. If you are using a USB Midi device such as a USB keyboard or an external USB
Midi Widget to send Midi Notes into the console then connect the USB connection of your external USB midi device to one of the USB ports on your console.
2.
Setup
→
Control Panel : Navigate to the midi tab of the control panel. If you are using the console's built in midi input port to bring Midi notes into the console then make sure USB LTC Midi Midi 1 is listed and selected as the midi input device. If you are using a USB Midi device such as a USB keyboard or external USB Midi widget to bring Midi notes into the console then select that device from the input drop down menu.
3.
Setup
→
Network : open the Network window.
4.
Select the console in the list.
5.
Settings : open the Settings window.
6.
Select the MIDI Notes tab and click on the
MIDI Notes In checkbox button.
21.2.2
Assigning MIDI Notes to Playback Bars
To assign MIDI Note information to playback bars:
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1.
Connect a MIDI device to a MIDI input on either the console or a USB MIDI input device connected to the console.
2.
Setup
→
Network : open the Network window.
3.
Select the console in the list.
4.
Settings : open the Settings window.
5.
Select the MIDI Notes tab in the Console Settings window.
6.
In the desired MIDI Channel assignment field, select a Playback Bar to associate with the MIDI Channel.
Any incoming MIDI Note information for the specified MIDI channel will use the following mappings for the selected playback bar and its associated functions:
21.2.3
Assigning MIDI Notes to Programming Keys
To assign MIDI Note information to programming keys:
1.
Connect a MIDI device to a MIDI input on either the console or a USB MIDI input device connected to the console.
2.
Setup
→
Network : open the Network window.
3.
Select the console in the list.
4.
Settings : open the Settings window
5.
Select the MIDI Notes tab of the Console Settings window.
6.
In the desired MIDI Channel assignment field, select a Programming Keys to associate with the MIDI Channel.
Any incoming MIDI Note information for the specified MIDI channel will use the following mappings for the associated Programming Keys:
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21.2.4
Assigning MIDI Notes to Encoders and Wheels
To assign MIDI Note information to the console's encoders and wheels (not supported on Hog
4PC):
1.
Connect a MIDI device to a MIDI input on either the console or a USB MIDI input device connected to the console.
2.
Setup
→
Network : open the Network window.
3.
Select the console in the list.
4.
Settings
: open the Settings window
5.
Select the MIDI Notes tab of the Console Settings window.
6.
In the desired MIDI Channel assignment field, select Encoders to associate encoder messages with that MIDI Channel.
Any incoming MIDI Note information for the specified MIDI channel will use the following mappings for the associated encoders and wheels (not supported on Hog 4PC):
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21.2.5
Assigning MIDI Notes to Monitor Soft Keys
To assign MIDI Note information to monitor soft keys:
1.
Connect a MIDI device to a MIDI input on either the console or a USB MIDI input device connected to the console.
2.
Setup
→
Network : open the Network window.
3.
Select the console in the list.
4.
Settings : open the Settings window
5.
Select the MIDI Notes tab of the Console Settings window.
6.
In the desired MIDI Channel assignment field, select Soft Keys to associate with the MIDI Channel.
Any incoming MIDI Note information for the specified MIDI channel will use the following mappings for the associated Soft Keys:
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Section 21: MIDI
21.2.6
Assigning MIDI Notes to Comment Macros
To assign MIDI Note information to comment macros:
1.
Setup
→
Network : open the Network window.
2.
Select the console in the list.
3.
Settings : open the Settings window.
4.
Select the MIDI Notes tab.
5.
In the desired MIDI Channel assignment field, select Comment Macros to associate with the MIDI Channel.
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Section 21: MIDI
6.
Click on the Configure button to open the MIDI Notes window.
High End Systems
7.
Assign a comment macro in the macro field to a specific MIDI Note value.
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Section 21: MIDI
21.2.7
Using Midi to Control Faders
You can control the front panel faders of your console including the Grand Master fader by sending Midi controller event messages to the console. (Not supported on Hog 4PC).
Since the Hog 4OS listens for Midi controller events on all midi channels a midi channel assignment for faders is not neccesary.
The Hog 4 console's front panel faders are hard-coded to the following midi controller events
(event values 0<127 = Hog 4 fader values 0<100):
21.3
MIDI timecode
Midi Timecode brought into a console is automatically distributed over the network and can be used by any other console.
21.3.1
Connecting Midi Timecode Input
To connect a Midi timecode source to the console:
1.
Connect the Midi source to the console's MIDI In port on the rear panel. . If you are connecting a generic Midi Class USB device for Midi Timecode input then you can ignore this step.
2.
Setup
→
Control Panel : Navigate to the midi tab of the control panel. If you are using the console's built in midi input port to bring Midi Timecode into the console then make sure USB LTC Midi Midi 1 is listed and selected
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Section 21: MIDI
as the midi input device. If you are using an external Generic Midi Class USB device the make sure you select that device from the input drop down menu.
3.
Setup
→
Network : open the Network window.
4.
Select the console in the list.
5.
Settings : open the Settings window.
6.
In the
Timecode pane, select MIDI as the active port.
21.3.2
Viewing Incoming MIDI Timecode
You can view the timecode generated by any source in a Timecode Toolbar :
1.
Setup
→
Network : open the Network window.
2.
Select a network node, such as a console or a MIDI/Timecode Processor.
3.
Press Timecode Toolbar . The Timecode Toolbar will open.
If you have a cuelist with a timecode source selected, you can also open the Timecode Toolbar with the View Timecode button in the Cuelist window.
The Timecode Toolbar displays the incoming timecode type, format, value, and frame regeneration. Frame Regeneration occurs when the console does not receive a clean timecode signal and must make up for the missing frames itself in order to prevent missed cues. You can set how many frames of timecode are generated by the console before timecode is lost in the timecode settings window by clicking on the word TIMECODE in the timecode toolbar.
Figure 21.2. The Timecode Toolbar
21.3.3
Triggering Cues from MIDI Timecode
Each cuelist can be assigned to listen to different timecode sources from different consoles. To select Midi timecode as the source:
1.
Open
→
Choose : open the Cuelist window.
2.
Options
→
Cuelist : go to the Cuelist pane of the Playback Options window.
3.
Select Midi timecode source from the drop down list:
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Section 21: MIDI
4.
Ensure that the Enable Timecode button is selected.
Tip
There is an Enable Timecode button in the Cuelist window, so you can easily enable and disable timecode during programming and playback without having to open the Playback Options window each time.
To trigger a cue from timecode:
1.
Open
→
Choose : open the Cuelist window.
2.
Select the
Wait cell for the cue, and press
Set
.
3.
From the toolbar, select Timecode .
4.
Enter a timecode value in hours, minutes, seconds and frames, in the form
hh/mm/ss.ff
, then press Enter .
As well as entering timecode values manually, you can use Hog 4OS's learn timing function to
quickly associate timecode values with cues; see Learn Timing (p.219).
By default, cuelists will follow the incoming timecode, even if the timecode skips forwards or backwards; generally, this is a useful behaviour as, for example, you might ‘rewind’ the timecode during rehearsals to repeat a part of the show, and the cuelist will automatically go to the correct cue. Sometimes you may want to prevent a cuelist going backwards if the timecode goes backwards. You can do this using Trigger Forwards Only:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Trigger Forwards Only .
21.3.4
Editing Timecode Values
To change the timecode value used to trigger a cue:
1.
Open
→
Choose : open the Cuelist window.
2.
Select the Wait cell for the cue, and press Set .
3.
From the toolbar, select Timecode .
4.
Enter a timecode value in hours, minutes, seconds and frames, in the form
hh/mm/ss.ff
, then press
Enter
.
You may need to change the timecode value for one cue, and then change the timecode values for subsequent cues by the same amount, to keep the same relative timings. For example, you might have a series of cues where each one is triggered by timecode one second after the previous one. If the timecode value triggering the first cue needs to be increased by 12 frames, you may want the values for all the subsequent cues to also be increased by 12 frames to maintain the 1 second separation. Hog 4OS allows you to do this easily:
1.
Open
→
Choose : open the Cuelist window.
2.
Click and drag to select the Wait cells for the range of cues you want to edit.
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3.
Press Set .
4.
Edit the timecode value of the first cell then press Enter . All the selected timecode values will be adjusted by the same amount of time added or subtracted from the first value.
21.3.5
Simulating MIDI Timecode
You can temporarily simulate midi timecode on the console using the Timecode Toolbar .
To simulate Midi timecode:
1.
Press the simulate button on the Timecode Toolbar. Simulate is now enabled and all external timecode input for that source will be ignored.
2.
Press the play button next to the simulate button to simulate timecode from the current clock value as displayed for that timecode toolbar.
TIP
Using the jump toolbar you can jump the simulated timecode value to six different jump points. To change the jump points click on the word
"TIMECODE" on the far left hand side of the timecode toolbar. A drop down menu will appear with a set of fields allowing you to change the simulated jump points.
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Section 22: Open Sound Control
22.1
Introduction to OSC
Open Sound Control (OSC) is a modern network based communication protocol that can be used to send a variety of control messages between OSC enabled devices. OSC input is supported on every console in the Hog 4 family including Hog 4PC. When configured properly OSC will enable you to use OSC enabled controllers such as a synthesizers, electronic music instruments, production audio software, and mobile phone apps such as Touch OSC to control the basic functions of the Hog 4OS.
22.2
Configuring OSC Input
To bring OSC messages into the console:
1.
Connect your OSC controller to a physical network port that is attached to the same local area network as the console's HogNet port.
2.
Setup
→
Network : opens the network window
3.
Right click on the console number and select Settings : opens the Settings window
4.
In the Open Sound Control pane, enable OSC In and assign the input port to match the output port of your OSC output device. For your convenience the console's IP address is also listed to the right of the port number to assist in configuring the output of your other OSC devices.
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Section 22: Open Sound Control
Figure 22.1. The OSC pane of the Console Settings window
22.3
Configuring OSC Output
To send OSC messages from the Console:
1.
Connect your OSC controller to a physical network port that is attached to the same local area network as the console's HogNet port.
2.
Setup
→
Network : opens the network window
3.
Right click on the console number and select Settings : opens the Settings window
4.
In the Open Sound Control pane, enable OSC Out and assign the output port to match the input port of your OSC output device. You must specify the IP address you wish to output to as well as which protocol you wish to use for
OSC output.
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Section 22: Open Sound Control
Figure 22.2. The OSC pane of the Console Settings window
22.4
OSC Mappings
22.4.1
OSC Playback Mappings
Hog 4OS uses the following OSC paths and commands for sending and receiving playback messages:
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Hog 4OS
Go a Cuelist
OSC Command Path Data
/ hog / playback / go / 0 cuelist #
Go a specific cue in a list (goto)
/ hog / playback / go / 0 cuelist #.cue #
Halt a Cuelist
Resume a halted cuelist
Release a Cuelist
Go a Scene
Halt a Scene
Release a Scene
Go a Macro
Halt a Macro
Release a Marco
/ hog / playback / halt /
0 cuelist # cuelist # / hog / playback / resume / 0
/ hog / playback / release / 0 cuelist #
/ hog / playback / go / 1 scene #
/ hog / playback / halt /
1 scene #
/ hog / playback / release / 1 scene #
/ hog / playback / go / 2 macro #
/ hog / playback / halt /
2 macro #
/ hog / playback / release / 2 macro #
22.4.2
OSC Midi Note Mappings
Hog 4OS uses the following OSC paths and commands for receiving Midi Note input:
For example, the Hog 4OS recognizes / hog / midi / on / 1 / 10 as a "note on" command for note
10 on channel 1
Hog 4OS
Midi Note On
Midi Note Off
OSC Command Path
/ hog / midi / on / channel
# / note #
/ hog / midi / off / channel
# / note #
Data
velocity (if velocity = 0, then mesage is treated as note off) velocity
22.4.3
OSC Hardware Mappings
Hog 4OS uses the following OSC paths and commands for receiving hardware messages (faders and encoders not supported on Hog 4PC):
For keys not listed in the table below the OSC path is hog/hardware/button name as listed on the front panel.
For paths that contain "master #" use the master number for the front panel hardware you are trying to control.
For example, to press the go button on the console's front panel for master 6 the OSC path is
hog / playback / go / 6
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Section 22: Open Sound Control
Hog 4OS
Choose Keys
Go Keys
Pause Keys
Back Keys
OSC Command Path Data
/ hog / hardware / choose / master #
0 = button up, 1 = button down
0 = button up, 1 = button down / hog / hardware / go / master #
/ hog / hardware / pause / master #
0 = button up, 1 = button down
/ hog / hardware / goback / master #
0 = button up, 1 = button down
Flash Keys
Faders
Grand Master
/ hog / hardware / flash / master #
/ hog / hardware / fader / master #
0 = button up, 1 = button down
0 < 255 discreet fader value
/ hog / hardware / fader / 0 0 < 255 discreet fader value
Encoders / hog / hardware / encoderwheel / #
-20 < 20 variable value
0 = button up, 1 = button down Encoder Wheel
Buttons
Rate Wheel
/ hog / hardware / ewheelbutton / #
/ hog / hardware / ratewheel
-20 < 20 variable value i-Wheel / hog / hardware / iwheel -20 < 20 variable value i-Wheel Up Button
/ hog / hardware / iwheelup 0 = button up, 1 = button down iWheel Down
Button
Pig Key
Trackball POS
Mode
Trackball Position Value
Period Key
0 key
/ hog / hardware / iwheeldown
/ hog / hardware / pig
0 = button up, 1 = button down
0 = button up, 1 = button down
/ hog / hardware / posmode 0= toggle off, 1 = toggle on
/ hog / hardware / trackball
/ hog / hardware / period
/ hog / hardware / zero
X,Y values
0 = button up, 1 = button down
0 = button up, 1 = button down
1 key
2 key
3 key
4 key
5 key
6 key
7 key
8 key
9 key
Arrow Up key
/ hog / hardware / one
/ hog / hardware / two
/ hog / hardware / three
/ hog / hardware / four
/ hog / hardware / five
/ hog / hardware / six
/ hog / hardware / seven
/ hog / hardware / eight
/ hog / hardware / nine
/ hog / hardware / up
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
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Hog 4OS
Arrow Down key
Arrow Left key
OSC Command Path
/ hog / hardware / down
/ hog / hardware / left
Arrow Right key / hog / hardware / right
@ key
- key
/ hog / hardware / at
/ hog / hardware / minus
Data
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
+ key
/ key backspace key
/ hog / hardware / plus
/ hog / hardware / slash
/ hog / hardware / backspace
/ hog / hardware / h#
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
H keys (function keys)
Main Play key / hog / hardware / maingo
0 = button up, 1 = button down
0 = button up, 1 = button down
Main Pause key / hog / hardware / mainhalt 0 = button up, 1 = button down
Main Back key
Center Choose key
Skip Forward
/ hog / hardware / mainback
/ hog / hardware / mainchoose
/ hog / hardware / skipfwd
0 = button up, 1 = button down
0 = button up, 1 = button down
0 = button up, 1 = button down
Skip Back / hog / hardware / skipback 0 = button up, 1 = button down
22.4.4
OSC Status Mappings
Hog 4OS outputs the following status messages to OSC controllers:
Hog 4OS
The Command
Line
OSC Command Path
/ hog / status / commandline
Example
Front Panel LED
Status
/ hog / status / led / button name hog / status / led / clear hog / status / commandline
Encoder Wheel
Labels
/ hog / status / encoderwheel# / label
Encoder Wheel
Values
Function Key
Labels (Line 1)
Function Key
Labels (Line 2)
/ hog / status / encoderwheel# / value
/ hog / status / h# / line1
/ hog / status / h# / line2 hog / status / encoderwheel3 / label hog / status / encoderwheel3 / value
/ hog / status / h1 / line1
/ hog / status / h1 / line2
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Section 23: Linear Timecode (LTC)
Linear Timecode (LTC) is a form of SMPTE timecode encoded into an audio signal. The Hog
4OS can listen to LTC by inputting the LTC signal directly into the back of the console or by inputting the LTC audio signal into a DP8000 through an attached USB LTC widget.
23.1
LTC Input into Console
To bring LTC into the system through the console:
1.
Connect the LTC source (timecode generator) to the
LTC IN port on the console's rear panel using a balanced 3-pin XLR connector (you can also plug in up to eight external USB LTC widgets to the console for addition LTC inputs)
2.
Setup
→
Network : opens the Network window.
3.
In the network window right click the DP8000 that is associated with console's built in outputs; this is typically DP8000 #1 unless you have configured the console's internal DP8000 to run on a different net number.
NOTE: You must be running an internal DP8000 on the console to bring LTC input into the desk as LTC input is handled by the DP8000 process.
4.
Select Settings from the right click menu : opens the Settings window.
5.
In the Timecode Widgets pane, use the drop down menu to map the built-in
LTC widget (or any external USB LTC widdgets) to an index.
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23.2
LTC Input into a DMX Processor 8000
To bring LTC into the system using a DMX Processor 8000:
1.
Connect an external USB LTC widget to one of the USB ports on the rear panel of the DMX Processor 8000 (up to 8 USB LTC widgets are supported on the DP8000; each LTC input is mapped to an "Index")
2.
Connect the LTC source to the LTC widget using a balanced 3-pin XLR connector
3.
Setup
→
Network : opens the Network window.
4.
In the network window select the DP8000 that you connected the LTC Widget to
5.
Settings : opens the Settings window.
6.
In the Timecode Widgets pane, use the drop down menu to map the attached
LTC widget to an index.
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Section 23: Linear Timecode (LTC)
23.3
Viewing Incoming LTC
You can view the LTC being processed by any DP8000 in the sytem by openning the Timecode
Toolbar associated with that DP8000:
1.
Setup
→
Network : open the Network window.
2.
Select the DP8000 in the list that you wish to view incoming LTC (for LTC inputs directly into a console this is going to be the DP8000 that is running internally on that console)
3.
Settings : opens the Settings window
4.
Click on the view timecode toolbar button associated with the LTC index you wish to view.
If you have a cuelist with a timecode source assigned in the options for that cuelist then you can open the Timecode Toolbar with the View Timecode button in the Cuelist window.
From left to right the Timecode Toolbar displays the logical name of the timecode source, the index number for that source, the timecode type, the timecode format, the timecode clock value, and the number of frames generated by the console / the number frames the console is configured to auto-generate when the incoming timecode source stutters or drops out.
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Section 23: Linear Timecode (LTC)
Figure 23.1. The Timecode Toolbar
23.4
Triggering Cues from LTC
Cuelist can be assigned to listen to a single LTC source. To select an LTC timecode source for a cuelist:
1.
Open
→
Choose : opens the Cuelist window.
2.
Options
→
Cuelist : go to the Cuelist pane of the Playback Options window.
3.
Select LTC timecode source from the drop down list. Each source will have a node name and an index.
4.
Once you have chosen the timecode source ensure that the Enable Timecode button is selected.
Tip
There is an Enable Timecode button in the Cuelist window, so you can easily enable and disable timecode during programming and playback without having to open the Playback Options window each time.
To trigger a cue from timecode:
1.
Open
→
Choose : open the Cuelist window.
2.
Select the
Wait cell for the cue, and press
Set
.
3.
From the toolbar, select Timecode .
4.
Enter a timecode value in hours, minutes, seconds and frames, in the form
hh/mm/ss.ff
, then press Enter .
As well as entering timecode values manually, you can use Hog 4OS's learn timing function to
quickly associate timecode values with cues; see Learn Timing (p.219).
By default, cuelists will follow the incoming timecode, even if the timecode skips forwards or backwards; generally, this is a useful behaviour as, for example, you might ‘rewind’ the timecode during rehearsals to repeat a part of the show, and the cuelist will automatically go to the correct cue. Sometimes you may want to prevent a cuelist going backwards if the timecode goes backwards. You can do this using Trigger Forwards Only:
1.
Open + Choose
→
Options
→
Cuelist
2.
Select Trigger Forwards Only .
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Section 23: Linear Timecode (LTC)
23.5
Editing Timecode Values for a Cue
To change the timecode value used to trigger a cue:
1.
Open
→
Choose : open the Cuelist window.
2.
Select the Wait cell for the cue, and press Set .
3.
From the toolbar, select Timecode .
4.
Enter a timecode value in hours, minutes, seconds and frames, in the form
hh/mm/ss.ff
, then press
Enter
.
You may need to change the timecode value for one cue, and then change the timecode values for subsequent cues by the same amount, to keep the same relative timings. For example, you might have a series of cues where each one is triggered by timecode one second after the previous one. If the timecode value triggering the first cue needs to be increased by 12 frames, you may want the values for all the subsequent cues to also be increased by 12 frames to maintain the 1 second separation. Hog 4OS allows you to do this easily:
1.
Open
→
Choose : open the Cuelist window.
2.
Click and drag to select the Wait cells for the range of cues you want to edit.
3.
Press
Set
.
4.
Edit the timecode value of the first cell then press Enter . All the selected timecode values will be adjusted by the same amount of time added or subtracted from the first value.
23.6
Simulating LTC
You can temporarily simulate timecode, perhaps because the actual LTC source is not available during programming. Timecode simulation is controlled from the Timecode Toolbar .
To simulate timecode:
1.
Press the simulate button on the Timecode Toolbar. Simulate is now enabled and all external timecode input for that LTC source will be ignored.
2.
Press the GO button located to the right of the simulate button to simulate timecode.
TIP
Using the jump toolbar you can jump the simulated timecode to six different jump points by clicking on the jump button and then clicking on one of the six jump buttons. To change the jump button values click on the word "TIMECODE" on the far left hand side of the timecode toolbar.
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A drop down menu will appear with a set of fields allowing you to change the jump points.
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Section 24: Macros
24.1
Intro to Macros
There are two types of macros you can use to automate tasks on the console. Comment Macros are placed in the macro field of cuelist and other objects to trigger activity on the console. Key-
stroke Macros allow a sequence of screen and button presses to be recorded for later playback.
24.2
Comment Macros
You can use comment macros to automate tasks on the console such as:
• Going, Halting, Asserting, Releasing and Fading Masters.
• Going, Halting, Asserting and Releasing Cuelists.
• Going, Halting, Asserting and Releasing Scenes.
Comment macros can be configured to run at these times:
•
When a show is launched; see Startup Comment Macros (p.91).
•
When a page is loaded; see Restoring Activity When Changing Pages (p.304).
•
When a cue or scene plays; see Triggering Automatic Tasks When a Cue Runs
Comment Macros are text commands that you type or place into a macro cell; the syntax used is the same in each case:
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Controlling Masters
Comment Macro Syntax
Go Master
Go Master
GM[master]/[cue]
GM[range]
Example
GM1/3
GM2>7
Notes
Use ‘*’ for the current chosen master. If you omit the cue number, the next cue will Go.
Go next cue on a range of masters.
Halt Master
Assert Master
HM[master or range]
AM[master or range]
Release Master
RM[master or range]
Release All
RA
HM1,3:HM2>7
AM1:AM2>7
RM1:RM2>7
RA
Release Others
Fade Master
Fade Grand
Master
RO
FM[master]/[level]
FGM[level]
Choose Master
CM[master]
RO
FM2/50
FGM10
CM1
Equivalent to Pig + Release.
Releases all masters except the one with the macro.
Fades Master 2 to 50%
Fades the Grand Master to
10%
Controlling Cuelists
Comment Macro Syntax
Go Cuelist
GL[list]/[cue]
Example
GL1.5, GL2/5
HL1,6
AL10
RL4,7,9
Notes
If you omit the cue number, the next cue will Go.
Halt Cuelist
Assert Cuelist
HL[list]
AL[list]
Release Cuelist
RL[list]
Controlling Scenes
Comment Macro Syntax
Go Scene
Halt Scene
GS[scene]
HS[scene]
Assert Scene
Release Scene
AS[scene]
RS[scene]
Example
GS12
HS4
AS1
RS6,20
Notes
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Section 24: Macros
Controlling Pages and Views
Comment Macro Syntax Example
Change Page
Next Page
CP[page]
CP+
CP3
CP+
Previous Page
CPCP-
Notes
Goes to the next page in the Page
Directory, skipping the template page and blank pages.
Goes to the previous page in the
Page Directory, skipping the template page and blank pages.
Recall View
RV[view] RV2
Controlling Timecode
Comment Macro Syntax
Enable Timecode
Disable Timecode
ET[cuelist]
DT[cuelist]
Example
ET2
DT2
Open Timecode
Toolbar
OT[node type][node number] OTh1
Notes
Enables timecode for the selected cuelist.
When DP8000 is specified as the node type then an index number is also required; example:
OTd1/1
Sending MIDI strings
Comment Macro Syntax
MIDI String
MS[node type][node number]/[MIDI message]
Example
MSh1/90473F
The node number is ‘h’ for a console, ‘i’ for a MIDI/Timecode Processor, and its net number. The MIDI message is in Hex.
Controlling Network Devices
CommentMacro
Reset Node
Syntax
[node type][net number]
Example Notes
RNH3
Resets the selected network device, such as a DMX Processor. For the device type, use the following letter codes: H for WholeHog, D for DMX Processor and
I for MIDI/Timecode Processor.
Controlling Keystroke Macros
Macro Syntax
GK
HK
RK
GK
[macro number]
HK
[macro number]
RK
[macro number]
Example
GK
2
HK
2
RK
2
Notes
Runs Macro 2
Pauses Macro 2
Stops Macro 2
Tip
You can display and select from a list of available macro commands on the console by selecting the Macro cell and pressing the Set key.
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24.2.1
Entering Comment Macro Commands
To enter a comment macro command into a macro cell:
1.
Select the macro cell, and press Set .
2.
Select a command from the drop down menu.
3.
Enter the specific information for the macro, such as the master number.
4.
Press Enter to finish or select another macro and repeat. If you add a further macro command, the ‘:’ will be entered automatically.
Alternatively:
1.
Select the macro cell, and press Set .
2.
Enter the macro command manually using the keyboard.
3.
Press Enter to finish.
Note that if you enter an invalid command, then the cell will revert to being empty when you press Enter .
24.2.2
Additional Comment Macro Syntax
For some comment macro commands such as fading masters you can specify the execution timing of the macro by adding a "t" followed by a numerical value in seconds:
FM10/1t10
Also within a comment macro command, you can specify multiple targets separated with commas:
RS6,20
or a range with a right angle-bracket:
HM2>7
You can have multiple comment macros executed by one cue by separating them with colons:
HM1,3:HM2>7
You can also send commands to a specified network device, using
H
(Hog) to refer to a console,
D
to refer to a DMX Processor, and
IOP
to refer to an MIDI/Timecode Processor. For example:
GM1H2
: will Go master 1 on console number 2.
RND3
: will reset DMX Processor number 3.
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24.3
Keystroke Macros
Keystroke Macros are a series of keystrokes, screen events, and encoder movements that are recorded into an object similar to a cuelist. When the Keystroke Macro is executed, the recorded key presses and actions are regenerated. Keystroke Macros can be executed manually or triggered by Comment Macros.
24.3.1
Recording Keystroke Macros
Key presses, screen events, and encoder movements can be recorded interactively and are always recorded into Macros in the Macro directory. To begin recording key presses:
1.
Record , Macro : the Macro Directory opens.
2.
[Macro 2] : choose a location in the directory
Or, using the commend line, press:
•
Record
,
Macro
,
2, Enter
If you leave out the Macro location:
• Record , Macro , Enter
The Keystroke Macro will be recorded in the next available location. If the destination Macro already exists, a popup will offer options: Insert , Merge , Replace .
When the Keystroke Macro begins recording, the Macro key LED will flash red and display in the far right of the command line to signify that recording has commenced.
will
All subsequent button presses, screen events, and encoder movements will be recorded into the specified Keystroke Macro. 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 while one is being recorded.
To stop the recording of a Keystroke Macro:
• Pig + Macro key.
The Macro key LED will stop flashing and the signify that the macro has stopped recording.
To stop the recording of a Keystroke Macro:
• Pig + Macro key.
will disappear from the command line to
The
Macro key LED will stop flashing and the signify that the macro has stopped recording.
will disappear from the command line to
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24.3.2
Naming Keystroke Macros
You can give a Macro a name that will be displayed in the Macro Directory window:
1.
Open + Macro : open the Macro Directory
2.
Check that the Guard button is selected, so that you don't accidentally active a Macro when pressing its button in the directory.
3.
Select the Macro.
4.
Set ,
[Name]
, Enter : type in the name
Tip
To name a Macro immediately after recording it, press the Set key to open a Quickname window. Enter the Macro name and press OK to select.
24.3.3
Keystroke Macro Playback
Every time a Keystroke Macro is recorded, it will automatically recall the state of the windows at the time of the recording. This assures that when a macro is run that the windows are set up in the correct places for touch screen presses. At the time of macro playback, the current onscreen windows will be replaced with that of the macro.
If the macro does not contain any specific touch screen presses, you can delete the Recall View
step from the macro list. See Comment Macros (p.353) for editing information.
Tip
While macros provide users with increased functionality, they can also cause severe problems if misused, even causing the console to lock up.
During macro playback, manual functions may become unavailable or interfere with the macro playback. For instance, if you enter information on the command line as the macro is doing the same, the resulting command line structure may become invalid.
Macros have no intelligence; avoid recoding sequences that access items that are likely to be moved or deleted. For example, consider the macro sequence where a cuelist is opened and 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 open since the cuelist no longer exists, so all the subsequent edit operations will occur on whatever window was below it, possible altering the contents of unintended items.
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 with the macro is replayed. For example, consider recording a macro 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 the touch screen presses will still be on the original (blank) touch screen.
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It is also possible to speed up a macro so that it runs faster than the console can keep up with.
This problem tends to manifest itself as key presses being missed out when replaying the macro.
Increasing the amount of time in the Wait column of the macro will solve this problem. The size of the wait required varies depending upon the number of things the desk is trying to do at once, and the complexity of the task initiated by the preceding key presses.
To stop the playback of a running macro:
1.
Macro + Release
2.
Alternatively, Pig + Macro .
Running a Keystroke Macro from the Macro Directory Window
You can run Keystroke Macros from the Macro Directory window:
Open + Macro
OR
• Macro , Macro
To run a Macro, make sure that the
Guard button in the Macro Directory window is deselected.
Then press a Macro button in the directory, and it will playback. During Macro playback, the
Macro LED will illuminate green and will appear to the right of the command line.
The Macro buttons in the directory are colored to show the Macro status:
• Red: the Macro is recording.
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• Green: the Macro is running.
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Section 24: Macros
Running a Keystroke Macro from the Macro Window
1.
Open + Macro : open the Macro Directory Window.
2.
Check that the Guard button is depressed.
3.
Open + [Macro 4] : open the required Macro.
4.
Press the Play Controls button in the Macro window. The on-screen playback controls will appear:
The controls are, from left to right, the
Go
,
Pause
, and
Stop buttons.
During Macro playback, the Macro LED will illuminate green and will appear to the right of the command line. When a Macro is paused, the Macro key LED will flash green.
Running Keystroke Macros from the Command Line
To run a Keystroke Macro from the command line:
Macro 1 , Enter : sends a start command to Macro 1.
During Macro playback, the Macro LED will illuminate green and of the command line.
will appear to the right
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Section 24: Macros
Tip
Keystroke Macros can also be triggered within cuelists or scenes by using
a Comment Macro. See Comment Macros (p.353) for more information.
24.3.4
Editing Keystroke Macros
You can edit the contents of a Macro in an editor window. For example, to open Macro 1 for editing:
1.
Open + Macro : opens the Macro Directory.
2.
Open
+
[Macro 1]
: opens the Macro editor for Macro 1.
3.
Alternatively, using the command line: Open Macro 1
Figure 24.1. The Macro Window
The Keystroke Macro window has six columns that define each step of the macro.
• Wait: The Wait time is the time between the triggering of the previous step and the next step to be triggered.
• Name: The name of the step.
• Command: Type of comand used in this step.
• Command Data: The data that is applied to the selected command. The type of command selected will determine the type of available command data.
• Duration: The amount of time for the command data to be applied. This information is useful for encoder movements and flash key presses.
• Comment: A notes field.
Each of the above fields can be edited by selecting the appropriate cell and pressing Set . Command
and Command Data fields will display available selections. See Figure 24.2, “Command Data
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Section 24: Macros
Figure 24.2. Command Data Selection
Deleting Keystroke Macro Steps
To delete a macro step:
1.
Press and hold Delete whilst selecting the macro step to be deleted from the
Macro window.
2.
Release the Delete key. A dialog will appear asking you to confirm the delete.
3.
Click OK .
24.3.5
Deleting Keystroke Macros
To delete a keystroke macro:
1.
Macro
1
Delete : deletes Macro 1.
2.
Click OK .
Or, from the macro directory:
1.
Press and hold Delete whilst selecting the macro to be deleted from the Macro
Directory window.
2.
Click OK .
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Section 24: Macros
Tip
For advanced Macro control, you may wish to delete either of the first two default steps of a macro. The first step is a recall view and the second step clears the command line.
Tip
If you prefer not to be asked to confirm the delete action, select Don't
Ask Me Again in the confirmation window. You can reenable the confirmation by going to Macro
→
Preferences
→
Programming and selecting
Confirm before deleting directory items.
24.3.6
Copying and Moving Keystroke Macros
To make a copy of a macro in a new location:
1.
Open
+
Macro
: open the Macro Directory.
2.
Check that the Guard button is depressed so you do not accidentally apply macros when trying to select them.
3.
Select the macro that you want to copy by pressing its button in the directory.
4.
Press and hold the Copy key.
5.
Press the button of the location in the directory you want to copy the macro to.
Or, using the command line:
•
Macro 2 Copy Macro 3 Enter
: copies the contents of Macro 2 to Macro 3.
Similarly, to move a macro to a new location:
• Macro 2 Move Macro 3 Enter : moves the contents of Macro 2 to Macro 3 leaving 2 empty. If the destination macro already exists, you will be asked to choose an option: Insert, Merge or Replace.
Insert, Add Steps, and Replace
When recording or copying a macro, if the destination location already has a macro recorded in it, you will be prompted with record options of Insert, Add Steps, or Replace. If you are moving a macro, only the Insert option is available.
• Insert: creates a new destination for the macro. The new macro will be assigned a free location just before the one chosen, using a point number if necessary.
• Add Steps: adds the macro steps from the source macro into the destination macro. All new information is appended to the end of the current macro steps.
• Replace: overwrites the macro information in that destination.
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Tip
If you know that you are about to record, copy or move a macro to an existing destination, you can pre-select Insert, Merge or Replace from the Record Options Toolbar. This appears after you press the Record,
Copy or Move keys.
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Section 25: Direct Control of DMX Channels
By default the DMX channel values output by the DP8000 are controlled by patched fixture data as programmed in the Hog show file. However, you may wish to override these values with manually entered DMX values or with Art-Net values streaming into the console from a remote third party Art-Net source such as another console. Both of these tasks can be accomplished in the DMX output window by following the instructions outlined in this chapter.
Figure 25.1. DMX Output Window
25.1
Manually specifying DMX Channel Values
To set a dmx channel or group of channels to a specific value:
1.
Open the DMX Output window (press the SETUP key on the front panel and select the DMX button on the main toolbar)
2.
Use the two drop down menus at the top of the DMX Output window to select the corresponding DP8000 and universe you wish the manilpulate
3.
Double click on the desired dmx channel cell in the spreadsheet (or highlight a group of dmx channel cells and press set)
4.
Enter a valid dmx value (0 thru 255)
5.
Press enter to confirm (the value will now be displayed in blue)
25.2
Setting DMX Channels to External Art-Net Source
To set a dmx channel or group of dmx channels to values based on a remote Art-Net source:
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Section 25: Direct Control of DMX Channels
!
1.
Open the DMX Output window (press the SETUP key on the front panel and select the DMX button on the main toolbar)
2.
Use the two drop down menus at the top of the DMX Output window to select the corresponding DP8000 and universe you wish the manilpulate
3.
Select the desired dmx channel cell in the spreadsheet (or highlight a group of dmx channel cells)
4.
Press the "Set to Art-Net Input" button in the top (the value will now be displayed in red)
5.
Open the network settings window for the corresponding DP8000 and ensure the corresponding Hog universe has its Art-Net input enabled and set to listen to the correct universe and sub-net (Fixture Net such as IP address and netmask must also be set appropriate as similar to when outputting art-net)
Caution
Do not configure the DP8000's Art-Net input and output settings for a given Hog universe to the same Art-Net subnet/universe.
25.3
Reverting DMX Channels to HogNet Control
To set a dmx channel or group of dmx channels back to values generated by Hog programming:
1.
Select the desired dmx channel cell in the DMX output window's spreadsheet
(or highlight a group of dmx channel cells)
2.
Press the "Set to HogNet Input" button at the top of the window (the value will now be displayed in black)
Tip
All DMX channel value changes made in the dmx output window are stored with the show file and are persisted through log off/on as well as through show backups.
25.4
DMX Test
DMX Test allows users to temporarily set a dmx channel or group of dmx channels to the maximim value of 255 when the cordinating cells are selected in the dmx output window:
1.
Toggle on the Test button at the top of the dmx output window.
2.
Select any dmx channel cell or group of dmx channel cells in the DMX output window spreadsheet.
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Tip
The dmx test feature can be used to perform a traditional "dimmer check" by toggling on the Test button in the dmx output window, selecting a dmx channel cell in the spreadsheet, and using the cursor left and right keys to go through the dmx channels for that universe.
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Section 26: Reporting
The reporting tool of the Hog 4 OS enables users to quickly search for specific programming in the current show file by creating custom queries that search for specific show data. For example, you may want to identify which fixtures in the show are referencing position palette 12 in list
43. This data can quickly be found by running a report that queries for this data. The following section will cover how to build a report query, run the query, and organize and save the results.
26.1
Building, Saving, Deleting, and Running Report
Queries
Reports are generated by running a report query which identifies which data you want the console to search for. This section will cover how to build, save, delete, and run report queries.
Follow these instructions of for building a new query:
1.
Hold the OPEN key and press the “Report” button on the main toolbar to open a new reporting window.
2.
Choose an option from the drop down menu for “Find programming that matches”:
- When set to “all of the following” the console will only return data that matches all the query statements.
- When set to “any of the following” the console will return data that matches any of the query statements.
3.
At least one query statement is required in the query pane of the report window in order for the console to successfully run the report. To add or subtract query statements use the + and X buttons to the right of each query statement.
4.
Once you are finished editing the query press the “Run” button.
5.
The console will now run the query against the data in the show file and post the results of the query in the bottom half of the reporting window.
Follow these instruction to save a query:
1.
Create a query in the query section of the report window.
2.
Press the “Save Query” button.
3.
Name the query in the save query dialogue box.
4.
Press OK
5.
The saved query will be listed in the query drop down menu at the top left of the report window. To recall a saved query simply select the query from the drop down menu.
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Follow these instruction to delete a query:
1.
Select a saved query from the "queries" drop down menu at the top left of the report window.
2.
Press the “Delete Query” button
Tip
If you have a show file that contains reporting queries that you find particularly useful and that you wish to use in other show files then you can use the show merge utility to merge those report queries into other show files.
26.2
Organizing and Saving Report Results
By default the results of a report are aggregated and sorted by container (list/scene) and then further sorted by location, fixture, and function/value. However, you can custom sort, sub-sort, and subaggregate the results as you wish. To master sort and master aggregate the report results right click on any one of the column headers and select “sort”. You can add other column headers into your master sort & aggregation by right clicking on a column header and selecting “subaggregate”. For example, you can sort and aggregate the reporting results by container and then sub-aggregate by location so that each aggregate header encapsulates data reported for each cue in a list (e.g. List 1 - Cue 1).
Once a report is run and the data is organized to your liking you can export the results as a CSV file or a PDF document by pressing the corresponding button in the report window. A file browser will pop up allowing you to select a storage location for the saved report.
26.3
Using Report Results to Edit Programming
Clicking on any “location” cell in the report results will open that location inside of an editor.
This allows users to view the data in the original editor, make changes, and update the look if necesary. Note: Function values cannot be edited directly in the report results sheet. You must first click on the location cell to open the data in an editor.
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Section 27: The Fixture Builder
The fixture builder gives users the ability to create their own basic fixture libraries. The fixture builder should only be used in extreme cases when a new library is needed and there is no time to contact High End Systems support. Generally it is best that you contact [email protected] to request properly built fixture libraries.
The fixture builder utility is only recommended for advanced programmers with extensive lighting fixture and Hog 4 Operating Software knowledge. Knowledge of the fixture DMX protocol is essential prior to creating a custom library. This guide roughly explains the use of the fixture builder, but in no way is intended to be a complete manual for creating custom libraries.
Users are urged to contact support to have libraries properly built and installed into the software.
27.1
Working With the Fixture Builder
The fixture builder utility does not allow full access to all abilities of libraries built by High End
Systems, and therefore should only be utilized in extreme situations. Please note that custom libraries become part of the show file they were created in but individual fixtures can be merged between show files.
Libraries can be built from a blank canvass or can be copied from existing fixtures within the library (when using V4 libraries). When an existing library is copied, many of the unique elements of the factory created library are removed for compatibility with the fixture builder utility. The new fixture library may not behave exactly like the library it is a copy of.
27.1.1
Creating, Editing and Deleting Fixture Libraries
You can create, edit and delete fixture libraries in the Fixture Builder window:
• Setup
→
Patch
→
Fixture Builder : open the Fixture Builder window.
Select an option from the buttons at the top of the window:
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Section 27: The Fixture Builder
The options are:
•
Create New: creates a new fixture from scratch. See Creating a New Fixture
• Copy From: creates a new fixture based on an existing fixture within a fixture
library. See Creating a New Fixture Library Using an Existing Library (p.373).
• Delete Current: deletes the user-created library selected in the drop down list.
• To edit any existing User Created libraries, select it from the drop down list:
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Section 27: The Fixture Builder
Creating a New Fixture Library From Scratch
When you press the Create New button, the Create New Custom Type window will open; see
Figure 27.1, “The Create New Custom Type window”.
Figure 27.1. The Create New Custom Type window
Within this window you can define the Model Name, Author, and enter any Notes. You can also choose to create blank or create from existing from within this window. In the Channel Count cell, enter the total number of DMX channels used by the fixture. In the Add Patchpoint @
Channel cell, enter a DMX channel number to define a new patchpoint. A patchpoint is used to create fixtures with dual DMX addressing capabilities (similar to a scroller dimmer fixture type).
When the fixture is later patched in the patch window, you will be able to patch this fixture at two discrete DMX addresses as you have defined the starting point for each within this window
(the 1st channel is automatically defined as the first patch point) Only 1 additional patch point is currently allowed. Select
OK to submit the library information and begin the building process;
see Building the Fixture (p.374).
Creating a New Fixture Library Using an Existing Library
When you press the
Copy From button, the Create New Custom Type window will open; see
Figure 27.2, “The Create New Custom Type window”.
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Section 27: The Fixture Builder
Figure 27.2. The Create New Custom Type window
Within this window you can define the Model Name, Author, and enter any Notes. The currently loaded fixture library within the show will be displayed. Select a manufacture and fixture to copy the existing library to the fixture builder. Select OK to submit the library information and begin
the building process; see Building the Fixture (p.374).
27.1.2
Building the Fixture
Once you have added a fixture library from blank or from a copy, you will see the DMX channels in the fixture builder:
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Section 27: The Fixture Builder
Figure 27.3. The Fixture Builder window
Use the fixture’s DMX Protocol to edit the cells as needed to build the custom library. The various cells and their uses are:
Type Information
• Model Name: the name assigned to this library.
• Author: the author of the library.
• Date Modified: the date of the last modification to this library.
• Notes: any notes entered by the author.
• DMX Footprint: total number of DMX channels used by this fixture.
• Patchpoints: total number of unique patch points and their location for this fixture.
• Edit: press this button to edit the information about this library.
Channel
This cell represents the DMX Channel number per the fixture’s protocol. Several entries for a single DMX channel may exist, each defined with different functions or features. Typically each
DMX value or range defined by a fixture’s DMX protocol will result in an additional DMX entry for the same DMX channel. Use the New DMX Entry button to add additional blank rows for the currently selected DMX channel, and the Delete DMX Entry button to remove unwanted rows.
16-bit DMX functionality can be defined by combining two DMX channels with the same function and feature. Select a DMX channel cell, press Set and type in the two DMX channels to be combined (separated by / from the console keypad). For example to combine DMX channels
3 and 4 to create 16-bit DMX functionality, enter
3/4
in the Channel cell for channels 3 and
4. Combined channels do not need to be sequential (for example, 3/8 is valid).
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Function
This cell represents the function or parameter used to access this channel. A function is defined as the parameter name displayed when programming the fixture. Examples of functions include: intensity, pan, tilt, gobo, cyan, etc. Functions are selected from a dialog box that is sorted by the following Kind categories: Unused, Intensity, Position, Colour, Beam, and Control. Most functions also have a sub-category called feature.
Feature
A feature is defined as a sub-classification of a function. For example, a gobo function can have slots, spins, and random features. All features within a function are mutually exclusive. In other words, each feature is a unique behaviour of the function and no two features can occur at the same time. Each feature can have its own DMX value or range of values. The function type defined in the function cell will determine what features are available in the feature cell. For instance, selecting a Strobe function will result in a choice of 13 features including: shutter, rate, ramp, ramp/snap, random, etc. Many functions have pre-defined features that cannot be changed
(Intensity, Pan, Cyan, etc).
When building a fixture library, you define a feature as a sub-set of a particular function and associate it with a specific DMX value or range. A gobo function might have six slot features
(one for each gobo), one spin feature, and one random feature. Each of these entries should be mapped to the corresponding DMX value(s) according to the fixture’s DMX protocol. A single
DMX channel can have many different functions and features, each with their own unique DMX values or ranges of values.
DMX Value
This field is used to define the exact DMX value or range of values used by the function and feature of the DMX channel. Entries in this field can be a single DMX value or a range of values.
Ranges can be entered with the Thru key on the console keypad. For example, 0>255 would result in a full range for an 8-bit DMX channel. DMX ranges can be inverted if desired, for example: 255>0 to match the real world range they correspond to. If a function is defined as a 16bit DMX function, then DMX values and ranges may be between 0 and 65535.
If a DMX value is out of the allowable DMX range, the minimum or maximum value will automatically be used (an entry of 0>500 will become 0>255).
Real World
This field defines the label, value, or range that is displayed on the console when the function and feature is used. The selected function and feature will automatically define the type of value available within this field. For example, an intensity function will always be displayed as a percentage, while pan or tilt will always be displayed in degrees and strobe frequency in hertz (Hz).
You may enter a single value or a range of values (0>260°) using the Thru key on the console keypad. The Real World range will be mapped directly to the corresponding DMX value range.
Note that if a single value is entered (100%) for a corresponding DMX value range (0>255), then you will not be able to adjust the parameter throughout the defined range.
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When defining the Real World values for a function/feature, you can simply enter the numeric value (0>100) and the predefined unit type will automatically be defined (for intensity this would appear as percentage, for position as degrees, for strobe as hertz); you do not have to enter in the unit type. Also if a Real World value is out of the range of the console, the minimum or maximum value will automatically be used (an entry of 0>200% will become 0>100%).
Many features also allow negative values to be used. When defining the real world values for a rotating gobo, for example, you could enter –50>50rpm. This real world range will be mapped directly to the corresponding DMX value range, so if the DMX value range was 0>255, then the real world value of 0rpm would be equal to a DMX value of 128 (positive rpm values would map to higher DMX values and negative rpm values would map to lower DMX values).
Decimals may also be used with some Real World values (22.5>99.7rpm).
In the case of features defined as slots (gobos or colours), an additional popup box will become available when the Real World cell is selected. This dialog box will allow you to select a name for the gobo or colour from a predefined list of names. Slot entries will appear on the slot toolbar during programming. Additionally you can define an offset for the slot name (in the field at the bottom of the dialog). This offset defines the range used by the function when dialling values on the encoder wheel. Leaving this field blank will result in the default (0%) being used.
Additional function/feature selections may result in various Real World value selections via a dialog box. For instance, a strobe function and shutter feature will allow a Real World value entry of either ‘open’ or ‘closed’.
27.1.3
Adding User Created Libraries to a Show
Once libraries have been built within the fixture builder, they are stored within the show file.
You can then add these fixtures to your show in the same method as existing fixtures within the selected library:
1.
In the Fixture window, open the Fixture Schedule.
2.
Scroll down to the User Created manufacturer and expand to view all custom made libraries:
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3.
Add, patch, and program custom libraries in the same manner as existing libraries.
Once a fixture is created, it behaves the same as built-in fixture libraries:
• You can merge custom libraries from one show to another using the Merge
Show function.
• You can use the Edit Fixtures window to adjust default values and further customize user created libraries.
• You can replicate and replace to and from user created fixtures.
• You should send a show containing your custom made fixtures to support@fly-
ingpig.com so they may be added to future built-in libraries.
27.2
Fixture Builder Tutorial
This tutorial takes you through the process of building a custom fixture library for a fictitious fixture. Follow the steps to create a custom fixture library.
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8
9
6
7
3
4
5
1
2
Fictitious 575 Protocol
Ch.
Purpose Value
Intensity
Pan Coarse
0 to 255
0 to 255
Pan Fine
Tilt Coarse
Tilt Fine
Cyan
Magenta
Yellow
Gobo
0 to 255
0 to 255
0 to 255
0 to 255
0 to 255
10 Shutter
0 to 255
0
20-30
31-40
41-50
51-60
100-150
151-200
201-255
0
1-127
128-200
201-210
221-230
231-240
241-250
255
Description
0 is out 255 is full
540 degree pan
270 degree tilt
0 is full, 255 is out
0 is full, 255 is out
0 is full, 255 is out
Open
Gobo 1 (breakup)
Gobo 2 (bubbles)
Gobo 3 (cone)
Gobo 4 (radial)
Gobo wheel spin fwd slow to fast
Gobo wheel spin rev slow to fast
Random gobo slow to fast
Closed
Linear Strobe slow to fast
Random Strobe fast to slow
Reset Fixture
Strike Lamp
Shutdown fixture
Douse Lamp
Open
27.2.1
Step 1: Create the New Fixture
To create the new fixture:
1.
Setup
→
Patch : open the Fixture window.
2.
Press the Fixture Builder button.
3.
Click OK on the warning dialog.
4.
Press the Create New button. The Create New Custom Type window will open.
27.2.2
Step 2: Enter Fixture Details
Enter the Model Name, Author, and Notes by clicking in each cell and pressing Set :
1.
Name the model :
Tutorial
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2.
Enter your name for Author.
3.
Enter any notes.
4.
Adjust the channel count to match Protocol : 10 channels.
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5.
Click OK to close this window and start the fixture creation.
The blank new fixture will be displayed:
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27.2.3
Step 3: Configure Channel Features
Intensity
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382
1.
Select the Function cell for channel 1 and press Set . A dialog will appear with a list of function categories.
2.
Select Intensity on the left column to display a list of Intensity function subcategories.
3.
Select Intensity as the desired function. The window will close and you will see intensity assigned as the function and feature for channel 1. Note that the feature column will auto-fill with ‘Intensity’.
4.
Select the DMX value cell for channel 1 and press Set . Enter the DMX values range for the intensity channel (0>255) and press Enter .
5.
Select the Real World value cell for channel 1 and press Set . Enter the Real
World value to be displayed in percentage (0>100) and press Enter .
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Pan and Tilt (16 bit)
Define 16 bit channels for Pan and Tilt:
1.
Select the channel cell for Channel 2 and press Set . Enter 2/3 to indicate that channels 2 and 3 combine to create a single 16-bit fixture.
2.
Select the channel cell for Channel 3 and press
Set
. Enter 2/3 to indicate that channels 2 and 3 combine to create a single 16-bit fixture.
3.
Repeat the above for channels 4 and 5.
Configure Pan and Tilt Functions:
1.
Select the function cell for the first 2/3 channel and press Set . A dialog will appear with a list of function categories.
2.
Select Position on the left column to display a list of Position function subcategories.
3.
Select Pan as the desired function. The window will close and you will see pan assigned as the function and feature for channel 2. Note the feature column will auto-fill with ‘Pan’.
4.
Select the DMX value cell for channel 2/3 and press Set . Enter the DMX values range for the intensity channel (0>65535) and press Enter .
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5.
Select the Real World value cell for channel 2/3 and press Set . Enter the Real
World value to be displayed in degrees (-270>270°) and press Enter . This real world value will map the 540 degrees of movement across the DMX range so the middle of the range (32768) is equal to 0°. Note that you could instead enter 0>540° if desired, but then this would be different than existing fixtures as the 0° value would equal a DMX value of 0.
6.
Repeat the above for the second 2/3 channel.
7.
Repeat all of the above for Tilt on the two 4/5 channels.
Cyan, Magenta, Yellow
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1.
Select the function cell for channel 6 and press Set . A dialog will appear with a list of function categories.
2.
Select Colour on the left column to display a list of Colour function sub-categories.
3.
Select Cyan as the desired function. The window will close and you will see
Cyan assigned as the function and feature for channel 6. Note the feature column will auto-fill with ‘variable’.
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4.
Select the DMX value cell for channel 6 and press Set . Enter the DMX values range for the Cyan channel (255>0) and press Enter . Note that the DMX value is inverted because the protocol shows 0 is full colour and 255 is no colour.
5.
Select the Real World value cell for channel 6 and press Set . Enter the Real
World value to be displayed in percentage (0>100) and press Enter .
6.
Repeat the above steps for Magenta on channel 7 and Yellow on channel 8.
Gobo Wheel
Since the DMX Protocol lists 8 discrete DMX values or ranges used by channel 9, the number of DMX entries needs to be increased for this channel:
1.
Select the Channel cell for channel 9.
2.
Press the New DMX Entry button to add an additional DMX entry for channel
9.
3.
Repeat the above until there are 8 channel entries for this channel:
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Define each DMX entry for Slots:
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1.
Select the function cell for a blank DMX Entry of channel 9 and press Set . A dialog will appear with a list of function categories.
2.
Select Beam on the left column to display a list of Beam function sub-categories.
3.
Select Gobo as the desired function. The window will close and you will see
Gobo assigned as the function and feature for channel 9. Note the feature column will auto-fill with ‘slots’.
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4.
Select the DMX value cell for this DMX Entry and press Set . Enter the DMX values range for the first gobo value (0) and press Enter .
5.
Select the Real World value cell for this DMX Entry and press Set . A dialog box will display a list of slot names. Select a slot name and press Enter .
6.
Repeat the above steps for the other DMX entries for each gobo in the protocol.
Define each DMX entry for Spins:
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1.
Select the function cell for a blank DMX Entry of channel 9 and press Set . A dialog will appear with a list of function categories.
2.
Select Beam on the left column to display a list of Beam function sub-categories.
3.
Select Gobo as the desired function. The window will close and you will see
Gobo assigned as the function and feature for channel 9. Note the feature column will auto-fill with ‘slots’. Select this cell and press
Set
. Choose Spin from the dialog box.
4.
Select the DMX value cell for this DMX Entry and press Set . Enter the DMX range values for the gobo spin according to the DMX protocol (100>200) and press Enter .
5.
Select the Real World value cell for this DMX Entry and press Set . Enter the
Real World value to be displayed in RPM (-100>100rpm) and press Enter .
6.
Repeat the above steps for the random spin portion of the protocol using another DMX entry for channel 9.
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Strobe/Control Channel
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The number of DMX entries needs to be increased for this channel:
1.
Select the Channel cell for channel 10.
2.
Press the New DMX Entry button to add an additional DMX entry for channel
10.
3.
Repeat the above until there are 8 channel entries for this channel.
Define each DMX entry for Strobe:
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1.
Select the function cell for a blank DMX Entry of channel 10 and press Set .
A dialog will appear with a list of function categories.
2.
Select Intensity on the left column to display a list of Intensity function subcategories.
3.
Select Strobe as the desired function. The window will close and you will see
Strobe assigned as the function for channel 10. Note the feature column will auto-fill with ‘Shutter’.
4.
Select the DMX value cell for this DMX Entry and press Set . Enter the DMX value for the Open Shutter according to the DMX protocol (0) and press Enter .
5.
Select the Real World value cell for this DMX Entry and press Set . A dialog box will display a list of shutter options. Select the ‘open’ shutter option and press Enter .
6.
Repeat the above steps for the ‘closed’ shutter ability of the fixture.
7.
Select the function cell for a blank DMX Entry of channel 10 and press Set .
A dialog will appear with a list of function categories.
8.
Select Intensity on the left column to display a list of Intensity function subcategories.
9.
Select Strobe as the desired function. The window will close and you will see
Strobe assigned as the function for channel 10. Note the feature column will auto-fill with ‘Shutter’. Select this cell and press Set . Choose Rate from the dialog box.
10. Select the DMX value cell for this DMX Entry and press Set . Enter the DMX range for the Linear Strobe according to the DMX protocol (1>127) and press
Enter .
11. Select the Real World value cell for this DMX Entry and press Set . Enter the
Real World value to be displayed in Hertz (0>30hz) and press Enter .
12. Repeat steps 8-13 for the random strobe ability of the fixture.
Fixture Control commands from Strobe channel:
1.
Select the function cell for a blank DMX Entry of channel 10 and press Set .
A dialog will appear with a list of function categories.
2.
Select Control on the left column to display a list of Control function subcategories.
3.
Select Fixture Control as the desired function. The window will close and you will see Fixture Control assigned as the function for channel 10. Note the feature column will auto-fill with ‘Idle’. Select this cell and press Set . Choose
Global Reset from the dialog box.
4.
Select the DMX value cell for this DMX Entry and press Set . Enter the DMX for the fixture reset according to the DMX protocol (205) and press Enter .
5.
Repeat the above steps for the shutdown ability of the fixture.
Note that Real World values are not allowed for Control functions.
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Lamp Control commands from Strobe channel:
1.
Select the function cell for a blank DMX Entry of channel 10 and press Set .
A dialog will appear with a list of function categories.
2.
Select Control on the left column to display a list of Control function subcategories.
3.
Select Lamp Control as the desired function. The window will close and you will see Lamp Control assigned as the function for channel 10. Note the feature column will auto-fill with ‘Strike’. Select this cell and press Set . Choose
Douse from the dialog box.
4.
Select the DMX value cell for this DMX Entry and press Set . Enter the DMX for the lamp douse according to the DMX protocol (245) and press Enter .
5.
Repeat the above steps for the lamp strike ability of the fixture.
Note that Real World values are not allowed for Lamp Control functions.
27.2.4
Step 4: Build the Fixture
Your fixture should be similar to the example below:
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To build the fixture:
1.
Press the Build Type button to build the fixture library.
2.
If any errors are found a dialog will explain the error. Make any corrections and build again.
3.
A dialog box will confirm a successful build of a library:
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27.2.5
Step 5: Add the Fixture in the Fixture Schedule
1.
Open the Fixture Schedule window and scroll to the User Created manufacturer.
2.
Select your new fixture and press Set . Enter the number of fixtures to be used in the show.
3.
Press OK and patch the fixtures, swap axes, and so on, as normal:
27.2.6
Step 6: Edit Fixture to Define Default Values
To define the default values for your new fixture, you can edit the defaults for each parameter in the Edit Fixtures window:
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27.2.7
Step 7: Programming Your Custom Fixture
When programming with the fixture from the tutorial, bear in mind the following:
• Pan and Tilt are 16-bit DMX, but appear as a single parameter (and use 2 DMX channels each).
• Cyan, Magenta, and Yellow function properly in respect to the DMX values being inverted from the Real World value.
• The Gobo slots appear on the Slot toolbar.
• The Gobo Spin and Random functions appear on the Gobo encoder wheel.
• The various types of parameters that are controlling channel 10: shutter, strobe, fixture control, and lamp control. Notice how each appears as unique functions, although they all output on the same DMX channel.
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Section 28: Key & Button Combinations
Many of the console's functions can be accessed quickly through a mixture of front panel key combinations and on screen button combinations. The following tables lists these combinations and their uses.
Programming / Patching
Key Presses
Pig with parameter wheels
Pig + Blind
Result
Moving the parameter wheel with Pig allows fine adjustment of the parameter, so that each turn of the wheel will change the parameter value by a smaller amount, making exact adjustments easier.
When leaving blind mode, parameters will fade to their new values in the assigned or default fade time, rather than snapping to their new values.
Pig + Flip
. + Encoder Wheel
. + Pig + Encoder Wheel
When using Flip to cycle a fixture through its flip positions, goes through the possible positions in the reverse order to Flip without Pig.
Sets wheel to defaul value
Sets wheel to default value and mode
Pig + Nudge Up (above the I-Wheel) Nudges the intensity up by half the set nudge value.
Pig + Nudge Down (below the I-
Wheel
Pig + Park
Pig + Touch
Nudges the intensity down by half the set nudge value.
Unparks selected fixtures, rather than parking them.
Un-touches specified parameters and fixtures, rather than touching them.
Pig with the I-Wheel
Pig + @
Intensities are increased or decreased in proportion to their individual level, rather than all intensities changing by the same amount. For example, if fixture 1 is at 10%, 2 at 50% and the wheel is increased by 10%, then fixture 1 will move to 11% and 2 will move to 55%.
When patching with View by DP enabled, unpatches the selected fixtures.
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Playback
Key Presses
Pig + Main Go
Pig + Main Halt
Pig + Main Back
Pig + Release
Pig + Go, Halt, Back, or Flash on a master
Pig + Next Page
Result
Equivalent to pressing Go on all masters.
Equivalent to pressing Halt on all masters.
Equivalent to pressing Back on all masters.
Releases all masters.
Releases the individual master.
Scene + Release
List + Release
Pig + Choose
Pig + 0 < 9
Changes the page to the previous page, rather than the next page.
Releases all virtual scenes (scenes not attached to masters)
Releases all virtual lists (lists not attached to masters)
Opens the playback options for the cuelist on the selected master.
Toggles playback bars off/on
Window Control
Key Presses
Open + backspace
Open + Full
Open + @
Open + thru
Open + /
Open + +
Pig + Size (on the Window Control
Toolbar)
Open + -
Open + 1
Open + encoder wheel 1
Open + encoder wheel 2
Open + Fixture
Pig + Open + Colour
Pig + Open + Colour
Open + Choose
Open + any command key
Result
Closes active window
Maximizes active window
Moves Active window to next screen
Cycle focus between open windows
Split and make copy of active window
Sizes Active Window in clockwise direction
Cycles through the possible window sizes in the reverse order.
Sizes Active Window in counter-clockwise direction
Opens View 1 (also works for views 2 thru 9)
Scrolls active window vertically (Up / Down)
Scrolls active window horizontally (Left / Right)
Opens Fixture Window
Opens the Colour Picker rather than the Colour
Directory.
Opens the Colour Picker rather than the Colour
Directory.
Opens the cuelist window for the selected master.
Opens the object linked to the command key
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Section 28: Key & Button Combinations
Spreedsheets
Key Presses
Pig + Copy
Pig + Record
Pig + Backspace
Pig with the arrow keys
Result
Copies the contents of the currently selected cells.
Pastes into the currently selected cells.
Removes values from the currently highlighted cells in the Programmer or editor.
Extends the selected cells in the spreadsheet
Directories
Key Presses
Pig with the arrow keys
Pig when pressing a button in a directory
Result
Extends the selected directory items in the directory
Overrides the effect of the Guard button.
File Browser
Key Presses
Pig + Copy
Pig + Record
Pig with the arrow keys
Pig when dragging files in the File
Browser pane of the Show Manager window
Result
Copies select files to the clipboard.
Pastes files from the clipboard.
Extends the selected files in the file browser.
Copies the dragged files, rather than moving them.
Console Debug
Key Presses
Pig + Open + delete
Pig + Open + 1
Result
Restart the console
Open Log View Window
Pig + Open + 5
Pig + Open + backspace
Opens Debug Toolbar
Opens Launch Proccesses Window
Pig + Open + encoder wheel 1 button Calibrate Touchscreens (quit with setup)
Pig + setup Toggle Worklight On/Off
Misc
Key Presses
Pig + Undo
Pig when entering text with the onscreen keyboard
Pig + .
Pig + 0 < 9
Result
Redoes the last undone action.
Acts as a shift key, to type upper case characters.
Toggle slot toolbar and encoder wheel toolbar off/on
Toggles playback bars off/on
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Section 29: Visualiser Connectivity
All Hog 4OS consoles are capable of connecting directly to visualisers via the HogNet network.
Currently ESP Vision, WYSIWYG, MSD, Capture and Light Converse are supported. The Hog
4 Connectivity application must be installed on the visualization computer for this connectivity to function.
This section describes the basic information needed to install the Hog 4 Connectivity application on your visualiser computer as well as the configuration of the application. For in depth visualiser
usage, please contact the visualiser manufacturer; see Visualiser Support Contacts (p.411).
29.1
Installing the Connectivity Application
You can download the current Hog 4 Connectivity installation application from the High End
Systems website: www.highend.com or or you can select to install the connectivity driver when installing Hog 4PC. The following instructions assume you are running the separate connectivity driver installation.
To install the connectivity application:
1.
Double click the HogConnect_x-x-x-x.msi file to launch the install wizard.
2.
The Hog Connect installer will check your operating system and windows installer versions, and then display the welcome screen. Press Next to begin the installation process.
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3.
The wizard displays an End User License Agreement.
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After you select I accept the terms in the License Agreement, press Next to continue.
4.
The installer now shows you which features of the Hog Connect application are going to be installed and into which location. Do not make any changes to the install location as most 3rd party visualizer applications are hard coded to point to the default installation directory and changing this option could lead to failure of the connectivity driver to start properly. Press Next to continue.
402
5.
This prompts a Ready to Install screen with instructions on beginning or canceling the installation. Press Install to begin installing.
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6.
Installation: during the installation a progress bar will be shown:
7.
Completing the installation: when the installation is complete, press Finish to exit the installer.
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29.2
Connecting the Console to the Visualizer
The Hog 4 visualiser connectivity supports multiple DMX Processors dependent upon the number of universes supported by your visualiser and/or license. Contact the visualiser manufacturer for upgrade information.
29.2.1
Configuring Visualisers
Refer to your visualiser documentation for information regarding configuration of DMX input via the Hog visualiser connectivity application. Most visualisers require selecting the input source and it must be mapped to the Hog connectivity.
29.2.2
Configuring the Network Connection
As the visualiser application opens, the Wholehog DP window will be opened on the bottom right of your visualiser computer screen:
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A Hog logo will also be placed in the Windows task bar when this application is running:
If you close the dialog box, the Wholehog DP will continue to run, and double-clicking on the task bar icon will re-open the dialog box.
When a Hog server is detected on the network the Status field will change to Wholehog Network
Found , then to Loading Show , and finally to Running :
The Session and Info fields will contain additional network information.
The Wholehog DP application can be configured similarly to an actual DMX Processor. You can assign Hog network port and the net number for this application. The Port field must be assigned to the same port as your Hog console on the network. The Number field represents the net number and is similar to the number in the upper right hand corner on a DMX Processor.
Assign the number to a unique device net number that is not used by any other devices on the
Hog network. Press Apply after making changes.
29.2.3
Configuring the Visualiser Universes
In the Wholehog DP window on your visualiser computer press the Patch button to open the
Patch window. Using this window you can connect any of the 24 DMX universes within your visualiser to any DMX Processor and universe from your Hog show. For example, to assign visualiser universe 3 to respond to the DMX from universe 3 of DMX Processor 2, simply select
DP# 2, Universe 3 in the #3 row. Press OK after completing the patching.
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29.2.4
Using the Visualizer
Once the above configuration is complete, the connectivity between the Hog system and the visualiser should begin working. You can close the Wholehog DP window and the connectivity will continue as long as the Hog logo remains in the task bar:
29.3
Connecting to WYSIWYG
The Hog Connectivity for WYSIWYG supports multiple DP’s up to the number of channels supported by your WYSIWYG dongle. Contact Cast for WYSIWYG upgrade information.
29.3.1
Configuring the Network Connection
When WYSIWYG is launched, the Wholehog DP window will be launched and opened on the bottom right of your visualiser computer screen:
406
A Hog logo will also be placed in the Windows task bar when this application is running:
If you close the dialog box, the Wholehog DP will continue to run, and double-clicking on the task bar icon will re-open the dialog box.
When a Hog server is detected on the network the Status field will change to Wholehog Network
Found , then to Loading Show , and finally to Running :
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The Session and Info fields will contain additional network information.
The Wholehog DP application can be configured similarly to an actual DMX Processor. You can assign Hog network port and the net number for this application. The Port field must be assigned to the same port as your Hog console on the network. The User Number field represents the net number and is similar to the number in the upper right hand corner on a DMX Processor.
Assign the User Number to a unique device net number that is not used by any other devices on the Hog network.
29.3.2
Configuring WYSIWYG
To configure WYSIWYG:
1.
In WYSIWYG open the Device Manager : Live
→
Device Manager
2.
Click on New to add an additional device. Select Wholehog III DP as the new device:
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3.
The device window will now display the Hog DMX Processor 8000.
Double click on this device or select it and press
Properties
. The Properties window will open:
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4.
In the Address field enter the DP number used when patching on the Hog console. Click OK to close this window.
5.
Bind the ports to the universes in your WYSIWYG show; consult the WYSI-
WYG documentation for detailed instructions.
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6.
Once the universes are bound, you can connect to the Wholehog DP. Repeat the above steps for each DMX Processor used in your Hog show file.
29.3.3
Additional Steps for WYSIWYG Console Edition
When using some versions of Console Edition (CE) WYSIWYG to connect directly to a Hog system only one universe of visualization is possible at a time. If your version of CE is limited to one universe, you will need to specify which universe is active within the WYSIWYG file:
1.
With the WYSIWYG file open, go to the Live Module and select Edit
→
Universes .
2.
The Visualisation Universe Selection window will open. This window will display all the currently configured universes within your drawing. Use this window to select the universe you wish to visualize from the console.
29.3.4
Using the Connectivity with WYSIWYG
Once the above configuration is complete, the connectivity between the Hog system and
WYSIWYG should begin working. You can close the Wholehog DP window and the connectivity will continue as long as the Hog logo remains in the task bar:
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Autofocus Feature
WYSIWYG can send information back to your Hog console to allow lights to be automatically positioned to a particular location on stage, rather than individually positioning the fixtures using the console’s controls. Refer to the WYSIWYG Users Manual for further details on the Autofocus feature.
When WYSIWYG Autofocus is enabled, selecting and deselecting fixtures in WYSIWYG will do the same on your console. You can also use the functions in WYSIWYG to assign the intensity, iris, pan, tilt, and CMY colour mixing values in the active editor or programmer on the Hog console.
Note that the Autofocus feature requires that the Hog show file uses a fixture library version 2.5
or greater.
29.4
Troubleshooting
1.
When launching a visualiser a message saying
Error loading
<path>/lxhog3dp.dll or hog4.dll
appears.
The driver can not be located. Run the installer again.
2.
Windows 98 or ME will not run the msi installer.
Download and install the Windows Installer 2.0 update from Microsoft and run the Hog
Connectivity installer again.
3.
The Wholehog DP window does not open when the visualiser is launched.
Run the installer again.
4.
The Wholehog DP window always says
Locating Wholehog Network…
Check the port matches on the settings on the console. Check Ethernet connections. Check that there is only one DHCP server in your network. Reboot the visualiser computer.
5.
The Wholehog DP window displays
Connection Error while trying to connect.
Check the network settings on both the visualiser computer and the Hog console. Reboot the visualiser computer.
6.
The Wholehog DP window displays
Couldn’t get file handle while trying to connect.
Check that another visualiser is not running on the same computer. Reboot the visualiser computer.
7.
The Wholehog DP window displays
Loader version is old (need x.y.z) while trying to connect.
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You need to update the Connectivity Application. Check www.flyingpig.com for the latest version.
8.
No visible fixture output in the visualiser.
Check that the console Grand Master is up. Cycle the Blind key to assert the contents of the Programmer.
9.
WYSIWYG displays
Could not connect the following consoles:
Wholehog DP .
Check that the Wholehog DP window indicates it is connected to the console and is running.
Check that the address in the Properties window on WYSIWYG matches the DMX Processor in your Hog show, and that another device is not already connected to that number.
10.
WYSIWYG Autofocus does not appear to function.
Check that the Hog show is using a version 2.5 or greater fixture library. Check with Cast regarding the WYSIWYG fixture libraries.
29.5
Visualiser Support Contacts
ESP Vision: www.espvision.com
WYSIWYG/Cast: www.castlighting.com
MSD: www.martin.com
Capture: www.capturesweden.com
Light Converse: www.lightconverse.net
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30.1
Software Update
Hog console software can be updated using an fpspkg installer package downloadable from the
Flying Pig website. Hog 4PC is upgraded using an msi installer package. For details on in-
stalling/upgrading Hog 4PC see Installing Hog 4PC (p.425).
To upgrade software on your Hog 4(not Hog 4PC):
1.
Download the FPSPKG installer from the Flying Pig website (once downloaded the file name will be Hog4_X-X-X-X.fpspkg where the Xs represented the software version number)
2.
Copy the file to a USB Flash drive.
3.
Insert the USB Flash drive containing the upgrade file into any USB slot on the console.
4.
Go to the Start window on your console and press the Software button, located at the bottom of the Start window.
5.
Browse to the USB flash drive and select the file containing the software version to upgrade, and press OK .
6.
Hog 4OS will continue with the upgrade without further interaction. Upgrades typically less than 20 seconds unless otherwise noted in the release notes.
When the console completes the upgrade all upggrade dialogue boxes will close. Check the splash screen to ensure the console is indeed running the upgraded software version. You may now use the console as normal.
30.2
Full Install (System Restore)
You may occasionally need to do a ‘full install’ of the Hog 4OS on your console. Performing a full install completely erases and replaces the Hog OS core operating system and clears the console of any saved show files. A full install in not typically required to upgrade console software unless specified in the release notes. Howeer, in some cases a full install may be advised by support staff as a measure to restore console functionality.
»
Important
Before installing new software, ensure that your show data is backed up.
A Full Install will erase all data on the console's hard drive.
To do a full install system restore:
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1.
Ensure that all show data is backed up onto external media as the full install
procedure will clear all show data from the console. See Backing Up Your
2.
Download the latest Hog 4 OS Full Install .ISO file from the support section of the High End Systems website.
3.
Use the full install .ISO file you downloaded in step 2 to to create a Full Install
USB flash drive. (Refer to sections 24.2.1 and 24.2.2 for instructions on how to properly do this)
4.
Insert the Full Install USB flash drive you created in step 3 into any one of the console's USB ports.
5.
Restart the console.
6.
When the console boots up a full install menu will appear. Press Enter on the built-in keyboard (or external USB keyboard) to begin the installation.
(Note: If you used Unetbootin on your Macintosh computer to create the USB flash drive you will not see this step and the installtion process will begin automatically)
Full Boar 4, Road Hog 4, and HedgeHog 4: If do not have an external USB keyboard plugged into the console you can use the enter key on the front panel for this step but you must first put the console's front panel into HID mode. To put the console's front panel into HID mode press the cursor up key while holding down the pig and fan keys. The blind key led will start flashing to indicate the front panel is in HID mode. Pressing enter on your console's front panel will now continue the full install procedure.
7.
The installation will now take several minutes to complete.
8.
When the installation procedure is complete a "finish the installation" screen will appear. Remove the Full Install USB flash drive from the console and press the Enter key on the built-in keyboard, external USB keyboard, or front panel (if the front panel is in HID mode) to finalize the installation. The console will now reboot.
9.
IMPORTANT: If you put the console's front panel into HID mode during the installation procedure be sure to set it back to Hog mode after the full install is complete. To do this press the cursor down key while holding down the pig and fan keys. The blind key's led will stop flashing to indicate the front panel is no longer in HID mode.
30.2.1
Creating a Full Install USB Flash Drive on a Windows Computer
The following procedure demonstrates how to sue a Windows Computer to create a Full Install
USB flash drive for use with Hog 4OS Consoles:
1.
Download and install Linux Live's "USB Stick Maker" to your Windows PC.
( http://www.linuxliveusb.com/ )
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2.
Insert a USB flash drive into on of your Windows computer's USB slots and start Linux Live's USB Stick Maker (USB flash drive must be at least 2GB)
3.
In step 1 of Linux Live USB Creator select the USB flash drive you inserted into your computer
4.
In step 2 of Linux Live USB Creator click on ISO/IMG/ZIP and select the
Hog 4OS full restore .ISO file that you downloaded from the Hog 4OS support page online
5.
Skip step 3 of the Linux Live USB Creator and look at step 4. Select "Format the key in Fat32"
6.
Click on the lightning bolt in step 5 of the Linux Live USB creator.
7.
A dialogue box will pop up warning you that your USB flash drive contents will be erased. Click okay.
8.
When Linux Live USB Creator is finished it will alert you. Remove your USB flash drive and proceed to restore your console as outlined in section 24.1.
30.2.2
Creating a Full Install USB Flash Drive on a Macintosh Computer
The following procedure demonstrates how to use a Macintosh Computer to create a Full Install
USB flash drive for use with Hog 4OS Consoles:
Note: This procedure does NOT work with Mac OS X 10.9 Mavericks; this procedure only works with Mac OS X v10.7 Lion, v10.8 Mountain Lion, and v10.10 Yosemite)
1.
Download and install Unetbootin ( http://unetbootin.sourceforge.net/ )
2.
Open a terminal window on your Macintosh computer. If you don't know how to open a terminal window you can simply type "terminal" in the spotlight search field and it will usually show up as the first application result in the search results. Click on the application to launch a terminal window.
3.
Insert the USB flash key you wish to use into one of the USB slots on your
Macintosh Computer. (Must be at least 2GB and formated as Fat32)
4.
In the terminal window type: diskutil list and hit enter.
5.
You should now see a list of disks in the terminal window. Locate your USB flash drive in this list and type sudo fdisk -e /dev/rdisk# where # is the disk number of your USB flash drive and hit enter. When prompted type in your computer password and press enter. (You may ignore any error messages such as "fdisk: could not open MBR file ...")
6.
Type p in the terminal window and hit enter.
7.
Type f 1 in the terminal window and press enter. The terminal window should now read "Partition 1 marked active".
8.
Type write in the terminal window and press enter. When asked to confirm that a reboot will be needed type "Y" and press enter.
9.
Type exit and press enter. You may now close the terminal window.
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10. Start Unetbootin. When Unetbootin starts you will see a single window on your screen.
11. Select the "Disk Image" option and make sure "ISO" is selected from the drop down menu.
12. Ensure your USB flash drive is inserted in your Macintosh computer and is selected in drive drop down menu in Unetbootin.
13. Now click on the browse button in Unetbootin (the browse button is the button with three dots on it) and select the correct Full Restore .ISO file that you downloaded from the Hog 4OS support website.
14. Click okay and Unetbootin will proceed to create your USB flash drive.
15. When Unetbootin is finished it will alert you. Remove your USB flash drive and proceed to use it to restore your console as outlined in section 24.1.
30.3
Updating the DMX Processor Software
Normally, updating the console software will also update the software of connected network processors. If necessary, you can update the software manually:
1.
Setup
→
Network : open the Network window.
2.
The network window will display a list of any connected DMX Processors who's softwae does not match the console software version under a heading titled "Upgradeable Nodes".
3.
Right click on the DP you wish to upgrade and select "upgrade node".
If the console and network processor are running different software versions and the above procedure is not fully working or if the console is not recognizing the network processor on the network you can force the network processor to update its software at the DP:
1.
Turn off the mains power to the network processor. Check that the DP is connected to the console's network and that the console's "Enable DHCP
Server" and "Enable Boot Server" options are enabled in the network tab of the control panel.
2.
Hold down the all three buttons on the network processor's front panel and apply power. The DP's display should now read "Forcing software reload".
3.
The network processor will download its software from the console and reboot.
The DP's net number and port number settings will be set back to defaults.
30.3.1
DMX Processor 8000 Reset Options
The keys on the front panel of the DMX Processor 8000 are used for standard menu navigation.
However as the unit boots you can view specific boot information via a scroll bar. Once the
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DMX Processor 8000 is fully booted, it displays the standard menu. In addition the following reset options are available:
Hard Reset: to force a hard reset of the DMX Processor 8000, hold the middle and bottom buttons for four seconds (use the center and right buttons for older DP8000 units where the front panel buttons are laid out horizontally). Once the reset begins you will see I/O Board Disconnected on the display.
DMX Board Firmware Reload: to reload the DMX board firmware from the Processor's front panel, hold down any single button the DP8000 front panel as the unit is powered on. Once the process begins you will see the DP8000 Bootloader message on the display. After about one minute the firmware will be reloaded.
CPU Board Firmware Reload and Restore to Defaults: to reload the CPU board firmware hold down all three buttons on the front of the DP8000 as the unit is powered on. The DMX
Processor 8000 will then reload its firmware from the network. Once the process begins you will see the Forcing Software Reload message on the display.
30.4
Upgrading HedgeHog Consoles (2015 and later)
All HedgeHog consoles manufactured in January 2015 and later are built using the exact same internal and external hardware. Therefore, the platform (or model) of the desk is not determined by the physical components of the desk but rather by an encrypted software certificate installed on the console. This allows any HedgeHog console manufactured in January 2015 or later to be upgraded/downgraded to any one of the platforms listed in the table below without the need for new hardware or physical changes to the desk.
Platform
(model)
HedgeHog 4
HedgeHog
4N
HedgeHog
4S
HedgeHog
4X
HogNet Enabled?
NO
YES
NO
YES
External Monitor
Enabled?
NO
NO
YES
YES
Fixture Net DMX
4 universes
4 universes
4 universes
6 universes
4 universes
4 universes
4 universes
6 universes
To change the platform (model) of a HedgeHog console manufactured in January 2015 or later:
1.
Power on the HedgeHog console. Press the Control Panel button on the start screen to open the control panel.
2.
Navigate to the diagnostics tab of the control panel window. Press the Console
Upgrade button.
3.
The console upgrade utility wizard will now appear. Press Next to begin.
4.
Select the platform (model) you wish to upgrade to and press Next .
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418
5.
Contact a High End Systems Sales representative and provide them with the upgrade code shown on the screen as well as which console platform (model) you are upgrading from and which console model you are wanting to upgrade to. The High End Systems sales representative will provide you with the current pricing for the upgrade and will process your order.
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Section 30: Updating Console Software
High End Systems
6.
Once your HedgeHog upgrade order is complete, High End Systems will send you a validation code. Enter the validation code into the upgrade wizard and press Next .
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420
7.
Press the Finish . The console will now reboot and operate as the new platform
(model).
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Section 30: Updating Console Software
30.5
Upgrading USB DMX Widgets
Some older USB DMX Widgets (single universe) are compatible only with Hog 2. These USB
DMX widgets will need to be upgraded to be compatible with Hog 4 OS. Please contact your
High End Systems dealer for pricing and details. When purchasing, you need to provide your
Widget serial number and Widget ID number. Once the upgrade is purchased, you will receive an Upgrade Kit for each USB DMX Widget. This kit contains labeling, hardware, software, and a unique authorization code compatible only with the specified widget serial number.
After receiving your upgrade kit, follow these steps to upgrade your USB DMX Widget:
1.
Connect your USB DMX Widget(s) that match the serial numbers on the included authorization sheet to your Hog 4 OS console or Windows PC running
Hog4PC.
2.
Press the control panel button in the start screen of the Hog 4 OS. Navigate to the diganostics tab of the control panel and press the Widget Upgrades button.
3.
The widget upgrade utility wizard will now appear. Press
Next to begin.
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4.
Select a Widget ID number from the drop down menu. To confirm the identity of the selected widget, press the Beacon button to flash the LEDs on the widget. If the drop down menu displays ‘No DMX Widgets found!’, check your USB connections. Press Next to continue to the next step.
422
5.
Enter the authorization code for the selected widget and press Next (the authorization code is delivered with the Widget Upgrade Kit). If the code is incorrect an error message will be displayed. Re-enter the proper authorization code. Codes are unique for each USB DMX Widget and will not function unless they match the expected serial number and Widget ID number.
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6.
Once complete, the widget will be fully upgraded. You can now select Upgrade Another to upgrade another widget, or press
Finish to exit the application. In the event of an error, a message will be displayed. Please contact
High End Systems support for further assistance; see How to Report Problems
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Section 31: Installing Hog 4PC
Hog 4PC is a software program that runs the Hog 4OS on Windows based computers. You can download the current version for no charge at www.flyingpig.com.
The software can be used as an offline editor, a backup server, or a stand alone controller through the use of USB DMX Widgets or DMX Processors.
31.1
Software Installation
Hog 4PC system requirements:
• Operating System:
Windows Vista (32-bit or 64-bit / SP2 or greater)
Windows 7 (32-bit or 64-bit / SP1 or greater)
Windows 8 (32-bit or 64-bit)
Windows 8.1 (32-bit or 64-bit)
• Processor: Dual Core 1.7Ghz or faster
• Memory: 2GB minimum
• Hard Drive: 5GB of free hard drive space
Since the Hog 4OS makes use of multiple processes communicating via TCP/IP sockets, some
Windows computer configurations may prevent the Hog 4PC processes from communicating with each other.
Not meeting the system requirements, a lack of an enabled network connection, or multiple active network connections, and/or firewall settings can all result in Hog 4PC communication failures.
These communication failures typically cause the Splash Screen to repeatedly display ‘Scanning port 6600’ in its status window or other system errors when launching Hog 4 PC.
To install Hog 4PC:
1.
Download the installer for the latest version of Hog 4PC from the High End
Systems website. (once downloaded the file name will be Hog4PC_X-X-X-
X.msi where the Xs represented the software version number).
2.
Double click on the Hog4PC installer file to launch the install wizard. The
Hog 4PC installer will check your operating system and windows installer versions, and then display the welcome screen.
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3.
Ensure any Hog 4 USB devices (such as widgets or wings) have been disconnected from your computer, and click on the Next button to continue.
4.
The wizard displays an End User License Agreement. After you select I accept the terms in the License Agreement , you can click the Next button to continue.
426
5.
You can now choose which features of Hog 4PC you wish to install. The listed options will vary depending on which components are already installed on your machine. Select your preferences and click on Next to continue.
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Section 31: Installing Hog 4PC
6.
By default the software will be installed into the ‘C:\Program Files\Flying Pig
Systems\hog4pc\’ directory. You can use the Browse button to navigate to another location for the application.
7.
After selecting a drive location and components to install, click on Next to continue installation.
8.
The installer will now offer a link to the Elo TouchSystems website. If you plan to use Elo touchscreens with your Hog 4PC setup, then it is recommended you click on the Elos Drivers button, bookmark the website in your browser, and download and install the latest touchscreen drivers from the Elo Touch-
Systems website after you complete the Hog 4PC installation. Click on
Next to continue the installation.
High End Systems
9.
This prompts a Ready to Install screen with instructions on beginning or cancelling the installation. Click Install to begin installing.
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10. When the installation has finished, a final screen confirms that the application has successfully installed. Click Finish . You will then be prompted to restart your computer.
428
»
Important
It is important that you restart your computer at this point to ensure proper device driver configuration.
A Hog 4PC group will be added to the Programs folder on your Start Menu, with icons to start the Hog 4PC application and view installed documentation. A shortcut to the Hog 4PC application will also appear on your desktop.
In addition to the Hog 4PC application, the Hog 4PC group contains the Hog 4PC Widget Upgrader and a link to the User Manual.
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Section 31: Installing Hog 4PC
Warning
When running the Windows XP firewall or aftermarket firewall products, the firewall may block TCP/IP communications. Often, you can add exceptions for the individual Hog 4PC processes, or add exceptions for traffic that has a source IP address and destination IP address that are both pointing to the local machine. Refer to the documentation provided with your firewall for further details.
31.2
Software Removal
You can remove the Hog 4PC application from your computer using the Add/Remove Programs utility found in the Windows Control Panel:
1.
In the Windows Start menu, select Control Panel, then double click on
Add/Remove Programs.
2.
Select ‘Hog 4PC’ in the list of installed programs, and click Change/Remove.
3.
Select Remove, click Next and follow the on-screen instructions to complete the un-installation of Hog 4PC software.
31.3
Hardware Installation
Hardware installation for Hog 4PC should only be performed after the Hog 4PC software has been installed on your computer.
31.3.1
Unpacking Hardware Components
If you ordered a USB DMX Widget, Super Widget, or Super Duper Widget you should have received:
• USB Widget
• Power supply (not needed for single universe dmx widget)
• USB cable
• Hog 4PC software installation CD
If you ordered a USB Wing, you should have received:
• USB Wing
• Protective cover for the wing
• USB cable
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Section 31: Installing Hog 4PC
• Power supply unit with IEC power cable
• LED desklight with protective pouch
If you ordered an LTC/Midi Combo I/O Widget, you should have received:
• USB I/O widget
• USB cable
31.3.2
USB DMX Widgets
Hog 4PC supports up to eight universes of DMX output via USB DMX widgets. You can connect any combination of USB DMX Super Widgets or USB DMX Widgets or USB DMX Super
Duper Widgets to total 8 DMX outputs. In addition, an unlimited number of DMX outputs is possible when using Hog DMX Processors. Connecting and mapping DMX Widgets to Hog
4PC also enables those Hog universes to be output through art-net and sACN.
Always connect DMX widgets either directly to your computer, or to a self-powered hub.
To configure Widgets:
1.
Setup
→
Network : open the Network window.
2.
Select the DMX Processor 8000 in the list by clicking on its Network Number, and press the Settings button to open the DMX Processor Settings window.
See Figure 31.1, “Widget Outputs pane of the DMX Processor Settings win-
3.
Select the Widget Outputs pane.
4.
The Hog 4PC application provides one port for each of the DMX outputs on the DMX Processor in the show file. To configure a widget to an output port of a DMX Processor, click on the box associated with the port and select the widget from the list of serial numbers that appears. Super Widget ports will appear with the serial number followed by an output number.
5.
Click Apply or OK to confirm the selection. The widgets that have been connected should now have their Active, DMX OK and TX Mode indicators illuminated.
Some widget serial numbers will appear with red text. This indicates that the USB DMX Widget
is not compatible with Hog 4PC and must be upgraded; see Upgrading USB DMX Widgets
Tip
You can identify which widget is connected to the port by selecting the
Beacon button to the right of the port. The widget connected to that port will flash its indicator lights for a few seconds.
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Figure 31.1. Widget Outputs pane of the DMX Processor Settings window
31.3.3
USB Wings
The USB Programming and Playback Wings can be used either with or without the supplied external power supplies. If used without, the desklight and internal USB hub will not function, and LED dimming will be unavailable. All other functions will remain unaffected. The USB
Expansion wing is self powered and requires external power.
When the internal hub is active (with an external power supply connected), it operates as a self powered hub. It is therefore possible to connect high-power USB devices to the internal hub, such as the USB DMX Widget, or another Wing.
USB Wings are high-power USB devices when used without an external power supply, and so should not be connected to bus powered USB hubs unless the external power supply is connected.
Use the supplied cables to connect any Flying Pig Systems USB devices to your computer.
Windows should automatically detect and install the new hardware. This process may take a few seconds, but should not require any input from you. If this is the case, you may ignore the following section on troubleshooting.
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31.4
Operation
31.4.1
Using the Hog 4PC Interface
Hog 4PC Windows
When Hog 4PC opens the Start window will be displayed along with the splash screen. Once a show file is loaded or opened, the two Hog 4PC default screens will be displayed.
The Front Panel Interface
432
The front panel of Hog 4PC looks and behaves very similarly to the front panel of the Hog 4 console. Click on buttons to simulate pressing keys on the console. You can also click and drag to alter the various encoders or faders. In addition, when you right click on the trackball, it will illuminate blue allowing you to then left click and drag on the trackball to adjust the pan and tilt of the selected fixtures.
To hold down a single key and make another selection, simply press and hold Shift on your computer keyboard when you click the key. As long as you are holding shift, this key (and subsequent keys) will remain held down. You can then click on another key, button, cell, or encoder to access further functions.
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Right Click Menu
When right clicking in most portions of the Hog 4PC application, the following options are displayed:
• Workspaces: opens a sub-selection allowing various portions of the front panel to be displayed.
• Default Positions: restores all Hog 4PC screens to their default location on the
Windows desktop.
• Lock Front Panel Position: toggles the ability to move the Hog 4PC Front
Panel on the Windows desktop.
• Toggle Front Panel: toggles the Front Panel on/off.
• Show All: restores all Hog 4PC screens to their previous size.
• Minimize: minimizes the current Hog 4PC screen.
• Minimize All: minimizes all Hog 4PC screens.
• Maximize: maximizes the current Hog 4PC screen and hides the title bar.
• Quit: displays the exit dialog for the Hog 4PC application.
Displaying Four Hog 4PC Windows
By default, only two Hog 4PC windows are shown. However, the Hog 4PC software supports the display of three or four windows if desired. To open these windows:
1.
Setup
→
Control Panel
→
Displays : open the Displays pane of the Control
Panel; see Figure 31.2, “The Displays pane of the Control Panel”.
2.
Set the resolutions for External Monitor 1 and External Monitor 2 (which correspond to the two external displays on the Hog 4 console).
3.
Select OK .
Note that the control panel settings are system specific, so the number of screens will be retained regardless of the show file that is launched.
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Figure 31.2. The Displays pane of the Control Panel
Section 31: Installing Hog 4PC
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Section 32: Cheat Sheets
32.1
Keyboard Shortcuts
You can use an external keyboard to operate many of the Hog 4 OS's functions. This is especially useful if you are using Hog4PC.
You can toggle keyboard shortcuts on and off using the Pause or Break key on the computer keyboard. When shortcuts are enabled (known as map mode), the computer keyboard is mapped to the shortcuts; when disabled, text entry via the computer keyboard is possible. The current
status is shown in the Command Line Toolbar; see Figure 32.1, “Keyboard Status in the Command
Line Toolbar”. Whenever possible, Hog 4OS intelligently disables the keyboard shortcuts when
text entry is expected (after pressing Set or double clicking in a cell). When the text entry session is completed, the shortcuts are automatically re-enabled.
By default, shortcuts are disabled when you start a show. When shortcuts are disabled, only the shortcut mapped to the Set key remains functional to allow quick labeling from the external keyboard.
Figure 32.1. Keyboard Status in the Command Line Toolbar
The following table show how keys map to Hog 4OS functions when using a US keyboard:
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Section 32: Cheat Sheets
Function
Toggle Shortcuts
Pig
Open
Set
Record
Merge
Move
Copy
Delete
Update
Live
Time
Setup
Control
Intensity
Position
Colour
Beam
Effects
Macro
Group
Fixture
Scene
Cue
List
Page
Fan
Highlight
Blind
Clear
Next
Back
C
N
Y
F
H
B
U
V
T
S
L
R
E
M
F12
F9
F10
F8
F6
F3
F4
F7
F5
F1
Keystroke
Pause/Break or Ctrl
+ Q
CTRL
F11
F2
Function
Main GO
Main Pause
ESC or O Skip Fwd i
NumLock or Insert or Skip Back
Goto
Release
P
D or Delete
Pig + Release
Assert
Next Page
@
Full
Thru
Minus (-)
Plus (+) slash (/)
Point (.)
J
Keystroke
} or ] or Space
{ or [
K
G
Z
ALT + Z
A
: or ;
' or @
~ or #
*, > or X
- or _
= or +
/ or ?
. or >
Choose Master 1-10 ALT + 1 - 0
GO Master 1-10
Pause Master 1-10
TAB + 1 - 0
Backspace + 1-0
Undo
Redo
CTRL + Z
CTRL + Y
Visual Cut
Visual Copy
Visual Paste
Visual Select Range
Backspace
Enter
GM
Central Choose
Top Right toolbar
CTRL + X
CTRL + C
CTRL + V
CTRL + cursors backspace
Enter
\ and or |
ALT + -
Bottom Right toolbar TAB + F1 - F12
Top Left toolbar Shift + F1 - F12
ALT + F1 - F12
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Section 32: Cheat Sheets
32.2
Magic Key Combinations
Several of the functions of the Hog 4 OS can be accesed through use of the front panel key combinations and onscreen button combinations found in the tables below.
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Section 32: Cheat Sheets
Programming/Patching
Pig + Blind
Pig + Clear
Pig + Flip
Pig + Park
Pig + Touch
Pig + parameter wheels
Pig + Record
Pig + Merge
Fades Changes when blinding and unblinding
Undo
Sends fixture selection through possible flip positions in reverse order
Unparks selected fixtures, rather than parking them
Touches specified parameters and fixtures but as record ineligible
Allows fine adjustment of the wheel's value inverts the current kind masking scheme for that record operation inverts the current kind masking scheme for that merge operation
Pig + Fixture
+ + any encoder wheel
- + any encoder wheel
Tokens the word "plot" on the commandline
Sets wheel to maximum value when encoder turned clockwise or minimum value when encoder turned counter-clockwise
Inverts wheel between positive and negative values when available (ex: gobo rotation) backspace + any encoder wheel knocks out the coordinating parameter value for selected fixtures in the current active editor
. + any encoder wheel
Pig + . + any encoder wheel
Sets wheel to default value
Sets wheel to default value and mode
. + any kind button
Open + Fixture
Pig + @
Pig + I-Wheel
Sets all parameters of that kind to their default values
Opens the fixture window.
When patching with View by DP enabled, unpatches the selected fixtures
Increases/decreases intensities in proportion to their individual level.
For example, if fixture 1 is at 10%, 2 at 50% and the wheel is increased by 10%, then fixture 1 will move to 11% and 2 will move to
55%
Window Control
Pig + Open + Colour
Pig + Open + Beam
Pig + Open + Fixture
Open + backspace
Open + Thru
Opens the Colour Picker window
Opens the Media Picker window
Opens the Plots directory
Closes active window
Cycles through open windows (change focus)
Open + Full
Open + @
Open + /
Maximizes active window
Moves active window to next screen
Copies and splits active window
High End Systems
Section 32: Cheat Sheets
Open + +
Open + -
Pig + Size (on Window Control
Toolbar)
Open + 1-9
Open + 0 Opens view 10
Pig + Next (on the View Toolbar) Changes view toolbar to previous page of views, rather than next page of views
Open + first encoder wheel
Open + second encoder wheel
Vertical Window Scroll (up/down)
Horizontal Window Scroll (left/right)
Zoom (plot window only) Open + third encoder wheel
Spreadsheets
Pig + Set
Pig + arrow keys
Acts as a right mouse click
Allows for selection of multiple cell items in spreadsheets
Pig + Backspace
Sizes active window clockwise
Sizes active window counter-clockwise
Cycles through the possible window sizes in the reverse order
Opens view 1-9
Removes values from the currently highlighted cells in the Programmer or editor
Copies the contents of the currently selected cells
Pastes into the currently selected cells
Pig + Copy
Pig + Move
Directories
Pig + Set
Pig + arrow keys
Pig + button in a directory
Acts as a right mouse click
Extends directory item selection
Overrides directory Guard button
File Browser
Pig + Set
Pig + click on file
Acts as a right mouse click
Allows for selection of multiple files (Pig key is acting like control key)
Playback
Pig + Release
List + Release
Scene + Release
Pig + Main Play
Releases all active cuelists and scenes
Releases any active cuelists NOT attached to masters on the current page
Releases any active scenes NOT attached to masters on the current page
Plays all cuelists and scenes attached to masters on the current page
Pig + Main Pause
Holding choose for any physical master
Pauses all cuelists and scenes attached to masters on the current page
Allows for the adjustment of that master's playback rate, effect rate, and effect size, and intensity using the main encoder wheels
Console Debug
Pig + Open + Backspace Opens the Launched Processes window
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Section 32: Cheat Sheets
Pig + Open + 1
Pig + Open + 5
Pig + Open + Delete
Opens the Log Viewer window
Opens the debug toolbar
Restarts the console after holding this key combination for 5 seconds
Misc
Pig + Enter
Pig + Setup
Pig + Undo
Pig + text with on-screen keyboard
Redo
Acts as a shift key, to type upper case characters
Setup + first encoder wheel button
Calibrate touchscreens; quit calibration by pressing setup key
Setup + encoder wheels
Toggles the function keys between Kind Key and
Command Key mode
Toggles the worklight on and off
Pig + .
Adjustment for brightness of lcd backlights, leds on front panel keys, desklights, and worklight
Toggles slot toolbar and encoder wheel toolbar on/off
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Section 32: Cheat Sheets
32.3
Front Panel Diagrams
Figure 32.2. Programmer section of the Hog 4 front panel
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442
Figure 32.3. Playback section of the Hog 4 front panel
High End Systems
Section 33: Troubleshooting
If you are having problems with the console, try the troubleshooting procedures covered in this chapter. If you cannot rectify the problem, or you think that it is because the console is not working as it should, please contact [email protected].
33.1
Console won't startup
• If a software update has failed the console can get into a state where it either fails to start properly, or it goes immediately to the shutdown screen. A full
re-install will be necessary; see Full Install (System Restore) (p.413).
33.2
No DMX Output from Console's built-in DMX Outputs
1.
Open the control panel (setup, control panel) and select the system info tab.
Ensure the serial number of the internal DMX Widget is being reported. (For
HedgeHog consoles two DMX Widgets should be reported). If the widget serial is listed then move to step 2 and continue troubleshootng. If it is listed as "not found" then most likely the widget's power and/or USB cable has been disconnected. Access the inside of the console and confirm the widget has power and a good USB connection to the motherboard.
2.
Open the network window (setup, network) and make sure the internal DP8000 is reporting "Outputs Active". If the internal DP8000 is reported as "offline" then log off the show and click on the settings button in the start window.
Ensure that "run internal DP" is turned on and set to the appropriate net number.
Log back onto the show and check output again. If console is still not ouputting
DMX then proceed to step 3 and continue troubleshooting.
3.
Double check the patch window and ensure that fixtures are patched to the correct DP and dmx universes. This sounds like a simple thing to check but in some cases output is failing only due to a mis-patch. If the console is still not outputting dmx then proceed to step 4.
4.
Open the network window (setup, network) and click on the DP8000 to which the fixtures are patched. Click on the settings button. In the settings window navigate to the "DMX Widgets" tab. Ensure that the console's built-in dmx widget outputs are listed and assigned in this window. If they are not assigned and you have confirmed all the steps in this troubleshooting section then perform a full re-install of the Hog 4 OS.
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5.
If a you have performed all the troubleshooting steps in this section and the problem continues to persist then please contact High End Sytems technical support for further assistance.
33.3
No ArtNet Output from console's FixtureNet Port
1.
Double check the patch window and ensure that your fixtures are patched to the correct DP and the correct dmx universes. This sounds like a simple thing to check but in some cases output is failing only due to a mis-patch. If you are still not seeing ArtNet output from the console proceed to step 2.
2.
Open the network window (setup, network) and make sure the internal DP8000 is reporting "Outputs Active". It the DP8000 is being reported as "offline" then log off the show and click on the settings button in the start window.
Ensure that "run internal DP" is turned on and set to the appropriate net number.
Log back onto the show and check output again. If console is still not ouputting
Art-Net the proceed to step 3 and continue troubleshooting.
3.
Open the network window (setup, network) and click on the internal DP8000 to which the fixtures are patched. Click on the settings button. In the node settings window navigate to the "FixtureNet" tab. Ensure that the FixtureNet
IP address and subnet are set appropriately for the network. Note: If you make any changes to the FixtureNet IP address or subnet, you must log off and log back onto the show for those new IP address settings to take effect.
4.
Open the network window (setup, network) and click on the internal DP8000 to which the fixtures are patched. Click on the settings button. In the node settings window navigate to the "ArtNet" tab. Ensure that the artnet outputs are set correctly for both subnet and universe.
5.
Connect a windows computer to the network and run a software application tool such as DMX Workshop. These kinds of software applications allow you to see artnet streams on the network and can be used to further help in detecting where the problems might be occurring.
6.
If a you have performed all the troubleshooting steps in this section and the problem continues to persist then please contact High End Sytems technical support for further assistance.
33.4
The console appears to have crashed or frozen
Hog 4OS runs as a series of separate ‘processes’ that can start and stop individually. Often, when the console appears to have crashed or frozen, it is only one process that is causing the problem, while the rest of the processes are still running normally. In particular, an editor or the desktop
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Section 33: Troubleshooting
may crash, while playback continues normally. Before restarting the entire console, therefore, you should see if the problem can be cured by restarting the individual process:
1.
Pig + Open + Backspace
: open the Launched Processes window; see Fig-
ure 33.1, “The Launched Processes window”.
2.
Kill processes that are not responding by right clicking on them and selecting
Kill .
3.
Restart the process by right clicking and selecting Restart . An exception is the Editor process which will disappear when killed; you can restart it by reopening the Programmer or an editor window.
33.5
Console isn't talking to DMX Processors
1.
Check that the display on the DMX Processor shows ‘Outputs Active’. If it does not, then see if it is in the process of getting the show data or connecting, or crashed. if it has crashed, restart it by disconnecting the mains power, waiting a few moments, and reconnecting it.
2.
Check the network cabling. The
Link light will be lit on the DMX Processor if the correct connection has been made.
3.
Check the network settings. The DMX Processor and console both need to be on the same subnet.
4.
Check the port number setting. The DMX Processor and console both need
to have the same Port Number. See HogNet Network (p.64).
5.
Check the software. The DMX Processor and console both need to be running
the same version of the software; see Updating the DMX Processor Software
33.6
Playback controls don't behave as expected
• Check that the playback controls haven't been mapped to different functions
to their normal ones. See Configuring Playback Controls (p.294).
33.7
The Front Panel Reboots Unexpectedly
Care should be taken when transmitting a personal radio while in close proximity to a console front panel. Always keep radio transmitting devices at least eight inches from the console surface.
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Section 33: Troubleshooting
Figure 33.1. The Launched Processes window
In the event of a radio transmitting within close proximity of the console, the front panel firmware may reboot causing a temporary loss of control of the keys and hardware for approximately 20 seconds. During this time the desk lights may dim as well. After 20 seconds the front panel will reboot and normal functionality will be restored. If the problems persist, move the radio transmitting device further from the console.
33.8
How to Report Problems to Support
When reporting problems with the console (known as “bugs”) it is important that the information you provide is as clear and detailed as possible to ensure that the problem can be fixed. Please follow the guidelines below.
Please report bugs to:
24/7 phone support: +1-800-890-8989
http://forums.highend.com
33.8.1
Reporting Problems with the Console
Please include the following information in your bug report:
1.
The piece of hardware that exhibited the problem, including the version number of the software being used.
2.
The actions taken that induce the problem in the first place, including whether the problem is repeatable using the same actions.
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Section 33: Troubleshooting
3.
The symptoms of the problem.
4.
The network configuration of system.
• The type and number of Hog console systems in use
• How many DMX Processors and MIDI/Timecode Processors.
• What sort of routers/hubs are being used.
• Other PC's or applications (such as Artnet, ETCNet, Web
Servers, and so on) that are sharing the same network.
Once a problem has been reported it will often be necessary for the support team at Flying Pig
Systems to clarify some of the details and obtain additional information. Typically this ends up with a request for a copy of the show, so a backup of the show should be transferred to a PC where it can be mailed to [email protected].
Tip
The version number of the software installed on your console can be found on the System Info pane of the Control Panel window.
33.8.2
Reporting Problems with Hog 4PC
In the event of a failure with Hog 4PC, it is important to provide as much information as possible.
Different computer configurations, other applications, and additional hardware may all have unexpected results. When reporting errors, please provide the following information:
• Name
• Date
• Hog 4PC software version and build number
• Operating system
• Computer specifications
• Number of displays
• Connected USB devices
• Networked devices
• Other running applications
• Detailed description of the problem including instructions to reproduce (if possible) and the exact syntax used
• List of any errors reported by the software
If Hog 4PC crashes or fails, it will output a .dmp file in the application directory, for example
‘C:\Program Files\Flying Pig Systems\Hog4PC’ (if you accepted the default location when you installed Hog 4PC). Please send this .dmp file along with your bug report to support@flying-
pig.com.
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Section 33: Troubleshooting
33.8.3
Reporting Problems with the User Manual
Please include the following information in your bug report:
1.
The nature of the problem:
• Missing information.
• Incorrect information.
• Unclear or ambiguous information.
• Unable to find information in the index.
2.
The section number where the problem is.
3.
The version number of the manual. In printed and PDF editions, you can find this on the title page at the start of the manual. The on-line help within the console shows the version on the main contents page; you can go to this page by clicking ‘home’ at the bottom of any page.
33.8.4
About Software Version Numbering
The software version number is made up of four parts: the major version number, the minor version number, the current release number, and the build number. For example: v1.2.3 b512 : 1 is the major number, 2 is the minor version number, 3 is the current release, and 512 is the build
33.8.5
About Beta Software
As new releases of Hog 4OS are developed, High End Systems relies on input from console users. If you are interested in learning more about the High End Systems Software Testing Program, please visit www.flyingpig.com.
448 High End Systems
Section 34: Service
All Hog 4 family consoles must be serviced by a qualified service technician. The information in this section is intended to assist qualified personnel only.
34.1
Replacing the Screens
!
Caution
Always shut down and disconnect the mains power before removing the front panel.
Damaged screens are easily replaced:
1.
With the LCD box in the horizontal (flat) position undo the six screws surrounding the screen using a 3mm allen key.
2.
Carefully remove the front metal work and Soft Key strips (soft key strips are on Hog 4 Console Only).
3.
With the LCD box in the vertical (upright) position undo the eight scews on the back panel of the screen assembly using a 3mm allen key. Remove the back panel metal work. (This entire step for Hog 4 Console Only)
4.
With the back panel removed carefully remove the eight screws on the back of the LCD assembly using a 3mm allen key. Make sure you have somebody hold the screens from the front of the console while you do this. (This entire step is for Hog 4 Console Only)
5.
Lift the screens from the console and unplug the cables from behind.
6.
Replace with a new screen assembly by performing previous steps in reverse.
34.2
Replacing Faders
This section covers how to replace the faders on Hog 4, Full Boar 4, Playback Wing 4, RoadHog
4, and NanoHog4.
NOTE: Faders cannot be replaced on the HedgeHog console as they are soldered to the mainboard.
!
Caution
Always shut down and disconnect the mains power before removing the front panel.
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Section 34: Service
34.2.1
Replacing faders on Hog 4, Full Boar 4, and Playback Wing 4
1.
Pull off the fader handles for the fader that you wish to replace.
2.
Undo the four front panel screws with a 3mm allen key (plus the two thumb screws in the armrest on the Hog 4 console) , and carefully lift off the front panel from the edge closest to you.
3.
Gently unplug the fader's cable lead from the main board.
4.
Unscrew the fader's two front panel screws from the top side of the front panel using a 2mm allen key and remove the fader.
5.
Fit the new fader in place ensuring that it sits completely flat against the PCB.
6.
Connect the new fader's cable led to the main board.
7.
To re-assemble follow disasembly steps in reverse order.
34.2.2
Replacing faders on RoadHog 4 and NanoHog 4
1.
Remove each of the 10 fader handles from the front panel of the console.
2.
Loosen the setscrews inside each of the four encoder wheels using a 5/64” allen key and gently remove each of the four encoder wheels.
3.
Remove the four front panel screws with a 3mm allen key (if on a Nano Hog
4, also remove the additional two screws on the back of the front panel), and carefully lift off the front panel from the edge closest to you.
4.
Remove the 16 hex-head crosshead screws from the backside of the front panel (if on a Nano Hog 4, 15 hex-head crosshead screws) using either a P2 crosshead screwdriver or a (6.5 mm) nut driver.
5.
Remove the 4 small crosshead screws with a P1 crosshead screwdriver.
6.
Identity which fader you wish to remove and gently unplug it's cable lead from the main board.
7.
Press the black plastic clips on the fader from the backside of the main board.
8.
Remove desired fader.
9.
Replace fader and re-assemble the console by following the disassembly steps in reverse order.
34.3
Cleaning Faders
Faders are often unnecessarily discarded when all they need is a cleaning. This section will cover how to clean the faders on all of the consoles in the Hog 4 family.
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Section 34: Service
34.3.1
Cleaning faders on Hog 4, Full Boar 4, and Playback Wing 4
1.
Remove the dirty fader. See Replacing Faders (p.449).
2.
Wipe the tracks with a dry, clean tissue. Do not use solvents.
3.
Replace the cleaned fader. See Replacing Faders (p.449).
34.3.2
Cleaning faders on RoadHog 4 and NanoHog 4
1.
Remove each of the 10 fader handles from the console.
2.
Loosen the setscrews inside each of the four encoder wheels using a 5/64” allen key and gently remove each of the four encoder wheels.
3.
Remove the four front panel screws with a 3mm allen key (if on a Nano Hog
4, also remove the additional two screws on the back of the front panel), and carefully lift off the front panel from the edge closest to you.
4.
Remove the 16 hex-head crosshead screws on the backside of the front panel
(if on a Nano Hog 4, 15 hex-head crosshead screws) with either a P2 crosshead screwdriver or a (6.5mm) nut driver.
5.
Remove the 4 small crosshead head screws with a P1 crosshead screwdriver.
6.
Wipe the tracks with a dry, clean tissue. Do not use solvents.
7.
Re-assemble the console by following the disassembly steps in reverse order.
34.3.3
Cleaning faders on HedgeHog 4
1.
Remove each of the 10 fader handles from the console.
2.
Remove the 10 front panel screws with a 3mm allen key and carefully lift off the front panel from the edge closest to you.
3.
Unplug the ribbon cable that connects the left main board to the right mainboard.
4.
Remove the 12 hex-head crosshead screws on the backside of the left mainboard with either a P2 crosshead screwdriver or a (6.5mm) nut driver.
5.
Wipe the tracks with a dry, clean tissue. Do not use solvents.
6.
Re-assemble the console by following the disassembly steps in reverse order.
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Section 34: Service
34.4
Replacing the Trackball
!
Caution
Always shut down and disconnect the mains power before removing the front panel.
To replace the Trackball on a Hog 4 or Full Boar 4 console:
1.
Undo the four front panel screws with a 3mm allen key (plus the two thumb screws in the armrest on the Hog 4 console) , and carefully lift up the front panel from the edge closest to you and insert into service slot.
2.
Look undermeath the front panel and locate the cable connection that connects the Trackball to the PCB. Unplug this connection.
3.
Unscrew the 3 allen screws that hold the Trackball to the front panel (use a
3mm allen key). You should now be able to remove the trackball from the console.
4.
Replace with a new trackball assembly and reassemble your console by performing this procedure in reverse.
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Section 35: Safety Information
35.1
Safety Warnings
35.1.1
For Continued Protection Against Fire
• Only connect this equipment to a branch circuit having a maximum overload protection of 20 A.
35.1.2
For Continued Protection Against Electric Shock
1.
If this equipment was received without a line cord plug, attach the appropriate line cord plug according to the following code:
• brown - live
• blue - neutral
• green/yellow - earth
2.
As the colours of the cores in the mains lead of this equipment may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:
• the core which is coloured green and yellow must be connected to the terminal in the plug which is marked with the letter
E or by the earth symbol , or coloured green or green and yellow.
• the core which is coloured blue must be connected to the terminal which is marked with the letter N or coloured black.
• the core which is coloured brown must be connected to the terminal which is marked with the letter L or coloured red.
3.
Class I equipment. This equipment must be earthed.
4.
Equipment suitable for dry locations only. Do not expose this equipment to rain or moisture.
5.
Disconnect power before servicing.
6.
Refer servicing to qualified personnel; no user serviceable parts inside.
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Section 35: Safety Information
35.2
Informations Importantes Sur La Sécurité
35.2.1
Pour Une Protection Permanente Contre Les Incendies
• Cet appareil comporte une protection de 20 A contre les surcharges électrique.
35.2.2
Pour Une Protection Permanente Contre Les Chocs Électriques
1.
Si cet équipement est livré sans prise sur le câble d'alimentation, veuillez connecter la prise de courant selon le code suivant:
• marron - phase
• bleu - neutre
• vert/jaune - terre
2.
Débrancher le courant avant d'effectuer des réparations.
3.
Cet équipement doit être uniquement utilisé dans des endroits secs. Ne pas l'exposer à la pluie ou l'humidité.
4.
À l'intérieur de l'équipement il n'y a pas de pièces remplaçables par l'utilisateur.
Confiez l'entretien à un personnel qualifié.
5.
Equipement de Classe I. Cet équipement doit être mis à la terre.
35.3
Wichtige Hinweise Für Ihre Sicherheit
35.3.1
Zum Schutz Vor Brandgefahr
• Dieses Gerät darf nur an eine Zweigleitung mit einem Überlastungsschutz von höchstens 20 A angeschlossen werden.
35.3.2
Zum Schutz Gegen Gefährliche Körperströme
1.
Wenn dieses Gerät ohne einen Netzkabelstecker erhalten wurde, ist der entsprechende Netzkabelstecker entsprechend dem folgenden Code anzubringen:
• Braun - Unter Spannung stehend
• Blau - Neutral
• Grün/Gelb - Erde
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Section 35: Safety Information
2.
Da die Farben der Leitungen im Hauptanschluss möglicherweise nicht mit den farbigen Markierungen die die Anschlussklemmen identifizieren übereinstimmen, fahren sie wie folgt fort:
• Die Grün und Gelb gefärbte Leitung muss im Stecker mit der mit dem Buchstaben E oder dem Erde Symbol markierten
, oder der Grün und Gelb gefärbten Anschlussklemme verbunden werden.
• Die blau gefärbte Leitung muss mit der mit dem Buchstaben
N oder der Schwarz gefärbten Anschlussklemme verbunden werden.
• Die Braun gefärbte Leitgun muss mit der mit dem Buchstaben
L markierten oder rot gefärbten Anschlussklemme verbunden werden.
3.
Dieses Gerät gehört zur Klasse I. Dieses Gerät muß geerdet werden.
4.
Diese Geräte sind nur zum Einbau in trockenen Lagen bestimmt und müssen vor Regen und Feuchtigkeit geschützt werden.
5.
Vor Wartungsarbeiten stets den Netzstecker ziehen.
6.
Servicearbeiten sollten nur von Fachpersonal ausgeführt werden. Das Gerät enthält keine wartungsbedürftigen Teile.
35.4
Información Importante De Seguridad
35.4.1
Para Protección Continua Contra Incendios
• Este equipo debe conectarse a un circuito que tenga una protección máxima contra las sobrecargas de 20 A.
35.4.2
Para La Protección Continua Contra Electrocuciones
1.
Si se recibió este equipo sin el enchufe de alimentacion, monte usted el enchufe correcto según el clave siguente:
• moreno - vivo
• azul - neutral
• verde/amarillo - tierra
2.
Desconecte el suministro de energía antes de prestar servicio de reparación.
3.
Este equipo se adecua a lugares secos solamente. no lo exponga a la lluvia o humedad.
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Section 35: Safety Information
4.
Derive el servicio de reparación de este equipo al personal calificado. El interior no contiene repuestos que puedan ser reparados por el usuario.
5.
Equipo de Clase I. Este equipo debe conectarse a la tierra.
35.5
Importanti Informazioni Di Sicurezza
35.5.1
Per Prevenire Incendi
• Questa apparecchiatura e' da collegarsi ad un circuito con una protezzione da sovraccarico massima di 20 amperes.
35.5.2
Per Prevenire Le Scosse Elettriche
1.
Se questa apparecchiatura è stata consegnata senza una spina del cavo di alimentazione, collegare la spina appropriata del cavo di alimentazione in base ai seguenti codici:
• marrone - sotto tensione
• blu - neutro
• verde/giallo - terra
2.
Disinnestare la corrente prima di eseguire qualsiasi riparazione.
3.
Questa apparecchiatura e' da usarsi in ambienti secchi. Non e' da essere esposta ne alla pioggia ne all' umidita'.
4.
Per qualsiasi riparazione rivolgersi al personale specializzato. L' utente non deve riparare nessuna parte dentro l' unita'.
5.
Aparecchio di Classe I. Questa apparecchiatura deve essere messa a terra.
35.6
Vigtig Sikkerhedsinformation
Advarsel: Beskyttelse mod elektrisk chock.
VIGTIGT! LEDEREN MED GUL/GROEN ISOLATION MAA KUN TILSLUTTES KLEMME
MAERKET ELLER .
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Section 35: Safety Information
35.7
安全に関する情報
35.7.1
警告: 火災からの継続的な保護の為に
•
この装置には分岐回線への接続の為の最大 20 A の過負荷防止機構を
持っています。
35.7.2
警告: 感電に対する継続的な保護の為に
1.
プラグの付いていない状態でこの装置を受け取った場合は、以下の
コード表にしたがって、適切にプラグを取り付けて下さい。:
• Brown(茶色) - Live(ライブ)
• Blue(青) - Neutral(ニュートラル)
• Green/Yellow(緑/黄色) - Earth(アース)
2.
ここで説明されている各部品に関する色があなたの持っているプラグ
の端末の色と対応していない場合があります。以下にしたがって接続
して下さい。:
• Green/Yellow(緑/黄色)のケーブルを、プラグの端末
に E もしくは アースのシンボル の表記のある物に
接続するか、Green/Yellow(緑/黄色)の物に接続して
下さい。
• Blue(青)のケーブルを、プラグの端末に N が表記さ
れた物もしくは 黒に塗られた物に接続して下さい。
• Brown(茶色)のケーブルを、プラグの端末に L が表
記された物もしくは 赤に塗られた物に接続して下さ
い。
3.
この装置は Class I 機器です。この為この装置はアースしなければな
りません。
4.
この装置は乾燥した状態でのみ使用出来ます。この装置を雨又は湿気
にさらさないで下さい。
5.
修理点検を行う場合は事前に電源を切り離して下さい。
6.
整備点検の項目 は資格を持った技師の為の物です。; ユーザーによっ
て修理点検を行えるパーツは存在していません。
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Section 36: Technical Specifications
36.1
Hog 4 Console
36.1.1
Input and Output Connections
From right to left when viewing the console from the back:
Mains in:
MIDI in,out,thru:
LTC In:
DVI out:
Ethernet:
USB:
DMX out:
Keyboard:
V-Lock style locking IEC 320 connector (5A/250V rated cable supplied)
90-250V, 50/60Hz, 2A maximum
1 x 5x20mm 5A T fuse
Musical Instrument Digital Interface input, output, and thru ports
3-pin XLR Linear Timecode Input
3 x DVI-I single link female connectors
2 x Neutrik Ethercon; Gigabit Ethernet port
Universal Serial Bus 2.0 ports (6 rear, 1 inside front utility tray, 1 inside armrest)
8 x Neutrik 5 pin female XLR Galvanized Isolated
Built-in Miniature QWERTY keyboard
36.1.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions with Screen
Down:
Dimensions with Screen
Up:
300W
75 lbs (34 kg)
40.5” wide x 28.49” (723.7mm) deep x 6.49” (164.75mm) high
40.5” (1028.7mm) wide x 28.49” (723.7mm) deep x 16.43”
(417.39mm) high
36.2
RackHog 4 Console
36.2.1
Input and Output Connections
From right to left when viewing the console from the back:
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Section 36: Technical Specifications
Mains in:
MIDI in,out,thru:
LTC In:
Video Out:
Ethernet:
USB:
DMX out:
IEC 320 connector (5A/250V rated cable supplied)
100-250V, 50/60Hz, 5A maximum
Musical Instrument Digital Interface input, output, and thru ports
3-pin XLR Linear Timecode Input
1 x DVI-D / 1 x VGA (only 1 can be used at a time)
2 x Neutrik Ethercon; Gigabit Ethernet port
Universal Serial Bus 2.0 ports (2 rear, 2 front)
8 x Neutrik 5 pin female XLR Galvanized Isolated
36.2.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
300W
21 lbs (9.52 kg)
19” (485mm) wide x 16.5” (421.5mm) deep x 5.2”
(132.36mm) high
36.3
Full Boar 4 Console
36.3.1
Input and Output Connections
From right to left when viewing the console from the back:
Mains in:
DVI out:
USB:
Ethernet:
LTC In:
MIDI in,out,thru:
DMX Out:
Keyboard:
IEC 320 connector (5A/250V rated cable supplied)
100-240V, 50/60Hz, 5A maximum
2 x 24 pin DVI-D single link female connectors
Universal Serial Bus 2.0 ports (4 rear)
Universal Serial Bus 3.0 ports (1 top)
2 x Neutrik Ethercon; Gigabit Ethernet port
3-pin XLR Linear Timecode Input
Musical Instrument Digital Interface input, output, and thru ports
4 x Neutrik 5 pin female XLR
Not included (Generic Class USB keyboards Supported)
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Section 36: Technical Specifications
36.3.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
500W
45 lbs (20.41 kg)
35.49” (901.19mm) wide x 22.65” (575.36mm) deep x
9.62” (244.34mm) high
36.4
Road Hog 4 Console
36.4.1
Input and Output Connections
From right to left when viewing the console from the back:
Mains in:
Video out:
USB:
Ethernet:
DMX out:
Keyboard:
IEC 320 connector (5A/250V rated cable supplied)
100-240V, 50/60Hz, 5A maximum
1 x DVI-D / 1 x VGA (only 1 can be used at a time)
3 x Universal Serial Bus 2.0 ports (2 rear, 1 front)
2 x Universal Serial Bus 3.0 ports (2 rear)
2 x Gigabit base-TX Ethernet port
4 x Neutrik 5 pin female XLR
Not included (Generic Class USB keyboards Supported)
36.4.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
500W
38.6 lbs (17.5 kg)
26.7” (678.18mm) wide by 27.61” (701.32mm) deep by
8.10” (205.8mm) high
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36.4.3
Back Panel Drawing
Section 36: Technical Specifications
Figure 36.1. Back panel of RoadHog 4 Console
36.5
Hedge Hog 4 Console
36.5.1
Input and Output Connections
From right to left when viewing the console from the back:
Mains in:
USB:
Ethernet:
DMX out:
Keyboard:
IEC 320 connector (5A/250V rated cable supplied)
100-240V, 50/60Hz, 2.5 A maximum
2 x Universal Serial Bus 2.0 ports (rear)
1 x Gigabit base-TX Ethernet port
2 x Neutrik 5 pin female XLR
Not included (Generic Class USB keyboards Supported)
36.5.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
250W
17 lbs (7.7 kg)
20.74” (526.8mm) wide by 21.83” (554.37mm) deep by
3.97" (100.78mm) high
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Section 36: Technical Specifications
36.6
Hedge Hog 4 Console (Jan 2015 and later)
36.6.1
Input and Output Connections
From right to left when viewing the console from the back:
Mains in:
Video Out:
USB:
Ethernet:
DMX out:
Keyboard:
IEC 320 connector (5A/250V rated cable supplied)
100-240V, 50/60Hz, 2.5 A maximum
1 x DVI-D / 1 x VGA (only 1 can be used at a time)
2 x Universal Serial Bus 2.0 ports (rear)
2 x Universal Serial Bus 3.0 ports (rear)
2 x Gigabit base-TX Ethernet port
2 x Neutrik 5 pin female XLR
Not included (Generic Class USB keyboards Supported)
36.6.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
250W
17 lbs (7.7 kg)
20.74” (526.8mm) wide by 21.83” (554.37mm) deep by
3.97" (100.78mm) high
36.6.3
Back Panel Drawing
Figure 36.2. Back panel of HedgeHog 4 Console Manufactured 2015 and later
36.7
Nano Hog 4 Console
36.7.1
Input and Output Connections
From right to left when viewing the console from the back:
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Section 36: Technical Specifications
Mains in:
USB:
DMX Out:
External DC Power Supply (5.5A/12V)
100-240V, 50/60Hz, 1.5A maximum
Type B USB Input Socket
Universal Serial Bus 2.0 ports (2 rear)
4 x 5-pin XLR DMX Outputs (when DMX output kit is installed)
36.7.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
5W
18.1 lbs (8.21 kg)
26.7” (678.18mm) wide by 13.76” (349.52mm) deep by
3.54” (89.85mm) high
36.8
DMX Processor 8000
36.8.1
Input and Output Connections
Mains in:
DMX out:
Ethernet:
Expansion:
V-Lock style locking IEC 320 connector
100-240V, 50/60Hz, 4A maximum
Neutrik 5 pin female XLR
Isolated, Half Duplex DMX512 outputs (x8)
EtherCon
Gigabit Ethernet port (x2)
USB-A 2.0 High Speed (x2)
36.8.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
200W
2.7Kg
480mm (w) x 280mm (d) x 45mm (h)
1U, 19 inch rack compatible
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Section 36: Technical Specifications
36.9
Playback Wing 4
36.9.1
Input and Output Connections
Mains in:
Digital video in:
USB:
Built-in Power Supply with IEC 320 connector
100-240V, 50/60Hz, 1.5A maximum
DVI-D connector
Type B USB input socket
USB-A 2.0 High Speed (x2)
36.9.2
Power, Weight and Dimensions
Power:
Weight:
Dimensions:
75W
27.6 lbs (12.51 kg)
20.14” (511.56mm) wide by 24.02” (610.05mm) deep by
9.62” (244.34mm) high
36.9.3
Performance
Display:
Native resolution:
Input frequency:
Contrast ratio:
Viewing angle:
Response:
Brightness:
15.6" Diagonal active matrix TFT LCD
1366 x 768
31.5 - 80 kHz (H), 56-75 Hz (V)
500:1 (typical)
160 x 160 degrees (typical)
80 ms (typical)
300 cd/m2 (typical)
36.10 Master Wing 4
36.10.1 Input and Output Connections
Mains in:
Digital video in:
USB:
Built-in Power Supply with IEC 320 connector
100-240V, 50/60Hz, 1.5A maximum
DVI-D connector
Type B USB input socket
USB-A 2.0 High Speed (x2)
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Section 36: Technical Specifications
36.10.2 Power, Weight and Dimensions
Power:
Weight:
Dimensions:
75W
27.2 lbs (12.33 kg)
20.14” (511.56mm) wide by 24.02” (610.05mm) deep by
9.62” (244.34mm) high
36.10.3 Performance
Display:
Native resolution:
Input frequency:
Contrast ratio:
Viewing angle:
Response:
Brightness:
15.6" Diagonal active matrix TFT LCD
1366 x 768
31.5 - 80 kHz (H), 56-75 Hz (V)
500:1 (typical)
160 x 160 degrees (typical)
80 ms (typical)
300 cd/m2 (typical)
36.11 Hog 4PC
Processor: 1.8 GHz Dual Core CPU or faster
Supported Operating Systems:
Windows Vista (32-bit or 64-bit / SP2 or greater); Windows
7 (32-bit or 64-bit / SP1 or greater); Windows 8 (32-bit or
64-bit); Windows 8.1 (32-bit or 64-bit)
Memory:
Hard Disk Space:
2GB
5 GB of free disk space
Screen Resolution: 1024x768 or higher-resolution monitor
For larger shows, using a more powerful processor is advisable. Please ensure that you are using the most up-to-date drivers for your graphics card.
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Glossary
1
10 Base-T
A
B
100 Base-T blocking cue buddying button
An older flavour of Ethernet that is slower (10 MBits per second) than the 100 Base-T used by Hog components. If connected to other equipment that only supports this flavour, then Hog components will automatically detect this, and run their Ethernet connections at this slower speed.
A flavour of Ethernet that supports data rates of up to 100 MBits per second. All Hog components support this flavour of Ethernet, and comply with all relevant standards, so networking equipment designed for
100Base-T should be compatible with the Hog.
abstraction layer Hog 4OS separates (‘abstracts’) the user from the details of how fixtures work. For example, most values are expressed in real world values such as degrees of rotation, rather than DMX values.
A blocking cue prevents changes made to earlier cues from tracking through to later cues.
During fanning, buddying keeps fixtures in ‘gangs’ that all take the same parameter value.
An on-screen control operated by clicking with the mouse or trackball or touching the screen. In this manual the work "key" is reserved for hardware buttons on the console's front panel.
C
cell chase
CITP command keys
A single rectangle in a spreadsheet, containing a value.
A series of cues, that run automatically, connected with link and delay attributes.
Controller Interface Transfer Protocol: a protocol used by the Hog 4 OS to supply the media picker with thumbnail previews of content on connected Media Servers
User-created single button executers that trigger existing show objects.
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D
Glossary
command line conversion curve crossfade cue cuelist
A method of entering information into the Programmer, using the numerical keypad and the @ button.
A curve that defines the relationship between the plotted parameter value and the DMX value sent to the dimmer or fixture. Conversion curves are like dimmer curves or profiles on other consoles, and should not be confused with paths. Conversion curves are properties of the fixture, while the path is a property of a cue.
A transition between two cues, one replacing the other.
A look on stage, achieved through the manipulation of fixture parameters recorded as part of a cue list. A cue requires a trigger, either manual or automatic, and has attributes such as fade, wait and delay times.
See Also scene, fade time, wait time, delay time.
A group of cues that run in a specific order consecutively, or even simultaneously. These may be automatically linked to form a chase, or manually triggered. A cuelist is run from a master.
dbo default value delay time desk channel
DHCP dimmer curve directory
DMX dead black out
A parameter value which has not been adjusted by the user. This value is assigned by the fixture's Library, and may not always be zero. For example, the default value of Shutter Open/Strobe Off may be Open.
See Also touched value, tracking.
The time the console waits before starting a cue's crossfade.
See Also wait time, crossfade, path .
Single conventional lights that only have intensity control via a dimmer are defined as desk channels by Hog 4OS. By contrast, automated lights are referred to as fixtures.
Dynamic Host Configuration Protocol is a way for a computer to ask a master computer on a network to assign it an IP address when it connects.
Many existing networks are configured this way, and Hog 4OS supports this system. You should talk to the administrator of the network you want to connect to to find out more.
See Also ethernet, IP address.
A window which displays palettes, scenes or groups.
Short for DMX 512, DMX is the communications protocol most commonly used to connect lighting consoles to fixtures and dimmers.
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Glossary
DMX address
DMX universe
DMX Processor
A number between 1 and 512 that identifies a controllable parameter of a fixture. Each fixture or group of dimmers has a ‘start address’, the first of the range of DMX addresses that it uses.
A single DMX output with 512 channels is known as one DMX universe.
A Hog network may support many universes each with fixture addresses between 1 and 512.
A nineteen inch, rack mounted network node that distributes DMX output.
There may be many DMX Processors within a lighting control network.
E
editor effects engine encoder wheel ethernet
A window for editing the contents of cues, scenes, groups or palettes.
The Hog 4OS effects engine provides the opportunity to create movement sequences. The engine contains library shapes, whilst allowing for custom effects to be created.
A defined way of connecting computer equipment together. It comes in a variety of flavours.
See Also 10 Base-T, 100 Base-T, IP address.
F
fade time fanning fixed kind fixture library function
High End Systems
Time in which fixtures crossfade between the parameter levels of two cues - one incoming, one outgoing.
See Also split fade, in time, out time.
A way of quickly assigning fixture parameters to an evenly spaced range of values. For example, you could use fanning to assign the intensity of
10 fixtures to 10%, 20% ... 90%, 100% in a single operation.
Fixed kinds are the default collections of functions that collectivity contain all of the fixture functions used in your show. There are 7 fixed kinds:
Intensity, Position, Colour, Beam, Effects, Time, and Control. The fixed kinds are represented by dedicated front panel buttons and onscreen menus
A data file that contains details of a fixture's parameters, required so that
Hog 4OS ‘understands’ how the fixture works and what it can do. The fixture libraries are an important part of making the console's abstraction layer work.
469
Glossary
G
H
I
gamut gobo graphical user interface group
GUI
The range of colours that a fixture is capable of producing. Each fixture type has its own gamut.
Image placed within the optical system of the fixture, projected onto lit object. Also known as a pattern.
A way of displaying information, and allowing the user to work with it, in a visual form. Most personal computers use a GUI with windows, buttons and a pointer.
pre-recorded fixture selections, complete with selection order information stored in the group directory. Groups allow the quick selection of multiple fixtures, and, like ordinary fixture selections, can be combined and manipulated in a variety of ways.
hard value
HID Mode
HTP hue
I-Wheel in time
The output of a master running a cuelist is a mix of hard and soft parameter values. Hard values are those that are in the current cue, while soft values are those that have tracked through from previous cues.
A special mode for the console front panel that allows it to be used as a keyboard during a full software install. Pig + Fan+ Up Cursor Key puts the front panel into HID Mode. Pig + Fan+ Down Cursor Key takes the front panel out of HID Mode and puts it back into Hog mode.
Highest Takes Precedence. In this system of operation, the highest value assigned for a parameter is the one that applies. A fixture can be in cues on two masters, and the highest level of the two will be the one seen.
HTP is only relevant to intensity parameters where the idea of ‘highest’ has meaning.
The colour (pigment) element of colour notation.
The I-Wheel on the right hand side of the console is used to control fixture intensity.
The time of the fade up of the incoming cue during a crossfade. All fixtures that are increasing in intensity will come up over this time.
See Also split fade, path , fade time.
470 High End Systems
Glossary
inhibitive submaster A master that sets a maximum level on a group of fixtures. If the master is at 80%, then the fixtures will never come above 80% in the console's output.
IP address On an Ethernet network, each Hog component has an address, called an
IP address, used to identify it. You can usually use the default addresses, but if you are connecting to an existing network you may need to specify a different address, according to how your network is configured.
K
key kinds knockout
A physical button on the console's front panel. The manual reserves the word "button" for buttons that appear on screen.
Kinds are collections of fixture functions organized into wheelsets. Kinds are stored in the kinds directory and exist in two different forms: fixed kinds and user kinds.
See Also fixed kind, user kind.
Knocking out is the process of removing fixtures from the Programmer window, so that they will not be recorded into cues.
L
LTP Latest Takes Precedence. In this system of operation, the most recent instruction to assign the value of a parameter is the one that applies. A cue run on one master can take control of fixtures set by a cue in another master.
M
maintain state mask master master wing
High End Systems
The Hog 4OS's Maintain State feature eliminates the common problem with tracking, where playing back cues out of order results in incorrect lighting states on stage.
A method of selecting information that is specific to a palette, fixture, cue, scene or group, when recording, making selections, editing, programming, or playing back cues/scenes. For example the fixed function kinds can be used to mask which function kinds (intensity, position, colour and beam) get record into a cue or palette.
"Master" is a generic term that can be used to refer to any cuelist, scene, or chase in the show. When a cuelist, scene, or chase is assigned to one of the choose keys on the console it is know as a "physical master"; otherwise it is referred to as a "virtual master".
A Hog accessory that increases the number of physical masters available on the console by 30.
471
Glossary
media picker
A graphic user interface window that displays selectabled thumnbail previews of slotted content for the current fixture selection
MIDI
MIDI Show Control Subset of MIDI used in the entertainment industry for integrated control of lighting, sound and stage automation.
modifier A key that is used in conjunction with other keys or buttons, to change the effect that it has. For example, the Pig key.
multicast
Musical Instrument Digital Interface. Allows communication of musical notes, programmes and timing data between electronic instruments and other devices such as lighting consoles.
A network protocol or language that computers use to talk to each other over Ethernet. Hog 4OS uses this standard protocol, which means that it can safely be connected to other networks of computers and will not interfere with them. For show-critical situations you should run Hog system on its own independent network.
N
O
P
net number node
The number that identifies the console when it is operating as part of a network.
Network nodes are items of equipment connected to the network. Consoles, DMX Processors and Hog 4PC systems are all nodes.
on stage open sound control
(OSC) out time
The output of the console; more specifically, the fixtures that have nonzero intensities.
a protocol for communication among computers, sound synthesizers, and other multimedia devices that is optimized for modern networking technology.
The time of the fade of the outgoing cue during a crossfade. All fixtures that are decreasing in intensity will go down over this time.
See Also split fade, path , fade time.
page A preset arrangement of cuelists residing on the masters. Pages can be changed allowing masters to be used by many cuelists.
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Glossary
palette parameter
Parameter Wheel patch patch point path pig key pile on pixelMap pixelmap Layer playback wing plot point cue port number
A stored parameter setting, such as position, for one or more fixtures.
Fixtures of different make or type may share the same palette.
A controllable property of the light produced by a fixture. For example a fresnel has one attribute: intensity. Moving fixtures have pan and tilt parameters and perhaps colour, beam shape, and so on.
A wheel that facilitates the control of fixture parameters. Parameter
Wheels are fixture sensitive: once loaded from the fixture library, parameters are allocated logically to the wheels.
The assignment of DMX addresses to fixtures.
The set of information that defines where a fixture is patched, including
DMX address, DMX universe, and DMX Processor. Some fixtures have multiple patch points.
See Also DMX, DMX address, DMX Processor.
A way of defining the way that a parameter changes during a fade. You could assign a path that makes the fixture parameter snap to its final value at the start of the fade, for example. Paths should not be confused with conversion curves; paths are the properties of a cue, while a conversion curves is the property of a fixture.
See Also fade time, conversion curve.
The Pig button is a modifier key, and may be used in conjunction with other keys to alter their function.
A system where new objects are added to previous ones, rather than replacing them. Hog 4OS can be assigned to pile on desktop views, so that new windows are opened but ones from the previous view are not closed.
recangular plot objects which can be used to map the pixels of rich media content (photos and videos) onto lighting fixtures through a process known as PixelMapping.
programmable fixtures that are used to send media content to PixelMaps.
A Hog accessory that increases the number of physical masters available by 10.
a user created graphical layout that contain programable objects such as fixtures and PixelMaps. Plots can be used to select fixtures, gather fixture feedback, and apply PixelMapping values to fixtures.
A cue who's number contains a decimal point. Point cues are initially given whole numbers, but a point cue can be inserted between two whole number cues. For example, cue 2.5 is a point cue between cues 2 and 3.
On a computer network, the port number defines a particular type of network traffic. In the case of a Hog network, each show running on the
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programmer
Glossary
network has its own port number, so that a console can identify and connect to a particular show.
A window where cue and scene data is created or edited. The Programmer takes priority over all commands sent to a fixture elsewhere in the console.
R
S
rate
Rate Wheel remainder dim
The adjusted speed at which a recorded cuelists, scenes, chases, and effects are played. For recorded chases rate is represented in beats per minute. For recorded cues, scenes, scenes, and effects rate is represnted in percentage. For example, a 2s cue will playback in 4s when the cuelist it is part of has a rate of 50%.
The wheel on the left hand side of the Hog 4 console and Hog 4PC used for adjusting playback and effect rates.
Used after selecting a fixture or group of fixtures, setting all remaining fixtures to a zero intensity level.
saturation scene selection order show server
The amount of pigment in colour notation.
a single cue stored in the scene directory that has full timing features but does not belong to a cuelist. Scenes can be used to store a single look that may be called back for use in later programming, or to play back many simple looks directly from physical or virtual masters.
The order in which the user selects fixtures into the Programmer or editor.
Hog 4OS remembers this and can apply fanning, or effects according to a fixture's place in the sequence. The sequence is recorded as part of groups and palettes.
The Hog console that ‘owns’ a show. Other consoles may join the show, but the original console that created the show will remain the show server.
slot
SMPTE
A discrete step in a parameter's range, such as the position of a gobo wheel.
A form of time code that can be used to synchronise the operation of various controllers, for example synchronising lighting to video playback.
Soft Key The Soft Keys are the row of keys above and below the touchscreens.
They mimic the function of toolbars docked along the edge of the screens.
soft parameter value
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Glossary
split fade spreadsheet suck switch
A crossfade where the incoming and outgoing cues have different times, causing an imbalanced or dipped fade profile.
See Also crossfade, in time, out time.
A way of displaying values in a grid. Hog 4OS editor windows use a spreadsheet to display parameter values.
A console function that will put any values that are "on stage" (in playback from a master) for the selected fixtures into your current active editor.
When you want to connect more than two Hog components together, then you need a special piece of equipment to allow them to interconnect called an Ethernet Hub or Ethernet Switch.
T
TCP/IP toolbar touch screens touched value timecode timing tracked value tracking
High End Systems
A network protocol or language that computers use to talk to each other over Ethernet. Hog 4OS uses this standard protocol, which means that it can safely be connected to other networks of computers and will not interfere with them. For show-critical situations you should run the Hog system on its own independent network.
A long, thin window with a series of buttons, that generally sits along the top or bottom edge of the screens. When in this position, a toolbar is said to be ‘docked’.
The two LCD screens on the console, which display and allow the user to select information from them.
A parameter value that has been assigned or edited by the user. Values which are not touched will remain at their default value.
See Also default value, tracking.
A method of synchronising the console with other playback sources, such as music, video or film. Hog 4OS supports MIDI, Linear Timecode and
Video Timecode.
Cues have several values that control timing: fade, wait, delay and path.
See Also fade time, wait time, delay time, path .
The output of a master running a cuelist is a mix of hard and tracked parameter values. Hard values are those that are in the current cue, while tracked values are those that have tracked through from previous cues.
A method of dealing with cuelists that does not record information in a cue unless it is a change from the previous cue. This allows multiple cuelists to be running at the same time without them interfering with each other.
475
U
UDP user kind
USB
Glossary
See Also hard value, tracked value, touched value, default value.
A network protocol or language that computers use to talk to each other over Ethernet. Hog 4OS uses this standard protocol, which means that it can safely be connected to other networks of computers and will not interfere with them. For show-critical situations you should run the Hog system on its own independent network.
User kinds are customized kinds built by the user, allowing you to create smaller collections of fixture functions on fewer wheelsets.
Universal Serial Bus: a means of connecting computer peripherals such as keyboards and mice. Hog consoles also use USB to connect expansion wings.
V
W
view virtual master visualiser
An user-defined arrangement of windows that can be accessed with a single button press from the View Toolbar.
A means of running a cuelist without having it attached to a physical master on the console.
A real-time computer rendering package, that allows the Programmer to create their lighting virtually before getting to the venue.
wait time wheelset white point widget
The time between the previous cue being triggered and the current one being run automatically. Not to be confused with the delay time.
the building blocks of both fixed kinds and user kinds that specify how fixture funtions assigned within a kind are displayed on the console's main encoder wheels when a fixture selection is made.
A definition of white light used by Hog 4OS's colour calibration system to match the colour of fixtures with different lamp types, such as tungsten and arc.
A device that allows the connection of accessories to the console or PC via USB. Such accessories may range from input control panels to DMX outputs.
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Glossary
Z
zoom Allows the size of beam/ image to be adjusted whilst maintaining its focus.
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Symbols
A
action of go when looping, 269
aggregation
allow refs button
arrow keys (see keys, cursor)
B
beam
brightness
bugs
High End Systems
C
calibration
calibration of touch screens, 52
CD drive
creating a CD, 49 ejecting a disk, 49
chases
configuring playback controls, 294
setting rate with Tap Sync, 290
cleaning
clone (see copying fixture parameter values)
collapse aggregated sections, 42
colour
changing what happens when a command key is
copy, move, delete, 311 creating, 311
comment macro (see macro)
compact mode (spreadsheets), 41
479
console
control panel
copying
inhibitive masters to pages, 306
parameter values into an editor, 250
creating
crossfade
configuring playback controls, 294
480
Index
cues
editing parameter timings, 212
removing parameter values, 185
with selected fixtures only, 185
tracking backwards when recording, 189
tracking forwards when deleting, 191
tracking forwards when inserting, 190
triggering from timecode, 337, 350
D
date
High End Systems
Index
default value of parameters, 124
deleting
fixtures from groups, 152 groups, 152
naming, 28 options, 28 recalling, 28
diagrams
color coding, 168 color coding entire button, 168
discrete parameter values (see slots)
High End Systems
mains power, 59 net number, 59 port number, 59
updating software and firmware, 416
dmx processor 8000
dmx refresh rate settings
installation with Hog 4PC, 429
E
editing
parameter timings in cues, 212
editor toolbar, 45 editor values toolbar, 45 editors, 45
bringing in values from onstage, 246
which is the current editor?, 22
481
encoder wheel encoder wheel button
endstops of parameter values, 135
export
external
F
fade time, 207, 208 default, 208
fader
go off zero, 269 release at zero, 269
faders
482
Index
from the command line, 145 in spreadsheet view, 145
feedback
files
fine control of parameter values, 140
selecting from what is onstage, 245
High End Systems
Index
flash button
flash level, 271 go on flash, 271 latching, 271 release on off, 271 solo, 271
follow chosen, 281 follow cue, 281
follow current, 189 follow next, 189
Front Panel
G
global
global button
gobo
graphical user interface, 23, 432
groupings (see fanning)
deleting, 152 editing contents, 152
High End Systems
removing fixtures, 152 using, 152
H
action of halt when halted, 269
hard command (see hard value)
HedgeHog Console;
help
getting started, 19 key to this manual, 19
highlight, 251 customising, 251
Hog 4 Consoles
Full Boar 4 technical specifications, 460
Hedge Hog 4 technical specifications, 462, 463
Making A Bootable USB Flash Drive, 414, 415
Nano Hog 4 technical specifications, 463
RackHog 4 technical specifications, 459
Road Hog 4 technical specifications, 461
Hog 4PC
Hog consoles
483
I
import
copying to pages, 306 moving to pages, 306 removing from pages, 306
insert button
interface (see graphical user interface)
inverting parameter values, 135
inverting the fixture selection, 128
IPCB fader mode (with cuelists), 287
J
jump points
K
double press time, 98 repeat delay, 98 repeat period, 98
keyboard
external, 55, 56 on-screen, 56
keys
484
Index
skip back, 261 skip forward, 261
kinds, 239 fixed kinds, 239 user kinds, 239
L
library
linear timecode (see timecode)
links (see link cues)
locking
High End Systems
Index
loops, 223 action of go key, 223
M
macro
manual
mask
when recording effect palettes, 236
masking
when recording fade times, 209
master wing
master wing 4
masters
which is the currently chosen master?, 22
adding custom images and names to previews,
media preview package management, 180
updating older show files with library defined
merge button
monitor (see display)
move in black (mark cues), 194
moving
inhibitive masters to pages, 306
multiple
N
naming
High End Systems 485
multiple consoles, 69 net number, 69
new
nudge up and nudge down keys, 132
numbering
(see also renumbering)
O
OSC (open sound control), 341 input configuration, 341
P
copying cuelists to, 306 copying inhibitive masters to, 306 copying scenes to, 306
moving cuelists to, 306 moving inhibitive masters to, 306
486
Index
which is the current page?, 22
showing references to in editors, 45
pan (see position)
parameter types
default values - restoring, 144
minimum and maximum values, 124
naming slot values, 125 offset value, 125
removing value from an editor, 149 separating, 149
park editor window, 255 parking, 255
patch
High End Systems
Index
fixtures to multiple addresses, 108
multiple patch points, 110 removing DPs, 110
per fixture button
per fixture type button
for fine control of parameter values, 140
Pig key
adding, removing, editing pixelmaps, 318
choosing and optimizing content, 325
importing custom content, 324 managing content, 324
programming PixelMap layers, 323
using PixelMaps in programming, 323
playback (see masking)
playback wing 4
High End Systems
adding, removing, editing fixtures, 316
adding, removing, editing pixelmaps, 318
selecting fixtures, 320 using, 320
pointer mode (see trackball)
position
flip, 133 modifying values, 133
position mode (see trackball) preferences
priority of aggregated sections, 43
problems
processes
bringing in values from onstage, 246
protocol
Q
R
radios
personal - use near the console, 445
record options toolbar
487
Record Options Toolbar
recording
removing parameter values, 185
with selected fixtures only, 185
renaming
renumbering
replace button
replacing
faders, 449 touch screens, 449
488
Index
restoring default parameters values, 144
S
configuring playback controls, 294
show
shows
High End Systems
Index
copying, 48 creation date, 48 deleting, 48
skip back key, 261 skip forward key, 261
SMPTE (see timecode)
software
clean install, 413 updating, 413
start window, 89 starting up, 89
sub selections of fixtures, 129
switching off the console (see shutting down)
T
tables
High End Systems
theatre
tilt (see position) time
format, 51 setting the console clock, 51
editing values, 338, 351 jump points, 339, 351 simulating, 339, 351
toolbars
editor toolbar, 45 editor values toolbar, 45
Record Options Toolbar
touch screens
backlight off time, 52 brightness, 52 calibration, 52
touching parameters
489
Index
touchscreen
which is the current mode?, 22
stopping values tracking forwards, 190, 191
trigger forwards only, 337, 350
turning off the console (see shutting down) type
U
unblock button, 193 unblocking, 193
units
universe
updating
software, 413 updating software, 413
USB Flash Drive
Making A Bootable USB Flash Drive on Win-
creating new, 240 deleting, 240
user manual
user number
user preferences
console, 52, 55, 56, 94, 95, 98
V
version numbering, software, 448
video timecode (see timecode)
views (see desktop views)
W
windows
bringing to the front, 25 closing, 25
490 High End Systems
Index
wings
installation with Hog 4PC, 431
High End Systems 491

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Key features
- DMX output control
- Show file management
- Cuelist and scene recording
- Advanced effects engine
- HogNet network connectivity
- Art-Net and sACN support
- Extensive user customization