You can set cue timings as a whole (all events take place in x seconds) specific to attributes (fades are four seconds color change is one second position change is 10 seconds) or on a per-event basis using the Timeline window. At some point you’ll want to save the changes to the cue list, and save the show file itself, to make these changes permanent. There are no separate steps to opening a cue for editing, or for saving the changes into that cue-once you make a change in the fixture chooser, it’s changed in the cue. When you click on a box representing a cue, you are working on the lighting settings within that cue. ![]() As you create cue lists, each cue list can be represented in the fixture chooser window as a new tab, showing the same layout as the live tab, but with a space at the top added showing the cues in the cue list laid out horizontally. ![]() This tab lets you work directly with the fixtures in a “live” mode, meaning that it’s not being stored into a cue. The fixture chooser starts with one tab at the top of the window, called the “Live” tab. This visual method of representing the stage plot makes it fast and simple for users to select the fixtures they want to work with and program cues. You can have multiple pages of fixture layouts as well, to make it easier to control complex rigs. Whatever works best for you and your volunteers. Others, especially for a complex rig, may want to position their fixtures where they are physically located in the room, with truss and lighting pipes drawn in the background image-or some combination of these strategies. For simpler stage plots, I like to place the fixture icons at the locations where that fixture illuminates. You can import an image into this window as well, such as a line drawing of your stage, which is used as a background image on which to place your fixture icons. Fixtures are automatically added to the fixture chooser when patched the user can arrange their icons in any way they desire to represent their rig visually. This is where you’ll spend the bulk of your time programming cues. Patched fixtures show up on a fixture chooser window. DMX universes can be assigned to physical outputs, either actual DMX output hardware for consoles and the Chroma-Q DMX-USB interface, or to Art-Net and sACN ethernet universes. Patching is very straightforward, using either a dialog box-style method of patching multiple fixtures or a drag-and-drop method of patching. If you’re familiar with video editing timelines, this paradigm will quickly feel natural to you and provides a sophisticated visual representation of what your lights are doing in each cue, and when they are doing it. Vista provides a unique paradigm to lighting control with its timeline method of creating cues. There’s not nearly enough space in one article to go into all the details of a lighting control system, but CPM will hit on the highlights here. All control features of the console are available in the PC/Mac software version, and both a playback wing (the Vista MV) and a programming/playback wing (the Vista EX) are available to give users a hybrid version of the console. ![]() Accompanying the software release are new playback and programming wings, with a new console to follow in the near future.įor those of you not familiar with it, Vista is a lighting control system that comes in both a physical console with a Wacom pen-controlled touchscreen interface as well as Mac and Windows software versions. And this year, following the acquisition of the Vista line by Chroma-Q, a manufacturer of LED lighting fixtures, Vista has received a long-anticipated update through the release of version 3 of the software. The formerly Jands Vista series of lighting control systems has taken the church market by storm over the last 10 years.
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