A Practical Guide to Stage Lighting, 2nd Edition

A Review

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23

The RAM in a computer lighting console is much

like that brain. To be able to change information

in a computer console, the information must be

transferred from the floppy disk or hard drive into

the RAM of the console. Once the information is in

RAM, the information can be changed or altered.

After the information is changed it can be written

back onto the floppy or the hard drive. If the RAM

of the computer reboots, in some cases, it’s the same

as the brain going to sleep. All of the altered informa-

tion may have been forgotten. Whatever information

has been changed in the RAM since the last transfer

back to the floppy disk or hard drive may have been

lost. For information to be written (or stored), it must

be transferred back to the storage media. This topic is

discussed further in Chapter 8.

Computer Lighting Console Control

Philosophies

Understanding the basic logic employed by modern

computer lighting consoles can be assisted by examin-

ing the methods and reasoning used to execute light cues

on manual light boards. A piano or autotransformer

light board, for example, typically consists of six han-

dles, each handle mechanically controlling one dimmer.

All six handles can be mechanically “interlocked” and

controlled by a seventh, master handle. When the grand

master moves up or down, the other affected handles

move with it. The term “grand master” is now com-

monly applied to any fader or handle that overrides all

other intensity output in a light board.

Each light cue on an autotransformer board is

achieved by manually grasping the handles and mov-

ing them at a predefined speed. Figure 1.9 shows two

written cues and their actions on two different light

boards. Figure 1.9A shows the written shorthand for

light cue 1; dimmer 1 and 2 fade up to full in 7 counts.

Next to that is a sketch showing the handles for dim-

mers 1 and 2 moving in the direction of their 7-count

fade up to full. If a light cue requires several handles

to move simultaneously in different directions to dif-

ferent levels, it may require more than one person.

If the light plot is controlled by many autotransformer

boards arranged in the same area, the light cue’s timing

is typically coordinated by one of the senior board

operators. After the stage manager says the magic “G”

word*, the senior board op counts the seconds in

reverse out loud to the rest of the operators, in order

to keep everyone in the same rhythm. SM: “Light cue

1, GO!” Board Op: “6, 5, 4, 3, 2, 1, complete!”

Once light cue 1 is complete, the board opera-

tors then refer to their individual cue sheets to pre-

pare for light cue 2. Figure 1.9B shows the written

shorthand for light cue 2; dimmer 2 fades down to

5, while dimmer 3 fades up to full, all in 10 counts.

In this cue, while the other two dimmers cross-fade,

dimmer 1 remains stationary. Since it doesn’t move,

dimmer 1 doesn’t get listed; these manual cue sheets

only list the dimmers that move and change intensity.

When the stage manager calls “Light cue 2 GO,” the

affected dimmers move to their new levels in 10 seconds,

again counted down by the leader. Dimmer 1 remains

untouched, “tracking” through the light cue.

Manual preset light boards, with multiple rows

of dimmers, introduced a new way of cross-fading

between light cues and required a new method for

the cues to be recorded. A basic preset light board

has two scenes. Figure 1.9C shows the operator sheet

for the same cue sequence. Both scene X and scene Y

are preset with the same levels that were shown on

the autotransformer board. When the call is made for

Light Q1, the board op moves the Scene X fader han-

dle up in 7 seconds, and the sliders for dimmer 1 and 2

fade up to Full. When the stage manager calls for

Light Q2, the board op cross-fades to Scene Y.

Once complete, the sliders for Scene X are com-

pletely deactivated, and can be re-set for Light Q3.

The common operator tactic is to first move all the

sliders in Scene X to zero. Performing this action

*The magic “G” word is “GO”, but it’s never spoken on headset

(especially by the stage manager) unless used to give a command.

Otherwise, when folks hear the word out of context, if they’re

not paying attention, they can jump the gun, and perform a cue

at the wrong moment in the show.

1

7

2

10

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F

1

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2

5

3

F

1, 2

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X

7

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SCENE

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2

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Y

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Y

SCENE

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Figure A

Figure B

Figure C

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Figure 1.9 Manual Light Board Written Cues and

Moves; A) Autotransformer LQ1, B) Autotransformer LQ2,

and C) Preset for LQ1 and LQ2