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kgallen

Trained on FLX
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  1. Hi Dave Thanks for the update! Sounds like you're nearly there. As it looks like you've done, there is no reason the 48 faders need to map 1:1 on DMX addresses, so arranging the key DMX channels per fixture across desk channels 1-24 and mapping the secondary channels on 25-48 is a great idea! Of course if you don't need per-fixture e.g. strobe control, then these could be multi-patched DMX addresses to one (or more) desk channel fader. As I'm sure you're aware from your earlier post, you can "mix down" some useful combinations onto sub-masters. However if you want to "layer" the subm
  2. Hi Dave, Fat Frog was designed when most venues had mostly generics (lamps on dimmers) plus maybe a few movers (MAC500 and the like) and Fat Frog was great for this (exactly why I have/had mine). These days the split is different. I have about a 50/50 split of generics and "complex" fixtures like LED PARs and movers - and it's only moving in one direction and that is not towards "generics". These "complex" fixtures of course have a much more complicated control plane. No longer one "knob" per light but 4 upwards. This is why the "fader per channel" type desks are a little limited the
  3. Dave This is never going to work how you think - on any lighting desk. You’re not repatching faders you’re moving the DMX address where your fixtures live. In Fat Frog in wide mode you have 48 faders (these are one control channel each) plus you have the 12 fixtures control on the right. The 12 fixtures can be much more complicated beasts - one fixture has brightness, colour, beamshape, position etc. So if you want individual control of every one of your 8 channel parcans you can get at most 48/8=6 on the faders plus another 12 on the fixtures bank. So that would give you
  4. FLX with Wing in a flight case - cute! Standard flight case (looks like a Swan) or custom? Definitely interested to hear about your tablet setup.
  5. FLX S24 doesn't have a monitor port to attach an external screen directly. However you can use the Monitor App - I've seen that noted on a similar thread. Here:
  6. Hi Adrian, My setup is very similar to yours. Like you I run a cue stack for theatre/musical shows. In my case it's a couple of amateur groups which I've been active in, doing lighting and sound for the last 24 years (ouch!). I now own an FLX, having moved up from fully manual preset desks through small "modern" programmable desks like the Strand GSX and Zero88 Alcora and then Fat Frog, prior to FLX which I bought in late 2015. It would be unfair of me to say FLX is the best desk for your application as I admit to little experience of the current range of competitors desks. But for b
  7. kgallen

    Move on dark

    I thought the global value (per playback*) was the only one, plus the per cue option to not move on dark a certain attribute (for quiet scenes). Sometimes I would like a ‘quick’ MOD if I’m generally using a slow global value. * Thanks Edward for reminding me this is per playback not overall global!
  8. What did the designer want the output to look like? Surely they realise the blue and red fades won't finish together if they are of equal duration but a minute skewed! So they either have 1 minute of blue fade alone, or the blue fade is reduced to 4 minutes or... I sympathise with you! But you can't programme a requirement when the requester isn't even clear on what they want! I have similar experiences. Some directors are good at visualising what they want to achieve, others aren't. Others don't have a mental image of what they want a scene to look like.
  9. Q: So on the last part your timeline mismatch by 1 minute as you say. In what way were you wanting to make them align? If you wanted to keep the red and blue independent, then on your red fade out you would only tag the red colour and for the blue fade up only tag the blue colour. I believe this would require the desk to be set "keep parameters separate" for colour (that's probably the default). In both cues the intensity is retained at 100% so the fading of the colours is via the colour channel not the intensity channel. 1. I've probably misunderstood your requirements! 2. Yes
  10. Edward - would you expect FLX S RigSync to be employed with the Chilli dimmers Stan has? (Or do you need more info on the exact model of the Chilli dimmers to answer this?).
  11. Your venue sounds wonderful! Sounds to me like any of the FLX S or FLX series would do. But from the spec you give above your infrastructure seems well beyond that of a "basic" setting. Whilst I think FLX S24 (or S48) would work I think you could easily outgrow them because once your new venue is ready you will grow in ideas quickly and start bringing in more LED, movers and "intelligent" fixtures. Particularly you will start to need more than one universe of DMX. In which case I would suggest looking at the full FLX for the more "pro" interface and "grow" potential. In add
  12. The information on this page will help you: http://support.zero88.com/Consoles/FLX/1014413041/RGB-Colour-Mixing-on-Faders.htm Similar works for Position and Beamshape as it does for colour. There are other similar support topics here: http://support.zero88.com/Consoles/FLX-S/ HTH Kevin
  13. kgallen

    highlight sur UDK

    Setup+UDK already offers Highlight in the selectable options for the UDK. The UDK needs to be truly unprogrammed, so use Delete UDK first.
  14. FLX-S does not have a dedicated Blackout button. But you can assign any unprogrammed MFF to be a blackout fader (and possibly can the button be a blackout button?). Any unprogrammed / clean MFF, use Setup on it and Blackout should be one of the options. (Sorry this is a bit vague, I have FLX with the dedicated button/fader).
  15. It's not free though. 400 of your finest Brexit pounds for the Solo version (I'm still smarting from that purchase...).
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