The lack of a single source for video design, management and playback has thankfully changed, and now video designers have some very powerful pre-visualization/media server hybrid packages. Two of these, the d3 (d3 Technologies) and Ai (Avolites Media), offer the same levels of design and pre-visualization control to video directors that wysiwyg, ESP Vision and LightConverse offer to lighting designers. These proprietary hardware/software servers offer the video designer the ability to lay out all projection details needed, including angles, throw distances and lens options, while also storing the content and the timeline or cuelist for playback as well as allowing for via external control (like DMX or Art-Net).
—From “Video Digerati” by Vickie Claiborne, PLSN, Nov. 2014, page 100
If you are on Facebook, Twitter, ProLightingSpace or any other social media network, look to your friends for help. If you are looking for answer on a specific topic, look for a group or user base forum to ask your question. You may not get an answer right away, but trust in the people on the forums — most times, they are willing and able to help. Don’t let the flamers and haters get to you. Some people on the Internet are looking for trouble. Just ignore them and look to people that genuinely want to help. ProLightingSpace.com has a number of groups dedicated to almost every aspect of your business, from lighting design, video, media servers and even specialty groups like House of Worship. A number of users on ProLightingSpace have found answers to their questions throughout the years. Looking back at some of the older questions, they still get responses even today. Maybe it is a different take on the subject, or a better technique is found. In any case, the archives and past postings are another great place to find those tips and tricks.
—From Justin Lang, “Focus on Fundamentals,” PLSN Nov. 2014
It is important to note that Art-Net is specifically designed to be used in a closed network situation only. Art-Net is not designed to be used in conjunction with the Internet. On top of that, it is not a good idea to run Art-Net over a building’s internal network. Your lighting rig (or architectural installation) should run on its own isolated network. This, again, will help to make sure that there are fewer opportunities for your Art-Net network to have problems. So, keep your lighting network separate from your collection of YouTube videos of dancing. Cute they may be, your lights don’t care.
From “Building the Art-Net(work) by Michael Graham, PLSN, Nov. 2014
I really dislike the term “boss.” I especially hate when people say things like “Whatever, you’re the boss.” I think this is because I find distinct differences between the words Boss and Leader. For instance, a boss tells you what to do and walks away assuming you will get something done, and that’s the end of it. But a leader will ask you to do something, then make sure you know how to do it properly before walking away. Believe it or not, I have seen lighting crew bosses walk up to crew members and say, “You’re doing that wrong,” and then walk away, expecting the tech to seek out the correct way from someone else or screw something up even further by trying some new way he thinks may work. A leader will stop and show the tech an example of the right way to do the task.
—From "LD at Large" by Nook Schoenfeld, PLSN Nov. 2014
There’s a caveat with 4K presentations, and companies desiring to move in that direction need to have their eyes wide open. The workflow, from concept to presentation, is the same, but the budget for a 4K event would essentially be four times that of an HD event — because you’re dealing with signals that are four times HD. The storage medium needs to be four times as large. The rendering of your graphics and videos will take an enormously longer time, and the file size of a 4K video is exponentially larger than that of an HD video. Your graphics department might consider investing in a dedicated, high-powered “render farm,” — just to get the graphics and videos complete in time for the event. Don’t let these facts discourage you, because the end result will certainly be the finest, most spectacular way to put your event on screen, in native 4K.
—Paul Berliner, from “Video World,” PLSN, Oct. 2014
What options do you have when managing the playback of content in multiple locations from a single source? Until recently, the answer would have been to create a matrix of routers, cables, media servers, and controllers to accomplish what should be fairly straightforward. Patch Player, by ExtraPro LLC, is a new content playback application that lets users control content playing in various locations from a single source without the need for lots of cable, equipment, or people. Created by developer/owner Ted Mizrahi, Patch Player simplifies the process of control and setup for presentations, tradeshows and other types of multi-show environments by putting it into your hands, literally on the same handheld Android OS device you may already be carrying in your pocket…And since content is stored locally on each player, only the trigger for a piece of content is being broadcast by the Controller. This means each device handles its own processing, making playback fast and real time responsive.
—Vickie Claiborne, from “Video Road Test,” PLSN, Oct. 2014
Children in wheelchairs not only have special needs, they need special design consideration when they’re part of a show - getting them in and out of the audience, getting them onto the stage requires ramps, elevators and other accessibility features. For ABC’s MDA Show of Strength Telethon, which aired as a two-hour special Aug. 31, LD Lee Rose, who worked with production designer Joe Stewart and art director Tina Miller, took other steps, ensuring that fog fluids were hypoallergenic and strobe speeds would be well below the potentially seizure-inducing rate of 15-to-20 flashes per second. Performing artists can also have special needs, but in this case, the focus was on the kids, and the lighting looks for each performer were more or less consistent with the overall look of the show.
—Debi Moen, from “Designer Watch,” PLSN, Oct. 2014
People are always asking me what to charge for a gig. I have my certain rates for various jobs and prefer when I can obtain that pay scale from a client. But like the rest of everything we want in life, the charge is negotiable. I may be sitting on the couch earning nothing waiting for the phone to ring. It always does. And when it does I will entertain any offer, because it’s paying me substantially more than my couch.
—Nook Schoenfeld, from LD-at-Large, PLSN, Oct. 2014
Not every tour can splurge on the latest head-spinning fixtures out there like the B-Eye K20 from Clay Paky, with a list price well over $10K per fixture. Fewer still can include a “mega-pod” with 72 of the fixtures. So when LeRoy Bennett opted for that many B-Eyes to be flown upstage for Lady Gaga’s tour, he can rest assured that the “signature look,” as lighting director Whitney Hoversten calls it, won’t be widely copied. Here are more details from Hoversten on the subject: “We’re using the new Clay Paky B-Eyes. They have been extremely cool to play with, and they make up a large majority of the look of the show. We are using them in their maximum mode which, at 169 channels apiece, eats up a lot of universes. However, it is so worth it in this particular application. When trying to come up with new fresh looks and different ways to accent musical nuances, it has been so beneficial to have control of each individual cell, and there are seemingly endless looks and variations that we can come up with.”
Whitney Hoversten, from “Designer Insights,” PLSN, Sept. 2014
The popularity of projection mapping continues to grow, but when clients ask for video projection, do they want true 3D mapping projection, or are they merely visualizing 2D projection with masking? The content creator has to determine exactly how to give the client what they are expecting as well as provide a reasonable estimate of the time needed to create the content. Since 3D content that is created for projection is far more sophisticated than flat 2D content, it will take longer to create. 3D models have to be created of the object first before any images can be created, and the rendering time for creating 3D mesh-wrapped media can be lengthy. Knowing the expectations of the client also helps determine the proper amount of gear that you will need to provide to complete the project, which is, of course, another big consideration when estimating the costs involved. All of these details need to be hammered out early in the discussion. It’s best to ask a million questions about the project during the conceptual phase so that you can make the best decision possible.
—Vickie Claiborne, from “Video Digerati,” PLSN, Sept. 2014