The Timeline windows lets you look at your cue list, much like a video editing application’s timeline, with fixtures listed vertically and cues running horizontally. This works very well, is intuitive to new lighting volunteers, and is very efficient. You can also easily find out where a fixture’s attribute was last set simply by scanning along the timeline, and also cut, copy and paste events in the timeline from one cue to another. In the timeline you can easily tweak the timing of any attribute of any fixture, individually, by dragging the bars that represent changes in that attribute. 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. 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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