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388:, the detail of how an attribute such as pan or tilt is controlled for one device vs. another can be hidden from the operator. This frees the operator to think in terms of what they want to achieve (e.g. pan 30 degrees clockwise) instead of how it is achieved for any given fixture (e.g. send value 137 down channel 23). Furthermore, should a lighting fixture need to be replaced with one from a different vendor that has different control sequences, no change need be apparent to the control operator. For some further discussion on how intelligent fixtures are controlled, see
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is impractical, but control is needed away from where the board is located. That is, if the light board is in a control room that is located far from the fixtures, such as a catwalk, an RFU can be attached and an electrician or the lighting designer can bring it to a location which is close to the lights. Some of the newer and more advanced boards have RFUs that can be connected through USB or even wirelessly.
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304:, they remain the board of choice for their simple to use interface and relative flexibility. Preset boards generally control only conventional lights; though some advanced hybrid consoles can be patched to operate intelligent lights in a round-about way by setting the control channels of the light to channels the preset board can control. However, this is not recommended since it is a cumbersome process.
411:(PC) based controllers are increasing in popularity owing to portability and reduced cost. These lighting console solutions use software with a feature set similar to that found in a hardware-based console. As dimmers, automated fixtures and other standard lighting devices do not generally have current standard computer interfaces, options such as DMX-512 ports and fader/submaster panels connected via
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Many memory consoles have an optional Remote Focus Unit (RFU) controller that can be attached to the light board and used to control the board's functions (though usually in some limited capacity). They are usually small enough to be handheld. This is ideal in situations where moving the light board
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Many console vendors also make a software simulator or "offline editor" for their hardware consoles, and these are often downloadable for free. The simulator can be used to pre-program a show, and the cues then loaded into the actual console. In addition, lighting visualization software is available
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Many memory consoles have a bank of faders. These faders can be programmed to control a single channel (a channel is a lighting designer's numerical name for a dimmer or group of dimmers) or a group of channels (known as a ""submaster""). The console may also have provision to operate in analog to a
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to control fixture attributes such as the orientation (pan and tilt), focus, colour, gobos etc. found in this type of light. Unlike a fader that shows its value based on the position of a slider, a wheel is continuously variable and provides no visual feedback for the value of a particular control.
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Memory-based consoles have become very popular in almost all larger installations, particularly theatres. This type of controller has almost completely replaced preset consoles as controllers of choice. Memory consoles are preferable in productions where scenes do not change from show to show, such
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Generally, at least with a preset board, the operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions, as determined by the lighting designer. The operator sets the faders into their positions based on the cue sheets. Typically during a cue, the
288:. The faders (control slides) on these scenes can be manually adjusted. Each scene has the same number of channels which control the same dimmers. So the console operator can build a scene offline or in "blind", a cross-fader or submaster is used to selectively mix or
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This system allows a "build-to-fit" approach: the end user initially provides a PC that fits their budget and any other needs with future options to improve the system, for example, by increasing the number of DMX outputs or additional console style panels.
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Consoles vary in size and complexity, from small preset boards to dedicated moving light consoles. The purpose of all lighting consoles, however is the same: to consolidate control of the lights into an organized, easy-to-use system, so that the
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Preset boards are not as prevalent since the advent of digital memory consoles, which can store scenes digitally, and are generally much less cumbersome but more expensive than preset boards. However, for small setups such as that of a
353:. On midrange controllers, these are usually provided as a section separate from main Preset and Cue stack controls. These include an array of buttons allowing the operator to select the fixture or fixtures they want to control, and a
333:, and less time between lighting cues is required to produce the same result. They also allow for lighting cues to contain larger channel counts due to the same time savings gained from not physically moving individual channel faders.
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As there is no standard way of controlling an intelligent light, an important function for this type of desk is to consolidate the various ways in which the hundreds of types of intelligent lights are controlled into a single
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Many lightboard vendors offer a PC software version of their consoles. Commercial lighting control software often require a specific, and possibly expensive, hardware DMX interface. However, inexpensive (<$ 150) DMX ->
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packets from an iPhone, thus enabling an iPhone to serve as a fully featured console when used in conjunction with an Art-Net to DMX converter or Art-Net compatible luminaries and dimmers. An example of this is
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Moving Light
Controllers are another step up in sophistication from Memory Consoles. As well as being capable of controlling ordinary luminaires via dimmers, they provide additional controls for
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to simulate and approximate how lighting will appear on stage, and this can be useful for programming effects and spotting obvious programming errors such as incorrect colour changes.
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Preset boards are the most basic lighting consoles—and also the most prevalent in smaller installations. They consist of two or more identical fader banks, called
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that cause the devices to act as remote controllers for their consoles. Also, independent software developers have released applications that can send
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and DMX-512-A are evolving to meet the demands of ever increasing device sophistication. Some lighting consoles can communicate over a
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is therefore vital for displaying this information. The more advanced desks typically have one or more touchscreens, and present a
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manual desk for programming scenes or live control. On more advanced consoles, faders can be used to control effects,
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interface for the user. By integrating knowledge of different fixtures and their attributes into the lighting desk
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Lighting consoles communicate with the dimmers and other devices in the lighting system via an electronic control
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operator sets the next scene. Then the operator makes the transition between the scenes using the cross-fader.
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as a theatre production, because scenes are designed and digitally recorded, so there is less room for
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472:'s (electronic theater controls) app called iRFR for Apple devices or aRFR for Android devices.
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Media
Servers for Lighting Programmers: A Comprehensive Guide to Working with Digital Lighting
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at once. They are used throughout the entertainment industry and are normally placed at the
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to provide control over more scalable systems. A common protocol for this is ESTA E1.31
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which control the intensity of the lights. Many modern consoles can control
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Pearl Expert with optional Touch Wing, running the Titan control system.
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and motors, etc.) to improve synchronization or unify their control.
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An
Avolites Tiger Touch console capable of controlling both normal
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systems to integrate their capabilities into more complex shows.
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can concentrate on producing a good show. Most consoles accept
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499:. The protocol is used for a number of purposes including
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Various manufacturers offer software for devices such as
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231:) may still be found in use, and newer protocols such as
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used between visualizers, lighting control consoles and
713:. Boston: Little, Brown and Company/Theater Arts Books.
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DMX USB Pro with public API and other DIY, and free or
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57:. Unsourced material may be challenged and removed.
404:A USB-to-DMX connector with integrated controller.
374:that integrates all the aspects of the lighting.
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439:software hardware combinations are available.
153:) is an electronic device used in theatrical
694:. Portsmouth NH: Heinemann (Reed Elsevier).
636:"Hippotizer Forum Scandinavia - Information"
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709:Rosenthal, Jean; Wertenbaker, Lael (1972).
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243:(pronounced: streaming A.C.N.) or Art-Net.
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172:All lighting control consoles can control
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579:Blue Planet: Entertainment Stage Lighting
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180:(lights that can move, change colors and
117:Learn how and when to remove this message
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477:Controller Interface Transport Protocol
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720:Control Systems for Live Entertainment
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600:Claiborne, Vickie (4 February 2014).
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396:Personal computer-based controllers
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606:. CRC Press. pp. 101–104.
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292:between the different scenes.
260:signals and commands to allow
229:0-10 V analog lighting control
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362:Some form of display such as
581:. Blue Planet Lighting. 2013
546:for a building or residence.
133:ETC Ion XE20 with fader wing
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357:, or a number of wheels or
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662:"MADRIX 3 Help and Manual"
427:PC interfaces such as the
318:stage lighting instruments
66:"Lighting control console"
718:Huntington, John (2000).
247:Types of control consoles
544:Lighting control systems
345:Moving light controllers
139:lighting control console
722:. Boston: Focal Press.
165:(FOH) position or in a
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351:intelligent fixtures
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51:improve this article
752:Stagecraft software
575:"LIGHTING CONSOLES"
711:The Magic Of Light
692:The Speed Of Light
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640:www.digigobos.com
634:Tannemyr, Peppe.
523:Frederick Bentham
447:Remote focus unit
415:are commonplace.
409:Personal Computer
390:Digital MultipleX
258:MIDI Show Control
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77:newspapers
518:Compulite
493:transport
513:Avolites
507:See also
386:software
381:abstract
355:joystick
278:Avolites
221:protocol
671:17 June
646:17 June
619:17 June
585:20 June
483:, is a
465:Art-Net
461:iPhones
457:Android
433:DMXKing
392:(DMX).
206:winches
174:dimmers
91:scholar
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429:ENTTEC
339:chases
286:scenes
225:DMX512
190:hazers
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98:JSTOR
84:books
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621:2016
608:ISBN
587:2013
501:SDMX
481:CITP
475:The
459:and
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188:and
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491:to
470:ETC
425:USB
413:USB
372:GUI
368:LED
366:or
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276:An
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