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Wholehog III - Flying Pig Systems

1. Wholehog III User Manual Wholehog III User Manual High End Systems Inc US and the Americas Sales High End Systems Inc 2217 West Braker Lane Austin TX 78758 USA Voice 1 512 836 2242 Fax 1 512 837 5290 US and the Americas Customer Service High End Systems Inc 2217 West Braker Lane Austin TX 78758 USA Voice 1 800 890 8989 24 hour fax 1 512 834 9195 24 hour voice mail 1 512 837 3063 or 1 800 890 8989 U S New York High End Systems Inc New York 311 W 43rd Street Ste 400 New York NY 10036 USA Voice 1 212 957 6840 Fax 1 212 957 4466 U S Los Angeles High End Systems Inc 8200 Haskell Avenue Van Nuys CA 91406 USA Voice 1 818 947 0550 Fax 1 818 908 8975 Europe High End Systems Europe Ltd 53 Northfield Road London W13 9SY UK Voice 44 0 20 8579 5665 Fax 44 0 20 8579 8469 Germany voice 49 5331 9925 91 Germany fax 49 5331 9925 92 Singapore High End Systems Singapore Pte Ltd 1 Tannery Road 06 05 Cencon 1 Singapore 1334 Voice 65 742 8266 Fax 65 743 9322 Internet Email support flyingpig com Web www flyingpig com Copyright High End Systems Inc 2002 All Rights Reserved Changes Information and specifications in this document are subject to change without notice High End Systems Inc assumes no responsibility or liability for any errors or inaccuracies that may appear in this manual
2. Palette Directory will open 5 Select the palette location by pressing it in the Palette Directory window Masking Using the Command Line When recording a palette using the command line choose the parameters to include before the Record command Colour Position Record Colour 3 Enter records the colour and position parameters of the current selection into Colour Palette 3 Using a Selection Mask By default all fixtures in the Programmer are recorded You can specify which fixtures to include in the Palette Group 2 Record Position Enter record only settings for fixtures in Group 2 into the next available Position palette 10 3 Using Palettes in Programming In the Programmer you can apply a palette by selecting it from its Directory window The Palette will directly affect the current selection as long as the palette contains parameter information for the selected fixtures A Palette that puts all Studio Colors in the rig to deep red will therefore apply this immediately to any Studio Colors that are in the current selection For example 1 Open Colour open the Colour Palette window 2 Studio Color 3 Thru 5 select the fixtures 3 Palette 2 select the palette from the Colour Palette window Or using the command line 1 Studio Color 3 Thru 5 Colour 2 Enter 10 4 Deleting Palettes To delete a Palette Delete Colour 1 Enter deletes Colour Palette 1 72 Reference Section 10 Working with
3. See Selection Order Reference 8 2 Fanning Reference 8 3 6 and Working with Effects Reference Section 16 9 1 1 Replace Merge and Insert When recording copying or moving a group if the destination location already has a group recorded in it you will be prompted with record options of Replace Merge or Insert Replace Overwrites the group information in that destination Merge Incorporates the copied or moved information into the destination group Insert creates a new destination group The new group will be assigned a free location just before the one chosen using a point number if necessary Tip Q If you know that you are about to record copy or move a group to an existing destination you can pre select Replace Merge or Insert from the Record Toolbar This appears after you press the Record Copy or Move keys 9 1 2 Naming a Group You can give a group a name that will be displayed in the Group Directory window 1 Open Group opens the Group Directory window 2 Select the group to be named 3 Set name Enter type in the name Tip Z You can name a group cue scene or palette immediately after recording it by pressing the Set key The Quickname window will open and you can enter the name and select OK 9 2 Deleting Groups To delete a group Delete Group 1 Enter deletes group 1 You can also delete several groups at once Delete Group 1 Thru 5 Enter deletes groups 1 throug
4. because this is the most recent instruction The submaster would effectively grab control of the parameter from the playback Of course running another cue in the playback might grab it back again Many moving light consoles use HTP for intensity and LTP for all other parameters By default the Wholehog III uses LTP for all parameters but you can set individual cuelists to use HTP There are also other options that control how cuelists interact see Playback Options Reference 17 4 Introduction Section 2 Users New to Moving Light Consoles 2 7 Individual Times for Each Parameter With the Wholehog II you can set individual timings for each parameter of each fixture giving you complete control of how each parameter changes during a cue Because of this there are no cue parts as found on some other consoles The Wholehog III gives you easy ways to set timings for the whole cue for individual fixtures and by parameter type intensity beam colour and so on as well as for each parameter For more information see Setting Timings Reference 8 4 and Working with Fade Timings Reference 13 1 Section 2 Users New to Moving Light Consoles Introduction section 3 Wholehog Il Users If you are an experienced Wholehog II user you will find the transition to Wholehog III very straightforward This section lists the major changes and additions with brief descriptions while full information on each topic can be found in the Refe
5. effect that it has For example the Pig key See Also Pig key 148 moving light See fixture multicast A network protocol or language that computers use to talk to each other over Ethernet The Wholehog lll uses this standard protocol which means that it can safely be connected to other networks of computers and will not interfere with them For show critical situations we recommend running the Wholehog lll on its own independent network See Also Ethernet N node Network nodes are items of equipment connected to the network Consoles DMX Processors and PCs are all nodes See Also DMX Processor console O off line editor See Hog Edit out time The time of the fade of the outgoing cue during a crossfade All fixtures that are decreasing in intensity will go down over this time See Also split fade path fade time P page A preset arrangement of cuelists residing on the Masters Pages can be changed allowing the ten masters to be used by many cuelists palette A stored parameter setting such as focus for one or more fixtures Fixtures of different make or type may share the same palette See Also directory sequence palette parameter A controllable property of the light produced by a fixture For example a fresnel has one attribute intensity Moving fixtures have pan and tilt parameters and perhaps colour beam shape and so on parameter wheel A wheel th
6. for example in a theme park ride or in an architectural environment zoom Allows the size of beam image to be adjusted whilst maintaining its focus See Also iris Index Symbols key 57 abstraction 11 Active button 36 109 114 and the command line 38 Assert key 108 assert time 110 114 Back button 55 back time 110 backlight off time console touch screens 22 DMX Processors 29 backup 21 42 ball mode See Trackball battery 21 beam modifying values 59 blind mode 79 blocking 78 86 cues 5 removing blocking 86 brightness desk lights 22 touch screens 21 button 1 button size See scaling factor CD ROM drive 40 42 Choose key 107 108 113 clock console 24 39 colour modifying values 59 command line 3 38 syntax 39 consoles multiple on the network 9 26 Control Panel 21 copying cuelists 97 cues 83 fixture parameter values 61 groups 67 pages 118 palettes 73 parameter values into the Programmer 78 scenes 101 creating cuelists 96 effects 105 pages 117 cross over cable Ethernet 24 cue parts 7 Cue Only 110 Cuelist Directory 37 cuelists 6 95 copying 97 creating 96 deleting 96 moving 97 ordering of cues 92 pages 117 playback 107 removing from a page 119 cues copying 83 deleting 83 editing contents 84 editing parameter timings 90 editing times 90 follow on 92 linking 92 looping 92 moving 84 namin
7. hea white 25 Track 100 ET white 25 Track 100 Ea white 25 Track 100 14 white 25 Track 100 FSI white 25 Track 100 16 white 25 Track 100 white 25 Track 100 white 25 Track 100 jie jis white 25 Track 100 Figure 8 1 The Programmer window To open the Programmer Select Programmer from the Main Toolbar To open other editors 53 Section 8 Selecting Fixtures and Modifying Parameters Reference Select the desired group palette cue or scene and Open Press the Active button in the editor window if you want to change not just view parameter values 8 1 Selecting Fixtures On the Wholehog III fixtures and desk channels are selected through the command line using the numeric keypad or visually in the Editor For an overview of the command line see Using the Command Line Reference 6 6 8 1 1 Selecting Individual Fixtures To select a fixture visually in the editor window click on its number in the Num column of the spreadsheet The row representing the fixture will be highlighted To select a fixture using the command line you need to select the fixture type followed by the fixture s user number For example to select Studio Color number 1 Fixture Studio Color 1 when you press the Fixture key types of available fixtures will appear at the bottom of the touch screen where you can select Studio Color Studio Color 1 is now selected If you have changed the user numbers
8. pan centre point from all the others on that bar then you could set an offset so that the fixture appeared to line up from a programming and operating point of view To set a parameter offset 1 Setup Fixtures Edit Fixtures 2 Select the Offset cell of the desired parameter 3 Set new value Enter Enter a value as a real world unit Important Applying an offset to a parameter after you have programmed values for it into your show will mean that those values will also be offset 7 4 8 Parameter Homing 50 Parameter Homing determines whether a parameter goes to its default value when it is released from a playback or editor Normally homing is on like the Wholehog ID but you may prefer that a fixture retains its last setting even if the cue or editor is no longer outputting Some consoles such as the Vari Lite Artisan work this way To change parameter homing 1 Setup Fixtures Edit Fixtures 2 For the desired fixture select the Homing cell for the parameter required Reference Section 7 Adding and Configuring Fixtures 3 Press Set Turn homing on or off Tip d Be careful if you turn homing off for intensity parameters as this can leave fixtures at non zero intensities when released such as at the end of a cuelist 7 4 9 Naming Slots Some fixture parameters are continuously variable for example CMY colour mixing On the other hand some parameters for example gobo or colour wheels work
9. 1 Connecting Directly to an DMX Processor If you have a single console and DMX Processor you should join them using a Category 5 cross over cable Note that an ordinary non crossover cable won t work We recommend that you use only certified Category 5 cables With this set up no configuration is required as the Wholehog III and DMX Processor do it automatically 8 3 2 Connecting More Complex Networks If you have a more complex network with more than two devices you will need to use an Ethernet switch to connect them together for example Figure 5 1 shows a 24 Reference Section 5 Setting Up the System network with two consoles and two DMX Processors 4 DMX universes 6000 DMX Processor Wholehog III console 4 DMX universes Ethernet switch Oo 0000 DMX Processor Wholehog III console Figure 5 1 A Typical Network with Two Consoles 8 3 3 Configuring the Network Consoles and DMX Processors are initially set up so that a single console and multiple DMX Processors can be connected together and will automatically configure themselves to operate In complex systems with multiple consoles or mixed networks you may need to manually configure the network settings You will find basic guidance here but if you are planning a complex network please contact Flying Pig Systems Ltd for advice on getting the most effective setup for your particular ne
10. 130 Section 23 Upgrading and Care of the Console 23 1 Updating Software 23 1 1 Updating the Console Software To install a software upgrade from a CD ROM 1 Restart the console 2 When the Start window appears press the Software button located on the bottom of the right hand screen 3 Hinge up and forward the leather arm rest at the front ofthe console Insert the CD ROM into the drive below 4 Choose CD ROM from the displayed list Select the software version to confirm the upgrade 6 Theconsole will continue with the upgrade without further interaction Note that this may take several minutes After it finishes the upgrade the console will restart To upgrade software from an fpspkg file downloaded from the Flying Pig Systems Ltd website www flyingpig com 1 Check that the file has a name like gut_x x x _ Build xx fpspkg or gut_x x x _Beta_ Build xx fpspkg if its a beta release 2 Copy the file to a CD ROM or Zip disk 3 Continue as above selecting CD ROM or Zip as the source of the upgrade file as appropriate 23 1 2 Clean Install You may occasionally need to do a clean install of the software which completely replaces the software rather than just upgrading parts that have changed in the new release We don t recommend this unless you have been having problems with the console and you have been advised to do a clean install by our support staff To do a clean install 1 First ensure that you
11. Cue Timing and Ordering Time 140 Enter select a fade time of 1 minute 40 seconds To change the time of an already recorded cue 1 Cuelist 1 select the cuelist unless the desired cuelist or master is already selected 2 Cue2 Time 7 Enter selects a fade time of 7 seconds Different Fade in and Fade out Times You can set different fade in and fade out times known as a split time using the key For example 1 Create the desired look for the cue in the Programmer 2 Time 7 10 Enter select a fade in time of 7 seconds and a fade out time of 10 seconds 3 Record record the cue on the currently selected Master Tip d The Wholehog Ill s definition of fade in and fade out times is different to that used by some other consoles Some consoles use fade in and fade out times for intensity parameters only and have a separate time for all other parameters Also with some consoles such as Zero 88 desks the fade out time applies when the cue goes out so that cue 2 s fade out time takes effect during the change from cue 2 to cue 3 rather than cue 1 to cue 2 13 1 2 Delay Time You can create a delay between the cue being triggered and it starting to run by setting the Delay time 1 List 1 Open open the cuelist 2 Select the cue s Delay cell and press Set 3 3 5 Enter enter the delay time As with fade times you can set separate delay times for the incoming and outgoing parts of the cue Alternatively you ca
12. Open List 1 open the cuelist window 2 Press Options and select the Track Through Loops tickbox Important The Track Through Loops option applies to the whole cuelist Using it may have unintended consequences when playing back other cues in the list out of sequence You can avoid this by plotting your loop as a separate cuelist 93 Section 13 Working with Cue Timing and Ordering Reference 94 Section 14 Working with Cuelists This section introduces e The Cuelist Directory This section shows you how to e Create and delete cuelists e Copy and move cuelists Cuelists are lists of cues usually used to play back the cues in a defined order A cue number is specific to the current cuelist not the entire console so there can be a cue 1 for cuelists 1 2 and 3 Cuelists are held in the Cuelist Directory Figure 14 1 and it is possible to copy or move cues between cuelists To open the Cuelist Directory Open List Alternatively List List 1 im Cuelist Directory ele je 3 5 6 ves a Wiggling ii Color Cuelist 6 Cuelist Colors Ripples l a l EET 13 14 15 16 17 18 Figure 14 1 The Cuelist Directory window To Open a Cuelist Figure 14 2 Open Cuelist 1 select a cuelist from the Cuelist Directory Or with the command line Open Cuelist 1 Enter 95 Section 14 Working with Cuelists Reference Or Open Choose choose the Master with the cuelist Ub Master 4 Cuelis
13. Reference Section 8 73 Section 10 Working with Palettes Reference 10 7 Palette Types 10 7 1 Direct Palettes Direct Palettes provide a way of grabbing values from a palette without embedding this information within the programming Cues recorded using Direct Palettes will not update ifthe palette is later changed You can use a palette as a direct palette on a one off basis as you programme or you can set it to always act as a direct palette To temporarily use a palette as a direct palette when calling it into the Programmer Studio Color 1 Colour 1 the key indicates that the palette should be used in direct mode To record a direct palette 1 Setthe fixtures as required 2 Record Options the Options button is on the Record Toolbar at the bottom of the right hand screen 3 Direct 4 Position 1 Enter choose a location for the Palette To convert a palette to a direct palette 1 Open Colour open the appropriate Palette Directory 2 Setthe directory window to list view Select the Direct cell for the palette you want to change and press Set 4 Select Yes and press Enter 10 7 2 Sequence Palettes 74 Normal palettes store parameter information for specific fixtures Sequence Palettes are different because they hold information to be applied to any fixtures according to a particular ordering For example while a normal palette may apply the colour red to Studio Color 10 a Sequen
14. Trademarks Trademarks used in this text High End Systems Wholehog II and Wholehog III are registered trademarks the High End Systems globe logo and the Hog logo are trademarks of High End Systems Inc or High End Systems Europe Ltd Other trademarks and trade names may be used in this document to refer to either the entities claiming the marks and names or their products High End Systems disclaims any proprietary interest in trademarks and trade names owned by others FCC Information This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to part 15 ofthe FCC rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense Product Modification Warning High End Systems products are designed and manufactured to meet the requirements of United States and International safety regulations Modifications to the product could affect safety and render the product non compliant to relevant safety standards Mise En Garde Contre La Modif
15. Wholehog III in the shade when programming outdoors 23 3 Front Panel Care The front panel needs no particular care to ensure longevity over and above the obvious You can clean it with a soft dry lint free cloth don t use any solvents chemical or abrasive cleaners Do not allow fluids dirt or other doubtful substances to come into contact with the console In the event of fluid getting into the console disconnect mains power immediately and consult your nearest service agent Some contact details are shown in the front of this manual 133 Section 23 Upgrading and Care ofthe Console Appendices 134 Section 24 Servicing This console must be serviced by qualified personnel The information in this section is intended to assist qualified personnel only For information on the care of the console see Upgrading and Care of the Console Appendices Section 23 24 1 Replacing Touch Panels Caution Always shut down and disconnect the mains power before removing the front panel Damaged touch panels are easily replaced 1 9 With the LCD box in the vertical position undo the six screws using a 4mm allen key Carefully remove the LCD panel and Soft Key strips With the LCD box in the horizontal flat position undo the four thumbscrews of the panel to be changed Unplug the touch panel cable from the central PCB Very carefully lift off the touch panel leaving the Soft Key PCBs in place Replace wi
16. a particular type of network traffic In the case of a Wholehog III network each show running on the network has its own port number so that a console can identify and connect to a particular show position See focus preset See palette profile See conversion curve programmer A window where cue and scenes maybe created or edited The programmer takes priority over all commanas sent to a fixture elsewhere in the console R rate See fade time 149 Glossary Rate Wheel The centre sprung wheel on the left hand side of the console used for adjusting fade rates rig zone A zone defined as part of the rig such as front of house or all overhead wash lights See Also zones remainder dim Used after selecting a fixture or group of fixtures setting all remaining fixtures to a zero intensity level S saturation The amount of pigment in colour notation See Also hue intensity scene A single stage look that does not have the attributes of a cue and is not part of a cuelist A scene can be loaded onto a master or triggered by a go button See Also cue cuelist selection order The order in which the user selects fixtures into the programmer or editor The Wholehog ll remembers this and can apply fanning or effects according to a fixture s place in the sequence The sequence is recorded as part of groups and palettes See Also group palette sequence palette A pale
17. band that only decides which songs to perform at the last minute Each of the Wholehog III s ten playbacks Masters has a fader Go Pause and Flash keys and any Master can act as a Grand Master to control to total output of the console For more information see Cuelist Playback Reference Section 17 2 6 HTP and LIP Generally theatre desks that are not designed to handle moving lights work on a Highest Takes Precedence HTP basis This means that if a light is being controlled by two different parts ofthe console such as a playback and a submaster the light will be at the highest of the two levels For example if in the playback channel 1 is at 50 and in the submaster it is at 100 then the level seen on stage will be 100 If the submaster is reduced to 40 then the on stage level will be 50 because the level in the playback is higher and will take precedence This system generally works well for non moving light consoles but moving lights introduce a problem Parameters other than intensity dont have higher and lower values a colour of red is not higher or lower than green and a pan of 50 is not higher or lower than one of 20 Working with moving lights needs a new way to decide the precedence called Latest Takes Precedence LTP With this system the fixture parameters go to the value they have been most recently assigned In our example moving the submaster to 40 would result in a level of 40
18. being used and turn blue after a period of inactivity the Backlight Off Time Reference 5 1 2 If you prefer the desklights to always be blue you can select Use Blue Desklights in the Console pane of the Preferences window 5 1 5 Trackball and Wheels 22 The Wholehog III has a number of controls that allow continuous input of data rather than discrete values the Trackball the I Wheel the Rate Wheel and the four Parameter Wheels The sensitivity of all the wheels and the Trackball can be adjusted in the Console pane of the Preferences window The Trackball has two modes Pointer Mode controls the on screen pointer like a mouse on a personal computer Position Mode controls the position pan and tilt of fixtures The Trackball lights up blue in this mode You can switch between the two modes by pressing the top right Trackball key You can configure the four buttons above and below the Trackball from the following options Ball Mode switches the Trackball between position and pointer modes Reference Section 5 Setting Up the System Ortho Toggle switches the Trackball between Ortho and normal When in Position mode with Ortho on the Trackball will only control pan or tilt not both at the same time This can be useful for acurately setting fixtures Right Click the same as a right click with the mouse This is usually used to bring up a contextual menu with commands such as Copy and Paste
19. changing tilt or vice versa You can set the way that fixtures move so that they follow the Trackball See Inverting and Swapping Pan and Tilt Axes Reference 7 4 3 Reference Section 8 Selecting Fixtures and Modifying Parameters Tip Q An external mouse will always control the graphical pointer so you can keep the Trackball in fixture position mode to save having to change modes as you programme Alternatively pan and tilt also appear on the parameter wheels so you can use the Trackball for the graphical pointer Using the Parameter Wheels The pan and tilt parameters also appear on the Parameter Wheels which can be used as an alternative to the Trackball Flip With some moving lights there is more than one combination of pan and tilt that results in the beam hitting the same point on the stage You may sometimes want to change the pan and tilt combination being used for example to ensure that the fixture takes the most direct route during a live position change The Flip function cycles the selected fixtures through the possible combinations in turn To do this select the fixture or fixtures and press Flip on the Main Toolbar Holding the Pig key down while pressing Flip cycles through the combinations the other way Tip When the Trackball is in position mode the top left Trackball key also acts as a Flip key for quick access while positioning fixtures 8 3 3 Colour and Beam Colour and beam parameters can be e
20. consuming Palettes help to simplify the process by allowing pre defined lighting elements to be created and then used as required A great advantage of palettes over the equivalent group type features found on many consoles is that they update automatically Ifthe palette is changed then all cues that have been recorded using the palette are also changed This is especially useful if for example the position of a piece of set on stage is moved and moving lights have been programmed to hit it The palette can be updated once to accommodate the change rather than in every cue For more information see Working with Palettes Reference Section 10 2 4 Tracking Tracking is quite a difficult concept at first but it is a very important one When a sequence of cues is programmed the lighting console can store the information in one oftwo ways either it records the settings for all the lights on stage in every cue or it just records the changes from one cue to the next The second method is called tracking For example consider the following sequence of three cues Channel 1 2 3 4 Cuel 100 0 50 50 Cue2 50 0 100 50 Cue 3 50 100 100 50 With a non tracking console the cues would be recorded with the channel levels as shown With a tracking console however the recorded information would be Channel 1 2 3 4 Cuel 100 0 50 50 Cue2 50 100 Cue3 100 Ifthe channel level has not changed from the
21. do not have to be from a contiguous range and they can be of different types 7 3 3 Adding DMX Processors To add an DMX Processor 1 Setup Fixtures Patch open the Fixture Patch window 2 Click on Add DP in the list of DMX Processors and press Set 3 DMX Processor number Enter type in the Net Number of the DMX Processor 4 OK close the Fixture Patch window 7 3 4 Unpatching Fixtures To unpatch a fixture select it and press Unpatch in the Fixture window This unpatches the fixture but leaves all programming involving the fixture intact 7 3 5 Fixtures with Multiple Patch Points 46 Some fixture types actually consist of several separate elements that work together An example would be a parcan with a scroller which operationally you want to treat as a single fixture a light that can change brightness and colour but that technically consists of a dimmer lamp and a scroller controlled independently Similarly some moving fixtures such as the Vari Lite VL5 have a separate dimmer Because the elements of the fixture generally do not have adjacent patch addresses the Wholehog III allows you to patch them separately Select the Patch Point you want to patch at the top right of the Fixture Patch window In the Fixture window these types of fixture will span more than one row one for each Patch point Reference Section 7 Adding and Configuring Fixtures 7 4 Configuring Fixtures Each fixture
22. e Left Click the same as left click with the mouse e Next sub selects the next fixture in the current selection See Sub Selections Reference 8 1 5 Flip changes the pan and tilt of a moving head fixture to point at the same position on the stage but from the other end of its movement range See Flip Reference 8 3 2 The default settings for the Trackball keys are Trackball Key Pointer Mode Position Mode top left flip flip top right ball mode ball mode bottom left left click next bottom right right click ortho toggle Using an External Mouse You can also use an external mouse or trackball to supplement the built in Trackball This will always control the graphical pointer irrespective of the Trackball mode The external mouse is connected by a standard PS2 5 pin mini DIN connector and you can adjust its sensitivity in the Console pane of the Preferences window 5 1 6 Keyboards Using an External Keyboard You can connect an external keyboard to the Wholehog III via a standard PS2 5 pin mini DIN connector Choose a driver for the keyboard and set the keyboard layout according to the language in the Keyboard pane of the Control Panel Using the On screen Keyboard You can use an on screen keyboard to enter text when an external keyboard is not present When prompted to insert text press the Set key to launch a touch screen keyboard Press the Enter key when you have finished typing To close the
23. has a variety of settings that control how the Wholehog III handles it Settings that control how the fixture as a whole behaves are edited in the Fixtures window Figure 7 3 Setup gt Fixtures Settings that are specific to individual parameters are edited in the Edit Fixtures window see Figure 7 4 Setup gt Fixtures Edit Fixtures If Fixtures sora Remove rach Unpatch Edit Fixtures Auto Palettes jel fe um Note for Patch Patch ype Paton Note Er Aveo pv es 1 1 Fixture 1 16 Fixture Duplicate Front truss left Front truss right 1 31 Fixture Figure 7 3 The Fixtures window 47 Section 7 Adding and Configuring Fixtures Reference sll 2 Studio Color 250 Function Feature Default Min Max Offset Home Off Max Speed Slot 1 Slot 2 Studio Color 575 Intensity Intensity 0 0 100 0 false Os Studio Spot 250 Pan Pan 0 185 185 0 false Os Tilt Tilt 0 120 120 0 false Os Cyan Continuous 0 0 100 0 false Os Magenta Continuous 0 0 100 0 false Os Yellow Continuous 0 0 100 0 false Os Colour Slots white true white cto Colour Spin 0 0 rpm 10 0 rpm 10 rpm 0 0 rpm false Os Colour Offset Offset 0 50 50 0 false Os Colour Fx Fandom 0 0 100 0 false Os Colour Fx Synchro 0 0 100 0 false Os Colour Time Track 100 100 100 0 false Os Colour Time Use Global true Strobe Periodic O Hz O Hz 9 99 Hz 0 03 Hz false Os Strobe Random 0 Ha 0
24. in discrete increments or slots The Fixture Library loaded into the Wholehog III defines the fixture s default slots displayed on the Slots Toolbar in Palettes and the Programmer When custom gobos or colours are used you can customise the console to display the correct name for each gobo or colour slot To do this 1 Setup Fixtures Edit Fixtures 2 For the desired fixture select the Slot cell for the parameter required 3 Press Set select the desired slot name and press Enter 51 Section 7 Adding and Configuring Fixtures Reference 52 Section 8 Selecting Fixtures and Modifying Parameters This section introduces e The programmer window The selection order e Individual fixture and parameter timing e Fanning This section shows you how to e Select fixtures singly and in multiples e Modify intensity position colour and beam parameters You can select Fixtures and modify their parameters in the Programmer Once recorded in groups palettes cues and scenes they can be adjusted in Editors The Programmer and other editors all work in essentially the same way for an overview of editors see Working with Editors Reference 6 4 pg Programmer ES Fade Delay Path ere snow rates Palettes Off jel IE Colour 1 Colour 2 Colour 3 Colour Fx Colour O lou hael lees Tes Tee lese Jess Teer loer lee Tan 10 027 4 0 0 Track 100 off pro white 25 Track 100
25. keystrokes and the command is acted on when you press Enter You can use the Backspace key to delete each part ofthe command in turn if you make a mistake typing itin The command is sent to the currently active editor press Active in the editor window to make it the active editor Tip d Because the command goes to the active editor not the front window you can have several editors open perhaps with other windows in front and still be sure which editor the commands wil be applied to 6 6 1 Command Line Syntax The commands for editing show data all use acommon syntax structure The key to mastering the command line is realising that the syntax is the same for different commands and different types of show data The basic structure is Source Mask Command Options Destination Part Description Source The source is the object within the show that you want to take data from It might be a palette scene cue or the active editor With most commands the source object is not modified Mask The Mask is a filter for when you only want some ofthe data from that object There are two types of mask a fixture mask specifies only data for certain fixtures for example Cyberlight 1 akind mask specifies only data for certain kinds for example Colour Beam If no mask is given then the whole object is used Command The Command is the operation you want to perform Commands include Copy Record Delete Move Merge Knockout So
26. on screen keyboard without making any changes press Set instead of Enter 23 Section 5 Setting Up the System Reference 8 1 7 Date and Time The console has a built in clock Set the date time and time zone in the Console Date and Time pane of the Control Panel You can also set the format that the date and time is displayed in 5 2 User Preferences You can configure various aspects of the Wholehog III in the Console pane of the Preferences window Setting Notes Date format The way that dates are displayed on the console Scaling factor Adjust this to increase the size oftext and buttons on the displays Key repeat delay When you hold down a key this is the delay before it starts to repeat Key repeat period When you hold down a key this is the time between repeats Key double press time When you press a key or button twice within this time the Wholehog III interprets this as a double press Mouse double press When you press a mouse or Trackball key twice within time this time the Wholehog III interprets this as a double press 8 3 Setting Up the Network The Wholehog III uses 100 Base T Ethernet to connect the various components of a system together The simplest system consists ofa console and an DMX Processor that generates four universes of DMX to connect to the lighting rig Complex systems can have several consoles DMX Processors and other network devices controlling large lighting rigs 8 3
27. ports VGA out 15 pin double density D type IBM PC compatible VGA SVGA analogue monitor outputs x2 RS232 Debug port for service factory use only Audio in amp out 3 5mm stereo jack Soundblaster compatible audio line input and output USB Fully compliant Universal Serial Bus 1 0 ports x2 Keyboard amp mouse 5 pin mini DIN IBM PC PS2 compatible keyboard and mouse Ethernet Neutrik Ethercon or standard RJ45 Fully compliant 10base T or 100base TX Ethernet port 21 2 Power Weight and Dimensions Power 75W Weight 22 5Kg Dimensions 760mm w x 580mm d x 110mm h footprint smaller 125 Section 21 Technical Specification Appendices 126 Section 22 Safety Information 22 1 Safety Information Warning For Continued Protection Against Fire 1 This equipment for connection to branch circuit having a maximum overload protection of 20 A Warning For Continued Protection Against Electric Shock 1 Ifthis equipment was received without aline cord plug attach the appropriate line cord plug according to the following code e brown live blue neutral e green yellow earth 2 Asthe colours of the cores in the mains lead of this equipment may not correspond with the coloured markings identifying the terminals in your plug proceed as follows e the core which is coloured green and yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol amp o
28. previous cue then no level is recorded for that channel So during playback there are two types of fixture parameter value on stage Hard Values values programmed into the current cue Hard values are sometimes known as hard commands Tracked Values those values set in previous cues but that have not yet been changed again or removed from the output These values are said to have tracked through from a previous cue in which they were Hard Values Introduction Section 2 Users New to Moving Light Consoles 2 4 1 Tracking Through Changes One advantage of tracking is that changes can be tracked through a series of cues For example if after programming a scene you decide that the level on the cyclorama floods is too low you can change the level through the whole scene just by changing the first cue If the cyc floods don t change level in the cues during the rest of the scene those cues will contain no levels for the cyc channels and the modified levels will track through until a cue when the levels do change While this can help speed up the modification of cues you may not always want changes to track through Typically at the start of a new section of the performance the lighting look will essentially start from scratch and you want to prevent changes tracking through from the previous section To do this you can create a blocking cue which contains hard values for all parameters that have values at that poi
29. range 6 4 Working with Editors 36 Editors are windows where you can set the parameter values of fixtures There are editors for cues scenes and palettes and the Programmer is also an editor and editing parameter values works in essentially the same way for all ofthem see Selecting Fixtures and Modifying Parameters Reference Section 8 U Colour Fx 25 x fee Fade Delay Path Source snow Palettes Off jel Num intensity Position Colour Mixing Colour 1 Colour 2 Colour 3 Colour Fx Colour Strobe Beam m _ om Cow Coou esse we Jem wo Jo Figure 6 1 A Typical Editor Figure 6 1 shows a typical editor The main part of the window shows the fixture parameter values in a spreadsheet view with each row representing a single fixture see Working with Spreadsheets Reference 6 3 There is a row of buttons along the top ofthe window most of which are common to all editors Button Purpose Value Fade Use these buttons to display the different kinds of information Delay and associated with the fixture s parameters in addition to the Path parameter value See Working with Fade Timings Reference 13 1 Source Press the this to see which part of the Wholehog III is determining the parameter value This might be the Programmer or a cuelist on a Master for example Reference Section 6 Using the Console Button Active Show Palettes Off 2 mi P
30. recorded cue For example you might have made changes to a cue and you want the changes to track through subseguent cues see Tracking Introduction 2 4 for an explanation of tracking To remove parameter values 1 Ensure that the parameters that you want to remove are in the Programmer 2 Record Remove the Remove button is on the Record Toolbar at the bottom of the right hand screen 3 Cue 5 Enter removes the parameters from Cue 5 12 3 Deleting Cues To delete a cue Delete Cue 1 Enter deletes cue 1 in the current Cuelist Delete List 1 Cue 1 Enter deletes cue 1 in Cuelist 1 You can delete a range of cues Delete List 1 Cue 1 Thru 4 Enter deletes cues 1 to 4 in Cuelist 1 12 4 Copying and Moving Cues 12 4 1 Copying Cues To make a copy of a cue in the same cuelist 83 Section 12 Working with Cues Reference 1 Make sure that the cuelist you want to work with is on the currently chosen Master 2 Cue 1 Copy Cue 2 Enter copies the contents of Cue 1 to Cue 2 To copy in a list other than the current one or to copy between cuelists specify the cuelist with the List key For example List 1 Cue 1 Copy List 2 Cue 2 Enter copies the contents of Cue 1 of Cuelist 1 to Cue 2 of Cuelist 2 To copy a range of cues List 1 Cue 1 Thru 4 Copy List 2 Cue 2 Enter copies the contents of Cues 1 to 4 of Cuelist 1 to Cuelist 2 starting at Cue 2 If the destination cue s already exist you w
31. select a Path and press Enter 13 1 5 Individual Fixture and Parameter Timings Each fixture and individual fixture parameter can have its own fade and delay time and path These can be set in the Programmer before recording the cue or in the Cue Editor afterwards 90 Reference Section 13 Working with Cue Timing and Ordering Important If you set individual timings for fixtures or parameters and subsequently set an overall cue time then the individual timings will be lost To set times in the Cue Editor Open Choose open the Cuelist of the desired Master Open Cue 1 open the Cue Editor for cue 1 Press the Active button to make the Editor active Press Fade Delay or Path to display the desired settings Click in the cell for the desired parameter and press Set EO IO re Type in a new value or select a new Path and press Enter To set timings in the Programmer see Setting Timings Reference 8 4 13 2 Working with Cue Triggers The Wholehog III provides several ways to trigger cues in addition to manual operation from the Go button To set a cue s trigger 1 Cuelist 1 Open open the Cuelist 2 Select the Wait cell for the desired cue and press Set 3 The Trigger Toolbar will appear below the Wait cell Select an option from this The trigger options are e Halt When the cue list reaches a Halt it stops executing cues and waits for the Go button to be pressed A Halt is shown by an empt
32. so that they are all unique irrespective of the fixture type it is not necessary to select the fixture type See Modifying the User Number Reference 7 4 1 Tip Q The Wholehog III maintains the type of the last fixture selected If for example Studio Colors are selected then all fixture numbers entered into the command line will refer to Studio Colors until a new fixture type is selected Also repeated pressing of the Fixture key will cycle through the available fixture types 8 1 2 Selecting Multiple Fixtures You can select more than one fixture of the selected type using the and Thru key For example Fixture Studio Color 1 5 Enter selects Studio Colors 1 and 5 Fixture Studio Color 1 Thru 5 Enter selects Studio Colors 1 to 5 1 Thru 5 4 selects fixtures 1 to 5 but not 4 1 Thru 5 7 selects 1 to 5 and also 7 1 Thru Enter selects from fixture 1 of the current type through to the last fixture of the current type You can also select more than one fixture from a range of fixture types for example Studio Spot 1 and Studio Color 6 54 Reference Section 8 Selecting Fixtures and Modifying Parameters Fixture Studio Spot 1 Fixture Studio Color 6 Enter Note that selections are cumulative building the total selection until the selection is used to perform an action on the selected fixtures After that subsequent selections start from nothing unless you use or to add or subtract from the previo
33. the right hand mouse or trackball button on the desired cell in the Programmer window Important If you copy parameter settings between fixtures of different types only those parameters that the fixtures have in common will be copied 8 3 8 Touching Parameters When you start to record your programming as cues you will find that only the parameters that you have assigned values to are stored these are known as Hard Values This is important because it means that in cuelists values track through until they are changed and it allows different playbacks interact to create a single onstage look However you will sometimes want to ensure that a value is stored at its current value in a cue or palette To do this you can Touch it To touch all parameters of the current selection simply press the Touch key on the Main Toolbar To touch only the parameters of a particular kind press the appropriate Parameter Type key followed by Touch For example Beam Touch touches all Beam parameters of the selected fixtures To touch a single parameter you can hold the Touch key while moving that parameter s wheel slightly or selecting any slot 8 4 Setting Timings You can give fixtures and individual parameters timings in the Programmer and these settings are then included when you record cues and scenes and optionally palettes You can also set timings in the cue scene and palette editors Each fixture or parameter can have fade
34. time of 6 seconds 1 Setthe parameters of the fixtures as required 2 Time 6 Enter set their fade time to 6 seconds 3 Colour Time Record Colour 1 Enter record colour and timing information into Colour Palette 1 You can also edit the palette timings in the Palette Content Editor See Editing Palette Contents Reference 10 6 10 2 Record Options 10 2 1 Recording with Specified Masking The Wholehog III records palettes through layers of masking the mask determines which parameter types of the selected fixtures are included in the palette By default palettes record just colour beam focus or intensity information according to the palette type You can remove masks to record more than one parameter type in a palette for example combining colour and beam information into one palette because they give a specific look The Palette Directory window will display the parameter types included in each palette Masking Using the Record Toolbar To specify masking when recording a palette using the Record Toolbar Set the parameters of the fixtures as required 2 Press Record Select Masking from the Record Toolbar and select the parameter types to be included in the palette using the buttons Use for 71 Section 10 Working with Palettes Reference intensity Use P for position Use C for colour Use B for beam Use E for effects Use T for timing 4 Press the key to choose the Palette type for example Colour The
35. together It comes in a variety of flavours See Also 10 Base T 100 Base T IP address hub 145 Glossary expansion wing A Wholehog Ill accessory that extends the number of masters available to the operator See Also master F fade time Time in which fixtures crossfade between the parameter levels of two cues one incoming one outgoing See Also split fade in time out time fixture Lantern instrument lamp or moving light unit In this manual the word fixture is used to refer to automated lights as opposed to conventionals which are usually controlled by dimmers and assigned to the Wholehog Ill as desk channels fixture library A data file that contains details of a fixture s parameters required so that the Wholehog lll understands how the fixture works and what it can do The fixture libraries are an important part of making the console s abstraction layer work See Also abstraction layer focus The position of the light beam of a fixture within space or the surface it hits Not to be confused with the beam edge quality function See parameter G gobo Image placed within the optical system of the fixture projected onto lit object Also known as a pattern 146 graphical user interface A way of displaying information and allowing the user to work with it in a visual form Most personal computers use a GUI with windows buttons and a pointer Se
36. unblocking should only take place after programming has completely finished It will remove blocking cues so any future changes will be tracked through the whole show Section 13 Working with Cue Timing and Ordering This section introduces e Cue triggers e Paths This section shows you how to e Modify cue timing Create complex cue sequences e Link cues and make loops You can control three aspects of cue timing and ordering e The speed and manner in which the transition happens when the cue runs See Working with Fade Timings Reference 13 1 e How the cue is triggered See Working with Cue Triggers Reference 13 2 e The order that cues in the cuelist are played back in See Working with Loops and Links Reference 13 3 The different types of timing values are Fade Timings Fade in time Fade out time In delay time Out delay time Path The fade time for parameters belonging to fixtures that are increasing in intensity The fade time for parameters belonging to fixtures that are decreasing in intensity The delay between the cue being triggered and when parameters belonging to fixtures that are increasing in intensity starting to change The delay between the cue being triggered and when parameters belonging to fixtures that are decreasing in intensity starting to change How parameter values change during the fade The simplest path is a straight line so that parameters change sm
37. use the same Master the normal page will override the template 119 Section 19 Working with Pages Reference 120 Section 20 Working with Master Controls This section introduces e The Grand Master 20 1 Grand Master The Grand Master inhibits the intensities of all fixtures on the console including those within the Programmer with the exception of those that are parked By default it resides on Master 1 on each page of masters For more information on pages see Working with Pages Reference Section 19 Tip d If you lose your Grand Master then if has probably been obscured by Cuelists loaded onto later pages 121 Section 20 Working with Master Controls Reference 122 Appendices Table of Contents Technical Specification 4ms4444440nnnnnnnnnnnnnnnnnnnnnnnnn nn 125 Safety Information ii 127 Upgrading and Care of the Console 131 SOIVICIN O iia RR ER aa 135 Gening Help leali 139 Section 21 Technical Specification 21 1 Input and Output Connections Od p lt P I OO In MIDI Out Figure 21 1 Rear panel of the console From right to left when viewing the console from the back Mains in IEC 320 connector 5A 250V rated cable supplied 100 240V 50 60Hz 2A maximum 2 x 5x20mm BA T fuses MIDI in amp out Fully compliant Musical Instrument Digital Interface input and output
38. 002 Safety EN60950 2000 EMC EN55103 1 1996 E2 EN55103 2 1996 E2 I the undersigned hereby declare that the equipment specified above conforms to the above Directives and Standards Fi ie Richard Bunn Compliance Engineer 30 May 2002 Table of Contents Introduction tese EE aiii xiii Tx Getting Staried ee 2 1 1 1 Where to STOF ee ee eia aa nennen ek ee 1 IE GR OE hm 1 2 Users New to Moving Light Consoles 3 2 1 The User INterface nennen nennen 3 2 2 Referring to Fixtures i 3 2 9 el EE Ed 3 MI ele ale EE OR ER 4 2 5 Multiple Playbacks and Cuelists ss ee 6 20 HIP ONAP ea ns 6 2 7 Individual Times for Each Parameter 6 3 Wholehog Il User ee ee ee ee ee iii 9 3 1 NSTWOrkINO EE EE ER EE Ge nit ee Ee EE Ee Ag 9 3 2The Front Panelii uao nahen 9 3 3 New WINDOWS LL 10 3 4 New Playback Features i 10 3 5 The Effects ENGINE 11 3 6 ADSTTACtION i 11 Tutorial OR EE OE EE EE 13 4 Quick and Dirty Create a Show in Ten Steps 15 Step 1 Connecting the Mains ee ee 15 Step 2 Connecting the DMX Processor 15 Step 3 Starting the CONSOle 15 Step 4 Starting a New SNOW 15 Step 5 Adding the Fixtures ee ee ee ee ee 15 Step 6 Patching the Fixtures sesse ee ee ke ee 15 Step 7 Setting Parameters se ee ke nenn 16 Step 8
39. 23 monitors 22 mouse 23 Fade button 36 fade time 87 88 overriding during playback 110 113 fader 9 108 fanning 60 63 effects 105 fine control of parameter values 60 Fixture Library 40 fixture masters 10 Fixture Patch window 45 Fixture Schedule window 43 fixtures 3 adding 43 configuring 47 copying parameter values 61 deselecting 56 generic 43 interchangeable 12 inverting pan and tilt 49 inverting the selection 55 modes 43 patching 44 proprtional patch 49 removing 44 removing from the Programmer 63 select all 55 selecting 54 selecting from what is onstage 77 selection order 56 sub selections 55 swapping axes 49 timing 62 unpatching 46 user number 48 48 Fixtures window 44 47 Flash key 108 flip 22 59 follow on 92 follow on time 87 front panel 9 generic fixtures 43 glossary 1 143 Go key 108 Grand Master 121 loosing 121 graphical user interface 3 31 Group Directory 37 groups 65 copying 67 deleting 66 editing contents 67 moving 67 naming 66 recording 65 halt 91 Halt Back key 108 hard command See hard value hard values 4 5 61 86 Hold Over If Active 118 HTP 6 110 114 hub See switch Wheel 10 58 inhibitive masters 113 Insert button 66 70 82 97 100 intensity modifying values 57 interface See graphical user interface inverting pan and tilt 49 inverting the fixture selection 55 IP address console
40. 25 DMX Processor 28 155 using a custom 26 Is a Chase 110 key 1 double press time 24 repeat delay 24 repeat period 24 keyboard external 23 on screen 23 keys 57 Assert 108 Choose 107 108 113 Effects 105 Fan 60 Flash 108 Go 108 Halt Back 108 Live 77 78 modifier 32 new 10 Next Page 117 Open 33 Pig See Pig key Release 108 Skip Back 108 Skip Forward 108 soft See Soft Keys Time 62 62 Trackball 22 knockout button 63 Live key 77 78 logging off 41 loops 92 action of Go key 92 tracking through 93 LTP 6 156 Launch Existing Show 41 Launch New Show 40 Leave In Background 118 link cues 92 linked parameters 64 links See link Cues mains power 21 maintain state 5 93 mask 39 Mask button 106 masking 71 masters 6 9 10 fixture 10 Grand Master 121 inhibitive 113 pages 117 physical 107 107 113 113 virtual 10 107 109 113 114 which is the currently chosen master 39 Merge button 66 70 82 97 100 modifier keys 32 monitors external 22 mouse 23 double press time 24 moving cuelists 97 cues 84 groups 67 pages 118 palettes 73 scenes 101 multiple consoles on the network 9 26 DMX Processors 26 patch points 45 46 shows on the network 9 26 naming cues 82 groups 66 palettes 70 scenes 100 slots 51 the show 40 42 Net number 25 27 46 network 24 networking 9 new playback feature
41. 3 Replace Merge and Insert When copying or moving a cuelist ifthe destination location already has a cuelist in it you will be prompted with record options of Replace Merge or Insert e Replace Overwrites the cuelist information in that destination Merge Incorporates the copied information into the destination cuelist If the cue numbers are in both cuelists the new values will replace the old Insert creates a new destination cuelist The new cuelist will be assigned a free location just before the one chosen using a point number if necessary Tip Q If you know that you are about to move or copy a cuelist to an existing destination you can pre select Replace Merge or Insert from the Record Toolbar This appears after you press the Copy or Move keys 97 Section 14 Working with Cuelists Reference 98 Section 15 Working with Scenes This section introduces e The Scene Directory This section shows you how to e Record and delete scenes e Name and edit scenes Copy and move scenes e Modify scene timings A scene is like a cue with full timing features that does not belong to a cuelist Scenes can be used to store multiple looks that may be called back for programming or to load many simple looks for direct playback from physical masters Scenes are stored in the Scene Directory see Figure 15 1 To open the Scene Directory Open Scene opens the Scene Directory See also Scene Playback Re
42. Alternatively you can select the Scene from the Scene Directory Scene 1 Move Choose The name of the Scene and the fader level is shown on the screen immediately above the Master 18 1 2 Playing Back the Scene To play back the scene press the Go key The scene will fade in with the times recorded with it and the fader acts as an inhibitive master for the scene You can increase or decrease the fade rate 1 Press and hold the Master s Choose key 2 Adjust the left hand Parameter Wheel 113 Section 18 Scene Playback Reference 18 2 Playback with a Virtual Master You can play back Scenes without assigning them to a physical Master by using Virtual Masters run directly from the Scene Directory Virtual Masters are always at full intensity so the level of fixtures is that recorded in the scene An almost unlimited number of Virtual Masters running different scenes can be in operation at any one time Scene Virtual Masters are operated from the Scene Directory window Open Scene The window must be in the Active mode controlled by a toggle button in the window When in this mode press a Scene button in the directory and it will appear onstage 18 3 Playback Options There are several options that control how a scene works during playback Setting Default Notes Playback priority Release time Assert time Use HTP Persist on override 114 0 2s 2s Off Off W
43. CT AND HIGH END SPECIFICALLY DISCLAIMS ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE HIGH END SHALL NOT BE LIABLE FOR ANY INDIRECT INCIDENTAL OR CONSEQUENTIAL DAMAGE INCLUDING LOST PROFITS SUSTAINED OR INCURRED IN CONNECTION WITH ANY PRODUCT OR CAUSED BY PRODUCT DEFECTS OR THE PARTIAL OR TOTAL FAILURE OF ANY PRODUCT REGARDLESS OF THE FORM OF ACTION WHETHER IN CONTRACT TORT INCLUDING NEGLIGENCE STRICT LIABILITY OR OTHERWISE AND WHETHER OR NOT SUCH DAMAGE WAS FORESEEN OR UNFORESEEN Warranty is void if the product is misused damaged modified in any way or for unauthorized repairs or parts This warranty gives you specific legal rights and you may also have other rights which vary from state to state Revision History Revision 0 8 beta 1 lst May 2002 Revision 0 9 beta 4 24th June 2002 Revision 1 0 22nd July 2002 Declaration of Conformity According to ISO IEC Guide 22 and EN45104 Manufacturers name Flying Pig Systems High End Systems Europe Ltd Distributors name High End Systems Europe Ltd Distributors address 53 Northfield Road London W13 9SY Declares that the product Product Name Wholehog III Product Number All Product Options All Conforms to the following EEC directives 73 23 EEC as amended by 93 68 EEC 89 336 EEC as amended by 92 31 EEC and 93 68 EEC Equipment referred to in this declaration of conformity was first manufactured in compliance with the following standards in 2
44. Ha 9 99 Hz 0 03 Hz false Os Strobe Shutter open true open closed Frost Continuous 0 0 100 0 false Os Beam Shape Continuous 0 0 100 0 false Os 4 gt a E EER ai gt hd ca 2 F Figure 7 4 The Edit Fixtures window 7 4 1 Modifying the User Number The User Number is the number that you use to select a particular fixture when programming By default the Wholehog III gives each fixture type its own range of user numbers so that there might be several fixtures numbered 1 of different types You may wish to renumber the fixtures in your show so that for example each one has a unique number irrespective of its type By doing this you never have to specify the type when selecting fixtures which can speed up programming but you will have to remember what type of fixture each fixture number refers to See Selecting Fixtures Reference 8 1 To change the User Number 1 Setup Fixtures 2 select the fixture s User Number cell 3 Set new number Enter To change several User Numbers at once 1 Setup Fixtures 2 select a range of User Number cells by clicking and dragging 3 Set new number Enter allocates a range of user numbers starting with the number that you enter 7 4 2 Notes Notes can be used to attach a comment to a fixture such as its location or intended use 48 Reference Section 7 Adding and Configuring Fixtures To add a note 1 Setup Fixtures 2 Select the fix
45. Out Delay In or Delay Out button and select which parameter type to set the timings for 4 Use the parameter wheels to set the desired timings With the Command Line 1 Studio Color 1 select the desired fixtures 2 Colour Time 4 Enter sets the fade time of the colour parameters to 4 seconds In an Editor Window 1 Click in the cell for the desired parameter or click and drag to select a range of cells 2 Press Set 62 Reference Section 8 Selecting Fixtures and Modifying Parameters 3 Type in a new time value and press Enter 8 4 3 Fanned Timings You can fan timings across multiple fixtures just as you can fan colour or position For example to fan times across 10 Studio Colors Studio Color 1 Thru 10 Time 5 Thru 15 Enter fans the fade times of Studio Colors 1 through 10 between 5 and 15 seconds For more on fanning see Fanning Reference 8 3 6 8 5 Removing Values As well as setting values for parameters you will sometimes want to remove parameter values from editors For example You no longer want to use a particular fixture in a cue e You decide to have the colour of several fixtures controlled by a different cuelist on another playback To do this you need to remove colour parameter values so that they don t take over control ofthe colour parameters under the LTP rule See ATP and LTP Introduction 2 6 Tip Z If you want to clear the entire contents of an editor use the C
46. Palettes 10 5 Copying and Moving Palettes To make a copy of a palette in a new location Colour 1 Copy Colour 2 Enter copies the contents of Colour Palette 1 to Colour Palette 2 Colour 1 Group 2 Copy Colour 2 Enter copies fixtures that are in Colour Palette 1 and Group 2 into Colour Palette 2 Similarly to move a palette to a new location Colour 1 Move Colour 2 Enter moves the contents of Colour Palette 1 to Colour Palette 2 leaving 1 empty If the destination palette already exists you will be asked to choose an option Replace Merge and Insert Reference 10 1 1 10 6 Editing Palette Contents 1 Colour Fx 25 x vine Fade Delay Path Source snow Palettes DIT 21 T Num f Intensity Position olour Mixing Colour 1 Colour 2 Colour 3 Colour Fx Colour Strobe Beam Cow cow esse we Jam wo Jo Figure 10 2 The Palette Editor window You can edit the contents of a palette in an Editor window see Figure 10 2 For example to open colour palette 1 for editing 1 Open Colour opens the Colour Palette Directory window 2 Open Colour 1 opens the Palette Editor for Colour Palette 1 3 Alternatively using the command line Colour 1 Open 4 Press the Active button in the Editor window to select this as your current Editor Within the Editor you can set fixture parameters and timing in the same way as in the Programmer See Selecting Fixtures and Modifying Parameters
47. Recording the Cu esse ee ke nenn 16 Step 9 Playing Back the Cue uc is se ee ee ee 16 Step 10 Changing the Cue TIME 17 Reference EE eee ee A ei ee 19 5 Setting Up the System iiini ee ee Ge ee 21 5 1 Setting Up the CONSole ee ee 21 5 2 User PreferenCeS ee i 24 5 3 Setting Up the Network 24 5 4 Working with DMX ProCceSSOIS ee ee ee ee ee 27 6 Using the Console ee ee ee ee ee Ee ee Ee ee ea 31 6 1 BASIC CONCEPTS wisi EA Gee ES seceded eld 3 6 2 Working with Windows ee se ee 33 6 3 Working with Spreadsheets i 35 6 4 Working with Editors ee ese ee ee ee ke ee ee 36 6 5 Working with Directories se ee ee 37 6 6 Using the Command LINE ee 38 6 7 Starting Up and Shutting Down ee ee 40 6 8 Managing Show Data es ee nenn 42 7 Adding and Configuring FixtUres 43 7 1 Adding a Fixture to the Show 43 7 2 Removing a Fixture from the Show 44 7 3 PATCHING FIXTUres i 44 7 4 Configuring FIXtUres nennen 47 8 Selecting Fixtures and Modifying Parameters 53 8 1 Selecting Fixtures nennen nennen nn 54 8 2 The Selection OFder ere 56 8 3 Modifying Parameters ees i 56 8 4 Setting TIMINGS ee Re ee ke ee ee 61 8 5 REMOVING VAS vo ect ke ee ke ee 63 8 6 Linked Parameters ee Re ER ER ke Re ER nana 64 9 Working With GrouDS ees ee ee Re Ee ee ee Re ee Re ea 65 9 1 Recording A Group 65 9 2 D
48. Users New to Moving Light Consoles If your previous experience with lighting consoles has been mainly with theatre desks Strand ETC etc then this section will introduce you to some fundamental differences that you will find with the Wholehog III 2 1 The User Interface Most theatre desks use a command line to control them This means that you enter instructions using a keypad in the form channel 36 at 50 Information displayed on monitors is limited to pure text and only one screen layout can be displayed on one monitor at a time The Wholehog III is rather different It has been designed on the principle that you should be able to see any information about your programmed show at any time and that you should be able to change that information directly if you wish to In addition to a conventional command line the Wholehog III uses a graphical user interface similar to those found on personal computers Combined with the touch screens this interface gives a very powerful alternative way of working You can arrange multiple windows as you want them on the screens in order to display whatever information you need You do not have to write down or remember as much because the window that shows you say groups that you have programmed also allows you to select those groups simply by touching them Any object such as a cue a group or a fixture can be named as you wish for easy identification The advantages of a graphi
49. ain State One disadvantage found with some tracking consoles occurs when you play back cues out of sequence Typically this will happen during rehearsals when you want to go back over a section of the show but it can happen during performance if the performers miss out a bit for example If you jump from cue 3 to cue 8 the look on stage will not be correct because cue 8 only contains the information needed to create the state of cue 8 if you are starting from cue 7 Start from cue 3 and the look on stage will be wrong Section 2 Users New to Moving Light Consoles Introduction The Wholehog III avoids this by Maintaining State This means that whenever you run a cue the console ensures that what you get on stage is what you would have got if you had run through the cuelist up to that point regardless of where you have actually come from in the cue list Most ofthe time maintaining state means that the console does what you would expect and want Occasionally you may wish to turn this feature off see Tracking Through Loops Reference 13 3 3 2 5 Multiple Playbacks and Cuelists Most theatre consoles only use a single cue list The Wholehog III allows multiple cue lists each with their own numbering sequence These can be replayed either at the same time on multiple playbacks or consecutively on the same playback This approach is especially useful when the order ofthe various parts of a show is not predetermined such as a
50. ammer window 3 Select the cells for the fixture parameters that you want to apply the effect to 4 Press Set choose the effect type from the menu and press Enter Once the effect path is set you can modify the effect attributes either graphically or with the Parameter Wheels To edit the values visually Make sure that the Effects key is selected 2 Select Size Rate Offset or Active from the top of Programmer window 3 Select the cells for the parameters that you want to edit and press Set 4 Type anew value and press Enter Or using the Parameter Wheels 1 Select the fixtures or individual parameters that you want to edit Adjust the Size Rate Offset or Active Parameter Wheel Press Enter 105 Section 16 Working with Effects Reference You can view the effect of adjusting the various Parameter Wheels by selecting Size Rate Offset and Active at the top ofthe Programmer window All these effect attributes can be fanned using the Fan key and Parameter Wheels or by entering a value of say 50 Thru 80 in the Programmer window 16 4 Recording an Effect Palette You can record any combination of effects into a Palette 1 Select the fixtures and set the desired effects 2 Record Effect the Effects Palette Directory window opens 3 Select a location This will only record parameters that have been touched in the Effects window and does not include the parameters underlying values To incl
51. and delay times and a path these are all explained in detail in Working with Cue Timing and Ordering Reference Section 13 Note that you can only set a timings for a parameter that has been touched in the editor see Touching Parameters Reference 8 3 8 Selecting Fade Delay or Path from the top left of the Programmer window will display fade or delay times or paths for each fixture parameter 61 Section 8 Selecting Fixtures and Modifying Parameters Reference Important If you set fixture and parameter timings in the Programmer and then record a cue scene or palette with an overall time the individual time information will be overridden 8 4 1 Fixture Timings You can set the individual timings of fixtures in the Programmer using the Timing Toolbar or the command line With the Timings Toolbar 1 Select the fixtures that you want to set timings for 2 Time open the Timings Toolbar 3 Use the parameter wheels to set the desired timings With the Command Line 1 Studio Color 1 select the desired fixtures 2 Time 4 Enter sets the fade time to 4 seconds 3 Time Time 2 Enter pressing Time twice sets the delay time 8 4 2 Parameter Timings Parameter timings can be set using the Timings Toolbar or the command line or directly in the Programmer window With the Timings Toolbar Select the fixtures that you want to set timings for 2 Time open the Timings Toolbar Press the Fade In Fade
52. and labour limited warranty It is the owner s responsibility to furnish receipts or invoices for verification of purchase date and dealer or distributor If purchase date cannot be provided date of manufacture will be used to determine warranty period Returning an Item Under Warranty for Repair It is necessary to obtain a Return Material Authorization RMA number from your dealer or point of purchase BEFORE any units are returned for repair The manufacturer will make the final determination as to whether or not the unit is covered by warranty Any Product unit or parts returned to High End Systems must be packaged in a suitable manner to ensure the protection of such Product unit or parts and such package shall be clearly and prominently marked to indicate that the package contains returned Product units or parts and with an RMA number Accompany all returned Product units or parts with a written explanation of the alleged problem or malfunction Ship returned Product units or parts to 53 Northfield Road London W13 9SY UK Note Freight Damage Claims are invalid for fixtures shipped in non factory boxes and packing materials Freight All shipping will be paid by the purchaser Under no circumstances will freight collect shipments be accepted REPAIR OR REPLACEMENT AS PROVIDED FOR UNDER THIS WARRANTY IS THE EXCLUSIVE REMEDY OF THE CONSUMER HIGH END SYSTEMS INC MAKES NO WARRANTIES EXPRESS OR IMPLIED WITH RESPECT TO ANY PRODU
53. at facilitates the control of fixture parameters Parameter Wheels are fixture sensitive once loaded from the fixture library parameters are allocated logically to the wheels patch The assignment of DMX addresses to fixtures See Also DMX patch point The set of information that defines where a fixture is patched including DMX address DMX universe and DMX Processor Some fixtures have multiple patch points See Also DMX DMX address universe DMX Processor path A way of defining the way that a parameter changes during a fade You could set a path that makes the fixture parameter snap to its final value at the start of the fade for example Paths should not be confused with conversion curves paths are the properties of a cue while a conversion curves is the property of a fixture See Also fade time conversion curve pattern See gobo peripherals See accessories Glossary Pig key The Flying Pig symbol button is a modifier key and may be used in conjunction with other keys to alter their function playback See master point number A number with a decimal point Cues are initially given whole numbers but a point number in order can be used to insert a cue cue 2 5 between 2 and 3 for example Such a cue is known as a point cue plotting The process of recording cues for playing back latter See Also programmer port number On a computer network the port number defines
54. ating a blocking cue for the current on stage look To avoid bringing in values into the Programmer that are at default use Suck Reference 11 2 1 See also Touching Parameters Reference 8 3 8 and Tracking Introduction 2 4 11 3 Update When you are editing a cue scene or palette pressing Update saves the changes that you have made Until you press Update your changes do not take effect so you will not see them ifyou run the cue or scene or use the palette 78 Reference Section 11 Advanced Programming 11 4 Blind Blind mode allows you to continue programming and editing cues groups palettes and scenes without changing the onstage values of fixtures The Blind button is located above the Trackball 11 5 Parking Sometimes it is useful to lock certain parameters of fixtures to values outside the scope of normal programming and playback For instance you might want a particular dimmer to be fixed at a certain level as a working light and not be affected by the Grand Master Or a fixture might malfunction and you need to lock its pan and tilt so that it doesn t make a noise as it tries to move during the show You can do this using the Park function Parked fixture parameters are independent of any other part ofthe console including the Grand Master To park fixtures select them set the parameter values you want to lock and press the Park button on the Main Toolbar To unpark fixtures select them and ho
55. cal user interface are far reaching and will become fully apparent as you get more familiar with the Wholehog III For more information see The Graphical User Interface Reference 6 1 1 and Working with Windows Reference 6 2 2 2 Referring to Fixtures Lighting consoles that have been primarily designed to work with conventional fixtures that have only one parameter intensity generally refer to fixtures by number These channel numbers usually run consecutively in a single sequence say from 1 to 200 This can be a problem with fixtures such as moving lights that have multiple parameters and so require multiple channels to control causing the numbering sequence to no longer relate to separate fixtures The Wholehog III treats a fixture as a single entity no matter how many or few parameters it has By default each type of fixture has its own numbering range so that you would refer to Studio Spot 6 and Cyberlight 12 Fixtures can be numbered in any way that you prefer however For more information see Modifying the User Number Reference 7 4 1 The Wholehog III treats conventional lights consisting of a luminaire controlled by a dimmer as a special kind of fixture known as a desk channel Section 2 Users New to Moving Light Consoles Introduction 2 3 Palettes The complexity of modern lighting rigs especially with the widespread use of moving lights means that programming can be very time
56. ce Palette might apply the colour red to every 1 and 5 fixture If the selection contains more fixtures than the Sequence Palette the palette will be applied repeatedly This means that a Sequence Palette can be programmed with one fixture and then applied to any number of fixtures and fixture types within a rig For example sequence palettes could be used to e Set all colour mixing fixtures to fully saturated red Reference Section 10 Working with Palettes Program a colour pattern which fans across a sequence of fixtures starting in deep red on the first moving to deep orange on the fifth e Store effects that apply in sequence where every other fixture has a time or position offset of 50 for example e Apply palette timing to sequences of fixtures to produce complex timing effects Note that Sequence Palettes are always direct rather than embedded because they contain a selection sequence not fixture information To create a Sequence Palette 1 Set the fixtures as required paying careful attention to the selection order 2 Record Options the Options button is on the Record Toolbar at the bottom of the right hand screen 3 Sequence 4 Position 1 Enter choose a location for the Palette You can also convert an existing palette to a Sequence palette 1 Open Colour open the appropriate Palette Directory Set the directory window to list view Select the Sequence cell for the palette you want to c
57. ckball port number 26 41 console 25 DMX Processor 28 position flip 59 modifying values 58 position mode See Trackball power 21 preferences user 21 24 Programmer the 36 53 bringing in values from onstage 77 clearing the contents of 63 with selected fixtures only 83 with state 86 direct palettes 74 effects 105 effects palettes 106 groups 65 link cues 92 pages 117 palettes 70 scenes 99 sequence palettes 74 Release All 118 Release key 108 release time 110 114 Remainder Dim button 58 Reorder button 56 repeat delay key 24 repeat period key 24 Replace button 66 70 82 97 100 Reset on Release 110 Reverse button 56 router See switch quit 41 158 rate override 110 113 Rate Wheel 10 108 110 real world units 11 Record Toolbar 66 70 71 82 97 100 106 recording cuelists 96 cues 81 removing parameter values 83 with a delay time 89 with a fade time 88 scaling factor 24 scene masters 10 Scene Directory 37 scenes 99 copying 101 deleting 100 editing contents 101 moving 101 naming 100 playback 113 recording 99 timing 101 Select All button 55 selecting fixtures 54 from what is onstage 77 selection order the 56 65 Selection Toolbar 55 56 sequence palettes 74 Set key the 23 show changing the current 42 connecting to a running 41 launching a new 40 launching an existing 41 name 40 Show Manager 42 Show Palettes b
58. ction 5 Setting Up the System 4 Either launch a new show or join a running show Also you will need to set the Port Number of the DMX Processors according to the show they are being used on See Setting the Port Number Reference 5 4 1 5 4 Working with DMX Processors DMX Processors are connected to the console via the network and each provide four DMX universes An DMX Processor needs mains power at any voltage between 100 and 240V AC The front panel keys give you access to the DMX Processor s functions To navigate through the screens lt Move the cursor through the options backwards o Select the option currently highlighted by the cursor gt Move the cursor through the options forwards The menus use the following conventions OK Confirm changes and return to the previous screen Cancel Abandon changes and return to the previous screen Close Return to the previous screen To set a numerical value Move the cursor to the value you want to change 2 Pressthe key and the first digit of the number will be highlighted 3 Use the key to change the value and the lt and gt keys to select a different digit of the number 4 When you have finished press gt until no digits are selected You can then use lt and gt to select options in the usual way 5 4 1 Network Settings A simple network of just a console and an DMX Processor will configure itself automatically If you have a more comp
59. cursor over the right hand edge of the column header The cursor will change to a double ended arrow Click and drag to resize the column Move a column Click and drag on the column header Hide a column Right click on the column header and choose Hide Show a hidden Right click on a column header and choose the name of column the column from the menu Sort the spreadsheet Right click on a column header and choose Sort The spreadsheet will be sorted by the values in that column Choose Sort again the reverse the direction of the sort Select a row Click on the row number button at the left hand side of the spreadsheet Select a range of rows You can click and drag across a range of row buttons to select them all Select all the cells ina Double click on the column header at the top of the column spreadsheet 35 Section 6 Using the Console Reference To do this do this Select a cell Click in the cell You can use the cursor keys below the Trackball to change which cell is selected Select a range of cells You can click and drag across a range of cells to select them all Alternatively you can click in the first cell press Thru and click in the last cell this is useful if you want to select a large range and need to scroll the window Edit the contents of Click in the cell and press Set or double click in the cell cells Type in the new value and press Enter This works for both a single selected cell and a
60. d Beam There are also two special types Effect and Time The Wholehog III provides several ways to control the different parameter types Control Use for Command Line Intensity I Wheel Intensity Trackball Position pan and tilt Use the top right Trackball key to switch the Trackball between controlling the on screen pointer and the position of selected fixtures 36 Reference Section 8 Selecting Fixtures and Modifying Parameters Control Use for Parameter Wheels Position Colour and Beam To change the parameter type currently controlled by the parameter wheels select one ofthe parameter type keys on the front panel Intensity Position Colour or Beam If the fixture has more parameters of a particular type than there are parameter wheels you can change the Wheelset to access all the parameters See Changing the Wheelset Reference 8 3 4 Slots Toolbar Parameters that have discrete rather than continuous values known as slotted such as the positions of a colour wheel can be controlled from the Slots Toolbar This gives you button press control of the posible values Spreadsheet You can directly edit a parameter s value in an editor s spreadsheet view Click on the cell press Set type ina value and press Enter 8 3 1 Intensity Fixture intensities can either be set from the keypad or using the Wheel With the Key To set intensities using the key and the numeric key
61. d on the internal hard disk in the location that you chose when creating the show The console saves changes to the disk as they are made and in the event of a power failure the battery backup will ensure that all saves are completed before shut down The Show Manager window allows you to see the details of the current show and change its name If you wish to change the current show then press the Change Show button To open the Show Manager Setup Shows 6 8 1 Storing Shows 42 Use the Backup pane to store a copy of your current show to another location on the hard disk or to Zip disk CD ROM or network drive It is good practice to backup your show regularly You can automate this using the Auto Backup function This will make an automatic backup at specified intervals set to twenty minutes by default In the Auto Backup pane you can specify a location and name for your back ups as well as specifying how many the system should keep the default being the last three Section 7 Adding and Configuring Fixtures This section introduces e The fixture window e User numbers e Slots This section shows you how to e Choose and add fixtures to your show e Add a DMX Processor e Patch fixtures to different universes and DMX Processors Patch fixtures with multiple patch points Configure fixtures Once you have created your new show see Launch New Show Reference 6 7 1 you need to e Add fixtures Patch fixtu
62. e Also command line group A way of storing and recalling a selection of fixtures quickly GUI See graphical user interface H hard command See hard value hard value The output of a master running a cuelist is a mix of hard and soft parameter values Hard values are those that are in the current cue while soft values are those that have tracked through from previous cues See Also tracking Hog Edit A PC based program that allows the editing of show information With the use of a DMX Processor Hog Edit can output this information to visualisers lighting consoles or fixtures See Also widget visualiser HTP Highest Takes Precedence In this system of operation the highest value set for a parameter is the one that applies A fixture can be in cues on two masters and the highest level of the two will be the one seen HIP is only relevant to intensity parameters where the idea of highest has meaning See Also LTP hub When you want to connect more than two Wholehog III components or computers together then you need a special piece of equipment to allow them to interconnect called an Ethernet Hub or Ethernet Switch Note that when connecting a Wholehog Ill component to a hub or switch you should use a normal Ethernet cable and not a cross over cable like the one we supply See Also Ethernet hue The colour pigment element of colour notation See Also saturation intensit
63. e copied information into the destination palette If the same fixtures and parameters are in both palettes the new values will replace the old Insert creates a new destination palette The new palette will be assigned a free location just before the one chosen using a point number if necessary Tip Z If you know that you are about to record copy or move a palette to an existing destination you can pre select Replace Merge or Insert from the Record Toolbar This appears after you press the Record Copy or Move keys 10 1 2 Naming a Palette You can give a palette a name that will be displayed in the Palette Directory window 1 Open Position opens the Position Palette window 70 Reference Section 10 Working with Palettes 2 Select the palette to be named 3 Set name Enter type in the name Tip d To name a palette immediately after recording if pressing the Set key will open a Quickname window Enter the palette name and select OK 10 1 3 Palette Timing Fixture and individual parameter timings that have been set in the Programmer can be recorded when you record a palette and applied when the palette is used By default timings are not included in a palette to include them you should include Time as a mask during recording See Masking Using the Record Toolbar Reference 10 2 1 You can also set an overall palette timing when recording the palette For example to record a Colour Palette with a fade
64. e four shown The display gives a graphical indication of which addresses are already occupied Type in a number for the DMX address the next free address is shown below each universe Click on OK or press Enter You can also use the keypad to patch fixtures For example to patch Studio Color 1 to DMX Processor 2 Universe 4 at address 17 Studio Color 1 2 4 17 Enter To patch further fixtures to the same DMX Processor and universe you can use the shorthand Studio Color 2 33 Enter You can patch one fixture to multiple different addresses select the fixture again and patch it as before 45 Section 7 Adding and Configuring Fixtures Reference Tip Z You don t have to patch fixtures before you start programming Once the fixtures have been added they can be programmed see Adding a Fixture to the Show Reference 7 1 7 3 2 Patching Several Fixtures at Once If you select several fixtures and patch them the Wholehog III will allocate them to a continuous range of DMX addresses setting each fixture s patch address so that it follows on from the last For example to patch 5 Studio Colors starting at DMX address 1 1 Setup gt Fixtures Fixture Window 2 Fixture Studio Color 1 thru 5 Patch 1 Enter You can use the key as an alternative to the Patch button Studio Colors 1 to 5 will now have the incremental patch addresses of 1 1 1 17 1 33 1 49 and 1 65 Note that the fixtures selected
65. e the software and the DMX Processors will re appear in the list after a couple of minutes Sometimes if the console and DMX Processor are running different software versions the console may not recognise the DMX Processor on the network To overcome this you can force the DMX Processor to update its software from the console 1 Turn off the mains power to the DMX Processor Check that it is connected to the console on the network 2 Turn the DMX Processor back on while holding down the lt key 3 The DMX Processor will download its software from the console 23 2 Touch Screens The touch panels and liquid crystal displays LCDs require some care in use to ensure their longevity Do not allow sharp objects to come into contact with the screen Objects such as the eraser end of a pencil can provide an alternative to fingertips If you need to clean the screens use a soft dry lint free cloth don t use any solvents chemical or abrasive cleaners The LCD operating temperature must be between 0 and 45 degrees Celsius 32 to 113 Fahrenheit 132 Appendices Section 23 Upgrading and Care of the Console You should keep the LCDs out of direct sunlight Too much exposure to the sun may cause the screens to turn black requiring several hours to cool and return to normal If this happens you can use External Monitors Reference 5 1 3 and the Trackball and Wheels Reference 5 1 5 instead To avoid this use the
66. e total output ofthe console in the Output window Main Toolbar Output 17 2 Playback with a Virtual Master You can run cuelists without assigning them to a physical Master by using Virtual Masters Virtual Masters are always at full intensity so the level of fixtures is that recorded in the cues An almost unlimited number of Virtual Masters running different cuelists can be in operation at any one time Cuelist Virtual Masters are operated from the Cuelist Directory window Open List The window must be in the Active mode controlled by a toggle button in the window When in this mode press a Cuelist button in the directory and it will appear onstage as if Go had been pressed on a Master Holding your finger down on the cuelist s button acts as if a Choose was being held and you can use the main controls 109 Section 17 Cuelist Playback Reference The cuelist buttons in the directory are coloured to indicate when they are onstage and change colour when a crossfade is running Alternatively in the Cuelist Editor window the Controls button shows a set of on screen playback controls 17 3 Overrides 17 3 1 Crossfade Rate Overrides A cuelist can have its rate increased or decreased whilst on a Master this affects all cue timings in the list 1 Press and hold the Master s Choose key 2 Adjust the left hand Parameter Wheel 17 4 Playback Options There are several options that control how a cuelist wor
67. ecific to the show created by the console or the user The brackets indicate a label that will vary depending on your particular show 10 12 Text or other information that you should enter using the numeric keypad or the on screen or external keyboard password A description of information that you should enter that is not the literal text Section 1 Getting Started Introduction Record Enter Buttons or keys separated by commas show that the keystrokes are sequential In this case press the Record key then the Enter key Open Fixture Buttons or keys followed by are held down while the second key is pressed In this example hold down the Open key and press Fixture Setup Fixture A series of operations that navigate through windows and Fixture Window toolbars In the manual the word key is used to indicate a hardware button on the Wholehog III s front panel For example press the Enter key The word button refers to virtual buttons that can be pressed on the touch screens or clicked on with the trackball or mouse You will also find important or useful information highlighted Caution o A caution which has information about hazards to equipment or personnel Important An important note usually alerting you to situations where you might lose some of your show s data There are very few of these Tip d A tip to help you be more productive in your programming Section 2
68. eds There are three main settings involved in a network e The Net Number indentifies an DMX Processor on the network and is used when Patching Fixtures Reference 7 3 The IP Address identifies any device console DMX Processor switch personal computer on the network A network device can have its IP address set by the user known as a static address or it can obtain one automatically from a DHCP server By default consoles act as DHCP servers giving IP addresses to DMX Processors The Port Number identifies information transmitted across the network An DMX Processor will only respond to information sent by a console with the same port number 25 Section 5 Setting Up the System Reference 26 Tip Q Definitions of the various terms used including IP Address Port number and DHCP may be found in the Glossary More than One DMX Processor on the Network If you have more than one DMX Processor on the network each one needs to have its own Net Number and IP address To set the Net Number on the DMX Processor see Checking and Setting the Net Number Reference 5 4 1 By default DMX Processors are set to get their IP address from a DHCP server usually the Wholehog III console so you don t have to do anything To give a DMX Processor a static IP address see Checking and Setting the IP Addresses Reference 5 4 1 More than One Console on the Network If you want to use more than one console on the
69. ees es seke EE oa ee ge sona hee ee Ee RE ee ge 81 Working with Cue Timing and Ordering 87 Working with CUElists i 95 Working with SCENES ii 99 Working with EffeCts Re ee Re ee Re Ee ee Ee ee ee 103 Cuelist Playback ii Ee RE ee he se ea 107 Scene Playback tii 113 Working With PAGEeSs ee Re Re Ee ee Ee ee ee 117 Working with Master COntrols in 121 Section 5 Setting Up the System This section shows you how to e Set up the console e Add a keyboard and mouse and external monitors e Set Up a Wholehog Ill Network e Set Up a DMX Processor 5 1 Setting Up the Console Many aspects of the Wholehog III are configured in the Control Panel and the Preferences window To open these windows press Setup and then either Panel or Preferences from the toolbar at the bottom of the right hand touch screen 5 1 1 Power You can connect the Wholehog III to any mains supply between 100 and 240V AC In the event of power failure the Wholehog III uses its battery backup supply to save any changes and shut down the console 5 1 2 Touch Screens The two large screens are touch sensitive so you can access buttons and data on those screen directly by touching them For information on maintenance of the touch screens see Touch Screens Appendices 23 2 Calibration T
70. eleting GIOUPS i 66 9 3 Copying and Moving Groups 66 9 4 Editing Group Contents 67 10 Working with PaletteSs nn 69 10 1 Recording a Palette tetera 70 19 2 RECO OPTIONS rather ie 71 10 3 Using Palettes in Programming nen 72 10 4 Deleting Palettes se ee nennen 72 10 5 Copying and Moving Palettes ss es ee 72 10 6 Editing Palette Contents 73 10 7 Palette TVpes se se ee ee ee ee ee 73 11 Advanced Programming e ees ese ee ee Re ee ee 77 11 1 Selecting from What is Onstage 77 11 2 Bringing Values Into the Programmenr 77 ed eteleli ER N N al 78 11 4 Blind si SEE SE EE DE ee ge nen 79 NO Pad iaa 79 12 Working with CueS sesse see ee Re ee ii 81 12 1 Recording a CUS 8 12 2 RECO OPTIONS Hr arena 82 12 3 Deleting Cue nenne ahnen 83 12 4 Copying and Moving CUES ee ee 83 12 5 Editing Cue Contents 84 12 6 Working with Tracking ee ee 85 13 Working with Cue Timing and Ordering 87 13 1 Working with Fade TIMINGS een 88 13 2 Working with Cue Triggers se se ee ee 9 13 3 Working with Loops and LINKS se ee 92 14 Working with Cuelisis rin 95 14 1 Creating Cuelists ee ke nennen 96 14 2 Deleting Cuelists i 96 14 3 Copying and Moving Cuelists en 96 15 Working with Sc
71. ene ee ee ee ee Re Ee Ee Ge ee 99 15 1 Recording a SCENE 99 15 2 Deleting SCENES ek ee nennen nn 100 15 3 Copying and Moving SCEnes 101 15 4 Editing Scene Contents 101 1o 6 Scene TIMING un Ee EN aaa 101 16 Working with Effects Re Ee Ee ee ee 103 16 1 Types of Effect nn ER Ee vee Ee ae 103 16 2 Effect Attributes oc ee ek ee ke ke ee ee 103 16 3 Applying an Effect ee ee ee ee 104 16 4 Recording an Effect Palette 106 17 Cuelist Playback i 107 17 1 Playback Attached to a Physical Master 107 17 2 Playback with a Virtual Master 109 1749 OVerides a micra ala aa 110 17 4 Playback Options 110 18 Scene Playback 2uu444240044440nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 113 18 1 Playback Attached to a Physical Master 113 18 2 Playback with a Virtual Master 113 18 3 Playback Options 114 19 Working with PAgeSs in 117 19 1 Creating a New Page 117 19 2 Changing Page nenn anna an 117 19 3 Modifying Page ese ee ek ee ek ee ee nennen 118 19 4 Template Page wo ek ee ee ee 119 20 Working with Master Controls 121 20 1 Grand Master eta palati 121 Appendics isinsin EE EE RR kaaas 123 21 Technical Specification 125 21 1 Input and Output Connections 125 21 2 Powe
72. eral values that control timing fade wait delay and path See Also fade time wait time delay time path timecode A method of synchronising the console with other playback sources such as music video or film The Wholehog Ill supports MIDI and SMPTE timecode See Also MIDI SMPTE tracked value The output of a master running a cuelist is a mix of hard and tracked parameter values Hard values are those that are in the current cue while tracked values are those that have tracked through from previous cues See Also tracking tracking A method of dealing with cuelists that does not record information in a cue unless it is a change from the previous cue This allows multiple cuelists to be running at the same time without them interfering with each other See Also hard value tracked value touched value default value 151 Glossary U UDP A network protocol or language that computers use to talk to each other over Ethernet The Wholehog lll uses this standard protocol which means that it can safely be connected to other networks of computers and will not interfere with them For show critical situations we recommend running the Wholehog Ill on its own independent network See Also Ethernet universe See DMX universe up time See in time usb Universal Serial Bus a means of connecting computer peripherals such as keyboards and mice The Wholehog Ill also uses USB to connect ex
73. erating the console is going to get complex too This manual has been written to help you become a proficient programmer with the Wholehog III wherever you are starting from and whatever kind of lighting you do 1 1 Where to Start If you want to get going straight away go to Quick and Dirty Create a Show in Ten Steps Tutorial Section 4 Otherwise we recommend that you read one ofthe two sections designed to help you make the transition to the Wholehog III according to your previous experience with consoles Users New to Moving Light Consoles Introduction Section 2 Wholehog II Users Introduction Section 3 If you haven t used a Wholehog console before but are experienced with other moving light consoles you may still find the section Users New to Moving Light Consoles Introduction Section 2 useful After that you can either follow the Tutorial or simply start using the console and use the Reference as needed 1 2 Key The following conventions are used in the text ofthe manual Pan and Tilt A cross reference to another part ofthe manual In Reference 8 3 2 electronic versions ofthe manual HTML and PDF these references are clickable hyperlinks fixture A reference to aterm in the Glossary In electronic versions ofthe manual HTML and PDF these references are clickable hyperlinks Enter A name of an interface element such as a button key or window Studio Color A button that has a label that is sp
74. eypad Page number Enter 117 Section 19 Working with Pages Reference e Select the desired page from the Page Directory window Important Note that any changes made to cuelists on the Masters of the current page will be recorded as part of that page 19 2 1 Options When Changing Page When you change page there are three options for what happens to cuelists that are still active e Release All releases all cuelists on the old page and replaces them with the cuelists on the new page irrespective of whether the old cuelists are still active Hold Over if Active keeps active cuelists from the old page on their Master until you release them They are then replaced with the cuelist from the new page Leave in Background leaves the old cuelist running in the background and attaches the new one to the Master To get to the background list go back to the page that it is on Release All is the default option but you can change this in the Miscellaneous pane the Preferences window If you want to hold over a particular cuelist hold the Master s Choose key when changing the page The cuelist name above the held Master is highlighted to indicate it is in holdover mode To remove a held over Master simply release it and the cuelist for the new page will replace it 19 3 Modifying Pages If you make changes to the current page they will automatically be recorded as part of that page You can copy or move cuelists
75. ference Section 18 1 Im Scene Directory 3 Tragic i Tearful Scene Scene Figure 15 1 The Scene Directory window 15 1 Recording a Scene You can record scenes either directly to a physical Master for immediate playback or to the Scene Directory 99 Section 15 Working with Scenes Reference 15 1 1 Recording to the Scene Directory To record a scene 1 Create the look for the scene in the Programmer 2 Record Scene the Scene Directory window opens 3 Select the destination location in the Scene Directory window 4 Alternatively enter a number on the keypad and press Enter 15 1 2 Recording to a Physical Master You can record a Scene directly to a physical Master The Wholehog III will automatically put it in the next available location in the Scene Directory 1 Create the look for the scene in the Programmer 2 Record Scene 3 Press the Choose key above the desired physical Master 15 1 3 Replace Merge and Insert When recording copying or moving a scene if the destination location already has a scene recorded in it you will be prompted with record options of Replace Merge or Insert Replace Overwrites the scene information in that destination Merge Incorporates the copied information into the destination scene If the same fixtures and parameters are in both scenes the new values will replace the old Insert creates a new destination scene The new scene will be assigned a free locatio
76. first powered on submaster Masters that are in submaster mode can be used to mix already recorded states Unlike submasters on other consoles submasters cannot be used for live playback you should use ordinary masters for this See Also master superuser The top level profile user within the console s security structure Similar to a system administrator the superuser has the power to reconfigure the desk and importantly control the access levels of other users switch See hub system zone See hub T TCP IP A network protocol or language that computers use to talk to each other over Ethernet The Wholehog lll uses this standard protocol which means that it can safely be connected to other networks of computers and will not interfere with them For show critical situations we recommend running the Wholehog Ill on its own independent network See Also Ethernet Glossary toolbar A long thin window with a series of buttons that generally sits along the top or bottom edge of the screens When in this position a toolbar is said to be docked See Also Soft Key touch screens The two LCD screens on the console which display and allow the user to select information from them touched value A parameter value that has been set or edited by the user Values which are not touched will remain at their default value See Also default value tracking timing Cues have sev
77. g 82 numbering 82 ordering 92 paths 90 153 playing out of sequence 5 recording 81 removing parameter values 83 with a delay time 89 with a fade time 88 with selected fixtures only 83 with state 86 simultaneous 5 timing 87 triggering 91 wait time 91 154 date display format 24 setting the console clock 24 Delay button 36 delay time 87 89 deleting cuelists 96 cues 83 groups 66 palettes 72 scenes 100 deselecting fixtures 56 desk channels 3 43 desk lights 22 DHCP 25 28 DHCP server 26 26 direct palettes 74 directories 37 discrete parameter values See slots displays 21 22 DMX 9 address See DMX address processor See DMX Processor universe See DMX universe DMX address 11 45 DMX Processor 9 24 45 46 backlight off time 29 IP address 28 locking the controls 29 mains power 27 multiple 26 Net number 27 port number 28 resetting 29 using 27 watchdog 29 DMX universe 45 double press time key 24 mouse 24 Edit Fixtures window 47 editing cue contents 84 cue timings 90 group contents 67 palette contents 73 parameter timings in cues 90 scene contents 101 editors 36 bringing in values from onstage 77 which is the current editor 39 effects 103 active 104 fanning 105 offset 104 palettes 106 paths 103 rate 104 simultaneous 11 size 104 embedded palettes 69 Ethernet 24 switch 24 Even button 55 external keyboard
78. ger either manual or automatic and has attributes such as fade wait and delay times See Also scene fade time wait time delay time cuelist A group of cues that run in a specific order consecutively or even simultaneously These may be automatically linked to form a chase or manually triggered A cuelist is run from a master D default value A parameter value which has not been adjusted by the user This value is set by the fixture s Library and may not always be zero For example the default value of Shutter Open Strobe Off may be 100 See Also touched value tracking delay time The time the console waits before starting a cue s crossfade See Also wait time crossfade path desk See console desk channel Single conventional lights that only have intensity control via a dimmer are defined as desk channels by the Wholehog Ill By contrast automated lights are referred to as fixtures See Also fixture DHCP Dynamic Host Configuration Protocol is a way for a computer to ask a master computer on a network to assign it an IP address when it connects Many existing networks are configured this way and the Wholehog Ill supports this system You should talk to the administrator of the network you want to connect to to find out more See Also Ethernet IP address diffusion A parameter that effects the beam quality allowing a softening or stretching of the beam Not to be confu
79. ghting areas which need to be run as separate shows Each show could have an operator with a console while a master operator controls all shows perhaps in order to make changes to the programming 3 2 The Front Panel The front panel of the Wholehog III looks relatively unchanged but it incorporates many improvements The rear part of the panel with the touch screens can be tilted up to present the screens at a more convenient angle while in response to user feedback the wrist rest has been made softer and more comfortable 3 2 1 Faders The number of Masters has been increased from eight to ten while the Grand Master and Cross Fade Master have been removed Any Master can now act as a Section 3 Wholehog II Users Introduction Grand Master or Cross Fade Master For more detailed information see Working with Master Controls Reference Section 20 3 2 2 Trackball The trackball has been added to give easy control over paired functions such as the pan and tilt of a moving head fixture and to control the cursor in windows This is especially useful with the Wholehog III s enhanced spreadsheet style features 3 2 3 Vertical Wheels In addition to the parameter wheels used by the Wholehog II the Wholehog III features two vertically mounted wheels The one on the right hand side of the console is the I Wheel and is used for controlling the intensity of fixtures The Rate Wheel on the left hand end is sprung and is
80. h 5 66 Reference Section 9 Working with Groups 9 3 Copying and Moving Groups To make a copy of a group Group 1 Copy Group 2 Enter copies the contents of Group 1 to Group 2 Similarly to move a group to a new location Group 1 Move Group 2 Enter moves Group 1 to Group 2 effectively deleting 1 If the destination group already exists you will be asked to choose an option Replace Merge and Insert Reference 9 1 1 9 4 Editing Group Contents To edit a groups contents call the Group into the Programmer make changes to the selection and re record The Wholehog III will ask you to choose from Replace Merge and Insert Reference 9 1 1 Select Replace to update the Group with the new selection 67 Section 9 Working with Groups Reference 68 Section 10 Working with Palettes This section introduces The Palette Directory e Palette masking e Direct and sequence palette types e Palettes with timings This section shows you how to Record and delete palettes e Name and edit palettes Copy and move palettes Programme with palettes Palettes allow intensity position colour and beam parameters to be recorded as easily accessible building blocks to be used when programming Palettes are stored in a directory accessed by holding the Open key and a parameter type key Open Colour opens the colour palette Alternatively Colour Colour 1 Colour Directory Fig
81. h state 86 unblocking 86 undo 32 units Zip drive 40 42 real world 11 unpatching 46 Update button 78 Use HTP 110 114 user interface See graphical user interface User Number modifying 48 user preferences 24 Value button 36 virtual masters 10 109 114 160 wait time 87 91 wheel I Wheel 10 Rate Wheel 10 wheelsets 59 Wholehog II 9 Window Control Toolbar 34 windows 10 bringing to the front 34 closing 34 Cuelist 95 directory 37 Edit Fixtures 47 editor 36 Fixture Patch 45 Fixture Schedule 43 Fixtures 44 47 moving 34 opening 33 Output 109 Park Editor 79 resizing 34
82. hange and press Set 4 Select Yes and press Enter 75 Section 10 Working with Palettes Reference 76 Section 11 Advanced Programming This section introduces e The Suck function e The Update function e Parking This section shows you how to Bring parameter values from on stage into the Programmer e programme and edit your show blind 11 1 Selecting from What is Onstage You can select fixtures and parameters based on what is on stage using the Live key Fixtures are considered to be on stage if their intensities are non zero For example Live Enter selects all fixtures that are on stage You can apply a mask to the selection Live Group 1 selects fixtures from Group 1 that are live on stage Live 50 selects fixtures that are on stage at 50 Live 50 Thru 80 selects fixtures that are on stage at 50 to 80 Live Spotty Gobos selects fixtures that are on stage that are at their Spotty Gobos palette settings 11 2 Bringing Values Into the Programmer Sometimes you will end up with a look onstage or in a cue scene or palette that you want to reuse in further programming There are various ways in which you can pull those settings into the Programmer 11 2 1 Suck You can use Suck to set fixture parameters to the values that they currently have on stage The Suck button is located on the Main Toolbar You need to have fixtures selected before using the Suck command For examp
83. hat an DMX Processor is not working correctly you may want to turn Watchdog off so that you can see any error messages before restarting it 1 Inthe Control Panel select Watchdog 2 Deselect the Watchdog checkbox and select OK Resetting the DMX Processor There are two types of reset soft and hard Soft Reset resets the DMX Processor so that it re initialises communication with the network Hard Reset is equivalent to turning off and on the DMX Processor s mains power You can do both types of reset from the Control Panel 29 Section 5 Setting Up the System Reference 30 Section 6 Using the Console This section introduces e The user interface e Modifier keys like Pig and Open This section shows you how to e Startup and shutdown the console e Start a new run an existing or join a networked show e Manage your show data using the Show Manager e Undo and redo mistakes e Work with windows and spreadsheets Work with editors and directories 6 1 Basic Concepts The Wholehog III has two methods for entering information into the console the command line and the graphical user interface GUI on the touchscreens Many of the most common operations on the console can be done in more than one way and as you become familiar with the Wholehog III you will develop your own preferred methods 6 1 1 The Graphical User Interface The Wholehog IIT s graphical user interface GUD is generally similar to that found
84. he diagrams 103 Section 16 Working with Effects Reference 16 2 Effect Attributes Once you have set the path you can change the appearance of the effect by adjusting its attributes size rate offset and active Effects Size The range over which the parameter varies This is described in terms appropriate for the parameter for example degrees for position parameters or slots for slotted colour parameters 3 100 50 150 Effects Rate The rate in cycles per minute 60 cpm 30 cpm 120 cpm Effects Offset This sets the effect start and finish point for each effect so they can be staggered It is set in degrees 0 180 360 Effect Active This the proportion of the effect s period that it is active for It is set as a percentage FAN 100 50 200 104 Reference Section 16 Working with Effects 16 3 Applying an Effect 1 Programmer Size Rate Offset Active ET NShots Ir snow Palettes Off jel Num intensity Position Colour 1 Colour 2 Colour Strobe Gobo 1 n rt coo shave Bink fesow ewe ink me fee Gobo Jo 20 Figure 16 1 The Programmer with the Effects Key Selected To apply an effect 1 Inthe Programmer select fixtures and set their base parameter values These settings will be the underlying state for the effect for example the centre position of a fixture doing a circular movement effect 2 Press the Effect key then select Path from the Progr
85. he touch screens may occasionally need to be calibrated to ensure that where you are pressing is aligned with the screen s display To recalibrate on start up select Calibrate Touch Screen at the bottom of the right hand touch screen when the Start window appears Follow the on screen instructions and press Enter to finish You can also calibrate the touch screens at any time by pressing the Calibrate Touch Screen button in the Control Panel Brightness You can adjust the brightness of the touch screens by holding down the Setup key and adjusting the Parameter Wheels 21 Section 5 Setting Up the System Reference Backlight Off Time The backlights that illuminate the touch screens switch off automatically after a time ifthe console is idle to maximise their life You can adjust the amount oftime the backlights wait before switching off in the Console pane of the Preferences window Disabling Touchscreens You can disable the touch sensitive action of the screens or turn them off all together in the Displays pane of the Control Panel 5 1 3 External Monitors You can attach two external monitors to the Wholehog III using standard VGA connectors To use external monitors you must enable them in the Displays pane ofthe Control Panel 8 1 4 Desk Lights You can adjust the brightness of the desk lights by holding down the Setup key and adjusting the Parameter Wheels By default the desk lights are white while the console is
86. hich point the cuelist will move to the first cue after the loop 13 3 3 Tracking Through Loops By default the Wholehog III ensures that when you use links to change the order of cue playback cues appear as you would expect even though you are not coming from the previous cue in the list This is because of the console s Maintain State Introduction 2 4 3 feature Sometimes however you might want to track through links rather than maintain state For example you are creating a loop where the first time through you want the four fixtures to come on one at a time and throughout the loop you want them to alternate colour between red and blue To do this you might plot Fixture 1 Fixture 2 Fixture 3 Fixture 4 Cue Int Colour Int Colour Int Colour Int Colour 1 50 Red Blue Red Blue 2 l Blue 50 Red Blue Red 3 Red I Blue 50 Red Blue 4 Blue l Red l Blue 50 Red 5 Link to Cue 2 The idea is that the intensity of the next fixture is brought to 50 in each cue and that these values then track through for the duration of the loop shown by the arrows However because of the Maintain State function when the cuelist loops back to cue 1 the Wholehog III will make cue 1 look as it would have if you had run the cuelist in order The result is that fixtures 2 to 4 will go out just as they did the first time round the loop To stop this happening you need to enable Track Through Loops in the Cuelist Options window 1
87. hich scene or cuelist takes priority when both have values for a parameter is normally determined by the LTP rule You can use the Playback Priority to give a scene or cuelist higher priority a higher number than others overriding the LTP rule The time that parameters take to go to their default settings when the scene is released from the Master The time that parameter values change over when you assert a scene with the Assert key See Standard Controls Reference 17 1 1 Makes the scene work under the HTP rule rather than LTP See HTP and LTP Introduction 2 6 When a scene is no longer controlling any parameters because they have been overridden by other cuelists or scenes under the LTP rule it is automatically released Use Persist on Override to stop this happening Reference Section 18 Scene Playback Setting Default Notes Swap FX Off If ascene has parameters that are running an Effect when another cuelist or scene changes the underlying values of those parameters the effect continues to run Use Swap FX to allow the second cuelist or scene to override the effect as well as the underlying values You can change the default values in the Scene Options pane of the Preferences window Setup Preferences You can also set values for each scene when it is attached to a Master Open Choose open the Scene Options window for the scene on the chosen Master 115 Section 18 Scene Pla
88. hysical master on the front panel 3 5 The Effects Engine The new features of the Effects Engine include Parameter Level Control Effects can be controlled at the individual parameter level e Palettes Effects can be recorded into embeddable palettes so that they update throughout the show when the original palette is modified Simultaneous Effects Because effects are controllable at the parameter level many effects can be run simultaneously For example you can run a colour chase and a movement effect on the same fixtures 3 6 Abstraction A key philosophy behind the Wholehog III is that as a user you shouldn t have to worry about the technicalities of the way that a particular manufacturer implements a particular feature on a fixture As far as you are concerned the fixture has parameters such as colour intensity position and so on and it is these parameters that you use the console to control You no longer have to think in terms of DMX addresses and values This is called the abstraction layer because the software acts as a layer between you the user and the lighting hardware converting abstract ideas of colour intensity and so on into the specific instructions that the fixtures need 3 6 1 Real World Units Fixture parameters are described as far as possible in real world units such as degrees for rotation and beats per minute for the speed of a strobe Colour can be described in terms of a si
89. ication Du Produit Les produits High End Systems sont congus et fabriqu s conform ment aux exigences des r glements internationaux de s curit Toute modification du produit peut entra ner sa non conformit aux normes de securite en vigueur Produktmodifikationswarnung Design und Herstellung von High End Systems entsprechen den Anforderungen der U S Amerikanischen und internationalen Sicherheitsvorschriften Ab nderungen dieses Produktes k nnen dessen Sicherheit beeintr chtigen und unter Umst nden gegen die diesbez glichen Sicherheitsnormen versto en Avvertenza Sulla Modifica Del Prodotto I prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti delle normative di sicurezza statunitensi ed internazionali Qualsiasi modifica al prodotto potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di sicurezza pertinenti Advertencia De Modificaci n Del Producto Los productos de High End Systems est n dise ados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales Las modificaciones al producto podr an afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes Important Safety Information Instructions pertaining to continued protection against fire electric shock and injury to persons are found in Safety Information Appendices 22 1 Please read all instr
90. ill be asked to choose an option Replace Merge and Insert Reference 12 1 2 12 4 2 Moving Cues To move a cue to a new location Cue 1 Move Cue 2 Enter moves the Cue from 1 to Cue 2 effectively deleting 1 Similarly to move between cuelists List 1 Cue 1 Move List 2 Cue 2 Enter moves Cue 1 of Cuelist 1 to Cue 2 of Cuelist 2 effectively deleting 1 To move a range of cues List 1 Cue 1 Thru 4 Move List 2 Cue 2 Enter moves the contents of Cues 1 to 4 of Cuelist 1 to Cuelist 2 starting at Cue 2 If the destination cue s already exist you will be asked to choose an option Replace Merge and Insert Reference 12 1 2 12 5 Editing Cue Contents You can edit the contents of a cue in an Editor window see Figure 12 1 For example to open Cue 2 of Cuelist 1 for editing Open List opens the Cuelist Directory window 2 Open Cuelist 1 opens the Cuelist window for Cuelist 1 Open Cue 2 opens the Cue Editor for Cue 2 You can also press View Cue to open the currently selected cue in the list Alternatively using the command line List 1 Cue 2 Open 84 Reference Section 12 Working with Cues Press the Active button in the Cue Editor window to select this as your current Editor If Cue3 x vo Fade Delay Path Source active show Palettes Off Back Next Goto Cue f3 Num intensity Position olour 3 Colour Ff Colour Strobe dzd mt Cyan magenta vetow C
91. information provided be as clear and detailed as possible so that we have the best chance to help you Please follow the guidelines below 25 2 1 Reporting Problems with the Console Please include the following information in your bug report 1 The network configuration of system 139 Section 25 Getting Help Appendices How many consoles How many DMX Processors and MIDI Timecode Processors e What sort of routers hubs are being used e Other PC s or applications eg Artnet ETCNet Quake servers Web Servers etc that are sharing the same network 2 The piece of hardware that exhibited the problem including the version number of the software being used 3 The actions taken that induce the problem in the first place including whether the problem is repeatable using the same actions 4 The symptoms of the problem Once a problem has been reported it will often be necessary for the support team at Flying Pig Systems Ltd to clarify some ofthe details and obtain additional information Typically this ends up with a request for a copy ofthe show so a backup of the show should be saved to either a Zip disk or a writeable CD and transferred to a PC where it can be mailed to lt support flyingpig com gt 25 2 2 Reporting Problems with the User Manual Please include the following information in your bug report 1 The nature of the problem e Missing information e Incorrect information e Unclear or ambiguo
92. is unchanged The value change when fanning is always relative to the starting value if there is no starting value the parameter will fan from 0 Using the Fan Key To fan a parameter 1 Studio Color 1 thru 5 30 select the fixtures and bring them to 30 2 Press and hold the Fan key whilst moving the Wheel The fixtures at either end ofthe range take the values 10 and 50 with those in between evenly spread across the intervening range In the Programmer Window To fan a parameter 1 Select arange of cells for example the intensity cells of Studio Colours 1 to 5 2 Set 10 Thru 50 Enter The fixtures at either end of the range take the values 10 and 50 with those in between evenly spread across the intervening range With the Command Line To fan a parameter Studio Colour 1 Thru 5 10 Thru 50 Enter The fixtures at either end of the range take the values 10 and 50 with those in between evenly spread across the intervening range You can use palettes as the start and end points ofa fan Studio Colour 1 Thru 5 Position 1 Thru Position 4 Enter 60 Reference Section 8 Selecting Fixtures and Modifying Parameters 8 3 7 Copying Parameter Settings You can copy the settings of one fixture to another For example Studio Color 1 Thru 4 Copy 8 Thru 11 Enter copies the parameter settings of Studio Colors 1 4 to 8 11 You can also copy fixture data by using the Copy and Paste commands click
93. ither discrete also known as slotted or continuous Discrete parameters are controlled from the Slots Toolbar while continuous parameters are controlled using the Parameter Wheels The Parameter Wheels are parameter sensitive changing function according to the currently selected parameter type and fixture The current function and status is shown on the touch screen immediately above each parameter wheel 8 3 4 Changing the Wheelset Some fixtures have more parameters of a particular type than there are parameter wheels In this case the parameters are grouped into Wheelsets Press a Parameter Type key and the choices of Wheelsets will be shown on the toolbar at the bottom of the right hand touchscreen Select the Wheelset you wish to use or press the Parameter Type key repeatedly to cycle through them 59 Section 8 Selecting Fixtures and Modifying Parameters Reference 8 3 5 Fine Control Holding the Pig key and moving the encoder wheel allows fine adjustment ofthe currently selected parameter 8 3 6 Fanning Fanning allows you to set a parameter across several fixtures so that the parameter values are equally spaced For example you can use fanning easily to set intensities of 20 30 40 50 and 60 across five fixtures You can fan any values including parameters and timings The fixture Selection Order Reference 8 2 is significant when fanning as the first and last fixtures change the most while the middle fixture
94. ks during playback Setting Default Notes Playback Priority 0 Which cuelist or scene takes priority when both have values for a parameter is normally determined by the LTP rule You can use the Playback Priority to give a cuelist or scene higher priority a higher number than others overriding the LTP rule Release Time 2s The time that parameters take to go to their default settings when the cuelist is released from the Master Assert Time 2s The time that parameter values change over when you assert a cuelist with the Assert key See Standard Controls Reference 17 1 1 Back Time 2s The transition time when you press the Back key to step back one cue in the cuelist Use HTP Off Makes the cuelist work under the HTP rule rather than LTP See HTP and LTP Introduction 2 6 110 Reference Section 17 Cuelist Playback Setting Persist on Override Swap FX Reset on Release Cue Only Track Through Loops Is a Chase Default Off Off Off Off Off Off Notes When a cuelist is no longer controlling any parameters because they have been overridden by other cuelists or scenes under the LTP rule it is automatically released Use Persist on Override to stop this happening If a cuelist has parameters that are running an Effect when another cuelist or scene changes the underlying values of those parameters the effect continues to run Use Swap FX to allow the second cue
95. l Using Keys and Buttons The Window Control Toolbar sits at the top of the right hand touchscreen and provides a quick and easy way to manipulate windows Its functions are also available as key shortcuts Button Function Shortcut SEE Page Up Page Down Page Left and Open cursor key Page Right scroll the currently selected window The cursor isn t moved Pd Split creates a copy of the selected Open slash window This is helpful when you need to view two parts of the same window at once Reference Section 6 Using the Console Button Function Shortcut amp n Shuffle Left and Shuffle Right rotate Open plus or Minus through a range of set positions and sizes for the selected window within its current screen The options are full screen and top bottom left and right half and quarter screens Move Screen moves the selected Open window between touch screens and external monitors e Maximise toggles the size of the Open Full currently selected window between full screen and its previous size F Move Focus switches between Open Thru windows in turn bringing each to the front x Close closes the window Open Backspace 6 3 Working with Spreadsheets Many windows on the Wholehog III show information such as parameter values timings and so on in a spreadsheet style display These all work in the same way To do this do this Resize a column Place the
96. ld the Pig key while pressing Park Both the park and unpark commands will accept a parameter mask on the command line for example Position Park parks only Position parameters of the selected fixtures 11 5 1 Viewing and Editing What is Parked You can see which fixtures are parked in the Fixtures window Setup Fixtures To view and modify the parked settings of fixtures use the Park Editor which can be opened by holding Open and pressing Park Within this window fixtures and settings can be manipulated as in the Programmer 79 Section 11 Advanced Programming Reference 80 Section 12 Working with Cues This section introduces e Tracking This section shows you how to Record and delete cues e Name and edit cues Copy and move cues Every cue created on the Wholehog III is given a number and assigned to a cuelist A cue number is specific to the current cuelist not the entire console so there can be a cue 1 for cuelists 1 2 and 3 For more on Cuelists see Working with Cuelists Reference Section 14 12 1 Recording a Cue To record a look created in the Programmer you need to specify a cuelist and cue number to record to If the cuelist does not yet exist the Wholehog IT will create it automatically For example to record cue 4 into cuelist 2 Record List 2 Cue 4 Enter Or in shorthand Record 2 4 Enter 12 1 1 Recording to a Cuelist on a Master You can choose a Master rather than a C
97. le to set the fixtures in Group 3 to their current on stage values Group 3 Suck Similarly you can apply this to palettes scenes and cues 77 Section 11 Advanced Programming Reference Red Palette Suck You can use the Live key to bring in all the values that are on stage Live Suck Tip Q Suck only sets parameters that are contributing to the on stage lighting state It doesn t set parameters that are at their default value or that belong to fixtures that are at zero This helps to ensure that you don t have redundant values in the cues that you create which can cause problems later by blocking values that should track through 11 2 2 Copy You can bring fixture settings from a palette scene or cue into the Programmer using Copy Scene 1 Copy Enter copies the contents of Scene 1 into the Programmer You can chose which fixtures or parameter types are copied For example Scene 1 Position Copy Enter copies position settings only from Scene 1 into the Programmer 11 2 3 Using Live and Touch You can use the Touch button located on the Main Toolbar with the Live key to set parameters to their on stage values in the Programmer Live Touch You can select the parameter types to touch Live Colour Touch Using Live and Touch touches all parameters that belong to fixtures that are at non zero intensity on stage regardless of whether those parameters are at their default values or not This is similar to cre
98. lear key 8 5 1 Removing Entire Fixtures from the Programmer To remove selected fixtures from the Programmer or an editor known as knocking out press the Knockout button on the Main Toolbar For example Studio Color 1 Thru 5 Knockout removes Studio Colors 1 to 5 from the Programmer or editor Group 2 Knockout removes all fixtures in Group 2 from the Programmer or editor 8 5 2 Removing Specific Parameter Types from the Programmer You can remove specific parameter types from the selected fixtures in the Programmer Select the parameter type and press Knockout Colour Knockout 8 5 3 Removing Individual Parameters from the Programmer You can remove individual parameters from the selected fixtures in the Programmer 63 Section 8 Selecting Fixtures and Modifying Parameters Reference Hold Knockout and move the relevant Parameter Wheel or press the relevant button on the Slots Toolbar 8 6 Linked Parameters 64 When recording a cue scene or palette the Wholehog III only records parameters that have been changed or touched since the last cue was recorded See Tracking Introduction 2 4 and Working with Tracking Reference 12 6 However some parameter types are treated as a single fixture attribute so for example the three colour parameters of a colour mixing fixture cyan magenta and yellow are all recorded even though only one has changed For most purposes this works to give the results tha
99. lex network you may need to change some of the network settings See Configuring the Network Reference 5 3 3 Checking and Setting the Net Number The Net Number is displayed on the main screen of the DMX Processor in the top right hand corner To set the Net Number 1 Main Network navigate to the Network screen 27 Section 5 Setting Up the System Reference 2 Setthe Net Number to any value between 00 and 99 3 OK return to the Main screen Checking and Setting the IP Addresses By default DMX Processors are set to use DHCP to get an IP address automatically from a Wholehog III console You can turn this off in the IP Config screen 1 DE DA Main Network IP Config navigate to the IP Config screen Set DHCP On or Off OK return to the Network screen OK return to the Main screen Main Control Panel navigate to the Control Panel Hard Reset the DMX Processor needs a hard reset for changes to take effect You may want to set a fixed or static IP address perhaps if the Wholehog III system is sharing a network with non lighting devices such as personal computers You should contact your system administrator to determine the optimum settings for your network To set a static IP address 1 SR ADA POS Main Network IP Config navigate to the IP Config screen Set DHCP Off Set the IP Address and Subnet Mask as required OK return to the Network
100. list or scene to override the effect as well as the underlying values Use this to make the Cuelist go back to the first cue when it is released Use this to run the list without tracking Any parameter that has no value in a cue will go to its default value rather than tracking through Controls whether parameter values track from the end of a loop back to the beginning See Tracking Through Loops Reference 13 3 3 for a fuller description of this Use this to make a Cuelist into a chase Cue timings are ignored and each cue becomes a step in the chase You can change the default values in the Cuelist Options pane of the Preferences window Setup Preferences You can also set values for each cuelist 1 Open Choose open the Cuelist Editor window for the cuelist on the chosen Master 2 Options open the Options window 111 Section 17 Cuelist Playback Reference 112 Section 18 Scene Playback This section introduces e This e That Another This section shows you how to e Playback scenes on physical and virtual Masters Change playback options To play back a scene it needs to be attached to a Master Masters can be either Physical the faders and controls on the front panel ofthe console see Figure 17 1 or Virtual an on screen Master 18 1 Playback Attached to a Physical Master 18 1 1 Attaching a Scene to a Master To attach a scene to a Master Scene 1 Move Choose
101. m focus frost and so on using the Parameter Wheels Step 8 Recording the Cue Once you have set some fixtures record a cue to a specific Master for playback Press Record then the Choose key above one of the Masters The first time you record a cue onto a Master the Wholehog III will create a new Cuelist on that Master and record the cue as Cue 1 If you record more cues into the same Cuelist the Wholehog III will give it the next free cue number Tutorial Section 4 Quick and Dirty Create a Show in Ten Steps Step 9 Playing Back the Cue Press Play on the Master that cues have been recorded in Step 10 Changing the Cue Time The Wholehog III gives cues a default time when they are first recorded To change the cue time Cue 1 Time 6 Enter Tip Q You can now carry on to the full tutorial in the next section or just start using the console and use the Reference to answer your questions as you go 17 Section 4 Quick and Dirty Create a Show in Ten Steps Tutorial 18 Reference Table of Contents Setting Up the System is ES id fas 21 Using the Console ees ese ee ee Re i 31 Adding and Configuring Fixtures ees ee ee ee Re nenn 43 Selecting Fixtures and Modifying Parameters 53 Working with Group ii 65 Working with Palettes i 69 Advanced Programming ii 77 Working with Cues i e
102. me of these only need a source to be specified others only need a destination but they all have the same syntactical form Options The behaviour of some commands for example Record can be altered with options These usually appear on a popup toolbar once the command key is pressed Destination The destination is the object that will be affected by the command Again it might be a palette cue scene or the active editor Ifthe destination already exists and the action to take is unclear then you will be asked what the console s do The important thing to understand is that the command line follows a standard syntax with the various parts in a particular order Knowing this you will be able to extend the many examples of command line syntax in this manual to do anything that you want 6 6 2 The Status Bar To the right ofthe command line is the Status Bar This gives you the following 39 Section 6 Using the Console Reference information about the status of the console from left to right Description Example The Trackball mode pointer The name of the current page Page 1 The current editor Programmer Cue 3 The currently chosen Master Master 4 The current time in hours minutes and seconds 13 48 20 POS position POS ortho ortho mode 6 7 Starting Up and Shutting Down 6 7 1 The Start Window UL Hogs Start r Launch New Show Click here to create anew show La
103. n just before the one chosen using a point number if necessary 15 1 4 Naming a Scene You can give a scene a name that will be displayed in the Scene Directory window 1 Scene Open open the Scene Directory 2 Select the Scene 3 Set name Enter type in the name Tip d To name a scene immediately after recording it pressing the Set key will open a Quickname window Enter the scene name and select OK 15 2 Deleting Scenes To delete a scene Delete Scene 1 Enter deletes scene 1 100 Reference Section 15 Working with Scenes You can delete a range of scenes Delete Scene 1 Thru 4 Enter deletes scenes 1 to 4 15 3 Copying and Moving Scenes To make a copy of a scene Scene 1 Copy Scene 2 Enter copies the contents of Scene 1 to Scene 2 Similarly to move a scene to a new location Scene 1 Move Scene 2 Enter moves Scene 1 to Scene 2 effectively deleting 1 If the destination scene already exists you will be asked to choose an option Replace Merge and Insert Reference 15 1 3 15 4 Editing Scene Contents You can edit the contents of a palette in an Editor window For example to open Scene 1 for editing 1 Scene Open opens the Scene Window 2 Open Scene 1 opens the Scene Editor for Scene 1 3 Alternatively using the command line Scene 1 Open 4 Press the Active button in the Editor window to select this as your current Editor Within the Editor you can set fixture pa
104. n use the command line pressing the Time key twice to set the delay time Cue 2 Time Time 3 5 Enter Tip Z Note that the Delay time should not be confused with the Wait time See Wait Time Reference 13 2 1 89 Section 13 Working with Cue Timing and Ordering Reference 13 1 3 Paths Paths determine the way parameter values change during a cue For example with the simplest linear path an intensity parameter travels from its start value to its end value at a steady rate for the duration of the cue The paths available are Path Description Default Uses the default path from the fixture s library definition This is generally Linear for continuous parameters and Start for slotted parameters Linear Fades at a steady rate for the duration ofthe cue Va Start Snap change at the beginning of the cue End Snap change at the end of the cue E Over The parameters overshoot their destination and then N return to it To select a path for a cue 1 List 1Open open the Cuelist window 2 Select the cue s Path cell and press Set The Crossfade Paths window will open 3 Select the path type required for the incoming and outgoing parts of the cue 4 Press OK 13 1 4 Setting Cue Timings in the Cuelist Window You can edit cue timings in the Cuelist window 1 Open Choose open the Cuelist of the desired Master 2 Click in the cell for the desired parameter and press Set 3 Enter a new value or
105. ngle colour model for all fixtures red green blue or hue and saturation for example irrespective of the technical details of how the fixture does colour This speeds up programming and allows several fixtures of different types to be selected and adjusted at the same time 3 6 2 Parameters Some fixtures put more than one parameter onto a single DMX address such as intensity strobe and reset The Wholehog III separates these into independent parameters so that you do not need to remember the detailed workings of a 11 Section 3 Wholehog II Users Introduction particular fixture This feature also prevents you from running offthe end ofthe scale of one parameter into another 3 6 3 Interchangeable Fixtures 12 You can replace a fixture already programmed into a show by one of a different type and Wholehog III will as far as possible make the new fixture do what the old one did If the new fixture has more limited capabilities than the old one this is handled as gracefully as possible Tutorial Table of Contents Quick and Dirty Create a Show in Ten Steps Section 4 Quick and Dirty Create a Show in Ten Steps OK you ve spent your money on a new Wholehog III and you want to see it working right now You need the Quick and Dirty tutorial Step 1 Connecting the Mains Use the IEC cables supplied to connect the console and the DMX Processor to any voltage between 100 and 240V AC Step 2 Connecting the DMX Process
106. nt in the cuelist regardless of whether the values have tracked through from previous cues This then acts as an end stop preventing changes from tracking past the blocking cue See Blocking Cues Reference 12 6 2 2 4 2 Simultaneous Cues Another advantage of tracking is that multiple cues can be run simultaneously Imagine a play where the sun is setting outside the window and characters turn on various lights in the room as the natural light fades With a non tracking console this would cause problems what would you programme in the cues that turn the room lights on If you recorded the full state how you wouldn t know what level to set the sunset fixtures at as during playback they will have faded down to some indeterminate level during the action of the scene The cue to turn the room light on would be a snap cue and the result would be a snap change in the sunset as well not very realistic A tracking console allows you to programme just the room lights into the cue so that the cue won t interfere with the sunset fixtures which will proceed with their long fade undisturbed Similarly tracking allows multiple chases to be run at the same time without them conflicting so that you can run a colour chase and a different intensity chase on the same fixtures This is possible because only the colour parameters of the fixture are recorded in the colour chase and only the intensity parameters in the intensity chase 2 4 3 Maint
107. ol under the Latest Takes Precedence rule Rate Wheel The centre sprung wheel on the left ofthe console allows the crossfade rate to be momentarily modified to speed up or slow down crossfades Left Hand Parameter Wheel When you hold down a Choose key you can use the left hand parameter wheel to control the crossfade rate ofthe selected playback This modified rate will persist until you make another change Reference Section 17 Cuelist Playback 17 1 2 Understanding Feedback Figure 17 2 The Playback Bar Immediately above each Master is a block of screen giving feedback for the Master see Figure 17 2 For a Cuelist it displays the Cuelist name the current Cue and its total time and the next few cues and their times When a cue is crossfading it is displayed in green text and the time counts down The button LEDs also display feedback information Flash button Red When solidly lit this indicates that this playback is controlling intensity When flashing it indicates that its control ofintensity has been overridden by other playbacks Halt button Red When solidly lit this indicates that this playback is controlling parameters other than intensity When flashing it indicates that its control of those parameters has been overridden by other playbacks e Go button Green When solidly lit this indicates that a crossfade is in progress When flashing it indicates that a crossfade has been paused You can see th
108. olour Colour eo fte fei jwee jo Figure 12 1 The Cue Editor window Within the Editor you can set fixture parameters and timing in the same wayasin the Programmer See Selecting Fixtures and Modifying Parameters Reference Section 8 In addition to the usual functions available in all editors described in Working with Editors Reference 6 4 the Cue Editor window has Next and Back buttons to allow you to easily step through the cues in the cuelist to view or edit them You can also jump to another cue by typing its number in to the Goto Cue box and pressing Enter 12 6 Working with Tracking The Wholehog III is a tracking console which gives it some very powerful abilities Tracking can also add extra complexity but the Wholehog III has several functions that make working with tracking straightforward For a detailed discussion of what tracking is see Tracking Introduction 2 4 12 6 1 Stopping Values from Tracking Forward When you insert a new cue into a cuelist or merge changes into an existing cue the new values track forwards into later cues in the cuelist For example your cuelist has cues 1 to 10 none of which has Desk Channel 1 programmed into it and you insert a Cue 2 5 with Desk Channel 1 at 100 Because cues 3 to 10 do not change the intensity of Desk Channel 1 it will stay in track through for the rest ofthe cuelist To record a cue without tracking forwards deselect the Forwards button on
109. om button selects a single fixture at random from the current active selection in the Programmer 55 Section 8 Selecting Fixtures and Modifying Parameters Reference 8 1 6 Deselecting Fixtures To deselect all selected fixtures press the Backspace key when the command line is empty To deselect specific fixtures use the key Fixture Studio Color 1 deselects Studio Color 1 Alternatively you can deselect a fixture visually in the Programmer or Editor window by clicking on its number in the Num column 8 2 The Selection Order The order in which you select fixtures is significant in controlling how fanning sequence palettes and effects are applied to them See Fanning Reference 8 3 6 Sequence Palettes Reference 10 7 2 and Working with Effects Reference Section 16 8 2 1 Reverse Reorder Transpose and Shuffle You can change the selection order of fixtures in predefined ways The Reverse Reorder and Shuffle buttons are on the Selection Toolbar Main Toolbar Select Toolbar Reverse reverses the selection sequence so that the last is first and the first is last Reorder sorts the selection order to match the User Number order Shuffle randomises the selection order of the current selection 8 3 Modifying Parameters Once fixtures are selected into an Editor you can modify their parameters The Wholehog III groups parameters into four parameter types Intensity Position pan and tilt Colour an
110. on Windows and Macintosh personal computers with each section of the console Programmer Output display and so on displayed in a window which can be placed anywhere on the touch screens or external monitors The key features of the GUI are e You can work with on screen controls and windows using the touch screen or through a pointer controlled by the built in trackball or an external mouse Left clicking the mouse is the same as touching the screen and is used for selecting or activating controls while right clicking brings up a context sensitive range of menu options The Soft Keys adjacent to the touch screens provide another method of accessing functions changing to match whichever toolbar is docked along that edge of the screen 31 Section 6 Using the Console Reference e The graphical environment is highly customisable giving you complete control of the console and individual window layout For example you can rearrange column headers in list windows e g the Fixture Setup and Programmer windows to prioritise information that is most pertinent that a specific show or user Information displayed can also be sorted or filtered When a user logs out these preferences and settings are stored and retrieved again on logging in 6 1 2 Using the Touch Screens You can use your finger on the touch screens in the same way that you use a mouse pressing the touch screen is equivalent to a mouse click You can also use an eraser tip
111. oolbar Undo is not available for e Changes to the fixture selection in the Programmer However the selection may change as a side effect of an undo action Reference Section 6 Using the Console e Changes to security control panel settings and other things not directly related to your programmed show e Changes to window positions and views and the like If undo is not available you will always be asked to confirm important changes before they take place 6 2 Working with Windows 6 2 1 Opening Windows Windows can be opened in four ways From a Toolbar Some windows may have a dedicated button that can be pressed the Programmer for example With the Open Key To open a window using console keys hold down Open and press the window s associated key For example Open Fixture opens the Fixture window Open Position opens the Position Palette window Open Cuelist opens the Cuelist Directory window Open Choose opens the Cuelist window for the chosen Master From the Command Line You can specify the window to be opened using the command line and then press the Open key For example Position 5 Open opens the Editor window for Position Palette 5 Cue 2 Group 4 Open opens the Editor window for cue 2 and selects the fixtures in Group 4 Double Pressing Keys You can also open some windows by double pressing the appropriate key Position Position opens the Position Palette Direct
112. oothly and evenly throughout the fade but you can use paths that make all of the change happen at the start of the fade for example The different types of trigger values are 87 Section 13 Working with Cue Timing and Ordering Reference Cue Triggers Wait time The time from the previous cue being triggered to the current cue being triggered Follow on time The time from the end ofthe previous cue to the current cue being triggered Figure 13 1 shows how the main kinds of timing and triggering values control the playback of cues Cue 1 Cue 1 Cue 2 trigger completes trigger Time Follow on Delay in Fade in Wait Delay out Fade out Figure 13 1 Cue timings 13 1 Working with Fade Timings You can assign fade and delay times and paths to cues Fade and delay times can have separate in and out times Cues recorded without assigning any time information will be given a default time this can be adjusted in the Default Timing pane of the Preferences window 13 1 1 Fade Time To record a cue with a fade time other than the default 1 Create the desired look for the cue in the Programmer 2 Fixture Enter select all the fixtures 3 Time 7 Enter set a fade time of 7 seconds 4 Record Cue 1 Enter record the cue on the currently selected Master To set times greater than 1 minute enter the number of minutes followed by the number of seconds 88 Reference Section 13 Working with
113. or Connect the DMX Processor directly to your console with a standard Category 5 Ethernet cross over cable Step 3 Starting the Console Switch on the power to the console and the DMX Processor Once the console has started up the Start window will appear Step 4 Starting a New Show Select Launch New Show You will be prompted for A name for your show Press the Set key to bring up an on screen keyboard to enter text A Storage Location Choose the location that the console suggests A Fixture Library This contains fixture personality information Choose the one the console suggests The Wholehog IT will launch a new show Step 5 Adding the Fixtures Choose the fixtures you want in your show To add Fixtures 1 Setup Fixtures Fixture Schedule open the Fixture Schedule window 2 Choose a manufacturer and click on the Plus button to expand the list and see individual fixture types Select the fixture s Quantity cell and press Set Enter the number of fixtures and press Enter Repeat for all the fixture types you want DAE 00 When you have finished Click Apply then Close 15 Section 4 Quick and Dirty Create a Show in Ten Steps Tutorial 16 Step 6 Patching the Fixtures For each fixture Fixture Fixture Type from Toolbar Fixture Number Patch Address Enter For Example Fixture Studio Color 1 1 Enter When you patch your first fixture the Add DMX Processor windo
114. ories Extensions to the console or network can range from expansion wings to DMX Processors See Also expansion wing widget DMX Processor address See DMX address attribute See parameter automated light See fixture beam The distribution and quality of the fixture s beam Such qualities may be changed through the introduction of parameters such as gobo gobo rotation soft or sharp edges iris and diffusion See Also gobo iris diffusion button An on screen control operated by clicking with the mouse or trackball or directly by pressing then on the touch screens In this manual the word key is reserved for hardware buttons on the console s front panel blocking cue A blocking cue prevents changes made to earlier cues from tracking through to later cues See Also tracking board See console booting up See start up brightness See intensity C cell A single rectangle in a soreadsheet containing a value See Also spreadsheet 143 Glossary chase A series of cues that run automatically connected with link and delay attributes See Also cue cuelist chroma See hue colour Fixture colour achieved through colour wheel gel string or colour mixing A colour mixed may have three attributes intensity hue and saturation See Also intensity hue saturation command line A method of entering information into the programmer using the n
115. ormally cues in a cuelist will be replayed in numerical order but you can use links to change this Links can be used to jump to other points in the cuelist or to create loops Unlike some consoles the Wholehog III creates a link as a special type of cue rather than an attribute of an ordinary cue Because it is a separate item in the cuelist you can move cues within the list without disturbing the link Tip When it gets to the end a cuelist will link back to the first cue by default so there is no need to put a link in 13 3 1 Creating a Link To create a link 1 Open Cuelist 1 open the cuelist window Select the cue after the position where you want the link Click on the Insert Link button in the window The link cue will be inserted 4 Select the Fade cell of the link Set cue number Enter set the cue number to be linked to You can delete Link cues in the same way as any other type of cue Delete Cue 3 5 Enter 13 3 2 Creating a Loop To create a loop you need to have two things e A link that points to a cue earlier in the cuelist 92 Reference Section 13 Working with Cue Timing and Ordering All the cues in the loop between the linked to cue and the link cue must be set with Wait or Follow On triggers see Working with Cue Triggers Reference 13 2 The Wholehog III will recognise this as a loop Once the cuelist enters the loop it will run indefinitely until you press the So key at w
116. ory window 33 Section 6 Using the Console Reference 6 2 2 Closing Windows Windows can be closed using the window s close button by pressing Open Backspace or with the button on the Window Control Toolbar See Fronting Resizing and Moving Windows Reference 6 2 3 6 2 3 Fronting Resizing and Moving Windows 34 You can open as many windows as you wish but you can only work in one at a time To work in a window make it the frontmost by clicking or pressing the touch screen within it or use the Move Focus button on the Window Control Toolbar The window s title bar will become dark to show that the window is active Windows and toolbars can be placed any where within the console s internal touch screens or on the optional external displays You can move and resize windows in two ways Using the Mouse or Trackball To move a window click and hold on the window s top status bar whilst dragging it to its new position To move a toolbar click and hold its left hand edge and drag to its new position Windows can be resized by clicking and holding on corners until the resize arrow appears You can then drag the corner to make the window bigger or smaller If the contents of the window is bigger than the window itself you can scroll the contents e by using the scroll bars at the right and bottom edges of the window by holding down the Open key and using the Trackball mouse parameter wheels or I Whee
117. pad Studio Color 4 70 Enter Sets Studio Color 4 to 70 Studio Color 4 5 Enter Sets Studio Color 4 to 50 not 5 This is similar to some theatre consoles such as Strand Studio Color 4 05 Enter Sets Studio Color 4 to 5 Note that the shortcut of using single digit entry to specify a level as shown above only works for simple commands When using and or proportional scaling see below a single digit is interpreted as a percentage not a level out of ten To set fixtures to full or zero Studio Color 4 Full Sets Studio Color 4 to full Studio Color 4 Out Sets Studio Color 4 to zero The Out button is on the Main Toolbar The intensity of a fixture can be changed relative to its current level for example Studio Color 4 5 Enter increases the intensity of Studio Color 4 by 5 Studio Color 4 10 Enter reduces the intensity of Studio Color 4 by 10 The intensity of a fixture can be scaled proportionally for example 57 Section 8 Selecting Fixtures and Modifying Parameters Reference Studio Color 4 70 Enter scales the intensity of Studio Color 4 to 70 of its original value Studio Color 4 120 Enter scales the intensity of Studio Color 4 to 120 of its original value With the I Wheel Moving the I wheel changes the level of the selected fixtures When selecting several fixtures and adjusting levels the wheel will maintain relative differences between
118. pansion wings See Also expansion wing V virtual master A means of running a cuelist without having it attached to a physical maser on the console See Also cuelist master visualiser A real time computer rendering package that allows the programmer to create their lighting virtually before getting to the venue See Also wysiwig W wait time The time between the previous cue being triggered and the current one being run 152 automatically Not to be confused with the delay time See Also delay time widget A device that allows the connection of accessories to the console or PC via USB Such accessories may range from input control panels to DMX outputs See Also universe usb wysiwig A visualisation package by Cast Lighting that can be used in conjunction with the console to pre programme lighting before getting to the venue Z zip disk Zip disks are like a floppy disk but with a much higher capacity They can be used to store back up and transfer show files zip drive The Wholehog Ill has a drive to read and write zip disks zones Enable the lighting rig or specific groups of fixtures to be controlled by specific operators and their consoles Zones give more efficient plotting of large rigs for example allowing concurrent plotting of stage and audience lighting states This function can also be used when operating lighting over several interlinked environments
119. ped pencil which can feel more precise than a finger If the touchscreens are sluggish or make inaccurate selections you can fine tune them by adjusting the Calibration Reference 5 1 2 Tip Z You can keep your eraser tipped pencil and other useful knick knacks under the arm rest at the front ofthe console 6 1 3 Modifier Keys Modifier keys may be depressed simultaneously with other keys on the console to extend their functions A modifier key works in a similar way to a Shift or Control key on a personal computer Most of the Wholehog III s modifier keys have functions that relate to particular tasks but the Pig key is a general purpose modifier which is context sensitive It usually provides more advanced functions such as fine control with the Parameter Wheels or a visual cut and paste with the Delete and Copy keys 6 1 4 Undo and Redo 32 The Undo button is on the Main Toolbar Similar to the undo command found in computer applications the undo function works back through the last commands entered by the user undoing them each time the button is pressed Its application is global working back through operations in chronological order Pressing the Pig button together with the Undo button will redo the last undone action What You Can and Can t Undo The undo and redo feature works on your show data but generally not on other things If no undo is available then the Undo button appears disabled on the Main T
120. r Weight and Dimensions 125 22 Safety Information esse see ee ee Ge ee 127 22 1 Safety Information ii 127 22 2 Importantes Informations Sur La S curit 127 22 3 Wichtige Hinweise F r Ihre Sicherheit 128 22 4 Informaci n Importante De Seguridad 128 22 5 Importanti Informazioni Di Sicurezza 129 22 6 Vigtig Sikkerhedsinformation 130 23 Upgrading and Care of the Console 131 23 1 Updating Software ee ee ke 131 xi xii 23 2 TOUCH SEEN Sia a SE bed 132 23 3 Front PONS Care ase Ee EE ER bes ese riaa 133 ES ale alo AR OE OR RE OE ER 135 24 1 Replacing Touch Panels ee 185 24 2 Replacing Faders ie ee ke ke 185 24 3 Cleaning FACETS ee ek nn 136 24 4 Replacing the Trackball i 136 25 Getting Help nu ee 139 25 1 Troubleshooting ee nennen nennen 139 25 2 Reporting Problems nenn 139 GIOSSOFY Ee Ee N ee ee ila 143 he EE EE EE aa OE EE 153 Introduction Table of Contents Getting Started 22us420nnnannnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn Users New to Moving Light Consoles Wholehog Il Users reed ee ee de Section 1 Getting Started The Wholehog III has been designed to be as easy to use as possible However it is also designed to control big complex lighting rigs as well as small simple ones and so at times op
121. r coloured green or green and yellow the core which is coloured blue must be connected to the terminal which is marked with the letter N or coloured black the core which is coloured brown must be connected to the terminal which is marked with the letter L or coloured red Class I equipment This equipment must be earthed 4 Equipment suitable for dry locations only Do not expose this equipment to rain or moisture Disconnect power before servicing 6 Refer servicing to qualified personnel no user serviceable parts inside 22 2 Importantes Informations Sur La S curit Mise En Garde Pour Une Protection Permanente Contre Les Incendies 1 Pour Une Protection Permanente Contre Les Incendies Cet 127 Section 22 Safety Information Appendices appareil de connection au circuit comporte une protection contre les surcharges de 20 A Mise En Garde Pour Une Protection Permanente Contre Les Chocs Electriques 1 Si cet quipement est livr sans prise de cable veuillez connecter la prise de cable correcte selon le code suivant e marron phase e bleu neutre e vert jaune terre 2 D brancher le courant avant d effectuer des r parations Cet guipement doit tre uniquement utilis dans des endroits secs Ne pas l exposer la pluie ou humidite 4 Vint rieur de l quipement il my a pas de pi ces remplacables par l utilisateur Confiez Ventretien a un personnel qualifi 5 Equipement de Clas
122. r show data is backed up onto Zip disk This can be done from the Show Manager window Setup gt Shows 2 Restart the console holding down the Pig key until a boot menu appears Place the software CD ROM in the console s drive and close it 4 Use the Up and Down arrow keys to select the CD ROM option on the menu and then press Enter 5 The installation will occur without further user interaction Note that it will take several minutes to complete 131 Section 23 Upgrading and Care ofthe Console Appendices Important Before installing new software ensure that your show data is backed up A clean install will erase all show data Occasionally it may also be necessary to update the console s BIOS which is the software stored in memory that starts the console up This can also be done by selecting an option from the boot menu which will read the BIOS from a CD ROM You should only do this when explicitly instructed and care should be taken to follow all directions as an improper BIOS installation can leave the console unusable 23 1 3 Updating the DMX Processor Software Normally updating the console software will also update the software of connected DMX Processors If necessary you can update the software manually 1 Setup Network open the Network window 2 Inthe list of network devices check the box to the left of DMX Processors that you want to update and press Software Update 3 The console will updat
123. rameters and timing in the same way asin the Programmer See Selecting Fixtures and Modifying Parameters Reference Section 8 15 5 Scene Timing Scene timing controls the fade in of a scene when it is run on a Master See Scene Playback Reference Section 18 You can set Scene timing in the Scene Editor see Editing Scene Contents Reference 15 4 or in the Programmer before recording the Scene You can also set the fade time of a Scene from the command line For example to give Scene 1 a fade time of 6 seconds Scene 1 Time 6 Enter 101 Section 15 Working with Scenes Reference 102 Section 16 Working with Effects This section introduces e The Effects key e The effects attributes of path size rate offset and active This section shows you how to e Apply an effect e Modify an effect e Record an Effect Palette You can use effects to create a repeating change or movement in the value of fixture parameters Effects are recorded as part of cues scenes and palettes Each parameter that has an effect applied to it has five effects attributes path size rate offset and active 16 1 Types of Effect You select the type of effect by choosing an Effect Path Effects Paths Step HH Sine AY Sawtooth N Ramp A n N Tangent Vr Mark On me Mark Off n Spikes Ar Note that the effects path varies the value ofthe parameter either side of its base level represented by the dotted line in t
124. rence part of this handbook 3 1 Networking Unlike Wholehog II the Wholehog III does not produce a DMX output directly Instead the console is designed to work as part of a network linked to other devices that serve a variety of functions including generating DMX for connection to dimmers and fixtures At its simplest the network is a Wholehog III console connected to a DMX Processor which produces DMX A more complex network might consist of several Wholehog III consoles personal computers running Wholehog III software DMX Processors and other devices such as networkable dimmers and fixtures For more information on networks see Setting Up the Network Reference 5 3 3 1 1 Multiple Consoles on Same Show With networking it is possible to have several programmers each with a Wholehog III console working on the same show The system can be set up so that each programmer can only control certain fixtures or one master programmer can override the actions of others In this way one programmer might be responsible for all wash lights while another controls hard edged fixtures Both programmers are working on the same show though so it is a simple matter for a single operator to take over the running of the show once programming is complete 3 1 2 Multiple Shows on the Network Similarly networking allows several shows to be run on the same network A theme park for example might have several rides stages and other li
125. res e Configure fixtures 7 1 Adding a Fixture to the Show You add fixtures using the Fixture Schedule see Figure 7 1 The Number column shows the number of fixtures of that type currently in the show Any mode options specific to the fixture type are shown in the Mode column To add a fixture 1 Setup gt Fixtures Schedule Fixture Schedule The Fixture Schedule window will open with a list of fixture personalities in the current Fixture Library Each fixture is listed under its manufacturer while Desk Channel and Scroller Dimmer are listed under Generic See Figure 7 1 2 Expand each manufacturer by clicking on it or the adjacent Plus button to find and select the specific fixture type you want Click on the Quantity cell 4 Set number of fixtures required Enter Set the number of that fixture type in the show 5 Repeat for all fixture types required or you can add more later 43 Section 7 Adding and Configuring Fixtures Reference 6 When you have finished select OK 1 bh Fixture Schedule Specify how many fixtures of each type you wish to use Select a type and press Set Cmy fader Dim Desk channel Non Dimmable Geni Griven High End Color Pro HX i Cyber m2 Litho Dataflash Studio Spot 575 Studio Spot CMY Console Capacity Used El Figure 7 1 The Fixture Schedule window 7 2 Removing a Fixture from the Show To remove a fix
126. rting Problems with the Console Appendices 25 2 1 25 1 Troubleshooting 25 1 1 The console isn t talking to the DMX Processors 1 Check the network cabling If the DMX Processor is connected directly to the console then an RJ45 cross over cable needs to be used If the DMX Processor is connected via a switch or hub then normal non crossover RJ45 cables need to be used The Link light will be lit on the DMX Processor if the correct connection has been made 2 Check the network settings The DMX Processor and console both need to be on the same subnet 3 Check the port setting The DMX Processor and console both need to be on the same Port Number See Network Settings Reference 5 4 1 and Configuring the Network Reference 5 3 3 4 Check the software The DMX Processor and console both need to be running the same version of the software see Updating the DMX Processor Software Appendices 23 1 3 25 1 2 The console doesn t start or shuts down shortly after switching it on 1 Ifa software update has failed the console can get into a state where it either fails to start properly or it goes immediately to the shutdown screen A full re install will be necesssary see Clean Install Appendices 23 1 2 25 2 Reporting Problems We welcome feedback on both the console and the manual as an essential part of our development process When reporting problems with the console known as bugs it is important that the
127. s 10 show 40 windows 10 next 22 Next button 55 Next Page key 117 numbering cues 82 Odd button 55 Off button 36 on screen keyboard 23 Open key 33 ortho mode See Trackball Output window 109 pages 117 changing 117 copying 118 creating 117 moving 118 removing a cuelist 119 template 119 which is the current page 39 Palette Directory 37 palettes 4 69 copying 73 deleting 72 direct 74 editing contents 73 effects 11 106 moving 73 naming 70 recording 70 recording with masking 71 recording with timings 71 sequence 74 showing references to in editors 36 using in programming 72 pan See position parameter 3 11 timing 7 parameter types 56 removing from the Programmer 63 parameter wheels 59 59 59 parameters default value 50 homing 50 linked 64 minimum and maximum values 49 modifying values 56 naming slot values 51 offset value 50 removing value from the Programmer 63 timing 61 62 Park Editor window 79 parking 79 patch proportional 49 patch points multiple 45 46 patching 44 Path button 36 paths 87 90 effects 103 Persist On Override 110 114 Pig key 32 for fine control of parameter values 60 157 to unpark parameters 79 when using directories 37 with the I Wheel 58 playback 6 cuelists 107 scenes 113 using pages 117 Playback Bar 109 Playback Priority 110 114 playbacks 10 point cues 82 pointer mode See Tra
128. s de prestar servicio de reparaci n 3 Este equipo se adecua a lugares secos solamente no lo exponga a la lluvia o humedad 4 Derive el servicio de reparaci n de este equipo al personal calificado El interior no contiene repuestos que puedan ser reparados por el usuario 5 Equipo de Clase I Este equipo debe conectarse a la tierra 22 5 Importanti Informazioni Di Sicurezza Avvertenza Per Prevenire Incendi 1 Questa apparecchiatura e da collegarsi ad un circuito con una protezzione da sovraccarico massima di 20 amperes Avvertenza Per Prevenire Le Scosse Elettriche 1 Se questa apparecchiatura amp stata consegnata senza una spina del cavo di alimentazione collegare la spina appropriata del cavo di alimentazione in base ai seguenti codici e marrone sotto tensione e blu neutro e verde giallo terra Disinnestare la corrente prima di eseguire qualsiasi riparazione Questa apparecchiatura e da usarsi in ambienti secchi Non e da essere esposta ne alla pioggia ne all umidita 129 Section 22 Safety Information Appendices 4 Per qualsiasi riparazione rivolgersi al personale specializzato L utente non deve riparare nessuna parte dentro unita 5 Aparecchio di Classe I Questa apparecchiatura deve essere messa a terra 22 6 Vigtig Sikkerhedsinformation Advarsel Beskyttelse mod elektrisk chock VIGTIGT LEDEREN MED GUL GROEN ISOLATION MAA KUN TILSLUTTES KLEMME MAERKET ELLER
129. same network you need give them different IP addresses 1 Setup Panel Network Settings open the network pane of the Control Panel Select Use Custom IP Address Enter a new IP address The default IP address for a console is 172 31 0 1 so you could increment the number for additional consoles by one 172 31 0 2 172 31 0 3 and so on Generally it is best to have DMX Processors get their IP address from a console s DHCP server see Checking and Setting the IP Addresses Reference 5 4 1 It is not a problem to have more than one console running as a DHCP server but you should ensure that they serve IP addresses in a range that does not include the console s static IP addresses say 172 31 0 10 to 172 31 255 254 Important You could set the second console to get its IP address automatically from the first one s DHCP server However if you are using the second console as a backup then if the first one has a problem it may not be able to supply an IP address and the backup may fail More than One Show on the Network If you want to run more than one show on the same network you need to choose a port number for each show The default port number is 6600 so the second show could be on 6601 the third on 6602 and so on You need to set the port number of each console for the show it is used on 1 Shut down and re start the console 2 In the Start window press Settings 3 Enter the port number Reference Se
130. screen OK return to the Main screen Main Control Panel navigate to the Control Panel Hard Reset the DMX Processor needs a hard reset for changes to take effect Setting the Port Number To set the Port Number 1 Main Network navigate to the Network screen 2 Set the Port Number as required 3 28 OK return to the Main screen Reference Section 5 Setting Up the System 5 4 2 Options and Defaults The DMX Processor has various options and controls set in the Control Panel screen Main Control Panel You can revert all settings to their default values by selecting Set Defaults Locking the DMX Processor Controls You can use the Lock function to lock the DMX Processor s controls 1 Inthe Control Panel select Lock 2 Enter your chosen 4 digit code number and select OK to confirm The DMX Processor is now locked To unlock enter the correct four digit code Important Make sure that you keep a record of your lock code The DMX Processor cannot be unlocked without it Backlight Off Time Selecting Backlight in the Control Panel opens a screen where you can set the delay time before the backlight goes off The Permanent setting keeps the light on continually Watchdog The Watchdog feature automatically restarts the DMX Processor if its software stops running for some reason Watchdog is on by default and generally it is best to leave it switched on However if you suspect t
131. se I Cet quipement doit tre mis la terre 22 3 Wichtige Hinweise Fur Ihre Sicherheit Warnung Zum Schutz Vor Brandgefahr 1 Dieses Ger t darf nur an eine Zweigleitung mit einem Uberlastungsschutz von h chstens 20 A angeschlossen werden Warnung Zum Schutz Gegen Gef hrliche K rperstr me 1 Wenn dieses Ger t ohne einen Netzkabelstecker erhalten wurde ist der entsprechende Netzkabelstecker entsprechend dem folgenden Code anzubringen Braun Unter Spannung stehend e Blau Neutral e Gr n Gelb Erde 2 Vor Wartungsarbeiten stets den Netzstecker ziehen Diese Ger te sind nur zum Einbau in trockenen Lagen bestimmt und m ssen vor Regen und Feuchtigkeit gesch tzt werden 4 Servicearbeiten sollten nur von Fachpersonal ausgef hrt werden Das Ger t enth lt keine wartungsbed rftigen Teile 5 Dieses Ger t geh rt zur Klasse I Dieses Ger t mu geerdet werden 128 Appendices Section 22 Safety Information 22 4 Informaci n Importante De Seguridad Advertencia Para Protecci n Continua Contra Incendios 1 Este equipo debe conectarse a un circuito que tenga una protecci n m xima contra las sobrecargas de 20 A Advertencia Para La Protecci n Continua Contra Electrocuciones 1 Si se recibi este equipo sin el enchufe de alimentacion monte usted el enchufe correcto seg n el clave siguente e moreno vivo e azul neutral e verde amarillo tierra 2 Desconecte el suministro de energ a ante
132. sed with beam focus where the beam edge is adjusted digital IO The ability to control or input electrical digital signals from switch closures For example an input may originate from a motion sensor or footswitch an output may trigger a sound effect dimmer Curve See conversion curve directory A window which displays palettes scenes or groups See Also palette DMX See out time DMX address A number between 1 and 512 that identifies a controllable parameter of a fixture Each fixture or group of dimmers Glossary has a start address the first of the range of DMX addresses that it uses DMX universe A single DMX output with 512 channels is known as one DMX universe The Wholehog Ill network may support many universes each with fixture addresses between 1 and 512 See Also DMX Processor DMX Processor A nineteen inch rack mounted network node that distributes 1 or 4 DMX outputs There may be many DMX Processors within a lighting control network See Also node down Time See out time editor A window for editing the contents of cues scenes groups or palettes See Also programmer effects engine The Wholehog Ill effects engine provides the opportunity to create movement sequences The engine contains library shapes whilst allowing for custom effects to be created encoder wheel See parameter wheel Ethernet A defined way of connecting computer equipment
133. shead screw furthest from the flying lead using a small Philips screwdriver Remove the top end cap Very carefully slide the whole mechanical assembly out from the other bottom end Very carefully slide the track assembly out from the bottom end Wipe tracks and wipers with a dry clean tissue Do not use solvents Re insert track assembly Very carefully re insert mechanical assembly Fit top end cap and replace and tighten screw Replace the cleaned fader See Replacing Faders Appendices 24 2 24 4 Replacing the Trackball 136 Caution Always shut down and disconnect the mains power before removing the front panel To replace the Trackball 1 Remove the front panel See Replacing Faders Appendices 24 2 steps 1 to 3 Lift track ball out of its bezel Unplug the cable assembly from the trackball PCB Reconnect and replace new trackball Appendices Section 24 Servicing Important The only occasion on which the front panel PCB itself needs to be removed is to access the mass storage devices underneath a procedure beyond the scope of this manual 137 Section 24 Servicing Appendices 138 Section 25 Getting Help If you are having problems with the Wholehog III try the trouble shooting guide below Ifyou cannot rectify the problem or you think that it is because the console is not working as it should please contact lt support flyingpig com gt following the guidelines in Repo
134. t 1 rsen Link Insert Mark View Cue Options Controls Unblock Renumber jel Pre show state 2s Default 23 Default Wait for it 23 Default Snap to black Os Default Figure 14 2 The Cuelist window 14 1 Creating Cuelists Cuelists are created automatically when you record a cue to a cuelist that doesn t exist or a Master that has no cuelist attached to it See Recording a Cue Reference 12 1 14 2 Deleting Cuelists To delete a cuelist Delete List 1 Enter deletes cuelist 1 Tip Z To detach a cuelist from its Master rather than deleting it completely hold Delete while pressing the Master s Choose button This removes the cuelist from the Master but not from the cuelist directory 14 3 Copying and Moving Cuelists Cuelists can be copied and moved within the Cuelist Directory To open the Cuelist Directory Open List 96 Reference Section 14 Working with Cuelists 14 3 1 Copying Cuelists To make a copy of a cuelist List 1 Copy List 2 Enter copies the contents of Cuelist 1 to Cuelist 2 If the destination cuelist already exists you will be asked to choose an option Replace Merge and Insert Reference 14 3 3 14 3 2 Moving Cuelists To move a cuelist to a new location List 1 Move List 2 Enter moves Cuelist 1 to Cuelist 2 If the destination cuelist already exists you will be asked to choose an option Replace Merge and Insert Reference 14 3 3 14 3
135. t they will not be recorded into cues L level See intensity look A stage lighting picture usually created in the Programmer Once you have created a look you may record if as a scene or cue See Also cue scene 147 Glossary LTP Latest Takes Precedence In this system of operation the most recent instruction to set the value of a parameter is the one that applies A cue run on one master can take control of fixtures set by a cue in another master See Also HTP luminaire See fixture M master A master comprises of Go Pause Flash and Choose buttons as well as a fader One cuelist maybe run upon one master at one time Cuelists need not be permanently stored on specific Masters and may reside in the cuelist directory See Also cuelist mask A method of selecting information that is specific to a palette fixture cue scene or group when recording making selections editing or programming Typical masks are the parameter masks Intensity Position Colour and Beam memory See cue MIDI Musical Instrument Digital Interface The Wholehog Ill can work with two types of MIDI MIDI machine code and MIDI timecode Allows communication of musical notes programmes and timing data between electronic instruments and other devices such as lighting consoles See Also timecode show control modifier A key that is used in conjunction with other keys or buttons to change the
136. t you would expect but there may be situations where you want to separate the linked parameters for example to run separate chases with the cyan magenta and yellow parameters By default the Wholehog III links intensity position and colour parameters You can change which parameter types are linked in the Edit pane of the Preferences window Section 9 Working with Groups This section introduces e The Group Directory This section shows you how to e Record and delete groups e Name and edit groups Copy and move groups Groups are pre recorded fixture selections complete with selection order information Groups are stored in the Group Directory They allow the quick selection of multiple fixtures and like ordinary fixture selections groups can be combined and manipulated in a variety of ways To Open the Group Directory Open Group Or Group Group 1 Group Directory Be Studo Studio Colors Spots 13 Figure 9 1 The Group Directory 9 1 Recording a Group To record a group 1 Select the desired fixtures in the Programmer 2 Record Group the Group Directory window opens 3 Select the destination location in the Group Directory window Alternatively enter a number on the keypad and press Enter 65 Section 9 Working with Groups Reference Tip Z When you record a group the selection order is also saved This controls how fanning and effects are applied to the fixtures in the group
137. tached to Masters using Pages see Working with Pages Reference Section 19 17 1 1 Standard Controls The standard playback controls found on each of the ten Masters are 108 Choose Allows the Master to be selected Ifthe blue LED is illuminated then it is the current Master and the main controls will work with this Master This will also be the case when the Choose button is held down Go If the playback is inactive this will put it onstage If already active then it advances to the next cue in the cuelist It will restart any paused crossfades see Halt Halt Back Pauses any running crossfades Ifthere are no running crossfades then by default it will start a fade back to the previous cue Fader Controls the intensity of fixtures under the control of this playback Flash Momentarily puts the intensity of fixtures under the control of this playback to the full programmed value as ifthe fader had been put to maximum The main controls to the right ofthe Masters see Figure 17 1 work with the currently chosen Master You can also use them with another playback by holding down the required Choose key while pressing a key from the main controls The controls are Go and Halt As above Skip Forward Skip Back Steps forward or backward through the cuelist Release Releases the playback s control of fixtures making the playback inactive Assert Reasserts control of fixtures if other playbacks have taken contr
138. th a new touch panel making sure the panel is pushed to the right for correct alignment Replace and gently tighten the thumbscrews and re connect the cable ensuring correct pin alignment With the LCD box back in the vertical position fit the LCD panel and Soft Keys Replace and tighten the six screws starting with the centre pair 10 Calibrate the touch panels See Calibration Reference 5 1 2 24 2 Replacing Faders f Caution o Always shut down and disconnect the mains power before removing the front panel Damaged or dirty faders are easily replaced 1 Remove the parameter wheel knobs using a 2mm allen key to loosen the grub screws Pull off the fader knobs and position the faders at 50 Undo the four screws with a 4mm allen key and carefully lift off the front panel Note that the front panel is intentionally 135 Section 24 Servicing Appendices concave Gently unplug the fader s flying lead and lift the fader to unclip it from the PCB Clean fader if required See Cleaning Faders Appendices 24 3 Fit the new fader in place ensuring that it sits completely flat against the PCB this is crucial Reconnect the fader flying lead and position the fader at 50 To re assemble follow steps 3 through 1 24 3 Cleaning Faders Faders are often unnecessarily discarded when all they need is a clean 10 Remove the dirty fader See Replacing Faders Appendices 24 2 Undo the top cros
139. the Record Toolbar that appears after pressing the Record key For example 1 Press the Record key 2 Deselect Forward on the Record Options toolbar 3 Press the Choose key above the desired Master 85 Section 12 Working with Cues Reference 12 6 2 Blocking Cues 86 Blocking cues prevent changes made earlier in the cuelist from tracking through the whole list See Tracking Through Changes Introduction 2 4 1 Using State You can create blocking cues using the State button on the Record Toolbar For example to turn cue 5 into a blocking cue you copy it to itself with state Cue 5 Copy State Cue 5 Enter Because of tracking when you copy a cue to another location you only copy the hard values so you do not create a new cue that actually represents the on stage look that you would get by running the original cue To do this you can use Copy and State List 1 Cue 5 Copy State List 2 Cue 1 Enter creates a new cue in Cuelist 2 that is the state of Cue 5 in Cuelist 1 Unblocking Unblocking removes redundant hard values and can be selected from the Cuelist Directory window On large shows this can be used to reduce the amount of data transferred over the show network To unblock a range of cues 1 Open Choose open the Cuelist window 2 Cue 1 Thru 10 select the range of cues You can also do this visually in the Cuelist window 3 Press Unblock in the Cuelist window Important We recommend that
140. the window which are common to all directories Button Purpose El Switches to a spreadsheet view allowing you to edit attributes of the items in the directory such as their names See Working with Spreadsheets Reference 6 3 Reports Not implemented in version 1 0 Configure This allows you to control various aspects of how the editor window displays information B ma Help Not implemented in version 1 0 11 Colour Directory Spot 250 Pink A Salmon Tint 1 12 Spot 575 Yellow WC Yes No 8 Colour Fx 25 Random Fx 25 C Yes No Figure 6 3 A Typical Directory in Spreadsheet View 6 6 Using the Command Line 38 The Wholehog IT has two fundamental approaches to programming one uses an on screen graphical approach while the other uses a command line The graphical approach is easy to learn because you can see the available options on screen but tends to be slower The command line is harder to learn because you have to learn the commands but it is faster once you know it and it allows you to do complex operations in a single action Often you can combine elements of the two approaches Il Record Colour 8 Page 1 Programmer Master 4 13 48 20 Figure 6 4 The Command Line The commands that you enter appear in the command line bar at the bottom of the right hand touch screen see Figure 6 4 You build up a command as a series of Reference Section 6 Using the Console
141. them so that all intensities change by the same amount For example if fixture 1 is at 10 2 at 50 and the wheel is increased by 10 then fixture 1 will move to 20 and 2 will move to 60 By holding the Pig key whilst using the wheel intensities will be increased or decreased in proportion to their individual level For example if fixture 1 is at 10 2 at 50 and the wheel is increased by 10 then fixture 1 will move to 11 and 2 will move to 55 The Nudge Up and Nudge Down keys above and below the I Wheel can be used to increase and decrease the intensity by a preset amount The size of the increment is 10 by default and you can change it in the Edit pane of the Preferences window Tip Q To set a fixture to zero type 4 Enter Remainder Dim The Remainder Dim button on the Main Toolbar can be pressed at the end ofan intensity command line to take all unselected fixtures to zero 8 3 2 Pan and Tilt 58 Using the Trackball To switch the Trackball from controlling the cursor to controlling fixture position press the top right selection key adjacent to the Trackball When in fixture position mode the Trackball will glow blue and can be used in two modes To change mode press the top left Trackball selection key e Pan and Tilt Mode In the default mode the pan and tilt of the fixture follows the movement of the Trackball Ortho Mode Ortho mode helps the accurate positioning of fixtures by constraining pan while
142. to normal set the value to 100 7 4 5 Setting Minimums and Maximums for Parameters When fixtures are placed close to obstacles such as trussing or set pieces it may be important to limit movement to prevent accidental damage especially when the fixture is out of view of the operator However other functions can also be limited for example to implement a house or event policy on the use of strobe lighting where multiple operators may be using the console To set limits 49 Section 7 Adding and Configuring Fixtures Reference Setup gt Fixtures Edit Fixtures Select the Minimum cell ofthe parameter you wish to limit Set new value Enter Enter a value as a real world unit In the case of pan and tilt it will be a plus or minus number of degrees from the fixture s home position 4 Repeat to set the Maximum value 7 4 6 Setting a Custom Default The default value is the value that the parameter will take when no playbacks or editors are controlling it Fixtures also go to their default setting when the console starts up To set a custom default 1 Setup Fixtures Edit Fixtures 2 Select the Default cell of the desired parameter 3 Set new value Enter Enter a value as a real world unit 7 4 7 Setting a Parameter Offset This setting allows you to offset the range of values over which a parameter varies For instance if one fixture is hung at an angle to the bar so that it has a different
143. to the page or remove them 19 3 1 Copying Copying a cuelist to a page creates a new cuelist which is independent of the one it is a copy of Any changes made to it will not affect other pages To copy an existing cuelist to a page List 2 Copy Choose Enter copies cuelist 2 to the chosen Master 19 3 2 Moving Moving a cuelist to a page does not create a new cuelist so changes made to it later will affect all other uses of that cuelist on other pages To move an existing cuelist to a page 118 Reference Section 19 Working with Pages List 2 Move Choose Enter moves cuelist 2 to the chosen Master 19 3 3 Removing To remove a cuelist from a page Delete Choose removes the cuelist from the chosen Master You can also press the keys together Delete Choose Note that this will only remove the cuelist from the Master not from the cuelist directory 19 4 Template Page A template page specifies which cuelists will appear on every page without physically having to load them into all pages For example you could have a master cuelist containing commonly used sequences of cues or effects which you want available on all pages To make a page into a template page 1 Open Page opens the Page Directory window 2 Right click on the Page and select Set As Template from the menu You can turn off the template in the same way but select No Template from the menu Tip Z If a normal page and a template page
144. tte that records parameter values for a sequence of fixtures rather than specific ones For example applying to every 5th and 10th fixture repeatedly across the rig regardless of fixture type and number See Also palette 150 server See show server shape generator See effects engine show server The Wholehog lll that owns a show Other consoles may join the show but the original console that created the show will remain the show server show control Subset of MIDI used in the entertainment industry for integrated control of lighting sound and stage automation slot A discrete step in a parameter s range such as the position of a gobo wheel SMPTE A form of time code that can be used to synchronise the operation of various controllers for example synchronising lighting to video playback Soft Key The Soft Keys are the row of keys above and below the touchscreens They mimic the function of toolbars docked along the edge of the screens See Also toolbar soft parameter value See tracked value speed See fade time split fade A crossfade where the incoming and outgoing cues have different times causing an imbalanced or dipped fade profile See Also crossfade in time out time spreadsheet A way of displaying values in a grid Wholehog Ill editor windows use a spreadsheet to display parameter values start up The process that the console goes through when it is
145. tton Connect to Show To connect to a show already running on the network select it in the Connect to Show section If no show is displayed and you are sure that a show is running this could be because e your console is on the wrong network port Click on the Settings button and adjust the port number e your console has the wrong network settings Press the Panel button on the Startup Toolbar at the top of the screen and adjust the settings in the Network Settings pane When multiple consoles are working together on a show then you can identify each console with a separate number This can also be set in the Settings section of the Startup screen Tip d What is the difference between launching or starting a new show and connecting to a running one Normally your console will start a show server When you connect to a running show no server is started instead you use the server of the remote console 6 7 2 Shutting Down To shut down select Setup and uit You will be then be prompted to Shut Down or Log Off your user profile Shutting down will turn the Wholehog III off completely while logging off leaves the console powered up and running ready for you or another user to log on Logging off will close your current desktop programmer and output screens In either case your show data is automatically saved to disk 41 Section 6 Using the Console Reference 6 8 Managing Show Data Your show data is store
146. ture 1 Setup Fixtures open the Fixtures window 2 Select the fixtures you want to remove and press Remove You will be asked to confirm 7 3 Patching Fixtures Once fixtures have been added to the show they need to be patched to the appropriate DMX address On previous consoles such as Wholehog II this was a case of selecting one of several DMX universes and setting a start address between 1 and 512 Because of the network capability of the Wholehog III fixtures are first assigned to an DMX Processor and then assigned to a specific DMX universe and address 44 Reference Section 7 Adding and Configuring Fixtures 7 3 1 Selecting the DMX Processor Universe and Patch Point 1 Fixture Patch 1 Wes BEET Add DP Press Set to enter Number A Dm 2 Dmx 3 Dmx 4 Figure 7 2 The Fixture Patch window To patch a fixture 6 Setup gt Fixtures Fixture Window Select the fixture by clicking on it then select Patch to open the Fixture Patch window See Figure 7 2 Select aDMX Processor in the list on the left hand side ofthe window If there are no DMX Processors shown or you want to patch to one that isn t listed shown in the list you need to add it See Adding DMX Processors Reference 7 3 3 If the fixture has more than one Patch Point select the desired patch point in the list See Fixtures with Multiple Patch Points Reference 7 3 5 Select the DMX universe from th
147. ture s Note cell 3 Set text of note Enter Type in the note text 7 4 3 Inverting and Swapping Pan and Tit Axes Depending on a fixture s orientation in the rig you may want to invert or swap its pan and tilt axes For example inverting the pan can ensure that when moving the Trackball left a fixture rigged facing the operator moves to the operator s left not the fixture s left Similarly if units are rigged facing across the stage rather than facing up or down stage then swapping the axes keeps the Trackball movement and the fixture movement the same This also ensures that fixtures selected in groups all move in the same direction as the Trackball is moved Fixtures that are rigged in other positions for example on the stage floor as opposed to hanging then combinations of swap and invert either pan tilt or both may be required To invert or swap axes 1 Setup Fixtures 2 Scroll to the desired fixture and select its Invert or Swap cell 3 Press Set and choose X Y or Both for Invert or Yes No for Swap 7 4 4 Proportional Patch You can use proportional patching to change the brightness of a fixture relative to what has been programmed For example you can limit the maximum brightness of the fixture by setting the proportional patch to 80 1 Setup Fixtures 2 Select the Proportional cell for the fixture required 3 Set percentage Enter enter a percentage 4 To return the proportional patch
148. typically used for overriding the speed of a cue 3 2 4 New Keys Some functions that on Wholehog II required a combination of key presses have been given their own dedicated buttons such as Open Intensity Back and Next Additional buttons have also been provided along the top and bottom edges of the touch screens These Soft Keys replicate the on screen toolbar buttons 3 2 5 Touch Screens The two touch screens are larger are in colour and have better brightness and contrast characteristics For more information see Using the Touch Screens Reference 6 1 2 3 3 New Windows Many of the windows that appear on the screens show information in a spreadsheet style display As with spreadsheet programs on a PC columns can be resized and reordered so that you have much more control over the way that information is shown 3 4 New Playback Features The new playback features include Ten Fully Customisable Playbacks Any of the ten Masters can also be set up as a Grand Master Scene Masters Scenes which are cues that are not associated with a cuelist can be loaded onto any of the Masters and controlled by the fader 10 Introduction Section 3 Wholehog II Users Fixture Masters Groups can be loaded onto Masters and their maximum intensity controlled by the fader Virtual Masters An almost unlimited number of cuelists can run simultaneously using Virtual Masters These are controlled on screen rather than by a p
149. uctions prior to assembling mounting and operating this equipment Important Informations De S curit Les instructions se rapportant la protection permanente contre les incendies l lectrocution et aux blessures corporelles se trouvent dans Importantes Informations Sur La S curit Appendices Section 22 2 Veuillez lire toutes les instructions avant d assembler de monter ou d utiliser cet quipement Wichtige Sicherheitshinweise Sicherheitsanleitungen zum Schutz gegen Feuer elektrischen Schlag und Verletzung von Personen finden Sie in Wichtige Hinweise F r Ihre Sicherheit Appendices Abschnitt 22 3 Vor der Montage dem Zusammenbau und der Intbetriebnahme dieses Ger ts alle Anleitungen sorgf ltig durchlesen Informazioni Importanti Di Sicurezza Le istruzioni sulla protezione da incendi folgorazione e infortuni sono contenute nell Importanti Informazioni Di Sicurezza Appendices Sezione 22 5 Si prega di leggere tutte le istruzioni prima di assemblare montare e azionare l apparecchiatura Informacion Importante De Seguridad En el Informaci n Importante De Seguridad Appendices Secci n 22 4 se encuentran instrucciones sobre protecci n continua contra incendios descarga el ctrica y lesiones personales Lea por favor todas las instrucciones antes del ensamblaje montaje y operaci n de este equipo Warranty Information Limited Warranty Unless otherwise stated your product is covered by a one year parts
150. ude underlying intensity colour beam position and time information use the mask function 1 Select the fixtures and set the desired effects 2 Record Effect 3 Select Mask from the Record Toolbar and select the parameter types that you wish to record Use Use P Use C Use B Use T 4 Select alocation from the Effect Palette Directory window 106 Section 17 Cuelist Playback This section introduces e The playback Masters and controls e Virtual masters e Feedback This section shows you how to e Playback cues on the physical and virtual Masters e Change playback options To play back a cuelist it needs to be attached to a Master Masters can be either Physical the faders and controls on the front panel of the console see Figure 17 1 or Virtual an on screen Master Choose Choose Choose Choose Choose Choose Choose Es lal Es Figure 17 1 The Playback Controls 17 1 Playback Attached to a Physical Master To attach a cuelist to a Master List 1 Move Choose puts Cuelist 1 onto the chosen Master 107 Section 17 Cuelist Playback Reference To remove a cuelist from a Master Delete Choose removes the cuelist from the chosen Master Cuelists can also be at
151. uelist when recording a cue This will record the cue to the cuelist currently attached to the chosen Master or create a cuelist if it doesn t exist For example 1 Press the Choose key above Master number 10 The Choose key will light up to show that Master 10 is the chosen one 2 Record 1 Enter records Cue 1 in the Cuelist attached to Master 10 creating it if necessary To record more cues e Record 1 5 Enter inserts anew cue numbered 1 5 into the cuelist on the currently chosen Master 81 Section 12 Working with Cues Reference e Record Enter appends the cue to the end of the cuelist attached to the currently chosen Master e Record Choose appends the cue to the end of the cuelist of the chosen Master This allows the current Master to remain selected while recording cues onto other Masters 12 1 2 Replace Merge and Insert When recording copying or moving a cue ifthe destination location already has a cue recorded in it you will be prompted with record options of Replace Merge or Insert Replace Overwrites the cue information in that destination Merge Incorporates the copied information into the destination cue If the same fixtures and parameters are in both cues the new values being merged will take priority Insert creates a new destination cue The new cue will be assigned a free location lower than the one chosen using a point number if necessary Tip Q If you know that you are abo
152. umerical keypad and the button See Also programmer console The user interface of a lighting control system The Wholehog Ill console forms the central hub of a sophisticated show control network This may include other Wholehog III desks expansion wings external devices offline editors and visualisers along with dimmers and fixtures See Also off line editor visualiser expansion wing console identifying number The number that identifies the console when it is operating as part of a network conversion curve A curve that defines the relationship between the plotted parameter value and the DMX value sent to the dimmer or fixture Conversion curves are like dimmer curves or profiles on other consoles and should not be confused with paths Conversion curves are properties of the fixture while the path is a property of a cue See Also path 144 crossfade A transition between two cues one replacing the other cross over cable When you connect two Wholehog Ill components or computers together directly you need to use a special type of Ethernet cable called a cross over cable This is different from the normal type of Ethernet cable used with hubs and switches see below We supply a cross over cable with each console and DMX Processor See Also Ethernet cue A look on stage achieved through the manipulation of fixture parameters recorded as part of a cue list A cue requires a trig
153. unch New Show r Launch Existing Show Choose a show a previous show from the list or browse for a show Launch Existing Show home develishows AShow al Browse r Connect To Show Connect to an active Network Show if one has been found Press Rescan to search the network again Press Settings to change the console s network settings Rescan Settings Help Quit Figure 6 5 The Start window On starting up the Start window will appear with three options Launch New Show Selecting this will launch a new show screen and you will be asked to enter the following information 40 Reference Section 6 Using the Console Your show name This can be as long as you like If you do not have a keyboard attached press Set to open an on screen keyboard A storage location Choose the location on the console s hard drive where you would like to store the show You cannot chose the Zip drive or the CD ROM as a storage location A fixture library Choose the library to use as the fixture library The library contains information about different types of fixtures that the Wholehog III needs We will often release new versions of the library separately from the software and so you may have multiple versions of the library available to use Launch Existing Show You can choose from a list of recently used shows and then press Launch Existing Show or browse all available shows using the Browse bu
154. ure 10 1 The Colour Palette Directory window It is important to note that when you modify a palette s content cues that were programmed using that palette will be automatically updated with the new values 69 Section 10 Working with Palettes Reference One palette is said to be embedded in another This is a very powerful feature that allows you to make global changes to the show very simply and quickly If you wish to make a palette where changes to it are not reflected in cues that have been recorded with it you can use Direct Palettes Reference 10 7 1 Sequence palettes are similar to ordinary palettes but they are not specific to particular fixtures See Sequence Palettes Reference 10 7 2 10 1 Recording a Palette To record for example a position a palette 1 Setthe desired fixtures as you want them in the Programmer 2 Record Position the Position Palette Directory window opens 3 Palette 1 choose a location in the Directory Or using the command line Record Position 1 Enter If you leave out the palette location Record Position Enter the palette will be recorded in the next available location 10 1 1 Replace Merge and Insert When copying or moving a palette ifthe destination location already has a palette recorded in it you will be prompted with record options of Replace Merge or Insert Replace Overwrites the palette information in that destination Merge Incorporates th
155. ures have been proven then the beta monicker is dropped and the software can be considered show safe Flying Pig Systems Ltd does however recommend that people try the beta code in non critical situations since it is only the act of end users trying newer software and telling us that it works that moves the software out of its beta status 141 Section 25 Getting Help Appendices 142 Glossary 1 10 Base T An older flavour of Ethernet that is slower 10 MBits per second than the 100 Base T used by Wholehog Ill components If connected to other equipment that only supports this flavour then Wholehog Ill components will automatically detect this and run their Ethernet connections at this slower speed However this is not the recommended way to set up your network See Also 100 Base T 100 Base T A flavour of Ethernet that supports data rates of up to 100 MBits per second All Wholehog Ill components support this flavour of Ethernet and comply with all relevant standards so networking equipment designed for 100Base T should be compatible with the Wholehog III See Also 10 Base T A button Means at and can be used for setting levels or patching via the keypad abstraction layer The Wholehog Ill separates abstracts the user from the details of how fixtures work For example most values are expressed in real world values such as degrees of rotation rather than DMX values access
156. urpose Press this to edit the contents of the editor rather than just view it Instructions given to the command line are directed to the active editor Parameter values may be determined by an embedded palette see Working with Palettes Reference Section 10 Press Show Palettes to see the palette name rather than the parameter value Press this to cancel runnning effects Reports Not implemented in version 1 0 Configure This allows you to control various aspects of how the editor window displays information Help Not implemented in version 1 0 6 5 Working with Directories Directory windows give you quick access to Groups Palettes Scenes and Cuelists and they all work in essentially the same way 1 Colour Directory Spot 250 Figure 6 2 A Typical Directory Figure 6 2 shows a typical directory The main part of the window is filled with large buttons used to access the group palette scene or cuelist as well as displaying their names and other key information Pressing the button while holding Pig sends the button to the command line rather than causing an action directly For example in the Colour Palette Red Wash sets the selected fixtures to their Red Wash palette values while 37 Section 6 Using the Console Reference Pig Red Wash does not set any fixtures but puts Red Wash in the command line to use as part ofa command There is a row of buttons along the top of
157. us information e Unable to find information in the index 2 The section number where the problem is 3 The version number of the manual You can find this under Revision History at the start of the manual 25 2 3 About Software Version Numbering 140 The software version number is made up of two or three parts the major version number the minor version number and in the case of beta software the issue number For example 1 1 beta issue 4 The major number is used to indicate significant changes in the functionality of the software Appendices Section 25 Getting Help When a beta build is initially released it will have an issue number of 1 As we fix any problems we will make subsequent releases which will have incrementing issue numbers When a build is deemed to be show safe the beta and issue number suffixes are dropped and the build is know purely by its major and minor version numbers The minor version number is incremented when new features are added to an existing build When the minor version number is incremented the issue number gets reset to 1 and the cycle of working through the beta issues begins again until the build is again considered show safe and the beta suffix dropped 25 2 4 About Beta Status Software Software builds marked as beta contain new features which are unproven in a show situation They should not be regarded as Show safe since there may be problems with the software Once the feat
158. us selection 8 1 3 Select All You can select all the fixtures in the Programmer using the All button on the Select Toolbar For example 1 Studio Colors 1 to 5 are in the Programmer 2 Main Toolbar Select open the Select Toolbar 3 AI the selection is now Studio Colours 1 to 5 8 1 4 Inverting the Selection You can invert the current selection using the Invert button on the Select Toolbar For example 1 Studio Colors 1 to 5 are in the Programmer 2 Studio Color 1 3 5 select Studio Colors 1 3 and 5 3 Main Toolbar Select open the Select Toolbar 4 Invert the selection is now Studio Colours 2 and 4 8 1 5 Sub Selections You can make sub selections from within the current selection using the Next and Back keys and the Odd Even and Random buttons on the Selection Toolbar Main Toolbar Select Next and Back The Next and Back keys select a single fixture from within the current selection Repeatedly pressing Next or Back steps forwards or backwards through the current selection with the order determined by the Selection Order Reference 8 2 Tip d When the Trackball is in position mode the bottom left Trackball key also acts as a Next key This can make it very fast to work through a selection of fixtures setfing their position Odd and Even The Odd and Even buttons select the odd and even fixtures from the current selection according to the Selection Order Reference 8 2 Random The Rand
159. ut to record copy or move a cue to an existing destination you can pre select Replace Merge or Insert from the Record Toolbar This appears after you press the Record Copy or Move keys 12 1 3 Numbering Cues If you leave out the cue number when recording cues the Wholehog III will give the cue the next whole number in the list If you specify a cue number you can use numbers with up to four decimal places in order to insert cues between previously recorded ones 12 1 4 Naming Cues You can give a cue a name that will be displayed in the Cuelist window 1 Open Choose opens the Cuelist window of the chosen Master 2 Select the cue name cell 3 Set name Enter type in the name Tip Z To name a cue immediately after recording it press the Set key This will open a Quickname window Enter the cue name and select OK 82 Reference Section 12 Working with Cues 12 2 Record Options 12 2 1 Recording Selected Fixtures Only Normally recording a cue records the total contents of the Programmer but you can choose to record only the selected fixtures For example 1 Select the fixtures that you want to record 2 Record Options the Options button is on the Record Toolbar at the bottom of the right hand screen Selected 4 Choose Enter records the selected fixtures as a new cue in the cuelist on the chosen Master 12 2 2 Removing Parameter Values You can remove the contents of the Programmer from a previously
160. utton 36 show server 41 shows multiple on the network 9 26 storing 42 Shuffle button 56 shutting down 41 simultaneous cues 5 effects 11 Skip Back key 108 Skip Forward key 108 slots 59 naming 51 Soft Keys 10 31 Source button 36 split times 89 spreadsheets 35 Start Screen the 40 starting up 40 static address 25 Status Bar 39 sub selections of fixtures 55 Suck button 77 Swap FX 110 114 swapping axes 49 switch Ethernet 24 switching off the console See shutting down symbols 1 syntax 39 template pages 119 text size See scaling factor theatre lighting consoles 3 6 tilt See position time setting the console clock 24 timing 61 87 101 fanned 63 for individual parameters 7 toolbars 31 Playback Bar 109 Record Toolbar 66 70 71 82 97 100 106 Selection Toolbar 55 56 Slots Toolbar 51 Status Bar 39 Timings Toolbar 62 62 Window Control Toolbar 34 touch screens 9 10 32 backlight off time 22 brightness 21 calibration 21 disabling 22 touching parameters 61 with Live 78 track forwards 85 track through 5 61 Track Through Loops 110 trackball 10 49 59 modes 22 using for pan and tilt 58 which is the current mode 39 tracked value 4 tracking 4 5 5 61 64 86 stopping values tracking forwards 85 through loops 93 Transpose button 56 triggers 91 turning off the console 159 See shutting down Show Manager 42 spreadsheets 35 wit
161. w will appear Follow the onscreen instructions to set up the DMX Processor When patching the Patch window will appear Use this to determine the next free DMX address and to see how full the DMX universes are Step 7 Setting Parameters Fixtures and their parameters are set in the Programmer opened by pressing Programmer in the Main Toolbar First set the intensity of your fixture For example Fixture Studio Color 1 60 Enter sets Studio Color 1 to 60 When you press the Fixture key buttons for each fixture type appear along the bottom of the right hand screen Use these to select Studio Color in this example You can also adjust the intensity with the I Wheel on the right of the console Fixture Studio Color Enter select the fixture then move the I Wheel Now set the other parameters Pan and Tilt With the fixture still selected change the Trackball to pan and tilt mode by pressing the top right trackball button The Trackball will glow blue and you can use it to set the pan and tilt of the fixture When you have finished press the top right button again to change the Trackball back to controlling the on screen pointer Colour Press the Colour key You can now mix cyan magenta and yellow from the Parameter Wheels You can also choose specific colour slots from the Slots Toolbar on the touch screen Beam Press the Beam key You can now select Beam slots such as gobos from the Slots Toolbar You can set bea
162. y l l Wheel The l Wheel on the right hand side of the console is used to control fixture intensity in time The time of the fade up of the incoming cue during a crossfade All fixtures that are increasing in intensity will come up over this time See Also split fade path fade time inhibitive master A master that sets a maximum level on a group of fixtures If the master is at 80 then the fixtures will never come above 80 in the console s output instrument See fixture intelligent light See fixture intensity Fixture brightness expressed as a percentage Also part of the HSB method of defining colour See Also hue saturation Glossary IP address On an Ethernet network each Wholehog Ill component has an address called an IP address used to identify it You can usually use the default addresses but if you are connecting to an existing network you may need to specify a different address according to how your network is configured See Also Ethernet iris Variable mask placed within the optical system of the fixture allowing the conical beam size to be manipulated Not to be confused with zoom See Also zoom K key A physical button on the console s front panel This manual reserves the word button for buttons that appear on screen knocking out See knockout knockout Knocking out is the process of removing fixtures from the programmer window so tha
163. y Wait cell and it is the default setting e Wait The cuelist waits for this length of time after starting the previous cue before starting this one See Wait Time Reference 13 2 1 Follow On The cue starts this length of time after the previous cue completes its fade See Follow On Reference 13 2 2 13 2 1 Wait Time The Wait time is the time between the triggering of the last cue either automatically or by pressing Go and the current cue being triggered It should not be confused with the Delay which is the time between the cue being triggered after a Wait if there is one and the fade starting The Wait time schedules cues within the cuelist whereas the Delay time schedules the fades of each fixture or parameter within the cue A cue can contain multiple Delay times but it can only have one Wait time 91 Section 13 Working with Cue Timing and Ordering Reference 13 2 2 Follow On A Follow On will trigger the next cue once the previous one has completed its fade Follow On can be entered with or without a time which determines the time between the previous cue completing and the follow on cue being triggered Tip Q The Follow On time should not be confused with the Wait time The Follow On time controls the time between the end of one cue and the triggering of the next while the Wait time controls the time between the triggering of one cue and the triggering of the next 13 3 Working with Loops and Links N
164. yback Reference 116 Section 19 Working with Pages This section introduces e The Page Directory e Template Pages This section shows you how to e Create a new page e Edit pages e Change pages during playback Pages allow you to predefine layouts of Cuelists Scenes and Groups so that they can be loaded quickly on to the available Playback Masters There are ten Masters on a console but this number may be expanded with the addition of Wings For example for a concert Cuelists can be organized in one Page per song so that before each performance it is possible to re arrange the pages to reflect the current running order The same cuelist can be used several times within a page or on several pages 19 1 Creating a New Page Activating or selecting a Page that currently does not exist will automatically load a blank page onto the Masters Cuelists Scenes and Group Masters then assigned to the masters will be recorded onto the newly created page To create a new Page Open Page opens the Page Directory 2 Page number Enter the cuelists currently allocated to the Masters are recorded into the selected Page 3 Set name Enter name the page 19 2 Changing Page Changing the page loads a different set of cuelists onto the Masters You can do this in several ways Press the Next Page key to go to the next page in the Page Directory To go to the previous page hold Pig and press Next Page Using the k

Wholehog III - Flying Pig Systems

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