So for "basic" cue-lists, I'll do Intro Verse Pre Chorus Chorus Verse 2 (copied from verse but tweak the colors, and sometimes positions, also turn a couple more fixtures on) Chorus 2 (copied from the chorus 1 but with additions and modifications...sometimes) Solo/Instrumental Bridge Chorus 3 Outro
Have you ever been actually on stage entreating an audience? Moving heads, with 10 colors? Give me a break. It's tough enough just turning on sound active DMX cans at the start of a song and hitting the black-out pedal at the end of the tune and then getting the ALL ON to work for the in between shtick and patter. - How 'bout giving the common 4 or 5 piece band that plays 6 or more different places every month some MEANINGFUL advice on lighting. I have NEVER seen anything even close to useful for the local working band on nay of theses UA-cam vids. ,,,,,,and for every one of these once a month, or less, big time outfits with 35 grand in lighting fixtures and a crew of 10 to set up and tun them there are 100 bands like us that play out all the time that really could use MEANINGFUL advice,,,,and the skinny on PRACTICAL lighting equipment. - The stuff you advocate might be just great for the Rolling Stones, but it has absolutely no reliance for 98% of entertainers that work once of twice every week end. We know the only reason we get hired to perform is people come to SEE live music and not just to hear it. Like the song says....How 'bout a little hand,,,,for the boys in the band. - A little hand with lighting, that is.
This video is not so much showing you what fixtures to use, but showing how a basic programming session should look like. Where should the lights be placed? What effects could I use. And myself being apart of a school with only LED cans, profiles, fresnels etc, I know that it can be hard, but I manage to often get close to the same effects. So when you watch these videos, don't so much look at the equipment that is used, but take a look at the placement, effect types and then you can try to replicate those with your tree lights in different places, and use some static lights like profiles for your front light and even GOBO effects.
This is just the info we need, so thank you. So, when I’m doing step one and programming the movers, on an Obey40 controller, you do that by creating a scene for each position? And then for the colors, you create a scene for each color, and so on? And then when you say “cue”, that means you simply hit the scene buttons?
With an obey 40 I would recommend setting a series of "looks". Color positions and gobos where you like them and save as scenes. Then you have chases of those looks. From there you have fade and speed controls to change pacing. Sadly the stand alone controllers like the obey series pretty much require all parts to be programmed at the same time without being able to break them apart.
This video is the most authentic teaching video.
So for "basic" cue-lists, I'll do
Intro
Verse
Pre Chorus
Chorus
Verse 2 (copied from verse but tweak the colors, and sometimes positions, also turn a couple more fixtures on)
Chorus 2 (copied from the chorus 1 but with additions and modifications...sometimes)
Solo/Instrumental
Bridge
Chorus 3
Outro
what is the software you use to visualize your fixtures on the screen ?
This looks like the software “capture”.
Have you ever been actually on stage entreating an audience? Moving heads, with 10 colors? Give me a break. It's tough enough just turning on sound active DMX cans at the start of a song and hitting the black-out pedal at the end of the tune and then getting the ALL ON to work for the in between shtick and patter. - How 'bout giving the common 4 or 5 piece band that plays 6 or more different places every month some MEANINGFUL advice on lighting. I have NEVER seen anything even close to useful for the local working band on nay of theses UA-cam vids. ,,,,,,and for every one of these once a month, or less, big time outfits with 35 grand in lighting fixtures and a crew of 10 to set up and tun them there are 100 bands like us that play out all the time that really could use MEANINGFUL advice,,,,and the skinny on PRACTICAL lighting equipment. -
The stuff you advocate might be just great for the Rolling Stones, but it has absolutely no reliance for 98% of entertainers that work once of twice every week end.
We know the only reason we get hired to perform is people come to SEE live music and not just to hear it. Like the song says....How 'bout a little hand,,,,for the boys in the band. - A little hand with lighting, that is.
This video is not so much showing you what fixtures to use, but showing how a basic programming session should look like. Where should the lights be placed? What effects could I use.
And myself being apart of a school with only LED cans, profiles, fresnels etc, I know that it can be hard, but I manage to often get close to the same effects.
So when you watch these videos, don't so much look at the equipment that is used, but take a look at the placement, effect types and then you can try to replicate those with your tree lights in different places, and use some static lights like profiles for your front light and even GOBO effects.
This is all very basic stuff and most of fit works with par cans
Hi.
This is just the info we need, so thank you. So, when I’m doing step one and programming the movers, on an Obey40 controller, you do that by creating a scene for each position? And then for the colors, you create a scene for each color, and so on? And then when you say “cue”, that means you simply hit the scene buttons?
With an obey 40 I would recommend setting a series of "looks". Color positions and gobos where you like them and save as scenes. Then you have chases of those looks. From there you have fade and speed controls to change pacing. Sadly the stand alone controllers like the obey series pretty much require all parts to be programmed at the same time without being able to break them apart.