issue 32 / sept 2010 - cast software · the official bi-monthly publication for wysiwyg members...

The official bi-monthly publication for wysiwyg MembersISSUE 32 / Sept 2010

IN THIS ISSUE: BlackBox and BlackTrax

TABLE OF CONTENTS

www.wysiwygsuite.com

BlackBox, BlackTrax The future of tracking, positioning and communicating

September Already? Letter from editor

Alexander Eifler concept club

It just keeps getting better!

AVW-TELAV steps up with Vivien

R26 Lights Available NOW for Members Only!

Zayed and the Dream

2

7

9

10

12

13

15

Tips & Tricks• TIP 1 - Using Palette Shortcuts• TIP 2 - Opening Vivien files in wysiwyg 16

18

BlackBox, BlackTrax – Making Sense of the Chaos in Production: Three Examples

6

© 2010 The official bi-monthly publication for wysiwyg Members 2

ISSUE 32 /Sept 2010

By now you may have read or even seen our groundbreaking BlackBox, but during PLASA, we will be debuting our newest tech-nology, BlackTrax. Here we explain both and how they interact.

Problem: How do you coordinate production design elements like three-dimensional audio, motion control, lighting, video, me-dia servers, remote performers, live tracking, cameras, and other elements that are being added to the production right now? Solution: BlackBox.

BlackBox is the future of production coordination and control – it’s the Plug & Play solution of the future from the CAST Black-Box Corporation (part of the CAST Group of Companies) which we will start to deliver early next year for coordinating multiple elements of a production in one system that monitors and tracks everything from 3D audio to moving scenery.

In our highly automated, hi-tech entertainment industry, BlackBox means that formerly autonomous hardware/controllers technolo-gies can interact and cue off each other, trigger pre-programmed commands (based on the dynamic positioning of moving or stationery objects), and deliver positional information for spatial audio for sound re-enforcement -- live, in realtime. To do so, these technologies must plug into BlackBox.

The fuTure of Tracking, posiTioning, communicaTing has jusT arrived – really fasT, really accuraTe – in realTime – really! By Joan Lyman, Manager, Communications & Jim Hutchison, Social Media Manager, CAST


ISSUE 32 /Sept 2010

BlackBox & BlackTrax - continuedBlackBox can also identify, predict and warn about intrusions, unexpected movements, or potential collisions inside the des-ignated area using preset anti-collision boundaries to trigger pre-programmed results or to alert all connected technologies and prevent a disaster.

BlackBox is on the cutting edge of the latest computer hardware, featuring the latest in multi-threaded processing technology with solid state memory to increase performance for realtime com-putations. BlackBox’s proprietary system is planned to optimize redundancy for backup, making it an all-in-one, Plug & Play, multi-directional high-speed communication hub. We’re also not

operating system elitists, either – BlackBox is made to function on Windows, Linux, or Mac platforms. (We are demonstrating it on the Linux platform at PLASA2010.)

BlackBox will offer a time-line driven approach to ease coordinat-ing and connecting control devices to instruct or receive instruc-tions from each other in realtime. Object and spatial information specific to a production and place is uploaded via a special wysiwyg file that works natively in BlackBox.

What does this all mean? It means that nothing changes for you, the User. You get to keep working with your wysiwyg files as you normally do and BlackBox knows what to do. We deliver BlackBox to you, we install it, and all you’ve had to do is tell us what it is you need for BlackBox to do to for your production.

BlackBox uses CAST Software’s, which is also a part of the CAST Group of Companies, wysiwyg proprietary communications protocol as it meets/exceeds speed objectives, universality, and our interference-free communication and development standards. Input data is delivered live from RFID, SONAR, RADAR, Infrared, stereoscopic cameras (with or without thermal imaging), any other 3rd party sensing devices or CAST’s BlackTrax (tracking systems) or program controllers for any electromechanical device, operated either automatically or manually, or from pre-programmed stream-ing data for positioning from any controller or server operating moving objects. We’ve solved that challenge for you.

BlackBox, BlackTrax Testing Lab


ISSUE 32 /Sept 2010

BlackBox & BlackTrax - continued

So what does this mean for creative and production profession-als? BlackBox means you can now deliver the creativity which will WOW the audience, and that translates into more revenue $$, Return on Investment, higher efficiencies and more profit. We believe that’s a big win for the Industry.

AND BlackBox also means savings. Everybody likes savings, right? We’re redefining that word with BlackBox, on many fronts:

• BlackBox saves both money and time. Rehearsal time is expensive. BlackBox shortens the time in a venue by saving programming time and solving the problems that come with cueing several technologies together. Time is money. Black-Box helps save both.

• BlackBox saves energy. When productions go on the road, they must adjust to varying sizes and heights of venues, spending lots of energy. BlackBox doesn’t care about all of that, it autocorrects and makes adjustments on the go.

• BlackBox saves lives. This is paramount, and more important to us than anything. BlackBox organizes technical elements and creates an atmosphere of detection and safety, stopping even the smallest accident.

SO, add it all up. What incremental $$ will BlackBox bring to your productions? BlackBox is the technology that is changing the future of production as we know it, giving creative and production professionals across the entertainment industry an ally to excel at the art of Entertainment.

So what exactly is BlackTrax?

Problem: You need to track the realtime motion of people and objects, currently some but eventually hundreds, moving in rela-tionship to each other around a three-dimensional space.

Solution: BlackTrax.

BlackTrax, (patent pending) from CAST BlackBox Corporation, is a revolutionary realtime motion tracking system for people and objects. BlackTrax is designed to work with the BlackBox system of multi-directional high-speed control coordination.

The BlackTrax system works using a proprietary sensor device that is placed on the moving object(s), giving tracking informa-tion in 3D for the First Phase and very soon for what we like to call 6 Degrees of Freedom – X, Y, and Z coordinates, roll, pitch, and yaw angles. BlackTrax monitors the dynamic position of the object(s) in motion as well as giving important spatial relationships between objects and people in a 3D space – and each moving ob-ject or person is an individual measurable set of data, completely distinguished and from the next. BlackTrax monitors all of these parameters at a very high speed and with stunning accuracy.

BlackTrax is a system that will use redundant monitoring (either coverage from multiple points using the same technology or eventually by integrating multiple technologies) to track the people and objects you need to monitor. When line of sight is breached in your system (which is the primary mode of tracking), all posi-tioning and X, Y, and Z parameters are still maintained until the person(s) or object(s) come back into the line of sight.


ISSUE 32 /Sept 2010

BlackBox & BlackTrax - continued

So what makes BlackTrax unique?

1. BlackTrax demonstrates a new style of thinking.

BlackTrax uniquely combines multiple existing technologies into one intelligent active tracking beacon. In other words, BlackTrax delivers at super fast speed and with pinpoint accuracy realtime, live with 6 Degrees of Freedom information using one LED source vs. what motion capture, inertia systems, and wireless communica-tions might accomplish if they could be combined and somehow coordinated. Further, BlackTrax can tag and independently track each object/person, for hundreds or more and without system deg-radation, to deliver unique and pinpoint realtime tracking data for each tag (or group). BlackTrax is designed for the entertainment industry and works under all different types of lighting conditions.

2. BlackTrax improves technical practice.

BlackTrax improves technical practice by delivering precise track-ing of one or all moving objects and people in a shared space. This technology advancement means the process of building, cueing and delivering shows will be significantly more efficient – in time, energy and money – and far more creative.

3. BlackTrax makes productions safer.

BlackTrax enhances safety by realtime precision tracking. This means it is possible to avoid collisions between multiple per-formers and moving scenery – and this outcome can be further enhanced by CAST’s BlackBox, which can send out an alarm to a stage manager or a STOP to the moving set.

Vision is not always 100% in a live entertainment environment and is prone to human error. With the speed and accuracy of BlackTrax, one can be sure that no two moving objects or people will collide.4. BlackTrax promotes Green initiatives.

BlackTrax will reduce or eliminate the need to continuously cue and build sequences for shows and movement positions, the number of required rehearsals and performance errors. These ad-vantages, in turn, means less energy (electricity, heating/cooling, etc.) will be used because less time is required for setup, precuing and rehearsals.

BlackTrax introduces new (copyright protected) predictive algo-rithms into realtime tracking which compensate for those occa-sions that occur when direct sight to or an object or person leaves the stage, for example, so that pseudo- or predictive tracking will continue in the absence of current data.

We expect BlackTrax will push sound, lighting and special ef-fects innovation because of it delivers 6D, very precise informa-tion in realtime.

In short, tracking reliably in realtime using 6D means technology (and demand on technology) will be pushed to enforce or enhance movement. As a result, essentially BlackTrax will push the in-novation / development frontier of manufacturers and technology companies. Especially the realtime element of BlackTrax will be at-tractive to creative and production professionals, and they, in turn, will put the pressure on for developing robotization/automation that is as fast and precise. BlackTrax also reinforces the importance of precuing and previsualization.

In short, when you need realtime monitoring of one, two, or hun-dreds of objects and people in 6D, you need BlackTrax.

BlackBox and BlackTrax will be demonstrated at both PLASA (Stand 1-G15) and LDI (Booth 805). Orders are being accepted NOW for deliveries commencing Q1 - 2011. Any questions and purchase / lease enquiries for BlackBox and/or BlackTrax should be emailed to Gil Densham: [email protected].

CAST Team getting ready for PLASA 2010

Screenshot of BlackTrax GUI

mailto:[email protected].


ISSUE 32 /Sept 2010

Now that you’ve read about BlackBox and BlackTrax and what they can achieve, I wanted to paint a few visual images in your head to imagine this technology in action.

Let’s set up three examples of great situations for the BlackBox system – the first dealing with safety, the second dealing with spontaneity in production, and the third being a random example of BlackBox excelling in a permanent installation situation.

Example one: A stage full of performers during a long day of technical rehearsals, a very large scenic environment with lots of moving pieces, and a lone actor who gets lost among the crowd. The actor has wandered into a moving scenery area in a blackout scene change, causing an amazingly deadly situation, both for the actor and for the production; the next moments of this scenario are crucial to the survival of both the actor and the production. Fortunately, CAST’s BlackBox system was implemented by the design team, adding infinite protections to the stage environment.

The actor is being tracked by CAST’s BlackTrax motion tracking system which monitors each performer and all scenic elements in realtime, along with several virtual proximity warning barriers in the BlackBox system that give the stage a level of protection that can only be achieved with BlackBox. Our actor wanders upstage into a potential disaster, but since BlackBox is keeping the space safe and monitoring all activity, once the actor passes the bound-ary set by the production team, emergency lighting comes on (pre-cued into BlackBox), scenic motion immediately ceases, saving the actor’s life. This is only one example of the vitality and necessity of the BlackBox system in the world production environment.

Considering this example, it’s difficult not to discuss 3-dimensional spatial audio. Spatial audio is a design element that has revolu-tionized audio production and design in our modern entertainment industry. For audience members, being able to place sounds coming from specific locations (i.e., audio on three dimensions) in a venue heightens the experience, and makes repeat business to

your outstanding production. BlackBox, using BlackTrax to track performer movement around your venue, will control and coordi-nate the 3-dimensional sound that your audiences will come back to hear again.

Example two: A musical sensation’s performance on an in-ternational broadcast television event. The singer interacts with audience members spontaneously during the production on live television, and wanders in front of a screen or scenic element that shouldn’t be lit.

BlackBox isn’t just a system that deals with safety, security, and technical coordination – it’s also a tool for giving more spontaneity and artistic license to a production. Artists, both the ones performing and the ones creating the visual environment for the audience, love to be able to have a production that is seamless and with no eye-sore moments. When the singer crosses down across the catwalk and gets involved spontaneously with an audience member, the audience’s enjoyment of the production increases dramatically.

Unfortunately for the visual environment, when the singer crossed in front of the montage screen (as an example) that had robotic cameras and automated lighting tracking her movements across the stage, she caused a large bright spot on the screen. With Black-Box, when pre-set virtual proximity boundaries were crossed by the singer, the automated lighting that was tracking her movements but also conflicting with the screen would fade out, stopping a large glare from appearing on the screen until after she passed the area.

Once she crossed and cleared the location, the fixtures in ques-tion would fade back up, and the audience is unaware that a visual failure might have happened, and the production looks flawless.Not to overlook one of the most important aspects of a production, BlackBox gives the performer the ability to be spontaneous with the audience while still keeping a fluid, congruent visual perfor-mance. BlackBox (with BlackTrax) tracks the performer in the stage environment; not only does the audience get to feel closer

BlackBox, BlackTrax – Making SenSe of The chaoS in ProducTion: Three exaMPleS


ISSUE 32 /Sept 2010

to the performer as they interact together, but the production won’t suffer visually due to blocking changing with a moment’s notice. BlackBox helps to create an experience for audience members that they won’t soon forget.

Example three: an interactive museum or public display instal-lation that hundreds of thousands of people, if not more, will walk through, interacting and having an excellent experience.

This is another great example of how BlackBox and BlackTrax are changing the way that designers and artists can think about the in-dustry. Using the collaborative organizational power of BlackBox across all of the technology in an installation, producers can truly say that their audience experience is like none other.

For the sake of the example, let’s imagine a large walking exhibit on weather. At certain points in the exhibit, a variety of interac-tions happen between audience member and technology. At many points throughout the exhibit, lighting will change, audio will follow the audience member, video will play, and automated scenery will move and interact. Using BlackTrax to track each audience member in realtime and collaborating with BlackBox, proximity detection boundaries can be set in BlackBox to trigger immediate lighting cues for the big lightning storm in the exhibit, track spatial audio for each audience member as they travel through the exhibit, make wind machines blow for the tornado section of the exhibit, and make the “shaking house” in the tor-nado section automate when audience reaches it.

This example is just a specific linear example of what BlackBox and BlackTrax can do to change the way that we think about de-sign and production. Giving designers and production personnel the ability to revolutionize their ideas across the genres of enter-

tainment production is one of a long list of accomplishments that BlackBox and BlackTrax bring to the table – and for as many ex-amples as we discover, we’re finding that the answer is BlackBox.

Be sure to visit us at the PLASA Show in London, September 12-15 in Stand 1-G15 and at the LDI Show in Las Vegas, October 22-24, Booth 805. Come experience BlackBox and BlackTrax for yourself and see why we’re so excited. For us here at the CAST Group, it’s more than just an industry – it’s our form of expression.

BlackBox – Making Sense of Chaos in Production : Three Examples - continued

Dear Readers,

Hoping you all had a good summer and are prepared for an excit-ing autumn. This issue of the Plan is a warm up for those of you planning to attend PLASA. We’re especially excited about this year at PLASA and want you to consider this a personal invitation to come visit us in Stand 1-G15. Not only will we have new dem-onstrations for wysiwyg (including a sneak peek at R26) as well as our event planning software, Vivien, and our groundbreaking BlackBox, but we will also be debuting BlackTrax, which you will read about in this issue. We promise plenty of familiar faces and loads of exciting technology.

If you can’t make it to PLASA, we’ll be doing the whole thing again at LDI in Las Vegas.

Please come and say hello, see some new things, and drop off your card. We look forward to seeing you!

So why this photo, you may ask… This is from the Ice Hotel in northern Sweden and it was -30º C. I’m writing this letter from New Delhi, India where preparations for the Commonwealth Games are underway. I’ve never been so hot in my life, so I decided to think of happier times when I was cold. And I grew up in Texas!! wysiwyg will be used for the lighting design for the Games and I will have a full report in the November Plan. Maybe I’ll have a picture of me on an elephant for that one.

Until next time, all the best,Joan

SePTeMBer already? Letter from the editor, Joan Lyman, Manager, Communications

Interactivity taken to another level!


ISSUE 32 /Sept 2010

https://www.cast-soft.com/Demo/


ISSUE 32 /Sept 2010

Here at CAST, we’re always proud to see the many ways that wysiwyg can turn designs into reality. But every once and a while, we hear stories from those of you who just wanted to see what their wildest dreams looked like in a virtual world. Here is an example of how wysiwyg kept up with a vision and delivered an astonishing virtual reality.

Alex Eifler of AEC Lighting in Cologne/Germany did this stun-ning club concept design while honing his wysiwyg skills. This virtual installation includes 239 Vari*Lite VL5, 24 VL6C, 817 PAR64 (single + bar of 6), 73 Striplights, 98 Pin spots PAR36 and mirror balls for effects. Alex did both the lighting design and wysiwyg programming.

Alex explains his concept: “I wanted to design a special il-luminated dance floor like in “Saturday Night Fever” but only with V*L 5! As the dance floor was created I went forward to the next element of a fantastic event hall. I believed I could create a fantastic area while learning more about the possibilities with wysiwyg. This is what I came up with. It was fun since there were no questions about the money, only the design! It was

alexander eifler concePT cluB

Renderings by Alex Eifler, AEC Lighting, Cologne/Germany

a great way to be creative, have fun and sharpen my skills at the same time.”

We’d love to see more of your creative visions! Maybe we’ll even start a concept showcase. Who knows, maybe the right person sees your design and decides that it’s exactly what they want for their next project!


ISSUE 32 /Sept 2010

While our last few updates have focused on visualization, we have never ignored the requests from our Members asking for enhanced spreadsheet capabilities. In fact, we’ve been working extra hard to make sure our Releases will be as functional and useful as possible to make your job (and your life) easier than ever! Remember, updates are free to all current Members. Here’s a taste of what you can expect in the near future:

Spreadsheet Update — wysiwyg’s updated spreadsheet engine will allow users to create rich, vibrant Worksheets in Presenta-tion mode. With over a hundred formulas available for your calculation needs, column sorting and updated support for Excel (97,2000,2003,2007, Access, Lotus WK4) & CSV for endless Worksheet capabilities!

Frame Motion System — Break away from the mould with

wysiwyg’s improved motion system. With 6 Degrees of Freedom

inherent though a frame object and DMX/Motion Control con-nectivity available, previsualizing your automation in wysiwyg has never been easier.

New Dimension Tools — R26 continues our CAD enhancements with the introduction of three new dimension tools. Using the new Protractor Tool, you will be able to freely define angular measurements in CAD. With the Radial and Arc Length Dimen-sion Tools, you can increase the accuracy of ellipses and arcs in their drawings.

Beyond the near future … Where are we headed? Our development cycle looks out about 24 months and will continue for some of the R26 items. Some new development ideas being considered are new functions for the Luminaire Ap, possibly lead-ing to interactive plots, PDF exportability, 3D mouse, HD & HDR video support, and innovation to wysiwyg for use with BlackBox.

iT juST keePS geTTing BeTTer!

The point is – can you afford to not own wysiwyg?


ISSUE 32 /Sept 2010


ISSUE 32 /Sept 2010

aVW-TelaV STePS uP WiTh ViVien

Last week we made a joint announcement with AVW-TELAV Audio Visual Solutions, also from Toronto, that after a very exhaustive search and evaluation, AVW-TELAV has chosen a replacement for MeetingMatrix: “Vivien” from CAST. AVW-TELAV will commence the rollout to all of its offices of the Vivien Standard effective im-mediately. CAST will also supply training and tech support.

Derek Anderson, Director of Digital Services, who spearheaded AVW-TELAV’s evaluation and pilot testing program, says “We feel that Vivien not only gives us a fantastic tool for quick and simple 2D room layouts, it also has outstanding 3D and visualization ca-pabilities. Our decision to step up to Vivien2010 was made easier because it imports AutoCAD files so we will be using our existing library of drawings to create our Vivien library.”

Michael Schilz, Senior Vice President of Operations of AVW-TELAV Audio Visual Solutions, Canada, explains “Earning our customers business often requires AVW-TELAV to design/build solutions, whether it is a permanent meeting room or large special events like the recent G8 and G20, and that means showing and working with potential customers to eliminate the guess work, so they can see we’ve got it right. From its easy-to-draw 2D, to its powerful 3D Virtual Views, to its virtually real photorealistic renderings, Vivien just beat out the competition to become our new company-wide standard. What’s more, Vivien and wysiwyg (also produced by CAST), which is the best known lighting design software in the entertainment production business, interface seamlessly to share information, data and content – an important efficiency for planning the big events.”

Schilz continues, “Our knowledge, enthusiasm, training, commu-nication, and proactive attention to detail are the cornerstones of the professionalism that distinguishes us. To achieve this objec-tive and to remain at the forefront technically, we must use the best tools best suited for the job; for planning and selling, Vivien is it. This is a major investment for the company but we believe

this software will give us the ability to increase the quality of our proposals and events.”

“We are absolutely delighted to have been selected to become the new Standard by a top-drawer company with a stellar reputation in our industry” says Bruce Freeman, Chairman of CAST Software. “AVW-TELAV is a great company with great people who consis-tently earn great respect in the US/Canada marketplace. Manage-ment understands the importance of delivering the leading-edge tool plus the training that equips their team to be more competi-tive, more successful. Vivien’s powerful visualizations will certainly put them out in front.”

CAST Software will be demonstrating Vivien during PLASA, 12-15 September 2010 at Earls Court in London, Stand 1-G15. In addition to Vivien, CAST will also be showing their groundbreak-ing industry products wysiwyg, BlackBox and the new BlackTrax. Don’t miss it! For more information about PLASA including show hours and directions, visit www.plasashow.com.

About AVW-TELAV

AVW-TELAV Audio Visual Solutions supports the power of face-to-face marketing and offers a complete range of audio visual and presentation technology services throughout North America. These services include audio visual and computer equipment rental, event staging, simultaneous interpretation, digital services including presentation management, audience response, video capture and webcasting, multi-microphone discussion systems, exhibit and tradeshow solutions, press conferences and techni-cal coordination for meetings, conventions, corporate events and trade shows. AVW-TELAV is also established as an industry leader in system design and integration of permanent audio, visual, and videoconferencing equipment.

AVW-TELAV is one of the Freeman companies. For more infor-mation, visit www.avwtelav.com.

AVW new Toronto office

http://www.avwtelav.com


ISSUE 32 /Sept 2010

Zayed and the Dream is the new extravagant theatrical creation by the Caracalla Dance Theatre of Lebanon. Founder and presi-dent of the United Arab Emirates, His Highness Sheikh Zayed bin Sultan Al Nahyan, who died in 2004, is revered by his nation and Caracalla has devised this production, part documentary, part travelogue, in his honour.

History meets art in the legendary story of seven horsemen travelers on a journey in search of the one who will forever leave his mark on the Arabian desert and carve his name as a hero of civilisation. With a cast and crew of 158 (not including the falcons and the seven horses), including guest performers from China, Spain, Ukraine and the United Arab Emirates, the sheer logistics of the production are mind-boggling.

Filmed sequences merge with live action, for which Alissar Caracalla has choreographed a multitude of rousing folk dances, the dancers wearing Abdel-Halim Caracalla’s extravagant and elaborate, brightly coloured costumes.

The production began at Abu Dhabi’s National Theatre in Decem-ber 2008. Lighting operator and wysiwyg designer Luca Baraldo explains how wysiwyg was an integral part of the pre-production of this massive show:“The lighting design came to me a week before leaving home to go to Abu Dhabi. It was a dwg 2D file. I started to draw in wysiwyg

but Lighting Designer Vinicio Cheli asked me to wait because there would be many changes.

Fifteen days before first rehearsal and show, I arrived at the theatre and saw that the work was running very late. The theatre location wasn’t even finished! Thankfully, wysiwyg helped me prepare the show beforehand. “Real” lights were obviously loaded in late so I worked in my hotel room with a Hog offline and wysiwyg on my “ex” notebook – a 13” Samsung Q45 with a secondary monitor.”

The rig was quite impressive for stage standards with 54 Vari-Lites (a combination of VL3500 Spots, plus VL3000 Spot and Wash units), 4 Barco/High End Systems Studio Color 575 units, 10 Strand 2.5kW PCs, 106 James Thomas Engineering PARs, 6 ARRI 5kW Fresnels, 38 ETC Source Four ellipsoidals (with 10°, 19°, and 15°/30° zoom lenses), 32 Spotlight Domino cycs, 18 Spotlight Combi COM, 25 PCs, 2 Studio Due City Color 2.5kW, and 4 Spotlight 2.5kW followspots. Control was via a Barco/High End Systems Wholehog 3 and 150 channels of Avolites dimmers, programmed and operated by Luca. Luca continues, “In this case using wysiwyg was significant because the stage was very deep – 40 metres!) and from the control desk, seeing the far ETC 10° units at the bottom and sides of the stage gave me some problems. With wysiwyg

Zayed and the Dream


ISSUE 32 /Sept 2010

linked to the Wholehog, I could touch on my design lights that I wanted to control and it was directly on my Hog. The crew and the LD, Vinicio, said that I was really fast to light on the fixtures to focusing. It was especially impressive that the quality of my design, the render, was extraordinarily similar to the original. What you see is what you get!”

The show is still touring, with rave reviews calling it “an utterly rav-ishing production” (Daily Telegraph) and “an unprecedented joy” (Dance Europe). This year the production has ventured outside the UAE, visiting the Le Palais des Congrès in Paris in May and the London Coliseum in August.

Zayed and the Dream - continued

Zayed and the Dream as seen in wysiwyg Zayed and the Dream as seen in wysiwyg


ISSUE 32 /Sept 2010

r26 lighTS aVailaBle noW for MeMBerS only! with Peter Debrecini, CAST Software Manager of Libraries

R26 is coming soon and the Library Department is working hard

to add new fixtures. If you are a current Member, you can have

them today.

Just contact [email protected] with your request. It may

already be available!

Here are some of the hottest new fixtures available today, both

in preliminary and fully tested versions:

High End – Intellaspot XT-1 Spot

Lamp: HID 850WPan: 540° Tilt: 270°Optics: 11°-55° ZoomColours: 5 Colour Filters + CMY Gobos: 14 Rotating, Effects: 4-Facet Rotating Prism, Iris, Frost, Animation Wheel, ZoomDimensions: 381mm x 551mm x 909mm

Robe – ColorBeam 2500E

Lamp: MSR Gold 1500 Fastfit Pan: 530° Tilt: 250° Optics: 6.5°, 8.2°, 10°Colours: 6 Colour Filters +CMY, CTOGobos: 12 Rotating Effects: Prism, Zoom, Iris, Frost, StrobeDimensions: 536mm x 678mm x 641mm

Clay Paky - Alpha Profile 1500

Lamp: Osram Lok-It 1500W Pan: 540° Tilt: 250° Optics: 6.5°-55° ZoomColours: 6 Colour Filters + CMY, CTOPower: 10W per footGobos: 6 Rotating, 8 StaticEffects: 4 Fully Adjustable Framing Shutters 5-Facet Prism, Iris, FrostDimensions: 488mm x 480mm x 835mm

Martin – MAC 401

Lamp: 36 Osram High Power LEDsPan: 630° Tilt: 300° Optics: 20°-50° DMX Zoom (16° Hypermode)Colours: 7Power: 75WGobos: 33 LEE Referenced Colors, Rotation Effect. Random ColorEffects: 8-Bit RGB Colour Mixing, Continuous Dimming, Strobe/ChaseDimensions: 221mm x505mm x 527mm

High End – Cyberlight 2.0

Lamp: GE MSR 2000 SA/SEPan: 170° Tilt: 110° Optics: 13° -22° or 16°- 26° ZoomColours: 7 + CMY, COPower: 75WGobos: 11 Rotating, 7 StaticEffects: Prism, Image Glass, Iris, Strobe Dimensions: 510mm x 443mm x 1141mm

Showtec – Indigo 4500

Lamp: LEDPan: 540° Tilt: 270° Optics: 15° Colours: 8 Color FiltersPower: 75WGobos: 7 Rotating, 9 StaticEffects: Prism, Iris, Strobe, Focus Dimensions: 295mm x 290mm x 485mm

ChromaQ – ColorForce 48/72

Lamp: 192/288 RGBA LEDsOptics: 12°, 6° x 10°, 50° Cyc and Border Lens OptionsColours: Full RGBA Mixing Gobos: 6 RotatingEffects: Strobe, Colour Macros Dimensions: 48: 1.18m x 180mm x 215mm - 72: 1.76m x 180mm x 215mm

mailto:[email protected]


ISSUE 32 /Sept 2010

wysiwyg TiPS & TrickSby Dany Tancou

Tip 1: Using Palette Shortcuts

Palette shortcuts are one of wysiwyg’s most powerful features, yet they are quite often overlooked. In this month’s first tip we’ll look at just how easy it is to use them, and how they can make your work in wysiwyg a little easier.

Much like on a lighting console, Palette shortcuts in wysiwyg record colour mix information, making it easy to apply to other fixtures that may need the exact same colour. But that’s not all: when you apply a Palette to a fixture with a non-colour-mixing scroller attached, the scroller moves to the closest possible colour in its gel string.

Similarly, you can apply a Palette to an automated fixture that doesn’t support colour mixing, but has at least one colour wheel. In this case, the colour wheel moves to the colour closest to the one defined by the Palette. And if the automated fixture doesn’t support colour mixing, but has two colour wheels, if necessary, both colour wheels will be used to “mix” to the closest possible colour defined by the Palette.

To create a Palette shortcut

1. In Design mode, select the fixture (must be a single fixture) on which you mixed the colour that you wish to record. This can be any automated fixture with colour mixing capabilities or a conventional fixture with a colour-mixing scroller attached.

2. Click the Palettes shortcut button.3. Right-click in the shortcut area and select New Palette.

Result: The New Palette window appears.4. Enter an appropriate name.5. Click OK.

Result: The new Palette shortcut appears

To apply the colour from a Palette

1. Select the fixture or fixtures to which you wish to apply a colour saved in a Palette. Remember that the fixture(s) must support colour mixing, or have at least one colour wheel; conventional fixtures must have a regular or colour-mixing scroller attached.

2. If necessary, turn the fixture(s) on using the Intensity Designer Tool. 3. In the Palettes shortcut area, click on the Palette that you wish to apply.

Result: The fixture’s beam turns to the colour stored in the Palette.

Further uses for Palette Shortcuts

• With wysiwyg’s Colour Designer Tool in Design Mode, you can easily create a colour mix that matches any gel in the wysiwyg Library by simply clicking the Library button. This colour mix into a Palette shortcut to reuse it at any time, rather than clicking the Library button again and searching for the colour in the Library.

• Palettes can also be extremely useful when an AutoFocus-capable console is connected to wysi-

wyg. Just as colour mix information can be sent to the console by clicking and dragging in the Color Designer Tool in Live mode, so too can the colour information stored in a Palette shortcut. With one or more fixtures selected, simply click on it in Live mode to send the information to the console.


ISSUE 32 /Sept 2010

TIP 2 - Opening Vivien files in wysiwyg

In this month’s second tip, we’ll show you how to set up wysiwyg to open files that were created using CAST Software’s event design product, Vivien 2010. We’ll also provide several tips on manipulating such files, and show you how to correctly transfer them back to Vivien.

First and foremost, in order for Vivien (.vvn) files to open in wysiwyg correctly, the Vivien Compatibility Pack must be installed. This Pack is available free of charge from the Members’ Only Area of the CAST Software website.

To download the Vivien Compatibility Pack

1. Navigate to https://www.cast-soft.com/cast/member/index.php. 2. Log in using your Dongle Serial Code and password.3. After you’ve confirmed your contact information, click the Download R25 link.

4. Scroll to the bottom of the page that opens and click the last Download button, in the Vivien 2010 Compatibility Pack for wysiwyg Release 25 section.

https://www.cast-soft.com/cast/member/index.php


ISSUE 32 /Sept 2010

TIP 2 - Opening Vivien files in wysiwyg - continued

5. When prompted, click to Save the file. Result: The Save dialog appears.

6. Navigate to the location where you wish to save the file (for example, your Desktop).7. Click Save.

Result: The file begins to download.

To install the Vivien Compatibility Pack

1. Once the download completes, exit wysiwyg.2. Double-click the file that you downloaded.

Result: The installer launches.3. Proceed through the installation Wizard.

Result: The installation continues.4. Wait for the installation to complete; no restart is required at the end of the installation.

Note: The first time you launch wysiwyg after the installation has completed, the Library will be re-indexed to account for the new files added by the installer.

To open a Vivien file (with a .vvn extension) in wysiwyg

1. Run wysiwyg.2. From the File menu, select Open.

Result: The File Open dialog appears.3. Click the drop-down at the bottom of this dialog and select Vivien Files.

Result: The file browser changes to only show files with the .vvn extension


ISSUE 32 /Sept 2010


Result: The file browser changes to only show files with the .vvn extension.4. Navigate to the location where the .vvn file that you wish to open is saved.5. Click on the file to select it.6. Click Open.

Result: The file opens

Information and Tips for Manipulating the File You Opened

Nothing is lost when you open a .vvn file in wysiwyg. As such, any Scenes, Looks Layouts, etc. that are created in Vivien will be avail-able in wysiwyg as well.

A. Fixture Replacement

Once you open the .vvn file in wysiwyg, one of the first things to do is replace the generic fixtures that were inserted from Vivien with actual fixtures from the wysiwyg Library. Doing so will enable the file to correctly portray the actual fixtures that will be used during the show.

A few things to note regarding fixture replacement:

• Important: When a fixture is replaced with another, it will no longer be included in any of the Looks that it was part of. (This happens in all cases, and is not limited to .vvn files.) As such, if any Looks were saved in the .vvn file, it is recommended that you Export those looks to image files before you start replacing fixtures, so that you may recreate them later, if necessary.

• Fixtures from the .vvn file do not need to be replaced with the same type of fixture from wysiwyg’s Library. For example, if the event designer used the Theatre fixture in a position where a Par or a Fresnel is more appropriate, you, as the lighting designer, are free to make such (necessary) changes.

• Vivien’s library does not contain any ‘moving mirror’-style automated fixtures. If you feel that such a fixture is more appropriate, then you can insert it in wysiwyg.


ISSUE 32 /Sept 2010

The easiest way to replace fixtures is by using wysiwyg’s Replace Fixtures command:

1. Select the fixture(s) that you wish to replace.2. Right-click and, from the menu that appears, select Replace Fixtures.

Result: The Fixture Selection window appears.3. Navigate to the fixture that you want to use, or search for it.4. Click the fixture to select it.5. Click Insert.

Result: The fixture(s) selected in step 1 is replaced with the fixture selected in step 4.

B. External Textures

In wysiwyg, we have the option to not save external textures within the file, but rather to keep them separately on the hard drive. Doing so results in smaller files, faster file loading times, etc. Since this option doesn’t exist in Vivien, all external textures used in a .vvn file are always saved with the file, which means that any .vvn file opened in wysiwyg will contain all the external textures that the event designer used.

C. Library Textures

As of Release 25, the wysiwyg Texture Pack is included in the downloaded Web installer and is installed by default along with the ap-plication (prior to Release 25 it had to be installed separately). The same feature applies to Vivien 2010: the standard Web installer includes the Texture Pack and is installed by default. Since these two Texture Packs are identical, unless you chose not to install the Texture Pack when you installed wysiwyg, any Library Textures that were used in the .vvn file will appear correctly once you open the file in wysiwyg. Saving Your Changes in the .vvn File

In most cases, once you (as the lighting designer) have modified a .vvn file by adding the correct lighting fixtures etc., you may need to send it back to the event designer. In order for them to be able to open the file correctly, you must ensure that you save the file in .vvn format as follows:

1. From the File menu, select Save As. Result: The Save As dialog appears.

2. At the bottom of the dialog, click the Save as type drop-down.3. From the menu that appears, select Vivien Files (Vivien 2010) (*.vvn).4. Name the file.5. Click Save.

This ensures that the file is saved in the correct format and can be opened in Vivien 2010 on the event designer’s computer.

There are a few other things worth mentioning here…

A. Replaced Fixtures

If fixtures from the original .vvn file were replaced with fixtures from the wysiwyg Library, the event designer opening the new .vvn file must ensure that the wysiwyg Release 25 Compatibility Pack for Vivien 2010 is installed on his or her computer. For the event design-er’s reference, details about this installation were discussed in the June 2010 issue of the Vivien News, accessible from https://www.cast-soft.com/cast/newsroom/viviennews/issue25/index.html.


https://www.cast-soft.com/cast/newsroom/viviennews/issue25/index.html


ISSUE 32 /Sept 2010

Notes:

• Vivien does not support cross-fading between Looks, so any cross-fades that you set up in Design mode will not be visible to the event designer using Vivien.

• Just as you were able to modify Looks saved by the event designer in the .vvn file that you opened, so too will the event designer will be able to modify Looks saved by you in the new .vvn file.

B. External Textures

As mentioned above, Vivien does not have the option to leave external textures out of the .vvn file. Therefore, the program will not be able to correctly open files saved in wysiwyg if you did not save within the file any external textures that you added.

To prevent any potential problems, ensure that the Save external textures within the document option is enabled in wysiwyg’s Applica-tion Options:

1. From the Options menu, select Application Options.2. Switch to the File Options tab.3. Ensure that a checkmark is present next to Save external textures within the document.4. Click OK.

C. Library Textures

The event designer using Vivien must ensure that the Vivien Texture Pack is installed before opening the updated .vvn file that you send to them. This will be true for most installations.


issue 32 / sept 2010 - cast software · the official bi-monthly publication for wysiwyg members...

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