STRAND News - Grand Stage Company

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STRAND News - Grand Stage Company

Collection d’hiver mise en lumière par le OneLight PAR 575WEcole des beaux Arts, Paris. 25 Juillet 2005Lumière et Son Paris a inauguré l’utilisation duOneLight PAR 575W à l’occasion d’un defilé demoded’une marque de haute couture. “C’étaiten fait l’un des derniers défilés de la saison,nousvenions tout juste de recevoir les OneLight et nousavons tenu à les utiliser avant la prochaine saisonqui débutera en Octobre”, indique Monsieur PierreHeyligen, Directeur général de Lumière et SonParis. L’utilisation de projecteurs en lumière du jourest unetendance actuelle des défilés, elle permetde recréer les conditions photographiques d’unstudio photo. Les OneLight PAR ou Fresnel 575Wsont tout particulièment adaptés à cette utilisation,en effet leurmise en place est aussi simple quepour des projecteurs tungstènes: plus de montéede lampe, plus de ballast à cacher !De plus, le pilotage par DMX rend l’ensembledusystème très facile à gérer depuis le pupitre.20 x OneLight PAR 575W on the setWinter Fashion show put in lightwith OneLight PAR 575WEcole des beaux Arts, Paris. 25 July 2005Rigging the OneLight: a piece of cakeLumière et Son Paris has pioneered the use of theOneLight PAR 575W during a Paris Fashion show heldat the Ecole des beaux Arts in Paris.“It was one of the last fashion shows of the season,and we’d just received the OneLights. We wantedto test them live before the next season started inOctober”, indicates Mr Pierre Heyligen, ManagingDirector of Lumière et Son Paris.The use of daylight luminaires is a new trend in fashionshows, recreating the conditions of a photographicstudio. The OneLight PAR and Fresnel are particularlysuitable in this application. Installation is as simpleas tungsten luminaires: No head to ballast cable, norballast to hide!In addition, the DMX function allows easy control ofthe whole system by the control desk.


Furthermore, from my point of view,the presence of preset focus groupsmade transferring the show mucheasier than I expected - coupled ofcourse with FocusTrack it becamea very straightforward processfor focusing all the moving lights -even without focus notes we wouldhave been able to figure out howit should have looked with presetfocus groups for positions, zoom,gobos etc.From a programming point of view,the Strand is one of the mostversatile systems I have ever comeacross. Things like the user-editedATC pages mean that you can set upthe console exactly how you mightlike, and with the ability to doubleor even triple macro buttons byusing the submaster bump buttons,almost everything is accessible atthe touch of a button. Hence we’reable to keep up with changes fromautomation and video very easily,and so we all look good!”Vic mentions FocusTrack.Go to http://focustrack.co.uk/ fordetails.One of the things that Davidmentions is the xConnectsoftware that Strand hasdeveloped to expand the waythat designers think about videofor the tech table. With xConnect,the design staff can choose theirown screens in their own formatindependent of the programmer’schoices on the console itself.Here is what Jared Sayeg, the USAssistant Lighting Designer, hadto say about xConnect:“X-Connect became an invaluableaid during production by providing aunique way of viewing informationthrough customizing screen displaysand user settings. This gave me theinformation I needed to be viewingwithout interrupting the commandline of the programmer or interferingnode display’s on the network.For year’s designers, assistants,and technicians have become usedto viewing the typical 2-screennode display, only changing at thekeystroke of who is operating theconsole. Now with xConnect, notonly have you gained flexibility inviewing the console’s information,you have completely bypassedtaking the programmer away fromtheir work by asking to ‘PAGE’...adream finally realized!”Jared has setup hislaptop with a fourscreen view usingmultiple logins. Thetop two screens arein Monitor mode.This means thatxConnect is simplymonitoring theconsole screens.(This is what weare all familiar withusing an SN100video node.)The unique thingis the bottom twoscreens that are in Login mode.In Login mode, Jared is loggedin as a console! If this were anon-union situation, Jared couldactually have control of the lights.He could bring up channels,dimmers, run cues…anythinga console can do. But sincethis is a Broadway show, I haverestricted the functionality toconform to Local 1 limits. That’sto say, he can’t actually controlany lights, but he can controlhow his screens are configured.With Vic programming the showin Genius mode, shelikes to use the Galaxyscreens which layoutthe channels in a verticalformat.Since this is a screenformat that mostAmerican designers arenot used to, Jared hasconfigured his screensfor LightPalette mode.These limits are actuallya good thing. This way, Jaredcan’t accidentally press the wrongkey and affect the programmingof the show. He can look at anyscreen he wants, (live, preview,groups, subs, fx, or macros) orpage to a different channel screenwhenever he wants and not affectthe programming…ever!xConnect can be utilized with anycurrent 500 series installation andany 300 series console that has anetwork card.Intelligent programming…that’swhat it’s all about!Assistant Lighting Designer Jared Sayeg’sxConnect screens at the production table forWoman in WhiteAdditional production staff includes:Vivien Leone - US Associate LightingDesigner John Lawson - ProductionElectrician


Trey McIntyre Project 2005 Inaugural Seasonby Nic PhillipsWhen planning TMP’s first tour Idecided it was necessary to havethe company tour with a lightingconsole. The company was touring,for the most part, to festival venueswhere there would be significantrecreation work to be done as notwo plots were the same.Without question the Strand 500series was the only choice for mewith its unique features to translateshows within the console. The repconsisted of three ballets, onea premiere, and the other twofrom two existing with cues fromdifferent sources. One of whichwas a Trackmaster 2 (by StatusSoftware) file, and the other anETC Expression file. Using Strand’sShowport program, I was able toconvert both to a Strand Show File,and then use the console to translatethe old channels to the new.This saved an immense amountof time since the console alreadyhad cues in the console ready togo for the first tech. I could thenquickly track changes needed tomake the pieces look as they didwhen originally set. Features liketrackback, spreadsheet style editingin the live command line, the abilityto renumber channels globally,selective loading of show data, andall the features of the Tracker Presetapplication are what make theStrand system stand out. To me itequates confidence in not having tobe concerned with how the consoleis going to get done what I needdone. Strand’s software actuallyhelps the designer!This would have all been so easyif I could have actually sent a 500Series desk with the company. Onthe other hand, this would not beso interesting if there was not somesort of limitation, and in this case theconsole needed to travel as checkedluggage on a commercial flight. Thisrequirement put the 500 Series formfactor out of the question, so thecompact and arrange-able panelsof the 300 Series fit the bill exactly.To make the 300 Series tour ablethis way I turned to Strand dealerParlites. Cary Levitt, Walt Dowling,and their staff worked with Strandto devise a system that fit the traveland design requirements.Our “custom” solution consisted ofa 300 Series programming panel, afader panel, a 300 Series processor,two 15” LCD displays, a Linksys WiFirouter, a UPS, and a SN110 node. Allof this was packaged into two hardcases that fit airline checked luggageregulations, so it worked quite well.The console was packaged with400 intensity channels and 200attribute channels, WiFi, and all ofthe applications commensuratewith a 500 Series package.Networking and the SN110 nodeproved to be invaluable.Being able to put twouniverses of DMX awayfrom the console letme quickly place thefaceplate in the housefor tech, and then tothe booth or backstagefor the performances.XConnect running on myPowerbook then allowedme a remote console andmonitors anywhere in thetheater, and of course,wireless remote via the iPaq, needI say more?Thank you greatly to Parlites andStrand Lighting for their assistancein making Trey McIntyre Project’sinaugural such a success!“Without question theStrand was the onlychoice for me ”


Strand 500 Series Master Classby Bobby HarrellMany new features have been added to the Strand 500 series consoles over the course of its 10 yeardevelopment. So much so, in fact, that official training has been requested by operators that have beenusing the desks for years!Compared to the functionality of theconsoles from the late 1990s, it’s likehaving a brand new desk for someusers. Many of the features that havebeen recently enabled allow for muchsmarter use of conventional fixtures andso many more of the features increasefunctionality of automated luminaireprogramming.Philadelphia Local 8 TrainingI have developed a trainingcourse that I teach for usergroups all over North America.This summer, I was brought inby IATSE’s Local 8 in Philadelphiafor a 3 day masterclass at theKimmel Center. This was taughtto users of all levels that workwith the 500 series consoles allover the city.Each class starts withconventionallightingprogramming and thenmoves into automated fixtureprogramming. We had full useof the Kimmel Center lightingrig with 5 Strand 500 seriesconsoles all linked togetheron the same network runningconventional lights, scrollers andmovers.Here is what David W. Cecil,a participant, had to say aboutthe class…“Although I had been operatingStrand Lighting Consoles forseveral years I found BobbyHarrell’s instruction for the Strand520i and 550i to be invaluable. Inhis course, Mr. Harrell outlinesan efficient approach for theoperation of intelligent lightingfixtures. His demonstrates howto edit fixture libraries, attributefilters and profiles. His methodsfor organizing groups and macrosproved to be most illuminating.His comprehensive methodologyenables you to successfullyIATSE Local 8 members discussingmoving light programming.integrate moving and conventionalfixtures on a single console andstill program complex lightingpresentations. It is, without adoubt, one of the best professionalcourses I have ever attended.”Many thanks to Michael Sweeney,Master Electrician of the KimmelCenter and Jim Utterback fromLocal 22 for their help.Canada Training in Edmonton &CalgaryIn September, I traveled to Edmontonand Calgary to teach master classesfor Canadian users.Always starting with conventionalprogramming then moving intoautomated fixtures, each class iscustomized to the students’ level ofexperience.Each Canadian class lasted one daybut I have taught extensive 5 dayclasses. That gets very hands on andfinishes with a single day design andcueing project for the students.Thanks to Richard Goode of StrandCanada for all his help.The Masterclass in Edmonton.5 – 520i consoles, 4 - Technobeamswith xConnect and WYSIWYG.If you have a need for training in yourarea, don’t hesitate to contact yourlocal union. Many have educationprograms for funding of training.For non-union training of designers,programmers, electricians andstudents…contact me directlyor sign up for my classes at LDIOrlando!


NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTSNEW OneLight PAR 1200Wby Alain Wisniewski, Quartzcolor Product & Sales DirectorThe OneLight family welcomes the 1200W Fresnel and PAR.The OneLight concept of integrated ballast technology makesthe use of daylight luminaires very easy - no more hassle withballast to head cables, and no separate ballast.This technological breakthrough uses a sinewave ballastdesigned by our partner Power Gems Ltd. This ballast is flickerfree, through the innovative use of a high frequency sinewave(300 kHz ) to operate the lamp from the integrated ballast.OneLight units provide totally silent operation; crucial insensitive applications like movies, interviews, studio work.OneLight 1200W also has a weight advantage. At 16kg, it isonly slightly heavier than many of the “head only” alternativesavailable on the market!One Philips MSR 1200W HR lamp is provided with the unit.As with others models in the OneLight family, the 1200W verycost effective with savings of up to 25% for similar separatehead, ballast, and lamps systems.Successfully introduced at both PLASA, London and IBC,Amsterdam, the first units will be available early next year.NEW Philips Lamp: MSR 250W HRby Alain Wisniewski, Quartzcolor Product & Sales DirectorPhilips has announced the launch of a new daylight lamp MSR 250 HR. This development enables the immediateextension of our OneLight family with the 250W Fresnel OneLight. This product is already listed in the StrandProduct Guide (originally developed with the CST lamp)abFigure a : existing 250W CST (3200 ºK)Figure b: NEW 250 MSR HR (6000 ºK)OneLight Fresnel 250W CSTand now also MSR 250W HR


NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS6pack 6 x 10A Digital Dimmer3pack 3 x 25A Digital DimmerIdeal for use in small to medium sizeinstallations, rental applications and forportable use.The 6pack and 3pack are a family ofcost effective, fl exible digital dimmerpacks with a wide range of featuresand socket options.The 6pack features 110µs chokes(3pack 140µs).The simple control interface enablesusers to set DMX address, minimum/maximum levels and dimmer curveschannel by channel.Three dimmer curves including linear,non-dim and square may be assignedto each dimmerEach channel is protected by amagnetic circuit breaker and rated at 10Amps (2.3kW) for 6pack; 25A (5kW) for3pack. All racks are convection cooledfor quiet operation.The sliding electronics tray gives easyservice access even after installation.Ordering InformationCat No Description75301 6pack 6x10A Hardwired75302 6pack 6x10A Dual 15A75303 6pack 6x10A Dual Schuko75304 6pack 6x10A Dual CEE1775305 6pack 6x10A Dual FrenchSpecial Order 6pack 6x10A Dual Swiss75300 3pack 3x25A CEE17Features• MCB (SPN) protection for each channel• Wide range of socket options includingDual UK 15A, Schuko, French, CEE17,CEE17 (32A connector, 5kW load) andhardwired• Suitable for portable, rack-mount andwall-mount operation(wall brackets included)• Single or three phase operation• Fully digital control electronics• DMX In/Out• Simple Set up using front panel keypadand LED display• DMX fail hold function• DMX termination switch• Selectable Minimum Level for eachdimmer• Local on/off test buttons• DMX addressing with individualpatching for all dimmers• Simple slide-out service access• Fan free convection cooling for quietoperation6pack Dual Schuko6pack Dual 15A6pack Dual 16A3pack 3 x CEE17


Console Programming Tips, Autumn 2005by Rob HallidayMoving Information Around TheConsoleIn the old days, it seemed so mucheasier to use lighting consoles. Youbrought up a bunch of channels tomake a pretty look on stage, thenyou pressed the ‘Record’ key tocommit that look to memory. Later,to get that look back you played thecue; sometimes you made someadjustments then recorded again.The arrival of moving lights,scrollers and all of the other currentGetting Lights To Look As They Do InOther CuesIf you want the look of cue 1 backon stage, that’s easy: run cue1 either using [CUE][1][GOx1]or [CUE][1][CUTx1] or[GOTO][CUE][1][*] according totaste (though note that there is asubtle difference between the useof GO/CUT and GOTO: when thecue ends up on stage using the firsttwo the channel colours on the livescreen - green for channels goingdown, purple for channels goingup - will be relative to whateverwas last live; when using GOTOthey will be relative to the previouscue in the cue list regardless ofwhat was on stage beforehand; asubtle difference but sometimesan important one, particularly whenjumping around a show out oforder).But what if you only want to pullback part of the look - perhaps onlywhat channel 1, a moving light, wasdoing in cue 50? Easy:[1] [@] [CUE] [50] [*]Channel 1 will now be doing ‘live’exactly what it was doing in cue50. But perhaps we only wanted toget channel 1 pointing to the rightdirection in the right colour ratherthan have it come on:[1] [@] [CUE] [50] {ATTS ONLY} [*]ATTS ONLY means ‘pull back theattributes only, ignore the recorded‘must haves’ of lighting seem tohave made things harder - but onlybecause with them, you want to domore complex things! If you wantedto put channel 1 to the level it wasat in cue 1, you used to just look upthat level then type ‘1@5’, perhapsfollowed by a press of the [*] key ifworking in command line mode. Butif 1 is a moving light and you want toput it back to looking as it did in cue1, that’s harder.Fortunately Strand 300- and 500-series consoles offer lots of ways tointensity’. Equally, we could havewanted just to the set the light tothe level it had in cue 50 but leavingit pointing where it was currentlypointing - intensity only rather thanattributes only:[1] [@] [CUE] [50] {INTS ONLY} [*]INTS ONLY and ATTS ONLY appearas softkeys on the left-hand set ofsoftkeys on 530i and 550i consoles;on 520i and 300 consoles you mayhave to press the [REC MODE]key to get them to appear on yoursoftkey LCD display; on an off-lineeditor or xConnect, the ‘J’ keycorresponds to REC MODE.It’s possible that we might want torefine things further - to leave thelight pointing to where it’s pointingnow, but to set it to the colour itwas in in cue 50:[1] [@] [CUE] [50] [@ATT] {colour}[*](where @ATT is called ATTRIB on300-series consoles)This uses the consoles ‘functionfilters’ to just pull back the attributesdefined as colour attributes . You cancombine multiple function filters, soif you wanted to pull back positionand colour you could have said [@ATT]{position}{colour}. You can definewhich attributes are controlled bywhich function filter (and createyour own, if you like) by editing theconsole’s ATCPAGE screen - seethe December 2003 newsletterfor more details of doing this, buthelp - and,surprisingly,some of thef u n c t i o n sthat at firstseem to beuseful onlyfor movinglights turnout to besurprisingly useful additions whendealing with conventional lights,too.note that in current software youcan define twelve function filtercombinations instead of the sixdescribed in that newsletter).You can also pull back particularattributes using the console’sattribute numbers if you need to -so set just the pan of channel 1 toits value from cue 50:[1.3] [@] [CUE] [50] [*].Note that the console will fill inchannel numbers for you, so if youdid want to specify pan and tilt inthis way rather than using {@ATT}{position} you’d only need to type:[1.3] [+] [.4] [@] [CUE] [50] [*] - theconsole would fill in the extra ‘1’ foryou. Or if you just wanted to pullback the pans for channels 101 and102 you’d just need to type:[101.3] [+] [NEXT] [@] [CUE] [50] [*]And, of course, you’re not limitedto doing this just one light at a timeas all of the normal commands youcan use for selecting ranges oflights can be used here:[1] [+] [2] [@] [CUE] [50] [*][1] {THRUON} [100] [@] [CUE] [50]{ATTS ONLY} [*][GROUP] [800] [@] [CUE] [50] [*]This means that, though useful formoving lights, this is also useful forother blocks of lights - perhaps theLD says ‘make the cyclorama looklike it did in cue 50’. If the cycloramachannels are 101-120:


Console Programming Tips, Autumn 2005 (continued)[101] [THRU] [120] [@] [CUE] [50][*].or - and this is a handy way to‘preheat’ lights from one cue in aprevious cue without disturbing theattributes in either cue, how about,while in cue 2:[CUE] [2] [-] [CUE] [1] [@] {INTSONLY} [0.5]which could become a usefulmacro:[CUE] [NEXT] [-] [CUE] [LAST] [LAST][@] (INTS ONLY} [0.5]All of these commands also workin PREVIEW, so as well as settinga light to its look from cue 1 live onstage, you could also go to cue 100(or sub 1, or an effect) in previewand set the light to its value fromcue 1 there. When working intracking mode then, as with anychannel commands, you can addQONLY/TRACK and/or TRACKBACKto specify whether the change justaffects one cue or tracks forwardsor backwards through the show(TRACKBACK is shift-QONLY/TRACK; see the Summer 2004Newsletter).Setting Lights To Values Stored InGroupsYou can set a light to a ‘referencegroup’ using similar commands tothose above:[1] [@] [GROUP] [50] [*]will set light 1 to ‘reference group50’ - so, if group 50 contained thevalues pan 30/tilt 40 light 1 wouldnow be pointing in the direction pan30/tilt 40 but it would actually say‘pan: group 50, tilt: group 50’ or, ifgroup 50 was called ‘Down Centre’,it would say ‘pan: Down Centre,tilt: Down Centre’. If you had tofix the position ‘Down Centre’,perhaps because the height ofthe light changed, you’d merelymove the light then update group50 - all of the cues that had thelight set to ‘Down Centre’ wouldautomatically update. There’s moreabout reference groups, which areinvaluable programming tools, inthe June 2003 Newsletter. A varianton this command is:[1] [@ATT] {position} [50] [*]which will set light 1’s positionto group 50, ignoring any otherattributes stored in group 50 - sothe same as typing [1] [@] [GROUP][50] {@ATT} {position}.All of the rules about using functionfilters, multiple channels or anycombination of these things applywhen using @GROUP.More importantly, you don’t haveto remember a group’s number. Toset the light to ‘Down Centre’ youcould have typed:[1] [@] [GROUP] [TEXT] [DownCentre] [*]or even just[1] [@] [TEXT] [Down Centre] [*]and, in practice you probablywouldn’t have needed to type allof ‘Down Centre’ since as soon asyou’d typed enough to make thegroup name uniquely recognisableto the console it would show the fullname at the bottom of the screenand you could then just press the[*] key.Getting Lights To Look Like OtherLightsYou’ve set up a great look on onemoving light - channel 1. You wantchannel 2 to look the same. So:[2] [@] {COPYFROM} [1] [*](copyfrom will appear as a softkeyafter you press the [@] key)Note that this won’t necessarilymake light 2 point to the sameplace on stage as light 1 - if 1 wasjust sitting in a position such as pan40/tilt 40, light 2 would just copythese values and so would now bepointing in the same direction aslight 1. However, if you’d had light1 set to a reference group positionsuch as ‘down centre’, light 2 wouldbe pointing in the direction storedfor it in the ‘down centre’ group- another reason why referencegroups are useful.The same ‘modifiers’ can be usedwith COPYFROM as above, so tocopy just the colour:[2] [@] (COPYFROM) [1] {@ATT}{colour} [*]or to make lots of lights look thesame:[2] [THRU] [20] [@] {COPYFROM}[1] [*]or any combination of these.A quirky, little known, little used,but occasionally invaluable varianton COPYFROM is this:[1] [@] {COPYFROM} [1] [@]{FULL}.It’s a strange syntax, but if light 1had been set to some referencegroups (perhaps ‘down centre’ in‘red’ and the gobo ‘stars’) it wouldnow look exactly the same on stagebut on the consoles would be set tothe actual values which were storedin those groups rather than thereference groups themselves (ie. itwould say pan 40 tilt 40, colour 1,gobo 1 rather than ‘down centre’,‘red’, ‘stars’). This might be usefulif you’d accidentally stored everyattribute for the light into the group‘down centre’ instead of just thelight’s pan and tilt.Copyfrom also works in previewwhere it has one further use:[CUE] [901] [@] (COPYFROM} [CUE][1]will make a cue 901 which is a copyof cue 1 including the look of cue1 but also its structure - the cuetiming, cue text and cue parts, ifany.


Console Programming Tips, Autumn 2005 (continued)Storing Information From LiveThe traditional way of storing cues- RECORD - still works as you’dexpect: set up a look on stage,then either press the RECORD keyor type [RECORD] {CUE] [1] [*] ifworking in command line mode.The complete state on stage will bestored as the specified cue number.A variant on this is to use the [REC-SUB] key instead of the [RECORD]key - this will store the look onstage excluding any channels thatare up on submasters (so avoidingrecording the houselights intocues!), or any channels that arerunning in effects.More useful in many cases is themulti-faceted UPDATE command.This works like a ‘selective store’command, taking either anychannels that you have changed(shown in red on the channeldisplay on a main console, or greenon the channel display on a remoteconsole in a multi-console system)or any channels that you specify andstoring them into any location - cue,group, sub or effect step - that youspecify. So, you could be in cue 10,adjust channels 1 and 2 then type:[UPDATE] [CUE] [10] [*] - to storethe changes to channels 1 and 2into cue 10 and tracking on if intracking mode; this is in most casesidentical to re-recording cue 10or[1] [UPDATE] [CUE] [10] [QONLY] [*]to just store the changes to channel1 into cue 10, not tracking onwardsor[1] [+] [3] [UPDATE] [CUE] [1] [*] tostore the levels of channels 1 and 3(even though you hadn’t changed 3)into cue 1 and tracking onwards if intracking mode.or, if 1 was a moving light and youonly wanted to store its positioninto the cue:[1] [UPDATE] [CUE] [10] {@ATT}{position} [*]or, if you only wanted to store 1 intoa known range of cues:[1] [UPDATE] [CUE] [200] [THRU][220] [QONLY] [*](QONLY required in tracking modeso that the change didn’t just trackon beyond cue 220).And you can combine update withthe commands described above:[2] [UPDATE] [CUE] [1] [THRU] [50][@] {COPYFROM} [1] [*]and other commands describedin more detail in the March 2003Newsletter.UPDATE is also used to storeinformation into groups whenmaking reference groups - so tostore light 1’s position into a newreference group called ‘Staircase’:[1] [UPDATE] [GROUP] [1] [TEXT][Staircase] [@ATT] {position} [*].Pulling Information From Live IntoBlindSo far we’ve found ways of ‘pulling’information from preview into live(1@CUE 1), ‘pushing’ informationfrom live into preview (UPDATECUE) and copying information fromone light to another. One last trick isthat you can also ‘pull’ informationfrom live while working in preview.In cue preview:[1] [@] [LIVE]will set channel 1 to its current ‘live’value in the currently previewed cue(with this new level then trackingon if in tracking mode unless theQONLY key was used: [1] [@][QONLY] [LIVE]).All of the usual tricks work, so:[1] {@ATT} {position} [LIVE] [*]would just set light 1 to its current‘live’ position. This is a really usefulway of presetting moving lightsor colour changers: set the lookyou want on stage then go intopreview, scroll up until you find thecue where you want the lights toset then:[1] [THRU] [10] [@] {ATTS ONLY}[LIVE]to set all of their attributes, whichwould then track onwards if intracking mode.Try It For Yourself!As always, the best way toget comfortable with thesecommands is to try them foryourself. All work in similarways and all can be ‘modified’in the same ways - by specifyingparticular channels, or specificattributes (1.3, 1.4) or particulargroups of attributes (@ATT pos,colour, beam), or ‘INTS ONLY’ or‘ATTS ONLY’, so once you learn afew it’s easy to start using themin different ways as required.


40 years service with StrandOn September 9th 2005 JohnWright celebrated 40 years servicewith Strand Lighting. Strandcommemorated this amazingmilestone during the PLASA showwith a presentation and cake,which John graciously shared withour customers. In 1965 John joinedStrand at the Kennington premisesfollowing an interview with some ofStrand’s (and the industry’s) greatestfigures - Phillip Sheridan, ArthurEarnshaw and Fred Bentham. John’sthirst for knowledge and skills forproblem-solving meant that an earlymove to the R&D department in thelate 1960’s became inevitable.John’s contribution to productdevelopment has been extensive.Over the last four decades he hasbeen involved in most major productdevelopments including: IDM-R,MMS, Lightboard and Galaxy controlsystems.His ideas and forward thinkinghave helped develop Stranddigital dimming products and hisTim Burnham presents John with his“520i console” cake at PLASA 2005contributions are still in demandtoday. John has travelled the worldcommissioning systems, andsolving customer dilemmas. Henow holds a central role in ProductSupport for Strand Lighting. He hashad a varied career with Strand andhas served many of you with typicalenthusiasm, skill and precision.Group President Tim Burnhamadded a personal tribute at thePLASA presentation: “In the sixties,Strand was the only game in town,and I remember as a trainee in theWest End being sent to Kenningtonor Gunnersbury for lights or spareparts. What blows me away whenI think of all the years and ofeverything that has happened sincethen, is that John Wright was therethen - and he’s still here with ustoday! I have only had the privilegeof working with John for a relativelyshort time, but I have developed anenormous respect for his amazingstore of knowledge, his technicalexpertise, and the way he popsup all over the world, just when acustomer needs him - I swear hetravels more than I do! John is agreat and unique guy, and I deeplyappreciate working with him. Iheartily congratulate him on his fortyyears with Strand Lighting.”Everybody at Strand would like tothank John Wright very sincerelyfor his unique contribution to thecompany - we look forward to his50th anniversary!New General Manager for Strand AsiaStrand Lighting has appointedKenneth Yeung as the new GeneralManager of Strand Lighting Asia.“Ken brings over 25 years sales andbusiness development experiencein the audiovisual and businessimaging industries to our Hong Kongoperation according Tim BurnhamStrand Lighting Group President.“His responsibilities includedeveloping the company’s businessin the region, establishing strategicpartnerships to facilitate businessgrowth, and managing the group’sday-to-day sales operation. All ofus are pleased to have Ken joinour team his experience and skillswill enhance our already strongorganization in Hong Kong” addsTim.Ken recently worked with LighthouseTechnologies Hong Kong Limited asDirector – Sales APAC . During histime with Lighthouse Technology,he managed to build the group’sbusiness in Asia and generatedsignificant financial results. Basedin Hong Kong native Ken is fluent inCantonese, Mandarin and English.New Dealer in SwedenWe are pleased to announce theappointment of Spectra Stage& Event Technologies AB as anofficial dealer in Sweden.Spectra have four officesthroughout Sweden providingrental and installation servicesfor local theatres, TV studios andevent venues.www.spectraplus.seThe Strand Newsletter is published electronically four times a year. If you received this copy from anassociate and would like to receive a copy directly please email us at:newsletter@strandlight.com

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