Visual Productions QuadCore Manual page 46

gobo) then the memory will hold approx. 16 minutes per track in a 8-track setup.
In a 32-track it will hold 3 minutes per track. Both examples are recording at
40 FPS.
In a worst-case scenario with 2,048 channels actively changing to random val-
ues (pixel-mapping content) then a 1-track setup will hold approx. 6m32s, a
16-track setup will hold 24s per track. Both examples are recording at 40 FPS.
If the limits of the capacity are reached then there are three different ways
to help overcome this.
Reduce the 'number of tracks' in the settings page. Note that the current
track content is lost when changing this setting.
Reduce the sample rate.
Spread the content over multiple tracks. They can be linked together later
on the Playback page (For more information go to chapter Playbacks, page
20). This way cross-fades can be generated by the QuadCore instead of
being recorded.
7.6 Intensity map
Typically, a DMX recorder stores the values of the channels without knowing
its functions. When reducing the output level at the Playback all channels are
reduced, also the ones that contain information other than intensity/dimmer
levels. This has the undesired effect that RGB or Pan Tilt channels are also
affected, whereas ideally only the intensity levels should be lowered. This is a
challenge all DMX recorders have. The intensity map (figure 7.5) overcomes
this issue by specifying to the QuadCore which channels control intensity.
To set up the Intensity Map follow steps below:
1. Connect an external lighting console via DMX, Art-Net or sACN.
2. Create a scene in which intensity channels are set to 100%. In case of
16-bit dimming, the coarse (or MSB) channels are set to 100% and the
Figure 7.5: Intensity Map section
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