Martin LIGHTING DIRECTOR User Manual page 84

1. Split the MLD's DMX out signal, take one end to the lighting fixtures you need to
focus, take the other end to a lighting console capable of capturing DMX values (e.g. the
Martin Case). After calibrating the MLD and fixtures, you can take the tracker and
"put" the lights wherever you want on the stage, then capture pan and tilt with the
console. Enjoy that sun!
2. Make three layers with three layer behaviour curves all applicable to the same
lighting fixture: layer 1 controls cyan dynamically so that it is zero upstage and 255
downstage; layer 2 controls yellow dynamically so that it is zero on stage right and 255
on stage left; and layer 3 controls magenta dynamically so that it is zero on the stage
floor and 255 when the tracker is about 2 metres high. Make sure you press "Make
followspot" in at least one of the layers.
3. The mld may load and unload maps remotely if it receives the correct triggers
defined in the "Map control" screen. The trick here is that you may define a dimmer
pack on the DMX channel where you set the remote triggers so that you can make a
static cue that will load and unload other maps.
4. You may use the MLD's serial out port to get 3D data from the tracking system and
then process this data with an authoring program such as Director, Hypercard,
Toolbook, Visual basic, Max, or mTropolis. Then write the appropriate serial data to
the video deck (most professional units have an RS232 connection).
5. Try placing the speakers along the proscenium. Remember that your tracker will
"face" the speakers so probably it should not be on the performer's shoulder but in his
or her lapel. Also, this speaker situation means that if the performer turns his back on
the public tracking will stop. Another option is to place the speakers on the floor, but
be aware that there might be considerable blocking and irregular ultrasonic distribution.
6. Put the tiny mic on his guitar strap, the top of his head or on the tip of his shoe (if
you do this make sure you enter an appropriate followspot offset!).
7. Look at the real-time screen to see where he is, even if you can't see him directly.
8. Have 4 groups of four trackers using the same radio channels. Make sure that when
the relay takes place the four outgoing performers set their tracker's power button to
"OFF" and the ingoing performers set their tracker's power button to "ON". You may
want to unload all maps while the relay is taking place.
9. Draw media behaviour curves to control the DMX parameters dynamically; for
example, layer 1 can control iris, layer 2 zoom, and layer 3 focus. To automatically dim
the followspots when the performer leaves the stage make a static cue that defines
dimmer=0 around the stage or for fading make two layers with dimmer behaviour
curves.
10. The MLD has a cymbal rejection system that allows it to continue tracking even
when the tracker is close to cymbals or other similar sporadic ultrasonic sources.
However, tracking may deteriorate considerably, slowing down as more MLD pulses
are discarded because of cymbal interference. To minimize the effects of this you may
draw a static cue in a region around the drummer so that as soon as the tracker enters
that region there will be a preset fixed cue to light up that area of the stage. Please note
that high frequency sounds coming from PA system speakers do NOT interfere with
the MLD in the same way.
Page 84 MLD manual 1.1