The Power of Sceptron

 

The VDO Sceptron creative video products from Martin have gained popularity on a multitude of different production types.  With the adoption of these powerful products, more accessories are becoming available too.

Currently there are thirteen different diffusers available for the VDO Sceptron range with both white and smoked options available.  The smoked versions allow the units to virtually disappear when not illuminated from within.  Several lens options also aid in direct viewing or wall washing applications.  The video below demonstrates the multitude of choices and also demonstrates the simple method to swap diffusers on VDO Sceptron units.

In addition to the actual VDO Sceptron units, there are also several P-3 video processor options to choose from.  P3-050, P3-100, P3-150, P3-200, and P3-300 are rack mount units of varying pixel output sizes that allow productions to purchase systems designed for only what is needed.  Plus, the P-3PC software provides over 20,000 pixels of control from any PC as well as diagnostic tools and layout creation abilities.  Furthermore, Hippotizer V4.0 and greater units can now have P-3PC installed internally for direct P-3 output from an industry standard media server.

This previous post describes why P-3 processors are better than using DMX to control Martin creative video products.

The multitude of possibilities with Martin creative video products continue to amaze designers around the world.  The VDO Sceptron, P-3 processors, and VC products all work together to help create interesting custom video displays and installations.

 

The Amazing MAC Axiom Hybrid

Martin Professional has released the new MAC Axiom Hybrid which is an amazingly powerful fixture.  The unit has many features that enable lighting designers to achieve beam, spot, and wash functionality from a single, compact fixture.





The MAC Axiom Hybrid uses a 440w short-arc lamp to achieve a bright output throughout its entire zoom range.  The zoom is amazing as it is continuous from 2 degrees to 44 degrees.  There are no modes or additional lenses required to change from beam to spot.  In fact, the zoom from 2 to 44 is extremely fast and can be used with or without focus tracking.

The nine rotating gobos are all designed to be strong aerials or great projections.  Each is on its own easy-to-change carrier. As is common with rotating gobos, each can rotate at different speeds, index and shake.  The entire wheel can also spin in opposite directions and at differing speeds.

The fixed gobo wheel has many different abilities combined into the single wheel.  First there are a number of beam reducers that tighten the beam to a near pencil beam effect.  Next you will find twelve fixed patterns (again a good combo of aerial and projection).  Following that there is a frost filter and partial animation effect.  The latter is similar to the animation effect on the MAC Viper Profile.





The MAC Axiom Hybrid's two prisms with prism lineator effects provide superb image multiplication.  The prism lineator function allows movement of the prism within the optical path to alter amount of overlap in the prism facet projections.

An independent beam softener can be inserted into the optical path to reduce the hot-spot created by the short arc lamp.  This is especially useful for crisp gobo projections or flat-field illumination needs.

The MAC Axiom Hybrid also sports a great color system consisting of CMY flags that have been tuned to match the Viper series.  An independent variable CTO and a fixed color wheel with sixteen colors plus open add to the color abilities.




 
With a low weight, servo motors for movement speed and accuracy, and a compact size the Martin MAC Axiom Hybrid is quickly becoming a new industry standard.

Atomic Colors for the Atomic 3000 LED

The Martin Professional Atomic 3000 LED is an amazing strobe that I have written about before.  Of the many features, one of the coolest is that the unit works with the original Atomic Colors.  This means you can achieve colored strobes in addition to just white output.


Furthermore, when combined with the Aura effect, many unique looks become possible.  By using the properties of wavelength transmission you can create some interesting effects.  For instance, if the aura effect is in red and you have a magenta scroll in place then the audience will still see a red aura.  However, when the white LEDs of the main strobe turn on they will output a magenta color.  This can prove to be very interesting as a red light appears to output magenta.  This works with other colors and other combinations as well.


When using the Atomic Colors on the Atomic 3000 LED there are a few things you must be sure to configure on the Atomic Color unit.  First, be sure to always use the internal power supply in the Atomic 3000 LED.  This provides power and communication to the scroller and ensures that the Atomic 3000 LED is aware that the scroller is connected.  Simply plug the 4-pin XLR between the Atomic 3000 LED and the Atomic Colors.


Next, set the following menu items on the Atomic Color unit:

• Set Fan Speed Fn to maximum: Fn4.
  
• Set Light-Activated Fan LF to constant fan operation, not light-operated: LF0.
  
• Set Gel Saver mode GL to active: GL1.
  
  

You should also always check in the Atomic 3000 LED menu that is confirms that the scroller is connected: INFO → COLOR SCROLLER → CONNECTED

Now your Atomic 3000 LED with Atomic Colors is ready to go!  Programming is very straight forward as long as you have the correct libraries and DMX address in your console.  Have fun strobing in color and creating awesome effects by combining the aura and the scroller colors.

M-Series Grouping Tools

Martin Professional's M-Series controllers have a host of powerful features for programming lighting.  While most consoles provide groups and simple fixture selection tools, the Grouping Tools window in the M-Series offers unprecedented abilities.  In short, the tool allows for the easy division of selected fixtures into various subsets; but it can do much more. It is very useful when creating fixture groups; plus when combined with the Next/Last buttons, rapid manipulation of selected fixtures becomes possible.

Before you can use the Grouping Tools, you must select the fixtures you wish to work with.  Then the various options in the Grouping Tools window become available.  The top right of the window will also indicate the quantity of fixtures in the current selection.  The rest of the Grouping Tools window can be split into two distinct parts: Mode and Actions.

The Mode section of the window is where you can select a mask to apply to the current selection.  First you select the type, then adjust the Mask Value as desired.  Using the Next/Last button will cycle through the various mode subsets. The Mode options are as follows:



Every - Selects every "xth" fixture, where "x" is the number in the counter.  For example, if the number is 3 then every third fixture will be selected.  Pressing Next\Last will cycle through subsets by 3's.
Block -  Selects the first "x" fixtures, where "x" is the number in the counter.  For example if the number is 3, then the first 3 fixtures will be selected, then the next 3 and so on.
Divide - Splits the fixtures into "x" equal blocks.  For example, when you select 12 fixtures then set the counter number to 3 then there will be three blocks of four fixtures.
Mirror - Selects "x" number of fixtures, half from the top of the selection and half from the bottom of the selection.  For instance, if the counter is set to 4 then the first 2 fixtures and the last 2 fixtures in the selection will be selected.  When pressing Next, the subsequent two fixtures at each end will be selected.
Group - Segments the fixtures into the fixture groups as they were originally selected.  For example, if you choose groups 1, 2, 3, and 4 then use the Next/Last keys, it will cycle through the groups instead of the individual fixtures.

Activating any of the above will allow you to cycle through the selections using the Next/Last buttons to enable quick programming.  In addition, if you turn on the Fan/FX toggle then the Grouping selections will also be applicable to the fanning function.  This means that you can quickly fan in groups according to what you have selected.  For instance, if you use the Group mask and have selected four different fixture groups, then your single fanning operation will be split into 4 distinct fans based on these groups in one simple action.  Without this ability, you would have to fan each group individually.

The bottom half of the Grouping Tools window is equally as powerful as the top, but in a different way.  The Actions buttons provide additional tools regarding selection order and overall selection.  The Actions options are as follows:

Revert - If you have made changes in the fixture order, this will revert the selected fixtures to their original selection order. Note that this does not necessarily mean that they will be in numerical order. If you selected fixtures 24 through 1 and then made changes to that order, pressing Revert to selection will return them to 24 through 1 again.

Invert - The fixtures in the Programmer that are selected will become deselected and vice versa.  This button is the equivalent to the / (slash) Enter command.

Invert Mask - This feature works in much the same way as Invert. When pressed, all masked fixtures become unmasked and vice versa.

Random - The order of the selected fixtures in the Programmer can be randomized by pressing the Random button.

Reverse - Similar to randomizing the order of the fixture selection, you can reverse the order by pressing the Reverse button. This will flip the current selection order regardless of whether fixtures are selected or deselected. Reverse can also be used in conjunction with Random.

Sort - Changes the fixture selection order to a numeric method based on the fixture numbers from lowest to highest.

Grouping Tools are extremely powerful in the Martin Professional M-Series controllers.  Below are two videos that further demonstrate the immense control the tool provides.




 

P3 Processing vs. DMX Control

Martin Professional makes some great creative video products that can add excitement and imagery to any production or architectural installations.  All the products including VDO Sceptron, Exterior Pixline, and VC grids, strips, and dots can be controlled by either DMX or via the Martin P3 system controller.

With DMX you simply address each product via RDM and then use a lighting controller or media server to map the control of the pixels.  However there are many downsides to using DMX to control pixels and display video.  These include latency, poor smoothing, steppiness, artifacts, and synchronization problems.  Although many productions can be successful when controlled by DMX, most users prefer the P3 control system for the best video playback on any of Martin's video products.

The P3 system controller allows not just easy setup and configuration of a video system, but it also processes video input exceptionally well.  With a range of products available including the P3-100, P3-200, P3-300, and P3-PC the system is totally scale-able depending on the number of pixels you wish to control.  Plus for no cost, you can use P3-PC to prepare your video mappings and use test program for setups. (See this previous post about P3-PC)


The P3 system controllers also have the ability to receive 2-way communication from each connected device.  This allows for easy identification and setup as well as thermal reporting and throttling.  The P3 system is much more than a video processor as it provides many control possibilities.  Color temperature adjustments, on-the-fly mapping changes, as well as gamma adjustments are just some of the robust features.   In addition, users can now install P3 onto Hippotizer V4 media servers from GreenHippo.  This functionality allows direct P3 control and processing to be output from the media server itself.

To fully understand the difference between using DMX and a P3 system controller check out this video that details the differences:

Make Dimmer Curves Your New Friend

There is nothing like a perfectly smooth fade to blackout over ten seconds to evoke emotion at the end of a scene or song.  The dimming ability of any lighting product is determined by several factors including the light source type, dimming method, control signal and more.  Generally, designers prefer a smooth dimming ability that provides a seamless and even change in intensity whether increasing or decreasing in value.

All Martin Professional lighting products default to a smooth dimmer curve that is ideal for most situations.  However, there may be instances where you wish to match the dimming abilities of other products such as cyc lights or incandescent lamps, or you just prefer a different path.  All current Martin Professional products include the ability to select between four different dimming curves from either the menu system or DMX.  With DMX, you can actually change the dimming curve on a cue-by-cue basis!  Lets look at the various options:

Linear - provides an even distribution of light in correlation to the DMX level of the dimmer channel(s).  Although mathematically uniform, this dimmer curve is often not the most desired by lighting designers.

   
S-Curve - provides a finer control at lower and higher levels while being more coarse at medium levels.  This dimming curve best emulates a typical incandescent lamp's dimming abilities.  This is also the default and often considered the most natural dimming curve.
  

Square Law - provides a finer control at low levels and coarser at high levels.  Useful for low level scenes and chases as more DMX values are allocated for dimming at the bottom end.

 
  
Inverse Square Law - provides a finer control at high levels and coarser at low levels.  Useful when not dimming all the way out or when less low level control is desired (snap on/off).



Often it is best to ensure that your lighting console is properly crossfading the dimming channel(s) in a linear fashion. Otherwise there may be conflicts between how the console is fading and how the light is responding.  It is also important that all your fixtures are set to the desired dimming curve.  A good practice is to set all fixtures to the factory defaults when starting a new show.  Then make changes in the menu or via DMX as needed.  Otherwise you could end up with some fixtures dimming differently than others.  In addition, if you do change the dimmer curve for a particular cue, be sure to set it back to the default in the following cue!

Adjusting the dimmer curve is a very useful tool when applied to specific situations.  Martin Professional maintains the same four types of dimmer curves and control abilities across the entire range of Martin Professional products.  This ensures simplicity and consistency when using MAC Vipers, MAC Auras, MAC Quantums, or the Atomic 3000 LED.

M-Series Q-Blender Feature

The Martin M-Series lighting controller range has a really cool and unique software feature called Q-Blender.  This function allows you to stack cues into a list and then instantly spread these different looks across a fader.  This gives you the ability to manually crossfade between looks and create some exciting manual controls.  For instance, you could make a fader that simply moves some fixtures between pre-defined positions as you move the fader up and down.  Alternately you could adjust the color, speed of strobing, iris size, or much more.  I am sure that any programmer can come up with many instances where Q-Blender would be extremely valuable.

Q-Blender is a setting that can only be applied to an Override type of cuelist.  The best option is to first build and record your looks into a cuelist (set to Override).  It is important to remember that override cuelists do NOT use tracking and therefore you need to think about what parameters you are storing into every cue.  You can use the record option "Active & Inactive" to ensure that what you are seeing is being recorded.

Once you have stored your looks, press Options in the top left of the cuelist window.  You will see in the Advanced area the option to active the Q-Blender feature.  Once selected, close the Options window and you are ready to try out your cuelist. 

Looking at the cuelist window, you will see that there are two new columns labeled "From" and "To".  These show the range of the fader that will be assigned to each particular cue.  As you run the fader up and down, the data on stage will crossfade with your manual movement at the given ranges.

You can edit various attributes of the Q-Blender cuelist as well.  For instance, you can change the Fade Mode as well as the range for which each cue is active on the fader.  For instantce, the Fade mode can be changed to snap when you want something to instantly come on and then control subsequent changes with the fader.  By also adjusting the From/To designations of the fader you can have the first bit of the movement activate a look while the subsequent (and evenly distributed) ranges of the fader control all your other cues.

Q-Blender is a very unique and powerful feature of the Martin M-Series lighting controllers.  Programmers and designers will find many different uses for this tool.  For further details, consult the M-Series user manual and watch this video demonstration: