21
THE DESIGNER'S WORKBOX

SOFTWARE PROGRAMS

Anything that you could possibly dream up or plagiarize from casual observations for new lighting or stage sets and animation cueing can get a test run in virtual space by using computers and available computer aided drawing (CAD) and three-dimensional (3D) rendering programs. About 18 software programs are available to draw concert lighting plots (Figure 21.1), and some of those allow (by using plug-in software) the drawing of 3D models to react in real time and recording cues using your lighting console. Like anything else, the higher the quality and the more options it has, the more money it will cost, although it is possible to begin with inexpensive, basic but very effective programs to plot a lighting rig. A few that are accepted as industry standards are featured in this section as examples of the power of these programs.

With any of the lighting or crossover 3D drawing programs, you can use the tool bars to manipulate the resource library and bring your ideas to life. Software has been modified to the point where the user does not need to know any complex programming, and designers can become fairly proficient by working through online tutorials and some devoted practice. It always helps to have someone show you shortcuts instead of laboring through complicated instruction manuals. It is fantastic and easy—just bring your imagination, experience, and some patience to work through understanding the program's logic. Once you do, new worlds will open up.

CAD Programs

One of the reasons for having industry-standard lighting software is simply to keep us all on the same page—literally. A designer can send a work-in-progress Vector Works, AutoCAD, or WYSIWYG file electronically and exchange ideas across the miles to anyone involved in the build process, which allows them to work on the same drawings. File conversion options are built into the software, enabling you to send (export) or receive (import) drawings to suit your program. A CAD program and license for personal or company use will be upwards of $1800 for a Vector Works, $3500 for basic AutoCAD, $1000 for basic WYSIWYG, and $5000 or more for advanced programs that move into the 3D visualization realm.

To receive drawings and to draw in AutoCAD or any other proprietary software, you need to buy the license to do so. Even if you don't use CAD programs, other simple alternatives exist for exchanging work-in-progress drawings. Just visit the website of the software manufacturer and download a read-only viewer program, or drawings can be converted by the sender to the more widely used PDF format. In any case, these programs have evolved with the latest advancements in software technology and continually update their resource libraries with new lighting equipment in each new annual release.

After you have collected all of your sticky notes and pieces of scratch paper, the CAD drawing is the

first step toward establishing the feasibility of a design. But, setting aside all of the creative and practical reasons for using a CAD program, lighting is a business. Today's designers have a responsibility to adhere to all of the relevant restrictions of equipment pricing, availability, and labor costs. Only a small percentage of designers don't have to worry about such things; the majority of working designers, lighting programmers, and technicians will have to keep it real.

The thoughtful work and time spent on a CAD lighting plot will be amply rewarded by saving lighting system preparation time and will continue to pay dividends as a reference tool. With tight production budgets and companies' efforts to protect rental equipment pricing, the need for orders to be accurately pinpointed has become paramount to the success of a final design, mainly because it takes a team of people to help you realize concepts.

The CAD program is a sophisticated information-dispersing and organizational tool that will satisfy the accounting office with its built-in database and spreadsheet capabilities to track costs and materials; the warehouse foreman, with its equipment and luminaire lists, dimmer schedules, truss and rigging notations; and the lighting crew, with its labels for every luminaire parameter and power distribution center and its ability to help calculate precise cable lengths and prepare rigging for projection effects and scenery locations. Name it, and there is an icon for it that can be pulled into the drawing, and, because reports and drawings are linked, entries will automatically update across dimmer schedules, color charts, and luminaire counts. A completely processed CAD drawing is gratifying, but several hands will contribute to it before any concept becomes physical reality.

Depending on the level of presentation, preparation, and detail needed, lighting and 3D CAD programs can be as elementary or as complex as your knowledge of the products. In concert lighting, basic skills include creating a lucid plan showing truss configurations and luminaire types and locations, with

console channel number and color filter assignments. The basic design can include input from experts in other disciplines, including weight calculations and rigging point locations and accommodating any requirements of the scenery. You can master basic use with a less expensive program and be able to converse with others in the medium very quickly by putting in some user-friendly CAD practice.

3D Drawing Programs

Time spent practicing will improve your abilities and help you to become a valuable CAD and animation expert for complex concept refinement and presentations. Larger productions now expect 3D renderings of the stage set and views of lighting scene examples from several different angles, complete with fog or haze that will accentuate light beams. Vector Works (Figure 21.2), AutoCAD, grand MA (Figure 21.3), and WYSIWYG (Figure 21.4) all have the capability of producing (with plug-ins) full-color 3D renderings; LD Assistant uses AutoCAD software, Martin Show Designer can import two- and three-dimensional AutoCAD DXF files, and Soft Plot and Soft Plot 3D is an inexpensive Rosco Laboratories proprietary program. Google Sketch Up is also Vector Works interchangeable, and its unique resource library, 3D Warehouse, was created by global users.

Light Wave 3D is used extensively in broadcast television production and film visual effects due to its photo-realistic concert stage rendering capabilities (Figure 21.5). No matter what software program is used, developing artistic concepts in virtual space has the side benefit of solving many practical issues, such as determining scenery heights relative to lighting system trim, working in the available stage space, and selecting hard and soft scenic materials prior to actual build. Artists can actually view their space and contribute on infinitely more levels than with two-dimensional drawings, and valuable comments can be offered and considered before construction begins.

Light Wright 5

Yes, LD Assistant and Vector Works, like the rest, both provide paperwork. Vector Works, however, has a long-standing association with Light Wright, and the new Version 5 has a real-time link. Light Wright does not just do paperwork; it is the quintessential

way an assistant keeps track of the focus, work notes, and other details that are necessary while the show is in technical rehearsal. A unique feature is that information, such as a color change or circuit number, can be typed into Light Wright and then read back into Vector Works and the plot will change. The new version also makes it easier for the assistant to send notes to other crewmen so they can be ready to act at the next call. (See Figure 21.6.)

Virtual Magic Sheet

Virtual Magic Sheet (VMS) is a new program that has no current competition. The concept by Eric Corn well of West Side Systems is truly unique. Almost all light plot programs will produce paperwork, and some will even give you a magic sheet, which is what designers use during technical rehearsal to keep track of the luminaire, circuits, color, and function. Up until now, that was a piece of paper, may be hand colored. VMS allows you to do the layout on your computer: group like luminaires, name the group, and indicate the channel. It also gives a representation of the color. Next, it will show scrollers, and, if you tell it the color string, it will show that, too. If you are using moving luminaires, tell it the color system (say, CYM), and it will change color and show the rotation of the luminaire. After you do the layout (which you can change at will), you can attach it to the console and it will graphically show you the intensity of the conventional luminaires, the position of the scroller (color), and, for moving luminaires, not only color but also the direction it is facing. It is a completely interactive magic sheet. The program is marketed by Goddard Design Company. (See Figure 21.7.)

Other Programs

Several other lighting programs are available, such as Focus Track. The inventor, Rob Halli day, has said that its main uses are for tours or long-running productions. It is a light management system that can also incorporate photographs to show how the light should look. Field Template's Soft Symbols, Version 2, represents an evolution of CAD lighting symbols and

is designed to work with VectorWorks' Spotlight or Auto-Plot. It ships with over 2500 ready-to-use symbols from 28 manufacturers, all hybrid two- and three-dimensional. Still more programs are released everyday or so. This is an extremely difficult area to keep up with, not only for new products but also for upgrading existing programs. One word of warning: Most of the programs have to be upgraded periodically; most will only upgrade at least one time without requiring you to buy the program all over again. These upgrades are not always free, but admittedly they are generally reasonable in price.

THE VISUALIZATION PROCESS

When advanced software engineering interfaces with a concert lighting console to manipulate luminaires, on a computer monitor, exactly like it would in the venue and those movements are recorded as cues on the console—that is essentially what a visualization program or lighting simulator does. The idea behind all visualization programs is to design a plug-in to streamline the modeling process; it is a time-consuming task. Modeling is the 3D rendering of your lighting system and the components of the stage set,

exactly as they would be in reality and relative to the stage dimension and height. You can assign all luminaires (moving and conventional) with DMX numbers and then see the effects of the lights on various surfaces (e.g., reflective or dull), view content from the media server, focus on 3D performer models and the shadows cast, and experiment with graphic light beam movement in the air by adjusting the thickness of the haze.

The advantages include savings in time and money by being able to critique a virtual rehearsal with full production luminaires, audio, and staging (the difference in cost between virtual and real is vast); the ability to label your console, select and record luminaires, focus groups, and palettes (color and gobos); and creating, practicing, and recording scenes without time pressures, interruptions, and the noise of a full production rehearsal. Visualization programs, however, should not be considered as complete substitutions for a physical hands-on lighting system build. Practice and interfacing with all of the other components involved in a live rehearsal situation will reveal differences from what was viewed on the computer that might require color, timing, and focus adjustments.

For larger productions, it is essential to request and conduct a live rehearsal. It would be safe to bet your last dollar that the lighting, video, scenic, and audio coming together for the first time before a concert tour will lead to unforeseen logistical problems that must be worked out. They could be complex, requiring new pieces to be made or some to be eliminated entirely. Nonetheless, visualization programs identify many problems prior to a major rehearsal and provide a constructive head start to finishing the live rehearsal race for time.

VISUALIZATION PROGRAMS

Among the handful of industry-standard visualization programs, Cast Software's WYSIWYG was the first to allow a DMX console or a compatible offline editor to be connected to the computer and WYSIWYG. Today, the company has secured the lion's share of name-brand lighting console manufacturers (about 35). WYG-it 2 is the hardware interface device used to initialize simulation software, enabling the user to connect a console to WYSIWYG and the physical lighting equipment. ESP Vision, by ZZYZX, Inc., provides a lighting simulation program that uses VectorWorks' Spotlight or Render Works programs as the basis for their plug-in software, Vision 2.3, along with their hardware interface, V Box. Martin Show Designer (MSD), Martin's Maxxyz console visualizer, is another proprietary onboard program. Avolites' Diamond 4 Simulator and Off Line Editor run on a good-specification MS Windows XP PC. Every function looks and operates exactly as the actual console would, and there is the additional benefit of the built-in Avolites Visualiser. The Avolites Stage Visualiser simulation program combines software and hardware, with drop-and drag-luminaire positioning (no need to put in the truss). Sound complicated? Avolites claims that the program is extremely easy to use and quick to learn (typical learning time, 30 minutes).

Although learning times may be short, calling them easy to use is something of an understatement. The basics of the programs might be easy to learn, but only by investing your time in these programs will you be able to create layouts for senior lighting and scenic designers or become proficient enough to produce timely reports and 3D renderings that interface lighting simulators with lighting consoles. Like anything else, once you've done the work, then you can claim that it was easy.

VISUALIZATION STUDIOS

With about 10 locations in the United States and 15 in Europe, visualization studios have become a cottage industry. Lighting console manufacturers have steadily increased the number of onboard simulators and offline programs available as standard features. You would expect that visualization studios would become a thing of the past as more designers and programmers gain access to onboard simulator programs, but that is not the case. Currently, simulators are not being used fully, and then there is still the problem of having the available time and talent required to render 3D luminaires and stage sets. Programmers

mostly use the onboard simulators as a focus aid and to correct timing issues that may be lost on stand-alone visualizers. Onboard lighting console versions are generally best for very basic representations.

Studios are wired to computers with advanced visualization program plug-ins and large screen displays in purpose-built, controlled environments. Creating 3D modeling, maximizing use of the programs, and staying ahead of the equipment changes has led to the biggest addition to virtual programming—media servers. Tom Thompson, cofounder of Pre-Lite Studios, located in San Francisco and New York, explains: “We use media servers as both programming tools; as normal—output shown within visualizer via a capture device; and as a visualizer tool— providing a composited output of several images that are then shown in visualizer.” It turns out that concert designers do not represent the biggest portion of Pre-Lite Studio's business; Thompson breaks it down to 50% corporate shows, 15% architecture, and about 35% concerts for his company (Figure 21.8).

The second alternative to fixed studio location work is a transportable visualization studio. Pre-Lite Studios can take their packaged systems to the client, providing many of the studio amenities with their onsite systems, including high-tech computers, projectors and screens, and technicians. On the other end of the spectrum, larger operations like the Production Resource Group (PRG) offers designers the use of visualization studios in Los Angeles and London as part of the overall package for using their lighting company. At these sites, they provide 3D production modeling in-house so a designer can walk in and start programming.

Between the capital outlay required to buy quality software and the time it takes to model in 3D, it is an upside-down equation for many designers, and visualization studios are actually seeing an increase in business. However, once lighting designers become more familiar with visualization programs or, new software releases feature even more time saving and earier steps, we may see this dynamic change.

OTHER TOOLS IN THE TOOLBOX

Another section of your designer toolbox should be devoted to helping you learn how to sell yourself and then how to effectively work with the rest of the design team, artist, management, and crews.

There isn't enough room in this book to cover two often-skipped aspects of design: interpersonal communication and salesmanship, but these are exactly what you need to learn (see the Bibliography for more information). You may become the creator of the greatest design that never gets seen if you aren't an expert at these two important elements of design. I have witnessed it too often—a designer who does not have any technical grasp of the equipment but can sell himself better than someone who comes in with a great workable concept but doesn't know how to sell himself. Don't let your career languish and don't become discouraged because you have not taken advantage of all the tools in your toolbox.

Another important tool is being connected in your profession. You can learn a great deal by attending conferences or joining organizations whose publications will keep you up to date on the latest lighting designs, people who are doing the work, and the newest equipment. Most of these organizations also hold seminars throughout the year, regionally or at their annual conferences, that can introduce you not only to new products but also to new contacts that can be invaluable to your career. Take advantage of the wealth of knowledge offered. Yes, a number of top designers choose not join these organizations or attend their conferences. That's their choice; however, I believe that any knowledge I gain is an asset to my career.

My suggestion is if you are still in college to join these organizations at a reduced student rate to see how you like them. Then, after school, you can choose to continue or not. For designers who have not participated in college, the prices can be stiff, but attending at least one Live Design International (LDI) or United States Institute for Theatre Technology (USITT) conference is an investment well worth the expense. Figure 21.9 provides a list of these and other organizations.

Finally, there is an over abundance of commercial publications, as well as journals from the many organizations, that you should keep up with. Fortunately, many of the commercial publications are free if you fill out a survey form. Subscriptions to publications by the various organizations are included with paid membership. These are valuable tools for the designer because many do feature stories on current tours that give you a lot of insight into the design and equipment used, how the designer went about creating it, who the tour suppliers are, and much more. This is an armchair way of seeing a lot of tours without spending the time or money to attend. True, there is nothing like being there—feeling the excitement, seeing how the cues work together to create a total connection between the audience and the artist, what the lighting designer adds as the layer over all that the music is saying—but not many of us have the time to go to that many places. I would say to young designers, though, that it is valuable for you to go to as many shows as possible. I know it is hard on the pocketbook now but what you will learn will prove to be invaluable down the road.