IRW

Just to drop back in on this, I can confirm for definite that Nomad started up in 'offline' mode and no dongle on a Mac does send and receive OSC data. Running Mac OS 10.15, and EOS version 2.9.1

I thought we determined back at post #7 that you are not talking to the dimmers via the network- you said you have a DMX cable coming out of the black console box? If this is so, net slots and such like have nothing to do with it. Grab your Strand 200 from the other room, unplug the 5-pin DMX cable from the back of the 300-series processor, and plug it into the back of the 200!

Its a large rack dimmer system with a processor in it. I'm a computer guy and it reminds me of the large server racks. There are removable packs in the rack that are rectangular boxes with what looks like a few breakers on the front. I can't recall the model but on the processor section, there is a small LCD and some simple cursor buttons to set options. I have never touched the dimmer system but it is in a locked room where students are not supposed to have access. The console itself is connect through a cat5 cable. I'm assuming ArtNet protocol, though it does say in the set up that it is linked somehow to DMX channels as well... I'm honestly not very familiar with lighting and the school was left with almost no info on it. EDIT: Quick google search, it looks similar to an C21/EC21 system. Are you sure about that? The 300 series console is made up of two main elements- the blue face panels, and a black processor box. The facepanels connect to the processor using cat5 cable/RJ45 connectors, so can give the illusion to the unfamiliar eye that it is 'networked', when in fact they use a Can-bus system to talk internally. The black processor box will also have dedicated DMX sockets on the back of it, which may be what is actually being used to talk to your dimmers. None of this however will be what is causing your problem, but may hopefully provide a little more understanding of the system. If the console is indeed 'networked' to the dimmers, it will be outputting Strand's proprietary ip-based 'shownet' protocol, not artnet. I'm honestly not sure how all the dimmers are connected to the processor system. I'm assuming you are correct that there is an internal bus system on the inside. It is in a large rack system in a closet off the stage. The 300 console is connected to an computer upstairs (Pentium 133....) and it has a Cat5 and DMX cable that goes to a wall plate that I'm assuming is run back to rack to tell the processor what dimmers to play with.... Not sure you've quite understood what I meant about the console- here's a picture of what those of us who routinely use them would call the 'console': You may have more or less blue panels, but the 'console' is a combination of the black box and blue facepanels. It sounds to me almost like you've got your panels running remotely to the processor? (this isn't neccessarily an incorrect thing, as if I recall correctly, the CANbus is good for up to 90' or so, just rather unusual) Here's a picture of the back of the black processor box: http://psl.on.ca/images/used%20gear/s3005.jpg If your setup is as I'm imagining, this box is in your room upstairs, and your 'cat5' cable will be plugged from the wall into one of the 'SBus' sockets, and your DMX cable (to dimmers) plugged into one of the DMX sockets?

Its a large rack dimmer system with a processor in it. I'm a computer guy and it reminds me of the large server racks. There are removable packs in the rack that are rectangular boxes with what looks like a few breakers on the front. I can't recall the model but on the processor section, there is a small LCD and some simple cursor buttons to set options. I have never touched the dimmer system but it is in a locked room where students are not supposed to have access. The console itself is connect through a cat5 cable. I'm assuming ArtNet protocol, though it does say in the set up that it is linked somehow to DMX channels as well... I'm honestly not very familiar with lighting and the school was left with almost no info on it. EDIT: Quick google search, it looks similar to an C21/EC21 system. Are you sure about that? The 300 series console is made up of two main elements- the blue face panels, and a black processor box. The facepanels connect to the processor using cat5 cable/RJ45 connectors, so can give the illusion to the unfamiliar eye that it is 'networked', when in fact they use a Can-bus system to talk internally. The black processor box will also have dedicated DMX sockets on the back of it, which may be what is actually being used to talk to your dimmers. None of this however will be what is causing your problem, but may hopefully provide a little more understanding of the system. If the console is indeed 'networked' to the dimmers, it will be outputting Strand's proprietary ip-based 'shownet' protocol, not artnet. I assume from what you've written, this is a problem with all channels, not just one?

Actually, I must have had it working offline on my desktop Mac, as I do my FocalPoint development on my windows machine, so I run EOS on my desktop to test it. To be fair, I've been away for the last three months or so, so a recent update may have broken it,

It definiitely does (respond to OSC without a dongle)...maybe it's a mac thing? So long as you've got an NIC connected, it'll still pick up an IP address, but offline mode simply won't output DMX-related data.

A vote from me for MTX- https://www.mtxengineering.co.uk/ They made quite a few bits and pieces for me (to my specification) at my last venue, for a better price than Andolite, but still very decent quality.

Good to hear he did actually got back to someone...I didn't even get a reply!

<coughs back> not applicable to volunteers.... <clears throat> A debateable can of worms, I believe...!

@Drv might be your man...!

At 8m, ETC Colorsource Fresnels may well do the job, and would cost a reasonable amount less than lustrs, whilst still giving you the ETC tech support and warranty

To be fair to the supplier, I would be more specific when placing an order. However, I would also expect a decent account handler to query an ambiguity of that type.

Yes, and no :) The audience for the main part were the cast at the post-show crew entertainment. Most of them hadn't really seen the dragon in full flow as they'd have been backstage, so as a bit of a 'treat' (as we do every year) we did a bit of a crew-created taster. I've expanded the VT a bit in , which shows you the run-up to what's in the public demo footage. For context, the voice-over in the blackout is the same as the puppet character from the main panto - a hedgehog - last year's puppet was a badger. Hopefully you'll get a better flavour of how warped we as crew can sometimes be :D Blimey Tony...surprised you had budget for anything else after all those pyros...!

If you say where they are going from and to, you may find that there's a helpful BR member traveling along that route, and happy to take them for a contribution to petrol costs!

*like*

Why can you not send the kids up (sensible and proper) towers? Surely we're just talking something a couple of meters high? A bit of steeldeck on some tallish legs for example. Hint: Don't call it a 'tower' to the powers-that-be. That conjures up all sorts of images in the minds of someone who is not familiar with what you intend to do. A 'followspot platform' sounds much safer...! You can even build a set of stairs up to it so ladders aren't involved. Do they not have climbing paraphernalia in school gyms any more? When I was in charge of a school venue (only about 5 years ago or so), we were happy for them to do pretty much anything I would do (within reason- age, complexity of task, maturity of student, etc, all coming into it). So long as they were given adequate instruction and suitably supervised. There are plenty of other more dangerous activities in a school than operating a followspot on a bit of rostra. Ian <school teacher mindset> Here's a tower: http://img.archiexpo.com/images_ae/photo-g/148492-11038161.jpg And here's a platform: http://4.bp.blogspot.com/-JMy-Vj2TJ_o/UbZdeJVqCvI/AAAAAAAAAS0/ZcNOQumtJg8/s1600/SL+50.JPG

Hi All,A thought that's been floating around my head for a little while now, which someone more knowledgeble on the subject may have an insight to... When things like crew calls, rehearsal calls, show reports, etc etc are sent out, personally, I will always put the 'to' list in as BCC, if nothing else to help prevent people ending up on spam lists in the event that one of the accounts is compromised, and I always hate it when I end up in a 'to' box on these sort of emails. It also has the added bonus of stopping those who don't know the difference between 'reply' and 'reply to all' making fools of themselves...! Now with all the hoo-har over GPDR, it feels as though there may actually a legal aspect to this? Just to be clear, I'm not talking about a corporate company customer list, more along the lines of self-employed stage/production manager emails to the company, and I'd just like to get my facts straight on the situation before I have to advise or pull someone up on it! In a similar vein, I'll never send out a plain excel spreadsheet as a contacts list- If I need to send something out, I'll password protect the sheet, email that, and then text the recipients with the password...would people consider this good practice, or simply OTT protection? Thoughts?

Stick them on ebay, with the title 'Authentic Vintage Theatre Seats"...you'll make a fortune!

Which should mean you can also trigger it over a macro, such that for example running your first cue for preset could disable RDM. Yup. Also macros can quickly turn it on and off if needed for a quick check, same as is often done to toggle MSC, timecode, OSC etc. and via buttons on magic sheets, too. All we need now is a way to change the clock...I can't be the only one who always notices that it's wrong after going into preset and the house opening...!

If they're rackpacks, I'm pretty sure the schematic is printed on the top. I have some in the garage, but they're not overly accessible at the moment, although I could dig one out if no-one else has one to hand. IIRC, there's not too much that can go wrong with these, so probably worth going in armed with a reasonable soldering iron and some triacs, which, in my experience, have a habit of blowing before the fuses, especially if the wrong fuses are used! I think you'll need a smallish nut-spinner/socket set to undo the nut holding the triac down as well. Ian Strike that, I just pulled one of mine half out after finding this thread that I started four years ago! The diagram on the top is mains wiring information.

I think it's one of those things where if you bleed to death, it's not going to matter that you're not burned. Much like the situation my husband and I found ourselves in a couple of years ago where we witnessed a motorbike vs car accident and it was a choice of not take the helmet off the motorcyclist because it might be holding his brain in, or take it off to get him breathing again (I did post about it on here). Not breathing trumped possible skull injury so the helmet came off. Even with a regular tourniquet, surely losing a limb because someone stopped you bleeding out with a tourniquet is better than bleeding out. I may be being incorrectly pedantic, but I believe the not-taking-the-helmet off is more to do with the possibility of neck/spinal injuries rather than skull/head, but you are correct in that you have to weigh up the risks of that vs breathing problems.

I hope you were looking at hiring more than one?

DMX is not allowed for controlling something that may become hazardous/dangerous etc- pyros, stage traps/trucks etc etc...If the lowest your piece is going to come is 4m off the ground, that implies that it will be rigged somewhat higher. The winches in question only have a 4m drop on anyway, so the the most that can go wrong would seem to be an embarassing unplanned lowering- the maximum speed is stated as 30cm/s- slower that one is allowed to move even an occupied tallescope, so again, hardly hazardous for the activity in question. (Think evil henchman getting flattened by the steam-roller in Austin Powers!) Personally, I'd be perfectly happy to use the linked product for dropping in sensible practical fittings from, for example, a studio theatre grid. I wouldn't go to the trouble of a second console- assuming the main console has the capabilities, I'd program it sensibly, and probably have an 'inhibitive' submaster set up to prevent unwanted drops outside of when it is supposed to come in. Ian

Hi all, I'm sorting through a big pile of shutters, and thought that the collective BR knowledge should be able to help work out what fixtures they are for! http://www.irwdesign.com/br/shutters.JPG #1 has CCT on the tab, but I don't recogise it as a Sil shutter, unless it's for a model I've not used. I kind of recognise the tab on #2- Strand Cantata? I'm fairly certain #3 is a selecon acclaim zoomspot, as we've got loads of them downstairs. I think #4 is a Strand Prelude, but does it fit anything else? #5 is a bit of a mystery- Sil or Quartet?

I've just checked the manual, and 250's do have the aforementioned Studio Mode... Found in the menu under 'PERS' / 'STUd'