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1 = first frame in 4 or 8 field video sequence xxxx = reserved bits - must be set to 0000 DROP FRAME NOTES 1. When writing time code data, the drop-frame or non-drop-frame status of the data being written may be overridden by the status of the Controlled Device (i.e. the time code from the device itself). For example, if the SET_CLOCK data are loaded with a non-drop-frame number and if the time code on the Controlled Device is drop-frame, then the SET_CLOCK data will simply be interpreted as a drop-frame number, with no attempt being made to perform any mathematical transformations. 2. Furthermore, if the above SET_CLOCK number had in fact been loaded with a non-existent drop-frame number (e.g. 00:22:00:00), then the next higher valid number would have been used (in this case, 00:22:00:02). 3. Calculation of offsets, or simply the mathematical difference between two time codes, can cause confusion when one or both of the numbers is drop-frame. For the purposes of this specification, DROP-FRAME NUMBERS SHOULD FIRST BE CONVERTED TO NON-DROP-FRAME BEFORE OFFSET CALCULATIONS ARE PERFORMED. Results of an offset calculation will then be expressed as non-drop-frame quantities. To convert from drop-frame to non-drop-frame, subtract the number of frames that have been "dropped" since the reference point 00:00:00:00. For example, to convert the drop-frame number 00:22:00:02 to non-drop-frame, subtract 40 frames, giving 00:21:58:22. The number 40 is produced by the fact that 2 frames were "dropped" at each of the minutemarks 01 through 09, 11 through 19, 21 and 22. (Some manufacturers will prefer to store all internal time codes as a simple quantity of frames from reference point 00:00:00:00. This reduces calculation complexity, but does require that conversions are performed at all input or output stages.) 4. INDEX LIST 4.1. COMMAND_FORMATS Command_formats fall into the categories of General, Specific and All-types. General command_formats have a least significant nibble equal to 0, except for lighting which is 01H. Specific command_formats are related to the General command_format with the most significant nibble of the same value, but represent a more restricted range of functions within the format. Command_format "All-types" (7FH) is used for system wide "broadcasts" of identical commands to devices of the same device_ID (or to all devices when used with ; see 2.2, above.) For example, use of the All-types command_format along with the All-call device_ID allows a complete system to be RESET with a single message. Controlled Devices will normally respond to only one command_format besides All-types. Occasionally, more complex <strong>control</strong> systems will respond to more than one command_format since they will be in <strong>control</strong> of more than one technical performance element. Controllers, of A3-8
course, should normally be able to create and send commands in all command_formats, otherwise their usefulness will be limited. Hex command_format ------------------------------------------------------ 00 reserved for extensions 01 Lighting (General Category) 02 Moving Lights 03 Colour Changers 04 Strobes 05 Lasers 06 Chasers 10 Sound (General Category) 11 Music 12 CD Players 13 EPROM Playback 14 Audio Tape Machines 15 Intercoms 16 Amplifiers 17 Audio Effects Devices 18 Equalisers 20 Machinery (General Category) 21 Rigging 22 Flys 23 Lifts 24 Turntables 25 Trusses 26 Robots 27 Animation 28 Floats 29 Breakaways 2A Barges 30 Video (General Category) 31 Video Tape Machines 32 Video Cassette Machines 33 Video Disc Players 34 Video Switchers 35 Video Effects 36 Video Character Generators 37 Video Still Stores 38 Video Monitors 40 Projection (General Category) 41 Film Projectors 42 Slide Projectors 43 Video Projectors A3-9
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Instituto de Acústica Profesor Pat
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INDICE v
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2.3.1. Iluminación 29 2.3.1.1. Dim
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ANEXOS 109 ANEXO 1. TEORÍA GENERAL
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RESUMEN El presente trabajo muestra
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1.1. INTRODUCCION El mundo del espe
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CAPITULO 2. REVISIÓN BIBLIOGRÁFIC
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• Show control se refiere a cualq
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máquina dedicada a una determinada
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2.1.3.1. Basados en Eventos. El adm
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En nuestro ejemplo mostrado en deta
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2.2. DISPOSITIVOS CONTROLADORES DEL
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mediante el lenguaje ensamblador MP
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externo. Un programa de control det
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una manera completamente transparen
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La programación es hecha sobre un
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2.2.3.3. Maquina de Control del Sho
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2.3. SISTEMAS INVOLUCRADOS EN UN SI
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un dispositivo controlado. Sin emba
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2.3.1.2. Controladores de Iluminaci
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2.3.1.2.2. Consolas de Iluminación
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Dentro de las luminarias Floodlight
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archivos numerados del 1 al 15 pued
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El 8TraXX también puede ser contro
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CONEXIONES DEL PANEL TRASERO - Alim
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El panel trasero de la AudioBox cue
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estado de los datos. En 1997, QSC d
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Los controladores escénicos mecani
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2.3.4. Sistemas de Proyección [23]
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interfaces que permiten la sincroni
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corriente eléctrica de miliamperio
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2.4. PROTOCOLOS Un protocolo [25] e
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número de proyectores de diapositi
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En esta versión de Show Control, n
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En los anexos se encuentra un diagr
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2.5. FORMAS DE SINCRONIZACIÓN [35]
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diapositivas y en total sincronía
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2.6. SISTEMAS SHOW CONTROL EN EL ME
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ShowProMI DI Sinodial Stage Researc
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genera una nota MIDI que dispara el
Page 82 and 83: disparado al mismo tiempo el sistem
Page 84 and 85: La Galería de Historia muestra la
Page 86 and 87: CAPITULO 3. MATERIAL Y METODOLOGÍA
Page 88 and 89: correspondientes al de un Tom de ba
Page 90 and 91: 3.2.3. Sistema de Iluminación Se i
Page 92 and 93: Fig. 40. Conexión DMX 512 desde la
Page 94 and 95: Fig. 45. Lista de Cue del software
Page 96 and 97: En tal caso aparecieron los siguien
Page 98 and 99: Fig. 53. Lista de Cue configurada p
Page 100 and 101: los 4 primeros botones Flash, con l
Page 102 and 103: 4. RESULTADOS Al ejecutar la pista
Page 104 and 105: CAPITULO 5. CONCLUSIONES 99
Page 106 and 107: CAPITULO 5. CONCLUSIONES • Show C
Page 108 and 109: CAPITULO 6. REFERENCIAS 103
Page 110 and 111: CAPITULO 6. REFERENCIAS [1] Harada,
Page 112 and 113: AGRADECIMIENTOS En primer lugar, ag
Page 114 and 115: ANEXO 1. TEORÍA GENERAL DE ILUMINA
Page 116 and 117: TEORÍA DE ILUMINACIÓN TEATRAL Par
Page 118 and 119: Una opción de menor costo pero efe
Page 120 and 121: LUMINARIAS Una LUZ de ESCENARIO en
Page 122 and 123: luminarias PAR son altamente eficie
Page 124 and 125: A2-6
Page 126 and 127: NOTE: This version is not the lates
Page 128 and 129: Optionally, Controlled Devices may
Page 130 and 131: Decimal points should be separated
Page 134 and 135: 44 Dissolvers 45 Shutter Controls 5
Page 136 and 137: 4.4. SOUND COMMANDS The following c
Page 138 and 139: 00 delimiter optional; required if
Page 140 and 141: For compatibility with Controlled D
Page 142 and 143: Starts the 'Auto Follow' clock time
Page 144 and 145: 1D OPEN_CUE_PATH required 1E CLOSE
Page 146 and 147: CIRCUITO DE INTERRUPTORES CONTROLAD
Page 148 and 149: ANEXO 5. ORGANIGRAMAS A.5.1. MENSAJ
Page 150 and 151: F 0 STATUS 1 - - - - - - - SYSTEM E
Page 152 and 153: F 0 SYSTEM EXCLUSIVE ¿ ? TIEMPO RE
Page 154 and 155: SET nº ¿Read/Write? 1,2,3,4 R/W 4
Page 156 and 157: OPERACIONES BÁSICAS 1. Crossfades
Page 158 and 159: 6. Destellando un Canal o Escena Lo
Page 160: Los tiempos de fades pueden ser pos
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