One of the following operations can be performed on each cue: From channel utilisation view, the move assignments button lets you select the channels to modify and then step through each cue where the channels have been used. TheatreMix can selectively move DCA assignments from a source channel (principal) to destination channels (understudies): it's a bit like running Find/Replace for DCA assignments across a whole show. Situations like these require a large amount of programming substitutions to be made quickly and reliably – ideally without changing existing DCA numbers in the marked up script. Or perhaps the production budget gets cut after the show has been programmed, so you need to reduce the number of microphones whilst ensuring all solo lines are covered. ![]() Sometimes an actor playing multiple characters is unable to perform for a show, so their role ends up being divided amongst many actors who play other characters. Compared to the standard palette, cyan (position change) and orange (FX change) are displayed as green, yellow (profile change) is displayed as magenta, and magenta (ensemble move) is displayed as cyan. Grey = no channels are assigned to this DCA, it's a placeholder for future assignmentsĪn alternate colour palette can be selected in Preferences/Options to assist colour blind users.Inverted = multiple channels are assigned to this DCA helps to differentiate between individual and ensemble DCAs.it's safe to press go when all magenta DCAs are at the same level.Magenta = channels are moved in and out of ensemble DCAs in the next cue.Yellow = channel assignment is maintained but a channel in this DCA changes profile in the next cue.note: this is displayed as green on most consoles.it's best to press go when the actor is not speaking.Orange = channel assignment is maintained but a channel in this DCA changes FX in the next cue.press go when the actor is not speaking.Cyan = channel assignment is maintained but a channel in this DCA changes position in the next cue.it's safe to press go when the DCA fader is up.Green = the exact same channels (and positions and profiles) are assigned to this DCA in the next cue.it's best to press go when the DCA fader is down.White = the DCA assignment changes in the next cue.A little reformatting is needed after these cues are recorded, but the motion can then be played back or further edited to scale the timing of the motions (make it faster of slower).TheatreMix automatically colour codes DCA labels so you know what is coming up in the next cue. ![]() Qlab then calculates the time elapsed between fade cues and writes the corresponding pre-wait and action time of the cue. ![]() 5 seconds (limited by the compiling time of apple script) with the current XY values. I will go into more details below, but basically Qlab creates a fade cue about every. The recording portion on the other hand takes a few more steps. The live playback portion simply takes the value for each speaker and writes it to the reference audio cue in real time. These values are then written to another set of memo cues that are referenced for the "live playback" portion and the "recording" portion. Qlab then calculates the level of the speakers using the sum or difference of the XY midi values put into a parabolic equation. These values are then referred to in the following step. These then trigger a corresponding OSC cue that renames a memo cue (utilized as a global variable) with the raw midi value. The Ipad using "Touch OSC" sends two midi messages to Qlab for the X and Y values. In a nutshell, the program needs to take inputs from the XY pad on the ipad, calculate the relative level of the speakers, and record these movements to play back on command.
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