Hey, my name is Nick. I'm from ETC New York
and I am here to introduce the exciting new features of Eos Family 2.3 software. Let's get started.
We've got a lot of new, exciting features in 2.3 for you. Let's take a look at Effects first.
The first thing I am going to look at are my two new flags.
I am going to look at Effect [901].
You'll notice that there is a new attribute called Continuous Run.
For step effects, which are absolute and step-based effects, this flag is by default disabled.
For math-based effects, such as this Circle effect, Continuous Run is enabled.
What that means is whenever I encounter a move instruction,
if Continuous Run is enabled it will allow the effect to continue running through the move instruction.
If continuous run is disabled, that effect will stop as soon as it hits that move instruction.
Right now, my effect will continue to run if my pan and tilt parameters change in a cue.
If I disable that, my effect will stop as soon as those parameters change.
Another new effect flag is the Repeat On Go.
I am going to go ahead and look at [Effect] [11] for this one.
I have a step-based effect that is chasing my color palettes.
I am going to change my {Duration} from 'Infinite' to [25] seconds.
This is what we call a single-shot effect.
The effect is going to play once, and depending on whether or not my Repeat On Go flag is enabled,
if I hit Go after that effect has expired, Repeat On Go will re-fire it on the next Cue Co.
I am going to go ahead and turn that on.
Now, every time I hit Go, this single-shot effect is going to replay,
and the only way for me to stop it is to place a Stop Effect flag on those channels.
I am going to go back out into [Live] right now.
Let's look at some of the things that we've done with Stop Effect flags.
I am going to go ahead to [Cue] [101], which is running some effects for me.
If I say, [31] [Thru] [45] [Stop Effect],
I'll be able to post a Stop Effect flag. I can update that into a cue just like any other move instruction.
When I post a standard Stop Effect flag, it will stop the effect that is happening from that cue list.
There is a new Stop All effect flag which allows me to stop the effects running
on those channels from any cue list or sub.
So, I can say [31] [Thru] [45] [Stop Effect] [Stop Effect].
Now, when I play Cue 101 in Cue List 1,
any effects that are running on those channels from any other sources will be stopped.
If you don't have easy access to a Stop Effect hard key,
you can say "[Channel Selection] [Effect] [0]" and that will give you a Stop All flag.
The other thing that has been improved in 2.3 with effects is cue-level overrides.
If I look at my Effects Status Display, I can see that I now have access to all of my cue-level attributes,
and those can be overridden at the cue level or at the sub level.
Another thing that 2.3 brings is some improvement in the By-25 Direct Select Display.
I am going to go ahead and add that display.
If you're familiar with this display, you'll notice that it still brings up the 25 tiles
and the ability to add and subtract arrays on your right-hand controls.
But what we've added is a configuration tool in the upper left-hand screen.
By touching that gear, you get a lot of options:
the ability to add rows, minus rows, add some columns, remove columns.
If you hit the Fit To Screen button, the buttons will fill up the best available space
so you can change the size of those buttons.
You can still add and minus arrays based on the columns and rows that are there.
And then you have the ability to remove or add any of the function buttons for your right-side navigation.
So, we can remove the Arrays, any of the Paging, Record buttons, Flexi buttons,
anything that we may or may not be using.
So these controls can now be as efficient as you want them to be.
The other thing that you'll notice in this setup is we have a Use Color Swatch.
If you have Color Palettes selected here, you'll notice that we now show you a little dot,
and that indicates the color that is stored in those palettes.
That can help you ascertain which color is in which palette a little bit more easily.
We have also re-tasked some of the command line selection functions for a little bit of easier use.
[Select Last] now has a five cycle loop that allows you to just cycle through
the last five channel selections you've made.
That can make you a little bit faster in grabbing things that you touched just a little while ago.
Similarly, [Shift] [At] will grab your last channel selections,
but will also append any parameter information that you've put on there.
So that cycles through in five steps as well.
And then finally, [Shift] [Enter] will allow you take your entire unterminated command line
and cycle through the last five commands you've made.
Another thing that we're allowing you to do now is discrete timing as a percentage.
I am going to go ahead and clear my command line and go to [Cue] [101].
If I put discrete timing on a particular channel, instead of just putting a value
I can now make it a percentage of the category time for the cue.
Let's go ahead and say [71] [Thru] [85].
I am going to say {Red} [Time] [/] [50].
What you'll notice is I get my discrete time, just like always,
and if I hold my [Time] display button down, you'll notice that now
the red is going to fade in 50 percent of the Color Tme for Cue 101.
We have also added another long-awaited display, which is the Channels In Use screen.
I am going to go ahead and open that up.
You'll notice that I get all of my Channels in a list,
and it shows me the number of Cuelists each channel is stored in,
the number of Cues total across the show, if the channel has made any Moves From 0,
if it is stored in any Subs, and then the maximum Level that it is stored in across all of those targets.
In the upper left-hand corner, you have the ability to filter by Cue List.
If you only want to see the channels that are in Cue List 2, you can filter down to just that list.
One of the powerful things that's been added to Eos software in 2.3
is the acceptance of Open Sound Control protocol.
The OSC feature provides a simple interface for show control,
integration, and for remote apps development.
Most Eos functions can be triggered via OSC commands, so any button, fader, encoder, or
command line can function can be triggered using the easy-to-understand OSC commands.
So, I am going to grab my iPad and we're going to look at a quick example
of a sample that was built in TouchOSC.
I've connected this to my Eos via a wi-fi network.
You can see quickly we've got a layout of the face panel – you can say [1] [Thru] [15] [At] [Full] [Enter].
You'll notice that I am directly controlling the console through this remote interface.
I can use attributes such as encoders. If I grab [101] and I move the pan and the tilt,
and I have Submasters, Groups which include Palettes and Presets,
and the ability to do cue playback right from my device.
So, OSC allows you to create completely custom interfaces.
There are lots of different programs out there. Find one that suits you.
Another big new feature is exciting improvements to the Lightwright® import.
Let's take a look at pulling in a Broadway show file.
I am just going to insert my flash drive
and just like before I am going to go ahead and go down to my import function,
find Lightwright.
I am going to find my travel drive and I am going to bring in the "On the Town" show file
from our good friend Jason Lyons.
As soon as I open that up, you'll notice that I have a new import wizard.
Eos makes some guesses as to what information is in the Lightwright file
and where it wants to match in Eos, but I can choose any of the information that is in my Lightwright file.
The other thing that has been expanded is the number of database fields,
so you have a lot more locations where you can drop data.
These text fields can be relabeled and they will auto-label from a Lightwright import.
And you can use these additional functions in the query portion of the desk.
The other thing the Lightwright import allows you to now do is to manage your fixture list
in Lightwright with profiles that are in Eos.
So you can grab a fixture, like a Source Four® 36 degree,
and let the console know that that's a dimmer.
When you are all set you can choose to override the existing data in the show file, or merge it.
Hit okay and all of your data is in your show file.
Some of the biggest changes that come with 2.3 are in the work we've been doing in color.
Two of the most important changes include
improvements in how gel matching and fixture matching works.
as well as the ability to determine how you fade through live color space.
Let's take a look at how some of these tools work out.
One of the first things you'll likely notice in the color work that was done in 2.3
is the look of the color picker.
We've moved to a CIE color space, and the gel picker has gotten lots of work as well.
Let's take a more in-depth look at that.
I am going to go ahead and open a color picker, up top.
You'll notice on a full tab I have my CIE color space –
which works just like the previous hue saturation color space –
and I have a new gel picker with lots of libraries and a better looking gel picker.
Let's take a look at the color picker in more depth.
The CIE color space works exactly how the hue sat color space used to work – that you're used to –
and there's lots of different color spaces that you can pick depending on what you're working with.
We're going to stick with the default of CIE for today.
The gel picker, like before, has all of your standard gel libraries
as well as a new section called Standard Colors.
This gives you lots of different options for color temperature in white light
as well as some standard colors for you to pick from.
The color picker also has some new sorting tools so you can sort by the gel member,
or you can sort by hue.
And if you pick a color, you can see similar colors to where you are in that color space.
We also give you the ability to select either the Brightest gel match,
or the match that is closest to the spectrum of the gel.
Because that tends to lose a little bit of light output,
there is a middle ground called Hybrid, which keeps the same chromaticity but gives you a little bit more output.
As you can see, this new color space offers a lot more flexibility than before.
So be sure to familiarize yourself with all of the tools before diving in.
Another helpful color tool is the ability to tint things.
With these tinting tools, you can adjust the color temperature of the fixture,
the hue/saturation, the brightness.
And it's good to know that these are abstracted from the actual color space.
For example, if you wanted to adjust the red in a CMY space, these tools would let you do that.
Another tool that we're introducing is the Spectral EQ.
You can think about this as a graphic equalizer for a spectrum of light.
So, let me grab a channel here.
And you can see in my Source Four® LED 2 Lustr® I've got a seven color system,
and I now have the ability to grab individual emitters and adjust those in a visual way.
One of the great things about this tool is you can hold the color point.
What that means is with Hold Color Point checked,
I can adjust the output of the fixture and preserve the chromaticity.
If I don't have this color tool open,
I can hold the color point by holding the [Color] page button and adjusting individual emitters.
That will hold my color point as well.
This tool works in controlling our seven color system.
You can also control other systems such as CMY.
However, my Hold Color Point will only work for fixtures that have more than three color attributes in their color system.
Let's look at another major component of the color tools, which are the fade tools.
I am going to go ahead and put back my CIE space and my gel picker,
and I am going to add my fade module.
You'll notice on the right-hand side of my screen I added the color path module.
This determines how color travels through the color space in a live color fade.
The first thing I am going to do is [Go To Cue] [Out].
And I want to grab my cyc light fixtures.
I am going to put them in an amber, maybe a sunset look.
I am going to [Record] that as [Cue] [301].
I am going to [Select Last], make those fixtures blue, and [Record] that as the [Next] [Cue].
Now, with those channels selected,
I can see the path that those fixtures are going to take when they make that fade.
And in CIE space, a straight line emulates a gel fade.
So If I hit [Back] and [Go], those fixtures are going to have a nice smooth transition all the way to the deep blue.
With my Color Path Tool, I can choose from a bunch of different types of fades.
So for example, if I want to fade in hue saturation space,
you'll notice below my dropdown menu is a preview of what that color fade is going to look like.
We store all the information about the color fade in the destination cue.
So, if you look at my Color Blasts, I have a red "C" indicated next to my channel number,
and that shows that my Color Path has changed and I have not updated it.
I am going to [Update] that into the cue, and those turn blue as you would expect.
So now when we watch this fade, the fixtures follow that path through red and magenta on their way to blue.
Not only can you adjust the path the fixture takes,
but there are some timing tools and some brightness tools
that allow you to make your fade look as best as possible.
I am going to delay my in color a little bit, maybe make my out color go a little faster,
and keep my brightness up.
If I update this into the cue, it will store as absolute data.
The other way that I can store the data is through a new target called Path.
If I say, [Record] [Path] [101] [Label] "my color",
that becomes referenced information and I can edit and recall that path across my entire show file.
To manage your paths, simply double hit the [Path] key and you will open the new Path List.
There is a lot more information about color, so don't forget to read the release notes.
Thanks for joining us for the preview of these 2.3 features.
Keep in mind that the book is always better than the movie, so be sure to read your documentation
for all the other exciting features that we've brought to you.
That's a lot of stuff! See you at the next one.