We needed a way to keep the over colour palette of the show to remain harmonious whilst still being a live operated production.
It is hard to stay in constant verbal communication between Video, Light and Laser to keep the production from turning into a"Rainbow".
The solution was to create a link from the video mapping to the lighting console. We are still to figure out how to include laser in the colour mapping.
To achieve this RAW DMX data was generated in an RGB format based on a lighting fixtures location relevant to the video content. Essentially the whole stage was treated as a video surface, VJ content was mapped to the LED screens and lighting fixture positions were included in the mapping and sent relevant RGB information.
This was then sent to the lighting console over ArtNet and merged with the consoles own DMX stream for that fixture.
This meant the VJ could control the colour of each lighting fixture whilst the Lighting Operator could maintain control of the rest of the fixtures function.
Mad Mapper was used for pixel mapping and lighting fixture colour mapping.
By having overall colour control dictated by video content smooth colour changes could be achieved. From slow RGB cross fades to fast on the beat colour strobing, everything remained in sync.
Mad Mapper gives the ability to quickly change between looks. So it was even possible to setup inverted selections to have the lighting fixtures remain in contrasting colours for bold looks.