Installing Avolites Titan V10, plus Features!

Just a quick post, two videos — one for helping you install Avolites Titan V10 onto your desk/laptop/etcetera, and a video of the feature set of V10, which I’m pretty freaking excited about installing!

First things first, let’s get V10 installed onto your machine:
http://www.avolites.com/software/latest-version

Now, while that’s installing, check out an overview of the features of V10, get yourself up to speed!

Avolites Releases Titan Version 10!

Ladies and gentlemen, it’s dropped!  Titan v10 is now available for download:
http://www.avolites.com/software/latest-version

avolites_download_v10

FARMINGDALE, New York – June 28, 2016 — Avolites’ much anticipated Titan v10 software is now available to download for free onto all consoles from the Tiger Touch Pro (inclusive) onwards. Some older consoles may be compatible with v10 if an upgrade kit is fitted (please contact Avolites or US distributor Group One Ltd. if unsure).

Titan v10 is the result of a year of research and development by a dedicated team of Avolites developers, enhancing the best-loved features of Titan v9 and introducing a wealth of new ones. Many of the new features have been created in response to user and industry feedback.

“We’re thrilled that Titan v10 is now available for our users—we believe the new software will have a hugely positive impact on the lives of lighting designers, improving workflow and facilitating even more creativity and amazing results,” says Avolites Sales Director, Koy Neminathan. “Titan v10 will make our range of industry leading consoles even more powerful and able to adapt to the way our users like to work. We can’t wait to see the new features in action on more demanding shows than ever before!”

Officially launched at Prolight + Sound in Frankfurt in April, one of the most striking additions in v10 is the full 3D visualizer powered by the Capture engine, which allows the user to create and edit shows right inside the Titan interface and lay out fixtures in the space using the console’s encoder wheels.

Titan v10 also allows the user to view intensity values in one place via the Intensity Grid. This clearly shows levels, source of information, whether increasing or decreasing and tracking information.

Avolites has also added the set legend Halo, which allows the user to add color borders around fixtures and groups, enabling fixtures to be viewed much more easily within the console screen, especially if there are a lot of them. Users can also easily identify which group they belong to.

Another feature is Freeform Workspaces. No longer restricted to just four workspaces per screen, pick any position and size for windows in seconds and store them to workspaces for quick access to the information one needs.

Titan v10 now offers a very useful UNDO feature, offering a 20-step back history, in addition to a new REDO history, too. Massively speeding up programming, the user can undo almost any action on the console including delete, merge, move and loads more. View history in the new undo window, and click any point to undo back to that action.

There are also extra directions including random for the hugely popular Key Frame Shapes feature, offering many more looks. Key Frame Shapes allows one to create spectacular effects from scratch. Using palettes or the programmer to define the frames, and powerful tools such as transition curves, phase and spatial direction, it is possible to create radically different looks for each channel in seconds.

And Avolites’ industry-leading Pixel Mapper gets even more powerful with the new Motion Blur effect, which creates trails that follow the element. Users can also now use the faders in Live Shape Editing to alter the shape with incredible ease.

Titan v10 includes the much-used Multi User Networking feature, allowing one to connect multiple consoles together to work collaboratively on the same show. A show can have multiple users, each with their own User Settings, Handle Worlds and Selected Key Profiles. When set to Multi User, consoles can also still be used as backups.

All Avolites consoles will ship with Titan v10 installed from Avolites’ head office in London from July onwards.

For a full list of Titan v10 features, visit: www.avolites.com/products/titan-features

To download Titan v10, head to: www.avolites.com/software/latest-version

About Group One Ltd.
Group One Ltd. is a US importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division currently distributes Blue Sky powered nearfield monitors, DiGiCo digital mixing consoles, MC2 high quality innovative amplifiers, and XTA digital signal processing equipment. The lighting division currently distributes Avolites lighting control consoles, elektraLite controllers and intelligent lighting, and Pulsar LED lighting.

# # #

Reader contact:
Avolites US / Group One Ltd.
70 Sea Lane, Farmingdale, NY 11735
Tel: 631.396.0184 / Fax: 631.396.0190
Email: sales@g1limited.com
Web: www.avolites.com / www.g1limited.com


Titan V10 — full features blurb:

Key Frame Shapes 

Introducing the amazing new Key Frame Shapes, providing the capability to create spectacular effects from scratch. Using palettes or the programmer to define the frames, and powerful tools such as transition curves, phase and spatial direction, it is possible to create radically different looks for each channel in seconds. Synchronise these together for dramatic impact. Integrate Pixel Mapper effects with Key Frames using one simple interface.
See Key Frame Shapes in action in this video from Robe!

Multi User Networking

Connect multiple consoles together to work collaboratively or independently on the same show. A show can have multiple users, each with their own User Settings, Handle Worlds and Selected Key Profiles. When set to Multi User, consoles can still be used as backups.

Multiple consoles on the same show allow your backstage tech to exchange, reset or fault find on fixtures, or even patch in floor packages, without interrupting programming. The ability to have multiple programmers working at the same time enables speedy programming, with palettes being made or edited on one console automatically updating to other connected consoles.

Networking of the outputs using the Titan Network Processor allows system capabilities to be increased to up to 64 DMX universes, catering for even the largest world class spectaculars. All of this can still be used in conjunction with Titan Remote!

Full 3D Visualiser

V10 features a full 3D visualiser powered by the Capture engine. Create and edit your show right inside the Titan interface. Lay out your fixtures in the space using your console’s encoder wheels.
Channel Intensity Grid 

See all your intensity values in one place with V10’s Intensity Grid. This clearly shows levels, source of information, whether increasing or decreasing and tracking information.

Freeform Workspaces 

No longer restricted to just 4 workspaces per screen, pick any position and size for your windows in seconds and store them to your workspaces for quick access to the information you need.

Undo 

Massively speed up programming with comprehensive Undo functionality. Undo almost any action on the console including; delete, merge, move and loads more. View history in the new undo window, and click any point to undo back to that action.

Pixel Mapper with Motion Blur 

Avolites’ industry-leading pixel mapper gets even more powerful with the new motion blur effect in Titan V10, allowing for even more creative possibilities.

Unmatched Pixel Mapping Capabilities 

The industry’s best pixel mapper allows complex multi-layer effects made in record time, across all fixture groups, as if they were one entity. Create and animate pre-programmed or custom content using Avolites’ unique Quicksketch tool and image import. Use Gradient Fill to create smooth, soft edge transitions and exciting layered effects, now even quicker using cross-layer copy and move functions.

Align

Effortlessly copy values across fixtures, either in a recurring pattern or a smooth fade.

Quicksketch

Quicksketch icons are fast to find during show time. Create custom icons instantly with Avolites’ unique Quicksketch drawing tool.
Titan Remote

Use the remote for fast and simple fixture focusing or updating palettes when away from front of house. Program, Edit or Playback all of your Cues, Cue Lists, Chases and Effects.

Titan Remote works as a separate networked console, giving you all of the facilities and tools of Titan. Available on iOS and Android.

RGBW, WWCW, and ARGB colour mixing and Pixel Mapping

Get maximum punch and more accurate colours from your LED fixtures, thanks to new, four-channel pixel mapping and colour mixing.

Show Library

The central point to access any item within your Titan show. All show elements can be searched or filtered using the quick filter, with each element appearing in page order for easy grouping. You can un-assign items rather than deleting them, so you never lose that all important cue which allows you to use the show library as a cue store.

Also the hub for importing programming from any other Titan show, Show Library allows you to quickly switch between shows when importing content.

Clip Select

Video Media Integration with instant multi-layer patching and Video Clip Selection by image preview.For servers supporting CITP.

Cue List View

Tapping once in the Playback display will open the Cue List View. Tapping twice on a cue opens the Channel Grid View for the current Live cue. All views are programmer interactive. Copy, Paste and ‘Select Range to Edit’ provide a powerful editing tool for cues, Palettes and Chase steps.

Move in Dark & Tracking

Easily create complex cue lists with the help of extensive move in dark and tracking options. See exactly what each step contains using the shape and pixel map views. Edit values directly from cue view, and set fade times over the whole cue, attribute groups or individual channels.

Show Import

Quickly create new shows from the best parts of your past productions. Reuse any part of your show from Shape Palettes to Fixtures and Cue Lists.

Set List

Cue pages can now follow the shows running order – no matter how late you are given the set list. Display helpful notes like songs, follow spot colours or operator cues.

Show Reports

Create a cue list hard copy for the director or arrive at the venue with your rig pre-patched by sending in advance your fixture patch to the venue crew.

Exchange Mapping

Fixture exchange is revolutionised with a unique visual, Attribute Mapping System. Customise any fixture exchange to fit your needs; for example, old Gobo 1 to new Gobo 3. Keystone Custom fit your projection onto any surface. Stretch, adjust, tweak to fit at your fingertips.

Blade Control

An intuitive hand eye action affording fast, accurate control of shutter blades.

Global Palettes

Global palettes are importable between shows, and allow users to apply information universally to all fixtures possessing intensity, colour, pan or tilt attributes. When imported, Global Palettes will match these attributes across all fixture types, saving you from having to recreate the palettes. Global palettes can be recognised by the ‘G’ in the top right corner of the palette handle.

Nested Palettes

Create palettes which reference information from another palette. When the originals are updated, they will also update the nested palette. You can toggle between whether the palette remains nested or not, allowing the palette to have hard attribute values, or to continue referring to the base palettes used to create the nested ones

Photographing High-Speed Water Droplet Impacts | JimOnLight

This sounds a little nutty if you’re just blowing by it in my Twitter feed, but this is actually pretty cool.

Make Magazine (via Hacked Gadgets, which you need to check out) writer Ted Kinsman posted an article about a pretty cool way to photograph water droplets at high speeds using a homemade Mariotte’s Bottle device and some circuit applications.  Easy and peasy, actually — try it yourself!

you know, in all of that spare time you have between job/home/family/life…

double_drip_1

From Make Magazine: http://makezine.com/projects/capture-incredible-water-droplet-impacts-with-a-high-speed-camera-rig/

Ted posted this photo of the rig:

drip-rig

The Drip Rig

double_drip_2

You have to check out this article!

http://makezine.com/projects/capture-incredible-water-droplet-impacts-with-a-high-speed-camera-rig/

How Lasers Actually Work

I’ve been digging lately, looking for the next thing to wow my photon brain…  there’s been some LED developments and some other manufacturing-based tech dev that has been cool, but when you see something that peaks your curiosity, you’ve often got to go way back to the starting line and stretch.

Here’s some mind stretch for the photonics world — How Lasers Actually Work:

howlasers

This article is from one of my favorite blogs, Hackaday.  It’s in your face.

From Wikipedia -- https://en.wikipedia.org/wiki/Carbon_dioxide_laser

From Wikipedia — https://en.wikipedia.org/wiki/Carbon_dioxide_laser

And that is a big-ass Carbon Dioxide laser lasing and igniting a target.  Boom.

You know what blows my mind about lasers?  It’s just light.

This plywood is being cut by light.

This metal pipe and stuff?  Light.

Allllll light.

This is also all light:

Awesome.

Some companies and websites to check out:

X-Laser, who makes pretty bad ass laser packages for our industry
Pangolin, they make some interesting laser control software/hardware
Showlasers, a Dallas company that does some pretty amazing stuff
Edmund Optics, just get on their catalog list, they have the coolest freaking optics catalogs
Schaum’s Guide to Optics, probably one of the best optics books I’ve read
Real Genius, with Val Kilmer, one of the best nerd movies of all time, about lasers

Choreographed Meteor Showers. For Real.

Ok, meteor showers, on demand, from a satellite, developed by a company in Japan.  Yes, I do believe it’s happening.

P_05

A company out of a small office in Japan is putting together something that will literally allow you to fire shooting stars from Earth’s upper orbit down into the atmosphere, and one of their potential clients is the 2020 Tokyo Olympics.  From Bloomberg News:

Ale Co., which [Lena] Okajima runs with five people out of a small office in Tokyo, could start offering on-demand meteor showers by 2018, using a carry-on-sized satellite packed with as many as 1,000 centimeter-sized pellets. Released remotely from earth and available in different colors, the shooting stars would be seen by as many as 30 million at a time in urban areas—they may even be ready in time for the 2020 Tokyo Olympics.

Event organizers, governments and theme-park operators are Ale’s most likely customers, similar to how fireworks shows are already put on. Wealthy individuals may also be potential buyers, Okajima said. Japan is also an ideal place to launch this kind of business, given the popularity of the spectacles here. The archipelago’s fireworks industry was worth 5.2 billion yen ($48 million) in 2014, according to the Japan Pyrotechnics Association.

“In the sense that you light up the sky, shooting stars and fireworks are really the same,” said Haruyuki Kono, the group’s senior executive director. “You have to turn it into a show. With a tradition of 300 years, hundreds of thousands now come to see such events.”

animation-skycanvas-2

This is pretty serious stuff here!  We’re talking pyrotechnic displays firing down from the sky.  A question on everyone’s mind is “will this be safe?”  I checked in with the ALE website to see if they made any comment on this — from the ALE website’s FAQ:

What would happen to the satellites after the mission?

In order for used satellites to not become debris (space trash), we follow the international regulation and ensure that it is combusted by entering the atmosphere within the next 25 years. In this case, the used satellite itself will become a very large shooting star.

Is there any danger of a shooting star particle colliding other objects in space (i.e. satellites or debris) and creating more debris?

No; We are working with relevant organizations for ensureing space safety.
Joint Space Operations Center (JSpOC), operated by US Strategic Command’s Joint Functional Component Command for Space, provides a database which tracks all satellites and debris in space. Based on this database, we have developed a software that calculates the probability of our particles colliding with other objects. The particles will not be discharged unless safety is confirmed. In a rare case that there remains a question in safety based on the simulation, we will abort the discharge to prevent a possible disaster.

skycanvas-1

AND, of COURSE there is a video!!

The founder of Ale, Lena Okajima, has a PhD in Astronomy and had a job at Goldman Sachs, according to the Wall Street Journal:

lena_okajima

A meteor shower she witnessed while a student made a deep impression. More than a decade later, her startup Ale Co. is working to provide artificial shooting stars on demand for festivals, civic events or any other occasion that calls for fireworks of a more astronomical quality.

“I don’t just want to sell the stars, I want to pair them with exciting events on the Earth so people can enjoy them,” said Ms. Okajima, who previously worked for Goldman Sachs and holds a Ph.D. in astronomy.

Ale is one of an increasing number of Japanese space startups attracting attention and investment. In March, Singapore-based Astroscale Ltd., which was founded by a Japanese man and plans to help clear space debris, received $35 million in funding, including $30 million from a Japanese state-backed investment fund. The same month, Japan’s space agency announced it would work with Japanese venture ispace technologies to create an insectlike robot to explore the moon.

This is a pretty cool idea, I have to say. I don’t think any of the events I get to do could afford this though… the initial cost projection to get the satellite with all of the chemical fireballs in it is around $2700 a kilogram, aboard a Space-X rocket, since Elon Musk is the A-game in town right now with respect to space exploration, and the weight estimation is about 50 to 60 kilograms…  You have to see this graphic of how much it costs to send something to space aboard one of the Falcon rockets…  it’s 62 million dollars.

space-x-capabilities

I wonder how long it will take for the actual payload to be used up, or if they will coordinate multiple “productions” to be mounted from a single satellite?  This seems like the idea that might be able to generate lots of space trash, right?  I mean, one or two Bieber parties and a Kanye birthday bash, and we’ll have so many pieces of interstellar festival trash to clean up…  or maybe not.  I’m sure someone will ask that question.

Here’s a quick but interesting WSJ interview about the company, founder, and some of the process:

How this thing works:

shooting-star-process

So, in short, ALE sends up a satellite device that is loaded with several hundred to a thousand little pellets of secret chemical that are then shot out of said device using a special on-board firing mechanism that basically launches the pellets towards the atmosphere, where they burn up.  It’s called plasma emission, which is brought about by the increase in friction of something entering atmosphere — it heats up and burns, and in the process, creates some visible light.

Ale has done their testing in an arc-heated wind tunnel to simulate the conditions of a space vacuum…

arc-heated-tunnel

Photos of that device, I found these to be pretty interesting — like a little National Ignition Facility!

Team_omoi_02

Team_omoi_01

Now, all being said, there are some very, very big brains behind this tech.  Dr. Hironori Sahara from Tokyo Metropolitan University’s Aerospace Engineering division; Dr. Takeo Watanabe from Teikyo University’s Aerospace Engineering program; and Dr. Shinsuke Abe from Nihon University’s Aerospace Engineering department.  I highly recommend hitting the links on these mens’ names here in this paragraph, each links to an interview with them.

hironori-sahara
shinsuke-abetakeo-watanabe

 

 

 

 

 

 

 

 

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Some hat-tips:

Spoon and Tamago
WSJ
Bloomberg
The ALE Co. website
SpaceX

Things I’ve Learned in Lighting

Sometimes our lighting world feels like this — task lists and spreadsheets and travel schedules and light plots, oh my!

shit-shit-shit

I’ve been traveling a lot.

A lot, a lot.

Try keeping up with Brad White (he’s an effing machine, folks, I learn a lot from him pretty much every day AND he’s not a d-bag about it), but I most definitely have been making the rounds more than I ever have in my life. Right now, for example, my body is in three time zones, so sleeping is a joke. It doesn’t matter anyway because I’m flying back to another time zone where I can wait for a whole day to get some sleep, have no time to go to the firing range (my hobby is shooting as a lot of you know), or even have a break from the go-go-go. I’m not sure why, but I really like it that way. This is perfectly OK, fully acceptable, and a major part of the business. It’s a bit masochistic, methinks. I live and die to help people have a good show, even if it’s be going to a job site and putting my hands on someone’s shoulder and telling them how killer that look they just wrote was.

An old friend asked me recently about living in light and how it differs from his life, this very energetic and powerful industry full of powerful people… and I really didn’t know how to answer because I don’t really know any other way, this is the life I live.  So…  I suppose just writing down some of the things I’ve learned because of lighting and the lighting industry might be a useful post. I’ll be the first to tell you that I have learned a lot of things by smashing my face into them until I could either no longer feel my face or a I figured out a different way to accomplish a task, but I think that if you’re about to get out of school, if you’re switching careers and trying to get into lighting somehow, or just looking for another path — allow me to impart some of the hard-knock wisdom I’ve learned in my life.

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Here’s an unordered list of things that I’ve been thinking about in hotel rooms and airplanes as I’ve been spreading the photon love across our beautiful Earth.

  • Be a good person.  No one wants you on their crew if you’re unable to smile and at least make other people feel like you want them around.  This is so important, especially if you’re an impressionable new tech/designer/manager/hand in our awesome industry.  If you follow this rule, I promise you will go far.
  • Always bring your tools.Have you ever shown up to a call without a C-wrench or some other piece of gear that actually makes you useful?  I’ve yet to meet a woman or man who can tighten bolts of various sizes tight enough with their hands to make a difference, so don’t look like you came to work without your brain.  Also, it gets real old really quickly to have to provide someone with a wrench who is probably going to walk off the job with MY wrench, so bring your own shit.
  • Everyone is tired.  You’re not the exception.  That guy over there?  He’s probably been on the job just as long as you, and all your whining wants to make people do is staple gun your lips closed, and never call you again for a gig.  We’re all guilty of this, me included.  It’s really up to you to keep it to yourself as much as possible.  There’s certainly a time and place, but usually during the gig isn’t either of those.
  • You’re not as good as everybody doing what you do.  This is particularly true when it comes to recently graduated students, people who have huge egos, and people without talent.  There are anywhere from 5 to 5,000 Stevie Ray Vaughans in Nashville right this moment, for example, who didn’t have the “right place at the right time” scenario like SRV did, and the same thing goes for lighting designers and programmers. There’s one Peter Morse, there is one Patrick Dierson, there’s one Benny Kirkham, there’s one Sean Cagney. Be humble, be real. Be yourself and do your own stuff.
  • Your resume is for getting jobs, not talking about ON a job. If you think the rule above didn’t apply to you, try this one. No one cares how many shows you did when it comes to the professional industry — we’ve all done lots of shows. You obviously wouldn’t be on a show if you were completely worthless (well, your mileage may vary) but the general idea is do your job and prove to me that you can by doing that job without me having to go back and do it again.
  • Relationships are sometimes hard. I’m divorcing right now. It happens. Not all relationships last, and not all people are meant to be together. It’s just life. Get a helmet. Don’t let it ruin your life, move on and find happiness. It’s not the end of the world. Here’s an idea: make sure that your significant other knows exactly what you do, how long it takes for you to do it, and if you travel, make sure that it’s not a surprise. Do all of this before you set out on that first leg of the tour.
  • Don’t be deadly.  When you do things on the job site that endanger your fellow hands and staff…  you’re deadly.  We work in what’s typically classified as a hazardous environment.  It takes one moment to forget to do something, and that one thing could cause a chain reaction of failure that could and will eventually take the lives of those who are just working to support themselves and their families just like you.  Don’t be deadly.  This is just entertainment.  No matter how much a show costs, it’s never worth a funeral.  We play for a living.
  • Be expert at what you do before you give advice to others.  So often on a job site, people are quick to give advice to other seasoned professionals in order to look like an expert at their job and make whomever is doing that job right now look less qualified.  That makes you a douchebag.  Don’t be a douchebag.  You would be surprised how much nicer the workplace is when everyone isn’t pissed off.  Seriously!
  • The client is usually right.  Sorry folks, this is true.  Who do you think is paying the rent?  However…  you’re a seasoned professional.  If you think the client is wrong, it’s your responsibility to prove, beyond a shadow of a doubt, that you have a better idea to make their show even more awesome than they think they’ve made it.  But — can you do it without telling them that you’re right and they’re wrong?  THIS is what makes a REAL seasoned professional.  Just make sure that you’re doing what is best for the show.
  • There is a time and place to be wasted.  That time is never, ever during work hours or show call, and never, ever at the show site.  Some people may disagree with me here, but I’d rather we all disagree a little than me having to write another post about people dying at work.  Cokehead riggers, methed out carpet kickers, baked loaders, drunk focusers…  I feel like I’ve seen at least a little bit of all of it, and it still scares the crap out of me.  A whole lot of us like to party in this industry — let’s do it at the party or after the party we’re working.  I need my crew at their top performance, and so does everyone else.  You may think that you can work while you’re blasted.  You cannot.
  • Politics is always a bad discussion topic at work.  We all talk about it, we all get offended when someone tells us that we’re wrong, and you can barely ever make an inroad with someone who doesn’t want to connect your opinion with their political beliefs.  Hey, this is our future we’re talking about here!  At least in lighting, which is where I’ve lived my life, there is a major polarization of the two party system, and even a greater separation within each party.  Plus, we in lighting tend to be very passionate about the things we like and dislike, and the last thing you want to do is get into a political debate when people want you to string multi.  Save it for break, and even then, be human.11705114_10153192765669930_6129062547362133458_n
  • Find a hobby.  You need something to do outside of working.  I can’t stress this enough.  Find something other than light that you like doing, and do it when you want outside of working.  My hobby is shooting and firearms, and it’s something I enjoy that relieves the stress of life’s foibles.  In my particular case, my hobby and the time I’ve spent on it gives me a way to protect myself from some of the crazies out there in the world.  Speaking of…
  • Crazies are everywhere.  There is a staggering amount of completely unreasonable people in the world, from lighting to marketing to production, and everywhere in between.  There are people out there who will stalk you, drive by your house, try to hack your email, and they make it their life’s work to ruin yours.  Be smart; get an attorney.  Slander is Slander, Libel is Libel, and Stalking is Stalking, even digitally, and it’s all against the law.  Protect yourself, don’t let someone intimidate you because they’re miserable with who and what they’ve become.  If the law won’t help you, make sure you can shoot center mass if they breach your perimeter and decide they want to hurt you.  Some people don’t know when to quit, and make it their life’s mission to cause you pain and injury.
  • Take care of your body.  I’m trying to work on this the older I get, and the older I get, the more important it gets.  When you put garbage into your system, you get garbage out of your system.  This industry does not favor a lack of energy, and the more sluggish you are at work, the more sluggish you’re going to find your pay to be.  Plus, that 45-minute dump you had planned during the call is really screwing up my workflow.  Also, if you’re overweight, lose some of that weight and see how much better you feel.  I have another 30 pounds before I’m “satisfied” with what I am, and every five pounds feels like five more happy years on my life.
  • Get really good at networking.  Learn how to manipulate TCP/IP networks.  Get really good at it and become familiar with the equipment, methods, and structure of said networks.  Everything (almost) in lighting has become a network device, and everything (almost) is talking DMX wrapped in a header of some kind over an ethernet line.  Welcome to the future.  Also, please don’t rely on that 25 dollar hub or switch to be your network highway when you’ve spent several hundreds of thousands of dollars on control, fixtures, and other equipment.  Please don’t do that for your show’s sake!
  • Learn how to solder.  Just do it.  This should be as important as wiping your own ass in this industry.
  • Be nice to those who may appear to have the least impact on your life.  This is a pretty easy one, actually.  It’s evident when you go out with colleagues or other professionals…  watch how people treat wait staff, restaurant workers, janitors, drive through order takers, and anyone you run across in your day.  It absolutely drives me to fury when I’m with someone I respect and I see them shit on someone like that, I instantly lose some of my respect for them.  Be nice to people, you never know what kind of war they might be fighting today.  Besides, who the hell do you think you are?  We’re all humans.  Spread some kindness.

That’s enough for now.  I’ll update this as I go, but I think you all know what I mean.  If you have extra guidelines for lighting life, please post in the comments.  You’re always welcome here.