Posts Tagged ‘Real Time’

Pharos plays its part in London’s New Year celebrations

Friday, January 20th, 2012

The spectacular pyrotechnic and lighting show for the Mayor of London’s New Year’s Eve festivities, produced by Jack Morton Worldwide, is an extraordinary collaborative effort involving multiple control systems at multiple locations incorporating multiple disciplines – all perfectly synchronised for this most time-centric event.

Jack Morton Worldwide © Mark Livemore

In Durham Marenghi’s stunning lighting design, temporary Arena Color fixtures and high power searchlights installed by Stage Electrics and supplied by ELP/Syncrolite are integrated with the permanent lighting installations on the London Eye and County Hall.  At the climax of the event, the lighting is synchronised with the fantastic midnight firework display, designed by Darryl Fleming of Kimbolton Fireworks.

Year-round, 640 Philips Color Kinetics ColorCasts illuminate the Eye, supplied by Architainment Lighting and controlled by two Pharos LPC 2s.  The façade of County Hall is floodlit with Philips Color Kinetics ColorReach Powercore LEDs, also supplied by Architainment and also controlled by another Pharos LPC 1.

This is the sixth New Year’s Eve that Pharos has been involved, ever since the London Eye lighting refit in 2006. In the afternoon of 31st December, the discrete Pharos systems are uploaded with special programming for the event, their internal clocks are synchronised with a GPS timecode receiver, and then they’re left to perform by themselves.  Programming is accurate to a hundredth of a second and is in step with the ChamSys lighting consoles and the fireworks controller.

Jack Morton Worldwide © Mark Livemore

Naturally the focus is on the breathtaking midnight sequence but the show design includes lighting for the whole evening during the build up to the celebrations.  Pharos Technical Product Manager Simon Hicks has programmed the Pharos systems for Durham for the last five years.  He explains, “This is the time when we can really show off what we can do with the Eye – for the rest of the year the lighting is mostly static with a few subtle effects to mark certain occasions.”

Durham has also commented that, “Lighting is used to complement and enhance the firework display as well as creating an exciting and dynamic atmosphere of anticipation before the midnight chimes of Big Ben to entertain the 250,000 people gathered in Westminster to witness the event and the millions who enjoy the broadcast on the BBC.”

Pharos brings in 2010 on the London Eye

Wednesday, February 3rd, 2010

The permanent LED lighting on the London Eye and the Millennium Pier is controlled by two Pharos LPC 2s mounted onto the rim of the wheel and a third LPC 2 on the pier.  Since their installation in 2006 they have been an integral part of the Mayor of London’s New Year’s Eve lighting and fireworks display.  This year was no exception.

The LED lighting on the façade of County Hall, which is situated next to the London Eye on the south bank of the Thames, is also controlled by a Pharos LPC 1 and this year it was incorporated into the design for the first time.

The lighting display, designed by Durham Marenghi, commenced at 10pm on New Year’s Eve and became increasingly dynamic as midnight approached.  In addition to the LED lighting on the wheel, the London Eye was illuminated by 20 Clay Paky Alpha Beam 300s, 36 Alpha Beam 700s and 20 VL5 ARCs mounted on the pier, plus a Martin Mac 2000 Wash in each pod.  The movers were controlled by a Wholehog II, programmed by associate designer Paul Cook.  The LED lighting on the London Eye, the Millennium Pier and the façade of County Hall was programmed by Simon Hicks.

Timing is crucial for this event, but the LPC 2s on the Eye, the LPC 1 on the pier and the LPC 1 inside County Hall are completely isolated.  They’re also isolated from the Wholehog II controlling the movers.  However, the clock in each Pharos controller is so accurate that each controller can run independently and use real time triggers to start all the lighting cues on time.  This accuracy was relied upon more than usual this year when Durham asked for lighting pulses on the Eye every second during the final countdown, which was projected onto the side of the Shell Building.

London Eye New Year's Eve Countdown 2009/2010

Counting down to 2010 with the LPC's real time triggers (© Stage Electrics)

Tips for triggering special event days

Thursday, July 30th, 2009

Making provision for holiday and special event days can add complexity, and there are many approaches that work, but here’s the one I think is the cleanest. It takes advantage of the fundamental principle of trigger programming which is that a trigger is tested in the list order, and once is finds a match it stops looking (search is ‘absorbed on match’).

Triggers with conditions need to be higher in the list than the same trigger without a condition – so it matches the specific trigger before finding a general or ‘catch-all’ trigger. As a simplified example imagine an exterior project that turns on at sunset. For most of the year you have a default timeline, but in the winter you have a different sequence, and on Valentine’s Day you have a special sequence. They would all have a sunset trigger. The winter timeline would need a condition that matched December, January and February, and the yucky pink timeline would need a condition that matched 14th February.

Simplified trigger structure for special days

Simplified trigger structure for special days

Because on Feb 14th it would match the general trigger, the winter condition and the Valentine condition, the most specific trigger (equals Feb and equals 14) would need to be higher than the winter timeline (equals Dec, Jan and Feb) and the general trigger (no conditions) lowest. So for instance at sunset on Feb 13 the system will test the Valentine trigger but not match, so will pass on to the winter trigger which it will match, then it will stop looking. The following sunset it will match the first trigger and stop. Two weeks later in March it will not match either, and will instead match the trigger with no conditions.

Advanced Realtime mask for Feb 14: any time, any year, any day, only date 14 and month 2

Advanced Realtime mask for Feb 14: any time, any year, any day, only date 14 and month 2

Advanced Realtime mask for Winter: any time, any year, any day, any date, only months 1, 2, and 12

Advanced Realtime mask for Winter: any time, any year, any day, any date, only months 1, 2, and 12

Tip: If the Real Time condition is calendar based, but the trigger is astronomical, remember to select ‘Any Time’ in the editor before clicking the Advanced button. This selects all hours, minutes and seconds because variable time trigger events need to match at any time.

These triggering principles can be extended to a proper example. The design brief requires an early evening sequence to start at sunset, and a late evening sequence to start at 10pm. It turns off at midnight, except at weekends and holidays when it turns off at 2am. There are special sequences for holidays throughout the year which run all evening, without the change at 10pm.

This is what we need (only some of the holidays are programmed for illustration):

Trigger structure for special days

Trigger structure for special days

The default trigger #1 is sunset -30mins, but is lower in the list than all the special day sunset triggers, so will only play if none of them match first.

Two more useful features are also illustrated here and described in detail below. Firstly, using the advanced Real Time conditions to match moveable holidays, and secondly, using the Timeline Running condition to check the status of a ‘lockout’ timeline before activating triggers that only occur on non-special days.

Fixed special days such as New Year and Halloween, and seasonal conditions are simple to achieve, as illustrated above. However some events will change annually. Easter, for instance, requires a little bit of research and triggers for every year. Others, such as Thanksgiving can still be accommodated within one trigger as the variation is still within boundaries – the fourth Thursday in November can only fall between the 22nd and 28th. This condition is set to match any time, any year, only November, only Thursday, only 22 thru 28. Each year this will only match on the correct day.

Advanced Realtime mask for Thanksgiving: any time, any year, only month 11, dates 22-28 and day 4

Advanced Realtime mask for Thanksgiving: any time, any year, only month 11, dates 22-28 and day 4

Finally, the design brief had requirements for the Holidays to ignore the 10pm trigger and the midnight weekday turn off. To do this, these regular triggers need to check if it is a special day. Checking the calendar list might need a complicated script with a table, or checking that every special timeline is not running. By far the best way is to have the special day triggers also start a common ‘lockout’ timeline, and then the standard evening triggers only need to check if this one timeline has been activated.

This lockout timeline does not need any programming, it just needs to maintain for the day – so hold at end. We use a flag just to give it some duration, so it starts then holds.

Lockout timeline only needs a flag and release behaviour

Lockout timeline only needs a flag and release behaviour

If the timeline is running, the triggers will do nothing. If it is not running, they will execute their actions as normal.

Keeping the party going – real time conditions spanning midnight

Thursday, June 18th, 2009

It’s a common scenario that you want an event to happen between certain times of day, every day of the year.  This is often the case when programming Startup triggers in Pharos to ensure that your lighting and video installation gets back into the correct state after a power failure.  If you’re designing the lighting for a retail store that’s open between 9am and 6pm you would want the store lighting to come straight on if the system is powered during these hours, so you might create a startup trigger with two real time conditions: time is after 9am; time is before 6pm.

Realtime triggers that don't span midnight

Real time triggers that don't span midnight

But what if you’re designing the lighting for an installation that’s on show to the public from 9pm until 2am?  If you take the same approach with the startup trigger and create two real time conditions as shown on the right, the startup trigger will never fire.  This is because the condition will never be true – both real time conditions are set to specific times on any date, so Pharos assumes the given times are on the same calendar day and the time can never be after 9pm and before 2am on the same day.

Using an astronomical condition with real time parameters to span midnight

Using an astronomical condition with real time parameters to span midnight

Instead, use an astronomical condition (shown on the left) but set both times to Realtime instead of Sunrise or Sunset.  This condition assumes that the first time is always before the second, so it doesn’t matter if your time period spans midnight.

In fact, you should always use the astronomical condition when you want to get a match between two times that are less than 24 hours apart to avoid falling into this trap.

Though what if your installation is closed during the winter, or an specific days of the year?  No problem – add one or more real time conditions to the same trigger along with your astronomical trigger and let them specify which dates are valid.

Pharos flips lots of dots in Terminal 5

Wednesday, April 30th, 2008
Photo © Alex Delfanne/Artwise Curators 2008

© Alex Delfanne/Artwise Curators 2008

A cloud hangs at Heathrow – but its silver lining shows itself in a remarkable display. This is ‘Cloud’, a five metre digital sculpture by art and design company Troika, in the atrium to British Airways luxury lounges at Heathrow’s Terminal 5. Evocative of the technology used on old-fashioned travel information boards, 4638 flip-dots cover the surface, switching between black and silver.

A Pharos Lighting Playback Controller (LPC X) controls the continuous fluid motion, displaying dramatic geometric and organic patterns across the sculpture, generating stunning visual and audio effects.

The LPC X’s rugged, solid-state design is ideally suited to being embedded within the sculpture itself and easily accommodates the near five thousand-channel control capacity and the interaction for event triggering.

Drivers for the mechanical switching were pre-designed to receive RS232 serial data rather than DMX, so Pharos developed and implemented a custom control protocol to allow seamless communication with the sculpture’s RS232 flip-dot drivers. This then allowed Troika to utilise Pharos Designer software’s pixel mapping and lighting media effects to create the calming and stunning animations of the ‘Cloud’.

Troika Cloud Views

Pharos breathes light into London trees

Friday, February 1st, 2008
Breathing Trees

Breathing Trees photo credits: Athos99 M Bobillier / Adam Spinos

Switched on London, the capital’s festival of light running from February 7th to 14th and coinciding with ARC08 will include the ‘Breathing Trees 2’ project. This is a revival of a site-specific installation conceived by lighting artist Laurent Louyer of London-based Creatmosphere and first seen last winter as part of Geneva’s Festival Arbres Et Lumieres (Festival of Trees and Light).

Inspired by the resemblance of two beech trees to a pair of lungs, Laurent developed his design for the trees to appear through light and colour to be ‘breathing’, accompanied on site by a synchronised breathing soundscape.

In Geneva the trees were lit by 42 RGB LED fixtures supplied by Look4ideas, and controlled by a single-universe Pharos Lighting Playback Controller (LPC1) which managed the synchronising of the audio effect, as well as time-of-day, special occasion and astronomical triggers for the light show.

Breathing Trees photo credits: Athos99 M Bobillier / Adam Spinos

Breathing Trees photo credits: Athos99 M Bobillier / Adam Spinos

For the London installation, a pair of plane trees in Potter’s Field Park has been selected and will again be controlled by a Pharos LPC, lit with Anolis UK’s Arcline fixtures and will be breathing in and out from after sunset for the duration of the Switched on London festival.

Laurent chose to use Pharos again, glad of the both the triggering functionality and its reliability. He comments, “Pharos Designer software provides many tools to aid creativity, and there is great support from the Pharos team”.

Another Pharos LPC can be seen in action nearby, controlling the lighting for the Hay’s Wharf project – also part of the Switched on London festival. Pharos is exhibiting on stand M36 at ARC08, Business Design Centre, February 11th to 13th.