What else is prepared in the warehouse?

A significant part of the system configuration can be prepared before the event. The more devices are checked and logically described in the warehouse, the less time needs to be spent later on basic configuration on stage.

This does not mean that the entire system can be started earlier. Physical positions, focus, and part of the programming depend on the actual assembly. However, the number of things done for the first time during production can be limited.

Fixture prep

Fixture prep is the preparation of fixtures before assembly. It includes primarily checking their operation, basic functions, and configuration.

Depending on the system, you can test, among other things, pan and tilt movement, dimmer, colors, zoom, gobos, framing shutters, strobe, and other parameters of the device.

With a larger number of identical fixtures, it is also worth verifying whether they behave consistently. Damage detected in the warehouse can be resolved much more easily than after hanging the device several meters above the stage.

Operating modes

Many devices can operate in several DMX modes that differ in the number of available parameters and occupied channels.

The basic mode may provide the most important functions, while the extended mode allows for independent control of a larger number of parameters.

The choice directly affects the patch and the number of occupied addresses. Therefore, it should be determined before preparing the configuration of the console.

Changing the mode after building the patch may mean the need to rebuild part of the addressing and show file.

Addresses

The DMX start address can often be planned and set while still in the warehouse.

If the lighting plot and patch are already ready, a specific fixture can receive the previously assigned universe and address. Upon arrival at the location, the device then goes to its position and can be connected to the prepared infrastructure.

In more modular systems, addressing can only be performed on-site. However, the most important thing is that it should result from the planned structure and not be assigned randomly during the connection of subsequent devices. 

Fixture profiles

A fixture profile describes to the console how to control a specific type of device. It specifies, among other things, which DMX channels are responsible for intensity, position, color, zoom, gobos, or other parameters.

Profiles should correspond to the exact model and selected mode of the device.

If an incorrect profile is used, the console may send correct DMX values, but the device will interpret them as other functions.

Preparing the correct fixture profiles is therefore one of the fundamental stages of creating a show file. 

How does the lighting plot translate to physical installation?

The lighting plot specifies where the fixtures should be located and what functions they should perform. During installation, the drawing is translated into the actual construction of the stage.

The crew must know not only that a given light should be "at the back of the stage," but also on which section of the truss, in what orientation, and in relation to which other devices.

The plan may contain information regarding:

• type and number of the fixture,
• mounting position,
• universe and address,
• direction,
• function,
• accessories,
• power point.

However, the actual installation may reveal limitations not visible in the drawing. A point may conflict with the PA, LED screen, cable, element of the scenery, or another device.

Therefore, the lighting plot is a fundamental document for execution, but the final rig must also take into account the real structure.

Structure and rigging

Before the fixtures are hung, a structure capable of properly mounting them must be prepared. Rigging includes points of suspension, trusses, battens, winches, or other elements used to support the equipment.

The lighting design cannot be detached from the capabilities of the structure.

Each fixture has a specific weight, and in addition to the lamps, the structure may also carry cables, distribution elements, video, audio, and scenery.

The order of work is also important.

Some equipment can be mounted on a truss that is still at the working level, perform basic cabling, and only then raise the entire element to the target height.

That is why the installation of stage technology and rigging should be included in a common schedule, rather than acting as two independent processes.

Installation of fixtures and additional safety measures

The fixture is installed according to its purpose, the device documentation, and the solutions provided for the specific structure. Simply attaching the lamp to the truss does not complete the installation.

In stage systems, additional safety measures independent of the basic mounting bracket are also used. Its specific method of execution must comply with the device, structure, and requirements applicable to the specific implementation.

During installation, it is also necessary to maintain the appropriate orientation of the device and the space needed for movement.

A moving head that, when fully panned or tilted, hits an adjacent fixture, cable, or truss element, has been installed incorrectly from a functional standpoint, even if the bracket itself is mounted correctly.

Access to connectors and components needed for later service must also be left.

How is the power supply planned?

The power supply is planned based on the actual consumption of devices, their layout, available sources, and the method of dividing distribution.

It is not enough to count the number of lights.

The system may include moving heads, LED bars, strobe lights, atmospheric devices, nodes, a console, and other elements that also require power.

Therefore, it is necessary to determine:

• the consumption of individual devices,
• groups of loads,
• available circuits,
• distribution points,
• cable routes,
• available connections.

In larger systems, the power distribution should be coordinated with the other event technology. Lighting does not operate in isolation – the same infrastructure of the venue may be used by audio, LED walls, and video.

If the venue's capabilities are limited, it is necessary to analyze the electrical infrastructure of the event venue, instead of discovering the problem during the rigging.

How is DMX and the control network managed?

Control can be conducted directly via DMX lines or through a network, from which data is then distributed to devices via nodes.

An example structure may look as follows:

console → Ethernet → node → DMX → fixtures

In a small system, a direct DMX line may be fully sufficient. In a larger implementation, the network facilitates the transport of multiple universes over greater distances and allows them to be distributed in different parts of the stage.

However, a logical structure of the system must be maintained.

The lighting network should not be created by randomly connecting all available Ethernet devices to the first free switch. It is necessary to know the protocols used, network addressing, and distribution points.

Similarly, DMX itself should be managed as a properly planned control infrastructure, not as a random chain of wires that develops as more lights are added.

Addressing, universes, and patch

A DMX universe is a logical space encompassing up to 512 slots of data. Each fixture occupies a specific range depending on the selected operating mode.

If a device uses multiple parameters, it may occupy a correspondingly large part of the universe.

The starting address indicates the first slot assigned to the device.

In a simplified example, one fixture may start from address 1, the next from the address resulting from the number of slots occupied by the first fixture, etc.

The patch in the console links the logical representation of the device with its actual universe, address, and appropriate fixture profile.

The operator does not need to think later:

"Universe 3, address 187".

They can work with the logical fixture number and its parameters.

The correct patch is particularly important in large systems. An error can lead to a situation where the operator controls a different fixture than intended or some parameters respond incorrectly.

What is RDM used for?

RDM, or Remote Device Management, extends the communication DMX with the ability for two-way information exchange between the controller and compatible devices.

The current ANSI E1.20-2025 describes RDM as a two-way communication operating on the DMX512 link. The standard allows for, among other things, detecting devices on the DMX512 network, remotely setting starting addresses, and transmitting information about the status and errors from the device to the control system.

In practice, RDM can therefore facilitate the configuration of a large rig. The technician does not always need to physically access each suspended fixture just to read or change its basic parameter.

However, RDM is not a replacement for DMX.

DMX is responsible for the current control of device parameters, and RDM adds management and feedback communication capabilities to that channel.

This distinction is particularly important when diagnosing the system.

Testing all devices

After connecting the system, all fixtures and key functions should be checked before starting the actual focus and programming.

It is not enough to see that the device has powered on.

The test should detect, among other things:

• lack of communication,
• incorrect address,
• incorrect fixture profile,
• incorrect operating mode,
• problem with a specific parameter,
• incorrect data connection,
• incorrect device response.

For moving heads, it is good to check movement, dimmer, color, zoom, and other essential functions.

The earlier a problem is detected, the easier it is to solve. A damaged fixture noticed before raising the structure can be relatively simple to replace. The same problem detected later may require additional work on the rig.

What is focus?

Focus is the setting of the actual direction and field of work of the fixture on stage. In the case of static devices, it may require physical pointing of the lamp, setting the zoom, shutters, focus, or other optical elements.

For moving heads, part of this process is done through control from the console.

Focus answers practical questions:

where exactly the light falls,

 how large an area it covers,

 where its edges are,

 if it hits the right element of the scenery.

This is one of the moments when the design from the lighting plot is verified by the actual space.

For example, a front designed for the podium may turn out to be too narrow after installation if the actual position of the speaker has been shifted. Focus allows the system to be adjusted to such changes.

Calibration of positions and parameters

With moving fixtures, logical positions must be prepared that correspond to the actual elements of the scene.

These can include:

• the vocalist,
• the podium,
• the center of the stage,
• the drums,
• the panel,
• the LED wall,
• the audience,
• the effect positions.

The problem is that the pan and tilt values recorded before installation may not perfectly match the actual scene.

Two fixtures of the same model mounted on opposite sides of the truss require different values to hit exactly the same point.

Therefore, positions are often saved as palettes or presets. The programmer can later refer to the logical position "CENTER" instead of entering individual values for each light.

Similarly, color, beam, or other parameter palettes are prepared. This makes later programming faster and easier to correct.

Programming the console

Programming involves preparing a structure that allows the operator to run the event according to the script.

Part of the work can be done earlier in the show file. You can prepare the patch, groups of devices, layout, basic effects, and part of the cue.

However, after physical assembly, actual positions and the appearance of the stage must be taken into account.

Depending on the type of event, programming may include:

• groups fixtures,
• palettes of positions,
• colors,
• looks,
• effects,
• cues,
• sequences,
• executors or playbacks for busking.

At a corporate event, previously prepared cues corresponding to the next points of the script may dominate. At a concert, part of the system may be prepared more flexibly for busking.

The method of programming should arise from the nature of the realization, not just from the number of devices.

Rehearsal and adjustments

The rehearsal allows checking whether the system works correctly in the actual course of the event, not just during individual tests.

Independently operating front, LED wall, and cue do not guarantee that the transitions between the subsequent points of the program will look good yet.

During the rehearsal, the following is checked:

• levels of light,
• positions,
• colors,
• relationship with video,
• appearance of people on cameras,
• cues,
• transition times,
• operation of effects.

It may turn out that a well-looking independent look is too bright compared to the previous one or that the color change occurs at the wrong moment.

The rehearsal serves exactly for such corrections.

At an event combining several industries, lighting should participate in a joint audio, light, and multimedia rehearsal, because some problems only reveal themselves during the cooperation of all systems.

What is checked directly before the show?

Directly before the event starts, a final system check is performed to see if anything has changed since the end of rehearsals.

Devices and functions critical for the first points of the program are particularly important.

It is worth confirming:

• communication with all fixtures,
• operation of the console and control infrastructure,
• status of the most important devices,
• correct show file,
• basic cue,
• production communication,
• availability of the operator's station,
• power for key elements.

If a part of the set design has been moved after the rehearsal or an additional element has appeared on stage, it is also necessary to check whether it blocks the light and does not interfere with the movement of the equipment.

Before the show is no longer a good time for random system overhauls. The final stage should serve to confirm readiness, not complete the basic configuration.

Therefore, with the complete implementation and configuration of stage lighting the appropriate time for testing, focusing, programming, and rehearsal should be included in the schedule before the start of assembly.

Summary

The installation of the stage lighting system is a process much broader than the physical hanging of lights. It starts with fixture prep, choosing modes, preparing addressing, fixture profiles, and show files. On site, rigging, power, control, patching, and testing of the entire infrastructure are added.

Only later is focusing, position calibration, and proper programming performed. The final result is verified during the rehearsal, during which cues, levels, and the relationship of light to other elements of the event are adjusted.

A ready rig and a ready show are two different stages. Just because all fixtures are hanging and shining does not yet mean that the system is ready for the event.

Therefore, the implementation of the stage lighting system should include preparation, assembly, configuration, programming, and testing as one planned workflow.

Frequently Asked Questions