Recorder
In the previous chapter you've read that you can record a static lighting scene by capturing it into a Cue,
however, in some cases it will be required to record a dynamic lighting scene that is changing over time.
Perhaps you need to record pan/tilt shapes for moving lights or record graphical e>ects on a LED
matrix.
For these situations the Art SSC o>ers the DMX-512 and Art-Net recording functionality. With it you can
store both static and dynamic DMX data.
Capacity
There are 16 memories that can hold a recording. When recording all 1,024 channels are stored, even
though some channels might not be used and remain at zero. The Art SSC utilizes a compression
technique to %lter out all channels that do not change. Therefore it is not possible to exactly state the
maximum duration a memory can hold; it depends on the DMX data itself. When many channels change
often the compression is less e>ective. When only a few channel change a little the compression is very
e>ective.
Furthermore, the refresh rate setting will determine how many samples of the data are taken per
second and stored in memory. This setting varies between 1 and 40 frames per second. 40 Hz gives
maximum quality in terms of smooth dimming curves. 5 Hz is quite a low value but very useful for
recording very slow DMX changes that in themselves might not change faster anyway. Often a setting
of 20 Hz will do %ne, while allowing for twice as long recording as a 40 Hz setting.
Theoretically, the memory will hold for at least XXX seconds data in the worst-case situation, i.e. all 1,024
channels change each frame, recorded at 40 Hz. More realistic, a set-up using 100 dimmer channels
changing regularly, recorded at 30 Hz, may last XXXXX minutes.
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