Highlights of the PLASA stand this year will include the grandMA Video Software, which enables the operator to animate videos, graphics and 3D objects in real-time via a grandMA lighting desk. In contrast to other media servers, grandMA Video offers the possibility to choose any kind of animated 3D projection objects. Videos, graphics and the 3D objects can be selected, scaled, positioned, tiled, coloured and intuitively manipulated in a number of ways, similar to controlling a digital fixture via the desk. The software is especially tailored for the grandMA lighting desks and is integrated fully in the network protocol. That guarantees a minimum of setup afford and reduces the much-known problems when one has to set up two different devices.
Also on stand, the new grandMA DVD enables quick and easy access to the grandMA product range. It contains a training course for self-study in English and German, to introduce the console and its programming step-by-step. In addition to detailed explanations of the operating features and functions the DVD also includes valuable tools, including a network guide, and the grandMA on PC as well as the grandMA 3D software and a demo version of grandMA video.
With the introduction of the new version 5 grandMA software, MA's dimmer for fixed installations, dimMA, and the network signal processor (NSP), a complete integrated system is created, enabling the active interplay between control, dimming and network technology.
The network signal processor (NSP) means the active connection between the different ethernet signal standards and the world of DMX. It is mainly used for large signal networks and for linking grandMA consoles as main- and back up systems in a multi user network as well as for the channel expansion for up to 64 DMX lines. One NSP calculates and changes up to 2.048 channels, the output is done via four galvanically separated DMX universes. Each grandMA console, with exception of the grandMA micro, can be used for the control of up to 16.384 parameter (16 NSPs/ 64 DMX lines).
(Lee Baldock)
