Sorry to double post but I should add a couple of more ideas about this feature that I dreamed about having last night.
A. If the presets could be configurable to include the size of the system and use the remote functionality of the system as a whole so that you would only need to edit one giant preset for a system with 96 layers in it. If you could configure your presets based on system size and run layers accross the whole system rather than have to use the 12 layer preset 8 times, this would save an incredible amount of time.
B. An offline preset editor or Catalyst software with a configurable preset template that could use the system wide presets function and would enable you to export and import the large presets along with your files.
C. Enabling deck and other function control such as midi time code lock to the system wide presets. This would allow much coordinated efforts amongst creative teams to be used.
D. Being able to name and sign off on what each layer in a system wide preset does so that each team member of the graphics and content development teams could fill in their parts and sign of on it. For instance, if you could name a layer within a system wide preset to reflect the screen or video source as well as the element in the song like: "VersatubeSmix2.Iglesias.Chorus" or "Center Disk RP [artist] Verse" "[video source].[artist].[performance or show element]".
E. If you could have a red, yellow and green light next to each layer label letting the operator and team know exactly where the content is for that area. Red meaning missing, improvise with backup content, yellow meaning on the way, green meaning finished and loaded. Would auto default to red or Green if the content is there or not when loaded up into the on site show machine so that the operator would know he would need to pull from a the backup library of looks.
This is all based on larger scale shows with many teams of many people developing a lot of content to be used in exacting positions. It never works out with Catalyst unless you are both the content creator and the operator. You have to just hope that your looks get in and you can't make any demands. If you're lucky you'll get someone who is really willing to help and put certain looks that you paid a lot for in a certain part of a song but for the most part, no mater how organized you are with paperwork, when the shite hits the fan and a 96 layer 40 submix show gets underway for rehearsals, there is no way to be able to expect the operator to follow plate sheets and keep up with the rehearsal.
In the professional world of TV, at the highest level such as shows like the Grammys or VMAs with a lot of people putting together packages, bumpers, act looks, and presenter content - as well as another team putting together performance content on so many screens and LED elements, it is impossible to maintain any organization no matter how prepared you are.
There are always last minute adds, changes, and complete switch arounds. This feature would make it possible and much easier for everyone to manage large scale, content heavy shows, without confusion or waste of content.
Just to give you an example of the performance side of things on a large scale show, please find the attached link to an example of one plate sheet for a Medley of two songs that I usually task out on my team. This plate didn't even account for the 3 submixes used for the Versatubes.
Thanks,
Christian Choi
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