[Feature Request] Intensity palettes from cue

So are you asking,
If you recall the data from Cue 1, in Cue 50 it has the reference 'Q1' for those channels?

It's much better to use a IP because you can then Label the IP and anyone can see it's the H/L's.

You are correct, this is what I meant. I understand your remark about the IP, but this implies some planning ahead. It was meant as a time saver and because it easier to ask for referenced levels from a cue then to ask to put the levels of certain channels in a cue that you are not working on in an intensity palette, update that cue and then come back to the cue and use that palette.

It is pretty easy to write a macro to save a cue as a palette and another macro that replaces absolute data with references to use the newly created palette. It doesn't require much planning ahead.

Once you get into rules for reference data it can throw up a lot of problems, this is the reason reference cues & reference groups keep getting pushed back.

For example you reference back in Cue 50, the HL levels in cue 1, so how are these values displayed.
If then make a change to these values in Cue 50 do they update both Cue 50 & Cue 1 or just Cue 50.

These are all questions which can be answered and solved but they need to be solved for every example.
I.e. yes it update both, no it only updates cue 50 etc etc

My guess would be this option could become available when reference cues are introduced but I believe this is a couple of years away.

On each show I always have IP's for HL, Workers, Music Stands, Non-dims (if needed), if you make them on every show and keep the numbers the same it makes programming must quicker.

Thanks for your answer Nick. I agree with what you say. It is just about adding another (quicker) way to do the same in a way closer to natural language so to say. If you look at the proposed syntax, I think it is quite clean and simple.
As for the update difficulties that you describe, I think it should be the same as with normal updates involving palettes. So if you choose to do an update Absolute only the current cue gets updated with the new values leaving the original source intact.

There is one advantage of this method over using intensity palettes that I haven't mentioned yet though:
If you need to make a few copies of the same cue (solo special DSC), and at some point you decide to introduce new channels to the lighting state, with the method I propose this would be possible and ends up in all the cues that have all channels referenced back to the first cue, but those channels (having a value of zero) wouldn't get recorded in an intensity palette, right?

What your describing is reference cues (or a portion of reference cues with HL's example) yes there are rules to follow but it's a lot to work out and then a lot of development time.
Do you include, parts, discrete timing, what if channels have discrete timing in the reference cue but no move instruction in a copy, do we remove the discrete timing because there's no move, or keep it because there maybe a move later and then useful.
If you add channel 100 in a copy cue and update make absolute, if you then make a change to channel 1 does this just update just the copy or update all reference cues. So are you making the cue absolute or just channel 100 within the cue.

The examples could go on and on.

As I said this can all be worked out and we have rules already which we can follow but it's a lot of development time so my guess is reference cues may still be long way away as things are hopefully higher up the list.

I always have my H/L's as IP 10 and thats on 99% of my shows, so I make that in prep and then I'm good to go.