While the example given is a great example. I find that any cue that is exactly the way you want it, i.e. top of a scene or act, and not to change due to the fact that channels or parameters track into the cue. With the new trackback feature, we need to rethink how we trackback, not only blocking the blackout, but also the first cue in scene, lest we trackback into the blackout. As a programmer and not paying attention to the show or scenes, I tend to find where a block cue should exist is when more than half of the channels have a command. Hope this helps.
As Jay said, the blackout should be blocked. I also find if the show has "scene change states" instead of a blackout, I will apply a block to the first cue of the scene. This way any changes from the previous scene won't track forward into the next (although the will track into the sc change), and conversely any changes you make in a scene and trace / trackback through the cuelist will not track into the previous scene or scene change state.
Another handy thing to know with tracking is the [Q-only] key. Let's say channel 1 at 0 in the current cue, and you find you need to add it into this cue, but you don't want it to track forward in the cuelist. Once you have set the level for chan 1, when you goto update [update][Q only][enter] will update changes to that cue only. It won't track forward into the next and subsequent cues.
Have a play around and it will all make a bit more sense
Thanks for all of the input everyone. One of the ways I often teach tracking/blocking/trace and the impact of Cue Only is to go into blind spreadsheet for cues, make changes and watch how those changes impact the data before and after. Its a pretty easy way to become clear on the rules.
I learned on a preset desk - one concept that helped me with tracking is the idea that everything else in theatre works in tracking -
- If a director tells you to move upstage by the fireplace when you say "I'll have my revenge, then the world will suffer", you stay there until you have another instruction (eg to move downstage when you say "Sorry honey, yes I'll take the rubbish out just now"). In this example, a block cue is when everyone is supposed to run offstage no matter what, or to form a chorus line no matter what else changes...
- In sound, if you have a wind sound cue that starts at the top of the scene, and you knob it higher in Q21, it stays at that level unless you add a cue to bring it back down.
- If you bring in a set piece, it stays there until you take it out!
