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    John728
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Contact closure adapter and remote trigger switch for I/O port

This adapter plugs in to the Remote I/O connector on the back of your Ion, Element, Gio, Gio@5, Eos, or Eos Ti console or I/O Gateway and accepts a standard 5-pin XLR control cable. (Some people would call it a "DMX" cable but in this case it isn't used to transmit DMX data.) Use it to trigger a cue, macro, or submaster remotely.

Uses

  • Allows an actor to turn any number and wattage of lights on and off using a practical wall switch
  • Put a switch next to your DP or gaffer to let him/her trigger a cue
  • Simple house lights control for the cleaning staff
  • Set up a switch next to your house light switches for easy access to kill the lights in your rig when the house lights are up
  • Gaslight anyone on the crew by building a light switch into the wall that only "works" when you want it to

Features
Allows up to 4 different cues, macros, or submasters to be run from 4 different control circuits
A SPDT switch allows one cue, macro, or submaster to be triggered from the "up" position and another to be triggered from the "down" position
Allows any number of switches to control the same cue, macro, or submaster (through the use of jumpers, not supplied)
Compatible with any 5-pin XLR cable
Compatible with any 3-pin XLR cable with use of adapters (2 control circuits only.) Does not have to be DMX-grade cable.
Compatible with a standard networking "Ethernet" cable with use of adapters.
The male end is at the console, preventing anyone from plugging a DMX line into it
Tested to work with 400' of control cable

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contact closure adapter set



Edit: The original Eos doesn't have a 15-pin connector on the back.
[edited by: John728 at 4:32 PM (GMT -5) on Tue, May 30 2017]
Parents
  • just out of curiousity: did you do some distance tests?
  • in reply to ueliriegg

    Yes. In fact I was working on Insidious 4 and when we rigged the stage, I got in a boom lift, ran 400 feet of cable from an Ion, up to the ceiling of the stage, across, and down into the set. I installed my switch in the wall and programmed it so flipping it up turns the lights in the set on and flipping it down turns the lights off. It worked perfectly. On the first day of shooting, they shoot a scene where the actor comes into the room, reaches over his head, and turns the lights on by pulling on a pull chain. So for every take, I had to listen to the walkie and hit Go, like a CAVE MAN.

  • in reply to John728
    I'm programming on a series in Mass. where they've done the same thing a number of times, a pull chain on a fixture that's visible in the shot. And several times they insisted that it needed to be practical, the actress actually turned the light on with the chain and I had to match the timing of the flow of electrons... in the dark... so my next step is to get a tinkerer to design an interface that detects current flow in the line and closes a contact to run a macro (or cue). I know it can be done. No idea what's involved.
Reply
  • in reply to John728
    I'm programming on a series in Mass. where they've done the same thing a number of times, a pull chain on a fixture that's visible in the shot. And several times they insisted that it needed to be practical, the actress actually turned the light on with the chain and I had to match the timing of the flow of electrons... in the dark... so my next step is to get a tinkerer to design an interface that detects current flow in the line and closes a contact to run a macro (or cue). I know it can be done. No idea what's involved.
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