DMX Lighting Control in the Studio: Wired, Network and Wireless

What is DMX and what does it give a studio?

DMX 512 is a control protocol that carries commands from a lighting console to the fixtures. The console sends each fixture’s brightness, colour temperature and colour values over the same line, and each fixture reads the channels assigned to it.

In a studio this means every light is run from one console in the control room, and lighting states prepared for each show can be stored and recalled. At 0 TV and EkoTurk the lighting is controlled from the control room over DMX 512; at Diyanet TV we worked end to end, from ceiling rails to DMX automation.

Channels, addresses and modes

One DMX line (a universe) carries 512 channels. Each fixture uses a number of channels that depends on the operating mode you choose, and reads them from the start address it is given. White-light modes use few channels, such as brightness and colour temperature; colour and effect modes need more.

Two fixtures whose channel ranges overlap respond to the same commands. That is why an address plan showing each light’s mode and address is drawn up before installation and updated whenever a light is added.

• List each fixture’s model, mode and channel count.
• Assign start addresses so that the ranges do not overlap.
• Write the address both on the fixture and in the plan.

RDM, Art-Net and sACN

RDM adds two-way communication over the DMX line. On fixtures that support it, the address and mode can be set from the console and the fixture’s status read back, so there is less need to climb a ladder to a light on the grid.

Art-Net and sACN carry DMX data over an Ethernet network. In large studios that need many universes, or when the console is far from the lights, network distribution is preferred. The signal is converted back to DMX near the lights or reaches fixtures with a network input directly.

Wireless DMX: LumenRadio CRMX

LumenRadio CRMX carries the DMX signal wirelessly. A transmitter connected to the console sends the signal, and the receiver in the fixture reads it like wired DMX. Some models have the receiver built in; others need a separate module or adapter.

In fixed studios a wired line is usually the core infrastructure. A wireless link is useful where running cable is difficult, for sets that change often and for moving shots.

Control options of our lights

The table below is compiled from the technical data on our product pages. Options that need an adapter or module are noted as the manufacturer states. Ask us about the control options of any model that is not listed.

When is app control enough?

Apps such as NANLINK and Bluetooth control are practical for small setups with a few lights and for quickly adjusting a single light during a shoot. When lighting states have to be stored per show and recalled together from the control room, a DMX infrastructure is installed.

For control needs by studio type, see our TV and news studio and live streaming and podcast studio pages.