Recently I started using Artnet in Resolume. I have two Artnet nodes that came with a pre-configured IP setting of 192.168.0.X. With the PC also set within this IP range it al works perfectly. However, I did a gig this weekend at a venue with an Artnet network already in place. The light technician there told me I am not using the standard Artnet IP range, since that would be something along the lines of 2.0.X.X With both the nodes and my computer configured differently this caused me quite a headache.
Since I am self-taught in this area, could someone appoint me to some documentation on how to 'properly' set up an Artnet network? I find a lot of info on how to set it up for specific solutions (software and hardware) but not a standard Artnet whitepaper. Is there a general tutorial out there somewhere? Thanks in advance.
Artnet network setup
Re: Artnet network setup
Yeah, LDs are weird like that.
There is no real technical reason that Art-Net IPs should be in the 2.x.x.x or 10.x.x.x range. It's just historical convention, to keep them separated from other network traffic. Some consoles will be hardcoded to this range and can't connect on anything else. It's all a bit silly really.
If you ever get in the situation that you need to be in a specific range, setting both your computer and your node to a fixed IP and subnet mask is enough. They just have to have different IPs and matching subnets.
Setting up your computer is explained here. How to set up your node, depends on your node. It's usually done via a web interface or a little app that comes with the node.
FYI, the subnet mask used to confuse the heck out of me, but essentially it's a nerdy way of limiting the range of IPs you can connect to. You'll notice it also has the pattern of four digits, xxx.xxx.xxx.xxx, just like an IP. A 255 in a spot means that you can only connect to IPs with exactly the same number in that spot. A 0 in a spot means you can use whatever number.
So a computer with an IP of 2.0.0.1 and a subnet mask of 255.255.255.0, can connect to another computer at 2.0.0.2, but not to 2.1.1.2. If the subnet is 255.0.0.0, it can connect to any IP matching 2.x.x.x. Make sense?
There is no real technical reason that Art-Net IPs should be in the 2.x.x.x or 10.x.x.x range. It's just historical convention, to keep them separated from other network traffic. Some consoles will be hardcoded to this range and can't connect on anything else. It's all a bit silly really.
If you ever get in the situation that you need to be in a specific range, setting both your computer and your node to a fixed IP and subnet mask is enough. They just have to have different IPs and matching subnets.
Setting up your computer is explained here. How to set up your node, depends on your node. It's usually done via a web interface or a little app that comes with the node.
FYI, the subnet mask used to confuse the heck out of me, but essentially it's a nerdy way of limiting the range of IPs you can connect to. You'll notice it also has the pattern of four digits, xxx.xxx.xxx.xxx, just like an IP. A 255 in a spot means that you can only connect to IPs with exactly the same number in that spot. A 0 in a spot means you can use whatever number.
So a computer with an IP of 2.0.0.1 and a subnet mask of 255.255.255.0, can connect to another computer at 2.0.0.2, but not to 2.1.1.2. If the subnet is 255.0.0.0, it can connect to any IP matching 2.x.x.x. Make sense?
Re: Artnet network setup
Very well put Joris.
You basically broke down my first few months into CCNA Cert. 2 training in just a few sentences. haha
If you don't mind me rambling on about networking, I'll give you my take on the situation. Otherwise skip to the end for the abridged version.
I believe all the digital lighting desks come pre-configured with Class C out of the box, for several reason's I would guess...
Class C is has a very large IP cap for the lighting industry.
Class C supports 254 IP addresses.
Larger shows and festivals will have several lighting consoles controlling different aspects of the production, with a parent console controlling the children consoles (there are still operators at each of the children consoles).
I don't think I will ever see a show, festival or install that will have more than 254 lighting consoles connected to the same network. That would be an insane freaking show. I literally can't fathom it. It would be a production that would have to span an entire metropolitan city and networked together to be viewed from an airplane....
So having 254 addresses for a console intrAnet makes sense to me, and in my opinion, I thin that's one of the reasons why the console designers want the consoles talking on Class C.
The other reason (in my opinion) is that all consumer based networking solutions are pre-configured on a Class C IP Scheme as well (again, I don't see you having more than 254 IP devices in your home), and if you go to your local electronics store to buy a router and plug your console into it, you would want them talking direct out of the box (with changing minor details such as going from 192.168.0.1 to 192.168.0.1)
For Arnet:
With 16 Lighting Universes on 16 Lighting Subnets, you will end up with 256 universes. This is for Artnet protocol 2 (released in 2006).
*We are now to Artnet protocol 4, which supports over a 1,000 ports and lets you use RDM and sACN on the same line.... but that's going a little deep into the rabbit hole for this thread.
Most people haven't implemented Artnet Protocol 3 (released in 2011) let alone 4, so for 2017 Artnet Protocol 2 is still the standard, maybe things will change in the next year or two, but we'll have to wait and see*
With 256 Lighting universes and 512 channels per universe you are looking at 131,072 channels per IP address.
And with a Class C IP Scheme using 254 IP addresses you are looking at 33,292,288 channels. (65,024 universes)
For most people (l can't think of anyone who doesn't fit into the "most people" category), a Class C IP Scheme is way more than enough channels for whatever production they are going to be apart of.
To put this into perspective:
The largest DMX channel light my company owns is the Robe Spiider. When configured to the max, it has a 123 channel mode. Using a Class C scheme that would mean I could control 270,669 of those lights... 270,669!!!
Good luck finding a venue to hold that haha.
With pixel tape I know you can get into the 300 pixel range per fixture, so for all the non LD's, that would be 110,974 fixtures of 300 pixel tape. That's massive!
Here's the kicker...
A GrandMA2 Full Size (Industry standard) only supports 8 universes. (4,096 channels), So to use the full potential of the Class C IP Scheme you would need 8,128 consoles connected to each other.
The Grandma3 Full size support 24 universes (12,288 channels). You would need 2,709 consoles to use the full potential of a Class C IP Scheme.
So to get to the point (sorry, I know I'm rambling and nerding out right now),
You can easily use a Class C IP Scheme for Artnet. But if you have your lighting console on Class C as well, you might get some interference with the two langues talking to each other, or some nasty crosstalk. So to keep everything nice and clean, I think they made a conscious decision to separate Artnet from Class C (since EVERYBODY is using Class C) to keep it clean.
I've ran Artnet off Class C before, ran through the same switch as the GrandMA2 Lite and had no issues, but this was for a design studio that only had 1 network line (I also believe the GrandMA Dot 2 *yuck!* series shares Artnet and MAnet on the same ethernet port if memory serves me correct)
It's just a matter of keeping separate protocols... well, separate from each other, especially when they are sharing the same connection type (and possible switch)
I really wish people would choose a standard (kind of like the 192.168.0.1 or 192.168.1.1) when it comes to Artnet. I personally set my consoles to 2.0.0.1 -2.0.0.10 and then my Artnet Nodes to 2.0.0.100-2.0.0.150, and then my Media Servers to 2.0.0.200 - 2.0.0.220 just so I have a nice IP Table I can memorize.
I set my Subnet Mask to 255.0.0.0 and I leave my Gateway blank.
BTW, Class A supports up to 16,777,216 IP's
That's 2,199,023,255,552 channels (4,294,967,296 universes)
Keep in mind, we aren't even on Artnet 4 yet in lighting design.
Either way, Even with Fiber, I personally don't know if the network is capable of the bandwidth and processing power to use Class A to it's full potential without crashing?? Class C is being used to the max is still scary to think about.
Now here's something else to make your head itch...
ALL of the information above is based on IPv4 (32 bit) which has been used for many many years.
IPV4 supports 4,294,967,296 IP Addresses.
On IPv6 (128 bit) you can have up to 340,282,366,920,938,463,463,374,607,431,768,211,456 IP Addresses.
I'm not even going to try to do the math on that to figure out how many universes and channels of DMX that would be. I prefer not to crash my PC lol.
Just like Artnet 4, IPv6 is still so new, no one is really implementing it yet. You really have to wait for all the consumer markets to start adapting it before lighting design markets follow.
Maybe your great grand kids will need some sort of crazy alien lighting rig that requires a full IPv6 network to run their galaxy class concert??
Sorry for the rambling, I just enjoy talking networking on occasion lol.
For those of you who want to skip ^ that giant mess of a comment
You can easily use a Class C IP Scheme for Artnet. But if you have your lighting console on Class C as well, you might get some interference with the two langues talking to each other, or some nasty crosstalk. So to keep everything nice and clean, I think they made a conscious decision to separate Artnet from Class C (since EVERYBODY is using Class C) to keep it clean.
I've ran Artnet off Class C before, ran through the same switch as the GrandMA2 Lite and had no issues, but this was for a design studio that only had 1 network line (I also believe the GrandMA Dot 2 *yuck!* series shares Artnet and MAnet on the same ethernet port if memory serves me correct)
It's just a matter of keeping separate protocols... well, separate from each other, especially when they are sharing the same connection type (and possible switch)
I really wish people would choose a standard (kind of like the 192.168.0.1 or 192.168.1.1) when it comes to Artnet. I personally set my consoles to 2.0.0.1 -2.0.0.10 and then my Artnet Nodes to 2.0.0.100-2.0.0.150, and then my Media Servers to 2.0.0.200 - 2.0.0.220 just so I have a nice IP Table I can memorize.
I set my Subnet Mask to 255.0.0.0 and I leave my Gateway blank.
You basically broke down my first few months into CCNA Cert. 2 training in just a few sentences. haha
If you don't mind me rambling on about networking, I'll give you my take on the situation. Otherwise skip to the end for the abridged version.
I believe all the digital lighting desks come pre-configured with Class C out of the box, for several reason's I would guess...
Class C is has a very large IP cap for the lighting industry.
Class C supports 254 IP addresses.
Larger shows and festivals will have several lighting consoles controlling different aspects of the production, with a parent console controlling the children consoles (there are still operators at each of the children consoles).
I don't think I will ever see a show, festival or install that will have more than 254 lighting consoles connected to the same network. That would be an insane freaking show. I literally can't fathom it. It would be a production that would have to span an entire metropolitan city and networked together to be viewed from an airplane....
So having 254 addresses for a console intrAnet makes sense to me, and in my opinion, I thin that's one of the reasons why the console designers want the consoles talking on Class C.
The other reason (in my opinion) is that all consumer based networking solutions are pre-configured on a Class C IP Scheme as well (again, I don't see you having more than 254 IP devices in your home), and if you go to your local electronics store to buy a router and plug your console into it, you would want them talking direct out of the box (with changing minor details such as going from 192.168.0.1 to 192.168.0.1)
For Arnet:
With 16 Lighting Universes on 16 Lighting Subnets, you will end up with 256 universes. This is for Artnet protocol 2 (released in 2006).
*We are now to Artnet protocol 4, which supports over a 1,000 ports and lets you use RDM and sACN on the same line.... but that's going a little deep into the rabbit hole for this thread.
Most people haven't implemented Artnet Protocol 3 (released in 2011) let alone 4, so for 2017 Artnet Protocol 2 is still the standard, maybe things will change in the next year or two, but we'll have to wait and see*
With 256 Lighting universes and 512 channels per universe you are looking at 131,072 channels per IP address.
And with a Class C IP Scheme using 254 IP addresses you are looking at 33,292,288 channels. (65,024 universes)
For most people (l can't think of anyone who doesn't fit into the "most people" category), a Class C IP Scheme is way more than enough channels for whatever production they are going to be apart of.
To put this into perspective:
The largest DMX channel light my company owns is the Robe Spiider. When configured to the max, it has a 123 channel mode. Using a Class C scheme that would mean I could control 270,669 of those lights... 270,669!!!
Good luck finding a venue to hold that haha.
With pixel tape I know you can get into the 300 pixel range per fixture, so for all the non LD's, that would be 110,974 fixtures of 300 pixel tape. That's massive!
Here's the kicker...
A GrandMA2 Full Size (Industry standard) only supports 8 universes. (4,096 channels), So to use the full potential of the Class C IP Scheme you would need 8,128 consoles connected to each other.
The Grandma3 Full size support 24 universes (12,288 channels). You would need 2,709 consoles to use the full potential of a Class C IP Scheme.
So to get to the point (sorry, I know I'm rambling and nerding out right now),
You can easily use a Class C IP Scheme for Artnet. But if you have your lighting console on Class C as well, you might get some interference with the two langues talking to each other, or some nasty crosstalk. So to keep everything nice and clean, I think they made a conscious decision to separate Artnet from Class C (since EVERYBODY is using Class C) to keep it clean.
I've ran Artnet off Class C before, ran through the same switch as the GrandMA2 Lite and had no issues, but this was for a design studio that only had 1 network line (I also believe the GrandMA Dot 2 *yuck!* series shares Artnet and MAnet on the same ethernet port if memory serves me correct)
It's just a matter of keeping separate protocols... well, separate from each other, especially when they are sharing the same connection type (and possible switch)
I really wish people would choose a standard (kind of like the 192.168.0.1 or 192.168.1.1) when it comes to Artnet. I personally set my consoles to 2.0.0.1 -2.0.0.10 and then my Artnet Nodes to 2.0.0.100-2.0.0.150, and then my Media Servers to 2.0.0.200 - 2.0.0.220 just so I have a nice IP Table I can memorize.
I set my Subnet Mask to 255.0.0.0 and I leave my Gateway blank.
BTW, Class A supports up to 16,777,216 IP's
That's 2,199,023,255,552 channels (4,294,967,296 universes)
Keep in mind, we aren't even on Artnet 4 yet in lighting design.
Either way, Even with Fiber, I personally don't know if the network is capable of the bandwidth and processing power to use Class A to it's full potential without crashing?? Class C is being used to the max is still scary to think about.
Now here's something else to make your head itch...
ALL of the information above is based on IPv4 (32 bit) which has been used for many many years.
IPV4 supports 4,294,967,296 IP Addresses.
On IPv6 (128 bit) you can have up to 340,282,366,920,938,463,463,374,607,431,768,211,456 IP Addresses.
I'm not even going to try to do the math on that to figure out how many universes and channels of DMX that would be. I prefer not to crash my PC lol.
Just like Artnet 4, IPv6 is still so new, no one is really implementing it yet. You really have to wait for all the consumer markets to start adapting it before lighting design markets follow.
Maybe your great grand kids will need some sort of crazy alien lighting rig that requires a full IPv6 network to run their galaxy class concert??
Sorry for the rambling, I just enjoy talking networking on occasion lol.
For those of you who want to skip ^ that giant mess of a comment
You can easily use a Class C IP Scheme for Artnet. But if you have your lighting console on Class C as well, you might get some interference with the two langues talking to each other, or some nasty crosstalk. So to keep everything nice and clean, I think they made a conscious decision to separate Artnet from Class C (since EVERYBODY is using Class C) to keep it clean.
I've ran Artnet off Class C before, ran through the same switch as the GrandMA2 Lite and had no issues, but this was for a design studio that only had 1 network line (I also believe the GrandMA Dot 2 *yuck!* series shares Artnet and MAnet on the same ethernet port if memory serves me correct)
It's just a matter of keeping separate protocols... well, separate from each other, especially when they are sharing the same connection type (and possible switch)
I really wish people would choose a standard (kind of like the 192.168.0.1 or 192.168.1.1) when it comes to Artnet. I personally set my consoles to 2.0.0.1 -2.0.0.10 and then my Artnet Nodes to 2.0.0.100-2.0.0.150, and then my Media Servers to 2.0.0.200 - 2.0.0.220 just so I have a nice IP Table I can memorize.
I set my Subnet Mask to 255.0.0.0 and I leave my Gateway blank.