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Comment by numpad0 | Hacker News Reader

The intention is likely that the transmitter takes DMX and sends out 38kHz IR, and the whole system of searchlight and individual armbands collectively becomes a DMX lighting. The optical wireless link part is an internal implementation detail.

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I think the key thing is that IR allows the bands to work regardless of where the wristbands are located in the stadium. Additionally, they're probably using the IR to multiplex since the DMX 512 standard technically only supports 512 channels (which if each device uses a channel for color and channel for intensity, is only 256 supported devices).

With the IR technology, they are not addressing the individual lights. The bands just respond when IR splashes on them. The IR "spotlight" is just transmitting a command on repeat, and the bands display that one off command. DMX is just commanding the spot to move a certain way, and transmit a certain code.

They have a RF variant where they put the bands on each seat before the show. THOSE bands are individually addressed with RF, and their position known in advance to the setup. (If you move a band to another seat you'll mess it up). They have a special device that transmits RF across the whole venue. That device probably has a DMX hookup to take commands to transition to certain pre-programmed scenes and/or animations, and commands from a USB-connected PC.

There is a video showing the RF box with DMX input (and USB), and they talk about how they can control it from a standard lighting board.

https://i.imgur.com/Di09aD2.jpeg

It sounds like each band can be a part of (at least) 2 "groups", with the example showing groups 1-18 assigned to each stadium section, and 1-9 going all the way around from the first row to the highest/back row.

It's not hard to imagine that they've mapped each of those groups to a DMX channel, with the value indicating the color, and/or flash pattern, etc. Even if you're limited to 512 distinct groups (a single DMX universe), that's a lot of granularity. With that, any lighting designer/operator can use their console of choice to do scene and sequence programming -- no special training needed.

Yea, that sounds sane. The RF transmitter gets the DMX commands to groups, which then get translated to batches of RF bands, and then they just act on that.

I wonder if the RF system has enough bandwidth to show a movie or an animation at a decent frame rate, because that would be a neat effect.

IR has arbitrarily good spatial bandwidth — instead of a conventional moving light setup, it could be done like a projector — stick a DLP chip or an LED array at the focal plane. Then you could project a movie by literally projecting the movie as IR commands :)

I doubt the DMX part is coupled that closely to the IR. No one is bit-banging their IR protocol (or even its baseband) over DMX — even if it could work, the lighting console would need extremely special support to speak the protocol.

The DMX part would be like any other light: a pair of channels controls the coordinates to which the transmitter’s gimbal aims, one channel selects a color, one channel selects a command, a channel or two set some other parameters, etc. And the electronics in the transmitter unit convert all this to actual servo commands and to the encoded IR signal. There wouldn’t be a channel to select the active vs inactive state of the IR modulator, as entertaining as that would be. (DMX has a maximum frame rate of 44Hz. Following some links, the PixMob bits are 694.44 microseconds long. RS485 is plenty fast to carry the baseband signal, but DMX isn’t.)

(It’s been awhile, but I have operated DMX-controlled moving lights. And yes, of course I’m speculating.)

Isn't that exactly what numpad0 said? You're just agreeing with them.

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