What you are training

A moving head is only as useful as the positions stored in it. Aiming one is a two-axis problem, pan and tilt, and the mark is a spot on the stage that has to be hit fast and repeatably, because a position that is off by a metre puts the singer in the dark on the one cue that matters. Good programmers build position palettes early and update them when the rig moves; great ones can land a head on a mark by eye in a couple of seconds. This drill shows a target position on the stage, gives you the pan and tilt controls, and scores how close you land and how long it takes. Later rounds ask you to hit the same mark after the fixture has been moved. Six rounds, and the two-axis mental model that every moving-light show depends on starts to feel natural.

After this drill, the plan: The daily plan pairs aiming with position palettes next, so the mark you can hit becomes a mark the desk remembers.