106
Tools of the Trade / Re: What software do you use?
« on: Jun 08, 2008, 06:01 pm »And...what is toast?Toast is a Mac CD burning software as far as I know.
I'm also a Mac Man
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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107
Tools of the Trade / Re: What software do you use?
« on: Jun 08, 2008, 11:31 am »
I am Vista
Word
Excel
Outlook
Dreamweaver (for my web pages)
Photoshop
Nero
Word and Excel are by far the most handy and the only 2 that I use regularly on both my desktop and laptop. I only started using my website for shows with this current production but I really like Dreamweaver for that. And Outlook is just nice for keeping track of all of my different email accounts and contacts, as well as syncing with my phone.
Matthew - how do you use powerpoint for scene transitions? Would you mind sending me a sample? I've never thought of it before and would love to get an idea of what exactly you mean by it.
Word
Excel
Outlook
Dreamweaver (for my web pages)
Photoshop
Nero
Word and Excel are by far the most handy and the only 2 that I use regularly on both my desktop and laptop. I only started using my website for shows with this current production but I really like Dreamweaver for that. And Outlook is just nice for keeping track of all of my different email accounts and contacts, as well as syncing with my phone.
Matthew - how do you use powerpoint for scene transitions? Would you mind sending me a sample? I've never thought of it before and would love to get an idea of what exactly you mean by it.
108
The Hardline / Re: Style
« on: Jun 08, 2008, 02:08 am »
I think we'll find that all of us are "somewhere in the middle" for the most part on this topic. I'd be surprised if there was someone that felt very strongly one way or the other.
I love my job and what I do. But I don't let it become my life and I never will. I do what I can to make sure things get done for shows. Sometimes, that may include something I'm not specifically contracted for, but if it doesn't really hurt me, I don't mind. Recently, I had one last rehearsal before our final preview. My director knew going into it, that she could no longer change lighting cues and sound cues because the budget didn't have anything left for a Board Op on either side. But she asked the LD to come in for just 30min at the top of the 4 hour rehearsal just to look at 2 sections. He did but with the Lightboard in the Booth (which I'm contracted to run during the show), he was in the house and had no way of running back and forth in time to make changes. So he told me what keys to press for minor changes and away we went. Should I have done it? No. Did it help the show? Absolutely. It's not covered under AEA so I didn't feel I was breaking a rule there, it was more a moral thing. Do I stick to the ideal that if I'm not paid to do a certain job, I don't do it? Or do I do what needs to be done to get the show right? Obviously, I chose to get the show right and my director understood the favor she now owes me.
I've also let a rehearsal go a few minutes over the allotted 55 or 80min AEA specified times just to finish a scene or something. The actors never complain about it (probably because they don't realize) and it helps keep rehearsals moving smoothly. I'll compensate by sometimes extending the break or just keep track of when the break was supposed to happen and plan the next break based on that, as opposed to the actual time. In the end, the actors still get the same amount of break time, it's just a matter of when exactly those breaks happen. Although when I have to call a break earlier than the exact end time, I do start timing from when we pick up again so that I'm not forced to make the actors work too long.
I don't go out of my way to find loopholes in contracts but I definitely don't mind working with a company and AEA to find compromises and solutions to problems. I've only once been forced to play the rulebook to the letter and that was because a company continuously tried to bend and break rules seriously affecting actor morale.
I work free-lance right now and don't always make more than the minimums (which can be disgustingly low on certain contracts) and hbelden is right, because of the low pay, AEA will seriously limit the number of hours a week shows can rehearse. In those cases, I'll sometimes work a little extra if a show needs something but I always leave my actors out of it and rarely involve my assistants unless absolutely necessary. But I also limit the amount of "extra" work I'm willing to do outside of my contract because in all fairness, if the company wanted more hours, they could have gone with a different AEA contract. I just try to take each situation separately and see where it leads.
I love my job and what I do. But I don't let it become my life and I never will. I do what I can to make sure things get done for shows. Sometimes, that may include something I'm not specifically contracted for, but if it doesn't really hurt me, I don't mind. Recently, I had one last rehearsal before our final preview. My director knew going into it, that she could no longer change lighting cues and sound cues because the budget didn't have anything left for a Board Op on either side. But she asked the LD to come in for just 30min at the top of the 4 hour rehearsal just to look at 2 sections. He did but with the Lightboard in the Booth (which I'm contracted to run during the show), he was in the house and had no way of running back and forth in time to make changes. So he told me what keys to press for minor changes and away we went. Should I have done it? No. Did it help the show? Absolutely. It's not covered under AEA so I didn't feel I was breaking a rule there, it was more a moral thing. Do I stick to the ideal that if I'm not paid to do a certain job, I don't do it? Or do I do what needs to be done to get the show right? Obviously, I chose to get the show right and my director understood the favor she now owes me.
I've also let a rehearsal go a few minutes over the allotted 55 or 80min AEA specified times just to finish a scene or something. The actors never complain about it (probably because they don't realize) and it helps keep rehearsals moving smoothly. I'll compensate by sometimes extending the break or just keep track of when the break was supposed to happen and plan the next break based on that, as opposed to the actual time. In the end, the actors still get the same amount of break time, it's just a matter of when exactly those breaks happen. Although when I have to call a break earlier than the exact end time, I do start timing from when we pick up again so that I'm not forced to make the actors work too long.
I don't go out of my way to find loopholes in contracts but I definitely don't mind working with a company and AEA to find compromises and solutions to problems. I've only once been forced to play the rulebook to the letter and that was because a company continuously tried to bend and break rules seriously affecting actor morale.
I work free-lance right now and don't always make more than the minimums (which can be disgustingly low on certain contracts) and hbelden is right, because of the low pay, AEA will seriously limit the number of hours a week shows can rehearse. In those cases, I'll sometimes work a little extra if a show needs something but I always leave my actors out of it and rarely involve my assistants unless absolutely necessary. But I also limit the amount of "extra" work I'm willing to do outside of my contract because in all fairness, if the company wanted more hours, they could have gone with a different AEA contract. I just try to take each situation separately and see where it leads.
109
Employment / Re: Websites
« on: Apr 20, 2008, 01:11 pm »
I started this thread almost 2 years ago now (wow I feel old) and have now come around to finally putting up a good site. Please feel free to check it out - www.scottpomerico.com. I'm interested in opinions and suggestions.
I've also got this great little feature where I have the rehearsal schedule of the current show attached to my site. Only reachable by a direct link to avoid random people from wandering onto it. I like to respect some privacy I guess. I'll let everyone know how that works out as I start rehearsals on Tuesday for a new show.
And I know I need to get a new pic up. It's just the only one I have that looks semi-professional and since I'm not an actor - the fact that I cut off all my hair and beard a year ago - doesn't really make a difference yet.
I've also got this great little feature where I have the rehearsal schedule of the current show attached to my site. Only reachable by a direct link to avoid random people from wandering onto it. I like to respect some privacy I guess. I'll let everyone know how that works out as I start rehearsals on Tuesday for a new show.
And I know I need to get a new pic up. It's just the only one I have that looks semi-professional and since I'm not an actor - the fact that I cut off all my hair and beard a year ago - doesn't really make a difference yet.
110
Stage Management: Plays & Musicals / Re: Cast/Crew call format question
« on: Apr 15, 2008, 04:56 pm »
I've never mentioned the show or company name. Could be that I've always just had one cast at the space a time though. I've also never called Beginners to stage (what is this?).
111
The Hardline / Re: Off-Broadway Rep?
« on: Apr 14, 2008, 05:36 pm »
Thanks! Actually I ended up with Frank Stancati as the one that called me back.
112
The Hardline / Off-Broadway Rep?
« on: Apr 14, 2008, 09:50 am »
Does anyone know the Business Rep for Off-Broadway? I haven't done a lot of NY work lately and need to schedule a AEA meeting for a new show starting rehearsals next week. Just wondering if anyone knows who I should callfor that.
113
College and Graduate Studies / Re: What Major?
« on: Apr 08, 2008, 12:00 am »
I'm a proponent of the Liberal Arts system but only because that's the same thing I did. It was nice getting a feel for every aspect of theatre. Take into account though that I knew nothing about Stage Management until college and didn't even really start doing it until after I'd earned my degree.
114
Stage Management: Plays & Musicals / Re: sound cue debate - letters or numbers
« on: Mar 20, 2008, 01:21 pm »
I just finished doing 2 shows where I was running Lights and the Sound Designer wouldn't use letters either. His reasoning behind it was by using numbers - the CD tracks would be the same as the cue number being called. Since I wasn't calling anything for Lights - I decided not to push the issue but that was just me.
As for just using cue lights - it could work - but then you run into the "what if" scenario of if he's not on headset when something goes wrong. A cue light can't specify which cue you want played.
My advice is to try and just do with it as you can. I know it sucks having 2 sets of numbers going in your book but if you're only calling 1 of them - at least there's less room for mistakes.
As for just using cue lights - it could work - but then you run into the "what if" scenario of if he's not on headset when something goes wrong. A cue light can't specify which cue you want played.
My advice is to try and just do with it as you can. I know it sucks having 2 sets of numbers going in your book but if you're only calling 1 of them - at least there's less room for mistakes.
115
Uploaded Forms / Re: Mic Tracking Chart
« on: Mar 18, 2008, 04:22 pm »Thank you so much, Digga. Your example helped out a lot. Now I have the rest of the week to work on it. Unfortunately we only have eight wireless mics and we're doing a musical... runs into some problems when you have more than eight characters on stage at a time with mini-solos. The entire prologue is done with the curtains closed on the apron so choir mics are useless at that point.Not a problem. We had an issue of limited number of mics as well which is why we had to make the chart to track who got what mics and when. Granted - we had more than 8 but the chart definitely makes it easier. Let me know how it works out for you.
116
The Hardline / Re: Is there a standard Percentage?
« on: Mar 17, 2008, 04:07 pm »
Yeah those were the same figures I was coming up with on the LORT contract too. I was just wondering if I was mistaken or reading something wrong somewhere.
117
The Hardline / Is there a standard Percentage?
« on: Mar 17, 2008, 12:17 pm »
I was wondering if anyone knew if there was a standard percentage that Stage Manager's made over Actors in the AEA minimums?
118
Uploaded Forms / Re: Mic Tracking Chart
« on: Mar 16, 2008, 06:23 pm »
Here's one I put together for Carousel. The empty second column had the actor's last name and I just removed them for privacy. If you have questions following it, let me know.
119
Students and Novice Stage Managers / Re: Number Markers for dance?
« on: Mar 05, 2008, 02:41 pm »
The only problem with a Colored Light every 2 feet is that some actors have trouble counting quickly and the farther out from Center they get - the more lights they have to count. Not trying to make fun of actors but I've had them complain about it.
I've used numbers that were painted onto heavy clear plastic (used Black on 1 side and White on the other depending on the color of the stage floor). That worked fairly well.
Of course, if you can paint on the stage - Glo-Paint works really well as the actors can see it clearly in the dark.
I've used numbers that were painted onto heavy clear plastic (used Black on 1 side and White on the other depending on the color of the stage floor). That worked fairly well.
Of course, if you can paint on the stage - Glo-Paint works really well as the actors can see it clearly in the dark.
120
Employment / Re: Dear Abby Post: Can I hold on accepting an offer?
« on: Feb 29, 2008, 04:18 pm »
Another option - though unpopular with theatres - is the MRE (More Remunerative Employment) meaning that you can accept the job offer you have now - but if a better job with more money comes along - according to most AEA Rules you are allowed to back out of the current contract for the MRE.
I've never tried this method but I've been in situations where an MRE was offered to me while I was already working but chose to turn it down at the time. Many regional theatres understand this rule and accept it, especially if you can give them enough notice to find a replacement.
It's been my understanding that many lower paying jobs and contracts will make offers well in advance to try to lock people up because they also know the chance of losing them to a higher paying job is great. Whereas the higher paying jobs will take longer because they often have more applicants to sort through and also know they are offering enough money so that people will generally not turn them down when an offer comes.
Does this make any sense?
I've never tried this method but I've been in situations where an MRE was offered to me while I was already working but chose to turn it down at the time. Many regional theatres understand this rule and accept it, especially if you can give them enough notice to find a replacement.
It's been my understanding that many lower paying jobs and contracts will make offers well in advance to try to lock people up because they also know the chance of losing them to a higher paying job is great. Whereas the higher paying jobs will take longer because they often have more applicants to sort through and also know they are offering enough money so that people will generally not turn them down when an offer comes.
Does this make any sense?