Messages

271

Tools of the Trade / Re: Things that went wrong with your technical equipment?

« on: Jul 04, 2008, 11:53 am »

Work with any equipment for long enough and it will fail. Work in a venue without a proper PMS (and no, that is not referring to "Womens Troubles", but rather Preventative Maintenance System) and you will have problems. Even with a proper PMS, you should still expect problems.

Large shows which cannot afford to fail will often run tracking backup systems - basically they have 2 lighting desks, 2 FOH mixers, 2 foldback mixers etc. These systems will be kept fully synchronized with each other, and if one fails, the backup takes over.

As far as comms - a wired system will always be more reliable than a wireless system. Which is why you will find most shows will have wired to 90% of the people on comms, then wireless for those that really need it (ie Deck managers etc). They will also have a wired comms system sitting in the wings waiting, with a bloody long XLR.

Such is life.

Basically, you can plan a system which is almost impossible to have fail (full power backup yadda yadda yadda) provided you are willing to foot the cost.

Or, you can run a show in such a way that you can work around failures easily - ie I always run tracking backup of my lighting desk (when I have the facilities to do so), if I am TD of a show, I will always make sure that I have enough two way radios on site that they can be distributed if needed. I will always spec cue lights as well as cans, and I will always ensure that LX, Sound and Vision can run the shows from cue lights. If I am sound, I will always have two versions of my wireless mic sheet - the "All good" list and the "Make sure at least these people are mic'ed" list. Plan for the worst, hope for the best.

272

Employment / Re: Money Matters...

« on: Jul 02, 2008, 07:00 pm »

Calculate your expenses, we cannot do it for you (as everyones lifestyle is different) - If you really want the job, and are not too concerned with making a profit, add up all your monthly expenses, add  a bit of "play money" and a bit of "emergency money" and give them that figure.

Or, you could look at union rates and base it off of that.

273

Tools of the Trade / Re: CCTV Monitor

« on: Jun 25, 2008, 06:00 am »

The device is called an RF Modulator.

You should be able to pick them up at any decent electronics store for about $50. What you do is you daisy chain RF modulators, one for each channel you wish to add, and if you wish to add regular TV, you run your cable/aerial into it as well.

274

Tools of the Trade / Re: What software do you use?

« on: Jun 15, 2008, 03:10 pm »

I use:

Ms Office 2007 (OneNote is a great tool in that bundle... makes organising stuff easy!)
Adobe Photoshop/Flash/Audition/Premier
Martin LightJockey
Lightwrite 4
LD Calculator Lite
Chamsys MagicQ
GrandMA OnPC
Nero Burning Rom
MIDI-OX
Fastone Image Viewer
Richmond ShowMan II
Plus a bunch of other "Stuff"

275

Tools of the Trade / Re: Soldering irons?

« on: Apr 28, 2008, 11:08 pm »

Bah! I have enough 40% lead solder to last me a lifetime (about 4kg of it) back in Aus... It is far superior to resin core

276

Tools of the Trade / Re: Soldering irons?

« on: Apr 28, 2008, 09:36 pm »

Basically solder is a metallic compound (usually with a lead base) which melts at a "reasonable" temperature (in the low hundreds) with good electrical conductivity. So a small iron with a metal tip is heated up and melts solder which flows around the two pieces of metal, joining them. A chemical called flux helps the solder to flow nicely and properly join correctly. Usually for electronic work, the solder will have a flux core, making it a rather simple process. Use the iron to heat the two pieces of metal, then dab the end of a piece of solder in the join between the iron and the two pieces of metal or wire. The solder will flow nicely and join the two.

277

Tools of the Trade / Re: The Internet

« on: Apr 28, 2008, 06:37 pm »

One must remember that Email is just one more way of communicating, and no matter how you communicate, to guarantee reception, you NEED to get confirmation from the receiver. Over the phone, that is easy - you talk to the receiver. If you are not going to get confirmation, you need to make the data available in multiple places.

For me, that means I write a rehearsal schedule in PDF format, I email it, and I upload it to a web directory with basic password protection. I also have copies available on me at rehearsals, and I have a fax list, for those who like faxes. If I have a hotline phone available, then I will keep something on there too. Whilst I have not had to do much of that sort of stuff in the last year and a half, the technologies being developed have only made that sort of thing easier.

The bonus with the internet is that it increases availability of information. I can publish something online and my cast can access it seconds later. That and it is also a fairly reliable system - I have lost fewer emails to my junk folder and the 'ether' than I have lost snail mail through the local postal service. However it does shift the onus onto us in some peoples mind - which is wrong. Actors should still be responsible for ensuring that they get the information. It getting lost in the Junk folder, or not reaching them is not an adequate excuse IMO. They still have your phone number after all.

278

Students and Novice Stage Managers / Re: Technical Manager definition

« on: Apr 28, 2008, 02:08 pm »

It depends on the context. TD (Technical Director) or TM (Technical Management) varies from industry to industry.

As far as theatre goes, a TD will often look over all drawing and plans to make sure that everything will work together - ie will the set get through the loading dock doors and onto the stage, and when it is there, will it actually fit under the lighting bars with the 12foot droppers and Mac500's on them etc. And will LX's rig draw too much power etc. Basically, the TD is the overseer of all things technical, and they should "slot in" at the start of production (attending all production meeting) and come into their own during bump-in. Whilst we tend to look after the human side of things until tech, the TD should look after the technical aspects.

279

Stage Management: Plays & Musicals / Re: Cast/Crew call format question

« on: Apr 15, 2008, 07:23 pm »

Beginners is the time either 5 or 2 minutes to the opening of the act and is often called "places" in the movies - basically, the actors opening the act are to make their way to the stage and get into position, ready for the act to commence.

Depending on where you work, calls are made relative to beginners.

"Ladies and Gentlemen of the Flywire cast, this is your half hour call. Half hour to ACT 1 beginners." (35 mins to curtain)
versus
"Ladies and Gentlemen of the Flywire cast, this is your half hour call. Half hour please." (30 mins to curtain)

I am a fan of calling relative to beginners. However I do not think that that is the norm in the US (please correct me if I am mistaken)

280

Tools of the Trade / Re: Cue Lights

« on: Apr 13, 2008, 10:36 am »

No too sure about price, never had to buy one.

I ran that system for close to two years, on and off, and apart from the membrane buttons (the major downside), it is a VERY nice system.

It's 14 or 8 channels, and if you need more, the masters can be linked together, so that the groups are the same across the board.

281

Tools of the Trade / Re: Cue light system

« on: Apr 08, 2008, 11:10 pm »

You could also try and get your electronics department to wire you one up. They are rather simple - the diagrams are available on the web.

Basically, the more "advanced" have a two pole switch - the top latches, the bottom is momentary. Press up, the "Standby" light comes on (if you have the extra money, you can change the circuit slightly so that the SB light will flash at both ends until acknowledged, when they go solid), then when you press down, standby comes off, and go goes green. Being momentary, when you release the cue light switch, it turns off automatically.

When you are used to the cue light system in a venue (as I am sure this SM is), your use of them will be based solely on muscle memory, you know exactly where each switch is, and your hands can do it without watching.

282

Tools of the Trade / Re: Headset Side

« on: Apr 07, 2008, 08:40 pm »

My use of the left ear primarily comes from the fact I started calling shows from prompt corner. So if I am facing stage in PC, then the open ear is my right ear, which is the side that I am most likely to be approached from.

Since that is how it has "Always been", wearing it any other way feels wrong.

That, and I keep my two way radio on my right hand side when at work, so the closer it is to my open ear, the lower the volume I can have it at.

283

Students and Novice Stage Managers / Re: Staged Readings

« on: Mar 29, 2008, 02:07 am »

Staged Readings are great, because pre-production is short and sweet.

It is basically a complete show, with basic blocking, some basic audio (optional), some basic lighting (optional), some basic set (optional), some basic costumes (optional), and the actors don't need to learn their lines.

Staged readings often occur with new works to "try it out" on a small audience. Most staged readings I have been involved in have had 3 days or less of rehearsals and between 2 and 4 days of show, and are often in a black box theatre.

284

Students and Novice Stage Managers / Re: Rules on Cans

« on: Mar 28, 2008, 08:51 am »

Ten Can Tips

1: When I call standby, you stand by. At most, all I should hear is "Standing By", unless there is a problem
2: Cans stay on - and if you need to take them off (audio) make sure you can see the call light, and call "Off Cans" before you go.
3: Mics off if you are in a noisy environment
4: What is said on cans, stays on cans
5: Avoid talking badly about people
6: Try and do a cans check before show, to ensure mic placement is optimal - Remember - the knob that seems to turn up your mic DOESN'T - it just adjusts your side tone (how much you can hear of yourself)
7: Don't cough into an open mic
8: Cans are usually fairly sensitive, and designed to be used discreetly (ie amongst the audience) - so keep your voice down.
9: Get comfortable. Take the time to adjust the headset properly
10: Either have your mobile off, or keep it away from the unbalanced cans loop.

285

Tools of the Trade / Re: Erasable highlighters?

« on: Mar 22, 2008, 07:57 pm »

Dri-Mark make them (both the promotional and the mass market versions). One side highlights, the other side erases.

Marbig also make them.

Any stationer should be able to custom order them for you.