Messages

736

SMNetwork Archives / Calendar Programs?

« on: May 05, 2006, 08:39 pm »

Certainly. I have been meaning to write a basic how-to guide (both for giving to cast members and one for SM's with how to set up) anyway. It is more an issue of time

737

SMNetwork Archives / RE: Calendar Program

« on: May 05, 2006, 11:23 am »

Okay - from the begining I think.

What you are suggesting, basically already exists. The software is called Thyme (US$50 for a site license)

Now: To break down your idea.

- Calendar accessible via web OR iCal format (which means that while you can add/edit/delete events via the website, you could also do the same from an iCal program such as Mozilla Sunbird, or iCal. I think this would make it easier to work with and update.)

This synchronisation is through either a protocol called calDAV or one called webDAV - it has to be installed on the web server. Not many places actually support webDAV (and that is a real shame IMO) http://midphase.com/ are one of the few (you have to ask them to install it).

- File storage space for contact lists, images, documents, etc.

Something you would expect anyway really - using webDAV for this as well would be damn handy (easy integration into the operating system)

- Notifications via email, SMS txt msg, etc. for different things (new event posted, rehearsal cancelled, etc)

Again, really nothing special - I can do that in most calendar applications, however it is a feature I do not use - I like to write the emails myself, it reduces the number of 'I did not get the memo' messages if you do it yourself. Then again, some people may like that sort of thing.

- Enhanced login system (username/password combo could be used as "showname" then a password of your choosing, OR you could have each member of your cast have their own user name, each with their own access permissions/groups, that shows only specific information related to them [ie/ cast only sees cast rehearsals, while tech sees all rehearsals. Or you could allow the technical director to post updated cue sheets for the light/sound techs])

Two stage authentication. Showname/Password to view the site, then the ability to log in as a 'moderator'/'editor'/'admin', using user/group type arrangement

- Message board (like this one) that allows everyone to talk about anything.

No Comment

Also, would you pay for something like this? I was thinking of making this a subscription-based service of maybe $10/month or something, just the cost of keeping the servers online. And, having worked for a software company before, I know the importance of updates/fixes to the software; so if someone says "hey is it possible to add x?" I'd do my best to add it.) So $10/month for a web-based calendar system that can also be accessed from software like Outlook, Sunbird, iCal, etc. with web space for file storage, notifications, message board, etc. that would constantly be updated with new features that YOU request. Would it be worth it?

Personally, no. I would not pay $10/mo for that sort of service.

Now I do not want to put a dampener on your idea - it has merits, but the technology is largely pre-existing, in fact I already run something similar for most of my shows (I will post something for folks here to play with later on when I have the time and am close to my server) - about the only thing lacking is I do not have web based editing of the calendar, and I write my own emails - however changing the email situation would not take much effort on my behalf.

I know most people out there are not computer guru's and would find setting up a server slightly intimidating, fair enough too, but I also think that it is not the individuals who would be purchasing such a solution - it would be the companies.

And from my experiance, a company which is willing to invest in such a service is the type which already has some form of IT infrastructure (be it just a simple website or other) and therefore would be after something that runs on their server, not hosted on another and that they would have complete control over.

Now IF you aim for the smaller companies, the average show length (including rehearsals) is between 3 and 5 months (your pricing scheme, US$30-50), for a show like that, it would not really be worth the trouble for them. And it would also mean you would have no guarantee of income.

AND... The host I pointed you at (midPhase) gives you enough 'stuff' to be able to host 120 shows, giving each about 100mb web space (more than enough, hell you could probably get away with 10mb each (1200 shows)) for US$7.95 and will pay for your domain... $10/mon would be making substancial profit even with only 2 or 3 customers.

I wanted to say some other stuff, but it is 1:30 in the morning here and I think I have gone off my tree slightly, so I will leave it at that for the moment.

738

Employment / stage management college degrees

« on: May 03, 2006, 11:51 pm »

I started off doing SM'ing by being thrown in the deep end, and I am good at my job (or at least I like to believe so, and I have not had complaints). That said, it has become abundantly clear that a piece of paper is required to move up beyond the shows I am doing now.

Next year I plan to do start a course in "Production" (There is no Stage Management 'course' in AU, and I do not only do SMing).

As far as competence goes, I do not believe the piece of paper is an indication. I was LD and SD for a show with a SM/PM who just came out of a Batchelor of Dramatic Arts (which has a course on Stage Management) and she was extreamly incompetent. She had no idea how to set out a prompt copy (she had script on the left (that's fine) then a sheet on the right hand side with columns for Blocking, LX, Sound etc and she wrote the cue numbers in the columns and drew the lines accross pages, which meant she was misscalling quite a few cues). That is how she was taught to do it. I think that proves the fact that a piece of paper does not mean competence. That said, however, when learning to get your piece of paper, chances are you will pick up some interesting information, and things like laws (I have had to learn them through research and investigation) and rights etc which will help to cover your backside.

739

SMNetwork Archives / Calendar Programs?

« on: May 01, 2006, 09:48 pm »

Over the past few months/years the technologies to create internet 'communities' has certainly become quite prevalent, and it has certainly become a useful tool in our line of work.

For example - 3 years ago if I was doing a show with a cast of 50, I spent a hell of a lot of my time photocopying and managing the distribution of documents at rehearsals - that involved naming each one, making sure that they would get to each person either through rehearsal distribution, or through the post etc. Now, all I have is a bunch of contact lists (<showname>-cast, <showname>-all, <showname>-crew, <showname>-creative, <showname>-leads, <showname>-pr etc) and 99.9% of documents are delivered with an extreamly high chance of being read within 24 hours thanks to email. 2 or 3 years ago, whilst I was using email quite often, I found most people checked once a week, maybe twice making it un-viable.

Recently as far as calendars go, .ics combined with webDAV has become a defacto standard with sharing calendars. What this means:

I run a server which supports webDAV (There are free places that offer use of their server out there like iCal Exchange http://www.icalx.com).

On my PC I run Mozilla Sunbird http://www.mozilla.org/projects/calendar/sunbird/index.html. I create a show calendar, and I publish it to my server using webDAV. I then give this URL to everyone involved.

Now here is where the power is. I can create two calendars, one for the production team, one for the cast. Then I can update the calendar whenever I wish using sunbird, and the copy online is automatically syncronised. Members of the cast can also publish their calendars, and send me the URL, then when I am doing scheduling, if I need to schedule a rehearsal for "Jack","Sam","Joe" and "Francis", I can tick the boxes next to their names on the calendar pane and find a free spot in all their schedules, and create the rehearsal.

The extra great thing is that that more and more programs support .ics files.

Read/Edit/Create Support
iCal (Apple Mac) (after all, they invented it).
Mozilla Sunbird (Windows, Mac, Linux)
Evolution (Linux)

Read Support
Google Calendar (Web based)
phpicalendar
monket php calendar

Needs to be patched to work properly but can
Dun Dun Dun - Outlook - of course MS screwed up support!

I do still, of course, email out a copy of the production schedule etc, and post call lists on the call board, but it is a little service that makes my life (and the lives of others) a lot easier.

For those who want to try it as a cast member would see it I have quickly set up a few days worth of data.

Calendars:
Production team: http://calendar.maccalder.ath.cx/FakeShow/production.ics
Cast: http://calendar.maccalder.ath.cx/FakeShow/cast.ics
My Personal calendar: http://calendar.maccalder.ath.cx/main.ics

To view it online: go here

740

Tools of the Trade / The comfort of a featherweight headset

« on: Apr 28, 2006, 08:45 pm »

I am not a real fan of ultralight headsets - I like having single muff head vices during a show. That said, when I am preshow, I usually wear a modified earwig (I worked for a few months at a University, and had the electronics department modify my 2 way radio earwig to take both clearcom/tecpro input and my 2 way at the same time).

That said - Beltpack.com really only make one ultralight, and it is a headband type - if you don't mind that, it is a good little headset. I can't stand headband headsets, so I loath it. Their other headsets are great though.

My best advice would be don't skimp on it (cost wise) and take good care of it. I used to own my own set of head clamps, I did skimp on them, and even though I took excelent care of them, they recently died.

As for the silver lunchbox - great idea. What I would suggest is talking to costume and seeing if someone there is willing to make you a headphone case (buy some leather and a good quality zip)

741

Stage Management: Plays & Musicals / Prompt Script to the Theater

« on: Apr 28, 2006, 12:57 pm »

Okay, the main reason the company gets the orrigional copy of the SM's bible: Rights Agreement

Basically, in the rights agreement for <show X> will be a section of what needs to be returned to the royalty house, and what the theatre can keep (and who gets to keep it). The standard contract has something along the lines of "All copies of the script must be returned, however a single copy may be kept by the hirer for archive purposes." There is also a section that deals with prompt copies etc. There is also the fact that any work done whilst in the employ of the company does in fact belong to the company. That means that if you want to keep the orrigional, it is by agreement with the owner of the company.

I certainly suggest you read over the rights agreement for every show you do.

Basically, the SM's who keep a copy of their bibles are often breaking the law in doing so - the company and royalty house usually turn a blind eye to that practice though.

As for giving a copy to the director - usually a really really really big no-no. Basically, you having a copy of the prompt copy is frowned upon but ignored, however if you give a copy to someone else, you go from "Possessing copyrighted material without holding the rights to it" to "Unauthorised distribution of copyrighted works". Slap on the wrist verses a couple of thousand dollar fine if the royalty house presses charges.

So from a legal standpoint - you should only have the orrigional copy of the bible if the company does not wish to keep it. If the company wishes to keep the bible, then officially, you should not have a copy.

And just a Post Script: Many royalty houses require that performance reports be sent in (some demand that they come when the scripts are returned, some do random audits) which means the company has to get them from the prompt copy. And as a PPS: Upon completion of the show, all confidential personell data (medical forms etc) should be destroyed immediatly. If you were also in charge of contracts, the company MUST keep the contracts (they often contain things like right of first refusal). I have seen 2 companies go under (that I know of) because they were sued for breach of contract because they forgot RoFR

742

Employment / Opinions on Producers

« on: Apr 27, 2006, 08:31 pm »

What contract are you under?

It may be worth talking to your union rep.

As for not leaving the booth - It is an OH&S requirement in most places that the person in charge (By definition, as SM, that is YOU) be free to deal with arising problems as they come up.

I will reitterate what I said before - stand up for yourself.

Maybe you should "accidently" email them a copy of a stage management Position Description.

743

Stage Management: Plays & Musicals / Prop tracking for a large show

« on: Apr 27, 2006, 01:53 am »

I like to set it up so I can do a visual inspection at a glance as well as an indepth later - Usually that means spiking long tressel tables into 'boxes' that hold each prop. I like to organise in the order of use and charactor. I also like to delegate a certain ammount of props responsibilty to the actors - for example, I number everything that has multiples - for example swords - I number them from 1->'X' and assign a number to each actor that requires one, and they are responsible for that sword. I provide a bucket for them all to go into at the end of the night, which is where they pick them up pre show too, labled "Swords ('X')" ('X') being the number that should be in there.

I still check everything - I have prompt lists postered up behind each prop table and I do a pre-show check on a props check form in my prompt copy. I give the ASM a running list that has what prop goes on when, from where, with whome, and where and when it comes off. My last show had 63 different non-set props, and in that case, I dubbed one ASM "Prop-Master" - she was in charge of checking props etc and tracking their movements - a big relief for me.

My saying for the week is "There is more than one way to skin a cat" - and that certainly holds for prop management.

744

Employment / Opinions on Producers

« on: Apr 26, 2006, 09:00 am »

If I was told I was basically a secretary, I would resign. Simple as that. I would probably rant and rave before I did so of course, and I would make sure my displeasure with the company was known - both amongst cast, and other people I talked to.

Whilst it is true that the PM often does run Production Meetings, and I have no problem with that, you are the hub of communication, you are the liason between departments, and most importantly, you ARE the one with your fingers in every pot, your hands touch every dish at least once and you know the names of everyone in the production. Production managers, as a general rule crunch the numbers, book the venue and rehearsal rooms and basically make sure you have all the tools required to get the show going.

So I guess what you need to do is figure out if you really value that job that much.

And what the hell do they think they are doing holding production meetings without the SM?!?

I am too worked up to rant atm, so I will leave this post at that.

745

Employment / Opinions on Producers

« on: Apr 25, 2006, 10:15 pm »

I gather you have production meetings?

If the producers are in charge of distribution of all this information, make sure you mention the memo's during production meetings - just on the side.

ie:

"So I gather everyone received the memo about script changes. Are there any major problems? Everyone understood them alright?"

Then when LX realises they did not get them, point to the producers and basically say "Ask Them"

Your PM's seem like real a$$es who want to have their fingers in every dish, and I think it may help that you sit down with them and explain exactly what your job entails, and how you cannot do it if they keep fudging you arround.

746

College and Graduate Studies / In search of a (good) undergrad program

« on: Apr 22, 2006, 10:03 pm »

It seems that almost once a fortnight a thread about UnderGrad training for SM's comes up, all basically asking for the best place to go.

Sorry to be a bit of a wet blanket, but is it too much to ask that people a) use the search function (which I admit is rubish really, but it picks out the obvious ones) and b) skim the first page of the board to see if a topic they are asking about already exists.

It is just I (and I am sure many others) get tired seeing the same threads being re-hashed week in, week out. I saw 7 or 8 threads on this page ALONE which deal with either a specific undergrad course or with undergrad courses in general. There are about 3 threads dealing with creating portfolios for applying to undergrad courses etc.

747

Students and Novice Stage Managers / independent show/problems with director

« on: Apr 16, 2006, 04:24 am »

A position I have found myself in occasionally and always awkward.

I suppose the first thing is do you really want to do the show and would you object to using a bit of guilt? If not, just say screw it. Just be gentle about it. Tell them that you are really busy, and if they cannot get their A into G then you are afraid you cannot do the job without jepodising your future (and you are not willing to do that).

Basically, guilt is the perfect tool, after all you are doing them a favour.

That said, you should be perfectly able to do the job with only a short ammount of time with the script - just use post-it notes and jot down notes on pages that need them instead of doing a more complete pre-show extraction.

748

Stage Management: Plays & Musicals / What to do After the Show Closes

« on: Apr 15, 2006, 09:23 pm »

I think what you need to do is just say STOP! It's done! Then call for a cast reunion where you all go out for a few drinks and basically return to being 'one of the guys' - that means when you do it, don't send a nice, well worded email asking if next saturday would be a good time to go and grab a few drinks - instead, just approach each of them in groups and casually ask if they want to go out for a few drinks. Don't even bring up the show if you can manage it.

After you have that little bit of show closure, I suggest you just try and lay low for a month or so in your choir - just do what everyone else does instead of being proactive. After the month is done, you can slowly move back to doing all those extra things you used to do. Stage Managers are, as a general rule, pro-active. It is a personality trait, and you really cannot change your personality, so you may just have to put up with the fact people will look up to you, even when you are not in a position of responsibility.  You will be seen as a leader, because that is what we are. I guess, get used to it.

749

Employment / Under what circumstance is it right to...?

« on: Apr 14, 2006, 09:07 pm »

Honesty does go a long way. Even though I have no shortage of work I find myself more often than not barely scraping by, because I do a hell of a lot of "Semi Professional" or amdram stuff. I hate backing down on a show, and I really do try not to, but recently (thanks to all these great laws and regs that have been introduced (and my lack of certification in line with these regs), combined with large events like the commonwealth games which have put many shows on hold "Indefinantly") pro work has been VERY hard to come by, outside of the "We can't pay you much, but we can give you a hundred bucks" type short season shows.

I have an understanding with the people I have lined up at the moment that if there is a pro show that offers me work, I may end up dropping their show, because otherwise I don't eat (I could go into a rant about the stupidity of Australias welfare system, and the fact that since I am U21, it is means tested on parents assets making me ineligable to claim certain concessions etc but that is beyond the scope of this forum) and they have all been fairly understanding, with the exception of one or two "one timers" who's business I don't care about anyway.

End of the year and I am off to get proper training though (thank god... maybe I will end up pulling a decent wage soon!!!)

750

Stage Management: Plays & Musicals / What to do After the Show Closes

« on: Apr 12, 2006, 02:23 am »

I remember a topic about this a while ago - there were quite a few posts. It is in the green room IIRC.

I believe my responce was along the lines of "Catch up with the cast occasionally, making sure we keep in touch."

Momento wise, I have a shelf in my office that has a momento from almost every show I have done. There are back stage passes, a rubber duck, an African ring container, a bottle of very expensive whiskey, a bunch of programs, a range of sound fx cd's, lighting designs saved on disk and a bunch of CD's holding photos, unauthorised recordings of shows, to name a few.

Whenever I feel a bit down about a show, I just look at the shelf for a while, maybe grab a recording or SFX cd and just reminisc.