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Messages - KMC

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91
Introductions / Re: Hello from Northern Virginia
« on: Apr 12, 2016, 02:58 am »
Welcome Steven!

I imagine your budget is small to non-existent - but two ideas that may make your life easier if you have any budget to spend:

1) Without looking at the impedance transformer you have, I am going to assume it is not actively summing the two stereo channels into a single mono channel.  Most DI boxes are intended to take an unbalanced mono signal (e.g. guitar) using a two conductor 1/4" TIP/SLEEVE connector (tip +, sleeve G) and convert it into a balanced mono signal using a either a three conductor TIP/RING/SLEEVE connector (tip +, ring -, sleeve G) or an XLR connector (pin 1 G, pin 2 +, pin 3 -).  A headphone connector uses a 1/8" three conductor TRS connector for unbalanced stereo (tip L, ring R, sleeve G).  Basically - my guess is the DI box is only lifting the TIP/SLEEVE off of your TIP/RING/SLEEVE connector.  If this is the case you might be missing the right channel of audio entirely. 

If your PCDI box doesn't arrive in time you could DIY with a few basic parts, a soldering iron, and a basic electrical schematic.

2) On the audio playback front - using something like VLC will certainly work, but the possibility of error is extremely high.  If you want to reduce that you could look into a show control software like QLAB by Figure 53.  You can rent a license for something like $3/day.  If you need it for a week it'll cost about $20 and is a commercial grade show control solution. 

If you have any other technical questions I'll be happy to help as my knowledge and time permit.  I lean heavily towards the technical side of entertainment and not as much on the creative.

92
Do you have the rights to sell set pieces and props containing DWA's intellectual property?  I've worked on a few projects with DWA IP and know how protective they are of it. I strongly suspect the answer to this question is "no".

93
The Green Room / Re: Production Haikus
« on: Mar 29, 2016, 12:40 am »
An ASM who
can't come until opening?
A very odd offer.

That's like a cowboy
Who's all hat and no cattle;
Not very useful.

94
Employment / Dubai Opera Job Postings
« on: Mar 16, 2016, 08:26 am »
For any SMs looking for an adventure, Dubai Opera (opening soon) is hiring two stage management positions.  I have no affiliation with this organization and am posting solely as a courtesy to the members here.

http://www.dubaiopera.com/Careers.aspx

95
Tools of the Trade / Re: Purchasing Gaff and Spike Tape
« on: Mar 16, 2016, 08:22 am »
Definitely not "supporting local business" - but Amazon has plenty of options, many with prime shipping available.

96
I'll jump on the bandwagon: take the paid gig. Not because it will be wildly lucrative, or let you to take the media class, or because it's a different type of show than you usually do. Take it because your time is valuable.

If you pursue a stage management career after college, or any other career in arts management/leadership, justifying the value of your time will be part of every interview, negotiation, grant application or annual review. The sooner you begin practicing this type of advocacy for yourself, the more fluent you will be when the stakes are higher.

Well said, Meg!

97
It certainly depends on the internship, but many internships (SM or otherwise) are a way for theatres to source free labor to use essentially as a PA.  I think you'd be surprised how much you can learn even on a small show.  Theatre doesn't start or end at large production musical theatre.  The skills you pick up on a two person show will provide you the tools to manage people in a more intimate setting, which is just as valuable as managing a large show.  As far as resume credits go, I'd suggest the ASM credit will be better-received than the intern credit.

And besides - the point of your education is to obtain SM/ASM gigs, correct?  If you're being offered an ASM gig, isn't that the objective?   

98
Introductions / Re: Hello all!
« on: Mar 10, 2016, 01:19 am »
Welcome!  I am an alumnus of Penn State's BFA SM program.  You're in good hands with Travis. 

99
Tools of the Trade / Re: Stage Management Software
« on: Mar 10, 2016, 01:06 am »
I would *expect* the group least likely to purchase is middle income freelancers. This group doesn't benefit from an institutional "professional development" fund. Their top priority is staying employed, and that often means adjusting their methods to the employer and team of the moment. Would this subset of SMs purchase this software?

I agree with you - I suspect this would be the least likely demographic to purchase the software.  I also suspect this is the largest demographic of SMs.  These two combined would be, in my opinion, the primary reason we haven't seen software take hold in the industry on a large scale.  The freelancer needs to be agile and able to adapt to their employer - whoever that may be at the time - quickly.  Software that locks you into a process and structure that is not going to be suitable for every situation. 

Structured systems take energy to implement, and that energy is paid back over time through increased efficiency efficiency.  A freelance SM on a 6 week run is going to spend the energy up front to implement without the benefits on the back end.

100
Tools of the Trade / Re: Hummus That Won't Stain?
« on: Mar 06, 2016, 11:21 pm »
I don't know this with any certainty, but my guess would be that the stain is from the oil in the hummous.  Does it need to be edible?  You could try making an oil-free recipe and testing that out in a discreet location. 

101
Introductions / Re: Preshow Announcement
« on: Mar 06, 2016, 08:30 am »
I say this [sadly] only half-jokingly: depending which college/university you're at, you may need to include a "trigger warning" - pun not intended.

102
This sounds like a potential liability for the Stage Manager.  It seems the activity below shifts the burden of identifying risk from the Producer to the Stage Manager and Performer.  Is the Stage Manager an employee or an independent contractor?  If an independent contractor is responsible for identifying "extroardinary risk" for a performer, they would assume the liability if a risk is not properly identified and mitigated. 

Has the producing organization indemnified the Stage Manager for risk assessment activities?  If not - the Stage Manager should carry some beefy liability insurance.

103
Welcome, Terrence!

What are your dates in Dubai and what venue are you playing?  I'm living here for the next year or so for work.  If the dates line up with my schedule it'd be good to see the show!

104
The Green Room / Re: Italian Actor Brain Dead After Hanging
« on: Feb 09, 2016, 07:55 am »
Yes - very vague.  It really is puzzling.

105
The Green Room / Italian Actor Brain Dead After Hanging
« on: Feb 07, 2016, 11:12 pm »
A sad story out of Italy.  It's tough to tell exactly what happened, but seems that the actor was solo and only one spectator.  The importance of good fight choreography can not be stressed enough.

Italian Actor Brain Dead After Hanging

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