Automation Advice

[dee4156]

Hey guys..
Something I'm specifically looking for info on is automation. I've been at a very large regional theatre for one season (Equity and IATSE) and heading into my second. I've been given a heads up from the team of electrics designers and TD's, that my upcoming show has the most automation they've done. (It's a straight play, not a musical). Although I've been equity for 20 years, I've never worked with automation before and I'm looking to get as much feedback/expert advice from stage managers, automation programmers, designers, operators etc. as to what they technicians want and need from a stage manager and from SM's as to what your experience is managing a smooth process. For example, I've found out that the SM during rehearsal process, provides the programmer with a list of all set pieces to move independently to begin with. That's programmed roughly and then he builds other "blocks" where the timing of pieces moving overlap.
I guess my big questions are: What is the ideal process and how does it unfold to put it all together (ex. fine tuning to actors timing) and again, what would make the people on my team really happy with me.. Trying to gather as much info as possible to be as prepared and knowledgeable as possible. Any tips, tricks, insight or "a-ha" moments of experience you've gained and carry onto your next show would be much appreciated.
Thanks!!
dee

[Celeste_SM]

I've done two shows with automation. I have no idea if my process was "normal" and in both cases we were using a rental set that came with pre-programmed automation, but the directors wanted (of course) to do something different than what was provided.  In both cases, I provided the programmer with the desired changes to each cue (what pieces moved and the attributes of the move - this depends on the set piece and the programming, but is not unlike lighting design) and they did the programming ahead of time, but it was a rough cut. It was very helpful to then have a specific automation rehearsal where we stepped through the cues with the director present. Often what they thought they wanted was not what they really wanted, and allowing the designer to talk directly to the programmer really cut to the chase of what "look" was wanted. A lot of it boiled down to language. A director might say they want the set piece to get there "faster" but really they want it to move quickly into the scene and then slowly glide into final position. Those nuances are hard to convey in writing.

As far as timing to actors, it was less of an issue to us, because it was a musical. We had no cases where the moves didn't happen with music, and the actors simply adapted to the known musical timing.

Hope that helps. I feel like I'm being terribly vague.

[Mac Calder]

A lot depends on the automation system being used. Some of the systems available can be rough-programmed off site, some cannot. Some are fully 3D production environment.

Generally the workflow I have worked with is something like what follows (it is very much like planning cues for manual flying and deck)

Full venue CAD is created. Set is cad'ed, and all measurements are taken. During pre-production, the basics of what is where are nutted out - ie a cue list and the automation system is specced.

Automation is installed and set-up.

Deads are programmed and the cues are run through manually and positions are noted (positioning done in collaboration with director and set designers)

A cue list is created containing the basic motions and some basic ramps and safety conditioning (ie this moves only after a is passed b or this slows down from this height to make sure we dont whack people on the head.) - this is generally done on site (overnight generally in a tight schedule).

Cue-to-cue timing session is run to make it all look pretty (sometimes done in the above step, sometimes done in the LX plotting session)

Tech is run.

[dee4156]

Thanks guys   All that is helpful. A few questions from your info though.. can you fill me in on how an automation cue sheet is set up? I imaging something like: Act/Sc/Pg/ Cue #/ Set piece (Axes?) / Movement / Speed / Notes   .. something like that? I'm assuming however that this is created in the early planning stages and I would just need to alter it out of the rehearsal process.
Also, I found out we're using the Raynok system.
Very helpful.. keep the tips coming

[Mac Calder]

When I have dealt with automation, the initial sheet has contained:
A/S/P/C#/Name - Axis # (Dead)/Description

Which looked something like:

Code: [Select]

1   |   1   |  1   |   3   | Main - 1 (out)                                          | Grandmothers house set.
    |       |      |       | Grandmothers house legs - 5 (Position 3)                | As main flys out, GMH flys in
    |       |      |       | Grandmothers house backdrop - 22 (In)                   | a nice slow pace, all sections appearning
    |       |      |       | Festoons - 12 (High 1)                                  | to move as one

After it is plotted, then I have usually received a printout from the automation software which contains every parameter the system has - allowing the show to be completely re-plotted by sitting down and doing a bunch of typing without having to physically re-plot

[SMrose]

In Thomas A. Kelly's book on Stage Management (most recent edition) he has a section on automation that I found very helpful.  He includes sample cue sheets also.