TECHNOLOGY: Rent or Buy to Fly People?

[yomanda]

Split from topic SHOWS:  Peter Pan http://smnetwork.org/forum/index.php/topic,3360.0.html -Rebbe

Also, with a permanent install, you're restricted to only flying people the way the system was set up for - which would quickly get pretty boring and I suspect you would end up flying people just because you can, rather than because the show really does call for it.  Much better to hire a flying rig that is spec'ed for the show you're doing and tailored to the needs of the show, rather than only being able to fly them in one way.

If you buy the system that he is talking to Dr. Hall about, The "DAT" System, it pays for itself quick.  It is also configurable to over 30 different effects.  As well as shift on the fly mechanical advantage.  Once you buy this system you can do everything from Peter pan to Dracula and everything in between.  Also, you can give a repair and maintenance contract to the flying company and they will make all the fixes.  And if you use Hall Associates, they are really cool about helping you out.  I also recommend going to NAAFED (North American Association for Flying Effects Directors)  Its a 2-3 day rigging seminar for flying effects equipment.  They get flying directors from all over to teach how to rig flying effects and choreography.  If you have any questions on it call 1-888-FLY-HALL 

I wanted to revive a portion of this thread as I am currently researching which will be better for our theater: purchasing equipment to fly people or renting it. 

I know next to nothing when it comes to flying people, except that you must have the proper equipment and trained operators and performers so it is as safe as possible.  Our director is interested in looking into this since we are doing 3 shows with flying in the next 12 months.  I have searched and come up with a list of what seems to be good companies and given that list to him (Foy, Fisher Technical, Hal Associates and ZFX).  But I wanted to ask you guys 1. if there were any others we should be looking at and 2. if anyone has anything to add to what has been said when you consider purchasing this equipment instead of renting.

At this point we are looking at a fixed track system.  The shows we have coming up are The Wizard of Oz, Peter Pan, and an Easter production (which may become an annual or bi-annual event).  We are located in North Carolina, though most companies seem to be more than willing to travel to you so that probably isn't a factor. 

 I look forward to reading whatever tidbits of wisdom y'all throw my way.  Thank you! 

[MatthewShiner]

The physical equipment is fine, and budget that in - but without the training for those flying in the air, those doing the flying effects in the wings, the insurance, and the design of the effects, the physical equipment is pretty dang worthless.

Part of the reason to rent the equipment is every flying effect is going to be different for every show, and getting the "right" effect for the "right" show may take a specific piece of equipment.   As a stage manager, I want pros dealing with this, and those pros are probably not in house scenic techs - when you rent, going with foy or z-effects, you are getting training and know how, not just physical equipment.

[ReyYaySM]

I agree with what Matthew has said and will throw in that I had a terrific experience working with ZFX on the production of Peter Pan I SMed in 2008.  They worked with us to design flying effects that would be magical but would be feasible given the budget and the design.  A representative came in to oversee the installation of the equipment and to train our crew.  The representative assisted in the aerial choreography and was available to us by phone or email throughout the entire run of the production in case anything came up.  The training provided as well as the help with the aerial choreography was invaluable and well worth the cost of renting. 

[BalletPSM]

I did a new Peter Pan with a ballet company several years ago and we bought, designed, installed, and teched the show in-house.  It was more expensive than going with a company like Foy or ZFX, but ultimately it was a much better decision for us.  The nature of flying in dance is not just for effect - it is choreographic as well.  With a company you bring in, their representative will have the final say on any and all moves that are executed - our choreographer wanted (and needed) ultimate creative control over the flying.

Our technical director was also a certified rigger (had been for years) and had been on national tours that involved flying (JC Superstar, Wicked, etc).  We took out extra liability from our insurance company and we were fine.  The TD was also on salary at the company (I wouldn't do it if your TD or flight supervisor is an independent contractor) and our stagehands were IATSE, protected not only under IA insurance and the theatre's, but the ballet's insurance as well.  Our dancers were also on salary, so if anything happened to them, they would be covered under laibility insurance also.  )Interestingly enough, the risks of flight in dance really aren't much different than risks of injury in just regular dance, at least according to the insurance company!)

While the costs of equipment (tracks, rope, cable, harnesses, etc.) ultimately cost more at the outset - then the company owned everything!  Because ballets go into a rep, the company was able to perform that show several times (including some tours) without having to go through the rental process and without having to bring someone else in every single time.  We could also use flying effects in other ballets without much to-do.

If you have these people and resources at your disposal, you could consider doing it in-house. If you don't, definitely go with a company like Foy or ZFX.