What I like about using a media server to create the blend instead of using another piece of gear is just that: outputting a signal to another device that processes and divides it means the potential for data loss and/or artifacts that could get introduced along the way. Using a media server in this way won’t always be possible, due to the size and overall scale of the project, but it is something to consider when designing a show. On the other hand, the downside of using a media server for edge blending is that as the media server itself takes on more responsibility for tasks typically reserved for the video production crew, the less likely it may be that the lighting programmer will have enough time to handle all the necessary tasks associated with both roles. For this reason, it’s probably best to have a dedicated media server programmer on these types of shows. That way, both lighting and video will look equally as impressive instead of both looking half as good as they could.
—From “Video Digerati” by Vickie Claiborne, PLSN, Jan. 2014
Glitch happens, and it is important to realize that some unexpected results might just be your own fault. Maybe you tracked a timing value that is now causing the lights to move slower than expected. (The most common programmer based mistakes are due to a lack of understanding of tracking.) You might have even recorded a cue in the wrong list or left out a palette/preset reference. Often the glitch is of your own making. These are the easiest to fix, but often the hardest to find. And although you might be reluctant to explain your fault, you will find that most LDs respect your honesty when you explain that you corrected a mistake that you made.
—From “Feeding the Machines” by Brad Schiller, PLSN, Jan. 2014
I find myself in a theater in Florida that I have played on a few occasions. It’s a good load-in and the gig is actually a decent venue to play. But as we are driving up to the gig, I hear the production manager bellow, “Let’s just get this one over with.” I ask him why he doesn’t like this particular place. “The gig is just fine, but wait until the stagehands start in with their attitude.” I never recalled this being a problem when I walk in, but as the day goes by I get what the PM said. I’m getting back talk and snappy answers to many of my simple questions. I ask if they have a hole on the side of the stage — I have to run the snake through. I’m met with a snazzy reply. “Of course we have that,” the guy says, adding, “and we will get to it in our own time. We’re not like those crap theaters you guys have been playing, we are pros here. We’ll let you know when the time is right.” I just asked a simple question. I didn’t ask for any lip.
—From “LD-at-Large” by Nook Schoenfeld, PLSN, Jan. 2014
Weight load monitoring might still seem to be a novel concept to some, but not to Dart Rigging, which purchased its first Ron StageMaster (RSM) system from Eilon Engineering in 2005 — the same year the rigging company starting working with tours for Rammstein. Because Rammstein shows have grown in complexity over the years, their most recent shows would typically involve close to 20 truckloads of gear weighing close to 50 tons — and much of it ends up in the air. “We’ve used the RSM product for a long time,” says Dart co-owner Martin Gehring. “It’s a type of insurance and, at the end of the day, it gives peace of mind.
—From “A Rigging Assist for Rammstein” by Larry Beck, PLSN, Dec. 2013
David Leveaux’s new production of Romeo and Juliet starring Orlando Bloom and Condola Rashad exemplifies the trend of Broadway productions becoming genuinely live action versions of Hollywood — in this case, flames onstage are creating the visceral impact. The production features two horizontal battens, each more than 40 feet long, and flame appears along 33 feet. A vertical batten is about 25 feet in height, with flames along 16 feet. The system is fueled by propane…When it comes to dealing with fire, special effects design consultant Jeremy Chernick cites early planning as a crucial element. “The earlier that flame is brought into the design, the more likely that it will work, and in a lot of ways the more savings will be available to the production. If the scenery is already built, then it’s harder to integrate into the set.”
—From “Inside Theatre” by Bryan Reesman, PLSN, Dec. 2013
An automated lighting programmer must always be ready for the unexpected. Not every gig starts off with you preparing the show file, getting the time you need, and having everything run as planned. You must understand the time available and the work that is required…A recent corporate gig serves as a case in point. In that case I was helping a friend with an international gig with a very busy schedule. I looked at the required work and prioritized what needed to be done. This knowledge was only available to me due to my past experience with similar events. I made the choice to concentrate on the scenes and to put off programming all the “other” bits until later. I knew what it would take for me to create the operating layout and what I needed to build to cover anything that happened on stage or in the house. When appropriate, I spent the time to build these elements without jeopardizing the most important scenes. This allowed me to be ready when the client wanted to rehearse and not have them waiting for lighting.
—From “Feeding the Machines” by Brad Schiller, PLSN, Dec. 2013
Skycam is a high definition camera system that flies in three dimensions above a playing field. The system is computer controlled, driven by cables and powerful winches and, most importantly, operated by a highly skilled team of operators and technicians. The Skycam system took the sports industry by storm around 2001, because it offered a point-of-view never before seen and an opportunity for enhanced game analysis. ESPN was the first to use it for Sunday Night Football, and since that point, its use has grown to other networks and even to other sporting events. The system is operated by up to a nine-man crew, according to Skycam’s Stephen Wharton. “We have a full time five man crew that consists of the pilot, the camera operator, an EIC [Engineer in Charge], an E2 and a rigger. The pilot is responsible for flying the camera above the field. The operator, who you can think of as the gunner in an aircraft, is responsible for pan, tilt, focus and zoom — in other words, he’s the shooter. The EIC is responsible for managing the entire crew, including the E2 and the rigger. We also have an additional four people who are reel watchers.”
—From “Video World” by Paul Berliner, PLSN, Oct. 2013
Our consoles give us the ability to manage timing in varied methods…When a parameter changes from one value to another, a time is assigned that dictates the speed at which the value change will occur; this is called fade time. Most consoles let you assign a specific fade time for each parameter of every light. You could have a cue with multiple fade times that cause different parameters or fixtures to change at different rates, or assign some fixtures that increase intensity as others are fading. Most consoles also offer the ability to adjust the delay time — the time when a programmed fade time starts. Another timing parameter, known as follow time, controls the amount of time between each cue or step. You can assign a follow time of a cue to a specific value, or you can tell the console to auto-follow or follow-on. Auto-follow causes the next cue to automatically begin its fades and delays as the previous cue completes all its combined fade and delay times. The follow time can also be set to manual. At any moment, of course, you can override programmed times as long as you understand the controls at your fingertips.
—From “Feeding the Machines” Brad Schiller, PLSN, Oct. 2013.
“Programming a film is different, because we are always looking at intensity levels on everything: the band, the set, the audience. We still had the thousands of cues, just like the touring show. We ended up changing some of the stage and set pieces after the first two months of programming in 2011. We also changed out the fixture types in a few places. It is always a challenge for focuses in the round. You really need to walk the room’s 360 degrees when updating graphic focuses. We moved the console several times during the programming and playback. This gave us a better perspective for the 360-degree gig. Sometimes paying attention to the lighting system was a challenge. It was very spread out. On top of that, when the fire, lasers and video were all going, there was a lot to look at.”
—From Troy Eckerman, who joined LD John Broderick and programmer Rob Koenig in a conversation about Metallica Through the Never with Debi Moen for “Designer Watch,” PLSN, Oct. 2013.
Some venues care about the act and theater, even if the design of their venue is a tad outdated. Sometime in the 1980s, people came up with the concept of building big stages and covering them with a big white tent. This does protect the stage from rain, etc.; but it also allows all the sunlight right through the translucent roof. What I love about the Shoreline venue in San Jose is that they have black drapes that they insist on closing before the event, masking any unwanted light from hitting the stage. These guys care about your show. Of course, the big problem is that this venue was built in the 1980s and they have endured growing pains. The stage is not deep, the roof not tall. But the real problem is with the layout — I have been playing there 30 years, and I have never seen my band from the front of house mix position. The seats here are on a good rake, looking down at what appears to be a three-foot stage. My front of house area is flat. I will never see the stage over the audience when they stand.
—From “LD-at-Large” by Nook Schoenfeld, PLSN, Oct. 2013