Ballet Showcase 2018: Difference between revisions
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= Technical Stage Department = | |||
= Technical Stage | |||
The set-up of the stage for this year's showcase did not differ greatly from that of years past. Four 1800 x 6000 hard maskers were hung on each side of the stage, with 1200 x 6000 returns on their offstage edge, supported by French bracing. The overhead rig consisted of three gauzes - DS (Bobinette), MS (Square), and US (Shark's Tooth) -, the House Drapes, a front black, a star cloth, and the BP screen. Due to the positioning of the LX booms just offstage, we had to take particular care with the conduit of each cloth - as giving the live flown pieces a full cloth's worth of conduit would have seen them crash into these lighting fixtures as they landed. | The set-up of the stage for this year's showcase did not differ greatly from that of years past. Four 1800 x 6000 hard maskers were hung on each side of the stage, with 1200 x 6000 returns on their offstage edge, supported by French bracing. The overhead rig consisted of three gauzes - DS (Bobinette), MS (Square), and US (Shark's Tooth) -, the House Drapes, a front black, a star cloth, and the BP screen. Due to the positioning of the LX booms just offstage, we had to take particular care with the conduit of each cloth - as giving the live flown pieces a full cloth's worth of conduit would have seen them crash into these lighting fixtures as they landed. | ||
Two 12m soft legs were also flown just US of the second hard masker, as the fly floors on either side were clearly visible from the stalls. The onstage shackles on these hard maskers were also covered with offcuts of serge to prevent them catching light and drawing the eye. | Two 12m soft legs were also flown just US of the second hard masker, as the fly floors on either side were clearly visible from the stalls. The onstage shackles on these hard maskers were also covered with offcuts of serge to prevent them catching light and drawing the eye. | ||
Some of the equipment | Some of the equipment we had to prep are as follows | ||
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For more ballet specific information, please see entries on our [[House_Tabs]] and [[Dance_Floor]] | For more ballet specific information, please see entries on our [[House_Tabs]] and [[Dance_Floor]] | ||
==Flys== | |||
Due to the size of this year's showcase, it took three operators to fly the show; the Head of Flys, the ATSM, and the ASM. | |||
<pdf>Modern_Ballet_Grad_Showcase_2018_-_Fly_Cue_Sheet_v3.5.pdf</pdf> | |||
<pdf>Modern_Ballet_Grad_Showcase_2018_-_Flyplot_v7.pdf</pdf> | |||
<pdf>Modern_Ballet_Grad_Showcase_2018_-_Hemp_Plot_v2.pdf</pdf> | |||
= Lighting = | = Lighting = | ||
'''Programming Ballet''' | |||
I have found that the best way to program ballet is like a gig with each piece on separate cue stacks. This is because the choreographers come in at different times with some having more than one piece at different points in the show. The show is also not tech-ed chronologically meaning if the show is programmed in one big cue stack you would have to remember the starting cue of each piece and go between them. Programming each piece on separate cue stacks i find is a lot cleaner and easier to manage. Writing a macro to take you between each piece by going to the relevant page, selecting the cue stack, turning it on and turning everything else off excluding a the page you keep your hazer, house lights etc on (fix these so they move with you as your going between pages). - Karyn Wilson | |||
<pdf>Ballet_2018_LX_Plan_V2.pdf</pdf> | |||
<pdf>Ballet_2018_LX_Plan_V2_-_KEY.pdf</pdf> | |||
<pdf>Ballet_2018_LX_Plan_V2_-_OVERHEAD.pdf</pdf> | |||
<pdf>Ballet_2018_LX_Plan_V2_-_SIDES.pdf</pdf> | |||
= Sound = | = Sound = | ||
This performance contains both playback and a live orchestra. The standard Ath house system is being used in addition with four D&b E3's for fold back on stage. Two are place on scaff booms auditorium side of the pros arch, the other pair are on the mid stage LX boom. Playback was sent to all speakers where as the orchestra were just routed to come out on stage. The Pit orchestra consisted of a piano and harpsichord that were miced individually with specials (Shure SM81 & Sennheiser MD441 respectively). It also contained 8 strings players, a pair of E614's made up a Musical Director X and Y pick up with two SE 300's as outriggers. | |||
<pdf>Patch_Ballet_2018.pdf</pdf> | |||
<pdf>Ath-May-2018_Pit_Plan_V2.pdf</pdf> | |||
Latest revision as of 09:30, 22 May 2019
| BA Modern Ballet Graduation Showcase 2018 | |
|---|---|
| Production Information | |
| Performance Dates Thursday 14th - Saturday 16th June 2018
| |
| Venue New Athenaeum Theatre
| |
| Production Team | |
| Lighting Designer | |
| Sound Designer | |
| Production Manager | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Manager | |
| Production Electrician | |
| Deputy Production Electrician | |
| GrandMA2 Programmer | |
| Lighting Technicians | |
| Technical Stage Manager | |
| Deputy Technical Stage Manager / Head of Flys | |
| Stage Technician |
Technical Stage Department
The set-up of the stage for this year's showcase did not differ greatly from that of years past. Four 1800 x 6000 hard maskers were hung on each side of the stage, with 1200 x 6000 returns on their offstage edge, supported by French bracing. The overhead rig consisted of three gauzes - DS (Bobinette), MS (Square), and US (Shark's Tooth) -, the House Drapes, a front black, a star cloth, and the BP screen. Due to the positioning of the LX booms just offstage, we had to take particular care with the conduit of each cloth - as giving the live flown pieces a full cloth's worth of conduit would have seen them crash into these lighting fixtures as they landed.
Two 12m soft legs were also flown just US of the second hard masker, as the fly floors on either side were clearly visible from the stalls. The onstage shackles on these hard maskers were also covered with offcuts of serge to prevent them catching light and drawing the eye.
Some of the equipment we had to prep are as follows
Flown Hard Masking
1800 x 6000 Hard Masking Flats 8
7000 Drifts 16
44m Hemp Lines 16
6000 French Braces 6
30m Hemp Lines 12
1 ton Shakles 24
Grounded Hard Masking
1400 x 6000 Hard Masking Flats 6
16000 x 8000 BP Screen 1
6000 French Braces 6
Star Cloth 1 Borrowed from Scottish Opera
Pin hinge w/ pin 24
4x20 Screws 144
110 meters of dance floor tape were used
10 meter of flame proof carpet was also purchased to lay in the wing cut to size and labelled SL/SR (please look after it)
You will also come to terms with working a washing machine during this allocation due to the towels we use to clean the floor on a regular basis
Attached is the ballet Ground plan to scale In pdf format File:Ballet 2018 Ground plan .pdf
We also had a 4 meter section of truss FOH using method of open basket rigging also in pdf format to scale File:Ballet 2018 FOH Truss .pdf
For more ballet specific information, please see entries on our House_Tabs and Dance_Floor
Flys
Due to the size of this year's showcase, it took three operators to fly the show; the Head of Flys, the ATSM, and the ASM.
Lighting
Programming Ballet
I have found that the best way to program ballet is like a gig with each piece on separate cue stacks. This is because the choreographers come in at different times with some having more than one piece at different points in the show. The show is also not tech-ed chronologically meaning if the show is programmed in one big cue stack you would have to remember the starting cue of each piece and go between them. Programming each piece on separate cue stacks i find is a lot cleaner and easier to manage. Writing a macro to take you between each piece by going to the relevant page, selecting the cue stack, turning it on and turning everything else off excluding a the page you keep your hazer, house lights etc on (fix these so they move with you as your going between pages). - Karyn Wilson
Sound
This performance contains both playback and a live orchestra. The standard Ath house system is being used in addition with four D&b E3's for fold back on stage. Two are place on scaff booms auditorium side of the pros arch, the other pair are on the mid stage LX boom. Playback was sent to all speakers where as the orchestra were just routed to come out on stage. The Pit orchestra consisted of a piano and harpsichord that were miced individually with specials (Shure SM81 & Sennheiser MD441 respectively). It also contained 8 strings players, a pair of E614's made up a Musical Director X and Y pick up with two SE 300's as outriggers.