This Restless House: Difference between revisions
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| align="center" |'''Location''' <div style="text-align: centre;"> Chandler Theatre </div> | | align="center" |'''Location''' <div style="text-align: centre;"> Chandler Theatre </div> | ||
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| align="center" |'''Director''' <div style="text-align: centre;"> Becky Hope Palmer </div> | |||
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| style="background-color:#483D8B; font-size: 120%;" align="center" | <span style="font-family: Tahoma"> <span style="color: #FFFFFF;">'''Production Team'''</span> | | style="background-color:#483D8B; font-size: 120%;" align="center" | <span style="font-family: Tahoma"> <span style="color: #FFFFFF;">'''Production Team'''</span> | ||
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| align="center" |'''Production Manager''' <div style="text-align: centre;"> | | align="center" |'''Production Manager''' <div style="text-align: centre;"> Gavin Johnston </div> | ||
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| align="center" |'''Stage Manager''' <div style="text-align: centre;"> | | align="center" |'''Stage Manager''' <div style="text-align: centre;"> [[Paola Soliz]] </div> | ||
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| align="center" |'''Deputy Stage Manager''' <div style="text-align: centre;"> | | align="center" |'''Deputy Stage Manager''' <div style="text-align: centre;"> [[Saul Johnstone]] </div> | ||
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| align="center" |'''Assistant Stage | | align="center" |'''Assistant Stage Manager''' <div style="text-align: centre;"> [[Sophie Harwood]] </div> | ||
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| align="center" |''' | | align="center" |'''Stage Supervisor(s)''' <div style="text-align: centre;"> [[Ellie Shaw]], [[Trudy Nelson]] & [[Gregor Dickov]]</div> | ||
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| align="center" |'''Stage Crew''' <div style="text-align: center;">***</div> | | align="center" |'''Stage Crew''' <div style="text-align: center;">***</div> | ||
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| align="center" |'''Lighting Programmer''' <div style="text-align: centre;"> | | align="center" |'''Lighting Designer''' <div style="text-align: centre;"> [[Maxi Heddle]] </div> | ||
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| align="center" |'''Lighting Programmer''' <div style="text-align: centre;"> [[Smiles Ricci]] </div> | |||
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| align="center" |'''Production Electrician ''' <div style="text-align: centre;"> Gun Lai </div> | |||
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| align="center" |'''Deputy Production Electrician ''' <div style="text-align: centre;"> [[Smiles Ricci]] </div> | |||
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| align="center" |'''Lighting Technicians ''' <div style="text-align: centre;"> [[Roy Mohan Shearer]] & [[Sal Quinlan]] </div> | |||
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| align="center" |'''Sound Designer''' <div style="text-align: centre;"> [[Danny Taggart]] </div> | |||
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| align="center" |'''Production | | align="center" |'''Production Sound Engineer ''' <div style="text-align: centre;"> [[Daniel Barclay]] </div> | ||
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| align="center" |''' | | align="center" |'''Sound Technicians ''' <div style="text-align: centre;"> [[Hamish Bell]], [[Connor Boyd]] & [[Cormac Cameron-Finn]] </div> | ||
|} | |} | ||
=Summary= | |||
=Technical Stage= | |||
==Seating bank masking== | |||
==Seating== | |||
==Main Set== | |||
===Ground Plan=== | |||
<pdf width="800" height="570">TRH A2 2025 TSD Groundplan Final.pdf</pdf> | |||
==Balloon drops== | |||
The director wanted balloons to drop from the ceiling. She wanted many to drop at the same time, so we knew we'd have to design a method for dropping them, rather than being able to drop them by hand from the catwalks. Because there there's not much headspace in the Chandler, we didn't want a traditional kabuki system because we didn't want the black tat to be seen when it was hanging down or to interfere with the lights. | |||
Instead, we designed a system where the release lines (the pink in the photo) being pulled would pull the black tat back so that the balloons would fall out from the system. We put up three of these systems–one larger one that needed two people to operate it and two smaller ones which each only one person to operate from the most upstage catwalk. | |||
In the cords attaching the tat to the red lines, we faced some issues in finding the balance between keeping tension so the black tat was taut and creating too much friction in the system. In the larger system, the red line was a horizontal scaff bar which we waxed but in the smallers systems, it was a thicker piece of rope. If the tat was held too loose, it didn't bunch up as well and more balloons got caught and didn't fall. In the end, the solution was just to find a happy medium where the lines were taut but there wasn't so much friction that the release lines couldn't be pulled. | |||
[[File:BalloonDrop.jpg|500px]] | |||
==Welcome sign== | |||
==Golden bell== | |||
=Stage Management= | |||
=Sound= | |||
<pdf width="800" height="570">TRH VectorworksSoundandVideo.pdf</pdf> | |||
[[File:TRH QlabKareoke.jpg|712x712px|thumb|center|Qlab Karaoke Lyrics]] | |||
I created karaoke lyrics that where projected onto the floor, this was achieved by creating the sides of text with a white outline and a green font colour then "green screening" (linear key) it out to then move boxes across creating the kareoke effect. I then timed each section to the song. | |||
. | |||
=Lighting= | |||
Latest revision as of 14:26, 21 March 2025
| This Restless House |
|---|
| Summary |
| Dates ***
|
| Location Chandler Theatre
|
| Director Becky Hope Palmer
|
| Production Team |
| Production Manager Gavin Johnston
|
| Stage Manager |
| Deputy Stage Manager |
| Assistant Stage Manager |
| Stage Supervisor(s) |
| Stage Crew ***
|
| Lighting Designer |
| Lighting Programmer |
| Production Electrician Gun Lai
|
| Deputy Production Electrician |
| Lighting Technicians |
| Sound Designer |
| Production Sound Engineer |
| Sound Technicians |
Summary
Technical Stage
Seating bank masking
Seating
Main Set
Ground Plan
Balloon drops
The director wanted balloons to drop from the ceiling. She wanted many to drop at the same time, so we knew we'd have to design a method for dropping them, rather than being able to drop them by hand from the catwalks. Because there there's not much headspace in the Chandler, we didn't want a traditional kabuki system because we didn't want the black tat to be seen when it was hanging down or to interfere with the lights.
Instead, we designed a system where the release lines (the pink in the photo) being pulled would pull the black tat back so that the balloons would fall out from the system. We put up three of these systems–one larger one that needed two people to operate it and two smaller ones which each only one person to operate from the most upstage catwalk.
In the cords attaching the tat to the red lines, we faced some issues in finding the balance between keeping tension so the black tat was taut and creating too much friction in the system. In the larger system, the red line was a horizontal scaff bar which we waxed but in the smallers systems, it was a thicker piece of rope. If the tat was held too loose, it didn't bunch up as well and more balloons got caught and didn't fall. In the end, the solution was just to find a happy medium where the lines were taut but there wasn't so much friction that the release lines couldn't be pulled.
Welcome sign
Golden bell
Stage Management
Sound
I created karaoke lyrics that where projected onto the floor, this was achieved by creating the sides of text with a white outline and a green font colour then "green screening" (linear key) it out to then move boxes across creating the kareoke effect. I then timed each section to the song.
.