Merrily We Roll Along 2022: Difference between revisions
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|'''Video Designer''' <div style="text-align: centre;"> [[Rhia Mitsuhashi]] </div> | |'''Video Designer''' <div style="text-align: centre;"> [[Rhia Mitsuhashi]] </div> | ||
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! style="background-color:#d4c5d2; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma"> <span style="color: #91638d;">'''Production Team'''</span> | ! style="background-color:#d4c5d2; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma"> <span style="color: #91638d;">'''Production Team'''</span> | ||
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Additionally, an old CRT monitor was to be used on stage, with a live camera feed going to it through the disguise server. However, due to the digital-to-analogue converter breaking, the monitor was sadly cut. | Additionally, an old CRT monitor was to be used on stage, with a live camera feed going to it through the disguise server. However, due to the digital-to-analogue converter breaking, the monitor was sadly cut. | ||
Here you can see the system diagram of the set-up. | |||
[[File:MWRA_-_Systems_Diagram_V002.pdf]] | [[File:MWRA_-_Systems_Diagram_V002.pdf]] | ||
=Photos= | =Photos= | ||
Revision as of 11:53, 13 December 2022
| Merrily We Roll Along 2022 | |
|---|---|
| |
| Summary | |
| Dates 6th Dec 2022 - 9th Dec 2022
| |
| Performance Course Third Year MT
| |
| Location New Athenaeum Theatre
| |
| Creative Team | |
| Director | |
| Designer | |
| Sound Designer | |
| Lighting Designer | |
| Video Designer | |
| Production Team | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Head of Stage/Automation | |
| Flys | |
| TSD1 | |
| Stage Technician | |
| LX Programmer | |
| PLX | |
| Production Sound Engineer | |
| Sound No. 2 | |
| Sound No. 3/Deputy PSE | |
Overview
Stage Management
Technical Stage Department
Lighting
Sound
One of the main challenges of this show was the pit being at half-height. This of course meant less control in the front of house mix, and an overall louder sound in the auditorium before amplification. This also meant carefully runnning our cables up onto the pit lift, including cue and comms cables as well as cat5 for personal monitoring. It was important that this was made safe for the muscicians by making cable runs as clean as possible.
This also meant rigging the MD Camera with a hex-clamp and camera rigging to the underside of the stage to ensure a good view of the MD.
Video
This show used two projectors, one in the FOH truss position and the other on stage on LX 1. This was due to the two different projection surfaces, one being the gauze and the other a flown balcony piece. Two projectors were used to adhere to the focal lengths.
Notes: Kramer HDMI to CAT5 extenders won't draw enough power when an optical HDMI is used on the other end of it.
Additionally, an old CRT monitor was to be used on stage, with a live camera feed going to it through the disguise server. However, due to the digital-to-analogue converter breaking, the monitor was sadly cut.
Here you can see the system diagram of the set-up. File:MWRA - Systems Diagram V002.pdf