The Bum Clocks: Difference between revisions
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Publicity - [[Ellen Porteous]], | Publicity - [[Ellen Porteous]], | ||
[[Juliet Kernohan]] | [[Juliet Kernohan]] | ||
== Production == | |||
=== Lighting === | |||
Lighitng this concerts was a very interesting and difficult challenge. For starters the project was taking place at the same time as Opera 1 which was using alot of the kit, most importantly, the VL 1000's. This was particualry frustrating as tehy were the only movers that were availiable to us at the time as the TW1's were all undergoing maintenance. This fact was not confirmed to us tho until the friday before we were due to start the rig, so with a late night, a group effort, we were able to re-design the rig to compensate for the lack of movers. | |||
The rig went very well, all things considered. The main challenge was A) Time and B) The size of the rig vs. the number or lx crew. Also, an overseight on my part was how to rig our parcan bars of six on a diagonal. After a quick hunt round the Ath we found some extra G-glamps that we could attatch to the top of the already existing ones on the IWBs thurs creating a "swivel glamp" that could be moved to attatch the IWBs diagonaly to the floating grid. | |||
Once the rig was up we had the problem of patching. A decisionw as taken between the PLX and PM to get the rig in the air on time rather that once it was ready as problems could be fixed fromt eh tallescope and it was agreeded that the PLX could take extra time to patch, not affecting other departments that to spend time on the ground witht he rig, labeling every plug with its circuit number. so as expected the patch took longer than required but once it was done it was ready to focus...except the Grand MA (the lx desk) wasn't working. | |||
No one could figure out what was wrong with it. We had connected it up correctly, taken the DMX fromt eh correct place, through the Demux and into the desk and it was all patched correcly but no lights came on. Calls were made to tutors, every venue tech was in trying to sort the problem but it wasn't until the following day that we realised that it was the Demux that was faulty, while we waited for a replacement, the strand 520i was brought in to temoralily run the focus (as it does not require the demux to operate). | |||
Focus complete, Grand MA working we were ready for the band to come in. When it came to plotting, 2 approaches were used: | |||
1. Plot various chases and states before the band arrive and see what fits. | |||
2. Plot any specific cues that arose from the rehearsal of the setlist. | |||
Show plotted, haze on, workers off, the LX was ready to go. | |||
Revision as of 15:02, 18 March 2010
The Bum Clocks Gig January 28th 2010
Steve's Flickr Photoset Here
Crew
Production Manager - Chris Gowling
Stage Management - Samantha Burt, Ross Oliver, Sarah Wilson
TSM - Siobhan MacIntyre, Fiona Nisbet,
LX Design/PLX/Lighting Op - Fraser Walker
Sound - Jonathan Towers, Dougal Gudim
AV - Hannah Nicol
Design/Crewing - Iain Jolly, Simon Legg
Publicity - Ellen Porteous, Juliet Kernohan
Production
Lighting
Lighitng this concerts was a very interesting and difficult challenge. For starters the project was taking place at the same time as Opera 1 which was using alot of the kit, most importantly, the VL 1000's. This was particualry frustrating as tehy were the only movers that were availiable to us at the time as the TW1's were all undergoing maintenance. This fact was not confirmed to us tho until the friday before we were due to start the rig, so with a late night, a group effort, we were able to re-design the rig to compensate for the lack of movers.
The rig went very well, all things considered. The main challenge was A) Time and B) The size of the rig vs. the number or lx crew. Also, an overseight on my part was how to rig our parcan bars of six on a diagonal. After a quick hunt round the Ath we found some extra G-glamps that we could attatch to the top of the already existing ones on the IWBs thurs creating a "swivel glamp" that could be moved to attatch the IWBs diagonaly to the floating grid.
Once the rig was up we had the problem of patching. A decisionw as taken between the PLX and PM to get the rig in the air on time rather that once it was ready as problems could be fixed fromt eh tallescope and it was agreeded that the PLX could take extra time to patch, not affecting other departments that to spend time on the ground witht he rig, labeling every plug with its circuit number. so as expected the patch took longer than required but once it was done it was ready to focus...except the Grand MA (the lx desk) wasn't working.
No one could figure out what was wrong with it. We had connected it up correctly, taken the DMX fromt eh correct place, through the Demux and into the desk and it was all patched correcly but no lights came on. Calls were made to tutors, every venue tech was in trying to sort the problem but it wasn't until the following day that we realised that it was the Demux that was faulty, while we waited for a replacement, the strand 520i was brought in to temoralily run the focus (as it does not require the demux to operate).
Focus complete, Grand MA working we were ready for the band to come in. When it came to plotting, 2 approaches were used:
1. Plot various chases and states before the band arrive and see what fits. 2. Plot any specific cues that arose from the rehearsal of the setlist.
Show plotted, haze on, workers off, the LX was ready to go.