The Bum Clocks: Difference between revisions
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=== Lighting === | === Lighting === | ||
Lighting this concert was a very interesting and difficult challenge. For starters the project was taking place at the same time as Opera 1 which was using a lot of the kit, most importantly, the VL1000's. This was particularly frustrating as they were the only movers that were available to us at the time as the TW1's were all undergoing maintenance. This fact was not confirmed to us though 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 | The rig went very well, all things considered. The main challenges were time and the size of the rig vs. the number of lx crew. Also, an oversight on my part was how to rig our Par bars of six on a diagonal. After a quick hunt round the Ath we found some extra G-Clamps that we could attached together, and then on to the [[IWB]]s thus creating a "swivel clamp". This could be moved to attach the IWBs diagonally to the floating grid. | ||
Once the rig was up we had the problem of patching. A | Once the rig was up we had the problem of patching. A decision as taken between the PLX and Production Manager to get the rig in the air on time rather that once it was ready as problems could be fixed from the tallescope. It was agreed that it would be more beneficial if the PLX could take extra time to patch not affecting other departments than to spend time on the ground with the rig, labelling every plug with its circuit number. However the patch took longer than required but once complete it was ready to focus . . . except the [[GrandMA]] (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 | No one could figure out what was wrong with it. We had connected it up correctly, taken the DMX from the correct place, through the Demux and into the patch and dimmers but no lights came on. Calls were made to tutors, venue techs were 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 temporally run the focus (as it outputs D54 as well as DMX 512). | ||
Focus complete, | Focus complete, original board 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. | 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 | 2. Plot any specific cues that arose from the rehearsal of the set list. | ||
Show plotted, haze on, workers off, the LX was ready to go. | Show plotted, haze on, workers off, the LX was ready to go. | ||
[[FWalker]] - PLX | |||
Revision as of 09:33, 19 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
Lighting this concert was a very interesting and difficult challenge. For starters the project was taking place at the same time as Opera 1 which was using a lot of the kit, most importantly, the VL1000's. This was particularly frustrating as they were the only movers that were available to us at the time as the TW1's were all undergoing maintenance. This fact was not confirmed to us though 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 challenges were time and the size of the rig vs. the number of lx crew. Also, an oversight on my part was how to rig our Par bars of six on a diagonal. After a quick hunt round the Ath we found some extra G-Clamps that we could attached together, and then on to the IWBs thus creating a "swivel clamp". This could be moved to attach the IWBs diagonally to the floating grid.
Once the rig was up we had the problem of patching. A decision as taken between the PLX and Production Manager to get the rig in the air on time rather that once it was ready as problems could be fixed from the tallescope. It was agreed that it would be more beneficial if the PLX could take extra time to patch not affecting other departments than to spend time on the ground with the rig, labelling every plug with its circuit number. However the patch took longer than required but once complete it was ready to focus . . . except the GrandMA (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 from the correct place, through the Demux and into the patch and dimmers but no lights came on. Calls were made to tutors, venue techs were 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 temporally run the focus (as it outputs D54 as well as DMX 512).
Focus complete, original board 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 set list.
Show plotted, haze on, workers off, the LX was ready to go.
FWalker - PLX