Cinderella Musical Theatre 2021
| Cinderella Musical Theatre 2021 | |
|---|---|
| [[Image:| 250px]] | |
| Summary | |
| Location New Athenaeum Theatre
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| Creative Team | |
| Director Douglas Irvine
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| Set & Costume Designer Claire Halleran
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| Lighting Designer | |
| Sound Designer | |
| Video Designer | |
| Production Team | |
| Production Manager Kevin Murray
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| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Managers | |
| Production Electrician | |
| Deputy Production Electrician | |
| Lighting Programmer | |
| Head of Stage | |
| Deputy Head of Stage | |
| Head of Flys | |
| Stage Technicians | |
| Production Sound Engineer | |
| Sound No.2 | |
| Sound No.3 | |
| Follow Spot Operator | |
Overview
Stage Department
Stage Management
Sound
Sound No. 2
Equipment Shure Axcient Rack, Wavetool.
Paperwork For this show, paperwork became very helpful. This included a cast info sheet, with all relevant information on the cast that we had, this allowed me to effectively distribute and colour mics, as well as mic belts. I printed these sheets out on A3 and kept them backstage, this was useful as we also had a paper hard copy and could change it at a moments notice if we had to. Other paperwork included a mic plot, and a general running list.
Technical Challenges: Top Hat Quick Change At the end of the first act, all of the animals transform and turn into horsemen with top hats. This was going to be an issue for us, as it wasn't as big a deal to put all of the actors on ear hangers for only a short part of the show, especially so close to the interval. Though we still wanted to avoid the muddiness we would get if we didn't move the mics. So the solution for us was to unclip the mic entirely from the actors head, if we had time the we would leave one in for security, and tape the mic to the edge of the top hat, with just the capsule sticking out. This evolved into some of the actors putting loops of the mic in thier hair, to allow them to pull out a hairclip and have enough excess for us to tape the mic. This all had to happen in under 40 seconds, while the actors were doing a costume change as well. With this being said, we managed it with very few issues.
I wrote a risk assessment surrounding this quick change, as it was very stressful and was a source of anxiety for many of those involved. So I wrote the risk assesment to keep everyone safe from feeling too under pressure, but also to keep us sticking to covid guidelines.
Sound No. 3
Preshow- before the show started I helped to battery up, test all the mics and deliver them to the dressing rooms as well as testing all the comms and cue lights and testing the mics in the pit.
show- During the show my main role was to monitor the mic racks and wavetool, alert the sound number 2 should I come across any issues and pass on any communication from the sound 1.
I was also there to help the sound number two at busy points such as the top hat quick change and during the interval as a lot of the cast wore backless dresses in act two so their mics had to be taped on their shoulder.
Image of mic rack set up during show.
Lighting
Video
Animation Designs were made in Adobe Animate and After Effects. Using a mix of frame by frame and motion graphics techniques.
File Formats
We used QLab for the playback system in conjunction with transparent video files in order to overlay assets and make them easily adjustable during the technical rehearsal as we had some elements ie. the carriage that needed to be scaled and moved around as well as the silhouettes. However, it was quickly found that Qlab only reads very specific render settings into transparency. That format being Quicktime ProRes 4444, Millions of colours, RGB+Alpha, Premultiplied. Only in that specific file format wherein composition settings its set to black will you be able to use the transparent files on Qlab. As from Adobe Animate Export Video > Quicktime Animate then it will get an unreadable QuickTime file that when opened in QuickTime it will convert itself into a ProRes 4444 file.