Everything Master Electrician

[Wolf]

Hey,

I have a general overview of what a Mater Elec does but I do have several questions (including some questions I Think I know the answers to). Any information on Mater Elec would be appreciated even if its as simple as always have something to write with.


-What design ideas should the Mater Elec purpose (or none unless asked)
- What paper work should the Mater Elec have
-What should the designer write up opposed to the Mater Elec
- Should the Mater Elec be in charge of the crew or just the technical aspect
- What do you expect the Mater Elec to be doing for load-in and performance
- What should the Mater Elec have the assistance (if there is one) do

I know I probably have thought of more but I did not write them down when I thought of them.

Again any information would be appreciated, and thanks in advance.

Wolf

[Footer]

Hey,

I have a general overview of what a Mater Elec does but I do have several questions (including some questions I Think I know the answers to). Any information on Mater Elec would be appreciated even if its as simple as always have something to write with.


-What design ideas should the Mater Elec purpose (or none unless asked)
- What paper work should the Mater Elec have
-What should the designer write up opposed to the Mater Elec
- Should the Mater Elec be in charge of the crew or just the technical aspect
- What do you expect the Mater Elec to be doing for load-in and performance
- What should the Mater Elec have the assistance (if there is one) do

I know I probably have thought of more but I did not write them down when I thought of them.

Again any information would be appreciated, and thanks in advance.

Wolf

First, check the glossary, I believe there is a large entry on this one. Also, is this in the world of education (if so, what level), professional, or community?

#1 Rule.... YOU ARE NOT THE DESIGNER, DON'T GIVE ANY DESIGN INPUT UNLESS ASKED FOR IT, even then its usually a "How do you guys usually do ________".

The designer should give you a plot, instrument schedule, and channel hookup. You will then take that and add in dimmer numbers and figure out circuiting. You will also be resposible for ordering all color and expendables. The designer does not care how things get done, as long as they call out the channel number the right light turns on in the proper location with the proper color and template.

You are in charge of crew, the only time the designer should ever talk to the crew is during focus.

For light hang (electrics load in) the stage is yours. For scenery load in you should be there to make sure nothing happens that could get in the way of lighting or if something does need to move you can move it. Durring show run, some M.E.'s stay on to run the console for the show, some come in for lamp check and go home, some never show up again after the show opens.

I usually like to have an assistant, makes life much easier. I usually assign them to one thing and let that be their area that I don't have to think about. Usually that involves all color media and/or everything FOH.

[Wolf]

Also, is this in the world of education (if so, what level), professional, or community?

It is education and H.S but this is not a normal H.S. I go to School for Creative and Performing Arts (SCPA) in Cincinnati, Ohio and major in Lighting Design. We pride our selves on doing professional grade work/experience. We are doing are upcoming show at the P&G theatre at the Aronoff Theatre Cincinnati, Ohio for the second year in a row and before that we were at the Taft Theatre. I have worked professionally as well and grew up in theatre and fell everything should be approached as if it was a Broadway production whether it is at school, community theatre, or a well known professional theatre.

[Footer]

everything should be approached as if it was a Broadway production whether it is at school, community theatre, or a well known professional theatre.

Be careful with that type of statement, many regionals feel that Broadway is the worst part of theatre, not all do, but some. Just an FYI.

I'm a TD at a school very similar to yours. I expect all of the above from my electricians. Right now I am doing most of the design type things because I don't feel the students have the physical stuff solid enough yet. I will be letting them loose by the end of the year.

I expect my electricians to get their job done. Now, because I am the one with the keys I am at every hang anyway, but I try to let my kids figure it out for themselves. At your level, don't expect to be perfect. Hopefully your instructors will be there with you. Also, who is the designer? If the designer is an upperclassmen you could have some control issues. I try to give all the responsibility to the student in charge and then stand back and make sure everyone follows otherwise the one senior in the room trys to rule.

Take it slow, ask plenty of questions. I'm sure you will be fine.

[Serendipity]

I also go to an arts high school. For almost all of our shows (we have one in a union house, another two there are student MEs and MEs that come from the rental company) the master electricians are students.

The Master Electrician should be given the plot (and hopefully paperwork) from the designer. The ME then handles anything that needs to be purchased or rented. Always keep in contact with the designer, as well as everyone else on the crew who will be assisting you. (Ex: Do you have a lighting supervisor? An ALD or AME?)

When it's light hang, the ME should direct the electricians, keeping track of what has been taken care of already. (Organization is important.) At focus, our MEs do focus lights. During rehearsals and programming, the ME should keep (or be sent, depending) a list of work notes. These could be adjusting shutters, switching color, etc.

Before opening night, the ME is there for chan/dim check, and often leaves before the show. This is assuming the dress rehearsal went well. Then, the duty of lamp check and paperwork goes to the board op (who may be the Master Electrician).

After the show, our MEs assist in strike. As with any position, be nice and efficient.

Yes, always have something to write with. Actually, make it two somethings, and a highlighter!

[cdub260]

-What design ideas should the Mater Elec purpose (or none unless asked)

As ME, generally your input in the design process will be minimal at best. Your job is to find a way to do what the LD wants done. Now, there will be times when you're asked by a designer to do something which you simply can't do. Reasons can vary: time, budget, lack of expertise, Fire Marshal says no, etc. When this happens, it is usually appropriate, though not always, for you to present alternatives to the designer.

- What paper work should the Mater Elec have

I'm going to agree with Footer4321 on what paperwork you should have and add to it. You need to keep an accurate inventory of your lighting and effects equipment. You should also keep a maintenance log of any work you have done on your equipment.

-What should the designer write up opposed to the Mater Elec

Basically, anything having to do with the lighting design other than the ME's notes on what was done to make it work are the responsibility of the LD, but as ME you are responsible for passing your plot notes on to the LD.

- Should the Mater Elec be in charge of the crew or just the technical aspect

Generally the Master Electrician heads the lighting and electrics crew. I do not, as I have no crew to lead.

- What do you expect the Mater Elec to be doing for load-in and performance

This will vary depending on where you are working. Personally, when the Pageant is running I slip into the role of Deck Electrician.

- What should the Mater Elec have the assistance (if there is one) do

Off hand, I'd say if you have an assistant, have him do whatever he is capable of doing safely. Just don't try to make the assistant do your job for you.

#1 Rule.... YOU ARE NOT THE DESIGNER, DON'T GIVE ANY DESIGN INPUT UNLESS ASKED FOR IT, even then its usually a "How do you guys usually do ________".

This too will vary from designer to designer. Some will want no input from you at all. Others will want all the advice you can give about working in your space. Most will fall somewhere in between. At the Pageant there are certain aspects of the lighting design that I have free reign on with no input from the designer at all, but we've been working together for nearly a decade, and he trusts my judgment in these areas.

The designer should give you a plot, instrument schedule, and channel hookup.

I'd be happy if my LD would at least give me a plot. It would make my job a whole lot easier than the make it up as he goes along approach he takes to lighting currently.

[ruinexplorer]

The ME is responsible for making sure everything lighting is safe before it flys.

As for organization, a lot of MEs I know use calculator/register tape and mark it with all pertinent hanging info per electric. At hang, they just have to strech them out and tape them to the pipe and the electricians can start the hang (as opposed to measuring out and marking the pipes as you go or just calling it off the plot).

[MNicolai]

The ME is responsible for making sure everything lighting is safe before it flys.

As for organization, a lot of MEs I know use calculator/register tape and mark it with all pertinent hanging info per electric. At hang, they just have to strech them out and tape them to the pipe and the electricians can start the hang (as opposed to measuring out and marking the pipes as you go or just calling it off the plot).

I've seen this before. It's a bad idea in my experience. Our TD tried it for a while. Every time we had to restore the rep plot we'd roll out focus tapes on the floor under each lighting position to designate where a light's hot spot should be. It was more a pain than helpful. What we've stayed with though is using packing tape and printed labels to "permanently" mark where lights should be hung and plugged into on each electric, and that works really well. The problem with focus tapes is simply the time it takes to set them up, be it for hot spots or for hang positions. If your crew is unable to read a plot to put lights where they belong in a timely manner, you have a lot more problems than any kind of focus tape will solve.

[Footer]

I've seen this before. It's a bad idea in my experience. Our TD tried it for a while. Every time we had to restore the rep plot we'd roll out focus tapes on the floor under each lighting position to designate where a light's hot spot should be. It was more a pain than helpful. What we've stayed with though is using packing tape and printed labels to "permanently" mark where lights should be hung and plugged into on each electric, and that works really well. The problem with focus tapes is simply the time it takes to set them up, be it for hot spots or for hang positions. If your crew is unable to read a plot to put lights where they belong in a timely manner, you have a lot more problems than any kind of focus tape will solve.

Its not a focus tape, its a HANG tape. What you described about is the holy grail, but always fails miserable. Hang tape takes about 2 min to put on a pipe, and if they are correctly made can cut the time it takes to hang a show in half. Chalking pipes works, but it does not give enough info. Hang tapes are the only way to go as far as I am concerned.

[Footer]

If you have permanently marked the lighting positions with every 6" off CL, with a copy of the plot next to the meat racks, the process of hanging will also go pretty quickly.

Yep, hang would be quick. Circuiting on the other hand would be very slow. It takes twice as long to get something plugged in then it does to hang the light.

[Sean]

I'll add my opinion.

If you properly prepare the paperwork, color, templates, scrollers, etc, using HANG tapes will cut roughly 1/3 of the time off your hang. ANY method of hanging electrics that involves measuring on the pipe, or any hang with more than 3-4 electricians will be dramatically improved by using the hang tapes.

I'll preface this by saying we DO NOT have a rep plot. Everything is hung per the LD's wishes.

I use 2"x4" printed mailing labels. The infomation on each label is as follows:

Position
Unit number
Instrument type
Accessories
Color
Template
Dimmer
Orientation (SR, SL, etc)
Address (for smart devices)


On each end of the batten I hang a page of information. That includes:

Lineset number
Electric number (1E, 5E, etc)
Weight of equipment (expressed in number of stage weights)
Trim
Mults
Single circuits
data lines (type and gender)
Any important information ("must fly to deck" or "trapped above scenery--short cables are fine")


This system allows me to hand the packet of information to someone else, and they have enough information to hang the position without any input from me. I'm still around to answer questions, deal with other things, etc, but it puts all the information (and JUST the information needed for the task) in the hands of the people doing the work.

Please feel free to PM me, or ask here for more information.

--Sean

[Sean]

Interesting, hmm. Cabling is a PITA, for sure. Do you guys cable as you hang; or hang, then cable? Drop color after hang/cable?

Running multi can be a pain, I like the idea of of raceways, it makes sense in a good number of situations. Sure, multi is more flexible, but the amount of multi that goes into a fullsize plot is insane, and the amount of time that takes to run, let alone troubleshoot, can be a huge pain, and costly.

Remember, I'm talking about overstage electrics only. Though, I have to say, I really DON'T like raceways in FOH catwalks either. I'd rather have boxes with long pigtails every 10' or so. A continuous raceway often gets in the way of moving equipment around (and is less flexible).

How is multicable more difficult to troubleshoot?

Overstage, raceways are nice and all....until the electric needs to be 1'-0" upstage of the pipe with the raceway. Lets say you have three raceway electrics with thirty circuits each. What do you do when you need 5 electrics with 18 circuits each?


The rough order we do things:

Fly pipe in
Hang tape and tags
Snub/safety off lineset (in case those loading go faster than those on the ground)
Hang lights....start loading weight once most units are on the pipe
Plug units into breakouts and tie to pipe. Twofer, etc as needed
Run mults, tied up in a few places
Run data and clean up ties (adding more as needed)
Test weight/add weight

Color is dropped once all the units are on the pipe. Usually someone goes from pipe to pipe dropping color, then moves on to something else.

Remove tape
Fly out to trim, spike handline.
Fly out past trim....to grid if needed (out of way of scenic load-in)


--Sean

[Serendipity]

The ME is responsible for making sure everything lighting is safe

Yes, yes, yes.

Do you guys cable as you hang; or hang, then cable? Drop color after hang/cable?

Hang and cable at the same time, if possible. If we're hanging fixtures we have before the rental dimmer pack (necessary for sidelight, backlight, and footlight in one space on campus) shows up, then it's obviously not possible.
Dropping color can be done any time but normally during hang or before focus. In the large theater, we have to remove rows of seats to get to some lighting positions, which to quote Charc is a "PITA".
I just like to get as much done as possible at once. If I'm already up there, I might as well do it all.

[David Ashton]

Are there any Mistress Electricians?

[Sean]

Are there any Mistress Electricians?

Only if you're naughty.

--Sean

[Serendipity]

Are there any Mistress Electricians?

"Mistress of Electricity" is what I was credited as on a plot...

[gafftapegreenia]

I think there have been some very good points made about the hang on this thread. Allow me to add my own.

A good designer SHOULD consider there space. I might get flak for this, but a lighting designer should not just put a light any freaking where they want and then justify its absolute necessity because "I'm the designer it has to be". look I understand a designers right, but in the end, it makes a person harder to work with, and those reputations stick. The art of lighting design it number one, but a better designer knows what they have to work with. They consider time, budget, space, crew, requirements, the scale of the show and their own experience before creating their design. Look, if the raceway only has 12 circuits, try not to demand too many more than that. Now, that doesn't mean that I as ME won't do my darndest to execute a designers demands, but a little consideration from a designer can do wonders to help the unity between designer and crew. What am I saying here? BE A COLLABORATOR. Sometimes I don't think we emphasize the importance of collaboration on this board. No matter what your role, you are part of a production and/or design TEAM.

When I design, I want a creative ME, one that knows their business, knows their conventions, but also one who can think creatively to figure out dense placement, limited ciruiting, patching, etc. I want an ME that will ask questions for clarity, but NOT one who will make design decision on their own.

Also I hope this post gets fully read instead of just skimmed and responded to without full understand. However, if you need clarification, I'll do my best to elaborate my position.

[Serendipity]

I think there have been some very good points made about the hang on this thread. Allow me to add my own.

A good designer SHOULD consider there space. I might get flak for this, but a lighting designer should not just put a light any freaking where they want and then justify its absolute necessity because "I'm the designer it has to be". look I understand a designers right, but in the end, it makes a person harder to work with, and those reputations stick. The art of lighting design it number one, but a better designer knows what they have to work with. They consider time, budget, space, crew, requirements, the scale of the show and their own experience before creating their design. Look, if the raceway only has 12 circuits, try not to demand too many more than that. Now, that doesn't mean that I as ME won't do my darndest to execute a designers demands, but a little consideration from a designer can do wonders to help the unity between designer and crew. What am I saying here? BE A COLLABORATOR. Sometimes I don't think we emphasize the importance of collaboration on this board. No matter what your role, you are part of a production and/or design TEAM.

When I design, I want a creative ME, one that knows their business, knows their conventions, but also one who can think creatively to figure out dense placement, limited ciruiting, patching, etc. I want an ME that will ask questions for clarity, but NOT one who will make design decision on their own.

Also I hope this post gets fully read instead of just skimmed and responded to without full understand. However, if you need clarification, I'll do my best to elaborate my position.

I agree. It's really important to be a part of a design team. (And also a whole theater team. As we discussed as a tangent in this thread, it's difficult to design lights without collaboration from other departments too.)

It doesn't matter if you know 98% of everything about being a Master Electrician, if you're a nightmare to work with, then that's it.

[Sean]

Hey,

I have a general overview of what a Mater Elec does but I do have several questions (including some questions I Think I know the answers to). Any information on Mater Elec would be appreciated even if its as simple as always have something to write with.


Wolf

So, Wolf, did we answer your questions yet?

--Sean

[derekleffew]

I've seen this before. It's a bad idea in my experience. Our TD tried it for a while. Every time we had to restore the rep plot we'd roll out focus tapes on the floor under each lighting position to designate where a light's hot spot should be. It was more a pain than helpful. ...The problem with focus tapes is simply the time it takes to set them up, be it for hot spots or for hang positions. ...

Yes, "hang tape," not "focus tape."

For a House Plot, that is always being restored, consider a "Focus Cloth." Made of medium canvas or duck, downstage edge is the plasterline, to a few feet upstage of one's last electric, and wing to wing. I've seen touring shows use a groundcloth such as this, and it's remarkable. The only trick is to make sure the fixtures are hung in exactly the same place (using HANG tapes), and the electrics are exactly 6' (or whatever) off the deck, every time. Magic-marker the outline, including shutter cuts, write the CH# and Color# in the middle. For Fresnels, usually an inner and outer edge is drawn, as well as a notation "3/4 flood, 1/4 spot" or whatever. The ones I've seen were painted black and paint pen was used, so they could easily be "edited," for instance if a special was moved.

Do touring "Bus&Truck" type shows still use these?

I agree. It's really important to be a part of a design team. ...

An M.E. is part of a Production Team, but rarely considered a part of the Design Team.

[MNicolai]

Yes, "hang tape," not "focus tape."

For a House Plot, that is always being restored, consider a "Focus Cloth." Made of medium canvas or duck, downstage edge is the plasterline, to a few feet upstage of one's last electric, and wing to wing. I've seen touring shows use a groundcloth such as this, and it's remarkable. The only trick is to make sure the fixtures are hung in exactly the same place (using focus tapes), and the electrics are exactly 6' (or whatever) off the deck, every time. Magic-marker the outline, including shutter cuts, write the CH# and Color# in the middle. For Fresnels, usually an inner and outer edge is drawn, as well as a notation "3/4 flood, 1/4 spot" or whatever. The ones I've seen were painted black and paint pen was used, so they could easily be "edited," for instance if a special was moved.

Do touring "Bus&Truck" type shows still use these?

An M.E. is part of a Production Team, but rarely considered a part of the Design Team.

See, our fatal flaw was using a roll of paper. It was some kind of plumber's "tape" if I recall. We had problems with it tearing and such. Kind of ruined my entire focus-tape-experience. The idea of cloth never came across my mind though; I've already passed the idea of using cloth on to my ATD.

[derekleffew]

See, our fatal flaw was using a roll of paper. It was some kind of plumber's "tape" if I recall. We had problems with it tearing and such. Kind of ruined my entire focus-tape-experience. The idea of cloth never came across my mind though; I've already passed the idea of using cloth on to my ATD.

Again, there's no such thing (or should be no such thing) as a "focus tape." For hang tapes: adding machine tape tears too easily; paper drywall tape is good; unmarked yellow plastic "police line-do not cross" is okay, but it stretches. At least one CB member uses jute webbing with grommets and tieline, and gaffer's tape upon which to write.

I like creating yoke labels by exporting from Lightwright into Word, and printing one for the yoke and a duplicate for the Hang Tape. That way everything one could possibly want to know about a fixture is there on the hang tape. If fixtures and cable are prepped in the shop, the M.E. hardly needs to be present for the hang.

BTW, "plumbers tape" is this:


Either of galvanized or stainless steel. Has a number of uses, but generally isn't appropriate in the hanging of lighting fixtures. Keep it next to the baling wire.

[MNicolai]

I call it focus tape, because it's tape, upon which the lights are shined at and focused to, and it's what everyone at the venue learned to call it when the ATD first set the system up, therefore I call it that out of habit. That said, I apologize if I'm blazingly wrong.

[len]

The job description for theater is so different from what I know, yet there are some similarities.

[Footer]

Do touring "Bus&Truck" type shows still use these?

I have not seen one in awhile, doesn't mean they aren't out there though. For most of the show I have done recently that are using in house lighting the head elec just goes up and runs the electrics. I have seen these used with focus points for movers though.

[SteveB]

Only time in the past 15 years I've seen anyone use a focus tape - I.E., two strips of webbing with foot marks, one laid @ P/L and running L & R of C/L, as well as 2nd running US/DS of P/L, is the Acting Company, whose lighting supervisor had NO associated focus chart paperwork. I presume he had it all in his head, even though the plot was not the same theater to theater. Go figure.

Steve B.

[derekleffew]

Ah, SteveB, that's a different sort of focus tape. I, in fact, have a set of those. But they are just glorified tape measures, with numbers large enough to read while standing. The kind of focus tape MNicolai appears to be referring has focus information on it, which I can't see working very well unless it's six feet or wider, under each electric.

My question was (or should have been):

"Do legit Touring shows use a full stage 'Focus Ground Cloth,' in order to eliminate having to focus the conventional units at trim?"

The practice may be dying due to so many productions using exclusively movers overhead. Seems like it could work in your venue, SteveB.

[SteveB]

Ah, SteveB, that's a different sort of focus tape. I, in fact, have a set of those. But they are just glorified tape measures, with numbers large enough to read while standing. The kind of focus tape MNicolai appears to be referring has focus information on it, which I can't see working very well unless it's six feet or wider, under each electric.

My question was (or should have been):

"Do legit Touring shows use a full stage 'Focus Ground Cloth,' in order to eliminate having to focus the conventional units at trim?"

The practice may be dying due to so many productions using exclusively movers overhead. Seems like it could work in your venue, SteveB.

On all the larger musicals we've had the past few years, the tour electrics are pre-hung mixed ML's and S4's (usually 77volt dimmer doubled stuff) of assorted types, usually with scrollers, all in box trusses.

The electricians and assistants focus conventionals without use of any focus tape or cloths, mostly as they've been with the show a few weeks and know it cold.

Our method to direct the electrics crew as to what goes where on the house system, is an 11x17 print version of the Vectorworks plot - see 2 attachments, one as an example of a restore to rep hang (but no rep color or focus) as well as a change of rep to a particular show's requirements. I simply tape the electric hang sheet to the raceway on the US side of the pipe.

These are pretty simple to generate, it's a separate drawing from the main plot, but a simple cut and past-in-place of ea. position, then Rotate and Flip vertical and horizontal yields a plot per electric that is oriented towards where the electricians are standing - US of the electric. The bulk of the drawing is saved and re-used, with only the units and spacing needing to be modified - though I'm going to change to a space bar that's got hash marks at 1ft. centers - which is how all our pipes are painted.

As the electrics have permanent circuited raceway, it's about an hour with 4 crew to do a move of stuff, maybe 2-3 hrs. to do a complete re-hang with nothing on the pipes or electrics. The elec's hang and cable and then either have me test ea. position by dimmer or they do it themselves if I'm trouble shooting elsewhere.

Once all that we can hang is up and tested, the electric counterweights loaded, I then do a complete channel check with the RFU - having pre-loaded the patch to Emphasis via a thumb drive. The patch file is generated in Emphasis Off-Line and is itself an import of the Lightwright data.

Once the channel check is complete and all is working, we then load color and gobo's by system, using the master color coded plot.

Note that this is a PARTICULAR method of working that may not be applicable to other spaces.

EDIT: Uploads not working !.

Steve B.

[SteveB]

Trying the attachment one-by-one, having (I think) figured out what's going on with attachments.

SB

EDIT: Nope !

[Wolf]

So, Wolf, did we answer your questions yet?

--Sean

Yes for the most part, even though seems this is a thread became about "hang tape" now but thats fine (still useful info though). I know that I will run into challenges while on shows but I feel that im capable of handling them. And if I run into something I need help with my lighting instructor (Jeff New) will be there and the M.E. of the Aronoff (Tommy Lane (I think I spelled his last name right)) will be there and the wont let me permanently screw something up (but I know they will let me do something to let me learn hands on even if its wrong). But overall I feel confident I can do it.

Thank you all

and more information would be appreciated, you all have great advice.

[MNicolai]

Ah, SteveB, that's a different sort of focus tape. I, in fact, have a set of those. But they are just glorified tape measures, with numbers large enough to read while standing. The kind of focus tape MNicolai appears to be referring has focus information on it, which I can't see working very well unless it's six feet or wider, under each electric.

My question was (or should have been):

"Do legit Touring shows use a full stage 'Focus Ground Cloth,' in order to eliminate having to focus the conventional units at trim?"

The practice may be dying due to so many productions using exclusively movers overhead. Seems like it could work in your venue, SteveB.

Actually, the tape was 4" wide, and merely to place the hot spot of each light in our rep plot. What we would do is focus high sides and down lighting with it, and mark down the spot/flood info for each fresnel, and then when we flew out of trim height, the hope was that we only have to make minor changes such as hit the bench, shutter off the legs, etc. It's by no means a plan that will save you buckets of time, but if it's an extra 30-45 minutes we don't need to waste sending someone up in a Genie to start from scratch with each and every conventional, I'm all for it.

[DaveySimps]

I use to work in a VERY busy touring house (6-7 years ago) that did over 120 shows a year. I worked there three years, and never once saw someone use a "focus ground cloth".

[TimOlson]

Note: I'm trying this because my browser give me an error message when I try to do the quoted reply

Hey,

I have a general overview of what a Mater Elec does but I do have several questions (including some questions I Think I know the answers to). Any information on Mater Elec would be appreciated even if its as simple as always have something to write with.


-What design ideas should the Mater Elec purpose (or none unless asked)

Your interface with the LD is all about what you need to get the job done. Approach the LD with questions - about a congested hang point, something that's confusing on the plot, or other clarifications concerning the implementation of the design. You're not there to remark on the choice of colors, where or how to focus, or anything regarding what or where things go or how they're being used.


- What paper work should the Mater Elec have

you should get the plot, paperwork that sorts the patch by dimmer as well as circuit; any detail drawings that were done, a copy of the production schedule, as well as info concerning equipment cross-rentals and shipping schedules.


-What should the designer write up opposed to the Mater Elec

if I walk in at 7:45 AM, meet the LD for the first time, get a look at the plot for 2 minutes prior to the crew starting to work at 8am, I expect to have zero paperwork to do. this has not always been the case.

if I've been collaborating with the LD prior to gig as the ME, and the LD has built a few prep days into the budget, I'll always circuit the plot, patch the dimmers, and try to balance the load. some ld's care about channel numbers, depends on the nature of the gig. some leave it totally up to me.

- Should the Mater Elec be in charge of the crew or just the technical aspect

the ME should run the electrics crew and be the one to ensure the technical aspect is correct. too many fall into the trap of working; if you have 4 hands, your time needs to be spent getting them what they need to do their job, not doing the work yourself.

- What do you expect the Mater Elec to be doing for load-in and performance

it's your job to make things happen. everything. you need to analyze the venue and plan the sequence of what happens when. do you run the FOH snake right away, or the power? is the set coming in right under you and there's time pressure to have part of your rig up ASAP? do you know the data runs, how many universes and where they go? it's all about YOU choosing the best and most efficient way to have the entire thing happen.

as for performance - I like to have my ME available at any moment. you need to be close to or at the racks, on headset, paying attention to what's going on. or at least awake enough to answer a 'com call from the FOH.

- What should the Mater Elec have the assistance (if there is one) do

it's your job to break the entire loadin down into little bits, and then tell someone how to get each bit done. some make better decisions about this than others.

on a final note, I've always had the mindset that when I'm on a gig, in addition to the equipment, anything I can do for the programmer or LD to make life better or easier is also part of my job. if they're behind schedule and will miss lunch, offer to get them a sandwich and a cup of coffee. In the end, it's all about the people.


I know I probably have thought of more but I did not write them down when I thought of them.

Again any information would be appreciated, and thanks in advance.

Wolf

[TimOlson]

"Overstage, raceways are nice and all....until the electric needs to be 1'-0" upstage of the pipe with the raceway. Lets say you have three raceway electrics with thirty circuits each. What do you do when you need 5 electrics with 18 circuits each?"

run more multi

multi's much easier to troubleshoot than a raceway. it's in the open and you don't have to dig around in premises wiring. you also know where both ends are, and in a typical raceway the wire is pulled through conduit to the dimmer closet - usually a LOOONG way away.

peace, Tim O

[Serendipity]

"Overstage, raceways are nice and all....until the electric needs to be 1'-0" upstage of the pipe with the raceway. Lets say you have three raceway electrics with thirty circuits each. What do you do when you need 5 electrics with 18 circuits each?"

run more multi

multi's much easier to troubleshoot than a raceway. it's in the open and you don't have to dig around in premises wiring. you also know where both ends are, and in a typical raceway the wire is pulled through conduit to the dimmer closet - usually a LOOONG way away.

peace, Tim O

I agree for electrics, but what about a grid? Our black box has a grid with raceways, and I'm really fond of them. They haven't had to be troubleshot ever, and it's much more flexible than running multi (as the dimmers are a long way away like you said).

[cdub260]

"Overstage, raceways are nice and all....until the electric needs to be 1'-0" upstage of the pipe with the raceway. Lets say you have three raceway electrics with thirty circuits each. What do you do when you need 5 electrics with 18 circuits each?"

run more multi

multi's much easier to troubleshoot than a raceway. it's in the open and you don't have to dig around in premises wiring. you also know where both ends are, and in a typical raceway the wire is pulled through conduit to the dimmer closet - usually a LOOONG way away.

peace, Tim O

I have both set-ups at the Pageant. Three of my electrics have permanent raceways. The rest are fed by several six circuit drop boxes which move from batten to batten depending on where I need to hang my lights.

I like the raceways because I don't have to run much cable on those Electrics, but I also like the drop boxes because they provide a high degree of flexibility to my lighting circuit distribution.

I have not, however had any more difficulty troubleshooting one over the other. Both set-ups have been very reliable, requiring only occasional, minor repairs.

[TimOlson]

Hello Serendipity, if you've maxed out your installed system and need more power I'm assuning a touring style dimmer like an ETC sensor rack will be brought in. there's usually 3 phase power SL or SR in most theaters nowadays, so even if you have to run from the deck all the way up to the grid and back, that's quite reasonable compared to normal uses of Multi, and very easy as well.

if you have plenty of dimming, but not where you want it, you can use multi to move circuits around. connect a fan-in to the unused outlets, run the multi, pop a fanout where you need it, and there you go.

I realize some houses have a firewall between the stage and the house -- and I know a lot of them have a hole punched through somewhere usually right next to the catwalk. so it can be problematical to use circuits out above the house for stage - in which case you go for a x-rented rack for the show.

Raceways ARE cool and convenient -- until you have to fix them.

peace, Tim O

[ruinexplorer]

I think MNicolai would benefit from Derek's suggestion of a focus cloth (not focus tape) with the use of a hang tape (not focus tape). I think I have only seen one touring production use a focus cloth in the past 15 years. Besides the increase in the use of movers (where they only need focus points which are as inconspicuous as any other spike mark), the competition for access to the deck during load in makes them impractible. I was often helping focus many of the electrics while the carps were finishing some aspect of the set and the rest of the electricians were still circuiting.

[bdkdesigns]

I have both set-ups at the Pageant. Three of my electrics have permanent raceways. The rest are fed by several six circuit drop boxes which move from batten to batten depending on where I need to hang my lights.

We have this same set up with the exception of having 5 electrics, one of which is upstage for Cyc Lights. So far, the cyc light position has proved to be in an ideal location because it has worked perfectly without having to use drop boxes. The Cyc position itself has moved, but the electrics position has been perfect every time.

Also, I do believe that the Montana Rep manually focuses at each venue without the use of a focus cloth on their national tour. I'll be a little more involved this year as the assistant designer (not touring though) so I guess I'll find out for sure. We do not have any movers in our rig either and always seem to have things ready in time. As mentioned previously, you do it enough times and it become second nature.

[Shawncfer]

So a lady who I've worked for is designing a show at a theater down in San Antonio. And she asked me to be her ME. She cleared it with the production manager and everything so it's official now.

Well, I've been an ME at my university before but never an ME anywhere else. And I've been an electrician at a couple different theaters as well. But this will be my first time MEing outside of my university, and also the first time I've ever even been to this theater. Needless to say, I'm a little nervous. I know I'm going to have a crew of overhire electricians, but I have no idea how many, I wont get the plot til Wednesday. And I have no idea what to expect. I told the LD that I would love to do the job but told her I'd never ME'd outside of the university before, and she insisted that I would be okay in this. So does anyone have any advice to maybe make me feel better? Any experience going into a new venue like this? Not knowing any of their stock or what they've ordered or anything?
Like I said, I'll get the paperwork and plot on Wednesday. We start the load in process Friday morning. I have to be at the theater at 8 but the crew isn't called til 10, so I'm hoping that will give me sometime to figure things out!