Who Programs the Board?

[Dustincoc]

The Light Board Operator or the Designer. As a designer I work faster if I program the board myself rather than going through a Board Operator. However, My lighting design teacher says that the Lighting Designers Job is to concentrate on the design and Let the Board Operator run the board. It took me 8 hours to program one act using a Board operator, while the next act which I programmed after everyone had left, only took me 2 hours to program.

[Logos]

I know the feeling. Particularly if it's my equipment.
Basically your teacher is right. You should just concentrate on the design. You shouldn't be up ladders focusing and you shouldn't program. But I do understand that it is sometimes quicker than letting the op do it but remember, if there is a problem during the run when you arent there if the Op programmed the show then he/she should be able to fix the problem quicker.

[Footer]

Depends where you are. Many places as a designer you physically can not touch the board due to union rules. Also, yes, it is the designers job to look at the whole picture and not at the console. Programmers know their consoles in and out, left and right, backwards and forwards. Its their job to know exacly what every moving light on the rig can do, its their job to know what all the console can do. A good programmer can make or break a show, especially when you get into moving lights of any kind.

Point blank reasoning ahead:
The reason you can program a show faster then spouting numbers is because you do not know what you want. Being able to just adjust a sub or a channel quickly without thinking about it and telling it to someone else does make things faster, but at the same time you are doing a dis-service to yourself. When you walk into a space, its your job to make sure that you have all the paperwork you need and its correct, your job is to get that into the console with the aid of the programmer. You should walk in with detailed cue sheets that give rough levels. Get those into the console then go adjust, don't try to create stuff on the fly.

Now... the board op vs. the programmer debate. A board op is someone that gets paid to sit their and press go. They should know enough about the console to do typical show run things and maybe some troubleshooting. A programmer is someone that usually has a degree and is highly specialized on one or more console. They should know thier console in and out and everything they possible could know about it. They should also have extensive moving light knowledge. They are there to assist the designer in getting their vision onstage in a quick and orderly manor. Usually a programmer comes in for tech and leaves when the show opens (for longer running shows), a board op comes in and pushes go.

Basically, get used to it if you want to be a real designer. You can't go up on a ladder and focus your own lights, why program the console. Being a designer means the only button you should ever push is the button on your com to change a level.

oh... and HUGE pet peave... don't speak "board" to the programmer.... just say in plain English 75 at 25, update... none of this 75 at 25, update cue 25, or even worse.. the 00 thing... even though I sometimes do that...

[Charc]

Originally Posted by Footer4321

oh... and HUGE pet peave... don't speak "board" to the programmer.... just say in plain English 75 at 25, update... none of this 75 at 25, update cue 25, or even worse.. the 00 thing... even though I sometimes do that...

Update vs. record?

[Footer]

Originally Posted by charcoaldabs

Update vs. record?

Most consoles, you do not re-record the cue, you update the cue. Basically what I am trying to say is when you are talking to a programmer, don't speak keystrokes, speak what you want to happen. There is nothing more annoying then being told what buttons to press on your board.

[gafftaper]

Logos and Footer really nailed this one. In smaller community theaters you might be the designer, programmer, and even board op. But in most professional houses that isn't true... And in many cases union contracts prevent you from touching the board or a lighting instrument. In the same way that a director's job is to direct and not run the show... it's your job to have the vision and design how it's going to work. It's someone else's job to make that vision happen by doing what you tell them. And also no offense but Footer's right, the reason it takes longer to have someone else program is that you know approximately what you want, you don't KNOW what you want (also it's likely your programmer isn't a master of the board). But that is what educational theater is for. It takes time and practice.

[avalentino]

Originally Posted by charcoaldabs

Update vs. record?

Most lighting desks use Update as a method to re-record existing cues. Update generally includes only manually set values, and only updates back to the update target the channel parameters that were initially included in that target. This allows you to have multiple cue lists/submasters on stage, make a change to a single cue or submaster, and simply [Update] [target] [Enter]. If you had recorded from this state, the record would include all of the stuff on stage. Does that make sense?

Generally, if there is only one target active on stage (such as only one cue), when you update, all of the manual values are included.

Hope that helps!

Anne

[SteveB]

Originally Posted by avalentino

Most lighting desks use Update as a method to re-record existing cues. Update generally includes only manually set values, !
Anne

And to be even more precise with this, and as a WARNING to those using any ETC Express with 2 scene capability/ channel faders, AND as warning should you be adjusting levels using submasters - Update on the Express WILL NOT grab the changed levels done via channel faders OR submasters !.

In order for Update to function, you must change those values via the Keypad - I.E. Channel 1 @ 50.

Good post, BTW from Footer.

Steve B.

[Grog12]

Originally Posted by Dustincoc

The Light Board Operator or the Designer. As a designer I work faster if I program the board myself rather than going through a Board Operator. However, My lighting design teacher says that the Lighting Designers Job is to concentrate on the design and Let the Board Operator run the board. It took me 8 hours to program one act using a Board operator, while the next act which I programmed after everyone had left, only took me 2 hours to program.

There's one thing everyone else left out...you're on a collegiate level. You proffesor wants you to learn how to concentrate on designing and not running the board....

He also wants your board op to learn how to run it.

Which is where I disagree with Footer...if at the begining you say it how it goes into the board it allows the person to learn the board...once they're comftrable with it most definetly stop speaking board...but get them up and running first.

[SerraAva]

I find that a lot of what I do is design and program. I then let some one else run the board for shows, as I am working on my next shows or on another job. I don't do much focus work and/or hanging anymore. I just hand over the plot or tell people where things need to go.

Ultimately, I have found that trying to translate design into programing doesn't work real well with two separate people for both jobs. Stuff gets lost in the translation and people then get frustrated. It either takes to long to translate, or the translation isn't understood.

Master Electrician work, I pass off to others. I have people that I trust and know well get the job done. So I just hang out on stage, tell focus cuts, and move to the next light. Works very fast and efficient, even better if I have an RFU.

I guess it comes down to if you have a designer/programmer/board op/master electrician who work together well and often, its a very effective method of doing things. If that is not the case, like union crews, it takes a long, sometimes very long, time.

I was in I.A.T.S.E. for a period of time. Was not impressed, very inefficient. Some people want to work, some want to do nothing, some just up and disappear. That is a reason why in this area at least, people avoid the local like the plague. I have talk with clients on the phone asking me if we can work certain rooms, and my response is no because its a union house. They then reply to me, how about this across the street. 'That building is fine sir, not a union house.' The next response is that the show will be moved there.