Career Advice Get @Dagger A Job

A quick google shows that the rated load capacity on the Rosebrand Steelfex sling is #10,600 and another quick google for "aircraft basket weight capacity" shows an average of around #8,800 for 1/2" AC Basket. As soon as you choke you are more than halving the capacity you can safely load. Let's say you are using a 1/2" Shackle, avg SWL is #6,500 so you are really limited by your hardware as opposed to your slings.

I would advise reading a basic book on rigging, just to brush up on some of your basics.
 
Knowing rated capacity etc hiw much weight trusses/ beams can support , rigger should know it is it more for head riggers

I don't know very little to nothing About weights etc but I can rig points . I thiought that's all I needed to know .
 
If you are hanging anything in the air YOU need to know how much all the parts you are using can hold. Not every production comes with a head rigger. Not every venue or call has a head rigger. Many small venues or small production companies hire a rigger to come in and hang the local sound or lighting company's equipment in conjunction with the local company's crew. It is up to the rigger to know when to say no or at the minimum question the load they are being asked to fly. Being able to pull a point means that you have a certain amount of body strength. Being able to make the point means that you have some degree of manual dexterity. Neither makes you a rigger. Knowing what you are doing safely and what happens when you start moving the load you just hung make you a rigger.

To address your original question, I would always find the correct length of wire rope to go around the beam once. I don't like roundslings of any kind around I-Beams.
 
How would I find all the informations of the parts being used ? How wouldj know how much wrigt the beam / roof can take

I go to the venue they ask me to rig points I just do it . I mean everything should have been worked out with engineer , building manager
Etc the event was designed beforehand based in specifications of the particular venue .


Like at this job I wAnted to use a 10 ft steel around the beam making it a basket they said no "
they have been doing this event for 20years and they always use a 3 ft gac flex + a 8 ft gac flex shackled together then choke it with a short tail ... ... On the side of the beam then shackle and motor hook .
 
How would I find all the informations of the parts being used ? How wouldj know how much wrigt the beam / roof can take

Reading a basic book (I would start with Glerum's) on rigging is a wonderful start. Get a Pocket Ref to reference breaking strength and tensile strength of materials and plug them into the math in Glerum's book). It's hard to know how much a beam or roof can take unless you have physical certs for the space, hopefully the venue you are at has that information.

But for real for real, all the questions you asked are super easy to Google. Just formulate a proper search phrase and search for it out there on the internet.
 
any training I cN take to become a follow spot operator ?

Any specific skills and qualifications I need ?

The best advice I can give is Center the beam (unless the designer tells you otherwise for a specific reason) on their chest/head. No one cares if the performer's feet or knees go into shadow. However if they back up and their face goes dark, it's blatantly noticeable. (I'm talking NON-Dance here. For dance the feet & body are more important!) That's why you always want to put the most important visual area in the center of the beam so if they change direction on you or suddenly go up or downstage you have some room to recover without them ever actually going dark.

The most important thing is you want to be fluid and seamless. People in the audience should not even notice that the performer has a light on them following them around. Which means you need to move the light at the same speed they are moving, and stop when they stop, and at the same speed they stop at. If your light continues to move and jitter once the performer has stopped, it calls attention to itself and takes people out of the moment and is distracting. Try to make your light be invisible to the audience, and have the performer appear to be magically lit within the space. It takes a LOT of practice, but it's an art. Have an actor or stage technician give you some warm-up practice each night until you feel confident by moving about the stage and trying to "fake you out" by suddenly stopping or changing direction or speed while you practice keeping them in the light. Practice like this will only hone your skills. I used to have my Spot Ops. do this for 10 minutes each night before a show to warm them up and it always helped the results once the performance started.
 
HINT: As a newbie spot op, one question to never ask is "Hey, how come my spot is round and yours is oval??"
 
rigging specialist / hoist technicians here?

I am looking in becoming a rugging specialist / hoist technician its working in the shop working / fixing Cm et lode stars

How Much would rate per hour be ?
I Am on the fence because I like going out on gigs as a high rigger
.....

How many high riggers / head riggers/ tour roggers have certification knowledge of cm hoists?
 
Few if any tour riggers are going to carry an in date CM certs. Most will know how to fix a hoist from years of experience. It is not their (primary) job to fix the hoists. It is there job to make sure the rigging gets loaded in safely and efficiently. On larger music tours the rigging team tends to work for production, while the motors come from a vendor. I have worked with some riggers that won't touch a motor unless they are pickling it down. Others will help fix whips and basic trouble shooting. Most would prefer is someone from the vendor would deal with it. They have naps to take, overlays to do, and advances to double check. In five years of touring averaging 175+ shows a year with a point count north of a hundred I can only remember about 5 motors that needed more repair than fixing a whip. When it has been more involved than that the motor goes back to the shop, I don't have the proper tools on the road to deal with that and I wouldn't want to half ass it. Christie Lite's doesn't even want the outer shells taken off their motors.
 
So far everytime I Rig I have been using a lodestar motor either 1/2 ton -1 ton

I never really paid attention to the model but I believe it's an L CM Motor?

My question is that model the most common used in entertainment rigging?

For those who has worked hundreds of shows and is regularly working with motors is that the only one I been using ?

I am asking because I did some research and there
Are so many different types, just wanted to know which one I most likely have been using
 
Yes, the CM Loadstar is the most common motor by far. There are others out there, and you will see them occasionally. For your purposes they're all pretty much the same as for running them.
 
Recommend books for lighting please

( lighting terminology , lighting operator , types of lighting fixtures ) etc thanks all
 
i just got certified in pyrotechnics

. I have no experience what so ever .
How did you guys get into pure companies and what are some thing I can do to help me get a head start .

Thanks
 
Curious how you get certified and not have any experience.
 

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