Everything Master Electrician

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.
 
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:
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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.:)
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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.
 
The job description for theater is so different from what I know, yet there are some similarities.
 
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.
 
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.
 
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.
 
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.
 
Trying the attachment one-by-one, having (I think) figured out what's going on with attachments.

SB

EDIT: Nope !
 
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.
 
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.
 
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
 
"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
 
"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).
 
"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.
 
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
 
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.
 
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.
 
First time MEing in a new theater

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!
 

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