Design Vectorworks light plot organization

[lighttech11]

Hi there,

I'm currently a Senior Theater lighting design major and I'm looking to improve my drafting skills. I'm curious about the different ways that different designers, assistants, and draftsmen organize their Vectorworks light plot file, specifically in terms of layers and classes.
Some of the things I'm curious about:
-What design layers do you create/use?
-What classes do you create/use?
-Do you keep/draw all aspects of the design in one file (i.e., the plot, the section, elevations, even magic sheets all in different design layers)? Or do you create a separate vectorworks file for each plate that you're creating?
-Similar to the last question, do you draw the section in the same file as the light plot, and then do you put it on a different layer? Is that section then directly on top of the light plot layer in order to align with the drawing's origin? Or do you draw it off to the side of the light plot?
-How often do you use 3D modeling and visualization to help with the design, and if so, do you keep that 3D model in the same file as the light plot as well? Or do you do 3D visualization in a separate VW file?

Curious to here any and all answers. Thanks!

 

[SteveB]

I LD for a road house, do the in-house designs based on a rep hang. I also adapt the house hang for visiting companies as well as facilitate the design for other visiting companies that require a re-hang.

I use VW 2013 and LW5 for all paperwork.

"-What design layers do you create/use?"

I tend to not put scenery on the plot. Usually as I never see the ground plan in a format to get it on the plot. I do not use separate layers for lighting positions, not sure why people do. I do put on separate layers things like the title blocks, instrument keys, etc... esp as while working in an 11x17 page format, can change the layer scale to get more stuff to fit. Other then that, not many layers on the main plot, other then all sorts of data on a hang card/sheet or FOH sheets to reduce clutter or add/eliminate certain notes, etc... if not needed on a particular print.

"-What classes do you create/use?

I use the existing so as to allow visibility to eliminate particular information (channels, color) from a particular drawing. I also have an additional class called "Non-Plot" for instruments existing on the plot but not used in a show. I gray it out so you see the unit exists in the space, it's just not used.

"-Do you keep/draw all aspects of the design in one file (i.e., the plot, the section, elevations, even magic sheets all in different design layers)? Or do you create a separate vectorworks file for each plate that you're creating?

I don't. I will do a separate drawing called a "Hang Master" that is essentially the same drawing only with particular notes for getting the rig up and hung. Or with any changes. Using LW and the data exchange allows an easy transfer of data so I can keep all the drawings up to date. I am currently experimenting with VW 13's ability to work with colored symbols, which creates a plot useful for dropping color as well as focus. Then the hang master might be in B&W. Ditto hanging cards and FOH prep sheets (might do those in color) as separate drawings (their based on a re-used template in any case).

-Similar to the last question, do you draw the section in the same file as the light plot, and then do you put it on a different layer? Is that section then directly on top of the light plot layer in order to align with the drawing's origin? Or do you draw it off to the side of the light plot?

I don't work in 3d, no need and don't deal with the section as there's no time and with a rep light and scenic hang (softgoods) it doesn't matter.

I am starting to play with Viewports as well as color (as stated) to make the process a bit faster as well as deal with fewer different drawings. Having some notes and other data available in layers and/or as classes makes for a faster process as it's easy to switch stuff on and off for a particular print. I have been using VW since '03 and LW since 1984, thus have to learn the new features and it's a learning curve. I have separate sheets (in 8.5x11 format) for our Coves and Box Booms, with the instruments having the same ID's as the base plot, thus a quick data port from LW creates the data needed. Viewports does not work to create hanging cards (for me) as the info I put on the card I don't want on the plot (even in a non-seen layer), as well I orient the units in reverse horizontal and vertical view to allow the electricians to use the hang sheet from the US side of the pipe. Thus the hanging cards are a separate drawing, but it's a cut and past and again, the ID's track from VW drawing to VW drawing and are the same as the master LW file, so is easy to create.

I am currently in conversations with the Nemetchek folks as to what appears to be bugs in 2013 with the colored instrument process. We'll see how that goes as color is a great tool, IF you have a large format color printer ! (On order for $200).

LW is primary data entry point for Purposes, Color, Channels, and everything else that's faster in spreadsheet format. And the error checking which is crucial. As well it generates the color order(s), which then go to Word. Then the patch (if known) goes to the Eos/Ion off-line editor to generate a patch file to load to the console.

That's about it for now. Hope this helped.

 

[danTt]

@ SteveB. The reason I tend to end up with different positions on different layers is because it makes it easier to generate hang cards with positions laid out in different manners. I can create viewports for each position that have only the specific layers visible, and then lay out these viewports in my sheet layers. It's nice when the plot might be really tight in some areas, where it may be impossible to isolate a position by cropping alone.

You also can use lightwright to change the label legend and symbol of instruments in vectorworks. Most of the time you can change the Instrument Type in LW and it will update the symbol on the plot (It has problems with some symbols though, and I've never figured out why to this point...). Definately easier than "replace with active symbol" in Vectorworks.

 

[rochem]

Great question! I'll be very interested to see the range of responses we get here.

-What design layers do you create/use?

I have layers for Set, Venue, Lights, Positions, and Set LX in the ground plan. I then have separate layers for sections, FOH/sidelight plates, Deck LX stuff, and so on. I preface the layer with a code so that it's easy to see what I'm looking at. For example, a few of my layers might be:

[GP] Lights
[GP] Positions
[GP] Set
[GP] Venue
[Side] Lights
[Side] Positions
[Sect] Ladders
[Sect] Venue
[Sect] Lights

These are the main "functional" layers, but I also have many other layers for things like worksheets, focus points, title blocks, and whatnot.

-What classes do you create/use?

I use a lot of classes, and I learned a cool trick from a designer friend about making them work. In addition to the layers above, I have a layer called "Class Import" which is exactly what it sounds like. It's basically a bunch of rectangles that are each assigned to a class and have the attributes of that class, with a descriptor next to it naming the class and when that class is to be used. This lets me drop one symbol into a new drawing and all my classes and class attributes are in there for me to use. It's super convenient, and it has the added benefit of letting anyone else working on the file (or me if I forget) see a description of what each class actually represents. A short list of classes:

Set -> Above, Background, Cut, Door Sweeps, Masking, Sightlines
Venue -> Above, Background, Cut, Door Sweeps, Open
Lights -> Plot, Cut, Filled, Highlighted
Positions
Centerline
Dimensions
Border

I also have a NonPlot layer, but I tend to use it for things that for one reason or another want to exist in the LW and be data exchanged, but not actually be represented on a printed plot. I tend to group all of these together in boxes off away from the main plotting area. This is the basic light plot layers, but I'll always add more for various needs, as well as adding classes for circuiting, DMX, RAM, rigging, or whatever electrics additions that I may be making to the plot.

-Do you keep/draw all aspects of the design in one file (i.e., the plot, the section, elevations, even magic sheets all in different design layers)? Or do you create a separate vectorworks file for each plate that you're creating?

Everything in the same drawing, except sometimes the magic sheet depending on the size of the show. On some shows, I've had savvy designers connect the Light Plot drawing to the Scenic drawing. I've never used it enough to know anything about it, but it basically allows you to get a new VW drawing from the scenic designer, have the Light Plot drawing target that file, and any changes to the scenery will automatically be imported and updated.

-Similar to the last question, do you draw the section in the same file as the light plot, and then do you put it on a different layer? Is that section then directly on top of the light plot layer in order to align with the drawing's origin? Or do you draw it off to the side of the light plot?

Section is also in the same file. I tend to place the section directly SL/SR of the ground plan, depending on which way the section is looking, and rotate my view 90 degrees to view it. I can draw lines up from the ground plan to line it up with the section. This is pretty much the way I was taught to hand draft sections, so that's the way I do it in Vectorworks. I also make extensive use of Saved Views. If you're not already using them, they're a huge time-saver. Instead of having to turn on and off layers and rotate my view and move the screen to work on the section, I can just double click on the Section view and it will do all that for me. It makes it really easy to work with multiple drawings right on top of another (like Set LX, Light Plot, Deck LX, etc.) without being too cluttered.

-How often do you use 3D modeling and visualization to help with the design, and if so, do you keep that 3D model in the same file as the light plot as well? Or do you do 3D visualization in a separate VW file?

Personally, I don't use 3D at all. I rarely see 3D in theatre, but I see it all the time in award shows and large televised events. 3D definitely has its place, but I've never seen a 3D drawing that also looked really good as a printed 2D plot. The Vectorworks file for the 2012 Kid's Choice Awards was huge because they did the entire venue, set, truss rig, and lighting rig all in 3D, and while it did allow them to do advance renderings, the plot was kind of ugly and difficult to work with.

Hope that helps!

 

[SteveB]

Dan wrote:

"The reason I tend to end up with different positions on different layers is because it makes it easier to generate hang cards with positions laid out in different manners. I can create viewports for each position that have only the specific layers visible, and then lay out these viewports in my sheet layers. It's nice when the plot might be really tight in some areas, where it may be impossible to isolate a position by cropping alone."

Yeah, I need to really delve into Viewports. I have a feeling I'm missing some functions that would have me re-thinking my processes. One question - can you rotate an entire position in horizontal and vertical in a view port in a separate layer and still have the original and main layer with that position reading as stage left on the right side of the drawing ?. I flip my hang sheets as the electricians read them from upstage of the electric, thus need unit one on the left side of the drawing. Not sure Viewport allows this.


"You also can use lightwright to change the label legend and symbol of instruments in vectorworks. Most of the time you can change the Instrument Type in LW and it will update the symbol on the plot (It has problems with some symbols though, and I've never figured out why to this point...). Definately easier than "replace with active symbol" in Vectorworks"

I tend to not want to muck around with symbols names in LW (other then to verify that it's all correct, then I turn off that column) as if I screw up I get those rectangles as symbols and I hate that. I tend to deal with legends and symbols from within VW as that data is really only pertinent to the plot, not to the LW data base. As well, after allowing Legends and Symbols data to be modified in LW, does LW then create a list of symbols and legends to choose from, as it does with instrument names, color, etc... ?. That info is easy enough to get to in VW that I leave it alone. Curious as to other work methods though.

 

[SteveB]

To Michael and Dan

I see our Dept. of Theater students taught to put lighting positions on a separate layer as the units, as you both do as well.

I'm curious as to the thinking behind it. I do not put positions on a separate layer as I really don't see the need. The units reside on the position. In the same layer if you nudge the position the units travel with the position. Does that also happen across layers ?.

And @ Michael, why the side positions on a separate layer. If you were hand drafting, you would have to find the space on the drawing to show the isometric view of the position, so how does putting it on a separate layer help. Again, not a criticism, just looking for ideas.

Thanks

 

[danTt]

Yeah, I need to really delve into Viewports. I have a feeling I'm missing some functions that would have me re-thinking my processes. One question - can you rotate an entire position in horizontal and vertical in a view port in a separate layer and still have the original and main layer with that position reading as stage left on the right side of the drawing ?. I flip my hang sheets as the electricians read them from upstage of the electric, thus need unit one on the left side of the drawing. Not sure Viewport allows this.

Can you clarify this a little? I'm trying to do the mental manipulations in my head, but it seems like there would be no need to flip the viewport, you just orient the plot to the stage. If you are working upstage of the pipe (looking downstage) the plot will be oriented with unit 1 to your left, and unit Last to your right. If you are downstage you should still be holding the plot while looking upstage, with unit 1 on your right (stage left) and unit Last on your left (stage right). It seems to me it would only get more confusing if the electric was flipped around... unless I'm misunderstanding you?

 

[rochem]

To Michael and Dan

I see our Dept. of Theater students taught to put lighting positions on a separate layer as the units, as you both do as well.

I'm curious as to the thinking behind it. I do not put positions on a separate layer as I really don't see the need. The units reside on the position. In the same layer if you nudge the position the units travel with the position. Does that also happen across layers ?.

And @ Michael, why the side positions on a separate layer. If you were hand drafting, you would have to find the space on the drawing to show the isometric view of the position, so how does putting it on a separate layer help. Again, not a criticism, just looking for ideas.

Thanks

For putting positions on a separate layer, you have an excellent point - there isn't much reason for it. In thinking back to why I would have done that, I think the reason was so that I could turn off all the layers except the Lights layer, drag a giant selection box over the entire lighting rig, and have all lights, and only lights, selected. Is this useful? It was when I was first teaching myself how to use Vectorworks. Nowadays perhaps not so much, but it's how I've always done it. Working primarily as an Electrician, I work more with plots made by others than plots I've started from scratch, and this is also something I see very consistently in the draftings of designers I've worked with. I should note that things like top-down view of ladders and booms (shown for location, usually greyed or hatched) are on a separate layer, and the Positions layer is generally just the positions that I'm actively placing lights on. I do think it's very important to have a separate layer for these "reference" positions, as I frequently have ladders under electrics or above scenery in places that would make reading the overhead plot more difficult.

The Side positions on a separate layer just comes from the way I tend to draft. I almost never include sidelight positions such as ladders and booms on the same plate as the overstage plot. Many designers draw these out to the sides and include them on one plate, but I choose to break them off into a separate plate. In a similar way, I often have a separate FOH plate as well, meaning that I have an Overstage plate, a FOH plate, and a Sidelight plate, plus a Section and any Deck LX or other specialty plates. Depending on the size of the venue and show, I will sometimes combine the FOH and Sidelight onto one plate. The simplest reason I can give is that that just works best with the way I draw. I think of the FOH and the Sidelight as very separate ideas, and having them on different layers helps that. Also, since I make extensive use of Saved Views, having them on separate layers allows me to turn off all of the Overstage related layers so that I'm just looking at the FOH when I click into that View. This segregation of ideas by plate works best for me, (and again it is something I observe in the drawings of many other designers), but it may not work for anyone else.

 

[rochem]

To take it a step further, it's actually fascinating how much variation there is between how designers use Vectorworks. In my experiences, I've worked with the Vectorworks files from 6 very well respected Broadway lighting designers, and I am constantly surprised about how little standardization there is. My method of layers and classes is based on the techniques of one of these individuals who is a friend of mine, and he builds his files in a very highly structured way, with lots of layers and classes. Then there are other designers who keep it to a "normal" number of layers and classes, doing things like SteveB such as having lights and positions on the same layer. There was one designer who even had everything on one layer, and basically treated Vectorworks as a hand drafting, redrawing the info for every plate and just panning across the screen to navigate between plates. Now I know that in most of these cases, it's the Associate who's really building and structuring the file, but it's still interesting that there's so much variation in an industry when pretty much everyone is working with eachother's files all the time. As far as I'm aware, Billington's studio is the only one that has an actual written Vectorworks standard for his drawings, and other than that, it seems to just be up to the individual.

 

[SteveB]

Can you clarify this a little? I'm trying to do the mental manipulations in my head, but it seems like there would be no need to flip the viewport, you just orient the plot to the stage. If you are working upstage of the pipe (looking downstage) the plot will be oriented with unit 1 to your left, and unit Last to your right. If you are downstage you should still be holding the plot while looking upstage, with unit 1 on your right (stage left) and unit Last on your left (stage right). It seems to me it would only get more confusing if the electric was flipped around... unless I'm misunderstanding you?

The typical plot ( as I was taught to draw it, NEVER make assumptions though) has downstage on the bottom of the drawing, thus stage left is on the right side of the drawing.

Thus unit 1, if numbering from SL to SR, low to high, is on the right side of the drawing/plot on an overhead electric or FOH position. Any vertical positions drawn in isometric fashion are different. I tend, as BTW to follow the old school William Warfel Handbook of Stage Lighting Graphics method.

If I were to simply give the electricians a copy of the plot and they are now facing downstage, the plot reads backwards with unit 1 now on stage right.

Thus when I create a hang sheet, to be viewed from upstage, facing downstage, I flip the horizontal and vertical to have unit 1 on the left side of the drawing, otherwise the position gets hung backward.

I'm attaching some .pdf's of a kid show this Sunday that required some easy changes. Hopefully will explain the current work method and reasons for the questions.

 

[SteveB]

For putting positions on a separate layer, you have an excellent point - there isn't much reason for it. In thinking back to why I would have done that, I think the reason was so that I could turn off all the layers except the Lights layer, drag a giant selection box over the entire lighting rig, and have all lights, and only lights, selected. Is this useful? It was when I was first teaching myself how to use Vectorworks. Nowadays perhaps not so much, but it's how I've always done it. Working primarily as an Electrician, I work more with plots made by others than plots I've started from scratch, and this is also something I see very consistently in the draftings of designers I've worked with. I should note that things like top-down view of ladders and booms (shown for location, usually greyed or hatched) are on a separate layer, and the Positions layer is generally just the positions that I'm actively placing lights on. I do think it's very important to have a separate layer for these "reference" positions, as I frequently have ladders under electrics or above scenery in places that would make reading the overhead plot more difficult.

The Side positions on a separate layer just comes from the way I tend to draft. I almost never include sidelight positions such as ladders and booms on the same plate as the overstage plot. Many designers draw these out to the sides and include them on one plate, but I choose to break them off into a separate plate. In a similar way, I often have a separate FOH plate as well, meaning that I have an Overstage plate, a FOH plate, and a Sidelight plate, plus a Section and any Deck LX or other specialty plates. Depending on the size of the venue and show, I will sometimes combine the FOH and Sidelight onto one plate. The simplest reason I can give is that that just works best with the way I draw. I think of the FOH and the Sidelight as very separate ideas, and having them on different layers helps that. Also, since I make extensive use of Saved Views, having them on separate layers allows me to turn off all of the Overstage related layers so that I'm just looking at the FOH when I click into that View. This segregation of ideas by plate works best for me, (and again it is something I observe in the drawings of many other designers), but it may not work for anyone else.

I put my dance towers, as well as ground row and "others" on a separate print sheet, thus the drawing becomes 11x34. Prints 2 pages.

And I very much like the idea if using layers to create what I call a Hang Master, in that particular info for the hang can be on a separate layer, turning off and on layers at print time to simplify the process.

As well the 2013 color fill capability (if you can print in color) makes it possible to color code information. I've always used highliners on a plot after printing, to color in the drawing. Makes a plot easy to read for landing color and for focus. VW makes it simple now (buggy still, but they're working on it). We are now toying with the idea of going back to the old system of having painted lens barrels to visually separate the assorted ellipsoidals. We had done this for years with 360Q's, yellow for 6x9, red for 6x12, etc.... and may bring it back for 26 & 36 units as well as 15/30 zooms vs. 25/50's. VW allows a color fill that is not keyed off the gel number.

Then of course with Eos version 2 having magic sheets, you can (in theory) import a colored plot as an image for the magic sheet on a touch screen......

 

[danTt]

I understand what you are saying now. It seems to me that expecting electricians to orient the plot to the directions given (stage left, stage right, Upstage--really only one is needed) is not too much to ask though. And if the plot is oriented properly, this ceases to be a problem. As you said though, never make assumptions!. What happens if the electrician is facing upstage when they look at their hang card?

It's always interesting to me to see the different ways in which people like to work and how these methods have been developed. My favorite saying is that there are 100 different right ways to accomplish something in theater, but the only correct method is the one that the ME uses. We spend so much time trying to "idiot proof" our work, and yet smarter idiots keep showing up!

 

[rochem]

I'll admit, I've never really given thought to what side of the pipe the electricians are hanging on, but as an Electrician, there have been times when I've awkwardly read a plot upside down while hanging from the upstage side. Is there a reason in your space that the electricians have to hang from the upstage side, or is that just how you and your electricians work?

I haven't installed VW2013 yet, but I keep hearing about this color fill capability, and I'm getting more and more intrigued. As for the Eos 2.0, you can definitely import colored plots - I've been beta testing 2.0 and importing colored magic sheets, and it works great.

 

[SteveB]

When we renovated the road house in '04, we kept dedicated electrics, mostly as there simply are not enough free pipes to have floating electrics. Thus we have raceways rather then multi's for electrics 1 thru 4. The cyc lights and flying ladders use mults. In 8 years this had proven to be a good choice and one of the choices for the raceways was circuit labels on US or DS or both ?. We chose to stick with the US labeling as that is what the old raceways were and in truth there was no perfect answer. As well, when we focus, about half the plot focuses towards DS, thus we want clamps open US as that's where the electrician is in the bucket. Thus the electricians hang from US as you can get at the fixture clamp. I also tape the hang sheet to the US side of the raceway so you have to be US to read it. I also pre-select circuits, which is why the hang sheets show the raceway to scale and where the circuits land.

Then the paperwork gets funky if the plot says unit 1 is on the SR side of the drawing, and at one time the hang sheet was just a cut up version of the plot, but unit 1 is SL, and over 30 years I had my fill of numbnits that hung an entire position backwards. This actually happened 3 weeks ago during Martha Grahams hang when a visiting LD sprung an extra electric on us. He had drawn the electric in VW and of course Unit 1 was on the right side of the drawing and the electrician hanging these 7 units forget that unit 1 is always SL. It always surprises me how often otherwise experienced people forget the basics. Thus the pipe got re-hung and it was only 7 units but the guy was waiting to load weights and it just slows down the process and I do paperwork to keep the flow .

Love the line "smarter idiots keep showing up".

@ Michael. You say "magic sheets" referring to Eos v2, as in plural, multiple magic sheets. ?. That would be really cool as I could have that pretty plot on screen, then an ML layout, Then the LED layout, etc... Snapshots for all.

 

[rochem]

@ Michael. You say "magic sheets" referring to Eos v2, as in plural, multiple magic sheets. ?. That would be really cool as I could have that pretty plot on screen, then an ML layout, Then the LED layout, etc... Snapshots for all.

Yup, sheets - plural. You can have multiple magic sheets and switch between them. The only time I made use of that was when the LD had a magic sheet for himself, and I as the programmer had my own ML magic sheet that was set up just for me. Additionally, you can think of each magic sheet kind of like a Vectorworks drawing - you can scroll in and out and make everything smaller. One of the other beta testers shared the magic sheet he made for his venue rep plot, and it is enormous. It has the entire theatre architecture and all the lights roughly in their hung positions (more like a plot than a magic sheet). But then you could scroll around to get to smaller magic sheets for different systems. And finally, you can basically make buttons that can pretty much do anything - buttons to select channels, groups, palettes, presets, run macros, even change views in the magic sheet - so you can have a series of buttons in one magic sheet that would instantly take you to another magic sheet, or another area of that magic sheet. They've really gone all out on making this as functional as possible.

 

[SteveB]

Yup, sheets - plural. You can have multiple magic sheets and switch between them. The only time I made use of that was when the LD had a magic sheet for himself, and I as the programmer had my own ML magic sheet that was set up just for me. Additionally, you can think of each magic sheet kind of like a Vectorworks drawing - you can scroll in and out and make everything smaller. One of the other beta testers shared the magic sheet he made for his venue rep plot, and it is enormous. It has the entire theatre architecture and all the lights roughly in their hung positions (more like a plot than a magic sheet). But then you could scroll around to get to smaller magic sheets for different systems. And finally, you can basically make buttons that can pretty much do anything - buttons to select channels, groups, palettes, presets, run macros, even change views in the magic sheet - so you can have a series of buttons in one magic sheet that would instantly take you to another magic sheet, or another area of that magic sheet. They've really gone all out on making this as functional as possible.

Thanks Michael, I can't wait.

Just out of curiosity, on what console, or is it the OLE are you running Beta.

I'd go ask for it except I'm very conservative about loading software onto the desk that we really need to run correctly and with no surprises.

SB

 

[rochem]

I've used it for shows on Eos and Ion, and on the OLE a bit. I've only really used the magic sheets on Eos, but they will still work on Ion. They'll probably be less useful on Ion just because of having fewer screens to work with, but you could still keep it on the RVI for the designer (or put it on an iPad or something, as some have been doing).

While I understand your reservations, I wouldn't be so concerned with the stability of the software. While it is true that it is beta software, ETC goes to great lengths to make it as stable as possible. I have two friends programming on Broadway right now, and one programming on National Tour, who are all using the 2.0 beta software, and they haven't experienced any real problems. And a look at the Beta forums shows that it's being used throughout many other Broadways, Tours, and large-scale productions around the world. The most common reported problems are lower-level issues such as a double-tap of Beam Palettes no longer bringing up the list, or the Format key not working properly. But without exception, these issues are resolved within hours of them being discovered. Finally, if you thought ETC's customer support for their released products was good, the support they provide to issues with beta software is a completely other level. They know that programmers are putting their careers on the line to use a potentially unstable software, and they'll do pretty much anything to keep that relationship strong.

I do understand the reservations, however, and you are taking a risk, no matter how many good things I say about it. I'm sure your input would be a valuable asset, but it's completely understandable if you don't feel comfortable doing so.

 

[Brandofhawk]

I have done layers based on what I want to be able to turn off and on or gray out and select easily.
Bottom is always a border and title block with current show information. I don't like any of the ones VW generates so I usually create my own / have a template for one that I can drop in.
Next is Theater Walls and Stage / things that cannot change without major work.
Next is Set layer, will include drapes, where they are hung.
Next will be anything hung below lighting instruments, Speaker clusters, sound clouds - etc. We had a tension grid in college so that would be on this layer.
Next would be a layer for the lighting positions. I would include Torm, boom, and ladder sections/elevations here but boxed out and labled as such.
Next layer would be all my instruments.
and Top layer would be Notes of all kinds

As far as classes go, I don't personally use them all that much because I never really have so much information to control.
One reason to use a class is to be able to turn off and on some information. I worked with a company that uses two different plots between ALD and ME. The ME's plot had Dimmer addresses show up, while the ALD's had Channel Numbers (in the same spot). They used classes to be able to turn off all the Dimmers or Channels, pending on what they wanted to print.


I haven't read all of the responses to this thread yet (It's a lot of reading and I've really only looked in 10 minute chunks) but I look forward to picking up some good tips from everyone. =)

 

[SteveB]

Next would be a layer for the lighting positions. I would include Torm, boom, and ladder sections/elevations here but boxed out and labled as such.
Next layer would be all my instruments.

And as asked prior, what's YOUR thought process/reasoning behind putting instruments on a separate layer from positions ?.

And as part of that and not yet answered is, if you place the position on a separate layer and choose to nudge the position, do the units for the position, placed in a different layer, move with the position. At some point in the versions of VW, when you drop a unit symbol onto a position, and create the lighting instrument, the position "grabs" the unit(s). If you then move the position, the unit symbols travel with the position. Not sure if that happens across layers.