16 and I know the Road Hog

TechGeek

Active Member
Hey all. I was just wondering if this is weird.

I'm 16 and I know how to use the Road Hog3. I've programmed 4 shows on it that I'm running now and a few others and I use it to busk during rental events for outside shows. My co-worker is 19, works in union and for a rental house who owns 3 hogs and a grandma. Is this at all weird? He doesn't know the hog at all but says it's easy but yet he can't even figure out how to make a show and patch let alone select fixtures.


I also now have lights, videos, and sound effects ran through Qlab with the hog on midi.


What are your thoughts? Am I advanced for my age?


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Just means you're a bit ahead of the curve. It's not any stranger than some of the other weird stuff people learn at a young age, this just has the added benefit of being useful for your future. It's just a matter of putting in the time and work to learn something, for some it's less time, while others need more. Just don't stop pushing yourself or end up thinking too highly of yourself. A person who keeps learning and trying new things is always better than someone who suffers from "king of the booth" syndrome.


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There are lots of kids in high school that run comparable consoles all the time. Are you a little ahead of the curve? Maybe a little, but for all we know you spend all your time playing on the console and haven't spent much time rounding out the rest of your knowledge. As Josh said keep learning and stay humble, showing up at your first paying gigs with a big head is a good way to make sure that no one calls you for work again. And odds are you'll be pushing boxes, coiling cables, and hanging fixtures. Very few people start out programming, most have to work their way up from the bottom.

As for your friend not knowing how to run a console that's not uncommon at all. There are tons of stage hands that have been in the industry for 30+ years and can't run a console, because they don't need to. Most stage hands in the professional world are just there to push boxes and follow instructions. And your happy that they know which way to point a light and how to make a soca connection. It's a pretty slim percentage of people that actually run a console on a regular basis. And of course there is the other side that are designers and don't touch a console because they hire a programmer to do that for them. Running a console is just a small portion of what it takes to put on a show.
 
I've been trying to stay ahead of the game you can say. Thanks for the input!


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At your age, knowing a specific console is less important than having a comprehensive understanding of programming fundamentals and workflow. Odds are by the time you're available to be doing this full-time (for argument's sake, let's say 5 years from now), who knows where you'll be and if you'll often encounter Road Hogs. What will matter the most is that when presented with a console you've not previously encountered, you know which questions to ask and which features to be looking for in a manual so you can best learn that console in a weekend. I'm not just talking about being able to turn things on and set up some effects. I mean being able to align your understanding of the console with the needs of what your programming on it and how to establish the most sensible, streamlined programming workflow.

Big problem I see with people coming out of high schools and even colleges is they learn just enough about a console to program in a dedicated cueing session. Have them record cues live in a rehearsal or busk a show more complicated than flash 'n trash and they can't keep up. They don't know how to prep a console by setting up building blocks (groups, pallets, canned effects they can apply to any group any moment, presets they can use as initial looks to build off of) and then set those building blocks up so they can access them readily through whichever UI they have available at their finger tips.

If you want to become a valuable asset, master all of those things so you can walk into any situation and run it like a professional DJ. Ever see how the guys in Daft Punk or Justice mix their electronic music on the spot in front of a live audience partying out to them? Your goal should be to be soooo rockin' in front of a lighting console that you look like you could be on stage with those guys performing along side them.

Anyone can figure out how to turn some lights on, program some effects, or a throw something on something sliders. Not every rehearsal and definitely not any shows have time to stop for the programmer every 10min so the programmer can catch up.

Like the others have pointed out, don't be "that guy" that acts like he's got a step up on everyone. If you're skilled, others will take notice and lean on you for those skills. If you come across as being on an ego trip, nobody will give you the time of day. You want to be the guy everyone wouldn't mind having a drink with at the end of a long day and not the guy who everyone wants to get away from at the end of that long day. I'm going to take a guess that because you've come here seeking some amount of self-validation that you're advanced for your age, this is part of your personality you'll have to work on. There's nothing wrong with loving what you do and being proud of your work, just know you'll get further faster if you're humble. Humble when you ask pro's how they do it and let them teach you, and humble in not aggravating your friends and colleagues by acting like you're somehow *better than they are.

(*whatever that means, to be "better" than someone...)

Little trick to keep up your sleeve -- if you know enough to know how to ask valid, intelligent questions, many people in this industry will be happy to answer any questions you may have about what they do or how they it, provided they have the time for that on that particular day. Asking good questions and being eager to learn is the single best way to get noticed by a potential employer, especially at a young age. We've hired a handful of people in the last year, and always look for someone who wants to learn, and who shows us they have an appreciation for their craft. If we see that in a candidate, we'll gladly hire them and teach them everything they need to know, even if they aren't experts on their first day. Vise versa, if someone's cocky, we don't care how much they know. They could be the best in their field, but if we can't work together effectively and efficiently toward common goals because of their personality, that they're the best in their field means nothing.

In summary, you have potential but don't let that fool you into thinking that your learning stops here and that you've already "made it". You've a long way to go, and if you keep your eyes and options open for new opportunities, fair chance you'll either get where you're going or you'll end up sidestepping into even more exciting lines of work you hadn't previously known existed.
 
Keep on working. Programming is a great skill to have, but I know lots of people who think they know a desk, but in actuality, their skills are pretty rudimentary, and it shows in their final product.
Don't tell people about your skills, just show them in a humble manner. There are a ton of other, more useful skills that you will want to learn as well. Can you plan a show? Not the programming, but the equipment, scheduling, rigging plans, labor calls, parking, advance work, etc? Can you keep a crew of 12 people working and productive, without people standing around? Can you yell at people, all but call them a useless ****, only to have them say "thank you, its been a pleasure" at the end of the call? Most of these things only come with experience, its just a matter of how much experience before you are up to speed.

I would jump on the GrandMA wagon, preferably the 2, but the fundamentals are pretty much the same in series 1.
After all, most people stopped using the Hog3 around 2005, about 10 minutes after it was released.
 
I currently start all my shows in this order:
1- Patch
2- Auto palette( for quick color palettes mostly)
3- Create my groups (house lights, lekos for an area, on stage movers, front of house movers, etc.)
4- Position Palettes
5- Scenes
And then anything else I can think of that could be needed.

I thought about learning GrandMA but personally they seem overly complicated for their own good. I know they can do cool stuff but most of things I do they MA would be extreme over kill unless it was the lite version or ultra lite. But all my local rental companies still have outrageous rates on them.



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There's also offline editors for a bunch of stuff so you can teach yourself other systems


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It's not that weird. I had a 14 year old student programming movers and making magic sheets on the EOS last year. My advice to both him and you: keep learning. You're ahead of the curve; stay there by continuing to add to your knowledge.
 
That's awesome! 14 and doing that, I wish I was able to use an Eos then!

I know that there's never enough to learn in this industry so I always keep my ears open suggestions and such.

I actually started learning hog 3 using the Hog3PC Software. I tried MA offline and couldn't even figure out how to patch or what anything was I didn't have time to google the manual but I'll give it a try again. Does MA have an offline Mac editor? I'm buying a Mac book soon considering I'll be going through my 3rd PC based laptop in 2 years( the second one the motherboard fried in the middle of my class so I couldn't take notes and my almost 3rd if you tap the screen you'll break it as someone already did for me.)


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That's awesome! 14 and doing that, I wish I was able to use an Eos then!

Yes, remember that you're lucky that you've had access to the systems you've gained experience on as well. There are plenty of people just as smart as you who are interested in this industry that don't have the access that you've had.

On the other hand, 3 PC notebook computers in 2 years sounds like you are either very unlucky on that side or have not learned to take care of your equipment.
 
My experience with young people is that the want to push the buttons and slide the faders, but they are totally uninterested in hanging the fixtures and running the cables.
 
I hate cabling, but it's part of the job and it makes you appreciate the times when you don't have to do it. Same goes for when I was learning how to paint, lots of bucket washing involved.
 
I hate cabling, but it's part of the job and it makes you appreciate the times when you don't have to do it. Same goes for when I was learning how to paint, lots of bucket washing involved.

Pfft, I love it. Almost as much as I love coiling cables.

I spend most of my days doing mentally exhausting tasks. I'll gladly take on some tasks that are mindless so I have time to ramp down my brain cycles and have some time to process my thoughts and clear my head.

I'm surprised when I come across people who *don't* enjoy the tedium of coiling cables. Do enough of it and you never even have to think about what you're doing, and you can even have a conversation with someone while the two of you do tasks that require little or no mental exertion.

It's a pleasant change of scenery from the usual batting-cage pace of making one mission-critical, urgent decision after another.
 
Pfft, I love it. Almost as much as I love coiling cables.

It's a pleasant change of scenery from the usual batting-cage pace of making one mission-critical, urgent decision after another.

I find my zen painting. Alone, working with some music and just focusing on what's in front of me. I enjoy mindless, but I often find myself cabling after a long day of hanging everything and teaching so I'm usually beat by the time I get to it. So the experience is often tainted by that.
 
My experience with young people is that the want to push the buttons and slide the faders, but they are totally uninterested in hanging the fixtures and running the cables.
I enjoy cabling and hanging the fixtures. When I do production gigs with the rental company back home I work for when we set up trussing I set all the cable nice and neat inside the truss off to one side and tie it down. It's not that bad... Then again I am a neat freak so that could be why.
 
James,
There will always be someone that knows more or is more capable than you. ALWAYS! Have the humility to learn from them!
There will always be someone who knows less or is less capable than you. Have the heart of a teacher and help them to learn!
Your friend that is older may not have these qualities. He may not be able to admit to himself that you know more about the console. It sounds like you could teach me a lot about the RoadHog. Maybe, he knows more about packing a truck, and that is a very important skill.
Remember the Golden Rule!
I want to encourage you.
I started doing lighting when I was 16. I have almost 30 years of experience. I learn something new practically every day. It is what keeps this an exciting field of which to be a part. Some days I am the designer, some the programmer, some the guy running cable, some days I push the boxes into the truck, and somedays I do all of those jobs and more. It is rarely dull. Sometimes, it is way too exciting.
 
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And above and beyond all the well meaning posts, read them and value them towards what is a great career - but with the advice. Don't drop off the website because you perhaps didn't get the slapps on the back persay you were hoping for. Lots of people do, what you learned is great but the advice is there for you in expanding. No I can't do that, heck past like 92' technology I have a hard time even doing dip switches. Can if I want do it but it's not immediate to me. Other stuff I do better and teach others to master amongst their light board mastering which is just as important. Stick with the website and please post a lot about as you develop in the industry. You will find many of the most active members were once posting similar things and got where they got in part by drive but also by way of this website for help.
 
I have a hard time even doing dip switches. Stick with the website and please post a lot about as you develop in the industry. You will find many of the most active members were once posting similar things and got where they got in part by drive but also by way of this website for help.

Who doesn't have a hard time with dip switches? Man, they are the worst invention ever! You always need a pen or a small pin the flip the switches, biggest pain.

I would always post to this site, I think I've been on here since I was 10 using the wiki part and reading how DMX worked and reading all the different forums. This by far the best website out there. I could defiantly believe that the older members here were posting for help with a lot things and got their answers from here, I think I've gotten a few from things I've posted, especially this one, a lot of fantastic answers!
 
James,
Yes, dip switches suck eggs!
Pick-up one (or a few because they develop legs and walk away) of these.
http://www.amazon.com/dp/B004UNFE18/?tag=controlbooth-20
Commonly referred to as a "Greenie" or "Tweeker".
I keep one with every tool set. It is great for setting dip switches, adjusting trim pots, and loaning to the sound tech who doesn't have any tools.
Back when the Cannon XLR was the industry standard, a greenie was the perfect size to adjust the screw that held the shell to the connector.
I am sure that you have a dip switch calculator app, but spend some time working out a few low 200's or high 400's DMX addresses by hand. UGH!
Next, work out addressing some Cyberlights. Dip switches and a restricted number of valid addresses.
/curmudgeon
We walked through snow above our heads to school, and it was uphill both ways.
\curmudgeon
:)
 

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