JVTD
Member
Seeing as how this is a performing arts center, two things to keep in mind is where is the Scene shop in relation to the stage(s) and where is the loading dock in relation to the shop/stage(s).
In most applications though, a Cat5 Node based system is a much better choice, especially if there are any plans or hopes to expand into movers and LED's, as the node system offers greater capabilities to expand into multiple DMX universes. Cat5 is not useful everywhere though, I don't run it out to my electrics, that's all DMX. But I have nodes in locations where I can then distribute DMX as needed. So planning for a mix of both is a good idea, especially as there are locations where you can't place a node (like the stage floor trenches KiwiTechGirl descibes).
Let's not get into the fact that the venue @kiwitechgirl is referring to extensively uses DMX over Ethernet, and knowing how they work, the trenches probably ARE big enough to fit a node in
I think anywhere you can get a 3 phase Wilco in, you can probably fit a node in too...
So I was up on the catwalk yesterday and I took notice of the DMX outputs up there. I have around 8 DMX outputs on the catwalk. Also, one in each of the side pockets. That makes 14 DMX outputs throughout the theater that they installed, and none of them are at the stage level.....We've gone all network and nodes. Network taps everywhere - very inexpensive compared to distributed DMX, and I believe longer lived.
As far as doors, circulation, etc, depends but generally if you can get a medium size car and a 21' joint of pipe on stage, you'll be good. If building scenery, you may want a taller path shop to stag, but usually 8' x 10' is OK for stuff from a truck. And depending on if much comes in on trucks, a dock and space for trailer to be level - no exceptions - no matter the cost.
This is a particularly interesting idea that I am quite a fan of and would have saved me from a current headache that I have. Rather than swipe cards, I would prefer fobs.- Try to get all the doors in the building done from swipe cards. They're not that expensive, and allow you to tailor access rights to every individual working in the venue.
In the past few years I have worked in several brand new build theatres made by some of the world's leading new-theatre consultants. And the sad fact is that they are all still making a hash of them again and again. I've seen some howlers from companies with excellent reputations and portfolios. Without a doubt, the best way to get yourself a brilliant space is to use a theatre design consultant, but keep a firm hold on it yourself; and ensure the consultant's direct client (IE your boss / ops mgr / whoever is leading your project) supports you on maintaining that grip. These companies employ excellent sales talkers who will pull your organisation into buying things they don't need, whilst vastly overlooking essentials with low profit margins. I'm not calling them negligent or fraudsters... but these things do happen, they're businesses and need to make a profit after all. All the best builds I've seen the past few years have had a knowledgeable technical director keeping the design consultants on a tight leash.
Onto the technical front, there is a lot of good information here already. I would contribute the following:
ACCESS
- Try and factor in LX access so that as many fixtures as humanly possible can be focussed by standing next to them. Think catwalks/bridges; galleries; tension wire grid; etc.
- Try and offer lifts to as many parts of the building as possible. The lift should be able to take equipment and people, but needn't be too big.
- Make sure the truck dock is sized suitably for the type of vehicle that you receive most of your shows in; but that you stock a few alu ramps to adapt to other vehicles.
- Try to get all the doors in the building done from swipe cards. They're not that expensive, and allow you to tailor access rights to every individual working in the venue.
STORAGE
- Make sure each department has plenty of storage for all of their equipment, with as much at ground level as possible, and the rest with lift access (see above).
- Fit stores and workshops with hot power outlets and ethernet (see below).
- Fit stores and workshops with soundproof (or at least heavy) doors so that work can take place in them whilst there is something happening on stage
- If putting stores / workshops along the up stage wall, ensure there's an 8' gap between the wall and the u/s flybar, else you will end up with the stores obstructed by a cloth.
CONNECTIVITY
- It should be designed in so that connectivity into any power, data, comms, etc circuit is possible from any place to any place. Obviously this will also need to factor in things such as patchbays, network switches, etc.
- Have facility panels with access to power, data, comms, etc installed in the grid, in the galleries, on stage both on the walls and under traps; in FOH, in stores, in backstage areas etc etc.
- In lighting bridges, galleries, towers etc... fit your dimmer outlets the same side as the rigging bar. This prevents cables running over the walkway
- Use IWBs where possible for lighting circuits and DMX
- Run DMX over ethernet using sACN, use ethernet nodes to break out into DMX. My preference is not to install nodes, but to keep a stock of them, and install ethernet points everywhere. Then you can add a node as and where required.
COMMS
- Install XLR points for wired comms as per connectivity above
- Use wireless comms only for roles where wired comms are impractical. do not rely on wireless across the whole theatre
- Issue crew with 2-way radios, with headsets for show environments and speaker mics for working time; plus radio pouches. much less chance of radio being dropped
- Use analogue 2-way radio, not digital, to avoid latency which can be problematic when focussing etc
- Install several wifi networks around the venue. "Show" networks for things like LX RFU / Sound desk control / etc etc; but also install regular internet access throughout the venue, with separate nets for house crew, company, and audience.
This is a particularly interesting idea that I am quite a fan of and would have saved me from a current headache that I have. Rather than swipe cards, I would prefer fobs.
Would be interesting to know who your are calling "the world's leading theatre consultants", as they seem to be manufacturer's and contractor's sales reps, not independent design professionals. Nothing has higher or lower margins for me - I have a lump sum fee agreement long before the design is barely started and strive for balance throughout the facility - no gold plated lobbies and crap rigging, nor the other way around.
That's very good of your Bill, but you know as well as I do that it's not the case across the board. Right now I am working on replacing the lighting design for a venue, the installers installed what are frankly the wrong fixtures for the job, in the wrong places; and made their money up in custom screen printed patch panels and power distro. If as much money had been spent on a lighting designer (in the first place) and decent lights, and used off the shelf patch panels not these bespoke made lovelies from the installers, it'd be a much better job.
One of the requirements of membership in the American Society of Theatre Consultants, the organization for professional theatre consultants, is no commercial ties. All of the criteria is here: http://theatreconsultants.org/members/prospective-members-interns/A true consultant is never the installer, dealer, or vendor. If someone who is hired as a consultant gets a kickback from an installer, dealer, or vendor that he/she recommends without disclosing it, then they are a salesperson who is committing fraud.
One of the requirements of membership in the American Society of Theatre Consultants, the organization for professional theatre consultants, is no commercial ties. All of the criteria is here: http://theatreconsultants.org/members/prospective-members-interns/
Sign up for the news letter while there if interested.
There's nothing wrong about being a dealer, vendor, or an installer as a consultant in and of itself. If there's a kickback involved, then certainly that's a substantial conflict of interest. If the consultant is also the installer or vendor on that particular project, then that has potential to become a conflict of interest.
Firm I work for does both contracting and consulting, and we've been given grief by other consultants for running a consulting division and a contracting division inside of the same company. They seem to think that that necessarily means our designs are somehow corrupt. They're full of bologna.
NCAC has similar rules for acoustical consultants.
Consultant and design-build contractors are different types of businesses. Not that ones better than another, but manufacturers will always directly influence the contractor's profit margins since that's who the contractor has to buy from.
Being a independent consultant or a contractor doesn't inherently make anyone a good or bad designer. There are good and bad designers at both types of companies.
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