I can remember back in the past sound people in a theater noting something like 20Db’s difference between the lower level
and balcany - much less no ability to mix from the boxes off to the sides.
Still, given they realized some amount of techical specifications between where they ran sound, and even what specific parts of the audience would hear as opposed to others, they were able to do the mix no matter where located once the audience was let into the theater and for the most part changes stopped. Is it perhaps not possible to do your mix where you need, than move the board to where it must be in running the show?
wiring is not something that needs replacement by new gear, it just requires due care and supervision of it thus by those using it. Hmm, you note unsafe gear and someone using it burned thru
his or her glove. Buy a new fixture
, or disqualify that fixture
from use before ever powered up might be in question here. Sorry and I recognize your efforts - understand me here, but still that you state as lack of investment is it seems in most ways a lack of investment in skill and time than something new gear will fix.
So yes, perhaps these cheap microphones are crap, and perhaps the school in investing huge amounts in other things are not investing in the less expensive and extensive parts of the system
. Still the requirement is to do the best you have and make magic with what you have. Making your punch list
for goals known by those that have a track
record for investing in your theater will be helpful, but such things are also expected to be dealt with in having patience or stress on necessity over other things or paying off bills for what you already have.
I remember back in the day, I loaned some Nachamichi microphones to the theater. They were high priced and helped the sound people some. Such sound people of course found much more use in the shotgun microphone
and sub-woofers, but they helped. In the end, given no doubt similar $20.00 microphones, the above on loan, and the single shot gun without wireless, they still did their best to do their job. There was goals but reality of the now also put them to work.
Read further into Appia. Yes, to some extent he made revolutionary innovations into lighting such as similar to the latest in moving light gear in an audience following as if the newest movie watching in liking or not these new developments, but also in doing his design and using what he had available, he made magic with it in presenting the support of the show in using stock
gear - just in a new way. Me, I’m a Craig and Brecht designer - Neiher person by faith. Caspar Neiher created quite the designs all thru
his career without modern technology. Craig like Appia invisioned things but when it came down to it, created it with what was available as my point
. This in Craig in having a dream but only a few realized shows being the point
especially. While he had vision
, he at times would not compromise in making art with what he had available and necessary. You can walk from a productioin or you can do the best with what you have given the Neiher example. Art is still something that has been made over the years given those using the equipment to it’s extent useful, much less to it’s greatest extent.
Audiences expecting glammor and bang for their buck are a problem - just as on a technical sense, the intensity
of light on stage
has risen in expectations over the years. Key here is still to make art with what you have available and overcome the hardships in doing so. In your having fun with overcoming problems, it’s the key factor here. A moving light is a tool and of no more value than a carbon arc
source where appropriate in your pallet
. Given a more limited source of paint, you have to both make do with and still make art with what you have or can come up with given intent.
You will find even 212 circuits also limited and the challenge that’s the life to your design intent of making it realized and good.
If of help, and welcome to the forum by the way, it would seem you are split between the art they produced and the expectatations of giving the audience what you think they expect. The audience still viewing theater is a fickle bunch between the grandparents that would see the kids using bedsheets for capes and thinking it good, the parents in seeing the kids on stage
and fighting for prime video tape camera space, the Broadway person expecting a show worth the ticket price and the faithful that will watch a black box show with crap effects for it’s story. Who is your audience, is only part of a factor in what you can get away with but not the goal. The goal is to make art no matter who is watching the show. This is what Appia will have been doing you recognized. No matter the equipment or intensity
, art in a show when supporting a production that’s making use of the effort - and the lights or sound not overpowering it as a problem, that art in lighting balance can be done no matter if ray lights or moving lights in supplement of the show given good design. Separate the paint in the pallet
with proper beam angle
and intent of use.
In reading my past posts, one might find info about a show I forget the title to where there was a suspected Hitler character on stage
many years after his demise. The actor playing him could find his Hitler light anywhere on stage
. This beam angle
and in general intensity
given even a single Leko
was all this actor needed to put his presentation over the top of what he already was doing to make that question essential to the story. It by research was the exact angle needed to make him most seem like the Hitler of past news reel images of the monster. That’s the extent of the special effects - one Leko
with even a EHD lamp in it that otherwise disappeared on stage
and was invisible.
At least by way of me seeing it, or gauging the audience, this actor in helped by and using his special lighting beam was making art to a level
similar and even more so than what some Park
Ave nue resident might expect in NY to something large profile
. They did enjoy the production even if by far more simple. Art was made. This enhansement of the performance can be in part because of the tools available in doing so, but is not dependant upon it. Much less the audience for this show were in no less enjoyment given this single specifically positioned Leko
and not much else for better than normal lighting design, or expectations of them needing glitz, they did enjoy the show.
If you have a AF-1000 strobe
light available in your pallet
and it might be useful to a scene, use it. If your scene it would seem needs one but you don't have one, you overcome and come up with another solution.
Just design, let the TD figure out how to make it happen. This as opposed to retarding your design to make it work.