Design Need Help with Requested Gel Numbers
- Thread starterwillbb123
- Start date
I wouldn't redesign the show. But I would say they've left it open enough that you are free to make your own artistic choices to tweak the original show.
All true.
One thing I found curious, is the back truss is all narrow Pars, with a pattern that allows for interesting looks of crossing shafts of color, with the colors not having an US/DS pattern. With presumably a symmetrical focus
All without haze.
Which begs the question, why narrows ?.
One thing that struck me was that this is the typical DS/US truss 120 lamp, plus ACL's plus blinders rig that everybody used 20 years ago. It almost seemed like the artist got the plot for nothing from some other act (like - every other act) and sends it out just to send something out.
Steve B.
Just for giggles, I spent about 25 minutes tonight running what would be my adaptation into a VW and LW plot/hookup, of our basic R&R rep. plot, using the colors specified.
As I often encounter, I have little clue as to how and when to use certain colors and at what part of which songs.
I also wondered if there is a lead singer, as there are NO units allocated for down center specifically. Not even a bunch of singers/stars DC. Which reinforces my opinion that this is a plot for everyman and that the OP might as well design whatever they like based on what they know the house rig can provide for.
Curious
Steve B.
iLightTheStage
Active Member
I imagine that the upstage units would just be backlights focused on the "talent", and whatever left over used to just backwash mostly DC.
The thinking behind no specials is most likely because it calls for follow spots.
The thinking behind no specials is most likely because it calls for follow spots.
LightStud
Active Member
As others have said, since they're not bringing an LD, and what they provided isn't even a 
willbb123
Active Member
I two was wondering why they had a stage plot, but didn't travel with an LD. I'm not real happy that I can't use haze, but im over that...
From the beginning I knew I'd have to modify the plot to make it work in our space and timeframe (we have a different show the following night).
I've got two spot ops for this show so I'm not really worried about specials. So I am going to have washes, possibly a few specials but I will have to guess on focus because I will not have time once they load in.
This brings me to my next question. I've never had the staff to have spotlights for a concert. Can someone give me some tips or direct me to a thread on that subject.
Thanks for all the help so far, I fell alot less stressed since I can talk this through with people that know what they are talking about.
From the beginning I knew I'd have to modify the plot to make it work in our space and timeframe (we have a different show the following night).
I've got two spot ops for this show so I'm not really worried about specials. So I am going to have washes, possibly a few specials but I will have to guess on focus because I will not have time once they load in.
This brings me to my next question. I've never had the staff to have spotlights for a concert. Can someone give me some tips or direct me to a thread on that subject.
Thanks for all the help so far, I fell alot less stressed since I can talk this through with people that know what they are talking about.
iLightTheStage
Active Member
Your question is very vague, so I'll give some very general tips:
* I'm assuming you will have communication with them somehow (clearcom, radios, cup and a string, etc).
* It is usually easiest to give each spot a number so you can quickly give direction to a specific one. Left to right, or right to left, it doesn't matter as long as it makes sense to you.
* Go over stage directions with them: Upstage, downstage, stage right, stage left, etc. Even if they "know it", you'll get the occasional person who actually DOES NOT and keeps lighting up the wrong person.
* Go over whatever specific terminology you use: fade, bump, dowse, iris down, open up, etc.
* Make sure they use the dowser and not the chopper for fades (I don't know what kind of help you have)
* If you have an idea of how you'll use them for the majority of the time, tell them ahead of time. Example: "If I don't say different, always do a full-body shot: just above their head, and just below their toes. #1 stick with the lead singer, #2 will mostly be also on the lead, but I'll mostly use you to fade out and pick up any solos. Fades should be a 3 count. Bumps are immediately on or off. Make your movements smooth."
* It really depends on how the band plays whether or not to take out the spots between songs. If there is dead time between each song, take them out; if someone else starts to talk in between, make sure they can be seen.
That's all I can think of without more detail of what you are looking for. Hope that helped.
willbb123
Active Member
The show was Friday night and was a success. When the group arrived the only thing that they told me about lighting was not to go black.
The only problem I had, was one of my two spot ops had to go and take care of something. So for the headliner I was down one spot op. The two spots are in the booth with the board so I was able to run back and forth and run both the board and the spot.
Here is one picture from the show.
Todd, our photographer, should be uploading some more tonight so I'll post them here or in the pics tread.
The only problem I had, was one of my two spot ops had to go and take care of something. So for the headliner I was down one spot op. The two spots are in the booth with the board so I was able to run back and forth and run both the board and the spot.
Here is one picture from the show.
Todd, our photographer, should be uploading some more tonight so I'll post them here or in the pics tread.
willbb123
Active Member
Ok the pics are up
I posted some in this thread: http://www.controlbooth.com/forums/...d-share-pictures-our-shows-69.html#post121729
or you can view the album here. http://www.adamsonstudios.com/englert/neville/index.html
I posted some in this thread: http://www.controlbooth.com/forums/...d-share-pictures-our-shows-69.html#post121729
or you can view the album here. http://www.adamsonstudios.com/englert/neville/index.html
Looks good, willbb123. Appears all your fretting over colors and the plot was for naught. I doubt you could have done a better job if you had hung the provided plot exactly. I've had acts send me a plot and demand a console that no one in the building knew how to operate, but didn't bring an LD. Where's the sense in that? Luckily, we had a better console already in house.http://www.controlbooth.com/forums/members/willbb123.html
The lesson learned from the OP and Dereks comment is unless there is a real person on a phone (or via e-mail which takes longer), confirming the rider requests, there's a good chance the rider is out of date and simply whatever the agent had in the file.
We did an African pop singer this past Sat nite, who had a Harp in the rider. So we rent a harp. As they were using house sound, the PM sent them via e-mail (the tech's were French, on the US tour with no cell phone contact info.) a Mic. input list as confirmation of console layout. They return it via e-mail and crossed off the 2 mic's for the harp. We e-mail back wanting to know if they cut the harp ?. The rely of "No - no harp needed" comes in an hour after the harp was delivered. So the producer eats the $450 rental and he's not pleased. When the act complained about the catering, the producer said Tough S _ _ T !, I spent it on a harp !.
Life in the theater !
Steve B.
We did an African pop singer this past Sat nite, who had a Harp in the rider. So we rent a harp. As they were using house sound, the PM sent them via e-mail (the tech's were French, on the US tour with no cell phone contact info.) a Mic. input list as confirmation of console layout. They return it via e-mail and crossed off the 2 mic's for the harp. We e-mail back wanting to know if they cut the harp ?. The rely of "No - no harp needed" comes in an hour after the harp was delivered. So the producer eats the $450 rental and he's not pleased. When the act complained about the catering, the producer said Tough S _ _ T !, I spent it on a harp !.
Life in the theater !
Steve B.
IMO, this is either laziness on the part of the talent's management, or a technique they use to have a built-in reason to cancel shows when they feel like it.
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