Rants of a Lighting Designer

[Dylandtech]

So, I am the lighting designer for my schools winter musical. I created a plot with zero ground plans, and never seeing a full run through. I hung and patched the plot, hazers, and patched everything.
Heres where the problems started
I kick on the hazers for the start of q2q and start having my programer punch in some cues for me, and the director starts YELLING that the hazer looks like ****. He was rude and disrespectful to me. On top of that my schools TD (who is a joke to begin with, I know more **** as an 18 year old than he does) tried to tell me how to do my lighting design and also he was rude and disrespectful.
Our show is going up at a Union House, and before final dress I had the house sound head set me up a specialized Com system so I could hear both my spot ops and the stage manager but the spot ops could only hear me and when i talked i would only be heard by my spot ops. During opening night the "TD" pulled me aside into a private room and told me that i need to switch over to the stage managers channel and my spot ops did as well so that i wouldn't "be on an island". During the second act I switched over to the main channel and then got bitched at because I was over-powering the SM. I'm sorry that I can be heard because I am clear and precise and the SM cant call **** correctly. I was basically yelled at for calling my show the way I call my show. The SM, deck crew, most of the IATSE crew, my spots ops and a few other people agree with the fact of that the show ran more smoothly without me on the channel. My spot ops dont care what the SM is saying and to be honest, as long as the lights are on the SM doesnt care what I'm calling.
Thank You for letting me rant. Any comments on how to fix the situation would be great as well

 

[chausman]

. During opening night the "TD" pulled me aside into a private room and told me that i need to switch over to the stage managers channel and my spot ops did as well so that i wouldn't "be on an island".

I'm on my own little island...it's ok. They know me there.

 

[shiben]

So, I am the lighting designer for my schools winter musical. I created a plot with zero ground plans, and never seeing a full run through. I hung and patched the plot, hazers, and patched everything.
Heres where the problems started
I kick on the hazers for the start of q2q and start having my programer punch in some cues for me, and the director starts YELLING that the hazer looks like ****. He was rude and disrespectful to me. On top of that my schools TD (who is a joke to begin with, I know more **** as an 18 year old than he does) tried to tell me how to do my lighting design and also he was rude and disrespectful.
Our show is going up at a Union House, and before final dress I had the house sound head set me up a specialized Com system so I could hear both my spot ops and the stage manager but the spot ops could only hear me and when i talked i would only be heard by my spot ops. During opening night the "TD" pulled me aside into a private room and told me that i need to switch over to the stage managers channel and my spot ops did as well so that i wouldn't "be on an island". During the second act I switched over to the main channel and then got bitched at because I was over-powering the SM. I'm sorry that I can be heard because I am clear and precise and the SM cant call **** correctly. I was basically yelled at for calling my show the way I call my show. The SM, deck crew, most of the IATSE crew, my spots ops and a few other people agree with the fact of that the show ran more smoothly without me on the channel. My spot ops dont care what the SM is saying and to be honest, as long as the lights are on the SM doesnt care what I'm calling.
Thank You for letting me rant. Any comments on how to fix the situation would be great as well

Grooveshark - Listen to Free Music Online - Internet Radio - Free MP3 Streaming

Sounds like a stressful show. Sometimes things just go badly. Think about What can you do to make it go better next time, because the people who dont like you sure wont do much to improve.

 

[WooferHound]

Can you get a 2 channel Intercom beltpack so you can listen and talk to whichever Island you want to ?

You can control your intercom mic volume by adjusting it's distance from your mouth.

Are you using standard spot ques, if not you should learn them so it's harder to be misunderstood, no matter where you go.

The guy that does the lights does NOT have the final say in what the lights are doing. The LD should be faithfully creating what the directors are asking him to do.

 

[Van]

Hi, I'm not going to be nice so don't read this if you don't want to hear the truth.

So, I am the lighting designer for my schools winter musical. I created a plot with zero ground plans, and never seeing a full run through. I hung and patched the plot, hazers, and patched everything.

I'm a good LD, I've never designed a show without a GP of some kind that would be quite a feat. I could probably do it for a generic rock show but for a fully produced musical ? never. From the next sentence are we to discern that you hung, cabled, focused and patched everything ? all by yourself ? Hot ****! You truly are Wondrous !

Heres where the problems started.

No, I think they started right about the time the attitude kicked in.

I kick on the hazers for the start of q2q and start having my programer punch in some cues for me, and the director starts YELLING that the hazer looks like ****. He was rude and disrespectful to me. On top of that my schools TD (who is a joke to begin with, I know more **** as an 18 year old than he does) tried to tell me how to do my lighting design and also he was rude and disrespectful..

Did the director of the musical know you were going to be hazing the room ? Did you consult with him first ? It sounds a bit as if , whilst you were being a one man lighting crew you uni-laterally made a decision that was not agreed with. Looking at the rest of this it sounds to me as though you were the one being disrespectful. Was he rude and disrespectful Before or after you argued with him and tried to convince him he was wrong 'cause you're so good ? It's sounds as if you have an adult for a Director and a TD and you are in a learning position. That means, from the start, you might Think you know more than them, but I'm guessing they didn't get their jobs 'cause they're stupid.

Our show is going up at a Union House, and before final dress I had the house sound head set me up a specialized Com system so I could hear both my spot ops and the stage manager but the spot ops could only hear me and when i talked i would only be heard by my spot ops. During opening night the "TD" pulled me aside into a private room and told me that i need to switch over to the stage managers channel and my spot ops did as well so that i wouldn't "be on an island". During the second act I switched over to the main channel and then got bitched at because I was over-powering the SM. I'm sorry that I can be heard because I am clear and precise and the SM cant call **** correctly. I was basically yelled at for calling my show the way I call my show. The SM, deck crew, most of the IATSE crew, my spots ops and a few other people agree with the fact of that the show ran more smoothly without me on the channel. My spot ops dont care what the SM is saying and to be honest, as long as the lights are on the SM doesnt care what I'm calling.
Thank You for letting me rant. Any comments on how to fix the situation would be great as well

Now we've had this debate on here on several occasions. 'Who calls the spot cues" Honestly, there's not a good consensus, but I will tell you who has the final say about who calls what and when, The Stage Manager, or in educational theatre The Director or Department head as they are there to teach you the way to do things. In a touring show, yeah the 'LD' sometimes calls spot cues, in a house show, no the SM does. Honestly this is something that should have been worked out long before you got to the theater. I also get the impression that before final dress you were on the same channel as the SM, then you changed it ? Did you inform anyone or was this another unilateral "I know what I'm doing" decision.

Look, you might think I'm the biggest a-hole in the world right now, but I'll tell you this, I've been doing this for 35 years and the "guy who knows it all" is the first guy that everybody tunes out and who nobody hires. Drop the chip off your shoulder, start listening for a change, it'll change your life I guarranttee it. This from the best of intentions for you. I'm truly not picking on you < more than you deserve> I'm not making fun of you. There are a ton of guys on here that have given the same rant, Hell when I was a 'know it all kid' I gave the same rant, well not on the internet, 'cause we didn't have it back then.... but I wrote some strongly worded letters ! You said you wanted help or suggestions , Here's mine. A. Chill out, it's not Rocket surgery. B. Drop the attitude and realize that you don't know it all. C. Don't get defensive when someone offers constructive criticism. D. Remember who's ultimately in charge, especially in an Educational setting. E. Always wear clean underwear, it will help with attitude and interpersonal relationships. F. Always carry a towel G. Don't panic! < see item A.>

 

[josh88]

I gotta side with Van here. If there's one thing I've learned doing all this it's that I've always got more to learn. It's always a tough job and often with little thanks. I have to say that if everybody agrees the show ran smoother without you on the channel its clear that the SM was effectively calling his or her cues and if you're stuck with being forced to stay on that channel the two of you need to have a talk and come up with some system so that you aren't fighting to get your cues called and muddling the channel up.

While Van has about 25 more years experience than I do, the past 5 years I have been designing, hanging, and cabling shows without help, and often I'm designing and building the set on top of that. I rarely am lucky enough to have a real crew to help out on those which is why I've been pulling 14 hour days the past two weeks.

Much like Van I'm saying this because I've been there, I'm there right now. I'm mad and exhausted because I've been having to fix our current set designers construction problems (because the producer asked me to) AND the lights which were fine yesterday now need to be reworked because the director decided they weren't working for her today. Did I want to strangle her because yesterday she thought they and the cues were fine? yes. But its my job to make her vision appear on stage so I said how does this look? Until she was happy, and only grumbled while I was up on the ladder. It is and unfortunately common thing, sometimes its great, sometimes it sucks.

+5 points to van for the towel reference, and I'd add, don't forget that in a very short time the show will be down and you'll be moving on to something else.

 

[Dylandtech]

Just a quick update-
I got My channel Back
I did in fact have a conversation with the stage manager about the situation before the show tonigt, and she agreed with me that I should have my own channel. Me and her approached the director separately and made our cases to him, and him and I had a very long talk about why he was angry in the first place (because I did break the chain of command) and I apologized and told him, that while i thought was I was doing was right, in retrospect I should have followed the chain.
I then went and apologized to the TD, and he said that he welcomes my apology, if he had it his way I would not be working another show, because he thinks that I was intentionally disrespecting him. I bit my tongue on that one because it would have just been more trouble then it was worth.
Van- I agree with 99% of the points you made, though in fact I had previously approached him about the hazer. Also, I will fully admit that sometimes my ego is bigger then my talent, and my mouth is even bigger, and I admit it get me in trouble. There is one disagreement I will make with you. The TD for the school, never makes suggestions to me. He tells me I am wrong and thats it. He altered my design without asking me, which, I don't know if thats something I have the right to be angry about, just because I feel like it is my design and i should be at least told about decisions being made.
And the reason I, as the LD, am calling cues, is because the stage manager is very green (don't misunderstand me saying green meaning bad) and she has a lot of cues she calls and me and her, separately had discussed me being on my own channel.
I second the +5 for the towel reference.

 

[mstaylor]

Just a quick update-
I got My channel Back
I did in fact have a conversation with the stage manager about the situation before the show tonigt, and she agreed with me that I should have my own channel. Me and her approached the director separately and made our cases to him, and him and I had a very long talk about why he was angry in the first place (because I did break the chain of command) and I apologized and told him, that while i thought was I was doing was right, in retrospect I should have followed the chain.
I then went and apologized to the TD, and he said that he welcomes my apology, if he had it his way I would not be working another show, because he thinks that I was intentionally disrespecting him. I bit my tongue on that one because it would have just been more trouble then it was worth.
Van- I agree with 99% of the points you made, though in fact I had previously approached him about the hazer. Also, I will fully admit that sometimes my ego is bigger then my talent, and my mouth is even bigger, and I admit it get me in trouble. There is one disagreement I will make with you. The TD for the school, never makes suggestions to me. He tells me I am wrong and thats it. He altered my design without asking me, which, I don't know if thats something I have the right to be angry about, just because I feel like it is my design and i should be at least told about decisions being made.
And the reason I, as the LD, am calling cues, is because the stage manager is very green (don't misunderstand me saying green meaning bad) and she has a lot of cues she calls and me and her, separately had discussed me being on my own channel.
I second the +5 for the towel reference.

It is good that you tried to mend fences with the director and TD. It's a shame that the TD was less than receptive but even as you admit you have tendency to a bit of a mouth. While the TD shouldn't unilaterally change your design, he is the teacher and you are the student. There seems to be bad blood between you that predates this show. Believe me, if you continue in this field he will not be the last guy that is in charge that you may not respect. The problem is, you still have to make it work.
There is nothing wrong with being confident in your abilities, the secret is to find a way to defend your point of view without being a know it all. When I was in HS and just out, I suffered from the King of the Booth syndrome. I got my legs cut out from under me by a crusty old carpenter. I quickly learned that I had talent but I had a ton to learn. I then adopted the attitude that I was pretty decent at what I did so I would go in and do it and let others decide the level of my abilities. At 22 I was invited to invest in a dinner theatre and was their TD. I have been in the business for 36 years and I still have a lot to learn and I still let others decide if I can do the job. I have a sixty man crew coming in Sunday, so I must be doing something right.
It's a long way of saying being humble will get you much more work than being a know it all.

 

[josh88]

Up and changing someone's work like that isn't always the best way to handle a situation but sometimes it needs to be done. When I'm in that position and I feel/know something needs to be changed I try to at least pose the question and mention A, B, and C are problems, how are you going to adjust to those issues, and hope that with a little guidance and nudging the person can reach the same conclusion I've reached. It ruffles less feathers and is less insulting. Even when it just needs to be done, I try to say, sorry, I understand what you were going for or trying to do, but I've got to change it, here's why.

I try to remember how often I'm struck at how small a world it is and how often I meet someone who knows someone I know or work with. I also take solace in the fact that generally in a few months it will be over, so I can deal with people I don't like for that long and also keep that connection. We're such a collaborative art that if I bite my tongue and do what I can to try to keep the group getting along I hope that the next time I do something they'll bite their tongue too. The can't we all just get along attitude helps lower my stress levels during tech... or at least I try to convince myself that it does.

 

[shiben]

It is good that you tried to mend fences with the director and TD. It's a shame that the TD was less than receptive but even as you admit you have tendency to a bit of a mouth. While the TD shouldn't unilaterally change your design, he is the teacher and you are the student. There seems to be bad blood between you that predates this show. Believe me, if you continue in this field he will not be the last guy that is in charge that you may not respect. The problem is, you still have to make it work.
There is nothing wrong with being confident in your abilities, the secret is to find a way to defend your point of view without being a know it all. When I was in HS and just out, I suffered from the King of the Booth syndrome. I got my legs cut out from under me by a crusty old carpenter. I quickly learned that I had talent but I had a ton to learn. I then adopted the attitude that I was pretty decent at what I did so I would go in and do it and let others decide the level of my abilities. At 22 I was invited to invest in a dinner theatre and was their TD. I have been in the business for 36 years and I still have a lot to learn and I still let others decide if I can do the job. I have a sixty man crew coming in Sunday, so I must be doing something right.
It's a long way of saying being humble will get you much more work than being a know it all.

I have not been in the biz 1/6th as long as Michael here, but as someone who was in a similar position to the OP not too very long ago, I can say I understand both sides of the issue here. The first boss I had in College was not the most technically inclined. Hes a great person, but just couldnt compete in learning about lighting technology as fast as I could. And I figured I could figure out how to do things on my own and d*** if he was gonna tell me anything. The difference between the OP and I is that he let me go, and I still remember realizing at 5:30 in the morning that if I had done what my boss wanted, the same result would have been achieved, and I would have gotten some sleep. Woke up the next morning to a big cup o' joe from him and a Congo Jr. submaster wing embedded in my face. Learned a good lesson that day, you gotta figure that as much as you know, which might be a lot, someone always has something useful to teach you, and they probably have been doing it longer than you have. Wait till you move to a new city. Three months ago started working for a company here that does stagehand type stuff, and suddenly, Im the new guy in town and no one cares that I was an ME and LD for this that and the other, Im the FNG and go push that feeder case. If I had to guess, pretty much everyone on here who is an older pro at some point was the OP as well, until someone came along and showed them what was up. I think that for me its a lesson that if I had not been taught it, I would be in big trouble, and I would not be given the same kind of chances to develop the talents that I happen to have if I had remained the total noob that I was in HS/as a freshman. Good to learn, Good to make amends, Stinks that the TD wasnt happy with ya in the long run, but that happens. Sometimes, you have your chance and you dont even realize its the last one before you blow it and thats a bridge down. Afraid I did that when I moved with one guy, had to move but wish I could have avoided that... Such is life I guess.

 

[Pie4Weebl]

Are you actually the lighting designer, or was he brought in to "take care of tech, and oh yeah some kids will be helping you out"?

If that's what he was told, I think he position seems a bit more reasonable.... Put your self in the other persons shoes, I've found for the most part there are very few people who go out of their way to be mean.

 

[shiben]

Are you actually the lighting designer, or was he brought in to "take care of tech, and oh yeah some kids will be helping you out"?

If that's what he was told, I think he position seems a bit more reasonable.... Put your self in the other persons shoes, I've found for the most part there are very few people who go out of their way to be mean.

No but there certainly are a lot of people who loose patience around tech week.

 

[len]

Sounds to me like everyone was given their own turf, did their own thing, and then got yelled at because the director wasn't kept in the loop. Did the OP go to the director and show the plot for approval before hanging it? Were there any dept. head meetings during rehearsals? Probably not. I'll bet lighting wasn't the only dept. getting yelled at. There were probably a lot of communication issues.

 

[bdkdesigns]

I'll bet lighting wasn't the only dept. getting yelled at. There were probably a lot of communication issues.

Have you been at my university recently? We recently did a one-off where they never approached a single member of the technical faculty for help. The only reason why I knew something about it even occurring was because I asked a student who was simply in a piece from a random cast list that was posted and asked him when it started. This cast list was my only clue that an event was even taking place. I just used my house plot and rolled with the punches as I saw what happened and politely declined re-focusing instruments for specials since this is our busy time of year with a lot of little events like chorus and orchestra events.


As for the original topic, you will encounter attitudes no matter where you go. The key to listening to a director isn't what they are saying but what they mean. During a production of Hamlet, our director was adamant about a supernova cue at the very end of the production (we used the full ending without any cuts unlike a lot of ones I've seen that end with Hamlet's death, which truthfully isn't a lot more). My plot had roughly 450 instruments plus an additional 60 LEDs on the set. I brought everything to full which was truly blinding and it wasn't bright enough for him. He asked for it to be "brighter" and when I told him everything was at full, he quickly snapped at me and said something along the lines of "I've worked on three Broadway shows and I've always gotten what I wanted, this isn't bright enough and I need something more so FIGURE IT OUT!"

It would have been easy to snap right back at him and talk about how we are using everything in our inventory that I had access to since we had another show in another space that was using everything else. Instead, I just sat back and thought about it for a second. He wants it brighter than I can presently give him. How can I achieve "brighter" without making it really brighter onstage. Then it hit me. The show utilized no masking and I had 4 Mac 250's in the air onstage. I simply refocused them into the audience as blinders giving the illusion of it being brighter and the director was happy. He wanted and demanded the stage to be brighter. I technically made it a little dimmer by taking the movers away from the stage but by putting them towards the audience as blinders, it essentially created the same thing that he was looking for. He wanted something that made the audience uncomfortable as if to create the illusion that the cycle is essentially restarting with Fortinbras taking his rightful place on the thrown.

Especially in the heat of tech, it's not uncommon for the director to become frazzled and not really know what it is that they truly want. Sometimes what they say isn't really what they mean, they just don't know how to ask for what they really mean. Just take a few breaths and figure out what he/she wanted. For instance, was he just unhappy with the haze because they were just kicked on and he didn't like seeing it plume out instead of kicking them on 30-40 minutes before the start making the room already full of haze and less distracting than watching two plumes of haze billow out from the sides of the stage or where it was that they were placed?

At the very end of the day, I always remember something that someone once told me. He said "at the end of the day, if my design is 40% of what I originally wanted, it will be a success." While I don't necessarily agree with the percentage, the meaning is the same. Essentially, sometimes it is easier to just adapt and give the director what they want even if it is different from what you originally had hoped for.

Sometimes the results will be surprising. I actually ended up only changing one small cue on my past show but it was a director that I've worked with several times now. However, in an effort to cut the show down because it was a double feature, he ended up cutting my favorite scene in the entire piece. It was a more of a poetry piece everything was essentially little vignettes. It was just a short 3 minute scene with one person and two interpretive dancers behind him. I just politely mentioned that he cut the part that I liked the most and thought was the most powerful and it was instantly back in the show because of how well we work together and how much I've quickly adapted for him in the past.

By the way, this director is probably one of the worst that I've ever worked with in terms of attitude because that is just how he is. The difference is in how you respond and he is actually one of my favorite directors to work with even with the attitude. Why? Because at the end of the day, I know that we are producing some GREAT theatre. It is his desire for perfection that we both share that actually makes it enjoyable. After tech, we just go out for some beers and talk about what's next and unwind. Now that I've worked with him a few times, I've learned his little ticks and we actually never communicated on this past show during tech because everything was already catered to his style and he just simply kept whispering in my ear that he loved it.

 

[mstaylor]

Have you been at my university recently? We recently did a one-off where they never approached a single member of the technical faculty for help. The only reason why I knew something about it even occurring was because I asked a student who was simply in a piece from a random cast list that was posted and asked him when it started. This cast list was my only clue that an event was even taking place. I just used my house plot and rolled with the punches as I saw what happened and politely declined re-focusing instruments for specials since this is our busy time of year with a lot of little events like chorus and orchestra events.


As for the original topic, you will encounter attitudes no matter where you go. The key to listening to a director isn't what they are saying but what they mean. During a production of Hamlet, our director was adamant about a supernova cue at the very end of the production (we used the full ending without any cuts unlike a lot of ones I've seen that end with Hamlet's death, which truthfully isn't a lot more). My plot had roughly 450 instruments plus an additional 60 LEDs on the set. I brought everything to full which was truly blinding and it wasn't bright enough for him. He asked for it to be "brighter" and when I told him everything was at full, he quickly snapped at me and said something along the lines of "I've worked on three Broadway shows and I've always gotten what I wanted, this isn't bright enough and I need something more so FIGURE IT OUT!"

It would have been easy to snap right back at him and talk about how we are using everything in our inventory that I had access to since we had another show in another space that was using everything else. Instead, I just sat back and thought about it for a second. He wants it brighter than I can presently give him. How can I achieve "brighter" without making it really brighter onstage. Then it hit me. The show utilized no masking and I had 4 Mac 250's in the air onstage. I simply refocused them into the audience as blinders giving the illusion of it being brighter and the director was happy. He wanted and demanded the stage to be brighter. I technically made it a little dimmer by taking the movers away from the stage but by putting them towards the audience as blinders, it essentially created the same thing that he was looking for. He wanted something that made the audience uncomfortable as if to create the illusion that the cycle is essentially restarting with Fortinbras taking his rightful place on the thrown.

Especially in the heat of tech, it's not uncommon for the director to become frazzled and not really know what it is that they truly want. Sometimes what they say isn't really what they mean, they just don't know how to ask for what they really mean. Just take a few breaths and figure out what he/she wanted. For instance, was he just unhappy with the haze because they were just kicked on and he didn't like seeing it plume out instead of kicking them on 30-40 minutes before the start making the room already full of haze and less distracting than watching two plumes of haze billow out from the sides of the stage or where it was that they were placed?

At the very end of the day, I always remember something that someone once told me. He said "at the end of the day, if my design is 40% of what I originally wanted, it will be a success." While I don't necessarily agree with the percentage, the meaning is the same. Essentially, sometimes it is easier to just adapt and give the director what they want even if it is different from what you originally had hoped for.

Sometimes the results will be surprising. I actually ended up only changing one small cue on my past show but it was a director that I've worked with several times now. However, in an effort to cut the show down because it was a double feature, he ended up cutting my favorite scene in the entire piece. It was a more of a poetry piece everything was essentially little vignettes. It was just a short 3 minute scene with one person and two interpretive dancers behind him. I just politely mentioned that he cut the part that I liked the most and thought was the most powerful and it was instantly back in the show because of how well we work together and how much I've quickly adapted for him in the past.

By the way, this director is probably one of the worst that I've ever worked with in terms of attitude because that is just how he is. The difference is in how you respond and he is actually one of my favorite directors to work with even with the attitude. Why? Because at the end of the day, I know that we are producing some GREAT theatre. It is his desire for perfection that we both share that actually makes it enjoyable. After tech, we just go out for some beers and talk about what's next and unwind. Now that I've worked with him a few times, I've learned his little ticks and we actually never communicated on this past show during tech because everything was already catered to his style and he just simply kept whispering in my ear that he loved it.

I know exactly what you mean about directors getting short in the last days before opening. One of the best directors I ever worked with was famous for losing his cool over small things. We were setting levels aftter rehearsal one night and he melted down because he was having to pass his requests through headsets but he didn't have one. Sometimes you just let them have their rant and figure how to do what he is actually looking for. I had a director make a shirt for me that said,"No Problem" because that was my standard answer to her. If I couldn't do exactly what she wanted, I gave her options.

 

[esmphoto]

I would (and have) throw out the same rant if i got lip from anyone else on a production. It can be really easy to get mad when everything isnt your way. It is important to remember who the director is and if they have a problem, do what you can to fix it and ignore the rest of their static. Just be sure to do your job and let the rest fall on everyone else.

 

[Nelson]

I know what you mean, too, about finding out about events in a round about way. Too often I hear of events in our auditorium when I read about them in the paper or see them on the list of events downtown! I have to be diligent about watching for community events because too often, no one tells me about upcoming events, they just expect me to be there. I don't know how they expect me to know about their event! I could do a better job for them if they would talk to me earlier. When I don't even know about the show until I walk on on their dress rehearsal, there's not much I can do except use the rep plot and hope it works! It usually works out fine, but that's my rant.

 

[gcpsoundlight]

I have certainly had situations where I think I know what I am doing, and then clash with people however I learnt very quickly to think before I speak, as you will find there is a reason for most things, and sometimes just asking why that is the case can shed more light (pardon the pun) on the situation.


---
I am here: http://maps.google.com/maps?ll=-37.804071,145.128269

 

[WooferHound]

I often say . . .
"You have to set up all the stuff so They can see what to change".
Change is normal, and may not change in ways that you like.
If you really want to know what Change is all about, then work for a movie. You will change things 3 or more times before the directors "Vision" is realized. When they tell you to change something, you need to smile and nod your head and say how long it might take you to do the changes.

I often worked with a director that would ask for his changes in the most rude ways and always acted like he wanted to see the results instantly. I let him Get To Me for years until I figured out that, It was just his way of telling people what he wanted, or it was just his personality. After that day it was easy for me to work with him because i knew that he wasn't trying to sound like a mean person, he just had an excited way of asking for changes.

 

[shiben]

I often say . . .
"You have to set up all the stuff so They can see what to change".
Change is normal, and may not change in ways that you like.
If you really want to know what Change is all about, then work for a movie. You will change things 3 or more times before the directors "Vision" is realized. When they tell you to change something, you need to smile and nod your head and say how long it might take you to do the changes.

I often worked with a director that would ask for his changes in the most rude ways and always acted like he wanted to see the results instantly. I let him Get To Me for years until I figured out that, It was just his way of telling people what he wanted, or it was just his personality. After that day it was easy for me to work with him because i knew that he wasn't trying to sound like a mean person, he just had an excited way of asking for changes.

I feel that. Had a director like that on a show I was working on. In their case it was a lack of knowledge on tech, they didnt realize that every change meant a crew call and whatnot, so they had been getting more and more irritated when they asked for a change and nothing instantly was the way they wanted it, it just had not occurred to them that you cant change the angles on a pile of S4s on a dead hung LX pipe without bringing in a lift and 2 crew. Communication with the art staff is key, and a lot of times you just need to work it into them, and work them into yourself.