Spot op tips
- Thread starterBlake
- Start date
Timothy A. Samuelson
Active Member
Get a scope. Fade up and out unless told other wise. Fades are three secs unkes told other wise. Don't loosen up the pan and tilt all the way, leave some drag on them so we don't see how unsteady you are. As the subject moves away from you iris in and reverse when they come closer. Try not to hit the legs and boarders. Keep your month shut unless you have a question about a cue. Make sure you understand the fixture before show time.
LS
Timothy A. Samuelson
Active Member
Good question! The theatre I work for doesn't pay by the hour for production specific staff. Spot ops are payed a standard rate of $40 a performance. Prospective hires are given a schedule during pre-production and expected to be at all rehearsals and performances beginning on tech day. Scheduling conflicts are resolved 5 weeks out of tech.
JChenault
Well-Known Member
If possible focus on the talent's shadow that you are casting with the spot, not on the face or body of the actor. You don't want to put the center of the beam on the face, you want to put the edge of the beam just above the head. Looking at the shadow makes that easier.
The audiences eye is drawn to two things. Brightness and movement. You are providing brightness on the actor. Make sure you do not provide movement on scenic elements that are distracting to the audience. IE if the actor is standing in front of a curtain and you have a hard edge spot on him - and the edge of the spot is clearly visible to the audience - work very hard not to let the spot move if the actor is not moving. Even to the extent that if you are following the actor and when he stops you are ( say) a bit high. It is probably better to leave it where it is until the actor moves instead of sneaking it to its new location. Of course it is better not to miss your focus in the first place.
The audiences eye is drawn to two things. Brightness and movement. You are providing brightness on the actor. Make sure you do not provide movement on scenic elements that are distracting to the audience. IE if the actor is standing in front of a curtain and you have a hard edge spot on him - and the edge of the spot is clearly visible to the audience - work very hard not to let the spot move if the actor is not moving. Even to the extent that if you are following the actor and when he stops you are ( say) a bit high. It is probably better to leave it where it is until the actor moves instead of sneaking it to its new location. Of course it is better not to miss your focus in the first place.
alyx92
Active Member
If you're going to be doing more spot gigs in the future, I'd invest in one of these. You'll never miss a pickup again
http://www.productionadvantageonline.com/Products/TELRAD.aspx
http://www.productionadvantageonline.com/Products/TELRAD.aspx
techieman33
Well-Known Member
A theater I freelance occasionally at has them mounted to a thin wood base with rare earth magnets in the bottom. It's really nice to be able to move it around easily and not have to worry about taking gaff up with you in case you have to move it. And once it's in place you easily tweak the positioning, you don't have to worry so much about placing it just right like when your taping it on.
