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Whoa! Wait a minute. What I am doing back here on the LD page? I was hired for the programmer’s gig! Okay, I can do the LD gig too. I hope I will get paid the LD rate. What? You expect me to be the LD for the same rate? Okay, just this once. But next time I’m getting paid as both the LD and programmer.
The leap from automated lighting programmer to lighting designer can happen as quickly as walking into your next gig, or it might take years. It really depends upon the environment in which you work. Most programmers today have a desire to become a designer tomorrow. Our industry has seen many programmers move up the ranks to LD, including Arnold Serame, Nook Schoenfeld, Patrick Dierson, Troy Eckerman, Benoit Richard, and Benny Kirkham to name a few.
Getting Started
As an automated lighting programmer, you are often exposed to many different productions, designers and other contacts. Every gig should be approached as a learning experience. Watch how the designer interacts with the client, study the shop order to see how it was conceived and changed, and notice how the LD calls the conventional focus. Observing professionals in the real world is often a much better learning experience than any classroom environment. I also like to collect various bits of paperwork from productions so I can study the subtle differences. Magic sheets, plots, patch sheets, followspot notes, etc., all have unique touches that each LD applies. By noticing how each is used by the LD and crew I have learned how to improve my own designer paperwork.
My Process
Throughout my career, I have had the position of “lighting designer” as a goal. When I first started, I did some LD gigs and some programming gigs. I found that as a programmer I could gain quicker access to larger and varied productions than as a newbie designer. So I programmed for many years. As time went by there were gigs that I was able to LD and design, but I still was hoping for more. Eventually after many years of programming for various LDs in the industry, I was asked to co-design some productions. This opportunity allowed me to gain some LD credit, yet not take on the full responsibilities of the LD. I basically was involved in the technical and creative level, but not all of the production’s political and budgetary concerns. This process provided me with a time to grow creatively, yet also learn more about the “other” duties the LD must perform.
Those Other Duties
So just what are those other duties? The LD must meet with the client, artists, director, and other production members to help create the overall show concepts and style. They must also haggle over monetary matters, arrange schedules, request crew members and times, defend their choices, and, of course, keep their programmer happy. This page often has great stories from Nook about how he handles many of these tasks. These responsibilities are probably the toughest part of the LD’s job. I know there have been many productions that I have been pleased to “only” be the programmer so that I can just push buttons and ignore most of the politics. However when you’re working as the LD, it is imperative that you stay on top of these matters; otherwise the lighting of the show will suffer.
Making the Transition
Many programmers find they can outbid traditional LDs by quoting a single rate where they will provide both the design and programming of the show. I even know of some LDs who are now learning to program so they can remain competitive. When taking on a position of LD, you will have to decide if you will be the programmer or if you will hire one. This, of course, is not an easy decision and you must weigh the demands of the production over your own time, money and resources. If you do hire a programmer, then how will they live up to your expectations? Will they be intimidated by your console knowledge or will you spend hours learning from them? I remember talking with Arnold Serame when he first made the transition. He explained how he had to “learn” to sit in the LD seat while a programmer created his looks on the desk. He quickly found that during this programming period he had plenty of LD tasks to attend to and was able to concentrate on his position as designer, thus removing himself from the programming mindset.
Obviously, this can be difficult for an experienced programmer. Imagine explaining a look or chase to a programmer in conceptual terms without also explaining the syntax and console methods to create it. As an LD you have to be careful not to overstep your boundaries by taking on the programmer’s job. However, if you decide to take on both positions yourself, then you must remember not to lose sight of the LD duties while you are sitting behind the desk, and vice versa.
Show Me the Money
If you can manage to take on both positions, then you should certainly be compensated for it. This usually does not mean that you will receive the same amount as if the production hired a separate person for each job, but you should be paid fairly. When negotiating, it is important to remind the producer or client that since you will be taking on two positions, there is less travel, catering, etc., required. It is conceivable that you could receive an increase over a standard LD rate if you are also programming the show.
Notice that I said “conceivable.” In many cases, the LD rate is the same regardless of the programmer. Frequently the “lighting guy” budget item covers all the positions in one person: LD, programmer, crew chief and crew. Our industry has as many different types of production environments as LED products at a trade show! You should always clarify what is expected of you when negotiating your rate. If you are hired as the programmer and then asked to also be the LD, it might just be a super career move and not worth asking for extra money (this time). Look at it as a learning experience and gain as much knowledge as possible.
Back to the Console
Now that I have had the opportunity to write the LD column, I am ready to move back to my seat behind the console. I have learned from my experience and look forward to my next opportunity to write from an LD’s point of view. Look for me next month in the middle of the magazine discussing automated lighting programming. Remember that as you make the transition to LD, you will often have to also revert back to the programmer’s seat too.
Contact Brad at bschiller@plsn.com or www.bradschiller.com.
