Actually, all the prep work in the world didn’t prepare us for some of the problems we encountered. It always happens — something unforeseen comes up and changes the timeline. The best way we should have prepared was to expect the unexpected.
The show was a medium-sized corporate gig with 12 movers, 96 conventional and a couple dozen LED fixtures. Not a complex rig, nor a simple one. Call it the “just right” rig. Before landing on the dock, we had the board patched, subs, groups and some palettes all set up. Most of the programming would happen on site, since we had some time built in for that.
How quickly time can be eaten. Load-in was supposed to be quick, with the fixtures hung and the truss ran out in four hours. Four hours turned into six and some change. The problem — truss connections. After getting 75 percent of the truss bolted together, someone noticed one out of five bolts were facing the wrong direction. Sounds stupid, but safety has to be the top priority. With thousands of pounds of equipment overhead, failure is not an option. Additional time was allocated, checking every bolt and fixing any mistakes. Poof, programming time begins to disappear.
I may have been brought on to program, but sitting around and waiting is not my nature. While the stagehands worked on the truss, I jumped in and made sure all of the fixtures were in place and ready for the hang. We needed to make up some time any way we could, so it was all hands on deck.
Once the truss was floating, fixtures went on quickly. Thanks to some awesome prep work in the shop, focus tape made the hang quick. Along with the fixture placement, the focus tape showed where breakouts and specific circuits landed. There was no need to measure out the truss or to refer back to the plot. I will never knock focus tape again!
After the truss was flown, the carps came in and loaded in the set. They had their share of setbacks, more time was lost, and my programming time went the way of the dodo. What is a programmer to do? Lamp check, profile tweaks and any other adjustments that could be corrected at the board.
After some general focus and position palettes were finally made, it was time to call it quits after an 18-hour day. Tomorrow brings a 7 a.m. call and the first day of a three-day gig. I have been known to mention that sleep is for the weak. When it is gig time, I still believe that, but someone tell my body that. It took a pot of coffee that morning to wake up. Same thing for the following three days.
I am sure all of you out there have had an experience like this. You knew it was going to be long days, but nothing prepares you for it. Blowing by meals and breaks, you have to do it sometimes in order to get the job done. How many times have you lived off Clif bars and soda? Meals may have been provided, but taking time to leave the room, eat and get back can sacrifice the opportunity to get a look right.
As you know, it just goes back to the importance pre-production plays in making or breaking any show. Our pre-show communications proved valuable, because that enabled us to make the magic happen, even with severe time constraints. The programming time happened just hours before the next session. We found ourselves behind the eight ball a couple of times. Not because of our skills or determination, it came down to unrealistic time frames set by the client. What can you do? There is nothing to do but roll up the sleeves and work through it.
Tight time schedules are the nature of our business. When a client provides a wacked-out timeframe, just smile and make it happen. Your positive attitude will probably help you land your next gig, too! We can trade horror stories later. I’m proud of the work the production team accomplished in such a hectic schedule. When load-out finally came around, everyone stepped up and lent a hand. Sure, as a programmer, I could have packed the desk and walked away, but another set of hands meant a shorter load out. If helping push boxes meant we were at the bar 30 minutes earlier, I’ll be the first one in the truck with two high and wheels to the sky.
Time never seems to be on our side for production work. Regardless of how prepared you are, something always comes up and setbacks happen. As the old saying goes, the show must go on. Somehow, we always make it happen.
Share your gig stories on www.ProLightingSpace.com. You can also email Justin at jlang@plsn.com.
For the version of this Editor’s Note on PLSN.tv, go to www.plsn.me/201205ednote.
