Productions come in all different sizes and budgets, and often not enough time is set aside for the lighting programming. Sometimes the programming of the lighting is put off for bigger priorities such as building the rig and/or stage. Automated lighting programmers can find themselves in various time crunch situations as they try to meet the production demands. In many cases, this can lead to little to no programming time before an event. A true professional must be prepared for these circumstances and know how to make the best of the situation. » How It Happens
With the vast multitude of production types, there are many reasons why a show may open with no lighting programmed at all. It could be a one-off party, a corporate event, or even a poorly planned musical or concert. The delays in programming could be due to budget cuts, problems with the load in or rig, loss of electricity, console problems, delayed flights, or any other unexpected situation. When you find yourself in one of these settings, you must be ready to operate the lighting in the best manner possible, no matter what.
» Where to Start
Any show with a rig of automated lights has certain requirements that must be met to enable the lights to operate and illuminate the stage. You must ensure that the lights are properly hung, cabled, addressed and powered. If these simple steps are not achieved, then the fixtures will not be able to be controlled. The next step is to patch the lighting console so that you can communicate with the rig. As always, ensure you know exactly which fixtures are in the rig and to which mode they are set. Then you can select the proper fixture libraries for use in your console show file.
For any automated lighting console, you’ll need to patch the fixtures so that you can select and communicate commands to them. This means that you will also need to enter in the fixtures’ DMX start addresses and designate the proper DMX lines to the proper fixtures. You will also need to assign user/channel/fixture numbers to the fixtures so that you can select and control them from your console. Once you have the patch entered into the desk, then hopefully you can take five minutes to ensure that all fixtures are working from their individual controls.
It is important to not just select “all at full” to see if the fixtures are working. You need to use the [NEXT] button on your console to cycle through the fixtures one at a time to ensure the addresses match the patch and that each fixture is working independently. Usually, it is a good idea to also wiggle the lights a bit to ensure their pan/tilt is functioning and not locked. If you can select lights and move them, then you can probably create a decent show.
» Prepare the Basics
Hopefully you will manage to get the rig set up, patched and working and still have a few minutes before the show starts. If so, then you should create some basic groups. A group is a stored selection of a range of fixtures that allows you to quickly select fixtures for programming. Many consoles will auto-create basic groups for you by fixture type, but you may also want to build more specific ones such as upstage fixtures, downstage fixtures, floor fixtures, etc. These groups will come in handy later as you quickly try to throw a show together.
If time allows, the next step is to build some rough position palette/presets. These are quick references of where the lights point that you can use to prevent manually aiming fixtures during the show. Typically, you might build six to 10 positions with all fixtures pointing at the same general location (stage, audience, backdrop, drums, singer, etc.). If there is something essential for the production (a podium, for example) then be sure to make this position a priority.
» Doors Are Open!
Once the audience starts coming in, hopefully you will have a few minutes to continue working in blind mode. There are many things you can do without seeing the actual output on stage. For instance, you can build color palette/presets by just selecting the full saturation cyan, magenta, and yellow color mixing parameters. You can build other basic mix colors such as red, green, blue, amber, lavender and pink in blind as well.
In addition to building palette/presets, you can also throw together some essential playbacks in blind mode. If there is a podium, you can use your previously-made position to build a playback that points two key lights and one backlight at the podium and store this with a high priority. Now you know you can access this any time from a particular fader or button.
» Showtime!
When the show does finally start, this is where your true talents are put to the test. With little to no programming in the console, you will need to be ready to manually select items and ensure the show is lit. Understanding the live state of the programmer screen on your desk is essential. The first step is to light the talent or primary purpose of the show. If there is a stage, bring up a stage wash, if there is only a dance floor, get the lights moving in the right area.
You might want to quickly create this look and then store it so that it can be easily recalled later. I will do this so that I have a basic look to return to. This also frees up my programmer window for bigger tasks such as color changes, gobo changes, effects and more.
With no programming in the console, you will need to be creative to ensure a fresh and lively show (if this is what is required). Often, I have selected fixtures and manually selected between two different gobos to the beat of a song or used a console color picker to create a color chase by simply dragging my finger around on the screen. Some fixtures have built-in automation effects that you can select to enable color chases, iris chases, and even unique looks. You should make the most of these tools as you work your way though the production. Console effects engines can be useful here, too, but be careful that you don’t just create a bunch of “flash and trash” looks. As with any time you use an effect, be sure to modify it to fit the size and speed required.
You should think of every console option as an extension of your available tools. For example, flashing the blackout key or fading the grand master can create exciting and dynamic looks. I like to build a look in my programmer and then use the blind key to flash that look on and off. Most consoles also offer a sneak or try cue function that provide methods of going in and out of blind at a specific time. Many consoles also allow you to active timing functions for live selections of palettes/presets. This allows you to smoothly transition the look on stage on the fly.
» Make the Most of It
Going into a production with no programming in your console can be very daunting. Usually these situations mean that you also have not eaten all day and are extremely tired from all the prep work. But if you are able to look at this as an opportunity to challenge yourself, then you can really have a good time on the console. Fortunately, these circumstances do not come up often, but when they do, you need to be prepared with a plan in place. This is very different from operating a programmed show or busking a show with pre-programmed cues. It is amazing what can be achieved with no pre-programming and just good timing and skills. Above all else, have fun and keep it simple.
