The Patch
Lighting consoles simply cannot talk to fixtures without a patch. The system of assigning user numbers to fixtures that each has a unique DMX address is the lifeblood of any show file. By entering the patch into an offline-editor or console before entering the venue, a huge amount of time can be saved. Depending on the rig, it can take even the best of programmers a good thirty minutes or more to select fixtures and modes, assign DMX universes, set user numbers, label fixtures, etc. You should always try to enter the patch as early as possible.
The Basic Building Blocks
Once the patch is created, it is usually a simple step to start to build groups. Groups by fixture type are often auto-created in the desk, so all that needs to be thought out are custom groups for the specific show. Perhaps you need groups of fixtures per truss or electric as well as a group for floor fixtures. By looking at the rig, many group ideas should come to mind. Furthermore, discussions with the LD or reading the script, show flow, or song list will provide further clues to the types of groups you might need.
Any good programmer also understands the importance of having pre-made palettes/presets to be utilized on every show. This not only saves the work of recreating basic colors, zoom settings, gobo selections and more but also provides a consistent working methodology and layout. Most programmers will have a “start show” file that they work from on every production. This file includes common elements such as palettes/presets, screen layouts, effects, macros and more. If you don’t have this (or if your console does not allow this), then you should probably start building these basic elements right away so that you don’t have to make them once you sit down in the venue.
A View From the Top
Most consoles now include some form of visual fixture layout, plot view, or magic sheet. This is a graphical representation of your fixtures that you can use to select fixtures as well as quickly determine output information. These tools are extremely useful and wonderful to work with. However, they also require quite a large investment of time to build. Mapping out your fixtures on the screen could take considerable time depending on the number of fixtures and the type of layout. You might also have to consider different views or layers in order to swap between the hanging fixtures and floor fixtures or between a top view and front view. Just like with the patch and palettes/presets, if you can build this before the tech period, you will be much happier. Quite often, load-in will run late and tensions will be high, and the last thing you want to do is be busy building an on-screen plot while everyone is waiting for you to simply turn on some lights.
Let’s Get Specific
Once you have the basics in your show file of the patch, palettes/presets and a plot view it is time to start thinking about the specific items required for this particular production. Hopefully, you have some idea as to what the plan is for the show. This, of course, will be different depending upon the type of production (theatre, concert, corporate, television), but each will have a base reference you can use to get started (script, set list, show flow, shot list).
When I have time, I like to pre-build my cuelists in a “rough draft” format. I will record blank cues and label them accordingly. I will also mark my script with the corresponding cue numbers. Sometimes the programmer gets to work autonomously regarding cue numbers while other times it requires aligning with the stage manager or director. Once I have the cuelist(s) built with placeholders for the required lighting looks, then I can quickly just merge data into these cues as I build the specific looks. It is also important to know that you are probably going to be adding additional cues, so try to leave some gaps in your numbering. For example, you might start each scene in a different hundreds range or skip five cue numbers between key moments. This way you do not end up with lots of point cues in your final show.
As I said above, each type of production will be slightly different, but they all have common elements that you can plan for. With a corporate event or television show there is usually a “show flow” document that describes what will happen in chronological order. This makes it easy to build blank cues for each speaker, video look, awards recognition, commercial break bumper shot, etc. With musical numbers, you can almost always count on the basic “intro, verse, chorus, verse, chorus, break/solo, verse, chorus, outro/button” layout! At least it is a good starting point for most songs.
Speaking of songs, when programming a concert, most show files are created with a page/bank per song. This is a logical way to organize the data in the desk and provides unique playback functionality per song. Before programming begins, I will ask for set-lists from previous tours and then create blank pages for each of the songs that are on the lists. I will also create a master cuelist on each page (usually with the aforementioned layout of blank cues). Of course, labeling is essential, so I will label all pages/banks as well as cuelists so there is no confusion later on. Then, when actual programming begins, I will already have these common songs ready to receive data. I will not have to create a page and main cuelist each time I am ready to program the next song.
Much More to Prepare
If you have more time to prepare your show file, they you can continue by creating even more elements you might need during programming. Some desks provide extensive macro capabilities while others have dedicated user-defined keys. By thinking about what functions might be useful for these features and assigning/creating them ahead of time, you can again save more time before entering the venue.
Finding the Balance
All this pre-programming and planning is great — if you have the time to do it, of course. In some circumstances, you might find that you are going from gig to gig and may not have time to create specific elements for a show. This is where having a pre-made “start show” file is very handy, because it will contain many of these common elements that you will not need to build for each show. Technology is great, though, and even if you spend an hour or so massaging your show file on the airplane ride to the gig, you will be helping yourself out quite a lot. However, also remember that all this prep work is work and should be billed appropriately. If you spend three days preparing a show file and save the producers on-site time, you should be reimbursed for your work. Don’t forget this in your price negotiations!
It is essential to find the right balance for you between prep work and on-site work. You probably should not spend a week preparing a show file for a one-off, ten fixture rig. The most important things, though, are to always have fun programming and do your very best.
