The set of skills one must master to work as an automated lighting programmer range from lighting knowledge to console syntax to organization, and much more. Most people are aware of the common abilities that a programmer must become proficient with in order to provide a great programming experience.
However, there are other non-spoken, or unmentionable, skills that every programmer needs to learn and improve throughout their careers. Without adding the following abilities to the mix, a programmer will be severely deficient at accomplishing the required programming for the production.
Easy as ABC
A lighting programmer must possess good spelling abilities when entering data into consoles. We are always typing cue names, trigger information, and other essential data into desks. It used to be that only the programmer would see the data on the desk, however this is no longer the case. Networking abilities, lighting directors, stage managers, techs, and many others might have needs to read console data. If the programmer makes continuous misspellings, it could be confusing as well as look bad for the programmer.
Take the time to ensure that you are properly spelling color names, group locations, cue data, etc. No one wants to read a trigger note that says “Drop flyes in” or other incorrect information. Unfortunately, most lighting desks do not have spelling correction, so it is up to the programmer to check that words are spelled correctly. Also you want to be on the lookout for typos such as “Grean” or “Blqckiut.” Always make sure that all items in the desk are correctly spelled and clearly written.
Patient as a Saint
Sitting at a lighting console waiting for the moment to press buttons takes great patience. Often you will be waiting for actors, musicians, carpenters, LDs, audio, the venue, the sun, or other unforeseen things. You need to be patient as you wait for the right moment to focus lights or hear about the next cue to build.
I was recently working on a corporate event where I had to wait for the CEO to finish his speech rehearsal before I could make any changes to lighting on the stage. Although I knew I could easily continue my beam light focus in the audience, I was told that he wanted no distractions during his rehearsal, so I had to sit patiently while he practiced reading his speech from the podium.
A good lighting programmer will never get upset when they have to wait on others or other situations. Instead, a programmer needs to learn to be patient and either wait it out, or find something different to do to fill the time.
Sleep Deprivation
Our industry tends to push the lighting out to work late in the evenings when everyone else is gone. It seems that the actors, musicians, and crew all know that we tend to excel at sleep deprivation. Even if you are not working late at night, you will frequently find production schedules that have very few hours allotted for getting rest.
Lighting programmers should learn to manage their body and mind with very little sleep. Grabbing a quick 20 min nap at FOH does not count, either! Of course, there are various stimulants that can help in the moment, but these are rarely good for you in the long run. Energy drinks, coffee, tea, soda, etc., all provide a jolt of energy, but are usually followed by a crash. Learn about healthy foods and practices that keep you sharp when sleep deprived.
Be aware of your current mental state due to sleep deprivation and try not to accomplish complex tasks. If you have not slept in 30 hours and your brain is fuzzy, then maybe it is best to put off that complex effect programming until the next day when you can think clearer. Always let the LD, producer, or others know that your mental acuity is starting to drop before there is a big crash.
Data Protection
The data in the lighting desk is not just created by the lighting programmer, but the total protection and distribution of the data falls on the programmer as well. I have said it again and again, and will yet again: If saving properly, you should never lose more than 30 minutes of work. While most consoles automatically save the show file to a hard drive at a regular basis, this does not guarantee the data is safe. Programmers must learn to save to external media, negotiate network data distribution, and much more.
Many things can lead to a loss of data (either complete or partial), and the programmer must be prepared for anything. I have heard tales of consoles failing, data getting corrupt, desks being stolen, buildings burning down, incorrect show files loading, and much more. In all these cases, a proper backup of the show file allowed the programmer to restore the data with very minimal loss. Programmers must always be diligent about backing up and archiving lighting console data.
Another bit of data protection that is the responsibility of the programmer is the distribution of the actual show file. Many tours or productions will ask a programmer for the previous incarnation show file. While it is very easy to send the file right on over, you must first determine if you have permission to do so. While show files typically do not have a copyright assigned to them, they are considered protected works. Check with the LD, producer, agent, or others to see who owns the rights to the data and whom they want to share it with.
I’ve Got to Pee
One of the biggest unmentionable skills of a lighting programmer (and particularly a lighting operator) is the ability to manage your personal needs. When sitting through a rehearsal or a full two-hour show you cannot just leave the console to visit the restroom. You must learn to regulate your liquid intake so that you are not forced into untimely liquid output! It is of course important to keep yourself hydrated during a production, but do so with caution.
It is not a good idea to down three bottles of water just prior to a two-hour concert. While some FOH areas include an executive washroom (usually a port-a-potty at festivals), most do not. It is never easy to wriggle through a crowd during a show, and besides, who is going to keep running the show? If you must absolutely leave your post, have an assistant or tech come sit in your seat during your absence.
Learn to manage what you eat and drink before you start a show or a rehearsal. Tea, coffee and sports drinks are diuretics and can bring on the urge quickly. Eating a greasy load of Mexican food moments before going to FOH is not advised either.
The Ultimate Unmentionable
It may be common sense, but too often I see people forget the following. Remember that we are fortunate to be working in an amazing industry and getting paid to have fun with lights. A key skill that you absolutely must possess as a lighting programmer is to have a great attitude and personality. This means relating well to the lighting designer, crew, talent, and audience.
If you are a grumpy person who is not happy to be on a gig, then go home. There is no place for an unappreciative person in any position on a production, much less at FOH. Check your attitude at the door and sit down to put your best effort into the programming of the show. Be a true professional and make every show the best show ever.
