One of my favorite things in life is being behind a lighting console in full control of a lighting rig. Whether programming or operating, I find true joy in pressing the buttons and watching the lighting change. Through the years working as an automated lighting programmer, I have found it very important to consider the ergonomics involved with my FOH setup. Working with a console for many hours can be very draining mentally, but it also takes a toll on your arms, wrists, legs, and more. This is why you should always plan accordingly to ensure that you are in a position to perform your very best behind the console.
Working Height
Whether you find yourself sitting or standing behind a console, you must always consider the working height. Anytime you are too high above the desk, your wrists will be bent at a sharp angle. After an hour, you will likely begin to feel uncomfortable. Likewise, if you are sitting too low, you will bend your wrists the opposite direction and again experience pain. The best position is one where your wrists and arms are even, without any bending. Then you can program or operate with ease for extended periods of time.
Often the very nature of our work puts us in locations that are difficult to achieve the optimal working height. This is when you will need to get creative and solve the problem. For instance, you might be at a tech table in a theatre and be expected to use the last row of seats as your chair. However, this usually places the table well above your normal working height. Most people will simply place a board across the arms of the seat to raise themselves up to a better height. The better idea is to ask for a few seats to be removed so that you can use a proper chair behind the table.
When I was operating a concert tour for lighting designer John Broderick, he made me very aware of the working height required for good operation of a nearly three hour concert. Since I was to be standing during the show (more on this later), the consoles need to be at a perfect height even with my arms straight out in front of me. This was achieved by taking the consoles out of their road cases, placing the empty cases on the table, and then placing the consoles on top of the cases. Now the consoles were the perfect operational height for a standing operator. During any programming sessions, the consoles would be lowered back down to chair height.
Another classic trick I have seen is to raise a table or chair using risers, road case lids, PVC pipe or anything else that can be found. Again, the key is to select a working height that does not strain your wrists and arms. Of course, you also need to ensure that you can see the stage from your working position.
Sit Down
Most programmers prefer to sit while they work, but many do not consider the very item they are sitting on. I learned long ago that a road case is not an acceptable seat for a programming session. Not only is it uncomfortable, your legs get in the way, and it always puts you at the wrong height. I make it a point when request my FOH items such as console, monitors, headsets, etc. — to also ask for a padded chair or stool. Since I know that I will be sitting at the desk for extended periods, I want to ensure I am comfortable. Most clients understand that a happy programmer makes for a better-programmed show.
As stated above in the theatre example, sometimes a good seat is not available; but you must adapt. If your only option is to sit on a piece of plywood straddling seats, then look for something soft to place your rear upon. You will be glad you did after a few hours. To some it may seem petty, or “prima donna,” but a good chair is a very important tool for a programmer. After all, no other profession would expect a computer operator to sit on a box or board for extended periods.
Stand Up
Of course, there are times when it is important for a programmer/operator to stand when using a console. A good example is at a concert. Standing puts you in a “ready” state, where you are more connected to the energy of the production, and it keeps you alert. You will find most concert LDs choose to stand during the operation of their shows for these reasons. I find it helpful sometimes, too, when programming, as it seems to add a bit of urgency to the programming. I know it sounds odd, but standing makes it easier for you to reach quickly to different parts of the desk, and it often improves your view as well.
Many professions require employees to stand for extended hours. They often make use of very comfortable standing pads to keep their knees in good shape. I have seen these used on tours as well for lighting (and sound) operators who stand for several hours during a concert. These pads are amazing and are much better than any concrete floor.
All About Angles
Some programmers like to angle their consoles to get a better view of the screens or a quicker reach to the touchscreens and buttons. This can be useful, but again, you must look at the angle that your wrists turn to when reaching for screens and upper buttons. If you find you are using your screens often, you may want to lay them down so they are flat like the rest of the desk. Or you might want to angle the entire console so that the screens and buttons all provide a comfortable overall angle for your arms and wrists.
Don’t Forget Sightlines
Another often-overlooked ergonomic concept for automated lighting programmers has to do with their views. As you work a lighting console, you are continually looking between the stage, desk, screens, video monitors, laptop and other areas. This means your neck can get sore as you struggle to see everything. Take some time to consider your FOH layout, and position all the screens and tools around you accordingly. Make sure that you always have a clear view to the stage as well as all your relevant screens and surfaces.
Gain Control
Automated lighting programming is a very serious profession and, as such, we should be treated as professionals. Our clients will happily accommodate reasonable requests to ensure that our workspace is ergonomically correct to benefit us and the show as a whole. However, sometimes you will need to educate the production team as to the importance of your comfort. Carpal Tunnel Syndrome and other ailments are no laughing matter, and we need to do all we can to continue working on productions to come.
On your next production, take some time to consider your workspace. Choose a good seat, or stand if that is necessary, but do either with complete comfort. Check the angle of your arms and wrists, and try not to bend them too much. With all this comfort, you will find that you can program better looks in a quicker manner.
