What happens when you arrive and the lighting crew or the video projection crew is waiting for you to tell them where you want the digital lighting projectors to be placed, but the truss isn’t hung or where you need it to be? What would you do if you arrived at the gig and the screens were already hung, but they’re 10 feet further than the optimal throw distance? These situations, and many more like them, are commonly referred to as hiccups. How you handle them is going to require thinking on your feet. Here are a few common sense things that may just help you get through those stressful situations.
The key to having a show go as smoothly as possible is good communication. Simple communication requires that you tell others what you need and that you compromise when it is necessary. I like to think of this as knowing when to pick your battles. Chances are if that screen isn’t hung exactly where you need it or it’s slightly smaller than you asked for, you can make it through the show and the show will not suffer. But if the screens are hidden by shimmering silver Mylar or blocked by the set, then you may need to have a word with someone about the video for which the client paid top dollar to have produced—you know, the video of the corporate CEO singing at the company karaoke lunch. It has to take top priority, after all!
Before arriving at the venue, contact the people who will be providing the content, or, if you are the responsible party, then you will need to know what content to prepare for the show. Production meetings are usually the place to ask all of these questions, and you should not rely on anyone else to cover any details about which you don’t ask. If you aren’t sure about something, track down the answer before you get on-site if you can, because it’s easier to deal with problems ahead of time and before any equipment has been shipped out.
At some point when you do find yourself in a dialogue with the director or production manager (or the client or someone who has an idea of what they want to see on those screens), it’s in your best interest to listen and ask questions. Video imagery makes a huge impact on the mood and atmosphere of a show, so it’s important to pick content that matches that of the show. It’s a great idea to get a script as soon as possible (if there is one) so you can identify which looks may work for each section of the show. Matching the content to the show is as important as picking the right costumes for the talent. Make a bad choice and it will detract from the overall effect.
At the venue, you’ll want to be involved in the placement of the projectors as they are being hung. The hanging positions of the projection devices and the placement of display screens are decisions that are critical to the integration of video in a show. If careful consideration is not given to how video will be utilized in the production, then the results will be less effective. Coordinate with the video personnel with what your needs are, and everyone will feel more comfortable since they will know what is required.
And while we’re on the subject of rigging the gear, it’s a great idea to oversee the hang to ensure that all cabling and addressing (if DMX-controllable) is finished before the truss goes up. It’s a humbling conversation to have with the master electrician or rigger when there’s an addressing problem and the whole truss has to come in or someone has to climb up because it wasn’t checked before it went up.
If your equipment is interfaced with other video equipment, you’ll need to be ready to assist in that setup and answer questions about your equipment if necessary to make the connections work. Some common questions when working with projectors and LED panels are about resolution settings and signal connections. Know what options you have, and ask what options are available with the other video equipment if you are not familiar with it already.
Another important relationship to establish is with the lighting console programmer —if that person is not you. Lighting and video are not mutually exclusive, and a great video image can be completed washed out by a stage full of lighting. Good communication about your specific cues will help that person watch their intensity levels and color choices during programming and the show, making the entire production feel more cohesive.
Remember that everyone at the gig has their own job too, and they hopefully want to do it well. Treat your coworkers at the gig with respect, and they will do a million things for you. However, treat them with disrespect, and you’ll have a very long day ahead of you.
Vickie Claiborne is a freelance programmer. She can be reached at vclaiborne@plsn.com.
;){kind=link}