Hello, Technical Type Theatre People!
When we last spoke, I had just finished working as the co-Technical Director for the KCACTF Region 6 festival in Abilene, Texas alongside Zach Oehm from West Texas A&M. As promised, I am going to talk about the importance of knowing what inventory you are going to be working with when going into a venue.
No two performance spaces are the same. The house plot, circuiting, lighting positions, and equipment inventory will vary widely. This is especially true between academic, community, and professional spaces. A venue may be fully stocked with ETC Source 4s, while another may rely on older Fresnels or even LED hybrids. If you walk in assuming one set of instruments and discover something completely different, your design may fall apart before it begins.
As the festival TD, it was my responsibility to create the light plot for the schools to use. The downside is that I am not the TD of the space, so I have to rely on getting as much of the correct information as possible from the inhouse staff. (By the way their inhouse staff, where great people and I really liked working with them.)
Being sure that the schools knew what they would be working with allows them to adapt their lighting design to in house plot and redesign before their scheduled load-in and not waste time during the limited 4-hour period. This would also help them to decide if they wanted to bring some equipment form their school’s stock. As a reminder lighting instruments dictate your capabilities. Understanding the limitations of a venue doesn’t squash your creativity. A great designer doesn’t rely on specific gear; they create atmosphere, focus, and mood with what is available. But that only happens if you know what those tools are and how to use them.
The most common issue that occurred during this week was picking the correct D60 Luster+. Based on the information I received, I was under the impression it was a different instrument then it was. After we hung and focused the plot; updates and correct information was emailed at to the schools but of course I could not guarantee they read their email before their schedule load-in. I ended up taking an image of the correct patch information to make load-ins easier for the schools.
This particular venue has a large inventory of parcans and source 4s but not a lot of dimmers and hanging postitions. So, in this case inventory was not the issue but hanging space was. Here is an image of the only front of house lighting position.
This tight position allowed for a very effective front light coverage but little wiggle room for instruments to be used as specials or breakups.
Overall, the experience as great and I would happy do it again. So, for of all you a few questions to ask when going into a new space.
What is the lighting instrument/accessories inventory?
Do you have specs on that equipment?
What is permanently hung and what is flexible?
What system is your board and what version is it currently running?
What is the power control?
What are the universes in your space?
Knowing your lighting instruments isn’t just technical knowledge; it’s your foundation for success. And in theatre, being prepared is the brightest idea of all.”
Prudence Jones
Director of Theatre, Department of Performing Arts
Associate Professor of Theatre Arts
Technical Director for Theatre Area
Fine Arts Summer Camp Director
254-968-9669
