It’s an in-depth look at the whole production process! From conception presentation though to paperwork required for a show to hit the road. With tips on managing crew and scheduling, managing the different requirements of all departments during bump ins and rehearsals, to the detailed documents required With a passion for sustainability we hear about how she is helping make theatres a more sustainable environment.

The French Brace where the arts and environmental sustainability come together in a very practical way, sharing materials and resources.

https://www.facebook.com/thefrenchbrace/

 

Podcast Episode Summary

00:00 Intro

1:14 Why do you think live theatre is important for people?

2:08 What personal qualities are required to be a good production manager?

3:13 What are the roles and responsibilities of a production manager?

5:42 How do you handle disputes or disagreements between people?

7:02 The importance of networking.

8:02 Giving less experienced people a go to gain experience.

8:47 Being a mentor for the less experienced  people on your team?

Pre Production; 

9:41   What is the different paperwork you need to produce and keep up to date when managing a show?

15:18 You don’t make them but you see Rehearsal and show reports?

17:04 What do you do during the rehearsal process?

18:29 Any thing else in pre production or rehearsals that we have missed?

Bump In; 

20:45 What does your first day of bump in look like?

26:18 How do you ensure quality in all areas of production?

27:43 In your experience, how do you develop a good team?

Tech Run;

30:40 What are you doing in tech run?

34:42 Do you allow time in your schedule for tech time for fix ups and adjustments?

Dress Run; 

35:38 How do you respond to working under pressure?

38:39 Do any of your responsibilities change during dress run?

41:44 Any other words on dress runs

Show Day; 

43:14 Give an example of a typical show day.

47:25 What are the day to day task to keep a show running?

Bump Out; 

49:59 Are you around for bump-out?

Post Production 

53:31 What are your responsibilities?

55:34 I know you have a passion for sustainability and up-cycling in theatre, can you give a few tips on how people can make the theatre more sustainable?

59:02 Can you provide some examples of this in the rehearsal room or in the theatre?

60.00 Any tips or tricks you would like to pass on?

63:00 Outro

 

It&rsquo;s an in-depth look at the whole production process! From conception presentation though to paperwork required for a show to hit the road. With tips on managing crew and scheduling, managing the different requirements of all departments during bump ins and rehearsals, to the detailed documents required With a passion for sustainability we hear about how she is helping make theatres a more sustainable environment.
The French Brace where the arts and environmental sustainability come together in a very practical way, sharing materials and resources.
<a href="https://www.facebook.com/thefrenchbrace/">https://www.facebook.com/thefrenchbrace/</a>
&nbsp;
Podcast Episode Summary
00:00 Intro
1:14 Why do you think live theatre is important for people?
2:08 What personal qualities are required to be a good production manager?
3:13 What are the roles and responsibilities of a production manager?
5:42 How do you handle disputes or disagreements between people?
7:02 The importance of networking.
8:02 Giving less experienced people a go to gain experience.
8:47 Being a mentor for the less experienced&nbsp; people on your team?
Pre Production; 
9:41 &nbsp; What is the different paperwork you need to produce and keep up to date when managing a show?
15:18 You don&rsquo;t make them but you see Rehearsal and show reports?
17:04 What do you do during the rehearsal process?
18:29 Any thing else in pre production or rehearsals that we have missed?
Bump In; 
20:45 What does your first day of bump in look like?
26:18 How do you ensure quality in all areas of production?
27:43 In your experience, how do you develop a good team?
Tech Run;
30:40 What are you doing in tech run?
34:42 Do you allow time in your schedule for tech time for fix ups and adjustments?
Dress Run; 
35:38 How do you respond to working under pressure?
38:39 Do any of your responsibilities change during dress run?
41:44 Any other words on dress runs
Show Day; 
43:14 Give an example of a typical show day.
47:25 What are the day to day task to keep a show running?
Bump Out; 
49:59 Are you around for bump-out?
Post Production 
53:31 What are your responsibilities?
55:34 I know you have a passion for sustainability and up-cycling in theatre, can you give a few tips on how people can make the theatre more sustainable?
59:02 Can you provide some examples of this in the rehearsal room or in the theatre?
60.00 Any tips or tricks you would like to pass on?
63:00 Outro
&nbsp;

It’s an in-depth look at the whole production process! From conception presentation though to paperwork required for a show to hit the road. With tips on managing crew and scheduling, managing the different requirements of all departments during bump ins and rehearsals, to the detailed documents required With a passion for sustainability we hear about how she is helping make theatres a more sustainable environment.  The French Brace where the arts and environmental sustainability come together in a very practical way, sharing materials and resources. https://www.facebook.com/thefrenchbrace/

S1 E14 Production Manager

We talk about the parts and equipment that make a follow spot function. This included shutters, gels and sights. Who calls follow spot cue’s, information included in show notes and how they remember who to “pick up” with the light. With some do’s and dont’s when wilding a follow spot, including body positioning to ensure comfort through long shows.

 

Podcast Episode Summary

00:00 Intro

1:01 What is are the roles and responsibilities of a follow spot operator?

1:43 What are some basic do’s and dont’s when operating a follow spot?

4:06 Tell to me about the features on a follow spot?

6:35 Is there a way to know you have the shutters in the right spot if you use them in the middle of the show?

7:07 What do you use for a sights on your follow spot?

8:56 Do you have markers for the iris as a guide for a full or half body shot?

9:56 What do you look for when spotting a performer on stage to keep them in the light when you don’t know their physical movements?

Pre Production; 

11:50Once finding out you’ve working on a show, is there any other pre production work you do?

Bump In; 

12:37 What dose your first day off bump in look like?

14:02 Do you get any training before the first tech run of the show? When working with major musicals.

Tech Run;

16:33 Do you add your own notes to the follow spot cue sheet as well?

18:36 When the Touring Head Dome leaves do one of the locals take the role?

20:18 Is the Touring Head Follow spot caller calling the cues to you in this time?

21:18 Dose the follow spot caller give you feedback about what you’re doing?

22:09 Have you ever needed more rehearsals?

22:48 How is follow spot set up in the booth?

24:46 When do you make cheat sheets and what info do you put on them?

26:07 Can they change the cue sheet to they way you like it?

27:11 How do you like you cue sheet set out?

27:57 If your following a character and they stop during tech rehearsal do you stay on them?

29:06 How long dose it take you to memorise you cues?

30:25 What makes some show harder?

Dress Run; 

31:34 Whats happens in this time?

32:43 Are the small details constant with the performers?

Show Day; 

34:00 Talk me though a show day for a long running musical?

35:35 How early do you arrive to do the house light check?

36:19 How do you deal with an issue with a follow spot in the middle of a show?

38:04 Do you have your own comms loop?

39:11 How much detail dose the Stage Manager give you in standby and cue?

40:22 What are your post show duties?

41:03 Using a heavy follow spot is it physically demanding?

Bump Out; 

42:40 What do you do for bump out?

Post Production;

43:39 Any post production responsibilities?

44:02 Hours worked though out a show from bump in, rehearsals, show days, bump out?

45:34 Why do you think live theatre is important in people lives?

47:37 Any tips or tricks you would like to pass on?

49:13 Outro

We talk about the parts and equipment that make a follow spot function. This included shutters, gels and sights. Who calls follow spot cue&rsquo;s, information included in show notes and how they remember who to &ldquo;pick up&rdquo; with the light. With some do&rsquo;s and dont&rsquo;s when wilding a follow spot, including body positioning to ensure comfort through long shows.
&nbsp;
Podcast Episode Summary
00:00 Intro
1:01 What is are the roles and responsibilities of a follow spot operator?
1:43 What are some basic do&rsquo;s and dont&rsquo;s when operating a follow spot?
4:06 Tell to me about the features on a follow spot?
6:35 Is there a way to know you have the shutters in the right spot if you use them in the middle of the show?
7:07 What do you use for a sights on your follow spot?
8:56 Do you have markers for the iris as a guide for a full or half body shot?
9:56 What do you look for when spotting a performer on stage to keep them in the light when you don&rsquo;t know their physical movements?
Pre Production; 
11:50Once finding out you&rsquo;ve working on a show, is there any other pre production work you do?
Bump In; 
12:37 What dose your first day off bump in look like?
14:02 Do you get any training before the first tech run of the show? When working with major musicals.
Tech Run;
16:33 Do you add your own notes to the follow spot cue sheet as well?
18:36 When the Touring Head Dome leaves do one of the locals take the role?
20:18 Is the Touring Head Follow spot caller calling the cues to you in this time?
21:18 Dose the follow spot caller give you feedback about what you&rsquo;re doing?
22:09 Have you ever needed more rehearsals?
22:48 How is follow spot set up in the booth?
24:46 When do you make cheat sheets and what info do you put on them?
26:07 Can they change the cue sheet to they way you like it?
27:11 How do you like you cue sheet set out?
27:57 If your following a character and they stop during tech rehearsal do you stay on them?
29:06 How long dose it take you to memorise you cues?
30:25 What makes some show harder?
Dress Run; 
31:34 Whats happens in this time?
32:43 Are the small details constant with the performers?
Show Day; 
34:00 Talk me though a show day for a long running musical?
35:35 How early do you arrive to do the house light check?
36:19 How do you deal with an issue with a follow spot in the middle of a show?
38:04 Do you have your own comms loop?
39:11 How much detail dose the Stage Manager give you in standby and cue?
40:22 What are your post show duties?
41:03 Using a heavy follow spot is it physically demanding?
Bump Out; 
42:40 What do you do for bump out?
Post Production;
43:39 Any post production responsibilities?
44:02 Hours worked though out a show from bump in, rehearsals, show days, bump out?
45:34 Why do you think live theatre is important in people lives?
47:37 Any tips or tricks you would like to pass on?
49:13 Outro

S1 E13 Follow Spot Operator

Facilitating quick changes, cleaning, managing and setting costumes. With a threaded needle, safety pins and gaffe at the stand by for quick fixes in the dark. Following very detailed plots from pre show until after the final curtain, it is fast paced for a dresser in the theatre. Listen as we learn tips on how to lay out costumes to streamline quick changes, and costume hacks.

Podcast Episode Summary

00:00 Intro

1:04 What is a dresser, and your responsibilities?

2:35 What do you enjoy about being a Dresser?

3:44 What personal qualities make a good dresser?

7:54 What tools or equipment do you carry with you?

Pre Production; 

10:00 Do you get any information about the show other than you're working on it?

Bump In; 

12:39 What dose bump in in look like?

14:24 After unpacking the costumes from cases is there anything you do with them before the performer gets to wear them?

15:13 Dresser plots what are they and what information is on them?

Tech Run;

19:22 Are you working your way though the plots for the first time?

21:55 Is tech run the first time you meet the performers that you’re dressing?

23:30 Quickest quick change in time that have you been involved in?

26:00 Do you do any repairs to the costumes?

26:50 What’s your interaction with other departments in the theatre?

Dress Run; 

29:12 Are you still learning you plot in this time?

Show Day; 

31:28 How early do you get to the venue on a show day?

32:05 What’s involved in the pre show checks?

32:50 Do you steam costumes every show?

33:22 Just following your plot and hope it all goes smoothly during a show?

35:58 How do you deal with a problem in the middle of a quick change?

37:47 What ways have you found effective when arranging costumes in order to facilitate a quick-change?

40:48Do multiple dresses dress the same person and what are there roles?

41:36 What are your post show duties?

42:27 How long are you at the theatre after the show

Bump Out; 

43:51 How much do you help with bump out and packing costumes away?

Post Production;

45:28 Any thing in post production?

45:36 What has being a dresser taught you?

46:37 Any tips or tricks you would like to pass on?

48:46 Outro

Facilitating quick changes, cleaning, managing and setting costumes. With a threaded needle, safety pins and gaffe at the stand by for quick fixes in the dark. Following very detailed plots from pre show until after the final curtain, it is fast paced for a dresser in the theatre. Listen as we learn tips on how to lay out costumes to streamline quick changes, and costume hacks.
Podcast Episode Summary
00:00 Intro
1:04 What is a dresser, and your responsibilities?
2:35 What do you enjoy about being a Dresser?
3:44 What personal qualities make a good dresser?
7:54 What tools or equipment do you carry with you?
Pre Production; 
10:00 Do you get any information about the show other than you're working on it?
Bump In; 
12:39 What dose bump in in look like?
14:24 After unpacking the costumes from cases is there anything you do with them before the performer gets to wear them?
15:13 Dresser plots what are they and what information is on them?
Tech Run;
19:22 Are you working your way though the plots for the first time?
21:55 Is tech run the first time you meet the performers that you&rsquo;re dressing?
23:30 Quickest quick change in time that have you been involved in?
26:00 Do you do any repairs to the costumes?
26:50 What&rsquo;s your interaction with other departments in the theatre?
Dress Run; 
29:12 Are you still learning you plot in this time?
Show Day; 
31:28 How early do you get to the venue on a show day?
32:05 What&rsquo;s involved in the pre show checks?
32:50 Do you steam costumes every show?
33:22 Just following your plot and hope it all goes smoothly during a show?
35:58 How do you deal with a problem in the middle of a quick change?
37:47 What ways have you found effective when arranging costumes in order to facilitate a quick-change?
40:48Do multiple dresses dress the same person and what are there roles?
41:36 What are your post show duties?
42:27 How long are you at the theatre after the show
Bump Out; 
43:51 How much do you help with bump out and packing costumes away?
Post Production;
45:28 Any thing in post production?
45:36 What has being a dresser taught you?
46:37 Any tips or tricks you would like to pass on?
48:46 Outro

Facilitating quick changes, cleaning, managing and setting costumes. With a threaded needle, safety pins and gaffe at the stand by for quick fixes in the dark. Following very detailed plots from pre show until after the final curtain, it is fast paced for a dresser in the theatre. Listen as we learn tips on how to lay out costumes to streamline quick changes, and costume hacks.

S1 E12 Dresser

Keeping artists on stage happy can be very rewarding and some times challenging, find out what it take to be a Monitor Engineer. From one time shows to a multiple show run. Why line of sight is so important, and the different ways artist communicate changes while on stage. We talk about exercises to identify different frequencies and the best ways to protect your hearing.

 

Podcast Episode Summary

00:00 Intro

1:03 What do you find most enjoyable about live theatre?

1:58 Tell me about some of the roles and responsibilities of an audio monitor engineer?

3:11 What personal qualities do you think make a good monitor engineer?

4:35 What are your tops 3 must haves in your gig bag?

7:06 Any applications and software that you use?

8:14 Do you carry an iPad with you?

9:30 Where is your operate position?

Pre Production; 

10:19 What contact do you have with the client in pre production?

11:24 What paper work are you given to help you prepare for the act?

12:34   Is it good to have a broad knowledge of a range of different desks? and which ones do you like to work with?

15:44 How closely do the offline editors relate to the console version?

17:15 Whats your favourite desk to work on?

Bump In; 

18:10 What dose your first day off bump in look like?

19:29 Do you sort out IEM and radios as well when prepping side stage?

20:26 How do you set up your monitor area?

21:52 Any setting with in the desk that you always do?

23:42 Keeping it simple, the signal flow from stage input to desk, and back out to their wedge?

25:54 What process do you work though to tune the wedges?

27:28 Can you use Smaart as a monitor engineer?

30:00 Do you carry a basic show file for all desks?

31:03 What do you have in your standard show file?

33:16 What are your thoughts on external plugins?

34:20 How do you communicate with the performer to make sure they get the mix that they want?

36:18 How do artist communicate during a show to get a change to their wedge?

Tech Run;

37:35 Whats your involvement in tech run?

38:33 What do snapshots record?

Dress Run; 

40:22 Are you monitoring on the desk while they are doing their dress show, maintaining the mix for the performer on stage?

Show Day; 

40:58 When do you arrive at the venue and what checks are done?

42:20 How do you deal with a problem during a show?

44:21 If there’s a turn around from one act to another what is your role in this time?

45:34 Line check, checking it's appearing where its meant to on both desks?

46:12 What pack up and post show duties do you have after each show?

Bump Out; 

47:00 What do you do? How long are you there for?

Post Production;

47:55 What are your responsibilities?

48:45 If you could change one thing about the theatre industry, what would it be?

50:27 Largest number of mixes managed for one show?

51:43 It can get loud on stage how do you look after you hearing?

54:07 Any tips or tricks you would like to pass on?

57:41 Outro

Keeping artists on stage happy can be very rewarding and some times challenging, find out what it take to be a Monitor Engineer. From one time shows to a multiple show run. Why line of sight is so important, and the different ways artist communicate changes while on stage. We talk about exercises to identify different frequencies and the best ways to protect your hearing.
&nbsp;
Podcast Episode Summary
00:00 Intro
1:03 What do you find most enjoyable about live theatre?
1:58 Tell me about some of the roles and responsibilities of an audio monitor engineer?
3:11 What personal qualities do you think make a good monitor engineer?
4:35 What are your tops 3 must haves in your gig bag?
7:06 Any applications and software that you use?
8:14 Do you carry an iPad with you?
9:30 Where is your operate position?
Pre Production; 
10:19 What contact do you have with the client in pre production?
11:24 What paper work are you given to help you prepare for the act?
12:34 &nbsp; Is it good to have a broad knowledge of a range of different desks? and which ones do you like to work with?
15:44 How closely do the offline editors relate to the console version?
17:15 Whats your favourite desk to work on?
Bump In; 
18:10 What dose your first day off bump in look like?
19:29 Do you sort out IEM and radios as well when prepping side stage?
20:26 How do you set up your monitor area?
21:52 Any setting with in the desk that you always do?
23:42 Keeping it simple, the signal flow from stage input to desk, and back out to their wedge?
25:54 What process do you work though to tune the wedges?
27:28 Can you use Smaart as a monitor engineer?
30:00 Do you carry a basic show file for all desks?
31:03 What do you have in your standard show file?
33:16 What are your thoughts on external plugins?
34:20 How do you communicate with the performer to make sure they get the mix that they want?
36:18 How do artist communicate during a show to get a change to their wedge?
Tech Run;
37:35 Whats your involvement in tech run?
38:33 What do snapshots record?
Dress Run; 
40:22 Are you monitoring on the desk while they are doing their dress show, maintaining the mix for the performer on stage?
Show Day; 
40:58 When do you arrive at the venue and what checks are done?
42:20 How do you deal with a problem during a show?
44:21 If there&rsquo;s a turn around from one act to another what is your role in this time?
45:34 Line check, checking it's appearing where its meant to on both desks?
46:12 What pack up and post show duties do you have after each show?
Bump Out; 
47:00 What do you do? How long are you there for?
Post Production;
47:55 What are your responsibilities?
48:45 If you could change one thing about the theatre industry, what would it be?
50:27 Largest number of mixes managed for one show?
51:43 It can get loud on stage how do you look after you hearing?
54:07 Any tips or tricks you would like to pass on?
57:41 Outro

Keeping artists on stage happy can be very rewarding and some times challenging, find out what it take to be a Monitor Engineer. From one time shows to a multiple show run. Why line of sight is so important, and the different ways artist communicate changes while on stage. We talk about exercises to identify different frequencies and the best ways to protect your hearing.

S1 E11 Monitor Engineer

Adapting the lighting design to fit into many different venues. Creating the same effect and look as if it was opening night. The re lighter has a big responsibility from pre production with questions and paper work, to making it work in the venue. With maybe not all the desired fixtures they were after. Hear how communication is a key in this role.

 

Podcast Episode Summary

00:00 Intro

1:08 What are your responsibilities as a re lighter?

2:11 What are your 3 top items in your pelican you carry with you?

3:47 How have you found working in theatres in different countries have you come across any different terminology?

4:57 Any applications or software that you use regularly?

7:19 As a re lighter how well do you need to know the show and the lighting design?

Pre Production; 

9:25 What are you doing in pre production?

11:58 What plans and documentation go back and forth between the company and the venue?

15:57 What are some of the common issues you come across?

18:51 Do you use a standard show file?

Bump In; 

22:41 For a touring show generally you only have a limited time for bump in how do you manage the time to make sure everything is achieved?

23:39 Do you need good communication to ensure all tasks are achieved with the local crew?

24:27 What dose your first day off bump in look like?

29:56 Talking about updating pre sets

Tech Run and Dress Run; 

30:45 Talking about tech and dress runs

32:14 Are you carrying a focus plot so you know where each fixture needs to be focused?

33:43 Do you communicate with the actors about the changes you are making?

35:25 What are you updating during tech?

Show Day; 

36:26 What do you do on a show day? When do you arrive?

37:11 Whats involved in a lighting rig check

39:06 What is a dimmer pre warm?

40:24 How do you deal with a technical issue during the show?

44:56 Post show duties

Bump Out; 

47:04 What do you do? How long are you there for?

Post Production;

47:59 What are your responsibilities?

50:41 Name a time when your creativity or alternative thinking solved a problem in the venue?

53:23 Any tips or tricks you would like to pass on?

56:22 Outro

Adapting the lighting design to fit into many different venues. Creating the same effect and look as if it was opening night. The re lighter has a big responsibility from pre production with questions and paper work, to making it work in the venue. With maybe not all the desired fixtures they were after. Hear how communication is a key in this role.
&nbsp;
Podcast Episode Summary
00:00 Intro
1:08 What are your responsibilities as a re lighter?
2:11 What are your 3 top items in your pelican you carry with you?
3:47 How have you found working in theatres in different countries have you come across any different terminology?
4:57 Any applications or software that you use regularly?
7:19 As a re lighter how well do you need to know the show and the lighting design?
Pre Production; 
9:25 What are you doing in pre production?
11:58 What plans and documentation go back and forth between the company and the venue?
15:57 What are some of the common issues you come across?
18:51 Do you use a standard show file?
Bump In; 
22:41 For a touring show generally you only have a limited time for bump in how do you manage the time to make sure everything is achieved?
23:39 Do you need good communication to ensure all tasks are achieved with the local crew?
24:27 What dose your first day off bump in look like?
29:56 Talking about updating pre sets
Tech Run and Dress Run; 
30:45 Talking about tech and dress runs
32:14 Are you carrying a focus plot so you know where each fixture needs to be focused?
33:43 Do you communicate with the actors about the changes you are making?
35:25 What are you updating during tech?
Show Day; 
36:26 What do you do on a show day? When do you arrive?
37:11 Whats involved in a lighting rig check
39:06 What is a dimmer pre warm?
40:24 How do you deal with a technical issue during the show?
44:56 Post show duties
Bump Out; 
47:04 What do you do? How long are you there for?
Post Production;
47:59 What are your responsibilities?
50:41 Name a time when your creativity or alternative thinking solved a problem in the venue?
53:23 Any tips or tricks you would like to pass on?
56:22 Outro

Adapting the lighting design to fit into many different venues. Creating the same effect and look as if it was opening night. The re lighter has a big responsibility from pre production with questions and paper work, to making it work in the venue. With maybe not all the desired fixtures they were after. Hear how communication is a key in this role.

S1 E10 Re Lighter

From concept to reality, from notebook sketches to vector works drawing. A set designer creates the look for the set after consultation with the director and script. Making scaled set models using corflute and balsa wood to see how the design will work in the performance space. The set designer looks after the design seen on stage.

https://www.megwilsonartist.com/

Check out the facebook page for more show notes and links. https://www.facebook.com/UnseenTheatrics/

 

Podcast Episode Summary

00:00 Intro

00:58 What do you find most enjoyable about live theatre?

2:04 What is your job description as a Set Designer?

2:22 What skills are required to be a Set Designer?

2:56 Dose the design need to be practical?

3:40 What software or apps do you use?

5:34 Share with us an overview of the design process you go though?

Pre Production; 

7:32 Once you are contacted for a project what are your first conversations?

9:16 Is it a lot a networking to get work?

10:34 What things are you looking for in the script?

12:15 Who are you communicating with though the design process?

13:18 What the usual time frame you have to work with in. From saying yes to the job, until bumping into the theatre?

15:15 Is there any time lines between first conversations and set being built that you have so you know you’ll be complete in time?

16:53 Do you have much to do with the set construction team?

18:35 Do you have a swab book of paints and texture to help you decide your finishes on your set?

19:44 How do you prioritise what you spend your budget on in your set design?

20:57 Are you involved in the prop process at all?

21:48 How does the performance space influence your design?

23:12 What scale do you work to when making models, and what materials do you use?

25:05 Do you ever have a creative block when ideas don’t flow? How do you get past this?

27:02 When you encounter these problems to do talk with other people with in the team or keep to your self?

28:33 What’s your involvement in the rehearsal room?

Bump In; 

29:36 Are you in the theatre for bump in?

31:04 Is there any safety issues do you need to consider when designing a set?

32:16 How close do you work with the technical staff at the venue?

Tech, Dress Run; 

32:59 Are you around the venue for technical and dress runs of the performance?

Bump Out; 

33:46 Do you come back for bump out?

Post Production 

34:12 What are your post production responsibilities?

34:55 How do you keep track of the different versions of the set design?

35:31 What do you find most rewarding about a being a set designer?

36:19 Have you had any weird design briefs that you have had to work from?

37:20 Any tips or tricks you would like to pass on?

38:11 Are the working hours for a set designer long?

39:14 Outro

 

From concept to reality, from notebook sketches to vector works drawing. A set designer creates the look for the set after consultation with the director and script. Making scaled set models using corflute and balsa wood to see how the design will work in the performance space. The set designer looks after the design seen on stage.
<a href="https://www.megwilsonartist.com/">https://www.megwilsonartist.com/</a>
Check out the facebook page for more show notes and links. <a href="https://www.facebook.com/UnseenTheatrics/">https://www.facebook.com/UnseenTheatrics/</a>
&nbsp;
Podcast Episode Summary
00:00 Intro
00:58 What do you find most enjoyable about live theatre?
2:04 What is your job description as a Set Designer?
2:22 What skills are required to be a Set Designer?
2:56 Dose the design need to be practical?
3:40 What software or apps do you use?
5:34 Share with us an overview of the design process you go though?
Pre Production; 
7:32 Once you are contacted for a project what are your first conversations?
9:16 Is it a lot a networking to get work?
10:34 What things are you looking for in the script?
12:15 Who are you communicating with though the design process?
13:18 What the usual time frame you have to work with in. From saying yes to the job, until bumping into the theatre?
15:15 Is there any time lines between first conversations and set being built that you have so you know you&rsquo;ll be complete in time?
16:53 Do you have much to do with the set construction team?
18:35 Do you have a swab book of paints and texture to help you decide your finishes on your set?
19:44 How do you prioritise what you spend your budget on in your set design?
20:57 Are you involved in the prop process at all?
21:48 How does the performance space influence your design?
23:12 What scale do you work to when making models, and what materials do you use?
25:05 Do you ever have a creative block when ideas don&rsquo;t flow? How do you get past this?
27:02 When you encounter these problems to do talk with other people with in the team or keep to your self?
28:33 What&rsquo;s your involvement in the rehearsal room?
Bump In; 
29:36 Are you in the theatre for bump in?
31:04 Is there any safety issues do you need to consider when designing a set?
32:16 How close do you work with the technical staff at the venue?
Tech, Dress Run; 
32:59 Are you around the venue for technical and dress runs of the performance?
Bump Out; 
33:46 Do you come back for bump out?
Post Production 
34:12 What are your post production responsibilities?
34:55 How do you keep track of the different versions of the set design?
35:31 What do you find most rewarding about a being a set designer?
36:19 Have you had any weird design briefs that you have had to work from?
37:20 Any tips or tricks you would like to pass on?
38:11 Are the working hours for a set designer long?
39:14 Outro
&nbsp;

From concept to reality, from notebook sketches to vector works drawing. A set designer creates the look for the set after consultation with the director and script. Making scaled set models using corflute and balsa wood to see how the design will work in the performance space. The set designer looks after the design seen on stage.

S1 E9 Set Designer

Being the go to person for an incoming show, providing details about the venue to the client, liaising their production needs and gathering information for the different departments in the venue, and doing all the odd jobs. The Production Coordinator has their hands full from the time the show lands on their desk, to the curtain raising.

 

Check out the facebook page for more show notes and links. https://www.facebook.com/UnseenTheatrics/

 

Podcast Episode Summary

00:00 Intro

1:02 An overview of what a Production Coordinator dose?

2:16 What skills are necessary for a person in your job?

3:47 What departments do you work with, with in the venue?

5:06 What do you find most enjoyable about your job?

Pre Production; 

7:02  When you get a show what are the first questions you ask the company?

15:08 Do you pass on information to the other departments with in the venue?

16:46 What Paper work goes back and forth and do you have a check list to make sure you have covered it all?

19:27 Do you work with the incoming company and departments on scheduling?

Bump In; 

23:55 What do you do on the clients first day of bump in?

26:46 Do you do inductions to the venue?

31:06 Is there lots of problem solving during bump in?

Performance Run;

34:12 What are you role and responsibilities after the show opens?

36:43 Do you receive show reports to keep informed of whats going on?

Bump Out; 

38:46 Whats your involvement in bump out?

39:48 Do you deal with freight for companies?

Post Production; 

40:57 Are you wrapping up paper work and settlement in post production?

42:45  How do you find it being a woman in the entertainment industry?

47:19 Any tips or tricks you would like to pass on?

50:31 Outro

Being the go to person for an incoming show, providing details about the venue to the client, liaising their production needs and gathering information for the different departments in the venue, and doing all the odd jobs. The Production Coordinator has their hands full from the time the show lands on their desk, to the curtain raising.
&nbsp;
Check out the facebook page for more show notes and links. <a href="https://www.facebook.com/UnseenTheatrics/">https://www.facebook.com/UnseenTheatrics/</a>
&nbsp;
Podcast Episode Summary
00:00 Intro
1:02 An overview of what a Production Coordinator dose?
2:16 What skills are necessary for a person in your job?
3:47 What departments do you work with, with in the venue?
5:06 What do you find most enjoyable about your job?
Pre Production; 
7:02&nbsp; When you get a show what are the first questions you ask the company?
15:08 Do you pass on information to the other departments with in the venue?
16:46 What Paper work goes back and forth and do you have a check list to make sure you have covered it all?
19:27 Do you work with the incoming company and departments on scheduling?
Bump In; 
23:55 What do you do on the clients first day of bump in?
26:46 Do you do inductions to the venue?
31:06 Is there lots of problem solving during bump in?
Performance Run;
34:12 What are you role and responsibilities after the show opens?
36:43 Do you receive show reports to keep informed of whats going on?
Bump Out; 
38:46 Whats your involvement in bump out?
39:48 Do you deal with freight for companies?
Post Production; 
40:57 Are you wrapping up paper work and settlement in post production?
42:45&nbsp; How do you find it being a woman in the entertainment industry?
47:19 Any tips or tricks you would like to pass on?
50:31 Outro

Being the go to person for an incoming show, providing details about the venue to the client, liaising their production needs and gathering information for the different departments in the venue, and doing all the odd jobs. The Production Coordinator has their hands full from the time the show lands on their desk, to the curtain raising.  Check out the facebook page for more show notes and links. https://www.facebook.com/UnseenTheatrics/

S1 E8 Production Coordinator

Recording, creating and compiling the sounds for different types of theatre work. Providing the audio file for easy playback in the venue. In this episode I chat to a composer, about the early communications to the final adjustments in the theatre. We talk about the software used and his “Swish army knife” of plug ins.

To hear examples of his work, please visit www.svb-audio.com

For more show notes and links check out

https://www.facebook.com/UnseenTheatrics/

Podcast Episode Summary

00:00 Intro

0:59 As a composer what are you responsible for?

1:57 What do you consider the hardest part of composing music?

3:17 Where do you get your inspiration from to compose pieces of music?

4:34 What software and technology do you use in your set up?

7:53 Do you have microphone for recording effects if needed?

10:31 How do you get the work?

11:31 Who is your biggest market for composing?

12:18 In theatre do you make more sound scapes or sound effects?

13:42 Do you create your own sounds or source them?

14:57 What are the early conversations about with the creatives?

17:29 What are some of the weird way clients have tried to describe a sound they wanted?

Pre Production; 

18:52 How much time do you spend in the rehearsal room?

19:47From the first meeting how quickly do you try and get some content to them?

21:17 What is the expected turn around time for changes?

23:05 Is the full track set before getting to the theatre?

23:40 What software do you use to record and edit your tracks in?

24:58 How do you keep track of the latest version between the three programs?

26:16 What are the different plug ins you use?

28:51 What are your three most valued plug ins?

Bump In; 

32:33 What dose bump in look like for you?

35:10 What are you listening for when you first play you track in the venue?

39:46 After hearing the venues audio system are you changing your mix in protools or changing it in the playback software?

40:57   Do you have discussions with creatives about the level of the audio?

42:29 Who else do you get feedback from in the venue?

Tech Run;

43:23 Are you still making changes in technical and dress runs?

44:48 How do you know how much music to make so they don’t run out?

45:24 How do you make the tracks flow if they don’t change at the same point each night?

Show Day; 

47:44 Are you finished by show day?

48:08 Is the track left after opening night performance?

Post Production;

48:47 What are your post production responsibilities?

49:41 What format do you give the track/s to the client?

50:37 Any tips or tricks you would like to pass on?

53:11 Final words

54:04 Outro

 

Recording, creating and compiling the sounds for different types of theatre work. Providing the audio file for easy playback in the venue. In this episode I chat to a composer, about the early communications to the final adjustments in the theatre. We talk about the software used and his &ldquo;Swish army knife&rdquo; of plug ins.
To hear examples of his work, please visit <a href="http://www.svb-audio.com">www.svb-audio.com</a>
For more show notes and links check out
<a href="https://www.facebook.com/UnseenTheatrics/">https://www.facebook.com/UnseenTheatrics/</a>
Podcast Episode Summary
00:00 Intro
0:59 As a composer what are you responsible for?
1:57 What do you consider the hardest part of composing music?
3:17 Where do you get your inspiration from to compose pieces of music?
4:34 What software and technology do you use in your set up?
7:53 Do you have microphone for recording effects if needed?
10:31 How do you get the work?
11:31 Who is your biggest market for composing?
12:18 In theatre do you make more sound scapes or sound effects?
13:42 Do you create your own sounds or source them?
14:57 What are the early conversations about with the creatives?
17:29 What are some of the weird way clients have tried to describe a sound they wanted?
Pre Production; 
18:52 How much time do you spend in the rehearsal room?
19:47From the first meeting how quickly do you try and get some content to them?
21:17 What is the expected turn around time for changes?
23:05 Is the full track set before getting to the theatre?
23:40 What software do you use to record and edit your tracks in?
24:58 How do you keep track of the latest version between the three programs?
26:16 What are the different plug ins you use?
28:51 What are your three most valued plug ins?
Bump In; 
32:33 What dose bump in look like for you?
35:10 What are you listening for when you first play you track in the venue?
39:46 After hearing the venues audio system are you changing your mix in protools or changing it in the playback software?
40:57 &nbsp; Do you have discussions with creatives about the level of the audio?
42:29 Who else do you get feedback from in the venue?
Tech Run;
43:23 Are you still making changes in technical and dress runs?
44:48 How do you know how much music to make so they don&rsquo;t run out?
45:24 How do you make the tracks flow if they don&rsquo;t change at the same point each night?
Show Day; 
47:44 Are you finished by show day?
48:08 Is the track left after opening night performance?
Post Production;
48:47 What are your post production responsibilities?
49:41 What format do you give the track/s to the client?
50:37 Any tips or tricks you would like to pass on?
53:11 Final words
54:04 Outro
&nbsp;

Recording, creating and compiling the sounds for different types of theatre work. Providing the audio file for easy playback in the venue. In this episode I chat to a composer, about the early communications to the final adjustments in the theatre. We talk about the software used and his “Swish arm knife” of plug ins.  To hear examples of his work, please visit www.svb-audio.com

S1 E7 Composer

Managing various input sources, video content from multiple cameras and keeping clear communication with operators. In this episode we chat with an experienced Vision Switcher who shares stories, gives real examples of technical issues during shows, software and the best tools to get the job done.

 

Podcast Episode Summary

00:00 Intro

1:01 Describe your job?

1:36 What are your top 3 things for your gig bag?

3:54 What software and programmes do you use?

Pre Production; 

9:12 What kind of information do you receive about the show, before getting to the theatre?

10:27 Are you involved in putting the system together for the show?

12:22 Are you there for prepping for the show in the warehouse?

Bump In; 

13:20 What dose your first day off bump in look like?

14:50  How do you layout the operate desk?

17:32 Explain some terms that you come across on a regular bases with a vision mixer?

20:21 What are the different transitions on a vision mixer?

21:54 What is down stream key and how is it used?

23:36 How do you deal with different resolutions?

Tech Run;

26:44  When working with cameras, what factors influence the shot you take?

28:42 Dose your notes end up forming your cue sheet?

30:56 How are the different loops of comms split up?

32:12 How do you call a camera show and what communication is there over comms?

Dress Run;

35:31 What changes during dress run?

Show Day; 

36:49 How long before the show do you arrive at the venue and what pre show checks do you complete?

39:07 When do you get to the operate position for the performance?

40:05 How do you start a show?

42:27 How do you deal with any technical issues during a show?

45:34 What are your post show duties?

Bump Out; 

47:41 What do you do at bump out?

Post Production; 

49:33 What are your post production duties?

50:05 Any tips or tricks you would like to pass on?

51:53 Outro

Managing various input sources, video content from multiple cameras and keeping clear communication with operators. In this episode we chat with an experienced Vision Switcher who shares stories, gives real examples of technical issues during shows, software and the best tools to get the job done.
&nbsp;
Podcast Episode Summary
00:00 Intro
1:01 Describe your job?
1:36 What are your top 3 things for your gig bag?
3:54 What software and programmes do you use?
Pre Production; 
9:12 What kind of information do you receive about the show, before getting to the theatre?
10:27 Are you involved in putting the system together for the show?
12:22 Are you there for prepping for the show in the warehouse?
Bump In; 
13:20 What dose your first day off bump in look like?
14:50&nbsp; How do you layout the operate desk?
17:32 Explain some terms that you come across on a regular bases with a vision mixer?
20:21 What are the different transitions on a vision mixer?
21:54 What is down stream key and how is it used?
23:36 How do you deal with different resolutions?
Tech Run;
26:44&nbsp; When working with cameras, what factors influence the shot you take?
28:42 Dose your notes end up forming your cue sheet?
30:56 How are the different loops of comms split up?
32:12 How do you call a camera show and what communication is there over comms?
Dress Run;
35:31 What changes during dress run?
Show Day; 
36:49 How long before the show do you arrive at the venue and what pre show checks do you complete?
39:07 When do you get to the operate position for the performance?
40:05 How do you start a show?
42:27 How do you deal with any technical issues during a show?
45:34 What are your post show duties?
Bump Out; 
47:41 What do you do at bump out?
Post Production; 
49:33 What are your post production duties?
50:05 Any tips or tricks you would like to pass on?
51:53 Outro

Managing various input sources, video content from multiple cameras and keeping clear communication with operators. In this episode we chat with an experienced Vision Switcher who shares stories, gives real examples of technical issues during shows, software and the best tools to get the job done.

S1 E6 Vision Switcher

Responsible for the paper work, crew and all audio for the performance.  In this episode we talk to a Front of House Audio Engineer. Advice about implementing backup plans in case of equipment failures, we chat about radio mics and what to check before each performance, and there’s chat about different desks.

 

Podcast Episode Summary

00:00 Intro

1:07 Tell me about some of the role and responsibilities of a FOH audio engineer

3:16 What do you like about being a FOH audio engineer

4:45 What are your must haves in your gig bag?

9:12 Any applications and software that you use?

Pre Production; 

11:18 What contact do you have with the client in pre production?

13:50What paper work do you produce for the show?

15:10 Any thing else that I may have skipped over?

15:53 Do you have a standard show file that you work from with your audio desk?

16:59 What brands of desk do prefer to mix on?

Bump In; 

18:11 What dose bump in look like for you?

19:53 What process do you go though to do a line check?

24:23 How is your desk set up?

Tech Run;

28:33 What are you doing during a tech run?

29:20 Digital or written notes?

30:00 Do you get any feedback about the mix or the sound?

31:28 How closely do you work with the artist or musicians on stage?

Dress Run; 

32:04 What changes are made during dress run?

32:42 What checks and changes do you need to do if a swing is in a show?

Show Day; 

35:13When do you arrive at the venue and what checks are done?

41:02 When do you take your headset off?

42:32 How do you deal with a problem during a show?

47:22 Final thoughts on duties during the show .

48:15 What pack up and post show duties do you have?

49:11 Do you re save the show file each day?

Bump Out; 

49:59 What do you do at bump out?

Post Production; 

52:11 What are your responsibilities?

52:34 Any tips or tricks you would like to pass on?

54:31 Outro

Responsible for the paper work, crew and all audio for the performance.&nbsp; In this episode we talk to a Front of House Audio Engineer. Advice about implementing backup plans in case of equipment failures, we chat about radio mics and what to check before each performance, and there&rsquo;s chat about different desks.
&nbsp;
Podcast Episode Summary
00:00 Intro
1:07 Tell me about some of the role and responsibilities of a FOH audio engineer
3:16 What do you like about being a FOH audio engineer
4:45 What are your must haves in your gig bag?
9:12 Any applications and software that you use?
Pre Production; 
11:18 What contact do you have with the client in pre production?
13:50What paper work do you produce for the show?
15:10 Any thing else that I may have skipped over?
15:53 Do you have a standard show file that you work from with your audio desk?
16:59 What brands of desk do prefer to mix on?
Bump In; 
18:11 What dose bump in look like for you?
19:53 What process do you go though to do a line check?
24:23 How is your desk set up?
Tech Run;
28:33 What are you doing during a tech run?
29:20 Digital or written notes?
30:00 Do you get any feedback about the mix or the sound?
31:28 How closely do you work with the artist or musicians on stage?
Dress Run; 
32:04 What changes are made during dress run?
32:42 What checks and changes do you need to do if a swing is in a show?
Show Day; 
35:13When do you arrive at the venue and what checks are done?
41:02 When do you take your headset off?
42:32 How do you deal with a problem during a show?
47:22 Final thoughts on duties during the show .
48:15 What pack up and post show duties do you have?
49:11 Do you re save the show file each day?
Bump Out; 
49:59 What do you do at bump out?
Post Production; 
52:11 What are your responsibilities?
52:34 Any tips or tricks you would like to pass on?
54:31 Outro

Responsible for the paper work, crew and all audio for the performance.  In this episode we talk to a Front of House Audio Engineer. Advice about implementing backup plans in case of equipment failures, we chat about radio mics and what to check before each performance, and there’s chat about different desks.

S1 E5 Front of House Audio Engineer

Have you ever been to a theatre show, and wondered "how do they do that?!" Well this podcast aims to educate you in the different jobs that help made a live production sparkle!

This is Unseen Theatrics, and is all about Sharing Education of live theatre. 
A behind the scenes look into the different roles of a variety of jobs in theatre, chatting with industry professionals, who share their tips and tricks, fun stories, experiences, and what they have learnt along the way. 

This is Unseen Theatrics, Sharing education of live theatre.

Have you ever been to a theatre show, and wondered "how do they do that?!" Well this podcast aims to educate you in the different jobs that help made a live production sparkle!
This is Unseen Theatrics, and is all about Sharing Education of live theatre. A behind the scenes look into the different roles of a variety of jobs in theatre, chatting with industry professionals, who share their tips and tricks, fun stories, experiences, and what they have learnt along the way.&nbsp;
This is Unseen Theatrics, Sharing education of live theatre.

Unseen Theatrics Podcast

Have you ever been to a theatre show, and wondered "how do they do that?!" Well this podcast aims to educate you in the different jobs that help made a live production sparkle!

This is Unseen Theatrics, and is all about Sharing Education of live theatre. 
A behind the scenes look into the different roles of a variety of jobs in theatre, chatting with industry professionals, who share their tips and tricks, fun stories, experiences, and what they have learnt along the way. 

For more show notes and information check out

https://www.facebook.com/UnseenTheatrics/

This is Unseen Theatrics, Sharing education of live theatre.

Have you ever been to a theatre show, and wondered "how do they do that?!" Well this podcast aims to educate you in the different jobs that help made a live production sparkle!
This is Unseen Theatrics, and is all about Sharing Education of live theatre. A behind the scenes look into the different roles of a variety of jobs in theatre, chatting with industry professionals, who share their tips and tricks, fun stories, experiences, and what they have learnt along the way.&nbsp;
For more show notes and information check out
<a href="https://www.facebook.com/UnseenTheatrics/">https://www.facebook.com/UnseenTheatrics/</a>
This is Unseen Theatrics, Sharing education of live theatre.

Unseen Theatrics

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