u/KlassCorn91

So I’ve been watching Marvelous Mrs. Maisel, and enjoying it, but one thing that bothers me is whenever they are on stage, the lights are a little overboard, and that’s okay, I mean we’ve all seen movies where the spontaneous performance at the school talent show is time-coded with a rig that rivals a headliner at Coachella, but what bothers me is that the show is supposed to take place in 1960, and they always have these very bright lights with super saturated colors that I know could only be achieved with LEDs unless they had about 500 conventionals, and several specials that are obviously moving heads.

Hey, I’m thinking of buying two cases for my iPad. Reason being is my job is kind of a combination of office days and field days. On office days. I’m actually fairly mobile and going to multiple places on campus, I often find myself stopping and working for a bit in a lobby or break room for a while and away from my desk. But then I have field days where I’d also need the iPad, and these involve being on worksites and often at great heights.

For these two cases I feel like I’d want a type case for office days but then a rugged shell for days that I’m on the worksite. How practical is this? Is it damaging to be constantly switching cases for my iPad?

So I am doing the Ken Billington training. For those who don’t know, Ken Billington uses two programmers, one for moving lights, one for conventionals. In the training you take on the role of both.
Something I noticed is that the moving lights need to be marked, and the programmer the first couple of times will quickly chime in as Ken is calling, explaining which light he is marking and back to which cue, and he’s using automark behavior, ie marking the light back to the last cue where it went to intensity zero. He seems to instantly know where his lights need to be marked. As you get deeper into the programming session, Ken and the programmer stops calling them as obviously they are rushing to get things done. But obviously he is still ensuring changes in NIPs are marked .So perhaps the moving lights operator is just keeping track of which cue each light needs to be marked, or is there a way he is automating this function with a macro so they can quickly place the mark.
I’ve thought perhaps just place a mark flag on every cue that I take a moving light out, but as they may come in the middle of a bunch of conventional light commands, and I’m doing both, I may not always remember I took out a moving light.
So im wondering what is the best way to automate this process, and either whenever I turn on a moving light, I can easily mark it back to the earliest possible cue, or ensure that every time I take a moving light out, i can be sure a mark flag will be placed when I hit record.

She’s an instructor at a technical college and was recently made head of the program. Today’s her first graduation as faculty and some of her students are graduating and one is even giving a speech. and I wondered if it’d be appropriate to show up with flowers for her, or if that would be a bit underneath the pomp of her position.

Hey I am a longtime lighting designer. My one thing I love, but I don’t do as much as I should is unsaturated/white light. I feel like it’s because when push comes to shove I can just hit a subject with a supersaturated gel/LED and instant emotion. But I really want to do a design that’s “classic” using all near white lights and communicating just as effectively. Does anyone have any suggestions of resources or designs/designers to check out for inspiration of how to communicate emotion without being obvious, or just how to learn to effectively use unsaturated colors.

Okay so I’m doing a dance show. So I created two inhibitive subs, one for my front lights and one for my onstage lights. However i may need to go to a blue out. However my blues are used in cues so I can’t just exclude those channels from the sub. Can I exclude another sub from my inhibitive, or set those channels to not go down past a certain level?

I went to a BFA program, I did an internship/residency and came out on the other side and ended up in tech position. Recently I was seated with an upcoming college grad and they were so excited about their future and told me how they wanted to direct regional theatre, but having been in that place and know countless of my colleagues who didn’t end up there, I wasn’t sure what to say to them. So I encouraged them, knowing full well it’s not a likely career path. I’d love to meet someone who proved me different, but I feel we all know this isn’t actually how it plays out. What do you say?

So I do have LED fixtures, but I also have two systems of a top wash and two traditional hi side colors from each side, in addition to LED hi sides that meet on center. I need to pick a warm amber for my conventional top lights and I’ve never done ballet before, but I really wanna do a good job despite not knowing at all what I’m lighting until day of.

For my booms, I have an LED shin, an LED par for shoulder, and a conventional for head high, I’d probably put in a pink like R33 or R34

So R05 is usually my go to for a neutral light. An in FOH will be 05, so for my neutral top light I’m debating doing R04 (for me an under utilized color that I love as a sidelight) R09 (just pops so well with its gold accents) and R321 (definitely the most saturated, but not easily recreated with LEDs)

So I ask what would you choose to be the most ultilatrian. Give that R321 to be flash, the 09, not quite as flashy but still will push the point, or the 04, which is the most versatile.

Hey does anyone have a window screen mesh simulated in augmented, can I ask you how you made it or even if you’d be willing to share the file with me?

Sorry for posting this without really looking at the functionality at all first, but we have a dance show coming up. They gave me the tracks, and a list of cues they want that reference times in the songs. I built a Qlab file with their tracks, but I don’t have a midi input cable, but I can know when play gets hit on each track, so I’m wondering if I can hit first cue simultaneously as a track starts and start an internal timer to time code each piece out based on the cue sheet they already gave me.