The Design Process

Read the script, noting relevant stage directions and your thoughts (if a musical, listen to the score). After getting copies of the Set Design (plan and elevation) meet with the Director and discuss the requirements and your ideas.

* Watch rehearsals noting acting areas and specials needed.
* Check Set and Costume colours and decide on your colour palette. · Rough out the plan. Check costings for Hire Equipment and Consumables (gel, tape, gobos etc).
* Draw up the plan and associated paperwork: · Instrument schedule (bar plots)
* Instrument lists.
* Colour cut lists.
* Dimmer hook-up schedule.
* Channel assignments (soft patch sheets)
* Focus notes.
* Cheat sheet.

If you are also the Head Electrician, then before Packin:

* Calculate Dimmer loadings and main power feed requirements. · Calculate cable runs and cable requirements.
* Check hanging positions, pipes, clamps etc with Head Mechanist.
* Order Hire Equipment, gel etc.
* Pre-cut and frame up gel.
* Check iris', gobo holders etc.

Packin

Allow 15 minutes per luminaire for rigging, colouring, patching and focusing. e.g. 100 x luminaires x 15min each = 25 man-hours. So, a 100 luminaire rig would take 4 people 8 hours to set up (excluding rigging hanging positions and flying the rig). It is usual to start rigging Onstage so as to clear the stage as quickly as possible to allow the Mechanists to start on the Set.

A suggested order for rigging

* Place luminaires on the bar, all hookclamps on one side of the bar.
* Check spacing with the plan, use a tape measure and scale rule if necessary.
* Point the luminaire in its intended direction. This will show up any potential spacing problems.
* Spot the luminaire down. This helps when flashing through the rig and when focusing.
* Tighten the hookclamp, secure safety chain.
* Make sure luminaire has its accessories: gel, iris, barndoor, gobo etc and that the shutters are out and the Barndoors are open.
* Cable the bar ensuring there is enough cable on each fitting for focusing.
* Tape the cables on to the bar. Do not coil the cable on the bar.
* Plug each cable into a live socket to check the lamps and cables are OK and that any pairing of the bar is correct.
* Ensure the Instrument Schedules are written up.
* Fly the bar, after attaching a tape measure (if necessary) to set the Trim (dead).
* Fly out the Loom.
* Patch up the Loom to the House Waylines or straight into the dimmers, noting numbers on the Instrument Schedule.

From the Instrument Schedule the Head Electrician or Board Operator will produce the Dimmer hook-up schedule and the Chaanel Assignment sheets so the Softpatch can be put into the desk.

Flash through the rig on the Desk to confirm the Softpatch is right and that each channel has the correct lights and gel etc on it.

Focusing is best done when the Set is complete and painted and is easiest with three or four people - a board operator, a focuser, the designer on stage to give instructions and a 'gopher' to carry the ladder and fetch things.

* Bring the next luminaire up before fading the previous one.
* Total blackout is dangerous. Focus luminaires at 70 / 80% power, moving a luminaire at full power can blow the lamp.
* The focuser needs a spanner for luminaires that are stuck.
* Turn the luminaire off and allow it to cool before attempting anything violent.
* A luminaire should be spotted down so you can see the centre of the beam clearly.
* Make sure that the luminaire covers the desired area - remember that actors come in various heights, and have a nasty tendency to move around.
* Facing away from the light, give clear instructions to the focuser. · Once the luminaire is in place, it should be firmly locked off.
* It may be useful to compare the luminaire with others, to check the coverage is smooth.

Plotting can take a very long time. From your notes you will have some idea of the number of Cues in the show. On average you will be able to plot between 6 and 8 cues per hour.