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![Blacks in Blackface: A Sourcebook on Early Black Musical Shows [2 VOLUME SET]](https://m.media-amazon.com/images/I/51ISq7ZxIGL._SL500_.jpg)
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This book is written by Richard Cadena, who is the technical editor of Lighting and Sound America. It will answer virtually every question you've asked in your post, and it will also help you stay safe on the job. Worth every penny.
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EDIT: Submit your questions for Richard's r/livesound Q+A here.
Recent AMA Shannon Slaton has a great book on the subject of mixing,
Line by line mixing using faders is standard practice. Someone walks on, fader goes up, they finish their line, fader goes down. That being said, in the digital world, most people mix using scenes and DCA’s, so each scene or chunk has its own saved scene/snippet that puts the people and groups you want on DCA faders at your fingertips rather than using the faders for the actual channel. That way you’re not hunting through a whole desk, or various layers to find everything.
Hi, Ive been a stagehand for 22 years, buy her this if she likes the technical side of theater.
Go pick up the Backstage Handbook and read it cover to cover. That will give you enough basic understanding of terms and rough practices to survive overhire calls.
That's a big question requiring a long answer. Some might say a book length answer:
Great question! This is something that comes up in acting a lot. You, the actor, already know where the story is going, so how can you make it seem fresh for the character in the moment?
What works for me is to clear my head in the moment. When the PCs begin their interaction with the NPCs, I consciously shift focus into that character's head, imagining their life and backstory. I (try to) let everything else drop away and just let that character fill my head. It has to be a deliberate act.
A little improv practice can help with this a lot, particularly the idea of "narrowing and broadening the spotlight". Instead of focusing on the world or the situation, you narrow your attention to just the character. Keith Johnstone's book <em>Impro</em> goes into more on this as I recall.
It takes practice, though!
So the best way to think about it is in terms of the stage and the lighting areas. Imagine a small stage, where there are three lighting zones across and three lighting zones deep, or a 3x3 grid. Normally, you want to number them 1-3 across the downstage edge, 4-6 in the middle lane, and 7-9 on the upstage lane. Whether you do left to right or right to left is dependent on personal preferences, although most common is to put 1 on the downstage left area.
Now, how does that relate to channel numbers? In an ideal world, you match numbers. So, starting with your front light, you number them 1-9, in accordance with what zone they hit. Down lights over stage would be 11-19, high sides 21-29, etc.
If you have more than 10 zones, say in a 5x3 grid, your numbering would just skip to the nearest ten. For example, fronts are 1-15, downs would then be 21-35, etc.
Moving lights, would be labeled the same. I usually try to start at 101, and move up from there. Obviously, if you have doubled or tripled up on lighting zones for conventionals, you might not be starting until the 200’s.
Specials and practicals I usually start at 900, just to keep them out of the way. And I try and keep them labeled similarly to the lighting zones.
The real key here is to try and keep the numbering consistent across the board.
Also, this is just talking about the channel numbers in soft patch in the console, not the hard patch dimmer or DMX numbers.
Steve Shelley had a good book about lighting design, which might be useful. And Richard Cadena also has a great book, although this is more aimed at electricians, and explains more of the electrical aspect of lighting.
How do you honestly think the people that designed that makeup, learned how to do it? By referencing source material and practice practice practice. They definitely didn’t use a youtube tutorial where they were just given all the steps. That being said, look into producing foam latex prosthetics. This starts with lifecasting, to sculpture, to mold making, then foam latex casting. Then thats applied and painted.
Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics https://www.amazon.ca/dp/024081696X/ref=cm_sw_r_cp_api_glt_i_N573XXZ73N8E8PPSTR4T
This book is kickass. Start practicing. There is a wealth of knowledge on this craft. If its on youtube, its probably not professional.
I'm not an expert in fitting, but:
--Is your friend non-binary? Why are you using a menswear book for a woman? Women have different builds and often require bust darts and more shaping than men;
--Make the pattern in plain muslin, not a busy print, so it's possible to see clearly what's going on;
--Make only one change at a time;
--Make the full garment and close it pinned in the front;
--Take more photos from more angles.
This is a good fitting book. It's expensive but you can probably find a copy in a library or buy an older edition used.
Assuming the shoulder seam is supposed to be on the shoulder, it's too low. I would try pinning a large tuck to try to bring the seam up to the right position.
Well my position is that your lighting fixtures, gels, diffusion tools and rigging knowledge are your creative tools as a dp and a gaffer akin to paintbrushes and different kinds of paint without which there is no art or creativity happening.
But that aside this book is a staple of the industry and will serve you well
https://www.amazon.com/dp/0240810759/ref=cm_sw_r_cp_apa_i_X2wrFbF7ARJGJ
First of all, don't call it "the grip," that's like your mom calling it "the Facebook."
> nothing important only c-stands
Arguably one of the most important stands on a set.
I recommend Set Lighting Technician's Handbook by Harry C. Box. It includes a ton of information about lighting, power, and grip on set.
Not online, but the industry standard reference is :https://www.amazon.com/Electricity-Entertainment-Electrician-Technician-Distribution/dp/0367249472
Page 139-140 of the fourth edition Set Lighting Technicians Handbook.
Using diffusion makes the source larger relative to the subject.
We move lamps to control shadows all the time, at least in Atlanta. I'm sure in other parts of the world optical physics works differently.
LOL -
I light my house however my husband tells me it needs to be lit - which is warm white led bulbs from costco in many desk lamps.
My OFFICE is lit by a 24-inch paper lantern, with a 60w frosted incandescent.
I agree modifiers are a fantastic way to learn to control light of any kind.
If you want to dig in - https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759
Step one, read Mr. Box.
Just picked this up after seeing it recommended in the technical theatre subreddit (or maybe it was here…?): Mixing a Musical: Broadway... https://www.amazon.com/dp/0240817591?ref=ppx_pop_mob_ap_share
I've seen this recommended as a solid reference to modifying patterns, and bookmarked it for when I ... you know, pull out my sewing machine and learn how to sew/modify my own clothes.
I read this a few years ago and remember appreciating it. Looks like there’s a new edition now too.
Electricity for the Entertainment Electrician & Technician: A Practical Guide for Power Distribution in Live Event Production https://www.amazon.com/dp/0367249472/ref=cm_sw_r_cp_api_i_dl_7G24TQPPF875SD41VR6M
It seems a bit pricey — might be the kind of thing that would be available in a library, or perhaps the older editions are available second hand a lot cheaper.
This is well explained in Richard Cadena's book on electricity for event technicians. It's a great investment: https://www.amazon.com/Electricity-Entertainment-Electrician-Technician-Richard/dp/0415714834
Any pattern will work on any body- look into fitting and shaping patterns. Often widening shldrs on blouses by shifting darts adding fullness where needed. Shaped waistbands on skirts and longer sleeves all help ( as in, cuffs that end in the right place- not to hide anything)
And ask yr friend to make you a pinterest of styles she’d like to try. There is no one way to present “feminine”
Friendly trans* reminder time: don’t assume that any trans* person wants to take hormones, get surgery of any kind, wear cutlets or present with breasts. Your friend may just want a dress that has pockets and doesn’t rip at the armhole because it doesn’t fit right. There is no one way to be. There is no “right” way to exist.
I see and acknowledge all the advice being given- its coming from a good place.
Its easy to think that anyone “coming out as trans*” want to look like every cis gender person they know.
Anyway- im glad that another trans* person has a good friend who is concerned about her- and wants to make her feel comfortable and wanted.
This is the most important thing. Especially if yr friend is more of a t shirt and jeans kind of gal.
You might wanna try an improv class - this kind of theater acting lessons where you just say the first thing that comes into mind. There's a great book on it written by Keith Johnstone titled impro - improvisation and the theatre. It's well worth a read.
You could also create some fake social media profiles and experiment with it. Just say the first thing that comes into mind.
One of my favorite and very comprehensive fitting books has an introductory section on the selecting flattering styles. It tells you start with the usually recommendations for your shape, for example, A-lines for pear shapes, but suggests that you get better at fitting you will have a better of idea of less-typical styles that will work with modifications.
Work is just starting to pick up for me. I havent had shit in 6 months then got called 3 times this week :)
If you've been in the military and worked as an industrial electrician, you'd fit right into the grip and electric teams. The grip union is local 80 and the electric union is 728. Grip side deals with constructing rigs for lights and cameras. The electrician side is running the power distro and all the actual lights on set.
If you come onto a set as a PA, meet the key grip and Gaffer and get them your info, then work your ass off. 100% of my work comes from word of mouth. I would also recommend the set lighting technician's handbook, if you are interested in this route. It has a lot of good info for someone new.
Funny enough, FizzBuzz is an improv theatre technique for groups: "the loop" consists of the people on stage. It is mentioned in the book Impro
Save your money.
Grab the grip and lighting book from Harry Box (yes it’s a terrible name). It’s the book we use on film sets, it’s an easy read and has some awful jokes in it too.
Watch every film you can, and the commentaries.
Watch thing in theaters, Hollywood theater, watch rare things at movie madness.
Get a subscription to American Cinematographers magazine. (Read old articles.)
Buy a camera. 6k blackmagic or canon 5D miv. Have an iPhone (works easily, and easy to edit on.)
Have fun. Be curious. Be a happy puppy, and treat everyone fairly. Punch up, never punch down.
If you want a job in the film business, know that you want to do it for free...for love, if you do it only for money...you will fail.
Well, honestly I'd trust that if he offered you the gig he believes you can do what you need to do. But as always, the Set Lighting Technician's Handbook by Harry Box is a great place to start.
https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759
- The extra belt can help but I wear mine on my normal belt
- Check that you have not put to much weight on the lineset and you have enough counter weight on the line
- Spend some time with the fixture so you understand how it moves and the various functions it has. You will also need to work out how to "aim" it in the dark so you are ready for any quick pick up shoots in a blackout.
- Gloves are important, radio not so much unless you are on a large call and the crew is using them. A mini maglite and multitool are a must. Comfortable shoes!
Get a copy of he Backstage handbook by Paul Carter
You've got the right idea.
Learn DCA/VCA first, that will be biggest improvement.
Then get into scenes after you understand that. Don't do too much in scenes at first, just mutes and VCA assignment.
And read this: https://smile.amazon.com/Mixing-Musical-Broadway-Theatrical-Techniques/dp/0240817591
I personally use this book a lot: https://www.amazon.ca/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759/ref=nodl_
I got in school and refer back to it sometimes. There’s a lot of info about basic lighting skills, colour temperature, techniques and tips and tricks. It also has info about power and distribution of power which isn’t relevant to what you want to learn but nice to know, haha. The newest edition should cover LED too cuz LED lighting has exploded in the last couple years. There’s also a Grip one from the same publishers I own but I rarely even crack that open, haha :)
Here's one.
https://insideoutstyleblog.com/body-shape-calculator
This fitting books discusses shapes. Interesting, it explains the typical advice for a certain shape, then discusses how it might be possible to go beyond that with the correct fitting.