Assignment NO1. P,M,D1. Job roles within a production team. O Stage manager O Lighting technician O...
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Assignment NO1. P,M,D1. Job roles within a production team. O Stage manager O Lighting technician O Sound technician O Stage technician O Live events technician
Assignment NO1. P,M,D1. Job roles within a production team. O
Stage manager O Lighting technician O Sound technician O Stage
technician O Live events technician O AV technician O Sound
designer
Slide 2
Stage manager. Source:http://www.aact.org/stage-manager Stage
managers typically provide practical and organizational support to
the director, actors, designers, stage crew and technicians
throughout the production process. They also are the director's
representative during performances, making sure that the production
runs smoothly. The role of the stage manager is especially
important to the director in rehearsals. Here the director and the
stage manager work side by side, with the stage manager recording
the director's decisions about blocking and notes for the actors,
keeping track of logistical and scheduling details and
communicating what goes on in rehearsals to the rest of the team.
This enables the director to concentrate his or her full attention
on directing.
Slide 3
Unit 2. production arts workshop. By Sorrel Ferrario.
Slide 4
Stage manager source:http://www.aact.org/stage-manager Stage
managers have several key responsibilities and tasks to perform in
each phase of a production, including: O scheduling and running
rehearsals O communicating the director's wishes to designers and
crafts people O coordinating the work of the stage crew O calling
cues and possibly actors' entrances during performance O overseeing
the entire show each time it is performed
Slide 5
In conjunction with the director, the stage manager determines
the scheduling of all rehearsals and makes sure everyone involved
is notified of rehearsal times, meetings, costume/wig fittings and
coaching sessions. During the rehearsal phase, stage managers also:
O mark out the dimensions of the set on the floor of the rehearsal
hall O make sure rehearsal props and furnishings are available for
the actors O attend all rehearsals O notify the designers and
crafts people of changes made in rehearsal In rehearsals the stage
manager also records all blocking, plus all the light, sound and
set change cues, in a master copy of the script called the prompt
book. The information in the prompt book also allows the stage
manager to run the technical rehearsals, calling each technical cue
in turn to determine precisely how it needs to be timed to
coordinate with the onstage action.
Slide 6
Stage manager source:http://www.aact.org/stage-manager The
stage manager and the technical director also work out a smooth and
efficient plan for the stage crew to follow during set changes.
Furniture and prop plans for complicated sets are drawn up by the
stage manager and technical designer to show exactly where the
furniture and props are to be positioned on stage at the beginning
of each scene and sometimes in the wings. Once the show opens, the
director's work is essentially complete. Now it's the stage
manager's job to make sure that every aspect of the production runs
just as the director intended time after time, until the production
closes.
Slide 7
Slide 8
Lighting technician. Source:
http://www.myworldofwork.co.uk/node/20562 A lighting technician
sets up the lights on stage, in a film or broadcasting studio or on
location outdoors. They control the position, strength and colour
of lighting during the production.
Slide 9
Lighting technician
source:http://www.prospects.ac.uk/lighting_technician_broadcasting_film_video_job_d
escription.htm Typical work activities Tasks vary according to the
type of production and the level of experience, but in general they
may include: O establishing lighting requirements; O liaising with
the lighting director and/or other staff to interpret their
creative vision into the lighting design; O plotting the lighting;
O assembling all the lighting and filter equipment needed; O
ensuring all lighting equipment is in working order and organising
any necessary scaffolding and cranes; O conducting risk assessments
for health and safety purposes; O pre-rigging the lighting and
ensuring all cables and wires are safely concealed;
Slide 10
O loading automated colour change systems; O checking the
focusing of lighting at rehearsals; O operating and maintaining
equipment during the shoot; O changing lighting between shots, as
necessary; O programming and operating lighting consoles; O
de-rigging all equipment at the end of the broadcast or production
and ensuring it is safely transported away from the location and/or
stored; O working as part of a large crew, especially on feature
films; O reviewing footage shots with the director; O liaising with
the floor manager, producer and sound technician throughout the
project.
Slide 11
With experience or working at a more senior level, the work may
also involve: O managing the lighting budget and advising on the
purchase/hire of suitable equipment; O deciding on the lighting
crew numbers and equipment needed and then employing the crew and
hiring the equipment; O coordinating the equipment and the
technical crew and training other crew members as required; O
visiting and assessing locations for technical purposes.
Slide 12
Slide 13
Sound technician source:
http://www.myworldofwork.co.uk/node/20326 Sound technicians set up,
operate and maintain the technical equipment used to record, edit,
amplify and enhance the sound produced for film, radio, TV or
theatre. They can also be called sound engineers. Work can be in
sound production, which involves producing all sound by making
recordings, or in post-production, which involves amplifying,
balancing, mixing and monitoring sound. It may be in a studio,
dealing with recordings, or in a venue hosting live
productions.
Slide 14
You could be: O liaising with producers and performers to work
out the sound requirements O choosing the best technical equipment
according to the job O creating sound effects by recording new ones
or sourcing existing ones from sound libraries O setting up,
testing and adjusting recording equipment indoors or outdoors to
suit the acoustics O playing or recording speech, music or sound
effects O removing interference by dubbing O using a mixing desk to
control levels of speech and other sounds during productions O
monitoring audio signals to make sure sound quality is consistent O
servicing, maintaining and repairing sound equipment.
Slide 15
What does it take You should have: O excellent hearing and an
ear for music and sound O familiarity with sound technology and
electronics O an accurate and methodical approach O the ability to
concentrate for long periods O excellent attention to detail O
drive and stamina O quick reactions O the ability to work under
pressure to meet deadlines O good communication and team working
skills.
Slide 16
Slide 17
Stage technician
source:http://www.wisegeek.com/what-does-a-stage-technician-
do.htm#didyouknowout A stage technician makes sure everything on
the theatre stage is in order and in sync. This includes the
support staff and actors as well as the lighting, scenery and
props. His job may be at a local or regional theatre. He may also
be employed to coordinate the technical aspects for studio, arena
and stadium productions. He is generally expected to be
knowledgeable of all stage operations, so he is able to fill any
position if needed. These jobs may include those of the stage
manager, light and sound technicians and production assistants. He
normally knows the duties of the wardrobe supervisor, prop handler
and carpenter well enough to assume their duties as well.
Slide 18
Stage technician
source:http://www.wisegeek.com/what-does-a-stage-technician-
do.htm#didyouknowout From the inception of the production through
the breakdown of the set, a stage technician is involved in all
processes. Before the stage and set are constructed, he discusses
the details of the blueprints and floor plans with the stage
manager. Together they determine the best options for lighting,
sound equipment locations and scenery and set designs. When the set
design is finalized and sound systems are in place, the technician
commonly assists the prop staff in the assembly and construction of
scenery. This commonly involves him using power and hand tools to
build braces and support pipes for curtains and equipment. He
typically assists in threading ropes, cables and weights in grids
above the set to accommodate changes in staging and backdrops.
Slide 19
Slide 20
Live events technician. Source:
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprof
iles/Pages/livesoundengineer.aspx As a live sound engineer youll
control the sound at live events like theatre performances, music
concerts or festivals. As a live sound engineer, youll control the
sound at live events such as theatre performances and music
concerts. You will operate microphones, amplifiers and control
desks to balance the sound levels, and you might also provide
background music and sound effects.
Slide 21
On a day-to-day basis you can typically: O discuss the
productions sound needs with the director or sound designer O
identify places in the script where any sound effects, music and
changes in sound level are needed O pre-record any sound effects
and music to be used O choose suitable microphones and equipment O
position and rig up microphones O complete sound checks before a
performance O operate the sound desk during shows O follow a sound
plan (known as a 'plot') and cues from the deputy stage manager O
look after and repair equipment O unload, set up, dismantle and
load equipment at each venue when on tour. You may also help to set
up and operate lighting equipment as part of a sound and lighting
crew.
Slide 22
Slide 23
AV technician. Source:
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprof
iles/Pages/audio-visualtechnician.aspx As an audio-visual
technician you would install and operate multimedia equipment, such
as video, TV, sound equipment and lighting at venues like
conference centres, art galleries or schools. If you are interested
in multimedia and like the idea of a practical hands on job, this
could be the perfect career for you. To do this job you will need
to have excellent technical and IT skills. You will need good
organisational skills, be able to work under pressure and to meet
deadlines. There is set entry route in to this job. Experience is
highly valued by employers so it may improve your chances of
finding employment if you have worked with audio-visual (AV)
technology before.
Slide 24
Your work could range from setting up a slideshow for a college
lecture to installing sound, video and lighting for a conference or
art exhibition. With experience, you might move into project
management, where you would meet clients and design AV systems to
meet their needs. You would work with a wide range of equipment,
including: projectors sound systems video conferencing equipment
LCD or plasma screens video and still cameras image editing
software lighting control rigs.
Slide 25
Your day-to-day work could include: setting up equipment
according to instructions from project managers testing equipment
before an event finding and dealing with any faults on site
operating equipment during rehearsals and the event itself checking
and servicing the equipment managing equipment booking training
other people to use the equipment assessing a venue's AV equipment,
and recommending or organising upgrades when necessary buying new
equipment and agreeing prices with suppliers.
Slide 26
Slide 27
Sound designer. Source: http://www.aact.org/sound-designer The
sound designer plans and provides the sound effects in the play,
including music from existing sources. In addition, a composer may
write original music for the show. All the music and/or effects in
a play considered as a whole make up the "soundscape."
Slide 28
The designer's work Sound designers and composers begin their
work by studying the script, gathering as much information as they
can about any sound or music it calls for. As in all other aspects
of design, an early meeting with the director and the design team
is essential to get a clear understanding of the production
concept. Some directors will already have very clear ideas about
what the sound effects and/or music should sound like, while others
may request that the sound designer/composer sit in on rehearsals
to assist with developing effects and music to fit the specific
contexts in which they will be used. Once they have a precise sense
of what the production needs out of the music or sound, the
composer begins composing the necessary musical pieces and the
sound designer begins to gather and create the necessary
sounds.
Slide 29
Sounds and music in the theatre can: motivate actions onstage
and indicate events taking place offstage establish the time of
day, season and weather locate the action in a specific place
create mood and changes in mood stimulate audience expectations of
what is to come provide information about the characters build
transitions between scenes offer shortcuts that rapidly advance the
plot or recall past events The designer or composer combines and
varies the five controllable properties of sound to create unique
effects or music required by the production of the play.