Ben's Blog Book

  Arts Council 

Arts Council is a company that develops and invests in arts across the UK. They support a range of different arts from theatre to digital arts, reading to dance, music to literature and crafts to collections. One of the main thing they do is provide funding to these various arts. They do this by investing government money into the arts to help create opportunities in the field. Between 2015 and 2018 they are looking to invest £1.1 Billion of public money from the government to do so. 

Private Funding 

Private funding for the performing arts comes from private foundations that invest there money to the various areas of the performing arts. Private funding has helped to keep many companies with in the performing arts in existence.

National Lottery  

National Lottery are another source of funding for the perfuming arts. Money they raise is put into various perfuming arts sectors either through them or through the arts council. 

Local Council Funding 

When it comes to hiring in the theatre industry, there are a number of different companies that you can go to to hire items required for the various fields of backstage theatre. 

White Light 

White Light is a company that provides lighting products for the industry. There hire stock is one of the largest and most diverse in the UK. They have an enormous range of lighting fixtures (both conventional and automated), dimmers, control desks, smoke effects and rigging equipment. The equipment hired can be collected or delivered to various locations, and for bigger theatre shows they provide warehouse space to allow you to try out the equipment prior to it going into the venue. As it is an enormous company with a large stock they generally hire most of there equipment out to big theatre shows and events that take place over a long period of time, making it hard for smaller theatres to hire lighting equipment from them. Therefore alternatives to White Light are Stage Electrics and 10 out 10, both of which are smaller companies that will be able to provide equipment for smaller theatres, that White Light may not have in there hire stock.

Orbital Sound 

Orbital Sound is a sound company that is at the core of the theatre industry, hiring equipment for technicians. They have a large stock of hire equipment, from various sound companies in the industry. They have an outstanding reputation for hiring equipment around the world and are ISO-9001 accredited. In addition to this they also provide a 24 hour  easiHire online booking system, which allows you to book equipment to hire at anytime of the day. 

Scenic Projects 

Scenic Projects is a leading Set Hire company in the UK. They have over 30 years of design and building sets for theatre. Through the 30 years they have been able to create sets allowing space for other departments in backstage theatre to work, as well as appealing to directors needs. They give you the choice of various sets of the various shows they have designed, while ensuring that the sets are practical for your production. They also provide technical support for the get in of the set, using professionals and saving the theatre company money and time. Scenic Projects also give the opportunity to hire cloths that got with the set you have chosen to hire. 

David Fitch Services Ltd 

David Fitch Services is a hire company that hires out lighting and props. It has over 300 different lanterns and a large stock of props for you to hire. The props were all made and sourced by the company and so are to a high standard. In addiction to lighting and props Fitch also hires out his stock of mirror balls to various TV shows aa well as hiring out power and rigging equipment. David Fitch Services is a small but growing company, who mainly hire to small theatres and schools. 

Royal Shakespeare Company (Costume Hire) 

Here is my budget for The Grimm Tales.

I have allocated Costume with £1,750 as the show will have very complex costume, some of which may need be be hired or brought. The cost per head for each actor will be £15 and I have included and extra £250 to cover any extras that are required. 

Set Design and Construction have been allocated £750 because of the large and elaborate designs. This will go toward paying for materials for the build and paint and other design materials. 

I have allocated lighting with £300 because as the show progresses it will need to be lit. This will go towards paying for outside lights, festoon bulbs and extra power cable required. 

For the marketing of the show I have allocated £400. This will go towards the design and the production of the poster and any other marketing material required to sell the show. 

For props I have allocated £750. This will go towards materials for props and any props that will have to be brought or hired. 

Staffing is vital role I and is a massive part of the budget. I will pay the technicians £7.50 and hour to work on the show and this is non changeable. 

I have given music a budget of £100. This will go towards general care of instruments and if any new instruments need to be brought. 

Finally my budget had a contingency of £100 incase any extra thing need to be brought. 

There are various Unions in the Theatre Industry that provide various services to protect there workers. 

BECTU 

BECTU is the UK's media and entertainment trade union. It covers broadcasting, film, independent production, theatre and the arts, leisure and digital media. The union represents staff, contract and freelance workers that are based in the UK. 

BECTU provides its members with the following; 

Copyright protection- Protection from copyright.

Death Benefit- The next of kin to members of five years, are entitled to a death benefit on there death 

Financial Services- Services including pension schemes and tax assistance. A Benevolent Fund is available to provide members in financial difficulty grants. 

Insurance Policies- The services they provide are a £10 million PLI (Public Liability) and insurance for small business and companies. 

Legal Services-  These include employment matters and personal injury. Employment matters cover anything from a breach of contract, discrimination, unfair dismissal and equal pay. Personal Injury covers injury sustained while at work. 

BECTU is specifically for Technicians. Therefore and actor or musician would not seek services here. 

Equity 

Equity unlike BECTU covers artist across the whole of the theatre and entertainment world, whether they be an actor, dancer or technician. 

Equity Provides the following 

Representation- Equity will represent individuals and groups of people who are in dispute with employers 

Contract Enforcement- Where it is believed that a contract had been breached and royalties need to be payed, Equity will investigate and return all of the royalties to members. 

Legal Support- Free Legal Support provided for members that are in dispute over work, be this personal injury or contract problems. 

Tax and Welfare Support- Free advice on National Insurance, tax, how to get job seekers allowance, welfare benefits and pensions. 

Public Liability Insurance (PLI)- Equity provides members with up to £10 million in PLI. This protects there members at work if they are to have an accident whilst at work. 

Accident and Backstage Insurance- Members covered if they are unable to work due to an accident not to be confused with PLI. 

As it cover all worker of theatre and entertainment Equity is better than BECTU. However as a technician BECTU would be the better of the two to chose from, because it specifically focuses on technicians. 

Musicians Union (MU)

The MU looks after the interests of more than 30,000 professional musicians in the industry. They offer practical advise and downloadable resources for musicians to use. 

The MU provides the following; 

Playing Live- A wide range of information for musicians on playing live, from rehearsals onwards. 

Teaching- Advice and support for members who teach, covering subjects such as working practices. 

Legal Advise- MU provides a Contract Advisory Service and Legal Advice and Assistance Scheme, Specimen Agreements, partnerships, management, sampling and endorsements.

Insurance- Free MU equipment insurance, Public Liability Insurance, Personal Accident Cover, Professional Expenses Insurance and Family Motoring & Accident Aftercare for members.

Getting Paid- Advise on the benefits of systematic invoicing and how to claim interest on late payments. 

Higher Education 

Higher education is one way of gaining training in the industry. This can be through either a University Degree or a HND Course at a college. A university degree is good because it can either provide you with more knowledge about backstage theatre as a whole, or go into more detail about a specific field that you want to enter (for example sound or light). Also gaining a degree will allow you to become a teacher in theatre, once you have completed a teacher training course. 

Apprenticeships 

As well as higher education another way to gain training in the industry is to complete an Apprenticeship. By completing an Apprenticeship you will gain a greater insight into your chosen field of work, whilst actually doing the job. This will not only help increase your skills, but will also give you the opportunity to gain work from it at the end or make contacts that will provide you with work. Another plus side to an Apprenticeship is that you get paid while working. 

Training Course 

In the world of theatre there are various ways in which you can get a job. One of them is using various advertising websites, that have been set up to advertise different jobs in the field. Although they all advertise work they all work in different ways. 

Stage Jobs Pro 

Stage Jobs Pro is a website that allows people from all areas of theatre (actors, dancers, technicians etc) to find and apply for jobs. They can create a profile for free to begin with, and then when they want to apply for jobs on the website they have to pay a fee. In your profile you can list your previous experience and give information on previous shows that you have worked on. Stage Jobs Pro allows you to apply for jobs advertised on there site, without having to go to a theatres web page. It also allows employers who have advertised jobs to look at your profile as well as search for you. A downside to Stage Jobs Pro is the fee you have to pay to be able to apply for jobs. 

The Stage 

The Stage is a Theatre magazine that gives information about what is going on in the world of theatre. On the website it gives you the opportunity to search or jobs in theatres, using there site. Like Stage Jobs Pro, the Stage allows you to search through various jobs in the different sectors of theatre. You have to register to the Stage to view the job advertisements, but unlike Stage Jobs Pro you can not apply for the jobs on The Stage, you have to do to the company website that its advertised on. As it is only and advertising site it makes it less effective than Stage Jobs Pro, however because you don't have to pay a fee to set up a full account it will appeal more. Another downside to the Stage is that people can not view the profile that you create on the site. 

Pirate Crew 

Luminaries 

Acclaim 6-60 Fresnel 500w 

The Acclaim Fresnel made by Phillips Selecon is a popular luminaire in the market. This is because it is of power and size. The Acclaim Fresnel has an adjustable beam angle of 6º to 60º, which gives you many focusing possibilities, while also being able to take two lamp sizes those being a 500w lamp and a 650w lamp. This means that you can run more of these lights in the grid than a 1k Fresnel as they take less power. Also the addition of barn doors also continue to give endless focusing possibilities. In addition to giving out less power the Acclaim Fresnel has Cool Touch Technology. The Cool Touch Technology makes focusing and rigging easier when the light is hot, by making the handles plastic and focusing knobs plastic. This in turn prevents riggers from burning themselves. Finally the size of the Acclaim Fresnel mean that it can be fitted into small places again giving it more versatility compared to other fresnels on the market. 

Robert Juliat Lutin 1K 

The Robert Juliat 1K is a fresnel. Unlike other fresnel the Lutin 1K can also be used as a PC (for directional light) and a pebble (for soft light), as well as being used for a fresnel coverage. Due to having these three changeable lenses, the Lutin 1k is a popular luminaire on the market because of its multi-purpose abilities and its cheapness. As well as having changeable lenses the Lutin also comes with barn doors, which are unique to light, as unlike other fresnel barn doors they can be individually rotated giving endless focusing possibilities. The Lutin 1k is the most powerful fresnel on the market, meaning that you can run as many in the grid as you can smaller fresnels. Despite its power it is still a popular fixture on the market and can be used across a wide range of venues form large scale tours to small school plays. 

Source Four Fresnel CE

ETCs Source Four Fresnel, is the smallest of the three fresnel on this list. However unlike the other fresnels it is much more versatile lighting fixture. ETC have designed the fresnel with soft focus lighting with ETCs Source Four quality. With this fresnel you can choose from a number of different lamp sizes these being 375 watt, 575 watt and 750 watt. From the fresnel you also get the power of a 1000 watt fresnel from just a 750 watt lamp, making it a very versatile luminaire. It also has a 20° to 65° beam angle meaning that it is able to go slightly wider than the Acclaim Fresnel, but is unable to go narrower than it, as well as having a sliding yoke mount which allows you to have different balancing points. Finally ETC have designed the light with fully enclosed slots to prevent light leakage as well as having an access door for quick and easy lamp change. 

Consoles 

Grand MA 2 

The Grand MA 2 is the most expensive of the 2 lighting desks that I am going to talk about. The Grand MA 2 allows the lighting programmer to control conventional lighting equipment, moving lights, LED fixtures and media from one console. This makes the MA a powerful desk compared to others on the market. As well as allowing you to control various things on one desk it also allows the programmer to set up the desk in a way suited to them, which makes it a very user friendly desk. The MA has that capability to run upto 256 DMX universes, for running the various fixtures, on one desk. MA have released the Grand MA 2 console in smaller versions, they are the MA Light, MA Ultra Light and the MA on PC Wing. We have the PC Wing at the Miskin and you can plug this into a computer and use the MA software making it like using the full size MA. Despite being very expensive the desk has many capabilities making it a leading console in its field. It is mainly used on live events and dance show, but it can be used on theatre shows, but due to its cost it may be out of most theatres price range. 

ETC Ion 

The Ion is a lighting console made by ETC and is part of the Eos Family. It is a simple an affordable desk that allows you to control conventional, moving and LED lights as well as media servers. It is cheaper than the MA so is more commonly used in theatre because of this reason. The Ion is equipped with a programming keypad, four encoders for non-intensity parameter control, a grand master and blackout button and a master split fader. The Ion can also host up to six USB fader wings  the 1x20, 2x10 and 2x20.  This allows you an additional 300 submasters or cue lists with paging controls. The desk can support one or two external monitors and they can also be touch screens. Ion starts with 1,024 outputs and this can expand to 6,144 outputs. Unlike the MA the Ion can not be set up to the programmers personal preferance, but it is a simple and easy desk to use and once you have mastered the Ion you can move on to over desks with in the Eos range. 

Dimmers 

LSC Dimmer 

The LSC EKO Dimmer is and installed dimmer that is available in 6, 12 and 24 channels, giving you a choice of output capabilities. We have this dimmer in the main auditorium of the Miskin because all the bars remain in the same place therefore allowing them to be hard powered. This means that the dimmers do not have to be moved around. Once installed all of the wiring is incased in a shell meaning that it can not be tampered with and therefore break the dimmer. The LSC EKO Dimmer also comes with an integrated touch screen that allows you to see the dimmer levels, set hard power and change the patching on the bars. 

Avolites ART 2000

The Avolites ART 2000 is a touring dimmer rack that can be moved around. It provides a complete solution to Dimming, Moving Light Power and Data distribution. There is need to have separate mains distribution or DMX splitters making set up times faster. The ART 2000 has the capability to control up to 48 individual channels using four plug in modules that are made up of 12 channels each. The ART 2000 also has 20 Multicore outlet connectors to ensure that cabling will be simple and reliable. The channel of each Multicore output connector can be patched to any channel by using the top Hot-Patch. The Hot-Patch incorporates a battery operated lamp test indicator making faults easy to find. As it is a touring Dimmer it can not be installed on a wall like the LSC, but is useful on touring shows as it can be moved from one venue to the other. 

Betapack 3

The Betapack 3 is a small dimmer that is used by most small theatre. It is used by most small theatre as it is small, not heavy and a cheap dimmer. It hosts 6 channels each of which have 2 outputs. Despite being a reliable piece of kit it is small meaning that you can't control as many lights as the Avolites and the LSC dimmer rack. Also unlike the other dimmer you are unable to control any moving lights with it. 

When rigging light in a venue there are a number of different access equipments that you can use to rig. 

Zarges 

Zarges are a set of ladders that can be used to rig lights. They are made up of 3 separate ladders that can either be A framed of used like a normal ladder. There height can be adjusted, to allow you to reach different heights using the ladder. This mean that you can get in to the grid when rigging. At the Misikin we had two small sets of Zarges, a 10ft Zarges, 12ft Zarges and a 14ft Zarges. 

When using the Zarges you must use it safely. When going up the Zarges you must first make sure it is set up correctly. If you are in the A frame position you must ensure that is completely A framed and then the two bars on either side are attached to make the ladder sable. Once you have checked it is set up correctly you are ok to go up it. When going up the ladder you must ensure that you always have a person footing the ladder. This is to ensure that the ladder does not get top heavy and fall when you are at the top. Once you are standing still on the ladder you must ensure that you have 3 points of contact at all times to prevent you from falling. If you do not feel comfortable going up a ladder don't go up it. 

Zarges are useful when rigging because they allow you to get right into the grid. However because you have to keep 3 points of contact to is hard to rig a light as you require two hands, therefore you are not keeping three points of contact. They are good to use when focusing again because you can get right up into the grid and look down at what you are focusing. They are also useful for solving quick problems because they are easy to move into a venue. 

Tallescope 

A tallescope is similar to a set of Zarges except it is on wheels and has a basket on top for you to stand in. The tallescope like a set of Zarges can also be extended to reach into the grid, but can be moved around with the rigger still on it making rigging and focusing easy. 

Before going up the tallescope you must first set it up. It is usually stored in it downwards position so it needs to be erected to its upright position. When doing this you should ensure that everyone around you knows what you are doing so they don't get hit on the head, and you should also be aware of what i above you incase you knock and break something in the grid. Once it is in it upright position you should ensure that it is looked on, so that it doesn't collapse back down when going up it and that rope used to extend the scope is ok. You must then put the outriggers in place. The should be postponed out wards from the scope and just be off the ground. This gives the scope more stability and will present it from falling. When going up the scope, like the Zarges you should have someone footing it. This is to again provide weight to stop it falling over and to also help move it around. The person in the basket should ensure that they close the bar to the basket to prevent them from falling. When moving the scope with a person in it the people at the bottom should always look up to ensue that they don't hit anything and also to know where they are going. The person in the basket should duck down if at full extension to prevent hitting there head. 

I think a tallescope is a more effect piece of access equipment for rigging and focusing, as one person can be in the basket at all times and be moved around the venue to rig or focus. This means that they don't have t get down a ladder and move it to a different position each time. However because of its size the scope can be awkward to move around if parts of the set have already gone in. That is were a ladder would be more useful as it is smaller and easier to move around. 

Automated Lighting Bars 

At the Miskin we have automated lighting bars that fly in and out of the grid in the auditorium. The bars are brought in by a control that allows you to select the bar that comes in and out. 

When using the automated lighting bars you must ensure that you are aware off all that is around you before you bring the bar in, to prevent hurting anyone. Before bringing the bars in you must always shout out the bar that you are bringing in so that people working on the stage know what bar is coming in. When bringing the bar in you must always look at the bar, to see that you don't get caught on any cables that may be hanging down and also to ensure that you don't hit any lights on the floor once you have brought it down. The same applies for when you take the bar back out. You must say the bar that is going up and watch it as it does so ensuring that again you don't get caught on cables and don't hit any lights. 

There are two different types of lighting colour and they are additive and subtractive. Additive is were you put two lights together in the same place to mix the colours while subtractive is were you use more than one gel in the same light to make a colour.

Additive 

The primary colour on the additive colour wheel are Red, Green and Blue (RGB).

If you put two of the primary colours together you create the secondaries, which are Magenta (Red and Blue), Cyan (Blue and Green) and Yellow (Green and Red).

If you put all three primary colour together you will get a tertiary white, because all three colours are present.

Subtractive

In the subtractive colour wheel the primary colours are the secondary colours created in the additive colour wheel. These are Magenta, Cyan and Yellow.

When you mix two of the primary colours together they subtract the light and only allow their common primary colour through. So when you put a Cyan gel with a Yellow gel the light will subtract the blue and the red and only allow green to show, because green is the common primary colour with both Cyan and Yellow.

If you put all of the primary colours together then no light will be able to get through the gels. This is known as the absence of light or as it is more commonly known black. Black is a constant and is represented by a K.

The colours that you put in lights effect the mood of the show, therefore you must pick your colours carefully when doing  colour call. Here are the moods that different colours convey on stage; 

Where You Can Get Gel From 

Roscolux 

Rosco Supergel

Lee Filters 

There are many different types of generic lanterns that are used in theatre, and each one allows you to achieve different things when lighting a space. Here are some examples of generic lanterns; 

Parcan 

Parsons are widely used were strong, brightly coloured light is required over a large loosely focused area. The parcans themselves are simple lanterns and consist of a glass lamp in a cylindrical can. The lamps have a parabolic reflector behind the filament in the lamp, hence the name parcan. Unlike most generic lights parcans have the ability to be rapidly flashed, without shortening the life of the lamp. Because of this parcans are commonly seen lighting bands. 

They come in different sizes, and these sizes are; par16 (a birdie), par36, par56 and par64. Par64 is the most common of them. Par64 lanterns have different lamp widths, that allow you to give different degrees of spread across a theatre space. These types are; narrow, medium and wide. Narrow lamps have a completely transparent surface, medium lamps have a frosted coating on the surface of the lamp and wide lamps have ridges in the glass. 

Parcans have limited focusing opportunities, you can pan and tilt it using the yoke or you can used the parsafe on the back of the lantern to change the angle of the beam. This can be done by twisting the parsafe. 

Acclaim 6°-60° Fresnel

The Acclaim 6°-60° Fresnel is a general purpose stage lantern that is mainly used to wash the stage. It has an adjustable beam angle of 6°-60°, which can be controlled by the focus screw knob on the side of the lantern. This allows you the ability to change the width of the lens, giving you a wider beam and more spread on stage. As well as being able to adjust the width of the beam and the sharpness of the beam, you can also use a 4 leaf- barn door to mask the beam, as well as using the yoke to pan and tilt the lantern to different places on the stage. Acclaim 6°-60° Fresnel takes a 500 watt lamp.

Robert Juliat 1k Fresnel

The Robert Juliat 1k Fresnel is similar to a Acclaim 500 what Fresnel except it has a more powerful lamp. Like the Acclaim it is used as a general cover on stage and will most likely serve as back lighting. When focusing you use the focus screw knob on the back of the lantern to change the width of the beam as well as the focus knob on the side of the lantern that allows you to sharpen or soften the edges of the beam. It also has rotating barn doors that can be individually rotated to give you unlimited focusing possibilities. 

Source 4 Fixed Beam Profile 

A fixed beam profile is a profile light that come in different beam angles. The beam angles that they come in are 19, 26, 36 and 50. As well as having different beam angles it also has a lens tube that is and use a 575 watt bulb. The profiles light is produced by a lamp, which is then sent through a parabolic mirror, through the gate and out the lens. The lamp itself can be moved within the light. This is done by adjusting the screw thread at the back of the light, to position the lamp at its focal point. 

As well as being able to adjust the lamp the profile also has shutters that can be used to shape the beam allowing it to have flat edges. The lens unit on the front of the profile, can also be moved closer to or further away from the gate to soften or harden the edges of the beam. The profile has many focusing capabilities. Fix Beam Profiles can be used to flood the stage with light or light certain areas of the stage.