Preparation – Pre-Rehearsal

• Read the script several times.

• Gather ideas of how lighting can help tell the story through intensity, color, angle, texture, etc.

• Find moments in which video can be bold and memorable (they don’t have to exist)

• Search for images or videos that can help evoke your ideas to people who don’t understand video.

• Craft a design statement (paragraph) to help others understand and ground your design work.

Preparation – Rehearsals

• With your design statement in mind, create a video or image montage to give a feel of what your design might feel like and to give a sense of style.

• Attend rehearsals / discuss with the director any other special moments and video needs.

The Projection System

• Identify where projectors will need to be hung, navigation and negotiating vertical space. Often times projections will have very specific needs and will need to be placed before scenic, lighting, or audio.

• Think about how each projector will be controlled in QLab; identifying each physical surfaces and which projectors will land on each surface.

• Starting with the space template, consider a typical video cue and create default settings.

• Spend time with QLab or MadMapper in order to map your content to the individual surfaces. It helps to have the space dark during this and to access the projection computer from a laptop on stage.

Light Hang

• Ask the light crew for assistance as they’re typically comfortable with hanging objects from the catwalks. Also, projectors and pipes are usually pretty heavy so it’s nice to have a bit of help.

The Cue List

• Attend rehearsals, especially full act run throughs, in order to craft a cue list. If possible, video tape the rehearsal so that you can refer back to the recording while cueing.

• Craft a cue list identifying Cue # / Page / Line / Description

• Give the cue list to your SM at least two days prior to paper tech

• During paper tech, identify any efficiencies that can be made or updates that need to be fixed

• Remember: Video can be terribly distracting; support and supplement the story, don’t overwhelm it.

Initial Programming

• Start by gathering all your media, making sure everything you need (or at least as much as you have ready) is readily available.

• Start off in QLab by converting your cue list into a QLab list. Drew has a handy script to make this happen. Ask for help.

• Sit down toss in all your video cues. Think about entrances and exits - fade ins and fade outs can make or break a show.

• Remember: You’re telling the story through video - often times your cues should live behind action. Sometimes your video should take focus (i.e. entrances and exits to scenes).

• Remember: Err on the side of show and still. Subtle cues are asked to be bolder. Distracting cues are just cut, never to return from the digital abyss.

• Remember: The first cues are the most difficult – just start.

• Remember: It doesn’t have to be perfect – have something for every cue, even if you’re repeating looks. It’s easier to edit than to create from scratch.

• Remember: Don’t get caught up in single moments. Save those for the end, or when you need an artistic change of pace.

• Remember: Have goals to keep you on pace (i.e “I’ll get through Cue 50 in the next hour”)

10 out of 12

• This can take several formats (see 10 out of 12 options), think about what’s best for you.

• This rehearsal is about timing, making sure that the cue calling is accurate and that it makes sense with the action of the play. If you have time to update aesthetic ideas, go ahead.

• If you need to take a significant time to fix a problem, just ask for “5 minutes please” or however much time you need. Don’t feel bad, this is why we’re here. Just take care of the other people and their expectations.

• Remember: The first cue sequence is always the most difficult.

Rehearsal Programming

• During tech rehearsals, and dress rehearsals – make as many fixes on the fly as you can. For things that you cannot, write the note down on your work note sheet.