On The Fringe in Hollywood
Hosted by the directors of the Hollywood Fringe Festival in Hollywood California. Ellen and Lois will be interviewing all types of guests in the Theatre and Arts Community including key players in arts funding, politicians and organizations trying to make a change in funding for the arts in the Los Angeles area. From time to time we will get in depth interviews with creators and artists who have been acknowledged for their works during past Hollywood Fringe Festivals, discussing the history of their life as an artist, their show and pick their brain on their process of creating their work during the Hollywood Fringe Festival run of their production.
On The Fringe in Hollywood
HFF26 Workshop #6: What I Wish I Knew Going Into Tech
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Our panel of Tech Experts have been working with Hollywood Fringe for years! Listen as we discuss best practices, creativity, mistakes to avoid, and how to best prepare your tech for Hollywood Fringe’s fast-paced environment.
PRE ROLL Artlist Musical Logos - Positive Persistent Pluck Sequence 2
OPENING MUSIC IS BY MILANO - 'On the Move'
WEBSITE: https://www.hollywoodfringe.org
INSTAGRAM: https://www.instagram.com/hollywoodfringe/
YOUTUBE: https://www.youtube.com/@HollywoodFringe
Oh, I can't hear your sound.
SPEAKER_06Oh.
SPEAKER_09Let's, um. But we're live. If I go like that, can you hear it?
SPEAKER_05Yes. Very loud. That's so silly. Okay, Low is good. Low is fine. I'll I'll adjust in a second. Okay, view. Let's add some people in. Hello, everyone. Joining us on YouTube.
SPEAKER_08Oh, this is silly music. I like it.
SPEAKER_05Hello, everyone. Welcome on in. We're gonna start at like 7.05, so no worries there. But um excited to have you here. I I was playing around with Zoom, so now I this is what it looks like. This is amazing. Let me lower it just a little bit because I actually am having a hard time hearing you all. Um thank you. No worries there.
SPEAKER_09But um excited to have you here.
SPEAKER_06Let me adjust that one more time.
SPEAKER_05Perfect. Thank you to Wiley for um Wiley. We'll be in the chat. Um also watching the live stream as well, um, to answer any additional questions, but also to send those questions my way for this tech panel.
SPEAKER_06Let's see. Okay.
SPEAKER_08And then Roddy, I don't need to record this because we're on YouTube. Perfect. Easy. Correct.
SPEAKER_05Um yes, I I actually will record this as a backup just in case. Wherever that is. Oh, here it is. Okay.
SPEAKER_06Um bum bum bum.
SPEAKER_05Making sure that my music is royalty free.
SPEAKER_09Yes, it is.
SPEAKER_08Kevin Macleod, Fig Leaf Times 2. For those of y'all just joining, we're gonna be starting about a minute or two, just waiting for everyone to come on.
SPEAKER_01I apologize, I don't have my camera on, but I'm on my desktop. I don't have a camera, but I just wanted to say hi, thanks. Really excited for this. Yay, yay, yay, and I'll turn it off now.
SPEAKER_05No worries at all. No, it's okay. Thank you so much for joining. Um, yeah, no, everyone's more than welcome. Uh, just a heads up, we're live streaming, I'm recording as a backup, but uh please, if you want to reveal your face and join us in the room like that, totally fine. If not, also completely fine. I am just checking what's going on and making sure everything's fine. Brilliant. I'm gonna give us I'm gonna give us like three more minutes to get us started. That's fire. Yeah, if you're in the the YouTube chat or you're in the zoom chat, uh let us know where you're where you're coming in from. Um we do so much of our work in Hollywood, but I'm normally based out in the valley. Um, and I know some people are based up in the Bay Area, and so yeah, always fun to know.
SPEAKER_09And then let's move this over here.
SPEAKER_05Let's see who's joining us thus far. We'll get this show on the road momentarily. Oh, okay, cool. Sorry I didn't respond. I didn't see you're all oh you're all typing in the chat. Oh, that's wonderful. Sorry I didn't see all my glasses on, that's probably why.
SPEAKER_06Well, brilliant.
SPEAKER_05Okay, I think I'm gonna get us started. Oh, that's alright. Uh okay, I'm just getting some emails from artists uh reminding them that this is happening. This is fantastic, no worries at all. Brilliant. Okay, I'm gonna stop the share um so I can say hi to everyone and then pause the music. But um, if you like that music, that was royalty-free music. Um, which is better than royalty music because you do have to clear all of that just a heads up. But let's see, have I lost you there? Where's the zoom? There it is. Okay, a lot of windows open. Okay, hello everyone. Oh I'm supposed to do introductions right now, but before we start, um everyone just take a deep breath in. First, because I do need this. Maybe for a good three seconds, and then hold for three. And then go out for three. I gotta remember that. I gotta remember that we're not like, you know, we're all doing a lot of things in fringe right now, which is very exciting. Um, and one of those exciting things is talking about tech. But before I get to that, we're gonna do some general announcements. Um, okay, so as we first kick this off with a land acknowledgement. Um, this is something that will be recorded and dispersed out to all of our artists and venues. Sometimes your venue will create a land acknowledgement for that theater as well that you can opt in to use. Um, it is required that all performances have a land acknowledgement, whether that's something projected, whether that's something spoken aloud, or whether that's an uh prerecorded message. Uh so for Hollywood Fringe, the Hollywood Fringe acknowledges that we are on the unceded lands of the Gabrielino-Tongva peoples. And a land acknowledgement is a formal statement that recognizes and honors the indigenous peoples of the land that we present presently reside on andor work on. Uh, our statement serves as a practice as we commit to furthering our connection to the indigenous communities of past, present, and emerging. Uh, welcome if you're tuning in. This is what I wish I knew going into tech. This is workshop number six. And to introduce myself, I'm Roddy. My pronouns are he, him. As a visual description, I'm a Latiname male. Um I've got uh uh black curly hair. I'm currently wearing glasses, and I'm wearing the festival tee from last year. And um uh yes, a little bit about me. Uh I started here at the Fringe Festival as a artist uh in 2023, and now I've been a part of the festival advent side for the past two years, and this will be my third year uh supporting all the festival artists. So this is thrilling and exciting. Um I think I'm gonna do the rest of the the what we need to know about upcoming town halls and events. We'll just go down the list, right? So, as you've known, many of you have been attending these town halls and these events we've been having, and there's so many to always check on what's coming up next and what's happened previously. Go to hollywoodfringe.org forward slash events. Again, that's hollywoodfringe.org forward slash events. Um, that'll tell you about what we just wrapped up and what's coming up next. Uh, to give you an idea, web sessions number two wrapped up recently with Lois on Zoom showing you how to use the guide proof, how to do ads, and how to do ticketing. Super helpful, a really comprehensive way that Lois like shares her screen and talks us through it. Super uh uh important. Actually, I'm getting a lot of questions about that. And I'm like, listen, Lois explained it. I'll run it through you, but sometimes you need that visual. And Lois is providing a phenomenal visual for that. Uh of course, we have our office hours. I've seen many of you at office hours, and I've see I've yet to see some of you at office hours. Uh no, it's fine. Um, office hours is just a networking opportunity. And with a festival this large, you want to get to know your community. And it's super exciting. And artists get to ask themselves questions, they get to ask us questions as well as staff. Um, but of course, it truly is just so many people you get to meet that are just ridiculously wonderful. Again, with about like 90% of the festival being hyper-local, uh, most of us being here as artists based on LA in LA, we continue creating work even when fringe isn't happening. And so this is a great place to make those connections and meet your future collaborators. Um, okay, some important dates I'm gonna go over is that May 1st, tickets go on sale. Uh, May 4th to the 9th is previews. May sorry, did I just I think I just said May 1st is tickets go on sale. June 4th to the 9th in June is when previews happen because the fringe festival happens during June. We're doing great. Um, June 10th is the opening night party. Uh, no shows are booking anything then because we're all celebrating. And then uh from what I believe is, and Wiley, correct me if I got this wrong, from the 12th, sorry, the 11th to the 28th, that is the fringe festival. Non-stop shows happening. Uh, different times, different places, it's gonna be great. And then uh June 29th, we culminate in our awards and closing party. Yeah. Great. Okay. We're moving and rolling. Um, so next thing I want to bring up is the code of conduct. Many of you are either fresh off of casting or in the progress of casting. Um, for those of you that have solo shows, you may be uh finalizing your directors and your creative team. I really want to point out that you really should look at our code of conduct. Um, we don't have a lot of rules at fringe, but we do take up our code of conduct very seriously. If you register a project, you and your team will be held accountable for your actions as you participate in the festival. Um, if you go to hollywoodfringe.org forward slash conduct, there's a couple of documents that really make it easily digestible. We strongly urge that you read this with your cast or with your creative team upon that first rehearsal. Really leaves everyone leaving or starting really their festival uh in on the best foot forward, you know? Um Ah, yes, some other things. Uh make sure you're signed up to receive those newsletters. If you aren't or have not been receiving newsletters, uh email us as support at hollywoodfringe.org. Jeanette and myself and the rest of the fringe team will help you make sure you're getting those emails. Uh also follow us on social media, uh on Instagram or Facebook at Hollywood Fringe. Yep, at Hollywood Fringe. End of sentence. Uh and again, if you want to use those hashtags, use HFF26 and then we can start seeing what's happening. Additionally, artists one-on-ones are fully able to still be reserved to talk about it. I'm imagining right now fringes are going to be wanting to talk about marketing strategy in May and June. Um, we can in these one-on-ones, uh, we can really have a more catered and personalized approach to what you want to ask. And it's really your time to explore. Um, as well as emailing support at hollywoodfringe.org with any one-off questions. And that is monitored by at least four of us here. A lot's going on right now, especially with the print guide deadlines and the guide proofs. So we're all on there right now. Um, I will also drop a uh presentation into the chat that we're going to be getting into. Uh oh, but Wiley's doing it too. So I'll just drop it in until Wiley has it anyway. Actually. Yeah. Sorry, Wiley. I didn't know why. Thank you. Why Wiley's gonna drop it in because that makes way more sense. Okay. Um, how today is gonna go is basically we're gonna introduce some of our uh venue technicians, right? And I'll have you reveal your faces if it's all right, venue techs. Uh, and then we're gonna take a pause and we're going to kind of start start to build our own personal artist toolbox. You know, we're gonna talk about some theater terms, um, just some terminology that we can help us in our experience at the festival. Um, because everyone's gonna be starting off from different levels. I know when I started the festival, I came in already having a bit of a tech knowledge, but fringe is different. Fringe works fast. And I think it's good that we all start off understanding certain terms so that we we have a smoother tech time. Who doesn't love that? But uh I think if I could have the venue text uh reveal yourselves momentarily for a brief introduction, uh, what's gonna happen is, and I'll drop it in the chat so don't forget, or don't worry if you forget, I'm gonna ask that you uh share the venue you're working at, your preferred pronouns, uh your name, a visual description, and how long you've been involved with Fringe. Yeah. And uh Rebecca, if your camera's not able to work too, I fully understand that. I know we were having some issues on that. But Rebecca, if you wanna uh kick us off, that would be amazing.
SPEAKER_02Hi, everybody. Uh yeah, my camera is not working with my apologies. Um, but can y'all can you hear me?
SPEAKER_05I can hear you loud and clear.
SPEAKER_02Perfect. Uh hi, I'm Rebecca Schoenberg. I'm the technical director at the Broadwater as well as the stage manager for all the black box shows. What was what what what are the other things you wanted?
SPEAKER_05Yes. Um a visual description as well. That would be incredible.
SPEAKER_02Uh sheher pronouns. I have uh I might get it cut, but right now I have long brown hair, uh, I wear glasses, I have some freckles, uh, I'm pretty white.
SPEAKER_05An excellent visual description, no worries at all. Um, I think we're gonna jump over to to Pam, if that's all right with you.
SPEAKER_02Oh yeah. Oh, and then um for Fringe, I've been doing it for ever since like the tent was in the parking lot back at like down the street. Yeah.
unknownYeah.
SPEAKER_02So I've been with the festival, stage managing with the festival a very long time.
SPEAKER_05Incredible. Um, I actually, yeah, no, I I've only so as I've only been with the festival for a couple of years, I actually I've heard a lot about the mythos of the tents that we've had in the past. I'm like, oh, it sounds really cool, if not a little chaotic. But we're gonna go to Pam now. Pam, again, if uh your preferred pronouns, the venue you're working at, and uh a visual description and how you got started at Fringe.
SPEAKER_04Hello, I am Pam Knowles. I'm the tech person for Thymele Art in East Hollywood. I my pronouns are she, her. I am a black woman with glass, with like narrow glasses, dreadlocks. I'm wearing a t-shirt from my favorite band, uh Mountain Goats, all hail. Uh, and I have been with friends since year one. I started year one because um I'm audience. I love theater, right? I've always been audience for theater. And then they put together the fringe. I was like, what's it like to do something on stage? And I put something together on stage and threw up every performance, but it was great. And then uh Ben and Stacy asked me because they knew about my past, uh, how would you like to maybe make a little bit of money instead of lose a lot of money? And I was like, what is that? And they were a stage manager, and then um other stage managers helped me learn. And Rebecca is awesome over at the Broadwater. She is awesome. If you're in her hands, you're good. Is that everything? Do I need to say something else?
SPEAKER_05No, I think you got it. That was fantastic.
SPEAKER_04Sweet.
SPEAKER_05Muting myself. No worries at all. I think we're gonna uh jump over to Pastiche. Um, if you uh could again tell us your preferred pronouns, the venue you work at, and how uh visual description and how you guys started at fringe.
SPEAKER_07Hey y'all, it's pastiche. Um uh I'm one of those, hang on. You can as you can tell, I'm walking through another venue that I'm at right now. Uh hi, I don't know if I seach. Um I'm one of those spooky they thems you read about on the news. Uh standing before you is probably the most beautiful indigenous person you've ever seen uh with gorgeous flowing hair and broken glasses. Um I have a beard, I have dark blue hair, uh dark blue shirt, um, and lovely straight teeth. Um so I have been uh part of the festival in some way, shape, or form since 2019. Um I moved here literally to LA the first week of June in 2019. Um, and I came and saw some shows as an audience member, and then uh I was a scholarship recipient in 2021. Um I my show, uh my solo show uh won a few awards. And then I've been a uh producer, a director, a an actor, uh sound designer, and stage manager, projection designer. I've worn if there's a hat for this festival. Um I've worn it at this point, uh everything except for admin. Um and uh yes, I am at the Madnani. Um the Madnani is my baby. Um yes, I was at the Howard Fine for a little bit and then I'm now I'm at the Mad Nani. And uh yes, I'm in the stage, I'm in the stage of perhaps ecosystem. Um I yeah, I think that's everything.
SPEAKER_05Yeah, no, you got it. That was uh fantastic. Um I haven't seen it yet. If um Jared or uh Aaron Lyons is in the house, feel free to unmute yourself and scream it out. No worries at all.
SPEAKER_07Um yeah, let me I'm gonna pass it on over to uh to Aaron if he's here. That way we share the same corner, so we talk to each other. Right.
SPEAKER_05I don't think Aaron is in just yet. Aaron may join us later. Um, but uh thank you so much, everyone. Uh, we will be rejoining you very shortly. Um, I think if I do this right, this should only take uh what I'm about to explain, roughly 30 minutes as we kind of explore um some technical terms and also some best practices. Um and then we're gonna jump into a little QA session um that I've prepared for the venue technicians, and then we will then go to a general QA session um about all those questions you might have on your head or percolating right now. Um in the meanwhile, let me share my screen once again.
SPEAKER_06Come on over here. And I want to go here. And I think oh, it's so cute.
SPEAKER_05Sorry, you can't see me preparing for this, but I can. And I I just found out this is a function today. Where I can like green screen myself into my presentation. I'm I'm kind of in love with it. And another cheese brew. Okay, so let's let's get started with this, shall we? Oh, that's hopefully it's not too laggy. Okay, toolbox. Let's just start with a uh a couple of uh terms, theater terms, right? Things that you may be experiencing in your fringe for the first time, or just good refreshers. Honestly, some of these terms always take me a couple seconds or a couple times to remember what they're talking about, because there's so much that happens. So um this is uh these are some definitions, they aren't the full extent of them all. And you'll really get to see that every venue here at Fringe is different. And actually, I'll start saying this off. If there's one thing you take away from today, it's that always be in constant communication with your venue, because your venue is not your friend's venue and it's not your neighbor's venue. They're all completely different, and they all have their wonderful little quirks and things about them that you just really need to ask and you really need to know. So let's get it started. So, in some theaters, there's a lighting grid. The lighting grid is the structure in which all the lights and sometimes speakers are hung. Uh, you then have a lighting plot, which is a mapped out design of where lights will be hung and set for your show. Typically, in a lot of theater houses, you'll see a repertory or rep plot, the arrangement of the lights where they are sit, and that typically tries To get a base stage coverage. It's a basic lighting plot. The rep plot is usually what theaters have hung in their space and then they can customize within. Because Fringe moves so fast, it's not always assumed that lighting will be separate for every single show. I mean, it takes a long time. Trust me, it'd be insane. So assume that you're working with a base plot that all of the venues will be doing. And again, each one's different, but just words of advice. Then we have the light cut board. It's the controller for all the lights and where you can program lights from. Following that, it's a cue or the letter cue is defined as a trigger for a change in lighting, sound, andor video. And then a cue sheet is a document usually made for each department, detailing when cues happen and what kind, whether that be lighting, sound, prop, etc. And then there's a prompt book, a complete collection of all the cues throughout the play. As we'll explore later to uh like, you know, in in with this next hour and a half. Each venue tech and each theater operate differently, but these are terms to just kind of get used to. There we go. Great. Those preliminary cues, not to be mistaken with the cues I just mentioned. That's something for 2027 to fix. Okay. The questions you need to be asking yourself is what does my show absolutely need? What does it need to function as a piece? Okay. What can I accomplish? You really need to think about money, time, and honestly, your sanity. And then what does my venue have? Some venues have benches and boxes and things that you can use. Some don't, but like play around, investigate. So, what is their sound like uh sound setup like? What is their lighting setup? Do they have a projector? Uh, what does my venue contract include and not include? Um, does my venue, you could ask questions like, does my venue include tech time? Does my venue include a designer, or is that something I can pay for an additional fee for my show? Uh, what should I expect a space not to have? These are the things that you need to be, don't just assume. Assuming is, well, you know, there's an old adage for it. Uh, and finally, what do I need to prepare ahead of time? These are some of those beginning thoughts that you can have as you head into uh into tech. And also just like your show in general. Okay. Preparing ahead of time. These are things that will make your tech run uh a bit smoother. Um, I also want to thank I bel oh. Ah, I'll I'll drop it in the chat or I'll follow it up in the YouTube description. But I want to thank um, it was Brandon and another gentleman from uh Fringe's Past who'd helped create this document um that are absolutely wonderful. And if our venue techs know, please shout it out. Um, but I'll I'll be doing that research in a second to credit where credits do.
SPEAKER_04So I know who you're talking about. He's amazing. Right? They saved us all. Yeah.
SPEAKER_05Right. I'll I'll have to I'll have to I'll have to look it up uh after this. But cue sheets. So step one, determine where your cues go. So begin flipping through your script and make a little note wherever you think a change needs to happen. Anytime something changes, that's a cue. For example, lighting needs to shift to stage left, or sounds need to come in and go out, or uh, or sometimes they need to work in tandem. You don't necessarily have to have exactly where you want it written down. You just know that's where the important change happens. You got to make a note of it in your script and then write it down in a list, in order, and a brief note explaining what you need to have happen. This will start getting you an idea of understanding how cues function and and honestly the pacing of your show. Step two, determine what cues need to be. So this is something you can do in tech when you see your lighting rep plot or your scenery setup, but it's always better to figure out as much as you can in advance. In this moment, when upbeat music should play, should it look bright? You know? Uh, or do you have a more articulate way of uh describing that? You know, have this stuff in mind. Sometimes you're like, oh, I'll just figure it out on the day of. I don't recommend that. If you're working with a designer technician, this is super helpful information to be giving them. Um also, if you're working with a designer, let your venue know that. Uh, sometimes designers are familiar with spaces, sometimes they're not. And it's really important to have that conversation. But continuing with cue sheets, okay. Determining timing. In what order do cues need to happen? Do the lights dim down at the same time the music starts? Or do you go all the way to blackout before starting music? Step through all of those cues in sequence and figure that out and what you want to happen and when. Think of it a lot as like tiny steps that need to happen in order. I think a really fun way of looking at it is like a little dance. You know, there's little steps to it all, and it is very magical. So, how is a cue called? This is also super important. When you have that information or that language down in your brain, it'll be so much easier to explain. Do the lights turn off when an actor flips a switch? Should the music start exactly on a specific line? Is there a particular move a dancer makes that makes everything happen then? This is important to write into your script uh as a little note to generally have as close to that original line or cue as possible. That way the next person running your show for you can follow along and prepare for that next cue. Uh, I will also add that, you know, fringe is not the end all be all of your show. And so starting to gather this information and learn these tools are ideally helpful for when you want to bring your show to that next venue, that next stage. And you're like, oh, I actually have a book, I have a Bible, I have my cue sheets ready to go, you know? Um, it'll just help you a lot more. Brilliant. Okay. Tips. When you go through the process of tech, when everything gets put together, you'll want to have a copy of your cue sheet for yourself or a trusted member of your cast or friend. That'll be a checklist for you to make sure that you're really getting all of the things you want. You know, it'd be sucks to be like, oh my God. I and this would not be the case because I don't think anyone would let you have I don't think anyone would let this happen. But it's like, oh no, I forgot my my uh my welcome monologue, my my my land acknowledgement. You know, it's like you gotta make sure all of those things are making it in. Um anyway, this will keep help you keep on track so you don't get lost in the process. Um when you're making notes about the cues, I will also defer to our venue text on this because everyone likes it differently. But label the cues maybe as a light cue with LX and then a number and your sound cues with an SQ and then a letter. That way anyone looking at the prompt book or cue sheet knows at a glance if something's supposed to happen with lights or sound, or honestly both. Again, I preface that with saying some venues will ask that you don't number letter your cues until the technician running your show does. Again, we have incredibly amazing venue technicians running your shows, but keep in mind they are not just running your show. They are more than likely running tens, tens upon tens of other shows. So they may have another way to digest their information. Um and yeah, again, always check into the venue and the technician that they have.
SPEAKER_06Okay.
SPEAKER_05Ah, so look, here's just an example of a of a cue sheet, right? Um, again, there's the whole script they are looking through, but this is just a collection of everything, right? It says, for example, what page it's happening on, if it's a lighting cue or a sound cue. What is the moment? What is the description of what's supposed to happen? What is that timing? If it's like a fade to black, how long is that fade to black? If it's uh if the music fades, how long does it fade? Um, and any other further notes. I think that this one of like, wait till the couch is out of the way. It's a great note. And you'll see here that there's, you know, things that happen at the beginning of the scene, if it's a visual cue, uh, if it's based on a line. Yeah, super helpful stuff. I will also reiterate that this PowerPoint presentation uh will be made available after this um after this little day. Uh again, here we have uh a sample fringe dance cue sheet, right? Similar thing, right? We're going off of cues, and instead of it going off of lines and dialogue, it's actually going off of movements.
SPEAKER_06Yeah.
SPEAKER_05And then, oops. Brilliant. Okay. And here we have a prompt book sample that we have that shows us what it might look like in your prompt book. Um, and again, I also recommend, and we've talked about this before, so I'm actually just remembering what happened last year because I was like, this is if helpful information. Check in with your venue. Sometimes they just want a blank script and they want to uh write in where those cues go themselves. Other times they will ask for something like this beforehand or on the day of. Again, it's about communicating with your venue technician and what they prefer uh and what will be most efficient for them. But in this example, you'll see that we have uh a lighting cue, LX1, lights go up. And then we have uh a sound cue, sound cue A, that fades down until our performer lands center stage. And again, then we have another sound cue that's a visual, and we have a lighting cue that's a visual. And you can see that they're uh quite close to where they're gonna happen in the script, and that's super helpful. And so whether or not this is actually being shared with your technician in this fashion, it is super important for you for your own sake and your own operation of the show that you create something like this. And that way, if your venue tech asks for this, brilliant, you've got it, you're all set up, or your venue tech may want a blank script and going through it together. Moving along. The day of tech. Um, so we're entering into some territory too where we were able to pull some of the venues from last year and some of the technicians from last year. And while some of this language has been um edited and adjusted, some of the information was still quite helpful. So I wanted to keep some of this in. But also, this is just general good advice. Always be kind, lead with kindness. It's gonna be a very stressful time. Uh, and it's just important to be mindful. And also, like I said before, your venue stage manager, your venue technician is probably working on a dozen and a half, so much. Uh, if you show prepared and with clean paperwork ready to go, everybody wins. And remember, when you hand over your script to your technicians, it's best to give them a blank script, meaning a clean script with no notes. Granted, you've talked to them about this before. Always be in contact. So, if you walk into your tech prepared, you will be surprised how fast and easy it can be with the caveat. Just like amazing things, they do take their time. So, I'm not gonna tell you it's gonna take one hour and you'll be in and out like that. That's wild. Don't do that, don't assume that. Uh, but it makes it a smoother process because knowing what you want, where it goes, and how you like it will allow you to focus on the important part, which is the show, and honestly, we'll streamline that. I've just been in so many um tech situations where we're all waiting for the director. We're all waiting to to see what decisions they come up with. And and if they were just a bit faster on the draw, it makes it a lot faster. So be that person that's you know got those answers at the ready. Okay. When in tech, these are some things not to forget. Amazing. Okay, so we've kind of talked about it a little bit, but it's pre-show speeches. So uh we do require a land acknowledgement. Ellen and Lois are recording that, and it will be dispersed out into our community and to our artists and our venues. Venues will uh sometimes make land acknowledgements for themselves in their personalized theater spaces. Or some artists decide to project their land acknowledgement or incorporate it into the fabric of their show. All of these are totally A-OK, but it's important that you have something there. Okay. Away from the land acknowledgement, we also have, you know, what are the other things you want your audience to communicate with them before the show, right? Um yes, I will also say if you plan on doing a live uh um a live pre-show speech, uh communicate to your venue technician if you'll need lighting in a certain location and where that's gonna happen. Um, not everyone does it, some people do, which is important to know that. Yeah. Oh, also, I'll actually add um end show speeches too. We've seen this a lot happening as well. At the end of your show, when you're giving a curtain and you're saying, like, oh my god, go see X, Y, and Z show, shout them out. Account for that time, not only in your show run, but account for that time and that tech that you might need of like end lights come back up. Things to know about. Okay. Amazing. Moving forward. Yes, the land acknowledgement. Um, again, so we've seen this um on our website, and we open about it, about uh all of our town halls and workshops. Uh, and again, like I said before, Ellen Los will be sending one out. Um, but you can also create your own, or your venue may provide one. Um yeah. Here we go. When in tech, things not to forget, end of show speeches. I love that I always get ahead of myself in these things. I just get too excited. But again, is there a certain song that closes you out that you have during vows? Um, is there a blackout? Is it a fade to blue? Like, make sure you have that pre-show speech. Sorry, that end of show speech ahead of time. And don't surprise your stage manager. Give them a heads up with how that's gonna happen. And uh numbering system. Depending on your venue, you may have a different set of numbers for your lighting cues they will give you. Make note of this for your own reference on your cue sheet. This is one of the reasons pencils are you know kind of preferred sometimes. You can't erase ink unless you have one of those fancy pens. But I don't always have that. Great. Your Q Lab. Um, not all of us are the most tech savvy, and that's totally fine. To give you an idea of what QLab is, QLab is a program that will let you program sound cues, fades, and even video cues. And uh there is a version that is free on a Mac laptop. Uh, and it's very easy to drag and drop files and set up your whole show so you can take it with you when you're done. And there are tutorials online that I super recommend. I do remember one year in undergrad, I really wanted to learn everything about QLab, so I basically locked myself in a theater for a week and I learned a lot. But uh, it's super helpful. Now, sometimes your venues may want to build that with you. Sometimes they even prefer that you have that ready to go. It's just we're we're all coming at this from different areas, and so not everyone knows how to use QLAB, and that's totally fine. That is something you should ask. Like, should I be making a QLAP or should I just be keeping my files raw? We'll get into all of that uh when we talk to our venue techs and hear some advice that venues had offered in the past. Oh, I will also add that QLab is only available for Mac users at the moment. Um and I will look for a non-Mac version because I have yet to find that. Okay, sound libraries. This is also super important. Where do you find those sound effects? Just like music, sound effects are uh copywritten so or have rights associated with them. It's best to avoid grabbing something from somewhere on the internet. You don't know where it's coming from, you don't know if you have the permission. There are a ton of royalty-free locations that do provide sound effects. I also think it's really fun to just go source sound effects out in the wild. That might not be everyone's jam, but I do love it. Um, here are some, and this is why I'll share this uh this PowerPoint at the end, because we do have a couple of uh resources of where to get sound effects from. Uh, same thing with images on a projector. That is also something to look out for. Okay, tips for the day of additional. When you're going to your uh venue, you may be having tech at say an early morning or at some other odd part of the day, right? But imagine you're going to your fringe show and you're trying to look for parking. Start to scout that out. If I'm going to the Badnani and I'm getting there for my 10 a.m. tech, I want to get there a little bit earlier because I want to see what the parking situation looks like around there. That way, when I start to email my patrons the day before the show or two days before the show, I'm like, listen, here are some handy-dandy tips on parking that are specific to my venue, to the show you're going to see. It is truly helpful. Anyway, I'll also add, or additionally rather, get there early. So, as everyone involved in your show, uh, ask everyone, get there. Show up at least 15 minutes early to your tech period. You do not want to be running in stressed and frazzled. And like we did at the top of this meeting, breathe, warm up, run in circles, do what you need to do to get you in the right headspace. Uh, and don't expect to do it all by yourself. I will say, as many of us are, whether we're bringing in solo shows and we're directing and producing and marketing, or or whether it's a solo or ensemble and you just have so much weight to carry, it's always good to have someone else in the room to help you out, especially, and we'll get into this later, but if you just want someone to like help you track the time, it it's more than valuable. Also, I think tech time, if you give the responsibility to someone else who is not in your cast, because you probably need them, but to take like some socials, some photos, get that social media fodder. Like show them that behind the scenes view. Don't let it interrupt your tech. That's why you get a friend to do it. Okay. Because of the nature of fringe, and because we have so many shows during June that go back to back to back to back, it's typical that the uh tech process is also very similar where teching will happen back to back to back. So please practice um, I guess, proper street etiquette where it's like a lot's happening at fringe. And so you might be waiting on the street to load into your theater. Please wait till the rest of the cast from that uh or that production from earlier that day doing tech loads out fully. Then always confirm with your venue tech that you're allowed, either the venue tech or the venue manager or someone else working for the venue uh to allow you to then begin your process, right? Again, you don't want to be that person knocking on the door for the third time, making the people inside feel really nervous and stressed. Uh also, uh, you might want to bring a thumb drive or a flash drive. You really got to check with your venue if you need one or if they recommend it, depending on how they want uh sound cues, for example. Or projections. Okay. I think we're coming to a close here, but suggestions to optimize tech. Here's a go. So you, as the director making choices, should not be the one setting up the show and the scenery and the prompts. Um, have some helpful hands, get members of your cast, get a friend. Like let them start doing that while you're able to communicate with your technician and uh how to start programming those lights, sounds, uh, and just gives you overall more time to communicate to that person who's really gonna be helping you build your show. Uh again, uh this time frame is a little bit different on based on your show, but spend the beginning of your show pro or beginning of your tech time, sorry, programming lighting looks and sound volumes with your Q sheet. Um, I'd love to hear more from our venues in a second about this too. So I'm gonna write it down so I don't forget. But when it comes to sound volumes, how to best gauge that, because an empty theater versus a theater with bodies in it sounds differently. So we'll ask them that in a second. I wrote it down right here.
unknownOkay.
SPEAKER_05Um now you're gonna spend an hour skipping from Q to Q, usually, starting a few lines and before the cues, just getting that pacing and that timing really where you want it. And when you get to the end of your cue list, spend some time making any needed changes to your tech. Uh, but don't worry about performance notes for right now. This is not a regular rehearsal. This is a tech, this is tech time. It's not a time for directors to be giving their actors notes. Um, that's truly it's uh it has to happen some other time. Um and it should be happening so close, but just know that you want to really focus on the tech because you probably have a limited amount of tech time. Uh also rehearse your curtain call with tech. I've seen it happen where people uh end their scenes or end their show and they're like, didn't really know what to happen here. Make sure you have some indicator of when the show is concluded and rehearse that curtain call with your tech, including those end show speeches. Okay, okay. Ah, like I said before, I'm always one step ahead. But again, don't worry about those performance notes during tech. Um yeah. Let's see. Oh, this is a good time to mention at the bottom of this note. Um, you can try to, especially in a super if you come in super prepared, but if you think you need a full run with a tech in this space, you should communicate that with your venue and see if it's a possible to book additional time in that space. Again, many of these venues, you'll have negotiated contracts for tech time. And many of them do offer you are able to purchase additional tech time. And if that's what you need for your show, start that conversation honestly now rather than later. Because again, with such a high volume of shows, um it's not unlikely that nobody's gonna buy extra tech. Time and maybe when you want to make that decision, there are no more slots, or you get really, really strange slots. And I say this to my ensemble folks who have to coordinate with so many people. This is where you really want to start that conversation early. Okie dokie. I'm so sorry you're all listening to me talk for so long, but we're we're home stretching it. Okay. When in tech, tips and thoughts. Have someone on the clock the whole time. Set timers. Make sure you don't go over schedule. If you find yourself getting distracted, make sure to get back on track. It is also completely natural to feel stressed by the process. You honestly probably will be. But it's about, you know, how do we recognize that stress? How do we manage it? And how do we work through it, right? Uh especially like if it if you need to, step outside. If nothing else, it's just just breathe in that lovely LA air. Uh, but but truly take that time to really check in with yourself and uh and center yourself, right? Consider yourself a cheerleader rather than a dictator. Trust your people. You will enjoy it a thousand percent more. You'll still be biting your nails and nervous, but at least you'll be having fun. Okay. Uh trust your work and let the story tell itself. It's okay to cut something in tech that just isn't going to work the way you want it to. Remember, the big dreams are the beginning of the process, but you can make a note for the next run. Uh, don't change things during the festival run. It really isn't possible. Changing things after tech makes stage managers sad. Maybe mad, mostly annoyed though, honestly. Um, and the festival's just gotten to a scale where there isn't time to do that. But also know that, yeah, you have future runs. Um, this is the the beginning of work or the culmination of something or a step along the show's life. You can return to it. Um, so don't worry. Uh, leave the space cleaner than you found it. Don't use baby powder, confetti, or spilled liquids, even water, uh, unless you have cleared it with your venue and have planned ample time to clean it up. It won't magically disappear. In fact, it'll often get magically become someone else's problem. Uh, and that's a bad magic trick.
SPEAKER_06Moving along.
SPEAKER_05Okay. That is the Roddy spills a lot of uh information at all of you. It doesn't mean everybody stops talking, so I apologize. But it does mean that I will be talking with our venue techs and kind of playing this little game show type thing that I figured out was a lot of fun last year and hopefully works still, in theory. I mean, we'll find out together. But uh, Pam and Pastiche and Rebecca, I will be pulling up on the screen a question, asking you all a question, getting your answers, and then cutting away to some other venues who aren't here with us today, um, and kind of reading off their responses. You're gonna win this game, don't worry about it. But it's gonna be a fun time. So let me share my screen.
SPEAKER_09Oh no, well, let's not do that.
SPEAKER_05Oh no, we're no well. Let's present again. That way it looks cute and not silly. Great, okay. This is some advice from our uh advice from advice from venue technicians. I'm doing great. This is awesome. Okay, here we go. Um, so while some venues negotiate tech time and it's already included in the package, uh, we have this question often from our artists. How much tech time is generally required for a one-hour fringe show? How much tech time do you suggest for a show with minimal cues? With many cues? Um, this is a a truly a you know very customizable question. But I would love to throw it to to Pam, Pastiche, and Rebecca if you have any thoughts percolating, uh, go for it, please.
SPEAKER_04I guess it would You go, Rebecca. We can't see you. You go.
SPEAKER_02It's all right, Pam. Go ahead. No, you go. I we I guess it would depend on the length of your show. Um the thing we've been doing at the Broadwater the last couple years that's been working is four times people's length. So for an hour show, which is most people, you get four hours of tech. And that seems like a good amount to be able to accomplish, depending on how much tech they have, either getting through the end of their show and adding layers or being able to accomplish even like a Q to Q. Um, for a half hour show, it means two hours of tech, but usually that's plenty of time. Um, that and for like, you know, then a 90 would be six hours, and that seemed to have has worked out pretty well for the shows at the space. It seems like it's a it's a good amount of time.
SPEAKER_05Brilliant. Yeah, and Pam, you wanted to add?
SPEAKER_04Uh our venue is very similar. We don't do four hours, we do like double your show time. And then also the question is when you it comes to minimal cues, because people have to remember this is not the panttagist. None of these venues are, and you want all these sound and video and everything. So it depends on what is minimal cues, what is maximal cues, what is uh what is what you want. And so that is a discussion with yourself, your soul, your director, and your stage manager to tell you and your tech to tell you here's what's possible. Okay if that makes sense. Sorry, Pam.
SPEAKER_02Uh I've been doing this thing the the last couple of years too, where you've been suggesting kind of like an A B C like here's what you need for your show, here's what I'd like to add for my show, and then if you've got time, here's like special things I can put on top. It really helps people also like think about exactly what they need for their show and have it written down. Sometimes we can accomplish just the A list, sometimes I've gotten through everything.
SPEAKER_04Also, listen to Rebecca, listen to her. Yes, yes, and I'm sure that I've done that similar. Yes.
SPEAKER_02I'm just gonna remind people that copying a cue is much faster than programming a cue. So if you have a handful of looks that gets copied, you're gonna achieve much more than if you're rebuilding every cue for your show.
SPEAKER_05Absolutely. I want to um add to that because Rebecca's fully on it. Um, and especially recreating versus copying a cue. Um, I when I was an artist at the Fringe Festival in 2023 and we had a show, we um I think we maybe had about I want to say 45 different cues, but truly they all boiled down to it was just five. It was just five cues that we just kept changing throughout the show. We settled on like a blue, a red, a pink, and a yellow, something like that. And then that's what we that was the code of our show throughout the entire run. And that way we weren't building 45 cues from the ground up. Um oh, that fifth one was just a blackout. Um, but yes, so this is super helpful and will really help you, you know, save all of that time in tech. Uh Pastiche, I want to throw it to you if you wanted to add anything.
SPEAKER_08They're passing it along to Jen. Oh. Gotcha, gotcha.
SPEAKER_07I'm I love you all, dearly. Thank you so much for your time and your talent. Uh I appreciate you immensely, but I I have to go actually do slash run a whole other show. So I adopt sorry about that.
SPEAKER_00When uh when when we arranged this, we didn't realize that they had to jet so early.
SPEAKER_07So I said, you know what?
SPEAKER_00I'm gonna be there. I'll answer some questions.
SPEAKER_07Yeah, yeah, though. But yeah, honestly, not a whole lot more to add. But yeah, if Jen does, I love you. Miriam, thank you.
SPEAKER_00Oh, this is the biggest thing. Love you. Sorry.
SPEAKER_07Take care, Messy.
SPEAKER_00Um, yeah, hi, I'm Jen, by the way. I'm um one of the venue managers for the Stagecrafts venues, which is the Modnani, the Hobgoblin, the uh LA Pack, and uh Bad Ladder this year. Um, so I do stage manage and I arrange all of our SMs. So um I know these things, but um yeah, we do um three times the length of the show for tech. And then all of our packages also include a dress rehearsal, which is twice the length of the show. Um so I mean, check with the venue, obviously. Um we added the tech rehearsal, or I'm sorry, we added the dress rehearsals uh several years ago. Um, just because it just made it much easier for everyone. No one had to book extra tech time, it was already involved. Uh, and then all of our previews looked lovely. So that that's what we do.
SPEAKER_04Incredible. Um I'd like to jump one thing in here. Sure thing from something you said earlier. Um once your tech is done, your show is locked. There is no changing, no, you know, maybe minor tiny, tiny light things. That's it. But you know, the answer here will be no, and it's always been no in every venue I've worked. Once your tech is done, it's done. Because we have so many other things to do, and we got your back, we believe in you, but y'all gotta once you've made your decisions, once your tech is in, it's locked, it's over for your run.
SPEAKER_05Absolutely. Um, and survey says so polled from venues like the Hudson and LA LGBT center. Um, they were discussing that three or five hours could be considered average, and then LA LGBT coming in, being like, listen, it's wildly different from show to show. Some performances always require light cue, uh, light, light cues, um, like a top, a blackout, and that's it. Others may have dozens of slides or sound cues that need to be set. It really depends on your techniques for your show. Of course, our wonderful technicians with us in the room answered this question flawlessly. Uh, jumping into the next question. Do you prefer, as technicians and venue operators, to communicate with artists before their tech session? Again, like as more prepared as we can come in, but also respecting everyone's time. That is the key to this. So uh, I mean, Pam, if you wanna you wanna take the first whack at this?
SPEAKER_04Yes. If you have your sound cues, if you have your images or whatever, I I I communicate directly with whoever the contact is. Give it to me as as early as you can, script and everything, so I can at least build the QLAP stack so that once we get into the space, we can just start running it. We can just run it with a little bit of you know fades and stuff. But as much as I have ahead of time and as much as I know ahead of time, that's great. I understand though, because it's a fringe, you might not like my very, very, very first show I did year one when I didn't even know what tech was. And my first stage manager later became the mayor of Burbank. And the kindness he extended to me when I was like, he was like, okay, let's run it. I was like, I'm still writing it. No, I'm and I walked off. I literally walked away. And he was like, okay, can we talk? And I came back later. I'll I'll go. I get it, especially for new people and especially for uh veterans who are creat trying to create something that's completely outside of the box that you've been put in by the system. You're trying to do something brand new, and you might not have it all ready by tech. Oh, well, you should have it by ready ready by tech, but you might not have it ready early. We understand, but as much as you have early, I want it because then I can do what I need to do on my end to not waste your time to try to get your tech rolling smoothly within the system as possible. I'm gonna mute me now.
SPEAKER_00Uh I will say um paper tech. So um we recommend to all of our all of our uh producers that they have a paper tech with the SM and Greg RT, who I saw just jumped in here. Um, but um basically a paper tech is when you sit down with your uh with your SM and your designers if you have them, uh, or in stagecrafts, we we provide designers um and you just go through your script. It usually takes an hour or less. It's really chill. We do it on Zoom so you don't even have to leave your couch, and you just go through and say, okay, here I want a blackout, here I want this song, here I want this. You gotta wait for this guy to jump over this thing before you hit the cue on this one. So, like then when we get into tech and we're actually doing your programming, we already have all those notes ready to go. And there can be changes that are made in tech, but in general, that makes your tech go much easier. So check with your uh check with your venue, check with your SM and see if that see if you can uh have that paper tech meeting before your tech even begins. And um, Pastiche would say if they were here that they were very, very proud last year that every single Mod Nani show, which is their venue, uh got to run their entire show with tech during their tech rehearsal. That's really unusual.
SPEAKER_05Yeah, no, absolutely. That's awesome.
SPEAKER_00It is, but it's it's because they all had paper techs.
SPEAKER_05Brilliant. Um, Rebecca, I want to pass it off to you um and give us some insight with the Broadwater.
SPEAKER_02So this year we're doing these 30-minute pre-production Zoom calls, and I think they're gonna be a little different for everyone. I think somewhat people might be able to achieve a paper tech, and I think some people are just gonna have a bunch of questions. I do have to be careful about the stage managers I'm hired getting paid ahead of when they're actually working. So a lot of people because I'm the technical director of the building, a lot of things I can can come through me first, and I can answer any questions. So I know all my show, all the every show in the building has my email, so I'm always open for questions. But yeah, we're trying out these like pre-production meetings. So we'll see how they go. Uh, I think they'll be great for everyone.
SPEAKER_05Uh incredible. And yes, absolutely. Because yeah, every venue has a different style, as you've just heard. Uh, taking a look from Hudson, um, oops, I gotta move my little chat away so I can read this. But um, yes, Hudson prefers it. Um and uh where's a good place to put you guys? There we go. Okay, so uh the Hudson was just basically saying the more information they have, the merrier, just so they and how they know best to serve the production. Uh knowing what the needs are prior is always super helpful. Uh to also make the most of tech time. Then from LA LGBT center, uh, management welcomes any type of questions, any time, including tech questions. Operators are paid hourly for their time, so any commucate any communication or meetings with your operator prior to your tech would be considered billable time, but many of your questions can be answered by management. Just things to keep in mind. And moving along to this is going the right way. Ha ha ha! How long does it normally take to program an average lighting cue during tech? Uh, this is an interesting question we get asked every single time. Um, and I'd love to hear from our venue technicians this year on what you where where you feel about this. Uh Rebecca, since we ended with you, I'd love to start with you if possible.
SPEAKER_02Sure. An average light cue, I would say two to five minutes. I think that's how much time you want to plan for an average queue. I think if you're looking at an effect or anything different like that, you'd maybe want to allow more time. But I think always having more time planned than less is better.
SPEAKER_05Absolutely agree. And and Jen over at Stage, are you in the stage card? I thought, oh no, it's the I thought you were in the old hopgoblin buildings, but that wouldn't make any sense.
SPEAKER_00No, I'm at home. This this is my cat. Um yeah, three to five minutes uh uh per per cue. And uh understand that when your tech or your designer is creating those cues, there's going to be those three to five minutes where they are typing or they are working or they are doing something. So, and it inevitably happens every time, but you what you don't the the most annoying thing for to happen in tech is when someone's like, okay, so we want these lights to go red and then kind of fade to purple and then like flash yellow, and okay, let's run the scene, go like bracket, man. Like we've gotta build that. So every time it does anything, including so like what I just said, those three different colors, each of those is three to five minutes. So you've got so tech is hurry up and wait. And your tech is gonna go much smoother if you are prepared for that and you are not having anxiety about like, why aren't we working? Why aren't we working? Your your designer is frantically working. So give them give them a second, it'll be okay.
SPEAKER_05Perfect. And then Pam, if you want to add to this question.
SPEAKER_04Uh what they said also uh applies to sound, fade in, fade out, video, fade in, fade out, stuff like that. And uh also what you were saying, the designer is frantic working. Your tech, who may not might not be your stage manager, but your tech at your venue is taking whatever your designer came up with and translating it into what is possible at that venue. Sometimes designers come up with all sorts of amazing things because this is not the pantanges. And then you go to a place, these are the lights, right? This and then they have to translate it. And again, same amount of time. That kind of patience is needed.
SPEAKER_05Yeah. Um, and I think it's also fair to mention that, yeah, this is why it's like really having those early conversations, if possible, are super helpful to try to understand what's possible in your venue in your space, but also to understand that like some designers have worked in your venues and maybe have a good understanding of them. Some have not. And that's where you really need to understand what is possible in your space. Um, absolutely. And as we take it over to what I assume is also Hudson and LA LGBT center. Uh, Hudson is saying, again, it varies, which is kind of what we've been seeing here. It might hover around five minutes, but also it's like a general wash that's different from moving lights, LEDs. Like, you know, they kind of say that about five minutes for a complicated look could be an outlier. It it's something that really has to depend. But uh it depends on what you're trying to do. At LA LGBT center, uh they're very honest. They're like, I'm not a programmer, but uh, from what I've heard, two to five minutes is depending on the multiple factors, including, but not limited to how clearly the queue is described and how decisive the director is. Again, communication and communicating effectively is really key in this process. Um and just understanding what communication style your technician is best at uh is gonna be super helpful. Going on to our next question. Yes, I'll shout out uh Greg Krafts in the chat who said, Yes, please be decisive. I want to emphasize that too because that is so helpful. Uh okay. Where should expectations lie when figuring out how many lighting cues a fringe production can have? Again, these are open-ended questions designed to be a little um varied in answers. So, Pam, I'll throw it to you actually.
SPEAKER_04This is not the Pantages. You're not on Broadway. You don't need 50,000 light and sound cues for a one-hour show. I'll say this. So I'm a big geek, Doctor Who. I'm sitting here in my TARDIS. Tom Baker said back in the day when he was asked about the possibility of Doctor Who going to Hollywood and getting a huge budget and huge money and everything. And he said, Yeah, you know, that money might uh replace the bubble wrains and the bubble wrap monsters, but it won't replace the stories, the connections. The thing that is the matter, the thing that matters is the the personal approach to the story. You can have bubble wrap or you can have all All the lasers. What matters is for us watching, for your audience watching, is what you can bring to your story. Only you can tell your story. So you might think that I need 50,000 changes and light queues and all this video and all this, but maybe what you just need is for your actors, if it's it's a play or yourself, if it's just your solo show, tell that story as honestly and sincerely as possible. You don't need as much tech as you think you do. But if you do, I can help you with sound.
SPEAKER_05Um yeah, I just want to second that before I we we jump. Uh we will jump to Jen. So get ready, Jen. But um I uh again, like it's like we just had um Kim's Convenience come to the Amundsen and it started off as a fringe show in Canada. And the set I saw was wonderful, and the lighting was beautiful, and the projections were gorgeous. But I can assure you that was not all there when it was this Canadian fringe run. Um, so keep that in mind. Uh Jen, please, if you have any other uh additional insight you'd like to add.
SPEAKER_00So, so okay, just want to clarify. So the question is how many, how many cues can you have?
SPEAKER_05Um, I guess can, you're right, is a wild open box term. But I guess uh how many can you reasonably have? Let's be nice to our technician.
SPEAKER_00There you go. There you go. I mean, so okay, again, it's always gonna depend on the venue and the venue capability, right? So um Greg has kind of tricked out all of our venues, so everything's computerized, even our lightboard, it has the capability for kind of infinite cues. Obviously, you're not gonna have infinite cues in uh an hour-long show. So yeah, uh you you do definitely want to um you do definitely want to just tell the story. Um, but also like trust the people who are working with you. So one of the things that Greg is very good about when he is designing lights is kind of going on vibes. So if you tell him like, hey, we need it to feel really spooky here, that's kind of all you need to do. And I'll give you a couple spooky looks, you know. Um, you you don't want to like micromanage, like, we need this one light to turn this color and this one light to turn that light color. Because unless you are an actual designer yourself, that's probably not gonna be super helpful. So give uh give a basic idea of the feeling that you want the audience to feel in that moment, and then let the lights and sound do what they need to do to make that happen. Um, but yeah, focus on your story and um, you know, we'll the the the tech will happen as it as it needs to happen. Um that said, I do always cringe a little bit when I hear things like, oh, well, at fringe you don't need lights and sound or you don't need anything. Sure, you don't need it. That's what's really fun about fringe shows is that I mean, one of the best shows I've ever seen was in a van. That was cool. But at the same time, the things that you cannot have at Fringe is elaborate sets. Okay. So because you're sharing a space, you're not gonna be bringing in a freaking box set, right? Um, so you can create those areas and those different locations and those different feelings with light. You can do so much with light uh and so much with sound as well. And so I think that like sometimes the real magical thing about fringe is that you can have a basically empty stage and really still tell the story with light and with sound and with your own performance. So it's something you want to think about, but you also don't want to micromanage it. Does that make sense? I hope that makes sense.
SPEAKER_05Absolutely. And um I think that lays out a lot of really interesting things, Jen, because it's it's yes, you can accomplish things. It is a playground, truly. But um, just going back, it's like, how many can you reasonably have? What are the reasonable expectations? What are those strategies and plans? I think I've seen a lot um uh a lot of like ensemble shows in particular, they do bring in set pieces. Um, but that's because A, they already have a plan of how to load in and load out, and they've like rehearsed it to a fine-tuned machine, but also they even have a plan of how they're loading it in and loading it out. Like, whose truck is it? Are we renting a U-Haul? What's going on?
SPEAKER_00And like you'd also be amazed, like what really looks like an elaborate set, but is actually not. Like we had a show at the Modnani last year that had a whole like bedroom set and different areas with like um uh like places to hide behind because it was a whole caper. But what it really was was just an inflatable mattress and like two room dividers. But the way they set it up, it and then they had like a little carpet on the floor. Carpets, carpets make a huge difference. Um, so because that that made it so like this is the living room, and then this is the other room, and this is the other room. So you can do things very simply with a set, but you're not talking about like, you know, a box set that with like flats that you're bringing in, right? So like things that you can load in and load out in 15 minutes, anything you can do in 15 minutes, go for it.
SPEAKER_05Okay. And I'll also just add keeping in mind that your audience is also coming in in those 15 minutes. And that's something else you want to have a conversation of is am I wanting to peel back the curtains, show this process, or am I really trying to hold the house for for for 10 minutes to really just load in everything? Conversations to have with your venue, your your design, your creative team.
SPEAKER_04Um uh Rebecca, do you want to You are not holding the house for 10 minutes? You are not doing that. No one no one is doing that. You will not be doing that.
SPEAKER_05Uh fair enough. Uh I guess I misspoke. I more meant like during your 15-minute load-in, are you taking 10 of those minutes to uh to load in something and really coming in with a strategy? Uh Rebecca, if you'd like to add anything from the Broadwaters part about this, um, I know that Jen and Pam covered a lot too, but but I'm just offering it up.
SPEAKER_02Yeah, no, they cover basically mostly everything. I think it's just how clear you can communicate what you want. The worst thing that happens is when I ask a question and I get back an um. I also know that we haven't brought it up, but all of our spaces have a lot of color. And so that's also something to think about because like color shifting in a black box is so effective. So it's a really a way to use like your lights as like part of your set.
SPEAKER_051000%. Uh yeah, if your venue has has LEDs built in and you can change those colors, definitely do that. That's exciting. Okay, from Hudson uh saying, yes, I suspect this will vary from venue to venue, but based on the capabilities of a lighting console and the capacity of our board up to run them, generally speaking, uh 60 Qs in 60 minutes is considered a lot. I'd say for what you want, check the venue to see what their capacity is to accomplish that. Very uh very great response from the Hudson. And then uh L A L G B T. There's really no limit, but the large amount can result in having to book additional time and labor. Again, this is hearkening back to uh what can you reasonably do? Well, what are your reasonable expectations and what are the strategies and plans you're coming in with?
SPEAKER_04And Rob, can I say one more thing? Please go for it. Um I fear we might be sounding a little negative. We are there, we we all your texts in all the venues, we have your backs. We just know that, you know, you might want more than is uh reasonable or expect that we we will work with you to bring your vision to life. But you just have to be aware that sometimes the answer will be, hmm. Can we is there a version of this conversation where we can talk about this or where we can redo it? Just know that, right? They're not we're not being negative. If you come in with your 60-minute show with 75 Qs and 90 Q's, this has happened to me and others. What we're doing is just trying to work with you to shape help you shape your vision to something that works in the venue that you're in. We got your back. We might not always say yes, but we got your back and we will try our best. Does that make sense?
SPEAKER_05I think it's okay. No, no, you're so I'm gonna um yeah, I guess I guess we're all speaking from a place of like wanting everyone to understand how this functions. Um, but we're not trying to shoot down a ton of ideas. We're just trying to have those conversations earlier rather than later. And honestly, I think at the end of the day, everyone's just trying to mitigate stress because your fringe show is important and there's a reason why you're producing it. Um so I understand there's a lot of emotion that comes in there with that. Um, so it's a it's an idea of wanting to also achieve the dreams that your show has and for its execution uh while also trying to mitigate all that stress as much as possible. Um, yeah, thanks, Pam. Uh going back to this question here, uh, if your venue supports projections, how do you go about working with an artist during tech on projections? Do they come in with a QLab file? What do you recommend they have ready if they do want to do projections? Uh, Rebecca, if it's all right, I'd love to start off with you. Um at as some words from the Broadwater.
SPEAKER_02Sure, it just depends on the show. I have some shows coming in with Qlabs. I have some shows that I'm recommending some people to build their Qlabs. If they want them built beforehand, I just have like a list of names that they charge like a reasonable rate. If you're bringing in a Qlab, I'm gonna stress repeatedly that it has to be bundled. Absolutely has to because it needs the source files. And if it's not bundled, it's just gonna take more time. If you're gonna bring in files, the Broadwater doesn't do any internet, so only things on a drive labeled in order and know what your projections want to do in that case. Do they fade? How long do they fade for? Do they hard stop? If you know what each of them do and you don't have very many, I guess this would apply to sound as well, projection cues, then we could easily build your Q lab during your tech time.
SPEAKER_05Brilliant, brilliant. Um Yeno, thank you so much. Um, and then I believe all of these spaces that we're talking about actually have projections. So um, Pam, if you want to speak to Thymeleon and how you prefer to handle the situation. What Rebecca said. Perfect. I mean that's that's also just good life advice. Jen, when it comes to stagecraft spaces.
SPEAKER_00Uh yeah, pretty much what Rebecca said, but um are we include uh light and sound design in our packages. So we'll just have everyone kind of uh we'll we'll give everyone in our venues the information they need to to uh load up a flash drive. But generally it's bring in all of your assets, or if you already have a Q lab file, because you know Qlab, you're the best. Um then we will um then we will uh level them during tech. Um but if uh if not, that's fine. We we just give out all the specs that we need for the uh specific projectors, make sure that they're in those specs. That's actually the the biggest thing uh to look for in all venues. You want to just make sure that you're bringing in the right kind of file. So um we have a list of files not to bring in. Like there was one year that someone brought in uh all of they had 175 projections and it was a PowerPoint. That is a terrible idea. So we we could not use that. Each one of those pictures had to be pulled out of the PowerPoint and into a JPEG file because that's what we needed for our projector. So you want to ask your venue that you want to ask them what is the file specs that you need uh to prepare. So for us, it's JPEG for um for projected pictures, uh, something that is unzipped for videos. So I think that's a quick time file, uh, and mp3s for sound. But anything beyond that, we're gonna give it back to you and say, we do not want your Spotify list. We need an individual MP3s.
SPEAKER_05Yes. I'll also chime in that if it's oh my god. Oh, go for it, Pam. Go for it. No, no, go for it, go for it.
SPEAKER_04All should not just I mean I need the actual sound file. If you don't tell me what it is, I can go to YouTube and rip it. But no, these people who Spotify and what's the other one? Pandora? Here's my Pandora sound list. Here are my sound card. Like, no, yeah.
SPEAKER_05Oh no, no, uh absolutely. I also add that if you're providing something that is on Spotify, the odds of it being licensed are incredibly high, if not like a thousand percent, it's licensed music. So definitely be aware. Um, again, we have a couple of blogs. I think we have one labeled like keeping it legal, or in our artist uh hub, you can type in music licensing to learn a little bit more about that.
SPEAKER_00Um check with your venue about that. That even depends on square footage of the venue we just learned. Oh, that's cool, that's wild. If you I also just learned that, right? It's like what the hell? Okay. Yep. But if you have an itty-gate venue, something other two under 2,000 square feet, um, that's a good thing. So uh there's a bunch of regulations to to research, but um check with the venue. Just check with the venue.
SPEAKER_05Interesting. Um, I mean, that is also one of the things that we'll take away from today is A, check in with the venue and B, what Rebecca said. Pretty, pretty solid advice. Uh okay, so from the Hudson, we've got um if you've done your show somewhere else already and have a QLab file from that production, they're happy to update it for your current run at the fringe. If you're starting your performance journey from scratch, we prefer to create the QLab file with you and for you. That's that way it's built with the specifics of our space already included. And we're happy to send that file with you at the conclusion of your fringe run so you have it for future performances. At LA L G BT Center, if they are already have a QLAB file, that's great. If they don't, we ask they organize files label and put it on a flash drive. Our tech operator will build the Qlab for them either during their tech or they can be booked ahead of time and build it so that it's ready to go up the start of their tech rehearsal. The second option is recommended.
SPEAKER_06Um buh-bow.
SPEAKER_05Ah, okay. Um, this kind of goes hand in hand, so I think we've kind of covered it, but I I will just double check with everyone. But the question is how would you like to receive sound cues? Should they already be programmed into a program that artists bring in beforehand? Um, I believe Jen just talked to us about this as well. Um uh Pam and Rebecca. Uh Pam, if you want to take this first, then we'll go to Rebecca and then I'll read Hudson and LA LGBT center.
SPEAKER_04Uh so I'm like, if you already have a whole QLAB bundle, just give it to me and we'll just tweak it if necessary. Otherwise, I prefer we transfer or Dropbox. That's a big cute. Yeah, that's it.
SPEAKER_05Incredible. Uh Rebecca, I think you may have also touched on this, but but please, if you could refresh my mind.
SPEAKER_02Um at the Broadwater, we'd like everything on either a USB or a USB-C drive. I don't wait to we don't want to spend time downloading anything, logging into a Dropbox, anything like that. So everything on a drive. And I know that people, I've given a tech one sheet uh to the folks at the Broadwater, um, which if anyone needs, I can also send your way. It's just tech information.
SPEAKER_05Um, but that's all. No, brilliant, brilliant. Uh yes, because download time will still count as your tech time, and you don't want to spend all that time just just downloading files. That's no fun and not a good use of time. Uh anyway, to read over from Hudson, it's drive, dropbox, we transfer, or from a flash drive. Uh also LA LGBT center chimes in saying individual MP3s labeled in on a flash drive is preferred for their venue.
SPEAKER_06Going along. Next.
SPEAKER_05Here we go. Um Rebecca, how can an artist make the most of their tech sessions?
SPEAKER_02I think that they should either know what they want or have an idea of what they want.
SPEAKER_05Brilliant. And Pam, how can an artist make the most of their tech sessions?
SPEAKER_04What Rebecca said added into the load-in and load out choreographically. If you have to set something up, like we had a uh people build a full spaceship in our California room within nine minutes. Uh years ago at the old Studio City, they built a whole panic, a house, a whole house, and it was all choreographed. So know what you want, have an idea what you want, but if you have set issues, you need to choreograph that ahead of time and work it out, assign roles. And yeah, that's it. And then don't be a dick. We're all under stress. Uh we're there for you. Kindness is a thing. Be like Mr. Rogers, right? Be helpful to each other, and that's it.
SPEAKER_05Incredible. I'm adding it to my list.
SPEAKER_04Also, coffee. Coffee for your tech. Coffee. Just saying.
SPEAKER_05It doesn't hurt. It's nice. Uh Jen, how can an artist make the most of their tech sessions?
SPEAKER_00All the things that have been said, very, very nice. Um, get there on time, but wait until you're invited in because there's a tech right before you. Um, if you have a big cast, um tell them, like prep them for tech. And the main thing that I could I would prep a cast is be quiet. This is not about you. So, like all the other rehearsals are about you, and this one is not. So when I have a big cast in the space and we're trying to program something, and there's 15 different conversations going on, it's just gonna slow everything down. Um, also, don't expect to run your show and don't get upset about it, right? So, like um the a lot of people get very anxious about like, this is all just taking too long and I'm not running my show. You are not going to run your show during tech. If you can, that is a beautiful, wonderful gift, right? But you're really only going to get that if you come in prepared, ready to follow directions, quiet, and ready to work immediately. Um, and that's why we have our dress rehearsals, because in dress rehearsals, you get to run your show. Um, if you're at another venue and you run out of time, just immediately reach out to the venue manager and see if you can book uh a time to run it. So uh, but yeah, don't don't freak out if you can't run your show. It's it's okay.
SPEAKER_04Yeah, that's actually a genius of uh about how the stagecrafts book building in dress rehearsal time makes a big huge difference. They're you they know what they're doing.
SPEAKER_05Um I second that. I think you guys too know what you're doing. Uh moving forward for um here we go. Hudson, the most common problem is treating tech as a rehearsal. Again, it's not the actor's time. It's fine to adjust blocking due to the lighting or use time when cues are being written to go over lines. I this is a caveat with sound volume. Be aware of that though. Um, just stepping into little little asterisk for this note. Um, but the focus of tech rehearsals really needs to be tech. Directors try and capitalize all the time that they can, as they should, but the focus of tech really needs to be tech. That's the best way to get the most out of your time as possible. That's coming from the Hudson. And then from LA LGBT center, proof be prepared. Know what you want and when you want it to happen. But also be patient because programming cues and setting levels always takes a bit more time than you want it to. Um, I actually will pivot away from this little presentation for a second. I forgot this question that I had. Um, and and Jen, if it's right, I'll kick it off with you. In your experience, um, how has it been setting volume levels for cues in your spaces?
SPEAKER_00Uh well, define how is it then?
SPEAKER_05Uh yeah, yeah. It is a bit open, open, open a question. I'll specify. Rather, rather, um, do you ever have an artist being like, oh, I want my volume to be, you know, have you ever had to adjust expectations? We don't want to have our audience hurt their ears.
SPEAKER_00Okay, yeah. Um, so thank you. Um, so again, it all depends on the venue, right? So at the Hoggoblin, because that is Greg's little playground, he has put 7.2 surround sound in there. You can rattle the walls, but it shares a wall with bad ladder. And we're gonna have shows there as well. So we're going to not use every bit of that sound because we don't want to disturb the rest of the neighborhood, right? So um, so yeah, generally, uh particular almost every fringe venue, well, maybe not everyone, a lot of fringe venues, like the Broadwater, Thymelee, um uh McCadden and Modnani, Bad Ladder and Um Hamgadwin, they're they're really close to each other. They're gonna share a wall. So like the expectations that I'm gonna set this year are twofold. One, um, don't think that you need to blast out your audience. Like they're they're gonna be able to hear it. It's gonna be fine and it's gonna be impactful and effective. But at the same time, if there is sound issues, like once in a while, um, Aaron from the McCadden might come over and go, hey guys, can we change the level on the bass a little bit? Because I've got a really dramatic scene going on next door and the like walls are rattling. We're all going to not be jerks and we're gonna be like, yeah, we're all gonna work together. It's fine. On the flip side of that, um don't freak out if you are the quiet, dramatic show and you might hear something from next door. That happens at the Broadwater a lot, but you know what? There's 150 shows at the Broadwater or something like that. There's there's there's a ton. So that's just the nature of fringe. We're going to be respectful of everyone. We're going to try to work with everyone the best we can in the spaces that we have. But like you might hear some street noise, or you may hear, you know, whatever. Like, that's just the nature of fringe. Um, and we're gonna try to mitigate that as best as possible. But again, don't be a jerk.
SPEAKER_05Incredible. And uh and Rebecca, I guess as we were talking about the broadwater, uh, if you wanted to chime in about that one as well.
SPEAKER_02Oh yeah, we all have shared spaces, so you know, we just have to use our judgment call. I heard Jen say base. Base is really the problematic thing between walls that like kind of cuts through, uh, and maybe like dialogue or somebody on a mic, but like other than that, it's not really an issue. But you know, just be respectful, that kind of thing, just like we've been saying, be kind. Yeah.
SPEAKER_05Brilliant. Uh Pam, anything anything else to add in this realm?
SPEAKER_04Uh, what they said, and one thing about setting sound during tech, the room is empty. And once the people get in there, it changes a little bit. So every once in a while, I'll set them the sound that you want. But I know that once the room is full, if it's full, and yeah, all your audiences will be full, you'll have full rooms, it'll be amazing. But you know, if it's full, I'll just manually adjust it a little bit. Because once people are in there, you might want a really soft sound because during tech, no one was in that room. No one can hear it. Once I know what it changes when bodies get in there, so I'll just bump it up a little bit, right? But yeah, bass is a huge thing. We have other things going on, not just fringe, during fringe, and we have multiple fringe shows going on at the same time here. Uh Greg, genius, Greg Krafts, the one of my most favorite shows, and all I had to do was just like push two buttons. You know what I'm talking about. The you know what I'm talking about, Jen. The conversation, the the the meeting. The meeting, the meeting. Oh, and the way he set it up, you know, he set up the sound so that we had a big uh speaker outside, you know, to run and set the levels, but we had to adjust. I had to adjust some of the levels a little bit when the room was full. That was a great the soundscape on that show was brilliant. Again, you don't need all the tech, you don't need all the lights. You can do it with sound and everything. They had no lights. They had no lights. They had coffee as far as a sense, a smell sense, and then they had the sound design that was just brilliant. I went off track. Sorry. Oh, I'm gonna mute myself. I'm gonna mute myself, but anyways, sound changes uh between tech and so you should expect, and you might not even notice uh performers, actors, producers, directors, you might not even notice what your tech is gonna do during your first show once bodies are in there, because we just we got your back. We'll just subtly ride stuff to make sure it works for you. Okay, I'm gonna mute myself. I love the meeting so much. It was like so good.
SPEAKER_05Maybe we'll see it come back. I uh I missed it, but I did hear a lot of great things. And I know you guys brought it to New York.
SPEAKER_00We just brought it to New York Fringe. It was it was awesome.
SPEAKER_05How did it go? Oh, we'll talk.
SPEAKER_00We'll talk about it. It was great.
SPEAKER_05Um, but while I've got you here, Jen, what are the common traps you see first-time producers fall into during their tech sessions?
SPEAKER_00Hmm. That's a good question. Um not being prepared. Um, so just showing up and being like, oh, I I don't know, I never thought about this before. We try to eliminate that with our paper text because we go through and ask people those questions. Um and we sorry. Okay. Um and uh uh I've had people be late for text where they might miss like, oh, I'm I'm gonna be an hour late. Our techs are so back to back to back to back, we cannot do anything about that. Like you just lost an hour of tech. I'm sorry. Yeah because we just don't have extra time. Um or just goof me around during tech. Like that's it, that's with a big cast. Like if you have a big cast that's just socializing or goofing around, they're gonna waste that time. Um, and and we can't get it back. I mean, friend, what I always tell my my uh producers is your show is the most important thing in your life right now, but everyone else in the room, it's their most important thing in their life as well. And so we have to treat every single one of them that way. So if you miss an hour because you're goofing around, sorry, the next people are in time and they're coming in. So be prepared, be nice, don't goof around.
SPEAKER_05Uh, incredible. Um, Rebecca, I want to pass this over to you over the broadwater. What are the common traps you see first-time producers fall into during their tech sessions?
SPEAKER_02I think besides all the stuff that Jen already said, and I know this is something we've covered, but it's just trying to do too much for the festival. Just not understand that when we say it's a festival, it's not a bad thing, it's just a different thing. And so I think a lot of people some people come in, these newer people going, uh, this is like my Friday, Saturday, Sunday weekend run, and you're like, but it's not. And so we want to give everyone the same respect, but like I said, we also want to get through their whole tack.
SPEAKER_05Absolutely. Yeah. And then, Pam, I'll throw it to you if there's anything else you wanted to add that we didn't cover.
SPEAKER_04Uh, what they said, and remember, this is not the Pantages.
SPEAKER_05Absolutely. Let me just write that one down because I think it's fantastic. Although, I'm very happy the scholarship program is being uh sponsored by the Pantageous. That's very nice. But even then, it's not the Pantagus levels, they're just funding that program.
SPEAKER_00Could they give us some of their smart lights? That would be great. Oh, wow. Um yeah, yeah, yeah.
SPEAKER_04Ooh.
SPEAKER_05I mean it's the smart lights. Uh, coming from the Hudson, uh, what they said is underestimating the amount of time they need to accomplish what they want and coming with unrealistic expectations. Start small. Most stage managers and board ops are happy to assist in augmenting or helping your show get bigger and better. Trust them, they generally know the space better than anyone else. And don't get too married to ideas. Be flexible. And thank you in advance for your patience. You know your shows are you know your shows better than anyone, and the venue and stage managers are trying to catch up. From LA LGBT center, they said a lack of preparedness. That's fair.
SPEAKER_04Can I throw something in about the flexibility? Oh, yeah. Uh, there's been several shows over the years, and right now I'm just thinking of last year in our California room, these Kellarts kids, and they had this giant tree. We're gonna build a giant tree, and it's gonna be a tree, and they were like, and they were like, we're gonna adjust our tree to a bush and a shadow. And they made, I mean, almost overnight, a shadow thing on the floor and would produce the tree and did the tape, and it was, and then the rest of it was light and it was perfect, flexible because what they had in mind when they came in and then they saw this is not gonna work, we're gonna adjust. Flexibility. So many great shows have been flexible. All shows are great, we love them all. Uh, but flexibility is a thing.
SPEAKER_05Absolutely. Um, yeah, especially at fringe, like being prepared is, I mean, as crucial as crucial can be, but at the same time, you gotta be flexible when when push comes to shove. You might want to make those uh those adjustments.
SPEAKER_04I mean, that's the whole point of a fringe. That's why it's called a fringe festival.
SPEAKER_05Yeah, yeah. Right. Um I have um uh gone over my prepared questions. I do want to throw it to um uh if there's we've had questions in the YouTube chat or we have questions here in the space. Uh, if you do, feel free to raise your hand, unmute yourself, tell us your name, the name of your show, and ask away those questions with some of our venue text. Uh, I'll let everyone have a second if they want to type or they want to ask a question.
SPEAKER_04I just want to say I'm actually at work. I got my TARDIS background, but I'm actually here at Dynamic on Shift. So every once in a while I turn off my camera and I run to do deal something, just so you know. I'm not being disrespectful. I'm at work.
SPEAKER_06No, you're so good, Pam.
SPEAKER_05Um we can come back if there are any questions. I think I'll end with this last one. Um, and say to our our our our wonderful, wonderful uh venues and venue technicians and technical directors. Um is there any last remaining advice or something we didn't cover today that we're like, ah, we really need to hit that on the head? You know, I'll I'll give you a second to also think about that as well. Um because I understand, like, there's so much to cover in tech. And sometimes a a two-hour Zoom doesn't always cover everything we want to. Um, but yeah, again, the question is is there any other advice or things you're like, ah, our artists should know this about tech at the festival?
SPEAKER_02This is tech.
SPEAKER_04You go, Rebecca.
SPEAKER_02I just want to say that I sometimes people will preface by going, This is a dumb question, or I feel like I shouldn't ask this, and I don't believe there's any dumb questions. So I feel like my biggest advice would be for people just to like ask all the questions they have because that's how they're gonna get the information.
SPEAKER_05I know it sounds silly, but no, absolutely, because we're we're all coming here from different um uh different approaches. You know, some of us are new to theater uh in general, some of us have only been on the acting side or only the directing side and don't have all this language and so don't know what to expect from a tech. And that's I mean, this is just one of the parts of like that producer brain that we want to further develop. So I I think that's that's perfect, Rebecca. Um Jen and Pam, is there any any other things?
SPEAKER_00Yeah, I can't really think of anything more, which is a good thing. That means we covered a lot of stuff.
SPEAKER_05I I I'm so glad. I know.
SPEAKER_00Greg, Greg, you're in here if you have anything.
SPEAKER_05Yeah, yeah, Greg.
SPEAKER_03Greetings from outside my storage unit. Uh yes, I I think I'm willing to bet that this was covered. I lost a whole chunk of the call because I was busy unloading my car. Um but uh tech in general is not for rehearsal, it is for getting your tech done. Your tech is going to be at their busiest at that time. Uh, so an ounce of preparation prevents pounds of misery. So communicate with your venue and your technicians in advance. Be sure to give them the time. Remember that this is not a rehearsal, this is not time to be running stuff. If you get to do a Q de Q, getting to do a Q de Q is the goal. If you get to do anything more than that, then that's a bonus. So uh really it's about programming the show, making sure everything is looking ready and feeling good. So get your know what you want in advance, talk with your venue in advance, and then make sure that when you are in your tech time, give them time to execute their stuff and support them because they're there to support you. And then you can worry about uh Q2Q getting actors moving around the stage and all the other stuff that happens. Everybody just has to be really patient for this part. So patience is absolutely a virtue that uh needs to be in large supply for tech. That that but other than that, yeah, plan it well and uh the execution will go well.
SPEAKER_05Perfect. And uh Pam, I don't know if you had any. I mean, I saw a lot of nods of agreement uh to what Greg was saying, and and yes, perfect. But Pam, do you have anything?
SPEAKER_04All of them said what all of them said, and the other thing is not related to tech, it's about promo, and I think this is not the time to talk about that. You'll probably have another session about that.
SPEAKER_05Brilliant, and yes, we do have sessions on promo. Um yes, fantastic. Uh, just to recap, some of the fun little things that I was taking notes on. Uh, things to take away from today's little uh panel. So always check in with your venue, what they have. Uh, number two, don't be a dick. Uh, number three, this is not Pantagious level. Um, also, don't be a dick is lead with kindness. That's another way of phrasing it. Um, also, number four is what Rebecca said, because that is also super helpful. Um, Wiley, do we have anything from the from the YouTube live stream? What Rebecca said should probably be first.
SPEAKER_08Always over Rebecca said.
SPEAKER_05Yeah, we'll do it. We'll do it. We'll move it up in the ladder.
SPEAKER_08Um, no, I just wanted to let everyone know on this call that if you need to refer back to any of this amazing information that our incredible panelists uh need to that have shared today, or if you want the link to that presentation, all of that information is on our YouTube channel and will be up for people to enjoy this entire festival long. And I'm sure that our venues will point people who have questions to this YouTube and be like, well, watch this and you will get all the answers that you need. Um, and I just want to say, Roddy, thank you for leading an amazing workshop covering all this information with such grace and clarity, and our amazing panelists for bringing all your insight. We really, really appreciate it.
SPEAKER_05Uh, I yeah, absolutely. Thank you to our panelists. Thank you, Wiley. Grace and clarity are few things that never describe me. But if I could fake it for this two hours, I'm glad I made it work. Um, I think, Wiley, we're good to go.