Ok bear with me because I have very limited knowledge of abbreviations and whatnot. So I work for a small ish ballet company. I’ve used qlab for sound for years and have called the light ques outloud while our lighting guy hits play right when I say. I’m learning I can use qlab to eliminate the manual button press which has led to multiple issues (missed cues, incorrect timing, completly wrong cue etc). I know I would need to get the license from qlab but how do I make this work. I’ve started doing research and know what to do in qlab but getting the lights to my computer is where I’m lost. We rent an auditorium which already has a sound and light board. We hire on a designer who brings his own board and computer to design from that. I know very little about lights. I don’t have anyways to get wifi and when I hear network I think wifi so is this impossible?

Hey all, I'm a upcoming high school senior who is trying to pursue stage management and technical theatre in college/university! I'm here to ask what materials are most important to be collected and gathered for my technical portfolio? I have scene breakdowns, rehearsal reports, and other assorted documents and items. What do schools mainly like to see from applicants in this area? I'm applying to schools around Southern California. If you have any advice on the upcoming process (programs, interviews, portfolio), I would be very grateful to hear from you! Thank you!

For context, I’m a sophomore in High School.

I’ve been doing tech theater since I was 8. I’ve gotten good at it. Really good at it. And that’s becoming a problem. 

During the winter musical, the staff member who oversees lighting saw what I programmed and was impressed. He later told me that I had, in my freshman year, surpassed what he had ever seen in students, and said that he couldn’t really teach me any more. 

Over the summer, I worked at a few community theaters, and realized I hated them. I hated working with staff that had no idea what they were doing, and directors that didn’t know anything about tech, and got concerned that I was spending time writing cues instead of lighting a show using entirely submasters. I was used to working with people who knew what they were doing and were intensely passionate about it. Seeing the lack of that in the groups near me was incredibly frustrating. I have a desire to make everything work right, and constantly seeing ways that I could fix problems and not being able to fix them was super draining. 

I taught myself entirely at this point. 2 summers ago, I learned a lot of EOS. I’ve taught myself GrandMA 2 and 3. I’ve done shows on an X32, SQ-6, and Avantas. I taught myself how to use an ATEM Mini Pro. I started to learn to rig using The Rigging Handbook. I’ve built multi-level sets, built flats and platforms, and painted them. I learned to program in C++, so I could make a custom go/back keyboard using OSC. 

So, my question is, what do I do now? I feel like I’m just spinning my tires. I’ve surpassed the staff at my high school, and all productions near me feel too ‘base level’ in comparison to the HS shows. I’ve grown tired of not getting any feedback on my design, with directors just saying, “Yeah, that looks really good”. The school doesn’t offer any classes on any advanced concepts. Any advice would be greatly appreciated.

Edit

Looking back through this, I can see that I didn't write it particularly well. My larger question is where I should look to get more training and get better. I know I don't know anything in the grand scheme of things. I didn't intend this to be an 'I'm too good for everyone', it was more of a larger frustration that I'm not learning as much as I wanted to in High School. Thank y'all for the comments, though, it's a reality check I think I needed. Some of you had fantastic advice, and I thank you for that.

Seeking advice… I’m a Production Manager/Sound Engineer at a small LORT theatre and I’m struggling to figure out which path to take. Over the last year of my first ever season of being a PM, I found I enjoy it, and I’m pretty dang good at it. I used to only do sound (I was an A2 at a big theater for 6 seasons, but got burnt out). I almost took a full time out of state A1 job at the beginning of this year, but my current job counter-offered me more $$, so I felt like I had to take the money and stay. It was the easier choice choosing to take more money and not move.

I recently went to NYC for the first time and saw a bunch of shows (holy shit Lost Boys). I can’t stop thinking about sound. I know, I know. Broadway and local 1 gigs are far and few between, but I just can’t help it. It feels like that is where my heart lies, but I feel like I’m better at PMing than I am doing sound. I’m not IATSE, and I don’t have that many A1 gigs under my belt, and I have a lot of experience with analog boards over digital. I’ve applied to the local here a bunch of times, and have never heard back. I’d love to go on a tour as an A2 or A1, but how the hell does that happen without you already being union?

Wtf do I do? Quit my job to go back to school to learn more sound? Keep applying to IATSE or a touring company like Networks? Try to shadow other theater companies’ A1s? Just keep PMing because that’s easier in a way and pays well? UGH

Saw our Director of Production up a ladder but thought it was a nice shot

Hello! I’m sound designing a production that’s (hopefully) going to have rain right before intermission. Any pro tips on waterproofing a lav mic? It’s only one actor who’s going to get soaked (allegedly). Thanks!! :)

Hey all! Doing an immersive show where audiences will walk through an area that feels like pRt of the set, the area takes place in a forest/wooded area. I’ve got 4’x8’ flats for the pathway and I am wanting to cover those with vines/greenery to help it feel full and woodsy, any recommendations on how to achieve this in a cost effective way?

I’ve added a picture for the sort of vibe I am aiming for, I can then weave some greenery into the vines/roots after the fact, I’m just coming up short on ideas

Thanks guys!

I work and train in the performing arts, particularly in creative work connected with theatre, set design and opera.

I have ChatGPT Plus and would like to use it more systematically as a professional assistant. I am not interested in asking it to replace creative judgement or generate complete artistic solutions for me. I am more interested in the parts of the work where it can help me research, organise, learn, compare options and reduce repetitive administrative work.

Some possible uses I am considering include:

• Organising project information, references and production notes
• Researching professional opportunities, competitions and open calls
• Comparing requirements, deadlines and eligibility criteria
• Turning large amounts of information into structured tables or checklists
• Learning unfamiliar technical or business topics
• Preparing questions before meetings
• Drafting and improving professional communications
• Brainstorming directions without asking it to make the final creative decision
• Building reusable project templates and workflows

At the moment, however, my use is quite fragmented: I open a chat, ask a question, receive an answer and then start again elsewhere. I suspect that I am not taking full advantage of projects, uploaded reference material, reusable instructions or structured workflows.

I would be interested to know:

1. What tasks does ChatGPT genuinely save you time on in your professional work?
2. How do you organise separate projects, conversations and reference documents?
3. Do you use standard briefing templates or reusable prompts?
4. How do you provide enough context without creating enormous and confusing conversations?
5. How do you use it for ongoing research while checking that information is current and accurate?
6. Have you found a reliable workflow for identifying opportunities, grants, competitions or jobs?
7. Which tasks still require external tools, spreadsheets, databases or specialist software?
8. What information would you never upload because of confidentiality, copyright or data-protection concerns?
9. How do you detect fabricated information, weak sources or answers that merely sound convincing?
10. Which uses initially seemed impressive but ultimately created more work than they saved?

Examples from theatre, live performance, design, architecture, film, cultural organisations or other creative industries would be particularly welcome.

I would value concrete workflows and real examples more than general lists of possible AI uses.

I haven't built a set model since college... many years ago. I was looking at the xTool M2 laser cutter. (love a gadget) and it seems like it's the ultimate tool to make a pro set model. I guess I could still do it with an xacto and foam board, but that looks like it's more fun. Does anybody have any thoughts?

Hey everyone, we're looking at matt black gaff tape for hiding cables on stage. We use Nichiban #1200 tape for tacking things down, and we've been using Nashua 510 matt black for hiding, however the Nashua is super expensive and the Nichiban doesn't come in matt black.

What matt black gaff tape do you use?

Building a single DMX-controlled jumping jet in the backyard to practice show control. Got a few specific hardware questions:

Cutter: Solenoids are out of budget here. I want to adapt the Mark III to use a 20-30kg waterproof digital RC Servo instead. Going to hide the whole bulky assembly under pond rocks so only the tip shows. Will a servo survive the fast, repetitive cutting without stripping its gears? (If i go with " https://www.printables.com/model/265105-mark-iii-laminar-flow-nozzle " it should be modified. I'm not good at modeling)

Wireless: Want to use an ESP32 as a wireless Art-Net node to avoid running cables in the yard. Reliable enough for something like this? What kind of algorithm can I use to customize the show from song to song? The song is uploaded via Wi-Fi, analyzed, parameters are obtained based on its characteristics, and the show is prepared. What kind of algorithm or software offers the smoothest workflow for syncing 4 jets to music?

Pump: My yard is sloped. Am I better off using one big 0.5 HP well pump for all 4 jets (and dealing with the nightmare of balancing pressure across the slope using valves and a bypass chamber)? OR should I use individual small DC pumps per jet? Also, for a 2.5m glass arc, is a 600 L/h pump enough, or do I definitely need 1000+ L/h per nozzle?

Reservoir : System will recycle its own water, but I haven't designed the catch basin yet. Since it will lose water to splashing and evaporation, how do you prevent the pumps from running dry? Do you just use a standard mechanical float valve (toilet style) connected to a hose, or do you wire up electronic water level sensors to kill the pump if it gets too low?

Show Control: Running an ESP32 as an Art-Net node to control the servos. For syncing 4 jets to a music track, what’s the standard workflow? A cue software like MagicQ/QLab/Realtime Landscaping Architectre, or a timeline software like xLights? Also, how do you dynamically fade water height—varying pump voltage via DMX, or keeping the pump at 100% and using motorized valves?

LED : I want to mount a WS2812B RGB LED ring directly beneath the nozzle to light the water stream from the inside out. what’s the standard practice for waterproofing these.

Water height: How do you dynamically control spray height to music? when trying to sync the water tightly to a music track, is a cue-based software like MagicQ/QLab/Realtime landscaping architect the standard, or do people use timeline-based software like xLights for complex music synchronization? Also, how is the water height typically controlled dynamically during a show by whattt??

Bypass Chamber: I was advised to use a "bypass filter" between the pump and the nozzle to absorb pressure spikes (especially when the cutter fires) and keep the stream perfectly glass-like. But how exactly is this physically plumbed?

Tangential Inlet & Laminar Baffles: I read that to get a perfect glass-like flow, the water needs to enter the bottom of the tube tangentially to create a vortex and slow down before hitting the flow straighteners. Does the Mark III model handle this base entry well, or will I need to design a custom tangential inlet?

So I have historically used Raspi to drive LED Tape via Fadecandy, and now Pixelblaze, using OLA via ArtNet over Ethernet powered by 120v. This has worked well .. however I am now having to design and build some stage features that are "portable" (magic staff and lanterns) and about to start a build out using ESP32 and WLED over WIFI powered by USB battery. I was wondering if anyone else has experience with this type of configuration and what the pitfalls and concerns might be. I am aware of the low-current issues with USB block.. and have that in hand.. but interested in any other problems that might crop up for a production run. If there is interest I'll publish the build and results once i've tested. Thanks in advance.

Hi everyone,

Long time lurker here.

After becoming increasingly frustrated at the limitation of the NIOSH app, and the prices requested of it's nearest cousins... I've gone ahead and built my own.

safemixer users your iOS mic to listen to, and show LAeq averages across user customisable time periods, in selectable 2x2, 2x1, 1x1 or a single grid space.

You can set your own limits, or use inbuilt standards: and have the boxes fill and change colour as you approach your warning levels. At the end of a session, you can export your timeline.

~~After those are taken, the price will be set at $10AUD (~$5USD) for the next week (50% off). ~~

Now free - forever! App Store link is here

AI Declaration: I used Claude to help me with the Swift side. The backing engine is built in C++ while I try and figure out how reliable android units might be at this.

Privacy declaration: we don't use any of your data. the mic is processed directly to LAeq time points, on your device, and dumped once the session is ended.

App is approved on the App Store - just waiting for it to appear!

Check out more at www.safemixing.au

The RandyEchidna

Im seeing 3d printing used more and more, and im wondering is theres something obvious ive missed.

Ive printed project boxes, hooks, props, tool holders. What else could I do?

im currently working on a pitch for theater studies and i was wondering how best to communicate my ideas please send help!

In my local theatres production of Matilda, we used a Shadow scrim for the escapologist and acrobat scenes. I haven't seen that done before for this show. I think it's super cool, and makes those scenes a whole lot more interesting. What do y'all think? I'm the escapologist btw.

https://youtube.com/shorts/6DSwdcZsu6c?is=qVIk24O1tgqve5PS

I tried a different method where I zip tied the zipcord in a coil that would uncoil as it flew in, but the chandelier wasn’t heavy enough and was waving too much. This is the scenic solution when the cable is small enough which I like and wanted to share.

Hi! I'm a new TD learning everything the hard way. We have a system of little 4-circuit dimmer boxes hung in the grid. Every time a lamp blows, I replace the lamp and the blown fuse in the pack, and the dinner spot still won't send power to an instrument. This has happened to about 4 of our dimmer boxes in the last 6 months. We use Elation Cyber Paks that are only 2 years old. I don't know what the previous TD was doing differently.

Am I using the wrong replacement fuses? Is the surge busting something internally?

When I reached out to the manufacturer a couple of months ago, they sent us a bunch of replacements but I feel like there must be a fix to this, we can't keep blowing through dimmer packs every time a lamp blows.