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Watson

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    Working in the industry
  • Current Employment or place of study
    Self employed freelance
  • Full Name
    Bert Coules

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  • Location
    Romney Marsh, Kent

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  1. That's too bad, especially given their prices.
  2. Your pride is entirely justified. Congratulations.
  3. I just wanted to daw the line under this thread and thank everyone for the varied thoughts and advice: hugely valuable and much appreciated.
  4. I wonder if you've seen this? The Royal Opera at Covent Garden's website has a fascinating behind-the-scenes offering, permitting you to choose any one of seventeen camera viewpoints (with sound) during a performance and one available choice is of the DSM. It is, as you say, very impressive. I can't link directly to any one view, but here's the main page: "Our camera cut" gives a nicely chosen overall view, and the DSM's closeup cameras are number 2 for her face and number 3 for an over-the-shoulder shot: Here come the Valkyries!
  5. Your timings (both pre- and post-lunch!) are fascinating, thanks. That makes excellent sense: I've just been going through the script doing exactly this.
  6. In that sort of case - actually, perhaps it applies to all cases - do DSM's call cues fractionally in advance of the necessary timing, to allow for any possible ears - brain - fingers delay? Or is that period of time so microscopically short that it can be discounted?
  7. Now that must have been fun, at least in retrospect...
  8. Yes, I realised this almost as soon as I posted that. I know that a uniform order is the standard. But what's the best way to indicate if one cue should indeed taken very quickly after another rather than simultaneously? A "Wait one second then..." comment, or similar? Ah - I've just seen your later remark: OK, thanks for that. That's fascinating, thanks. It's way more complex than anything I'm working with at the moment. As I said, this is a small scale festival-type play which won't be touring with its own staff: most of the time it will be a question of getting in, playing, and getting out on the same day and we expect that a single resident technician will run both sound and lighting, working directly from a cued-up script which he or she will have seen for the first time just a few hours before the show. Simplicity is vital. Many thanks for your thoughts.
  9. My only rejigging was to avoid having cues right at the top of any page. Doing any more than that would have put the page count right up and also resulted in a lot of oddly distributed blank space. Ah, it isn't. I've been wondering about whether or not to put the script into a ring-file-type folder (given my remark earlier about the cramped conditions often encountered) or leave it as simply secured with a single butterfly or bulldog clip so the pages could be separated if that were preferred.
  10. Sunray & Sandall, thanks for those points. I've been rejigging the layout of the script to avoid having cues right at the top of a page, but a "Q.n next" (or perhaps "Standby Q.n" if it's still soon) at the foot of each page is clearly a good idea. Sunray, your reference to "the first tech rehearsal" served as a salient reminder that with this production we're likely to get only one, and that with a crew (probably of just one person) who was concentrating on a completely different show yesterday and is possibly already thinking ahead to another one tomorrow. Another reason to make everything as plain and simple as possible.
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