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Just Some Bloke

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    Working in the industry
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    Technical Manager at The York Barbican and freelance Lighting Designer.
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  • Full Name
    Eric Lund

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    http://www.ericlundlightingdesign.co.uk
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    York

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Production Manager

Production Manager (14/14)

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  1. Looking for a job to go from casual tech to full-time house crew? Live in or near York? Then this might just be for you. Events Technician - York Barbican (asmglobal.com) Salary £23,500
  2. A few years ago, the theatre I worked in at the time had the tour of Joseph. The #1 noise boy mixed very well at an excellent level that was loud enough to be fun but not too loud to hurt in any way. Good EQ, good mix, good overall level. On his day off, the #2 noise boy mixed the show. He clearly had a rock n roll background as suddenly the level went up way too high and everyone came away with their ears buzzing (as they hadn't expected to need ear plugs). Same show, different person mixing. If I'd been a punter I would have thought the show great if I'd gone Tuesday, Wednesday, Friday or Saturday but hated it if I'd gone Thursday. Luckily I as Tech Mgr so was able to walk away!
  3. York Barbican currently have availability for Casual Technicians and Casual Senior Technicians. York Barbican is the largest music and arts venue in York, hosting some of the biggest touring music and comedy acts in the country as well as other events like the UK Snooker Championships. Casual Technicians will be required to move seating and/or staging, operate follow-spots and/or assist with performances. No previous experience is required, but a good knowledge of either theatre or the events industry would be helpful. The role will involve anti-social hours, including overnight work at times. Normally performance shifts will be 18.30 - 22.30 and turnaround shifts from 23.30 - 03.30. Heavy lifting will be involved. Casual Senior Technicians will be required to look after visiting companies and to assist them in setting up, running and taking down their shows. Previous experience is essential and hours are often anti-social. Senior Techs may also be required to lead a turnaround shift and so heavy lifting will be involved. Rates of pay are £8.45 for crew under 23 and £9.00 for crew over 23. Between midnight and 8am this rises to £9.91. For Senior Technicians the rate is £10.41. Contact Technical Manager Eric Lund for further information on eric.lund@yorkbarbican.co.uk or see here ASM Global Careers. For a chat call 07931 524196.
  4. An enjoyable read. Thank you.
  5. I usually try here first: https://freesound.org/ then here if I can't find something for nothing!: https://www.sounddogs.com/ I'm pretty sure both of those should be OK with YouTube.
  6. When I've been using a monitor for view of the stage before, I've always had a backup of some form of sightline, no matter how bad. Marineboy has given an example of when the view was bad but at least a view from the corner of the room existed and I've operated from the wings before where the view was sideways on so I needed a monitor to see from the front, but in all of these cases if the monitor gave up the ghost, then at least I still had the option to see something . Even looking sideways on from the wings, you can still see that when you press the GO button, something happens which is somewhere near the ballpark of what should have happened. If you're in another room and you lose the monitor, you have no idea whatsoever if anything you are doing is achieving anything at all. That would be my worry, to be honest.
  7. I used to work with a Stage Manager whose way of remembering which line to pull was to quote: "He likes it LEFT IN, she likes it RIGHT OUT".
  8. I have, just last week, gone through a major H&S audit by the top H&S company bigwigs looking at 24 different aspects of H&S, all in great depth. The main problem we had, and I think many other venues will be able to empathise with this, is 'providing written proof'. Auditor: Do you train people in x? Me: Yes. We do 'on the job' training where we show them what to do, along with an explanation of why. We show them how to do it, then supervise them doing it, then when they are showing they can do the job properly on their own, we leave them to it. Auditor: Can you prove you have done this? Me: Only in that they all do the job properly now Auditor: Have they signed something to say they have had the training? Me: No Auditor: Then that is not good enough Pre-current H&S policies, 'on-the-job' training was seen as acceptable and the fact that no-one had (yet) been hurt was seen as proof that you were doing something right. Now, you don't need to do any training at all; as long as people sign the correct piece of paper then you are seen as doing a good job. One of my staff told me of a previous employer who once a year would put the Risk Assessment folder down on a table and tell all the staff they had to read it thoroughly and sign to say they had done so. He would then go to the Gents and when he came back everyone would have signed. He never had a 'fail' in his H&S audit! I'm not saying one way was right and the other is wrong as both have their flaws, but when I started as a Technical Manager it was more about making sure your staff did a good job of getting the shows on and now it sometimes feels more about getting the right pieces of paper signed.
  9. I totally agree with Tony that the show was great but lacked a live audience. After a showstopper of a performance to have just silence must have been such a come down for the performers and felt very much like an anti-climax to the viewer. Of course, the opposite is to do what sunray speaks of and to add too much canned applause. I'm not sure there is a right way to do it!
  10. Luckily we're doing this during Covid so we are only allowed 6 patrons at a time and all from the same family. This should mean we can put them wherever we want them! (It's a 20 minute piece that will be performed half a dozen times per day). Thanks for the help.
  11. Has anyone ever tried or seen the idea of running video (on a monitor or rear projection) behind a painted gauze? I'm thinking of trying a Jacob Marley scene with the door painted on gauze and the face appearing in the door, saying its lines. Do we think this will work or should I go back to the drawing board?
  12. I'd usually describe it as either the 'setting lline' in theatre or DSE (downstage edge) in concerts and events. Personally I've not heard of 'Plaster Libe' before but if you used the term I'd certainly know what you mean!
  13. Update: And now they are saying that this week's clap for NHS should be the last. 10 weeks is enough. Personally I agree. Better to go out with a bang than a whimper and if we go on any longer it would start to gradually tail off, which would be a shame.
  14. Two tips from me. 1. It's very easy to try to run things on a basis of everyone being equal and each person chucking in ideas and the team as a whole making things happen. This will work really well assuming you have twice the time you will actually have. Every show needs a Production Manager to bring things together and to move things along. Find someone who is well-liked by all the team and who has a knowledge of all aspects of the industry (even if it's just basic knowledge in some areas) and give them the role of PM and you'll be surprised how much better things just move along and how few deadlines get missed. 2. When you are doing a schedule, always give yourself more time than you first thought you would need. For everything. Oh, and never let the talent start earlier than scheduled! It's your stage until it's their stage. That should be a good start!
  15. Oo. I didn't know that. Most stereo amps I have worked with have a "bridging" function to allow you to link the two channels.
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