Cue light systems

[trussmonkee]

Hi Folks,

A bit of a discussion topic here, we were talking about the different opinion of a cue light systems function and how complex they should be. My view is that it is a courtesy and visual aid but not an infalable backup, so having more complex systems like the GDS or ETC setup with computer syncing and cue stacks is a great idea anything to make it more flexible. But some folks I've talked to think that it should be kept as simple as possible, two lamps wired in a series circuit with a push button so that nothing can possibly go wrong with in reason.

I would be interested in your views

Jim

[vinntec]

I assume you mean that the various operators have cans and the cue lights are used as the backup as each cue is called? Well, this is precisely what the ROH does as shown on their Opera Machine video. With all the money spent in recent years on this one venue one can probably safely assume that if there was a better way they would have it! The DSM calls the cues and each department has its own operator(s) who carry out the cues as needed, even if they don't have a script/libretto/score. What would they do if both cans and cue lights have failed? Dunno, better ask them but the simplicity of the primary and backup means this is a very low risk. If anyone from the ROH is about, maybe they could comment?

[trussmonkee]

Yesin the pretty typical set-up that most theatres run, most thingscalled on cans, and Cue lights as a backup except perhaps for stageentrances for actors. My particular query is whether folks think abasic cue light system would be a better as it is almost a redundantsecondary system or whether it is a separate thing in its own rightand should be as advanced and technical as possible, with theinherent possibility or bugs that that might entail?

 

 

 

thanks for sharing the opera machine, very interesting filming I shall be sharing that on

[gareth]

Cue lights are not as redundant as you might think. While verbal cues are commonplace, increasingly so now that wireless intercom systems are getting better and cheaper, there's still a place for cuelights in the DSM's arsenal. Most of the shows I've worked on over the last few years have used cuelights as a primary means of cueing to a greater or lesser extent. Sometimes it might just be one or two actor entrances, perhaps only once at the top of the show. But other times there can be a couple specifically for actors, one on the fly floor for additional fly crew who aren't on cans, maybe one in each wing for truck operators or scene change operatives, perhaps one either side in the pit for panto traps, maybe one somewhere in the FOH bridges or the studio grid for drop cues ... basically, what I'm saying is that cuelight systems are still very much a primary means of signalling stand-bys and cues, and not just a back-up to resort to if all else fails.

 

So - a capable system with many options might well go some way to making a DSM's life easier in some respects, particularly with a complex show. But most DSMs I know would be equally happy with a red switch and a green switch for each station!

[andy_s]

Cue lights are not as redundant as you might think. While verbal cues are commonplace, increasingly so now that wireless intercom systems are getting better and cheaper, there's still a place for cuelights in the DSM's arsenal. Most of the shows I've worked on over the last few years have used cuelights as a primary means of cueing to a greater or lesser extent. Sometimes it might just be one or two actor entrances, perhaps only once at the top of the show. But other times there can be a couple specifically for actors, one on the fly floor for additional fly crew who aren't on cans, maybe one in each wing for truck operators or scene change operatives, perhaps one either side in the pit for panto traps, maybe one somewhere in the FOH bridges or the studio grid for drop cues ... basically, what I'm saying is that cuelight systems are still very much a primary means of signalling stand-bys and cues, and not just a back-up to resort to if all else fails.

 

So - a capable system with many options might well go some way to making a DSM's life easier in some respects, particularly with a complex show. But most DSMs I know would be equally happy with a red switch and a green switch for each station!

 

and maybe a "gang" option so you can select two or more stations to fire on one master switch is quite useful, but I'm not convinced by sophisticated solutions - over engineering for not much discernible gain, in my view.

 

recently I was board operator on a busy show which was entirely "called" with cuelights due to the proximity of the ops and DSM to the audience in a tiny studio - 'Silent Running', to borrow a term from the submariners. An exciting exercise in concentration - no chance of the Bored Op reading the latest issue of Lighting and Sound International or doing the crossword while waiting for the dulcet tones of the DSM to tell them when to press the button! :o

[paulears]

Surely it depends on the needs of the individual show, and the needs of the people working on it. Maybe even a case that standbys and the cues are done on both. Sometimes just because the person doing the cue finds a need to perhaps listen with ears and watch with eyes to do two things at once. Entrances, or cueing the crew could be both. We discovered in our 60 year old ramshackle summer venue that the original cue light system still worked in three of it's 6 locations - and in some shows, this ancient system can still be used - especially when volumes are high - a light flashing in the followspot ops eye-line is a great way to do that pickup in the dark. The rule for me is simply that however you do it, it must be very, very simple. All the magic apps, and linked laptops just seem so much more complicated and unreliable than a light bulb.

[Junior8]

Keep it simple. Lights and cans. That way you have an uncomplicated failsafe.

[Dave m]

Certainly stuff like flys, revolves and trucks are (imho) better with lights, ideally with the option to acknowledge a standby if possible

Generally sound and lights can be pretty much automated but there is still a heck of a lot of wood pushing in most theatres

[trussmonkee]

Thanks for the replies, just wanted to make it clear that I'm not saying we should do with out Cue Lights, it's whether SM technologies should be keeping up with lights and sound or if some thing more basic is better?

J

[J Pearce]

Sometimes technology reaches maturity and further development is only needed for niche areas and for solutions looking for a problem.

 

For most theatre shows a basic cuelight system is more than capable. Programming might be nice on big long run shows, but I'd have reservations about being able to keep a transition running while holding one dept for an issue. On shorter run shows I'm fairly confident you'd spend longer programming it than you would just button bashing as you go.

 

The interspace cuelight system with addressed outstations and bussed cabling is a nice development for touring shows and portable setups, much easier than running a line for each outstation from the cuelight panel. It also makes it very easy to move cuelights onto production desks for tech rehearsals.