Specials blow... literally!

[Jamtastic3]

Ello.

More a mini rant than a question.

Was doing a show last night and in the show not one but two of the specials in the show (profile spots on characters) didn't come up. Both blew at different times and were both working in the first few ques. Obviously I was gutted and felt embarrassed as the actors therefore had no other light to light them.

 

So what would you do or have you ever been in this situation?

[mac.calder]

I always keep a stage wash on a spare playback (and if I have the luxury, usually on 4 or 5, so that I can wash certain parts of the stage only) - and if on a desk with multiple pages, I have it on the same fader on every single page.

 

If something fails and the stage is dark, I add a little bit of wash.

[Ike]

Double up lanterns on critical specials or try and design in a fixture nearby that will at least kind of work. Of course make sure there's an easy way to bring them up.

 

Edit: Agree with Mac on the wash front as well.

[Jammie300]

I just put up with what little is left ;) and hope for the best

[dbuckley]

One option not discussed is use the softpatch; if the special has gone then pick the light nearest it and use the softpatch to place the nearest light on the failed channel, so all your presets still work. Of course, this requires you have a softpatch that can mix sources, not all can. Also softpatches seem to be one of the least well understood areas of the typical lighting operators repertoire.

 

Much of this is down to budget and importance. For corporate shows, one always dual-hangs, as lights failing is normal practice and thus expected. Where the finances aren't available for dual hang (which of course also means dual dimmer channels), a bit of thought upfront knowing just what you'll do (even if what you'll do is nothing) saves the moment of panic; its always easier to think clearly when not under pressure.

[Don Allen]

If you have a basic design, i.e. 9 stage areas lit with key lights from both sides, then wherever the special is being used, you will have the larger area lighting available as a wider backup.

 

If the operator knows the design, then they can grab one of the two avaiable lights, preferably the one that is pointing away from other actors to isolate the "special" area and if time permits, as dbuckley says, softpatch, so the rest of your programmed cues will be covered.

 

I always try to have a square one rig in place so all areas of the stage are covered and controllable, time, equipment and budget willing.

[vl nick]

like mentioned... a basic stage wash is quite handy to keep some where readily available. Usually referred to as the 'f*ck' button

[Stuart91]

So what would you do or have you ever been in this situation?

 

Followspots are your friend.

 

I've often found them very useful, admittedly more for people who step outside of the coverage of the fixed lamps.

 

At least you can have a bit of front light if it all goes horrible wrong...

[Rob Halliday]

On Strand desks of old, this would be the perfect use for AutoMod; once you'd noticed a special was out you could just set a bit of your cover (or another nearby special) to 'automod' from the broken light, so it would fade up and down in the right places without you having to modify cues, touch submasters or do anything else.

 

Another great feature gone to great feature heaven, I guess.

 

 

Incidentally, your problem also makes a great case for load-sensing, fault-reporting dimmers. The big Cirque shows in Las Vegas do this because there a special being out can be a real issue - not just in terms of seeing the performer, but because the peformer uses it as their 'spotting light' when jumping into mid air. If the dimmers notice a lamp failure a crew member can sometimes get up into the rig to fix the problem before the light is next used.

 

Rob.

[GetSet Boy]

If it happens in act one,then do all of the above ! Then get the talle out in the interval and change the lamps !