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Becoming LD for an artist/band


Aaron-Hill07

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Evening/Morning all,

 

It's a question I've never really known the answer to but always leaves me intrigued...

 

Obviously there's a large amount of 'bigger' bands that have their own lighting designers, but how do those lighting designers end up working for such bands?

 

Do they contact the bands directly? Do the bands contact the LDs? Does it all work through an agency? Do the designers get the contracts through the bigger equipment suppliers such as PRG, Neg Earth, Bandit?

 

If anyone knows the answer, I'd be very interested to know what it is!

 

Thanks all,

Aaron :)

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I don't have the definite answer, but suspect that it will be a combination of factors which result in LDs getting work for even medium to largely popular bands...

 

Experience

Proven quality of work (across a good number of years learning their trade ( © Frank Wood)

A well built up list of industry contacts earned whilst gaining said experience and improving on their quality of work.

 

Most importantly - being in the right place at the right time and being available when the call comes in.

 

Just the same as with everything else in life, and despite the idea that things like the X-Factor can catapult unknowns into stardom in an instant, you have to WORK at getting yourself into the position where your work is admired and respected enough to have someone even want to consider you for such a position.

 

Obviously the further down the food chain you go, the less the band/agents will be looking at the quality thing and more at how cheap you are... :)

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Via hire companies is one route - either directly or, more likely, as a result of being part of the crew. Sometimes it is an easy option when an LD moves on or is unavailble to hand over to a tech who already knows the show.

Or, in similar situations, you might hook up with a band while it is still a support act.

Or working as house crew.

Also friends. Recommendations. Depping. Combinations thereof.

It is quite common for tour managers to use people they know they can rely on etc. So, once you have one gig you may get more through them if you impress.

 

I would say it's certainly more common to fall into roles via the above rather than by contacting bands or agents.

 

Get involed as in-house crew or with the hire companies. Work hard and get experience. Then get more experience. If you do the right things you will get the work. Remember that being able work well as part of a team, being polite, being low-maintenance, communicating well and being generally professional and confident is at least equally important as the ability to do stuff with lights, so to speak.

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Do a good job for one, then somebody else phones you up! Be good friends with the Production Manager, or the artistes's agency helps too.

 

How do you get to work for that 'one' though? I expect it's catch 22 whereas you need to work with one to work with more... But getting the first contact is the hardest?

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Do they contact the bands directly? Do the bands contact the LDs? Does it all work through an agency? Do the designers get the contracts through the bigger equipment suppliers such as PRG, Neg Earth, Bandit?

 

Read some LS&I back issues.

 

Their inside-back-cover 'interview' and 'crewcuts' often cover just this question.

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Also was going to pick up on Bandit UK, they were not far from us and went out of business a few months back.

 

Didn't you just post a topic wanting to buy an MA1? One would assume you had the work to support this purchase!

 

 

 

Become friends with everyone. Do rubbish jobs. Its the same answer all the time.. just be there waiting to help out.

 

 

 

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Biro - Absolutely, Ive done my fair share of rubbish jobs in the past few years and intend on doing plenty more of those if its going to get me in a better place; which I'm sure it will!

 

And yes I have posted a topic looking for an MA1 and yes I do have the work to support the purchase, but not from being an LD for big bands!

 

Cheers for all the thoughts so far, it's just as I guessed!

 

Ta

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