Best way to indicate a pause before a sound cue?

[ClaireL]

 

I recall the first show I light opped (in fact the very first show I opped in any way at all) the DSM calling "Standby LX Q 65 through to the end followed by LX go ... go ... go ,,, go ...

 

The show that prompt book page is from has in the first block of standbys - Standby Act 1 LX

Every single follow-spot cue of about 150 has a standby, though

 

[alistermorton]

The first time it happened (in the tech rehearsal) was a bit stressful but after that, yes, it was fun.

[xllx]

I rememebr a touring musical like that many many years ago. We had a threeset 80 manual desk, and one preset was dedicated to red/amber/blue washes on the xyz faders. Most of the musical numbers were called by the DSM as something like "standby LX cues 30-127... LX30-127, GO! GO! Go! for every change on the beat for the whole number.

[Watson]

Most of the musical numbers were called by the DSM as something like "standby LX cues 30-127... LX30-127, GO! GO! Go! for every change on the beat for the whole number.

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?

Edited May 16, 2021 by Watson

[sandall]

Probably not consciously. It would take about 1/3 sec after hearing the cue word for an experienced DSM to say "GO"; it will take another 1/3 sec for a really on-the-ball operator to hear "GO" & push a button. Back in the days of 2" VT almost every edit was a check of your reaction time (see something; push a button as fast as you can - "normal" was 8 frames [1/3"], maybe down to 6 frames by lunchtime, up to 10 frames after a couple of pints at lunchtime).

 

When doing shows I used to constantly slide cue markers in the script until the effect came when I wanted it. As you won't have the rehearsal time to do this I would suggest sliding any word cues 1 or 2 words earlier (as a guide, the old 10" VT Run cue was 30 words back, allowing approx 1/3" per word).

[Watson]

Probably not consciously.

Your timings (both pre- and post-lunch!) are fascinating, thanks.

 

When doing shows I used to constantly slide cue markers in the script until the effect came when I wanted it. As you won't have the rehearsal time to do this I would suggest sliding any word cues 1 or 2 words earlier...

That makes excellent sense: I've just been going through the script doing exactly this.

[gareth]

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?

 

A good DSM will very slightly anticipate any cue which has to hit a very specific timing point within a piece of music, line of dialogue, etc. They will also, probably subconsciously, get to know the difference in reaction times between one operator and another, and compensate for that. Listening to a really good DSM call a fast sequence of cues during a musical number or other busy sequence can be a very impressive thing to hear if you're not used to that sort of thing!

[Watson]

Listening to a really good DSM call a fast sequence of cues during a musical number or other busy sequence can be a very impressive thing to hear if you're not used to that sort of thing!

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!

Edited May 16, 2021 by Watson

[Watson]

I just wanted to daw the line under this thread and thank everyone for the varied thoughts and advice: hugely valuable and much appreciated.

[gareth]

Good luck. Post some links to the finished project when it reaches fruition!

[Watson]

Good luck. Post some links to the finished project when it reaches fruition!

Thanks. I shall!

[Watson]

I think I prefer the first one.

And you're not alone. Thanks.

[sunray]

Listening to a really good DSM call a fast sequence of cues during a musical number or other busy sequence can be a very impressive thing to hear if you're not used to that sort of thing!

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!

It is with some pride that I did some of the installation that made those shows possible

[Watson]

It is with some pride that I did some of the installation that made those shows possible

Your pride is entirely justified. Congratulations.

Edited May 25, 2021 by Watson

[DrV]

It is with some pride that I did some of the installation that made those shows possible

Your pride is entirely justified. Congratulations.

Well I mended all the old followspot PSUs and still repair their sine wave dimmer modules so do I get a sticker too??