Designer and Technician Guidelines

For purposes of expediency in this document, “the director” refers equally to a singular director as well as to a “directing team” on a musical/opera – i.e. director/choreographer/music director.

Each show will have its own Microsoft Teams site, and all associated design/production members will be granted access. All of the designers most be proactive in posting their research, sketches, draftings, model photos, etc. to the Teams site, so that everyone involved in the production (from the creative team, to the mentors, to the shops) can easily access the information necessary for them to do their jobs. This can mean posting several times per week, not just posting five minutes before one of the formal design meetings. Only the most recent revisions of all files should be kept on Teams and all previous versions should be removed to prevent confusion. If other file sharing methods are used, the same information should also be posted on Microsoft Teams.

Each production is assigned a design process mentor by the TPD faculty/staff. These assignments can be found on the production assignment grid. This mentor is a design faculty member who facilitates the design process described below. The design process mentor initiates the process, attends and runs each formal design meeting, and acts as liaison to the TPA area. Each student designer also has a faculty design advisor in his/her design field (scenic, costume, lighting, or sound). This advisor will be involved in the design process in a variety of ways, and at a variety of times, depending upon the nature of the project, and the needs of the student designer.

These formalized meetings are intended to provide snapshots that allow everyone to keep up-to-date as the design process evolves. As such, they are not the only meetings that should take place between the director and designers. Outside meetings (labeled INTERIM herein) with various sub-groups of the production team will be necessary and it is up to the director and designers to schedule those INTERIM meetings. It is imperative to keep the design process mentor in the loop about these meeting times and outcomes in order to keep the TPD area informed. All of the designers should have ongoing discussions with each other throughout the entire design process so that everyone is aware of the evolution of the designs, the designs are interrelated and integrated, and all of the designs are working together to tell a united story.

Meeting 1 – DIRECTOR'S ANALYSIS AND FIRST THOUGHTS – week 0

The expectation for this meeting is that all designers have thoroughly read/listened to the materials (script, libretto, score, recordings as applicable), are familiar with the dramaturgical baseline of the piece, and come ready to talk and ask questions about the show. At this meeting, the director will share his/her detailed analysis of the piece, identify major themes, and highlight their personal resonances with the text/music. For the designers, a list of questions for the director is expected, as well as concrete thoughts about the piece's structure, themes, and meaning.

INTERIM – All designers meet with the director (as individuals or in sub-groups) to further explore the ideas presented in Meeting 1 and have deeper conversations about the story, basic staging needs, and overall aesthetic, as well as sharing their initial research.

Meeting 2 – RESEARCH & INITIAL APPROACHES (1 week after Meeting 1) – week 1

The expectation for this meeting is that all of the designers and the director will share their progress and research from their INTERIM meeting(s) and that the group will respond. The costume designer is expected to have a rough costume plot with copies to distribute as appropriate. The scenic designer should have a list of major elements/necessities derived from the text and from their interim conversation(s) with the director. All of these materials should also be posted on the Microsoft Teams site as a single file for each designer that combines all of their research and ideas, rather than a large collection of individual files.

INTERIM – Individually or together, the scenic, lighting and costume designers meet with the director (a minimum of once; more is recommended) in order to share preliminary sketch ideas of set and costumes that move toward a more cohesive design.  The costume designer meets with the director to talk about micro (specific character) and macro (thematic as well as things like the use of the ensemble) choices that begin to define a vocabulary for the show, as well as talking through a rough costume plot. The sound designer meets with the director to share sound examples and begin to develop an aural palette.

Meeting 3 – ROUGH DESIGNS (2 weeks AFTER Meeting 2) – week 3

The expectation for this meeting is that the scenic and costume designer will share rough designs which are supported by additional research. For scenery this should include a rough model and ground plan (or others documentary items as detailed by the student’s design advisor or the design process mentor). For the costume designer this should include rough sketches and visual research that begins to focus the design, as well as specific character and color palette choices. Sound designers will present examples of sound/music ideas as appropriate. Lighting Designers should share more refined, lighting specific research boards for each environment.  The entire collaborative team will respond to and further shape these ideas.

NTERIM – Shortly following meeting 3, the creative team meets with the director to talk through the show event by event. This will allow the scenic designer to begin to develop scene-by-scene ground plans, the lighting designer to begin to do atmospheric research for each environment, and the sound designer to determine potential cue placement and develop the structure of the design. The costume designer and director should meet and begin making choices which are character-specific, and talk through the costume plot, making decisions which make the plot more specific.

Meeting 4 – REFINED DESIGNS (2 weeks after Meeting 3) – week 5

The expectation for this meeting is that all designers will share their current progress. In particular, the scenic designer has refined the roughs into a preliminary draft and more refined model that is presented to the director and design team for their response. Depending on the response, ongoing revisions, or perhaps a major change in approach, may be necessary. The costume designer should present specific sketches and corresponding research for all the costumes in the show and a well-developed costume plot. The lighting designer will share research boards for each specific environments. The sound designer will share updated sound design goals and structure based on the interim walk-through.

INTERIM – The designers and director meet to make changes to the designs and to ensure that well-developed, thorough, and unified designs will be presented in meeting 5. Since changes in one design will likely affect other areas, the director and all designers should be aware of, and have the opportunity to adapt their designs to, all the changes before they are presented to the wider group during meeting 5.

Meeting 5 – FIRST LOOK (1 week after Meeting 4) – week 6

The expectation for this meeting is that the designers will present refined ideas so that the production staff and the directors of artistic programming and production can comment on the general feasibility/appropriateness of the designs.

The scenic designer will present a basic drafting package (i.e. ground plan(s), initial draft of all major scenic elements, and a section-view), a white model with basic scenic art info or a rough color model, as well as basic properties/furniture info. The costume designer will present specific visual research or a sketch for each character with a complete costume plot. The lighting designer should present any lighting ideas that integrate with scenery so that these ideas can be accommodated in the scenic drawings and budget considerations. Additionally any use of atmospherics, follow spots or other significant lighting ideas should be presented. The sound designers will present any ideas that may require unusual technologies or that have the potential to exceed standard resources.

INTERIM – The designers will meet with the respective shops to discuss the scope and feasibility of the designs presented in Meeting 5. The scenic designer will meet with the TD, prop shop supervisor, faculty scenic artist, scene design advisor, and appropriate associated students. The costume designer will meet with the costume shop supervisor and costume design advisor. The lighting and sound designers will meet with the lighting and sound supervisor and their respective advisors.

The TD, costume shop supervisor, and lighting and sound supervisor will budget the proposed designs and inform the designers whether or not the current designs can be produced within available resources. If they cannot be produced within available resources, the designers will work with the director, design advisors, and production staff to revise the designs. These revisions should be shared with the director and the entire design team no later than one week before Meeting 6, in case revisions in one design necessitate changes in other designs.

Meeting 6 – FINAL PRESENTATIONS AND HANDOFFS (2 weeks after Meeting 5) – week 8

The expectation for this meeting is that completed scenic draftings (including scene by scene groundplans with furniture placement) and a color model (from the scene designer); finished costume renderings and plot (from the costume designer); and preliminary sound cue sheets and a sources list (from the sound designer) will be presented to the director and the full design team. All of these documents should also be posted on Microsoft Teams. All previous versions of these documents should be removed from Teams to avoid confusion.          

Additional Scenic Deadline:

Following Meeting 6, the scenic designer will, under the advisement of the production staff and the scene design adviser, make a firm schedule for completion of the final prop packet and scenic art elevations.

Subsequent Events:

PRE-PRODUCTION MEETING   (typically one week after meeting 6)
At this meeting the director will talk to the full production team about the show, and the approach. The designers will present their completed [and approved] designs to the entire production staff. Scenic designers will present their design via model, research, and drawings. Costume designers will present their design via color renderings and research. Costume designers frequently use a .ppt for their presentation. Lighting and sound designers will present their approach to the production, which may take a variety of forms. (See Sound Design and Lighting Design Process section in the handbook for a complete set of expectations for those disciplines).

DESIGN PRESENTATIONS: FIRST REHEARSAL
Design presentations typically occur during the first rehearsal for the actors. All designers will present their finalized designs to the cast, full stage management team, and representatives from the TAM area. Costume designers frequently use a .ppt for their presentation. It is mandatory that all designers be present at this meeting.

All main stage productions at Ithaca College have a standardized technical rehearsal schedule. This process generally takes eight days. This schedule will vary based upon the show and where it falls in the calendar. Please see the production calendar for exact dates.

Each rehearsal has a specific “GO” time, which is meant to be the time the rehearsal starts. Every crew and area must move their call times accordingly to be ready to go at the time specified.

After each technical rehearsal and preview, there will be a production meeting at the tech table. All crew heads, designers, and directing staff are expected to attend. At this meeting the director will generally share their notes and questions for the entire group will be entertained.

After this meeting, the directing staff generally leaves to give notes to the actors. The different department staff will then have individual meetings to go over their notes for the next day. Once this has been accomplished, there will be a brief meeting between scenery, lighting, and sound to determine the exact schedule for the next day’s work notes.

Please remember: The use of personal computers, PDAs and cell phones in the theatre, backstage and in the dressing rooms is allowed but the external volume must be turned off and headsets are not permitted. At the discretion of management, faculty, and crew chiefs, technology may be banned in certain areas.

A typical tech schedule might be as follows:

DAY ONE (Wednesday)
It is at this rehearsal that we begin to put all of the pieces together for the show. Typically, we start at the beginning of the piece and work our way through until the end. Standard “GO” time is 7:00 p.m. with an 11:00 p.m. end of rehearsal. There will be an immediate production meeting at the tech table where the director can go over notes and general questions can be asked that affect the entire group. After this meeting (typically 30 min.) the director will give the actors notes in the lobby. Technical departments will meet individually to go over specific notes. After the departmental meetings take place there will be a short gathering to determine the space needs for the following day.

DAY TWO (Thursday)
Continue working through the show with the same schedule of Day One.

DAY THREE (Friday)
Continue working through the show with the same schedule of Day One.

DAY FOUR (Saturday)
This is typically a day off for the actors and a workday for designers and technicians.

DAY FIVE (Sunday)
Typically, this day is a 10 out of 12. We begin rehearsal at 12:00 noon and work until 5:00 p.m. The cast and crew come back at 7:00 p.m. for a 8:00 p.m. “GO” for the first dress rehearsal. Some crews may work in the morning from 9:00-12:00 and during the dinner break 5:00-7:00.

DAY SIX (Monday)
This rehearsal is the second dress rehearsal for the production. An 8:00 p.m. “GO” is typical. There might be small “fix-it” sessions scheduled to address any concerns that arise.

DAY SEVEN (Tuesday)
This is the first preview. It is usually an 8:00 p.m. “GO.”

DAY EIGHT (Wednesday)
This rehearsal is generally a four hour rehearsal. This rehearsal is to work out any problems that were discovered in the preview. The exact schedule for this evening will be determined at the production meeting after Day Seven.

DAY NINE (Thursday)
Opening Night.

The scenic designer is responsible for the visual appearance and function of the scenery and properties for his or her show. Numerous readings of the script and discussions with the director are necessary to come to a full understanding of the production’s focus and intent. Further discussions with the other designers in the team and the technical director will assure a cohesive concept which is functional within the available resources of time, budget and labor.

The completed design should be represented by a complete colored model (1/4” or 1/2” scale) and accompanying sketches. These are the primary means of communication with the director and the other members of the design/production team. Upon approval, the design of all scenic units and constructed properties should be represented by draftings in 1/2” scale. Unless the color model is well detailed, 1/2” scale painter’s elevations must also be presented. Early discussions with the scenic artist should result in full scale paint technique samples which are presented for approval. These paint samples should be available to the lighting designer for use in determining or refining color selections. Some discussion and adjustment should be expected. It is crucial that color be discussed in very specific terms throughout the design process with the lighting and costume designers. All sketches, models, draftings and color elevations must be presented for approval to the faculty scene design advisor, technical director, director and department chair before they are realized.

Meeting the established deadlines is absolutely essential. A glance at the organizational chart for a standard production will certainly illustrate how many people and departments will be idle if the designer has not been responsible to the needs of the production. Late night and weekend crew calls can often be attributed to delinquent designer drawings. The scenic designer should be aware that adequate time must be allotted to the technical director to develop working drawings and order materials before the shop can begin building the set. Therefore, the deadline for completed drafting will be stringently enforced. Regularly scheduled meetings with the faculty scene designer can help the student designer make more accurate drawings and meet deadlines.

Questions about mechanics, materials and costs should be directed to the show’s technical director. If the technical director is a student, it is his or her responsibility to consult with the faculty technical director as needed.

Painter’s elevations should be presented as soon after the draftings as possible. Estimates for paint orders should be developed with the faculty scene designer, who will then order the paint. While there is generally some quantity of each color on hand in the paint shop, it is for mixing and emergency use only. There is no “stock” as such–all materials must be ordered on a per show basis.

The information below details general guidelines for the student scenic designer to follow throughout the design/production process. The guidelines are for the more formal assigned meetings. Additional meetings and discussions are to be expected and are encouraged. Specific schedules and deadlines will be assigned for each show.

General Chronology of Deadlines for Productions
(see also the “Design Process” section)

• Design Meeting 1
  • Discussions with the director and design team to discuss and develop a concept and approach to the play.
• Design Meeting 2
  • Presentation of research and rough thumb nail drawings
• Design Meeting 3
  • Presentation of rough model or color sketches (TBD by faculty scene design advisor) and fleshed out ground plan
• Design Meeting 4
  • Rough model or revisions to rough model and ground plan. A thorough set of rough plans will be expected shortly after this meeting.
• Budget Review 1
  • Review of rough plans and model with technical staff.
• Design Meeting 5
  • Presentation of finished color model, completed ground plan and section, and prop list.
• Budget Review 2
  • Continuing discussions with technical staff.
• Pre Production Meeting
  • Presentation of finished plans, painter’s elevations and prop research.
• Budget Review 3
  • Continuing discussions with technical staff.

Technical Rehearsal Period

One week prior to opening. Scene designers should be present at technical rehearsals. If class work is in jeopardy, designers may be excused from some technical rehearsals with approval of the faculty scene designer.

Some tangible, visual information must be presented by the designer at each design meeting in order to communicate the design ideas in concrete visual terms. Research should always be available at these meetings. The process of designing a set is a long process with a number or requirements; the better prepared and organized you are from the beginning will help you to stay on schedule. Be prepared to make changes along the way; often times your first ideas will not be the strongest. Remember that theater is a collaborative art; be understanding of other’s ideas and suggestions. A design will not enter the shop until it has been approved by the director, faculty scene designer, faculty director and department chair.

Requirements for the Scenic Design Package

1. Ground-plan 1/2” scale, including seating, masking and site lines.
2. Section(s) 1/2” scale.
3. Elevations and details. Generally 1/2” scale.
4. Painted model 1/4” or 1/2” scale.
5. Painter’s elevations, covered with acetate, if deemed necessary by faculty scene designer.
6. Full scale paint technique samples worked out with the scenic artist.
7. Properties list, including sketches or research and orthographic drawings of all built props if deemed necessary by faculty technical director.

The scenic designer is expected to help with the painting of the scenery and the acquisition of set props and dressing.

The costume designer is responsible for the design of all costumes worn by the cast (and sometimes the crew) in a production. Costumes include clothing, undergarments (if seen or necessary for shape and structure), shoes, hats, wigs (or hairstyles), jewelry, accessories, and overgarments, and may incorporate such items as purses or parasols. In addition to this, the costume designer is responsible for any decisions regarding specialty makeup that may be incorporated into the design. All design work is done under the supervision of the faculty costume designer. All execution of these designs is done with the cooperation of the costume shop and the costume shop manager.

A costume designer begins by reading the script, creating a rough plot, and discussing the approach with the director, choreographer, and members of the design team. Knowledge of period and/or style comes from research. The costume designer is expected to attend all design and production meetings. Dates and times for these meetings can be found in the Theatre Arts Production Calendar. At these meetings the designer should be prepared to present information and discuss ideas.

Design Meetings

There are typically five design meetings scheduled. The design process cannot be limited to these five meetings. A designer should take every opportunity to meet with the director(s), faculty advisors, and members of the design team to discuss and clarify ideas. Please see the “Formalized Design Process” section above for details on the five specific meetings.

Also note, before meeting #4, you should take the opportunity to make an appointment and share the plot and sketches with the costume shop manager. It is important to confirm that your ideas and approach are compatible with the time and budget allotted to your show.

Costume Designer Responsibilities

1. The costume designer is responsible for assembling the BIBLE for his or her own show.
2. The costume designer is responsible for pulling clothes from costume storage for his or her own show and restocking the ‘rejects’ not used in production.
3. The costume designer is responsible for purchasing items for his or her own show.
4. The costume designer is expected to attend all fittings.
5. The costume designer is responsible for supplying any rehearsal costumes requested by the director or choreographer. Please check with the costume shop manager before these items are sent to rehearsal.
6. The costume designer is expected to work in the costume shop preparing fabric or trim and participating in the construction and/or alteration of costumes.
7. The costume designer is expected to consult with the costume shop every day. This is an opportunity to discuss any rehearsal notes, answer questions, confirm fitting schedules, and anticipate or solve problems.
8. The costume designer is expected to attend at least one run-through prior to first dress rehearsal. It is recommended to do so with the wardrobe supervisor so that places for changes and presets can be established. Attendance at more than one rehearsal is recommended. Attendance at a technical rehearsal is also recommended.
9. The costume designer is required to attend all dress rehearsals. At the end of each technical and dress rehearsal there will be a production meeting where the director will be able to give notes to the entire production team. It is expected that you will participate in the completion of all notes in preparation for the next rehearsal.
10. The costume designer is expected to attend strike.

Acquiring the Costumes

Pulling

You can begin pulling costumes as soon as you have an approach to your production. Feel free to dress up the forms in clothing to assist you in the revision of sketches and final renderings. All costume storage areas are located in Dillingham Center. These areas are locked; keys are kept in the costume shop. Please do not bring food and drink into these areas. It is best to begin pulling clothing by category (dresses, suits, shoes, etc.) rather than by character. Any mess that you create you will be expected to clean up. Please try to leave stock cleaner than you found it.

A rack in the costume shop will be assigned to your show. Character dividers can be labeled and you can begin to store any items you have pulled.

Shopping

Please see the costume shop manager for complete information about purchasing. If you need transportation, shopping trips can be arranged. Manual checks are available for purchasing items in the area. They have a value of $500 and must be accompanied by a receipt. Remember, Ithaca College is a tax exempt institution and does not pay sales tax. If sales tax is paid, it cannot be reimbursed. Tax exempt certificates are available from the coordinator of theatre operations to present to vendors when making manual check and cash purchases.

Catalogues are kept in the costume shop and items can be ordered from them or on-line. Remember to allow time for delivery.

Renting

All rental arrangements will be made with the costume shop. If at all possible, arrangements will be made for you to view these items prior to establishing any agreements.

Building

The decision to build costumes is made in cooperation with the faculty costume designer and the costume shop manager. A colored rendering is required, research that illustrates cut, drape and style is helpful, and patterns (contemporary or period) are welcomed. The costume designer is responsible for the purchase and preparation of all fabric and trim. The costume designer should be fully prepared to discuss the rendering with the costume shop manager prior to construction. You are welcome to participate in the construction of any or all costumes.

Fittings

As costume designer you are expected to be at all fittings.

Shop time

As costume designer it is expected that you will be an active member in the costume shop. As you work on your show you may add things to the ‘to-do’ list. Likewise, you will find things ‘to-do’ on this list. Remember—any mess you make, you will be expected to clean up.

Keys

As costume designer, you are entitled to a key to the costume shop. As a holder of a key, you will be responsible for anything that happens while you are in the shop. The costume shop policy requires that you do not work alone (bring a friend along even if they just sit and read) and that you do not work past 9:00 p.m.

Budget

As costume designer you are expected to work within your budget. You must work with the costume shop manager to maintain accurate, up-to-date budget information.

Specialty Costumes

The breakaway dress and the suit that lights up are examples of costumes that do tricks. You must first discuss the expectations for these tricky costumes with your director(s). Discuss options with the costume shop manager in order to find/buy/rent/build these items.

PLEASE REMEMBER: The design process is collaborative. Asking questions and sharing ideas is the key to a successful project.

The lighting designer is responsible for all communication with the director and should set up times to discuss the general aesthetic, movement, cue placement, follow-spot cues and anything else that is necessary for the production.  The designer will communicate his/her ideas in a graphic way to the director so there can be a full understanding of the ideas.  This might include visual research, a lighted model, or other means that are appropriate to communicate the ideas. The lighting designer is expected to be an active member of the design team and to be present at all design and production meetings to ensure cohesiveness of design and to keep abreast of any changes.  S/he is expected to attend rehearsals or run-throughs as necessary. It is essential that s/he attend at least one run-through before paper-tech.  Additionally, student designers will include the lighting design mentor on all design & production related correspondence so that they make keep abreast of the process. 

An updated list of stock equipment and a budget for each show is available on the Novell Server in the Production Folder. Equipment may be borrowed from the other theatre’s stock only with permission of the lighting mentor.  

DESIGN PROCESS

The lighting design process moves through the events as specified in the formalized design process. Every Lighting Designer will also follow their own design process as they see fit. Below is the process as outlined in the lighting curriculum. (All due dates are specified in the production calendar.)  Meeting all deadlines is absolutely essential. 

Design Meeting 1-5

CONCEPTUAL WORK

The designer will consider the play and develop a point of view on the piece in collaboration with the design team through the design process.

Design Meeting 6

STORYBOARDS 

The designer will articulate the script needs (given circumstances and other) and the aims of the light and do visual research for each environment.  These should be formatted like the “Storyboards” from the Lighting I Handbook. The designer will talk through the show in terms of intention prior to submission to the faculty LD. These must be approved by the faculty LD prior to moving to the next phase.  

PRELIMINARY DESIGN MEETING (~ 1 WEEK PRIOR TO ROUGH PLOT DUE DATE AND ONLY WITH THE LIGHTING DESIGN MENTOR AND THE LIGHTING DESIGNER)

COMBINED SYSTEMS LIST

The designer will then begin to flesh out these ideas in terms of direction and color. These ideas might need to be worked out in Studio II or in the lighting lab.  This list must be shared with the faculty LD prior to the student moving forward.

AREA BREAK DOWN & CONCEPTUAL HOOK-UP

The designer will then move toward producing a conceptual hookup based upon the ground plan obtained from the set designer. The designer will ensure that these ideas are within the inventory of the space.

WORKSHEETS

The designer will then explore the space and the set and determine the proper fixture choice and placement for every idea. 

ROUGH PLOT

The designer will place lighting fixtures on a plot alongside a channel hookup.

ROUGH PLOT

• Rough plot

• Rough section

• Rough Details (if applicable)

• Rough Lightwright hookup, inventory of units, inventory of color, inventory of templates

• Rough Magic Sheet 

FINAL LIGHTING PACKAGE

• Completed 1/2” scale light plot

• Completed 1/2” scale center line section

• Completed 1/2” scale detail drawing including all booms and set mounts

• Lightwright hookup, inventory of units, inventory of color, inventory of templates

• Rough Magic Sheet 

HANG

Designers will be available to answer any questions and make multiple visits to the stage to look at progress, discuss any issues and resolve any conflicts as they arise.

PRE-TECH MEETING WITH MENTOR

At some point after the light plot is submitted and before focus you must make an appointment with me to go over your magic sheet & cue list and discuss an approach to focus.

FOCUS

Designers will be given a specific focus date and time. All focusing will be done during that time. The master electrician will have been informed that the show must be ready to focus the day before the first focus call and will be prepared to do a channel check with the lighting designer and the lighting advisor at that time. Focus time is meant to be used only for focusing - not for finishing the hanging and patching of equipment. The designer should know where each light is to be focused and have the proper paperwork prepared in order to focus as quickly and efficiently as possible.  The designer should show up to the focus at least 10 minutes early and have taped out all focus points prior to this time and day.  The Master Electrician will run the remote-focus unit and will track all changes on the hook-up and plot.

PAPER-TECH

Designers will be present to relay all cue information (placement and nomenclature) to stage management.  This is NOT a time to discuss the finer ascetics of the light, but rather to get the information in order in the stage managers book.  The design conversation with the lighting designer and director should happen outside of this meeting and in more detail.

LIGHT-OVER REHEARSAL (OPTIONAL AND WITH DIRECTOR APPROVAL)

Designers may want to take the last run-through before tech to light over rehearsal.  This is meant to be the director’s rehearsal - with the lighting designer looking at ideas over the top.  At this point it is essential that the designer become familiar with the focus and color choices and begun to understand how those will be used to accomplish the needs of the production as discussed.  

LIGHTING LEVELS & DARK TIME (OPTIONAL AND DIRECTOR DEPENDENT)

Some directors may want to look at the lighting before technical rehearsals.  If this is so, the designer will have programmed ideas into the board PRIOR to this meeting.  If this is something you and your director are interested in pursuing - you must voice this desire EARLY in the scheduling process.   It is very difficult to carve out the time in the theatre as well as arrange for a board operator and people to walk the stage for you.

TECHNICAL REHEARSALS

Designer will be prepared with updated Magic Sheets, Cue Lists and Follow Spot Cue Lists.  The designer will take their own technical notes unless other arrangements have been made.

POST REHEARSAL PRODUCTION MEETINGS

At the end of each technical rehearsal there will be a production meeting where the director will be able to give notes to the entire production team.  After this, the designer and master electrician will meet to develop a list of notes in order of priority for the following day.

NOTE SESSIONS & DARK TIME

During the day before each technical rehearsal - the designer will be present at all note calls to accomplish any focus notes and answer any questions that arise.   

OPENING

Upon opening, the designer will present stage management with an updated channel hook-up, magic sheets & cue list. 

BEFORE THE END OF THE SEMESTER

Each lighting designer must turn in an updated lighting package and schedule a post-mortem with the lighting mentor.  No grade will be submitted until the receipt of this document.

• This package will include the following
• Updated Plot
• Updated Section
• Updated Hookup
• Updated Magic Sheet
• Updated Cue List
• 8x10 Photo of Production
• Self Evaluation

The lighting designer is expected to attend strike and assist the master electrician or light cage supervisor as necessary. Evaluations of the master electrician, lighting supervisor and assistant lighting designer (if appropriate) should be completed and returned to the department technical director by this time.

The associate lighting designer job is to aid the designer in the mechanics of the design, as determined by the faculty mentor, as well as to observe and learn from the process of the design by participating in all aspects of the process with reflective journals required.

Assistant LD’s must cc’d the faculty mentor on all correspondence regarding the production lighting.

All work will be posted to Sakai.

DESIGN PROCESS

The lighting design process moves through the events as specified in the formalized design process. Every Lighting Designer will also follow their own design process as they see fit. Below is the process as outlined in the lighting curriculum. (All due dates are specified in the production calendar.)  Meeting all deadlines is absolutely essential.

Design Meeting 1: ANALYTICAL WORK

ALD only)How does the designer react and respond to the director’s comment?

How does the designer consider and move forward with those comments to readjust/reassess their research/ideas? What kind of research would you have to support this world that is being         constructed? 

Design Meeting 2: RESEARCH 

Consider the research that the SD and CD are presenting. What does it say about the word of the play? What additional research could you do that might propel the process forward? Describe the communication between the designers & director(s). What does the director respond to? What doesn’t the director respond to? In what ways does the LD effectively communicate with the director? What kind of dialogue is established for lighting within the world of the play?

What kind of research would you have to support this world that is being constructed? 

Design Meeting 3: ROUGH IDEAS

Consider the ideas that the SD and CD are presenting. How do they address what the director was interested in? How do they not? What would you have done differently? What additional research could you do that might propel the process forward? Describe the communication between the designers & director(s). What does the director respond to? What doesn’t the director respond to? Given the set ideas - what role can lighting play at this point?

Design Meeting 4: REFINED IDEAS 

Consider the ideas that the SD is presenting. How do they address what the director was interested in? How do they not? What would you have done differently? What additional research could you do that might propel the process forward? Describe the communication between the designers & director(s). What does the director respond to? What doesn’t the director respond to? Given the set ideas - what role can lighting play at this point? Think about set practicals and practicals within the world of the play set by the scenic designer at this point.

Design Meeting 5: FIRST LOOKS 

Consider the ideas that the SD and CD are presenting. How do they address what the director was interested in? How do they not? What would you have done differently? What additional research could you do that might propel the process forward? Describe the communication between the designers & director(s). What does the director respond to? What doesn’t the director respond to? Given the set ideas - what role can lighting play at this point? If anything has changed how from 4-5 due to budget, etc with scenery how do you plan to fix and adapt to the changing world within your ideas?

Design Meeting 6: HANDOFF

STORYBOARDS

The designer will articulate the script needs, the aims of the light, small system diagrams and do visual research for each environment.  These should be formatted like the “Storyboards” from the Lighting I Handbook. The designer will talk through the show in terms of intention prior to submission to the faculty LD. These must be approved by the faculty LD prior to moving to the next phase.  The ALD will do the same - but only present to the faculty LD.

1 Week Prior to Rough Plot (LD Only, ALD not responsible for the following)

COMBINED SYSTEMS LIST

The designer will then begin to flesh out these ideas in terms of direction and color. These ideas might need to be worked out in Studio II or in the lighting lab.  This list must be shared with the faculty LD prior to the student moving forward.

AREA BREAK DOWN & CONCEPTUAL HOOK-UP

The designer will then move toward producing a conceptual hookup based upon the ground plan obtained from the set designer. The designer will ensure that these ideas are within the inventory of the space.

WORKSHEETS

The designer will then explore the space and the set and determine the proper fixture choice and placement for every idea.

CUE LIST    

During this period the lighting designer is expected to generate a rough cue list. The director must be fully aware of the cue list prior to the paper tech.

ROUGH PLOT (LD Only, ALD not responsible for the following)

• Research
• Systems list
• Conceptual hookup
• Any worksheet questions
• Thoughts on practicals & special effects
• Requests for Follow Spots or other labor implications

    ALD: What questions do you have the lighting design? Does it provide for the intentions that the LD is trying to achieve? Does it support the story discussed in the design phase? Where are there missed opportunities?

PRELIM PLOT (LD Only, ALD not responsible for the following)

• Rough plot
• Rough section
• Rough Details (if applicable)
• Rough Lightwright hookup, inventory of units, inventory of color, inventory of templates
• Rough Magic Sheet

    ALD: What questions do you have the lighting design? Do the drawings clearly communicate the intentions of the design? How might they do so in a clearer way?

LIGHTING PACKAGE (LD Only, ALD not responsible for the following)

• Completed 1/2” scale light plot
• Completed 1/2” scale center line section
• Completed 1/2” scale detail drawing including all booms and set mounts
• Lightwright hookup, inventory of units, inventory of color, inventory of templates
• Rough Magic Sheet

    ALD: What questions do you have the lighting design? Do the drawings clearly communicate the intentions of the design? How might they do so in a clearer way?

HANG (LD Only, ALD not responsible for the following)

Designers will be available to answer any questions and make multiple visits to the stage to look at progress, discuss any issues and resolve any conflicts as they arise.

PRE-TECH MEETING WITH MENTOR (LD Only, ALD not responsible for the following)

At some point after the light plot is submitted and before focus you must make an appointment with me to go over your magic sheet & cue list and discuss an approach to focus.

FOCUS (LD Only, ALD not responsible for the following)

Designers will be given a specific focus date and time. All focusing will be done during that time. The master electrician will have been informed that the show must be ready to focus the day before the first focus call and will be prepared to do a channel check with the lighting designer and the lighting advisor at that time. Focus time is meant to be used only for focusing - not for finishing the hanging and patching of equipment. The designer should know where each light is to be focused and have the proper paperwork prepared in order to focus as quickly and efficiently as possible.  The designer should show up to the focus at least 10 minutes early and have taped out all focus points prior to this time and day.  The Master Electrician will run the remote-focus unit and will track all changes on the hook-up and plot.

PAPER-TECH (LD Only, ALD not responsible for the following)

Designers will be present to relay all cue information (placement and nomenclature) to stage management.  This is NOT a time to discuss the finer ascetics of the light, but rather to get the information in order in the stage managers book.  The design conversation with the lighting designer and director should happen outside of this meeting and in more detail.

LIGHT-OVER REHEARSAL (optional and with director approval) | (LD Only, ALD not responsible for the following)

Designers may want to take the last run-through before tech to light over rehearsal.  This is meant to be the director’s rehearsal - with the lighting designer looking at ideas over the top.  At this point it is essential that the designer become familiar with the focus and color choices and begun to understand how those will be used to accomplish the needs of the production as discussed.

LIGHTING LEVELS & DARK TIME (optional and director dependent) | (LD Only, ALD not responsible for the following)

Some directors may want to look at the lighting before technical rehearsals.  If this is so, the designer will have programmed ideas into the board PRIOR to this meeting.  If this is something you and your director are interested in pursuing - you must voice this desire EARLY in the scheduling process.   It is very difficult to carve out the time in the theatre as well as arrange for a board operator and people to walk the stage for you.

TECHNICAL REHEARSALS

Designer will be prepared with updated Magic Sheets, Cue Lists and Follow Spot Cue Lists.  The designer will take their own technical notes unless other arrangements have been made.

POST REHEARSAL PRODUCTION MEETINGS

At the end of each technical rehearsal there will be a production meeting where the director will be able to give notes to the entire production team.  After this, the designer and master electrician will meet to develop a list of notes in order of priority for the following day.

NOTE SESSIONS & DARK TIME

During the day before each technical rehearsal - the designer will be present at all note calls to accomplish any focus notes and answer any questions that arise.   

OPENING

Upon opening, the designer will present stage management with an updated channel hook-up, magic sheets & cue list.

BEFORE THE END OF THE SEMESTER (LD Only, ALD not responsible for the following)

Each lighting designer must turn in an updated lighting package and schedule a post-mortem with the lighting mentor.  No grade will be submitted until the receipt of this document.

This package will include the following

1. Updated Plot
2. Updated Section
3. Updated Hookup
4. Updated Magic Sheet
5. Updated Cue List
6. 8x10 Photo of Production
7. Self Evaluation

Evaluations of the master electrician, lighting supervisor and assistant lighting designer (if appropriate) should be completed and returned to the department technical director at the end of the semester.

ATTENDANCE POLICY

Missing any due date or scheduled meeting can be grounds for being pulled from the production and failing the course.

COURSE REQUIREMENTS & GRADING POLICY

Grading is based on the 4.0 scale as articulated in the Undergraduate Catalogue.  Grades will be assigned on the basis of analysis, research, degree of completion, appropriateness and coherence of design, and how effectively your ideas were communicated.

For THEA 21000 & 31000:  Theatre Production II & III

• Supervisory Skills* (20-25%) This includes not only the hands on management of your crew members, but also includes interpersonal and collaborative skills. Your crew must be notified in writing, and on crew call board, 24 hours in advance of any and every crew call.  You must be prepared and utilize your crew efficiently.

• Dedication and Professionalism (20-25%)  This includes reliability, commitment, collaboration, interpersonal skills, health/stamina and creativity

• Management Skills (20-25%)  These includes organizational skills, time management skills, promptness, interpersonal skills, problem solving, analytical skills, and the ability to deal calmly and rationally with stressful situations,

• Aesthetics and Craftsmanship (20-25%)  This includes demonstrated creative and conceptual skills, craftsmanship, attention to detail, growth in the area of aesthetics and the ability to set and maintain the quality of the production.  This also will include all paperwork deliverables.

• Attitude (20-25%) This includes a demonstrated reliable, positive, productive and collaborative attitude toward the project; toward everyone involved on the project, to the department of Theatre Arts and to the Art of Theatre. You must also demonstrate the ability to take direction and criticism.  You also must demonstrate desire, passion, focus and drive for the project, the department and the art form.  This also includes your final evaluation that you will submit to me.

For THEA 41000: Theatre Production IV

• Light Plot Deliverables* (20-25%) This includes all associated paperwork that you submit.

• Dedication and Professionalism (20-25%)  This includes reliability, commitment, collaboration, interpersonal skills, health/stamina and creativity

• Production Process (20-25%)  These includes organizational skills, time management skills, promptness, interpersonal skills, problem solving, analytical skills, and the ability to deal calmly and rationally with stressful situations, and how you work through the production process

• Aesthetics and Craftsmanship (20-25%)  This includes demonstrated creative and conceptual skills, craftsmanship, attention to detail, growth in the area of aesthetics and the ability to set and maintain the quality of the production.

• Final Self Evaluation (20-25%)

ITHACA COLLEGE THEATRE ARTS DEPARTMENT

Lighting Designer Self-Evaluation

Note:  You will not receive a grade until this document is submitted and you have scheduled a meeting for a post show discussion with me.

Final Deliverables to faculty LD.  (all in letter format if possible)

In a Binder:

• Updated Plot
• Updated Section
• Updated Hookup
• Updated Magic Sheet
• Updated Cue List
• 8x10 Photo of Production

Print outs for Faculty to keep:

• Updated Plot, Section & Elevations (8.5” Reduction)
• Updated Hookup
• Updated Magic Sheet
• Updated Cue List
• 8x10 Photo of Production
• Self Evaluation

Self Evaluation (typed document answering the following questions)

    1.    Evaluate you conceptual process.

• Do you feel you were an active member of the design team?  If so how?  If not, what would you do different next time?
• How did you articulate your ideas the director and the other design members?  (Did you find that your research communicated what you wanted, or did you find yourself describing your ideas?)
• Did your initial conception of the piece translate into final ideas on stage?
• What do you want to remember to incorporate next time you design?
• What would you have done differently?

    2.    Evaluate your plot development process.

• How did your ideas about the play translate into fixture and color specification?
• Did your worksheet work?  If so what was most valuable?  If not, why?
• What about the process can be streamlined for next time?
• What about the process needs more of your attention next time?

    3.    Evaluate your tech process.

• How was your relationship with your ME?
• Did your drawings answer most of the questions that arose?  If not, where were they insufficient?
• Did you feel in control of out of control during tech?  If in control – what in your preparatory process aided this?  If out of control, what can you do differently in your prep next time to avoid this?
• At focus, did you feel your worksheets informed you decision making process?  If not, what needs to change about your worksheet prep?
• How was your relationship with your Director at the tech table?  Do you feel you were speaking the same language?  If not, what can you do next time to ensure you are both on the same page?
• Do you feel you were able to keep your cue list up to date during tech?  If not, what needs to change for this to be so?
• How do you feel about how you divided up your time between cueing and work notes?
• How do you feel about your priorities for each day?  Did you have a clear sense of what was more important to do and in what order?
• What would you have done differently?

    4.    Evaluate the mentorship process.

• Are there moments when you felt I was not present enough?
• Are there moments when you felt I was too present?
• Are there things I can do for future designers that you think would be helpful to the process of learning the art and craft of lighting design?

5.     Develop a Critical Eye

You are also required to see one additional performance and take notes (that you may not do) and submit a minimum of 20 of these notes to me to discuss at your post show discussion.

Sound Designer

The sound designer is responsible for creating or enhancing the aural environment of the production through audio playback and live reinforcement, as required. This includes the acquisition or creation of the content of the sound design, the design of the audio systems needed to reproduce/reinforce the design in the theatre, and the configuration of communications systems for the production. The sound designer also supervises the work of the sound engineer, mixing engineer, and other members of the sound team. In collaboration with the director and the other members of the design/technical team, the sound designer is responsible for developing a viable production concept, maintaining adequate communication with all members of the production team, integrating the design into the rehearsal process, adapting the design as the production evolves in rehearsal, finalizing the design during technical rehearsals, and maintaining the quality of the design throughout the run of the production. Deadlines for each phase of the design process are provided in the production calendar. These are the dates when each phase of the design must be completed, but it is often necessary to complete a phase before the posted deadline, based on the needs of the production.

Sound Engineer

The sound engineer is primarily responsible for installing, testing, and maintaining the audio and communication systems specified by the sound designer. This includes creating the shop order from the designer’s system documentation, acquiring the necessary equipment, studying the operation of unfamiliar equipment, training the sound crew, organizing crew schedules, posting crew calls pursuant to regulations specified in this handbook, and directing and supervising all crew activity.

The sound engineer is responsible for creating and maintaining a safe environment for all members of the production as well as for all equipment and cable. Neatness of cabling and cleanliness of equipment installation must be maintained at all times. The sound engineer is also responsible for staffing the operation of the performances and the maintenance of the quality of the design throughout the run.

Mixing Engineer

The mixing engineer is responsible for the operation, balance, and fidelity of musical or other reinforced shows as directed by the sound designer. The mixing engineer will fully learn the dialog, music, and blocking of the show by attending all run-through rehearsals and will develop a copy of the script that accurately details microphone pick-ups, band entrances, levels, playback cues, and other mixing notes. The sound designer supervises and directs the mixing engineer in learning and operating the show, but the mixing engineer is responsible for maintaining the sound of the show for each performance. The mixing engineer should fully understand the audio systems as well as the operation of all equipment in the systems and be available to assist the sound engineer in troubleshooting and maintenance as necessary.

Microphone Dresser

The microphone dresser is responsible for tracking wireless microphone placement, designing appropriate attachment equipment, and supervising all wireless microphone dressing and maintenance during performances. The mic dresser will work directly with both the sound designer and costume designer to determine optimum mic placements for each actor that provide excellent sound quality while visually integrating with the costume design. The mic dresser will also create and update microphone tracking and dressing plans and work with the sound engineer to train and organize schedules for the mic dressing crew.

Assistant Sound Engineer

The assistant sound engineer is responsible for assisting the sound engineer, mixing engineer, and mic dresser in all of the responsibilities described above. The specifics of the position will change with each production as appropriate.

Note

Not every production will be staffed with a crew member in all of positions described above. In these cases, the members of the sound team will divide and share these responsibilities as determined by the sound designer and faculty adviser.

Design Process

The following is a basic description of a typical sound design process, however every production will present unique challenges and the exact process will vary. Detailed information about the process will be provided during the weekly meetings with the faculty adviser (see below).

The sound designer will obtain a copy of the script, read it several times, and develop a thorough understanding of the structure of the play. They will also conduct preliminary factual and emotional research in preparation for the first design meeting. The initial meeting with the director will occur during the first design meeting as a part of the “Design Process” detailed above. However, the designer should also hold separate meetings with the director in order to discuss the specific purpose and function of the sound design for the production in detail. The expectations for each of the following design meeting are described in the “Design Process” above.

The sound designer will initially meet with the faculty adviser to discuss the design and technical requirements of the production. The faculty adviser will provide a list of available equipment and information about the budget for the production. The sound designer will then meet weekly with the faculty adviser to discuss the ongoing process of the sound design. The faculty adviser must also approve the proposed design. All design materials should be reviewed and approved by the faculty adviser before they are distributed to the rest of the production team.

Technical Process

Paperwork

The sound designer will prepare a package of specifications for the design. The package will include:

• Sound Cue Sheets
• Sound System Design
• Scale Loudspeaker Plot and Section
• Any other necessary detail specifications including drawings for unusual cable runs or other non-standard installation details
• Rack drawings as needed

The Sound Cue Sheets should first be distributed at Design Meeting 6 with revised cue sheets due on the first day of rehearsal for a production. The rest of the above paperwork is due on the date that says, “Snd Sys Des Due (Show)” in the production calendar. All paperwork will change throughout the design and technical process and should be updated and redistributed appropriately.

After receiving the sound system paperwork from the designer, the sound engineer will create a shop order listing all of the equipment, cable, and power necessary to successfully install the systems described. This shop order is due to the Sound Shop Assistant on the date specified in the production calendar.

Rehearsal Cues

By the date specified in the production calendar, the designer will supply to the stage manager a CD of rehearsal cues, complete with updated cue sheets, for every playback cue in the show. The stage management team has equipment for playing the CDs. Cues that affect line delivery, blocking, and stage business are the most important and should be the first priority in delivering rehearsal cues to the stage manager. The sound designer should plan to attend rehearsals after delivery of rehearsal cues in order to ensure that cues are working as intended.

Weekly Production Meetings

The designer and engineer will appear at the weekly production meetings and will be prepared to ask necessary questions and to deal with questions related to sound posed by the director, stage manager, other designers, or members of the technical staff.

Paper Tech

Paper tech is the meeting during which all cues are integrated into the stage manager’s prompt script. The sound designer must prepare an updated cue list in advance of paper tech. Generally, only the sound designer will attend paper tech.

System Balance and Sound Levels

The sound designer will have quiet time scheduled for the following activities:

• System Balance: gain structuring, equalizing, time-aligning, and ringing out the system.
• Rough Level Set: setting sound levels for playback cues

Quiet time may need to be shared with other production elements and the sound designer should work to facilitate other areas without compromising their ability to complete their work.

Sound Over Rehearsals

Sound over rehearsals can be scheduled during on-stage staging rehearsals or run-throughs at the discretion of the director and in coordination with the stage manager. Because rehearsal cues have been in use, the actors, director, and stage management team should be accustomed to the cues, but checking levels and timings with the actors in the space may be useful before tech. Under no circumstances should the sound designer interrupt the rehearsal or run through during sound overs. Care should also be taken not to disrupt the rehearsal with unexpected sounds or levels.

Technical Rehearsals

Technical rehearsals are meant to integrate all of the technical elements of the production. Because rehearsal cues have been in use in previous rehearsals, timing of sound cues may not pose significant problems, however, levels and other aspects of sound may prove difficult and can require holds. The responsibility of the sound designer in technical rehearsal is to make sure that cues integrate smoothly into the production. The sound designer may ask for a hold when a cue is not properly executed or does not fit as intended in the production. However, time during tech is very short and the designer should not request a hold unless the issue requires the actors, director, and other design areas to be involved.

Note Sessions

Immediately following all technical and dress rehearsals, the production team gathers for a meeting. The designer needs to get to this meeting as quickly as possible following the rehearsal. The director’s notes and questions to the director are usually managed first, followed by discussions of problems among the design and technical staff, followed by negotiation of the following day’s work schedule. The designer, sound engineer, and mixing engineer are all required to attend the post-rehearsal note sessions. The mic dresser should check in with the designer and engineers after they have received and secured the all of the wireless microphones. Because they occur at the end of the night, it is important for note sessions to move as quickly as possible. The designer should only discuss items that are important to multiple areas at this meeting. All other notes should be discussed one-on-one with the party involved.

Opening

By opening, the sound designer must ensure that the show is archived with a complete set of updated production paperwork, including the following:

• Cue List
• Complete list of audio equipment/cable used
• System diagram
• Loudspeaker plot and section
• Rack drawings, if used
• Pre- and Post-show Checklist for all operation positions

Strike

The designer, sound engineer, mixing engineer, mic dresser, assistant engineer, and all members of the sound crew are required to attend strike. Prior to strike, the designer and the sound engineer must prepare a strike plan in coordination with the faculty adviser. The sound engineer will contact the technical director and the shop/electrical supervisor to coordinate the order of strike whenever sound equipment is integrated with scenery or lighting.

Before the End of the Semester

Before the semester ends, the sound designer, sound engineer, mixing engineer, mic dresser, and assistant engineer must schedule a time to discuss the design and the execution of the production with the faculty adviser. No grade for the production will be submitted until this meeting has been completed.