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Selecon Newsletter Vol 11 - Documenting the Show Cues Nove…

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					Supplied by Macsound Theatrical Supplies                                              FreePhone 1800 684 090 FreeFax 1800 684911
            PO Box 111, URALLA 2358
Selecon Newsletter Vol 11 - November 1995
Documenting the Show Cues
In running lighting seminars around the country it is clear there is some confusion over the way to write up the
lighting cue sheets. Enclosed are two versions of a method employed in many theatres. The key thing to
remember is keep it simple!

The more there is to read the more confusion and uncertainty can be created in a moment of stress. For this
reason symbols are often used to show the type of lighting change required, these are quick to understand and
less likely to cause confusion. When things are happening at speed onstage the last thing an operator needs is
a vague doubt about what to do and when to do it!

The reason for two versions is that memory boards
have reduced the documentation required and the
presetting of individual levels for each scene needed
on older manual boards is no longer necessary.

For example a manual board usually has 2-3
duplicate sets of faders, one per dimmer.

Different lighting scenes can be set on each, for
instance the top row (preset A) can be set with scene
1 while the next scene is set on the bottom row
(preset B). By manipulating the masters which
control the total output of each preset one can move cleanly from one look to the other. Have a look at the cue
sheet shown over the page. The way we show this change on the masters is in fractions defining the finished
position. As an example A above 0 for off and B above F for full. We can bring the masters part way up if
required and this would be noted as a fraction, in the case shown (Fig 2) A above 3 and B above 8. e.g. {EQ
\f(A,3)} { EQ \fB,8) }

Crossfades between scenes normally fall into three main types. If we wish to fade completely to blackout
between scenes we use a symbol for down and under             this means we fade A out completely to
blackout before bringing B up.

If we wish to fade smoothly from one scene to the other without a blackout we use           to symbolise a
crossfade, this means as one fader is pulled down the other is pulled up and the scene will dip to half and then
lift to the new look.

If we wish to establish a scene under another, say for a move to a low light night scene, we use                  to
symbolise an up and over, this will ensure the lights do not dip out before fading up as this looks like a mistake.

                                                          Have a look at the cue sheet No 1 over the page.
                                                          An up and over means the first fader is taken to full before the second
                                                          is slid to zero

                                                          A crossfade means they are both moved at the same rate and cross
                                                          at the midpoint

                                                          A down and under means the first fader is taken to zero before the
                                                          next is lifted, making a blackout in between looks.

                                                          Time is an indication of how long the fade action should take in
                                                          seconds. If we wished this to be instant we would describe it as a
                                                          "snap' and operate it like a switch .

                                                          Cue is a sequential number to identify the point in the script for the
                                                          cue to happen.

                                           Description or key phrase is again a pointer to the cue staff and is
useful if a stage manager is not calling the cues or has missed a cue! Remember if they stuff up the operator is
still the one who looks silly.

Notes Are things to do after the cue such a presetting the next scene.


File : Selecon Newsletter Vol 11 - Documenting the Show Cues November 1995.doc                                    Page 1
Supplied by Macsound Theatrical Supplies                                         FreePhone 1800 684 090 FreeFax 1800 684911
            PO Box 111, URALLA 2358

Preset is the noting down of a manual set of individual fader levels required to make the scene, again
described in fractions with the master letter before them.




For manual boards. Refer sheet 1
Look at Cue 1, the description is "Warmers" (colour, usually red on the curtain) The fractional preset information
shows that this scene has channel 1 set at 6 or 60%, while channel 2 is set at 7 or 70%.

Cue 2 is the warmers and houselights to blackout over 5 seconds. I often add a DBO note which is short for
'Dead Black Out' as this reassures the lighting operator they have not made a mistake when the stage is
Plunged into darkness. In a busy show on opening night, when your parents are in the audience this is a big
plus believe me!

Cue 3 sees the scene 1 lighting up over 5 seconds and this consists of channels 4 at 65%, 7 at 30%, 11 at
60%, 12 at 80% and 14 at 90. After we finish cue 3 our notes show we need to clear the A preset and reset for
cue 4. Note all the channels in cue 3 are replicated but channel 13 (the Kings special spot)is added at 60%.

Cue 4 sees a special spot (13) brought up for the "KING" as he moves "downstage" D/S towards the stage
front, (upstage would be U/S) This cue is an up and over timed to his move ,it starts when he does and stops
when he has arrived. When the previous preset (B) is faded down the only change will have been the addition
of the special. We do this as an up and over so the main lighting does not dip. The lowering of A will not change
the lighting as levels are common on B and are at full before it goes down.

Cue 5 sees these lights crossfade to the "Night Forest" with his exit over 2 seconds.

Etc, etc ,as you can see it is simple and clear once one understands the conventions.




Sheet 2 shows the same show with a memory board, note the only real difference is the preset information is
replaced by memory numbers which are shown in the Action column instead of master A,B etc

Sheet 3 is a blank master copy for you to use.




File : Selecon Newsletter Vol 11 - Documenting the Show Cues November 1995.doc                               Page 2
Supplied by Macsound Theatrical Supplies                                         FreePhone 1800 684 090 FreeFax 1800 684911
            PO Box 111, URALLA 2358
                                               SHOW_______________________ Date___/___/___ Page_____________

Cue        Action                           Time        Description/Key Phrase     After Cue Notes            Preset




File : Selecon Newsletter Vol 11 - Documenting the Show Cues November 1995.doc                               Page 3

				
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