Getting a gig in Production




There are many routes into the production industry. More traditional skills, such as electrics and carpentry, may find work at venues as well as traveling shows. Roles in more specific technical aspects of showtime production ie. audio, lighting, video, rigging, may have to seek out specialized production companies through a source, like the event production directory and move closer to larger cities to be close to companies and venues. Even more specialized skills like makeup artists, laser operators, or performance artists, may have only a few choices of companies that offer the type of work and/or training they seek.

This brings us to our next topic of schooling. The different crafts that make up the workforce of the production industry is indeed unique, so much so, that besides the usual trades that can find work in production, options for traditional paths for success, ie. schooling, trade unions, etc. are somewhat limited for audio, lighting, rigging, video technicians. While there are schools growing more formal programs, like Columbia College Chicago, and Full Sail University; they, like all traditional education, have their pitfalls, ie. cost, staying current, but offer a base foundation of knowledge and experience and well determined individual can use to form a successful career.

The stagehand’s union exists in most major cities and offers training, benefits, competitive wages, and monitored working conditions, plus union backing. Downsides would be, inability to take non-union work, and the implications that has when you are low on the seniority list. Also, the union’s hold on the industry in general seems to be a continuous struggle as the cost of services, technological advance, and the way these factors affect supply and demand of clients, has caused much change in the industry over the past 25 years. Its tough to build a stable support system around an industry that is ever changing. Local unions, Osha, and even equipment manufacturers offer educational and safety training for equipment operation and general safety principles in dealing with topics like electricity and rigging.

There is also the dilemma is how to make the regular ends meet. If you are in a union, or work for a specialized production provider company, you may be working in different places often, whereas if you work at a venue, you will be working at the same place everyday. You could also work on a specific traveling (touring), or stationary show, working with the same performers everyday. Some people may prefer one over the other. Examples of these different types would be: working at a music venue or sporting complex; working for an A/V provider, like a sound, lighting or video company (or one that does it all!); working at a stationary show, like a show on the Vegas strip or Atlantic City or a Disney property(or somewhere worldwide!); working for a touring band or show, or a cruise ship.

You may also work in a variety of these situations a freelancer. This is subcontractor, contract type of position. This basic distinction being you are paid in the eyes of the IRS as a 1099 contractor (basically you were paid in cash with no taxes taken out for you making it your responsibility) instead of W-2 as a regular employee. The former designation, normally pushes many freelancers into forming there own companies. Freelancing can seem more lucrative in the short term, as you receive checks with more taxes taken out, but you must make a decision as to how to deal with paying the taxes out of each check, for paying the taxes on income for each year. The point of becoming a company then, is a way to organize this process and to also track your spending on business related expenses, that can offset the tax owed amount. You also, depending upon the type of business you form, make yourself an employee, simplifying your personal taxes, expanding your capabilities of your newly formed business! For anyone reading this and considering the self-employed route, hire a CPA and an accounting firm to keep track of your book keeping and do your tax filing for you. Also, embrace technology and the power of Quickbooks software, and mileage tracking apps, like Mile IQ.

As with any career, the name of the game is to be as educated on your field as possible and have the foresight and adaptability to antiquated with latest updated products and methodologies to be able to better perform your job functions and to better serve clients. The path to getting where you want to go, isn’t necessarily as important as weighing your options to bring you the best results, be it schooling, joining a union, getting a specialized certificate, etc. Anyone can reach the professional level of any field; always continuing to seek and learn the newest knowledge, is what will define, enhance, advance, and prolong your career.

“All of our posts are put together by the staff at JR Sound Co. a small outfit from Las Vegas, NV. For more on us, visit our website at www.jrsoundcompany.com, cheers! ”



Day of Show and Run of Show



Two of the most important reference guides for the production staff on show day are the day of show (or Day Sheet) and the show flow, or ROS (run of show). Normally, the day of show sheet will be posted in general places around the venue and the show flow sheet will be printed and distributed to the production staff to carry with them for the show.

Day Sheet

The day sheet can encompass many items and depending on the size of the tour, can have multiple versions for crew, talent, etc. Normal items covered would be:

  • Lobby Call
  • Crew Load In (could be separated into different departments depending in the size of the production, ie.  rigging, video and lighting, audio, staging, backline, etc.)
  • Crew Breaks/Meals
  • Line Check/Artist Load In/Soundcheck
  • Doors
  • Artist/Show Start Times and Duration
  • Meet and Greet
  • Load Out

As you can see, these are the items discussed in the advance process. The more detailed the advance, the more the entire staff involved can be on the same page.

Here is an example of a day sheet:

runofshow

Show Flow/Run of Show

While the Day sheet covers the entire day, The Run of Show sheet, covers the show itself. Depending on the complexity of the production, the showflow may not have to provide much more information that the day sheet, or could be detailed down to the min. by min. of the show’s progression. To give you examples, compare the performance of two rock bands to that of a sophisticated corporate events that has multiple keynote speakers, with powerpoint presentations, videos cues, and is being video recorded and broadcast live, while being streamed online.  For either type of show and all of the variations in between and beyond, ROS sheets could include, but are not limited to the following items:

  • Show Start time
  • Set lengths (for music performances)
  • Changeover times/Intermission (for multi act shows)
  • Audio/Lighting/Video/Special Effect Cues

Here is an example of a show flow:

run-sheet-1

As you can see, there are many details that go into what can seem like a simple performance and or presentation to the audience.

“All of our posts are put together by the staff at JR Sound Co. a small outfit from Las Vegas, NV. For more on us, visit our website at www.jrsoundcompany.com, cheers! ”


The Live Event Production Industry




The live event entertainment production industry is a vast network of many types of careers. In the following series of posts, we will attempt to outline the inner workings of the industry, by describing a set of unspoken guidelines the industry has always revolved around. For more information on the topics we will be talking about, please refer to the interview series on our youtube channel that will be debuting next month.

To start, here is a basic list and descriptions, of positions on a production show. Whether you are working for local band, national touring act, venue, production company, etc., each position of the following hierarchy is scalable to fit the size of the production, and in some instances, a show site my even have overlap in positions. Some positions are staffed “in-house”, referring to the venue. Some are part of the touring crew, traveling with the production staff and performers. Many positions overlap, so that on a show site, the venue staff come together with the touring to staff, to share and relay information to make the production/show as smooth possible.

-Production Manager., Assistant Production Mgr.(PM) (Touring and/or House
employed) –
The main position in charge of overseeing the processes of every aspect of a show, tour, etc.

  -Tour Mgr.(TM)(Touring) – Essentially the touring production manager, but more in charge of day to day logistics, traveling with the production.

-Technical Director (TD) (Touring and/or House)- Responsible for the technical logistics of the show’s production.

  -Stage Mgr.(SM) (House) – The onstage manager, handling the logistics of house and touring crews, load-in and out, act changeovers

  -Producer (House) – The onsite manager of the show’s technical and theatrical flow. On may shows this person may be the LD.

  -FOH and Monitor Audio Engineers A1, A2, A3 (Touring and/or House) – Responsible for the setup, programming, and operation of live sound reinforcement public address systems.

  -Lighting Director (LD)(Touring and/or House)  L1,  L2, L3 – Responsible for the setup, programming, and operation of theatrical lighting systems.

Video Director (Touring and/or House) – Responsible for the setup programming, and operation of video content.

Laser Operator (Touring and/or House) – On some productions laser setups may be so complex that they require a separate setup and operations team, ranging from a single operator to a whole team

  -Backline Techs – Responsible for the load in/setup/operational functionality/ and teardown of artists’ instruments, ie. a typical concert could include, drums, bass, guitars, keyboards, percussion, and respective amplifiers, cables, stands, etc.

  -Ground and High Riggers (House) – Responsible for the rigging “flying” of speakers, lighting, trussing, and other theatrical elements via chain hoist motors.

  -Stagehands (pushers, loaders) (House) – Entry point into the production industry, responsible for all manual labor required to produce a show, ie. loading/unloading trucks, setting up staging and barricades, running heavy guage power and signal cabling, packing and unpacking cases.

  -Spot Op (House) – Responsible setup and operation of the spotlight. They will respond to show cues called by either the LD or producer.

  -Runner/Green Room Staff (Touring and/or House) – Ranging from one person, to a whole crew, depending on the size of a show, they are responsible for the misc. services for performers and staff, ie. cleaning and stocking dressing rooms, tour buses, running misc. errands, etc.

*Audio, Lighting, and Video staffing, functions mostly the same way, starting with a head of the department and working its way down in responsibility and pay, depending of the size of the operation.

*Obviously, this is not an exhaustive list and depending on the size of the show, can include many more people for department including, but not limited to: drivers, wardrobe, makeup, etc.

As you can begin to see through the descriptions above, many different types of skill sets, go into a single production. For example, at the end of a movie, there is always a long list of credits. This is very much the same for any touring live performance.

 

“All of our posts are put together by the staff at JR Sound Co. a small outfit from Las Vegas, NV. For more on us, visit our website at www.jrsoundcompany.com, cheers! ”