Technical Production Rider. For venues outside mainland Europe

Transcription

1 Technical Production Rider For venues outside mainland Europe Correct as of 26th March 2014

2 Political Mother: The Choreographers Cut Technical Production Rider HOFESH SHECHTER NB: An excellent quality blackout and a high quantity of haze are essential to the running of this piece, please be in touch as soon as possible if you have any concerns about light spill from the auditorium on to stage or if you have only a limited control over the venue air handling / conditioning during set up, rehearsal or performance. 1. Stage The Stage is made up of a c shaped musicians platform made from a mixture of steel decking and scaffolding, and a flat dancers performance area. We require the venue to provide the materials, crew and method statement for the building of this platform. It is also the venues responsibility to provide suitable electrical earthing and to sign off on the structural soundness of the platform. The minimum dance performance area is 13m x 10m (excluding the musicians platform). We require the venue to provide the musicians platform, details of design of the structure as below. Upstage flying will be required for the positioning of the large drums onto the upper levels of the platform. We require that the stage is to be heated to a minimum of +21C while the dancers are using the stage You supply a sprung or semi sprung wooden floor with a black vinyl dance floor covering the performance space and 2m into the wings on either side of stage. The stage surface must be smooth, level and clean. We supply an LED sign that is mounted on a Black 'Border' masking the front of the upper level of the Platform. The Control for it will need 240v hard power and a DMX feed. NB. 13m x 14m represents the performance area required for the dance piece only, and does not take in to consideration the additional space required for wings, and the placement of lighting booms, etc 1.1 Masking You supply a Full flat Black back drop is positioned upstage of the Platform You supply A Full flown flat black is positioned infront of the upstage part of the gauze and is a live fly cue during the show. You supply a dancer crossover upstage and the surrounding wings and upstage areas must be clean and clear of any flight cases, ladders, un-used equipment, and any trip hazard. We supply A black gauze (minimum 14m wide by 9m drop) is flown in front of the platform two smaller black sharkstooth gauze pieces (6m x 2m) are positioned running up and downstage infront of the side pieces of the platform. All three remain throughout the piece. You supply black conduit for the above You supply 8x (4 per side) black hard maskers are required for positioning under the side pieces of the platform. You supply At least 5 Black Borders weighted with conduit in addition to a house header You supply 6x lighting booms per side, partially revealed. You supply 14x (7 per side) Black Masking Legs, in excellent condition. 5 of these may be flown across two bars each. You supply a House Tab/Curtain at the start and end of the show, ideally it will be a Red Curtain, the more theatrical the better. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 2 of 17

3 NB All legs must be in very good condition and battened or weighted to the floor to ensure they present a VERY smooth flat front. 1.2 Black Out It is ESSENTIAL that a good blackout is achieved throughout the piece. All exit signs, lights, working lights etc in the house and on stage should be either switched off or, reduced to the lowest safe level allowed, in order to facilitate this. Required local authority special permissions to achieve a genuine blackout in the auditorium should be obtained for the performances. The more that can be done to assist the blackout prior to the company's arrival the better as it will save time on the get in. 1.3 Props: You supply a toy cap gun that is used during the performance (though it is not fired) similar to the below. Roughly 15cm-20cm long. It is the venues responsibility to provide any permissions and storage requirement that might be necessary, and to inform the company of any permits applied for. We Supply all other props. 1.4 Audience/Sightlines/Stage Height We prefer to have the majority of the audience standing for the show and where possible stalls seats should be removed to allow for this. Once the seats have been removed it may be necessary to raise the level of the stage to account for the altered sightlines. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 3 of 17

4 1.5 Platform Notes: The exact layout and nature of the platform will be confirmed once the local musicians element has been decided on. However the following sketches can be used for costings purposes. The platform is usually made in two sections, comprising of steeldeck or similiar front stacked part, tied into a layer or similar scaffold system, upstage part that also houses the stairway unit that provides access to each level. Any cross bracing must be positioned upstage and free from the entrance points for the musicians. There can be no cross braceing obscuring the view of the performers from the audience. Every surface that makes up the platform must be covered with black serge or duvetine including any joins in the roofs but excluding the floors that should be covered with black carpet. Any local supplier must produce detailed plans for approval by the company. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 4 of 17

5 1.6 Platform Drawings: Front View: PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 5 of 17

6 Rock Band Level PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 6 of 17

7 Strings Level: PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 7 of 17

8 Snares Level: PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 8 of 17

9 Side View: PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 9 of 17

10 2. Lighting A Lighting plan will be supplied following full consultation with your technical team at least 3 weeks prior to the performances. Attached to this technical rider is a LX plot that typifies the requirements and rigging for lighting, staging, and masking requirements. The company tours a lighting control system (ETC Ions & Net3 network), which is pre-programmed with all the cues & timecodes for the show and is triggered by MIDI timecode. 2.1 Required Lighting Equipment: NB. Please note that this is not specific to your venue and will vary depending on both the size and the technical facilities available at the venue itself. All lanterns must have excellent optics. The impact of the design will be hugely reduced and the focus time significantly increased if poorly maintained and dirty units are supplied. 12 x Boom stands (single pole on square bases) 72 x Par 64 Par Can (CP62) (of which 12 with scroller arms) 59 x Par 64 Par Can (CP61) 2 x Par 64 (CP60) NB. All pars must be the same brand. 9 x 2KW Fresnel (Robert Juliat or ADB) with Barn Doors and Colour Frame 1 x 500w low profile sun floods (as sometimes used for security lights) 28 x ETC Source Four Zoom w with Colour Frames 2 x ETC Source Four Fixed w with Colour Frames 2 x ETC Source Four Fixed 26 Lens Tubes Only 37 x ETC Source Four Fixed w with Colour Frames 30 x MR16 'Birdies' with Colour Frames (Narrowest available Bulbs) 14 x 4 lamp Molefay (2x2) 12 x Half Hats for Par Cans 2 x MDG Atmosphere Hazer (with fluid and CO2) 2 x Iris for Source Four Fixed Beam Profile 10 x B size Glass Gobo Holder 12-16x music stand lights. We also require a FOH Front Wash that is used only in the call states and Tab Warmers as well as 6x profile units that can be used as wing working light. DMX is required on stage for Focus Session 2.2 Haze You supply 2x MDG atmosphere APS hazers to run for the duration of the focus, markups/rehearsals and performances. Please ensure that you have sufficient fluid and CO 2 available for this. It is also essential the venue fire alarm system can be adequately isolated onstage, auditorium and surrounding areas, to allow for the amount of haze that is required by Sun. If you have limited or no control over the air handling system(s) in the venue, and are unable to maintain a high even quantitiy of haze on stage, please raise these concerns with the Technical Production Manager as early as possible in the pre-production process. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 10 of 17

11 2.3 Control The company tours a lighting control system (ETC Ions & Net3 network), which is pre-programmed with all the cues & timecodes for the show and is triggered by MIDI timecode. The primary desk will be positioned at the rear of the stalls next to the sound desk for the duration of the setup and performances. A second backup desk will be positioned onstage or in the auditorium for the duration of the setup, and then beside the primary for the performances. This is networked to the primary via ethernet. You supply 2x 240v power supplies, one located at FOH control position at the rear of the stalls, and one onstage for the duration of the fitup. Where possible these should have an Uninterruptible Power Supply (UPS). You supply 2x DMX universes feed to your dimmers and the lightbulb grid, in the form of male 5pin XLR connectors from our network to output to your dimmers at the FOH control position. This should not go through any other control consoles. (If you have any doubt as to the connectivity of this desk to your dimmers please let us know as soon as possible). NB Lighting booms are on display to the audience so pars must be rigged at exact heights and all cabling must be exceptionally tidy. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 11 of 17

12 2.3 Generic Lighting Plan PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 12 of 17

13 PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 13 of 17

14 3. Sound NB. The mixing desk must be in the auditorium and preferably positioned in the centre and not under a balcony. It is NOT acceptable to have the mixing desk in a booth. The performance demands a system with high dynamic range, think rock and roll rather than a traditional theatre setup. Please contact us with any Questions or Concerns. For full band rehearsals and shows: You Supply: 3.1 FOH SYSTEM L&R Point Source:- 2x MSL6 (1 per side) 8x MSL4 (4 per side) All flown from the MSL6. 6 x D&B B2 or Meyer 700HP subs ideally in the centre off the downstage edge on Pit Lift 1. OR L&R Line Array:- 18x MIKA (9 per side) All Flown. 6 x D&B B2 or Meyer 700HPs ideally in the centre off the downstage edge on Pit Lift FOH Control: 1x Yamaha CL5 1x MeyerSound Galileo616 (can be onstage with computer running compass at FOH). 3.3 Monitor Control 1x Yamaha CL5 2x Yamaha Rio3224 2x 1gigabit Network switches Cat5 cable to run the whole CL5 system as dual redudancy 3.4 Stage Monitoring 4x CQ2 (2per side) 2x 650P (1per side) on the platform upstage of the gauze. 2x UPA or UPJ (1 per side) down stage of boom IEM System 6x Shure P10T IEM Transmiters 2x Shure PA821 Antenna Combiner 2x Shure HA-8089 PWS Helical Antenna 20x Shure P10R IEM Receivers 12x Shure P6HW hard wired IEM Packs 2x Kramer VM1110x1 Distribution amplifier 24x westone UM2 dual driver IEM or Shure E5 14x closed headphones (sennheiser hd25 etc etc) Power and Signal Cables for the above to suit PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 14 of 17

15 3.6 Microphones and stands 2x Audix D1 with D-Vice 2x Audix D2 with D-Vice 2x Audix D6 12x BSS AR133 active DI boxes 6x DPA 4099C 5x DPA 4099V 1x DPA 4099B 4x DPA x Nuemann KM184 1x Sennheiser e901 1x Shure beta 52 2x Shure beta 56 2x Shure SH55 8x Shure SM57 2x Shure VP88 Radio Microphones (numbers may change according to local participation) 2x DPA x Shure UR4d 2x Shure UR1m 2x Shure UR2 with beta 58a heads 2x Shure UA870A Active Antenna Paddle Microphone Stands 16x Short Boom Stands 8x Large Boom Stands 12x LP Percussion Mic Claw 2x Round Base Straght Stands 2x Extra Large Boom Stands Power and Signal distribution for stage. Signal patch works well with 8x16 channel patch boxes. 240v power on UK sockets in 12 locations on stage. 3.6 Communication System You provide the following: (please be in touch if this is not possible) All on the same channel 10x Wired Headsets LX, sound, flys, Upper platform, Mid level platform, Lower platform, Down stage left, Down stage right. 4 x Wireless headsets Artistic Director Stage Manager Production Manager Chief Technician 3.7 Local Musician rehearsal 1x Yamaha LS9-32 4x 8ch Headphone Amplifiers 2x Meyer UPJ speakers with stands 8x BSS AR133 active Di boxes 24x westone UM2 dual driver IEM or Shure E5 14x closed headphones (sennheiser hd25 or similiar) Power and Signal Cables to suit. 2x CQ2 2x 650P for monitoring PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 15 of 17

16 4. Backline Hires We Supply: 3x electric guitars (+effects pedals) 4x Viola 1x Violin You Supply: Guitars: 1x electric bass guitar Strings: 5x Cellos (these may be able to be provided by the copmpany, if hired we will require these to be handpicked by a representative of the company from hire sources) 1x ¾ size double bass Precussion: 1x 40 Remo Taiko Drum 1x 42 orcheastral Bass Drum 1x 38 orcheastral Bass Drum 1x 36 orcheastral Bass Drum 1x 54 single head Verdi Bass Drum 1x 60 Taiko drum 1x 28 Chinese Taiko Bass Drum (on Frame) 1x 12 Remo Djemba 2x Full Drum kits including 14 x5.5 snare, 12 tom, 16 floor tom, 22 bass drum, High Hat stand and pedal, snare stand, bass drum pedal, 14 High Hats, 22 ride,17 crash, 19 crash cymbal cymbals and 3x boom cymbal stands. 6x 16 x16 Floor Toms (with Orcheastral stands) 4x Bass Drums (with stands allowing them to be played up ended) 12x 14 x5.4 Snare drums with Orcheastral stands 1x 80 Paiste Tam Tam 7x 18 Crash Cymbal with stands 2x 20 Ride Cymbal with stands Minimum of 3x spare heads for all drums listed Drum keys 20x Large beaters for big drums 2x Beater for Tam Tam NB. The above list is a guide only, the exact backline list will be confirmed once the band iand local musicains are booked. PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 16 of 17

17 5. Wardrobe The venue should provide adequate wardrobe facilities and staff (of Wardrobe Mistress or senior Dresser Level) for the washing and maintenance of the costumes. Please see attached washing instructions for the Costumes many of which are dyed and require proper care when washing. Please translate these instructions if needed. Hand Washing Facilities 2 x Large Top Loading Washing Machines 2 x Large Tumble Dryers 4 x Costume Rails 1 x Iron and Ironing Board 1 x Sewing Machine Washing Consumerables: Non - Bio Colour liquid, Handwash Colour Delicates liquid, Fabreeze 6. Crew Call Please see attached Document for Crew Call and schedule. HOFESH SHECHTER 7. Dressing Rooms We require the following dressing rooms: 3 x large dressing rooms (8 people each) with shower and wash basin facilities. 2 x Individual Dressing Room (Artistic Director) 1 x Company Office (5 People) NB The company will need a Mac compatible printer on a daily basis for the use of the company stage manager. 7. Artist Requirements 40x 500ml bottles of water daily. 8. Studio Requirements 8.1 Musicians Studio You supply: a 12m x 8m approx. studio suitable for full band rehearsals, doors must be large enough to allow the large drums to enter. For all Full Band rehearsals. It is desireable to have a smaller room available strings rehearsals during the run of the production 8.2 Dancers Studio You supply: a 12mx 12m approx studio with sprung dance floor covered by vinyl dance floor as well as a small rehearsal PA. for all dancer rehearsals and for the run of the performances. 9. FOH Information Running time - 70mins. No Interval. Latecomers Policy No latecomers admitted before permission given by CSM (approx. 10 mins into the piece) We look forward to working with you. Lawrie McLennan Technical Manager +44 (0) lawrie@hofesh.co.uk PMCC (non-mainland Europe) technical rider Updated 26/03/2014 Page 17 of 17