SOMETIME BETWEEN NOW AND WHEN

Transcription

1 SOMETIME BETWEEN NOW AND WHEN THE SUN GOES SUPERNOVA CREATED BY: MARK LAWES A THEATRE JUNCTION PRODUCTION TECHNICAL RIDER PRESENTATION ENQUIRIES CONTACT MARK LAWES ARTISTIC DIRECTOR THEATRE JUNCTION / CREATOR Phone: ext mark@theatrejunction.com TECHNICAL ENQUIRIES CONTACT PHIL CIMOLAI HEAD TECHNICIAN, SOUND/CONTROL Phone: pcmolai@me.com

2 Pre- Production Requirements... 2 Touring Party... 2 Crew Requirements and Schedule... 2 Staging Requirements... 3 Set Elements... 3 Masking... 4 Lighting Requirements... 4 Sound Requirements... 5 Projection Requirements... 7 Special Effects... 7 Power Requirements... 7 Wardrobe Requirements... 7 To Note:

3 PRE-PRODUCTION REQUIREMENTS THE The following must be provided to Theatre Junction once the venue for presentation has been confirmed: Drawings of the Theatre (in Vectorworks or DWG) Detail of the House PA speaker positions (in Vectorworks or DWG) Venue equipment list Auditorium seating plan, detailing all intended seating for sale Theatre Junction will provide venue specific documentation detailing set, lighting, projection and audio lay-outs in a timely fashion to allow for any discussion and adjustments that may be required. TOURING PARTY 1 x Stage Manager / Tour Manager 1 x Technical Director / Audio Head 1 x Projection / Lighting Head 5 x Performers (the Director is one of the performers) CREW REQUIREMENTS AND SCHEDULE The following is only an indication of crew numbers and a rough schedule. Final numbers and schedule will depend on the venue and will be determined in conjunction with Theatre Junction. Lighting, Sound and Projection equipment provided by the presenter should be pre-rigged prior to load-in. Theatre Junction will provide all necessary documentation and instruction. The preferred working hours are from 09:00 23:00. CREW: Day 1 1 Audio Technician 4 Lighting Technicians 4 Stage Carp 1 Projection Technician 1 Wardrobe Mistress Day 2 1 Audio Technician 2 Lighting Technicians 1 Stage Carp 1 Projection Technician Day 3 1 Audio Technician 1 Lighting Technician 1 Stage Carp 1 Wardrobe Mistress Performance 1 Stage Carp 1 Wardrobe Mistress As Theatre Junction crew will execute the show, minimal crew is required during performance. 2

4 Strike 1 Audio Technician 4 Lighting Technicians 4 Stage Carp 1 Projection Technician 1 Wardrobe SCHEDULE Day 1 Set Construction Lighting Focus Projector Focus Day 2 LX Cuing Projector Cuing Cue-to-Cue/Tech Rehearsal Day 3 Media call, if required by Presenter Dress Rehearsal Notes First Performance Performance Run Theatre Junction will require access to the theatre 2 hours prior to the performance start time and 1 hour post-show for clean-up. STAGING REQUIREMENTS Depth: 35 (10.7m) Width: 54 (16.5m) Height: 24 (7.5m) Please Note: These are the ideal dimensions of the piece. consultation with Theatre Junction, to fit other venues. These dimensions may be altered, in SET ELEMENTS 1 x 2kw Fresnel on 10 (3m) stand with barndoors 1 x 8 (2.5m) Fiberglass ladder (Yellow if possible) 1 x Refrigerator (58 h x 30 w x 24 deep), with a lower fridge and upper freezer compartments. This does not need to be functional, but will contain several small lighting instruments as well as a 700w fogger. 1 x Helium Tank (Tank must be capable of filling 26 balloons per performance plus one dress rehearsal). This element is off-stage. Please see attached documents for photos of these elements 3

5 Dolly Track o 2 x 10 (3m) straight pieces o 2 x 90 curves with a 5 (1.5m) inner radius Black Dolly Platform fit to track 1 x Kitchen Table 4 x Kitchen Chairs 1 x Lazyboy Recliner 1 x Lawn Chair 1 x Television 1 x Standing Lamp 1 x Twin Mattress 1 x 18 (5.5m) x 65 (19.8m) White Muslin Cyclorama: o This scenic element hangs upstage of the set and functions as our projection surface. As such it must be suspended evenly and stretched tight. o This will require several days hanging to stretch and must be installed as early as possible. Synthetic Turf: o The synthetic turf is laid directly on the theatre floor and serves to create a playing space of 30 (9.1m) x 27 (8.2m). Please note: to ensure performer safety, this is taped to the theatre floor with black Gaff tape. Please provide enough tape to accomplish this. Please see attached documents for a Set Diagram. MASKING As the visual aesthetic of the piece is one of a soundstage, all masking is to be removed for the production. LIGHTING REQUIREMENTS Instrument Schedule to be provided Control: ETC Gio or Ion. As the show is built for these consoles, replacements will not be considered. 4 x 14 fluorescent fixtures (to be mounted in the fridge) LED ColorBlocks and necessary cables and control unit 4

6 SOUND REQUIREMENTS Intro: Hello! This section contains information about the sound design and implementation for Supernova. This section is vital to the engagement and the presenter must meet this specification as part of the agreement. If you are unable to meet these specifications please contact us as soon as possible to discuss proposed alterations. Thank you for your considerations and attention to these details. Supernova is designed around a main 6.2 surround system with additional monitor, and special effect speakers comprising a total of 11 speaker sources and 5 specialized returns for recording and mixing. There are a variety of input sources (see attached plot) in various locations including direct and microphone sources. We need a perfectly clean (no buzz, hiss or other operating noise) main snake and patch infrastructure between the mix location and stage that can offer both inputs to your system as well as outputs to our console at both locations. Please see enclosed I/O specifics for a total channel count. The show is very dynamic ranging from extremely quiet and non-reinforced sound to high fidelity full spectrum surround. You can expect the show to range from 60 to 105 dba throughout the performance. Accordingly your system must be able to both accomplish this high level output, in a full spectrum fashion including ultra low frequency content (below 50hz) as well as maintain a low noise floor in the performance space for the ambient sections. The noise floor of the performance space when silent should not exceed 40dBa, specific things to consider in this regard are adjacent spaces, and equipment fans (projector). We use 6 channels of pro grade RF microphones in the show. Our system operates in the 500mHz range, please advise us if this will be problematic in your space. In the event our wireless system cannot be used in your space you are required to provide an appropriate, pro grade system that can accept our microphones (details attached). What follows is our equipment list and requests, audio crew recommendation, I/O specifics, speaker plot and contact information. Please don t hesitate to contact with any questions or concerns, as we look forward to working with you. Best regards, Phil Cimolai Sound Designer EQUIPMENT: Main audio system to enclosed specification Qualified, positive, and safe working technician(s) available for the exclusive needs of the company to enclosed specification (i.e. technicians required for the install or adaptation of the house system must be in addition to the head technician available to the company) When applicable: compact RF belt pack transmitters and receivers to accept TA4-F connection from Countryman E6 microphone. FOH mix location in a centralized position at the back of the house at audience level not in separate control booth. 16 wide x 3 deep 100% clean main snake and patch architecture (both inputs and outputs) between mix location and stage, including all XLR cable and sub snakes required to reach the entire stage area Isolated 110v 60hz AC power distribution separate from the lighting system for all audio and video equipment 5

7 Digico SD9 control console with remote D Rack 32 ch. cat5e main snake (300 ) 6x Shure UR4 receivers (CHECK FREQUENCY RANGE) 6x Shure UR1 beltpack transmitters 2x Shure broadband antennas and combiner with 50 coaxial extension cables Mac Pro for QLab show control, track playback and video control M Audio Firewire 410 interface for playback and midi show control Midi distribution equipment for sound, video, and lighting Macbook Pro backup system Macbook Pro set piece Macbook Pro and Motu ULMK3 interface for multitrack recording All microphones, stands, DI boxes, and mixers to deliver balanced XLR connection from all inputs and outputs except for head-worn microphones which are equipped with TA4-F connector pinned to Shure UR1 specifications (see diagram). INPUTS: It is vital to the show that all power be clean and separate from the lighting system to insure noise free interactions. The video equipment (including projectors) should also share this ground. It is important to note how our inputs and outputs are split and their locations. Your snake must be at least 32x16 from mix position to stage. OUTPUTS: The speaker models and coverage patterns indicated are what we perform the show on at our home theatre in Calgary (Theatre Junction GRAND). Our theatre is a 350 soft seat theatre. These models/coverages are simply recommendations. It is ok if your speakers vary from these or if you can suggest an implementation better oriented to your space. A quick note on subwoofer implementation: at home we have the luxury of a dedicated DS truss to hang audio from. Because of this I fly one set of subwoofers spaced at one wavelength of 50hz (19 ), and I find this is a very nice, even implementation with the public in raked seating. For certain scenes we also use a set of subwoofers placed underneath the seating (also 19 apart) to provide a rumble feeling especially to accompany certain video scenes. This is my preferred deployment however it is understandable that this may not be logistically possible in your space. If this is the case please propose the best deployment of the subwoofer system. With this in mind it is imperative that we have the same count of output sources. The soundscape is designed around surround sound and cannot be performed without it. If surround speakers are not possible please plan for an additional full day of tech time for the show to be rebuilt in stereo. I encourage you to begin discussions with me as early as possible to determine the best system design within the limitations of your space, equipment, and budget. 6

8 Please see attached documents for list of all Inputs, Outputs and Speaker Plot PROJECTION REQUIREMENTS 3 x 7500 Lumens Projectors (example: Sanyo XP-200L) Lenses to be determined in consultation with Theatre Junction Please note: The projectors are used to create a seamless image, blended across the entirety of the backdrop. For this reason, it is integral that all projectors are the same make and model with as little variation in lamp-life as possible. Mac Pro Tower All necessary cables and miscellanea required. SPECIAL EFFECTS Theatrical Hazer suitable to the venue o It is integral to the performance that this unit operate with as little noise as possible. 700w Theatrical Fogger o To be installed in the freezer portion of the refrigerator POWER REQUIREMENTS As Theatre Junction is bringing many items with us, we require 110v (North American) power supplied to the following locations: FOH Mix Position (On Audio ground) Onstage Fridge Position (On Lighting/Alternate ground) Onstage Musician (On Audio Ground) Onstage Musician (On Lighting/Alternate ground) Projector positions Exact wattages required at each position will be determined in conversation with Theatre Junction. WARDROBE REQUIREMENTS Theatre Junction will require a Wardrobe assistant to clean all costume pieces upon arrival as well as after Dress Rehearsal and each performance, including the final night. TO NOTE: Theatre Junction reserves the right to record each performance (audio and video) from the house. Our setup for this is an ultra-compact video camera and stereo set of condenser microphones placed in an optimal centralized location in your seating (typically from the downstage center most position). This location requires AC power and run of stereo XLR to the mix position. This complete setup is extremely compact, only requiring the space of one seat. However, depending on your audience arrangement it may be necessary to reserve a limited amount of seats in front of the camera position to ensure a clear shot of the performance. 7