On The Topic Of Precarious Ladders:

On the topic of precarious ladders:

So writing about working at heights hijinks and life-panicing moments got me thinking about an old member of my first local. This guy had been installing wiring for the Big Bang, I garuntee. We were talking one day about ladder adventures. Both being short, small, and overconfident, we had plenty of moments to swap, but his took the cake.

He was on a North American tour of an Opera, back in his day, and they were down in the States, I want to say California but I can't recall precisely.

So this venue they're at, they're doing the load in, and it has this odd grating installed over the last few feet of the stage that allows the actors to walk right above the orchestra, a sort of grid covered pit.

The touring rig has a lighting pipe that needs to be hung right out over the stage edge, so motor lines are dropped in, everything is built and hooked up, and up it goes. But then, the local crew explains to Ronnie, because of the unique floor covering the pit, it wasn't load bearing enough for a scissor lift to be run across it. "But how do we focus those lights?" Ronnie asked, confused.

So that's when the house crew went out into the house, up to the back of the third balcony, and pulled out three segments of an extension ladder, 20 feet each. A quick chat determined that the apron pipe was about 40 feet above the deck, so two chunks of the ladder were passed over the edge of the third balcony to the second; over the second to the main floor, carried out to the edge of the stage, and linked together.

"Now what," Ronnie asks, probably well caught on, but just making sure. The local guys grin, and walk the ladder upright. Then four of them get around the base. "Up you go."

40 feet, straight vertical, no safety, nowhere to anchor to, no wall around, held in place by four crew hugging the bottom.

Up zips Ronnie, straddling the top rung and hooking his feet into lower bars, pulls out his wrench, and gets the first light focused.

"Okay, now, hang on," the guys at the base holler, and proceed to waddle-walk the base of the ladder to get Ronnie to the next fixture.

One foot, pivot-twist - rock onto other foot, pivot twist. Stop, work, repeat.

The whole width of the apron.

I can still see the grin on Ronnie's face retelling it, I bet he was having the time of his life.

And then, the story goes, he was so comfortable up there, and the ground team so competent, they got the pipe done in record time, but halfway along, tragedy struck upstage.

If you've never heard a motor bag dump a full length of chain after everything has been flown out, well, consider yourselves lucky. A collective groan went up from the carpentry team as a bag spilled, the only way to clean it up being bring the set in again.

"Hold up," says Ronnie, "maybe we can help." And his base team waddle-walked his ladder across the stage, where he pulled up the chain and stuffed it back in the bag to the cheers of the other crews below. Lighting was the hero of the show for the rest of the production's stay there.

So... Every now and then, when my leg is cramping because my harness is biting off circulation in my thigh because I'm folded in half trying to adjust some fixture, and my retractable lanyard is trying to choke me to death, or at the very least pull my hair out, and some Technical Director is griping that I "shouldn't be doooiiiing thaaaaat..." Okay fine, then I guess you can't have the effect, because I can't set it up legally; I think back to Ronnie, seated on the top rung of a forty foot ladder, being waddled across a stage, and I wonder if all this safety has dumbed down our skills.

And I wish like hell I could try that.

Oh man, when I was a kid there was one just like this in Lewiston, NY. Dad had a P.O. box in town and I looked forward to going to the giant house MickeyD's. Same as you place it had an upper inner balcony level, and I always remember the washrooms deep in the brick basement because each of the stalls were completely walled to either side of the toilet, proper painted brick walls and full doors.

It's called Frontier House and "In September 1973, the manager and chef of Frontier House were rescued in a fire. One dining room was destroyed along with widespread water damage.[6]Two years later the historic hotel of Lewiston's future was handed to William McDonald, who restored the interior and leased it to the McDonald's food chain. McDonald's closed in 2004, and the structure has been vacant ever since. It was acquired by the village of Lewiston in July 2013." https://en.m.wikipedia.org/wiki/Frontier_House_(Lewiston,_New_York)

Apparently it's haunted? The basement always felt unnerving.

There was also one in Montreal that had something to do with Cadillac but the building was just a converted brick storefront type, built in a historical location.

I'd love a trend of fast food chains working to preserve and restore historical landmarks - rather than just plopping down another plastic window modern mess.

So me and my friends were out playing pokemon go and we had to literally stop the car and turn around because we may have found the fanciest McDonald’s I’ve ever seen in my life

A MANSION

And the inside is actually beautiful??????

Like there were live plants and I felt like I was walking into an upscale hotel??

It also had a second fancy entrance???

Not only that but there was like a secret upstairs that’s apparently open usually, but it was too late for us to go up too (I’m deffo gonna go back and check that out because come on)

Like what is she hiding 

But yeah I think I found either the most cursed or fanciest McDonalds in America

Also!

It was a pokestop!

My studio venue had one - it had been bought because the mainstage operator wanted to slave it to his system for moving lights when my room didn't have shows. He was vetoed because the possibility of rentals. So I had a "moving light" board in a room that just needed scene playback with outdated conventional fixtures. It. Was. THE. WORST.

We didn't even have a monitor so I had to use the tiny pixel display to guess intensity. It's only seven pixels tall? What the hell % is 5 out of 7 pixels?

It's gotten SLIGHTLY better since ten years ago - I was there back in the fall and they'd finally put updates on it and ETC added the ability to designate which Point cue you want to insert a cue as. When I was running it, it would just auto assign a point by splitting the middle of the cue you were in and the next cue. So if you had a Cue 2 and 3 and designer wants to add three cues in between? Be in Cue 2 and build 2.5 - then be in Cue 2 to build 2.3 - then be in Cue 2.5 to build 2.7. Good times.

Anyone I've mentioned that board to has also groaned and rolled their eyes and asked "WHY."

A good anecdote however: I was running a spot light for the Hamilton, Ontario stop of the BTS concert last year, and there were eight of us out on a line of truss suspended at the far end of the arena. Below us was the FoH stage, covered in consoles and controllers and operators, and camera operators for the live feed LED screens.

So I'm peering down at the lighting boards, the backup lighting boards, the lighting board specifically for the spot lights, and so on and so on when something catches my eye.

We were in a lull so I thumb my headset open to ask the American who was in charge of the equipment and standing by in case the Korean operator had any issues... "Is that... An ETC Smartfade...? In the last row of tables?"

"Sure is," he responds in his smooth southern drawl.

"Holy shit," I exclaim. "I've never actually seen one being actually used in a professional lighting rig!" Was my little garbage studio board actually useful after all?

"Oh, no," he responded, chuckling. "It's for the Pyro."

Photos mine, do not reuse without permission, because I probably shouldn't have taken or be sharing them in the first place but c'mon, Smartfade, lawl. It's the redheaded stepchild.

Can someone who actually does lighting/more tech than I do confirm that Smartfade lightboards are terrible

Because I’m stuck working with one in a rented storefront right now and honestly, what the fuck

7:30 pm. -3°C. Ontario.

Getting paid to sit next to gear while a bunch of middle class white people present the story of a teen-pregnant Jewish middle-eastern refugee family.

By singing to synth music tracks.

But there's a real donkey and horse.

Theatre Tips and Tricks:

Nightvision:

No, not the goggles.

So you're backstage and it's dark and you forgot your flashlight and you KNOW there's scenery and props that you are probably going to run in to, but no matter how hard you stare, you can only see the black void that exists in all technician's souls.

And there's an actual, biological science reason as to why.

It comes down to those little things in the eyeball called rods and cones. Cones are near the center of the retina and are great at picking up colour. Rods are on the edges of the retina and are great at picking up light. Rods are a bit shit at colour, but cones are a bit shit if there isn't a lot of light.

So when you stare -AT- something in low light conditions, you're mostly using the Cones, and they're like "We can't tell what that is because it's too dark so here's a dark blob."

What you want to do is look Above or to the Side of what you want to see. And then gather information with your peripheral vision. This uses the signals from the rods who are like "We'll suck in all the light we can to help you see, but we're not sure what color that is," which is fine.

It's tricky to get used to, because of course we want to look right at where we're going, but next time you're waving your arms blindly in the wings, give it a go.

Also note it takes five to twenty minutes for your eyes to fully adjust to dark conditions, and you can wreck that in a couple seconds by flicking on a light, so keep one eye closed if you have to click on your MagLight to check something and that can help retain your vision in at least one eye.

Hope that helps!

This is perfect. Next time I doze off at the console while the designers are bickering during a 14 hour levels session I can just point to this.

From the second link: " ‘I’ which means ‘to be present’ in a situation that is not sleep and ‘nemuri’ which means ‘sleep’. Erving Goffman’s concept of “involvement within social situations” is useful I think in helping us grasp the social significance of inemuri and the rules surrounding it."

"In this context, inemuri can be seen as a subordinate involvement which can be indulged in as long as it does not disturb the social situation at hand – similar to daydreaming. Even though the sleeper might be mentally ‘away’, they have to be able to return to the social situation at hand when active contribution is required. They also have to maintain the impression of fitting in with the dominant involvement by means of body posture, body language, dress code and the like."

I am at the board, dressed in black, ready to type. Just wake me up when you figure out what you want. Golden.

In Japan, public napping is a sign of hard work. It’s called ‘inemuri,’ which means ‘sleeping on duty’ or ‘sleeping while present.’ Because falling asleep in public is thought to be a symptom of working yourself to exhaustion, it’s socially acceptable in restaurants, stores, commuter trains, and on park benches- as long as you don’t sprawl out and take up too much space. Source Source 2