The Cue Construction Packet
cue without having to refer to the cheat sheet (or
possibly the magic sheet). When the cheat sheet
was discussed, it was pointed out that the num-
ber of channels per row should equal the number
of channels on the monitor. In the case of a cue
sheet, matching the numeric numbering and layout
between the document and the monitor display is
even more strongly suggested. Successfully match-
ing that layout simplifies the task of visually tran-
scribing the channel intensities from the screen to
the paper cue sheet. This match can’t be stressed
enough, and understanding it importance may not
be apparent until faced with a rapid light cue level
setting session. Read on.
During level setting sessions, the lighting design-
er’s concentration is aimed solely at the cue creation
paperwork and the stage. The assistant is perform-
ing two tasks at once: recording every level change
on the light cue sheet as it is requested, and simul-
taneously watching the monitor display to visually
confirm that the request has been executed correctly.
Since the assistant’s eyes have to be in three different
places at once, using light cue sheets where the lay-
out doesn’t match the channel positions on the moni-
tor display can be a critical mistake. Preset board cue
sheets used by the operators demand that the rows of
dimmers match the spatial arrangement of the banks
of dimmers. Otherwise, rapid presetting can become
difficult, if not impossible.
Each row of channel numbers has the cheat sheet
area above it, and two rectangles below it. The two
rectangles under the channel numbers are filled in with
two sets of numbers: the upper row of rectangles shows
the channel intensities that have moved to achieve this
lighting look, while the lower row of rectangles reflects
the channel intensities from the preceding cue.
Cue Sheet Example
As the preset light cue (memory 100.7) is being cre-
ated, the levels are written in the top row of rectan-
gles, under the channel numbers. When the lighting
designer gives the direction to record the completed
state as memory 100.7, a blank cue sheet is then
placed to the side of the just-recorded cue. All of the
channel intensities of memory 100.7 are then cop-
ied onto the lower row of rectangles of the new cue
sheet that will become cue 1 (memory 101). Once
the copying is complete, the channel intensities of
the documents match, except that the new cue sheet
has the channel intensities written in the lower row
of rectangles.
As the designer begins to build cue 1 from the pre-
set cue, the assistant records the changes in the upper
row of rectangles. If the channel doesn’t change, then
the channel intensity shown in the lower rectangle is
duplicated in the upper rectangle. Figure 9.14 reflects
this point in the cueing process. All of the lower rect-
angles reflect the channel intensities copied from
memory 100.7; channels 24 + 91 > 100 @ 50%, and
channels 122 + 136 @ 30%. When light cue 1 was
created, the following changes occurred: channel 24
@ 00%, channel 57 @ 50%, channels 91 > 100 @
70%, channels 116 + 117 +120 + 121 + 136 @ 50%,
channel 122 @ 00%, and channel 133 @ 30%.
Once the designer has instructed the board oper-
ator to record the new state as light cue 1, the assis-
tant visually combines the readings for both rows of
rectangles, and copies those levels to the bottom row
of rectangles on the next blank page that will become
light cue 2.
After becoming familiar with the cue sheet, the
lighting designer can “read” the two cues on one page,
seeing the previous cue in the lower row of rectangles,
and the changes made to create the current light cue in
the upper row of rectangles.
Work Notes Sheet
As soon as the load-in begins, work notes are con-
stantly taken about problems to fix or adjustments
to be made. At the end of each rehearsal period, the
production electrician often needs the work notes
list that will need to be addressed, so that he or
she can determine the amount of labor that will be
required for the next work call, and prioritize the
schedule. Unfortunately, the work notes regarding
physical labor may be buried in a legal pad, sur-
rounded by notes ranging from light cue changes,
to concept alterations for a section of the show.
A list specifically detailing the amount of electrics
work, generated by the end of the rehearsal, is often
a necessity.
The work notes sheet is a form used to produce
that list. The document is a single written location
to centrally notate all work activities. At the end of
each rehearsal period, the production electrician can
scan this list to gauge the amount of work and the
size of the crew that will be required for the next
work call.
The layout of the form provides a method to
speed corrections and coordinate efforts between
technical departments. Figure 9.15 is the work notes
sheet constructed specifically for the Hokey light plot.
The document is laid out following the position sort
of the instrument schedule. As the notes are written,
they are sorted by hanging position. Once the docu-
ment is scanned, personnel can be deployed to remote
hanging positions, and areas of the stage can be kept
clear to retain ladder access. The notes can specify

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