The Parameters
The photographer makes certain there’s a photo-
graph of every FOH position, and takes the picture so
that the photo can be attached back to the first pan-
orama sweep taken of the house.
Meanwhile, the scribe is first comparing both
the groundplan and the section to be certain that
every FOH position is properly listed on them. The
scribe then places a tape measure on the ground
next to the locking rail, and aligns the zero of the
tape with the plaster line or the smoke pocket. The
measuring tape is then laid out parallel to the lock-
ing rail to the back wall. The scribe’s next step is
to write the number or letter for each line set onto
a legal pad. If theres an assignment from the last
show, record that label as well. Then the photogra-
pher walks down the length of the locking rail read-
ing the distances for each batten in the air, or from
the lock on the rail.
No small amount of care should be focused on
this final step; if the batten’s positions have been
moved (the sheaves have been kicked), their rela-
tionship to the plaster line will no longer match the
measured distances sighted to each lock. On a regu-
lar basis, the photographer needs to visually con-
firm that the batten in the air still closely matches
the position of that same lock on the rail. If it
doesn’t match, determine the true measured loca-
tion of every tenth batten, for example, notate the
projected distances as well as can be expected, and
make plans for another more detailed visit in the
That easily takes up the 15 minutes. Thank the
stage doorperson, and the pair can be on their way with
basic visual and written up-to-date information.
Note s
Shelley’s Notes:
The Hokey
Now that the Hybrid Theatre’s site survey is com-
plete, here are some of the notes that were made:
that the masking legs should be set for a 36¢-0²
opening. The portal legs may need to be set
slightly wider for the near orchestra sightlines.
They would like to be provided with at least 28¢-
0² of depth, but they realize this may become an
spot booth for 3 spots and the lighting console;
16¢-6²W × 7¢-3²D. window is centered, 12¢-0²
wide × 5¢-0² tall. Need to check that against
followspot cut sheets and see what the shops
have available in stock. Spot focus range cannot
pickup anything in audience farther out than
row D. See digital shots.
(1 backup), no Ethernet, no coax.
• Thepassdoortobackstageisstageleft;anycable
must go over. No yellowjackets; all cable off deck.
21¢-0¢ each. They’re welded on centerline, and
are open at the ends.
possible, skip using them.
•Companyswitches;DSL:2-400× 3Ø elec. USL,
electric & motors. DSR, audio (isolation trans,
share neutral with house dim).
• Hazewasusedinthishouselastyear.Accordingto
the house electrician, it should not be a problem.
Check to see what hazer was used in that show.
booms. Not drawn on the house section.
decent condition; keep them as backup.
a 4-wall house with instruments and cable.
not very large. Need to bring in all soft goods.
purchased. The rest of the stage cable is crap
and should all be burned. The 6 circuit bundles
are designed for sidelight booms. Can also be
used for electrics.
marked. Upstage may be necessary for quick
as thin as possible. Cable must go up, not on
deck. How tall is everyone? Any spears? Tall
sticks? Maybe supports from side walls instead
of lines to grid? How will this relate to masking?
renovation. Need pipe extensions for legs. Not
possible for electrics. Tabs may be required for
scrim. Need FOH truss. How to focus? There’s
no second set of holes for a focus truss. Maybe
invert triangle truss so electricians ride up with
it for focus?
RoseBrand; scene designer will get a swatch.
are there no circuits to the balcony rail? Why
did they bother installing a balcony rail? Check
with production electrician about cable path; or
drop circuits from box boom?

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