Swift Technical Specifications & Requirements Venue Bessie Schonberg Theatre DTW NYC

Transcription

1 Swift Technical Specification DTW NYC Swift Technical Specifications & Requirements Venue Bessie Schonberg Theatre DTW NYC *pictured is the staging of Swift in North Melbourne Town Hall 2003 Production Manager: Richard Montgomery - Mobile: rmontgomery@sydneyoperahouse.com The following technical requirements are based on the original Technical Requirements previously forwarded to the Presenter. Should the presenter not be in a position to supply any of these items they should contact the Production Manager to negotiate substitute items, equipment or arrangements at least 21 days prior to Bump In. Overview Swift, which comprises of the two works Pivot & Eve, relies heavily on a combined scenography achieved through the integration of projection, set elements & the performance space. It is for this reason that the company needs to ensure that the treatment of the venue or stage facility is in accordance with this concept. Whilst the works are moderately simple in appearance they are deceptively complex technically. It is crucial that we have a clear run at a technical rehearsal and full dress rehearsal prior to the first performance. Created on 11/12/2004 Page 1

2 Swift Technical Specification DTW NYC 1. Summary of additional equipment to be supplied by the Presenter x 16mm Film Projector & lenses (refer to Projector Schedule for lense data.) 1.2. Black Plinths or Projectors Stands for Projectors Channel Lighting Desk, with channel fader access, for projector control Channel Dimmer Rack for projector control with Non Dim function m High Black Masking Flats (dimensions are detailed clearly on the Floor Plan.) 1.6. Pivot Flat 2m wide x 4m High 1.7. Lighting Fixtures not covered by Venue Specifications supplied. 2. Staging 2.1. Several set pieces need to be hung from the air. Two of which need to be flown out or struck at the conclusion of Pivot. The items that need to be hung are: The Curved Scrim The Black Scrim x Pivot Scrims need to be flown out. In theatres that do not have flying systems this is achieved through the application of cord and pulleys. That is a roll-up system is utilised whereby the bottom batten of the scrim is rolled up the cloth The venue points at which these pieces may be rigged have not been indicated on the floor plan. It is assumed that the venue has the relevant resources to accommodate these needs. Each piece that needs to be hung has its relevant Pick-Up Points marked on the floor plan. This will allow the venue technicians to determine the position of the overhead rigging positions The changeover form Pivot to Eve can require several persons. 1 x person to fly out the scrims & possibly 2 x persons to hold open masking so that the Pivot flat may be trucked offstage. Also 1 x person to assist the Musician from the stage (Cello) may be required Only masking critical to our staging has been indicated on the plans. It is vital that all unwanted light is eliminated from the auditorium and playing space. It is accepted that the inhouse staff generally have a greater understanding of the venue s masking and how to effectively achieve it. The efficacy of the film component relies heavily on this The two Pivot scrims are flown out at that conclusion of this piece. This is in the middle of the performance as there is no interval We require 4 x wire rope pick-ups to fly these Scrims We will tour with 6 x wire rope pick-ups for the White Curved & Black Scrim We require Black Dance Mat as the floor surface We require a section of thin ply at a height or a platform to achieve a lighting effect. This effect is achieved through quite crude methods. The main aim is to get a clear shadow of a Created on 11/12/2004 Page 2

3 Swift Technical Specification DTW NYC curved edge on the curved cyclorama.. This can generally be achieved onsite with available resources We require a quantity a 4m high black masking flats. (These must have a timber surface rather than soft fabric or wool & be painted matt black. This is to assist projection effect.) Please refer to floor plan for layout of flattage. We are happy if the sizes of the individual flats differ as long as the dimensions for each configuration are maintained. N.B There is a single unit USPS that masks Projector # We require another flat (Pivot Flat) measuring 2 metres wide x 4 metres high. This needs a brace of some description to keep it upright. This flat needs to be matt black, the same as the masking flats. This is struck during the changeover from Pivot into Eve The Curved Wall Flat (on castors) and the Pivot Flat are relocated at the end of the first piece, Pivot. This is carried out in a very dim working state. 3. Lighting 3.1. Please refer to Lighting Plan and Hook Up Schedule for full details The presenter will supply all colour All dimensions for lanterns on booms are to lense centre when horizontal The touring company will supply all gobos We will require suitable gobo holders for the relevant lanterns Our gobo details are: x 6.5cm or 2 ½ inch x 8.5 cm 0r 3 ¼ Inch 4. 16mm Projection 4.1. We require 12 x 16 mm projectors. Please refer to attached Projector Schedule for full details 4.2. Most of these projectors require plinths or stands. Once again refer to Projector Schedule for details of these plinths 4.3. We need to control these projectors via a 12 channel lighting desk, with channel fader access, and a suitable digital dimmer rack. We have previously used a digital rather than an analogue rack without any problems. No harm occurs to the dimmer racks. We have previously set digital dimmer racks to non-dim for this purpose The Operating Position for the projectors is at the rear of the auditorium or in the control room at the rear of the auditorium. Good sightlines to all set surfaces is crucial The position of this control desk is usually adjacent o the Lighting Operator. We will be happy with a position that provides easy access and an unimpeded visual access to the stage action. Created on 11/12/2004 Page 3

4 Swift Technical Specification DTW NYC 4.6. The projectors need to be accessed frequently outside of performance time. Suitable access needs to be supplied. 5. Audio 5.1. We require the standard audio rig that is suitable for CD & Live playback We require two small stools for the cellist Find below Audio Console settings We have a musician using an Electric Cello and an acoustic Cello during the first piece Pivot This musician has three positions during the performance Position # 1 USPS Playing Electric Cello Position # 2 DSOP in front of curved wall flat Acoustic Cello No Mic Position # 3 USPS Acoustic Cello Mic line required We require 2 x DI (Direct Injection) Boxes for a stereo send to FOH. These D.I.s will interface between the Cellist s effects unit (supplied by musician) & the mixing console/foh mix The Acoustic Cello needs a single mic/line feed from the bud microphone positioned on the Cello body to the FOH mix. The bud microphone is supplied by the musician. This line/interface is required USPS (USL) We require a high quality professional effects processor/unit at FOH Control. The Electric Cello is treated with a substantial amount of reverb & delay during the performance We require 2 x CD players for performance playback x Shout Microphone at the Production Desk in the stalls for use prior to the first performance We require Talkback communications to the following positions: Lighting Control Sound Control/Stage Management Backstage or Wings Projection Control Production Desk prior to performance # 1 Created on 11/12/2004 Page 4

5 Swift Technical Specification DTW NYC 6. Stage Management & Venue Facilities x Dressing Rooms (2 x pax) with shower & toilet facilities. Heated or cooled to comfortable temperature x Production Office or Space with phone - (landline for access.) 6.3. Tea & Coffee facilities 6.4. Access to a facsimile & photocopying machine 7. Crew Requirements & Production Schedule 7.1. Please refer to the Production Schedule for venue supplied crew and schedule requirements We will require: Lighting Desk Operator Sound Desk Operator Stagehands (2) 7.3. The company shall tour with the following personnel (refer to contact sheet for details): x Female Performer x Set/Lighting/Projection Designer x Musician - Cellist x Stage Manager Created on 11/12/2004 Page 5

6 Production Schedule - Swift Venue DTW NYC 11-Dec-04 Day Date Start End Task Venue Crew Mon 3-Jan tbc tbc Pre- Rig LX 4 x Lighting Technicians (inc Board Op) tbc tbc Production Meeting Margie M, Jean, Chloe & DTW Crew Tues 4-Jan Commence Install Staging 4 x Mechanists (Staging Technicians) Complete LX Rig 4 x Lighting Technicians (inc Board Op) Commence Install Projectors Theatre Technician (AX & Film) Lunch Complete Install Staging 4 x Mechanists (Staging Technicians) Commence Focus LX 4 x Lighting Technicians (inc Board Op) Continue Install Projectors Theatre Technician (AX & Film) Rehearsal - Offsite (Battery Dance) Ros, Helen, Margie and Jean Dinner Complete Focus LX & Blind Plot 4 x Lighting Technicians (inc Board Op) Focus Projectors Theatre Technician (AX & Film) Weds 5-Jan Plot LX 2 x Lighting Tech (inc Board Op) Sound Check 1 x AX Technician/AX Op Projector Check Theatre Technician (AX & Film) Staging Detail 2 x Mechanists (MX) Check and Adjust Projectors Theatre Technician (AX & Film) Lunch Prep for Tech Rehearsal 1 x LX Op, 1 x AX Op, 2 x MX Technical Rehearsal 1 x LX Op, 1 x AX Op, 2 x MX Reset for Dress 1 x LX Op, 1 x AX Op, 2 x MX Dress Rehearsal 1 x LX Op, 1 x AX Op, 2 x MX Dinner Performance Preset 1 x LX Op, 1 x AX Op, 2 x MX 7.25pm Half Hour Call for Performance # Full Run 1 x LX Op, 1 x AX Op, 2 x MX Thurs 6-Jan Technical Detail as required - TBC 1 x LX Op, 1 x AX Op, 2 x MX Lunch Prep Dress Rehearsal 1 x LX Op, 1 x AX Op, 2 x MX Dress Rehearsal 1 x LX Op, 1 x AX Op, 2 x MX Technical Detail 1 x LX Op, 1 x AX Op, 2 x MX Dinner Performance Preset 1 x LX Op, 1 x AX Op, 2 x MX Performance # 1 - Opening 1 x LX Op, 1 x AX Op, 2 x MX Fri 7-Jan Performance Preset/Show Call 1 x LX Op, 1 x AX Op, 2 x MX Performance # 2 1 x LX Op, 1 x AX Op, 2 x MX Sat 8-Jan Performance Preset/Show Call 1 x LX Op, 1 x AX Op, 2 x MX Performance # 3 1 x LX Op, 1 x AX Op, 2 x MX Bump Out/Pack Down Crew as required.

7 SWIFT - DWT NYC Jan 05 Projector Schedule Projector 1 Position - FOH Auditorium Rear - Centre Shot - Curved Scrim Cloth zoom Lense Image 4 metres high x 5.3 metres wide On a platform front of house needs to clear the audience throw about 21 metres. Projector 2 Position - FOH Auditorium Rear - Left Shot Curved Wooden Wall DSOP zoom Lense Image 4 metres high x 5.3 metres wide On a platform front of house needs to clear the audience throw about 21 metres. Projector 3. Position DSPS on Apron DS of PS Arch Wall Shot - Black Gauze DSOP zoom Lense or one inch Positioned on stage, on a Plinth or Stand + 800mm high x 300mm x 400mm Projector 4 Position FOH Auditorium Left Close to Apron Shot - Curved Wooden Wall (Top) DSOP zoom Lense Positioned on stage, on a Plinth or Stand mm high Projector 5 Position - USOP Behind Curved Scrim Shot - Upstage Prompt Side Blue Gauze zoom Lense Positioned up stage, on a Plinth or Stand mm high Projector 6 Position - USC Behind Curved Scrim Shot - Upstage Prompt Side Blue Gauze zoom Lense Positioned up stage, on a Plinth or Stand mm high Projector 7 Position DSPS Adjacent to PS Arch Wall Shot - Black Scrim zoom Lense Positioned on stage, on a Plinth or Stand + 800mm high Projector 8 Position USOP Behind Curved Scrim Shot - angled back on to DSPS Swift Flat 2 inch Lense Positioned up stage, on a Plinth or Stand mm high Projector 9 Position USPS Adjacent to PS LX Boom # 1 Shot - Front of Curved Scrim 2 inch Lense Positioned up stage, on a Plinth or Stand mm high Projector 10 Position FOH Auditorium Rear - Right Shot - Curved Wall 1 inch Lense Positioned down stage, on a Plinth or Stand mm high Projector 11 Position FOH Auditorium - Left Shot 2m Swift Flat 1 inch Lense Positioned down stage, on a Plinth or Stand mm high Projector 12 Position - USC Behind Curved Scrim Shot - Back Projection on to Curved Scrim half inch Lense Positioned up stage, on a Plinth or Stand mm high

8 SWIFT - DWT NYC Jan 05 - Channel Schedule CCT Color Lamp Type Position Focus Notes 1 Clr 1200 W Profile 5_13 Degree LX # 10 Instrument # 3 Gobo Special Hole Hire 2 Clr 1200 W Profile 5_13 Degree LX # 10 Instrument # 4 Gobo Special Hole Hire 3 Clr Source 4 36 Degree LX # 4 Instrument # 1 DS Wash 3 Clr Source 4 36 Degree LX # 4 Instrument # 2 DS Wash 4 Clr Source 4 26 Degree LX # 1 Instrument # 8 DS Square Special 5 Clr Source Degree Zoom LX # 5 Instrument # 1 Story Special 6 Clr 550 W Par Nel + Barndoor LX # 5 Instrument # 2 DS Curved Wall Duet 7 L201 Source 4 Nsp - Par 575w LX # 1 Instrument # 11 DS Angled Front 8 L W Par Nel + Barndoor LX # 11 Instrument # 2 In Front Of Gauze Centre 9 L027 Source Degree Zoom LX # 11 Instrument # 1 Special Down Ros R4 10 L W Par Nel + Barndoor LX # 5 Instrument # 3 Gremlin 11 L201 Source 4 Nsp - Par 575w LX # 14 Instrument # 1 DS Angled B/l 12 L W Fresnel + Barndoor LX # 17 Instrument # 2 Re B/l Half Stage Hire 12 R W Fresnel + Barndoor LX # 18 Instrument # 1 Re B/l Half Stage Hire 13 Clr 2000w Fresnel + Barndoor Stage Left # 2 Instrument # 3 Back Light Gauze Hire 14 L w Fresnel + Barndoor Stage Left # 2 Instrument # 2 Back Light Gauze Hire 15 L w Fresnel + Barndoor Stage Left # 2 Instrument # 1 Back Light Gauze Hire 16 L w Fresnel + Barndoor Stage Right # 3 Instrument # 1 Back Light Gauze Hire 17 L201 Source 4 36 Degree LX # 17 Instrument # 1 3/4 Through Gauze 18 Clr Source Degree Zoom Boom # Lamp # 1 Torso Edge 19 L202 Source Degree Zoom Boom # Lamp # 2 Opening Diagonal 20 L W Par Nel + Barndoor Boom #1 2.3 Lamp # 3 Gauze Side LX 21 L W Par Nel + Barndoor SL Floor Instrument # 2 Gauze 22 Clr Source Degree Zoom SL Floor Instrument # 3 Wooden Wall 23 L W Par Nel + Barndoor LX # 6 Instrument # 1 DSL To Centre 23 L W Par Nel + Barndoor LX # 6 Instrument # 2 DSL To Centre 24 L 201 Source Degree Zoom SL Floor Instrument # 1 Across Stage 25 L 201 Source Degree Zoom SR Floor Instrument # 1 Path Way Cut To Flats 26 L027 Source Degree Zoom SR Floor Instrument # 2 Entrance With Hand 27 L202 Source Degree Zoom Boom #1 900 Lamp #1 Opening Diagonal 28 Clr 550 W Par Nel + Barndoor Boom #1 1.5 Lamp # 2 Focus To Set 29 L 201 Source 4 Mfl - Par 575w LX # 15 Instrument # 1 B/l Up Black 30 L 161 Source 4 Mfl - Par 575w LX # 13 Instrument # 1 Back Light Black Gauze 31 Clr 550 W Par Nel + Barndoor Boom #2 1.2m Lamp # 1 Side Light Wood Wall 32 L 201 Source 4 Mfl - Par 575w LX # 17 Instrument # 3 Ups Diagonal 32 L 201 Source 4 Mfl - Par 575w LX # 20 Instrument # 1 Ups Diagonal 33 Clr Source 4 Mfl - Par 575w LX # D Instrument # 1 Ups Diagonal 33 Clr Source 4 Mfl - Par 575w LX # E Instrument # 1 Ups Diagonal 34 Clr 550 W Par Nel + Barndoor LX # 9 Instrument # 1 B/l Down Stage 34 Clr 550 W Par Nel + Barndoor LX # 12Instrument # 1 B/l Down Stage 35 L W Par Nel + Barndoor LX # 12 Instrument # 2 In Front Of Screen 35 L W Par Nel + Barndoor LX # 10 Instrument # 2 In Front Of Screen 36 L143 Iris One Cyc Light USPS/SR Floor Instrument # 1 Back Light Gauze 37 L 201 Source 4 50 Degree LX # G Instrument # 1 Between Gauzes 38 L 201 Source 4 50 Degree LX # 10 Instrument # 2 B/l Square 39 L 201 Source Degree Zoom DSPS/SL Floor Instrument # 5 Front Square 40 L W Par Nel + Barndoor LX # 9 Instrument # 1 Side Fill 41 L W Par Nel + Barndoor LX # 15 Instrument # 1 Side Fill 43 Clr Source 4 Mfl - Par 575w LX # G Instrument # 2 Diagonal Down

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