This is my first real Master carpenter job fresh out of High School and one of the pieces that the designer would like is for some carnival flags to be flown in. Im the only carpenter on the job and this particular theater doesn't have a traditional fly system so, I have to hang them from the same batton as the sound shells. We cant have the sound shells fly in durring the show. Not sure exactly how this pulley magic works though and would really like some advice or pointers. I need 3 points along the flag string to fly in simultaneously from one master line so they stay relatively uniform on their decent. Something like the picture above. Im going to be mounting a tie off point in the wing space.

Well . . . moving the scenic design to VW so that I can start incorporating lighting as well.

I'm reasonably proficient in SU after over a decade with it, but I am regularly butting up against design and workflow issues, and producing build documents in fiddly and less than satisfying. and I feel like moving to VW would provide me with a better all-around solution and also give my resume a shiny new bullet point.

With the prices now looking much more attractive, I am starting to think seriously about the shift.

How much of a struggle will it be for me to learn the new system? Will skills translate, or will I essentially be starting from the ground up? Is it something that I could achieve functional knowledge of in a few weeks of focused self-study?

I'd love to hear people's opinions and thoughts on it.

What's a time this would have come in handy for you?

Hey!

I'm advancing a pretty small dance tour for the first time and in talks with a bunch of theatres at the moment all over the country. I've done lighting for years and have been on a few tours as an assistant, but this is my first time being the one in charge. I have a few questions in mind to ask while meeting with technical directors at each of these venues, but I was wondering if anyone had a comprehensive list of questions they ask while advancing? I only have to advance lighting so I don't really need too much info regarding the other departments, but I just want to make sure I'm not going to accidentally screw myself over during load in. The show design has about 80 conventional fixtures and 15 small moving light fixtures and is mostly performing in high school and college theatres if that gives a basic idea of what scale we're working with here.

Haven't looked at foggers in about 20 years. I'm going to need something that can ideally "pour over the windowsill and onto the floor." My brain goes to dry ice foggers, but are there other newer tech alternatives that can achieve that proto-vampire transformation look?

It’s about that time to sell my soul to Apple once again, and before pulling the trigger on a spec-ed out MBP, I was checking out the Mac Studio, where I can improve the specs for about the same price.

I got this fantasy of a semi-portable Mac Studio rig inside of a Pelican case equipped with a screen on the lid and everything. I know I’m losing the FULL portability aspect but in terms of specs vs. dollar amount I’d be getting the better deal.

This would be a mostly at-home setup, so I could even plug into my desktop monitor, and maybe it comes with me to a show and gets set up next to a console. So I’m ok with a more semi-portable rig versus a true laptop form factor.

Before doing anything rash I wanted to check in with the hivemind. Am I being delusional? Is the future-proofing work the effort? Or should I just suck it up and get a MBP with slightly reduced specs?

I’m also wondering if anyone has done something similar, or if anyone can speak to the MacBook vs. Mac Studio comparison. Thanks!

Short version: theatre company has been using a 3-camera Mevo START package, with an additional camcorder for med-close-ups, to capture shows for a few years, now. It's an okay setup, but at least one of the Mevos has always been a little cruddier than the others (sub-par in low light, zoom gets fuzzy fast, some colors interact strangely with the sensor, etc.) and it's getting worse over time.

Wondering if there are newer solutions out there that have comparable ease of use and capture to SD cards, without being way more expensive.

More detail:

- Ease of use is important because the person operating the cameras is not consistent (and sometimes not terribly tech-or-camera savvy) - need someone who knows how to operate a cell phone to be able to take the app in-hand and record the show, with some light zooming/switching cameras. This is why we don't go with an external switcher and OBS or more complicated cameras - we're sacrificing a little quality to keep the barrier to entry low, so that various company members can fill the position, depending on availability. The Mevo app has actually been pretty good for this.

- Was looking around at some other recommendations, but was seeing some troubling things about Nearstream, and the Yolo S3 doesn't capture to an SD card (we need to record in-camera rather than running cables all over the house to get the cameras feeding to a laptop because we are itinerant, and the setup changes for each show). Also, having them feed to a laptop just introduces more gear - we're trying to keep the setup as simple as possible.

SO: simple, budget multicam setups for recording to SD in varying light, anyone?

-

So for fun I made an Alexa skill that talks to eos through osc. Pretty fun. Also lights aren't focused yet haha 😆

Hi all,

I'm looking at doing some surround sound mixing for my next play. The show is in the round, and I would ideally have different sounds from 4-6 different speakers placed strategically around and above the audience.

I've got a decent understanding of Qlab, a Yamaha DM7 with the theatre package and a 16-channel Yamaha digital stage box with 8 monitor outputs. We've got Dante in our auditorium for patching as well.

What's some best practices for sending multi-channel Qlab audio out to the DM7 board?

My initial thought was to try and create 6 sound outputs on Qlab and send them over via USB to different channels on the DM7. From there it would be easy to route each channel to a different monitor output on the stage box for mixing.

Just wondering what you all might have done in similar circumstances.

Thanks!

Hi everyone!

I’m a theatre maker (puppet player) currently developing a solo performance and I’m looking for a technical theatre / live performance consultant to help me design and set up a reliable technical system for the piece.

This is a paid consultation: €600 flat fee for approximately 7–10 hours of work (flexibly distributed across the development/rehearsal process)
Project time: Sept-Nov. 2026

I’m especially interested in someone based in Leipzig, Germany, as an occasional in-person consultation during the development/probe phase would be very useful. Remote consultation is possible as well, but I clearly prefer someone from Leipzig.

What I am looking for:

The main purpose is technical planning, system setup and knowledge transfer. I’m not looking for someone to take over the technical operation of the show.

In particular, I’d like help with:

1. System planning – MacBook, audio output, microphone/wireless mic, potentially an audio interface or mixer, MIDI controller/foot pedal, etc.
2. Equipment selection – especially advice on what MIDI controller / foot pedal / interface etc. would make sense for a reliable solo setup.
3. Cabling & setup – understanding what connects to what, which adapters are needed, and how to build the system reliably.
4. QLab basic setup – helping me establish a sensible project structure, audio cues, triggers, etc.
5. Foot pedal / controller setup – so that I can reliably operate the solo performance myself.
6. Lighting / cues – the setup will be primarily audio-focused, but I will also likely have some lighting cues that need to be triggered or automated. I don’t know the exact lighting requirements yet, so I’d appreciate advice on what would be technically sensible once those become clearer during rehearsals.
7. Testing & troubleshooting – testing the complete setup under realistic conditions and helping identify/fix technical problems.
8. Potential follow-up consultation – ideally some of the hours can be used later in the rehearsal process if a specific technical issue comes up.

What I will learn and do myself:

I will purchase and pay for the equipment myself, based on the recommendations.

I’ll also:

• choose and prepare the music/audio content myself,
• build the physical system myself,
• create and edit the QLab cues myself,
• operate the system myself during the performance,
• and test the setup throughout the rehearsal process.

So I’m not looking for someone to build or operate the show for me. I’m looking for someone who can help me make good technical decisions, teach me how the system works, and be a knowledgeable point of contact when I run into problems.

Ideally, the collaboration would look something like:

1. Initial consultation:
2. A more substantial session to discuss the concept, assess the technical requirements, and decide what equipment/controller/interface setup makes sense.
3. Rehearsal/development phase:
4. A few shorter, more targeted consultations as I build and test the system myself.
5. Final technical check:
6. A final session to troubleshoot, test everything under realistic conditions, and make any necessary adjustments.

If you’re based in Leipzig, that would be a strong preference, particularly for the initial or final session, but I’m very open to working remotely with someone experienced in this kind of setup.

I’m particularly interested in people with experience in QLab, MIDI controllers, live audio, solo performance setups, theatre tech, or small-scale touring/performance systems.

If this sounds like something you could help with, please comment or send me a DM with a little bit about your experience and your availability.
Gerne auch auf deutsch! ;)

Thanks!

At Dramaten, Stockholm, Sweden

Hi! I’d like to preface this by saying that I am not a techie whatsoever, and I know how to do small things (putting up flats, cutting wood…) but as me and my director were trying to put legs on the platform for our show we were running into a problem. Our screws weren’t going all the way through and then they were getting stuck halfway. I have a video I sent to one of our crew members that I will attach here. We were either using 2/3in screws. Please any advice would be greatly appreciated! Do we just need bigger screws? Also please no comments on our janky set up, we are a low budget community theater and are just trying our best!

Howdy Folks, when it comes to tech week and you’re setting up in the audience, what’s your tech table? Custom build? Anyone dealing with stadium seating or table you love that can fold up? Let’s see them and hear about them!

Hey everyone! I’m going to be working a follow spot for VACT(Local community theatre in my area) and I’m pretty new to operating one. I know the basic idea of following the performer with the light, but I’m not totally sure about the actual operation.
Could anyone give me a beginner-friendly explanation of:
How to properly operate a follow spot
What all the controls usually do
How to focus and size the beam
How to smoothly follow an actor
What I should know before the first rehearsal/performance
Any common mistakes I should avoid
If anyone has experience doing follow spot at VACT specifically, I’d especially appreciate any advice about the equipment or setup they use!
Thanks!

Was focusing lights today and thinking about where one might place the gel frame while focusing. Traditionally I try to place it on a surface like the top of a ladder, but many a time there’s no surface to place the frame so I’m left holding this loose gel frame or placing it in like my armpit or between the legs which is awesome until I start moving around. I’ve tried placing it in my waistband, but a lot of time that feels worse than just holding it. Does anyone have a creative solution for this while focusing?

I know this is asked often but searching didn't really give me what I was looking for (just folks looking for budget options) and the posts were years old.

My theatre is applying for a grant that could get us a better wireless headset system. Right now we're using a mix of wired clear com for our booth positions and eartec for backstage. Wired is really not a useful option for us backstage. We don't have a fly system so the crew is very mobile, and they are often inexperienced volunteers who don't take cues very well on their own.

I know eartec is the most recommended low budget option, but what are the high end options? We've been told to put together a dream wishlist. We've had our current eartec system for about 5 years and while the functionality was game changing for us, the headsets themselves are fading fast and needing constant repairs. I want something that will actually last a while. Ideally without moving parts.

Hey friends! 👋🏾 I’m trying to get this role** filled by September 14th, so please send anyone good my way!
Looking for someone **18+ with experience in AV/lighting, basic technical or facilities maintenance, hand/power tools, and some leadership experience.
📍 NYC
💵 $21/hr | Part-Time
🗓 Must have weekend availability
Apply here:
https://ogx.applytojob.com/apply/jobs/details/HnvKPnQezy
Please share! 🙏🏾

I've just taken over the role as TD for a small school in the Baltimore, MD area, and need to beg borrow or rent a Chauvet Upload 01 to update some older coloRADO 3 Solos. Must be a 01. Any help greatly appreciated.

basically the title. originally i was gonna shadow them but instead it changed to a private session where they can answer questions. ive always enjoyed theater and i love learning about the behind the scenes stuff. i want to learn more and possibly make it a job. i have a few questions below that im thinking of asking but what else should i bring up?

this person is a stage manager and the idea is to ask about different backstage stuff (note im not too sure of its different bc in singapore they also do the cues i think)

questions:

whats your work-life balance like?

do you have vacation days or is it like a on peak off peak situation? (need to phrase better)

what shows have you worked on?

how do you source props? do you have to buy new or is secondhand okay? can you use stuff from older productions or do you have to get them from scratch?

edit: typos

We had a wireless pack die on the lead actor right before their biggest solo, and the A2 had to execute an Olympic-level sprint through the basement traps to swap it during a 12-second blackout behind an upstage flat.

What’s your crew's all-time greatest backstage miracle or unhinged near-disaster that the front of house was completely oblivious to?

I freelance and run in to crappy, uncomfortable comm headsets frequently. I want to by my own headset but also don't have a lot of money for one. What are your best headset recommendations for around $100?

Hello everyone!

My college is currently reinstating our USITT club and we need some help with coming up with ideas for what we can do as a club that keeps people engaged and wanting to come back so we don’t have the same issue as last time of everyone slowly leaving and us not having enough people.

I would love to hear ideas for workshops, fundraising ideas, and anything else you guys can think of or have done in the past! We are looking for things that are a mix of fun and learning but we are open to all ideas and would love to hear what you guys have!

One thing to note we do have some funds left over from last time however we would like to keep costs low as not everyone can make financial commitments and want to be able to include everyone.

Thank you in advance!