Guidelines for Timelines and Seminar Presentations for ...web.ics.purdue.edu/~zounds/AllCourses/SeminarGuidelines200… · Web view20/4/2009 · In the accompanying seminar, we

Guidelines for Timelines and Seminar Presentations for Purdue University Theatre Productions

Contents

Introduction

Scenic Design Guidelines

Technical Direction

Costume Design

Lighting Design

Sound

Sound Design

Assistant Sound Design

Music Composition

Production Sound Engineer

Assistant Production Sound Engineer

Grading for ALL Sound Students

Guidelines for Timelines and Seminar Presentations Page 2

Introduction

Purdue University Theatre productions provide students who have well developed technical, aesthetic, interpersonal and professional skills with the opportunity to apply principles and concepts learned in the formal courses to actual productions before audiences. In the accompanying seminar, we share each other’s work, learn from each other’s successes and problems, and polish our presentation and communication skills. We understand that as students of the seminar we will learn a great deal along the way. However, we also understand that we have made a very real and important commitment to the production team, the performers, and the audience. Meeting our timeline commitments helps to make art and life better for every member of the production. It is our hope that we can structure our work together in this seminar to reinforce, develop and enhance the collaborative experience we are undertaking. With this in mind, please encourage other members of the production team (e.g., the director, stage manager, assistants, and board operators) to attend any seminar meeting related to the production.

II. Presentations

Perhaps the most Important key to a successful seminar presentation is for the production team to present a cohesive and unified presentation. The cohesiveness of the presentation hinges on the production team having achieved consensus about the designs before the presentation. To achieve this, the director must have a full understanding of your design before you make the presentation. Remember that a public seminar might be a very difficult place to try out a new idea on a director. So, make sure that the director understands and supports your design before you make the presentation. This also applies to the entire team. The Design Meetings are a great place to build and confirm this consensus.

You might also notice that all of the individual presentations share some elements in common. You should begin each Preliminary Presentation with a Conceptual Statement that relates the overall vision for the production to your specific area. In a similar manner, you should begin each Final Design Presentation by updating us on how you have refined both the overall conception, and the conception for your individual area. After you share your Conceptual Statement with us, you should share some of your research that will help us to understand the resources that have helped you to develop your design. Finally, you should make sure that you have distributed copies of your work to the rest of the production team as appropriate. You will find guidelines for these common concerns, as well as guidelines specific to your area in the pages that follow.

All of the materials you prepare for this seminar should find a home in your portfolio. For example, surveys in TD&T have underscored that Regional Theatres like to see conceptual statements included in portfolios. If you prepare your materials for the seminar presentation with the same care that you would prepare them for inclusion in your portfolio, you will find that there is much less work for you to accomplish each semester at the portfolio review.

III. Meetings

All designers, assistant designers, technical directors, and stage managers are required to attend Monday design meetings for their production as well as Thursday production meetings (see the production calendar for specific dates and times). Rescheduling these meetings because of an individual conflict is difficult if impossible to accomplish. Because of this you are responsible to identify any conflicts with these regularly scheduled meetings, and resolving any conflicts with both your production team and your major professor before accepting the design assignment. In addition, you are expected to email the production manager with items to be included on the agenda for production meetings.

IV. Responsibilities

1. Designers, Technical Directors and Stage Managers are responsible for ensuring that Program Copy is submitted to the Director of Marketing and Public Relations no later than 4 weeks prior to the first public performance of a production, including:.

Back to Top of Document • Introduction • Scenic Design Guidelines

• Technical Direction • Costume Design • Lighting Design • Sound


a. The names and positions of members of the production team directly under your supervision (e.g., production and assistant sound engineers, assistant designers and board ops for sound designers) as they would like it to appear in the program;

b. Any acknowledgements for donors or benefactors to the production that you have engaged;c. A 8.5” X 11” head-shot publicity photo and a 50 -100 word bio for display in the lobby;

2. Designers are required to present their designs to the actors, and to participate in the read through at the (typically) first actor rehearsal. If you have a conflict with either of these, you need to resolve that problem with your major professor prior to the scheduled date. Designers are also required to present their designs at the Division Show and Tell if scheduled separately from the actor first rehearsal. Please consult the THTR 597 syllabus for due date.

3. ACTF participation is mandatory for all designers on a show. This includes attendance at the ACTF response, and exhibiting your work on the production at the annual ACTF conference (assuming you have not graduated).

4. Participation in a THTR 201 class presentation/discussion about the production is also mandatory. Contact your academic advisor immediately if you have a conflicting course.

5. Please note that production due dates are on the production calendar, and Seminar due dates are located on the Seminar syllabus. Every member of the production team is responsible for identifying due dates on the online production calendar available at: http://web.ics.purdue.edu/~rdionne/cal.php; every member of the Production and Design Seminar is responsible for identifying due dates in the seminar syllabus.

Distribution of Materials: In general, by the morning of a particular deadline, all materials due at that time should be posted to the Purdue Theatre Web Callboard (http://web.ics.purdue.edu/~rdionne). In addition, one (1) hardcopy set of those materials should be submitted to the production manager to be kept on file. It may be necessary to bring additional copies of some materials for the purposes of presentations (for example, extra copies of costing sheets); it is your responsibility to determine this in advance of any presentations.

Please Note: some deadlines (for example, Sound Design Rough Sound) contain specific distribution requirements beyond those specified here [in this instance, “Provide 6 - 7 copies of the Rehearsal CD (include Music cues from composer, if a separate composer is used) and updated cue sheets to the Production Manager, who will distribute them to the: Production Manager, Director, Stage Manager, Scene Designer, Costume Designer, Lighting Designer, Composer (if used). Provide rehearsal CD’s as required to the actors.”]; in all instances, these distribution guidelines should take precedence over this general statement.

Guidelines for each presentation follow. Please note that you should complete your preliminary designs, final designs etc., by the respective date indicated on the production calendar. You should keep all materials developed in conjunction with these timelines and guidelines for your seminar presentations that will occur throughout the semester.



http://web.ics.purdue.edu/~rdionne)

http://web.ics.purdue.edu/~rdionne/cal.php


Scenic Design

Please note that you should complete your preliminary designs and final designs by the respective date indicated on the production calendar. You should keep all materials developed in conjunction with these timelines and guidelines for your seminar presentations that will occur throughout the semester.

Preliminary Designs (Due at Design Meeting 3 (DMTG 3) on the Production Calendar)

Preliminary designs for scenery should include the following at the preliminary design due date for your show on the production calendar:

1. Concept Statement

A written statement presented orally that represents the understanding between the director and the scenic designer as to the role and function of the scenery for the specific production.

2. Research

Examples of research, in presentation form, that support both the thematic interpretation of the design for the play, the conceptual inspiration of the design approach, and, if appropriate, a historically accurate representation of architecture and/or furniture related to the period and style of the particular production. Color and texture samples may be appropriate as well.

3. Floor Plan

A floor plan “to scale” (with potential additional floor plans or partial floor plans) that illustrate the scenery in relation to the theatre. While these need not be final drafted plans, they should be drawn in a readable scale and include sufficient information so that the director and the technical director can understand the relationship of objects and the extent of the materials to be imported onto the stage. These plans should also illustrate actor flow paths and any special features that will control the type of construction and the budget (i.e., projection screens, should the scenery be 3-D or painted, drops, scrims, floor cloths, lifts, traps, moving wagons or turntables; if pieces are planned to be pulled, pulled and modified, or built from scratch, etc.). It is important to clearly indicate, via the line set schedule, all hanging positions of the proposed set pieces as well as all legs and borders and other necessary masking as determined by the theatre sight lines. These objects should all be indicated on a hanging plot to be distributed, in draft form at this stage, to the technical director and other members of the design team.

4. Section View

If there is vertical information that would affect the construction or installation of the scenery into the theatre, the design presentation should also include a “to scale" section view that illustrates those features at the same level as the floor plan. Also, if there are items that would affect other designers -- such as ceilings, beams, or overhead materials -- these must be shown. It is important to clearly indicate, via the line set schedule which corresponds to the floor plan, all hanging positions of the proposed set pieces as well as all legs and borders and other necessary masking as determined by the theatre sight lines. A six-foot tall figure should be included as an indication of scale.

5. SketchesBack to Top of Document • Introduction • Scenic Design Guidelines



Provide a sketch that illustrates how the designer and director want the scenery to appear from the audience’s view point, and a story board showing all the major scene changes. If these are not in color, a color palette should accompany the sketches.

6. Model

As an option, a white model can replace item 5 above. However, it should be noted that a white model still needs to have sufficient information so that all of the scenic elements are understandable. If the white model only illustrates the scenery in plan and section, the sketches and color palette listed in point 5 above can be used to support the model. (For example, all elements in the design should include a scaled sketch with references to colors and textures required in order to assist in the budgeting of materials and labor.) A six-foot tall figure should be included as an indication of scale.

7. Properties

Provide a props list from the director, interpreted by scene designer to include details such as consumables and expendables, furniture, hand props and set dressing. The prop list should include plans for building, pulling, borrowing, renting or purchasing. Finally, the designer should have sketches or clip-art to illustrate any unique scenery or prop elements that are planned for inclusion into the design. These need not be either final or detailed, but they should be clear as to the requirement on human, shop, and budget resources. It is the responsibility of the scenic designer to approve all decisions regarding the properties chosen for the production in consultation with the director and properties master.

8. Distribution

The scene designer should post all materials to the Purdue Theatre Web Callboard (http://web.ics.purdue.edu/~rdionne). In addition, one (1) hardcopy set of those materials should be submitted to the production manager to be kept on file. It may be necessary to bring additional copies of some materials for the purposes of presentations (for example, extra copies of costing sheets); it is your responsibility to determine this in advance of any presentations.

The scene designer should also keep the production team apprised of all changes to the scene design that may affect the work of others as the design evolves.

Summary

The preliminary design should be such that others can leave with a clear understanding of the direction the scenery will take into the final design. In addition, the technical director should have enough information to evaluate the design relative to the resources available for the production, particularly the budget and labor hours available. If the design clearly exceeds the available monetary and labor resources it is easier to alter the design at this point than at the end of the final design presentation.

Final Designs (Due at Design Meeting 6 (DMTG 6) on the Production Calendar)

Final designs for scenery should include the following at the due date on the production calendar:

1. Concept StatementBack to Top of Document • Introduction • Scenic Design Guidelines




A written statement presented orally that represents the understanding between the director and the scenic designer as to the role and function of the scenery for the specific production.

2. Research

Examples of research, in presentation form, that support both the thematic interpretation of the design for the play, the conceptual inspiration of the design approach, and, if appropriate, a historically accurate representation of architecture and/or furniture related to the period and style of the particular production. Color and texture samples should be presented at this time.

3. Floor Plan

A floor plan “to scale” (with potential additional floor plans or partial floor plans) that illustrate the scenery in relation to the theatre. These should be drawn in a readable scale and include sufficient information so that the director and the technical director can understand the relationship of objects and the extent of the materials to be imported onto the stage. These plans should also illustrate actor flow paths and any special features that will control the type of construction and the budget (i.e., projection screens, should the scenery be 3-D or painted, drops, scrims, floor cloths, lifts, traps, moving wagons or turntables; if pieces are planned to be pulled, pulled and modified, or built from scratch, etc.). It is important to clearly indicate, via the line set schedule, all hanging positions of the proposed set pieces as well as all legs and borders and other necessary masking as determined by the theatre sight lines. These objects should all be indicated on a hanging plot to be distributed to the technical director and other members of the design team. Approval of the hanging plot, in consultation with the lighting designer, sound designer, and technical director will be expected at this stage of the design process.

4. Section View

The design presentation should also include a “to scale" section view that illustrates those features at the same level as the floor plan. Also, if there are items that would affect other designers -- such as ceilings, beams, or overhead materials -- these must be shown. It is important to clearly indicate, via the line set schedule which corresponds to the floor plan, all hanging positions of the proposed set pieces as well as all legs and borders and other necessary masking as determined by the theatre sight lines. A six-foot tall figure should be included as an indication of scale.

5. Rendering

A rendering, in color, or series of renderings, that illustrate how the designer and director want the scenery to appear from the audience’s view point.

6. Model

As an option, a detailed, fully colored model can replace point 5 above. A white model may be used in conjunction with the color rendering(s) in item 5 above. For productions in the Hansen Theatre, a ½” or 3/8” colored model is recommended. For productions in the Mallett Theatre, a ½” colored model is recommended. (1/4” scale models for either space are acceptable; however, see the section below concerning requirements and due dates for painters’ elevations.)

7. Design ElevationsBack to Top of Document • Introduction • Scenic Design Guidelines



Detailed, ½” (or ¼” scale, when appropriate) drafted front elevations of all two-dimensional scenic elements and drafted multi-view drawings for the three-dimensional elements. These should include any special features that will control the theatre’s features (traps, pits, seating, etc.), the type of construction, and the budget (i.e., projection screens; should the pieces of scenery be 3-D or painted; drops, scrims, floor cloths, lifts, traps, moving wagons, or turntables; if pieces are to be pulled, pulled and modified, or built from scratch, etc.). All dimensions necessary for the complete understanding of these elevations must be indicated.

8. Props List

Revised props list from director, interpreted by scene designer to include details such as consumables and expendables, furniture, hand props, set dressing. The prop list should include plans for building, pulling, borrowing, renting or purchasing. The designer should have detailed research, drafting, sketches or clip-art to illustrate any unique scenery or property elements that are planned for inclusion into the design. These might include furniture that is to be built, special props or effects, or built set dressing. It is the responsibility of the scenic designer to approve all decisions regarding the properties chosen for the production in consultation with the director and properties master.

9. Painters’ Elevations

If a ½” or 3/8” model has been completed by the designer, painters’ elevations, developed at 1” scale (a smaller scale for large items is often acceptable), are due 2 weeks after the final design presentation. This includes all built scenic elements, including properties. Specific research or samples of colors, textures, and techniques should be presented to the charge artist in support of the painters’ elevations.

If a ¼” model has been completed by the designer, painters’ elevations are due at the final design presentation.

10. Distribution

The scene designer should post all materials to the Purdue Theatre Web Callboard (http://web.ics.purdue.edu/~rdionne). In addition, one (1) hardcopy set of those materials should be submitted to the production manager to be kept on file. It may be necessary to bring additional copies of some materials for the purposes of presentations (for example, extra copies of costing sheets); it is your responsibility to determine this in advance of any presentations.

The scene designer should keep the production team apprised of all changes to the scene design that may affect the work of others as the design evolves. The model remains the property of the scene designer, but is often made available to the director, technical director, and stage managers for consultation. Painters’ elevations are distributed to the charge artist, and will be returned to the designer.

Final Revisions (Due at Design Meeting 8 (DMTG8) on the Production Calendar)

At this meeting, the set designer shall provide revisions of all materials submitted at DMTG 6, reflecting changes to the set as agreed upon by the director, the technical directork, and the rest of the artistic team, made to bring the project into alignment with available labor and materials.





Technical Direction

Technical Direction Preliminary Designs (30 points)

During the preliminary design presentation, the production technical director should:

1. Note how the designer has chosen to solve the design concerns you’ve indicated might be trouble spots;

(2 points)

2. Assess physical space restrictions: is the set too tall? Too wide? Is legal egress maintained? Is the set physically possible?

(2 points)

3. Assess challenges the design poses and brainstorm possible solutions;

(2 points)

4. Make a rough assessment, using analogous estimating techniques, of the cost of materials for the show as presented;

(8 points)

5. Make a rough assessment, using analogous estimating techniques, of the labor required to build the show as presented;

(8 points)

6. Present your concerns to the artistic team, remembering that this is early in the process; you are simply pointing out possible concerns if the design continues in this direction.

(8 points)

Be courteous and respectful of the artistic goals first and foremost.

Technical Direction: The Budget Meeting (80 points)

The production technical director should present the following items at thebudget meeting:

1. A cover sheet that lists the break down of the scenic design into separate elements. The cover sheet will include individual estimate totals of materials and labor and a grand total of materials and labor required to complete the scenic design as presented.

(5 points)

2. Individual estimating sheets for each element, which lists all materials, quantity and cost, needed to complete that particular element. The budget estimate will include a 5% -10% hardware expense, a 10-150% paint expense (show dependent), and a 10% contingency.

(20 points)

3. A labor estimate for each element, broken down into specific tasks. The labor estimate will include a 25% contingency.

(20 points)

4. Sketches, on 8.5x11 paper, which indicate construction methods. (10 points)

5. A list of alternatives and suggestions, as needed, to assist the designer and director in making choices to bring the design in line with the budget and available labor force.

(20 points)

Distribution. The technical director should prepare: (5 points)




a. four (4) full copies of the estimate (and any supporting materials) for the producer, production manager, director, and set designer.

b. Summary sheets for the stage manager, props master, master electrician, production sound engineer, and others by request.

The estimate should be easy to read and clearly indicate how the production resources are going to be allocated.

It is important to note the TD can not budget elements that have not been presented by the designer. The estimate presented at the budget meeting will only reflect elements that are known. The budget estimate will need to be adjusted if the design is incomplete.

Technical Direction Set In Shop/First Shop Meeting: (100 points)

At the shop meeting on the set in shop date, the production technical director will present to the Faculty Technical Director, Scene Shop Foreman, the Props and Paint Supervisor, and the graduate assistants in the scene and paint shops the following:

1. Construction plates: construction plates should be drafted in (at least) 1/2” scale, and dimensioned clearly. These plates should indicate building materials and construction methods and techniques.

(30 points)

2. Ground plan and Section: the technical director should prepare a revised ground plan and section based on construction plates indicating actual positioning and placement of scenic elements.

(30 points)

3. Build schedule: the build schedule should be presented as both an overview timeline and a series of weekly schedules. Although the schedule should clearly indicate how many hours and how many personnel are necessary for each task, it need not indicate what personnel be assigned. (This will be decided later, in conjunction with the Scene Shop Foreman and Scenic Charge.) The build schedule should also include revision deadlines for construction plates that require further examination (approximately 3 working days prior to work commencement, or 1 working day prior to materials ordering, for each phase or unit).

(30 points)

4. Distribution: Submit 3 copies of your plan, section, construction plates, and build timeline to the Production Manager who will distribute them to the:

Scene Shop ForemanProps and Paint SupervisorFaculty Technical Directorday prior to materials ordering, for each phase or unit).

(10 points)




Technical Direction Weekly Build Schedule Updates (Production Meetings/Shop Meetings) (45 points)

In conjunction with the Faculty Technical Director, the Scene Shop Foreman and the Scenic Charge, the TD shall assess the build progress—both in terms of time and expense—and be prepared to:

1. Adjust the build schedule as necessary to accommodate unexpected changes in progress;

(15 points)

2. Prepare possible adjustments to the expense budget (material choice changes, construction technique changes, etc.);

(15 points)

3. Present this information to the artistic/production staff at the weekly production meetings, in as much detail as is necessary for their understanding;

(15 points)

4.Address concerns raised by the designers and director.

Technical Direction Load-in, Working Set, Set Complete, and Technical Rehearsals (50 points)

Prior to the beginning of the scenic load-in date, the production technical director should prepare a plan for the load-in of the entire set, including timelines and milestones. Additionally, the production technical director should present to the faculty production manager a revised, to-date expense tracking sheet and a progress timeline calendar. (25 points) By the end of the day of Working Set, the working elements of the set that pertain to actor business (doors, windows, actor-moved scenery, etc) shall be completed and safe for the cast to work on and with. By the end of the day of Set Complete, the set should be entirely complete, from 2x4 to finish molding; from base paint to final clear coat. Prior to the beginning of Technical Rehearsals, the production technical director should prepare a plan for instructing running crew on scene shifts and/or any scenic “tricks” involved in the production. Additionally, the production technical director should present to the faculty production manager a revised, to-date expense tracking sheet and a progress timeline calendar. (25 points)

Technical Direction Strike and Strike Schedule (25 points)

Prior to the strike, the production technical director shall generate a strike schedule, including staff assignments, timeline and list of necessary tools and equipment (including procurement of a dumpster, if necessary). The production technical director shall go over this schedule with the Faculty Technical Director, the Scene Shop Foreman, and the Props and Paint Supervisor. (25 points) During the strike, the production technical director shall organize the crew and direct the work, ensuring that progress stays on schedule without sacrificing safety.




Technical Direction Final Production Book (100 points)

When the show is struck and gone, the TD shall generate a final production book, which should include the following, bound and organized with a clearly labeled cover page indicating the show, the director, designer, technical director, date, and table of contents:

1. Preliminary Budget Estimate (and associated presentation materials);

(10 points)

2. Rough Construction Plates (bound with a separate cover sheet); (10 points)

3. Final Expense Estimate; (10 points)

4. Build Schedule; (10 points)

5. Expense Tracking; (10 points)

6. Build Progress Tracking; (10 points)

7. Schedule Revisions and Updates; (10 points)

8. Final Construction Plates (bound with a separate cover sheet). (10 points)

Additionally, the final production book should include a short, narrative examination of the build process; what situations led to budget overages and shortfalls? What situations led to the build schedule changing? How could any of these situations been avoided in the future?

(20 points)

Grading:Assignment of points for each above requirement will be determined by the faculty mentor in consultation with the scene shop manager, paint/props supervisor, the director of the production and other members of the faculty, staff, and production team.

A 95-100% 408-430 pointsA- 90-94% 387-407 pointsB+ 87-89% 374-386 pointsB 83-86% 357-373 pointsB- 80-82% 344-356 pointsC+ 77-79% 331-343 pointsC 73-76% 314-330 pointsC- 70-72% 301-313 pointsD 60-69% 258-300 pointsF <60% <257 points




Costume Design

Preliminary Designs (Due at Design Meeting 3 (DMTG 3) on the Production Calendar)

On the Preliminary Designs due date, electronic copies of the required information must be made available via Purdue Theatre Web Callboard. In addition, a hard copy of the materials must be provided to the Production Manager. This copy of the materials must be circulated and approved by the Faculty Mentor, the Costume Shop Manager, and the Director of the production BEFORE the costume designer may proceed from the preliminary costume design materials to the final design materials.

After submission and approval of the preliminary costume design materials, the costume designer must keep the production team apprised of all changes to the costume design that may affect the work of others as the design evolves.

1. Design Statement

The design statement concisely represents the understanding between the director and the costumes designer as to the role and function of the costumes for the specific production.

In addition to providing a clear explanation of the conceptual approach to the play, this statement must list the goals of the costume design (WHAT is to be accomplished) and appropriate strategies (HOW the goals are to be accomplished).

2. Research

Research indicates examples of visual research, clearly labeled and presented in an appropriate format, that adequately support the design statement.

3. Color Palette

The color palette is a visual representation of the relationship of color intended for the production that adequately supports the design statement. The color palette can be a swatch card of fabrics or paint chips, a color copy of a painting or other resource, or other appropriate presentation format.

4. Actor/Scene Chart

The actor/scene chart should show which actors/characters are in each scene, and indicate possible quick changes.

5. Preliminary Costume Plot:

The preliminary costume plot should list what each character will be wearing in each scene. It should also note any special items required by the script.

6. Renderings

Preliminary sketches include line drawings and/or visual representations that depict the costumes for specific characters. A rendering must be provided for each costume change indicated on the actor/scene chart and/or costume plot. Any item that is to be built by the costume shop must include both a front and back view. Though preliminary renderings need not be in color, an appropriate indication of color must support each rendering. The faculty advisor and the designer must agree upon the format of sketches or another form of visual representation before the renderings are submitted.




Summary

The preliminary designs should be such that others can leave with a clear understanding of the direction the costumes will take into the final design. In addition, the costume shop manager should have enough information to evaluate the design relative to the resources available for the production, particularly the budget and labor hours available. If the design clearly exceeds the available monetary and labor resources it is easier to alter the design at this point than at the end of the final design presentation.

The Budget Meeting

At the budget meeting the costume designer and costume shop manager should present a summary of how the resources of budget, labor, and time will be used to realize the design. A plan should be presented which indicates those items that will be built as opposed to pulled, purchased, or rented. The estimate should be easy to read and very apparent how the production resources are going to be allocated. The estimate presented at the budget meeting will only reflect elements that are known. The budget estimate will need to be adjusted if the design is incomplete or changes significantly.

Final Designs (Due no earlier than Design Meeting 6 (DMTG 6) and no later than 7 calendar days after casting for the production is posted)

On the Final Designs due date, electronic copies of the required information must be made available via Purdue Theatre Web Callboard. In addition, a hard copy of the materials must be provided to the Production Manager. This copy of the materials must be circulated and approved by the Faculty Mentor, the Costume Shop Manager, and the Director of the production BEFORE the designs may move into the shop.

Note: No supplies may be purchased for the production until the final designs are presented and approved.

After submission and approval of the final costume design materials, the costume designer must keep the production team apprised of all changes to the costume design that may affect the work of others as the design is realized in the costume shop.

1. UPDATED Design Statement

2. UPDATED Research

3. UPDATED Color Palette

4. UPDATED Actor/Scene Chart

5. FINAL Costume Plot

6. Renderings

Final renderings are drawings and/or visual representations IN COLOR that depict the costumes for specific characters. A rendering must be provided for each costume change indicated on the actor/scene chart. Any item that is to be built by the costume shop must include a back view either within the format of the rendering or in a separate working drawing. The faculty advisor and the designer must agree upon the format of the renderings before they completed.




Summary

The final designs should be such that others can leave with a clear understanding of the direction the costumes will take into production.

Production/Realization

In addition to creating the design materials, during the production period costume designers are responsible for:

1. Working with the Costume Shop Manager in creating a calendar for the successful realization of the design that follows the submitted budget.

2. Providing necessary rehearsal costumes to the Stage Manager as needed.3. Acquiring all supplies in a timely manner necessary for the costume shop to build new costumes. 4. Pulling and sorting all costumes from stock necessary for the production, as well as restocking

items pulled but not used.5. Preparing for costume fittings in a timely manner, including pulling all undergarments, hosiery,

etc.6. Creating a plan and/or executing all craft work associated with the production. This includes, but

is not limited to: dyeing of fabric and trims, distressing of costumes and accessories, creating or modifying jewelry and millinery, armor, etc.

7. Creating a plan and/or executing all aspects of hair, wigs, and makeup, and/or collaborating with associate designers in the aforementioned areas.

8. Working with the Properties Supervisor to provide properties deemed the responsibility of the Costume Shop.

9. Attending all production meetings with the Costume Shop Manager.10. Attending necessary rehearsals, in particular dress parades, dress rehearsals, previews, and

opening night.11. Cooperating with the Head of Wardrobe to facilitate costume maintenance and quick changes.12. Serving as a leader in conjunction with the Costume Shop Manager and faculty mentor in realizing

the final costume design.

Grading

In order to receive a grade of A or Excellent for the production work associated with THTR 597 – Advanced Production and Design Seminar, ALL of the following deadlines for required materials and production responsibilities must be met in a manner acceptable to the faculty mentor in consultation with the Costume Shop Manager, the Director of the production and other members of the faculty, staff, and production team. Any deviation from these guidelines may result in the lowering of the final grade for the project at the faculty mentor’s discretion.

When the student is serving as Design Assistant for a production for THTR 597 credit, the responsibilities may include any of the aforementioned duties as assigned by the Costume Designer. Success will be determined by the faculty mentor in consultation with the Costume Designer and the Costume Shop Manager.




Lighting Design:

Prior to First Design Meeting (DMTG)

Read the script (and listen to music for musicals). Take notes on locations, moods, times of day, pacing.

Start search for basic visual research. Research the play’s history of production (be careful letting prior productions influence your own

choices), period, and playwright. Assemble prompt book with room for blocking notes. Meet with your advisor regarding deadlines and work schedules. Continue meeting with advisor

throughout process.

First Design Conference (1st DCON)

Confirm dates on production calendars and amounts of budgets. Set up individual and group meetings with director and/or other designers to discuss the play.

First Design Meeting (DMTG 1)

Take notes on director’s presentation and participate as needed.

Lighting Preliminary Designs (DMTG 6)

Present conceptual statement of your design. Present visual research (mounting on board or projected display suggested). Present rough estimates on budgeting including additional equipment needs, special effects and

projections. Obtain drawings from scene designer and monitor construction. Submit this for approval to the advisor two days before presentation.

Final Designs (1 week before Rough Plot; Mallett: 5 weeks before opening; Hansen: 6 weeks before opening)

Present storyboards for production (usually 3 per act – beginning, middle, end). Include descriptions of the controllable qualities of light.

Describe quantity and speeds of cues. Describe special effects and methods of achieving them. Describe budget estimates. Submit this for approval to the advisor two days before presentation.

During Rehearsals

Continue attending as many rehearsals as possible. Monitor costume construction. Examine fabrics, if possible. Determine schedule of receiving props that need to be electrified so that they will be completed by

first technical rehearsals. Continue meeting with director to discuss cue placements. Have a completed cue list ready by

paper tech. If you know that you will need additional equipment, begin planning for acquisition as soon as

possible to guarantee arrival by hang.

Rough Plot (1 week before Final Plot due; Mallett: 4 weeks before opening; Hansen: 5 weeks before opening)




Attend as many rehearsals as possible late in the process to allow blocking to stabilize but early enough to allow time to complete plot. Run-throughs are generally better than “working” rehearsals.

Show the majority of units to be hung either on a manually drawn version of the plot or a printed CAD file to your advisor two days before it is due.

Present this to the lighting production team and other 597 students on the assigned day being prepared to discuss choices.

Final Plot (Same week as Hang; Mallett: 3 weeks before opening; Hansen: 4 weeks before opening)

Discuss ideas presented at final presentation. Describe plot including types of equipment, color choices, and the challenges of execution. Deliver plot and supporting paperwork to ME and AME (including whatever additional copies

they may need). Respond to questions of attendees and advisor.

Before Hang

Confirm color and template order is placed as soon as possible to utilize hang call for color cutting. See advisor to execute purchase.

Make final arrangements for additional equipment to be delivered in time for hang. Continue attending rehearsals as able; maintain communication with ME if changes need to be

made.

Hang

Be available for questions that will arise during hang. Have ALD gather dimmer numbers to update paperwork and begin patch.

Paper Tech

Have cue list completed with space for additional cues. Do not number cues until at the paper tech where the sequence will be confirmed with everyone to avoid unnecessary “point” cues.

Remember that it is easier to delete cues than build new ones. If you think you might need a cue, put it in.

Before Level Set

Complete magic sheets. Attend onstage rehearsals, as needed and if possible. As with earlier rehearsals, run-throughs are

generally more productive than those earlier when staging changes are being made. Confirm setup of tech table with headsets for you, the board operator and the assistant, if

applicable. Confirm patch is complete. Build groups in board.

Level Set

Make every attempt to get through the entire show.




Skip complex sequences if they will prevent you from getting majority of the show programmed. Avoid stopping for work notes; use this time for programming and complete work notes later. Concentrate on the overall structure of the show and major transitions. Minor internal cueing can

be corrected over technical rehearsals. Utilize ALD or others as “light-walkers” to confirm that critical areas are lit. Remember that

costumes will change visibility. Save, save, save. Backup, backup, backup. If the director is present, look at and discuss major cues. If a change is requested that requires a

work note, explain that you will need to complete the note later and keep moving.

Technical/Dress Rehearsals

While lighting has importance during these rehearsals, remember that others are working at trying to perfect their performances, as well. Avoid stopping rehearsals unless there is a cue execution problem or the director requests it.

Do not stop for work notes unless the rehearsal cannot continue without the note’s completion. Always attempt to fulfill the director’s requests first. If they cannot be completed by the next

rehearsal, let them know before the next rehearsal. Do not give the impression that you are ignoring their requests.

Arrange time with the production team for the stage to be dark for notes to be completed. Deliver work notes to the ME and discuss daily. Complete these before cue notes so you are not

looking at old ideas. Do not give notes to the cast directly; all notes should go through the director or the stage manager

to be later confirmed with the director. When cues have stabilized, get away from the tech table to view show from other seats in the

house. Have your ALD monitor the headsets and listen to the show as much as possible. Stay in the house during previews and take written notes to be completed later. Allow the stage

manager and board operator to begin settling into the show.

Headset Etiquette

Avoid all unnecessary conversation to prevent distracting others. To avoid making multiple saves on the same cue, wait to save until the stage manager has called a

standby on the next cue. Tell your board operator to remind you to save when the standby is called in case you are distracted.

Have the stage manager continue to call the standbys and cues even if you are continuing to work on a cue. This will allow the SM to work on the calling, for you to know it is being called properly, and still allow you to work.

During rehearsals, give notes to the stage manager only if they have the time to listen and restrict notes to issues of cue placement. Save all others until after the rehearsal.

Depending on the wishes of the stage manager, have the board operator respond as needed to stage manager stand-bys and gos.

Opening

Confirm that the ME and the board operator have all necessary paperwork and that it has been updated.

Be sure the board operator and the stage manager have emergency phone numbers for the lighting team and a schedule in place as to who is covering which performances.

Verify that there are sufficient spare lamps and gel for the run.

Post-Opening




Participation in the photo call meeting, the ACTF response and any related ACTF activities are required.

Photo Call

Submit shot requests soon after opening to stage manager and director. Confirm with the stage manager that the light cues scheduled are the best for the shot and correct

for the moment. Consider shots showing the full stage. Close-ups will most likely be taken by Marketing. Do not shoot with a flash.

Grading

In order to receive a grade of A or Excellent for the production work associated with THTR 597 – Advanced Production and Design Seminar, ALL of the following deadlines for required materials and production responsibilities must be met in a manner acceptable to the faculty mentor in consultation the Director of the production and other members of the faculty, staff, and the production team. Any deviation from these guidelines may result in the lowering of the final grade for the project at the faculty mentor’s discretion, removal or reassignment in future productions, or impact letters of recommendation.




Sound Design:

Prior to First Design Meeting (DMTG)

Read the script (and listen to music for musicals). Take notes on locations, moods, times of day, pacing.

Start search for basic research. Research the play’s history of production (be careful letting prior productions influence your own

choices), period, and playwright. Assemble tabbed production sound book which should include the Script (with room for blocking

notes and cues), Cue Sheets, Rehearsal Notes, Production Calendar (if not on web), Production Notes, Sheet Music, Contacts, Research, Drawings, Markers (from your sequencer), and any other categories unique to the production;

Meet with your advisor regarding deadlines and work schedules. Continue meeting with advisor throughout process.

First Design Conference (1st DCON)

Confirm dates on production calendars and amounts of budgets. Set up individual and group meetings with director and/or other designers to discuss the play.

First Design Meeting (DMTG 1)

Take notes on director’s presentation and participate as needed.

Sound Preliminary Design (See “DMTG3” (Design Meeting 3) in the online Production Calendar at http://web.ics.purdue.edu/~rdionne/cal.php for due date)

Preliminary designs for Sound should include the following at the Preliminary Design due date for your show on the Production Calendar:

1) Conceptual Statement:

A written statement presented orally that represents the understanding between the Director and the Sound Designer as to the role and function of sound for the specific production. It should specifically address

a) the plot of the play, b) the thematic constructs with which the play deals, and c) the techniques the sound will use to communicate those constructs.

2) Research:

A compilation CD of potential musical styles, sounds, etc., to support the conception of the production, often referred to as “Models,” or “Temp Tracks.”

3. Rough Cue Sheet:

A print out of the Excel Preliminary Cue Sheets for the production, giving a complete list of every cue in the production including: a distinct cue number for each time a new sound is introduced or an old sound changes; a distinct name for each sound; the anticipated length of each cue; the visual or line cue; the page number in the script; the speakers to be used, and a description of how the cue functions in the scene, etc. 5. Preliminary Block Diagram





A rough sketch of the equipment you propose to use in the production, which shows how the signal flows from input to output. See the Power Point presentation, “Block Diagrams and Speaker Plots” in the “All Theatre Courses-Support Documents” and current USITT Sound Graphics Standards available from: http://www.usitt.org/commissions/sound/Sound_Comm_Graphics_Project.html).

6. Distribution (see sound design distribution chart below):

Provide one copy of the cue sheets, preliminary block diagram to the Production Manager and upload one copy of the cue sheets, final block diagram and speaker plots (both ground plan and section) to the Theatre Division’s Web Callboard, and the models to iDisk or other appropriate website before the due date.

Sound Design Final Designs: (See “DMTG6” (Design Meeting 6) in the online Production Calendar at http://web.ics.purdue.edu/~rdionne/cal.php for due date).

Final designs for Sound should include the following at the Final Design due date for your show on the Production Calendar

1. Conceptual Statement:

A written statement presented orally of the production concept for the sound design that includes refinement of the conception provided in the Preliminary Design Presentation.

2. Cue Sheets:

A printed update of the Rough Cue Sheets.

3. Preliminary Speaker Plot:

Obtain a copy of the preliminary floor plan and section from the scene designer at the Preliminary Design Meeting. Meet with the scene designer to collaborate on how to integrate loudspeakers into the visual design, and then provide a rough sketch on this floor plan and section that indicates where and how you intend to locate loudspeakers in the scenery and theatre at the budget meeting.

3. Speaker Plot:

Obtain a final floor plan and section for your production from the scene designer or technical director as appropriate. Consult with the director, scene designer, lighting designer, and stage manager regarding the placement of any speakers, cables, sound effects devices, etc. Neatly draw the basic outline of the set and the specified sound equipment according to the guidelines. “Block Diagrams and Speaker Plots” in the “All Theatre Courses-Support Documents”

4. Block Diagram:

A finished diagram of the equipment you propose to use in the production, showing signal flow from input to output drawn in accordance with current USITT Sound Graphics Standards available from: http://www.usitt.org/commissions/sound/Sound_Comm_Graphics_Project.html).

Note that the Sound System Engineer should be able to completely and correctly install the sound system for your show using only your shop drawings.

5. Shop Order



http://www.usitt.org/commissions/sound/Sound_Comm_Graphics_Project.html


http://www.usitt.org/commissions/sound/Sound_Comm_Graphics_Project.html


A list of specific equipment to be purchased or rented from outside vendors must be presented. Equipment requested from the Hall of Music must also be included. Examples of this type of equipment include amplifiers, loudspeakers, signal processors, etc. NOTE: No equipment may be borrowed or rented from the Hall of Music without the appropriate paperwork being filed with the Hall, including a copy of this Shop Order, and an insurance form filed with the Production Manager. The shop order and its associated cost should be presented at the Budget Meeting.

6. Hook up List

Provide an Excel Spreadsheet showing all microphone, line level and speaker patches to be used in connecting the components of the system together. You do not need to show patches for normalled equipment, only those that require the use of patch cords.

7. Distribution (see sound design distribution chart below):

Provide one copy of the cue sheets, final block diagram and speaker plots (both ground plan and section) to the Production Manager and upload one copy of the cue sheets, final block diagram, speaker plots (both ground plan and section), Shop Order, and Hook up List to the Theatre Division’s Web Callboard before the due date.

Final Revisions (Due at Design Meeting 8 (DMTG8) on the Production Calendar)

At this meeting, the sound designer shall provide revisions of all materials submitted at DMTG 6, reflecting changes to the sound as agreed upon by the director, the technical director, and the rest of the artistic team, made to bring the project into alignment with available labor and materials.

During Rehearsals

Continue attending as many rehearsals as possible, and personally integrate sound into rehearsals whenever possible so that you can make decisions about changes in cues, cue placement, etc.

Continue meeting with director to listen to cues and discuss cue placements. Maintain communication with Production Sound Engineer if changes need to be made.

Sound Load In

Be available at the load-in for questions that will arise during hang. Assist the Production Sound Engineer whenever possible in accomplishing your vision for the

sound design.

Sound Design Rough Sound:

Rough Sound should include the following at the Rough Sound due date for your show on the Production Calendar:

1. Rough Sound Cues:

Upload cues to iDisk or another site of your choices; include examples of every style, theme, color, etc., that you are planning to use in your score. You do not need to provide every cue, at this point, but you do need to provide examples that relate to every cue. In other words, a director should be able to point to any cue in the show, and you should be able to play a sound that will either be that cue, or be a derivative of that cue. You should reach an agreement with the director before this date as to the contents of the rough sound.




2. Rehearsal Cues

Work with the director to come to an agreement on when sound cues need to be integrated into the rehearsal process. It will be best if you can get a prioritized plan that works through the entire rehearsal process, as this will allow you to plan and budget the scope of the production. Make sure to provide the stage manager with audio cues in a manner that they are comfortable integrating into rehearsal (e.g., uploaded to iDisk or another appropriate website for playback on their laptops, or rehearsal cd’s.

2. Cue Sheets:

A printed update of the Rough Sound Cue Sheets.

3) Distribution (see sound design distribution chart below):

Provide six copies of the rough sound to the Production Manager by the due dates.

Also, provide rehearsal CD’s as required to the actors.

Paper Tech

Have cue list completed with space for additional cues. Remember that it is easier to delete cues than build new ones. If you think you might need a cue,

put it in.

Before Level Set

Complete QLab/SFX preliminary programming (i.e., everything except for levels); Attend onstage rehearsals, as needed and if possible. As with earlier rehearsals, run-throughs are

generally more productive than those earlier when staging changes are being made. Confirm setup of tech table with headsets for you, the board operators and the assistants, with the

production sound engineer. Confirm that the sound system has been setup routed, and calibrated according to your directions.

Sound Design Show Sound:

Required prior to Crew Watch; presented when schedule permits:

1. SFX/QLab Programming

Preliminary programming for the playback of your soundscore in either SFX or QLab. Every cue should be programmed into the show workstation before crew watch, and be properly routed to loudspeakers with all fades, pans, etc., required for the show, and with “ballpark” sound levels appropriate to be played back during crew watch (note however, that it is not required, or always desired to play back cues during crew watch).

2. Locate the standard preshow announcement in the “Utility Audio Folder” on the Macintosh G5 computers, and either insert a copy of it or the a custom announcement into your SFX or QLab sequence.

Level Set

Make every attempt to get through the entire show. Skip complex but subtle sequences if they will prevent you from getting majority of the levels

programmed. Avoid stopping for work notes; use this time for programming and complete work notes later.




Concentrate on the overall structure of the show and major transitions. Minor internal cueing can be corrected over technical rehearsals.

Utilize Assistant Sound Designer to take notes, fix minor cue problems, and serve as a second set of eyes for what you are programming. Your assistant should be able to explain any cue in the sequence to an outsider.

Save, save, save. Backup, backup, backup. If the director is present, look at and discuss major cues. If a change is requested that requires a

work note, explain that you will need to complete the note later and keep moving. Let your Assistant Sound Designer communicate with the production team on headsets so that you

can focus on critically listening to the sound. When you must communicate on headsets, do so quickly and efficiently so that you can get back to the serious matter of listening.

Technical/Dress Rehearsals

While sound has importance during these rehearsals, remember that others are working at trying to perfect their performances, as well. Avoid stopping rehearsals unless there is a cue execution problem or the director requests it. At the same time, remember that the 10 out of 12 is THE place where you need to stop and make sure that everyone understands EXACTLY how a cue sequence works. Do NOT move forward in the 10 out of 12 until the sequence has been executed to everyone’s satisfaction once, or plans are made to work on notes outside of rehearsal and re-tech the sequence again.

Do not stop for work notes unless the rehearsal cannot continue without the note’s completion. Always attempt to fulfill the director’s requests first. If they cannot be completed by the next

rehearsal, let them know before the next rehearsal. Do not give the impression that you are ignoring their requests.

Arrange time with the production team for the stage to be quiet for notes to be completed. Deliver work notes to the Production Sound Engineer and discuss daily. Complete these before

cue notes so you are not looking at old ideas. Do not give notes to the cast directly; all notes should go through the director or the stage manager

to be later confirmed with the director unless the director has specifically requested that you work individually with an actor(s).

When cues have stabilized, get away from the tech table to view show from other seats in the house. Have your Assistant Sound Designer monitor the headsets and listen to the show as much as possible.

Stay in the house during previews and take written notes to be completed later. Allow the stage manager and board operator to begin settling into the show.

Opening

Confirm that the Assistant Sound Designer and the board operators have all necessary paperwork and that it has been updated.

Post-Opening Participation in the photo call meeting, the ACTF response and any related ACTF activities are

required.

Photo Call

Submit shot requests soon after opening to stage manager and director. Confirm with the stage manager that the sound cues scheduled are the best for the shot and correct

for the moment. Consider shots showing the full stage. Close-ups will most likely be taken by Marketing. Do not shoot with a flash.




Attendance

Attendance is mandatory for designers and assistant designers at all design meetings, production meetings, sound load in, paper tech, levels, technical rehearsals dress rehearsals and opening night performance for designers and sound designers. Designers and assistant designers are expected to meet regularly individually with directors.

Mentoring

As sound designer for a production, you must also realize that you provide a vital link in the training and development of assistant designers and board operators. By the time your show closes, your assistant designer should be capable of designing a show to the standards of Purdue University Theatre. In order to accomplish this, you must actively involve them in every aspect of your sound design, and actively embrace supporting the work they must do as part of their assistant responsibilities as outlined in section on Assistant Sound Design.

You should also actively mentor your sound board operators by explaining your programming of the sound board to them, and actively encouraging to follow what you are doing when you are programming. You are responsible for providing them with all call times prior to the first preview, and should make sure that they are called for the Wednesday Seminar presentations of your show, crew watch, sound load in, paper tech, system check out and equalization, preliminary sound levels, the 10 out of 12 tech rehearsal, all tech and dress rehearsals, and any additional rehearsals in which there is an opportunity for them to learn more about how the sound system and the rehearsal process work.




Assistant Sound Designer Responsibilities

The responsibility of the Assistant Sound Designer is to shadow the Sound Designer and provides logistical support. The roles that assistant sound designers play are varied and many, and really do include running errands and doing routine maintenance and cleaning, but also may include such important responsibilities as taking over for the sound designer when the sound designer cannot be at a technical rehearsal. Assistant Sound Designers must have strong interpersonal skills and the ability to know when to speak up, and when to remain quiet, and where there is any doubt, to do the latter. Most importantly, the assistant sound designer should never intrude on the sound designer’s process, and must develop an extraordinary sensitivity to the wants and needs of the sound designer.

Before you begin your assistant sound designer responsibilities, take time to carefully read the preceding description of the responsibilities of the sound designer (review the general introduction also). Make sure you know exactly what is expected of the sound designer, so you can be better able to assist them in their work. By the time you finish your assignment you should make sure that you are thoroughly versed in all of the responsibilities a sound designer undertakes. You should be ready to undertake a sound design of your own.

There are many functions that the sound designer may routinely expect the assistant sound designer to accomplish, including:

To always be ready to make suggestions that may help solve problems, but to never offer them, unless specifically directed to do so by the designer;

To carry a notepad and pencil whenever they are working with the sound designer, and to always be prepared to take written notes of anything the sound designer mentions that needs to be accomplished—whether the sound designer specifically asks the assistant to take a note or not; and then, of course, to follow up on the note, and make sure the note gets resolved in a timely manner;

To create any paper work and documentation required by the sound designer, including cue sheets, playback notes, sound effects logs, shop orders, speaker plots, block diagrams, etc.);

To make sure before each rehearsal starts, that all equipment is working, operational, and ready to be used by the Designer;

To maintain continuous headset communication during the rehearsal with the stage manager, sound crew, etc., and serve as a liaison between the designer and the run crew;

To take notes during the rehearsal about tech and/or design issues, and have them ready for the designer to discuss at production meetings;

To locate the appropriate person to report technical problems that arise during a rehearsal to, and to help resolve them in the fastest and most efficient manner;

To listen to how cues are called, and executed, and alert the sound designer as to causes for problems in execution when asked;

To make sure the sound crew has backed up information after the rehearsal; To do their best to ensure that the sound designer is successful.

Note that these requirements imply that the assistant designer will “shadow” the sound designer through a good part of the rehearsal process, and that the assistant sound designer will make an extraordinary effort to be as familiar with every facet of the show as the sound designer. Assistant Sound Designers are an extremely important part of the theatre sound process, and many make a full-time living serving only this function. In fact, United Scenic Artist has included assistants in their contracts, and provided specific rules by which assistants are hired and the working conditions expected. Of course, the most common future of assistant designers professionally is to eventually become designers themselves, and it is typically through successful monitoring and learning from successful sound designers that assistant designer succeed on their own.

Attendance




Attendance is mandatory for designers and assistant designers at all design meetings, production meetings, sound load in, paper tech, levels, technical rehearsals dress rehearsals and opening night performance for designers and sound designers. Designers and assistant designers are expected to meet regularly individually with directors.




Music Composition:

Preliminary Composition

Preliminary designs for Sound should include the following at the Preliminary Design due date for your show on the Production Calendar:


A written statement presented orally that represents the understanding between the Director and the Composer as to the role and function of the music for the specific production. It should specifically address the plot of the play, the thematic constructs with which the play deals, and the techniques the sound will use to communicate those constructs.

2. Research:

A compilation CD of potential musical styles, sounds, etc., to support the conception of the production, often referred to as “Models,” or “Temp Tracks.”

3. Rough Cue Sheet:

A print out of the Excel Preliminary Cue Sheets for the production, giving a complete list of every music cue in the production including: a distinct cue number for each time a new music cue is introduced or an mixer/operator must change a playing music cue; a distinct name for each music cue; the anticipated length of each cue; the visual or line cue; the page number in the script; the suggested speakers to be used; the deck upon which it is to be played; and a description of how the cue functions in the scene, etc. 4. Distribution:

Provide one copy of the rough music cue sheet to the sound designer sufficiently in advance to allow the sound designer to incorporate cues into the sound cue sheets.

Provide 4 - 6 copies of the Models to the Production Manager, who will distribute them to the

DirectorScene DesignerCostume DesignerLighting DesignerChoreographer (if used)Vocal Coach (if used)

Music Composition Final Sound:

Required prior to Crew Watch; presented when schedule permits:


A written statement presented orally of the production concept for the sound design that includes refinement of the conception provided in the Preliminary Design Presentation.

2. Cue Sheets:

A printed update of the Rough Music Cue Sheets.

3. Distribution:




Provide one copy of the updated music cue sheets to the sound designer sufficiently in advance to allow the sound designer to incorporate cues into the sound cue sheets.

Music Composition Rough Sound:

Rough Music should include the following at the Rough Sound due date for your show on the Production Calendar:

1. Rehearsal CD:

A properly labeled CD (using Neato labels and inserts); include cues related to every style, theme, color, etc., that you are planning to use in your score. You do not need to provide every cue, at this point, but you do need to provide examples that relate to every cue. In other words, a director should be able to point to any cue in the show, and you should be able to play a sound that will either be that cue, or be a derivative of that cue. You should reach an agreement with the director before this date as to the contents of the Rehearsal CD.

2. Cue Sheets:

A printed update of the Rough Cue Sheets referenced to the Sound Designer’s cue numbers.

3. Distribution:

Provide copies of the rehearsal CD and updated cue sheets to the Sound Designer sufficiently in advance of the due date so that the sound designer can integrate the music into the Sound Design Rehearsal CD’s.

Final Music Compositions (Required prior to scheduled levels session; presented when schedule permits):

Show Tapes and Show Cue Sheets should include the following before the first “Sound Only” time in the theatre:

1. Show Cues:

Provide a CD to the Sound Designer that has every single cue for the show with a sequential, and separate track number for each cue in stereo .WAV format, formatted appropriately to be dropped into SFX or QLab. Provide updated CD’s in the same format, with revised dates as necessary.




Production Sound Engineer

The Production Sound Engineer is responsible for installing and testing the sound system as designed and specified by the sound designer. The Production Sound Designer is also responsible for installing and testing the Production Communications System as specified by the Stage Manager, testing the House Communications System and Infra Red Listening System and implementing any specific needs of the production as requested by the Production Manager, House Manager, or Producer. The Production Sound Engineer trains the sound mixer, playback operator, wireless mic technician, and any other sound personnel for the show. Specific responsibilities are as follow:

Sound Preliminary Design (See “DMTG3” (Design Meeting 3) in the online Production Calendar at http://web.ics.purdue.edu/~rdionne/cal.php for due date)

Attend the Preliminary Design Meeting to assess the plans for incorporating sound equipment into the production;

Create any working drawings showing the integration of the sound system into the production necessary to prepare a budget of time and material expenses for the production, and to determine who will undertake the work necessary to implement the parts of the system that overlap multiple disciplines (i.e., scenery and sound);

Budget Meeting

Attend the Budget Meeting to present the working drawings and sound requirements to the rest of the production team and negotiate their implementation into the production process;

If you know that you will need additional equipment, begin planning for acquisition as soon as possible to guarantee arrival by sound load in.

Final Design Meeting (Final DMTG)

Attend the Final Design Meeting to present the final version of the design implementation scheme as agreed to by the entire production team;

Attend other meetings outside of formal meetings as necessary in order to properly prepare proposals at the formal meetings;

During Rehearsal Process

Determine schedule of receiving props that need to be modified for sound so that they will be completed by first technical rehearsals.

Determine the consumables required for the show and place order with the Grad Assistant in charge of the theatre area allowing plenty of time for ordering through the university system and delivery.

Production Meetings

Represent the sound team at all production meetings; Communicate directly with the stage manager and production team prior to tech rehearsals to

assess communication system needs;

Prior to Level Set

Setup rehearsal sound equipment as requested by the sound designer or stage manager; Communicate with the sound designer prior to sound load in to ensure a smooth sound system

load in process;

Sound Load In





Manage the sound load in and ensure that the sound system is completely installed and tested for the first “Sound Priority” time (you will negotiate the exact time for this with the designer and the Production Manager at production meetings);

Work with the Sound Designer to understand how the equipment will be used to implement the Sound Design;

Familiarize the Production Sound Mixer and the Sound Playback Operator with the sound equipment used in the production, and make sure that they are comfortable with any equipment they need to use for the production; ensure that they know what to do in an emergency, and how to contact the Production Sound Engineer;

Before Level Set

Manage the communication system setup and have the communication system setup and tested before the first tech rehearsal (or as requested by the stage manger);

Technical Rehearsals

Attend the Level Set and 10 out of 12 Rehearsal to ensure that both the sound and communication systems are functioning properly;

Attend the beginning of the remaining tech and dress rehearsals to ensure that both the sound and communication systems are functioning properly and then remain nearby and “on call” for the rest of the rehearsal period;

Test the Program System, and BOH paging systems to ensure they are fully functional for the first tech;

Test the Assisted Listening System (both infrared headsets and induction loops—get a test hearing aid from the Grad Assistant in Theatre Sound) at every seating area in the house, and FOH Program System, to ensure they are fully functional for the first preview;

Be sure the board operators and the stage manager have emergency phone numbers for the sound team and a schedule in place as to who is covering which performances.

Verify that there are sufficient consumables in place for the run.

During the Run of the Show

Attend the Opening Night performance. Respond promptly to any problems in the sound, communication, or assisted listening systems

noted in the stage manager’s daily show notes or as directed by the Sound Designer, Sound System Supervisor, etc. Respond in writing to the Stage Manager, Production Manager, Sound System Supervisor, and others, as appropriate;

Sound Load Out

Attend the Strike Meeting to organize the manner in which the sound installation will be removed from the production especially as it relates to other disciplines;

Manage the sound load out process, and insure that all the Sound Mix Positions, SVC Room, Amp Room, and Storage Closets are returned to their neutral status;

Schedule a meeting with the Sound Supervisor to review the sound facilities and discuss any problems that occurred during the production process.

Put all broken equipment in the Sound Storage Room on the “Sick Bay” shelf; tag it with a description of the problem and include your name and email on the tag. Report the problem to the Grad Assistant that supervises the theatre sound equipment;

Mentoring




As Production Sound Engineer for a production, you must also realize that you provide a vital link in the training and development of assistant production sound engineers and board operators. By the time your show closes, your assistant production sound engineer should be capable of engineering a show to the standards of Purdue University Theatre. In order to accomplish this, you must actively involve them in every aspect of your work, and actively embrace supporting the knowledge and experience they must acquire in order to become effective production sound engineers themselves.

Maintenance and Repair of Theatre Sound Systems

You are not responsible for either maintenance or repair of the theatre sound systems; that responsibility lies with the graduate and undergraduate assistants in the Theatre Division. You are responsible for ensuring that the graduate assistant in charge of the theatre spaces is immediately informed in writing (with a copy to the faculty mentor) about any problems you uncover in the sound system. Under no circumstances are you allowed to enter the rear racks of theatre equipment with the exception of setting the amplifier levels during the calibration process. If you feel you need to rewire or otherwise make new connections or changes in a rack, you must request permission from the graduate assistant (and copy the faculty mentor) in writing




Assistant Production Sound Engineer

The assistant production sound engineer shadows the production sound engineer and is responsible for any duties assigned by the system engineer.

Grading for All Sound Students in THTR 597

In order to receive a grade of A or Excellent for the production work associated with THTR 597 – Advanced Production and Design Seminar, ALL of the preceding deadlines , meetings, submissions for required materials and production responsibilities must be met in a manner acceptable to the faculty mentor in consultation with the Director of the production and other members of the faculty, staff, and production team. Any deviation from these guidelines may result in the lowering of the final grade for the project at the faculty mentor’s discretion.

