Frequently Asked Questions...
These are the technical FAQs for the ABTT forum. It condenses some of questions which have been asked on the Green Room Forum and their replies. If you want to expand or amend an answer to a question, or have information on other technical subjects which you want to add to the FAQ then send your contribution to [email protected] or to the Green Room Forum. The ABTT publishes this information in good faith but no responsibility can be attached to the Association or any of its members or employees for its accuracy or for any liability therefrom. Opinions expressed are not necessarily those of the Association.
How can an actor fall 6 ft (1.83m) safely?
Posted by David Miller
I once had the misfortune of being production manager on Sherlock Holmes, in the first scene Holmes and Moriarty fell from around 12 feet. Although not terribly appropriate for a stage production we used the film technique of falling onto a huge pile of cardboard boxes. A professional stuntman was employed as a consultant and coach to the actors. The boxes were preset behind scenery at the top of the show and all piled onto a large tarpaulin which was simply dragged onto the sidestage in the scene change. We used a pile of around 16 2'x 2'x 2' boxes of which 3 or 4 were crushed so much we couldn't use them again (most can be recycled for other performances. It was very safe and very effective, the actors were able to do a proper, nasty looking fall rather than looking like they were jumping off a garden wall! I must say however that we did all this with the very best professional advice we could find, don't take this as advice on how you should do it unless you are able to obtain the advice of a professional. Below are two stuntmen I have consulted in the past, I'm sure they could at least point you in the right direction. Failing that we have done smaller falls onto High Jump crash mats which are around 2' thick and you might find these from a friendly school or sports centre. Stuntmen - Roy Alon 01532 674050 Gerry Crampton 0171 286 8593
Posted by Dave Millett
This is how we actually did it ! We first borrowed a crash mat, such as is used for high jumps and athletics, from a local school (thanks Canon Slade School !). When I tested it from a few steps up I could almost feel my shoulders touch the wooden floor. We then borrowed a second mat, and after testing both I had to go out to the director and tell him I still had a problem - I couldn't stop the stagecrew jumping off the bridge ! It worked well - the mats were masked with groundrows. The Warehouse groundrow was in the shape of crates, and was fitted with two flashes for the explosions (and we had two bomb tanks rigged). Despite the cramped wings, we were able to fly the mats out above head height, just under one of the catwalks. The mats themselves were about 9ft by 5ft by about 1ft deep. They were mounted on a permanent rostrum 16in off the floor, which meant that there was a fall of about 4ft. It doesn't sound much, but the mats compressed a fair bit on impact. One comment - we found that the corners of the top mat flicked up in the air - so we looped ropes loosely over cleats fixed to the rostrum, to restrain them.
To recover our sprung maple stage with new sheets of hardboard should I lay the boards first then soak them or soak them, allow to dry then lay them?
Posted by paul
Wet the rough side of the h/board and then let it dry, this will stop it bubbling up when you lay it down.
Posted by Gordon
Use oil tempered hardboard that way you don't have to soak it.
Why does the (painted) MDF covering of a stage bulge and warp?
Posted by Brian Fairchild
You should have left an expansion gap. Any wooden floor will grow and shrink as the humidity changes. If using 4 foot square panels something around 3mm gap will be needed.
Posted byOwen Jones
MDF absorbs paint, if that paint is of the sort that contracts to give a tighter cover or is water based then the MDF can bend and curve. Specify when you buy the paint that you want paint for MDF or cover then MDF in a sealant.
Where can I get a glossary of stage terms in foreign languages?
Posted by Howard Bird, Hugo and teuni
"New Theatre Words" published by OISTAD (ISBN 91-630-2821-2) is a dictionary of theatre words (Japanese, German, Dutch, English, Spanish, French etc.). It is available from the ABTT office - check the publications page for details.
Audio induction loop or infra-red systems for audience members with hearing aids?
Posted by Andrew Chesters
If you can find the funding, then infra-red systems are superior sonically. (Senheiser) If you are stuck with a loop, buy a proper loop amplifier, i.e. Millbank or similar. It is no good using an amp designed for speakers. The design of the loop is not as straightforward as it first seems. It may be smart to contact a local specialist. You could use a mic splitter to feed the "show relay" and "loop" circuits. We installed the Senheiser IR system using a grant, and have had no reported problems with shadow effects. We have been able to mount the transmitters quite high in relation to most of the audience. We used two to improve coverage. We specified the system to be "stereo" so that at some time in the future we can give "described" performances for the blind on one channel and normal reinforcement on the other. On the splitter question, we have used an EMO phantom power box and two EMO 3 way splitters to give us feeds to the IR units, our show relay (dressing rooms etc) and a clean feed to the desk for recording or feeds to video decks etc. The modulators for the IR system can feed several transmitter panels and the system can be fed using one coax cable from modulator to transmitter. Go for infra red!! I have recently removed a loop system from our theatre, I won't name the installer but it was vile! We replaced it with a Senheiser system installed by Whitwams of Winchester and have got good coverage and no problems other than swamping the IR controller for a cheap slide projector.
Posted by Bill Graham
Use infra-red. If you have receivers which take the form of an individual loop which the user wears around their neck (with the IR receiver hanging on their chest), by using the 'T' position on their permanent hearing aid they will benefit from the equalisation in the aid, which will have been set for their specific loss. These small individual low wattage loops cause no interference and are free from any pick-up. The units do 'walk' but only slowly - we have lost 30 in 7 years. Contact Brahler ICS on 01223 411601 and say you're interested in the same units as used in Symphony Hall, Birmingham.
Posted by Matt Savage
Definitely go for infra-red. We got our gear from Infra-Tech, who supplied our Deaf and Audio Description Equipment, including the description mixer. I believe we got a grant from the ADAPT Trust at the time, they were very helpful too. Infra-Red is expensive, but the more preferable choice.
Posted by Paul Drage
But don't forget that if you go for infra red, then you also have the problem of issuing (and collecting) the headsets. There are some very real problems with induction loops, and you need to do your homework to find both the right system and the right installer. You also need to watch out for problems with inducing signals in other pieces of equipment (electric guitar pickups in the band for instance). A really good installer in the North West did the installations in the Green Room, Manchester.
Posted by Dave Whiting
In a word (or two) go for infra red. I've encountered horrendous problems with someone getting a loop system very wrong.
Should I use a digital or standard (black and white) camera for photographing productions?
Posted by Owen Jones
Digital cameras are perfectly capable of producing clear, high quality digital snaps but some say they lack the charm of old SLR cameras which often produce small specks or lens flares unexpectedly but which enchance the image. If not digital photgraphy then analogue. Standard home use cameras can produce some nice results but for really high standard pix you need an SLR (Single Lens Reflex - Viewfinder looks through the lens for focussing and iris) such as a Pentax or Mintola. Ideal cameras for this a old Zenits, russian cameras worth about Σ500-1000 in top condition but often found on car boot sales for a few pounds. Watch for foreign fittings as you may not be able to get adapters for uk equipment. Also try and get a light meter and an indoor light filter. Your best shop for this in the UK is probably Jessops.
