Sometimes standbys are writen in the script to give the DSM a reminder to standby the operator.

Unlike traditional walkie talkies comms is not one way, allowing you to transmit (talk) whilst others are, this allows people to interrupt during emergencies or to cut off conversations.

Specific language is used on comms to ensure that everyone is clear and aware of what is going on:

LX - Lighting department uses LX on comms this allows the cues to be called clearly.

Sound - These cues are often given to a sound n.02 who fires the tracks or qlab cues, however often the DSM is in charge of controlling these instead.

Auto - Automation cues are cues that are sent to a person operating a automation desk and controlling motorised parts of the show.

Fly - Fly cues are to tell the people working on the fly floor, when to make scenic changes that are controlled by flys.

Set - used to tell crew onstage about when the movement of set occurs.

If you have to lift items such as cases there are some steps to make sure you are safe.

• Always make sure you are able to lift the object and if in doubt ask for help.

• Make sure the path in which you are taking the item is clear.

• Lift items with your knees not your back.

• Make sure that you can see where you are going

These guidelines can be found above.

An important part of health and safety is keeping fresh air flowing throughout the space, this ensures that the actors do not feel ill dues to adverse temperatures or high C02 Levels.

The dsm must check that the fire escapes are clear and unlocked before a rhersal begins ensuring the safe and clear path in the event of an evacuation.

Marking out the stage is a key part during rehearsals, this allows the actors to get there bearings as to there positioning onstage.

ETC EOS allows easy cue stacking and tracking allowing users to put together simple or complex shows, with complex rigs and custom macros.

The software can be downloaded from: https://qlab.app/

Modern comms systems such as clearcomm IP allows clear and crisp communication over the network. This means that comms systems can be deployed anywhere that the venues network is, allowing flexibility for touring shows. Additionally digital comms systems allow users to communicate in private 'rooms' therefore negating the problems that come with having private conversations via comms.

On the bottom of the layout is a table contraining all the fixture icons and what fixture model it is, this ensures that the right fixtures are rigged in the right places.

On the left of the layout sheet is the gobos that are going to be placed inside the fixtures, this means that the warehouse team can ensure that the correct gobos are in the correct order. This way all of the gobo wheels will function in the same way.

Floods have the least amount of control out of any lighting fixture and are the simplest, there is no beam shaping or direction control, this makes them great for lighting set and scenery, but not great for lighting actors.

The lens allows the user to adjust the beam size aswell as how hard or soft the edge of the beam is. Sometimes some fixtures such as source fours have two lenses this allows the user to achieve a wider range of beam angles and edge qualities.

The shutters allow the user to, shape the beam output, to for example light a door on a piece of set.

The gobo holder allows the user to place a small metal gobo into the fixture and project its shape onto stage.

In order to change the beam angles, a different lamp must be used. Different lamps have a varying level of diffusion, the common thing with pars is they create an elliptical shaped beam, this can be adjusted by rotating the lamp.

A traditional moving light has a yoke which allows it to move on a pan and tilt axis. Aswell as many other built in features, these vary from fixture to fixture.

Moving lights are always controlled by DMX as this allows up to 512 channels per XLR DMX cable (a universe). Sometimes advanced fixtures can use more than 512 channels per fixture, this is when manufacturers have to use ARTNET to send the dmx data via traditional ethernet networks. ARTNET can carry up to 32,768 universes (16777216 channels) over a single ethernet cable.