This is my chest rig radio pack as a downrigger/flyman for my IATSE Local’s Broadway road house. Base pack is from Sideshift Gear - highly recommended!

Main issue is the tape bag. Now it’s up to 2 big shopping bags full of half used tape. People can’t find what they want and keep buying more.

Need a portable solution that can store easily at home base but can be pulled out to throw on a truck for load-in and then hide away backstage during production week. Would love to be able to see what we have!

Ropes are in a separate cloth bag and pulleys, clamps, carabiners and wire in another. They’re not completely out of control like the tape bag, but suggestions are welcome!

Thank you in advance!

Hey all, I’m a bit of a beginner tech and we got a show coming up where I’ve been recommended to try TheatreMix. Our last show was on an SQ6 which we preprogrammed just on the desk, but we’re going to a different theatre for this next show which will be on a CL5.

I’ve seen a lot of people say how great TheatreMix is and I’d like to use it but I don’t fully understand why it’s good. I understand that it’s really useful for pre-programming your scenes especially if you have a desk which is a bit more awkward to set up. But this has sent me down a bit of a rabbit hole of trying to understand DCA mixing, I have some songs in the show where 16-18 characters will be on stage at once and I’m struggling to see how its useful to use DCA’s as I thought I’d want individual control of each channel and wouldn’t want multiple channels in one DCA. I understand DCA’s keep send levels in relation to the main channel fader which is useful but I feel like I’m missing something else as to why it’s so useful?

My point to all this is, is TheatreMix mostly used because of its easier preprogramming, or am I (most likely) missing something as to why I should be using it?

FYI this is a 5 piece meyer setup in an 80s medium 300 st theater with treatment straight out of the 80s

So a little backstory… I found this pipe threader and cutter in a 5 gallon bucket from the previous manager that just didn’t care about any level of quality standards and the moment I tried to use it, the teeth wouldn’t grip the pipe. Probably because he never used any sort of cutting fluid.

So over at Controlbooth we're having a little bit of fun with an AI agent that started posting a couple weeks ago. I went...maybe...a little over the top in provoking it by asking it for FDA-approved super laxatives for a horse-tracking system, but it took the bait tonight.

In the interest of a few shenanigans, please feel free to join in and see how far you can push it to provide the silliest responses.

This is probably a limited time offer since accounts and posts like this would normally be banned outright but this is something of a systems check for how these accounts try to blend in. Dave (owner of CB) has reported that he's getting inundated by AI agents requesting to advertise or share their vibecoded apps, some of which have admitted they are AI agents acting on a human's behalf, so Dave and I are taking the opportunity to see how far AI agents will go with their engagement bait, how quickly they'll go off the rails, and if they'll figure out they are not getting serious replies or if they'll continually maintain malicious compliance with their responses.

Happy bot hunting!

2x aluminum truss for lights and PA system. 6 feet tall . Comes with 8 clamps ($50 ea) and poles. Has metal base plate. $600 for all. FIRM Just the clamps are a $400 value.

Hello, I am the actor here so I know nothing about this stuff but I figured I’d give this a shot to relay to the sound person. I am in a small community theater production of Little Shop of Horrors and we have repeatedly had issues with my body mic starting during tech week. It’s ONLY me. We have changed out the packs and the elements multiple times. We do and extensive mic check with me moving around the stage and turning my head back and forth and mic check is always fine with the sound coming through clear. The second the show starts my mic is cutting in and out or not coming through at all. Everyone is baffled and I’m super frustrated. I’m a lead in the show and it’s affecting my performance bc it’s so distracting. I am not wearing TWO body mics for back up(one under my wig and coming out on my forehead and one around my ear and taped to my face) and it’s still a problem. What could the issue be?? Note: I am the only one in the show with a wig, that’s the only difference I can see. But again, mic check always goes well. PLEASE give me some advice, it’s driving me crazy.

I was thinking one day, why do we in our theater always invent all tricks from scratch basically.

Do you have any good literature recommendations that would cover technical drawings and that aspect of tricks. Kabuki, trapdoors, hoists etc. Light shadow illusions. Anything that is related to theater tricks really.

First attempt at a forced perspective set design to create a dreamlike garden set against the rolling hills of Yorkshire. Carved foam on lumber stands, a bit of chicken wire, a whole lot of faux moss, lace panels, and a Victorian dollhouse.

The original production of SUNSET BOULEVARD (1993) has to have one of the most intricate set designs in history. John Napier designed the impossible. Here's full stage video from the original West End production shot from the front of the balcony. This is obviuosly a feed for the stage managers and what makes this video so fascinating is that it is the infrared camera and you can see what's going on in the dark during the multitude of scene changes. It is also a preview performance and what's amazing about that is how well polished everything works.

SUNSET BOULEVARD (1993) Infrared Camera Feed

Regardless if you’re a director, stage manager, carpenter, audio etc what’s a book you would recommend for theater?

I am looking for a panel (button or slider) to control our house lights when the light board is not on. Needing one backstage and one master control in the booth. I don’t need multiple scenes programmed just one circuit to control.
Does anyone have any suggestions of products you think would fit this solution?

I’m mixing my first show for my highschools theater and right now I’ve gotten comfortable with just turning the mics off and on accordingly, but I’ve been told it’s better to ride the fader up/down for their lines instead. I don’t want to get too familiar with my current method as I want to go on to do this professionally and begin to perfect my craft or whatever. What’s the best way??? Our current show is a very good introductory to mixing as all the actors come on slowly, but our next show is into the woods, and I’ve heard that one’s a nightmare. Advice needed to make sure that one goes as smoothly as humanly possible 😭😭 (Also, if anyone else has done into the woods, is there a certain way you labeled the board or marked up a script???)

Hey guys, this is my first time posting on Reddit so I am sorry if I'm doing it wrong. I'm currently the LD/ME/Board Op for a student produced show at my university and we have little to no lighting stock since the faculty and staff don't let us use any of the lights that the college owns. (Genuinely I am currently working with adjustable track lighting and 4 LED "party lights" that apparently only work half of the time). Does anyone know of any companies/resources that would be willing to donate older lighting instruments to college programs or sell them for reduced prices? I am not picky (and I don't think anyone else would be either). I'm not asking for any new Source 4 LED or mover or anything like that, hell I'll even take a Strand or an Altman. I really want to help expand the technical side of student shows at my university since they're a pretty active/common thing here, and Design and Technology majors don't have much to work with. Thanks!

Edit: I am located in Northern Colorado in the US

Hello, I’m Ana from Brazil.
I have an original Huasuny Rubik-10 P10 LED display with an HC-103D controller and DBStar XMPlayer 3.1.34.
The display worked before its configuration was lost. It powers on, but the LEDs remain dark.
The Windows computer recognizes the DBStar HVT2011 USB controller, but attempts to read the receiving cards return:
“waiting for hub 0%”
“rc msg signal error”
I have the original software CD and hardware documentation, but no original receiving-card configuration file.
I’m looking for someone who has worked with Huasuny Rubik displays, DBStar receiving cards, XMPlayer RSPS files, or older LED Data Processors.
Does anyone have an original configuration file, a working Rubik-10 that could provide a safe backup, or technical knowledge of this system?
Any free assistance or referral would be greatly appreciated.
Thank you,
Ana — Brazil

Wondering if anyone's got any recommendations for a small display that can sit near the encoder wheels on an ETC Eos desk that doesn't have a display next to the encoders.

Would like to mount a screen near them so I know which one is doing what parameter without having to keep looking up at the main screen, which is annoyingly out of peripheral view when looking at the encoders!

Ideally not using one of the display outputs, this would be an OSC connected type thing.