I learned this in school but this is great for review! Also, you’re correct about the shared background with sailors. The theatre season was in the sailing off season so some of the original riggers were actual sailors. It’s also why it’s bad luck to whistle onstage (that’s how they would communicate calls) and also why the stage is called the deck and so on!
I knew there was more of a connection I wasn't fully remembering, and that I didn't make it up! ha! Thanks for sharing, I love this "Theatre Lore" and all the superstitions that go with it!
Hi, I am NRC 2 rigger and also automated theatre fly operator. I don't have experience with the old school pulley fly system. I would like to know more about the old school system. Nice video.
First off. This is such a great video and I will send it to anyone who asks how the fly rail works at my theatre. The only thing that stuck out to me was the grid. Some lines are attached to the bottom of the grid and some above. My lines run through the grid and are attached above the it. It can make reaching a block to move or check it difficult as above hung lines can be head height or lower making it difficult to move on the grid where as below hung lines require you to reach through the grid. Was this nessisary info - not really but I really miss working in theatre :(
I miss working in theatre too! And I think it's necessary info! My early videos had a lot of comments about me being "wrong" so I've been trying to stress how EVERY theatre is different, even down to the nuts and bolts, and you've just proven that. :) My college grid, everything was attached to the bottom, we didn't have any above - but I've worked with some where the block was above..or there was a "second" grid below...I don't know why. They don't always consult theatre people when they build theatres...LeSigh.
I will put this on the docket to make! Since I'd mostly be talking about what I'd put in a resume, I will probably include a few friends who are TDs and Production Managers as to what they look for as well! Great suggestion!
Hi. Great post. In a simple single-line hemp system, where would the rigger and tie-off point/rail typically be located with respect to the stage? On the stage level or on an elevated platform? Also, if some counterweights are involved in this sort of system, as a help to the rigger, where would they be attached? Assume lots of ignorance here - I'm not a tech person. I'm just trying to get some research right for a story. Thanks!
In the single-line system, the rigger and tie off can really be anywhere, most of the time it's stage level offstage, unless the theatre has some sort of elevated platform specifically for rigging. In terms of counterweight for this, I've done it a couple ways, but usually the counterweight should be slightly less than what is on stage, and is usually on the rigger side of the rope, and attached where the line meets the the tie off, when the load is completely flown out. So when the load is flown in, the counterweight ends up above near the head block. Hopefully that helps! (And that's only how I've done it. And I generally don't do that since it means a weight above the rigger's head.)
I learned this in school but this is great for review! Also, you’re correct about the shared background with sailors. The theatre season was in the sailing off season so some of the original riggers were actual sailors. It’s also why it’s bad luck to whistle onstage (that’s how they would communicate calls) and also why the stage is called the deck and so on!
I knew there was more of a connection I wasn't fully remembering, and that I didn't make it up! ha! Thanks for sharing, I love this "Theatre Lore" and all the superstitions that go with it!
@@NickAchBackstage I'm all about theatre lore and superstitions. Such a rich history.
Hi, I am NRC 2 rigger and also automated theatre fly operator. I don't have experience with the old school pulley fly system. I would like to know more about the old school system. Nice video.
First off. This is such a great video and I will send it to anyone who asks how the fly rail works at my theatre. The only thing that stuck out to me was the grid. Some lines are attached to the bottom of the grid and some above. My lines run through the grid and are attached above the it. It can make reaching a block to move or check it difficult as above hung lines can be head height or lower making it difficult to move on the grid where as below hung lines require you to reach through the grid. Was this nessisary info - not really but I really miss working in theatre :(
I miss working in theatre too! And I think it's necessary info! My early videos had a lot of comments about me being "wrong" so I've been trying to stress how EVERY theatre is different, even down to the nuts and bolts, and you've just proven that. :) My college grid, everything was attached to the bottom, we didn't have any above - but I've worked with some where the block was above..or there was a "second" grid below...I don't know why. They don't always consult theatre people when they build theatres...LeSigh.
Can you make a video on what you should have in you tech resume/ what you should show in an interview?
I will put this on the docket to make! Since I'd mostly be talking about what I'd put in a resume, I will probably include a few friends who are TDs and Production Managers as to what they look for as well! Great suggestion!
@@NickAchBackstage and @Renee Maher, check out Jim Shumway's presentation about performer flying: ua-cam.com/video/iPKmbQYxoQ0/v-deo.html
Hi. Great post. In a simple single-line hemp system, where would the rigger and tie-off point/rail typically be located with respect to the stage? On the stage level or on an elevated platform? Also, if some counterweights are involved in this sort of system, as a help to the rigger, where would they be attached? Assume lots of ignorance here - I'm not a tech person. I'm just trying to get some research right for a story. Thanks!
In the single-line system, the rigger and tie off can really be anywhere, most of the time it's stage level offstage, unless the theatre has some sort of elevated platform specifically for rigging.
In terms of counterweight for this, I've done it a couple ways, but usually the counterweight should be slightly less than what is on stage, and is usually on the rigger side of the rope, and attached where the line meets the the tie off, when the load is completely flown out. So when the load is flown in, the counterweight ends up above near the head block. Hopefully that helps! (And that's only how I've done it. And I generally don't do that since it means a weight above the rigger's head.)
@@NickAchBackstage Awesome. Exactly what I needed to know! Thank you.
Racist Scooby Do be like: 2:00