production meeting 8

Initial sound department risk assessment

Risk Assesment Table by Sol Collier on Scribd

Sound department budget/equipment list

This week the sound department went through all of the equipment we needed and then accumulated a budget based on the hire prices from the company CPS.
 The equipment we needed was:

Orchestra:
3 keyboards - 6 DI boxes
Bass Guitar- DI with in built combo
Electric Guitar- DI box with amp and mic
2 woodwind musicians- 2 overhead mics
Trumpet- SM57/Clip on mic
French Horn - Clip on mic
Drum kit - 7 mic standard kit

Microphones:
16 radio microphones
6 hanging microphones
2 floor microphones
16 microphones for the orchestra

Desk and speakers:
Yamaha M7CL
4 PS10 tops
2 LS500 subs
DS108 front fillers
TD controller
Rio rack/Ether sound rack - dependent on sound desk
16 channel analogue multi-core cable and maybe a 8 channel multi-core as well.

We then worked out how much all of the above was going to cost and we took off the schools normal 15% discount which we get every year from this company at the end of the bill.

If we used the full setup with the CL5 sound desk it would cost us :£6130

If we used the full set up with the M7CL sound desk it would cost us : £5620

However this is over our budget by thousands as out budget is £3500, so we decided to get rid of the things we had at school which we could use such as most of the DI boxes, the drum kit microphones and some of the monitor speakers as we had our own. we eventually managed to get the price down to £4600 which was the lowest possible. But is still £1000 over budget.

Production meetings 6+7

In these production meetings the sound department has begun drawing technical sketches of how the equipment and cabling will be laid out in the hall. This has involved two different drawings , one of the hall as a whole and another of the band pit.

 

This is the band pit drawing. (^) 

This is the notes from production meeting 7 (^) 

Notes BTEC production meeting 5.

Notes From BTEC Meeting 5 by Sol Collier on Scribd

Mic Plot for Billy Elliot

Mic Plot - Billy Elliot by Sol Collier on Scribd

Notes from BTEC production meeting 4.

Notes From BTEC Meeting 4 by Sol Collier on Scribd

Notes from production meeting 3

Notes from production meeting 2.

Notes From BTEC Meeting 2 by Sol Collier on Scribd

Notes from Production meeting 20/10

Notes From BTEC Meeting 1 by Sol Collier on Scribd

Action plan for sound department. Sol&Rowan

Action Plan: Sound for Billy Elliot 2017

• ·        All sound cues to be located through the whole script
• ·        Print off a Sound Team script specific to the recording of sound cues and FX
• ·        Create a Microphone Plot – using the sheet that Sol & Rowan have already made, stating the mandatory mic holders and the shares
• ·        Source SFX (Ryan) – ideally 2 of each sound so there’s a variety to choose from – manually record any of these sounds if necessary
• ·        Hire equipment – telling production team how many mics are needed
• ·        Liaise with costume about position of mics

Job role research. 1/10

Sound Operator:

Make sure that all the equipment is maintained. Make sure that if the Sound Designer is present that they have the right computers to perform their job. If it is a big show there needs to be an operator present in rehearsals. Be able to learn quickly and under pressure. Make sure that the radio mics are concealed from the audience. Make sure that both the microphones for the cast and the orchestra’s sound are monitored and controlled at all times. The sound operator will have to work with the Costume and Hair department to work out how they are going to hide the microphones for actors, also the Director to find out where to position the hanging mics in relation to the blocking of the actors. The Sound Operator would have to work with the band if there was a change in music or if anything went wrong with the music but also the DSM in relation to appropriate cues. 

Sound Designer:

Must arrange the design of the sound equipment (PA) in an appropriate fashion that can achieve the best sound for the audience. Choose correct equipment. Make sure the Sound Effects have been either recorded or sourced from somewhere and are ready for use in the show. A Sound designer must be flexible and able to change their plans due to the directors vision. The sound designer will have to work with the Costume and Hair department to work out how they are going to hide the microphones for actors, also the Director to find out where to position the hanging mics in relation to the blocking of the actors. The Musical Director would have to be liaised with as well to discus the arrangements of the instruments and which instruments they need.

Training required:

The most valuable training is experience, the more experience you have the more likely to get hired. However you could get trained by doing a degree or diploma at university. Another way of getting appropriate training is through apprenticeship in the industry which would also assist in gaining valuable experience  


Health and Safety:
As a department the things that would have to be considered would be rigging anything above head height because if it was to fall on the audience the show would be liable to sue. Also appropriate concealing of trip hazards such as loose cables or bits of equipment or exposing the audience to an dangerously high decibel level would all need relevant risk assessments.

Legislation:
Appropriate legislation would need to be obtained such as the PRS and the PPL which would be needed for the ability to play live or recorded sound during the show. These would have to be aquired by the Producer or the Admin staff however are directly relevant to my job role.          

Billy Elliot application letter 17/9

Dear Mr Hawkins, 

I am writing to you today to apply for a role within your production Billy Elliot. The role I would like to apply for is a split of both Sound Designer and Sound Operator which I would like to share with another person who is willing to split both roles. It would be a great privilege to be a part of your production and I feel that I would be suited for these roles because I was in the Sound team last year for the Starlight Express production so I have experience within the area of application furthermore I really enjoy working within a team. I will always work quickly, efficiently and be more than happy to put all the necessary hours into getting the job done. I will look forward to hearing back from you in the not too distant future.

Many thanks,

                           Solomon Collier