PROJECTION DESIGNER

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE ENTIRE PROJECTION DESIGN SECTION OF CURRENT VERSION OF THE

Associated Designers of Canada, A.D.C. Standards and Working Procedures

THIS POSITION WILL REQUIRE THE SIGNING OF A CONTRACT.

The PROJECTION DESIGNER, a member of the production’s design team, is jointly responsible for the artistic concept and, through the Projections department, the technical execution of PROJECTION cues and effects. Conceptual direction and input comes from the DIRECTOR or CHOREOGRAPHER, who, with the SET, COSTUME, LIGHTING, and PROJECTION DESIGNERS, works toward a unified and cohesive look for the show. As well as putting their individual concepts and styles on stage, all designers must work to support the DIRECTOR’S and/or CHOREOGRAPHER’S vision. It is understood that while every effort will be made by the PROJECTION DESIGNER to create content elements before the start of TECHNICAL REHEARSALS, the nature of the discipline requires design choices to be made in time and in scale, with full elements and cast. Thus, a large amount of changes, and potentially the creation of new content, may happen during the TECHNICAL REHEARSAL process.

Designers do not fit clearly into the theatre hierarchy: although production staff works to realize their designs, designers do not supervise in a management sense. All requests for unapproved work or changes to the design resulting in increased costs must be negotiated with Production Management (for budget and scheduling implications), Technical Direction (for overall technical implications) and Heads of Department (for delegation and supervision of staff). The PROJECTION DESIGNER works very closely with the HEAD OF PROJECTIONS, and both are responsible for executing the design by managing the crew and time assigned to the Projection department. The HEAD OF PROJECTION often focuses and sets up the projection system, and programs and operates the media server system.

The PROJECTION DESIGNER is in regular contact with the DIRECTOR or CHOREOGRAPHER, PRODUCTION MANAGER, TECHNICAL DIRECTOR, STAGE MANAGER, HEAD OF PROJECTIONS, and other DESIGNERS.

At the School, all DESIGNERS must sign a contract, indicating acceptance of all duties and obligations, and outlining design due dates. Failure to perform according to contractual obligations may lead to academic penalty.

The responsibilities of the PROJECTION DESIGNER shall include but not be limited to:

PRIOR TO REHEARSAL

• Reads the script and makes appropriate notes
• Obtains all necessary and pertinent plans, drawings and inventories; these may include: all plans and sections of the venue; inventories of all projectors, accessories, media servers, cabling, etc. in the venue; preliminary, completed and approved set designs and other technical drawings of the production; costume fabric swatches; paint samples
• Initiates a meeting with the DIRECTOR or CHOREOGRAPHER, to discuss concepts, design ideas and imagery, and any filming and recording of the cast, costumes, and set elements, either pre-recorded or live, if applicable
• Meets with the SET DESIGNER and LIGHTING DESIGNER to discuss concepts, colour, practical fixtures, fly line, and trim height restrictions, masking, etc;
• Meets with COSTUME DESIGNER to discuss fabric colour and texture, hats, wigs, etc.
• Meets with the TECHNICAL DIRECTOR to ensure accuracy of paperwork and confirm any production restrictions
• Meets with the HEAD OF PROJECTIONS to discuss inventory limitations, hanging positions, circuiting, focus, lens, blending and keystone strategy, media server capabilities, etc.

DURING THE REHEARSAL PERIOD

• Attends rehearsal often, adhering to the established “Visitor’s Policy”
• Becomes acquainted with the blocking of the show, in order to ensure that projection elements are interacting with other elements in the designed and appropriate manner
• Creates the PROJECTION DESIGNER’S cue list in preliminary form, to be updated throughout the process
• Meets regularly with the DIRECTOR to ensure accuracy of artistic vision
• Creates content for the production. This may include sourcing, purchasing, and editing stock content, sourcing, purchasing, and editing other pre-existing content, creating original content in any medium or form, filming content, or any other form as needed for the artistic vision.
• If filming of actors, dancers, and/or scenic elements is required, plan and communicate the needs of such filming with the STAGE MANAGER, DIRECTOR or CHOREOGRAPHER, TECHNICAL DIRECTOR, HEAD OF PROJECTIONS, and other DESIGNERS as appropriate; then execute said filming with cooperation from mentioned parties
• Edits and alters content as required
• Reads, and promptly responds to, all DAILY REHEARSAL NOTES; meets daily with the STAGE MANAGER to obtain clarification and confirm status of requests
• Arranges for a meeting with the STAGE MANAGER (and DIRECTOR and/or CHOREOGRAPHER, if necessary) prior to Technical rehearsals in order to develop initial cue placement and timing in the script, with the understanding that cues and/or timings may change during the development of the Technical rehearsals
• Researches, either alone or with the HEAD OF PROJECTIONS, any potential PROJECTION effects, rental costs, etc. to be aware of budget and time implications when presenting the PRELIMINARY PROJECTION DESIGN

AT THE PRELIMINARY PROJECTION DESIGN MEETING

Comes prepared to discuss all preliminary design requirements, including rough inventory of equipment, loan/rental needs, special rigging concerns, rigging over and above the theatre’s standard positions, masking, trim and sightline issues, and any other aspect of the design expected to cost time or money.

Produces, for the meeting, rough sketches, drawings, storyboard, plans and preliminary section deemed necessary to explain preliminary design requirements.

AT THE FINAL PROJECTION DESIGN MEETING

Comes prepared to submit and discuss all final plans and lists, including:

• Projection Hanging Plot (plan)
• Centre Line Section, with trim heights
• Full equipment list
• Signal Flow diagram (System Block Diagram)
• Preliminary Cue List, if requested
• List of all non-standard or rented items
• Focus, blending, and keystone strategy

AT THE HANG AND FOCUS

• Attends the hang to answer any questions and to make on-the-spot decisions
• Ensures, in a positive manner, the accuracy of the hang: equipment type, location, and focus

AT THE CUE SETTING SESSION (if applicable)

• Comes prepared to set as many PROJECTION cues as possible with the DIRECTOR and STAGE MANAGER; preparation to include storyboards detailing the source, type, length, and quality of each content source and mapping against time, preliminary cue lists, pre-set looks previously recorded, etc.
• Works through the show with the DIRECTOR or CHOREOGRAPHER, cue by cue, building cue states and ensuring their accurate placement in the STAGE MANAGER’S script
• Requests re-focus time and additional, dedicated cuing time through the TECHNICAL DIRECTOR and PRODUCTION MANAGER

AT THE Q – TO – Q and TECHNICAL REHEARSALS

• Is present at all technical and subsequent on-stage rehearsals
• Is on headset and, observing established protocol, makes changes on-the-fly where possible, to the levels, content, and placement of cues; makes notes of major changes or time-consuming corrections when headset traffic prevents on-the-fly changes
• Works with an ASSISTANT and/or HEAD OF PROJECTIONS to list major content or timing changes, and create a schedule to complete, and then execute, said changes in consultation with the DIRECTOR or CHOREOGRAPHER, if necessary
• Work with PRODUCTION MANAGER to create a list of all purchased and licensed content in use, verifying appropriate usage rights and licenses for the performance
• Is off headset as of Final Dress Rehearsal, depending on the state of the production, but makes notes of changes/corrections

GENERAL

• Attends and participates in all production meetings
• Takes the initiative in arranging meetings/communication, when necessary, with the DIRECTOR or CHOREOGRAPHER, other DESIGNERS, STAGE MANAGER, and other production staff, to obtain information
• Submits to the TECHNICAL DIRECTOR any documentation deemed necessary to the TECHNICAL BOOK (the technical archive of the show)

AFTER THE SHOW

• Attends and participates in the STRIKE as a crew member
• Attends and participates in the Post Mortem
• Submits written evaluations of all management staff and other personnel with whom they had regular contact, no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will vary with each production.

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY