# I want to become a Stage Lighting Technician



## AndroxineVortex (Jul 30, 2015)

Hello, new member here. Let me tell you why I decided to do this as a career. 

I was at a concert venue in Atlanta with my girlfriend to see Devin Townsend (with Animals as Leaders and Monuments. It was awesome!) and we were seated up in the balcony. Right below us was a man sitting in a booth with a bunch of control panels and boards around him. While the bands were playing he was pressing buttons making the lights dance and flash along with the music. Even though I went there to see Mr. Townsend I spent a lot of time watching him. I decided that that would be a really cool career choice. 

I have some questions I would like some answers to and I apologize if this is in the wrong forum section.

1) I can't really afford college and honestly do not want to go, I know so many friends who are drowning in debt and most don't even have great jobs. From researching around the web, I see a lot of lighting techs saying that a degree is not needed. Sure it would look good but some people said the majority of people they work with don't have a degree. So is college an unnecessary step?


2) I am not sure as to get my foot in the door and get started. I have no experience so I was thinking of calling different venues and asking if I could volunteer and help with setting up for lighting and other manual labor (pushing carts, unloading, etc.) Is this the best way to get started and get experience?


3) Is it more likely to get a stationary job working at a theater or concert venue , or to get a job where I travel with performers?


4) What kind of salary could I expect especially when just starting?



Any other information you could give me would be greatly appreciated! I will be at work all day today so I will try to reply back when I can. Thanks!


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## Lydia (Jul 30, 2015)

I would say college is hit or miss. I know some people went and got a lot out of it (including great career placement contacts), some people went and got nothing out of it (except huge loan payments), some people didn't go at all and are just as good and just as far (with no student loan payments). I personally went and didn't get as much out of it as I'd hoped but did get all of my first few jobs through school contacts. 

Depending on your location there may be venues that will hire with no experience, mine does not require any it just helps with initial hours opportunities. Offering to do manual labor usually helps  and it absolutely helps you move up if you are willing to work hard and listen. You can check http://offstagejobs.com/ for your area but depending on where you live you may not get great results. 

Stationary or traveling is up to you, I do not tour but some people love it. If you can cut your costs at home and go on the road for a few years there is potential to make a lot of money and get great experience. I like my own bed. 

 Salary depends on many things: location, willingness to travel, union or non-union, experience, skill, contacts, how many jobs you want to work, willingness to relocate, location... I am sure I missed a few. Even just starting out I don't know what to tell you because location matters a lot. The money in this industry usually isn't amazing but it is enough to live, there are exceptions on both ends of the spectrum. 

You sound mostly interested in the live music aspect of this industry, is that correct? Also, I am just warning you that it is very possible that same guy you saw pushing the buttons had been in a completely different city the night before, taken that rig down, got on a bus, traveled to where you saw it, loaded in at 8 am the next morning, set up the entire rig, repaired the lights that stopped working since yesterday, adjusted the lights to the new venue and did that show. Only to do it all again tomorrow. It takes a while (if ever) to just come in and push the buttons. I don't mean to discourage you, I love this industry, I just want to make sure you know it is a physically draining industry that can deprive you of a sleep schedule, non-tech friends and holidays.


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## chawalang (Jul 30, 2015)

I will have to second what Lydia said, undergrad is really luck of the draw. I would look at a degree this way, when you get older and no longer what to do this and work a normal job you can do one of two things. With a degree you can teach high school or you can get an mfa and move into a desk job or teach in a university. I have a degree in theatre and did it teach me everything I know now almost a decade out, no it did not. It does however give you a good environment to mess up and not get fire, also as was stated before a place to gain some contacts, your classmates are the ones who you will get gigs through, seldom it is your teachers. I would look at possibly the of alternate education sources if you aren't keen on a 4 year degree. stage Craft institute of Las Vegas offers a full summer educational program for the industry or you can pick and choose classes you want to take, you don't need to take the whole program if you don't want to. they currently offer a class as an lx tech and in mover, media and rock n roll. i would also add that no matter what you look to do education wise you need to look at building a strong foundation. I meet a lot of kids now who are whizes on a Hog or Grand MA but can't calculate the load over three phases on a dimmer rack for all their lekos. There are parts of the trade that are not as sexy as flash and trash lighting design but for longevity you need strong foundation.

As far as getting started that has to do with researching the market you are in now, as said before location can determine that. I would hound the I.A.T.S.E local to see if you can get started as a cable schlepper on some gigs, it won't be sexy but its a start. in the start a work hard less talk mentality will take you far. Look at local production and AV companies as well to see if there is available shop work that can be done. Also, be realistic, you are not going to be doing work that makes your friends envious of you with your lack of experience. I would also question the ethics of someone who would put you on a high end gig knowing you don't have much experience. Odds are they aren't going to pay you well and probably don't have your best interest in mind. Venues often will have a contract or gentlemans agreement with a non union labor provider or the I.A.T.S.E local in their city. Just depends on the city and the venue.

Since you are just starting out the odds of you touring are zero and none, not trying to be mean i am just being real. I would tell you to focus on developing your skill set locally. As far as broadway tours there are various companies you can look up online who do the hiring. In the future you may get a call from them you may not, or you may be working at a venue said broadway show is touring through and the head electrician may just like you and ask if you want to replace the deck elec leaving soon, it all depends person to person. Rock and Roll is very word of mouth, the people I know were able to get into it by people they knew, that part of the industry is not a "submit your resume online" kind of thing, it doesn't work that way.

Just starting out with no skill set I would not bet on making a living off of what you would be doing. You never know you could be in the right place at the right time and impress the right people, or you may have to really hustle for a while.

This all depends as well, are you relatively young and unattached? That can work to your advantage in furthering yourself.


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## Footer (Jul 30, 2015)

Are you still in Atlanta or you out in the sticks? If college would be an option, are you paying for it or are your parents? How much cash do you have in the bank? Can you parents still provide health insurance and keep a roof over your head? Have you ever actually set foot on a stage or touched a lighting fixture or desk?


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## gafftapegreenia (Jul 30, 2015)

Atlanta is a tough place to make a career as most good companies pay $15 an hour to their regular people, and Crew 1, the company that provides labor to Phillips Arena and Aarons Amphitheater, where most tours play, pays hands an average of $10 an hour. I love IATSE 927, they're good people, they just don't get much work. The real work in Atlanta, and in the rest of Georgia, is FILM. I have several friends who have worked their contacts in the film world, gained a coveted spot with IATSE 479, and never looked back. 

I lived in Atlanta for two years fresh out of college. I started my career there but didn't see much room for upward growth in wage or position so I moved to Chicago. 

This industry is typically low paying back breaking work that isn't always fun. Most people don't get to be just the guy pushing the buttons. And even if you are the guy pushing the buttons there are still often load ins and load outs to deal with. Of course, on the other hand it can be incredibly interesting, unique and rewarding work, and it's an industry full of all types of colorful people. 

So, still interested?


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## JD (Jul 30, 2015)

AndroxineVortex said:


> Hello, new member here. Let me tell you why I decided to do this as a career.
> 
> I was at a concert venue in Atlanta with my girlfriend to see Devin Townsend (with Animals as Leaders and Monuments. It was awesome!) and we were seated up in the balcony. Right below us was a man sitting in a booth with a bunch of control panels and boards around him. While the bands were playing he was pressing buttons making the lights dance and flash along with the music. Even though I went there to see Mr. Townsend I spent a lot of time watching him. I decided that that would be a really cool career choice.
> 
> ...


1) College optional. Word of mouth and reputation (especially reliability) are far more important. 
2) Volunteering at a local theater, apprenticeship, you are on the right track.
3) Unless you end up working with a local theater group who puts on shows at a single venue or a theater stage crew, you will probably be traveling. If you get into concert lighting, buy a high MPG car!
4) $0 to a lot. Two ways to make good money: One, Be in the business for many years and have a great reputation. Two, Join a union, do years of apprenticeship and land a job at a center-city theater. 

Bottom line: Do it for the love of the job, but don't quit your day gig.


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## Brandon Merkle (Jul 31, 2015)

I'm one of the newer members here, and I am definitely a *budding* lighting designer. I have done somewhere in the vicinity of 4 dozen shows (stop snickering veterans, I can hear you!), and my experience has been thus: I started tech theatre while pursuing my associate's degree at a community college. From there I made friends. One in particular, with a Master's degree in tech theatre and lighting design, took me under his wing. For the past 5 years I've been working under him, but that last couple of years I have jumped from the nest as well, and been designing, hanging, and board op'ing my own shows. There's always more to learn, and it's a daunting field. VERY daunting.

Like the others have said, my personal experience is it's not what you know, it's who you know. Techies are generally very open about sharing their knowledge. It comes with the territory, it's our version of grandstanding (since we don't get stage time). My advice is to finds someone at a local theatre, or ask around about a community players group in your area. Then, find the lighting masters of that group and MARRY THEM. Show up every day for tech and pre-tech. Coil cable do the dirty work. Never stop pestering them with questions. If you're not cut out for that line of work, you'll know by the end of the first tech week.

Good luck!


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## MrsFooter (Aug 1, 2015)

Just a thought based on my personal experience:

Working for the arena or club with zero experience is entirely possible. I've worked for several venues who would shore up the labor numbers by driving a van down to the local halfway house or homeless shelter and telling whomever was sitting out front to get in. But this type of work, (pushing carts, unloading, etc,) is very unlikely to lead to a career as a lighting designer. I know several hands who've been working longer than I've been alive and worked on thousands of shows, and they still would't know what to do with a PAR can beyond heat up a pizza, let alone a wiggle light. Doing in-outs may be a way to get your foot in the door, but it's highly unlikely that said foot will lead you anywhere beyond a career humping cases. 

The thing about busking a rock show, (and feel free to chime in, other people who do this for a living,) is there's really only one way to learn how: do it. A lot. And suck at it for a while. Fail, repeatedly. I don't know a rock LD alive who can't think back to a show in the beginning of their career that makes them smack their forehead and wonder if they were high. And eventually, you stop sucking, and maybe, at some point, you start being good. 

Your best bet, IMHO, coming from zero experience, would be this:

Go ahead and try to get into an arena pushing boxes; it'll give you a good look at the big side of the industry and show you how things work in the real world. But also, more importantly, try to find a pos club or bar that does live music and try to get in running the console there. I can think of at least two bars in my town where all you have to do to get a gig lighting a band is bullsh*t the bartender that you know what you're doing on a night their regular guy bailed, and be willing to work for $100/night. And then figure out what you're doing really freaking fast, which is how most of us get gigs anyway, so it's a good skill to have. From there, your career trajectory depends all on skills and luck. Maybe a band will decide they like you and ask you along as their roadie (because at that level, yes, you're a roadie, not a tech,) and they'll hit it big. Maybe the audio guy will pass your name on to another venue whose looking for a guy, and that gig will lead to another gig, and so on. There's rarely a direct path in the music industry. Like I said, it's up to your skills and luck. 

One last word of warning. This industry is brutal. The hours are long, the work is physical, the pay is low, and there are way more people looking for jobs than there are jobs, and too many of them willing to work for nothing. Even the guys who've "made it" still work longer hours and receive less pay than your average middle manager. If you embark on this career, it should be because you are so obsessed with this industry that you're foaming at the mouth. Like we all say, "If you can think of anything else you could also do, go do that." Lighting music has been an amazingly gratifying career, and I've gladly sacrificed a lot in the name of my career, but I won't pretend that sometimes I don't fantasize about benefits and a 40-hour work week behind a desk where my feet don't hurt. If you don't want it so bad that you ache, let it be your hobby, but don't rely on it for food.


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## Les (Aug 2, 2015)

I know a guy who stumbled in to this industry through a temp agency. They called him up and said "hey, you want to work in a lighting warehouse today?" He almost declined (probably hungover) but at the last minute decided what the heck -- he figured it was some warehouse dealing with light bulbs and cheap household fixtures. Easy money. Turns out, it was Christie Lites in Dallas. When he got there, he started developing an interest, became buddies with a lot of the old timers, and eventually got on their regular call list. Then he moved to Gemini Stage Lighting, and now he is a fully licensed full-time pyrotechnician where I work.

No, I'm not saying you should go to a temp agency, but rather, look at the lighting shops who supply and prep gear for these tours. On the plus side, you can remain stationary, but on the downside, it can take a long time (if ever) to get hired on full-time. Usually they call you in when they need you. You will probably start out pulling gafftape off cables and hopefully you can work your way up from there and get called on a more regular basis. It starts out as warehouse work, but you can get out on site if you stick with it and get a little lucky.

Another warning is that these companies can have a somewhat abrasive work environment. There's a definite hierarchy and some... shall we say "harsh" personalities. Some of the warehouse guys may seem downright scary. But - it's a way to get started. My coworker didn't know squat about the lighting industry when he started either. No, he didn't make it to being "head button pusher" in his time there, but he did make a lot of contacts/friends and learned a lot rather quickly.

A word about community theatre. I always recommend newbies getting their start there if they're not still in high school (or even if they are) - it's really one of the safest places to do it. You still won't (likely) get fired for screwing up, and it's pretty much a given that you're not going to be a 'pro'. You usually won't get paid except maybe in warm & fuzzies every now and then. However -- community theatre isn't usually a very good place to start a career. It's a great place to learn a bit about tech and get used to working with different people, but it's hit-or-miss on whether you'll find any real contacts there. Most community theatre technicians are high school students, teachers, or regular people who maybe have an interest but do something else 9-5. Most people who do tech for a living certainly won't go do it for free at a community theatre during their time off _(although I have heard of a few crazy individuals doing just that - yours truly doing about one show every year or two)_.
That said, you WILL meet people who share your interest and are maybe on the same track you are, and things have a weird way of working out (maybe even get paid to do one-offs for a local high school director), but it's doubtful that a big wig is going to find you there. I still recommend exploring that route as it'll get you some knowledge and experience, but don't invest more than you should in to it. Even though you seem to be more interested in concerts, a little theatre experience would make you a more well-rounded technician.

If you want to dive head-first in to the industry, I recommend finding a lighting shop. Probably won't be a full-time gig but it's something. Don't discount working for "tradeshow companies" like PSAV and Freeman. I think they'll contract in just about anyone (no offense to you or them) and you can get a lot out of it if you allow yourself to.


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## MikeJ (Aug 3, 2015)

There are people who make $25,000 a year running theaters, and there are people who make that designing one rock show. Depending on what you want to do, it can be all over the board. Being a stagehand is a great way to get your feet wet, but generally a path to nowhere in the long run. Learn as much as you can while doing stagehand work. Depending on the market, some stagehands are well rounded, knowledgeable experts in their field, while others are just neck-downs. of topic, I feel like Neck-Down should be in the Wiki. [Edit by Mod.: Your speling it rong, ya neckdown.]

A local lighting shop is a great place to start. You can start by coiling cables and counting gear, but ask questions and learn by observation. After a while ask if you can come help the techs on a show, for free, just to learn.

Yes I just recommended working for free. There is no other way to learn, besides doing. Nobody will pay you if you don't know what you are doing. So learn first and get paid later. There may be shows where they simply need extra bodies to push and lift things, and they will pay you something. Do that. Learn and grow your skills

You can work your way up, gaining experience as you go. If you want to get into touring, getting into a large shop like Bandit or Christie is the way to go. Making friends with road guys is also a useful networking tool.

I don't think you have to LOVE the work, like others here suggest, I think you have to like it better than the alternative. Passion for the work will fade, but as long as you enjoy yourself for the majority of each workday(worknight, workweek), you are far ahead of the general population.


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## josh88 (Aug 3, 2015)

Be careful working for free though. Volunteering is one thing. I've been pushing against unpaid internships for years though. There are a few exceptions where the experience with the right place is worth it to get a name on a resume or connections that come from where you are. But there are too many that aren't really internships and take advantage of people who don't know better, include no mentoring, where you are used as free labor, and ultimately a waste of your time.


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## MikeJ (Aug 3, 2015)

Let me rephrase, don't work for free, but ask to shadow, and help where you can. There are lots of things that you can learn by observation, and if you can jump in and be useful to the person you are shadowing, that can go a long way to working your way up.


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## MikeJ (Aug 4, 2015)

Any internship, should be an educational experience, not just labor. There should be some grunt work though, just to give perspective. I don't make interns do anything that I do not do myself.


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## josh88 (Aug 4, 2015)

MikeJ said:


> Any internship, should be an educational experience, not just labor. There should be some grunt work though, just to give perspective. I don't make interns do anything that I do not do myself.


Absolutely. But so many aren't that, which has burned many young technicians. Long story short, use common sense, scout a place out, and be aware enough while on an internship to know if the company is paying into you through experience and growth or if they're just using you as a tool and paying into themselves.


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## Les (Aug 4, 2015)

Yep - slippery slope, working for free. Some companies may be resistant as it presents a liability. Big fines have been handed out to large companies for having people work "off the clock" and there may be some insurance implications as well. If you were to go missing or get hurt, who would be accountable? Just saying - go through the proper avenues for this. The entertainment industry is generally more lax than others about this, but I'd hate to see someone fired just because they were wanting more experience.


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## MikeJ (Aug 5, 2015)

Les said:


> Yep - slippery slope, working for free. Some companies may be resistant as it presents a liability. Big fines have been handed out to large companies for having people work "off the clock" and there may be some insurance implications as well. If you were to go missing or get hurt, who would be accountable? Just saying - go through the proper avenues for this. The entertainment industry is generally more lax than others about this, but I'd hate to see someone fired just because they were wanting more experience.


Just like any (real)company, when you do an internship, you fill out the proper paperwork, file it with HR; and workers comp and insurance cover interns, just the same as full time employees. It is good to point out though, if less legit companies want to go "off the books," which should send up some red flags.

Like I mentioned, working as a shop guy and tagging along where you can to get some real experience, should generally not pose an additional liability if you already work for the company, but it is still best to make sure it is okay.


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