# Follow Spot Cues



## DHSLXOP

Hi everyone...
In the next few years, I am going to become the calling stage manager at my school. I know how to call the show and everything, but I have been wondering about how to call spot cues. 

Right now, the senior stage manager calls the spot cues as "Warning Spot 1 on xxx person with a xxx gel." ..."Spot 1 GO"

The way I was thinking about doing it, is giving each spot op a cue list of all of their cues...it would look like this: (When viewing this chart, please take note that each column should be underneath each other...but I couldn't figure out how to get it to do that)
Cue #|Spot #|Gel Color|Intensity|On Performer...
1 1 Blue 100% XXX
2 1 White 100% XXX
2 White 100% YYY
3 2 White 100% ZZZ
Then all I would have to call is "Warning spot cue 1"..."Spot Cue 1...Go"
Which method do you guys think is better to call the cues? Also, assume that each spot op has a music stand w/ gelled music stand light to be able to see this list upstairs
Thanks


----------



## Footer

Most of the time I give the spots a cue sheet with LX numbers. Usually the pick up of a spot is also with and LX cue. If it is not, simply call "spot cue #" and the can reference their sheet with what the cue is, what frame to have in, and what the intensity, iris, and all that good stuff is. Don't be a mother hen to the spots. When calling a show you want to limit the amount of stuff you have to say over com. This is how I prefer to call a show and have a show called to me. I would much rather here "standby shift 14, rail 6, LX 22, spot cue 13 and sound F" then "standby main rag in, wagon B to center, big drop out, light cue 22, sound phone ring, spot frame 3 mid body pickup Mary".


----------



## DHSLXOP

Footer4321 said:


> Most of the time I give the spots a cue sheet with LX numbers. Usually the pick up of a spot is also with and LX cue. If it is not, simply call "spot cue #" and the can reference their sheet with what the cue is, what frame to have in, and what the intensity, iris, and all that good stuff is. Don't be a mother hen to the spots. When calling a show you want to limit the amount of stuff you have to say over com. This is how I prefer to call a show and have a show called to me. I would much rather here "standby shift 14, rail 6, LX 22, spot cue 13 and sound F" then "standby main rag in, wagon B to center, big drop out, light cue 22, sound phone ring, spot frame 3 mid body pickup Mary".




Thanks for the quick reply. I'll probably start calling the shows that way.


----------



## Van

I second, < as I often do > Footer. The spots need to learn their cues. the only time I've seen cues called the way you described is when I have been doing R&R gigs. When the spots don't have time to learn cues and the LD will just give a " spot #1 pick up < Insert favorite rock star here> S.R., Body, color 2."


----------



## celtictechie

I see your questions but two question came to mind 
How many spots light are you using
How many different people are you spoting
Are there a enough spotlights for all people being spoted
Are you using the smae people everyshow 

If there is a enough spotlight and same people for everyshow then call like this and have them memerize it or put on sheet of paper where the can see it

Spot 1 Color # and type of shot ie full head or mid

They should know and see were there people are all the time. You should have to to them. Spot light can be late by 3 seconds no one will notice.


----------



## DHSLXOP

celtictechie said:


> I see your questions but two question came to mind
> How many spots light are you using
> How many different people are you spoting
> Are there a enough spotlights for all people being spoted
> Are you using the smae people everyshow
> If there is a enough spotlight and same people for everyshow then call like this and have them memerize it or put on sheet of paper where the can see it
> Spot 1 Color # and type of shot ie full head or mid
> They should know and see were there people are all the time. You should have to to them. Spot light can be late by 3 seconds no one will notice.



We have 2 spot lights
And the amount of people being lit depend on the show (we generally spot the leads when they are singing or are part of a song...so it dpeneds on the number of leads)
So i guess no there are not enough spotlights for all people being spoted
Those people will most likely be the same everyshow


----------



## gafftaper

It sounds like we are talking about a high school situation. In which case you might not want to change things quite that much. 

How experienced are your spotlight people? How many rehearsals will they be able to watch? How many rehearsals will they be able to actually run the spots? How well trained are they? How responsible are they? Not to go against Footer... his points are very good in the college and adult world... but often follow spot is the lowest guy on the food chain in high school. Your spot ops may be recruited at the last minute and have no experience, may not know the show, may not even know the names of the actors/characters. It's also a job that requires some pretty good listening and concentration skills... something some students have difficulty with. In all these cases the more information and warning you the S.M. gives that person the better. 

I'm all for efficiency and running high school theater like it's done in the real world. Just make sure your follow spot operators are trained and know the show really well or you could be in for a really bumpy ride. In the end this might not be a corner that it's worth cutting. A good S.M. should both know the crew and show and makes adjustments according to the skills/show's needs in order to have the best performance possible.


----------



## DHSLXOP

gafftaper said:


> It sounds like we are talking about a high school situation. In which case you might not want to change things quite that much.
> How experienced are your spotlight people? How many rehearsals will they be able to watch? How many rehearsals will they be able to actually run the spots? How well trained are they? How responsible are they? Not to go against Footer... his points are very good in the college and adult world... but often follow spot is the lowest guy on the food chain in high school. Your spot ops may be recruited at the last minute and have no experience, may not know the show, may not even know the names of the actors/characters. It's also a job that requires some pretty good listening and concentration skills... something some students have difficulty with. In all these cases the more information and warning you the S.M. gives that person the better.
> I'm all for efficiency and running high school theater like it's done in the real world. Just make sure your follow spot operators are trained and know the show really well or you could be in for a really bumpy ride. In the end this might not be a corner that it's worth cutting. A good S.M. should both know the crew and show and makes adjustments according to the skills/show's needs in order to have the best performance possible.



Yes this is high school theater I'm talking about. The spot ops do get to see about a week's worth of rehearsal before actually going into the theater, where for 4-5 days run the spot during the rehearsals. In our case, its an honor to be up in the booth (we work in a university's theater and not everyone can just say they want to run it and be allowed up in the booth) Also, the spot ops know the show pretty well, and i'm fairly certain that if they had a question, they would ask. 

The main reason that I'm asking this, is because I always find that if I'm calling every little detail, I loose my place in the script, and I might miss the cue. 

But I do understand your points and I have started to think about those type of things.


----------



## DHSLXOP

While on the topic of follow spots...

This year, we have a new girl that wants (plus we're down on techs, and we need a spot op) to be a spot op for our musical this year. We are going to be teaching her how to use it and everything, the only problem is we're not sure if she'd be tall enough...We have-i believe-super troupers (sp?) at the theater, but she is only between 5'2" and 5'3". Do you think that she is too short to be able to run one, or should she be ok? 

The only reason I ask is because we won't have access to the spot until tech week, the week before the show.


----------



## Footer

DHSLXOP said:


> While on the topic of follow spots...
> This year, we have a new girl that wants (plus we're down on techs, and we need a spot op) to be a spot op for our musical this year. We are going to be teaching her how to use it and everything, the only problem is we're not sure if she'd be tall enough...We have-i believe-super troupers (sp?) at the theater, but she is only between 5'2" and 5'3". Do you think that she is too short to be able to run one, or should she be ok?
> The only reason I ask is because we won't have access to the spot until tech week, the week before the show.



I'm 5'6 and have yet to find a spot that I can not run. Let her at it. If the spot is properly balanced she shouldn't have any problem.


----------



## DHSLXOP

Footer4321 said:


> I'm 5'6 and have yet to find a spot that I can not run. Let her at it. If the spot is properly balanced she shouldn't have any problem.



This is great news! Thanks for your quick reply!


----------



## Van

The only issue I could see would be if the spot was raised abnormally high to clear a balcony rail or wall, which might lead to having a hard time reaching the iris,chopper,fader. Other than that I with Footer < again> Let her at it ! . I love the old Super Troupers. I have about 1200 hrs on a carbon arc Super T. Ah those were the days, white hot pieces of metal thrown intoa coffee can, toxic fumes swirling around your head......


----------



## gafftaper

Van said:


> Ah those were the days, white hot pieces of metal thrown into a coffee can, toxic fumes swirling around your head......



Van that explains a lot about you. No wonder you're in Portland... it surprising you aren't working in Eugene, I hear they do a lot of work with alternative flame sources down there.  


Anyway back to your questions. 
-It sounds like you've got a pretty good situation and some fairly professional student techs you are working with so maybe you can cut back. The key is to make sure you are giving them all the information THEY need. You might start out describing the cues and then cut back to just giving numbers after a rehearsal or two if they are comfortable with it. Talk to your spot ops about it. See what they are comfortable with. Maybe there is medium length version of the cue call that will shorten your text but give them more info than a number. 

-I had a girl who was as short if not shorter than you are talking about run spot for me. No problem.


----------



## highschooltech

We use modified S4s with iris and gel boxes for our spots. They work great. The only issue is that if the spot opp isn't paying attention his light comes up in the wrong place


----------



## Van

Gaff, That was when I was in OKlahoma, Oklahoma,Oklahoma ! hehehehehe


----------



## TechiGoz

If your dome (spot) operators are seeing a good weeks worth of rehearsals etc, they should be able to follow the play. Giving them a cue sheet, allows them to be incharge of getting ready what they need, while you focus on the 101 other things you need to when being a stage manager. 

When I'm stage managing, I give everyone a copy of their own cue sheet, whether it be FX, LX, Dome, Fly's, Stage Crew or whatever. I have a master sheet, and when I give a "Standby" they will give me an answer (could be "FX Standing By" or whatever). This means to me that they have read their cue sheet and know what is coming next. This allows me to call complex series of cues such as "Standing By LX35, FX56, Flys8, StageCrewPosition6A, Dome32" and after reciving a whole bunch of "standing by's" I can just say, "LX, FX, Fly, Crew, Dome GO"

If they do have any questions though, they are able to confirm with me during the standby. 

I find that giving their own cue sheets is a much more efficient way of calling a show. Every one makes sure they are on track. 

Good luck.


----------



## PhantomD

Can somebody show me what this cue sheet should look like?

I'm looking at being followspot captain as well as board op for several reasons that are irrelevant to this discussion!

Got a pair of new followspots (one of whom is pretty **** short) and I'm going to start them from the start - and I want them to have a lot more independance than spots have had in the past.


----------



## DHSLXOP

PhantomD said:


> *Can somebody show me what this cue sheet should look like?
> *I'm looking at being followspot captain as well as board op for several reasons that are irrelevant to this discussion!
> Got a pair of new followspots (one of whom is pretty **** short) and I'm going to start them from the start - and I want them to have a lot more independance than spots have had in the past.


The way I was thinking that it should be designed is: (remember that the chart should be lined up with each other--so like if you see two ones in a row, one should go to one column and the other should go to the other column; Also-I have added in another section that I didn't say when I first brought up the topic)
Cue# | Spot # | Gel Color | Intensity | On Performer | Cue Line
1 1 White 100% XXXX "No don't go..."
" 2 " " YYYY "
2 1/2 White 100% ZZZZ "Hello down there"
This is the way I was thinking about doing it, but I'm sure someone else has a better/more professional way of doing this.


----------



## Footer

DHSLXOP said:


> The way I was thinking that it should be designed is: (remember that the chart should be lined up with each other--so like if you see two ones in a row, one should go to one column and the other should go to the other column; Also-I have added in another section that I didn't say when I first brought up the topic)
> Cue# | Spot # | Gel Color | Intensity | On Performer | Cue Line
> 1 1 White 100% XXXX "No don't go..."
> " 2 " " YYYY "
> 2 1/2 White 100% ZZZZ "Hello down there"
> This is the way I was thinking about doing it, but I'm sure someone else has a better/more professional way of doing this.



Make seperate sheets for each operator that just had their cues on it. Also, I would not give them a pickup line, because with that they will get confused. Just give them q#,frame #,douser,iris,and perfomer


----------



## DHSLXOP

Footer4321 said:


> Make seperate sheets for each operator that just had their cues on it. Also, I would not give them a pickup line, because with that they will get confused. Just give them q#,frame #,douser,iris,and perfomer



Just wondering--why would you not put in a pickup line? And also, what is a douser?

Thanks


----------



## Van

DHSLXOP said:


> Just wondering--why would you not put in a pickup line? And also, what is a douser?
> 
> Thanks


 
A dowser is and mechanical device usually installed in front of < towards the lens > the iris. It is made up of 2 metal plates that close like swinging doors into the beam. The effect is a slow dimming of the spot rather than a Pop on or off. Choppers sit closer to the gate and are thus create a much harder line. Choppers slide in and out of the beamin a single horizontal plane and give the lok of a straight horizontal line comming up from the bottom and down from the top. Dowsers are not the most common attachment you will find on a spot. A lot of times people will simply black wrap the color holder and use that as a dowser, it works but the effect is not as clean as a two bladed dowser. Typically the arrangement of handles, running from rear to front of spot is Iris,chopper, dowser. The dowsers need more room as they swing into place. 
Now you know, and knowing is half the battle.........


----------



## Footer

DHSLXOP said:


> Just wondering--why would you not put in a pickup line? And also, what is a douser?
> Thanks



See van's post for that. The reason I am against pickups for spots (or any other dept for that matter) is that when you give the standby they should be paying complete attention to you, not what the character on stage is saying. They should go on only your go, not when the character completes their line. If they decide to go when they want to, they will not fade with the other spot, or with the rest of the lighting on stage. Don't put the power in others hands, keep it in your own. Your the one with the book in front of you, and (hopefully) the only one with the book in front of you.


----------



## Van

Oh yeah the pickup line thing.... see footers reply above. I concur wholeheartedly. Not to start another debate on the role of the SM, or LD in the case of R&R, but You need to have complete control over what and when people are doing.


----------



## DHSLXOP

Footer4321 said:


> See van's post for that. The reason I am against pickups for spots (or any other dept for that matter) is that when you give the standby they should be paying complete attention to you, not what the character on stage is saying. They should go on only your go, not when the character completes their line. If they decide to go when they want to, they will not fade with the other spot, or with the rest of the lighting on stage. Don't put the power in others hands, keep it in your own. *Your the one with the book in front of you, and (hopefully) the only one with the book in front of you.*



So when you say this, you mean that other than sound and the ASMs, I should be the only one with a book in front of them? Because right now, the lighting operator and the flyman also has one in front of them


----------



## Footer

DHSLXOP said:


> So when you say this, you mean that other than sound and the ASMs, I should be the only one with a book in front of them? Because right now, the lighting operator and the flyman also has one in front of them



You are the only book. Occasionally ASM's have books for support of the actors and to track props, but not to take cues out of. Lighting, deck movements, sound, spots, sfx, and about anything else should all be called by the SM. These departments in no way need any type of script. I know that is seams like that is a lot to put on the SM's shoulders, but in reality it is a much less stressful situation then have 19 million people taking there own cues. Really the only thing that should not be cued by the SM is actor entrances/exits inside of a scene (though occasionally they are). In opera everything, including actors, are cued from he stage manager.


----------



## DHSLXOP

Footer4321 said:


> You are the only book. Occasionally ASM's have books for support of the actors and to track props, but not to take cues out of. Lighting, deck movements, sound, spots, sfx, and about anything else should all be called by the SM. These departments in no way need any type of script. I know that is seams like that is a lot to put on the SM's shoulders, but in reality it is a much less stressful situation then have 19 million people taking there own cues. Really the only thing that should not be cued by the SM is actor entrances/exits inside of a scene (though occasionally they are). In opera everything, including actors, are cued from he stage manager.



Oh wow, I never knew that...I always assumed that everyone had books (at least) to follow along in.


----------



## Van

DHSLXOP said:


> Oh wow, I never knew that...I always assumed that everyone had books (at least) to follow along in.


 
See that's why Profeesional Stage managers are so cranky all the time and want to be in constant control of everything in thier lives ! 

< Now I'm running for my life as my wife throws things at me>

Help I'm being attacked by an Equity Stage Manager !


----------



## cutlunch

I know professionaly the SM calls all cues but at a high school I think it could be to much for the sm to call every sound cue ie microphone combinations. Sxf yes because they need to be synched.

The sound should be able to have a scipt to follow so that they know where they are. Also what happens if the mikes get mixed up the sound mixer has to be able to change the cue around to allow for the mix up. There wouldn't be any point in slavisly following a cue that says turn mike 3 on when the actual mike on the actor is no 4.

I would tend to let lighting have a script as well not to run their own cues but so they can be a backup in case you get busy and forget to call their lx, spot standby's.

I think when learning people should be able to follow the script so they can see how the cues have been designed.

The LD should have a cued script for the rehearshals so they can see when you called a cue they can make notes. With lighting by just changing the place a cue is called maybe by one word it can improve a lighting look 100 percent.

Let them have some visual cues where appropriate it gives them a sense of reposibility. Also unless you have a really good camera system that sees 100 percent of your stage they will need to do some visual cues because you just can't see the entrance / exit. For instance a fade out after song as they leave can look naf if the spot stays in long enough to hit the wings. Unless of course they are hard up against them to start with. You still give them a cue standby and cue go on your visual.

With the spot cue sheet make it like a crib sheet with only the basic info they need. Then print each line in a large font so they can place it somewhere on or near the spot they can read it without having to touch it.

I know you said you won't get the spots until tech week. But if you haven't already get them to attend rehearshals so they can learn the characters. If you have coms put them up in their f/spot positions and call the basic cues the LD is planning. It might seem overkill but this will help clarify issues such as which spot picks up who where. It helps with working out which spot does what. If I have more then one spot I tend to alternate them when there is only one person to spot. This gives them a break but also means the next spot is setup without the rush that might cause a mistake. Obviously during tech week things will change but at least some thought has been given to it so there is a basic plan when you have to bring heaps of other things together.


----------



## Footer

cutlunch said:


> I know professionaly the SM calls all cues but at a high school I think it could be to much for the sm to call every sound cue ie microphone combinations. Sxf yes because they need to be synched.
> The sound should be able to have a scipt to follow so that they know where they are. Also what happens if the mikes get mixed up the sound mixer has to be able to change the cue around to allow for the mix up. There wouldn't be any point in slavisly following a cue that says turn mike 3 on when the actual mike on the actor is no 4.
> I would tend to let lighting have a script as well not to run their own cues but so they can be a backup in case you get busy and forget to call their lx, spot standby's.
> I think when learning people should be able to follow the script so they can see how the cues have been designed.
> The LD should have a cued script for the rehearshals so they can see when you called a cue they can make notes. With lighting by just changing the place a cue is called maybe by one word it can improve a lighting look 100 percent.
> Let them have some visual cues where appropriate it gives them a sense of reposibility. Also unless you have a really good camera system that sees 100 percent of your stage they will need to do some visual cues because you just can't see the entrance / exit. For instance a fade out after song as they leave can look naf if the spot stays in long enough to hit the wings. Unless of course they are hard up against them to start with. You still give them a cue standby and cue go on your visual.
> With the spot cue sheet make it like a crib sheet with only the basic info they need. Then print each line in a large font so they can place it somewhere on or near the spot they can read it without having to touch it.
> I know you said you won't get the spots until tech week. But if you haven't already get them to attend rehearshals so they can learn the characters. If you have coms put them up in their f/spot positions and call the basic cues the LD is planning. It might seem overkill but this will help clarify issues such as which spot picks up who where. It helps with working out which spot does what. If I have more then one spot I tend to alternate them when there is only one person to spot. This gives them a break but also means the next spot is setup without the rush that might cause a mistake. Obviously during tech week things will change but at least some thought has been given to it so there is a basic plan when you have to bring heaps of other things together.



Most sound people don't follow a script, and if they do need something most make small cut sheets that basicly give them a "at a glance" look of the scene. No one expects a SM to call every single mic change, and they should not have to. They should however call all playback cues. 

My bottom line, its the SM's job to make the show run smoothly, and to keep the show running the same every night. To do this the SM has to have full control over the performance. If the SM misses a cue, its their job to figure out what they will have to do to get back to what should be there, not the board ops. You would be surprised how calming it is to know what you say is what is going to happen, no one will do anything without your magical G-O. I hate the idea of having a multitude of people all with a book, not knowing what others are thinking, and just doing stuff. The SM (should) know all movements that are happening onstage: actors, props, scenery, rail, lighting, sound, sfx, wardrobe, and all the others. If something is wrong, the SM should be able to correct it. Its the SM's job to call the show... For a HS show I think the SM is perfectly capable of calling all of this. The cue numbers are less, the complexity of the shows are less, and the tech periods are usually freakishly long. Usually when I am board op for a show (I do everything to try not to be, but some contracts won't hire a board op) I do everything in my power to not pay attention to the show. I tend to have a happy finger that loves to hit buttons (the musical kind) at the end of numbers. So if the SM handed me a script and said follow along, it would be a very bad thing.


----------



## DHSLXOP

Footer4321 said:


> Most sound people don't follow a script, and if they do need something most make small cut sheets that basicly give them a "at a glance" look of the scene. No one expects a SM to call every single mic change, and they should not have to. They should however call all playback cues.
> My bottom line, its the SM's job to make the show run smoothly, and to keep the show running the same every night. To do this the SM has to have full control over the performance. If the SM misses a cue, its their job to figure out what they will have to do to get back to what should be there, not the board ops. You would be surprised how calming it is to know what you say is what is going to happen, no one will do anything without your magical G-O. I hate the idea of having a multitude of people all with a book, not knowing what others are thinking, and just doing stuff. The SM (should) know all movements that are happening onstage: actors, props, scenery, rail, lighting, sound, sfx, wardrobe, and all the others. If something is wrong, the SM should be able to correct it. Its the SM's job to call the show... For a HS show I think the SM is perfectly capable of calling all of this. The cue numbers are less, the complexity of the shows are less, and the tech periods are usually freakishly long. Usually when I am board op for a show (I do everything to try not to be, but some contracts won't hire a board op) I do everything in my power to not pay attention to the show. I tend to have a happy finger that loves to hit buttons (the musical kind) at the end of numbers. So if the SM handed me a script and said follow along, it would be a very bad thing.



Thanks, this makes a lot of sense, and I'll hopefully be able to use this in future shows.


----------



## Footer

DHSLXOP said:


> Thanks, this makes a lot of sense, and I'll hopefully be able to use this in future shows.



Just remember, whatever combination of things you end up doing, just make sure it is something that makes you feel comfortable doing. Just because it what I think should be done, or what Van thinks should be done, or anyone else here thinks it should be done doesn't make it the "right" way. Every theatre operates a bit differently, though I am trying to guide you in the basic ideas that is considered standard. Bottom line, make it your own (and you get to define that!)


----------



## Van

Footer4321 said:


> Just remember, whatever combination of things you end up doing, just make sure it is something that makes you feel comfortable doing. Just because it what I think should be done, or what Van thinks should be done, or anyone else here thinks it should be done doesn't make it the "right" way. Every theatre operates a bit differently, though I am trying to guide you in the basic ideas that is considered standard. Bottom line, make it your own (and you get to define that!)


 
Hey ! If *I* think it's the right way, it* is* the right way ! 
At least at my theatre !


----------



## Footer

Van said:


> Hey ! If *I* think it's the right way, it* is* the right way !
> At least at my theatre !



Yes, but you also sign the paychecks (or the contracts, or whatever of that sort, you get the idea....)


----------



## gafftaper

Having taught High School with some really great techs I want to throw this in...
I agree in principle with those saying that the only person who should have a script is the SM (and maybe the ASM). However, In the world of High School theater I found that even my best student sound techs really worked better with a script. Sound Ops often have multiple tasks to perform at the same time. I found that having a script with good notes seemed to help my students prepare and visualize ahead of time all the tasks that they had to do at once and how long they had to do it. I did drill it into their heads that they never moved until they heard the SM say go. The point is that the script is not there for the sound guy to follow along, the script is there to help keep all the notes and thought organized in the context of the show. 

Also if your high school is still struggling with an old two scene preset light console your light op should have a script for the same reason. In that case, the light op isn't just a trained monkey pressing go. There are a lot of tasks to be done and having a script seems to just help keep it all organized in the student tech's head. 

It should be the goal of good high school sound techs to work with only a cue sheet, but I wouldn't push them until they have some experience.


----------



## cutlunch

Thanks gafftaper that's what I was trying to get across in my post. You said it better. 
Also I was just now thinking another good reason for them to have a script is that there are more chances of people skipping their lines. 
With people having scripts the tech team will be able to find where they have got to quicker. 
The SM will then have to call the cues to get in the right spot again.


----------



## Grog12

DHSLXOP said:


> While on the topic of follow spots...
> This year, we have a new girl that wants (plus we're down on techs, and we need a spot op) to be a spot op for our musical this year. We are going to be teaching her how to use it and everything, the only problem is we're not sure if she'd be tall enough...We have-i believe-super troupers (sp?) at the theater, but she is only between 5'2" and 5'3". Do you think that she is too short to be able to run one, or should she be ok?
> The only reason I ask is because we won't have access to the spot until tech week, the week before the show.



I knew a 4'11" girl who weighed 5lbs sopping wet who could run long through super troopers...she'll be fine.

Back on topic as an LD I like to make sure there's a list of what each spot does in each cue with color size ect. A copy should be given to each spot and the SM so if there's a quick couple of cue's the SM can double check what the spot is supposed to be doing. Generally I only expect my SM to call the Spot cue while the spots reference the sheet to know what needs to be done during the cue.


----------



## Too_Tall

Grog12 said:


> I knew a 4'11" girl who weighed 5lbs sopping wet who could run long through super troopers...she'll be fine.
> A copy should be given to each spot and the SM so if there's a quick couple of cue's the SM can double check what the spot is supposed to be doing. Generally I only expect my SM to call the Spot cue while the spots reference the sheet to know what needs to be done during the cue.



That is how we do it here, and i have seen it done on the road.


----------



## cue1go

As a lighting designer, I like to give my spot ops their cues ahead of time and not have to worrow about calling them. As SM, there are enough things to call. On my current production of Les Mis there are 105 spot cues, 225 light cues, and a whole bunch of shifts backstage. The SM wouldn't be able to call all this My cue sheet is in the following format.


----------



## Logos

Why can't your SM call all of that? I am a great believer that the SM is in complete control of the show and as an LD have given a show with over 500 lighting cues and at least 100 dome cues. Admittedly a large number of the Lighting cues during the musical numbers were timed follow ons but that still left at least 300 cues to call. I would expect that any trained SM could do that. Having split control over a show leaves too many chances for a simple error to be amplified by people doing what they think they should be without control from a central point.


----------



## derekleffew

Van said:


> A dowser is and mechanical device usually installed in front of < towards the lens > the iris.



Sorry Van, but I feel I must correct you. 

What you describe is actually a person who looks for underground water. 

The mechanical dimming device used on arc and discharge light sources is called a "douser."

One of my biggest pet peeves is the misspelling of theatrical terms. I have seen "Leico" on a fairly famous artist's rider.


As to the Spot Operator's Cue Sheet, I would add a column labeled "Size."


----------



## Van

derekleffew said:


> Sorry Van, but I feel I must correct you.
> 
> What you describe is actually a person who looks for underground water.
> 
> The mechanical dimming device used on arc and discharge light sources is called a "douser."
> 
> One of my biggest pet peeves is the misspelling of theatrical terms. I have seen "Leico" on a fairly famous artist's rider.
> 
> 
> As to the Spot Operator's Cue Sheet, I would add a column labeled "Size."


 
You are absolutely Correct ! 

I completely misspelled that. It is Douser as in to douse a fire with water, as opposed to dowsing for water with a stick. 
< as if being raised by an English teacher wasn't bad enough!, grumble, grumble, grumble.>


----------



## derekleffew

DHSLXOP said:


> Hi everyone...
> In the next few years, I am going to become the calling stage manager at my school. I know how to call the show and everything, but I have been wondering about how to call spot cues. <snip>



DHSLXOP, 

I posed your question to the Lead Spot Op for an UN-NAMED Broadway show here in Las Vegas. I was trying to get him to participate here on Control Booth. He is responsible for making sure all 3 spots do exactly what they're supposed to 8 show/week.

I told him your situation and then asked how he did it. He replied "I don't know, how does everybody else do it?" Thanks Bud, big help! When pressed, he said his operators know the show, and he just says the g-word when two or three spots have to happen together. Trainee ops are given a Spot Cue Sheet for their light only, until they don't need it anymore. He said its a busy show and he doesn't have time to call every Cue, much less every Fade, Pickup, Size, Color AND run his own light.

I told him how it was done for a pair of magicians here whose show had 10 operators and 12 spots (near the end of the show, SpotOps #9&10 would move to operate spots 11&12. The Lead Spot Op would listen on the board op com-channel, and relay electrics Q#'s and G-words to the other spots on the Spot com-channel. The Lead Soft Op kept the CueSheets current for all the other Spots in case of trainees.

I have seen a credit in the program of a Broadway show listed as "Production Followspot Tracker." This would be a person who sits with the LD and writes all notes regarding spotlights into a database, or Excel, then sorts it to give to each Operator. SpotOps sometimes don't have time to write notes; that's what tech rehearsals are for; but SpotOps should be trusted to read their own Cues and do what they're supposed to on the SM's calls. If the cue is "Pick up Mary when she enters DSL" and it's only one spot, I would not call that. If there were a handy electrics cue# before, I would say "Warning Electrics Cue X, shortly followed by Spot1" "Stand-by Electrics and Spot." "Electrics Cue GO. On your own, Spot1." Something to that effect.

For a musical that's how I've always done it. 
For a rock/country show, the SpotOps have never seen the show before, and almost always the person running the lighting desk calls every Cue, Pickup, Color, etc. Nick Sholem, longtime LD for the Eagles, is the only LD I know who can call his entire show by the Spot Ops first names, or nicknames, to people he has just met at 7:30 for an 8:00 show. He feels the Ops will work harder if it's more personal, so he doesn't use Spot Numbers. I totally agree with him, but I couldn't do it. Different operators every night, 10 spot lights, calling them all by name? The man's a genius.


In the end whatever works for you is right.
Happy Cue Calling.


----------



## Grog12

It also depends on whether or not you're using indepent spots or are using S4's or something similar lamped brighter than your onstage lights. In the case of the latter I usually give the spotops a Qsheet with the Q they're coming up in, what they're doing and when they'll be going out so all they have to do is listen for the SM's call.

I do something similar with standalone spots, but depending on the skill level of the operator (talking from school exp) I may give the SM more to call.

In long running shows such as Broadway and the Strip Derek's friend is right..the spots just kind of do it...but that's a long term environment. At another unamed show on the Las Vegas strip the SM is typically playing online poker during the show while the crew is remembering their own Q's.


----------



## bendersen

Footer4321 said:


> You are the only book. Occasionally ASM's have books for support of the actors and to track props, but not to take cues out of. Lighting, deck movements, sound, spots, sfx, and about anything else should all be called by the SM. These departments in no way need any type of script. I know that is seams like that is a lot to put on the SM's shoulders, but in reality it is a much less stressful situation then have 19 million people taking there own cues. Really the only thing that should not be cued by the SM is actor entrances/exits inside of a scene (though occasionally they are). In opera everything, including actors, are cued from he stage manager.



I will just recommend with body mics that your sound board operator is following along on book. My sound board operator was not on book for my last show, and the first couple of nights he was missing the first lines of several entrances. Unless you (as the stage manager) really want to be cueing when body mics go on, which I find to be a pain in the ass, I think the sound board operator should really be on book.

BUT, that doesn't mean he/she takes any actual cues from that book. All cues are on a stage manager's GO. Period.

And, in case, it's still remotely relevant, what I do with cueing spotlights is not nearly so sophisticated as everything mentioned above. I just cue "Spot 1" or "Spot 2" and they know where to be. 

In a pinch, by the way, I have cued a spotlight next to me with snaps of the finger. I didn't have enough working headsets, so I literally (while calling my other cues) would snap once for STANDBY and twice for GO. This worked tremendously well, though I encourage headsets if you have enough.


----------



## Wolf

Im really a lighting techie so I think I have some good insight on this. I have run many different kinds of Follow Spot (sizes, intensities, and through distances). Most recently I ran a spot with a through distance of about 150'-200' with 3 other spots me being lead spot. The Stage Manager never even called cues for us. We were given cue sheets and when the other spots have question they would ask me. I like it this way because it limits com chatter and leaves it in our hands so theirs not always someone sitting on us.


----------



## AndyPandy

bendersen said:


> ...In a pinch, by the way, I have cued a spotlight next to me with snaps of the finger...



I'm doing a show at the moment for which I (as light OP) have to que the spot next to me with a long ruler, because she's just out of reach to tap on the shoulder. the other spot is qued on headset, but we dont have enough at the moment for the other spot, thanks to a control freak director demanding to be on comms.


----------



## ReiRei

I ran spot for BatB & Little Shop but only got spot cues for one, BatB. They were simply spot *insert number here* on *insert cast member here*. We had to memorize our colors and after a while she stopped giving us our cast members. Never did forget the intensities either.

Little Shop, I memorized my cues (gel, cast member, intensity, etc.) without my SM because she thought it would be too much of a hassle to call my cues. Then during our remount she had to work with a different crew and became angry with me because she hadn't written the cues down. Wanted to trap her under a few close S4's... some people... *shakes head*


----------



## icewolf08

It isn't the SM's job to write down follow spot cues. It is the job of the spot ops and the LD. Generally the SM has too many thing to worry about without spots, and spots should just take care of themselves. Sure, sometimes there are spot cues that come out of nowhere and need to be called, or they need to be coordinated with a music cue, sound effect, scene shift, etc. Cues like that should be called, but for the most part Spots should be able to operate pretty autonomously.

I think I have posted before in this thread, but I will post again. Every spot should make up a cue sheet. It should include the spot number, the spot cue number, the lights cue that it goes with (as 90% of spot cues go with called light cues), the color frame, shot size (full or half body, etc.) the intensity, who/what you are on, and any other notes. Often times this list will be taken and used to create a master list which includes all the spots that is given to the SM to keep in their book. It is useful for things like crew changes, or just archival purposes.

The key is to keep it simple and concise so that any operator could walk in and follow the cue list and run the show.


----------



## briancon7

*Spot Light Cue Sheet*

Does anyone have a good format for spot opp cues that they can post?


----------



## CrisCole

Our spotters don't get SM cues. The SM gives them a lead sheet, and they take it from there. 

They've only missed a cue once, and that was because the actor decided to do a backflip.


----------



## KevinJohnston

I worked at the New York State Theater (3000 seat house) for 3 years as a follow spot op and never saw a single cue sheet the entire time I was there. Whether it was ballet or opera, the SM called every cue for all 8 spots, including color, size, intensity, and pickup location. Usually, they wouldn't specify which spot was making the pickup, just whether it was a 1E bridge spot or FOH. The lead spot for each position would then indicate to the rest of the guys whose pickup it was. The basic reason for this system was the lack of consistency in personnel night to night. When the SM calls everything, and you have pros on the lamps, it's possible to change-up operators without additional operators.


----------



## Anonymous067

Just wanted to throw my 2 cents in on the SM calling sound cues thing. I worked with an SM for three years who required the sound ops to be on script. As soon as she left and I got promoted to sound designer, I threw that rule out as fast as I could. I have the new SM call playback and CD cues. She also puts the wireless lav operator on standby, but does not give her gos for special effect voice returns. Just a reminder to her that it is coming up.

The only sound person who follows script is the wireless op so that they know who is on.


----------

