1Programming Philosophies
The automated lighting programmer must have many skills beyond knowledge of simple programming syntax. The position requires one to evaluate each situation to determine the right method of operation. Some productions hire a programmer to handle all aspects of the lighting, while others hire a programmer to bring an LD’s vision to life. Real world experience with many productions is the only way an automated lighting programmer can become successful. Knowledge, speed, accuracy, people skills, etc. are all vitally important, but there is no substitute for experience.
The Automated Lighting Programmer
There are many different levels of productions, each requiring specific types of people on the production staff. Understandably there are several different categories of automated lighting programmers. Each holds an important position within our industry, by providing different levels of experience and knowledge.
First there is the Weekend Warrior. This type of person simply programs lights for fun, but has another main profession. They have little to no interest in learning more about the profession.
Next is the Amateur Programmer. They program lighting when and where they can (schools, churches, clubs, raves, etc.), but programming is not their main source of income. They have an interest in the profession and strive to learn more about automated lighting programming.
The Apprentice Programmer is involved in the lighting industry and programs whenever there is an opportunity. Oftentimes they are hired to work on productions in other positions than lighting programming (technician, followspot operator, etc.). They have a desire to gain as much programming experience and comprehension as possible.
A Professional Programmer earns his or her living by programming automated lighting. The majority of this person’s income is from programming (80–90%). Automated lighting programming is their chosen career and they continue to study and improve their skills as much as possible.
Finally, the Professional Programmer/Designer works regularly as either a lighting programmer or lighting designer. Oftentimes this person will be hired onto a production filling both rolls simultaneously. The income of this professional will be split between programming and design. Continued improvement of knowledge and experience is continually sought by this career type.
Of course, like most jobs in the entertainment industry, some people will work on high-profile productions (award shows, Broadway, large tours, television shows, etc.) and get lots of press. Their names will be well known in the industry and they will be mentioned in magazines and on websites. Others will do many shows, but not be well recognized within the industry. Yet these individuals will still be successful programmers with a grand career.
The Hollywood Syndrome
Our industry is only a small part of “show business”, yet it still lives up to many of the clichés. Many students and apprentices of the profession expect a fast track to the “big” shows. They see the concert tours roll through town and the live television broadcasts and think, “I can do that.” Oftentimes these people will begin working with a lighting company and not understand why they are not going out on the next Michael Jackson tour as the programmer.
There is a good reason you see the same programmer’s names on all the big shows: experience. While anyone can learn which buttons to press on a console, it takes many years of programming to learn how to get the most out of your fixtures, work with different types of productions and LDs, and handle any situation that is thrown at you. Ultimately the actual data in the console is not what is important, but rather the end result. If you were able to create the LD’s vision in a timely manner and write the cue so that it is repeatable, then the methods of the data creation and storage are not essential.
Recently I was hired to program a live television special. The LD hired me because we have worked together before and he knows that I will come into the event and simply do my job. I have learned from my experiences not to wait for him on every detail of the show. He knows I will create original looks that fit with his style and work for the television camera. In fact he even told me that he is not worried about what patterns are in the fixtures, as he knows that I will “work my magic and create new visual images.” If I had only programmed one or two shows in my life, he would not want to hire me for this production. There is an extremely short amount of time from load in to taping and he has no time to sit with a programmer to describe every bit of the show. So do not be in a hurry to jump into the “big shows.” Instead, take your time and work hard and the large productions will come to you. You will learn more about lighting on every production you are involved with and should enjoy all the new challenges.
Creativity and Consistency
Usually lighting programmers are hired not only to assist in the creation and storage of an LD’s vision, but also to share in the creative process. It is extremely important that an automated lighting programmer is both left and right brained. It is often said that one side of the brain is technical and the other creative. A programmer must be able to derive original looks, concepts, chases, etc. and then utilize the tools at hand to bring these ideas to life. Whether you are a highly creative person or not, there are many books and exercises on the subject of creativity. I strongly recommend exercising your brain as much as possible.
The technical side of a programmer’s brain must contain the data needed to properly use a console and fixtures. In addition, regular, consistent routines should be used in console setup. For example, if you always number your colors or positions in a particular order, then no matter what show or console you are using you will know that Color 3 Position 5 equals “Down Center Stage Red.” Do not just randomly layout your console with each show. Of course, there will be things specific to each production, but if your basic building blocks are the same your programming will be much faster and efficient.
Learning to Program
Recently while in Tokyo, Japan enjoying many of their fine foods with friends, we discussed the puffer fish (fugu). If the puffer fish is not properly prepared, then it can lead to Tetrodotoxin poisoning which has a 50% mortality rate. In Japan only specially licensed sushi chefs are allowed to prepare and serve this dish. In fact, the Food and Drug Administration (FDA) allows properly prepared portions of the puffer fish into the United States only 2–3 times a year. The FDA’s agreement with Japan states, “Experience has shown that the best method for obtaining a product which will not cause illness or death is the highly specialized training and knowledge for product preparation.” Although an extreme analogy, automated lighting should not be taken lightly.
Luckily the mortality rate for improper programming of automated lights is extremely small, although I know some LDs who have wanted to kill their programmers! However, lighting programmers must practice their craft and continue to learn more. Consoles are always improving, new fixtures are released, and creative visions change. There are many resources to learn how to program, but practice makes perfect.
Look for Opportunities
Instead of waiting for the next gig to hone your skills, you need to find other avenues. The first place to look is your local lighting shop. Many companies will be willing to allow you to come to the shop and use a desk. While they may or may not have fixtures for you to plug in, at least you can use the console. And, as a bonus, when you are hanging out at the shop, you might just get offered a gig. If you can get your hands on a desk, build a practice show from scratch with cues and everything. Do not just sit in front of the desk and poke around. Put yourself into a real world situation and complete the required tasks.
If you do not have access to a console, you can always make use of offline editors. Most automated lighting consoles have applications for the personal computer (PC) that emulate the desk. Using this software you can practice the syntax and procedures of the console. In addition, many of the offline editors now either include visualization or work with popular visualization software on the same machine. This means you can sit at home and program virtual lights on a virtual console with your real computer.
Programming Exercises
The main reason to exercise your programming skills is so that the console functions become second nature, allowing you to spend more time being creative. When you do not have to think about how the console works, an amazing ability comes through. You find yourself simply commanding the fixtures to create the desired looks without thinking of how to enter the data into the console. Of course, there will be times that you will be challenged by the console, but the more comfortable you are with the programming syntax, the better.
There are many types of exercises you can do and I will suggest my favorite. Put yourself into the following scenario. You have been hired to program the lighting for a small 2-day business meeting using about 20 fixtures. Late in the first day the client surprises you by informing you a band will play during the lunch break the next day (a one hour period). They want you to “do lighting” for the band. It is now 7 P.M. and you can only be in the venue until 10 P.M. So you have 3 hours to program lighting for a band that you know nothing about (not even what type of music).
The exercise is to program 20 fixtures for 2–3 hours to prepare for this surprise. Then ask a friend to grab a mixed collection of compact disks (CDs). Have them randomly select a CD and song and play it for you. Playback your programming to the music. Then have them randomly select another CD and song and playback to that one. Keep doing this for about an hour and you will find out if you prepared yourself (and your desk) for anything that might come up. I find this exercise to be very consistent with real-world situations where you have to program and operate lighting for acts you have never seen or heard.
Explore Your World
A large part of being a good programmer and operator has nothing to do with the console. Your timing, rhythm, listening, visualization, and many other skills are just as important. Many of us often can’t help but imagine lighting cues while listening to music, but how often do you really listen to the beat, changes, etc.? Instead of trying to visualize the actual lighting look, try just thinking about when to trigger the different cues. Learn to anticipate changes in the music and recognize musical elements. Listen to all types of music, not just what you like. Even though your production may not contain musical elements, these skills will come in handy in most situations.
You can also exercise your mind by trying to think of ways to recreate natural lighting conditions. Pay attention to how the quality and color of light changes during a sunset or sunrise. One day watch a sunset on the horizon for 20 minutes, then next day watch a sunset on the side of a building or a tree. Sit in a dark house during a lightning storm paying attention to Mother Nature’s lighting chases. These exercises will pay off even if you do not recreate these actual situations on stage, because they might inspire you to create an effect in a different manner.
Never Stop Learning
Just when you think you have mastered a console, think again. There is always something new to learn. Talk with others to see how they accomplish certain functions. Also try doing things in different ways. For example, if your desk has a very strong effects package, try building a simple 30-step chase “old school” style. You will find yourself someday in a situation where an LD wants an exact look that cannot be created using effects. For example, while I was working on an ice skating show the LD asked for a very specific chase. I thought I could build it with effects and he thought it would have to be programmed as a chase. We were ahead in our programming schedule, so he gave me the time to try to create it with the effects. He was correct and it was not possible. I then quickly built the chase as a 90-step cuelist and it did just as he wanted. Luckily I had the experience and knowledge to create this monster chase in a hurry.
Be an Artist
There is a true art to programming automated lights. It is a skilled craft that requires many years of experience to fully master the possibilities. Because every production has its own unique challenges and requirements, the programmer must be fully confident in his or her abilities with the console and fixtures. Yes, we are part of the creative arts, but we also perform a highly technical job. Just as a fine sushi chef must train for years to perfect the slicing of a puffer fish, we must maintain a high level of craftsmanship for our profession.