BFA 4/3: EDT Production Practice V & VI Welcome to the BFA 4/3 EDT Prod Practice V & VI page

EDT Production Practice V & VI: Course Information

The EDT Production Practice V & VI course provides the student with the opportunity to work on a total of 1 to 3 APA productions depending upon their study stream. The Credit allocation for the Production Practice course is 6 to 12 Credits depending upon the chosen study stream. The number of credits is linked with the credits for teh Graduation Project course. This course has an allocation of 4 to 6 credits.

For lighting and TD students the total credit allocation for EDT Production Practice V & VI and Graduation Project is 12 credits. For Sound students this total is 16 Credits.

For Lighting and TD studnets the requirement is 6 to 8 credits for the production practice course. It is normal (though not necessary) that a student will choose a senior role (LX Designer or Technical Director etc) for 6 credits. This will leave another 6 credits for the Graduation Project, which can be another production or a student initiated project. A student could choose a production role for 6 credits, plus a Graduation project for 4 credits and still need to complete another production role for 2 credits.

For Sound students the requirement is 10 to 12 credits for the production practice course. It is normal (though not necessary) that a student will choose a senior role (SD Designer or SD Production Engineer etc) for 6 credits. This will leave another 6 credits for the Graduation Project, which can be another production or a student initiated project. There are still another 4 production practice credits that need to be completed by taking on roles such as sound operator. A student could choose a production role for 6 credits, plus a Graduation project for 4 credits and still need to complete another production role for 6 credits. Or any similar combination.

TITLE : EDT Production Practice V & VI
COURSE CODE : TEDT 1131-32
PROGRAMME & YEAR : BFA in TEA Year 4
MODE OF DELIVERY : Practice
DURATION : 2 semesters
CREDITS : 6 to 12
CREDIT ALLOCATION TYPE (CAT) : 4
CONTACT HOURS (A) (Class time) : As required
STUDENT WORK HOURS (B) (Homework) : 288 to 576 (9 to 18 hours per week)
EXPECTED STUDY LOAD HOURS (A) + (B) : 288 to 576 (9 to 18 hours per week)
REQUISITES : TEDT 1232 and those listed in the table below
QUALIFICATIONS FRAMEWORK LEVEL : 4
Course Description

This course provides the student with the opportunity to work on Academy or outside productions in a range of production roles and detailed in the table below. The roles available to the student are dependent on his/her chosen study stream. Equivalent assignments may be sourced from outside the Academy with one of the local performing groups.

Learning Outcomes
1 Command wide-ranging specialised technical, creative and conceptual skills appropriate to the chosen role, and apply them within the context and framework of the production;
2 Comprehend and employ specialist operational and managerial skills and be capable of adapting them to the requirements of Employ specialist operational, managerial and/or design skills and adapt them to the requirements of the situation;
3 Communicate effectively and in an appropriate manner ensuring the giving and receiving of precise information;
4 Confidently and flexibly identify and define complex problems, and apply appropriate knowledge, tools/methods to their solution;
5 Act autonomously, with minimal supervision or direction, within agreed guidelines and deadlines;
6 Interact effectively within a team, recognise, support or be proactive in leadership roles, negotiate in a professional context, and manage conflict.
Production Role Allocation & Prerequisits
Study Stream Production Role Pre-requisite
Lighting Design Lighting Designer for normal scale productions / Assistant Lighting Designer for large scale productions Lighting Design Theory & Technique II / Associated Lighting Studies II / Advanced AutoCad Drafting
Lighting Technology Production Electrician for normal or large scale productions / Moving Light programmer / Lighting Board operator Lighting Technology II / Associated Lighting Studies II / Programming for Automated Lighting / Fundamentals of Lighting II
Sound Design Sound Designer for normal scale productions / Assistant Sound Designer for large scale productions Sound Design III
Sound System Design System Designer and Production Engineer for normal scale productions / Computerised sound systems programmer / Sound Operator for large scale productions Sound System Design II
Technical Direction Technical Director for normal scale productions / Assistant Technical Director for large scale productions Technical Direction Seminar I / Stage Technology Workshop / Scenic Construction Theory & Techniques I

Roles & Responsibilities

There are carefully defined job definitions for each student role when working on a production as well as assessment criteria to measure the ability of the student to fulfil the specified role.

The principle role for an EDT BFA 3/2 student is at an assistant level or as an an operator. (Lighting, Sound or Stage.) These roles introduce the student to the senior level roles as well as formalising skills learnt the previous year.

In the second Semester it is possible for the student to take on additional senior roles working on small scale productions and through the use of a Production Contract. These roles would be taken on ADDITIONALLY to the assigned production roles as part of Production Practice and provide the opportunity for the student to take on roles outside of their major study stream.

LX Design LX Tech SD Design SD Sys Design Tech Direction
Lighting Designer for normal scale productions Production Electrician for normal or large scale productions Sound Designer for normal scale productions System Designer and Production Engineer for normal scale productions Technical Director for normal scale productions
Assistant Lighting Designer for large scale productions Moving Light programmer Assistant Sound Designer for large scale productions Computerised sound systems programmer Assistant Technical Director for large scale productions
Lighting Board operator for large scale productions Sound Operator for large scale productions Sound Operator for large scale productions
A. LX Design Stream Information on Roles & Responsibilities
LX Design Stream Information

Students studying the final year of the Lighting Design stream, have the opportunity to take production roles as Lighting Designer for normal scale productions as well as the role of Assistant Lighting Designer for large scale productions. They can also choose Production Electrician roles on small scale productions using a Production Contract.

Lighting Designer for normal scale productions
  • 1. Through the use of lighting design, to enhance the performance on the stage and assist in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To use the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To produce all necessary drawings and cable schedules as required for the installation of the lighting/sound design.
  • 5. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 6. To manage the process of the production design or technical direction effectively and efficiently and also manage their team efficiently.
  • 7. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 8. Present information regarding the design concept, objectives and installation process at production meetings
  • 9. To solve problems and work with others in providing an effective solution.
  • 10. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 11. Attend all production meetings as necessary.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
  • 13. To identify and specify a personal objective that they would like to achieve whilst working on the production.
  • 14. To produce a written production report
Assistant Lighting Designer for large scale productions
  • 1. To work supportively and intuitively to assist the lighting/sound designer in developing the lighting/sound design for the production.
  • 2. To understand the artistic goals of the production, and to assist the lighting/sound designer to decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To assist in selecting the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To assist in producing all necessary drawings and cable schedules as required for the installation of the lighting/sound design.
  • 5. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 6. To assist in managing the process of the production design or technical direction effectively and efficiently and also manage their team efficiently.
  • 7. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 8. To assist in presenting information regarding the design concept, objectives and installation process at production meetings
  • 9. To solve problems and work with others in providing an effective solution.
  • 10. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 11. Attend all production meetings as necessary.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
B. LX Technology Stream Information on Roles & Responsibilities
LX Technology Stream Information

Students studying in the final year of the Lighting Technology stream, have the opportunity to take production roles as Production Electrician for normal or large scale productions as well as the role of Moving Light programmer and Lighting Board operator for large scale productions. They can also choose Lighting Design roles on small scale productions using a Production Contract.

Production Electrician for normal or large scale productions
  • 1. Through the use of managing the technical processes, support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To use the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To supply and coordinate all necessary technical drawings and schedules as required for the installation of the technical elements of the production.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To manage the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. Present information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary.
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
  • 14. To identify and specify a personal objective that they would like to achieve whilst working on the production.
  • 15. To produce a written production report.
Role of the Moving Light programmer
  • 1. To work supportively and intuitively with the lighting designer to operate all technical requirements during the performance in an artistic, supportive and efficient manner.
  • 2. To understand the artistic goals of the production, and to make constructive contributions to formulating and solving required operational tasks.
  • 3. To implement the instructions of from the Production Designer, Technical Director or Production Engineer/Electrician on the installation and strike of all technical equipment.
  • 4. To interact with other Departments in the installation and strike of all technical equipment.
  • 5. To attend rehearsal calls as necessary.
  • 6. To produce all necessary paperwork and cue sheets required for efficient operation.
  • 7. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 8. To assist in managing the process of the production operational requirements effectively and efficiently and also manage the team efficiently.
  • 9. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands (and requirements) of the role.
Role of the Lighting Board operator for large scale productions
  • 1. To work supportively and intuitively with the lighting designer to operate all technical requirements during the performance in an artistic, supportive and efficient manner.
  • 2. To understand the artistic goals of the production, and to make constructive contributions to formulating and solving required operational tasks.
  • 3. To implement the instructions of from the Production Designer, Technical Director or Production Engineer/Electrician on the installation and strike of all technical equipment.
  • 4. To interact with other Departments in the installation and strike of all technical equipment.
  • 5. To attend rehearsal calls as necessary.
  • 6. To produce all necessary paperwork and cue sheets required for efficient operation.
  • 7. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 8. To assist in managing the process of the production operational requirements effectively and efficiently and also manage the team efficiently.
  • 9. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands (and requirements) of the role.
C. SD Design Stream Information on Roles & Responsibilities
SD Design Stream Information

Students studying the final year of the Sound Design stream, have the opportunity to take production roles as Sound Designer for normal scale productions as well as the role of Assistant Sound Designer for large scale productions. They should also choose a Sound Operator role to fulfil the total number of reaquired credits. They can also choose Production Electrician roles on small scale productions using a Production Contract.

Role of the Sound Designer for normal scale productions
  • 1. Through the use of sound design, to enhance the performance on the stage and assist in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To use the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To produce all necessary drawings and cable schedules as required for the installation of the lighting/sound design.
  • 5. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 6. To manage the process of the production design or technical direction effectively and efficiently and also manage their team efficiently.
  • 7. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 8. Present information regarding the design concept, objectives and installation process at production meetings.
  • 9. To solve problems and work with others in providing an effective solution.
  • 10. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 11. Attend all production meetings as necessary.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
  • 13. To identify and specify a personal objective that they would like to achieve whilst working on the production.
  • 14. To produce a written production report.
Assistant Sound Designer for large scale productions
  • 1. To work supportively and intuitively to assist the sound desiger in managing the technical processes required to support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To assist in selecting the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To assist in the production of all necessary drawings patch lists and cable schedules as required for the installation of the Sound Design.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To assist in managing the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. To assist in presenting information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
Role of the Sound Operator
  • 1. To work supportively and intuitively with the sound designer to operate all technical requirements during the performance in an artistic, supportive and efficient manner.
  • 2. To understand the artistic goals of the production, and to make constructive contributions to formulating and solving required operational tasks.
  • 3. To implement the instructions of from the Production Designer, Technical Director or Production Engineer/Electrician on the installation and strike of all technical equipment.
  • 4. To interact with other Departments in the installation and strike of all technical equipment.
  • 5. To attend rehearsal calls as necessary.
  • 6. To produce all necessary paperwork and cue sheets required for efficient operation.
  • 7. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 8. To assist in managing the process of the production operational requirements effectively and efficiently and also manage the team efficiently.
  • 9. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands (and requirements) of the role.
D. SD System Design Stream Information on Roles & Responsibilities
SD System Design Stream Information

Students studying the final year of the Sound System Design stream, have the opportunity to take production roles as Sound Production Engineer for normal scale productions as well as the role of Assistant Sound Production Engineer for large scale productions. They should also choose a Sound Operator role to fulfil the total number of reaquired credits. They can also choose Sound Designer roles on small scale productions using a Production Contract.

Role of the Sound Production Engineer for normal scale productions
  • 1. Through the use of managing the technical processes, support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To use the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To supply and coordinate all necessary technical drawings and schedules as required for the installation of the technical elements of the production.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To manage the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. Present information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
  • 14. To identify and specify a personal objective that they would like to achieve whilst working on the production.
  • 15. To produce a written production report.
Role of Assistant Sound Production Engineer for large scale productions
  • 1. To work supportively and intuitively to assist the sound PE in managing the technical processes required to support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To assist in selecting the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To assist in the production of all necessary drawings patch lists and cable schedules as required for the installation of the Sound Design.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To assist in managing the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. To assist in presenting information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
Role of the Sound Operator
  • 1. To work supportively and intuitively with the sound designer to operate all technical requirements during the performance in an artistic, supportive and efficient manner.
  • 2. To understand the artistic goals of the production, and to make constructive contributions to formulating and solving required operational tasks.
  • 3. To implement the instructions of from the Production Designer, Technical Director or Production Engineer/Electrician on the installation and strike of all technical equipment.
  • 4. To interact with other Departments in the installation and strike of all technical equipment.
  • 5. To attend rehearsal calls as necessary.
  • 6. To produce all necessary paperwork and cue sheets required for efficient operation.
  • 7. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 8. To assist in managing the process of the production operational requirements effectively and efficiently and also manage the team efficiently.
  • 9. To work collaboratively with choreographers, directors, performers, producers, production managers, technical managers and other members of the production team.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands (and requirements) of the role.
E. Technical Direction Stream Information on Roles & Responsibilities
Technical Direction Stream Information

Students studying the Technical Direction Design stream, have the opportunity to take production roles as Assistant Technical Directors as well as the role of Technical Director for smaller scale productions.

Role of the Technical Director for normal scale productions
  • 1. Through the use of managing the technical processes, support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To use the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To supply and coordinate all necessary technical drawings and schedules as required for the installation of the technical elements of the production.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To manage the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. Present information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary.
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.
  • 14. To identify and specify a personal objective that they would like to achieve whilst working on the production.
  • 15. To produce a written production report.
Role of Assistant Technical Director for smaller scale productions
  • 1. To work supportively and intuitively to assist the Technical Director in managing the technical processes required to support the production design team in the delivery of the artistic message to the audience throughout the auditorium.
  • 2. To understand the artistic goals of the production, and decide on the equipment and technical systems that will best ensure that those goals are achieved.
  • 3. To assist in selecting the appropriate technology to fulfil the artistic goals and within budget.
  • 4. To assist in supplying and coordinating all necessary technical drawings and schedules as required for the installation of the technical elements of the production.
  • 5. To ensure that all equipment is booked from the Venue Technical Department and the EDT Department at least 2 weeks prior to the production fit up.
  • 6. To follow Academy Health and Safety policies and wear appropriate PPE as required.
  • 7. To assist in managing the process of the production technical design or technical direction effectively and efficiently and also manage their team efficiently.
  • 8. To work collaboratively with Choreographers, performers, producers, production managers, technical managers and other members of the production team.
  • 9. To assist in presenting information regarding the design concept, objectives and installation process at production meetings.
  • 10. To solve problems and work with others in providing an effective solution.
  • 11. Attend all calls as necessary from the first rehearsal through to the strike out and including all show calls.
  • 12. Attend all production meetings as necessary
  • 13. To demonstrate a commitment to the production, sense of responsibility and understanding of the demands and requirements of the role.

EDT Production Practice V & VI: Production Report

Assessment for the Production Report will based on the criteria listed below. Please follow the guidelines closely.

A. LX Design Production Report
LX Design Production Report

The Lighting Designers production report can be produced in conjunction with the Assistant Lighting Designer and Production Electrician. The report must be completed within 4 weeks from the end of the production.

  • Cover page;
  • Table of contents;
  • Research material on the playwright;
  • Research material on the script;
  • A brief synopsis of the story;
  • The Director’s approach;
  • The lighting design concepts;
  • The budget; A costing of the hire of all equipment used in the production;  (can be prepared by the Production Electrician)
  • The technical schedule; (can be prepared with the Production Eelectrician)
  • Production Diary: detailed daily diary covering the day of the set-up call to the day of the move-out call. Specify the date and the time period, and give details on the work done and what has happened within that time period; Problems encountered; equipment fault; personnel problem; etc.; (can be prepared with the Production Electrician)
  • Operator’s performance;
  • Crew evaluation forms;
  • Production evaluation;
  • Self appraisal.
B. SD Design Production Report
SD Design Production Report

The Sound Designers production report can be produced in conjunction with the Production Engineer. The report must be completed within 4 weeks from the end of the production.

  • Cover page;
  • Table of contents;
  • Research material on the playwright;
  • Research material on the script;
  • A brief synopsis of the story;
  • The Director’s approach;
  • The sound design concepts;
  • Use of sound effects / music;
  • The sound system design concepts; (can be prepared with the Production Engineer)
  • The signal flow diagrams, loudspeaker locations plans, illustrations;  (can be prepared by the Production Engineer)
  • The budget; A costing of the hire of all equipment used in the production;  (can be prepared by the Production Engineer)
  • The technical schedule; (can be prepared with the Production Engineer)
  • Production Diary: detailed daily diary covering the day of the set-up call to the day of the move-out call. Specify the date and the time period, and give details on the work done and what has happened within that time period; Problems encountered; equipment fault; personnel problem; etc.; (can be prepared with the Production Engineer)
  • Operator’s performance;
  • Crew evaluation forms;
  • Production evaluation;
  • Self appraisal.
C. Technical Direction Production Report
Technical Direction Production Report

The Technical Directors production report can be produced in conjunction with the Assistant Technical Director. The report must be completed within 4 weeks from the end of the production.

  • Cover page;
  • Table of contents;
  • Research material on the playwright;
  • Research material on the script;
  • A brief synopsis of the story;
  • The Director’s approach;
  • The technical schedule;
  • Production Diary: detailed daily diary covering the day of the set-up call to the day of the move-out call. Specify the date and the time period, and give details on the work done and what has happened within that time period; Problems encountered; equipment fault; personnel problem; etc.;
  • Operator’s performance;
  • Crew evaluation forms;
  • Production evaluation;
  • Self appraisal.

EDT Production Practice V & VI: Assessment

Production Practice work is reviewed by a variety of means including Departmental and School staff and by visiting professionals who come to the Academy to work on productions or to teach intensive workshops. The production supervisor after consultation with, other production personnel and student Lighting and Sound Designers and Technical Directors will award grades and assessments for production work. The final grade will be given for the total work completed by the students throughout each individual full production process.

Assessment Criteria Percentage
1 Craft Skills as a Designer/PE/TD 40%
2 Management Skills 10%
3 Communication Skills 8%
4 Problem Solving Skills 8%
5 Time Management Skills 8%
6 Personal Skills 8%
7 Student Objective 8%
8 Directors Grade 10%
9 Production Report 12%
Breakdown of the Assessment Criteria for a Designer/PE/TD
1. Craft Skills as a Designer/PE/TD

The student’s ability to perform and successfully complete the work of Lighting Designer, Sound Designer or Technical Director throughout the assigned production.

The student will demonstrate:

  • The application of research and the use of information in a variety of theoretical and practical forms.
  • The making constructive contributions to formulating and solving complex tasks.
  • The selection, categorisation and use of new information and sources, assessing its validity and relevance for specific projects.
  • Skills in the analysis and comparative study of the dramatic text and theatre performance.
  • Creativity and originality in the artistic components of the design/technical direction and use in the production.
  • Creativity and originality in the technical components of the design/technical direction and use in the production.
  • The overall effectiveness and suitability of the design for the production.
2. Management Skills

The student’s ability to manage the process of the production design or technical direction effectively and efficiently and also manage their team efficiently.

The student will demonstrate:

  • The ability to express ideas and commands clearly.
  • The ability to listen and respond to other people’s ideas.
  • Skills in interpersonal negotiation and group collaboration.
  • The ability to plan and prepare the sound design information for rehearsals and the production.
  • Developed organisational skills and basic process planning.
3. Communication Skills

The student’s ability to communicate well with the Director, all EDT team members, and other members of the production team.

The student will demonstrate:

  • The ability to express ideas clearly.
  • The ability to listen and respond to other people’s ideas.
  • Skills in interpersonal negotiation and group collaboration.
4. Problem Solving Skills

The student’s ability to solve problems and work with others in providing an effective solution.

The student will demonstrate:

  • The ability to recognise problems when they arise and prioritise the problems in order of importance to the production.
  • The understanding of the problem and the implication of the problem on the current situation.
  • The selection, categorisation and use of new information and sources, assessing its validity and relevance to solve necessary problems.
  • Decision making skills in the selection of the solution to the problem.
  • Implementation of the solution and verification that the chosen solution is working. The implementation of revised solutions if the original is not working.
5. Time Management Skills

The student’s ability to manage their time and to work efficiently during the production call time.

The student will demonstrate:

  • The scheduling of the EDT Crew’s time to fulfil all requirements as required./li>
  • The ability to prioritise work and tasks of the EDT Crew.
  • Punctuality and appropriate attendance of calls.
  • The ability to achieve all deadlines.
6. Personal Skills

The student’s commitment to the project, sense of responsibility and understanding of the demands (and requirements) of the job will be considered.

The student will demonstrate:

  • A positive attitude and commitment to the assigned role and the production
  • Flexibility and ability to adapt and make necessary changes.
  • A passion to the assigned role and to the production.
  • Confidence in fulfilling the assigned role and to the production.
7. Student Objective

The student will identify and specify a personal objective that they would like to achieve whilst working on the production. This will be assessed using the appropriate criteria selected from those above.

8. Director's Grade

The student will be assessed by the Procuction Direcor or Choreographer using the set criteria. The student is responsible for passing the Director/Chroeographer assessment form.

  • 1 Craft Skills as Designer or TD
  • 2 Management Skills
  • 3 Communication Skills
  • 4 Problem Solving Skills
  • 5 Time Management Skills
  • 6 Personal Skills
9. Production Report

The student is responsible for writing a a production report that reflects the students process and outcome for their role in the production. It should also compile information from the PE and Operator.

EDT Production Practice III & IV: Syllabus

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EDT Production Practice Assessment Forms

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EDT Production Practice Health & Safety

Theatres during the fitup period or strike of a production are VERY dangerous places, with the potetial of causing injury to anyone working in the space. Health and Safety is very important and no TEA student is allowed into a Production fit up or strike without having completed and passing the Theatre safety course. As the Lighting / Sound Designer or Technical Director you are responsible for the Health and Safety of your team. Take this role very seriously!

  • Equipment supplied for each production must be checked with a member of the technical staff both on collection and on return.
  • The moving of equipment from the Venue equipment stores to the Theatre should be undertaken with care and attention; wherever possible all items should be placed inside the flight cases provided.
  • The Lighing/Sound Designer should work with the Production Electrician/Engineer to plan the set-up period as carefully as possible. Discuss with the Technical Director and work with the other technical elements of the production.
  • Positioning of lighting, sound and staging equipment and and other equipment should be safe, stable and neat; safety chains or wires must be used on all suspended equipment.
  • Cables must be carefully and tidily installed both in backstage and auditorium areas; where possible, they should put into the cable duct, or follow the line of a wall or the edge of a floor, otherwise they should be run carefully and neatly and with regard to the position of scenery, other cables and passageways. All cables must be taped into place, whether running vertically or horizontally. Cables should be run above doorways wherever possible.
  • Communications equipment which is temporarily installed in the auditorium areas during the technical period must be positioned on a working surface and should on no account be left on the floor. All cables in the auditorium should be securely taped down at all times.
  • Any equipment placed in backstage or public areas should be positioned so that controls, protruding connectors or other accessible components are protected or covered; surplus cables terminating in these areas should be coiled and stored neatly.
  • Labelling of all interconnecting cables, amplifier panels and signal processors should be clear and well-attached, preferably using white PVC or drafting tape and permanent marker.
  • Communications beltpacks, cue light boxes and video monitors should be carefully and securely positioned, especially in backstage areas; particular care should be taken where space is limited or light-levels are low. Power feeds for video, sound or communication equipment must be taken from approved sound or independent outlets. No items should be placed on top of sound or video equipment in backstage areas, and any items left in such a position should be removed.
  • If cable or equipment is placed in a position where it may form a partial obstacle to a passageway, it should be clearly marked with white tape along its leading edge.
  • Equipment which is rack-mounted must NOT be removed from or repositioned in its enclosure without authorisation from the Senior Sound Technician in the Venues Department.
  • No food or drink may be brought into any auditorium or on to any stage at any time. Smoking is forbidden in all areas of all Theatres.
  • Control room areas should be kept clean and tidy at all times during technical and performance periods. Food and drink are not allowed in the control rooms. During rehearsals or performances control room areas should be quiet.
  • Damage or loss must be reported to the Venue staff and the production Supervisor as soon as it is discovered; all incidents of damage or loss should also be entered in the fault Log Book provided in the control room.
  • Student Production Designers and Technical Directors are asked to keep the Production Supervisor informed of all details pertaining to their production.
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