GC4: Colour call
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Colour calls provide information to lighting technicians about the gels needed for a rig, including the gel number, name, intended light source, purpose of the light, and total number of gels required. The gel code column matches gel numbers to specific colours. The name column identifies gel names and colours. The light column specifies what type of light fixture a gel frame is for. The aim column outlines what lights will be used for, helping with programming and focusing. The total number column indicates how many gels of a certain type are needed.
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Focus notes 
Focus notes are used during rigging and focusing for performances to organize the order and placement of lights. The notes include the channel, socket, lantern, and focus for each light to help riggers install lights efficiently and focusers know where to direct each light. However, the initial focusing notes proved too basic, still requiring input from acts and designers on light placement.
Unit 65: Technical stage operations (Lighting)
This document provides information on various types of stage lighting instruments. It discusses parcans, LED parcans, minuette profiles, source fours, pin spots, birdies, floodlights, and different types of fresnels including PC, selecon, CCT, and 1K scena lights. For each type of instrument, it describes common accessories, intended uses, and beam angle. It also provides examples comparing different lights and explaining which would be best for scenarios like a music gig, isolating an actor, or providing back lighting.
Stepbystep guide
1) The document provides a 10 step guide to setting up a sound desk, including gathering equipment, plugging everything into power sources, connecting the sound desk to speakers and a sound source, turning everything on, adjusting levels and EQ settings.
2) Key steps include connecting the sound desk to speakers using XLR cables, connecting a sound source like a CD player to the desk using a phono lead, turning the sound desk on before other equipment to avoid speaker popping, and adjusting gain levels and panning settings.
3) The final steps cover setting the master volume, adjusting speaker and desk volumes, and fine-tuning the equalization settings to improve the sound quality coming from the speakers.
Unit 65 – technical stage operations lighting
The document provides information on various types of stage lighting instruments. It describes the key features and common uses of parcans, LED parcans, fresnel lights including CCT, PC, Selecon and 1K, flood lights, and birdie lights. For each instrument, it provides details on accessories, bulb type, beam angle, and examples of when each type would be suitable to use.
Focus notes
Focus Notes list the position of every light in the rig to provide instructions on how to manipulate the lights to suit the space and show. Without focus notes, it would be difficult to fix the lights into positions that work for the performance. Focus Notes are essential as they record the lighting designer's vision for how each light should be positioned.
Check list 1
This document contains a checklist for inspecting lighting, sound, and projection equipment before an event. It lists items to check such as ensuring safety chains are attached to lights, lights are assembled properly, the correct number of lights are set up, the lighting desk and dimmers are connected and powered on, G-clamps are securely fastened, all necessary sound equipment and leads are present and connected to the sound desk, and the projector and required cables are available and properly connected. For each item, the checklist specifies what to check and provides a yes/no field to record the results.
Cue sheets
Cue sheets are used in rehearsals to plan lighting routines for shows, allowing operators during performances to simply press "Go" and minimize the chances of activating the wrong lights. This particular cue sheet specifically relates to drama exams for the AS level.
Lighting plan
The lighting plan shows where the lighting designer has positioned lights. This particular lighting plan shows the positions of lights for an AS Drama exam. It provides the essential information of lighting positions in a concise 3 sentence summary.
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Focus notes
Focus notes are used during rigging and focusing for performances to organize the order and placement of lights. The notes include the channel, socket, lantern, and focus for each light to help riggers install lights efficiently and focusers know where to direct each light. However, the initial focusing notes proved too basic, still requiring input from acts and designers on light placement.
Unit 65: Technical stage operations (Lighting)
This document provides information on various types of stage lighting instruments. It discusses parcans, LED parcans, minuette profiles, source fours, pin spots, birdies, floodlights, and different types of fresnels including PC, selecon, CCT, and 1K scena lights. For each type of instrument, it describes common accessories, intended uses, and beam angle. It also provides examples comparing different lights and explaining which would be best for scenarios like a music gig, isolating an actor, or providing back lighting.
Stepbystep guide
1) The document provides a 10 step guide to setting up a sound desk, including gathering equipment, plugging everything into power sources, connecting the sound desk to speakers and a sound source, turning everything on, adjusting levels and EQ settings.
2) Key steps include connecting the sound desk to speakers using XLR cables, connecting a sound source like a CD player to the desk using a phono lead, turning the sound desk on before other equipment to avoid speaker popping, and adjusting gain levels and panning settings.
3) The final steps cover setting the master volume, adjusting speaker and desk volumes, and fine-tuning the equalization settings to improve the sound quality coming from the speakers.
Unit 65 – technical stage operations lighting
The document provides information on various types of stage lighting instruments. It describes the key features and common uses of parcans, LED parcans, fresnel lights including CCT, PC, Selecon and 1K, flood lights, and birdie lights. For each instrument, it provides details on accessories, bulb type, beam angle, and examples of when each type would be suitable to use.
Focus notes
Focus Notes list the position of every light in the rig to provide instructions on how to manipulate the lights to suit the space and show. Without focus notes, it would be difficult to fix the lights into positions that work for the performance. Focus Notes are essential as they record the lighting designer's vision for how each light should be positioned.
Check list 1
This document contains a checklist for inspecting lighting, sound, and projection equipment before an event. It lists items to check such as ensuring safety chains are attached to lights, lights are assembled properly, the correct number of lights are set up, the lighting desk and dimmers are connected and powered on, G-clamps are securely fastened, all necessary sound equipment and leads are present and connected to the sound desk, and the projector and required cables are available and properly connected. For each item, the checklist specifies what to check and provides a yes/no field to record the results.
Cue sheets
Cue sheets are used in rehearsals to plan lighting routines for shows, allowing operators during performances to simply press "Go" and minimize the chances of activating the wrong lights. This particular cue sheet specifically relates to drama exams for the AS level.
Lighting plan
The lighting plan shows where the lighting designer has positioned lights. This particular lighting plan shows the positions of lights for an AS Drama exam. It provides the essential information of lighting positions in a concise 3 sentence summary.
Step by step guide on how to use
This document provides a checklist for inspecting equipment in a drama studio before use. It lists items to check for lights, sound, and projection including ensuring the correct number of lights, safety chains on lights, lights rigged correctly, lighting desk connected and powered properly, all sound equipment plugged in correctly including the sound desk, and projection equipment and connections checked including laptop, projector, and cables. It advises notifying technicians if any equipment is missing or issues are found.
Cutting a gel frame
Cutting gel frames is important to get the right color for lighting needs, as gels come in one standard size and may need trimming to fit larger lights. The color call, or specification, helps determine which gel is required and if it will need cutting to ensure it is not too small for the light.
Inventory of the drama studio
The document is an inventory checklist for a drama studio, listing equipment such as a laptop, projector, speakers, CD player, dimmer pack, and stage lights that should be present. Staff are instructed to check off each item on the list when inspecting the room and note any missing equipment, reporting issues to the performing arts technician located in the back office.
Focusing a fresnel
Focusing a light is an important production skill that involves adjusting the position of a rigged light using a tallescope to ensure it illuminates the stage space as desired by the lighting designer.
Unit 65 lighting powerpoint
1. The document discusses different types of lighting equipment used in stage productions, including Parcans, LED Parcans, Pc lights, CCT Fresnels, Selecons, Scena 1Ks, Floodlights, Birdies, Pinspots, Source 4s, and Minuette profiles.
2. For each type of light, it describes the accessories, beam angle, wattage, and common uses. Scenarios are provided explaining which lights would be best suited for different lighting effects and purposes.
3. The key lights discussed are Parcans for wide coverage, LED Parcans for color changing, Pcs and Selecons for washes, 1Ks for backlighting
Colour call
The document discusses the importance of a colour call, which lists the colours of lights available in a rig. A colour call allows one to check if a specific colour light is available for use. This particular colour call relates to drama exams that were produced.
Rigging and focusing lighting evaluation
The lighting evaluation summarizes rigging and focusing lights for a drama examination. It found that lights were rigged on time according to the design plan, and each section was equally focused, but the design had problems with some areas not illuminated and lights spilling over edges. For next time, it recommends better focus notes since actors were partially lit, and allowing room for more lights to fully illuminate the stage edges.
Rigging a fresnel
Rigging lights is important for proper stage lighting and requires attention to health and safety. Lights must be rigged to hang in designated positions around the stage. It is crucial to ensure clamps are tight and safety chains are always attached to prevent lights from falling in the event of a clamp failure and endangering performers below, as well as preventing light damage from falls.
On the lighting desk
The lighting desk allows the operator to program and operate lights for cues by entering a 'Program' mode where lights can be turned on as needed for each cue. The desk also allows the operator to set lights to a specific percentage, such as entering '001-100@65ENTER' which would set lights 1-100 to 65% brightness.
Step by step guide
This document provides a 14-step guide for ensuring that lighting equipment in a drama studio is properly set up and functioning correctly. It outlines steps for checking that fixtures have safety chains, clamps, gel frames, and barn doors installed. It also includes steps for ensuring the dimmer control box and lighting desk are powered on and connected. The final steps cover troubleshooting non-functioning lights by checking connections and taking non-working lights to a technician.
Unit 66 stage lighting operations rigging and focusing evaluation
The document summarizes the speaker's experience helping to rig and focus stage lighting for a drama performance. They had to take detailed notes on the lighting plan, ensure each light was properly secured and facing the right direction during rigging. While focusing, the speaker had to adjust each light to match the lighting designer's notes and instructions. They also helped test lights by standing in the spotlights. Overall, the rigging and focusing went smoothly due to teamwork, though timings could have been better and lights checked more thoroughly before rigging.
Stage lighting powerpoint
The document summarizes different types of stage lighting equipment used in production arts, including par cans, LED par cans, source four spotlights, minuette profiles, pebble convex fresnels, CCT fresnels, selecon fresnels, 1K fresnels, flood lights, birdie lights, and pin spots. For each light, it describes accessories, beam angle, function, a comparison to another light, and an example scenario where it would be used.
Lighting portfolio
This document provides information on various types of stage lighting instruments, including their accessories, common uses, and beam angle ranges. It describes parcans, LED parcans, CCT/fresnels, Source Four spotlights, Minette profiles, 1k Scenas, Selecons, pebble convex lights, birdies, pinspots, and flood lights. For each light, it provides a short example of when it would be used over another type of instrument for a given theatrical application.
Lighting Design For Amateur Theatre
This document provides an overview of stage lighting equipment, principles, and methods. It describes common lighting fixtures like floods, profiles, fresnels, and par cans. It explains basic lighting design concepts such as lighting areas, blending, and the McCandless method of lighting actors and surroundings. Stage lighting aims to illuminate the stage, reveal forms, focus attention, set mood, indicate location/time, and complement sets/costumes.
Lighting portfolio
The document describes different types of lighting equipment used in stage productions, including their accessories, purposes, and beam angles. It provides examples of when each type of lighting equipment would be preferred over another for specific applications, such as using a Par can for general coverage at a music gig, an LED Par can for changing colors, a PC for soft-edged spot lighting, a Selecon for general washes due to its wide beam angle, and a Source Four for isolating an actor with its focused, defined beam.
Original Record System
The inventory list of the DramaStudio includes a Toshiba laptop, projector and powered speakers, CD player, Ipod lead, dimmer pack, lighting desk, and 10 CCT Minuette Fresnels with gel frames for lighting equipment.
GC3: Installing Equipment
To maintain the lighting equipment:
1. Ensure the lighting desk and all cables are properly plugged in but not yet powered on.
2. Switch on the dimmer switches and any LED or moving lights separately.
3. Power on the lighting desk and test the lights; if any lights don't work, check the master controls are raised.
4. Visually inspect the rig for safety and that lights are securely mounted before powering on. Check for issues like loose lamp trays and report any faults to technicians.
GC2: Carrying out maintenance
The light on a CCT Fresnel was not working, so the document author unscrewed the lap tray to investigate further. Upon inspection of the bulb by removing the lap tray, the author discovered that the bulb was broken and needed replacing for the light to function properly again.
Lighting Portfolio and Checklist
The document provides information on various types of stage lighting equipment, including parcans, LED parcans, Pc lights, CCT fresnels, selecons, scena 1Ks, floodlights, birdies, pinspots, and source 4 lights. For each light, it lists common accessories, beam angle, wattage, lens type, and provides an explanation of typical uses and scenarios where each light may be used or not used. Checklists of safety steps are also provided for each light type when using or returning the equipment.
GC5: Evaluation (High School Musical)
The document evaluates the set design for "High School Musical" that the author was responsible for. Some key strengths included fitting the social context of the school focusing on basketball, using appropriate trophies, and including basketball equipment to show the school's bias toward sports. Lockers were divided to identify different social groups. Minor weaknesses included crash mats under the stage that stood out. Overall the set successfully incorporated both geographical and social context of the school.
GC4: Product Explanation (high school musical)
The document describes the production of a trophy cabinet built for the film "High School Musical". The cabinet was chosen because trophy cabinets are common in American high schools and fit the context of the school depicted in the film, which has a rich basketball history. The cabinet was constructed using a wooden frame with planks attached, then screwed together for strength given the large size and thick wood. Long pieces of perspex were screwed onto the frame to display trophies without additional screws. Finally, it was painted red to match the color scheme of the school.
Material List for High School Musical
The document discusses props and sets needed for a school production and where they can be obtained. It lists vending machines, a trophy cabinet, drama posters, science posters, red and white flats, and sign-up sheets. For most items, it suggests making them ourselves or borrowing from other sources. The reasons given for each prop relate to details mentioned in the script about the high school setting and activities taking place.
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Step by step guide on how to use
This document provides a checklist for inspecting equipment in a drama studio before use. It lists items to check for lights, sound, and projection including ensuring the correct number of lights, safety chains on lights, lights rigged correctly, lighting desk connected and powered properly, all sound equipment plugged in correctly including the sound desk, and projection equipment and connections checked including laptop, projector, and cables. It advises notifying technicians if any equipment is missing or issues are found.
Cutting a gel frame
Cutting gel frames is important to get the right color for lighting needs, as gels come in one standard size and may need trimming to fit larger lights. The color call, or specification, helps determine which gel is required and if it will need cutting to ensure it is not too small for the light.
Inventory of the drama studio
The document is an inventory checklist for a drama studio, listing equipment such as a laptop, projector, speakers, CD player, dimmer pack, and stage lights that should be present. Staff are instructed to check off each item on the list when inspecting the room and note any missing equipment, reporting issues to the performing arts technician located in the back office.
Focusing a fresnel
Focusing a light is an important production skill that involves adjusting the position of a rigged light using a tallescope to ensure it illuminates the stage space as desired by the lighting designer.
Unit 65 lighting powerpoint
1. The document discusses different types of lighting equipment used in stage productions, including Parcans, LED Parcans, Pc lights, CCT Fresnels, Selecons, Scena 1Ks, Floodlights, Birdies, Pinspots, Source 4s, and Minuette profiles.
2. For each type of light, it describes the accessories, beam angle, wattage, and common uses. Scenarios are provided explaining which lights would be best suited for different lighting effects and purposes.
3. The key lights discussed are Parcans for wide coverage, LED Parcans for color changing, Pcs and Selecons for washes, 1Ks for backlighting
Colour call
The document discusses the importance of a colour call, which lists the colours of lights available in a rig. A colour call allows one to check if a specific colour light is available for use. This particular colour call relates to drama exams that were produced.
Rigging and focusing lighting evaluation
The lighting evaluation summarizes rigging and focusing lights for a drama examination. It found that lights were rigged on time according to the design plan, and each section was equally focused, but the design had problems with some areas not illuminated and lights spilling over edges. For next time, it recommends better focus notes since actors were partially lit, and allowing room for more lights to fully illuminate the stage edges.
Rigging a fresnel
Rigging lights is important for proper stage lighting and requires attention to health and safety. Lights must be rigged to hang in designated positions around the stage. It is crucial to ensure clamps are tight and safety chains are always attached to prevent lights from falling in the event of a clamp failure and endangering performers below, as well as preventing light damage from falls.
On the lighting desk
The lighting desk allows the operator to program and operate lights for cues by entering a 'Program' mode where lights can be turned on as needed for each cue. The desk also allows the operator to set lights to a specific percentage, such as entering '001-100@65ENTER' which would set lights 1-100 to 65% brightness.
Step by step guide
This document provides a 14-step guide for ensuring that lighting equipment in a drama studio is properly set up and functioning correctly. It outlines steps for checking that fixtures have safety chains, clamps, gel frames, and barn doors installed. It also includes steps for ensuring the dimmer control box and lighting desk are powered on and connected. The final steps cover troubleshooting non-functioning lights by checking connections and taking non-working lights to a technician.
Unit 66 stage lighting operations rigging and focusing evaluation
The document summarizes the speaker's experience helping to rig and focus stage lighting for a drama performance. They had to take detailed notes on the lighting plan, ensure each light was properly secured and facing the right direction during rigging. While focusing, the speaker had to adjust each light to match the lighting designer's notes and instructions. They also helped test lights by standing in the spotlights. Overall, the rigging and focusing went smoothly due to teamwork, though timings could have been better and lights checked more thoroughly before rigging.
Stage lighting powerpoint
The document summarizes different types of stage lighting equipment used in production arts, including par cans, LED par cans, source four spotlights, minuette profiles, pebble convex fresnels, CCT fresnels, selecon fresnels, 1K fresnels, flood lights, birdie lights, and pin spots. For each light, it describes accessories, beam angle, function, a comparison to another light, and an example scenario where it would be used.
Lighting portfolio
This document provides information on various types of stage lighting instruments, including their accessories, common uses, and beam angle ranges. It describes parcans, LED parcans, CCT/fresnels, Source Four spotlights, Minette profiles, 1k Scenas, Selecons, pebble convex lights, birdies, pinspots, and flood lights. For each light, it provides a short example of when it would be used over another type of instrument for a given theatrical application.
Lighting Design For Amateur Theatre
This document provides an overview of stage lighting equipment, principles, and methods. It describes common lighting fixtures like floods, profiles, fresnels, and par cans. It explains basic lighting design concepts such as lighting areas, blending, and the McCandless method of lighting actors and surroundings. Stage lighting aims to illuminate the stage, reveal forms, focus attention, set mood, indicate location/time, and complement sets/costumes.
Lighting portfolio
The document describes different types of lighting equipment used in stage productions, including their accessories, purposes, and beam angles. It provides examples of when each type of lighting equipment would be preferred over another for specific applications, such as using a Par can for general coverage at a music gig, an LED Par can for changing colors, a PC for soft-edged spot lighting, a Selecon for general washes due to its wide beam angle, and a Source Four for isolating an actor with its focused, defined beam.
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Unit 66 stage lighting operations rigging and focusing evaluation
Unit 66 stage lighting operations rigging and focusing evaluation
More from Joe_Roberts97
Original Record System
The inventory list of the DramaStudio includes a Toshiba laptop, projector and powered speakers, CD player, Ipod lead, dimmer pack, lighting desk, and 10 CCT Minuette Fresnels with gel frames for lighting equipment.
GC3: Installing Equipment
To maintain the lighting equipment:
1. Ensure the lighting desk and all cables are properly plugged in but not yet powered on.
2. Switch on the dimmer switches and any LED or moving lights separately.
3. Power on the lighting desk and test the lights; if any lights don't work, check the master controls are raised.
4. Visually inspect the rig for safety and that lights are securely mounted before powering on. Check for issues like loose lamp trays and report any faults to technicians.
GC2: Carrying out maintenance
The light on a CCT Fresnel was not working, so the document author unscrewed the lap tray to investigate further. Upon inspection of the bulb by removing the lap tray, the author discovered that the bulb was broken and needed replacing for the light to function properly again.
Lighting Portfolio and Checklist
The document provides information on various types of stage lighting equipment, including parcans, LED parcans, Pc lights, CCT fresnels, selecons, scena 1Ks, floodlights, birdies, pinspots, and source 4 lights. For each light, it lists common accessories, beam angle, wattage, lens type, and provides an explanation of typical uses and scenarios where each light may be used or not used. Checklists of safety steps are also provided for each light type when using or returning the equipment.
GC5: Evaluation (High School Musical)
The document evaluates the set design for "High School Musical" that the author was responsible for. Some key strengths included fitting the social context of the school focusing on basketball, using appropriate trophies, and including basketball equipment to show the school's bias toward sports. Lockers were divided to identify different social groups. Minor weaknesses included crash mats under the stage that stood out. Overall the set successfully incorporated both geographical and social context of the school.
GC4: Product Explanation (high school musical)
The document describes the production of a trophy cabinet built for the film "High School Musical". The cabinet was chosen because trophy cabinets are common in American high schools and fit the context of the school depicted in the film, which has a rich basketball history. The cabinet was constructed using a wooden frame with planks attached, then screwed together for strength given the large size and thick wood. Long pieces of perspex were screwed onto the frame to display trophies without additional screws. Finally, it was painted red to match the color scheme of the school.
Material List for High School Musical
The document discusses props and sets needed for a school production and where they can be obtained. It lists vending machines, a trophy cabinet, drama posters, science posters, red and white flats, and sign-up sheets. For most items, it suggests making them ourselves or borrowing from other sources. The reasons given for each prop relate to details mentioned in the script about the high school setting and activities taking place.
GC3 Working With Others (High School Musical)
Within their group, the student was responsible for designing the corridor section of the set for a production of "High School Musical". After initially considering including a vending machine and trophy cabinet, the student worked with the set designer to refine the design, removing the vending machine due to cost and space concerns. They instead displayed trophies on top of lockers to symbolize the school's athletic success and fit with the social context of the story.
GC4 Product Explanation (In The Heights)
We had to build flats from scratch for the set of "In The Heights" because there were not enough backstage. First, we constructed a wooden frame to support the flat. Then, we cut a piece of chipboard with a jigsaw to cover the frame and create a flat surface, using chipboard to reduce costs. Finally, we painted the flat and attached an A-frame before installing it on scaffolding to keep it upright.
Sponsored cardioathlon doc.
Artsiom Ramazanau and his classmates are raising money to provide humanitarian support to orphans and families in Moldova. They plan to travel there next year to purchase basic goods like diapers and rice that these children lack. They will also visit orphanages to play with and give attention to the children. As part of fundraising, Artsiom will do a "Cardioathlon" by cycling 5.7 miles and then running 1.8 miles, and is seeking sponsors. The event will take place on July 15th starting at 10am, with the cycling route from his house to his brother's high school and back, followed by a running route around the neighborhood.
GC5 Evaluation
The document summarizes the creation of a flat for the set of the musical "In the Heights". The flat was designed to look like an apartment in the Washington Heights neighborhood of New York City. Key details included dirtying the flat with dark paint to portray the poor community and using polystyrene bricks and adhesive to give the illusion of brick walls. While the set captured the vibrant yet run-down social context of the neighborhood, improvements could be made to the adhesive and painting process to avoid material waste and mess.
GC3: Working With Others
The student helped build the set for a stage production of "In the Heights". Their group was responsible for the upper deck of stage right, consisting of 5 flats meant to look like 2 apartments in Washington Heights, New York. The student's flat was closest to the bridge. They designed their flat to look old, battered, and dirty to match the setting of the suburbs of New York in the 1990s. Fire escapes were added to 3 of the flats to be historically accurate and reflect the South American community portrayed in the play.
GC1: Job Roles in the Production Arts industry
The document outlines various job roles in production arts industries and describes the typical tasks and responsibilities of each role. These include stage manager, front of house manager, sound designer, lighting designer, sound operator, lighting operator, costume mistress, assistant costume mistress, deputy stage manager, props mistress, and assistant props mistress. For each role, 3-4 key responsibilities or tasks are listed.
In the heights initial ideas
The flags of Mexico and the Dominican Republic are on the top deck, representing two countries from Central and South America. However, Mexico is in North America, while the Dominican Republic is in the Caribbean. The flags resemble the mixed ethnicity of the characters in the play.
in the heights initial ideas
The top deck of something displays flags from Mexico and the Dominican Republic, which are two countries located in Central and South America, not South America. This visual representation resembles the mixed ethnicity of the characters portrayed in a play.
Sound operation
This document discusses screenshots from a mixing console showing the preparation and editing of audio tracks for a live show. The tracks and fade cues are color-coded for easy identification. Cue notes are added to tracks to indicate when they should play. Issues like a track not playing are troubleshooted and resolved, such as ensuring a fade down cue fades the track all the way down. The tracks are inputted from a folder and then ordered, edited and levels are set before the show begins.
Material list for in the heights
The document discusses materials needed for different elements of a set design for a play. It describes needing a trash can, bin liners, drainpipes, ivy, and various paint colors for graffiti in Act 1. Flowers, a window box, door numbers, moss, washing lines, pegs, sugar paper, and clothes are needed to portray the run-down neighborhood and represent characters from South America. Wood will be used to construct a fire escape mentioned in Act 2 scene 2.
Independent research task
The document provides a synopsis and context for the musical "In the Heights". It summarizes that the musical is set in Washington Heights, Manhattan and focuses on the residents of the neighborhood, including bodega owner Usnavi who dreams of escaping to the Dominican Republic. It also provides details on the musical numbers, characters, and plot which follows the characters dealing with struggles of daily life and their dreams for the future over the course of a hot summer day during a blackout.
Gc4 safe working practice
This document discusses safe working practices for stage equipment. It describes a stage weight being used to weigh down a boom so it would not topple over, ensuring safety. It also shows wires being taped down with black tape on booms and black or white tape on the floor, depending on the area, to secure wires and make any hazards clear, further promoting safe working conditions.
Gc3. carrying out my role
As a lighting technician, some of the key roles shown in the document include focusing lights according to the lighting designer's plan, consulting with the technical manager during equipment setup, being experienced with lighting equipment like dimmer packs and cables, and rigging lights safely which demonstrates technical abilities.
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আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
The simplified electron and muon model, Oscillating Spacetime: The Foundation...
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
A Strategic Approach: GenAI in Education
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The History of Stoke Newington Street Names
Presented at the Stoke Newington Literary Festival on 9th June 2024
www.StokeNewingtonHistory.com
Assessment and Planning in Educational technology.pptx
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
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