Theatre Feed

Video Help Desk for your Digital Events

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I have been on HelpDesk duty today.

With multiple-sessioned events like festivals, across multiple platforms for attendees, guests, speakers, performers and crew the thing that is painfully absent with digital and its zeros and ones is the corridors, the greenroom, the watercooler, the bar and the liminal spaces.

The space between the spaces.

QuiQuo do this well and event wrappers have potential to accommodate this but to date these wrappers have been outside my budget and production timescale. Digital Stagemanagement and the production consulting tend to be too late in the precession for me to augment in these options. 

A single help desk is the first step. It becomes an anchor point between physical and digital in-person encounters. It’s a point of real present. This I can do with Whereby. I have 10 rooms some are on loan to groups and some like this help desk for SparkFestival is a special hosting.

This was my toolset today

  • Whereby - a super simple easy access for first time tech shy audiences. I settled on this platform prior to COVID when another app to download or service to sign up to was enough to stifle or demotivate any engagement.
  • Splashtop xDisplay - connects a second device to enable monitoring while focusing on your main screen.
  • iPad as a second screen with xDisplay - an old iPad 2 connects to extend your desktop. I use this on a stand on my desk for ficus timer and for general social media and news notifications. 

Finally I have 2 documents prepared specifically for this help desk. A festival reference with all the info including ticket links and zoom access links to each performance or workshop and a intro guide to Whereby as a help desk including a outline of the visitor experience.

  1. Helpdesk document - Festival Programme (private document not available to share)
  2. Helpdesk document - How To for team staffing - http://bit.ly/pcm-helpdesk-sparkfestival

This service is integral to my Extended The Audience offering when compiling extended audience packages. If you want to know more please get in touch.

I must also thank Alison Rouse who staffed the majority of the sessions enabling me to focus on the main digital auditorium as Zoom controller throughout the opening days of the festival.


Note To Self - 01

New thing learnt today.

Zoom closed captions using Otter can be turned on or off but not while sharing your screen.

Why did I find this out?

Today’s Sketchbook of Vital Ideas event today one of the videos being screened contained baked in subtitles. The artist asked if the auto generated caption could be paused. I checked and Yes.

Time came and I shared the video. All good. It was playing and the chat was quiet so I turned to pausing the captions only to discover in screen-share mode there was no CC access on the toolbar.

I only remembered this when the second video was screened and I was already in screen-share mode!

Note to self. In future if captions need to be paused. Add this as an action before actioning the screen-share.

Otter transcription and closed captions - 1 month free with code OTTER_TRIAL https://otter.ai/referrals/O598JJY5

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Digital Stagemanager’s Zoom checklist

#SparkFestival

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Audience checklist
Everything you want to know to get the most from the SparkFestival experience.

Festival Brochure - Everything to apply the audience checklist to!

Then there is my behind the scenes checklist to make my job smooth primarily for my own sanity but ultimately for a smooth audience experience.

My Digital Stage Management (when using Zoom)Barebones Check List

  • Holding - title slide (proverbial house tabs!)
  • Music - as the audience enter and settles
  • Activate Otter captions/transcription - plug in service on Zoom for on screen auto generating subtitles
  • Continuity announcement - Greetings, CC, get the best, SafeSpaces, looking after chat, Welcome.
  • Co-Host - back-up connected host incase DigiSM interwebs break
  • The half - 30 mins before opening the zoom space / admitting attendees from the waiting room to check all present and correct.
  • Hiding Non Participants - with zoom meetings when audience cameras are off hiding the blank video windows tidys up the host view and recorded media captured.
  • Waiting Room - before all is set it’s nice not having the audience wander in before ready to start. Camera off, waiting in the proverbial wings!
  • Clearance - Audience in and ready to roll. The message messaged to indicate the music will fade and curtain (holding slide) with raise.
  • Announcement & pre-show roll - The branding and bumper bits for consistency and polish.Emergency monitoring - Just in case bad things happen with the hosting connection a standby procedure should be prepared. A technical difficulty virtual background for the co-host or a slide.
  • Chat Monitoring - if bad stuff posted in chat and a keen eye must be directed on the chat. Engagement can be established here too. Call and response, Questions for the guests?
  • Show/Event ends - a plan for the end of the show
  • Post-show Play-out - Goodbye and thank you while the on screen talent waits in the wings for the audience to leave.
  • Closedown - when the audience leaves the curtain falls. An audience can stay and chat but eventually you have to end the party!

Part of the producing part of my job is creating on brand screen assets. For Spark that’s static title slides and animated pre and post show bumper videos. I produced the audio track with 2 children Max and Addi and thier Mum. They were amazing.

Pre-show reel

Post-show reel




Closed Captions the easy way with Zubtitles

One good imperative to come from online events, meetings, performances and conferences precipitated by the Covid pandemic is the recognition that accessibility online is not only respectful and supremely possible but opens doors to previously excluded audiences.

Audiences as entire communities. Communities have cohesive dialogue. Provision before attendance must be in balance.

Closed Captions are the most prevalent support for access. Attention for the provision need the allocation of resources and time. 

For real time transcription and subtitles I use Otter. For captioning I have discovered Zubtitles. Brilliant. Styled and baked onto videos or generate srt files slit timed to perfection to upload to video hosting. 

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https://zubtitle.com/?via=caron

Referal code - ICH027

Yes it’s true captions enable videos to be watch on mute but for those needing the facility for access it’s an overture of equality. It’s an even playing field.

I have started including voicing readings of the newsletters I produce for Equity’s Online Branch. I will include them in my own.

I would like to learn British Sign Language too. I am looking to establish connection to include sign interpretation on projects in the future. It’s only with these provision supports in place can the communities participate with ease.

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Zoom in music mode.

I am a reluctancy user of Zoom for professional purposes. But since the first lockdown Zoom has stepped unto the plate in terms of developing the necessaries to improve the audience experience as well as improve the way we manage the technical delivery of Zoom beyond its intended function of a meeting platform.

The biggest step has been in managing audio. The nature of the internet does mean latency, the speed data varies being sent and received, differs between connections so sycronising music where singing or play back is needed simultaneous at the receiving end is hard and pretty much impossible in many cases the more receiving points are expected.

The biggest challenge is instructing Zoom not to process sound on our behalf. By default zoom intelligently processes the noise in our immediate environment reducing background sounds and focusing on the human voice.

Playing instruments, playing music and talking while playing music in fitness or dance classes plays havoc with zoom. Zoom settings are not always easy to access or should I say easy to cover as they reside in several locations and some cascade while others set president.

This is the most comprehensive video I have found to date. Zoom updates and moves items while only revealing others once remote settings have been activated! Oh yeah that’s a thing!

Zoom High Fidelity Music Mode for Online Music Lessons

Extract from the video show notes. 

Be sure to read them in full and subscribe to The Music Repo channel.

“Zoom now has High Fidelity Music Mode! Zoom have recently released a new update with enhanced audio settings for musicians. Discover how to set up Zoom for teaching music using the new High Fidelity Music Setting.”

This video is a complete update on Jane’s previous video on how to set up Zoom in Music Mode, and includes some brand new sections and information based data and feedback and FAQs from here community.

She even provides time stamps to help viewers navigate the video.

00:00 Intro

02:05 Zoom Desktop Client Settings

07:28 How to share audio files, computer sound and music streams in Zoom

08:32 How to set up Zoom for Stereo Audio

10:43 Zoom Mobile App Settings

11:24 Zoom latency and sync issues - live collaboration is not possible in Zoom, but there are some other strategies you could use instead


After watching and learning so much from the channel it was from this Zoom audio video I discovered her proximity to Nottingham. I can’t wait for lock down to end so I can buy this woman a coffee. It sure is a small world.

You can get a more detailed post on Zoom in Music Mode from fellow East Midlander, Jane Sherratt’s website

The Music Repo web site is a treasure trove for helpful guides, hints tips and more on setting up your home recording studio.

Check out Jane’s Music Repo Channel on YouTube

Jane, if you read this, thank you.

I have set up sound desks following engineers instruction and operated sound on small theatre shows. Not until now have never felt I understand it contextually. *hat tip*


The Art of Reclaimed Time

A large part of wanting to be more mindful was to reduce the mindlessness. The time between the times I start reflecting on being mindful. The awareness of mindlessness was predominantly associate with mobile device activity and more specifically when scrolling through and checking notifications in Facebook, Twitter and Instagram. Over the years, I have been on social media since 2007 I have noticed I engage less and less. Since lockdown the mindlessness was becoming mind numbing. I craved coherent hashtags with dialog, insight and debate which often came with conference coverage. I was finding less and less I wanted to read.

Selecting Mindfulness was also an attempt to reactivate my attention span. Work life balance can’t be living what you do enough to merge it without reluctance into your leisure.

Time to craft and make is one think I wanted to find time for. Reading fiction and non fiction is another.

I have felt this weekend with the mindfulness during my working week the compulsion to create for the first time in a long time. I alway take material with me on holiday to prepare for craft time. Crochet and Circle Loom knitting are my handcrafts. I like to make hats and bags. Cost of materials and time just prevented me doing them. I have materials on hand but not for a big project. I need to know I have the time and mindset to make and complete a project. 
Then there is skill and practice. There is a refresh needed and an attention required. There are accommodations for Dyslexia too. Counting is difficult and a slower pace is usually necessity.
I have been swatching.

I have leant a new crochet technique.

Here are the swatches
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This pattern led crochet is called Mosaic Crochet. I’ll be using the oddments of wool to practice before exploring colour and patterns 

My inspiration is series on YouTube.

Tinna Þórudóttir ÞorvaldarTextile artist and crochet designer from Iceland. Crochet, embroidery, yarnbombs and just all kinds of colorful happiness. All my links here:linktr.ee/Tinna


Producers Pool - Dates in the Diary pt1

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Towards the end of 2019 I was introduced to the concept of the Portfolio Career and it was a mindset game changer.

2019 was also the year I asked myself, which I often do year on year - "If I won the lottery what would I do?" The answer has been the same for as long as I can remember. To fund and produce independent small scale theatre working with emerging artists and directors.

This time I accepted I’d probably never win the lottery but ya do want to do this.

I know my craft as a stagemanager, my digital learning and project experience has encompassed social media and associated productivity technologies, podcast audio recording and production, I can edit video.

Mobile live-streaming and virtual worlds. Audience and augmentation.

Technology and theatre.

Not for technology but for engaging immersive idea revealing story-driven theatre. Unusual productions in extraordinary spaces. A big part of the lottery dream is to have the money to fund it.

Then there is like-minded professional networking. Nothing is more aspirational than spending time talking, listening and strategically dreaming with fellow producers. All on differing trajectories in their own careers. A community of collaborators. A tribe of mentors.

Chris Grady hosts Producers Pool.

I was, since 2018 forever attempting to synchronise my meetings in London at Equity or events by Cybersalon to draw a three-card trick where I’d get to attend a Producers Pool, Equity meeting and a Cybersalon event. Trump card would be to fit in a theatre show too.

I would augment my attendance at events on occasion, to showcase remote access potential. The immersion in ground-based experience made the strategic split to include cloud-based access hard to make happen when I was the on needing access and not providing the access which was the ultimate aim, to extend attendance.


The value and reward of cloud access were invisible to physical organisers. The concept appealed but in practice, the management of the physical event was enough.

Blending Digital and Physical looked to be a pipe dream. Then came Covid. One of the first to embrace the opportunity to pivot to digital was Producers Pool. Hurrah!

So independent producers and theatre-makers meeting monthly often with an influencing peer speaking currently happens online.

What do you have to offer?

What do you need?

This leads to the momentum and mindfulness of conversations. 

What can I offer? Insights, experience and practice to pivot to digital. What do I need? The blending back to physical with gradually lowering balanced percentage extension option to attend either way and get the same influencer insights and networking dialogue.

I don’t ask much! Am I asking too much?

Monthly on the last Wednesday, until further notice starting January 27th if you are interested in joining Producers Pool find your way to the Facebook Group.

For the mindfully invested. 

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The journey starts here www.chrisgrady.org/producers-pool
Producers' Pool (UK & International) - next meeting 4.30 pm Wed 27th January


Food Crime... the musical to #StopFoodCrime

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Where academic reporting meets musical theatre

Yes, you are reading that correctly! From March to May 2016 I was commissioned as The New Optimists Social Media Producer. They wanted someone to 'DO' social media. With the budget I received this is what I did. I cam up with the title Social Media Producer.

That is producer, not maker. Whats the difference? In this blog I hope I can explain.

Firstly, what is a producer anyway? This definition illustrates my point

"Producers play an integral role in the television, film and video industries. A producer will oversee each project from conception to completion and may also be involved in the marketing and distribution processes. Producers work closely with the directors and other production staff on a shoot...the producer deals with all the practical and political aspects of keeping a project running smoothly, so that the director and the rest of the team can concentrate on the creative aspects."

Now, a producer in these terms is a scoped role far more extensive than I delivered to The New Optimists but the sentiment of how I approached the commission are reflected in the tasks producers carry out. To me a social media person is integral, sees a project through from concept to completion, may be involved with marketing and works closely with the direct and production staff. As a social media person the reputation and portrayal of the project online and understanding the multitude of social media accounts distributing context appropriately while nurturing an audience is an important part of what I do. Pre - Performance - and Post. Legacy is is important to me too.

Being new to the organisation my first task was to understand who they "The New Optimists" were, what resources thay had for me to work with and what their overriding expectation of social media output was going to be.

The expectations were to

  • provide contextual resources relating to each song in the musical to be tweeted in real-time during performance
  • raise the profile of the project to attract audience
  • build a simple web presence to begin separating The New Optimists main website from their Narrativium creative project based work.
  • support the creative and production team with social media output

As producer I was able to step back from the creation of the social media out of necessity, with the budget little time was available for editing or considered composition. For example, I requested company members write a short blog post each. I took the text, accented the posts with a photo before publishing the posts on the The Optimists website.

All the blog posts were tagged StopFoodCrime - Read them HERE - that tagged category produced a URL from the website containing only those posts tagged StopFoodCrime.

With a limited budget the effective use of folksomony is extremely valuable. Hashtags are folksonomic. User defined terms to provide quick access or knowledge retrieval.

My second task was to make it all happen with as little impact on the creative production process as possible. I want to iterate that this role was not about marketing or advertising, it was about defining an audience and a legacy. What happens next to this project is unknown to me but my objective was to deliver a collection of media to act as a beacon online for what ever comes next... at a guess the further work of raising a general awareness about Food Crime and the work that is on going to protect the integrity of out food supply, globally.

Wow, big stuff when you see it in writing like that.

So... understanding. For every project or client I build a digital scrapbook. This is a page hosted on my PCM website where feeds and content embed widgets can be collected.

The is The New Optimists Scrapbook Page.

Its a mish-mash, not particularly elegant but serves a purpose, to pull all the available media relating to the project together.

Now the project is over this is it's PCM legacy.

 


Social Media for Stage Production

 TOP 10 platforms, tools and services essentials for your 2014-15 toolkit

previously posted on socialmediawomble blog - Aug 2014

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Last year I was asked to write an article for the 2014-15 publication of the Theatre Careers Handbook.
  • Discovering Digital
  • Pilot Theatre, Second Life and Live-streaming
  • Paper and Show Time 
  • Going Social - Media, Networking and associated Technology
  • Social Media
  • Social Networking
  • Social Technology

This article has been written for SJP by freelance digital projects manager and collaboration coordinator at PCMprojects, Caron Lyon. Caron has created professional social networks for Arts Council England, the Federation of Entertainment Unions and Audiences Europe. http://www.pcmcreative.com/social-media-consultation.html  
 
In 1994 I graduated as a Stage Manager from Bretton Hall gaining a Bachelor of Arts Degree in Theatre Crafts. A year later the course had been renamed to Theatre, Design & Technology. The course hadn't changed but the predominance of specialisms (lighting design, sound engineering) and the emergence of technology (computerisation, projection and automation) was to irrevocably change the skill set and necessary knowledge foundation demanded of production and technical teams with in the entertainment industry. Twenty Years later its 2014 and it’s the Stage Managers turn to advance and profit for the shifting change.
 
As a Stagemanager I worked throughout the UK in Sub Rep (Leicester, Sheffield & Chichester), Toured to No1 touring houses, arts centres, village halls and outdoor venues nationwide, spent a season at Butlins and several years in London Fringe performance spaces gaining experience as Stagemanager, DSM, ASM and production assistant. I operated lights, sound, called cues, acquired props, paged doors, assisted with costume changes and relit shows.
 
Analog has given way to digital. Bluetooth, Wireless, Wifi and Mobile are not only common place but getting 'smart'. Production's can be operated after being intricately programmed and increasingly automated to such an extent that manual involvement is the pressing of a button. Design, Creation and Operation are distinct roles. Human decision making, timing, planning, judgement are still the realm of stage management and the digital shift has taken place around them.
 
In 2002 I found myself needing to move sound effects to MiniDisc from a computer after downloading from the Internet. This began my journey, 'phono to USB' that was to lead me to discover Social Media, in awe of how pre production and rehearsal communication was going to benefit, how staying connected after a contract ended would become a firm reality. I could see props resourcing and production promotion changing forever. 
 
Discovering Digital
Producing paper props was my first encounter with IT using photoshop and paint packages in the late 90’s. I had been using an electronic typewriter and photocopier to write up and distribute rehearsal notes and company calls. The notice board and the pigeon hole post was ‘the’ most effective and accepted method of communication.
 
It wasn't Facebook and Twitter that excited me but Email then Dropbox, Evernote and Bambuser. The ability to share notes with out printing, being able to make changed with out re-printing, recording live and have a live reactive audience. I didn't get my first email address until 1996 social was along way off. Facebook and Twitter weren't in my tool set until 2007. I hadn’t sent my first instant message until 2006.
 
Pilot Theatre, Second Life and Live-streaming
 
After several years re-training as a web designer in order pursue a creative career and to make it possible for me to live at home. My heart always lay with theatre and performance, the internet opened up a new world of resources. For a short time I worked on an R&D project with Pilot Theatre as their Virtual Stagemanager in Second-Life exploring the capabilities of virtual exhibition space and a pre-production audience engagement arena. Facebook emerged on the scene as an audience engagement location. Not many of my colleges had even heard of Facebook. I was plunged in to Twitter after being presented with this online tool as a team communication tool, it was the digital water cooler for chatter, links, notes, messages and questions. I discovered a community of digital pioneers at ease with this new teamed up social interaction making me feel at the time I had missing the party invite and was playing catch up. 
 
I now realise its like that for everyone when social media makes it on to their radar. Social Media has exploded in to society's consciousness and has quickly produces a generation with no memory of a world before the web and even more recent a generation with no memory of a world before Facebook. That has happened not in my lifetime (I’m 40) but in 20yrs, that's just half of my life time. How long before there is no generation with a living memory of a world without the internet?
 
2014 is set to be dominated by 'the Internet of Things', affordable 3D printing is on the verge of becoming the next big phenomenon yet for many in the theatre industry the age of social media is still a baffling trend many hope will disappear as a fashion fade.
 
The influence of Social Media on stage production is its use to communicate, inform, record and document. In pre and post production social media platforms, tools and services excel. Theatre is a collaborative process. Theatre people especially the production creatives including StageManagers are inherently good at 'social'. Communication is a key talent. The pre Facebook generation are at ease with the tools they need to do their job, up skilling and adapting with necessity. 
 
QUOTE - Peter Hall
"Perhaps, therefore, ideal stage managers not only need to be calm and meticulous professionals who know their craft, but masochists who feel pride in rising above impossible odds." 
 
Paper and Show Time 
As the Peter Hall quote eludes Stagemanagers need to be calm and meticulous professionals. This also means in this connected digital world being confident that the infrastructure is reliably operational. A clipboard and paper will never run out off power. Multiple copies can be cheaply reproduced and positioned at locations of choice. Only transfer to powered devises with the certainly you will always have access and enough battery remaining.
 
Quote - Marcus Romer
"Don’t add technology to the way you do things, Change the way you do things when you know what the technology can do"
 
Going Social - Media, Networking and associated Technology
 
Many production areas and career professionals in theatre can benefit from the application of the many social strands available online. 
 
Here are the 7 I work to develop with organisations and industry professionals. It is vital to acknowledge the bigger picture.
  1. Industry Connections and Job Seeking
  2. Company Management & Coordination
  3. Staying informed
  4. Career Development
  5. Promotions and Funding
  6. Measuring relevance and influence
  7. Production Collaboration 
The greatest hurdle to adopting digital working is the access to compatible technology, reliable internet connectivity and an accepted set of platforms with best practice procedures to gain access in place. Stagemanager, Company or Production Manager can be at the heart of this digital nexus adopting a digital toolkit, embedding process, documenting and determining accepted best practice and taking the the collaborative lead.
 
Social Media mastery is a career skill asset.
 
TOP 10 platforms, tools and services essentials for your 2014 toolkit
Social Media
Photos, Audio, Video, Text shared via links posted to media specific platforms
 
Instagram is a fun and quirky way to share your life and work with digital platforms through a series of pictures. Snap a photo with your mobile phone, then choose a filter to transform the image, tag it and post it. The team at Instagram imagine a world more connected through photos. 
 
AudioBoo - http://audioboo.fm
Audioboo is a tool for audio producers to record, upload and share audio. The Audioboo team believe in the power of the spoken word to inspire, inform and connect people across the globe.
 
A ‘boo' is made up of any clip of audio, a picture, a location, a title and a description. Broadcasters, Newspapers, Sports networks, Podcasters, Educators and Community Organisations all use ‘boos' to increase audience reach. They can easily share audio on Facebook, Twitter and other platforms, embed playlists onto their sites as listen again players. Audioboo also have a highly active and engaged visually impaired community for whom the platform functions as a social network.
 
Bambuser - http://bambuser.com 
Bambuser is a simple-to-use live video streaming service that allows users to quickly and easily capture, share and watch live video broadcast from mobile phones or computers. Bambuser also enables instant sharing to the world's favorite social networks including Facebook, Twitter, Tumblr, and many more 
 
 
Social Networking
Establishing, maintaining and developing opportunities via online platforms
 
Facebook - www.facebook.com
Facebook's mission is to give people the power to share and make the world more open & connected. 
 
LinkedIn is the world's largest professional network with 225 million members in over 200 countries and territories around the globe. Their mission is simple: connect the world's professionals to make them more productive and successful. When you join LinkedIn, you get access to people, jobs, news, updates, and insights that help you be great at what you do. 
 
Twitter helps you create and share ideas and information instantly, without barriers.
 
Forums and Industry site members areas are also an excellent source of networking for sharing best practice, advise and job vacancies.
 
Social Technology
Tools and Applications available providing connectivity for the whole company to a central data resource enabling real time notifications and updating of common documents. (production schedules, rehearsal notes, setting lists, cue sheets, research, company calls etc)
 
Dropbox - www.dropbox.com
Dropbox is a free service that lets you bring your photos, docs, and videos from anywhere and share them easily. Dropbox was founded in 2007 by two MIT students tired of emailing files to themselves while working from more than one computer. Today, more than 200 million people use Dropbox to always have their stuff at hand, share with family and friends, and work on team projects.
 
Evernote - www.evernote.com 
Evernote’s goal is to help the world remember everything, communicate effectively and get things done. From saving thoughts and ideas to preserving experiences to working efficiently with others, Evernote’s collection of apps make it easy to stay organized and productive.
 
Google Drive - http://drive.google.com
Google Drive lets you store up to 15GB of your stuff for free, access them from anywhere, and collaborate with others. 
 
GroupMe is the best way to chat with everyone you in your company or working on your production. It's absolutely free, whether you're talking to a department, or texting with one person. Best of all, it works on nearly every phone, via push or SMS. With GroupMe, it's easy to reach anyone, anytime, anywhere. 
 
For further insights into developing your toolkit and skill set register for PCM & SJP associated workshops and surgeries planned for 2014-15. http://bit.ly/sjppcm14
 
 
 

SMA Conference 'on the ground' 2013

I was delighted to receive permission to do my 'thang' at this years Stage Management Association Conference. This is the video media collection. The livestream elements were a minor technology miricle as the venue was below ground in a concrete cage! I managed to find a seat (and was just one seat) with 3G reception. The quality in places drops out but considering the circumstances I'm amazed I was able to stream at all!

2013 Opening address, Keynote and Panel

2013 Are Life & Stagemanagement Compatible?

Storify round up from the day itself

Interviews

In the foyer a selection of industry services were in attendence I was able to chat to Chris Paul and Craig Barnnett as well as Equity's Stagemanagement Councillor Adam Burns.

Its a balance. This was a conference I had an interest in attending. Some sessions I made no media. Being audience and amplifier needs thought. What to capture and what to experience. It's a rare opportunity to spand the day with fellow stagemanagers. I'm looking forward to SMAconf 2014.