In the competitive world of event production, ensuring compliance with labor laws is crucial. One such law, California Labor Code § 1050, often referred to as the "blacklist law," has significant implications for production companies, especially those that frequently hire freelancers. This article explores how this law applies and what production companies can do to stay compliant. What is California Labor Code § 1050? California Labor Code § 1050 prohibits employers from preventing former employees from obtaining employment elsewhere by making misrepresentations. Specifically, the law states: "Any person, or agent or officer thereof, who, after having discharged an employee from the service of such person or after an employee has voluntarily left such service, by any misrepresentation prevents or attempts to prevent the former employee from obtaining employment, is guilty of a misdemeanor." This law aims to prevent the creation of "blacklists" that could unjustly hinder a former employee's future employment opportunities. Implications for Companies Hiring Freelancers Production companies, such as those in audiovisual production, event marketing, and production management, often rely on a pool of freelance professionals. Understanding the implications of Cal. Lab. Code § 1050 is essential to avoid legal pitfalls and ensure fair treatment of freelancers. References and Recommendations: When providing references for former freelance workers, it is crucial to be honest and accurate. Misrepresenting a freelancer's performance or behavior, even unintentionally, could be construed as an attempt to blacklist them, which is a violation of the law. Internal Policies: Companies should establish clear policies regarding how references are provided. Training managers and HR personnel on the importance of factual, unbiased references can mitigate the risk of misrepresentation. This policy should be part of the broader compliance and governance guidelines that the company adheres to. Documentation and Record-Keeping: Maintaining detailed records of a freelancer's performance and reasons for termination can provide a factual basis for any future reference checks. This documentation should be objective and free from personal opinions that could be misinterpreted as defamatory. Responding to Inquiries: When responding to inquiries about former freelancers, it is advisable to stick to verified facts. This might include dates of employment, roles and responsibilities, and a general description of job performance. Avoid sharing unverified or subjective opinions. Legal Counsel: Consulting with legal counsel to review and understand the nuances of Cal. Lab. Code § 1050 can be beneficial. This ensures that the company's policies are aligned with legal requirements and that the company is prepared to handle any disputes that may arise. Case Example: Live Nation Live Nation, a global leader in live entertainment, exemplifies a proactive approach to compliance with labor laws. As a company that frequently hires freelancers for various roles in event production, Live Nation has established comprehensive policies to ensure adherence to legal requirements. 1. Clear Policies and Training: Live Nation has implemented clear policies regarding reference checks and the provision of information about former freelancers. Training for managers and HR personnel emphasizes the importance of providing factual, unbiased references. 2. Thorough Documentation: The company maintains detailed records of freelancer performance, which are used as a basis for reference checks. This ensures that any information shared with potential employers is accurate and based on documented performance. 3. Legal Compliance: Live Nation's legal team regularly reviews company policies to ensure they comply with Cal. Lab. Code § 1050 and other relevant laws. This proactive approach helps the company avoid legal pitfalls and maintain its reputation as a fair and equitable employer. 4. Objective References: When responding to reference requests, Live Nation focuses on objective information, such as employment dates, roles, and responsibilities. This approach minimizes the risk of misrepresentation and ensures compliance with the blacklist law. By adhering to these practices, Live Nation demonstrates its commitment to legal compliance and fair treatment of all its freelancers. This approach not only protects the company from legal risks but also fosters a positive working environment and maintains the company's reputation in the industry. Production companies must navigate the complexities of labor laws carefully to maintain their reputation and avoid legal issues. By understanding and adhering to Cal. Lab. Code § 1050, companies can ensure they provide fair and accurate references, thereby supporting a transparent and ethical hiring process. Establishing clear policies, training staff, maintaining thorough documentation, and consulting with legal professionals are all critical steps in achieving compliance and fostering a positive work environment for freelancers. # # # # Disclaimer: The content of this article is intended for informational purposes only and should not be construed as legal advice. Readers are encouraged to consult with a qualified legal professional for advice and guidance specific to their situation. The author and publisher are not liable for any actions taken based on the information provided in this article.

In today's event production landscape, the concept of an Interactive Stage Experience (ISE) has emerged as a game-changer. It's not just about watching a performance anymore; it's about engaging the audience in a dynamic and immersive way. Here’s what an Interactive Stage Experience is and why it's transforming events across the board. Defining Interactive Stage Experience An Interactive Stage Experience integrates advanced technology with live performance to create a participatory environment for the audience. This might involve augmented reality (AR), virtual reality (VR), interactive video walls, live social media feeds, and audience interaction through mobile apps. The goal is to blur the lines between performer and spectator, making everyone part of the show. Top 5 Components of an Interactive Stage Experience Let’s count down the top five elements that make an Interactive Stage Experience truly stand out: 5. Dynamic Video Walls These aren’t just your standard screens. Interactive video walls can react to audience movements, display real-time data, and even allow for audience-generated content. Companies like [LED Scapes](https://www.ledscapes.com) provide cutting-edge solutions that transform static backdrops into interactive canvases. 4. Live Social Media Integration Integrating live social media feeds into your stage setup can elevate audience engagement. Platforms like Tagboard (https://www.tagboard.com) allow you to display tweets, Instagram posts, and other social media interactions in real-time, making the audience feel like an integral part of the event. 3. Audience Participation Apps Mobile apps designed specifically for events can enable live polling, Q&A sessions, and even control aspects of the performance. Glisser (https://www.glisser.com) offers a robust platform that helps integrate these features seamlessly into any event. 2. Augmented and Virtual Reality AR and VR bring a new dimension to live events. Imagine an audience member donning a VR headset to view the stage from multiple angles or using AR to see additional content overlaid on the physical stage. Companies like Magic Leap (https://www.magicleap.com) and VR Scout (https://www.vrscout.com) are leaders in this space. 1. Interactive Lighting and Sound The top spot goes to interactive lighting and sound systems. These systems can respond to audience movements and sounds, creating a highly immersive environment. Avolites (https://www.avolites.com) and L-Acoustics (https://www.l-acoustics.com) offer innovative solutions that ensure the audio-visual experience is as engaging as possible. Cool Vendors Making it Happen Several vendors stand out in the realm of Interactive Stage Experiences. Here are a few worth noting: - LED Scapes (https://www.ledscapes.com): They specialize in creating dynamic video walls that respond to the audience, enhancing the visual impact of any event. - Glisser (https://www.glisser.com): Their platform facilitates audience interaction through mobile apps, making it easier to integrate live polling and Q&A sessions into your event. - Magic Leap (https://www.magicleap.com): A leader in AR technology, Magic Leap can transform the way audiences experience live events through immersive overlays. - Avolites (https://www.avolites.com): Their cutting-edge lighting solutions ensure that the stage lighting responds dynamically to the performance and audience, creating a captivating environment. The Interactive Stage Experience is not just a trend; it's the future of event production. By incorporating dynamic video walls, live social media integration, audience participation apps, AR and VR, and interactive lighting and sound, you can transform any event into an unforgettable experience. Collaborating with top-tier vendors ensures that you have the technology and expertise needed to make your next event truly interactive. Stay ahead of the curve and start integrating these elements into your event planning today. Your audience will thank you for it.

Are you new to event production? Have you been listening in on stagehand conversations and feel like you're on the outside of some inside joke? Well, here's a short list of some of the colloquial terms and phrases we often use, their meanings, and their actual meaning. "Best Gig Ever!" "Worst gig ever!" ​"We only want to do this 'twice' once!" "First we do it the Producer's way, then we'll do it the right way." Work (Setup) Blacks Black pants, black t-shirt or polo, black shoes (the entire right side of a stagehand's closet) Show Blacks Black slacks, black button-up shirt, black shoes (the other side of a stagehand's closet). Dress Blacks Black slacks, black coat, black tie, comfortable black dress shoes (usually balled-up in the stagehand's trunk or on the floor of their closet. Workbox Oversized-size road case filled with every tool ever used, every adapter for any connection ever invented, every custom contraption ever imagined, and food menus from every city ever visited. The workbox is a 500-pound security blanket on wheels. Gack Box A smaller road case filled with random crap we couldn't fit in the Workbox. C-Wrench The only tool you won't find in the workbox (but you will find it in every lighting tech's pocket. Left-handed or Metric C-Wrench See "Flux Capacitor" E-Tape Also known as electrical tape, which is a pressure-sensitive, non-conductive insulating tape useful for binding looms, cable stress-reliefs, identifying microphones, minor first aid, marking bad gear, fixing loose latches, dressing speaker stands, resealing lunch containers and holding open crash doors. Sometimes also us ed for insulating cable. Gaff Tape A heavy cotton tape with strong adhesive and tensile properties, used for everything else. Flux Capacitor A fictitious piece of gear that veteran stagehands will send novice stagehands in search of. Other such goose-chases involve the Cable Stretcher, the Left-handed C Wrench, the Metric C Wrench and The Skyhook [Editorial note: There is now such a thing as a Sky Hook. "Copy" "I'm done listening to you." "Copy that" "I'm really done listening to you now." "Roger" "Now I'm done talking to you too." "Hoooooold!!!!!!!" "Aww Shiiiiiit!" [duck & cover] Wash Up Smoke break before lunch Lunch [break] Smoke break and nap time. Coffee [break] Smoke break and a snack cuz we slept through lunch Bio [break] Last chance to sneak out for a smoke during show. "Make it safe" "Drop what you're doing, we're outta here!" Hollywood Half 30-min lunch period [on-the-clock] and a client-provided meal - commonly used to bribe or coerce a stagehand into staying on-site (since very few lay faith in a stagehand returning from a walk-away meal on-time). Working Lunch Some sort of sandwich, unidentifiable wrap, a slice of pizza or similar meal that may be consumed with one-hand - perfect for talent rehearsals, late-running shows, poorly planned load-ins, production schedule overruns - one of many solutions designed to avoid the fearsome 'Lunch Penalty.' Lunch Penalty A mythological monster that mommy & daddy producers tell baby producers to frighten them into eating their vegetables, making their beds and finishing their production schedules. Few stagehands claim to have ever seen one. Paper Tech A production run-thru meeting that hardly anyone pays attention to. Cue-to-cue A production rehearsal where it becomes evident that no one paid attention during the Paper Tech. "Stand-by" Somebody did something wrong. "Stand by to stand by" Nobody has a clue what to do next. "Lift moving" Watch your toes & fingers because the lift gate is coming down. "Wheels To The Sky" Upstacking a roadcase inverted because it doesn't fit property on it's wheels - and probably shouldn't be moved upside down. "Show Crew To Headset" "Wake up" "Client On Comm" "Client is listening, so pretend that's how it's supposed to look." Well that's a wrap for today (meaning we're done). But stay tuned for Stagehand Glossary Vol 2.

The direct and indirect costs of recruiting, onboarding, training, and maintaining your crew Since we make no secret about the rates we charge our clients or what we pay our crew members, we are often asked to explain the delta between the two amounts. For those unfamiliar with those rates, the average sell rate is roughly 40% over the pay rate. Depending on the role and dynamic costs such as Workers' Compensation Insurance, this is not an unreasonable amount. Typically, when those questions arise, the conversation is clarifying, rather than justifying, what is often mistaken as gross profit. Truth is, and any business owner with one or more employees knows this to be true, the cost of labor can be stifling, especially in states with high minimum wages, mandatory benefits, and strict definitions about 'who is a contractor.' Less talked about are the indirect costs of labor, which can go so far out of control that many employers and contractors are overwhelmed by the challenges they face. We publish this article to more completely explain the actual costs that are involved in maintaining a full-time, part-time, and contingent workforce, the direct costs such as payroll, employer taxes, benefits, and insurance to indirect costs such as processing expenses, operating costs, invoice exceptions, and time-theft. We'll touch on the pros and cons of using an independent payroll service, managing a contingent workforce, and increased regulatory compliance. In the end, any average company will have the resources to analyze the cost to benefit when deciding their optimal workforce mix. NOTE: As you read on, be mindful that all companies, and even entire industries, will have major and subtle differences in their business model, culture, and/or vision statement - all of which can influence or adversely impact the cost factors described below. Equally important to consider, some organizations will have a higher tolerance for risk, reside in states with more or less regulation, are subject to more or less oversight, or simply have a shallow talent pool - but for the most part, this article applies to a broad range of California employers, from any industry, and does not pertain strictly to the live event industry. Direct Costs Direct Costs are those expenses directly connected or associated with the wages earned by an employee or contractor. These are the costs that quickly come to mind when you think of the Cost of Labor, such as taxes, processing fees, benefits, and liabilities. Payroll Expenses Employee Payroll / Contractor Fee: This is the sum amount of the monies owed to the employee or contractor. This can be an hourly rate, day-rate or flat rate - although some rules must be followed when calculating flat rates to ensure that regardless of the agreement, the amount paid is higher than the applicable minimum wage. Payroll Tax: This includes the employer contribution for federal, state, and local taxes and government insurance, such as Medical and Unemployment. The employer contributions for Federal include Social Security (6.2%), FICA (1.45%), FUTA (0.6%) and in California, the SUTA for new employers (3.4% for new California employers), plus any local or municipal taxes. Job Expenses: Costs accumulated by company personnel at the job site, such as parking & tolls, crew meals, equipment rentals and expendables, etc. General Liability Insurance: A policy limiting your company’s liability for claims made resulting from an accident caused by one of your employees. In some cases, you can request freelance contractors indemnify you and name you as Additional Insured on a policy they may carry. But less established techs rarely carry their liability and therefore must be covered under yours, as necessary. Employees are automatically indemnified by their employer, except in cases where the employee acted in a fraudulent manner or in violation of applicable laws without employer knowledge. Workers Comp Insurance: Insurance providing disability benefits as wage replacement and medical care and benefits to employees injured in the course of employment in exchange for relinquishment of their right to sue your company for negligence. This insurance is mandatory for all employees, whether part-time or temporary - and if your contractors fail to provide their own worker's comp insurance, for many jobs the contractor must be covered by your company’s policy. Failure to do so could result in the contractor filing a claim against your end-client’s policy - which won’t go over too well with most end clients. Commercial Auto Insurance: If you’re going to have a contractor or an employee drive vehicles, like trucks, cargo vans, passenger fans or even their vehicle to run and pick up supplies, commercial auto insurance provides protection from liability, injury or collision damage if they get into an accident. And be careful to read the fine print on your rental truck agency agreements. It’s a misperception that your auto insurance will cover your rental van. Where they may be true as you drive it away from the lot, the moment you put people or gear in it that’s work-related, most policies won’t cover an accident or the costs of collision damage, theft, property loss, personal injury, medical expenses or possible punitive damages. Processing Expenses Merchant Processing Service Fees: The cost for processing a credit card payment which will vary by company based on volume, risk, and credit rating. Fees can be as low as 1% or as high as 5%, but the average for small businesses that accept payments by phone or through companies like Paypal, the average is a base rate of approx. $1, plus 3% of the sale. Invoice/Payroll Processing: It takes time and resources to process an invoice and payroll for payment. It might seem simple enough. Print it, pay it. But there is a process that must be followed to allow for adequate tracking and audit, including verification of the hours, accounting entries, client approvals and the resources to complete, run, and file the payment. On average the all-inclusive cost to manually process a single invoice can range from $12 to as high as $40 per invoice. Invoice Payment Transaction Fees: Our normal process to pay invoices is a company check mailed on Fridays for invoices received by EOD Tuesday. However, as a consideration for our crew, we have paid using Venmo, Paypal, Western Union and several other systems. Most charge a transaction fee, ranging from a couple of dollars to a percentage of the transaction total. Invoice Exceptions Expenses: Since time cards or contractor invoices often do not match up with employer-provided time sheets, extra time must be devoted to researching and investigating Exception invoices. This sub-process takes that invoice out of the queue for processing until it can be handled individually and adds additional days and associated costs to its processing. In many cases, invoice exceptions do not represent a minority of transactions, but can range between 50-70% of a given job. Indirect Costs Indirect Costs are those expenses that are incurred in the process of recruiting, onboarding, training, soliciting, scheduling, managing, paying, and terminating an employee through the cycle of their employment. Also underestimated, these costs may also include hard and soft costs associated with loss of opportunities or revenue, such as court and legal fees, collection costs, disability/unemployment claims, penalties & fines, adverse decisions & punitive actions, as well as the loss of clients or liabilities surrounding employee fraud or negligence. Cost of Job/Sale This list includes the additional costs associated with each sale. Some of the lines include ambiguous references to company personnel. It’s important to remember that, like the staff required to process an invoice, there are other costs associated with making the job happen, such as: making the job possible, ensuring we have the means to fulfill it, and promoting our ability to do the job. Similar to operating expenses (which we describe below), the lines here should be summed up and divided by the total number of jobs. That remaining value is the total of all the indirect resources that are required to make the job even possible. Materials: The cost of any materials or supplies used in the execution of the job. This can be as simple as file folders & labels and paper & ink, but might also include specialized gear and expendables such as custom tool kits, specialized electronics, personal protection equipment, personal hydration devices, and first aid supplies. Human Resources The cost of supporting roles that must be factored in as a cost of doing business. They include all the personnel required to run the business effectively but are not in a role that can be billed directly. Administration: The cost of the administration staff required to manage the day-to-day administration of the company, from corporate governance and compliance audit to management of Human Resources and Finance. Recruiting & Onboarding: Cost associated with providing specialized personnel to solicit, recruit, and interview new candidates; then guiding successful candidates through the Onboarding and orientation meetings or webcasts Training & Management: Costs associated with providing specialized personnel to perform training and workshops, as well as costs required to provide effective and efficient management. Marketing & Marketing Operations: Costs associated with compelling clients to buy. These costs include demand generation, lead nurturing, advertising, promotion, and sponsorship - as well as the systems and processes required to ensure they are accurate and effective. Sales & Sales Operations: Costs associated with capturing the sale and fulfilling the order. These costs include commuting and travel to and from job sites, potentially lost opportunities, business development, account management, materials, collateral, etc - as well as the systems and processes required to control spending and record accurate and profitable transactions. Operating Expenses The following list includes the various costs incurred to operate the business on a day-to-day business. The gross profit from the cumulative sum of all the jobs must cover these basic operating expenses or the business will be in the red at the end of the year. Therefore the operating budget per job would be the total annual operating budget divided by the total number of jobs for the year. That dollar amount is the average that all the jobs must clear, on top of all the expenses listed above. This is just a sample list, and not exhaustive - but you get the picture: Office Salaries: Office personnel including Labor Coordinator, Accountant, Office Manager, Sales & Marketing personnel, Operations & Production personnel Office Wages: Includes any non-salaries positions including admin assistants and clerical staff Office Lease & Utilities: Includes office lease, warehouse lease, building improvements, as well as gas, electric, water, and garbage. Telecom: Includes landline, toll-free, fax, and mobile numbers - and may also classify high-speed internet and digital cable. Professional Fees: CPAs and bookkeepers fee for managing books, preparing and filing taxes, performing audit reviews and representing taxpayers during an audit, as required. Lawyer(s) for contract review, document prep/review, negotiation, litigation, litigation defense, trademark/copyright protection, infringement, legal complaints or responses, and other related actions. Supplementary Insurance: Umbrella Liability, Errors & Omission, Equipment Damage or Replacement, Medical, Dental and Vision, etc. Office Furnishings Office Supplies Monthly Bank Fees Loan Interest Annual Fees (see below) Annual Fees Trade Membership Fees: Professional trade organizations or associations Vehicle Registration: State vehicle registration, tags, or certs Software Licenses: Accounting, CRM, Office apps Municipal Tax, Licenses & Permits: City Tax License, Reseller License, EDD Permit State Tax Prep & Corporate Filing Fees: Articles of Incorporation, Board Minutes, Income Tax Prep & Filing Fees: Tax Forms, Quarterly Payments, Lost Revenue/Opportunity Service Recovery: Discounts or refunds returned or credited to clients due to poor or substandard performance of the part of an employee or contractor that is deemed unacceptable and therefore not collectible - not is it recoverable or reimbursed by the employee or contractor. Bad Debt: Any sum of money unpaid on the invoice(s) due that are deemed unrecoverable, typically the result of client financial troubles, poor service recovery, lack of proper record-keeping, or degraded client relations. Late Payments: Cost associated with receiving payments late. This can include interest paid on short-term loans or amounts balanced on credit cards requiring an additional service charge and/or interest charge. Lost Sales Opportunity: This happens for several reasons, including problems with crew or crew chemistry, poor performance, poor communication or poor business process. When calculating the value of a lost opportunity, don’t measure just the lost future sales projections. Try to measure and quantify the cost invested in acquiring the client from the beginning. This is a pretty comprehensive list of everything that goes into hiring and managing a production management staff and/or event production crew - however, it’s not an exhaustive list, since as mentioned earlier, these account for the basics of the business. Be sure to consult with a professional who understands your business and the laws of your state before editing your existing process based on what you learned here. Let’s demonstrate an example of the True [Real] Cost of Labor is, factoring in some of the variables discussed above. To make this exercise easy to follow along, we’ll use some round numbers and some values from my previous company. This is based on a small company that does an average of $350k in net sales and $210k in payroll expenses. It’s also based on a new employer paying into Unemployment insurance and a Workers Comp rate of $0.08 per $1.00 of pay. This does not compute all the lines we reference above, but granted, it’s a small company. The data represents a real-life scenario, but there are so many factors that contribute to the top and bottom line, that hopefully this simply makes you aware of the factors that not only labor companies face - but yourself face. I’m surprised how many small companies are facing them and don’t even realize it. # # # # Important Notice: This article is an opinion editorial and not intended for use to determine your company's legal or regulatory compliance. This is not a legal publication, so it can aid in your research and understanding, but it shall not be construed or regarded as legal advice or instruction. Before taking any action, based on what you've read in this article, be sure to consult with your lawyer or accounting professional - or another licensed business professional familiar with the laws of your state and municipality.

This Stagehand Safety article was inspired by a recent close call. It’s a good reminder for all production professionals regardless of position or experience level. Judging by the engagement level of most veteran crew members, it seems we take Stagehand Safety for granted that accidents can still happen, even when are disciplined and exercise safe practices. Since we are careful, and attentive about actions and behaviors, we start to believe we will stay out of harm's way, or maybe at least be prepared in the event of an incident. I know I’m guilty of it from time to time. Since I always get in and out of a lift properly, I always call my movements clearly and watch for bystanders, I am careful with tools and instruments I’m working with and I wear a harness and hard hat when required, I assume I’m safe and those around me are safe from me. It’s a reasonable thought. I am careful after all. However, accidents by definition are quite literally “an unfortunate incident that happens unexpectedly and unintentionally, typically resulting in damage or injury.” And as I was reminded recently, they can happen even when we do everything write. So what spooked me so badly that I was inspired to write about safety? Although I don’t do much tech work nowadays, I still have some colleagues that I’ll don my blacks for to help out in a pinch. And I’ve done lighting long enough that I can hang a stage wash blindfolded. This particular day, a good friend was down an ME so I offered to lend a hand for a decent-sized social event in San Francisco. Among the tasks on my hit list was to hang two dozen lekos from schedule 40 trees to be focused with breakups for room ambiance. As is my protocol... I pulled and sorted the gear and spread it to install locations. I inspected the fixture body and lens tube, looking for cracks or accumulation of dust; I gave the instrument a little shake to make sure the reflector wasn’t smashed; I inspected the whips for fraying and the plugs for loose blades or weak connections; I tightened the yolk, drop-in Iris door, c-clamp bolts and inspected the inner and outer adjustment knobs; I ensured each instrument had a safety cable, a working gel frame, and frame clip, and the shutters operated properly. I also inspected the dimmer packs, the 12-3 stinger, the crossbar, the upright, and the base. I made sure I had adequate beach for ballast, e-tape to dress cables; It doesn’t take long, but this is a habit of mine, so I’m thorough. This wasn’t an insection I learned out of a book. It developed over time, the result of problems I’ve faced in the past. And everything looked fine. I was ready to hang. So I set the pole grabbed a ladder and secured my c-wrench using a tie-line as a lanyard, in case I happened to drop it. I asked someone close by to foot the ladder and I ascended in a manner consistent with OSHA-approved ladder use. Everything was safe, by the book, what could go wrong? Everyone around me was moving at a safe pace and obeying the standards described in the OSHA-10 certification program. Well, that’s when something went wrong. I just finished tightening the c-clamp and was going to start dressing the cables, when my e-tape slipped out of my fingers. Since it’s only e-tape, I didn’t put a lanyard on it, so it fell harmlessly to the ground. I took my hands off the instrument I was working on and took a step down the ladder. That’s when I heard a loud crack and saw a bright flash in my periphery. I jerked my head back just in time to see the light emit a series of follow-up flashes - the whip had come apart at the base of the instrument and it was shorting and arching, scorching the instrument every time it came in contact. Fortunately, I didn't hesitate and I covered my face while I reached up over the whip doing its little dance and pulled the plug from the dimmer. Since I was below the dimmer and the whip was between us, I had to extend and arc over the hot cable to keep it from being burned. Catastrophe averted, but once it was over I stood in shock for a minute. I had just had both hands on this instrument that was energized only a split second after I moved my hands. I didn't do anything wrong and I didn’t miss a step or take a shortcut. It was simply an unforeseen circumstance - an accident. I’m fortunate there was no significant damage and no injury. But let this serve as a reminder to everyone we work with: Be aware of your surroundings, always. Keep your head on a swivel Avoid distractions and stay focused. Don’t get complacent and remember, when we stop being safe, the price we can pay is far more than we’re willing to pay. And be nice to your QC team at the shop. They have a harder job than we realize sometimes. And their extra attention can definitely save your life. Stay safe! Cheers…

PRACTICAL TIPS FOR NEW CREW MEMBERS TO ENSURE A SUCCESSFUL FIRST CALL If you are new to the live events industry or stagecraft, this is a quick list of basic instructions for your first crew call for us, the minimum requirement expected of professional stagehands and audiovisual professionals. If you would like more detailed information and training guides, contact our Crew Operations team to make arrangements for more specialized or department-specific training. BE ON TIME The call time is the start of the workday, the time you are ready for your first tasks. It is not the arrival time. Plan to arrive at least 15 minutes early to: Find parking Find the “report to” location, Check-in with client contact or crew lead, Unpack and prepare your gear, Complete any required paperwork, Eat or use the restroom. Those tasks should not be done on the clock and you are expected be ready to work when the clock strikes the official start time. You should also plan to leave early enough to allow for normal challenges, such as traffic - which is never an acceptable reason to be late. Being late to a job, or not prepared to start on time, is grounds for being sent home from a job without pay, or that time being deducted from the daily minimum. Repeated tardiness is grounds for termination and removal from the roster. COMPLETE THE CALL Our clients are experienced professionals who do a good job of estimating the labor requirements for their jobs. However, there are unexpected and unforeseen conditions. Job end times are considered a reference or estimation. It may not be the actual end of the call. Please plan your day and transportation with the understanding that you may be requested or required to stay past the suggested end of the day. You should certainly not plan to leave earlier than scheduled. Such actions may jeopardize the client’s end-of-day goals. If you know you may arrive late or must leave early, contact the Labor Coordinator before the start of the call. If transportation is an issue, contact the Labor Coordinator for instruction or possible assistance. DRESS AS INSTRUCTED Please be aware of the dress requirements for each job, as they may change. All clothing should be clean, and free from brand names or company logos. Shorts are not acceptable work attire unless specified by the Labor Coordinator. Some jobs may require specific footwear such as steel-toed boots. Specific needs shall be communicated to you when assigned to a job. The dress code is as follows: Work Blacks (WB): Black Proforce polo or t-shirt (or other non-logo comparable shirt), black jeans or khakis, shoes or boots (steel toe recommended). Show Blacks (SB): Black dress shirt, black slacks, black dress shoes. Outdoor Work Blacks (OWB): Black shorts or jeans, black t-shirt, black boots. Be mindful of weather conditions and layer accordingly. Reflective outerwear is required when working near motorized vehicles and heavy equipment. Business Casual (BC): Dress shirt or polo shirt, dress slacks or khakis, dress shoes. Coat and Tie (CT): Black coat and tie, light-colored dress shirt, dress slacks, dress shoes. Ladies may wear dark slacks and light shirts or blouses appropriate for the business atmosphere and a similar blazer or dress jacket. (Skirts are not practical). Formal Blacks (FB): Matching dress slacks and coats with a dress shirt, a black tie, and practical dress shoes. Women should wear a black business suit with slacks, and practical dress shoes. (Skirts are not practical.) BRING YOUR TOOLS Unless otherwise instructed by the office, every technician is expected to come to each job with the tools required to execute all aspects of the position to which you have been referred. Technicians are not expected to bring power tools or major diagnostic tools to the job with them except battery-operated screw guns and handheld meters when appropriate. Technicians are expected to wear a tool belt and carry the tools that they need to perform their jobs at all times. Failure to do so when asked by your department head may lead to dismissal. BE PROFESSIONAL Our clients appreciate and respect the level of professionalism demonstrated by our crew and Crew Operations team. As a team, we should be accountable to each other for our professionalism and conduct ourselves in a manner that will further our entire crew’s interests. Do not expect to be rewarded or compensated beyond your pay. Do not solicit free or discounted tickets or entrance to client events. Do not eat food that is intended for use by the client or attendees, unless instructed to do so. Do not take merchandise from a client unless the client offers it to you. Do not socialize with clients or attendees, beyond the scope of your job. Do not consume alcoholic beverages, even if it is offered by the client. STAY ORGANIZED Keep track of your job numbers, keep a record of the employer clients you work for and your Crew Leads, and submit the hours and days you work to the office via email, text message, or voicemail. And record this information, as well as other pertinent information about your call in a log book or calendar. There are several free apps for iOS and Android to keep you organized. DO NOT DISCUSS PAY SCHEDULE OR RATES If you do not receive payment or if the payment is incorrect, contact your Labor Coordinator for assistance. NEVER contact employer clients to discuss your rates or terms, request payment or reimbursement, or dispute your hours. Your rates and hours are private, personal information and not to be shared or discussed with any crew or clients. COMMUNICATE Should you experience any difficulties regarding a job to which you are going, a job that you are on, or a job that you have already been on, contact your Labor Coordinator or After Hours Crew Operations at 925 237-1101. If you have suffered an accident or injury, first contact the appropriate emergency resource and then contact your Labor Coordinator of After Hours Crew Operations. You may leave a message at the office if the problem does not require attention outside of business hours. If the problem is an emergency and needs immediate attention and you cannot reach either of those two options, contact Bianca Eleazar at 925 752-1198 or Brandon Cruz at 925 871-8558. ADDITIONAL TRAINING RESOURCES https://www.proforcesolutions.net/stagehand-life-stagecraft-event-crewing-blog https://www.proforceav.com/post/understanding-stagehands https://www.proforceav.com/post/stagehand-production-etiquette

A Comparison of the Best Live Entertainment Software Tools Choosing the right software tool for live entertainment can significantly impact the quality of audiovisual experiences. With a plethora of options available, it's essential to understand each product's features, strengths, and weaknesses. In this article, we'll provide a brief description of 12 popular software tools used in live entertainment, including Playback Pro, QLab, Resolume Arena, Isadora, Watchout, MediaMaster Pro, ArKaos GrandVJ, Hippotizer, Ventuz, Modul8, Disguise 3, and Milumin. We'll also discuss their pros and cons to help you make an informed decision. 1. Playback Pro: Description: Playback Pro offers an intuitive user interface, stability, and support for multiple outputs, making it suitable for small to medium-sized productions. Pros: Intuitive interface, stability, multiple output support. Cons: Limited advanced features, less flexibility in cue management. 2. Resolume Arena: Description: Resolume Arena is designed for live video mixing and VJing, offering extensive control over visuals, effects, and transitions. It is a popular choice among VJs and visual artists. Pros: Extensive visual control, popular among VJs and visual artists. Cons: Limited audio control capabilities. 3. Isadora: Description: Isadora is a flexible multimedia performance tool that allows artists to create interactive installations. It features a visual programming interface and real-time control over audio, video, and lighting cues. Pros: Flexibility for interactive installations, real-time control of cues. Cons: Steeper learning curve, programming knowledge required for advanced use. 4. QLab: Description: QLab is a powerful cue-based system used for audio, video, and lighting control in live performances. It provides advanced features like fades, video mapping, MIDI control, and show automation, along with cross-platform compatibility. Pros: Powerful cue-based system, advanced features, cross-platform compatibility. Cons: Steeper learning curve, stability challenges in complex setups. 5. Watchout: Description: Watchout is a multi-display and projection mapping software designed for large-scale productions. It offers precise control over multiple video and image sources and advanced 3D projection mapping capabilities. Pros: Precise control, and advanced 3D projection mapping. Cons: Higher cost, steeper learning curve. 6. MediaMaster Pro: Description: MediaMaster Pro is a professional media server software with advanced video mapping and blending functionalities. It supports real-time effects, multiple outputs, and integration with DMX lighting control. Pros: Advanced video mapping and blending, DMX integration. Cons: Higher price point, complexity for some users. 7. ArKaos GrandVJ: Description: ArKaos GrandVJ is real-time video mixing and performance software popular among VJs and DJs. It offers an intuitive interface, a library of video effects, and support for live cameras and inputs. Pros: Intuitive interface, real-time video manipulation, popular among VJs and DJs. Cons: Limited audio control, lacks advanced automation features. 8. Hippotizer: Description: Hippotizer is a media server and content management software widely used for live performances. It provides high-quality video playback, advanced 3D mapping, real-time content generation, and integration with lighting and control systems. Pros: High-quality video playback, advanced 3D mapping, real-time content generation. Cons: Higher cost, steeper learning curve. 9. Ventuz: Description: Ventuz is a real-time 3D graphics and video production software. It offers powerful visual effects, interactive presentations, and extensive customization options. Pros: Real-time 3D graphics, interactive presentations, extensive customization. Cons: Complex learning curve, and hardware requirements. 10. Modul8: Description: Modul8 is real-time video mixing and compositing software popular among VJs and visual artists. It features extensive video effects, live camera input support, and interactive control through external devices. Pros: Real-time video mixing, extensive effects, popular among VJs and visual artists. Cons: Limited audio control, lacks advanced automation features. 11. Disguise 3: Description: Disguise 3 (formerly d3 Technologies) is a high-end media server and real-time visualization platform used in large-scale productions. It offers powerful media server features, advanced 3D rendering, and extensive integration options. Pros: Powerful media server features, advanced 3D rendering, extensive integration options. Cons: High cost, specialized hardware requirements, steep learning curve. 12. Milumin: Description: Milumin is a versatile media control software that excels in video mapping capabilities. It allows for the seamless integration of visuals and offers extensive control over mapping setups. Pros: Versatile media control, and extensive video mapping capabilities. Cons: Limited advanced features compared to competitors, the learning curve for complex setups. Selecting the ideal software tool for live entertainment depends on your specific requirements and preferences. Playback Pro and QLab offer stability and robust cue-based systems, while Resolume Arena and ArKaos GrandVJ excel in live video mixing and visual control. Isadora and Modul8 provide flexibility for interactive installations and real-time video manipulation. Watchout and Disguise 3 specialize in multi-display setups and advanced projection mapping. At the same time, MediaMaster Pro, Hippotizer, Ventuz, and Milumin offer various combinations of high-quality playback, 3D rendering, and extensive integration options. Consider the pros and cons of each tool to find the one that aligns with your needs and budget. Selecting the right software will empower you to deliver captivating live entertainment experiences.

In today's technologically advanced world, electrical components have become an integral part of our lives. However, like any other system, electronic devices can sometimes encounter glitches or malfunctions that disrupt their normal functioning. In such cases, a common troubleshooting technique recommended by experts is to unplug the electrical component, allowing it to reset. The common assumption is that unplugging the electronic device allows for capacitors to discharge. What should not be ignored is that electronics can hold a charge in more than just capacitors. The Nature of Electrical Charge in Electronics Computers, processors, consoles, and other audio & video components often contain various elements capable of retaining electrical charge even after the power supply is disconnected. While capacitors are the most widely recognized components for holding a charge, it is essential to understand that other elements within the device can store electrical energy as well. Static electricity, in particular, plays a significant role in this context. Static electricity is an electrical charge that builds up on the surface of an object, resulting from the transfer of electrons. It is a common phenomenon that occurs during the normal usage of electronic devices and is often overlooked when considering the need to unplug components for resetting purposes. However, static electricity can linger within the device, potentially causing disruptions or hindering the reset process. Complete Discharge of Static Electricity for Effective Resetting To ensure a successful reset, it is crucial to discharge static electricity completely. Although capacitors are known for storing electrical charge, static electricity can be dispersed throughout the device, affecting various components. This residual charge may interfere with the proper functioning of the electronics and impede the desired reset. By unplugging the device, the power source is disconnected, preventing any further charge from entering the system. Additionally, this action helps dissipate the existing static electricity, enabling a fresh start upon reconnection. The complete discharge of static electricity is vital to eliminate any potential lingering disruptions and allow the component to reset fully. Safety Considerations Beyond the functional aspect, safety is another significant factor that necessitates the discharge of static electricity. The lingering presence of charge within an electrical device can pose hazards to both the user and the equipment itself. Accidental contact with residual static electricity can cause electric shocks, potentially resulting in injuries or damage to sensitive electronic components. Moreover, discharging static electricity is crucial for the protection of the equipment. Static discharges can induce voltage spikes that may surpass the device's tolerance levels, leading to component failures or permanent damage. Unplugging the device not only aids in resetting but also mitigates potential risks associated with static electricity buildup. Conclusion Static electricity, which can be present in various components, represents an often-neglected aspect that needs consideration. Unplugging the device allows static electricity to be safely and completely discharged, allowing for a fresh start upon reconnection. This practice not only enhances the chances of a successful reset but also contributes to the safety and longevity of the electronic equipment. Thus, it is crucial to recognize the importance of discharging static electricity as an integral part of resetting electronic components.

Using two-way radios & comm systems in a live event environment It's always fun to watch the new guy trying to figure out his radio. We've all seen it. The sweat beading up on his forehead as he frantically tries to figure out how to attach his biscuit while trying to look calm and cool - as if he handles radios like this all the time. We all snicker under our breath, knowing he's never going to get that Kenwood mic onto that Motorola radio. Admit it. The only reason we take such joy in watching him suffer is, we were also there once ourselves. It's all fun and games until we're in the thick of it, and we can't find him, because we didn't take the time to teach him the fundamentals of proper radio/comm use. Here is a list of radio fundamentals, followed by a vocabulary list and some common phrases. Radio Fundamentals Do not scream into your mic. ​Do not whisper into your mic. Hold (key) your talk button for a full second before you start to speak, otherwise we lose the first part of your sentence, which is usually who you are. Keep chatter to a minimum. Carrying a radio is already distracting and it becomes annoying when you have to keep shifting your focus from the task in front of you to the comments on your radio. If it’s necessary to change channels, contact someone who’s monitoring a different channel, it’s helpful to those who know you’re assigned to a specific group that you're switching before you switch, and inform them when you switch back (see examples is Common Phrases) Radios are easy to pass around, so you can never be quite sure who’s monitoring your conversations. Avoid inappropriate conversations, discussing sensitive or protected information, or playing jokes over radios or comm. Keep an eye on your battery life and switch out dying batteries with fresh batteries before they die. You want to avoid having a dead radio when it’s most needed. Don’t forget to return your radio to its charging base or station at the end of each day. Record the serial number of your assigned radio, in case you lose it or it gets accidentally mixed up with other radios. Report a missing radio as soon as you know it's missing. The chance of recovering lost radios goes down the longer you wait and becomes almost impossible once it goes dead. Print legibly and accurately when you sign out a radio. Avoid wearing your radio in a place where clothing or gear attached to you may accidentally key your mic. Be mindful when you’re near other radios monitoring the same channel. You want to lower your volume to prevent feedback if someone close to you opens their mic.. If you bring your radio, check with the RF tech to make sure you're not using a frequency that's been isolated for another purpose or may cause issues with other RF systems. Be aware of all safety protocols when using a radio while operating heavy machinery. Vocabulary Biscuit Speaker mic attachment that is attached to shoulder panels, collars, front pockets, or another spot convenient for monitoring the small "biscuit-shaped" mic handset. Handle A moniker such as nickname, department, or other designation you may take or might be assigned to you. 10-4 Message acknowledged Affirmative Yes Negative No Over Finished talking and listening for the reply - short for "over to you" Out Finished talking and did not expect a reply. Clear Finished talking and shutting the radio off Roger Information received/understood Copy Mostly used to acknowledge received information. Wilco Will comply Break Signals a pause during a long transmission to open the channel for other transmissions, especially for allowing any potential emergency traffic to get through Break-Break Signals to all listeners on the frequency, the message to follow is priority. Radio Check Common phrase to test the functionality of the radio, proper channel assignment, and volume level. Good Check The common reply over the radio from someone monitoring the same channel indicates that you came in clearly. Replace "good" with the condition of their transmission as necessary. Common Terms & Phrases "[your handle] for [recipient's handle]" It's customary to engage your recipient before just speaking. Key your radio [hold a second] and say your name "for" and who you want to connect with. You will wait for them to say... "Go ahead" or "Go for [handle]" Send your transmission. "Say Again" Abbr: Repeat Your last transmission - "repeat" is a reserved word used by military "Going to [channel]" First allow me to explain, on any given show, there can be anywhere between 10-100 radios assigned and actively in use. As I explain in greater detail elsewhere, the need to separate groups, usually by department or function, controls the amount of chatter and distraction. But often, you or someone you need to reach may have to leave the channel your group has been assigned. Informing your group that you're leaving your channel helps to avoid confusion. "Going back to [channel]" When you're done communicating with the person in the foreign channel, it's customary to tell the group that you're going back to your assigned channel, in case they need you for a follow-up, etc. "This is [your name or handle]. Back on [channel]" Once you've returned to your assigned channel, let your group now with this simple notification. "What's your 20?" Based on 10-codes, 20 is short for 10-20 and this means "what's your location?" "Anyone have eyes on [person]?" When someone has put there radio down, or moved to a different channel, an effective way to try and reestablish contact is make a general inquiry to all monitoring that channel if they see the person you're asking for. If someone does, it is customary for that person to notify your intended person. "Go to spare [channel]" If your conversation is more than a simple inquiry or command, unless you're communicating something the whole group needs to hear, there are typically spare channels designated for short, but distraction-free communication. Inform your party to change to a spare channel so you can speak freely without clogging up the line. Be wise. Although spares are meant for more private conversations, they are not exclusive and it's always possible someone may be listening in on your conversation. "Go off Radio (Comm)" It's customary to tell your group you're turning off your radio or will be unavailable by radio for some time. ​Keep in mind, that etiquette and phrases tend to vary by crew and geographic region. This wasn't meant to be an exhaustive study. If I omitted something you think is especially important, please add to it in the comments section below. That’s it for now. Going off comm.

Introduction Thank you for joining our crew. It’s our ambition to provide you with the most opportunity to be successful professionally, as well as personally. But most important is our responsibility to provide a safe, productive and mutually equitable environment for all our stakeholders. XTRA aligns itself with industry leaders determined to redefine the crewing experience. We redesigned our entire crewing process to eliminate the most common fail points ensure accurate and punctual communication, and establish standards and protocols, mutually agreed upon and universally enforced by all our stakeholders. To simplify the foundation of our Code of Conduct, the baseline is based on three simple qualifying questions: Is it respectful? Is the action, attitude, or behavior consistent with the feeling of admiration for one’s abilities, qualities, or achievements? Is it safe? Does the action, attitude or behavior provide or protect an emotionally, mentally, and/or physically safe space for everyone to work in? Is it professional? Is the action, attitude, or behavior placing the success of the crew above self-interest; helping and supporting other crew members; remaining open to change; and communicating with others to resolve problems? Any behavior, attitude, and action measured by these three questions will establish whether the conduct or behavior meets the most basic expectation. We’ve listed below the code’s most critical rules for conduct. We appreciate you taking the time to familiarize yourself which we believe will make for a better and more efficient relationship between us. Code of Conduct Respect Scheduled Commitments When you are booked for a job, keep your commitment. Finding replacements at the last minute is complicated and reflects poorly on everyone. By canceling, whether on short notice or not, you may potentially jeopardize your relationship with the client and risk losing your call list priority. We will give you ample notice and detailed information about a job via email and/or text. Make sure your email and phone number are up to date in our system and read all emails and texts thoroughly. If the information is unclear or you're still waiting for information about the job, please contact the office to clarify. For texts that we send, we will ask that you acknowledge the text accordingly or simply send an emoji acknowledging that you read and understood the text. Be Punctual & Prepared, Ready To Work. Call Time should not be confused with arrival time. Always add additional time to your arrival time for dependencies, such as traffic, road conditions, and unfamiliarity of the job site, that may affect your arrival time. “Just making it,'' feeling frazzled or rushed may affect your preparation and readiness to work so take a few minutes to regroup. Crew should arrive early enough to find parking, find a meeting point, to unpack gear, for laborious check-ins, such as the need to check in with security, to get a badge (if you're on a multi-day job and a badge is necessary, you may need to get a badge each day you are onsite), to provide or complete documentation or information before entry. We will let you know in advance with instructions for these special circumstances. You are responsible for checking in with your Crew Lead as soon as you have successfully made it to the meeting area. Do not assume that the Crew Lead saw you or knows who you are. Failure to check-in may result in an inaccurate recording of your start time. Crew Lead Upon arrival onsite and end of shift, to/from lunch and break, and any time you leave your designated job area, let your Crew Lead know. Your Crew Lead will need to know your location at all times for emergencies and for timecard purposes Parking It is generally understood that parking is the responsibility of the crew member. It’s recommended that parking options should be researched before arrival and walking distance should be accounted for when calculating arrival time on-site. Late Arrival If late arrival is unavoidable, call the on-site contact immediately, so that the client has as much time as possible to make any necessary arrangements to cover your position until you arrive. No Show If you are unable to make your shift, whether there was a health or personal emergency, contact the office at the earliest possible opportunity to allow for Crew Operations to find a suitable replacement. Do Not Circumvent the Company, Solicit Clients or End Clients Directly. XTRA invests considerable resources into prospecting, nurturing, and building trust with its clients. We profit from that investment and share those rewards with our crew members. Crew members that solicit work directly from clients, circumventing XTRA, and misdirecting resources earned by the company are a breach of contract and strictly prohibited. Accepting freelance jobs, directly contracting, and the collection of monies, including tips, bonuses, spiffs, or gifts with monetary value is actionable and XTRA actively pursues compensatory and punitive damages through all legal means available. Avoid Unnecessary Contact with End Clients There are times when the end client may approach you with a question or concern. Everyone needs to understand that our client has invested considerable resources into earning the trust of the end client. It’s equally critical to understand that we may not know or understand the full scope of the job we’re working on. An inaccurate or careless remark or breach of confidentiality can jeopardize the client, the job, and the entire relationship. As white-label service providers, we represent our client’s interests, so it is a strict policy to direct any questions, regardless of our understanding, back to the client contact on-site. Or simply reply that you are not sure of that answer. We expect you to communicate in a clear, friendly, and professional manner. We encourage you to engage with the client and build a foundation of trust and respect, but we discourage direct engagement and prohibit any socializing with the end client. Be Prepared To Stay the Entire Call and Plan for Possible Overtime Crew members are hired to complete a project, and it is not uncommon that unforeseeable conditions can make the project take longer than forecast. We are all committed to the safety and well-being of our crew, and conscious of our client’s budget, but you must prepare your schedule and transportation with the possibility that a call can run longer and that you may be asked to stay longer. Be Professional & Courteous We recruit individuals we consider intelligent, disciplined, and professional. We understand that stagecraft can be physically and emotionally demanding, but we expect our crew to maintain their professional decorum and represent our company the same way we represent you to our client. Be aware, that there is always someone watching, and the definition of integrity is “doing the right thing, even when you think nobody is watching.” Be An Expert at Safe Workplace Practices Event production can be dangerous when crew members are careless or do not pay attention to their surroundings. We require all new hires to take the OSHA-10 Safety Course, comply with the company's safety protocols, and understand the company's emergency response plans. XTRA’s Safe Worksite Policies and Program Guide can be found at https://www.xtracrew.net/workplace-safety.html. Safe & Professional Use of Cell Phones & Electronic Devices The use of personal cell phones on an active show floor is strictly prohibited to ensure a safe working environment. We understand there are occasions that you must take a call, but the use of mobile devices and electronics while working on the floor poses a significant risk of injury or death to you or other crew members. Acceptable Use During Shift If you must make a call that cannot wait until the scheduled break period: Let your leads know you must step off the floor Take your call outside the perimeter of the work site. Report violations to the Crew Lead Limited Exception for Crew Leads and Labor Coordinators Crew Leads and Coordinators are required to communicate with the Crew Operations team throughout their shift and may find it necessary to use their cell phones or laptops. They may be authorized to conduct business over their phones, but only in safe zones with no overhead work or foot traffic. Zero Tolerance Your safety is our paramount concern and using phones or electronic devices can distract attention and lead to or cause serious injury or death. Crew members who use their phone inappropriately shall be dismissed from the call without prejudice or courtesy warning. Understand & Comply with Social Media Policy Most of our job sites are secured, non-public events. Our clients bind us to confidentiality, which in turn binds you as our representatives to strict Confidentiality and Non-Disclosure Agreements. Photographing or video recording of show sites, staff, client personnel, the client displays or exhibits, or any other such reproductions are strictly prohibited. If you are sent a photo or media file, regardless of source, you may not post or share those assets under any circumstances, except with written approval, which may only be obtained according to expressed directly from the end client. Review the complete social media policy at www.xtracrew.net/social-media-policy.html. Smoking Only In Designated Areas & Dispose of Trash Properly Smoking is only allowed in marked, designated smoking areas or beyond the property line of the job site. Dispose of butts and trash properly Dispose of burning products before extinguishing them and be sure to dispose of all trash in a proper landfill, recycling or compost receptacles as required. Do Not Use Drugs Or Alcohol During Or Before Call-Times. We are committed to a safe and healthy work environment. Drugs and alcohol are never permitted at a job site. If you are required to take prescription drugs during a call, notify the Labor Coordinator before the call so the office is aware of it and can help ensure compliance with your physician’s directions. If it is evident that you are under the influence of drugs or alcohol you will be dismissed from the job site and both XTRA and the client reserves the right to report the incident to the proper authorities. Violators are subject to fines and/or disciplinary sanctions by federal, state and municipal laws and ordinances. No Sleeping On SIte Sleeping on a job site is a health and safety hazard, and could hurt crew morale and client’s perception or satisfaction. Get a good night’s sleep before show calls. Eat a proper meal at regular meal periods and resist complaining that you’re tired. It’s unprofessional and makes everyone look unprofessional. Dress Requirements Call Confirmation notices will indicate what the dress code is for each day. Generally, it is understood that load-in and load-out days require Work Blacks and Rehearsal or Show Days require Show Black. When Show Day is the same as Load-in or Load-out, it is generally expected that you have both sets of clothing on hand or you work the entire shift in Show. All clothing should be freshly laundered and dress blacks should be pressed and polished. Work Blacks Black t-shirt or polo (no logos, no tour shirts), long black pants or jeans (no shorts), black shoes (no open-toe footwear) Show Blacks Black button-down shirt or polo (no logos), black slacks or trousers, and black dress shoes. Dress Blacks Black button-down shirt, black sports coat or blazer, jacket, black slacks or skirt, black dress shoes. Outdoor Gear For outdoor events in moderate to extreme weather, health and safety are the primary concerns. Be prepared with appropriate apparel and supplies (water, uv protection, sunblock, raincoat, snow boots, etc - as required). Personal Hygiene and Grooming Along with Dress Requirements, your hygiene and grooming are equally important as it complete and exude personal and social confidence and acceptance. Foul body odor or heavy use of cologne, perfume, scented deodorant, or body lotions encroach on the personal space of those working close by, which can be stressful and overwhelming. Basic Hygiene Expectations: Hair should be combed and pulled back and away from the face Nails should be short or at a length that does not hinder the ability to hold, carry, or grasp weighted objects, Jewelry is not advised to be worn at a job for safety reasons (maybe a distraction, get caught or can be reactive to other materials that can cause a harmful effect, etc.) Encounters with a crew member If you encounter a crew member who is making you or those around you uncomfortable, or you hear about an issue from peers or other crew members, the following steps are encouraged: Inform the Crew Lead privately, and allow that person to have the sensitive conversation. Bring Your Tools, Tool Kits, and Personal Protection Equipment Crew members should be prepared with the tools required to perform the duties of the position for which they accepted. Failure to report for your shift prepared and properly equipped may result in dismissal. There may be an opportunity to purchase basic tool kits and PPE gear from the on-site contact, when or where available. If tool kits are unavailable from your on-site contact, he may direct you to a local hardware store to pick up the basic minimum stagecraft tool kit or personal protection equipment. You will not be considered on the clock and expected to return promptly. Stagecraft Tool Kit Lists & Resources A complete list of tools required/suggested for most positions may be found on the XTRA website. Please see the blog article about Stagecraft Tool Kits at https://www.xtracrew.net/ Basic Personal Protection Equipment Requirements All Crew members are required to wear Steel-Toe Boots and Work Gloves. Some locations may have work being done overhead, which requires hard hats or helmets. Aerial and Overhead Personal Protection Equipment Requirements Crew members that are hired to do aerial work are required to wear fall-arrest harnesses, and helmets or hardhats and use lanyards to secure any tools taken into the air. Bring Government-Issued Identification Security has increased at most public gathering locations and corporate campuses. Crew members are often required to check in with security and prove identity and in some cases their right to work. Crew members must show valid government-issued identification and are advised to have a copy of their SSN or passport. Failure to Present Identification of Right To Work Failure to present proof of identity or right to work will result in dismissal and forfeiture of pay for that day. Do Not Circumvent or Attempt Fraud If you fail to bring your ID and security is unwilling or unable to allow alternate means to satisfy their requirements, you must leave the premises. Do not attempt to sneak in, use fraudulent means of verification, or any other means that reflect a lack of professionalism and disobedience to governing authorities. Communicate with your Labor Coordinator & Leads DO NOT go to the client or road crew with concerns or issues on the job before contacting the Crew Lead or Labor Coordinator. It is their job to protect your welfare and they have the training and resources, as well as a deeper understanding between the client and company. They are best prepared to address your concerns and they have the authority to act in your best interest. Labor Coordinator On-Call 24-Hours A Day The Crew Operations team is available during normal business hours, but there is always an on-call Labor Coordinator available 24 hours a day, seven days a week. Should you experience any difficulties regarding a job to which you are going, a job that you are on, or a job that you have already been on, call the hotline number or send a text message. If the problem is an emergency and needs immediate attention, call (415) 234-0048. Local Team Leads Every call also has a Lead Crew Member or Local Lead. If there is any concern or issue while on the job, bring it to their attention first before contacting the Labor Coordinator. If the Lead cannot resolve the issue or concern, then contact the Labor Coordinator. Complaints, Concerns or Issues All Crew Members have the right to work in a safe and respectful environment. If you experience any behaviors that are considered inappropriate or you believe the working conditions are unsafe, inform your Crew Lead immediately. If the Crew Lead is unavailable or if the Crew Lead is a party to your issue, contact your Labor Coordinator or the Crew Operations team immediately. Examples of inappropriate behaviors or unsafe conditions include, but are not limited to: Unfair Treatment or Discrimination You are asked to perform work that you are unqualified to do, or is outside the scope of your position; You are intentionally given a task or assignment intended to humiliate or embarrass you; You are ordered to perform a task that impugns or violates your religious convictions and is denied appeal. Harassment or Intimidation You are subject to offensive jokes, slurs, epithets or name-calling, ridicule or mockery, insults or put-downs, offensive objects or pictures, and interference with work performance Aggressive or Threatening Behavior You are receiving verbal or non-verbal, overt or implied threats to commit an act of physical aggression, including threats to cause bodily harm or death to a person ( including stalking, bullying, or other abusive or aggressive behavior) Unsafe Working Conditions You are unable to perform your duties because you believe there is reasonable and credible danger to your well-being, including being expected to perform a task you are not properly trained to do and there is inadequate supervision, you witness or are informed of a deliberate plan to engineer or install gear or equipment that poses a reasonable risk of failure, injury, or some other catastrophic event; a failure to correct a known problem or repair faulty equipment; negligent use or refusal to use proper personal protection equipment and/or safety procedures; and/or negligent, malicious, or incompetent supervisory behaviors. DO NOT go to the client or road crew with concerns or issues on the job before contacting the Crew Lead or Labor Coordinator. It is the Crew Lead’s job to protect your welfare and they have training and resources to provide solutions that are in your best interest. They are best prepared to address your concerns and they have the authority to act in your best interest. If you experience working conditions you deem unsafe, or reasonably uncomfortable, or if an individual or group onsite has made it difficult for you to perform your duties, please take all such issues or concerns to your Crew Lead or Labor Coordinator, or call the Crew Operations team immediately. Report Code of Conduct Violations Every crew member has the right and responsibility to report violations of this Code of Conduct and may do so without the fear of reprisal or retaliation. Violations may be reported, anonymously if requested as such, by calling your Labor Coordinator or Crew Operations team.

A comprehensive breakdown of expenses relating to the recruiting, onboarding, and management of a contingent workforce. Introduction: When discussing the rates charged to clients and the compensation provided to crew members, it's important to clarify the factors that contribute to the difference between these amounts. In this article, we aim to shed light on the various expenses involved in maintaining a workforce, including both direct and indirect costs. By understanding the comprehensive nature of these expenses, businesses can make informed decisions regarding their workforce and assess the true cost-to-benefit ratio. Direct Cost of Labor: Direct costs are expenses directly associated with the wages earned by employees or contractors. They include the following: 1. Payroll Costs: Employee Payroll / Contractor Fee: The amount paid to the employee or contractor, which can be an hourly rate, day rate, or flat rate. Employer Payroll Tax: Contributions made by the employer for federal, state, and local taxes, including Social Security, FICA, FUTA, and state unemployment taxes. 2. Non-Billable Expenses: Job-related expenses that cannot be billed back to the client, such as parking fees, bridge tolls, hotel accommodations, and meals. These costs are often charged against the job and need to be accounted for. 3. Insurance Coverage: General Liability Insurance: Protects the company from claims resulting from accidents caused by employees. Workers Comp Insurance: Mandatory insurance provides disability benefits and medical care to employees injured on the job. Commercial Auto Insurance: Insurance coverage for vehicles used by employees or contractors for work purposes. 4. Processing Expenses: Merchant Processing Service Fees: Costs associated with processing credit card payments, vary based on volume and risk. Invoice/Payroll Processing: Expenses related to processing invoices and payroll for payment, including verification, accounting entries, and client approvals. Invoice Payment Transaction Fees: Transaction fees incurred when using payment systems like Venmo, PayPal, or other methods. 5. Invoice Exceptions Expenses: Additional costs and time are required to investigate and handle invoice exceptions that do not match time cards or contractor invoices. Indirect Costs: Indirect costs are expenses incurred throughout the employment cycle, from recruitment to termination. They include the following: 1. Cost of Job/Sale: Materials: Costs of supplies and specialized gear used for job execution. Equipment: Additional gear required for industry professionals to perform their tasks effectively. 2. Human Resources: Administration: Costs associated with managing corporate governance, compliance audit, human resources, and finance. Recruiting & Onboarding: Expenses related to soliciting, recruiting, and onboarding new candidates. Training & Management: Costs of providing training, workshops, and efficient management. 3. Marketing & Sales: Marketing & Marketing Operations: Costs associated with demand generation, lead nurturing, advertising, promotion, and sponsorship. Sales & Sales Operations: Expenses related to business development, account management, commuting, travel, and materials. 4. Operating Expenses: Office Salaries: Compensation for office personnel, including labor coordinators, accountants, office managers, sales and marketing personnel, and operations staff. Office Lease & Utilities: Costs of office space lease, utilities (gas, electric, water, garbage), and building improvements. Telecom: Expenses for landline, toll-free, fax, mobile numbers, and internet connection. Professional Fees: Costs for CPAs, bookkeepers, and lawyers for tax preparation, contract review, legal representation, etc. Supplementary Insurance: Expenses for additional insurance coverage beyond general liability and workers' compensation. Office Furnishings: Costs of furniture, computers, printers, and other equipment for office setup. Office Supplies: Expendables required for day-to-day operations, including paper, pens, printer ink, and cleaning supplies. 5. Recurring Fees: Trade Membership Fees: Expenses associated with maintaining memberships in professional organizations or trade associations. Vehicle Registration: Costs for registering company vehicles and maintaining legal compliance. Software Licenses: Fees for software applications required for accounting, project management, time tracking, etc. Monthly Bank Fees: Charges incurred for maintaining business bank accounts, transactions, and related services. Tax-Related Fees: Costs for tax filings, audits, and consulting services provided by tax professionals. Lost Revenue and Missed Opportunities: Lost revenue and missed opportunities can significantly impact a business's profitability. These include: Service Recovery: Costs associated with rectifying service issues, including remedial work, materials, and customer support. Bad Debt: Unpaid invoices or payments that cannot be collected. Late Payments: Financial penalties or interest charges incurred due to delayed client payments. Lost Sales Opportunities: Revenue that could have been generated but missed due to various reasons, such as resource constraints or ineffective sales efforts. Conclusion: By understanding the comprehensive breakdown of direct and indirect costs, operating expenses, and the impact of lost revenue and missed opportunities, businesses can gain a clearer picture of the true cost of labor. It is essential to consider these factors while making informed decisions about workforce management and striving for profitability. However, keep in mind that specific expenses may vary depending on the business model, industry, location, and individual circumstances. Consultation with professionals familiar with your specific business and state regulations is recommended to accurately assess the costs involved.

Below is a list of common terms related to audio, video, lighting, LED wall, event rigging, scenic & prop, projection, and camera departments. Aperture: The adjustable opening in a camera lens that controls the amount of light reaching the image sensor. It affects the depth of field and exposure of the image. Aspect Ratio: The proportional relationship between the width and height of a projected image or video. Common aspect ratios include 16:9 for widescreen displays and 4:3 for standard displays. Audio Delay: The intentional delay of sound to synchronize it with video or compensate for distance. It ensures that audio and visual elements are in sync during a live event or production. Audio Mixer: A device used to adjust and control the volume, tone, and other audio parameters of multiple audio signals. It allows for blending and balancing audio sources in a live event setting. Backdrop: A large painted or printed cloth hung at the back of the stage or event space to create a background. Backdrops are used to enhance the visual appeal and set the scene for performances or events. Bridle: A system of ropes or chains used in event rigging to distribute the load between multiple rigging points. It ensures that the weight is evenly distributed and prevents strain on individual points. Brightness: The intensity of light emitted by a lighting fixture, LED display, or projector. It is measured in nits or candelas per square meter and affects the visibility and clarity of the displayed content. Camera Crane: A large mechanical arm used to move the camera to different heights and angles during filming or event coverage. It provides smooth and dynamic camera movements. Camera Dolly: A wheeled platform used to smoothly move the camera during tracking shots. It allows for fluid camera movement along a set path or track. Camera Lens: The optical device that captures and focuses light onto the camera's image sensor. Different lenses have varying focal lengths, aperture sizes, and characteristics that affect the field of view, depth of field, and image quality. Camera Operator: The person responsible for operating the camera during a shoot or event. They handle framing, focus, camera movement, and other technical aspects to capture the desired shots. Color Mixing: The process of combining different colors of light to create desired hues. It is commonly used in lighting setups to create a wide range of colors and effects. Cyclorama: A large curved or flat backdrop used to create the illusion of an unbroken horizon. It is often used in theater, events, and photography to provide a seamless background. Dead Hang: A rigging method where equipment is hung directly from a fixed point without using motors or hoists. It is suitable for lighter loads and static setups. Depth of Field: The range of distances within an image that appears acceptably sharp. It is controlled by the aperture, focal length, and focus settings of the camera lens. DI Box: Short for Direct Input box, it is used to convert unbalanced audio signals from instruments or other audio sources to balanced signals for proper integration with professional audio systems. Dimmers: Devices used to control the intensity of stage lights by adjusting the electrical power supplied to them. They allow for smooth transitions between different lighting levels. Director of Photography (DP): The individual in charge of the camera and lighting crews. The DP is responsible for the visual aspects of the production, including shot composition, lighting design, and camera movements. Edge Blending: The process of seamlessly combining multiple projected images to create a larger, unified image. It is often used in large-scale projections or multi-screen displays to create a continuous and immersive visual experience. Event Rigging: The process of setting up and securing lighting, sound, and other equipment for events or productions. It involves selecting appropriate rigging points, ensuring load capacity, and safely suspending equipment. Feedback: An unwanted high-pitched sound caused by audio signals being amplified and fed back into the system. It can occur when a microphone picks up sound from a speaker and causes a loop of amplified sound. Flats: Flat wooden frames covered with canvas or thin plywood used in stage and set construction. Flats are assembled to create walls or other scenic elements. Follow Spot: A manually operated spotlight used to track and highlight performers on stage. It is manually operated by a spotlight operator who follows the subject's movement. Front Serviceable: Refers to LED display panels that can be accessed and maintained from the front without removing the entire display. It allows for easier maintenance and quick replacement of faulty panels. Gobos: Metal or glass patterns placed in front of a light source to create projected patterns or shapes. Gobos are used to add visual interest and texture to lighting setups. Grid: A network of beams or pipes installed overhead for attaching rigging equipment, lighting fixtures, and other stage elements. It provides a versatile framework for suspending equipment. Keystone Correction: An adjustment made to correct distortion when a projector is not perpendicular to the projection surface. It digitally adjusts the image to maintain correct proportions and straight lines. Load Capacity: The maximum weight that a rigging point or system can safely support. It is an important consideration in event rigging to ensure the safety and stability of equipment. Lumens: A unit of measurement for the brightness or light output of a projector or lighting fixture. It indicates the amount of visible light emitted. Media Server: A computer-based system used to manage and control content for projection mapping, multi-screen displays, or LED video walls. It allows for playback, synchronization, and manipulation of video and image content. Microphone: A device used to capture sound and convert it into an electrical signal. Microphones are essential in amplifying and recording audio in live events or productions. Mixing Console: A device used to combine and control audio signals from different sources. It allows for adjusting volume levels, tonal characteristics, and routing of audio signals. Moving Heads: Lights that can be remotely controlled to move and change color during an event. They provide dynamic lighting effects and versatile illumination options. PA System: Public Address system used to amplify sound for an audience. It includes microphones, amplifiers, speakers, and other audio components to ensure clear and audible communication. Patching: The process of connecting audio or lighting equipment using cables and connectors. It involves routing signals from one device to another for proper signal flow. Pixel Density: The number of pixels per unit area, typically measured in pixels per square meter (PPI). Higher pixel density results in sharper and more detailed images on LED displays. Pixel Mapping: The process of aligning video content to match the layout and resolution of an LED video wall. It ensures that the content is properly displayed across the entire screen or display area. Pixel Pitch: The distance between the center of one pixel to the center of the adjacent pixel on an LED display. Smaller pixel pitch results in higher resolution and sharper image quality. Projection Mapping: A technique that involves aligning projected images with irregularly shaped surfaces or objects. It creates the illusion of three-dimensional objects and transforms the appearance of the surface. Projector: An optical device that projects images or video onto a surface or screen. It uses light to display visual content for events, presentations, or performances. Prop: Any object or item used on stage or within the event space as part of the performance or decoration. Props can include furniture, set pieces, accessories, or objects used by performers. Refresh Rate: The number of times per second that an image is updated on a display or screen. Higher refresh rates result in smoother motion and reduced motion blur. Resolution: The number of pixels in an image or display, typically represented by the width and height in pixels. Higher resolutions result in sharper and more detailed visuals. Rigging Plot: A plan or diagram illustrating the layout and arrangement of rigging points and equipment in an event space. It provides a blueprint for safe and efficient rigging operations. Rigging Point: A designated point in a venue or space where equipment can be suspended or rigged. Rigging points are typically structural elements capable of supporting the weight of equipment. Safety Cable: A secondary cable used as a backup to support equipment in case the primary support fails. Safety cables provide an additional layer of security to prevent accidents and equipment damage. Scenic Artist: An individual responsible for painting and finishing scenic elements, props, and set pieces. They create textures, patterns, and visual effects to enhance the overall aesthetic of the production. Scenic & Prop: Refers to the department or team responsible for designing, constructing, and decorating the physical environment and structures for events or performances. They handle set design, construction, and prop selection. Set Construction: The process of building and assembling the physical structures and components of a set. It involves carpentry, welding, painting, and other construction techniques to create the desired environment. Set Design: The process of creating and designing the physical environment and structures for an event or performance. It includes selecting props, furniture, backdrops, and other elements to convey the desired atmosphere. Set Piece: An individual component or element of a set, such as a backdrop, furniture, or prop. Set pieces contribute to the overall visual aesthetic and help create the desired ambiance. Soundboard: A control panel used to adjust and mix audio signals in live events or productions. It allows for precise control over individual audio channels and overall sound balance. Sound Reinforcement: The use of audio equipment and techniques to amplify and enhance sound for an audience. It ensures clear and even distribution of sound throughout the event space. Spotlights: High-intensity lights are used to highlight performers or specific areas on stage. Spotlights provide focused illumination and can be adjusted to follow performers' movements. Strobe Lights: Lights that produce brief and intense flashes of light. Strobe lights are used to create dynamic lighting effects and can be synchronized with music or other events. Swivel Coupler: A device used to connect two tubes or truss sections while allowing rotational movement. It provides flexibility in rigging setups and allows for adjustable angles. Throw Distance: The distance between the projector and the projection surface. It affects the size, focus, and brightness of the projected image. Truss: A rigid structure composed of aluminum or steel beams used for suspending lighting, sound equipment, and other rigging elements. Truss provides a sturdy framework for hanging equipment and creating overhead structures. Uplighting: The technique of illuminating objects or architectural features from below to create a dramatic effect. Uplighting adds depth and visual interest to the event space. Video Wall Processor: A device used to manage and control content on LED video walls. It allows for seamless switching, scaling, and manipulation of video sources to create dynamic visual displays. Viewing Angle: The maximum angle at which a display can be viewed while maintaining acceptable image quality and color accuracy. Wide viewing angles ensure that the content is visible from different positions in the audience. Warping: The process of digitally adjusting an image to compensate for distortions caused by the projection surface. It ensures that the projected image appears correctly shaped and aligned. Wash Lights: Lights that provide broad and even illumination over a wide area. Wash lights are used to create general lighting and add ambiance to the event space. Zoom Lens: A lens that allows for adjustable focal length and magnification, enabling the camera operator to zoom in or out on a subject. It provides flexibility in framing and capturing different perspectives.