Obvious and not-so-obvious common courtesies and best practices for stagehands and event crew. It's true, like most specialized trades, stagehands and stagecraft professionals have their own unique culture and etiquette associated. We've covered topics about vocabulary, style and even the perspective on the length of a work day. However, when we collect and present all the unique aspects of stagehand life, there is undeniably a code of ethics or general etiquette that we all kind of naturally follow. Those that resist don't seem to last long. ​ Some of the rules are unspoken and some are clearly communicated. But in total, there exists a set of guidelines and principles that stagehands seem to hold to. It's worth mentioning that stagehand norms and mores do differ according to geographic location and even age group. But we wanted to pull together a general list of expectations and etiquette for new recruits and even veteran review. Not all these instructions may apply to crews everywhere, but they are a group of standards that will set most up for success if understood and practiced. We encourage our readers to comment and add perspective. General Etiquette Always look busy. Assume every cable is hot. Return spent lamps. Mark bad gear. Tape down cables last. Keep the crew area tidy. Nobody likes a gig jumper. 10 hour day is a short day. If you're late, bring donuts. Always look busy. ​Don't get caught napping. Advise lead if schedule changes cause lunch penalty. Do not engage the end-client directly unless instructed. Do not go into someone’s workbox or road case without permission. Mute your comm unless you’re actively speaking. The shift isn't over unless your lead says you’re done. Don't walk away from a project until it's done. Never walk away from a project unless it’s safe. Inform your lead immediately if you break, or find something broken. Empty pockets and secure tools before you walk out onto a catwalk. Fill out start docks or new hire paperwork during breaks, before or after shifts. Take off your headphones on the floor. No unnecessary chatter over comm or radio Avoid hanging around FOH during the show, unless you're required to. Notify someone if you walk off the floor. Take phone calls or texts at the perimeter, not on an active show floor. ​No breaks for show crew during the show. No excuse to drop anything from a lift. Charge your lift when you're not using it and at EOD. Plan your bio breaks. Never nap on stage. Always look busy. Label your cables. Set it like its drawn. Slower is faster. Fix the drape behind you. Police your own gaff. If it's hard, you're doing it wrong. Smoke in designated areas. Don't argue with the client. Phones are silent. Notify channel when going off comm. Circuit as instructed. Don't run over cables. Bring your own tools.​ Call ahead if you're late. Don't miss lobby call. Call out cable swings or drops. Call out when you move your boom or scissor lift. Call out when truss is moving Install for the out. Always look busy. Nobody leaves until the truck is loaded. Show crew eats before the strike team. Client food is not crew food. Producer is always right Park in designated crew areas. Never use an impact wrench on truss. Gaff in 90 degree angles. Reset gear to factory settings. Get approvals for change orders. Don’t side load shackles. ​Bring government issued ID and proof of right to work. Strain relief aerial cables. Latch the safety chain on your scissor lift. ​Get overtime approved in advance. Get lunch penalties approved in advance. Bring a copy of your certifications Keep fingers away from motor chains. Arrive early enough to prep and stow your gear before your call starts. Run cables over the top of truss and behind uprights, never thru it. Run cables around the back of Fast Fold legs, not thru them. A Shackle's pin is opposite side from the spanset, away from the fabric Notify your lead immediately if there is an injury of near miss. Wear steel toe boots, especially when unloading a truck.

The importance and benefits of submitting invoices on timeI'm sure there's not one I'm sure there's not one among us that hasn't been a few days late turning in an invoice. I get it. We live the Spartan life of long work days, late night load-outs, dead cell phone batteries, napping in cars, changing in bathrooms and scavenging kraft services for the last snickers bar. After all, we have to bring this rig in before midnight, load the truck, power nap on the bus and do this all over again 100 miles down the road. And maybe you just want to get home early to wash your hair... whatever. Regardless of why you're too busy to turn in your invoices on time, that procrastination has a real effect on the business people surrounding you - and ultimately that effect will cascade back on you. When you jeopardize someone's ability to run their own business effectively and efficiently, then they will simply elect not to work with you. And if enough people drop you, well then, you get the picture. How Do Late Invoices Impact Your Clients First, let's remind our freelance community that the guys cutting them the checks... that is the producers, gear houses, production companies, what have you... they are your clients. How some freelancers offer such horrible service, yet the labor coordinators receive so much grief, it's amazing. But back to the point, if you are like me, once upon a time I would think, "Damn, why are they so mad I haven't invoiced them yet - why are they so impatient about paying me. You'd think they'd be grateful, since they get to hold onto the money longer." Well, actually that's not how it works. Fact is, until producers get all their invoices in, they can't prepare their final bill to the end-client. And the end-client will start their payment clocks upon receipt of that final invoice. So if we hold up final billing for a couple of weeks, it could be 2 months before the producer receives final payment and is able to pay out his vendors. But that's not the only negative effect. Frankly, a producer will only wait so long for your invoice, because you're not the only vendor he has to pay. When we don't send him an invoice, thereby forcing him to invoice based on his best guess or estimation of what your final fee is, then if he's wrong and the client pays based on the wrong amount, you have less chance to getting paid the correct amount because the producer has less chance to modifying his number once it's started through the corporate accounts payable maze. Some Useful Tips But again, I understand the challenges, because I live the stagehand life as well. But living the life alongside you, I also know, we're not ALWAYS that busy. There are plenty of times throughout your schedule when we're in Stand by moments. Here are some best practices to help you, help them, help you. Prepare In Advance Instead of waiting until the following morning or the end of the night, prepare the invoice during the last day of the call, perhaps during show or during lunch. That way, at the end of the night, all you really need to do is plug in the time out and you're ready to submit. It should only take you a couple minutes, so if you can't finish your invoice template during a working lunch, then you need a better invoice format. Send It Early I know a tech that always sends his invoice on the morning of the load-out. His rationale is, we always know roughly how long the out is going to be, and if you're working against a mini, then you know the number of hours you'll get paid, regardless of the end time. So he prepares his invoice in the morning and sends it off long before the load-out starts. On the rare occasion that the times are longer than what he invoiced for, he makes the easy call to the producer or labor coordinators and simply say's "Disregard my last." The invoice is already formatted, so he updates and resubmits. Accounting Software Using a simple, but powerful accounting package can dramatically improve your accuracy, efficiency and even your profitability and revenue opportunities. Some popular ones are Quickbooks and FreshBooks. But you can use most any package you're familiar with. Just be consistent. Keep Them Simple I've seen some crazy complex invoices that calculate all the variables, cross references against other records, collects, reinvests, loses... it can be a mess. One of the best things you can do for yourself is keep your invoice simple. For the most part, all the client needs is: Today's Date Event Date Event Location Show Name Your Hours Your Pay Rate Today's Date Unique Invoice (we'll inform you of it) Hire A Service If it's still too hard for you to get your invoices out on time, consider hiring a bookkeeping business. They aren't that cheap, but I suspect you're more than making up for the mean of his words. But better to pick up the guys without guns facing off with the guys with guns. Long and short of it, if your clients have you set up as Net 5, Net 15 or even Net 30. That clock starts running the day you submit your invoice and it's accepted. It is really unfair to call 3 days after the show, having not even sent or confirmed your hours worked and start demanding pay. I really hope this helps you understand the issues behind invoicing - and look forward to seeing you on the campus soon.

Cameras are common in live event production, now more than ever with the increasing popularity of virtual events. Digital content is captured for a variety of reasons including image magnification, broadcast, post-production editing or archival purpose, just to name a few. Operating a camera in a live, virtual or hybrid show environment can be fast paced and overwhelming. The more familiar you are with common camera operation terminology, the more effective you will be as an operator or understanding how to produce effective content.

Imagepro 2 not sending image to LED processor, but EDID detects source output. Just thought we'd share a recent experience - one of those obvious moments that can be easily overlooked or forgotten, a scenario that can easily stump novice video techs. Preface: As a best practice, it is protocol to make all your connections, both input and output, before energizing components or consoles. This appears to be particularly important with the Barco ImagePRO 2. During a recent install, we were sending a signal directly from a Barco E2 to a Evision HD101 LED Processor when we decided to install an ImagePRO for better scaling support. I dropped in the unit and energized it while I waited for the V1 to drop me an HDMI out of the E2. Once that was done, I ran an HDMI from the ImagePRO 2 to the HD101 and started the configuration. The ImagePRO display confirmed EDID detected the E2 and the HD101 display confirmed that EDID detected the ImagePRO. But after an hour of trying to get an image from the E2 on the LED wall, the best we could do was get a Test Pattern from the ImagePRO to work. After swapping cables, ports, sources and trying everything we could think of, I finally resorted to "tried and true" and power-cycled the units. Voila, it worked. That's when I happened to find the QuickStart card which clearly states connecting inputs and outputs before turning it on. Perhaps if any video experts that may read this post would like to comment on "why," I'd certainly be interested, but I'm sure it is an EDID of bus thing. Any other thoughts or remarks, I encourage you to share below in the comments section.

Published by the Dept of Industrial Relations The following is a list of laws enforced by the Labor Commissioner that specifically prohibit discrimination and retaliation against employees and job applicants. Complaints must be filed within one year of the retaliatory act, unless stated otherwise. Important: Effective September 30, 2021, Executive Order N-08-21, Section 24(f) ends the temporary suspension of deadlines to file complaints with the Labor Commissioner due to the COVID-19 pandemic and such deadlines will once again be in effect in their entirety. Labor Code section 96(k) Provides the Labor Commissioner with authority to be assigned claims for loss of wages that arise from retaliation for lawful conduct occurring during nonworking hours and away from the employer’s premises. Labor Code section 98.6 Protects an employee filing or threatening to file a claim or complaint with the Labor Commissioner, instituting or causing to be instituted any proceeding relating to rights under the jurisdiction of the Labor Commissioner, or testifying in any such proceeding, complaining orally or in writing about unpaid wages, or for exercising (on behalf of oneself or other employees) any of the rights provided under the Labor Code or Orders of the Industrial Welfare Commission, including, but not limited to, the right to demand payment of wages due, the right to express opinions about, support or oppose an alternative workweek election, or the exercise of any other right protected by the Labor Code. In addition to other remedies that might be available, a civil penalty of up to $10,000 may be awarded to an employee for each violation. Labor Code section 230(a) Labor Code section 230(a) prohibits an employer from retaliating against an employee for taking time off to serve on a jury, provided that the employee has given the employer reasonable notice. Labor Code section 230(b) Labor Code section 230(b) prohibits an employer from retaliating against an employee who is a victim of a crime for taking time off to appear in court to comply with a subpoena or court order as a witness in a judicial proceeding. Labor Code section 230(c) Labor Code section 230(c) prohibits an employer from discharging or in any manner discriminating or retaliating against an employee who is a victim of domestic violence, sexual assault, and/or stalking, who is a victim of a crime that caused physical injury or that caused mental injury and a threat of physical injury, or who is a person whose immediate family member is deceased as the direct result of a crime (regardless of whether there is an arrest, prosecution, or conviction for committing the crime), for taking time off from work to obtain or attempt to obtain relief to help ensure his or her health, safety, or welfare, or that of his or her child or children. Labor Code section 230(e) Labor Code section 230(e) prohibits an employer from discharging or retaliating against an employee because of his or her status as a victim of crime or abuse, provided that the victim provides notice to employer of the status or the employer has actual knowledge of the status. Labor Code section 230(f) An employer shall provide reasonable accommodations for a victim of domestic violence, sexual assault, and/or stalking, a victim of a crime that caused physical injury or that caused mental injury and a threat of physical injury, or a person whose immediate family member is deceased as the direct result of a crime (regardless of whether there is an arrest, prosecution, or conviction for committing the crime), who requests an accommodation for the victim’s safety while at work. Reasonable accommodations may also include assistance in documenting domestic violence, sexual assault, stalking, or “other crime” that occurs at work, or another work adjustment in response to domestic violence, sexual assault, stalking, or “other crime.” The employer shall engage in a timely, good faith, and reasonable process with the employee to determine effective reasonable accommodations Labor Code section 230.1 An employer with 25 or more employees is prohibited from retaliating against an employee who is a victim of domestic violence, sexual assault, and/or stalking, who is a victim of a crime that caused physical injury or that caused mental injury and a threat of physical injury, or who is a person whose immediate family member is deceased as a direct result of a crime (regardless of whether there is an arrest, prosecution, or conviction for committing the crime), and who takes time off to seek medical attention, to obtain services from a domestic violence program or psychological counseling, or to participate in safety planning. The worker must provide reasonable advance notice if feasible. Labor Code section 230.2(b) An employee who is a victim of a crime, an immediate family member of a victim, a registered domestic partner of a victim, or the child of a registered domestic partner of a victim is allowed to take time off from work to attend judicial proceedings related to that crime. Labor Code section 230.3 An employee who takes time off to perform emergency duty as a volunteer firefighter, a reserve peace officer, or emergency rescue personnel is protected. An employee who is a health care provider must notify his or her employer at the time the employee becomes designated as emergency rescue personnel and when the employee is notified that he or she will be deployed as a result of that designation. Labor Code section 230.4 Labor Code section 230.4 protects an employee who is a volunteer fire fighter, reserve peace officer, or emergency rescue personnel and provides that they can take up to 14 days off per calendar year to engage in fire or law enforcement training. This statute applies to employers with 50 or more employees. Labor Code section 230.5 Labor Code section 230.5 prohibits an employer from retaliating against an employee who is a victim of certain offenses identified in Labor Code section 230.5(a)(2) for taking time off to appear in court at any proceeding. Labor Code section 230.7 Labor Code section 230.7 prohibits an employer from retaliating against an employee who is a parent or guardian of a student for taking time off from work to appear at the student’s school due to a request made under Education Code section 48900.1. Labor Code section 230.8 Labor Code section 230.8 prohibits an employer with 25 or more employees from retaliating against an employee who is the parent of a child for taking off up to 40 hours a year, but no more than 8 hours per month, to participate in the child’s school activities, to locate or enroll the child in school or child care, or for school emergencies (no 8 hour restriction for school emergencies). For the purposes of this section, parent includes stepparent, foster parent, guardian, grandparent, or person who stands in the place of a parent for the child. Labor Code sections 232 Labor Code section 232 prohibits an employer from discharging or retaliating against an employee for disclosing his or her wages. Employers also cannot require an employee to sign a waiver or other document denying the employee the right to disclose his or her wages or otherwise require that an employee refrain from disclosing his or her wages. Labor Code section 232.5 Labor Code section 232.5 prohibits an employer from discharging or retaliating against an employee who discusses or discloses information about the employer’s working conditions. Employers also cannot require that an employee sign a waiver or other document denying the employee the right to discuss or disclose information about the employer’s working conditions or otherwise require that an employee refrain from disclosing information about the employer’s working conditions. Labor Code section 233 Employers providing sick leave for their employees must permit employees to use, in a calendar year, the employee’s accrued and available sick leave, in an amount not less than the sick leave that would have accrued during six months. Employees are permitted to use sick leave for any reason specified in section 246.5(a). Employees have the sole discretion to designate days taken as paid sick leave under section 233. Labor Code section 234 An employer’s absence control policy that counts sick leave taken under Labor Code section 233 as an absence that may lead to discipline, discharge, demotion, or suspension is a violation of section 233. Labor Code section 244 Labor Code section 244 provides that reporting or threatening to report the suspected or actual immigration status of an employee, former employee, or prospective employee who has exercised a right under the Labor Code, Government Code, or Civil Code to any government agency constitutes an adverse action. Labor Code sections 246.5 An employer cannot deny employees the right to use accrued sick days and is prohibited from otherwise retaliating against an employee who uses sick leave, attempts to use accrued sick leave, files a complaint regarding sick leave, alleges a violation of paid sick leave rights, cooperates in an investigation or prosecution regarding sick leave, or opposes a policy or practice that violates California sick leave law. In addition to other available remedies, additional amounts may be awarded under section 248.5(b)(2) and (b)(3). Labor Code section 432.3 Labor Code section 432.3 prohibits an employer from using a prospective employee’s salary history to determine whether to make an offer of employment and to determine at what salary to make the offer of employment. An employer is also prohibited from seeking personally, or through an agent, the applicant’s salary history. An employer must also, upon reasonable request, provide the salary scale for a position to an applicant for employment. Labor Code section 432.6 Labor Code section 432.6 prohibits employers from conditioning employment or receipt of benefits on the waiver of any right, forum or procedure for violations of the Labor Code or Fair Employment and Housing Act, including filing a lawsuit or administrative claim. Section 432.6 is currently not enforced pending ongoing litigation, except in cases involving (1) employment contracts for seamen, railroad employees, or workers engaged in foreign/interstate commerce, or (2) arbitration agreements that do not evidence a transaction involving interstate commerce. A federal court injunction currently only prevents the Labor Commissioner from enforcing this section as to waivers related to certain arbitration agreements. Other waivers of rights under the Labor Code are still prohibited by this provision, and the Labor Commissioner has jurisdiction to enforce those prohibitions. Labor Code section 432.7 Labor Code section 432.7(a)(1) prohibits an employer from asking for an applicant to disclose information regarding an arrest or detention that did not result in conviction, or information regarding a referral to or participation in a diversion program or a conviction that was judicially dismissed or ordered to be sealed. An employer also shall not seek or use, as a factor of in determining any condition of employment, any record of arrest or detention that did not result in conviction, or any record regarding a referral to and participation in a diversion program or a conviction that was judicially dismissed or ordered to be sealed. Labor Code section 432.7(a)(2) prohibits an employer from asking an applicant to disclose any information concerning or related to an arrest, detention, processing, diversion, supervision, adjudication, or court disposition that occurred while the person was under the jurisdiction of the juvenile court. An employer also shall not seek or use, as a factor of determining any condition of employment, any record concerning or related to an arrest, detention, processing, diversion, supervision, adjudication, or court disposition that occurred while the person was under the jurisdiction of the juvenile court. Labor Code section 432.8 Labor Code section 432.8 applies the limitations from section 432.7 to certain violations related to the possession of marijuana. Labor Code section 752 Ensures that employees in non-unionized smelters or underground mines have a right to a fair and impartial election to establish a workday greater than eight hours. An employer shall not retaliate against an employee for exercising any right under this law. Labor Code section 1019 Labor Code section 1019 makes it unlawful to engage in “unfair immigration-related practices” against any person for the purpose of retaliating against that person for exercising rights under the Labor Code or local ordinances related to employees. Exercising a right protected by the Labor Code or local ordinance includes: filing a good faith complaint about or informing a person in good faith about an employer’s violation of the Labor Code or local ordinance, seeking information about whether an employer is in compliance with the Labor Code or local ordinance, or informing a person of his or her rights and remedies under the Labor Code or local ordinance and assisting him or her in asserting those rights. An unfair immigration practice means any of the following practices: requiring more or different documents than required by federal immigration law, refusing to accept documents that reasonably appear to be genuine on their face, using the federal E-verify system to check the work authorization status of a person in a manner not required by federal immigration law, filing or threatening to file a false report with a state or federal agency, or contacting or threatening to contact immigration authorities. Labor Code section 1019.1 Labor Code section 1019.1 provides that it is unlawful for an employer to request more or different work authorization documents than required by federal law, refuse to accept work authorization documents that reasonably appear to be genuine on their face, refuse to honor documents or work authorization based on the specific status or term of status that accompanies the authorization to work, or attempt to reinvestigate or reverify a current employee’s authorization to work using an unfair immigration-related practice. In addition to other remedies that might be available, a penalty of up to $10,000 may be awarded for each violation. Labor Code section 1019.2 Labor Code section 1019.2 prohibits an employer, or a person acting on behalf of an employer, from reverifying the employment eligibility of any current employee at a time or in a manner that is not required by Section 1324a(b) of Title 8 of the United States Code. Violation of this section subjects the employer to a civil penalty of up to $10,000. Labor Code section 1024.5 Labor Code section 1024.5 prohibits the use of a consumer credit report for employment purposes unless the position of the person for whom the report is sought falls under certain enumerated exemptions. Labor Code section 1024.6 Labor Code section 1024.6 prohibits an employer from discharging or retaliating against an employee who updates or attempts to update his or her personal information based on a lawful change of name, social security number, or federal work authorization document. Labor Code sections 1025-1028 A private employer with 25 or more employees must provide reasonable accommodations for an employee to participate in a drug or alcohol rehabilitation program. Workers who are denied a reasonable accommodation may file a complaint with the Labor Commissioner. Labor Code sections 1030-1033 Employers are prohibited from discharging or in any manner retaliating against an employee for exercising or attempting to exercise any right under the state lactation accommodations laws to express milk for the employee’s infant child. Workers have a right to file a retaliation complaint for such violations under section 98.7. Labor Code section 1041-1044 A private employer with 25 or more employees shall reasonably accommodate and assist an employee who reveals issues with illiteracy and requests the employer’s assistance in enrolling in an adult literacy program. Workers who are denied a reasonable accommodation may file a complaint with the Labor Commissioner. Labor Code section 1101 Labor Code section 1101 prohibits an employer from preventing employees from engaging or participating in politics or preventing employees from becoming candidates for public office. An employer also cannot control or direct the political affiliations or activities of employees. Labor Code section 1102 Labor Code section 1102 prohibits an employer from coercing, influencing, or attempting to coerce or influence an employee to follow or refrain from following a particular course of political action or activity. Labor Code section 1102.5 Subsection (a) prohibits an employer, or any person acting on behalf of the employer, from making, adopting, or enforcing any rule, regulation, or policy that prevents an employee who believes that he or she is disclosing a violation of state or federal statute, or a violation or noncompliance with a local, state or federal rule or regulation: (1) from disclosing information to a government or law enforcement agency, to a person with authority over the employee, or to another employee who has authority to investigate, discover, or correct the issue; or (2) from providing information or providing to a public body conducting an investigation, hearing or inquiry. Subsection (b) protects against retaliation for disclosing information, or because an employer believes an employee has disclosed information or may disclose information, to a government or law enforcement agency, to a person with authority over the employee, or to another employee who has the authority to investigate, discover, or correct a violation, where an employee reasonably believes that the information discloses a violation of a state or federal statute, or a violation of or noncompliance with a local, state, or federal rule or regulation. Subsection (c) protects an employee who refuses to participate in an activity that would result in a violation of a state or federal statute, or a violation of or noncompliance with a local, state, or federal rule or regulation. In addition to other remedies that might be available, a civil penalty of up to $10,000 may be awarded for each violation. Labor Code section 1171 Labor Code section 1171 prohibits an employer from retaliating against an individual participating in a national service program, like AmeriCorps, for refusing to work overtime for any legitimate reason. Labor Code section 1197.5 Employees cannot be paid less than an employee of the opposite sex or another race or ethnicity for substantially similar work, when the work is viewed in light of skill, effort, and responsibility, and when performed under similar working conditions. However, differences in pay are acceptable where the employer can demonstrate that a payment is made pursuant to a seniority system, a merit system, a system which measures earnings by quantity or quality of production, or a differential based on a bona fide factor other than sex, race, or ethnicity. Workers may file a claim with the Labor Commissioner’s office or pursue a lawsuit. Generally, an employee must file within two years of the violation occurring, but workers may have three years in circumstances where a violation is willful. Employees who invoke or assist with the enforcement of the Equal Pay Act are protected against retaliation. Employees are protected if they disclose their own wages, discuss the wages of others, inquire about another employee’s wages, or aid or encourage any other employee to exercise his or her rights under this section. A complaint with the Labor Commissioner alleging retaliation must be filed within one year of the adverse action. Labor Code section 1198.3 Labor Code section 1198.3 prohibits an employer from discharging or retaliating against an employee who refuses to work hours in excess of those permitted by applicable Industrial Welfare Commission orders. Labor Code section 1311.5 Labor Code section 1311.5(c) provides for treble damages when an individual is retaliated against because he or she filed a claim or civil action alleging a Labor Code violation that arose when the individual was a minor. Such damages are available whether the claim or civil action was filed before or after the individual reached the age of majority. Labor Code section 1512 Labor Code section 1512 prohibits an employer from discharging or retaliating against an employee who takes a leave of absence for organ or bone marrow donation. Labor Code section 2102 Labor Code section 2102 prohibits a warehouse distribution center employer, as defined in Labor Code section 2100(f), from subjecting an employee to an adverse employment action for failing to meet a quota that does not allow a worker to comply with meal and rest periods, bathroom breaks, or occupational health and safety laws in the Labor Code or division standards, or for failing to meet a quota that has not been disclosed to the employee pursuant to Section 2101. Labor Code section 2104 Labor Code section 2104 Subsection (a) provides a current or former warehouse distribution center employees with a right to request a description of their quotas and their personal work speed data for the last 90 days. Labor Code section 2105 Labor Code section 2105 creates a rebuttable presumption of retaliation if an employer takes an adverse action against an employee within 90 days of initiating the employee’s first request in a calendar year for information about a quota or personal work speed data or making a complaint alleging any violation of Sections 2101 to 2104, inclusive, to the Labor Commissioner, the Division of Occupational Safety and Health, other local or state governmental agency, or the employer. Labor Code section 2810.8 Labor Code section 2810.8 prohibits an employer from retaliating against a laid off employee who exercises their recall rights related to the COVID-19 pandemic . Labor Code section 2814 Except as required by federal law or as a condition of receiving federal funds, an employer cannot use E-Verify to check the work authorization status of a current employee or applicant for employment who has not been offered employment. After using E-Verify and receiving a tentative non-confirmation, an employer must also provide the employee any notification issued by a federal agency of a possible non-confirmation. In addition to other available remedies, an employer may be liable for a civil penalty up to $10,000 for each violation. Labor Code section 2929 Labor Code section 2929 prohibits an employer from discharging an employee because garnishment of the employee’s wages has been threatened or because his or her wages have been subjected to garnishment for the payment of one judgment. The employee shall give notice to his or her employer of his or her intention to make a wage claim within 30 days after being discharged, and file a wage claim with the Labor Commissioner within 60 days after being discharged if he or she desires that the Labor Commissioner take assignment of the wage claim. Labor Code section 2930 Labor Code section 2930 protects an employee who is disciplined or discharged based on a shopping investigator’s report of the employee’s conduct, performance, or honesty when the employee was not provided with of copy of the report before the discipline or discharge. The shopping investigator must be licensed under the Business and Professions Code for this section to apply. Labor Code section 6310 Labor Code section 6310 prohibits an employer from retaliating against an employee who complains about safety or health conditions or practices at the workplace, institutes or testifies in any proceedings relating to the employee’s rights to safe and healthful working conditions, exercises any rights under the federal or California law relating to occupational health and safety, or participates in an occupational health and safety committee established under Section 6401.7. Employees are also protected if they report a work-related fatality, injury, or illness, or for requesting access to occupational injury or illness reports or records, unless the employee alleges retaliation because he or she has the intention to file or has filed a workers’ compensation claim pursuant to Labor Code section 132(a) Labor Code section 6311 Labor Code section 6311 provides the right to refuse to perform work that would violate any occupational safety or health standard or any safety order of the division or standards board if the violation would create a real and apparent hazard to the employee or his or her fellow employees. Labor Code section 6399.7 Labor Code section 6399.7 prohibits an employer from retaliating against an employee who complains or testifies about non-compliance with the Hazardous Substances Information and Training Act. Labor Code section 6403.5 Protects an employee who refuses to lift, reposition, or transfer a patient due to the health care worker’s concerns about patient or worker safety or because of the lack of trained lift team personnel or equipment. Labor Code section 6409.6 Labor Code section 6409.6 prohibits an employer from retaliating against a worker for disclosing a positive COVID-19 test or diagnosis or order to quarantine or isolate. Health and Safety Code section 1596.881 and 1596.882 Health & Safety Code sections 1596.881 and 1596.882 protects an employee who: (1) complains about the violation of any licensing or other laws relating to child day care facilities (e.g., staff-child ratios, transportation of children, or child abuse), (2) institutes or cause to be instituted any proceeding against the employer relating to the violation of any licensing or other laws, (3) appears as a witness or testifies in a proceeding relating to the violation of any licensing or other laws, or (4) refuses to perform work in violation of a licensing or other law or regulation after notifying the employer of the violation. A claim alleging a violation of section 1596.881 must be presented to the employer within 45 days of the alleged violation and presented to the DLSE within 90 days of the alleged violation. Unemployment Insurance Code section 1237 Unemployment Insurance Code section 1237 prohibits an employer from discharging or retaliating against an employee who seeks information from the Employment Development Department (EDD) concerning rights under the Unemployment Insurance Code or Labor Code, cooperates with any investigation undertaken by EDD, or testifies in any proceeding brought pursuant to the Unemployment Insurance Code or the Labor Code. IWC Orders 1 through 13, section 3(C)(8); IWC Order 16, section 3(C)(7); and IWC Order 17, section 5 “Election Procedures” (H) Employees who express an opinion regarding an alternative workweek election or oppose or support its adoption or repeal are protected. Please note: Except for the Labor Commissioner’s enforcement of the California Equal Pay Act (Labor Code section 1197.5 noted above), the Department of Fair Employment and Housing (DFEH) maintains the authority to investigate complaints of discrimination (based on race, religion, sexual orientation, gender, national origin, etc.) in the areas of employment, housing, public accommodations and hate violence. The National Labor Relations Board (NLRB) investigates complaints of unfair labor practices by employers and unions.

PRACTICAL TIPS FOR NEW CREW MEMBERS TO ENSURE A SUCCESSFUL FIRST CALL If you are new to the live events industry or to 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 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 that do a good job of estimating the labor requirements for their job. However there are unexpected conditions that are unforeseen. Job end-times are considered a reference or estimation. It may not be the actual end to 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 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 prior to 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 dress requirements for each job, as they may change. All clothing should be clean, 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. 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 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 coat 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 OWN 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 with the exception of battery operated screw guns and hand held 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 from our crew and Crew Operations team. As a team, we should be accountable to each other for our own 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, 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 a number of 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

Stagehand & Audiovisual Technician Tools A stagehand or technician's tool kit or workbox is often as unique as the person that owns it. As they learn new tricks or devise ways to overcome challenges, their tools and gadgets will demonstrate the breadth of their experience. Therefore, it's important to emphasi ze that this guide should only be used as a reference for new techs preparing their first kits or techs that are deciding their path of specialization. A good event professional will always verify the scope of work they are expected to accomplish and tool themselves accordingly.

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 adapters for any connection ever invented, every custom contraption ever imagined, 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 video department as a whole is arguably the most complex of the production department, encompassing all the visual elements. Sitting at the center of all the input sources and output mediums is the video switcher. If you're new to the video department or have aspirations of learning the Switcher position, below is a brief glossary of common terms and acronyms. This is far from an exhaustive compilation, but familiarity with these terms will greatly increase your understanding video as a whole. 3G — A 3 Gbit/s serial digital 10-bit or 12-bit video interface (SMPTE 424M and 425M). AUX (Auxiliary) Bus — AUX buses are extra switching buses that allow video signals connected to the switcher to be routed to external equipment such as VTRs, monitors, projectors, etc. Bank — a name for the three combined individual buses in an M/E, including the PGM bus, the PST bus and the KEY bus. BG (Background) — The switcher bus on an M/E bank that selects the on-line (or on-air) output signal. Chroma Key — A type of key where the hole-cutting information is derived from a color rather than from a video level. An common example on television, is when the weatherman appears to be standing in front of a map. The map itself is a video signal, and the weatherman is in fact standing in front of a green (or blue) screen. On the switcher, the Chroma Key process electronically subtracts the color from the foreground image, and replaces it with video from the background image to form a composite image. Clip, Gain, Opacity — In switcher terminology, the process of fine-tuning a key of any type (luminance, linear, or chroma). Clipping sets the threshold for the hole- cutting circuitry, while "gain" defines the range and sensitivity of adjustment. The "opacity" is the transparency or density of the key, as revealed over a background. Chassis Cards — In addition to the required M/E and System cards, the following cards that can be installed in the chassis, enabling you to configure the switcher in many flexible ways. CLN (Clean Feed) — An output of an M/E that originates upstream of the M/E’s keyers. For example, if the output of M/E 1 is Camera 1 plus a key, the “clean” output is Camera 1 only, minus the key. Computer Video — A generic term indicating video that originates from a computer platform. A progressive scan signal that follows VESA (Video ElectronicsStandards Association) standards, with typical resolutions of 800 x 600, 1024 x 768, 1280 x 1024, etc. Crosspoint — The video switch (or button) that selects the input required on a particular switcher bus. Cut — an instantaneous switch from one video source to another. DA (Distribution Amplifier) — A video device that inputs one video signal, and outputs multiple “identical” signals. DSK (Downstream Keyer) — A DSK is a key that is electronically located after all other switcher functions — visually on top of all other layers and buses. Any operations performed “upstream” on the switcher M/Es will not affect the downstream key video. DVE (Digital Video Effects) — A special effects generator with the ability to create PIP effects, reduce and enlarge images, create borders and shadows around those images, and create keyframes for motion paths.See PIP and Keyframe for additional information. EXT (External) — A digital key input that is dedicated to the DSK. FTB (Fade to Black)— The button which enables the TD (Technical Director) to fade everything on Program, including the DSK, to or from black. GPIO (General Purpose Input/Output) — One or more communications ports that control input and output "triggering." For example, with a GPI (input) trigger, an external peripheral device can trigger a specified switcher function. With a GPO (output) trigger, the switcher can trigger an external device. GUI (Graphical User Interface) — A term that describes a status display based on graphics and icons, rather than strictly on numbers and letters. HD-SDI (High Definition Serial Digital Interface) — a high definition SDI signal (SMPTE 292M). Example formats are 720p, 1080i, and 1080p. Keyframe —In a PIP “move,” a keyframe is a point where an action or change occurs. For example, when a PIP moves from the upper right corner to full screen, keyframe 1 is the upper right position, and keyframe 2 is the full screen position of the PIP. Keying — The process of superimposing video from one source (the foreground) on top of another source (the background). Key Fill — The video which fills the hole cut by the keying circuitry. Typically, switchers provide a variety of choices for the fill source — internal mattes, external video, or "self" fill are several examples. Key Mask — A key modification system that protects a portion of the foreground video from being keyed, using the switcher’s internal pattern system. Key Signal— also known as Key Source. The signal that electronically cuts the hole in the background video signal. Key signals typically originate from external inputs such as character generators or cameras. Linear Key — a keying mode in which the edges of anti-aliased key sources (such as character generators) are reproduced clearly.Typically, two separate signals are required from a linear key source: a cut and a fill. M/E (Mix/Effects) — The section (or "bank") of a video switcher where video signals are processed to select inputs and create mixes, wipes, keys and other effects. An M/E is essentially a video layer that can be combined with other M/Es (layers) to form the entire output of the switcher. Menu — A term used to describe buttons and functions on the high-resolution color LCD touch screen. Mix — also known as a Dissolve. A transition between two video sources in which one source fades out as the other fades in. Multiviewer (MVR) — a monitoring system that enables multiple sources (input and outputs) to be displayed on one or two monitors, eliminating the need for individual source monitors. By utilizing different arrays of PIPs, users can select the preferred multiviewer “look,” and streamline control room operations. Native Resolution — The resolution to which all processing is set within the switcher frame, e.g., SD-SDI (SMPTE259M, Level C) or HD-SDI(SMPTE 292M). NTSC —National Television StandardsCommittee. The oldest standard for color picture broadcasting. NTSC is a standard definition format that operates at a frequency of 60Hz, with 525 lines, 60 fields and 30 frames per second. PAL — Phase Alternating Line. PAL is the predominant TV standard in Europe. PAL is a standard definition format that operates at a frequency of 50Hz, with 625 lines, 50 fields, and 25 frames per second. PGM (Program) — The switcher bus on the Program bank that selects the on-line (or on-air) output signal from that bank. PGM Bank — The entire PGM bank, including the PGM bus, PST bus, DSK, the PGM transition section and FTB. PIP (Picture-in-Picture) — An on-screen “look” in which one picture(typically of reduced size) is positioned or keyed over another background image — or another PIP. PIPs can overlap each other, depending on their visual priority. PST (Preset) — The switcher bus that selects the video that will appear next on- line (or on-air). RGB — The red, green and blue color signal components. RGBHV — Defines a connection scheme with five lines: one for red, one for green, one for blue, one for the horizontal sync and one for the vertical sync. This is the standard used in VGA and other analog PC computer monitors. RGBS — Defines a connection with four signals, to transmit video and sync information. Vertical and horizontal sync are combined on a single channel RGsB — Defines a connection with three signals, to transmit video and sync information. Here, the sync information is transmitted on the green channel. SD-SDI — (Standard Definition Serial Digital Interface) — a standard definition SDI signal with a data rate of 270 Mbit/s only (SMPTE 259M).Example formats are 480i and 525i. SDI (Serial Digital Video) — A digital representation of the video signal that is distributed via a single coaxial cable with BNC connectors. T-Bar —Also known as a Fader, the T-Bar is the lever on a switcher that manually controls the progress of an effect. The position of the fader controls the amount of the BG (Background) Bus signal and the PST (Preset) Bus signal that contributes to the mix, wipe or key. TD (Technical Director) — the person who operates the switcher. Wipe — a transition between two video sources that uses a selected pattern to determine the edge between the two sources. Y/C — A video signal in which color and brightness information is transmitted separately (luminance Y, chrominance C).

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 goig 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, to contact someone that’s monitoring a different channel, it’s helpful to those that 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 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 wear your radio in a place where clothing or gear attached to you may accidentally key your mic. Be mindful when you’re in close proximity to other radios monitoring the same channel. You want to lower your volume to prevent feedback if someone close to you opens their mic.. IIf you bring your own 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 any and 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 other 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 reply - short for "over to you" Out Finished talking and did not expect a reply. Clear Finished talking and shutting 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, indicating 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 period of time. ​Keep in mind, etiquette and phrases tend to vary by crew and ge. This wasn't meant to be an exhaustive study by any means. But 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.

Obvious and not-so-obvious common courtesies and best practices for stagehands and event crew. It's true, like most specialized trades, stagehands and stagecraft professionals have their own unique culture and etiquette associated. We've covered topics about vocabulary, style and even the perspective on the length of a work day. However, when we collect and present all the unique aspects of stagehand life, there is undeniably a code of ethics or general etiquette that we all kind of naturally follow. Those that resist don't seem to last long. ​ Some of the rules are unspoken and some are clearly communicated. But in total, there exists a set of guidelines and principles that stagehands seem to hold to. It's worth mentioning that stagehand norms and mores do differ according to geographic location and even age group. But we wanted to pull together a general list of expectations and etiquette for new recruits and even veteran review. Not all these instructions may apply to crews everywhere, but they are a group of standards that will set most up for success if understood and practiced. We encourage our readers to comment and add perspective. General Etiquette Always look busy. Assume every cable is hot. Return spent lamps. Mark bad gear. Tape down cables last. Keep the crew area tidy. Nobody likes a gig jumper. 10 hour day is a short day. If you're late, bring donuts. Always look busy. ​Don't get caught napping. Advise lead if schedule changes cause lunch penalty. Do not engage the end-client directly unless instructed. Do not go into someone’s workbox or road case without permission. Mute your comm unless you’re actively speaking. The shift isn't over unless your lead says you’re done. Don't walk away from a project until it's done. Never walk away from a project unless it’s safe. Inform your lead immediately if you break, or find something broken. Empty pockets and secure tools before you walk out onto a catwalk. Fill out start docks or new hire paperwork during breaks, before or after shifts. Take off your headphones on the floor. No unnecessary chatter over comm or radio Avoid hanging around FOH during the show, unless you're required to. Notify someone if you walk off the floor. Take phone calls or texts at the perimeter, not on an active show floor. ​No breaks for show crew during the show. No excuse to drop anything from a lift. Charge your lift when you're not using it and at EOD. Plan your bio breaks. Never nap on stage. Always look busy. Label your cables. Set it like its drawn. Slower is faster. Fix the drape behind you. Police your own gaff. If it's hard, you're doing it wrong. Smoke in designated areas. Don't argue with the client. Phones are silent. Notify channel when going off comm. Circuit as instructed. Don't run over cables. Bring your own tools.​ Call ahead if you're late. Don't miss lobby call. Call out cable swings or drops. Call out when you move your boom or scissor lift. Call out when truss is moving Install for the out. Always look busy. Nobody leaves until the truck is loaded. Show crew eats before the strike team. Client food is not crew food. Producer is always right Park in designated crew areas. Never use an impact wrench on truss. Gaff in 90 degree angles. Reset gear to factory settings. Get approvals for change orders. Don’t side load shackles. ​Bring government issued ID and proof of right to work. Strain relief aerial cables. Latch the safety chain on your scissor lift. ​Get overtime approved in advance. Get lunch penalties approved in advance. Bring a copy of your certifications Keep fingers away from motor chains. Arrive early enough to prep and stow your gear before your call starts. Run cables over the top of truss and behind uprights, never thru it. Run cables around the back of Fast Fold legs, not thru them. A Shackle's pin is opposite side from the spanset, away from the fabric Notify your lead immediately if there is an injury of near miss. Wear steel toe boots, especially when unloading a truck.

Cameras are common in live event production, now more than ever with the increasing popularity of virtual events. Digital content is captured for a variety of reasons including image magnification, broadcast, post-production editing or archival purpose, just to name a few. Operating a camera in a live, virtual or hybrid show environment can be fast paced and overwhelming. The more familiar you are with common camera operation terminology, the more effective you will be as an operator or understanding how to produce effective content.