Course List & Descriptions - IASTE Local 22 Training Fund

Course List & Descriptions

1. Introduction to Stagecraft and IATSE Local 22 Training Fund– This class introduces the student to the very basics of stagehand stagecraft, including terminology, stage directions, basic safety, stacking and flipping cases, setting a 16’ truck ramp, various ways of loading and unloading a truck using said ramp, and how to carry and align truss, all using the preferred methods of IA Local 22. Students are all given a piece of rope and taught the clove hitch, the figure eight, the bowline, and the DC tie off. The class also discusses the benefits that working under a union contract provides; pension and welfare, health insurance, and living wages. This class is required to become a part of the “D” list in the referral system and to be eligible for the “C” list test.
2. Basic Shop Carpentry– This class introduces the basics of theatrical shop carpentry to the students. This includes identifying basic shop power tools such as a table saw, band saw, and radial arm saw. An introduction to pneumatic tools iscovered. Some of the most common building materials used in theatrical carpentry are discussed and identified. Students learn what the most common uses are for each and why. Basic hand power tools and their uses are also covered,includingcircular saws, reciprocating saws, and saber saws. Hardware and how it is incorporated is reviewed. As the scene shop contains a multitude of hazards, students are educated to the basics of HazCom, SDS, PPE, situational awareness, and tools that make carpentry jobs safer. Students must be dressed for a work call; long pants and safety toed shoes are strongly encouraged.
3. Basic Props/Carpentry– This class introduces the student to the very basics of stage carpentry and props work. Basic hand tools such as various types of hammers, screwdrivers, wrenches, pliers, screw guns,pry bars, drift pins, tape measures, and how they can be used are discussed. Various types of hardware used for quick assembly of scenic pieces are also covered. These include, but are not limited to the three most common size of bolts, rated and not rated hex heads, carriage, lag, stage screws, flat washers, locking washers, nylon insert nuts, cotter pins, hinge pins, and various screws. The class covers the definition of a prop and how it differsfrom a set piece and if it is set decoration. Responsibility for props, how to build a prop table, and basic maintenance of props is discussed. Dance floors andground clothsand how you install them are covered, as well as spiking the floor, sweeping,and moppingin the preferred 22 manner. Food maintenance and safety for the show and for breaks or mealsis also included. There are many practical portions to this class and students should be dressed and prepared as though they were going on a work call.The student must know how to tie a clove hitch before attending this class.
4. Basic Electrics– This class introduces a variety of lighting instruments found while working as a stage electrician on a 22 call. Ellipsoidals of many kinds are introduced as well as their most common accessories. Parabolic instruments, fresnels, strip lights, and movers are also discussed. Accessories for many of these instruments and their usage are demonstrated. The practical portion coversthe way an instrument should be hung, cabled, and focusedand what tools you may need to achieve these tasks. Power and its many types of connections are also discussed, including running power, its basic path, and tying it in. The class also examines various types of cable, cable connections, how cable should be coiled, and where to add strain relief. The students hang a mover and discuss the important things to remember when doing so. Also covered is the use of ladders and single person lifts. Students should know how to tie a clove hitch, bring their required tools, be dressed for a work call, and have gloves if they choose to use them.
5. Basic Fly Floor– This class discusses the two most common types of counterweight systems a stagehand encounters in a theater, single and double purchase. The difference between the two, why one is used in place of the other, and how these differ from a hemp house is examined. Identifying the various parts of a counterweight system, how to load and unload weight, and how to operate a lineset are tasks incorporated into the practical portion of the class. Spiking a lineset, communicating with the stage floor and the load rail, in addition to the stage manager are considered. Each student has the opportunity to run a line from the pin rail, learn how to check the weight, how to use the pin as a break, review the tying of the DC tie off, and how to spike a line. Trips to the grid, the loading rail,and the pin rail occurandthese positions are at height. Students should be dressed for a work call and have gloves should they choose to use them.
6. Basic Rigging- This course begins by reviewing how to carry and assemble truss, including how to bolt, what tools may be used in doing so, and things to look for when assembling the truss. The class learns to identify spansets, gac flex, safeties, and when each should and should not be used. Then students are instructed in how these items can be used to support the truss and how a shackle is incorporated into these. Recognizingsteel and knowing the basics of the color coding,what size steel goes with which motor and which shacklegoes with that steel, how to tighten a shackle, andwhat to look for when using a shackleare examined. The students are taught to identify a variety of floor markings and what the symbols in those markings mean. Then they are shown how to translate those symbols into building the steel, where to tie in,and basic safety measures. Chain motors and some of their basics are also touched on in this course. The practical portion of the class will allow students to build steel, assemble truss, and build safeties for truss. The student must know how to tie aclove hitch and a bowline before attending.
7. Basic Audio– This course begins by defining certain aspects of sound, such as decibel and signal flow. The objectives of the course include identifying the differences between dynamic and condenser microphones with examples of each, to discuss DIs and how they are used in a sound system, what kinds of playback are most commonly used, various types of mic stands, cables and connectors, how to coil cable, which end goes where, and how to dress the cables. The course also discusses speakers: what are the basic parts of a speaker, what are the most fundamental two types, and in what positions might they be found. Then it ison to mixers and consoles, touching on what a mixer doesin the simplestsense, what do the various parts of a channel strip do, and what is included in the outboard gear. An introduction to stage plots and input lists is discussed. The practical portion of the course has the student set speakers, place mics on stands, patch, and adjust thevarious parts of the channel strip so they may hear the variations.
8. Basic Video– This course begins by discussing aspect ratio, what it is, which one you are using, and whether it is the correct one for that situation. Types of gear encountered on a video call is covered, includingtypes of cables, when to use each kind, what kind of signal they transmit, and how far that signal can be effectively sent. Determining lens size and what factors are involved in that decision are also discussed. The two main types of screens, knowing how to identify them, how should they be handled, how toattach the screen to its frame, detach, and how you safely fold the screen for storage. Also included is building the frame of the screen, discussing the accessories that may come with the kit, how to adjust the placement of the screen, how to dismantle, and how to do all of this safely. There will also be time for the student to practice adjusting the image on the screen, introducing them to basic sizing, flipping, etc…
9. Basic Theatrical Follow Spot– This course introduces the student to the basics of running a follow spot during a typical theatrical performance. The type of instrument used for the course varies based on the venue, but the parts of a spot, how to operate it, how to turn the light on and off, and how to set your sight are all covered. Descriptions of a variety of types of shots are defined, as well as descriptions of theater architecture, and various types of calling cues. Safety and ethics of running a follow spot are discussed. Students run through severalcues, changing colors, fading in and out, and picking up the talent on stage.Most of this class takes place at height.Basic Concert Follow SpotThis course introduces the student to the basics of running a follow spot during a typical concert performance. The type of instrument used for the course varies based on the venue, but the parts of a spot, how to operate it, how to turn the light on and off, and how to set your sight are all covered. Descriptions of a variety of types of shots are defined, as well as descriptions of home positions and areas, and various types of calling cues. Safety and ethics of running a follow spot are discussed, Students run through a number of cues, changing colors, fading in and out, and picking up the talent on the concert floor. Most of this class takes place at height.
10. Basic Plot Reading– This course teaches the student how to read a scale rule, how to identify various types of drawings, define basic symbols, and briefly explore Lightwright and Stage Plot Pro. Line weights, solid vs dotted lines, how to determine heights, door arcs, and how to use Pythagorean’s Theorem on a drawing are also covered. The practical portion allows students time to work with a scale rule and an exercise sheet,as well asidentifying various pieces of architecture,determining distances of set pieces from center line, plaster line, heights of stairs, and identifying hard scenery and soft goods. The students are also given time with a light plot and asked to find channel numbers, types of instruments, and other information that would be necessary when hanging a show. Rigging plots, Stage plots, and Construction details including a brief introduction to isometric drawings are also covered.
11. Basic A/V– The class covers several things that an AV tech needs to know to successfully set up, run, and dismantle a corporate style event. This includes the main room to break out rooms, how to identify what type of room set up the client is looking for, troubleshooting, safety, and etiquette. The AV tech also learns ways to express any concerns with the venue and the client, identify the basic types of video equipment that can be used in these set ups, as well as a few of the most common computer programs used. Assorted types of audio gear are discussed, including a refresher on signal flow, how to deal with mic-ing clients, and how to dress the stage, and room. What is expected of the techduring the load in,overall during the event, and then load outis examined.The practical portion of this class allows the student to set up a speaker, a small projector, and how to make the pieces all work together.The student must have taken Basic Video and Basic Audio as prerequisites.
12. Steel Building– This course teaches students the basics of building steel. This class is very hands on and requires students be able to lift 50 pounds. The various parts of steel are identified,how they work with each other and within the engineered structure are discussed. Safety isa major element of any steel build and will be thoroughly covered. This includes the proper way to carry and pass the pieces of steel as well as proper safeties for tools, PPE, and handling the weather. Students must have their basic tools, know how to tie a clove hitch and a bowline. If students are interested in climbing steel, this will be examined at the end of the class.
13. Level 2 Props– This course discusses the responsibilities of a props person on an average theatrical prop call. Their duties during load in, production, and load outare considered. Theirassistance of variousdepartmentsis deliberated. Expanding on everything that was taught in the basic level, the students are given an orchestra plot and shown how to set it up, how to handle instruments, how to lay dance floor the KC way, how to label a prop table, and how to label a prop cart.The most commonly used materials to perform quick fixes to props, how to work with the actors and the management, when repairs are to be performed, what kind of hardware may be needed,andwhat additional tools should be carriedare evaluated. Other topics include what is different between running props for dance, straight plays, musicals, operas, and orchestras, how to place a ground cloth, and the safety and etiquette elements that need to be observed. The student must have taken Basic Props as a prerequisite.
14. Level 2 Electrics– This course begins by reviewing the basics class regarding power, instrument types, accessories, movers, and cabling. The student is introduced to photometrics and is presented with the formula used to calculate the diameter of the area covered. Everyone is given the opportunity to hang an instrument and then focus the instrument based on various possible needs of the designer or the show. Key factors in focusing are discussed, such as focus room, tightening all bolts, safeties, pipestiffening, soft goods, scenery, and how movers might impact a conventional. A variety of cables are also reviewed. The students learn what Ohm’s Law is and how to use it on a call. The students are introduced to DMX, addresses, and universes. Moving lights are then brought back into focus by discussing the various functions that they may have; such as brightness, focus, color, beam, pattern, shutters, etc. Students must bring their required tools, be dressed for a work call, and know how to tie a clove hitch and a bowline.Students must have taken Basic Electrics as a prerequisite.
15. Level 2 Fly Floor– This class begins with a review of the basic types of counterweight systems and the parts that make up those systems. The lockrail position allows the student to spike a line, adjust the rope lock, stick a line, and practice tying on a snub. The class practices loading and unloading weights and learns how sticking and snubbing a line can assist in an out of weight situation. The students then practice taking cues as they would during a show with cue lights and with a squawk box. A trip to the grid teaches the students about spotting lines. The basic layout of the grid in terms of linesets, feet offstage, locations of wells, and obstructions are all reviewed. Then students are tasked with spotting a line, including tying on a leg, moving sheaves, and working the pin rail. The final section of the class discusses spotting chain motors, what gear is used for this, what terminology is used, and how to communicate with the crew most effectively during this time. They must know how to tie a clove hitch, a bowline, a figure eight, and should remember the DC tie off.Portions of this class take place at height.The student must have taken Basic Fly Floor as a prerequisite.
16. Level 2 Rigging– This course begins by reviewing spansets, gac flex, safeties, when each should and should not be used, and what each style of wrap does to the breaking strength. Identifying steel pieces and correctly building bridles as dictated by symbols that are found on the decktakes the class forward. Rock and roll basket, split fifteen, closed basket, and other examples are discussed. Chain motors are reviewed; how to set one on the deck, run it in or out to limit with a pickle, how to patch the pendant and the motor into the distro , how to check phase, and run the motor to height. The student must know how to tie a clove hitch and a bowline.The student must have taken Basic Rigging as a prerequisite.
17. Level 2 Audio– This course begins with a review of the basic course, including definitions, types of mics, and speakers. It then moves to discuss mics more in depth, various pick up patterns and when you would want each, what are the frequency responses, and how you maintain the mics. DIs, cable connectors, and various accessories are explained. Multi-cable boxes and when they are usedis assessed as well as howyou cable, label, and maintain. The difference between apress box and from a multi-cable boxis considered. A more thorough conversation about speakersand their various placements are reviewed. The students then spend time with a console and the outboard or internal gear that comes with it. Discussions about EQ, gates, compressors, and the function of each part of the channel strip follow. Students are given the opportunity to explore these options and begin to hear the differences. The class examinesinput lists, stage plots, common tools needed by audio hands, and a list of various jobs within the audio department and what can be expected of each position. The student must have taken Basic Audio as a prerequisite.
18. Level 2 Video– The course begins by reviewing the basic course including aspect ratio, types of cables, connectors, and L=D/W. Projector basics are discussed and cover various lens sizes, lumens, and the illumination source. Focus and the various factors involved in focusing are demonstrated and students are given the opportunity to experience these options. Three different categories of programs are reviewed –presentation, playback, and media servers. Examples of each of these are given and the students learn what are the most common in theater vs corporate. The course also considers the installation of the projectors and what one should keep in mind when working as a video hand during a load in and load out. Troubleshooting measuresare examined; students are given the opportunity to both create the problem and then learn how to fix it. The student must have taken Basic Video as a prerequisite.
19. Level 2 Stage Carpentry– This class covers a variety of tasks that a stagehand may encounter when working as a carpenter in a stage setting. It begins by reviewing a few of the basics relating to the stage house –where are various things and where can you expect to find certain tools in every theater. The course is broken up into four different stations that enable the student to experience the jobs firsthand. Learning low to tie a batten onto a line, tie a leg onto that batten, level the leg, and landing the leg are taught atone station. How to use a swage and properly press a sleeve, how to finish a cable with a cable clip, how to reeve a traveler track, and daisy chain are covered in another. Finding a centerline using 3/4/5, making cut lists, identifying the two main typesof flats, knowing the materials used for flats and platforms, using a few power tools, and knowing how to change their blades is a third station. A trip to the pin rail to practice the DC tie off and a grid orientation are the fourth. The student must know the bowline, the clove hitch, and the figure eight before attending. Other knots will be refreshed and/or taught including the sheep shank, the trucker’s hitch, and the sheep bend. Portions of this class take place at height.The student must have taken Basic Props as a prerequisite.
20. Intro to QLab– This course is designed to provide a basic understanding of Q Lab’s audio and video control options, as well as techniques to integrate the software into aspects of the theater and special events industry. Both a lecture and lab components are incorporated into the curriculum. Q Lab is a Mac-OS based software. Prior experience on Apple’s operating system is recommended, but not a requirement. Students must have taken Basic Audio and Basic Video as prerequisites.
21. Concert Audio– This course focuses on what a stagehand needs to know when assigned to the audio department in a concert or arena situation. There is a review of definitions and terminology learned in basic audio. The class then shifts to gear and how to handle it, includingline arrays, how to attach and detach wheel boards, how to adjust the angle, and what safety measures need to be taken when completing these tasks.The kindsof cables you often find with line arrays,how tobuild the hanging frame, and how toattach a come-alongare similarly examined. The course also discusses subwoofers, snakes, monitor world, and order of operations for tying into power. Students must know how to tie a bowline and a clove hitch prior to the class.Students must have taken Basic Audio as a prerequisite.
22. Audio Console Mixing– This course is designed to provide a more in depth understanding of audio consoles and how to mix shows. A review of Basic and Level 2 Audio regarding order of operations, basic channel strip functions, and definitions start the class. Ethics and etiquette regarding working with performers, directors, and designersare discussed. Students have time to mix a selection of songs, learning how various functions work with various types of music and sounds. Students must have taken Basic and Level 2 Audio as prerequisites.
23. Lighting Console– This course introduces the student to the basic functions of a lighting console. It starts with a review of definitions, gear, and lighting terminology. The student then learns how to call up an address, a channel, and change intensity. Nextbasic cue writing is discussed, including default times, adjusting times, follows, and how to save the programming. Ethics and etiquette are discussed in relation to the production team and the audience. Basic troubleshooting is also covered. Students must have taken Basic and Level 2 Electrics as prerequisites.
24. A2– This course is designed to provide the student with a deeper understanding of how to be an A2 in a theatrical and/or corporate setting. Operation of the Shure Wireless Workbench isused as the basis. Proper techniques for antenna placement and usage are discussed. Students learn to make mic rigs for the hair, ear, and other locations. Ethics and etiquette of working with performers and speakers are reviewed. Students must have taken Basic and Level 2 Audio as prerequisites.
25. Clear Com– This course introduces the students to programming and more fully utilizing the Clear Com communication system. It begins with a review of the pieces that make up the system and basic operations. Then the course moves to multi-channel systems and how to program them into the base station and the belt packs. Basic troubleshooting steps are also reviewed. Students must have taken Basic and Level 2 Audio as prerequisites.
26. Level 2 Theatrical Follow Spot– This course begins with a review of basic follow spot, including turning the instrument on, the different features of a follow spot, and shot descriptions. The course then describes cue sheets and provides examples of what an operator might be given by the ld for a theatrical run. The student is given time with the light to run through cues, incorporating a more complicated list of tasks, as one might find in an opera or Broadway musical. Most of this class takes place at height. Students must have taken Basic Theatrical Follow Spot as a prerequisite.
27. Level 2 Concert Follow Spot– This course begins with a review of the basic course, including turning the instrument on, the different features of a follow spot, and course descriptions. The course shifts to more show like conditions, discussing what an operator is likely to receivefrom a ld in a concert or ice show situation. Students are given time with the light to practice taking cues as they might be called during a show, both the good and the bad. Most of this class takes place at height. Students must have taken Basic Concert Follow Spot as a prerequisite.
28. Level 2 A/V– The class begins by reviewing Basic A/V including room set ups, etiquette, and gear. It delves further into the types of audio and video programs that an A/V tech may need to be familiar with, answers questions regarding use of personal audio or video gear, and addresses common issues that the tech may encounter while on a gig.Modifying presentations, recording new tracks, and other steps that can take the average A/V tech a step aboveare included. The student must have taken Basic A/Vas a prerequisite.
29. Level 2 Plot Reading– Thecourse begins by reviewing reading a scale rule, different types of drawings, and symbols found on drawings. The class then expands on these skills, allowing the students time to find various elements and/or measurements on the drawings, and developingthe skills to use multiple drawings to answer one question. Students are given a light plot and a copy of corresponding Lightwrightand learn how to verify information and find the same information on bothpieces of paperwork. They are given a construction drawing and asked to make a cut list. They are given a rigging plot and asked to find various answers that a head rigger would need. An orchestra plot is also reviewed,as are stage plots. Students must have taken Basic Plot Reading as a prerequisite.
30. Forklift Certification– The class uses Sunbelt’s handbook to educate students to the ANSI and OSHA regulations involved in operating a lift truck. Basic safety in terms of PPE, spatial awareness, and motor vehicle safety are covered, as well as using personal examples to demonstrate how quickly things can go wrong. Communication and education of those working around the lifts and what they need to know from the operators is discussed. There is a written test that students must pass and then the class focus shifts to a practical portion. The practical measure allows the students the opportunity to familiarize themselves with various kinds of lift trucks, inspecting the machines and the work site, picking and setting loads, moving with loads, and becoming more familiar with the spatial awareness needed to be successful operator.
31. MEWP Certification– The class uses Sunbelt’s handbook to educate students to the ANSI and OSHA regulations involved in operating a few different types of Mobile Elevated Work Platforms. Basic safety in terms of PPE, spatial awareness, and machine safety are covered, as well as using personal examples of how quickly things can go wrong. Communication and education of those working around the lifts is discussed. There is a written test that the students must passand then the focus shifts to practical. Before the students can get in the machines,they are taught how to conduct a worksite inspection and an inspection of the machine itself. The students are also taught how to correctly don and doff a full body harness, how to fit it to their person, how to assist others in this process, and what kind of lanyards are required and appropriate. These rules have recently changed,and it is important that even re-certifications are made aware of the changes. When all of the above has been completed, the students demonstrate their skills in the machines and show they are successful operators.