Rigging Certification -- Loader

1. Rigging Certification -- Loader Purdue University Theatre April 8, 2006 Purdue University Theatre

2. Introduction • Counter Wait? • Principles of counterweight systems • How to knot hurt yourself and others • Safe working practices on the weight rail • Weight loading techniques and methods • Help! I’m tied up! • Common rope types and uses • Common knots and uses Purdue University Theatre

3. Counterweight systems • Used to enable scenery to come from and disappear above the stage • Simple in concept: a system of ropes and pipes is used to move scenery up and down (known as “flying in” or “flying out”) • Weight is used offstage to balance the weight of scenery onstage Purdue University Theatre

4. Counterweight systems • Two common types of counterweight systems • Single-purchase • Double-purchase Purdue University Theatre

5. Single-Purchase Counterweight System Purdue University Theatre

6. Double-Purchase Counterweight System Purdue University Theatre

7. Counterweight systems • Because single-purchase systems operate in a 1:1 ratio, they must be able to travel the full distance of travel required of the batten (i.e. for a batten to descend 65' from the grid, the arbor must ascend 65' toward the grid) • Because double-purchase systems operate on a 2:1 ratio, they only need to travel half as far; however, they need to stack twice as much counterweight, which means taller (and harder to load) arbors Purdue University Theatre

8. Counterweight systems • The Hansen Theatre employs a single-purchase counterweight system • 34 counterweight linesets • 2 counterweight tab pipe linesets (running US-DS) • 56' battens maximum live load 1450# • 5 lift lines with self-levelers • T-track guided steel arbors maximum load 1850# • 2 counterweight (brick) sizes: • 1" (1/2 brick), 14# • 2" (full brick), 28# Purdue University Theatre

9. Lift lines and Hand lines • Lift lines • Wire rope lines connecting the batten to the arbor • Hand lines • Provide method of operation of the lineset • The hand line is essentially unrelated to the counterbalancing of the weight on stage • A counterweight system can “counterweight” a batten without a hand line Purdue University Theatre

10. The Lock Rail • The lock (locking) rail supports a series of rope locks, one for each hand line • The lock is intended to keep a safely balanced batten in position • The lock is never intended to hold a heavily unbalanced (“out-of-weight”) load while loading or unloading • The lock is never intended to hold a heavily unbalanced (“out-of-weight”) load while loading or unloading Purdue University Theatre

11. Rope Locks Purdue University Theatre

12. The Arbor Purdue University Theatre

13. The Arbor • The guide rods keep the counterweights in place • The spreader plates prevent the guide rods from spreading apart should the arbor smash into the top or bottom stops; if the guide rods were to spread, counterweights could fall out • Spreader plates should be distributed every 2' (12 bricks) • The lock plate prevent counterweights from falling out in the event of a crash, and should be locked down above the topmost counterweight Purdue University Theatre

14. Vocabulary • Pipe weight • The weight necessary to counterbalance the weight of the batten and the lift lines • Pipe weight on each arbor is painted yellow, and should never removed from the arbor • In-weight • Refers to a state of balance on a lineset • Out-of-weight • Refers to a state of imbalance on a lineset • Pipe Heavy • Refers to an out-of-weight lineset which is heavier on stage (at the batten) • Arbor Heavy • Refers to an out-of-weight lineset which is heavier at the arbor • Flying in (coming in) • The movement of a lineset or scenery down toward the stage • Flying out (going out) • The movement of a lineset or scenery up away from the stage • Heads • Announcement used to indicate an uncontrolled, falling item Purdue University Theatre

15. The Loading Gallery • The Hansen Theatre has two loading galleries, at approximately 50' and 60' above the stage • When accessing the galleries (or any overhead position), remove all loose articles including hardware, tools, coins, wallets, or other items that might fall from your person • All of the galleries, with the exception of the upper loading gallery, are accessible via standard stairwell Purdue University Theatre

16. The Loading Gallery • Only authorized personnel are permitted on the galleries • Unless wearing a fall-arrest harness and secured to the gallery, the guard chains must remain in place • Never load or unload weight without being specifically directed to by the fly operator • Always use proper calls when loading and unloading weight • Always stack weights on the onstage side of the gallery • Never stack weights higher than the kick plate on the gallery floor Purdue University Theatre

17. Cadence (or calls) • When loading weight: • “Fly rail: loading 3 bricks, lineset 13.” • When unloading weight: • “Fly rail: unloading 4 bricks, lineset 3.” • When weight is loaded: • “Fly rail: lineset 12 at seven bricks above pipe weight.” • When weight is unloaded: • “Fly rail: lineset 7 at pipe weight.” • or, “Fly rail: lineset 7 now at 3 bricks above pipe weight.” Purdue University Theatre

18. Proper Loading Procedure • Announce commencement of loading to fly rail • Loosen lock plate • Slide spreader plates and lock plate up on the arbor and out of the way (secure with a metal spring clip) • Firmly grasp brick with two hands, one on each side • Always keep two hands on the brick! • Slide brick onto arbor and around rear guide bar • Lift near end of brick up and over to clear front guide bar; lower around front guide bar • Continue in this manner until proscribed number of bricks is loaded • Slide a spreader plate down onto the stack after every 12th brick • Slide spreader plates and lock plate down • Tighten lock plate • Announce completion of loading to fly rail Purdue University Theatre

19. Proper Unloading Procedure • Announce commencement of unloading to fly rail • Loosen lock plate • Slide spreader plates and lock plate up on the arbor and out of the way (secure with a metal spring clip) • Firmly grasp brick with two hands, one on each side • Always keep two hands on the brick! • Lift near end of brick up and over to clear front guide bar; lower to rest on stack to the side of front guide bar • Slide brick from rear guide bar and off the arbor • Stack brick on the gallery (on the onstage side, never higher than the kick plate) • Continue in this manner until proscribed number of bricks is unloaded • Slide spreader plates and lock plate down • Tighten lock plate • Announce completion of unloading to fly rail Purdue University Theatre

20. Common Ropes • Manila (natural fiber) • Best natural fiber rope • Because it is a natural fiber, it ages and loses strength • Internal rotting • Drying and dampening from atmosphere • Stretching over time Purdue University Theatre

21. Common Ropes • Three-strand twist (polyester, Multiline II) • 2 times stronger than similar-sized manila • Synthetic fiber is not susceptible to atmospheric aging • Less likely to stretch than manila • Because it is twisted like manila, any fiber breakage reduces the strength of the rope Purdue University Theatre

22. Common Ropes • Parallel Core (polyester, Stage-Set X) • 3½ times stronger than similarly-sized manila • Continuous polyester fibers surrounded by a polyester jacket • 95% of strength is in the core; minor damage to jacket does not effect strength • Synthetic fiber is not susceptible to atmospheric aging • Nearly limitless lifespan Purdue University Theatre

23. Common Ropes • Breaking Strengths for Manila, 3-strand twist, and parallel core Purdue University Theatre

24. Common Knots • Effects of knotting • Knotting a rope produces bends and shear stresses, and alters the geometric cross-section of the rope • Knots thereby reduce the breaking strength • Ropes will typically fail next to the knot • Two common (and preferred) theatrical knots • Clove hitch (used for tying to a rigid object, like a batten) • 75% efficient (reduces breaking strength by 25%) • Bowline (used for creating a loop in a rope • 60% efficient (reduces breaking strength by 35%) Purdue University Theatre