Best theater books according to redditors

We found 1,606 Reddit comments discussing the best theater books. We ranked the 688 resulting products by number of redditors who mentioned them. Here are the top 20.

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Acting & auditioning books
Broadway & musicals books
Circus performing arts books
Theater direction & production
Performing arts history books
Mime books
Playwriting books
Puppet books
Stagecraft books
Stage lighting

Top Reddit comments about Theater:

u/SGTree · 64 pointsr/CatastrophicFailure

To help with your understanding try reading this

And this

That should get you started.

But for real though. They're talking about the cables that hold everything up. Specifically, someone mentioned they were using verlocks to level it out, and that's what gave way. This is what they're talking about. ...I think. In which case I think you're right about the price. Though they may have been talking about this: in which case $12 is a descent estimate.

Source: Fuck if I know I'm an electrician I just plug shit in. Don't listen to me.

u/IHateTypingInBoxes · 53 pointsr/livesound

This book is written by Richard Cadena, who is the technical editor of Lighting and Sound America. It will answer virtually every question you've asked in your post, and it will also help you stay safe on the job. Worth every penny.


EDIT: Submit your questions for Richard's r/livesound Q+A here.

u/[deleted] · 28 pointsr/seduction

I am obsessed. Here is my current collection:

Most of these you can find on thepiratebay / etc, but I own a hard copy of all of these except for The Mystery Method, which I read probably 5 times before I found Magic Bullets (actually don't own that either, just the pdf). I'll add to this list if I think of more.

Must Reads:

Magic Bullets - Savoy ==>> [Torrent] it's expensive!

  • This book is so excellent. It's like a PUA encyclopedia. It walks you through the process, and cites every major text along the way.. none of this "my way works best" crap, but not afraid to make judgments either. For pickup books that employ some form of the M3 Model (however loosely.. which I think means: everyone except Ross Jeffries), this is the authoritative text. If you have an approach that is proven, important, and credible, then it is probably cited in this book.

    Influence: The Psychology of Persuasion - Robert Cialdini

  • I got this book because it is #1 on this list. Turns out, it is the modern version of Dale Carnegie's How To Win Friends and Influence People (see review below).. only this time, it's by someone who knows a thing or two about applied psychology (which either didn't exist back then, or was too under-developed to matter). This guy freaking went undercover as a used car salesman, working with fundraisers, etc. Interestingly enough, I bought this book in the same order as The Game, and in chapter 1 Strauss mentions reading Cialdini's book to prepare for a trip to Belgrade with Mystery, which was his formal introduction into the PUA community.

    The Art of Seduction - Robert Greene

  • I'm not done with this one yet, but I will say this: if you have a conscience, don't read this. It really is a fascinating study of seduction, but it does focus on seduction as a tool to victimize people.. That said, unlike your typical pick-up type book which does not bother to categorize gamers' personality types, this book categorizes different "types" of seducers. This is extremely helpful because you can figure out what type of seducer fits you best, and what things you need to focus on to improve your game.

    How to Win Friends & Influence People - Dale Carnegie

  • This book has sold over 15 million copies. It was originally written in 1937, but has been revised once or twice since it became the best selling self-help type book of all time, which it probably still is. He walks you through the basic principles of how to motivate people.. what works, what doesn't.. etc. Fun, easy, captivating read. It looks thick, but I think I unintentionally read it cover to cover in one sitting the first time I read it in college.. so it's a quick read.

    Should reads:

    The Game - Neil Strauss

  • I think this is one of the best selling pick-up type books. I liked reading it, but it was less of a tutorial book and more of an autobiography.. it does get the job done though. It also is a very entertaining read, and if you doubt that PUA stuff actually works, this will prove to you otherwise because Strauss was a very timid and ugly mofo, but he fucked Jenna Jameson.

    The Mystery Method : How to Get Beautiful Women Into Bed - Mystery, Chris Odom, Neil Strauss

  • This introduced me into the world of PUA my senior year of college when I inadvertently stumbled upon a torrent of it (I was probably looking for something to jerk off to. How poetic). I downloaded it just to skim through it skeptically, but this book eventually introduced me to a whole new world. This is an excellent staple / beginner's text, even though I now recommend Magic Bullets because it is so much more objective and inclusive of alternate styles and approaches along the way.

    How to Get the Women You Desire into Bed - Ross Jeffries

  • Not done with this yet, but Ross Jeffries is a freak (not meant to be insulting to him). I have no doubt that his methods are effective, but they are very different. And he really seems a bit evil, as opposed to merely mischievous like most other PUAs are. I haven't decided how incompatible, if not just different, his methods are with the Mystery / Strauss crowd.. but then again, I have never field tested any of his methods myself.

    Truth in Comedy: The Manual of Improvisation - Charna Halpern, Del Close, Kim Johnson

  • A close friend of mine who studied improv in New York lent me this, and I forgot about it until recently -- but it is a very short but brilliant book about comedy. I'm listening now to David DeAngelo's Cock Comedy series, and I realized that almost everything he's saying is straight out of this little text. It's not really something essential for pick-up, which is why I wouldn't put it in Must Reads, but it is excellent nonetheless.

    Meh, they're alright:

    The Pickup Artist: The New and Improved Art of Seduction - Mystery, Neil Strauss

  • You can definitely get some good stuff out of this book, but the whole thing comes across as an excuse for Mystery to brag about how awesome he is. He seriously spends an entire chapter (maybe more) telling a story about him bragging to other PUAs. He does deserve it though, the man is the single most influential PUA ever, if not the most successful in the field.

    Rules of the Game - Neil Strauss

  • This is one of those books that you read once a day for 30 days, and write down statements of intent right in the book like "it is my goal to lose my virginity before my next birthday in 3 months." Probably good for beginners, but I skimmed through this after having been gaming in the field for several months.

    Haven't read yet:

    What Every BODY is Saying: An Ex-FBI Agent's Guide to Speed-Reading People - Joe Navarro, Marvin Karlins

  • This looks really good.

    NLP: The New Technology of Achievement - NLP Comprehensive

    Easy Mind-Reading Tricks - Robert Mandelberg, Ferruccio Sardella

    Palm Reading for Beginners: Find Your Future in the Palm of Your Hand (For Beginners (Llewellyn's)) - Richard Webster

    There are also some good videos out there (links are to torrents. these are all several hundred $$):

    Excellent Videos

    The Annihilation Method - Neil Strauss

  • I met a guy who said he was looking around his apartment for things to sell so he could afford the $375 this costs. apparently he didn't think to check thepiratebay ;)

    Mystery and Style

  • The videos of Mystery in here are just excellent. It's very interesting to see Mystery actually interacting with other people (not in a set), since he is the god of pick-up.

    Decent Videos

    Psychic Influence - Ross Jeffries

  • This is interesting.. I'm not much of a Jeffries guy though, mostly because he's the most oddball of the group, and I haven't studied his material enough.
u/McWalkerson · 26 pointsr/livesound

Grab a copy of Mixing a Musical. It’s probably the best book on the subject.

u/Dooflegna · 23 pointsr/techtheatre

Three things are going to help you:

  • Thinking in terms of Systems and Specials
  • Specifically choosing how your lights are channeled and groupd.
  • Having a Magic Sheet

    Systems and Specials

    First off, you want to always be thinking about your lights in terms of Systems and Specials. A System is a group of lights that perform a single function together. The most common form of a 'System' is a wash. Your front light is a system. Your top light is a system.

    Specials are the individual lights that do 'special' unique functions. For example, you might have a light that shoots through a window to make the effect of moonlight. Or you might have a light that sits on a chair for a musical number.

    Let's imagine a really simple show where you have four systems, an RGB cyc, and two specials. Your systems and specials are:

  • Front Straight Amber Wash, R02
  • Front Straight Blue Wash, R62
  • Top Amber Wash, R16
  • Top Blue Wash, R80
  • RGB Cyc, each one individually controlled.
  • Firelight special
  • Moon Gobo special

    The first four systems are made up of 15 lights each, covering two dimensions: SR - SL, DS - US. Something like this:


    You also want to individually control all the cyc colors so you can do mixing. The two specials each need to have their own channel.

    Specifically choosing how your lights are channeled and groupd.

    The next thing to do is to specifically choose how your lights are channeled and groupd. When you had a board with all sliders, you might just have assigned everything numerically, because you were limited in how many physical sliders you had (or perhaps limited by dimmers). The advantage of a modern board like the Ion is that you can use numerical mnemonics to visually identify/remember.

    Imagine your Ion screen is laid out something like this:

    01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20
    21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40
    41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60
    61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80
    81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

    Now if you just channeled everything in order, numerically, you'd end up with channels looking something like this:

  • Front Straight Amber Wash, R02 - Channels 1-15
  • Front Straight Blue Wash, R62 - Channels 16-30
  • Top Amber Wash, R16 - Channels 31 - 45
  • Top Blue Wash, R80 - Channels 46-60
  • RGB Cyc, each one individually controlled. - Channels 61 (R), 62 (G), 63 (B)
  • Firelight special - Channel 64
  • Moon Gobo special - Channel 65

    That's not a bad way of doing it, but it's not really optimal. For one, there's no easy way to visually look at the screen and see what things are doing. Your systems wrap across multiple lines, and everything is just group'd up with no rhyme or reason. It doesn't help you remember anything.

    Visually, the channels will look like this on your Ion Screen:

    Instead, imagine channeling it something like this:

  • Front Straight Wash R02, Channels 1-15
  • Front Straight Wash R62, Channels 21-35
  • Top Amber Wash R16, Channels 41-55
  • Top Blue Wash R80, Channels 61-75
  • RGB Cyc, each one individually controlled. - Channels 81 (R), 82 (G), 83 (B)
  • Firelight special - Channel 91
  • Moon Gobo special - Channel 92

    Now look at that on the Ion Screen: . Look at the nice neat columns and rows that let you easily see what's going on. What's more, the numerical mnemonics help you know where channels are:

    11: UR 12: URC 13: UC 14: ULC 15: UL
    06: CR 07: CRC 08: CC 09: CLC 16: CL
    01: DR 02: DRC 03: DC 04: DLC 05: DL

    You know that X1 is always DR. So 01 is DR Front Amber, 21 is DR Front Blue, 41 is DR Top Amber, 61 is DR Top Blue. You can look at the screen and see what's going on visually. Eventually, you'll be able to look at the channel screen and instantly understand what it should look like on the stage.

    Now, it does get tedious to select all the channels you want all the time. This is where Groups come in handy. You use Groups to select your systems so that you don't always have to type in [CHANNEL 1 - 15].

    Again, numerical mnenomics will help you out. Let's just think of our four front washes. You could group them 1-4:

  • Group 1 - Front Amber Wash
  • Group 2 - Front Blue Wash
  • Group 3 - Top Amber Wash
  • Group 4 - Top Blue Wash

    Problem is that way doesn't help you remember what your channels are at. Group 4 is... What? Oh, Top Blue Wash, my fourth system. When I make groups, I make them around channel numbers:

  • Group 1 - Front Amber Wash, Channels 1-15
  • Group 21 - Front Blue Wash, Channels 21-35
  • Group 41 - Top Amber Wash, Channels 41-55
  • Group 61 - Top Blue Wash, Channels 61-75

    That helps you remember what channel you're selecting. You can also add more groups to get more levels of control:

  • Group 5 - Down Stage Front Amber Wash, Channels 1-5
  • Group 10 - Mid Stage Front Amber Wash, Channels 6-10
  • Group 15 - Up Stage Front Amber Wash, Channels, 11-15

    And so on.

    Eventually, you'll have a selection of groups that let you quickly and easily select areas of the stage you want to isolate.

    What is a Magic Sheet?

    Once you know what your systems and specials are, and you've got them grouped/channeled, you can make your Magic Sheet. Your Magic Sheet is for you, as the designer, to help you remember what your systems and specials are. It's a quick reference to tell you what your systems and specials are so that you DO remember what you have to use. That way you can just look down and know what channels you need to call out. Magic Sheets are unique to you... you might make them look like color keys, you might have them visually laid out on the stage.

    Here's an example of a magic sheet I drew up for this show:

    The magic sheet has all my systems with their appropriate channel numbers as well as my cyc numbers and specials. Because I'm using group number mnemonics, I don't have to write down group numbers... I can just remember that Group 1 selects R02 Front, Group 61 selects R80 Top, etc. etc..

    I hope those tips helped. If you haven't yet, you should get (and read) the Practical Guide to Stage Lighting, which will really help you get the most out of your designs.


    Buy this book:

u/YakkoPinky · 23 pointsr/IAmA

Listen to my podcast (, visit Dee Bradley Baker's site about VO Info, buy Yuri Lowenthal and Tara Platt's book Voiceover Voice actor ( Start there, take an Improv class if you can.

u/JayceMJ · 17 pointsr/gamegrumps

If anyone is interested in the Upright Citizens Brigade there's a book you can purchase that's quite good and is the standard resource for anyone interested in rat dicks.

u/benjerryicecream · 15 pointsr/LearnUselessTalents

Magician here. Head on over to the sidebar at /r/Magic - there's plenty of information on exactly where to start.

For my money, there's no better place to start than a cheap book. For card magic, look to "The Royal Road to Card Magic". For coins, grab "Modern Coin Magic". For general magic, pick up either Mark Wilson's Complete Course or Joshua Jay's Complete Course.

None of those books should run you more than fifteen bucks. Grab a copy and just read it until you get bored.

Also, please, don't ever learn magic on youtube. The thing that's hard for those new to magic to understand is that it is a craft that has been worked on for thousands of years. Every secret, every beautiful piece of magic ever invented has been based on the work of others, which couldn't have existed if it weren't for the work of others even before them. Every secret, as minute as you can imagine, deserves to be shared with the express permission of the person who put in the hours, days, and years of work it took to discover that secret. YouTube magic schools rarely give proper credit, and truthfully, they rarely teach a magic trick very well at all. You can also never be truly sure that a YouTube magician is worth their salt, whereas you can see--from the fact that these books are decades old yet still being heralded as some of the best magic books out there--that we magicians think they are worth reading.

Bottom line: youtube will teach you secrets. A good magic book, like the ones I recommended, will teach you how to be a magician.

u/The-Sha-of-Nanana · 14 pointsr/ABoringDystopia

Hi, Ive been a stagehand for 22 years, buy her this if she likes the technical side of theater.

u/2buggers · 13 pointsr/Tools

That is the backstage handbook.

The Backstage Handbook: An Illustrated Almanac of Technical Information

u/Matchstix · 13 pointsr/techtheatre

Go pick up the Backstage Handbook and read it cover to cover. That will give you enough basic understanding of terms and rough practices to survive overhire calls.

u/Big_Jamming_Burst · 13 pointsr/improv

Aerodynamics of Yes by Christian Capozzoli

Improvise (Scenes from the inside out) by Mick Napier

Directing Improv by Asaf Ronen

u/sambalaya · 12 pointsr/improv

Upright Citizens Brigade Comedy Improvisation Manual by Matt Besser, Ian Roberts and Matt Walsh

u/pixelsnbits · 12 pointsr/twincitiessocial

Hey! I finally get to say something relevant!!!

I'm currently in my third Improv class (Improv 301) at HUGE Theater! I was in the first Improv 101 class to be offered by HUGE just before they opened their doors to the public.

Anyone who is the slightest bit interested in Improv should take the 101 level class. 101 classes start this Sunday, May 1st!
Go here to register!

If you have concerns about paying the $200 up front, send the instructor an e-mail and they may be willing to work with you. They're super nice folks. It's a ten week class and they're really great. There's no pressure and you have a lot of fun... Seriously, I highly recommend it.

HUGE classes specialize in longform improv which are made up of longer, more engaging scenes. What you see in 'Who's Line..' is more considered shortform. Both forms involve games and characters, but longform allows you to really dig into scene work.

There is no straight line from taking classes to going into performing. I've had classes with experienced performers looking for a refresher.

Brave New Workshop has workshops available that guide you towards performance and some require an audition. HUGE and Brave New Workshop have great working relationships with each other and you'll see improvisors reporting in at both spots.

If you take a class at HUGE, you also get to go to their shows for free Sunday through Wednesday nights as a student. Shows are $5 normally and usually start around 8pm.

If you're looking to get your nerd on with the other improvisers, you may find some solace in the Minneapolis Improv Boards, although I don't think it's extremely active.

Disclaimer: I had ZERO improv or acting experience before going into class .. I had a friend who suggested I try a workshop for fun and I ended up signing up for the 101 class and loved it. I plan to continue on and even try my hand at performing after this class.

Good luck and I'll see you out there!

Edit: Oh yeah, if you're interested in some light reading, I recommend Truth in Comedy. Del Close helped start Improv as we know it today. Also, it used to be on Netflix Watch Instantly, but you definitely want to watch Trust Us, This Is All Made Up to see how amazing Improv can be.

u/Join_You_In_The_Sun · 12 pointsr/movies

I hadn't heard of Del Close until I moved to NYC and lived with a guy who did improv. He gave me Del's book "Truth in Comedy", which was an incredible read (and I'm not a comedy writer or performer).

u/theatretech37 · 12 pointsr/techtheatre

May I present our lord and savior Jay Glerum (RIP). This guy literally wrote the book on stage rigging and was also the nicest guy ever. Seriously this is the place to start

u/shachaf · 12 pointsr/AskReddit

A few that come to mind:

  • Impro: Improvisation and the Theatre, by Keith Johnstone. Discusses many things in the context of improvisational theatre, such as human interaction, creativity/spontaneity, stories, perception, and teaching.
  • The Moral Animal: Why We Are the Way We Are, by Robert Wright. Evolutionary psychology. Puts some concreteness, even obviousness, to many irrational human behaviors.
  • The Mind's I: Fantasies and Reflections on Self and Soul, edited by Hofstadter and Dennett. A selection of texts on consciousness, and reflections by the editors. Some is fictional, some non-fictional.
  • The Tao is Silent, by Raymond Smullyan. Eastern philosophy in an Eastern way by someone who thoroughly understands the Western perspective on things.
  • Zen and the Art of Motorcycle Maintenance: An Inquiry into Values, by Robert M. Pirsig. No one has mentioned this book so far, so I feel like I should; although it did not affect me directly in the way some of the other books here did, it certainly planted some ideas for "independent rediscovery" later on. Some things I've only thought of some time after reading it and then made the connection. This is Taoism from a Western perspective. I'll read it again in a few years and see how it's different.
  • The Art of Learning: A Journey in the Pursuit of Excellence, by Josh Waitzkin. A book about learning that says some important things quite well. I read this only a few days ago, but it's influenced my perspective on learning/teaching (and doing in general), so I thought I should add it to the list.
u/ReliableSource · 11 pointsr/Standup

I don't think you need to read the whole book (there's a small summary that's a few pages out there), but I found Greg Dean's book helpful for learning how to write simple setup/punchline jokes.

For improv (and it applies to sketch too imo), the UCB manual is the best book I've read.

For writing, this book from one of the founders of The Onion is really good. I think if I had to recommend just one comedy book, it would be this one.

u/hypno_beam · 11 pointsr/improv

Format is only half of the story. A big part of long form improv is the mentality, structure, and approach. My highest recommendation is to read a very short book called Truth in Comedy.

u/jjSuper1 · 10 pointsr/TrueCinematography

The American Cinematography Manual lists a lot of lamp types and phtotmetric data.

Film Lighting I find to be an interesting read.

Set Lighting Technicians handbook always comes highly recommended, but I have not personally read it.

Other resources include youtube videos or searching for images.

u/Samul-toe · 9 pointsr/cinematography

Know what the lights are called, and where the power is. If you're running a generator you kind of need to know what your doing, so hopefully you're not using any lights bigger than a 2k and just running off house power. Know where the fuse box is. I can't quite remember if it's each wall has its own circuit or if it's different rooms have their own circuits but don't plug in more than 2000 ways total on one circuit if the circuits are 20amp. If their 15amp don't plug in more than 1500 watts on one circuit.

Have a set crate with zip stingers, cube taps, black wrap, clothes pins and some pre cut gels near set. If you don't have any pre cut, label them as you make them and keep em for later in the show. Have some 50' & 25' Edison cables in a crate near set, have some c stands and baby stands near set, see what fixtures the gaffer thinks he will need and have them staged near set.

Keep everything as organized as you can and clean up. If you lose the gear that's on you kind of. If you haven't yet, hire a killer 3rd electrician and he can deal with set and the gaffer, you just deal with the equipment, keep it organized and ready to go. Get the plan from the gaffer and prepare as best you can to implement it when needed.

Most importantly don't do anything you're not 100% sure about when it comes to electricity. It can be dangerous, burn down houses and electrocute people dangerous, so just use your best judgement and if anyone asks you to do a tie in, tell them to fuck off and do it themselves.

Also it seems important for BBE to be grumpy and kind of get pissed if anyone asks for something to charge their phone with. So do that too.

u/mplsrpg · 9 pointsr/rpg

I didn't read all of your other post. However, I did read the part where you say that you take a few minutes to come up with dialogue in the middle of the game. I don't know what's going on at your gaming table specifically, but I would recommend playing as a fantasy version of yourself. That way, you don't need to think as much about what your character would say. You just say what you would say. You also probably won't have to practice as much during the week.

Also to answer your question, I don't think anyone practices as their current character. However, if you want to practice improvisational speaking, you should check out the improv comedy scene in your town. Also, this improv comedy book has specific drills you can do with your friends to get better at improvisational speaking.

u/titanictomato · 9 pointsr/Broadway

If you love Sondheim I highly recommend his Finishing the Hat/Look, I made a Hat. These two books contain lyrics from all his shows, annotated with anecdotes and insightful observations written by Sondheim himself.

Other musicals also have books that trace the whole development process and provide a behind-the-scene look of the show, such as Hamilton: A Revolution, The Great Comet: The Journey of a New Musical to Broadway and Wicked: The Grimmerie

u/Maeglom · 9 pointsr/IAmA

You might be interested in the book Truth In Comedy. I used it for Improv classes.

u/micpenlaw · 8 pointsr/techtheatre

I have never seen a stage manager or really any professional backstage that doesn't have a Backstage Handbook. It is incredibly resourceful and will probably be a required text for her in school anyway. I am primarily an actor but having worked in a few scene shops, it has been a great help many times.

u/invincibubble · 8 pointsr/techtheatre

Scene Design and Stage Lighting is an often-used text-book from what I can tell. I have an old version myself, but can't attest to the current version. Design and Drawing for the Theatre is also an old standby (and denser), though it appears it's out of print.

If you want something lighter and less expensive, perhaps Fundamentals of Theatrical Design or An Introduction to Theatre Design, though they aren't limited to just scenery. I haven't read the former, but the I've taught from the latter in an intro to design course. It's rather light, but that can be good for a first book.

You can also go the more theoretical route, and pick up the classic Dramatic Imagination by Robert Edmund Jones. What is Scenography? and Scenographic Imagination are chock-full of great theoretical discussion for the long term, but not suited for your first dip into the pool. Might be worth bookmarking for down the road, though.

And sometimes it's good to just have a survey of other's work. American Set Design isn't a bad place to start for that. I recently picked up World Scenography, and while I haven't had the chance to sit down extensively with it, it's a gorgeous book.

This is of course just going from scene design, there's also options out there about the history of design, useful technical handbooks for the craft, or even more specific things like model-making.

If you're already generally familiar with theater and roughly understand the production process, maybe grab one of the two in the first paragraph. If you're coming in completely fresh, starting with one of the cheaper super-introductory books in the second paragraph might be better to ease in. If you have the funds, I'd suggest one from each paragraph. Perhaps others in this sub have more specific choices they feel are definitively superior than other options.

Also, I'm guessing your university may not have a design professor, but you might suggest an independent study in scene design as a course. Hope this helps!

u/Sdavis2911 · 8 pointsr/Filmmakers

This book and this book are both very good. They were used in my cinematography course at my college a year or so ago.

u/At_the_Roundhouse · 8 pointsr/Broadway

Maybe sheet music books for those shows, if she doesn't already have them?

Hamilton and Dear Evan Hansen also both have really beautiful coffee tables books that would make great gifts. Or the DK book about musicals in general.

u/Doctor_Spacemann · 8 pointsr/cinematography

lights are almost always measured by wattage, so 12k= 12 kilowatts or 12,000 Watts.

1/2 and full white are referring to different thickness of diffusions, 1/2 white(250)= 1/2 a stop of light loss, full white(216)=full stop. most DP's Grips and Gaffers will refer to diff by its catalog number(410, 250, 216, 129, 1099)

Grids are a cloth diffusion with a grid pattern of white thread, referred to the same way as half stop and full stop.

pick up the Set Lighting Technicians Handbook its well worth it and will answer almost any question you may need answered, or talk to your best boy electric, hes probably got a copy of it in the set cart next to the fluke meter.

u/haleym · 8 pointsr/acting

Unless you're doing some sort of highly stylized melodrama or something along those lines (which it doesn't sound like you are) you don't "act" emotions. That's going to come across as superficial and unconvincing. For the type of naturalistic acting your project is most likely going for, you act objectives, obstacles and tactics and use "what if" to stimulate your imagination and get yourself into the situation. Then the emotions come naturally.

In this case, your objective is to get to safety. This is very high-stakes; if you don't get to safety, you die. So what if you were really in that type of situation? Imagine if suddenly, right now, right behind you, you caught in the reflection of your screen the image of a man with a giant butcher knife about to stab you. You're going to freak out, right? You're going to scream, run, pull out your phone and call 911 and/or your friends and family and do whatever it takes to get out of there and get help and be safe again. Start out by practicing as if that was the scene. Have someone stand behind you as if they were the killer, then run screaming and shouting with reckless abandon from one side of the room to the other, yelling the names of all your most trusted friends and family for help, as if this was the one moment in your life you need them most of all. It doesn't matter how you look doing it, it doesn't matter if anyone's convinced, the only thing that matters is that you, Ahmed11105, get away from the person that wants to kill you as fast as possible and get to a safe place. Feel what it's like to go after that goal with everything you've got.

Once you've done that, once you're feeling that urgency and immediacy, start adding in the given circumstances to the exercise, one at a time, and see how they create obstacles to your goal of getting to safety, and how you have to change your tactics to get there. For example, instead of right behind you, the killer's in some unknown place nearby. How does that affect things? Can you still risk screaming for help, or will that alert him to your presence? Can you still run in a straight line, or do you know have to pay more attention to your surroundings, since you don't know where he is? Now imagine that you've forgotten who you are. How does that affect your character's situation, feeling that instinct to find someone to help them but not knowing if any such people even exist? How does that influence the choices the character makes? Remember, underneath everything your prime focus is to get to safety - these are just added obstacles that are standing in your way. It's the tension between the character's objective and the obstacles that stand in the way of that which create the emotion in the actor's body.

Read up on Method/Stanislavski/Etc. for further info about how to develop this sort of technique (the sidebar's a good start, I also highly recommend "Practical Handbook for the Actor" as a great crash course in this stuff), or, better yet, take an actual acting class, and this all makes a lot more sense if you have an experienced teacher guiding you through exercises that teach these principles.

(*Edit: I guess that "Practical Handbook" link is only the first chapter, but here it is on Amazon.)

u/Portmantoad · 8 pointsr/userexperience

Having specific characters that represent your different audiences allow you to embody/emulate those characters as "masks" (an idea from theater, outlined brilliantly in Keith Johnstone's Impro).

The human brain is extremely good at simulating other people, predicting their needs and desires: if someone says "I heard dead my mothers voice telling me not to do it" do you assume their dead mother is literally communicating telepathically, or do you accept that they just know what their mother would say? Writers also work this way all the time with "characters that write themselves"—these fictional entities have personalities, needs, and wants, and help the writer see things from a perspective that is unlike their own.

While heavily researched personas are more accurate, DIY "fanfiction" personas really do get you 80% of the way there—these are just tools that allow designers to roleplay as or "find empathy for" different types of users. They're not supposed to cover every possible thing or to replace the need for validation, they just get you in the right headspace.

u/khafra · 8 pointsr/DebateReligion

Interrupting someone lowers their status. Allowing someone to break a social taboo without comment raises their status. Really, if you want to know more, you've gotta obtain this book (and/or go to a local improv class, most of which take that book as their basis).

u/tpounds0 · 8 pointsr/improv

I have this handy!

Accents, a Manual for Actors

Learning IPA(International Phonetic Alphabet) is a real game changer with dialect and accent work. I have a little collection of index cards of accents(the ones a white guy like me are expected to do) that have a cheat sheet of the most important sound differences.

u/strack94 · 7 pointsr/TrueCinematography

With good cinematography comes great lighting. When I first started in the film industry as Grip, I literally sat on the back of the truck between takes and read Harry Box's Set Lighting Technicians Handbook. Its invaluable information as far as lighting is concerned. The Grip Book by Mike Uva is another great handbook. Generally, if you walked into Barnes and Noble, all the other books on the shelf are worth a read. "Rebel without a Crew" And "Save the Cat" are some great reads.

u/hbomberman · 7 pointsr/Filmmakers

Glad you're trying it out and putting in the effort.

I don't want to sound like I'm encouraging quitting or anything but there's nothing wrong with realizing that something isn't for you. You may need to check out more things/adjust your expectations (of yourself and of the work) before making that decision.

Don't be frustrated just because you don't understand as much as you thought. If you want to and you're dedicated, you can become even more skilled and knowledgeable than anyone on that set. These things take time and effort, of course.

Lighting isn't the easiest thing to grasp and "3-point lighting" is really just a starting point; a general way that you might decide to use to light a scene and which can work any number of ways rather than being one particular setup/ratio. The Set Lighting Technician's Handbook is very informative, if you're really interested, but there's also plenty of guides online and I'd be happy to break down a few basics if you'd like.

u/TJPMPotatoes · 7 pointsr/techtheatre
u/Leveraged_Breakdowns · 7 pointsr/FinancialCareers

First, actually find a therapist.


Second, since you probably won't actually find a therapist (even though you should), below are a few strategies that got me through my roughest patches in investment banking and private equity:

  • Life will challenge you at every corner, a new career will also be stressful in its own right
  • Maximizing every decision leads to undue stress, learn to satisfice (Barry Schwartz TED Talk on the Paradox of Choice)
  • Learn to control your mindset to identify and note negative thought patterns (Headspace teaches Mindfulness -- try it for forty lessons and be amazed at your improved perspective)
  • Treat yourself to purposeful rest every day. You probably don't have rest time every day. But when you have a bit of a weekend or a couple hours before bed, set aside a strict portion of that time for purposeful relaxation. Don't half-work -- watch TV, play video games, do something stupid and unproductive that makes you happy and relaxed.
  • Stay fit, even if it's a couple core exercises, some foam rolling, and some stretching
  • These books helped me: Zen and the Art of Motorcycle Maintenance, Zorba the Greek, Seneca: Letters from a Stoic, Truth in Comedy
u/TheWoodsman42 · 6 pointsr/lightingdesign

First things first, different areas are going to call different things different names. Never be ashamed about asking what people mean by a term, as clear communication is critical in this industry.

Next, three books that will help you.

  1. Backstage Handbook while a little outdated, this is the stagehands bible.

  2. Electricity for the Entertainment Electrician and Technician this is a good reference for how electricity works. Less of a what things are and more of a how things are. Good book regardless.

  3. A Practical Guide to Stage Lighting also more of a how things are, this details more of the design and communication side of lighting. Also a very good read, as it details out paperwork for shows.

    As far as what equipment and systems you should be familiar with? ETC EOS family is a good starting point. It’ll get your mind familiar with how to program lights and is a pretty universal starting point. ETC Sensor Racks are also fairly standard for dimming. For moving lights, that’s really going to depend on what you’re able to get your hands on. If there’s a production shop nearby to you, call them up and see if they’re willing to take you on as an intern so you can learn things, or just ask them to spend a couple days showing you how everything works. Or see if there’s an IATSE chapter that’s nearby to you, they’ll also be able to help point you in the right direction.
u/richardcornish · 6 pointsr/improv
  • Upright Citizens Brigade Comedy Improvisation Manual is usually the first one that people speak highly of. Half of it is theory, and the other half is exercises. I find it the most solid gathering of tactics, but maybe a comparison to other schools would help me understand why their “game” makes them so different.
  • Improvise: Scene from the Inside Out by Mick Napier is probably the next best one on my list. It personally resonated with me because the idea of “take care of your partner by taking care of yourself” identified one of the less-spoken of but more critical parts of improv. I’ve been in many scenes where the who/what/where slips through the cracks because we were too polite to not make a bold choice and each of us were scared to decide what the scene should be about. If each of us collectively decides individually and “yes, and,” we’re on a really good trajectory.
  • Improvisation at the Speed of Life: The TJ and Dave Book is my long-form inspiration. You get a lot of mindset here, not as tactical as the others.

    Interestingly, this one blog post “How to Be a Better Improviser” is actually a brilliant distillation of the most important concepts.

    It goes without saying that without practice reading alone will have limited utility.
u/EvilRazcal · 6 pointsr/improv

I didn't get involved in the improv scene until after I moved away from there but I've looked into it a little when visiting.

I've seen some shows and taken a workshop at Spectacles in Fullerton that were a lot of fun but the age group may be slightly older than you're looking for. They seem to be the most active and organized group and I think I've seem them post on this sub in the past.

Here are some other organizations I found you may reach out to:

Improv City High Schools

OC Crazies

Nothing about training but maybe a resource.

South Coast Repertory

If you're looking to do Long Form Improv you could pick up the UCB Handbook and some friends and start on your own. After several weeks of consistent practices you could try and hire a coach from one of the resources above. I've found that many coaches are more interested in helping dedicated improvisers improve and not in getting rich... hopefully you'll have the same experience.

u/desaparecid0 · 6 pointsr/Filmmakers

Here is a PDF of some general set terms

Each department will have loads of their own unique terms, sometimes several for the same thing. Clothespins (used for attaching colored gels to the barndoors of lights) are often called bullets, clothes pins or c-47. Spring clamps might be called "pony clamps" or "grip clamps" as well.

  • gels - transparent, colored plastic used on lights to change the color
    barndoors - the movable wings that attach to the front of a light. used to shape the beam and attach gels.
  • apple box - wooden box used for sitting or propping things up.
  • pancake - flat piece of wood, often with a hi-hat attached to it.
  • hi hat - A very low mount for a tripod head. Used for shots where the camera needs to be low to the ground, or mounted to a dolly or jib.
  • sticks - tripod
  • stinger - extension cord

    There is also slang for every type of light that you would use on set. Most of them refer to different versions of Mole-Richardson lights, the standard in the film industry for quite some time.

  • mickey - 1k watt open face light
  • mighty - 2k watt open face light
  • baby - 1k fresnel light
  • junior - 2k fresnel light
  • tener - 10k fresnel
  • senior - 5k fresnel light
  • tweenie - 650w fresnel light

    Each of these lights has a larger and smaller version. The larger version is usually considered the "studio" version. The smaller versions that you will find on equipment trucks and location shoots are denoted by adding "baby" to it, except in the case of the 1k fresnel since it would be silly to call it a "baby baby".

    Those are just Mole-Richardson tungsten lights. There are other terms for HMIs, Fluorescent lights, light banks and even other brands of tungsten lights. There are also terms for each type of stand. The basics would be walker = stand without wheels, roller = stand with wheels.

    I really recommend The Set Lighting And Technicians Handbook. If you are working in a production crew it should be your bible.
u/Hoobahoo · 6 pointsr/Filmmakers

Read A Practical Handbook for the Actor to help understand what it is an actor needs to do in a seen. In this way, you can guide your actors in the direction you want by using their vernacular or one that makes sense to them. Not to say every actor uses this book, but it is a damn good one. Hope this helps.

u/TheLastGiraffe · 6 pointsr/acting

I agree. Your hunger is an incredibly good thing. But you should always be training and stretching If you're interested in some books on technique here's what I've been reading.

A Practical Handbook for the Actor by a bunch of interesting people. It's a practical, repeatable, and analytical way of approaching acting. While it is best practiced in a classroom with a knowledgable instructor, the text is good enough to stand on it's own.

History of the Theatre by Brockett is a longggggg read. But it's detailed and a great perspective on what was happening when in relation to plays. Also you can older editions for way way less.

I'm just now reading Sanford Meisner on Acting and that's been an interesting so far, it has a lot more of a narrative which is enjoyable to read.

Hope any of that helps someone!

u/Doomhat · 6 pointsr/techtheatre
u/Chicityfilmmaker · 5 pointsr/Filmmakers

Fellow Columbia Alum here, this book is an indispensable resource as well. Won't exactly tell you "how" to light your scene, but covers all the gear and how it works.

The Set Lighting Technician's Handbook

u/faderjockey · 5 pointsr/livesound

Pretty common, actually, as a method of getting a new show under your fingers.

That's the method described in Shannon Slaton's Mixing a Broadway Musical.

u/loansindi · 5 pointsr/techtheatre

Electricity for the Entertainment Electrician & Technician by Richard Cadena. Understanding electricity and electrical safety is big, and a shocking number of technicians lack what I consider crucial basic knowledge.

Also, if you have interest in automated lighting, a decent grounding in electronics can be useful for troubleshooting and maintenance, and I'd start with Introductory Circuit Analysis by Robert Boylestad for this - you'll get a much more thorough grounding in circuit analysis than from Cadena, even if you don't work your way through the whole text.

u/ttreit · 5 pointsr/livesound

Electricity for the Entertainment Electrician and Technician

You don't have to become an expert on everything in the book but simply reading it through once will give a solid foundation for the working sound engineer. Nothing happens in our world without power so I consider this a fundamental read.

u/harrio34 · 5 pointsr/techtheatre

> Or perhaps the problem is something other than the power?

The thing that passed through your brain that made you think that this was a smart decision.

Here are some ground rules about movers and electricity that pertain to your situation, and some thoughts.

  1. Don't power movers off of a dimmer. Ever. The power sent from them isn't full phase, and will most likely damage your fixtures.

  2. Just because it seems like a good idea in your head, does not make it a good idea in practice. A reverse twofer??? A simple web search will show that you can't safely combine two sources of 110v to get 208v.

  3. That VL is probably dead now, so have fun paying for repairs, and potentially having your university blacklisted from renting from them again.

  4. If you don't get electricity, don't mess with it. That's a cardinal rule. I've never seen anyone silly enough to try to combine phases for their moving lights. This is dangerous.

    Please be safer next time, and don't break expensive gear that you don't own. Accidents are accidents, stupidity can't be played off as an accident.

    If you actually want to learn more about electricity and how to use it safely, please read this book:
u/rigg77 · 5 pointsr/techtheatre

Check out Steve Shelley’s book Practical Guide to Stage Lighting. I learned a fair amount about contracts from it, enough to write my own.

The above comment about consulting a lawyer is also wise, but most lawyers are going to know your business like you do. If you come to them with something to look over, you’re more likely to get a positive and meaningful reaction.

u/kliff0rd · 5 pointsr/techtheatre

Vectorworks and Lightwrite are pretty standard for generating light plots and paperwork. WYSIWYG and AutoCAD are also used, along with manually created fixture/patch/color/etc schedules.

I'd recommend this book for an excellent, in-depth guide to the practical side of lighting design.

u/dforderp · 5 pointsr/Magic

Sleight of hand with coins

Sleight of Hand

Sleight of Hand with Cards

Edit: there's my 3 suggestions that I've had great experience with. These are 3 staples in any magic collection in my opinion.

Ok! I need to clarify one thing. These books are very old. Don't get discouraged at the fact that the vernacular can be somewhat confusing. If you take the time to look up any words that might be hard to understand and just work trough the text, you will find timeless effects that you'll be able to show off for years to come! Don't dismiss a move because it seems so simple!

u/Jongtr · 5 pointsr/musictheory

A common application is to see a quarter segment of the circle as showing not three keys, but the six main chords in a (major) key. IV-I-V on the outside and ii-vi-iii on the inside. (Obviously you need a circle with the relative minors on the inside.)
Chords either side of that diatonic segment can also be used, being closely related, but the further you get from that block, the more "out" the chords will get (but can still be used for that "out" effect, of course). And root movements work around the circle, in either direction.

But I guess this is much like the way you are using it anyway! So I don't think you really are missing anything significant.

[Here's] ( a commercial application of much the same idea: The word "revolutionary" is just a sales pitch in that case. ;-)

u/Wuz314159 · 5 pointsr/techtheatre

Stage Rigging Handbook
That'll teach you how to do it the right way. Then you can adapt to fit your space.

u/ohjein · 5 pointsr/Learnmusic

Have you ever seen Whose Line Is It Anyway? If you haven't, the idea is that a bunch of actors get on stage, take suggestions from the audience, and create wildly creative set pieces on the fly. Improv seems like an unachievable creative feat--but it's not.

In his book Impro, Keith Johnstone demystifies improv and narrative play. At one point, he has a lady who insists she's not creative participate in a narrative game. She asks plot questions about an unwritten story, and he answers yes or no depending on the way she phrases her questions. In the end, this "uncreative" creates a story about giant killer ants seemingly from nothing!

The key to creativity is being open to stupid ideas. People have ideas all the time. Deciding to put hot sauce on your pizza is an idea. Deciding to cut through Park Lane while on your morning commute is an idea. Deciding to dance the funky chicken after reading this comment is an idea.

What makes an idea creative? That's a toughie. A lot of times, you'll feel it in your gut or sense it in the approval from your audience. But you normally don't reach that creative peak until you get through some duds. :)

Creativity is easy. Creativity is hard. Anyone can come up with ideas. It's the editing--and the follow-through--that makes the difference.

u/TSpange · 5 pointsr/Theatre

Go ahead and pick up one of these

In the mean time, I'll open up my copy and tell you what Blumenfeld has to say about Cockney. But before that, let me just stress this: You can read all of the phonetics and rules that you want, but at the end of the day, the thing that is going to help you the most is listening to a native speaker. Michael Caine has been a giant help to me. So sit yourself down, watch The Dark Knight trilogy and pay attention to Alfred.

As for what Blumenfeld has to say:

  • The jaws are held loosley with the lips a bit forward. Drop your jaw and say "ah" which will give you the general position of the accent.

  • The accent is non-rhotic, meaning that the final R or the R before another consonant are not pronounced. E.G. "shoogah" instead of "shoogar" for sugar or "tah-tid" instead of "tar-tid" for tarted.

  • H is often not pronounced at the beginning of a word. So hand, how and hat become 'and, 'ow, and 'at.

  • The g in -ing is often dropped. I.E. Runnin' instead of running.
  • The glottal stop is an important stereotype to the accent. It's the absence of vocalization that is used during a "tt" sound. You'd know the sound if you heard it. It's hard to explain the sound through type.
  • Voiced TH (where you use your voice to make the sound) is often replaced by a V. "Together" becomes "tuhgevah." if it's at the beginning of the word it is either replaced by a 'd' or dropped all together. So that can sometimes become either "dat" or "at"
  • Voiceless TH (Where you have your tongue between your teeth and push air out) is substituted with an "F". This is a pretty indicative Cockney trait that will instantly say to the audience "HEY. THIS IS COCKNEY"
  • Now for the vowel sounds. The vowel 'A' in father is a pure open vowel just like in British Received Pronounciation.
  • The 'ay' sound shifts to 'I'. So day and brain sound more like "die" and "brine"
  • The 'I' sound becomes 'oy' so 'I am', 'night', and 'fine' become "oy am" "noyt" and "foyn" But don't make it sound too open or your going to start to sound Australian.
  • The "O" sound in "home" becomes "Ow" So "I know that bloke" becomes "Oy now dat blowk"
  • The final L in a word can often become "oo" Table becomes "tayboo" Even though he's not quite cockney, this is really obvious in Ricky Gervais' accent. He says 'people' a lot and that will always sound like 'peepoo'

    That's a general rundown of the phonetics. There's more to be learned obviously. Now for tips.

  • Go through parts of the script and rewrite it phonetically using these rules.
  • A funny joke people like to make about Cockney is that when Michael Caine tries to say his name, he sounds like he's saying "my cocaine".
  • Seriously. Listen to native speakers.
  • Don't get too caught up in the accent. Still put all your focus on acting and being truthful to the character. Make it another aspect of the character instead of letting it define the character. We've all seen productions where an actor is clearly doing an accent and it's so distracting that you can't pay attention to anything.
  • Definitely buy that book on Accents. It's my baby <3
  • Most importantly, break a leg! Cockney is always fun and fellow actors are ALWAYS willing to be silly and talk in cockney for days. My fellow actors and I have done it for hours on end.
u/felimimimi · 5 pointsr/VoiceActing

Hey! I'm in the same boat as you... It is definitely easy to get overwhelmed with the crazy amount of info online. I fought that by picking a few resources and making my way through them, I was able to make good headway. There are some amazing resources online that help tremendously, I like these: - great collection of resources - such an amazing site by Dee Bradley Baker - Crispin Freemans podcasts (more tailored to animation voice actors, but the first intro podcasts are so candid and have really invaluable advice).
This book is great:

Before you are ready to make a professional demo, you really need to practice your craft (even signing up for Voiceactingalliance or CastingCallClub etc just to get started practicing for example). I'm sure you've heard this, but acting classes, improv classes, singing classes etc- are part of that practice.

If you do have the experience of acting and cold reads and just want to hear demos in the market now, this site is amazing:
Youtube also has great videos of working voice actors talking about demos, just do a search of "voice acting demo" or something the like.

If you are a pro producer, that is great, but right now it is not just the skills of putting together a demo that is really important for you - it is the character that you bring to the mic that is the kicker (even in Commercial demos), so once again, practising the craft of acting itself is probably the most important thing for you at the moment.
Hope this helps even slightly, it was kinda a stream of consciousness from one new-ish VO to another. :)

u/DeadDillo · 5 pointsr/VoiceActing

Also check out the book "Voice-Over Voice Actor" by Yuri Lowenthal and Tara Platt for some good info.

The one big book that is considered the textbook for VO is "The Art of Voice Acting: The Craft and Business of Performing for Voiceover" by James Alburger. There is a TON of information in that book that can help you understand more about the industry.

Also, check out my free eBook on getting started. I wrote it specifically for folks on Reddit who ask this question.

To offer some tips:

Practice reading out loud. A lot. Listen to yourself reading. Does it sound natural?

Take acting classes

Take business classes

Get a professional voiceover coach

Study, practice, study more.

Get your demo recorded once you've built up your skills.

Start marketing yourself to companies that hire voice talent.

u/pacoismynickname · 5 pointsr/Earwolf

They even wrote a manual! They definitely treat comedy as a craft.

u/keyboredcats · 5 pointsr/LifeProTips

I teach voice workshops sometimes. Not singing, but speaking voice for actors and stuff

The industry standard texts for actors are usually Linklater (for vocal quality) and Skinner (for clarity of speech).

This book is fucking legendary, though perhaps more technical and in depth than you're interested in and also a little formal / outdated. If you follow all the vowel sounds perfectly you'll end up sounding like a British twat (especially with the "ah" sound as in "father" and the "all" sound, just do what's natural). But everything about the consonants pretty much holds up.

This book is a really good place to start. Most of the exercises revolve around freeing the "channel" from your diaphragm through your mouth and making sure you have both the dexterity to communicate with ease and the proprioception (imagery and understanding of the body) to adapt your voice as needed. If you've seen The King's Speech, that's pretty much all the stuff he's doing during that montage where he's shaking his fists around and yelling and stuff. Practice a few times a week.

I'm sure looking up youtube videos of Linklater and Roy Hart technique is also useful if you don't want to buy the book.

Practicing by reading aloud, as others have mentioned, is also really helpful. Generally, the verb is the most important word of the sentence, but it's also prohibitive to set too many rules for yourself in terms of cadence and emphasis since contemporary speech is pretty organic and you don't want to sound like a machine. Also listening to your favorite actors / singers / etc with a critical mind can be helpful, it isn't really useful to try to emulate them since the mechanics of everyone's voices are vastly different, but understanding the quality of their voice and finding that same quality within your own voice is a nice way to start.

u/dls2016 · 5 pointsr/Parenting

> Say "yes"

Tina Fey's anecdote about Joan Rivers is from a book called Truth In Comedy. I know it has nothing to do with this thread, but as she says, improv/the book make for a great life manual. I always found it helpful as a teacher... and I guess more subconsciously as a parent.

u/iamktothed · 4 pointsr/Design

Interaction Design

u/kokiril33t · 4 pointsr/techtheatre

Great! Then I'm gonna make two book recommendations to you. The first book is The Stock Scenery Construction Handbook by Bill Raoul and Mike Monsos. It'll be a great help to get some knowledge about how scenery goes together and is structured before you dive into a job where this'll be common practice. The second book is the Technical Theatre Bible, The Backstage Handbook by Paul Carter and George Chiang. Even if you don't ever end up in theatre, this is a brilliant reference from how to build stairs to creating and calculating large arcs. Every technician should have a copy of it.

u/TheKidJRC · 4 pointsr/techtheatre
u/codeledger · 4 pointsr/hamiltonmusical
u/azdak · 4 pointsr/ProjectEnrichment

Former professional actor here. Had several years of IPA in college. The key is to have a proper baseline for the way that the characters are actually supposed to sound. It all well and good learning what the symbols are supposed to mean, but if you're teaching yourself, you have no real reference. This is all about sound. You can't just do without hearing the sounds pronounced correctly. That said, if you're really interested in learning more, the definitive textbook is Edith Skinner's Speak with Distinction. Granted, it helps to have studies the works of Kristin Linklater to put a lot of this stuff in context.

u/zwolfmanz · 4 pointsr/improv

Improvising Now Rob Norman’s Book, coupled with the podcast the backline is a great resource. I have taken workshops from Rob and Adam and they know their stuff. They are masters of the craft.

How to be the greatest improviser on earth by Will Hines, coupled with his blog “improv nonsense” is also great. Will Hines is one of the most clear articulate thinkers in the improv world. He has the ability to distill the most complex ideas into simple bite sized packets.

Improvise by Mick Napier is a classic. Great for an intermediate player because his ideas and concepts come up all the time.

Podcasts worth checking out: Beat by beat, the backline, improv nerd, and the ask the UCB episodes of I4H.

I’ve read a lot of improv books, but those are the ones I love. Their usefulness never ceases.

u/veepeedeepee · 4 pointsr/cinematography
u/ancientworldnow · 4 pointsr/Filmmakers

As many cameras as there are, there are countless numbers of lights. Many of these "must have" lights like a basic 1.2HMI run many thousands of dollars which is beyond the scope of purchase for most users (as it should be). Lights at even a mid range production level are rented because you need so many of so many different types based on what, when, and where you're shooting (as well as what you're shooting on).

The scope is massive and beyond the capabilities of the sub. Fortunately, there is already a fairly affordable reference in The Set Lighting Technicians Handbook (as mentioned by /u/itschrisreed).

u/AshamedGorilla · 4 pointsr/livesound

This is a great read about power and is specifically geared toward our industry:

u/livingmarcuslee · 4 pointsr/livesound

Hello, live event electrician here.

Take a look at Richard Cadenas book, Electricity for the Entertainment Electrician (link below)

I both read his book and took a course he taught. Specifically with stage power, he made sure to burn into my brain using GFCI protected deck power. The time it takes for a short to happen and trip the breaker at your distro is enough to kill. It's happened before.

As for another resource I suggest protocol magazine. It's got all sorts of good, dry information if you are into that. I certainly am.

Educate yourself, don't lift your grounds, ALWAYS use GFCIs for deck power. Too many people have needlessly been electrocuted. Requiring GFCIs for deck power is currently being discussed (I believe)for addition to either the NEC or ESA (Event Safety Alliance)

Good luck out there!

u/ChaszarTheMediocre · 4 pointsr/Magic

The Royal Road to Card Magic by Hugard & Braue

If you practice all the things this book has to offer then you will have an amazing foundation in card magic.

Modern Coin Magic by J.B. Bobo

This is a must have if you want to begin learning coin magic.

At some point I would also suggest The Books of Wonder by Tommy Wonder, pricey, but his philosophy on magical thinking is worth it alone. I am a tad biased however because he is my favorite magician after all. :)

I'm weary of suggesting YouTubers but one I will recommend is Jay Sankey

YouTube — Jay Sankey

I hope this helps and welcome back!

u/birdbrainlabs · 4 pointsr/techtheatre

That is a great book, but really doesn't teach you rigging.

This is perhaps more on topic:

u/ASnugglyBear · 4 pointsr/rpg

How do I improv?

You read Impro ( The status chapter alone is comedy and dramatic gold. It will also teach you the gestural and postural elements of character, which are easier than funnier accents to do consistently, they also tend to force your mind into the correct behavior for the posture

How do I react better to surprise?

You write down a list of beliefs and instincts (2-3 of each). The beliefs are facts about the world you are extremely likely to confront in the worlds, and what your character will do about them. Instincts are if then statements that add instant reaction. Use this to know exactly what you'll do in a situation, and also use it to get you guys into trouble sometimes

How do I become more active at the table?

Add one or two things to a list you will just not abide. Similar to or equal to your instincts recorded earlier, just act, and accept no discussion when those things occur

u/cullen9 · 3 pointsr/Filmmakers

Read this book.

Read this book.

Read this book too.

These will give you a good basis to build knowledge/experience from.

u/demesisx · 3 pointsr/WeAreTheFilmMakers

It's sometimes embarrassing to have a DSLR because DSLR filmmakers show up to a pro set looking like Blankman.

I'm trying not to be too critical but Flourescent bulbs aren't exactly sought after for their CRI, flicker characteristics, and inability to be dimmed well. Sure, they output a LOT of light, but you need to be careful because they pulse like mad, have a REALLY strange color cast, they can't be dimmed, AND are really noisy if you get dimmable ones.

Just get a PAR64 as a direct light through diffusion or build a softlight with some bare studio bulbs for softboxes and (the only good idea in the whole tutorial) that crazy cake pan reflector painted white. Either idea would probably only cost slightly more (for the REAL bulb receptacles) and put out A SHITLOAD more light (and a better quality/CRI of light).
Also, it's not that hard to build film lights with spare parts. There's even a section that starts on page 144 of the Harry C Box Set Lighting Technician's Handbook that teaches you how to make quality lights for the same amount of money or slightly more. The coop light that they recommend is REALLY good and isn't an embarrassing blankman invention. Clients actually do respond negatively to cheap equipment.

Also, you can build a kino flo if you have the time. All you need is coreplast (corrugated plastic), some fluorescent shoplights with ballasts, and real kino bulbs (since they have a much more acceptable CRI and are more rugged by a factor of 100).

It boggles my mind how people are so scared of real film lights even though they are commonly hand-built for specific purposes in the pro parts of the industry I'll get off my high horse. I'm just getting really tired of DSLR shooters kludging everything together just because they're scared of real film equipment.

u/FirAndFlannel · 3 pointsr/IAmA

this is what I started with.

this is what I use now.

Edit: thank you for the gold /u/dethswatch

u/C47man · 3 pointsr/cinematography

I like where your heart's at, but honestly books just aren't going to help you much for what you're after. Everything you said you wanted to learn is stuff you learn by just doing it and seeing other people do it. Time to get your butt out on set! And if there's no set, it's time for you to buy some cheap lights and fuck around with them endlessly!

If you really want a book for the technical stuff in lighting, buy the Set Lighting Technician's Handbook. That's the industry standard reference manual for lighting.

u/nerdbirdhatestheherd · 3 pointsr/cinematography

I second this. The ASC is a wonderful resource, also subscribe to their newsletter they usually have links to relevant articles that didn't make the magazine along with info about upcoming events/expos.

I also found these helpful:

"Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image"

"Master Shots Volumes 1,2,&3"

And "Set Lighting Technician's Handbook: Film Lighting Equipment, Practice, and Electrical Distribution"

u/vegan_recipes · 3 pointsr/cinematography
u/randoturbo33 · 3 pointsr/techtheatre

Check out Shannon Slaton's book Mixing a Musical: Broadway Theatrical Sound Techniques. It's a great in-depth look at the nuts and bolts of theatrical sound. Obviously you're a long way off from doing this level of show, but this should give you a good idea of how much more there is to it besides just mixing the mics.

Otherwise, there's some good advice here already. Experience and networking is the name of the game in Broadway audio, even more so than other departments. Every sound person I know doing Broadway/First Nationals was plucked up by a designer early in their career, often at well-known summerstocks or major off-Broadway theatres, and when that designer needed new people to go on tour or go to Chicago for an out-of-town tryout or whatever, they got the call.

As for what to do - just start doing shows. If you have a local roadhouse near you, see if you can get on the overhire list for the IA and get paid to load in some tours. Volunteer to mix your friend's band, work on the school musical, work on other school's musicals, whatever you can get your hands on. If you're so inclined to go to college, pick a good one that specializes in what you want to do and has a solid alumni network who are working successfully in the field, but also hopefully one that won't leave you in debt for 20 years. Use those college connections to get solid summerstock work in college, then move to the regional/off-Broadway world when you graduate. Move up the ladder at a larger theatre, meet a well-known designer, start building some of his shows, maybe get sent out on a smaller tour, work your way up to heading, get called home to sub on one of his Broadway shows, finally get your own show, make sure it's a huge hit, mix it for 30 years, then retire and move to Florida. Any questions? :)

u/hayloft_candles · 3 pointsr/livesound

The mixing part is the same. If you are solely the FOH mixer, and you don't want to be in charge of the bigger picture, you have no concerns - just make it sound good and know the consoles you are working on. The system tech is there to make sure that the rig sounds good everywhere in the room, and the PM and riggers are there to make sure it is run and hung safely and efficiently.

If you want to PM on bigger rigs like that, you need to start learning the details of all those people's jobs - not necessarily so you can tell them what to do, but so that you can spot safety issues and inefficiencies, and work hand-in-hand with them to meet your goals.

Here's a good book to start on power:

And here is a good book on audio systems:

I haven't read this one on networks yet, but it's probably my next read...maybe others can chime in on wether it is a good one.


And of course, nothing beats experience, so weasel your way into bigger jobs and watch what everyone is doing.


u/howlingwolf487 · 3 pointsr/techtheatre

Rich Cadena’s“Electricity for the Entertainment Electrician & Technician” is by far the best read on this specific topic.

He also hosts training classes and is ETCP certified.

Also check out the NEC sections 400 and 520 for people in the USA.

ProSoundWeb’s AC & Grounding forum is great, as is Mike Holt’s websites and forum contributions throughout the Event Production and Electric industries.

u/ltjpunk387 · 3 pointsr/lightingdesign

A Practical Guide to Stage Lighting by Steve Shelley

Designing With Light by J. Michael Gillette

These are the two staple textbooks for any lighting design class.

u/Pablo_Diablo · 3 pointsr/techtheatre

Steven Shelley's 'A Practical Guide to Stage Lighting is an EXCELLENT lighting design primer. It walks you through everything from the initial discussions, to placing the units on the plot, to focus and cuing.

Don't take everything he says as gospel, but it is a comprehensive place to start. (And Steve's a great guy, too)

u/44calibreloveletter · 3 pointsr/OkCupid

I really like this book: A Practical Guide to Stage Lighting. I think you'll appreciate how Steve Shelley lays his ideas out.

u/TheClouse · 3 pointsr/Magic

the book.

Also check out our r / magic sidebar for coins.

u/dtgreat · 3 pointsr/Magic

Local Magic shop will usually show you what they are selling and recommend some good starter material.

I started out with Royal Road then I moved onto whatever seemed interesting.

A lot of the stuff seems a lot harder than it is, and presentation is really key. That book with some gimmick coin sets will get you rolling.

For coin stuff there is no better start than Bobo's Book.

Your mileage will vary depending on how much you practice. I usually practice flourishes on the subway, and some simple moves there too. Luckily I have a job with long stretches of down time so I am always practicing there too.

u/antoniodiavolo · 3 pointsr/ChrisRamsay52

Then I recommend picking up the books "Royal Road to Card Magic", "Modern Coin Magic", and "Mark Wilson's Complete Course in Magic"

As for YouTube, there's a lot of bad magic tutorials on YouTube. So be careful of who you watch.

Besides Chris, I would recommend watching Alex Pandrea, 52Kards, and SankeyMagic.

PigCake is a pretty good teacher as well but he can be sort of crude sometimes so that's up to you.

Xavior Spade also has good stuff but he also teaches a lot of advanced card moves.

u/Adddicus · 3 pointsr/Guitar

Get The Chord Wheel

Its a very thin book with the rotating chord wheel on front. Its a quick read that explains how to find what chord you're in and some very useful, usable bits of music theory without getting overly complex.

u/WOOKIExCOOKIES · 3 pointsr/WeAreTheMusicMakers

Chord Wheel is an awesome tool.

u/BennJordan · 3 pointsr/IAmA
  1. I myself am not too compatible with trackers, but I have friends who make amazing music who only use them.

  2. I haven't used loops in 5 years or so, but Think was one of my favs for sure. The tambourines are great in it. Amen of course!

  3. I almost always start with a melody on the guitar and go from there. Have you ever seen this?
    A good way to learn melodic structure.

  4. I was 13 or 14 when I got my first drum machine.

  5. Hmm. Sounds like you're talking about pitching stuff to make it sound like record scratching. I usually did that in Adobe Audition, very carefully and time consuming. :)
u/djtemporary · 3 pointsr/lightingdesign

Stage rigging handbook by jay O,Glerum

It's more theatrical but it makes the math and load calculations easy to understand.

u/jdrake3r · 3 pointsr/worldbuilding

If you can't draw, who drew that awesome map?

Moving on:

Things I have tried:

  • Reverse my approach - If I began top down, maybe with the cosmology, I'll switch to a single town.
  • Focus on a side character - Maybe the main character was going no where, now enter a foil, or a guide, or even just a companion.
  • Exercises from Impro: Improvisation and the Theatre
  • Make a mind map - I use FreeMind.
    Currently my map consists of:
    Physical Environment

    Things I'd like to try:

  • Review the tropes associated with the area in question - Start with the most common and/or fundamental/far-reaching ones and maybe dive into the less well known/more specific ones; then subvert them.
  • The Creative Whack Pack
  • A game of Dawn of Worlds, Microscope, or Kingdom depending on the area I was stuck on
u/kant-stop-beliebing · 3 pointsr/DMAcademy

My recent revival of my DMing career was inspired by Mercer, so I have been more interested in the roleplay/voice acting aspect, something I never really cared about in the past. Just yesterday, my brother's (and one of my players) birthday gift to me showed up, and I'm really excited about it. Despite having zero experience as a voice actor, I find it relatively easy to follow, at least so far, and I haven't broken out the 2 CDs in the back yet.

Having that variety of voices makes characters feel much more individual and alive, and I hope really increases the immersion and feel of the game.

u/potterarchy · 3 pointsr/AskReddit

You would probably be interested in this book. It goes in detail about different accents - particularly in the UK, but also in India and Australia and whatnot. I haven't listened to the accompanying CD yet, but the book itself goes into really good detail. I'm not an actor myself, I just love phonology, but I find the book well-written and very interesting.

This article on Wikipedia also does a fairly good introduction on the different regional differences of American English, though you might want to brush up on your International Phonetic Alphabet skills to get a good understanding of this subject.

u/YawpBarbaric · 3 pointsr/DnD

I'm a professional voiceover artist, when not DMing, and this book is absolutely essential to me. I've had to learn accents overnight, and this one has saved my skin on a number of occasions.

If you're sticking with one cockney character, try to watch movies with exclusively cockney accents. My Fair Lady is great, but Liza's accent is buried amongst other accents.
Check out any movie with Jason Statham, incl Snatch, Lock Stock and Two Smoking Barrels. Michael Caine in Alfie; This is England, or any episodes of Only Fools and Horses.

u/LordPineapple · 3 pointsr/HomeImprovement

It depends on how deep you want to go. There is a lot of information on theatrical lighting and retail lighting. You can even browse /r/techtheatre for some ideas on the theatrical side.

As for my home: diffusion, diffusion, & diffusion. I am a big fan of LED strips and I mount them to the underside and topside of cabnets to create a gentle glowing effect.

u/johndelfino · 3 pointsr/lightingdesign

Unfortunately it's rather difficult to simply 'pick up' lighting design, especially when you're thinking of a larger scope including renovations and retrofits. Even something as simple as finding a website that explains the beginnings of stage lighting to send people to has been a challenge for me in the past.

The Steve Shelley book mentioned by /u/loansindi is a very robust choice, but is aimed more specifically at theatrical lighting and is likely to have far more information than you'd ever want or need, and will make you crazy.

I'd recommend this Pilbrow book, which is a little more readable. It is a tad bit dated, however; not that what he says is wrong but that it's a bit old-fashioned.

The reality is the best way to learn about it is to have conversations with someone who understands lighting in the context of your space. That way you can not only understand concepts, but concepts as they apply to your context. I understand why you would want to do prep work so as not to be caught off-guard by the process or taken advantage of, but there are people--trustworthy people--who are paid to do just that. No need to put undue pressure on yourself to be an expert.

Anyway, hope that's helpful to some degree. Please feel free to PM or get in touch with me via email (john @ johndelfino [dot] com) if you have more questions.

Source:: Lighting Designer, Independent and with Visual Terrain

u/mhochman · 3 pointsr/techtheatre

at our HS, We give out the backstage handbook to senior techs, I even have a copy around myself,

u/Kaldea · 3 pointsr/IWantToLearn

Get this book. This was one of the most valuable sources of all the little things needed to get into voice acting. Be it commercials, animation, narration, check it out. If you're serious, get this book and read it cover to cover before you decide what and how you want to start. I've done mainly commercials and inter company tutorials, but it's helped me get more into character and figure out what I would need on my demo to get noticed. Good luck and happy travels in the world of VO!

u/Pennwisedom · 3 pointsr/acting

I would highly suggest either Upright Citizens Brigade Comedy Improvisation Manual or any of the other books listed in the sidebar of /r/improv Or Improvisation For The Theater

The UCB manual is mostly concerned with Long-Form Improvisational Comedy, but it'll have good insight for any other kind of work.

Depending on who you ask, you can get different "tenets" of Improv. But the most basic things two I'd say are:

1.) Yes And - It is not just about literally saying yes, but about agreeing and adding information.
2.) Don't Deny - Again, this isn't about saying no, but about not denying the reality which has been created. As in, if you're in a scene where it is established that you're on normal Earth, don't just start going "Hey, I'm flying!"

u/ramides · 3 pointsr/cinematography

favorites on my shelf:


"Masters of Light" by Schaefer and Salvato

A serious wealth of knowledge. Its focused in chapters on individual Dps. really really a great resource.


"Film Lighting: Talks with DPs and Gaffers" by Malkiewicz

Pretty good. a bit basic BUT good concepts inside. Good info from good working cinematographers.


and i will second /u/peterpeterpeter on "New Cinematographers" by Alex Ballinger. Great new (well, 15 years old now) people working with interesting ideas. Great pictures.


I personally really want to read Almendros' book next, as /u/cikmatt suggested.

u/dblue236 · 3 pointsr/Wishlist

I have two favorites... my mom gave me a copy of Hamilton: The Revolution and my friends gave me this convention exclusive Snoopy Funko.

Merry Christmas!

u/_bthehuman · 3 pointsr/VoiceActing

Learn IPA (international phonetic alphabet) and identify your accent sounds and dipthongs. Pick up Speak with Distinction by Edith Skinner, and start with the most simple warmups. Learn all the pure vowels and consonant sounds before going into dipthongs and triphthongs. Note that you should aim to learn the Trans-Atlantic accent, which is widely considered as 'neutral' for English and used for most classical work.

Record everything and listen to how you are doing to be able to a) identify sounds you're making and b) diagnose things you're not conscious of doing.

Tongue, soft palate and hard palate exercises will help with your ability to make different sounds. As you learn IPA and can pronounce each sound, from vowels to stop-plosives and affricates, make sure you're expanding your warmup to include these. Do your warmups and exercises every day. You'll be surprised how quickly these muscles go out of shape.

In addition to being super helpful, being able to read and pronounce IPA will help you pick up any other accents.

That's for the phonetic/sound part. Other things to think about are vocal placement and speech 'patterns'. Different dialects are placed differently. Speech 'patterns' refers to how natives speak the language, and the sensibility and melody behind it. This is very subtle and often only native speakers of the language can notice that you don't quite sound like you're from there. The understanding of how culture and attitude informs speech patterns is what will help you get a genuine, non-stereotypical accent that you can express yourself freely with, using vocabulary and idiomatic expressions of the dialect.

EDIT: Also the other tips are great for actual practicing. Make sure you are always practicing whatever you are learning, and make sure you're practicing deliberately. This is the key to making something second-nature.

Source: Not American, trained at an American acting conservatory with the aim of working in local markets and now people are shocked to find out I didn't grow up here.

u/langreddit · 3 pointsr/languagelearning

I would try to find resources from the period it was popular. It's also referred to as the Mid-Atlantic accent.

By searching Mid-Atlantic acting coach book I was able to find this book Speak with Distinction: The Classic Skinner Method to Speech on the Stage from 1942.

I also found this book which briefly touches on the Mid-Atlantic accent according to the description Classically Speaking, the Book

u/b2thekind · 3 pointsr/acting

These are the standard for speech pathology.

This book and the exercises within are the basis for the speech courses at Juilliard, Yale, Carnegie Mellon, and other similar programs.

u/luxdesigns · 2 pointsr/lightingdesign

I can say that anything you'd learn in a crash course would be a start in the wrong direction.

If all you're looking for are ways to light a stage, and some basic techniques, start by learning about the McCandless technique.

Visit the other links here to get a sense of how to plan it all out.

If you ever want to get into more advanced stuff, I recommend you start with Richard Pilbrow's book if you are going to be self-taught.

u/rennoc999 · 2 pointsr/techtheatre

For general knowledge you won’t beat the backstage handbook. However for budding lampies who want to know what the lighting world is all about, I’d recommend this book.

The memoirs in there pretty much shaped my post high school career.

u/zstone · 2 pointsr/Magic

Absolutely! Here's a short list of non-magic books that I commonly see recommended to magicians.

Understanding Comics - Scott McCloud

Purple Cow - Seth Godin

Delft Design Guide - multiple authors

An Acrobat of the Heart - Stephen Wangh (shouts out to u/mustardandpancakes for the recommendation)

In Pursuit of Elegance - Guy Kawasaki

The Backstage Handbook - Paul Carter, illustrated by George Chiang

Verbal Judo - George Thompson and Jerry Jenkins

Be Our Guest - Ted Kinni and The Disney Institute

Start With Why - Simon Sinek

Lots of common themes even on such a short list. What would you add to the list? What would you take away?

u/IceManYurt · 2 pointsr/AutoCAD

Speaking as someone with a MFA in Theatrical Design and Technology and who has worked in film and television the last few years, I never ran across a widely accepted standard.

I setup my layers up in a very straight forward fashion:

0-ghost, 0-very light, 0-light, 0-med...0-very heavy
1-line type (hidden, phantom, etc)
2-Dims, 2-Notes, 2-Notes Red, etc

I'm not sitting at my computer so I can't recall all my layers, but I feel like I approached them as I approached linework as a hand draftsman... And I feel like I change how I do it every year.

For my layouts

Page 1 is Plan and what elevations for (in 1/4" and 3/4" for more complicated objects)
Page 2 to as needed is continuation of elevations
Then I go into details (full or half scale) and renderings as needed

Some excellence books

Drafting for the Theatre

Designer Drafting and Visualizing for the Entertainment World, Second Edition

The Backstage Handbook: An Illustrated Almanac of Technical Information

Architectural Graphic Standards. Third Edition - for theater, don't bother with a brand new edition, I have 3rd (all the drawings are by hand and are shit yourself gorgeous) and seventh? (I would have to check my library). The current edition is needed for current building code, but that typically doesn't pertain to what I do.

u/secamTO · 2 pointsr/Filmmakers

To get the fullest overview, I'd suggest three things. Two of them are books.

The Grip Book ( is pretty tight. You can read through it completely, or flip through it focusing on subjects particularly relevant to the upcoming short (grip stands, sandbagging, important knots).

The second book is The Backstage Handbook ( It's geared more towards theatrical rigging and staging, but will give you a wider range of knots and hitches to learn, as well as introducing you to rigging concepts (which can always help on set if you have a weird shot to attain and need to figure out how to rig it on the fly).

Lastly, I'd suggest you do what I did when I started out -- call up a few rental shops that deal with grip equipment and see if you can drop by and familiarize yourself with some of the equipment. If the shop is small, a round of coffees and donuts (nothing too expensive) might help grease the wheels to an equipment demo from someone. Hell, even if they give you a dark corner to fumble around with some grip stands and flags, you'll be more comfortable on set when you'll have to be gripping in front of a waiting crew.

u/Loki77515 · 2 pointsr/VoiceActing

If you really think you want to be a voice actor, then I would recommend you either read this:

Or this:

These both do a good job of explaining what it really means to be a voice actor (turning yourself into a small business).

Taking regular acting lessons is probably your best bet. There isn't really a "voice acting school" that you can go to besides something like Voice Coaches (who are actually pretty good and have a bunch of online courses for you and help you make a demo [a demo being recordings of you reading things so clients can hear what you sound like]).

Also, you need to learn how to "read conversationally," which basically means being able to read in such a way that you don't sound like you're reading off a script. I would actually say that simply being able to read conversationally is more important than being able to act, since a majority of voice work is not for movies or animated features, its for things like commercials, instructional videos, automated messages, etc.

u/Yokuo · 2 pointsr/Random_Acts_Of_Amazon

You should get a copy, then! It sounds pretty helpful. Also, that's a really cool goal.

I also have this book and I've read a fair amount of it. I think it might be helpful for you also!

u/Kalgaar · 2 pointsr/comedy

I've heard good things about the UCB's Comedy Improvisation Manual.

u/MajickmanW · 2 pointsr/funny

If you live near a larger city there's probably some sort of improv happening near you. Otherwise there's a great book for beginners put out by the upright citizens brigade theater you can getright here it's great for beginners and you can learn and find some like minded friends to practice with you.

If you want to get really into it, but don't want to move to one of the three big cities (LA, NYC, Chicago) you can find coaches to meet with you via Skype or Google hangouts. It's not a totally perfect system, but it's really helped me get some great instruction fairly cheaply.

Hopefully though you can find some sort of training center near you and take some classes.

Have fun!

u/heyihavethisidea · 2 pointsr/youtubers

Hey Daniel!

Your video has some really great moments, and you seem like a really genuine and nice guy. Here are a few things I think you should think about:

  • Cheesy tone - There are a few things that give this video a cheesy/childish vibe. First, you seem kind of fake and exaggerated, from the first "What's going on guys?" You also use quirky music in the background, which reinforces the cheese.

    There's nothing inherently wrong with cheese, and a lot of big YouTubers use it heavily, but I think you might want to try and experiment with the voice and tone you establish, and swap the cheese for something more genuine. There's no formal rule of YouTube that says you have to aggressively go "HEY GUYS!" at the top of every video. I think this would help your jokes land better too. The juxtaposition of someone seeming to be genuine/helpful, and then breaking out giant impractical props would land better. It's a better misdirection.

    I really like the premise of the video, but I think if you used the thumbnail, title, and first 15-30 seconds of the video to establish a more serious/genuine tone, the reveal 30 seconds in that this whole thing is a comedic skit would have a lot better payoff. Here's a video from Gus Johnson where he does a decent job of establishing a 'base reality' of a helpful how-to, and then it devolves into ridiculousness.

    You don't have to play as much of a character as you do. That's probably why the bloopers feel so genuinely funny, because you're not putting on a show, that's just you.

  • Comedic heightening - You heighten decently in the video, with the giant jug of water, and with eating the chips, and with the tissues, but I think you would see more success if you heightened more. I think if you did some more riffing with each of the props, and really gave yourself some time to get weird with each one, you would have more options to cut to. This is what iDubbz does in his series 'bad unboxing' where he opens fan mail.

    There are tons of ways you could heighten more in this video, but I think an interesting way for this particular video would be to actually get some footage of you using these ridiculous props in class. If you cut from 'make sure you bring water' and you whipping out that giant ass jug, to then a shot of you doing the same thing in an actual classroom, and attempting to drink from it as people stare at you, I would lose my mind. Same thing with the chips, and the tissues, and the horse, and everything else.

    After looking at your channel, it seems like you're interested in doing comedy YouTube as a career, so I would strongly recommend taking improv classes to learn the fundamentals of improvised and sketch comedy. At the very least, order the UCB Improv Manual from Amazon, and read the first few chapters on base reality, game, and heightening.

    Basically they argue that scenic comedy has three parts:

    Establishing a normal base reality > Introducing a weird thing that sticks out from that reality > Heightening that weird thing to the point of absurdity.

  • Background - The sheet is nice, but why are we looking at it? It feels a lot more normal if you just let the audience see your apartment/space. This would also help you establish that base reality of 'nice guy giving back to school tips.'

    Overall I think your video is leagues better than a lot of the other ones I see on this subreddit. Your channel looks like you've been working really hard to improve, and that's key. I think if you keep at it and experiment with tone a bit, you'll see some really great results. I subbed, and I'm really interested in what you make in the future!
u/LongElm · 2 pointsr/ZenHabits

The Upright Citizens Brigade troop produced a bunch of great improvisers. Amy Pohler being one of them. They're also one of two accredited improv schools in the US. They wrote a book I found really useful to spice up my life. Hope it helps :)

u/LouisIV · 2 pointsr/Theatre

If you're taking the improv route, you may want to try The Second City Almanac of Improvisation or the Upright Citizens Brigade Comedy Improvisation Manual. Both really great improv 'guides'.

If your friend hasn't read Truth in Comedy, that's a serious must for any comedic performer.

u/mikefraietta · 2 pointsr/hamiltonmusical

What's helped me is Hamilton the Podcast and LMM's book Hamilton the Revolution (which I now am seeing that I paid a lot more for at my local bookstore than it is on Amazon. Trying here!)

u/ME24601 · 2 pointsr/Broadway

I'm going to recommend picking up the Hamiltome, which provides anotated versions of the lyrics, which manage to be informative (Pointing out historical inacuracies and the dramaturgical reasons why LMM chose to make that change) or just fun little gags ('When you're gone, I'll go mad"^1 1)He did.) about the lyrics.

u/EpicDerp37272 · 2 pointsr/hamiltonmusical
u/LegHumper · 2 pointsr/UniversityofReddit

Find books that teach the International Phonetic Alphabet, or IPA for short. It's what we used in Voice class when I was becoming an Acting major. It helps you learn what "replacements" for sounds you use in every day life, and you can then figure out what the "replacement" would be for a Neutral American accent.

This is the book we used. Regardless if it's for being on stage or in real life, it's all the same. Hope this helps!

u/dissonant_worlds · 2 pointsr/NoStupidQuestions

Try this book:--


The book is a bit more geared towards formal American English than formal British English, but it should assist you a great deal in your situation.

u/nip90 · 2 pointsr/seduction

Ok, but I'm wary of you. Your post is very academic, in every sense of the word. I expect field reports from you in return for what I'm about to give you.

A great book on improv was written by a legendary man named Del Close. He's not famous, but his students are very, very well known.

The book is Truth in Comedy.

It will teach you quite a lot about improv, but also about humor in general. It's short, practical, and accessible - but it will make more sense when you've actually tried to do it. Let me know what you think when you've read it.

u/Bullion2 · 2 pointsr/samharris

"Only in the pan-handle can you get away with that"


Everyone laughs.


"The truth is funny. Honest discovery, observation, and reaction is better than contrived invention."
- Del Close & Charna Halpern, from their book Truth in Comedy

u/Laughterkey · 2 pointsr/StandUpComedy

Just a comedy nerd dabbling in writing here - but I'm also a bookseller and my two mainstays on this front are Truth in Comedy and And Here's the Kicker. Both are well-known, but sometimes missed. Also, in terms of general writing habits, Bird by Bird is phenomenal.

u/IVXX_XXIV_VII · 2 pointsr/AskReddit

Unless you are drop-dead gorgeous / handsome you had best come to terms with improv.

Every audition has an element of improv, and in most callback situations the director will spring something that you have to be ready to run with.

Try reading Truth in Comedy and try a beginning improv class.

You have to know the rules. Then you can break them.

u/ian__ · 2 pointsr/Filmmakers

It's really got nothing to do with the camera you're using. It's about lighting.

Light the scene to your and then add one or two flicker gags -- essentially, have someone dim the light up and down to simulate the flicker of a candle (it can be your key or an additional light or whatever, but use your eye to find what's most effective).

For bigger budgets there are plenty of "flicker boxes" that you can plug the lights into that will automatically do the dimming, but I've seen it done the simple hand dimmer way hundreds of times.

This book is your best friend:

u/genericname12345 · 2 pointsr/Filmmakers

Set lighting technicians handbook

Excellent book that is good starting out, and at an advanced level.

u/etskinner · 2 pointsr/lightingdesign

You might mean 'cube tap' instead of 'cub tap'. It's a small cube-like plug that allows you to make 1 Edison receptacle into 3.

I'd recommend picking up a copy of Set Lighting Technician's Handbook…), best $40 you can spend for this sort of info.

u/AndAnotherPR · 2 pointsr/WTF
u/dazzlindan · 2 pointsr/videography

If you like reading, this book is a great resource. It covers lots of big lights (and how to use / troubleshoot them,) the calculations most commonly needed for power draw and genny balancing, different kinds of electric setups and all the special connectors like bates and camlok, etc. It's (IMO) one of the most valuable resources in the industry by far:

u/Davoke · 2 pointsr/IATSE

Set Lighting Technician's Handbook: Film Lighting Equipment, Practice, and Electrical Distribution

u/djpk19 · 2 pointsr/techtheatre

This book is primarily for Film Lighting, but it is a great resource. It is THE film lighting book, including Dimmers, LEDs, moving lights, everything. It should be in every electricians inventory, theater or film.
Harry Box's Set Lighting Handbook

u/pimpedoutjedi · 2 pointsr/cinematography

crescent wrench,
phase tape (colored electrical tape),
copy of this,
a few 1" spring clips,
utility knife,
sash cord,
trick line,
alcohol wipes,
6 cube taps,
screw gun

u/FireFingers1992 · 2 pointsr/techtheatre

Hi there,

I work as a Sound No. 1 (essentially British equivalent of an A1).

Build up all the skills you can. Volunteer for theatre stuff, but also try and run sound for friend's bands, it is all good experience in training your ears.

I went to university and studied Music Technology, but certainly not the only path. Getting in at the bottom at a theatre and working up still works. In the UK several drama schools do sound specfic degrees like Central and Rose Bruford so I assume similar courses must exist in the states (or if finances allow you could come and study over here).

There are tons of great books to read. This one is particularly good.

Finally, see a lot of theatre. And really listen to it. Talk to the A1 on it if you can, get their email etc, and ask every question about the how and why they operated the show the way they did.

Another bit of advice, pretty much no one starts as an A1. You start as an A2, running radio mics, fitting them to cast etc. Get good at the shit as that part of industry is easier to break into. Loads of good advice on mic stuff on the Masque Sound blog

Final bit of advice, don't worry if you suck at first, or don't really know what you are doing. Keep trying and making mistakes but learning from them and you'll become better and better at it all.

Feel free to shoot me any question on here.

See you on Broadway in ten years!

u/Hertz_so_good · 2 pointsr/techtheatre

This page has some interesting reading for theatre soecific audio. Also check out Mixing a musical.

u/UKYPayne · 2 pointsr/livesound

See if you can get your hands on "Mixing a Musical" the book.

It's a bit overkill for some of your stuff, but it is all there.

u/kmccoy · 2 pointsr/livesound

"Mixing" is routinely used in the theatrical world for what the person operating the sound board does. Shannon Slaton used it in the title of his book about it.

u/_apunyhuman_ · 2 pointsr/Theatre

Here's my two cents:

If I had one book, it would be
A Dictionary of Theatre Anthropology: The Secret Art of the Performer

This book is a great jumping off point for whatever you want to study. It codifies and connects different types of styles, e.g. it takes a topic like "balance" and says this is an example from mime, from balinese dance, from noh, etc.

In addition to Brecht, I'd recommend picking up Towards a Poor Theater (Grotowski). Grotowski's work is deeply, deeply physical.

Another book, a good primer on the major movements of the last 120 years or so is Twentieth Century Theatre: A Sourcebook, which has a little bit of everyone, in their own words, from Stanislavski and Meyerhold through To Barba. It's not as actor-centric perhaps, but it will give you a good overview, that you can get more specific with.

Lastly, The Practical Handbook for the Actor and The Invisible Actor, two books that help me immensely with how i approach a role.

u/BrotherPoole · 2 pointsr/acting

Doing a monologue for an agent, reading commercial copy, or even addressing an audience. The trick of it is that when you're talking to that lamp, you're still talking to a person. They couldn't make it, but you're talking to them any way. There's a couple ways to do this, but I'll detail one that works pretty well for me, with a TL;DR at the end.

There's a technique called "practical aesthetics" that I haven't seen mentioned on here more than three times, but it's invaluable for auditions and relatively simple to study, especially with what you've described. It's a four-part system, and you should definitely check out A Practical Handbook for the Actor. What you'll mainly want to think about is the as-if bit, used in other methods as well. The things that come before it are important, and I can go through that too, if you like, but here's a go at the essential action and as-if:

When you have your objective, translate that into terms of the essential action of the scene. What is the main thing that you are doing in order to get what you want? Let's say you have a monologue directed toward your boss. The text says that you're asking your boss for a raise, so your objective, conveniently is "I want Larry to give me a raise." Well, how would you do that? "Make them feel like a million bucks," to show them your value? "To get what's owed me," because you've worked hard for your money and it should already be yours? That could be very dynamic. So there it is, your essential action for the scene.

Next, your as-if. You've gotta use yourself now. "Who's someone that I might feel owes me something?" Let's say you've worked your whole life trying to get love from your dad, but he's never really given you the time of day. You really feel like some love is due after all these years. Would it be kind of fun to vent all of that frustration and hurt and rage and sadness all at once to get your dad to finally admit that he loves you? Good, because this is the part where I need to set some rules. First, it has to be fun. If you're gonna have a problem recovering from an as-if, use a different one. There are other techniques that have no problem with this, but this isn't one of them. Second, it can't be a conversation that's happened. It's gotta be spontaneous. Third, it can't be a significant other. I'm really not sure why, but I have never seen this work. Fourth, it can't be about acting. You'll get self conscious. Okay. Ground Rules set, moving on. You can now phrase how you're going to talk to this character. "It's as-if I'm confronting my dad about his lack of affection for me."

Now you've gotta practice. You've by now got your monologue memorized (rote if you can), so how about we start by sitting in a chair across from that lamp you mentioned. A nice lamp, truly. Close your eyes, and picture your dad in your head. The wrinkles that have developed on his forehead from years of stressful work, the grey around his temples, his eyes, his nose, or his ears you share. Maybe think about what he sounds like, the expressions he makes, what he does. Work up the courage. State your essential action to yourself ("To get what's owed me"), open your eyes, and start talking to him. "Dad... I... well. What the fuck, for starters? Are you ever gonna tell me you love me? You sure told Val. It took me long enough to figure out that you weren't just rubbing it in when you told her. And I get that she's your little girl and you don't think that boys need that sort of thing, but god damn. What do I have to do?" You'll notice that he, like the lamp, is not answering. Maybe try a different approach? "I'm sorry. I love you, dad, and I know you love me. You've proven it every way you've known how. You worked your ass off, you put a roof over our heads, you helped me buy my first car may it rest in peace, but I really need to hear it." Do this for maybe a minute, drop it, and launch into your monologue.

This might seem a little far fetched, but to lookers on, what you've just done is created a complex and nuanced relationship with your boss in the scene. What is your boss to you? Christ, he's a Titan. He gave you a chance when you didn't deserve it, he's a mentor, he's someone you look up to, it's almost a father-son relationship even though he's younger than you. And right now, you need that raise, but oh my gosh it's not just about the raise, it's about your self worth. You've created years of history with this person simply by relating it to your own life. It's quick, it's fun, and it can deliver some really great results, especially when you need to get something from a lamp.

TL;DR: When you speak your monologue, do so as if you're speaking to someone you know.

u/J_Sto · 2 pointsr/TwoXChromosomes

Practical Handbook for the Actor might interest. (It's way better if you can audit and see how it works in person. Takes about ten minutes to show what the booklet explains. But I know that's not possible for most people.) This technique was developed from Stanislavsky/Meisner by David Mamet and William H. Macy (Atlantic Acting) and it's straightforward. This is where I studied. Related Wikipedia article.

u/TuckerD · 2 pointsr/lightingdesign

Books I recommend / see commonly recommended.

    • -
      Show Networks and Control Systems

      This is a great book all about how modern lighting networks work using sACN and other protocols. John Huntington is a great speaker if you ever get a chance to see him speak. He should be doing a session or two as USITT this year. He is also a professor at CUNY and has a great program there.
    • *
      Electricity for the Entertainment Electrician & Technician

      Another great book by another great speaker. I got to see a panel with Richard Cadena a few years ago at USITT. I was very impressed with how he spoke about stage lighting and some of the practical experiments that he has done and shared with us. I haven't read this book, but I've heard great things about it. A big topic of conversation at that panel was inrush current, and he gave some really great and easy to understand answers. I suspect that his book is more of the same.
    • -
      Designing with Light

      A classic. Very very well respected book. It will probably be the text book for your first lighting class in college, if you choose to study lighting in college.
    • -
      A Practical Guide to Stage Lighting

      I see this book recommended most often. It's another great book. The title holds true, it is a very practical guide to stage lighting. How to do paperwork. How to write a contract. How to talk to people. Some nuggets of lighting knowledge. I didn't really get as much out of it though, as I am not trying to become a professional lighting designer.
u/bigspl1092 · 2 pointsr/lightingdesign

also this is a very good book. without electricity none of this works.

u/LumbermanSVO · 2 pointsr/VIDEOENGINEERING

A seriously good book, and an area a lot of techs seem to overlook. After that, what u/deviantpixel said about reading manuals is spot on. I have my job today because I blew my boss a away by actually reading manuals when I first worked with him. It turns out, they have a LOT of great info.

u/fiatluxs4 · 2 pointsr/lightingdesign

It all depends on what kind of design you want to get into? Concert/music design is totally different than theatrical, even within theatre musicals and plays often have different design principals.
I'd check out Steve Shelly's book
as well as this one.

My biggest suggestion for someone who's just getting started is to not buy any equipment. Equipment is mostly cheap to rent, a PAR can is $3 or $4 a unit, and it's someone else's problem to fix it and buy lamps for it. You're not going to be able to afford quality gear, so you'll end up with cheap Chinese crap that's just going to disappoint you. The other thing to remember is that intelligent lighting is relatively new to lighting, lots of fantastic shows were lit without anything fancy. It's far better to master your color and angle work then get in to using movers than it is to just start throwing strobes everywhere and pray that it works. Learning to make choices and which choices are stronger than others will get you a lot further in life than being able to spit out flash and trash like everyone else can.

u/Subvertify · 2 pointsr/Magic

Having a general knowledge of magic techniques is always useful. The techniques and theory you learn that largely apply to other branches(mentalism, coin magic, stage illusions, parlor shows) are almost always applicable to the others in some form or another.

Developing the skill in misdirection and timing necessary to make coin magic really have an impact will set you up to be a better, more competent magician overall. You'll quickly see how those lessons will shape and improve the magic you currently perform.

The coin magic I do is simple, as I think the best magic you can do is simple. I wouldn't advise doing extremely flashy coin magic with constant vanishes and reappearances, myself. I don't think it lends itself to anything other than a display of skill. Coin magic is difficult to make magical as it's either in the right hand, or the left hand; so it takes some effort to do something simple and make it hit hard. Ben Earl has just posted a short essay on his instagram concerning this very thing that I found encouraging.

What I'd recommend doing is learning a few vanishes and trying to master them. French drop, finger palm, classic palm, even a thumb palm. Executed well, those vanishes can look incredible. They don't look like a move, just the simple moving a coin from hand to hand.

Works I'd also recommend looking into:

Ben Earl's Real Coin Magic. Simple and effective, and he offers a lot of little tips and tricks to make them so.

A Firm Background in Remembering from The JAMM #2

Fading Coin from Tomoyuki Takahashi(in the book Japan Ingenious or Genii Magazine, May, 2000)

Change from The JAMM #12

Hypnotic Coin Bend from John Wilson

Slydini has some amazing work

Even Bobo's and some practice can be incredible

I hope it's enough to get you started, and I hope you can develop a love for the simplicity and beauty than can be found in coin magic.

u/andcal · 2 pointsr/Learnmusic

It definitely includes the circle of fifths, but I'm talking about something more specific:

u/Dapado · 2 pointsr/Guitar

If your app doesn't already do this, try out a chord wheel. You spin it to whatever key you want to play in, and it tells you which chords are in that key.

u/LostTheOriginal · 2 pointsr/WeAreTheMusicMakers

I use the chord wheel book to teach my students.

u/Ale2486 · 2 pointsr/piano

Thank you so much!

I have been looking into these YouTube tutorials but didn’t really have one that sticked. I’ll definitely check her out! Also, a book is more than appreciated. Again, thanks!

EDIT: Just to be sure, you meant this one, right?

u/McCarthyRazel · 2 pointsr/piano

Seeing the circle of 5ths in color reminds me a lot of The Chord Wheel by Jim Fleser

u/gte910h · 2 pointsr/rpg

DM: You will find out what your DM is doing and why.

Improv: Go See it, Learn how to do it. is a good source

Stats: pick up a tiny bit of stats and probability: you will understand what bonuses and numbers mean for you, and you'll make decisions faster on that tack

Attention: Pack up your mobile devices. Don't use tools on phones and such to game: The other people at the table don't know what else you're doing necessarily.

Pre-plan: Plan a lot of if-this-then-that scenarios for how your character would react to X or Y or Z happening. Then they can do it quickly. Also plan a few routes your character can progress before you actually have to level. Then on progression time, you take no time at all.

Time-consciousness: Work towards brevity in all parts of being at the table. Take your turn, get in, and get out.

u/Tangurena · 2 pointsr/AskMen

I personally love board games. Our local redditors get together every Wednesday for gaming. Usually my boss creates fucking crises that prevents me from going out most weeks. A good boardgame is one where you can lose and still have fun losing. Chess is not "a good boardgame". Magic the Gathering is a fun card game, but stuff like blackjack or poker makes me think so hard that my head overheats and burns off hair.

/r/Denver/ and in particular, posts by /u/rDenverPosts.

As for improv, I find that it helps to train me to be a more outgoing person. In particular, I strongly recommend the book Impro. While the book is aimed at helping actors, and improvisational work, if you've ever come across any sort of silly interview question such as "fizz buzz", if you read Impro, you'd recognize fizzbuzz as a improv exercise.

I am a programmer, and that has been my income for more than 20 years. Introverted? You can change that. I ran for elected office a few years ago and will run again in 2016. All programmers are weird. If you check my post history, you'll see odd interests, and if I checked your post history, I bet I would think some of your interests to be odd as well.

Avoid becoming sedentary. If surfing and Tae Kwan Do is what it takes to make you active, then for fucks sake, do them. I live 2 miles from my office and walk to work as much as I can. That little bit of exercise was enough to lose 35# since September. I'm still fat, but the blubber is on its way out.

Avoid becoming stagnant. I'm working on my 3rd bachelors degree. This one is in accounting and includes courses for becoming an actuary. Our workgroup/office makes software for accountants and actuaries. In addition, many of the programmers older than myself have found that they hit a brick wall (career-wise) around 54-55 years old. Many of the ones who hit the wall treated education as a vaccine - once you had it, you never had to have it again. So one of my "hobbies" is to always be learning. Do you remember that scene in Glengarry Glen Ross? Always be closing? That is what your career plan should be - always be learning.

My next hobbies will be:
home brewing beer.
home distilling moonshine/liquor.
making kimchi.

Future hobbies might include:
learning some manicure/pedicure skills at the local beauty school.
relearning massage.

u/ConnorHuntED · 2 pointsr/IWantToLearn

Seems like this could help you.

In Dutch: Accepted American Pronunciation - A Practical Guide is een geweldig boek als je het normale Amerikaanse accent wil leren. Als je je dat eenmaal aangeleerd hebt is de stap naar het Southern US accent denk ik makkelijker.

u/RPGRhetor · 2 pointsr/AskGameMasters

I'll second the folks encouraging emphasis on tone and add in word choice - remembering that this character only uses one-syllable words or this character overuses (or misuses) 50-cent words goes a long way towards making them memorable to the PCs.

I have a book from my Speech & Debate days on Accents called Accents - A Manual for Actors that I've found super helpful when I want to make use of an accent: it's got pronunciation guides and a CD to help.

u/MacintoshEddie · 1 pointr/videography

Perhaps take a look at the Set Lighting Technicians Handbook.

Might be more technical than you want.

Pretty much what you're looking for is China Ball. Soft light on a stick, works pretty good for most stuff.

u/mattgindago · 1 pointr/Cameras

TL;DR: A 70D package with everything you need is about $1350 on amazon. Skip the Point and shoot, don't worry about 4K yet, and lighting is important.

This Canon 70D package is about $150 out of your price range, but you have pretty much everything you would need: Camera, Lens, 32GB Class 10 SD Card, and a Rode Mic.

I would skip the point and shoot all together to be honest: your Cellphone already fulfills whatever you would want out of a point and shoot, as well as the GoPro.

The 70D features an articulating screen, 1080p Automatic and manual video exposure, Kelvin scale white balancing, and so on. Knowing how to use these features, such as manual exposure and white balancing are extremely important to the film making process, and a firm grasp of these elements will only make your videos better and more professional. For further reading on exposure, read this, or for Kelvin scale White balancing, read this.

As a plus, the 70D is the go to camera for cinematographers to preview lighting on set while they wait for the Cinema Camera to be built. (Movies use cameras that require accessories mounted on the camera in order to work, such as external monitors, External recorders, wireless video, etc.)

The lens bundled with the kit is honestly shite, but you can still get great picture out of it, and of course going with a canon DSLR means that you can save up for higher quality glass further down the line, and future proof yourself when you want to upgrade the body. Plus, Canon mount is an Film industry standard lens mount along with PL, B4, and C, but you can't really get a sub 5k camera with any of those mounts.

Now, the main drawback of this package compared to others in the $1-4k price range is the video resolution: 1920x1080p, or HD. Most cameras in this price range are moving towards 4K platforms (around 4 times 1080p). Consider, however, that most people watching youtube videos usually are looking at 720p Laptop monitors with shitty bit rates due to youtube compression. 4K is still a few years from being a household standard resolution, as most UHD 4K displays are extremely expensive. The big two 4k prosumer cameras right now are the A7s II, and the GH4, and they aren't all that great yet: the A7s, while being used in hollywood for interviews and as a B-Camera, is only really good at interviews and low light. The GH4, on the other hand uses a Micro 4/3rds sensor, which is much too small for most professional use, though it occasionally pops up on ultra low budget jobs. In a few years, Canon might develop a body that does 4K well: The 5D MK IV has 4k video, for example, but the way in which the camera does it creates all sorts of problems that ultimately make video shooting with it unusable. Further down the line, of course, you can upgrade to an A7s or GH4 and adapt them to a canon mount.

Another thing you should consider after buying your camera is saving up for some lighting. This is the most important part of shooting, before the camera and the lens. For now, some house hold lamps can work, but in the future, you should consider getting some video lights. I started with Home Depot Clamp lights, but eventually went to cheap LED fixtures, and now Tungsten Fresnels, HMIs, and Fluorescent sources. Lighting can be tough to grasp, but if you read The Set Lighting Technician's Handbook by Harry Box, then you will quickly have enough knowledge to become a hollywood electrician.

Good luck, and I hope your Knee gets better!

Edits: sentence structure.
Source: Camera Technician, and Gaffer

u/LocalAmazonBot · 1 pointr/Filmmakers

Here are some links for the product in the above comment for different countries:

Amazon Smile Link:

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To help add charity links, please have a look at this thread.

This bot is currently in testing so let me know what you think by voting (or commenting). The thread for feature requests can be found here.

u/rbc41 · 1 pointr/berlin

On set communication: Good point. I was thinking about that and wondering if there's perhaps a glossary of terms used on german sets, something like the glossary in the Set Lighting Technician's Handbook by Harry Box. I'd love to get a heads up on what a half double net/scrim is called in Berlin...

u/cws837 · 1 pointr/cinematography

That's a link to the Set Lighting Technician's handbook. It's fantastic.

u/Projectrage · 1 pointr/Portland

Save your money.

Grab the grip and lighting book from Harry Box (yes it’s a terrible name). It’s the book we use on film sets, it’s an easy read and has some awful jokes in it too.

Watch every film you can, and the commentaries.

Watch thing in theaters, Hollywood theater, watch rare things at movie madness.

Get a subscription to American Cinematographers magazine. (Read old articles.)

Buy a camera. 6k blackmagic or canon 5D miv. Have an iPhone (works easily, and easy to edit on.)

Have fun. Be curious. Be a happy puppy, and treat everyone fairly. Punch up, never punch down.

If you want a job in the film business, know that you want to do it for free...for love, if you do it only for will fail.

u/SquishTheWhale · 1 pointr/cinematography

Congrats on working on your first feature. If you haven't already I would suggest buying this It's packed full of brillant advice and information. There's a chapter on knots too!

u/LaunchAllVipers · 1 pointr/cinematography

> 12k's/6k's/4k's/2k's? I'm assuming it's not temperature but brightness?

Correct, or more accurately referring to the wattage of the lamp in the unit (k=1000, so 12000W lamp etc); which results in differing brightness levels depending on the lamp type and optics of the light source - HMIs are generally brighter per watt than tungsten/incandescent bulbs, but reflectors and lenses in the lamp housing can change that.

>1/2 white/full white (boards?)?
> Full/Half grids?

These are diffusion filters, I think (we use the term grid here, but not 1/2 white or full white, we just say 216 which is the Lee filter number) - basically a piece of (usually) heat-treated plastic that serves to spread out the light source so that it's bigger relative to the subject. Diffusion, thanks to physics, will lower the intensity of the light, so you need to compensate for that when you use it.


u/tonivuc · 1 pointr/cinematography

My favorite lighting-related resources are:

  • The Visual Story. This book is just amazing. It's about how people interpret everything you could possibly put in a frame. Empowering. It's not so much directly about lighting, but lighting is a tool you will use to accomplish what the book describes.

  • Set Lighting Technician's Handbook, every time I read in here I learn something new. I still haven't read it all (It's HUGE) but it's so worth the money. Gives you the techical knowledge to make the best decisions on set, as well pre-production. Needs to be paired with general cinematography-knowledge.

  • Matthew Scott's blog. Great for inspiration and new knowledge.

  • Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know Broad, but nicely covers a lot of the things you can do as a filmmaker to tell the story. I remember thinking everyone in my film school HAD to read this after I finished it. Even though some parts weren't very relevant to me. It's perfect for a director, but you say you are a videographer so I'm sure you will find much use of it as well.

    For basic lighting YouTube is your friend.
u/swoofswoofles · 1 pointr/Filmmakers

Where do you live?

If you want to do it, just try and get a job working as a PA on student films or something shooting in your area. You don't need experience, you don't need a degree, and the hardest part will be getting that first job.

I've seen too many of my friends in the business crippled by student loans that were unnecessary and actually counterproductive to their success. The people the did the best in the industry now actually dropped out of school 2 or 3 years in because they saw school was getting in the way of the work they were getting.

I hope you like reading, because while you're trying to get a job you should read these books.

Five C's of Cinematography

Set Lighting Technicians Handbook

Camera Assistants Handbook

Placing Shadows

Then watch these DVD's - They're expensive, look for them on eBay or used or something.

Have you made a movie before? If not, start churning them out. They don't have to be good, you just have to finish them. Believe it or not it is quantity, not quality, as the first few movies are going to be filled with the most stupid terrible mistakes you'll ever make, mistakes that will totally prevent you from telling a bearable story.

So if you combine all look for a job, you start working as a PA, you read whatever you can get your hands on, especially those books listed, and you start shooting your own movies and applying what you learn from books and work to those films, you'll be in great shape.

u/upislouder · 1 pointr/livesound

You've got the right idea.

Learn DCA/VCA first, that will be biggest improvement.

Then get into scenes after you understand that. Don't do too much in scenes at first, just mutes and VCA assignment.

And read this:

u/thewonderwaffle · 1 pointr/techtheatre

I found this book has a good chapter on mixing scripts.

u/howaboutgofuckyrself · 1 pointr/acting

It's not that you shouldn't do that, but you want to replace it with an action. This doesn't necessarily mean doing something physically, but if I assume correctly that the narration in the video is your inner monologue, there needs to be some kind of response to that. You are listening to the voice, so you are engaged by it. Having your blocking be as simple as sitting and listening is fine, but there needs to be a connection between your thoughts and your blocking, which is sitting in the shower/tub.

To fix this, you need to realize that in this scene you have two characters. There is the character of your Inner Monologue and the character of Your Character (physical you). Your Inner Monologue wants one thing, and You want another (again, an assumption, but I assume this because all scenes are built on conflict - if you both wanted suicide, that would happen and there would be no scene to speak of). What do you want the voice to do? Do you want it to stop? How will you make it stop? This page has a breakdown of what objectives are and how you play them.

If you still continue to sit and listen, that's totally okay! But there shouldn't be a disconnect between the two characters in the scene. There should be a give and take, an action and a reaction, a response. Then the other character plays from this response.

I strongly suggest the acting book The Anatomy of a Choice by Maura Vaughn. This has helped me in many situations as an actor. Also, read lots of David Mamet. Read his plays, read his essays on acting. Another book I find helpful is A Practical Handbook for the Actor (written by students of Mamet) and The Art of Acting by Stella Adler. Reading is an actor's greatest tool other than just getting out there and performing.

Understanding objective is the first step toward becoming a fully invested actor. It will change the way you look at the stage and screen.

edit: added a thought

u/frankieh456 · 1 pointr/acting
  1. Tell your parents

  2. Try it as soon as you can. Audition for some local community theatre or student/short films. If you know people who create, let them know you are interested. There also may be some acting classes in your area. Try one. It may be worth your while to see if there are any acting facebook groups in your area...actors there will be able to get you up to speed on the local scene.

  3. Don't switch your major immediately, but yes, like someone else commented, see if there is an acting club of some sort at your school. It also wouldn't hurt to try to schedule a meeting with some of the theatre department heads to ask what the program is like. Maybe they would let you sit in on a class.

    If you are interested, you should give it a try and see if you enjoy it. Don't waste time thinking about it. We all have to deal with our shyness and uncertainty, especially at the beginning.

    There are also some books worth reading, maybe? Here are some foundational technique books:

    On Acting by Sanford Meisner

    An Actor's Companion by Seth Barish

    And maybe a good biography of an actor. Charles Grodin and Jenna Fischer (Pam from the office) both have informative books on their journey in acting.

    Nothing beats experience though! Find a place to perform, whether it's stand-up, an audition room, an open mic, a short film...and act!

    Good luck!
u/bjk237 · 1 pointr/lightingdesign

Here's a great resource. Available as an e-book and at many libraries as well:

u/ArBair · 1 pointr/IWantToLearn

Okay, couldn't find my box, but I managed to dreg up what I remember as far as books go.

This book is a good start for coin magic and sleight of hand in general. Be warned though, the coins you will need for this might be slightly hard to find (silver dollars, half dollars) but is worth it. For whatever reason people think that the bigger the coin, the harder it is to work magic with it. This is false. The bigger the easier and the better looking.

This book is a good start for card magic. Sometimes it is a bit hard to understand (as all books are) but this is pretty simple and will give you some good pointers.

This book is my all time favorite. More card magic, but more advanced than the previous one.

And lastly this book which gives some good tricks, teaches some good things. Much of it is based on props and stage magic, and much of it isn't. A good read.

And lastly some advice: if possible find someone who knows how and is already practiced. That makes it MUCH easier. And stick with it. Once you learn something you never unlearn it. I have not practiced in near 5 years and I can still pick up a deck of cards and mess with them. Learn a few versatile tricks and learn some flourishes. The tricks can fascinate, and the flourishes look pretty, but only when used together does it really blow people's minds.

u/PianoManJake · 1 pointr/Magic

Been considering buying this for a few weeks. On sale? Absolutely!

u/Garretdepass · 1 pointr/Magic

Royal Road to Card Magic -

And a fresh deck of Bicycle cards (fancy decks are expensive and make people suspicious) -

I'd also recommend Modern Coin Magic -

If a coin book sounds good, get four kennedy half dollars (or similar sized coins if you're not in the states) from the bank, just ask a teller.

Reading books is way better than watching youtube, as most trick tutorials are by people who don't actually have a lot of experience or knowledge. If you read books, you also develop your own style instead of parroting whoever is on the video. Start with those two books, then practice a lot in front of a mirror. Think about presentation too- what will you say? When? Why? (a great resource, if you're interested, is Strong magic - Once you feel fairly confident, perform the trick(s) as often as you can for as many people as you can. At school, at home, on the street, wherever. Stick with it and do it a lot and you'll get the hang of it.

Break a leg!

u/LiamGaughan · 1 pointr/musictheory

Print a good one out and keep it in your eye line where you spend most of your time and focus on one objective at a time. I suggest just above your computer screen :)

Sounds like you should focus on diatonic triads. Once you know the notes of your scales, just learn the order of chord types (maj, min, min, maj, maj, min, dim) or in terms of the circle, either side is major chords, inner circle three is minor chords, and then the dim chord is one even further to the right on the minor circle. You can get some elaborate spin-wheel type circle of fifths that can be handy for this, and they'll outline all the chords:

u/twenty7lies · 1 pointr/asktrp

Go pick up a microkorg or other tiny analog modelling synth. You can start to make your own patches, you can learn a couple triad chords, the vocoder is super fun, etc. You need to know how to play some songs. Don't listen to losers like deadmau5 when he says things like just draw in the chords and wait until it sounds right. He has a youtube ad for his "master class" and I can't stand when he says that he would play it if he know how to play. Learning to play basic triads is easy.

I can only speak from experience when I say these things. I wanted to be a huge electronic music guy. I wanted to be the next Daft Punk or Justice. Now everyone tells me I have my own unique style and I sound like David Bowie. People hated my stuff for years. I'm not super good at any instrument but I'm good enough now at guitar, bass, synth, and vocals.

Sometimes I might not work on music for a month or so. Last year I think I stopped for about 4 months and I was worried that I lost the drive. It came back with a fury. You're always better after a break as well.

You could even start a band. I'm not sure how well you know any instruments or not but it usually doesn't matter. Learn the basic structure for a song. You can do this by learning songs, or just by objectively listening to them. Most pop songs are going to be intro, verse, verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, chorus, chorus. Or something similar.

If you're super new, get this book. Then just pick a key and start playing the chors.

You only hate it if you suck at it. I'm just gonna say it again, get an instrument or two and learn some songs. Just start pumping out tons of songs. Eventually you'll create your own style, it might not be EDM. Then go play them at an open mic or something. That shit is fun. Once you can start playing some gigs you'll thank yourself. Even playing for like 20 hipsters makes you feel like a rockstar, it's awesome.

If you can't sing, start singing to every damn song you hear. You're going to suck for a bit. I'm a bit of a silly guy sometimes so I would always change the words in the song while I sang them. That way it didn't matter that I sucked because it was still funny. Then one day I could sing haha it was pretty cool. Also, karaoke is sooooo fun. It's a great date idea.

You can literally be a super amazing musician and never touch a computer. If electronic music is really your thing, do it the old school way and buy some samplers. Like I said, once you become obsessive, there is no turning back. Music is fucking amazing and it never ends. You will be in your 70s-80s and pumping out songs.


EDIT: I totally forgot. Make videos as well and then make your own music videos. Pump out a song and video every couple months. Do everything yourself. You will stay busy ahaha. I went and bought a couple green screens on amazon and some cheap lights and set up a litter studio in my apartment. Then I just started learning how to use everything and playing around in After Effects. Last week I taught myself how to use Cinema 4D and 3D modelling. Now I'm going to make hilarious cartoon videos in stereoscopic 3D making fun of feminism while I sounds like Bowie when I sing. It's all because I learned how to do everything. I've just started to find that the most enjoyable part for me is the process.

Also bass guitar. That is soo much fun to play. I don't even learn songs I just make up all this weird stuff and I absolutely love every second of it.

u/Cotor · 1 pointr/classicalmusic

Nowhere near perfect pitch, heh, although I am using sites like to help improve interval/scale/note identification.

I analyze using the written music in front of me. If it's an older video game piece, it's almost certainly available online in MIDI format. You can then use a program like Finale to look at the score.

If I'm not sure what a chord is, I can use to help, or check my work.

Thanks for those links btw!

Edit: also, get or something similar if visualizing relationship between chords might help, it's been incredible for me.

u/Bytecry · 1 pointr/edmproduction
u/Mulufuf · 1 pointr/Guitar

I have one of those Chord Wheel booklets which i refer to just about every darn day. About ten bucks at amazon (or your local guitar store).

u/Belerion · 1 pointr/WeAreTheMusicMakers

If you're having trouble finding and choosing chords, look up the circle of fifths. Then get yourself one of these:

Job done.

u/chrislouden · 1 pointr/Guitar

If you want something simple look at cover of this book. You can read to book if you want to know why/how the work together, but if you just need to know what chord choices would be a good next note the cover does it with a simple pinwheel.
Amazon link

u/businesscommaman · 1 pointr/livesound

I think you've got a lot of good points in here, but I'm going to nit-pick at one:

>You can also learn about rigging from taking a look at their nightmare rigging pictures on fb.

I don't think you can glean much useful information from a picture on the internet, especially if you don't have any background knowledge to know that what you're looking at is bad. Jay Glerum's book is a good place to start for fundamental stuff - though nothing is a substitute for real world experience. I feel like looking at pictures of bad rigging makes you a rigger like looking at kittens on the internet makes you veterinarian.

u/nopers · 1 pointr/livesound
u/zdk · 1 pointr/SocialEngineering

Highjacking this comment to recommend Impro by Keith Johnstone as a fantastic resource for using the techniques of improv to improve the quality of a variety of social situations.

u/ashlykos · 1 pointr/booksuggestions

Keith Johnstone's Impro is the classic work on improv. The section on status is great for any kind of dialogue, and the exercises he mentions are excellent for developing spontaneity and creativity.

u/DaftMythic · 1 pointr/needadvice

Ya, I'll echo the "You are 18, calm down" responses, as much as your one response post says you don't like it.

Second, I see you had 5 goals laid out 1) Better social skils, 2) Lucid Dreaming 3) Meditation 4) Positive Thinking 5) Reality Trans-surfing (I googled the book but don't really know what this is, but it seems to have various buzz words I know in theory).

For the 1) "Social Learning" you need to:

  • A) Get out in some sort of social setting that is uncomfortable and just... do stuff, meet people, and talk to them. Some people are naturally better at this, but you will not improve by reading books WITHOUT experience and

  • B) accept you might just have something that makes you inherently socially awkward, at least to most people (in my case, I'm bipolar and so have intense moods that sometimes drive people away... keep at it and eventually you'll find people who fit with you and/or how to work around whatever issues you MAY have).

    So I'm going to group 2-5 and since it seems like (sorta, I'm not sure?) you have some quasi Buddhist interest refer you to this lecture by Wes Cecil on Siddartha: Buddhism, at around 15:15 and 16:00 where he discusses the centrality of the 4 noble truths and the 8 fold path... especially common misconceptions about it ( The whole lecture is good too ) Basically, don't worry so much about all these esoteric things and focus on the 8 fold path... not tantra and dreams and such...

    ... also, keep in mind Siddhartha, and most monks, practice extreme acetic practices and meditation for like 7 years and lived as a wandering nomad, after being trained as a Priest. So like, you need to read a bunch of Philosophy and then meditate for a few years before you give up.

    Which brings me to my second point:

    You ARE right

    School and most pop culture on TV and (I suppose, I grew up before it) Social Media are worthless for your development as a human-being. School is at best a sort of bare basic hurdle you need to get thru. Find something tangible that you have passion about. IF it is really philosophy and lucid dreaming and "Reality Trans-surfing" that's fine, but those seem like more solitary, dare I say borderline occult interests.

    And if you want to get in contact with other people, find something that has a community around it. If it is Buddhism you need a Sangha... The community is one of the three jewels.

    HOWEVER I'D REALLY SUGGEST MORE PEDESTRIAN HOBBIES! (Trust me, I was a Philosophy Major in College, most people don't REALLY care about the deep questions).

    Especially if you want to improve your social skills, get some hobbies that other people can relate to and force you to meet people. The art of talking to people is not hard.

  1. Read Dale Carnegie's - How to Win Friends and Influence People

  2. Try Something like an Improv Class - it is an instant way to meet some new people and learn basic ways to keep conversations going and get outside your comfort zone. You will also get feedback on how you present yourself and techniques for improvement. If you are into reading I HIGHLY suggest the book "Impro" by Keith Johnston. It has some amazing discussion about the nature of status and the "subtle clues" in scenes that you will find helpful in everyday life.

  3. Figure out some club or group you can meet once a week and go DO something. For speaking, Toastmasters is great--AND YOU WILL GET FEEDBACK. For just getting outside, find a Hiking group... maybe there is some sort of Lucid Dream Meetup group near you... whatever. That way you know at least there is a common interest you can start from and branch out.

    Get used to not caring about being "rejected" by people, or being "awkward" when trying to talk to them. That's how you learn. The more you do it the better you will get, and there will always be new people to talk to. Eventually you are bound to find friends.

    Hope that helps.
u/spldsz · 1 pointr/seduction

not yet. but there's something that's been on my reading list for a while now. reviews are good, and a friend that i trust with this sort of thing told me about it.

Impro: Improvisation and the Theatre

i skimmed a bit, and there's a section (abut 1/4) of the book on status play, which seems like it's full of good/interesting stuff. some of it probably relevant for seduction, or just social interaction in general.

also, "yes, and..." seems like a good mindset to be in. especially in a group setting when you're trying to be fun.

u/JasonYoakam · 1 pointr/rpg

I'm going to interpret your question a little bit differently and provide some books that are not directly RPG related but will help you to be a better role-player or Game Master. Then, I will finish off with some more RPG specific suggestions.

The essential reads are the following:

  • All of HP Lovecraft
  • Anything you can read from Tolkien
  • Robert E. Howards stories about Conan the Cimmerian
  • Fantasy/Sci-Fi Art Collections (subjective based upon the styles that inspire you and that reflect your campaigns)
  • Collections of Legend or Mythology
  • A book or two about acting and/or improvisation, I recommend Impro: Improvisation and the Theater

    For GM-specific materials, I really love the spirit conveyed by Dungeon World and Fate Core (and the Fate System Toolkit for that matter). If you learn nothing else from Dungeon World, learn the GM principles and how to set up Fronts. Fronts (or something similar) are the way you should be preparing as a GM that very few other books convey. The Alexandrian has a lot of amazing materials. I know that Play Unsafe was recommended here, but it was a little short and basic for my taste... much of the same principles will be covered by reading the other recommended texts in my post. If you absolutely must learn about improvisation as a skill in and of itself, read Impro. The author of Play Unsafe drew heavily from this text and most of the truly unique ideas can be found within Impro.
u/beren323 · 1 pointr/IWantToLearn

Read Impro: improvisation and the theater.

It will really jumpstart your creativity.

u/jack_payne · 1 pointr/recordthis

Thanks! I've just started to really work on my various accents ( got a sweet book to help ). I'm American, so I feel like I'm fighting an uphill battle with the ridiculous amounts of different English/Commonwealth accents.

u/thylacine222 · 1 pointr/languagelearning

You may want to look into some dialect books directed towards actors, they can give you some definite direction.

I believe that this one is a commonly used one:

u/Keltin · 1 pointr/DnD

I am not an auditory learner, so I have a huge amount of difficulty with accents. I primarily differentiate my NPCs by their word choices, not by accents, though I can pull off a Texas accent pretty well. However, this book has helped me some, better than nothing at least. I'm working on a couple of accents and am hoping to eventually expand my repertoire, but at the moment all I can do particularly well is my own American accent (don't ask me for the region, I moved around enough as a kid that it's a mutt accent with elements of the places I've lived and my parents' accents), a Texan accent, a semi-passable "Southern belle" accent, and a decent Welsh accent.

Though the Welsh I mostly learned from watching scenes in Torchwood repeatedly and repeating all of Merrill's lines from Dragon Age 2.

I'm working on a Manchester accent and attempting to learn whatever Tali from Mass Effect's accent is.

u/cabose12 · 1 pointr/lightingdesign

To add to everything here, talk with your director. This seems really obvious but ideally there aren't surprises during tech.

Its also a great way to get your ideas out there; the director may have a better idea for this, he may have never thought about that idea and needs to think about it. Does the director want a realistic courtroom? Or does he want an idea of a courtroom? Is there a scenic designer? What do they think about your idea for this scene?

It always depends on the show. Compared to others i'm approaching it very organically and artsy.

Couple books that are very helpful

Steve Shelley's Guide to stage lighting - Great book that discusses an overall picture

Richard Pilbrow's Stage Lighting Design - A more technical look, been awhile since i've read it but it does include the McCandless plot.

PM if you wanna talk extensively, i'm starting to do this for a living and talking about lighting design is really what wakes me up in the morning

u/drewofdoom · 1 pointr/livesound

A few books to consider:


Quantum: A Guide for the Perplexed. This one is... well... it helped me to understand some things about physics. Not all of it is relevant, and you'll have to draw some conclusions yourself as to how it all applies to audio engineering. At the very least, it's a great introduction to subatomic physics for people who aren't great with math. YMMV, but I found that a basic understanding of what sound waves actually do goes a LONG way. From there you can discern certain things like how ambient temperature and humidity will affect your mix.

The Business of Audio Engineering. Worth the price of admission, despite grammatical errors.

Mixing Engineer's Handbook. Might be worth it. Interviews with established recording engineers. Has some interesting info. Only the first half of the book is really worth reading, though.

Mixing Audio. Relevant information. Could almost act as a textbook.

That will at least get you started. I know that you're looking more for the mixing side of things, and that's great, but trust me on this. You will want to know as much as you can about all facets of theatrical/concert/special event work. THAT'S how you really get gigs.

u/Leko6x9 · 1 pointr/techtheatre
  1. The extra belt can help but I wear mine on my normal belt
  2. Check that you have not put to much weight on the lineset and you have enough counter weight on the line
  3. Spend some time with the fixture so you understand how it moves and the various functions it has. You will also need to work out how to "aim" it in the dark so you are ready for any quick pick up shoots in a blackout.
  4. Gloves are important, radio not so much unless you are on a large call and the crew is using them. A mini maglite and multitool are a must. Comfortable shoes!

    Get a copy of he Backstage handbook by Paul Carter
u/cquinn1 · 1 pointr/Theatre

If she wants to Stage Manage professionally you should look into a light weight headset. I just got one for my birthday and I love it. Mine is from Production Advantage, but other places sell them too. This is what I got:

Another good thing for a theatre technician is The Backstage Handbook:

u/Mikeysota · 1 pointr/AlmostAHero

I have a Blue Spark XLR mic with a Line 6 UX2 interface, and this is what I record at home. When I started out, I had a Behringer C1U USB mic. I got more quality out of the former set up. My current mic has what is called a sound dampener shield, which is what I use instead of having foam panels in a room. Right now, I don't have any problems with my recording quality other than focusing on making sure I don't peak in my audio, which is simply managed by adjusting the gain knobs on my interface. I actually just bought my first pair of studio grade headphones that allow me to plug into my interface and listen to my recording feedback before I record, which helps a little. As for how where I audition for stuff, I mainly look for stuff in the Voice Acting Club, although my friends have shared casting calls for stuff not found a site like that.

So the thing about me is that I haven't done a lot of acting in my childhood, but I was always fascinated with voice acting in the cartoons I watch. It wasn't until I discovered voice acting alliance (RIP) where I can actually audition for projects and become a voice actor, so I didn't have anyone to tell me "you should be a voice actor; you have a great voice." Long story short, I didn't get many projects until I started to take acting classes online, in college, and in Minnetonka, MN. I made new friends that would post resources and auditions they found, and I discovered a little bit of acting range. I also listen to Crispin Freemans Voice Acting Mastery podcast to learn more about becoming a voice actor. I would say that it was 2016 when I finally got successful in getting stuff to do. One thing you need to know about me is that I'm currently not a full-time professional voice actor, and I'm mainly trying to get a software programming job to work on my time management skills and live on my own (I just graduated college by the way). I basically want to see how I can continue doing what I love while having an income, and go from there. My advice is to first study voice acting by listening to the podcast I mentioned earlier, find books on voice acting like this one, and take classes that are offered online. This site right here is something you could look into.
Taking a class will allow you a networking opportunity to meet with awesome people to become friends with. The more people who know in this community, the more you're likely to stumble on even more opportunities.

u/thekingsdaughter · 1 pointr/Entrepreneur

Are you an actor? This is an acting thing... read Voice OVer Voice Acting by Yuri

and maybe post this where the actors live...

u/tylerburnham42 · 1 pointr/improv

If you want to get good find some local classes in your area, then work to join a team.

The UCB improv manual is one recommended book for a game heavy style of improv. It is the textbook for the UCB classes. Truth is Comedy is the textbook for IO which has a more honest style improv.

Go to shows if you have them in your area and watch improv as you learn you will begin to see what people are doing and understand why. This youtube channel is some UCB teams performing; I particularly like the team Fuck that Shit. I also personally love Off Book the Improvised Musical podcast. They are some incredible improvisers. Start with Ep 75 if you want a good one.

Last if you want a more relaxed fun way try finding a role playing game group. This won't make you great at stage improv but you can pick up some of the skills. Most people play D&D which is not a bad place to start in tabletop RPGs especially with 5th edition. If you can find people running more story games you can get somewhere closer to narrative improv minus the audience.

u/Pyroccd · 1 pointr/improv

Also, get people to pool their money and get a copy of the UCB manual! It is the best, and super approachable:

u/Vaklovr · 1 pointr/SketchComedy

Improv can be structured into sketch as seen by UCB here. I know very few book dedicated solely to sketch but some overall comedy guides go into detail about sketch form and its place in comedy overall. Here.

u/JimmyDelicious · 1 pointr/NewTubers

So... I'm gonna be a little critical here.

I don't get this sketch. In improv terms, I don't know what the "game of the scene" is. Your comedic goal seems to be weirdness and then shock value. It's not that it can't work, it's just not for me. For example I feel like this same scene could easily have been accomplished with 2 characters instead of 4 or 5, and it probably would have let you define a relationship between those two characters more easily and play with that relationship.

Anyway, your production quality seems fine to me, you mention some audio concerns, but that to me shouldn't be your focus. I would recommend some improv or comedy writing books, my favourite being Upright Citizens Brigade Comedy Improvisation Manual. It'll teach you some core essentials for finding fun in scenes.

Hope this helps! :)

u/cbnyc0 · 1 pointr/SketchComedy

Just one question: What is the game of the scene?

If you can't answer that, read this...

u/NonsenseSynapse · 1 pointr/Screenwriting

Do you have a background in comedy? Having experience in improv and/or sketch comedy will definitely be helpful. If you're near any major city, there are probably classes that you can take.

In terms of sketch writing, there are two main things you're going to need to understand. First, and arguably the most important, is the idea of Game. It's the fundamental pattern of what makes funny things funny. The inside joke that is crafted between the performers and the audience.

The second thing is just writing believable dialogue and characters you can invest in. You could have an incredible idea for a sketch, but if the dialogue is weak, then it's going to be harder to keep the audience's attention. Since you're on r/screenwriting, you probably have a good sense of this, so we'll focus on the Game.

In terms of resources, there are a number of great books on improv theory (unfortunately not very much about sketch, but at their core, the scene structure is quite similar).

The Upright Citizens Brigade just released a book that I haven't read yet, but seems like it focuses a lot on game, so it might be helpful. Truth in Comedy is another popular book about improv.

Once you understand the basics of how a comedic scene is crafted, I'd say just watch a lot of sketches. Watch SNL, Britanick, Good Neighbors, anything you can find online. Notice what their Game is. How they build and present their characters. It's the same thing with screenwriting. Once you know the pieces of a strong screenplay, you notice when they're done well or poorly in every movie you see. Then, find a style of comedy that is meaningful and funny to you and start writing!

Sorry for the huge post. I hope this was helpful! Best of luck!

u/montemayor8 · 1 pointr/cinematography

Great book on lighting.

Film Lighting: Talks with...

u/siamese_centaur · 1 pointr/lightingwork

The Uva Grip Book is usually a popular reference.

Film Lighting
I have the 1986 version of this, but apparently it has been updated. I have no idea what they have done to update this though.

u/voodooscuba · 1 pointr/Filmmakers

Read this book. It's fantastic!

u/notevenjustodd · 1 pointr/CasualConversation

I'm looking forward to my birthday (May 22nd) just because I'm asking for the Hamiltome as a present, and I'm really excited to get it.

I'm also looking forward to the new seasons of America's Got Talent and Project Runway this summer.

Oh, and I'm really looking forward to the Tony Awards, and hoping that Hamilton wins most of them, since they definitely deserve it! (And I can't wait to see what James Corden is like as the host, too.)

u/catlessplantlady · 1 pointr/Gifts

How about:

u/ShainaEG · 1 pointr/hamiltonmusical

There are annotations for all of the songs on genius.

He also has notes about all of the songs in the book he wrote Hamilton: The Revolution

u/dekiko · 1 pointr/Random_Acts_Of_Amazon


Thanks so much for the contest! m( )m


u/FreshFromRikers · 1 pointr/AskMen

Well, you're going to be meeting a lot of people soon and I can give you a few pointers as how to survive/not be awkward. Most people love nothing more than talking about themselves, so an easy trick is to simply ask them about themselves and listen. This is a shortcut that will immediately make them endeared to you.

It's okay to be quiet, just be smart about it. Do a lot of observing before you talk and make what you say matter. Being funny helps tremendously, and if you pick your spots, you can be the "funny" guy without being the life of the party.

A dry sense of humor approach is best, but any humor will do. There's a great book about humor and being funny that can help a lot. It's written by a genius named Del Close (practically the inventor of long-form improv) called Truth in Comedy ( Check it out. You'll learn a lot.

Also, confidence is attractive. You can have a confident air even if you're not. Season your conversations with statements like "There's always two sides to every story." and "That's a great point. I should research this topic more." Even if you have zero confidence, you can appear confident by acknowledging deficiencies in your knowledge set while swearing to become more intelligent about said topic. It's never a bad thing to acknowledge ignorance, it just makes you come across as honest and curious, which people love.

Make sure that you have established interests when you arrive. Like video games? Research game theory, it's fascinating and it's used in way more places than just the gaming industry. Basically, you can take anything that you're interested in and apply the principles to other parts of life. Now instead of being a "gaming nerd" you're a young and talented interface designer with a keen mind for sociology and anthropology - skills that apply to everything from future gesture-based interfaces to simply coming up with a better doorknob design.

Lastly, don't get hung up on stuff. Be the laid back, contemplative guy. It's okay to be passionate, but realize you don't have to win every argument. Arguments don't really have to end, nor will they, so you're better off making a quippy bon mot about the ridiculousness of an argument than trying to convince people you are right.

That's all I got off the top of my head.

u/HurricaneShane · 1 pointr/Filmmakers

Work on your lighting and sound. Also, read this.That sketch was about three minutes too long.

u/mhoke63 · 1 pointr/CFBOffTopic

False. Humor = Reality. One of the core tenants of joke creating is to tell the truth. There is truth in comedy and nothing is funnier than real life.

One of the core books for teaching and learning improv is book called, Truth in Comedy. It goes through many different lessons, but one of them is don't be ridiculous. Play things honestly as you would any situation.

u/sircrowbar · 1 pointr/rpg

For more information, including a more detailed version of "Saying Yes", I wholeheartedly recommend reading The Truth About Comedy

u/MrActor123 · 1 pointr/offmychest

Maybe this tip can help you. I am an actor (hence the username lol). I have studied a little bit of comedy and I can tell you this. Truthfullness is funny! Use inspiration from your real life as a source of comedy. I know an uprising comedian that is doing the same thing. It can also work in improv comedy. Maybe look into this book:

I admire the fact that you have done stand up comedy. I want to try it one day.

u/Alcoheroic · 1 pointr/improv

You'll make your lives a lot easier if you get a coach ASAP (even if it's just a temporary guest coach).

Player's attempting to direct each other (even for very experienced troupes) can lead to all sorts of drama down the line. I've been a part of teams where each week (or month) we rotated who was leading rehearsals. Some worked out great (the two where we all had at least a decade of performing/teaching experience and went into it with that plan) and others quickly became a dumpster fire.

My best advice while you're waiting for a coach is probably to pick up a book on improv theory or a book on on acting:

Mick Napier's - Improvise: Scene from the inside out, Bill Arnett's - The Complete Improviser, Viola Spolin's - Improvisation for the Theater, or something like Marina Caldarone's - Action: The Actor's Thesaurus are good places to start.

Then read it together outside of rehearsal and discuss the ideas in various chapters when you meet up - maybe try out a few exercises, but be wary of trying to direct each other: that's not your job, your job is to support each other on stage.

Heck, just reading a few acting books and really discussing them will put you guys leaps and bounds ahead of most improvisers.

u/Kalranya · 1 pointr/rpg

Improv is a skill that can be studied, learned, and practiced, and I absolutely 100% promise you that whoever it is you idolize on CritRole has, in fact, studied and learned it, and practices regularly.

The best way is to take a class in it. Anywhere with a theater program should offer improv classes.

If you can't do that, books are a good fallback (and companion to classes), whether that's industry heavyweights or books targeted specifically at gamers. Of course, there's also the usual selection of websites, youtube videos and reddit that you can tap as resources too; google around a bit.

In the meantime, the thing that might help you the fastest is to stop focusing on scripting what the character can say, and instead put your attention to how the character thinks and what they feel. If you know how they're likely to react to situations, you'll find you can use that as a guide to steer your dialogue. There are innumerable methods for developing that; again, look around a bit and try a few out.

Lately I've been liking Fate Aspects as a rough guide for characters, even if I'm not playing Fate. It's a simple structure without a lot of rules to creating them, light and flexible, while still retaining enough meat to give me a general direction to guide my interactions during gameplay.

Take the following character as an example:


  • High Concept: Incisive Scamp Journalist

  • K.G. is sharp-witted and analytical, good at reading people and situations to find story angles. She's also good at causing trouble for anyone who gets in her way, whether that's obstructive cops, corporate bureaucrats, or her editor. (More generally, a High Concept is a quick summary of the character. It's your one-line elevator pitch)

  • Trouble: Not Proud of my Past

  • K.G. was neck-deep in some shady things before she sold her first story, and she's tried to distance herself from that life as much as possible. She's deeply ashamed of some of the things she did and people she associated with, and her history rearing its ugly head is the fastest way to throw her off her game. (Generally, a Trouble is the thing that most often causes drama in the character's life)

  • Anything For the Story

  • The story is all that matters; no price--no matter who pays it--is too high. K.G. doesn't want to hurt people and tries not to, but, well, sometimes it happens. So long as the story gets out, it was worth it.

  • I Know a Guy for That

  • Just because she's not proud of her past doesn't mean K.G. isn't willing to tap it occasionally, and she's built an extensive web of contacts of a more legitimate sort while on the job. If she doesn't know or can't get it, she knows someone who does and can, guaranteed.

  • If the Press Pass Doesn't Get Me In, the Lockpicks Will

  • This loops back around to "anything for the story", but more specifically that she's perfectly willing and able to commit any number of misdemeanors and the occasional felony in pursuit of an angle. It's as much a statement of philosophy as of capability. It makes her dangerous and daring, and that's both good and bad.

    So, with just those five lines, I've got a fairly good snapshot of the character--enough to guide me in most circumstances. She's whip-smart and snappy, good at handling people, well-connected and worldly, a bit of a troublemaker, willing to chatter "aimlessly" to gather info but avoids personal topics. That's not a bad slice of character to start building from.
u/DontTouchSandpaper · 0 pointsr/lightingdesign

I'm not sure what line of work you're in, but from an event work standpoint, and I suppose a film standpoint, more and more manufacturers are moving towards LED-source fixtures. So if you're actually looking to build a distro and are looking towards future use, 120v may be the direction to head it. It's hard, though, to pigeon-hole yourself into 120v or 208v exclusively. You're better off having a variety and having that flexibility. A good reference for understanding these concepts can be found here