OK, I’ve been promising to tell you how things imploded at CC26 for the
F&SF masquerade, especially with regards to our AV tech.
At this point, it’s far enough behind me that I think I can simply lay
out the sequence of events to explain; I’ll try not to make lots of excuses.
This is going to be a long post.
First off — the masquerade database transfer glitch has to be one of my
most embarrassing moments ever as a programmer.
We’d been moving data back and forth from our other web databases
without difficulty for months.
We’ve successfully run a local MS-Access version of the masq. database
(running on a laptop) to organize masquerades for the last 3 years,
getting it ready for Costume-Con. It’s been successfully used for 50
entry/100+ person masquerades. Shelley Monson had taken the latest
version home and optimized it further. The web db was specifically
designed to match the PC version.
We then hit two major glitches onsite. The first was that the import
tools (which we’d been using successfully for other databases) refused
to recognize two of the fields from the web db properly. I did
eventually solve this problem on Saturday, and had started printing from
the new table when I had to go teach a stage workshop. That was one of
the only two items I was teaching at CC26, and one I’d specifically
requested. It also cost me an hour of time.
The second glitch was that Shelley’s laptop decided it didn’t want to
talk to any other machine we owned (or to any of our USB floppies, etc),
so I didn’t have the final optimized version of the script templates,
and had to try to recreate them on the fly. Hence the missing fields.
Not trying the db transfer earlier was a stupid, stupid mistake on my
part. I only explain in so much detail so you’ll understand that I
didn’t have reason to expect problems.
Second… a minor note about staffing in general.
Andy has mentioned the difficulty we had finding judges for the
Historical, this was a general problem.
The Bay Area now has 4 or 5 largish “classic” fan-run conventions
(Further Confusion, PantheaCon, Baycon, DundraCon and Silicon) plus
FanimeCon and others.
Baycon, unfortunately, has never figured out how to gracefully share
resources. They also have an insanely generous entitlement system for
their volunteers (free memberships, room allowances, staff feed) which
makes life difficult for visiting conventions that can’t afford those
entitlements. We were very careful not to poach any of their department
heads, but in October we learned their executive had essentially
forbidden any of their staff to work on Costume-Con.
We worked with Further Confusion and other local groups and seemed to
have covered things fairly well, but this was one of the reasons we were
short-staffed. We also had some volunteers change their mind at the last
minute (like the original consuite crew).
Third… what we had planned for our tech…
We knew we were going to be lean on tech staff, since we no longer have
anything like TechnoFandom in the BayArea.
When Demicon moved back to the first weekend of May, we lost the Iowa
crew, who had planned to help us run our tech. I started looking in
We also had to support two stages.
This is one of the reasons the lighting design for the main stage was so
simple; I also wanted the focus to be on the costumes rather than stage
technical effects. (Ironic, given the complaints about perfomance
trumping costuming at CC26).
The tech crew was one of the few places where we decided to comp
memberships in advance, by way of incentive. As we were coming into the
week before the convention, we had a tech crew of 10 people, plus Smash
(who was also our equipment provider) and DJ Jean. Jean had to work on
Saturday, but was scheduled to run the mix on Friday night and at the
Fashion Show on Sunday. All masquerade entry music was going to be
ripped onto a laptop to make it simple to control at the show. It was
going to be tight, but I’ve seen this same group handle shows like ours
just fine.
Fourth and final: how it all fell apart beginning on Wednesday.
On Wednesday, two things happened.
1) 6 of our tech crew volunteers decided they weren’t going to do it
after all. No particular reason, they just decided to flake on us
2) Smash’s management tried to rescind his vacation for the weekend. He
gave them Thursday, but to keep Friday through Monday he had to agree to
be on call all weekend.
Smash was our equipment supplier, so that delayed our tech move-in by 24
hours. When he got to his warehouse on Thursday night, he discovered the
$50k video switcher that was in the design for the runway stage had been
stolen. That meant he had to redesign the video system for that show on
the spot. That cost us more setup time.
Friday’s AV requirements were fairly simple, so it went well (we now
know, though, that the ballroom is too small for a band with a trap
set). Since DJ Jean was going to be running sound on Sunday, she left
her DJ box on the stage to be moved downstairs later. This proved to be
critical on Saturday.
One major source of our problems was that having the crew cut down to
less than half its size meant we had no one to rip the soundtracks to a
laptop and sort them out, so we were going to have to use the CDs as
provided. There were three CD decks in the AV booth; Jean had two in her
DJ box (that’s 5 total).
During the course of tech rehearsals, one after another of the
contestant CDs refused to play in the main booth decks. They eventually
realized they had two more in Jean’s equipment, and got them to work
there (remember, she was at work on Saturday). They also figured during
the show it would be wiser to have the person who owned that equipment
run it during the show itself. This is why “the sound person wasn’t
present during rehearsals”… she wasn’t supposed to be the sound
person. It also put sound and lights in two different parts of the room,
which (even if they hadn’t been late coming off the press) the scripts
weren’t designed for. It’s also why we ended up with a DJ on the corner
of the stage; it wasn’t part of the original design at all.
Now — a word about the CD problems. 7 of the 9 gross miscues involved
CDs with more than one track, when the rules specifically called for a
CD with a single track. Some of these were albums where the contestants
asked for track X of Y (or in one case, start at 0:55 of track X and
play until 1:47). Others were sets of multiple short tracks (10
six-second tracks, for instance), where they wanted all of them played.
This could have been handled if we had the manpower to rip the tracks
as we’d planned. One of the other miscues was due to the holographic
angel guy storming the tech booth because they’d played track 1 instead
of 14, and they missed cues while they were fending him off. We also
had one of Jean’s two decks jam. By the end of the night we were on the
last of those 5 decks.
Shelley and Eleanor had an extra 24 hours, so they used Ellie’s laptop
to rip the entry tracks and burned one single CD with one track per
entry; I could also warn them to burn it at low speed which dramatically
reduces the risk of misplay in an audio teck.
That’s pretty much it.
I can also tell you that folks in the audience who were not, like those
of us on this list, painfully aware of what was obviously not working
right, really enjoyed the show.
I’m going to hit “send” before I go back and try to second-guess myself
on this post.
Kevin