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	WPI Technical Theatre Handbook: Platforms
	Platforms Platforms are weight-bearing scenic structures that are used as acting space. Platforms can be used at varying heights, often several feet off of the ground. Platforms can be commercially purchased or built out of lumber. Commercial platforms tend to be bulky, noisy when walked upon, and generally can't be painted, thus the tendency to use wooden platforms. A typical platform is constructed out of two by six inch lumber frame and covered with 3/4 inch plywood. This construction makes platforms sturdy, and often quite heavy if they are large. Legs can be attached to platforms, usually by the use of large screws. Figure 3.2 shows the construction of a typical platform. Frequently, four by four inch material is used for platform legs, due to its strength and available area for attaching to the platform, Legs made of four by four lumber need cross-bracing if they are over three feet tall. This bracing can generally be made out of scrap lumber. Often a stock of legs with standard heights are kept in a theatre's scene shop. Stock of several legs ranging from one to four feet in one foot increments is not at all uncommon, and is what the WPI scene shop stocks. Often times custom heights need to be cut from fresh stock, but generally most work can be done with the supply of standard legs. Special care must be taken when extremely high platforms are used. The platforms must be adequately braced and supported such that there is no chance of a collapse. Railings should be used on high platforms wherever possible to minimize the chances of an actor falling off of one. For platforms over eight feet tall, four by four material for the legs is mandatory. The platform and legs should be attached to the wall and floor of the stage if possible. Some stages have strips of lumber attached to the upstage wall for the specific purpose of tying set pieces in. However, this is not always possible, especially in cases where a cyclorama or other soft good is flown behind the set. In cases like this, using aircraft cable to attach the platforms to the gridiron is a possible solution. The rigging chapter in this book provides more information relative to this topic. Figure 3.2: Construction of a typical platform. 2 inch lumber is used for the frame and 3/4 inch plywood is used for the top surface. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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