A friend (shoutout to Ian Peterson) brought my attention to a cool post on Gaffers Salon where one gaffer was asking everyone what qualities they look for when hiring a programmer.  There were some really good answers there, which has inspired me to attempt to describe the qualities and qualifications to be a good programmer.  I’m going to divide the qualities by a simplified “Dimmer Board Op, Intermediate, Advanced” categories.  This is obviously incredibly subjective and could not possibly be complete.   Please don’t view this as a prescription, but hopefully as an inspiration and focussing tool if you need it.

Dimmer Board Op

• Navigate patch quickly and cleanly
• Familiar with CRMX protocols and how to get better performance from transmitters.
• Can set up a simple and small unmanaged network.
• Knows how to make clear paperwork for truck prep so it goes quickly and accurately.  
• Knows how to set any light (or knows to read the manual for new to them lights) to give their gaffer what they want and need.
• Is able to draw out from Gaffers and BB information they need to make good strategy for prep if they are new to the gaffer.
• Already has CCT color palettes ready to go for the most-used lighting fixtures.
• Can read a color meter for making accurate and corrected CCT palettes.
• Knows their board well enough to do most-called-for tasks easily.
• Able to execute simple commands such as “101, let me see 4300 with 25 points of green and give it 25%” in time as it is spoken, ideal pressing Enter or Please when your gaffer puts the period on the sentence.
• Knows what to record and when, taking note of anything and everything so you can recall the look instantly on the day or with a couple minutes up to a year later.
• Has worked hard and/or gotten help to create the worlds most repeated effects (flicker, lightning, cops lights, etc) and is able to apply and adjust them quickly on any given day.
• Can admit when they don’t know how to give a gaffer what they are asking for.
• Ability to either mix color themselves with moderate speed, or use a color picker quickly to give a gaffer/DP what they are looking for.
• Knows how to pan, tilt and zoom a moving light anywhere with moderate speed.
• Knows how to sort and organize show file data to make recalling anything not terribly slow.

Intermediate

• All of the above, but faster where applicable.
• Can setup a simple managed network
• Can make effects on demand, whether they have made them before or not.  Not the fastest, but can get it done.
• Ability to remember fine color details (and other characteristics) of each light int he truck pack.  Example- remembering that the Blue emitter in some fixtures is a deep blue (and therefor works for UV) as opposed to one with a higher nm of blue that wouldn’t work well.
• Familiar with simple show control.  MSC sync between two consoles or sending/receiving Go commands to or from Qlab (or equivalent) and their console.
• Can do a basic pixel map and run simple effects on them.
• Familiar with new fixtures from major brands as they come out.  Can give advice or research quickly if the gaffer needs non-movie industry lights to achieve a look.
• Can give accurate time estimations of how long a complicated task might take.
• Can do simple troubleshooting of DMX and network and wireless protocols.
• Dedicates time between shows to honing their craft- practices on their console regularly.
• Ability to make or edit any profile necessary in patch
• Able to collaborate for solutions across any aspect of the lighting department
• Capable of pre-programming in blind and adjusting it to fine tune fairly fast.
• Networking across platforms- ie Console and media server
• Knowledge of how to “game” profiles to work around exceptionally challenging installs
• OSC command familiarity.
• Good drafter- creating plots and paperwork that don’t require intensive Q and A to implement.
• Working every day knowing you are there to fulfill someone else’s vision without ego.
• Good knowledge of macros and shortcuts.
• Has a good sense of when to do exactly what they are told, and when to “give them what they want”.

Advanced

• The Ability to understand virtually any client, gaffer or designer and adjust their style to suit.
• All of the above- faster.
• Ability to create any effect, no mater how out there in minutes and to give an accurate time estimation.
• Deep knowledge of all forms of show control their console includes.
• Ability to utilize color and intensity pixel maps concurrently to create nearly any effect.
• Deep knowledge of networking and wireless to troubleshoot nearly any problem that may pop up.  Also- possesses the ability to specify a complete system, regardless of size, to support all needs seamlessly.
• The calm knowledge that no matter how good you are, there is always more to learn.
• Ability to specify lighting fixture options off the top of your head because you keep up as things come out, request demos and attend whatever trade shows may help you to stay on top of things.
• Ability to lead a crew whether you’ve chosen them or not.  Speaking specifically of data techs and Rigging Programmers, plus any rigging team members you may lead when rolled off to check out an install.
• Deep and extensive knowledge of how your console works as well as a minimum of a working-proficiency knowledge of other consoles.
• The ability to act decisively to create programming content or plots with a minimum of explanation.
• An extensive network of professional friends who know things you are weak (or not super strong) in who are willing to help you out when you need it.
• Incredible timing.  Bonus points if you have a music background and can speak in musical concepts.
• An unwillingness to let something remain mysterious to you.
• Deep knowledge of how sACN and Artnet (each version of it) work and what each protocol is good at and needs to function well.
• Ability to program something in Blind and know it is at least 90% of what they asked for.
• Advanced organizational skills- allowing you to keep track of many, many details across however many projects and locations with extremely fast and accurate recall.
• Such a deep knowledge of effects in your console that you almost don’t need to see the lights to know what it will look like.
• Advanced understanding of color theory- ability to mix multiple emitter fixtures quickly and precisely.
• Media Server programming ability.
• Capable of staying calm through incredible stress.
• Knows at least three ways to accomplish the same thing on their console.
• Deep knowledge of macros
• Ability to consult on custom fixtures and guide towards products that will render color and light the way the project needs.

Again- though there’s no way this list is or could ever be complete- I feel like this is a good start.  Knowing where you are in a really good step to getting where you want to be.  And if it’s not already obvious- don’t be asking for the kit and rates of an Advanced Programmer when you are still intimidated by the effects engine or panic when a network problem shows up.  

Anyone have important things to add?  Would love to hear from you in the comments.

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Mark LaPierre is a programmer in film and television based out of Albuquerque.  He grew up in live entertainment and has been a designer/programmer for musicals, concert dance, live music, circus and corporate.  Mark is a proud member of IATSE, an ETC Eos trainer and an enthusiastic trainer of many other platforms and subjects.  If you enjoy his content, please consider commenting on his posts on the website to appease the Algorithm.  

Feature Image Photo by Tim Mossholder on Unsplash