Archive for July, 2009

Targeted Savings Accounts for Freelancers

Friday, July 31st, 2009

As Freelancers our monthly intake varies wildly month to month, so we must set up a structure that allows us to live without day to day concern for those fluctuations. In Part 1 we discussed budgeting. Part 2 dealt with salary. In Part 3 we explored emergency funds. Now we move on to targeted savings accounts. Targeted savings accounts are an important part of a solid personal finance base and critical for freelancers.

Targeted savings accounts come in two flavors. One has to do with large annual or irregular expenses, such as insurance payments, dental visits, holiday gifts, or a new computer. The other are regular expenses that fluctuate strongly and thus are difficult to budget for in the traditional sense. In all these cases the matter comes down to averaging the expenses. This is the same process we do to address salary. Since many freelancers see fluctuations by as much as several hundred percent in their incomes from month to month, the only reasonable way to approach this is with averages.

Remember, emergencies are dealt with in emergency funds as outlined last week. What we are talking about is known irregular expenses. So on to averages.

How does this averaging work? Well, let’s take our first example, the large irregular purchase. These are the ones that trip people up the most. Because they are not planned they often surprise, despite the fact that some amount of unplanned expenses happen every few months. This month it may be the car, but six months down the road it may be the computer. Then there is the one that gets everyone on April 15th, TAXES.

Let’s say you know you will need to buy a new computer in about a year. The computer that you want retails for around $2,400. Most people tend to wait until they want to buy the computer then when the time arrives they throw the whole thing on a credit card and pay it off in installments. However with this model you end up paying closer to $3,000 or more with interest. Instead what we do is set up a savings account specifically for the purchase of that new computer. Every month we put $200 into the account. At the end of a year, we have enough to buy the computer and with the interest earned cover taxes on the machine.

Simple.

There are also medium to large expenditures that occur regularly but more spaced out than, say, rent. The dentist is a perfect example of this. A regular checkup with my dentist is in the range of $120. I am supposed to go every six months. As such I have set up a savings account that I deposit $20 into every month, thus giving me the $120 when it is time to go.

These averages are included in my budget. So while I might not “spend” the money each month, it is accounted for and taken out of my salary. And my salary in turn is composed of both monthly expenses like rent and groceries but also these irregular expenses.

One of the most difficult for most people is Taxes. However, after freelancing for a few years you get a rough sense of what your real tax rate is going to be. As a lighting designer I have very high overhead. As a result my deducible expenses are correspondingly high. While I could save 40% of my income “just to be safe” I know that realistically I only pay 10% of my gross income. As such I put that much away into a targeted account just for taxes. If I have any left over it is usually not that much and I can just roll it over for the next year.

On taxes, since I have over 5 years worth of data I am basing this 10% number on my own specific situation. Yours may well be different and certainly if you have less overhead you will pay at a higher rate relative to your gross income. If you only have a year or two worth of data being overly cautious can’t hurt.

I then have a generalized savings account for regularly budgeted business expenses. While I budget for what I typically spend in a month, some months are a little more and some a little less. If I budget $15 a month for stationary but only spend $10 this month I put that extra $5 in a generalized account. That way in two months when I spend $20 I have that covered without upsetting my budget.

From reading all this you might think I have 20+ savings accounts with various banks. In fact I have two. One is my primary account from which I pay myself a monthly salary. The other is with an online bank that allows me to create as many “sub-accounts” as I want. A good, and deeply sarcastic, explanation of this sub-account system can be found here.

With a little advanced planning we freelancers can create a smooth life for ourselves despite the economic vicissitudes of our work. By implementing this system of targeted savings accounts it fast becomes possible to deal with the little bumps caused by irregular expenses that would otherwise trip us up or cause us to plunge into debt.

Please join the discussion in comments!

How do YOU Design?

Wednesday, July 29th, 2009

I write a lot about my process of designing here and while it works for me it is only one particular take on the subject. I would be interested in hearing from designers of all flavors, lighting, scenic, costume, sound and video. What do you do? How do you start the process? How do you talk to a director? Directors, how do you begin discussions with your designers? Where do you find inspiration? How do you choose projects?

Please leave your answer in comments or send me an email. I would love to hear from you.

The Angles of Light – Towards a Conclusion or Beginning an Advanced Exploration

Monday, July 27th, 2009

When I began my series on lighting angles I was exploring the idea of how one may find almost limitless options with regards to problem solving. As I expanded the discussion with an examination of backlight followed by sidelight and finally frontlight I did a return to basics. Now it is time to put those basics aside in order to delve into the world of conceptual thinking.

As I outlined in the first four segments of this series there are three primary angles of lighting. But the larger point to be made is not that we have a limited palette to work from. Instead quite the opposite is true. While we can essentialize light down to these fundamentals the reality is that there are limitless possibilities in terms of lighting angles and certainly combinations of angles. The very conceptual approach that one would take to think in terms of angles as outlined in those essays is its own fundamental that must be put aside.

Learning the basic angles of light is a useful exercise when first learning the medium. It is akin to those first exploring color theory creating a color wheel to examine the six basic colors and relationships contained therein. While a useful exercise and certainly information every lighting designer must have stored in their memory, it is not as if we sit around thinking, “Gee, that scene would certainly benefit from sidelight, with some assistance from a bit of backlight and a breath of frontlight.”

What we do is explore the conceptual space within which the piece occurs. This leads us to an exploration of the physical space, the environment, in which the performance happens. What we are first concerned with is the “How.” How does light move in this space? How can light naturally flow into this space? How is the light blocked from various directions? How may we create an authentic understanding of this space with light?

Our job is to bring light into a dark volume of space. Every space is unique and the manner in which light moves into and through a given environment will vary tremendously depending upon what that space is. Having the fundamentals of what lighting can be and can do is necessary to free us from that mode of thinking and simply see where lighting can go.

I have seen far too many designers force a particular vision upon a space and quite literally force the lighting to move in a way counter to the natural flow of the environment. Or worse, hear them say that such and such a space is “unlightable” because it does not conform to their preconceived notions of how light must move. Too often beginning from either of these premises will result in failure. The light in these cases does not flow with the architecture. Rather it exists on a discrete plane of conceptual understanding. While this would probably not be noticed by the majority of the audience it none the less detracts from the experience. When the lighting and the physical environment are moving in a harmonious manner the effect is quite stunning.

Architects design buildings paying very close attention to the orientation of the structure and how it relates to the passage of the sun throughout the day. Windows, awnings and so forth are all designed and oriented to maximize the functionality and aesthetic possibilities of the building. Working as a lighting designer we must reverse engineer this process and looking at the scenery, determine what manner of light would best show off the various structures.

This conceptual approach ties in to the notion of visual translation that I outlined a few weeks ago. More precisely it is a visual analog to the textual archaeology I discussed last week. While not applied to text, it is the same mode of thinking put to work to understand a physical space.

Approaching a space as something to be engaged as opposed to something that must merely be dealt with is necessary for a deep visual reading of an environment. We must take that environment on its own terms and listen to what it has to say with regards to how lighting may move through it. Knowing the many possible lighting angles available allows the designer to approach a space with limitless possibilities in terms of how to fill it. At the same time the designer must not let that knowledge prevent them from seeing possibilities built into the very structure of the space itself. Being receptive to the needs of the space is the true test of ones understanding of these fundamental concepts.

Emergency Funds for Freelancers

Friday, July 24th, 2009

Continuing my series on how to structure your finances as a freelancer it is time to look to emergency funds. If you open any book on personal finance you will discover a section, if not most of the book devoted to this topic. Many writers have covered this topic in far greater depth than I could. But still there are several points to make about the role of an emergency fund as it relates to working as a freelancer which are of great import.

Before I get into the specifics of how this relates to freelancing and our unique needs I should probably explain the concept at a basic level. An emergency fund is a savings account wherein you put money that might be needed immediately in the short term. An example might be a car accident, or major medical problem or job loss. The idea is that even though you lose your job or suffer some other major economic calamity, you will still be able to live your life without significant economic disruption or incurring huge amounts of debt. Since the purpose of an emergency fund is dealing with events that might happen now, it is critical that the money be liquid and not tied up in things like stocks.

As freelancers our concern is not “losing our job” per se so much as it is having those gigs slow to a trickle as they inevitably do from time to time. As such I have found having an emergency fund to be invaluable. I break my emergency fund down into two categories, business operations and personal expenses. I have two separate bank accounts for these and I will explain the difference below.

The account for business operations should ideally hold around 4-6 months worth of business expenses. When I wrote that first essay I talked about placing your “extra” income in this account and that is as simple as it gets. If your target budget is $3k a month and you are making $4k, rather than spending $4k a month you should be putting $1000 a month into your emergency fund. For anyone working consistently who has put together a strong and realistic budget, this should not be too difficult.

While the process is easy, getting your account up to the level of being able to pay for four months of business expenses(this includes your salary) may take some time. Not only could it take time, it will not all happen in a linear fashion. There are times, as work is slow, where the account will get below these numbers, but that is exactly what they are for. Your emergency fund keeps you paying yourself and your subcontractors without building up debts.

For those freelancers who have discrete business and personal accounts it is quite useful to maintain two distinct emergency funds. The first is for the business as outlined above. The second is for personal expenses. While they both serve the same function, it can ease the tracking of one’s money to separate the accounts. In this way, the business account would be used to pay subcontractors or broken computers, while the personal account goes towards medical bills, for example. By maintaining a personal emergency fund distinct from your business fund, it allows you to have your personal salary automated and not have to worry about the minutia of money transfers between accounts.

While there are many methods available for building your emergency funds, their very existence is necessary for work. I have seen too many people handed a check for a project they were freelancing on and told to please not cash it for a few days. While every business falls into these troubles from time to time you don’t want yours to be that one.

Rather, you want to be like Norway who had a national emergency fund and thus has been able to navigate this current global climate with not only no severe impact, but has maneuvered to expand and generate wealth when other countries were floundering.

The value of an emergency fund may seem a bit nebulous in the abstract but here is a good primer on the whole thing complete with personal example.

An analogous tip to the emergency fund for freelancers is saving for taxes. Working on a 1099 basis I have seen far too many freelancers spend away their fees not considering taxes until April rolls around when suddenly it’s crisis time. By saving a portion of each fee into an account dedicated to taxes you find yourself with a large cash reserve at the end of the year to pay the government.

While I use a simple online savings account for this, I have a friend who does the whole thing in CDs. He saves a percentage of his income with each check and then in March buys a 12 month CD, in June a 9 month, in September a 6 month and in January a 3 month. Come April all his CDs mature and he has a nice chunk of cash(plus interest) to pay off his taxes.

For those who would be tempted to dip into the fund, CDs are an excellent option for a tax fund or general emergency fund. Using them for a run of the mill emergency fund requires a bit more advance planning as no emergency will be so polite as to wait for a CD to mature. For an emergency fund, creating a CD ladder to always keep some funds liquid is a good strategy.

Obviously your mileage will vary. The strategy that works, is the one that works for you. Setting up your emergency fund in a way that makes you feel secure is of critical importance. Freelancing is always going to be tumultuous. It is the name of the game. Employing this and the other strategies I outlined will keep that tumult from impacting your daily living.

A Look at Past Dances

Wednesday, July 22nd, 2009

Here is a sampling of some dances and ballets I have lit over the last few years. It provides a nice overview of the range of lighting design I have done.

Click on any image to see more. Photo credits and collaborator info available on click-through.


Dracul: Prince of Fire


Romeo and Juliet


Mazurkas


Color Codes: A Point of Hue


Le Combat


Mother GOOSE!


Prayer

Reading as Textual Archaeology

Monday, July 20th, 2009

I wrote over the last two weeks about how we approach a deep visual reading of a text. We must reach into the text past the surface to discover that place of danger which lies in the center of the work just out of view. As artists our job is to stretch our understanding and expand our reading in order to arrive at the very edge of possibility. From there we engage the text with the directness that art demands.

What we are doing is a kind of archaeology of text. Like Heidegger in the examples I provided in those previous essays, we must take the text as we have it and then go beyond the common understandings to discover the heart of what is said. The authentic meaning does not, nor can not reside in a surface approach to the text. In writing about the literal process that a designer goes through I was outlining an approach that makes possible a greater likelihood of discovering the authentic text as it exists in the Now.

One of my favorite plays by Shakespeare is Midsummer Night’s Dream. I have seen many productions of it ranging from very “traditional” to highly abstract. I recently saw one that, while perfectly serviceable, did little to nothing to truly elucidate any new meaning from the text. It was a lovely entertainment. The design, while rather attractive, did not further our understanding of the text, story or action. This is a common trap with well known works.

Finding a visual expression that is both authentic for the creators and deepens one’s understanding of the text is made doubly difficult by the weight of history that lays upon the text. We as theater makers are burdened by production histories that provide past readings everywhere we look. Thus we must work doubly hard to dig past all that and get back to the original essence. Sure there is a vein of theater that uses past productions in their performance as a way of commenting on this exact process, but that is something other than I am discussing here. And even then, it is done so as a means of more fully understanding the text and its place within history and performance.

As we shed layer upon layer of preconceived notions about a play and get down to the the very heart of the text we find image after image removed until finally we get down to nothing but words. There is one line from Midsummer that haunts me whenever I see it. Puck, replying to Oberon’s reprimand says, “Believe me, King of shadows, I mistook.” That line stands out like a singer in a spotlight on a darkened stage. As soon as I hear it, my brain attempts to make sense of everything I am seeing visually, from design to staging, from the point of view that the fairies are shadows and Oberon their lord, King of Shadows.

This should be obvious to anyone working on the play, yet far too often I see them not as shadows, but simply as weird or “other.” Far too common is it that the shadows, for they are referred to in that language several times, are some preconceived idea of “fairy” or worse, simply something strange.

Some months back I saw a very different production set more or less in a mid 1980′s club. Here the lovers were yuppies and new romantics while the shadows were goths and punks. In this production, while taking a very pop-culture approach, the central discord between the world of the mortals and the world of the shadows is not only clearly defined, but the very text itself is brought into being within our, roughly, contemporary world. The love quadrangle between Helena, Hermia, Demetrius and Lysander is immediately clear. We know who loves who and why. We know who’s parents are upset about said relationships and why. We also know who should end up with who and why. All this before a single line of dialogue is spoken. In this way, the text is revealed to us clearly that we may immediately and directly enjoy it.

This places a classical text before a modern audience in such a way that we may treat it much like the Greeks took their theater. For them, the stories were known intimately beforehand. Going into a Medea the audience would know who Jason and Medea and Creon were. They would know that the children of Jason and Medea would die along with his new wife and her father. What they did not know was how that would happen. They did not know through what action and more importantly through what language that would happen.

As we dig past previous performances of a text we are simultaneously learning and unlearning how a text has been understood in the past. We are learning history, but we must also unlearn assumptions about a text if we are to truly engage with it at a deep level. As textual archaeologists we must break through the rocks and brush past the sediment to get at the beauty of the fossilized remains.

Only when we have extracted the pure thing from out of its history may we begin to locate it in history once again. Seeing a text clearly and without the filter of past productions is necessary if our goal is the creation of great art. We must go beyond our ordinary waking world and traverse the dangerous world of shadows. For it is through encounters with our shadow is art possible.

Determining Salary and Choosing Projects as a Freelancer

Friday, July 17th, 2009

In my expanded series on managing irregular income as a freelancer I covered budgets in depth last week. This week we move on to step two, salary negotiation.

In my first post on this I covered the issue in a rather flippant manner, “Having worked out the budget for personal and business expenses you are ready to move on to the second part, salary negotiation. This part is easy. Your total budget number is your target salary. So as the employee you go to your boss (you) and ask for this. Your boss (you) then says yes. Celebrate with a cocktail.”

In truth the issue is more complex. Let’s assume for the sake of argument that you worked through your budget and arrived at a number of $4,000 a month. This does not mean you look to make $4k a month from your freelance contracts. It does mean that you need to make, on average, at least $4k a month. The whole point of this system is to even out the irregularity of the work cycle. Your standard of living does not need to fluctuate in the same cyclical manner as your work income.

Chances are if your target budget is $4k, your target monthly income will need to be closer to 6K. I will cover emergency funds next week, but this all ties into that topic. You want your business to be able to continue paying you even when you do not receive payment from your clients for weeks or months at a stretch. As such you will need to shoot for a monthly income that takes into account not only current expenses, but rising future expenses and/or a decline in future income.

Further, it is critical that your business maintain a cash reserve thus making it possible to pay assistants, subcontractors, etc. without concern for incoming checks. Targeting your business income high enough to meet all operating costs, that includes your personal salary and covers subcontractors, creates a positive atmosphere where assistants and subcontractors will want to keep working with you because they know you can be trusted to pay them on time.

This gets down to the question of how to pick projects. How you evaluate projects is a very personal decision, I have found myself refining and changing those criteria regularly as I continually check in with myself about wether or not the choice I am making is right for me. Some people will only take projects that are deeply satisfying on a creative level. Others are fine with anything so long as the people they work with are engaging. Still others will take anything that pays above a certain minimum. There are many variations and permutations of these options and finding the right balance is up to you.

One major criteria that you will be measuring all this against is your budget. If you need to make $4-6K a month you will need to find a balance of types of projects that will bring in that income. If you find that the types of projects you are willing to work on will not bring you the income you desire, then you may need to go back to step one and reevaluate your spending patterns or reconsider the standards you use to evaluate potential projects.

The balance between your budget and your target salary must be made carefully. Budgeting for a $6k monthly income when you only make 3k will turn into a disaster in short order with rising debt levels and increasing stress. Instead one must look at current income levels and future projections thereof to determine target income. From there balancing the budget with the income is rather simple.

The key in this step is honesty. While it might have felt good to design a budget with a monthly income of 6K, if your realistic monthly earnings are closer to 3K you need to bring that into consideration. This is also the part of the process where you review your budget for possible cuts in spending. Since we based our budget on actual spending habits we now take the time to look at those habits to see which might be changed or massaged in order to bring the budget number in line with the income.

The balance between income and spending is of critical importance towards creating a smooth economic life as a freelancer. Being clear and honest with yourself will allow you set up a system that has both a strong foundation and is robust enough to weather the many economic vicissitudes that come your way.

Call for Submissions

Friday, July 17th, 2009

I am interested in getting some alternate voices here on my blog. If you read this and are a designer, technician or stage manager, I would love to have your voice available to my readers. If I do not know you personally be sure and include a resume or on-line portfolio when you contact me, so I can get a sense of who you are. Designers need not be limited to lighting. I would be interested in other designers presencing their views on theater and design here as well so do let me know if you are interested.

If you do not have my email either use comments below or the contact info at the bottom of the page.

A look at past plays

Wednesday, July 15th, 2009

Here is a sampling of some plays I have lit over the last few years. It provides a nice overview of the range of lighting design I have done.

Click on any image to see more. All photo credits and collaborator info available on click-through.


Desperate Hours


Antigone


Medea


The Last Word . . .


Sake With the Haiku Geisha


Of Mice and Men


The America Play


Lovers and Executioners


Dracula


Fate’s Imagination


Artfuckers


Becoming Adele


Windows


Antigone


Beginning of the And

Continued Thinking Towards an Understanding of Visual Translations

Monday, July 13th, 2009

When I wrote last week about the visual reading of a text I merely scratched the surface of a topic that can take a lifetime to live, let alone extract meaning from. What we are looking for is the authentic truth of text as it relates to the Now. In such a journey we can not arrive at final answers but merely place ourselves in situations of danger wherein we have gone to the extreme of what is possible and thus risked our very understanding of Being.

This revelation of what is and what might be is the very fundamental of art. It is not a factuality that we are concerned with so much as an essential essence. Our calling can be nothing short of the presencing of the innermost drives and desires of humanity. For if we are not interested in these fundamentals, we are engaged in mere entertainment.

By this I in no way mean to say that we can or should only look at drama. After all comedy, in its way, has the potential to reveal as much or more about us as do darker dramas. What I am speaking to here is a rawness. An essential quality that forces us to look deeply within our very souls and take in what is reflected in the work. As Heidegger writes in Early Greek Thinking, “Danger is when Being itself advances to its farthest extreme, and when the oblivion that issues from Being itself undergoes reversal.”

When reading a text we must look as deeply as possible to extract the most fundamental understanding of Self. This is not always fun and rarely easy, for Human potential is vast and reaching out to the extreme edges of that potential is a long journey from which one may not return whole. Quite often we do not. In fact we often return transformed, having found our boundaries we return to the center of Being only to discover that new horizons have opened up to us. The more we explore that potential the more the potential itself expands.

In The Origin of the Work of Art Heidegger claims that “[i]t is precisely in great art . . . that the artist remains inconsequential as compared with the work, almost like a passageway that destroys itself in the creative process for the work to emerge.” While this approaches the truth it is not quite correct for at its root this claim assumes that the creator and the work are in some way separate at an existential level when in truth the two are bound together as discrete manifestations of a single being.

In the process of creating a truly great work of art the artist is dealing with the very fundamental nature of reality interwoven with the materials at hand. Thus through the creative process the very nature of reality is transformed, shifted, even if slightly from what it was before the work came into existence. In the same way, the artist too has been transformed, the creation of the work being a process of expelling that particular idea or complex of emotions from their inner landscape to the external world of manifest things. The artist, far from being inconsequential, recedes from the world while the work itself directly engages the world and continues transforming it. In creating a new great work, the artist has manifested a new center of gravity around which external reality must now adjust itself.

It is this depth that we are concerned with when we read a text. We must reach deeply into the text and simultaneously into our Self in order to extract the meaning from which we might build a great work. To bring forth a truly transformative work necessitates staring into the very oblivion of Being, reaching beyond the abyss and into the unknown. We must risk our most fundamental understanding of self. We risk becoming something we neither know nor understand, for only through that full acceptance and engagement with risk and danger might we hold any hope of creating a truly great work.

There are few theatre artists who will take this risk and fewer still people outside the arts who would do the same. It is rare to find someone willing to break down whole systems of knowing in an effort to find a new meaning and understanding of Now. Too easy is it with a play or an opera to fall back on its own geneology of performance. To say that it is and has been set in such and such a location before so that must be good enough for us now is a false answer. Such an approach, while common, does a disservice to the text and fails the artist at a most basic level. Through such an engagement we can do nothing but deal in superficialities and superfluous decorations.

What is a setting? What does it mean to set a play? Where are we placing it and ourselves? We are not time travelers, nor are we explorers of physical terrain. We are explorers of the soul and heart of humanity. Our maps must be made of thought and emotion. We must look to the landscape of the mind, explore the seas of the heart, before we ever set foot on the dry land of external reality.

Our visual reading of the text can not rest upon the immediately recognizable features of the world as given to us by media and daily life. We must look beyond that. We must look to the very root of the matter. Only then will we discover the true setting within which a story might be told.


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