8/18/2023 0 Comments Life as a rockstar engineer: an interview with Emily Talbott, Controls IntegratorBy Robbin Koenig You may not recognize the name, but Emily Talbott, Controls Integrator for TAIT, is the unseen rock star in automation technology. She creates the “awe factor” for audiences at Bad Bunny, Billie Eilish, and Phish concerts, as well as Broadway and theater productions and theme park installations. In collaboration with her team, Emily is responsible for crafting a musical experience into an audio and visual multisensory phenomenon. She has been able to amalgamate her education, training, and work experiences into an exciting and formidable career. She kindly answered the following questions posed by Scientista.
RK: What kind of education and experiences prepared you for this occupation? ET: I have a Bachelor of Science in Electrical Engineering from Colorado School of Mines. I was heavily involved in my school’s technical production team for concerts it hosted twice a year, so I was able to make connections and gain experience in the entertainment industry through that. RK: What do you find to be the most exciting or interesting part of your job? ET: Integrators travel on average 120 days a year, so I would say exploring new places and getting to meet so many different people while out on the road. One of my “road hobbies” is finding a new coffee shop to try in every location I visit. For one of my projects, I was able to live abroad in Holland for six weeks, and I loved the experience of getting to be immersed in a different culture while on the job. RK: Do you have a favorite type of production to work on? ET: My favorite market to work in is concert touring because I love the fast-paced timeline and creativity that goes into programming shows. RK: Can you tell us some other projects and concerts you have worked on? ET: I’ve worked on projects for Billie Eilish, The Backstreet Boys, Michael Buble, The Lumineers, Bad Bunny, Elton John, James Taylor, Phish, P!NK, Metallica, John Legend, and many more. RK: What is your role in the interpretation of the artist’s vision and how can you implement this vision using technology? ET: As the automation expert, I collaborate with the creative team to achieve the artistic vision during the rehearsal periods. For most shows, we will create various looks utilizing the automation, and then have a “show and tell” period where the artist can provide feedback on what we have created. Automation is a really powerful tool with which to implement designs because we can literally move things around to create entirely different scenes. RK: How closely do you work with the designer? ET: Often, I work closely with designers to create the looks they are after. As the person who commissions and brings the automation gear to site, I am the expert when it comes to understanding the limitations of the machines. There is a lot of collaboration between the artistic and technical teams to achieve a vision that both looks great and plays safely within the realm of physics. With our TAIT Navigator Automation Platform software, we have endless possibilities around the technologies we can interface with. I can run automation moves from audio commands or tell lights to focus on a certain point even as the position of a machine is changing. This flexibility allows us to go beyond just moving objects and collaborate with other vendors to achieve a singular vision. RK: How do you manage to coordinate all of the factors (sound, lighting, and automation) to align in precision? ET: A great deal of patience and collaboration. If possible, I try to connect with key stakeholders prior to rehearsals so I can gain understanding about their needs for the project. This can be as simple as exchanging emails with lighting designers, production designers, etc. or can be as formal as having a meeting with all interested parties. It really depends on the scope of what we’re trying to achieve. Typically, before the artist arrives, the entire production will go through technical rehearsals and programming. This provides an opportunity to test and verify all technical elements prior to rehearsing with the band/artist. This period is when we usually test all department collaborations in addition to creating the look and overall flow of the show. RK: Do you physically install the automation machinery or do you program the equipment? ET: I do both! Our project process typically begins with installing the machinery, inspecting the equipment, running cables, and initial power on testing. After the machinery is verified via the initial mechanical and electrical inspections, I commission the machines to be controlled by our software TAIT Navigator. RK: You mentioned that you provide follow-up support for the project. What does that entail specifically? ET: After my tours have opened and are out on the road, operators and technicians will call me when something isn’t operating as expected or breaks. I talk them through the issues they’re experiencing, and we work towards a solution together. On most occasions, we’re able to solve the problem; however, sometimes we’re required to swap a piece of gear out for a spare. I will also walk them through the process of swapping to a spare if they do not feel confident doing that by themselves. RK: How important is safety? Do you have a role in designing safety features? ET: Safety is extremely important when working with automation. We are repeatedly around heavy power, large machines, and moving objects. Going into all projects, the team creates an analysis of hazards that could be presented and ways that we will mitigate them. Mitigations could be as simple as blocking off the area while a machine is in motion, or in some cases, we can design a solution to prevent the hazard entirely. While on-site, I also instruct clients on how they can safely interact with automation elements. This can look like coaching a performer on how to ride a lift to stage height or simply making them aware that objects will move above their heads while performing. Providing this training is crucial to the success and overall safety of the production. RK: Have you found that there are any limitations in your field for women? ET: I would say that the entertainment industry is undergoing a transformation to be largely more accepting of women and minorities. Traditionally this field was dominated by white men, but in recent years, more and more women have come into the industry. I have faced misogyny while out on-site, but the productions I have worked with have a zero-tolerance policy for that. As I’ve worked in this industry, I’ve also amassed an amazing network of women who I can rely on and go to in challenging situations. RK: Why do you think more women haven’t gone into this field? Are there any inaccurate perceptions? ET: This field is extremely challenging and physically demanding. There are a lot of holidays spent away from family, late nights worked, and physical labor involved. It can be a grueling environment somedays and as a petite woman myself it’s sometimes difficult to keep up with the pace of being on-site. But to build off of this idea, I think an inaccurate perception would be that just because you are a woman, you can’t keep up with the guys. It takes all types of people with a wide range of expertise to get a show going, and it wouldn’t be very useful if we only had a team of big dudes who can lift things. I’ve found more success in highlighting my personal strengths than attempting to outweigh others. RK: Has TAIT made any accommodations for female employees, such as flexible schedules and accommodations for employees with families? ET: With the overall transformation of the dynamics in live entertainment, I’ve seen growth within TAIT and the company’s desire to drive inclusivity forward within the industry. There’s been an increase in women and minorities working at TAIT just in the few years I’ve been here. We also have a culture team that is championing DE&I efforts across the company including expanding our parental leave policy for the birth and adoption of a child, hosting focus groups for women, and offering mental health seminars. RK: Are there recruitment efforts for college graduates? ET: TAIT attends a variety of career fairs and trade shows around the globe to meet with college graduates as it’s important for us to foster the next generation of industry experts. We work closely with Rock Lititz and Production Park during their career exploration days for college students. We also have a summer internship program that provides hands-on training by delving into actual projects we’re working on. I am a graduate of the TAIT intern program in 2017. My experience that summer ultimately inspired me to come back to work full time in integration at TAIT. To learn more about TAIT and any upcoming recruiting opportunities, you can follow them on Instagram and X
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