Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2) with PIPE id 4510836; Sat, 25 Sep 2004 03:01:35 -0700 X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #143 Date: Sat, 25 Sep 2004 03:01:12 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-3.2 required=5.0 tests=ALL_TRUSTED,BAYES_00, MAILTO_TO_SPAM_ADDR autolearn=ham version=3.0.0-pre4 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.0-pre4 (2004-08-04) on prxy.net X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #143 1. Re: lightbulb by "Stephen E. Rees" 2. Re: Special Effect question by Tom Grabowski 3. Re: Special Effect question by "Sam Fisher" 4. PYRO TECH needed in Raleigh, NC in OCT. by "Cain M. Bilbrey" 5. Re: Board Ops Needed by "Jeremiah Minh Greenblatt" 6. Re: IR by "Paul Guncheon" 7. Color scrolls... by Jason 8. Re: Color scrolls... by Stephen Litterst 9. Re: lightbulb by Eddie Kramer 10. Re: Color scrolls... by Greg Persinger 11. Re: Special Effect question by Nathan Kahn/Look Solutions 12. Re: Color scrolls... by "C. Andrew Dunning" 13. Re: Color scrolls... by Jason 14. Juliat Followspots by "Rob Carovillano" 15. Re: "ESTA regulations" by "Karl G. Ruling" 16. Re: Color scrolls... by Steve Larson 17. Re: Juliat Followspots by Greg Persinger 18. Re: Juliat Followspots by "Tony Deeming" 19. Re: Color scrolls... by "Tony Deeming" 20. Leaving the Magazine by "Michael Eddy" 21. Re: "ESTA regulations" by Boyd Ostroff 22. Re: Color scrolls... by Jason 23. Re: Color scrolls... by Jason 24. No light Flourescent Lights by Shell Dalzell 25. Diluting Fog Fluid (was ESTA regulations) by "Kevin Linzey" 26. Re: No light Fluorescent Lights by Greg Persinger 27. Re: No light Flourescent Lights by "Storms, Randy" 28. Re: No light Flourescent Lights by "Harold Hallikainen" 29. Test no need to read by "Joker7" 30. Re: "ESTA regulations" by "Kacey Fisher" 31. Re: "ESTA regulations" by "Kacey Fisher" 32. Re: "ESTA regulations" by Stephen Litterst 33. jobs at ASU by LINDA ESSIG 34. Re: Diluting Fog Fluid (was ESTA regulations) by Nathan Kahn/Look Solutions 35. Re: "ESTA regulations" by "Kacey Fisher" 36. revolving door problem by "Janice Pohl" 37. Re: Juliat Followspots by "Jason" 38. Re: Juliat Followspots by "Tony Deeming" 39. Re: revolving door problem by Kurt Cypher 40. Re: revolving door problem by "Fitch, Tracy" 41. Re: Color scrolls... by seanrmc [at] earthlink.net 42. Re: lightbulb by Jerry Durand 43. Re: Color scrolls... by Dale Farmer 44. Re: No light Flourescent Lights by Dale Farmer 45. Re: revolving door problem by Dale Farmer 46. Re: Juliat Followspots by Greg Persinger 47. Re: lightbulb by StevevETTrn [at] aol.com 48. Re: Commodore by Kåre Olai Lindbach *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <415422E6.2000007 [at] fredonia.edu> Date: Fri, 24 Sep 2004 09:36:38 -0400 From: "Stephen E. Rees" Subject: Re: lightbulb References: Speaking of Rejuvenation Lighting. The 1891 Fredonia Opera House ( in Fredonia NY) had a set of 30 or so lamps ringing the central dome in the auditorium that had been in use since the early 1920's. Only one of them had burned out. Good thing too as the the lights were about 45' in the air and only accessible via scaffold. Turned out that the lamps were actually designed for use in railroad signals (I'm told) and were designed to operate on a higher voltage than 120VAC. When the second lamp burned out about 5 years ago, all the lamps were replaced with 220 VAC 60 watt lamps from RL that look like Edisons original lamps. They operate at only about 90% of 120VAC and so long life is anticipated. Steve Rees Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> >> This thread reminds me of one of my favorite catalogs, Rejuvenation. >> >> They sell very accurate reproductions of period lighting and door >> hardware, including light bulbs. Check out http://tinyurl.com/579e9 > > > > Luckily I live in the city where Rejuv exists. Recently sold them a > gorgeous Victorian mantle I'd used in shows for 15 years. > > I love their light fixtures. Wish I could afford them, like the 'Salem' > - the bat and serpent pendant (model C548). > > -- Jon Ares > Program Director, West Linn HS Theatre Arts > www.hevanet.com/acreative > http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Date: Fri, 24 Sep 2004 09:05:20 -0500 From: Tom Grabowski Subject: Re: Special Effect question In-reply-to: Message-id: <000b01c4a23f$87591c60$423c7181 [at] TGRABOWSKI> Thanks for the advice. The problem with the powder in addition to the inhalation problem (this is a musical) is the ten more scenes left in the act. The problem I see in the fog/smoke machine is that it goes up not down. I don't mind the noise as it is already going to be hectic sonically and the blast should add to the moment. ************ Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] panam.edu Edinburg, Texas 78539 956/381-3588 FAX 956/318-2187 > > From: IAEG [at] aol.com > Message-ID: <9d.4e6be7de.2e843ef7 [at] aol.com> > Date: Thu, 23 Sep 2004 11:00:07 EDT > Subject: Re: Special Effect question > > > given what they are asking for, , I wouldn't use CO 2 > > I will assume that there will be some sort of Sound FX for > the plane, , but > the blast of CO2 is pretty LOUD and will ALWAYS look like CO2 > > I would think about some sort of non toxic powder, , loaded > in a long zipped > or velcro trick bag, , , that when opened quickly ( like a > balloon bag ) will > dump a measured amount of powder over a length that is > appropriate for your > effect. you could conceivably do it over a length of 20 or > more feet, , which > when released quickly would give a good facsimile of a crop > dusting plane over > head ( panning of the audio will help too of course ) > > it will look A LOT more like crop dusting, , you won't have > the noise of CO > 2, , > > just a thought, , , > > very best, > > Keith Arsenault > International Arts & Entertainment Group > Tampa, FL > > > > Message-ID: <02b501c4a17e$e81e2f20$0a01a8c0 [at] Tony> > From: "Tony Deeming" > References: > Subject: Re: Special Effect question > Date: Thu, 23 Sep 2004 16:06:27 +0100 > > I had much the same thought - a long tubular bag with eyes > punched into the > edges, with a cord going thru all of them to keep it together > as a tube - it > would need to be de-mountable - so you could load it each > night, 'stitch' it > up , then hang it above the talent. Then simply pull the cord > out, which > would release the 'dust' as it goes across the stage. > > Would need some playing with, but should work.... > > Ynot > > > From: "Kacey Fisher" > Subject: RE: Special Effect question > Date: Thu, 23 Sep 2004 21:40:01 -0400 > In-Reply-To: > Message-ID: > > My 2.5 cents-for what it's worth... > > I don't think it's a great idea to be dumping dust or other > particulate on > the actors. Especially when we've got all new ESTA regulations on fog > effects which are 99% water. I can't imagine that any kind > on non-toxic > dust or powder could be a good thing for actors to > potentially inhale into > your lungs. Also consider that a lot of people have asthma > and anything is > going to irritate them. > > My thought would be to go with a fog machine-quick burst on full power > should do it. Not quite as "crop dustery", but what with suspension > of disbelief and all it will achieve the effect your looking for. > > ~Kacey Fisher > > From: MissWisc [at] aol.com > Message-ID: > Date: Fri, 24 Sep 2004 00:28:51 EDT > Subject: Re: Special Effect question > > I'd not recommend using any kind of powder as talc can coat > the lungs and > corn starch might bring "critters" plus it gives you one more > thing to try to > sweep up afterwards. > > I did a CO2 blast for a rock concert several years ago and it > worked well. I > think the sound of the CO2 might be helpful. It'll certainly > surprise the > audience. If you can arrange for the SFX person to move/sweep > the nozzle from one > side of the stage to another, or from onstage to off, and > synchronize that > with a Doppler pan effect from the sound guy, that will help > the effect. Of > course, you want to keep the actors from breathing it in and > it's COLD. Dissipates > fast and little/no clean up. > > Kristi > ---------------------------------------- My Inbox is protected by SPAMfighter 746 spam mails have been blocked so far. Download free www.spamfighter.com today! ------------------------------ From: "Sam Fisher" Subject: RE: Special Effect question Date: Fri, 24 Sep 2004 10:18:49 -0400 In-Reply-To: Message-ID: If the CO2 doesn't work out, the right fogger (pointed down) with the right fluid might disperse quickly enough to look like the dust left after the plane flies by. Good Luck Sam Fisher VP - Fisher Theatrical, LLC. 410-455-9641 office 410-455-9643 fax 410-961-0921 cell -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tom Grabowski Sent: Friday, September 24, 2004 10:05 AM To: Stagecraft Subject: Re: Special Effect question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks for the advice. The problem with the powder in addition to the inhalation problem (this is a musical) is the ten more scenes left in the act. The problem I see in the fog/smoke machine is that it goes up not down. I don't mind the noise as it is already going to be hectic sonically and the blast should add to the moment. ************ Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] panam.edu Edinburg, Texas 78539 956/381-3588 FAX 956/318-2187 > > From: IAEG [at] aol.com > Message-ID: <9d.4e6be7de.2e843ef7 [at] aol.com> > Date: Thu, 23 Sep 2004 11:00:07 EDT > Subject: Re: Special Effect question > > > given what they are asking for, , I wouldn't use CO 2 > > I will assume that there will be some sort of Sound FX for > the plane, , but > the blast of CO2 is pretty LOUD and will ALWAYS look like CO2 > > I would think about some sort of non toxic powder, , loaded > in a long zipped > or velcro trick bag, , , that when opened quickly ( like a > balloon bag ) will > dump a measured amount of powder over a length that is > appropriate for your > effect. you could conceivably do it over a length of 20 or > more feet, , which > when released quickly would give a good facsimile of a crop > dusting plane over > head ( panning of the audio will help too of course ) > > it will look A LOT more like crop dusting, , you won't have > the noise of CO > 2, , > > just a thought, , , > > very best, > > Keith Arsenault > International Arts & Entertainment Group > Tampa, FL > > > > Message-ID: <02b501c4a17e$e81e2f20$0a01a8c0 [at] Tony> > From: "Tony Deeming" > References: > Subject: Re: Special Effect question > Date: Thu, 23 Sep 2004 16:06:27 +0100 > > I had much the same thought - a long tubular bag with eyes > punched into the > edges, with a cord going thru all of them to keep it together > as a tube - it > would need to be de-mountable - so you could load it each > night, 'stitch' it > up , then hang it above the talent. Then simply pull the cord > out, which > would release the 'dust' as it goes across the stage. > > Would need some playing with, but should work.... > > Ynot > > > From: "Kacey Fisher" > Subject: RE: Special Effect question > Date: Thu, 23 Sep 2004 21:40:01 -0400 > In-Reply-To: > Message-ID: > > My 2.5 cents-for what it's worth... > > I don't think it's a great idea to be dumping dust or other > particulate on > the actors. Especially when we've got all new ESTA regulations on fog > effects which are 99% water. I can't imagine that any kind > on non-toxic > dust or powder could be a good thing for actors to > potentially inhale into > your lungs. Also consider that a lot of people have asthma > and anything is > going to irritate them. > > My thought would be to go with a fog machine-quick burst on full power > should do it. Not quite as "crop dustery", but what with suspension > of disbelief and all it will achieve the effect your looking for. > > ~Kacey Fisher > > From: MissWisc [at] aol.com > Message-ID: > Date: Fri, 24 Sep 2004 00:28:51 EDT > Subject: Re: Special Effect question > > I'd not recommend using any kind of powder as talc can coat > the lungs and > corn starch might bring "critters" plus it gives you one more > thing to try to > sweep up afterwards. > > I did a CO2 blast for a rock concert several years ago and it > worked well. I > think the sound of the CO2 might be helpful. It'll certainly > surprise the > audience. If you can arrange for the SFX person to move/sweep > the nozzle from one > side of the stage to another, or from onstage to off, and > synchronize that > with a Doppler pan effect from the sound guy, that will help > the effect. Of > course, you want to keep the actors from breathing it in and > it's COLD. Dissipates > fast and little/no clean up. > > Kristi > ---------------------------------------- My Inbox is protected by SPAMfighter 746 spam mails have been blocked so far. Download free www.spamfighter.com today! ------------------------------ Message-ID: <00d701c4a243$6b9f0a30$6602a8c0 [at] RALPHandSNOWY> From: "Cain M. Bilbrey" References: Subject: PYRO TECH needed in Raleigh, NC in OCT. Date: Fri, 24 Sep 2004 10:33:12 -0400 I am looking to find someone who is a certified theatrical Pyrotechnician. They would be needed in Raleigh, NC mid-to-late October for Jekal & Hyde. Please e-mail me [at] cbilbrey [at] nc.rr.com. Thank you list.. Cain M. Bilbrey ------------------------------ From: "Jeremiah Minh Greenblatt" Subject: re: Board Ops Needed Date: Fri, 24 Sep 2004 10:44:18 -0400 Message-ID: <000801c4a245$07d7e8d0$0200a8c0 [at] Roadbox> The two open positions for next weekend's Prelude to Off-Broadway were filled in record time. I love this list! Hearty thanks to all who = responded. All resumes I received will be kept on file for future calls and I am = happy to collect resumes from anyone interested in similar work in the future. While this call was specifically for light-board ops I am generally = looking for people with a basic familiarity with sound and video as well. Thanks again. Jeremiah Minh Greenblatt Technical Supervisor Martin E. Segal Theatre Center roadhat [at] earhtlink.net ------------------------------ Message-ID: <006801c4a249$869105e0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re:IR Date: Fri, 24 Sep 2004 05:16:53 -1000 Back when I put IR video in my theatre, I contacted a company which manufactured emitters. They requested that I supply them with the specific frequency I needed. I had no idea of the frequency needed by the $29.00 fisheye camera form the electronics surplus company. We used a bunch of red gel. Worked swell. A stage genius, Joel Savoie, took the idea a step further by placing IR emitting LED's on top of the crew's wireless headsets. The stage manager could tell in a heartbeat if there were any crew on stage. Laters, Paul "I only get Newsweek," said Tom timelessly. ------------------------------ Date: Fri, 24 Sep 2004 11:30:48 -0400 (EDT) From: Jason Subject: Color scrolls... Message-ID: Hey folks, I am finding myself needing to make custom scrolls for a show I am working on. Never having done this myself, i am looking for help, advice, whatever on how to do this properly, what supplies i should get, tips for success, etc. thanks in advance, Jason Cowperthwaite Lighting/Audio Coordinator Greenberg Theatre - American University ------------------------------ Date: Fri, 24 Sep 2004 11:32:56 -0400 From: Stephen Litterst Subject: Re: Color scrolls... Message-id: <41543E28.2A5B6225 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Jason wrote: > --------------------------------------------------- > I am finding myself needing to make custom scrolls for a show I am working > on. Never having done this myself, i am looking for help, advice, > whatever on how to do this properly, what supplies i should get, tips for > success, etc. When we did this, I wasn't as meticulous as I could have been in making sure all the pieces were the exact same width. The scrolls worked ok, but were somewhat noisier than they should have been. Steve L -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 24 Sep 2004 12:01:08 -0400 From: Eddie Kramer Subject: Re: lightbulb On 9/24/04 Stephen E. Rees sent: >the lamps were replaced with 220 VAC 60 watt lamps from RL that look like Edisons original lamps. They operate at only about 90% of 120VAC and so long life is anticipated. Or you can use a Dimmer to lower the voltage to 108 V (about 90% of 120VAC) and get the same life from a 120 V lamp Or you can use a 130 V lamp and get a longer life (and less light) Or use a Buck and Boost Transformer to drop (buck) the voltage by 10% Remember Lamp Life = (Rated Life)x((Rated Voltage)/(Applied Voltage))^12 that is Rated Voltage divided by the Applied Voltage to the 12 power. Or for a 10% reduction in voltage, there is about a 350% increase in lamp life Also Lamp Intensity = (Rated Int.)x((Applied Voltage)/ (Rated Voltage))^3.5 in other words Lamp Intensity is the Applied Voltage divided by the Rated Voltage to the 3.5 power. Or for a 10% reduction in voltage, there is about a 70% decrease in lamp intensity Eddie Can you tell I'm working on my power points for LDI ? Teaching is hard, Theater is easier. EK -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Date: Fri, 24 Sep 2004 11:11:03 -0500 Subject: Re: Color scrolls... From: Greg Persinger Message-ID: In-Reply-To: Jason Cowperthwaite wrote: > I am finding myself needing to make custom scrolls for a show I am working > on. Never having done this myself, i am looking for help, advice, > whatever on how to do this properly, what supplies i should get, tips for > success, etc. Jason, I have decided the proper way to manufacture custom gel strings is to buy them custom made from Wybron Color Express. http://www.wybron.com/Entertainment/ColorExpress/ The price is roughly $50 per string. The reason for this is that I have found that trying to build my own strings was a very frustrating time consuming proposition to get everything straight and properly aligned. I know I spent close to $50 worth of my time building each string and the results were not as good as the custom strings Wybron produced. In the long run I decided it wasn't worth my time and effort. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <5.0.0.25.2.20040924122105.01577ba8 [at] 212.86.129.164> Date: Fri, 24 Sep 2004 12:28:46 -0400 From: Nathan Kahn/Look Solutions Subject: Re: Special Effect question In-Reply-To: References: Good idea from Sam. Our Viper NT can be operated in a vertical orientation, and it has a great deal of thrust (50 ft.), so if used with our Quick-Fog fluid you should get exactly the effect you're looking for. http://fogspecs.com Hope this helps, Nathan ------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St., Waynesboro, PA 17268 Phone: 1-800-426-4189 Fax: 1-717-762-7366 Email: usa [at] looksolutions.com Web: www.looksolutions.com ------------------------------------------------------------ >If the CO2 doesn't work out, the right fogger (pointed down) with the right >fluid might disperse quickly enough to look like the dust left after the >plane flies by. > >Good Luck > >Sam Fisher >VP - Fisher Theatrical, LLC. >410-455-9641 office >410-455-9643 fax >410-961-0921 cell > > >-----Original Message----- > > Thanks for the advice. The problem with the powder in addition to >the inhalation problem (this is a musical) is the ten more scenes left in >the act. The problem I see in the fog/smoke machine is that it goes up not >down. I don't mind the noise as it is already going to be hectic sonically >and the blast should add to the moment. ------------------------------ From: "C. Andrew Dunning" Subject: RE: Color scrolls... Date: Fri, 24 Sep 2004 11:38:35 -0500 Organization: Landru Design In-Reply-To: Message-ID: Agreed! Let someone who knows what they're doing (and who does it well) handle this. The $50 is WELL worth the time and aggravation you'll save. I've had GREAT luck w. ColorExpress. C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of Greg Persinger >Sent: Friday, September 24, 2004 10:11 AM >To: Stagecraft >Subject: Re: Color scrolls... > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >Jason Cowperthwaite wrote: > >> I am finding myself needing to make custom scrolls for a show I am >> working on. Never having done this myself, i am looking for help, >> advice, whatever on how to do this properly, what supplies i should >> get, tips for success, etc. > >Jason, > >I have decided the proper way to manufacture custom gel >strings is to buy them custom made from Wybron Color Express. > >http://www.wybron.com/Entertainment/ColorExpress/ > >The price is roughly $50 per string. > >The reason for this is that I have found that trying to build >my own strings was a very frustrating time consuming >proposition to get everything straight and properly aligned. > >I know I spent close to $50 worth of my time building each >string and the results were not as good as the custom strings >Wybron produced. In the long run I decided it wasn't worth my >time and effort. > > >Greg Persinger >Vivid Illumination > >Greg [at] Vividillumination.com > ------------------------------ Date: Fri, 24 Sep 2004 12:48:15 -0400 (EDT) From: Jason Subject: Re: Color scrolls... In-Reply-To: Message-ID: The unfortunate part is that the aggrivation is less in the time its going to take to make these things than trying to fit them into our budget. I dont think there is any way to squeeze 18 $50 scrolls into the buget for this show. I am with you though, i would much rather have a pro do it, but sometimes we have to sacrifice. Jason Cowperthwaite On Fri, 24 Sep 2004, C. Andrew Dunning wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Agreed! Let someone who knows what they're doing (and who does it well) > handle this. The $50 is WELL worth the time and aggravation you'll save. > I've had GREAT luck w. ColorExpress. > > C. Andrew Dunning > Landru Design > - > Nashville, TN > - > cad [at] landrudesign.com > www.landrudesign.com > > > > > >-----Original Message----- > >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > >Of Greg Persinger > >Sent: Friday, September 24, 2004 10:11 AM > >To: Stagecraft > >Subject: Re: Color scrolls... > > > >For info, archives & UNSUBSCRIBE, see > > > >--------------------------------------------------- > > > >Jason Cowperthwaite wrote: > > > >> I am finding myself needing to make custom scrolls for a show I am > >> working on. Never having done this myself, i am looking for help, > >> advice, whatever on how to do this properly, what supplies i should > >> get, tips for success, etc. > > > >Jason, > > > >I have decided the proper way to manufacture custom gel > >strings is to buy them custom made from Wybron Color Express. > > > >http://www.wybron.com/Entertainment/ColorExpress/ > > > >The price is roughly $50 per string. > > > >The reason for this is that I have found that trying to build > >my own strings was a very frustrating time consuming > >proposition to get everything straight and properly aligned. > > > >I know I spent close to $50 worth of my time building each > >string and the results were not as good as the custom strings > >Wybron produced. In the long run I decided it wasn't worth my > >time and effort. > > > > > >Greg Persinger > >Vivid Illumination > > > >Greg [at] Vividillumination.com > > > > > ------------------------------ Message-ID: <000c01c4a257$4c1dc390$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Juliat Followspots Date: Fri, 24 Sep 2004 12:55:23 -0400 Can anyone give me some vendors for Robert Juliat Followspots? Please reply off list. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University rcarovil [at] sju.edu ------------------------------ From: "Karl G. Ruling" Date: Fri, 24 Sep 2004 13:01:36 -0400 Subject: Re: "ESTA regulations" Message-ID: <41541AB0.21424.AC8F1C [at] localhost> In-reply-to: > My 2.5 cents-for what it's worth... > > I don't think it's a great idea to be dumping dust or other > particulate on the actors. Especially when we've got all new ESTA > regulations on fog effects which are 99% water. I'd like to clarify some things. 1) ESTA doesn't have "regulations" on fog effects. We have a published standard for glycol and glycerin fog exposure, ANSI E1.5. ANSI standards are voluntary standards. "Regulations" is a word with many meanings, but one of the more common meanings is "a rule or order having the force of law issued by an executive authority of a government." ANSI standards are not regulations unless a governmental authority adopts them as such. As far as I know, ANSI E1.5 has not been adopted by any governmental authority, although it is good advice and will help people comply with rules that may be indeed regulations. You can get a copy of ANSI E1.5 if you visit the ESTA website at http://www.esta.org/tsp/. There's a link there that will take you to a free download. We'd like people to use it. It's free, but absolutely invaluable for avoiding trouble. We also have fog testing program. It's to help people comply with ANSI E1.5, OSHA regulations, and Equity contractual requirements, and to help people avoid controversies about fog use by being very up- front about what fogs they are using and what the concentrations are in the air. The fog testing program also is not a regulation. You can find out more about it at http://www.esta.org/foginfo/index.html. 2) ANSI E1.5 states levels of glycol or glycerin exposure that are extremely unlikely to cause any negative health effects. It says nothing about water exposure, so whether a fog is 99% water or 9% water is irrelevant. No health issues from the water in fog have been identified. 3) I don't know of any commercial glycol or glycerin fog solutions that are 99% water. The only fogs I know of that have that much water in the fog droplets are dry ice, liquid nitrogen, and liquid synthetic air fogs. At this time, ESTA does not have any standards for dry ice, liquid synthetic air, or liquid nitrogen effects, although we are working on one for planning and executing ALL types of fog effects, including these. That *DRAFT* document is BSR E1.23, and you will find it available on the ESTA website for public review next week. You'll find it then if you visit http://www.esta.org/tsp/. By the way, all our standards have the generic alphanumeric designation of E1.xx. If this is preceded by BSR, it means that it's a draft standard, it's not finished, and it's not approved by anyone. If it is preceded by ANSI, it means that it's a finished standard and ANSI has approved it. If it is simply E1.xx and without ANSI or BSR in front of it, it's finished standard (we've approved it) but it doesn't have ANSI approval. So far, all of our finished standards have ANSI approval, except for E1.11, which has been submitted to ANSI, but approval is still pending. Best regards, Karl G. Ruling Technical Standards Manager ESTA 875 Sixth Avenue, Suite 1005 New York, NY 10001 +1-212-244-1505 Fax +1-212-244-1502 ------------------------------ Date: Fri, 24 Sep 2004 13:08:42 -0400 Subject: Re: Color scrolls... From: Steve Larson Message-ID: In-Reply-To: Not to be negative--but...if you invest the money to purchase 18 scrollers, shouldn't you have pondered how to purchase the color later? Steve on 9/24/04 12:48 PM, Jason at jcowpert [at] wam.umd.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The unfortunate part is that the aggrivation is less in the time its going > to take to make these things than trying to fit them into our budget. I > dont think there is any way to squeeze 18 $50 scrolls into the buget for > this show. I am with you though, i would much rather have a pro do it, > but sometimes we have to sacrifice. > > Jason Cowperthwaite > > > On Fri, 24 Sep 2004, C. Andrew Dunning wrote: > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> Agreed! Let someone who knows what they're doing (and who does it well) >> handle this. The $50 is WELL worth the time and aggravation you'll save. >> I've had GREAT luck w. ColorExpress. >> >> C. Andrew Dunning >> Landru Design >> - >> Nashville, TN >> - >> cad [at] landrudesign.com >> www.landrudesign.com >> >> >> >> >>> -----Original Message----- >>> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >>> Of Greg Persinger >>> Sent: Friday, September 24, 2004 10:11 AM >>> To: Stagecraft >>> Subject: Re: Color scrolls... >>> >>> For info, archives & UNSUBSCRIBE, see >>> >>> --------------------------------------------------- >>> >>> Jason Cowperthwaite wrote: >>> >>>> I am finding myself needing to make custom scrolls for a show I am >>>> working on. Never having done this myself, i am looking for help, >>>> advice, whatever on how to do this properly, what supplies i should >>>> get, tips for success, etc. >>> >>> Jason, >>> >>> I have decided the proper way to manufacture custom gel >>> strings is to buy them custom made from Wybron Color Express. >>> >>> http://www.wybron.com/Entertainment/ColorExpress/ >>> >>> The price is roughly $50 per string. >>> >>> The reason for this is that I have found that trying to build >>> my own strings was a very frustrating time consuming >>> proposition to get everything straight and properly aligned. >>> >>> I know I spent close to $50 worth of my time building each >>> string and the results were not as good as the custom strings >>> Wybron produced. In the long run I decided it wasn't worth my >>> time and effort. >>> >>> >>> Greg Persinger >>> Vivid Illumination >>> >>> Greg [at] Vividillumination.com >>> >> >> >> > > > ------------------------------ Date: Fri, 24 Sep 2004 12:22:20 -0500 Subject: Re: Juliat Followspots From: Greg Persinger Message-ID: In-Reply-To: Rob, Are you looking to rent or purchase? Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <05da01c4a25a$fdab6100$0a01a8c0 [at] Tony> From: "Tony Deeming" References: Subject: Re: Juliat Followspots Date: Fri, 24 Sep 2004 18:21:53 +0100 Can't help with US vendors, but which model you looking at? We have a couple of 1200w Marius F/S and they are excellent! Ynot ----- Original Message ----- From: "Rob Carovillano" To: "Stagecraft" Sent: Friday, September 24, 2004 5:55 PM Subject: Juliat Followspots > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Can anyone give me some vendors for Robert Juliat Followspots? Please reply > off list. > > Rob Carovillano > Technical Director > Bluett Theatre > Saint Joseph's University > rcarovil [at] sju.edu > > ------------------------------ Message-ID: <05e401c4a25b$e929f060$0a01a8c0 [at] Tony> From: "Tony Deeming" References: Subject: Re: Color scrolls... Date: Fri, 24 Sep 2004 18:28:28 +0100 ----- Original Message ----- From: "Jason" To: "Stagecraft" Sent: Friday, September 24, 2004 4:30 PM Subject: Color scrolls... > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey folks, > > I am finding myself needing to make custom scrolls for a show I am working > on. Never having done this myself, i am looking for help, advice, > whatever on how to do this properly, what supplies i should get, tips for > success, etc. > > thanks in advance, > > Jason Cowperthwaite > Lighting/Audio Coordinator > Greenberg Theatre - American University > 1. Make SURE the main colour gels are all the same length, excepting the ends, which obviously need to be longer to wrap round the spools. 2. DON'T try to cut using scissors! 3. Beg/steal/borrow/buy a decent quality rotary trimming guillotine with a good right angle edge. 4. Make yourself a former board - a flat, smooth, splinter-free piece of board (MDF would do) about 15" deep and around 3 feet long, and stick/screw a smooth STRAIGHT piece of timber or metal straight-edge along the edge of one long side. 5. When offering the nicely cut pieces of gel, butt each piece up to the straight edge and tape together. Obviously use proper heat resist scroller tape! 6. When taping, make sure you smooth down all the bubbles in the tape, and if you crease the tape, remove it and cut a new piece. This is the best way I've made them, but as I've only ever made 2 sets, others may have other ideas (apart from buy them in!!) Touch wood, I've never had any split on me yet! Ynot ------------------------------ From: "Michael Eddy" Subject: Leaving the Magazine Date: Fri, 24 Sep 2004 13:39:47 -0400 In-Reply-To: Message-ID: I wanted to let you know that I am leaving Lighting&Sound America magazine. I am going to continue to write for it on a freelance basis. Today is my final day in the office. I am proud of the magazine that we produced and continue to support it as it grows. The magazine is up and running now and I am off to find new challenges. For the moment, I have a project outside the industry, but considering that I have been in the entertainment industry in one form or another for over 25 years, I am sure that I will be back. If you have news, products, or projects, please send them to David Barbour at david [at] plasa.org or you can reach him by phone at 212-352-2334, extension 13. If you would like to reach me, you can reach me at mseddy2900 [at] hotmail.com or via phone at 917-751-0359. I would like to thank you for the support and encouragement that you have provided over the years. And yes, I have modified my subscription to the stagecraft list. I will of course stick around the list for my daily fill of the wild and wacky. Sincerely, Michael S. Eddy ------------------------------ Date: Fri, 24 Sep 2004 13:41:02 -0400 (EDT) From: Boyd Ostroff Subject: Re: "ESTA regulations" In-Reply-To: Message-ID: On Fri, 24 Sep 2004, Karl G. Ruling wrote: > 3) I don't know of any commercial glycol or glycerin fog solutions > that are 99% water. Indeed! This is a pet topic of mine since AGMA (singers union) has been very particular about haze and fog. We use the LeMaitre G300 in haze mode only with the glycerol based fluid. A number of years ago they had a product called "light haze" which was 90% water, but it was discontinued. The current product is 80% water. Sometimes we dilute this with distilled water (if you add an equal quantity of water to the 80% fluid you get a fluid that is 90% water). The "homebrew" 90% water fluid works, but you need to use a lot of it and it seems to be especially rough on the machines. Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Date: Fri, 24 Sep 2004 14:26:13 -0400 (EDT) From: Jason Subject: Re: Color scrolls... In-Reply-To: Message-ID: Well, I would have thought about that, and I also would not have hacked the theatres budget if i was around or in charge when it happened. As I said, sometimes you just have to roll with the punches. *shrug* Jason Cowperthwaite Lighting/Audio Coordinator Greenberg Theatre - American University On Fri, 24 Sep 2004, Steve Larson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Not to be negative--but...if you invest the money > to purchase 18 scrollers, shouldn't you have pondered > how to purchase the color later? > > Steve > > on 9/24/04 12:48 PM, Jason at jcowpert [at] wam.umd.edu wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > The unfortunate part is that the aggrivation is less in the time its going > > to take to make these things than trying to fit them into our budget. I > > dont think there is any way to squeeze 18 $50 scrolls into the buget for > > this show. I am with you though, i would much rather have a pro do it, > > but sometimes we have to sacrifice. > > > > Jason Cowperthwaite > > > > > > On Fri, 24 Sep 2004, C. Andrew Dunning wrote: > > > >> For info, archives & UNSUBSCRIBE, see > >> --------------------------------------------------- > >> > >> Agreed! Let someone who knows what they're doing (and who does it well) > >> handle this. The $50 is WELL worth the time and aggravation you'll save. > >> I've had GREAT luck w. ColorExpress. > >> > >> C. Andrew Dunning > >> Landru Design > >> - > >> Nashville, TN > >> - > >> cad [at] landrudesign.com > >> www.landrudesign.com > >> > >> > >> > >> > >>> -----Original Message----- > >>> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > >>> Of Greg Persinger > >>> Sent: Friday, September 24, 2004 10:11 AM > >>> To: Stagecraft > >>> Subject: Re: Color scrolls... > >>> > >>> For info, archives & UNSUBSCRIBE, see > >>> > >>> --------------------------------------------------- > >>> > >>> Jason Cowperthwaite wrote: > >>> > >>>> I am finding myself needing to make custom scrolls for a show I am > >>>> working on. Never having done this myself, i am looking for help, > >>>> advice, whatever on how to do this properly, what supplies i should > >>>> get, tips for success, etc. > >>> > >>> Jason, > >>> > >>> I have decided the proper way to manufacture custom gel > >>> strings is to buy them custom made from Wybron Color Express. > >>> > >>> http://www.wybron.com/Entertainment/ColorExpress/ > >>> > >>> The price is roughly $50 per string. > >>> > >>> The reason for this is that I have found that trying to build > >>> my own strings was a very frustrating time consuming > >>> proposition to get everything straight and properly aligned. > >>> > >>> I know I spent close to $50 worth of my time building each > >>> string and the results were not as good as the custom strings > >>> Wybron produced. In the long run I decided it wasn't worth my > >>> time and effort. > >>> > >>> > >>> Greg Persinger > >>> Vivid Illumination > >>> > >>> Greg [at] Vividillumination.com > >>> > >> > >> > >> > > > > > > > > ------------------------------ Date: Fri, 24 Sep 2004 14:27:10 -0400 (EDT) From: Jason Subject: Re: Color scrolls... In-Reply-To: Message-ID: Great advice! Thanks, Jason Cowperthwaite Lighting/Audio Coordinator Greenberg Theatre - American University On Fri, 24 Sep 2004, Tony Deeming wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > ----- Original Message ----- > From: "Jason" > To: "Stagecraft" > Sent: Friday, September 24, 2004 4:30 PM > Subject: Color scrolls... > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Hey folks, > > > > I am finding myself needing to make custom scrolls for a show I am working > > on. Never having done this myself, i am looking for help, advice, > > whatever on how to do this properly, what supplies i should get, tips for > > success, etc. > > > > thanks in advance, > > > > Jason Cowperthwaite > > Lighting/Audio Coordinator > > Greenberg Theatre - American University > > > > 1. Make SURE the main colour gels are all the same length, excepting the > ends, which obviously need to be longer to wrap round the spools. > > 2. DON'T try to cut using scissors! > > 3. Beg/steal/borrow/buy a decent quality rotary trimming guillotine with > a good right angle edge. > > 4. Make yourself a former board - a flat, smooth, splinter-free piece of > board (MDF would do) about 15" deep and around 3 feet long, and stick/screw > a smooth STRAIGHT piece of timber or metal straight-edge along the edge of > one long side. > > 5. When offering the nicely cut pieces of gel, butt each piece up to the > straight edge and tape together. Obviously use proper heat resist scroller > tape! > > 6. When taping, make sure you smooth down all the bubbles in the tape, > and if you crease the tape, remove it and cut a new piece. > > This is the best way I've made them, but as I've only ever made 2 sets, > others may have other ideas (apart from buy them in!!) > Touch wood, I've never had any split on me yet! > > Ynot > > > ------------------------------ Date: Fri, 24 Sep 2004 08:30:32 -1000 Subject: No light Flourescent Lights From: Shell Dalzell Message-ID: In-Reply-To: Hey Kids, I am using some 24" and 36" flourescent fixtures in a custom display for a trade show. The 24" units work just fine and coincidentaly have a little round "starter" in the circuit. The 36" units are the problem. When they are turned on, they will not actually light up until I touch the lamp tube with my hand. This is under normal circumstances a pita, but since these units are completely enclosed in the cabinet, it is a disaster. I have tried some slightly used fixtures as well as some brand new ones. The 36" units don't have a "starter" and have a much larger ballast. So far I have gotten advice to check line voltage, (have not done it yet but has always been fine in the past) and to rub the lamp with the comic pages from the Sunday paper. After I do that, should I go rinse the dust off of all of the gel in the cabinet? Any other ideas? Aloha, Shell ------------------------------ From: "Kevin Linzey" Subject: Diluting Fog Fluid (was ESTA regulations) Date: Fri, 24 Sep 2004 14:31:52 -0400 Message-ID: <000d01c4a264$c3039e00$1101a8c0 [at] KLinzeypc> In-Reply-To: Boyd, FYI: diluting fog fluid is a bad idea. I had a long conversation with our LeMatrie rep about it at a recent local USITT expo. To make a long technical discussion short, the temp control in today's machines is set to know when the 80% solution turns to fog/haze. With a 90% solution a lot of the fluid is going to come out as liquid or build up in the machine. It seems to be a lot more critical with haze fluids then with fog fluids. Kevin Kevin Linzey Fisher Theatrical, LLC. Cell: 443-415-4587 Office: 410-455-9641 Fax: 410-455-9643 http://www.fishertheatrical.com/ > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Boyd Ostroff > Sent: Friday, September 24, 2004 1:41 PM > To: Stagecraft > Subject: Re: "ESTA regulations" > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > On Fri, 24 Sep 2004, Karl G. Ruling wrote: > > > 3) I don't know of any commercial glycol or glycerin fog solutions > > that are 99% water. > > Indeed! This is a pet topic of mine since AGMA (singers > union) has been > very particular about haze and fog. We use the LeMaitre G300 > in haze mode > only with the glycerol based fluid. A number of years ago they had a > product called "light haze" which was 90% water, but it was > discontinued. > The current product is 80% water. Sometimes we dilute this > with distilled > water (if you add an equal quantity of water to the 80% fluid > you get a > fluid that is 90% water). The "homebrew" 90% water fluid > works, but you > need to use a lot of it and it seems to be especially rough on the > machines. > > Boyd Ostroff ooo Opera Company > of Philadelphia > Director of Design & Technology ooooooo 1420 > Locust St, Suite 210 > ostroff [at] operaphilly.com ooooooo > Philadelphia, PA 19102 > http://tech.operaphilly.com ooo > (215) 893-3600 x225 > ------------------------------ Date: Fri, 24 Sep 2004 13:36:22 -0500 Subject: Re: No light Fluorescent Lights From: Greg Persinger Message-ID: In-Reply-To: Shell, Make sure that the fixtures are grounded. Sometimes fluorescents have a hard time starting if they are not grounded. When you touch the lamp your body would act as a ground and help start the lamp. Check that you have a ground to the metal fixture and that you are in a grounded plug (no ground prong cut off) and a grounded outlet. I hope this helps you. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Subject: RE: No light Flourescent Lights Date: Fri, 24 Sep 2004 11:38:05 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B732393A [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" If I had a problem and somebody suggested that I "rub the lamp" to solve = it, I would probably assume they were having some fun with me... Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- >So far I have gotten advice to check line voltage, (have not done it = yet but >has always been fine in the past) and to rub the lamp with the comic = pages >from the Sunday paper. After I do that, should I go rinse the dust off = of all of the gel in the cabinet? Any other ideas? Aloha, Shell ------------------------------ Message-ID: <43262.207.177.227.29.1096052839.squirrel [at] kauko.hallikainen.org> In-Reply-To: References: Date: Fri, 24 Sep 2004 12:07:19 -0700 (PDT) Subject: Re: No light Flourescent Lights From: "Harold Hallikainen" Fluorescent tubes generally like to have a grounded metal plate near the tubes. Do you have one? Harold > Hey Kids, > > I am using some 24" and 36" flourescent fixtures in a custom display for a > trade show. The 24" units work just fine and coincidentaly have a little > round "starter" in the circuit. > > The 36" units are the problem. When they are turned on, they will not > actually light up until I touch the lamp tube with my hand. This is under > normal circumstances a pita, but since these units are completely enclosed > in the cabinet, it is a disaster. I have tried some slightly used > fixtures > as well as some brand new ones. The 36" units don't have a "starter" and > have a much larger ballast. > > So far I have gotten advice to check line voltage, (have not done it yet > but > has always been fine in the past) and to rub the lamp with the comic pages > from the Sunday paper. After I do that, should I go rinse the dust off of > all of the gel in the cabinet? > > Any other ideas? > -- FCC Rules Online at http://www.hallikainen.com ------------------------------ Message-ID: <001301c4a26a$72e686c0$0100a8c0 [at] tricia> From: "Joker7" Subject: Test no need to read Date: Fri, 24 Sep 2004 20:12:35 +0100 No mail today so will send myself one to see if the list is still there :-) ------------------------------ From: "Kacey Fisher" Subject: RE: "ESTA regulations" Date: Fri, 24 Sep 2004 15:17:26 -0400 In-Reply-To: Message-ID: Snippage or Karl's post on ESTA Regulations... Karl, Thank you for your clarification on the ESTA standards on fog fluids. It was very informative and shed a great deal of light on my understanding of the "regualations" as I origianlly understood them to be. Thanks, Kacey Fisher ------------------------------ From: "Kacey Fisher" Subject: RE: "ESTA regulations" Date: Fri, 24 Sep 2004 15:29:10 -0400 In-Reply-To: Message-ID: Boyd, The reason the "home brew" is tough on the Le Maitre machines is that the machines are specifically calibrated to the Le Maitre fluids. The machine "knows" what to expect and how to operate based on the content of the fluids. When you dilute the fluid, you do affect the performance because of this calibration. I know Le Maitre is pretty meticulous about their fluid production. The water comes from a natural spring under their factory in Canada and is triple filtered through reverse osmosis filters. ~Kacey Fisher ...Sometimes we dilute this > with distilled water (if you add an equal quantity of water > to the 80% fluid you get a fluid that is 90% water). The > "homebrew" 90% water fluid works, but you need to use a lot > of it and it seems to be especially rough on the machines. > > Boyd Ostroff ooo Opera Company ------------------------------ Date: Fri, 24 Sep 2004 15:55:15 -0400 From: Stephen Litterst Subject: Re: "ESTA regulations" Message-id: <41547BA3.FC01EC43 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Kacey Fisher wrote: > --------------------------------------------------- > I know Le Maitre is pretty meticulous about their fluid production. The > water comes from a natural spring under their factory in Canada and is > triple filtered through reverse osmosis filters. Most of us just have a damp basement. Big companies like Le Maitre have a "natural spring under their factor." That's one of the more creative marketing solutions I've heard. :) -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Fri, 24 Sep 2004 12:59:25 -0700 From: LINDA ESSIG Subject: jobs at ASU Cc: linda.essig [at] asu.edu Message-id:

Listers:

I became chair/artistic director of theatre at arizona state university this year and we have some positions available of interest to the list (I hope)

 

- Linda Essig

 

Production/Stage Manager and Scenery Specialist (two positions) - Arizona State University. Asst. Professor of Practice in Production Stage/Management to work collaboratively to develop annual production schedule and budgets with AD.  Production scheduling, oversight of production budgets, space and personnel allocation for ASU Theatre productions.  Teach Stage Management, production management and other courses in area of specialization.  Supervise and mentor stage management student work; Coordinate the teaching of the THP 301 lab course sequence. Professional experience required; MFA and appropriate union membership preferred.  Academic year appointment.  Theatre Scenery Specialist collaborates with faculty TD on all scenic production needs including scenery construction and supervision of student workers. Ten-month renewable appointment.  Deadline November 2, 2004 or every two weeks thereafter until filled.  Submit letter of interest, curriculum vitae, names/addresses/phone numbers of three references to:  Stage and Production Manage Search Committee or Theatre Scenery Specialist Search Committee, P. O. Box 872002, Tempe, AZ  85287-2002.  AA/EOE

------------------------------ Message-Id: <5.0.0.25.2.20040924154554.014e2158 [at] 212.86.129.164> Date: Fri, 24 Sep 2004 16:13:04 -0400 From: Nathan Kahn/Look Solutions Subject: Re: Diluting Fog Fluid (was ESTA regulations) In-Reply-To: References: At 02:31 PM 9/24/2004 -0400, you wrote: >FYI: diluting fog fluid is a bad idea. I had a long conversation with our >LeMatrie rep about it at a recent local USITT expo. To make a long >technical discussion short, the temp control in today's machines is set to >know when the 80% solution turns to fog/haze. With a 90% solution a lot of >the fluid is going to come out as liquid or build up in the machine. It >seems to be a lot more critical with haze fluids then with fog fluids. I don't how my fog machine knows whether it has quick dissipating, regular, or long lasting fog fluid in it. The heater operates in the same temperature range for all of these fluids, yet they have varying proportions of water to glycol (and even varying glycols). Actually I don't think the aerosolization temperatures for 90%-water fog fluid and 80%-water fog fluid are different at all - I think it's based solely on the glycol and the water doesn't enter into it. (But I'm prepared to be proven wrong :-) In any case, it's within the normal operating temperature range of my fogger. The exception to the above is glycerin and glycol. These do have vastly different vaporization temps, and foggers designed to accept both do have a switch so you can tell it which one you're using. Nevertheless, diluting fog fluid is a bad idea because: * the water used for fog fluid must be purified in a particular way * water consumes heating capacity, reducing the capability of your fogger to make fog The safest thing for your machine and your health is to always use unadulterated fog fluid that's specified by the machine's mfg as appropriate. Nathan ------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St., Waynesboro, PA 17268 Phone: 1-800-426-4189 Fax: 1-717-762-7366 Email: usa [at] looksolutions.com Web: www.looksolutions.com ------------------------------ From: "Kacey Fisher" Subject: RE: "ESTA regulations" Date: Fri, 24 Sep 2004 17:10:08 -0400 In-Reply-To: Message-ID: Yeah, good point. Actually, it's not really under their factory, but on the grounds I believe. ~Kacey > > > I know Le Maitre is pretty meticulous about their fluid > production. > > The water comes from a natural spring under their factory in Canada > > and is triple filtered through reverse osmosis filters. > > Most of us just have a damp basement. Big companies like Le > Maitre have a "natural spring under their factor." > > That's one of the more creative marketing solutions I've heard. :) > > -- > Stephen C. Litterst > Technical Supervisor > Ithaca College > Dept. of Theatre Arts > 607/274-3947 > slitterst [at] ithaca.edu > ------------------------------ Message-ID: <013401c4a286$d05a6940$6d7444ce [at] OTC1375516> From: "Janice Pohl" Subject: revolving door problem Date: Fri, 24 Sep 2004 17:35:37 -0500 Please pardon any cross-listing: Hello, all. I have the beginnings of a tech problem-solving question. Our TD may send me a message this evening with some of the additional particulars, but I thought I'd send this out in case I can catch at the close of the week anyone who might have a suggestion for us. We're tackling a revolving door unit for Grand Hotel in a theatre shop which DOES NOT have welding capabilities. Naturally, all the variations of what ISN'T working well moved from disappointment yesterday (Thursday) through several options to PROBLEM today(Friday), as we're closing in on the date we promised the director it would be usable (Monday). At least we're not at tech week. The door is mounted on a platform (12", I believe). The individual door panels were designed to evoke large glass ovals. In other words, the plan was to use sheets of ply with large oval cutouts. The doors are mounted on a central pipe. The pipe fitting at the top of the pipe is mounted on lumber (approx 1'0" square) to which the door frames can be fixed at 90 degree angles. The biggest problem is wobble: bottom and top panel "rails," the "stile" length opposite the pipe, and so on. Actors move through the revolving door a lot, and the "transparency" of the overall unit is crucial. For extra fun, there is no larger architectural structure: no wall area next to or above the revolving door. Mercifully, the option to have the whole unit moveable was long scrapped. Any thoughts? Many thanks. Janice Pohl Elmhurst College ------------------------------ From: "Jason" References: Subject: Re: Juliat Followspots Date: Fri, 24 Sep 2004 15:48:50 -0700 Message-ID: You HAVE TO BE KIDDING! That's the worst follow spot that I have ever ran. I have ran follow spots for over 28 years in many configuration and would rather hold an old Altman by hand than use a Juliat followspot. Jason ----- Original Message ----- From: "Tony Deeming" Subject: Re: Juliat Followspots > Can't help with US vendors, but which model you looking at? > We have a couple of 1200w Marius F/S and they are excellent! > > Ynot > > ------------------------------ Message-ID: <065801c4a289$224457a0$0a01a8c0 [at] Tony> From: "Tony Deeming" References: Subject: Re: Juliat Followspots Date: Fri, 24 Sep 2004 23:52:11 +0100 So you've used the Marius? Admittedly our experience is limited, but we find them ideal for the work we do. You have obviously had a poor experience not reflected in ours. Ynot ----- Original Message ----- From: "Jason" To: "Stagecraft" Sent: Friday, September 24, 2004 11:48 PM Subject: Re: Juliat Followspots > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > You HAVE TO BE KIDDING! That's the worst follow spot that I have ever ran. I > have ran follow spots for over 28 years in many configuration and would > rather hold an old Altman by hand than use a Juliat followspot. > > Jason > > ----- Original Message ----- > From: "Tony Deeming" > Subject: Re: Juliat Followspots > > Can't help with US vendors, but which model you looking at? > > We have a couple of 1200w Marius F/S and they are excellent! > > > > Ynot > > > > > ------------------------------ In-Reply-To: References: Message-Id: From: Kurt Cypher Subject: Re: revolving door problem Date: Fri, 24 Sep 2004 19:16:16 -0400 On Sep 24, 2004, at 6:35 PM, Janice Pohl wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Please pardon any cross-listing: > > > Hello, all. > [SNIP] > The doors are mounted on a central pipe. The pipe fitting at the top > of the > pipe is mounted on lumber (approx 1'0" square) to which the door > frames can > be fixed at 90 degree angles. The biggest problem is wobble: bottom > and > top panel "rails," the "stile" length opposite the pipe, and so on. > Actors > move through the revolving door a lot, and the "transparency" of the > overall > unit is crucial. > [SNIP] > > Any thoughts? > The first thing that comes to my mind is small castors under the panels to support them, assuming I'm understanding the construction correctly. > Many thanks. > Hope that helps, Kurt > ------------------------------ Subject: RE: revolving door problem Date: Fri, 24 Sep 2004 20:37:32 -0400 Message-ID: From: "Fitch, Tracy" Yes, -- fixed casters aligned perpendicular to a radius of the circle. You really need to brace that pipe quite extensively for this to work. One possibility might be to mount a longer piece of pipe somewhere below the stage floor and just have it extend through the stage floor through a very tightly fit hole. That would help to brace the bottom which would reduce the wobble further up. A probably more practical solution might be to put a door frame around the door which the pipe axle runs through as well. Then make the door frame big enough that you effectively have corner blocks built into it to keep it from wobbling as much. --Tracy Fitch TD, UNC Charlotte; LD, Everywhere Else > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Kurt > Cypher > --------------------------------------------------- > On Sep 24, 2004, at 6:35 PM, Janice Pohl wrote: > [SNIP] > > The doors are mounted on a central pipe. The pipe fitting at the top > > of the > > pipe is mounted on lumber (approx 1'0" square) to which the door > > frames can > > be fixed at 90 degree angles. The biggest problem is wobble: bottom > > and > > top panel "rails," the "stile" length opposite the pipe, and so on. > > Actors > > move through the revolving door a lot, and the "transparency" of the > > overall > > unit is crucial. > [SNIP] > The first thing that comes to my mind is small castors under the panels > to support them, assuming I'm understanding the construction correctly. ------------------------------ Message-ID: <14676765.1096075068083.JavaMail.root [at] gonzo.psp.pas.earthlink.net> Date: Fri, 24 Sep 2004 21:17:48 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Subject: Re: Color scrolls... Jason: How many are you making, and for what kind of scroller? I dare say it may be MUCH more cost and time effective to have them built for you. Not trying to discourage you at all--just trying to keep things in perspective. --Sean Sean R. McCarthy seanrmc [at] earthlink.net > ----- Original Message ----- > From: "Jason" > To: "Stagecraft" > Sent: Friday, September 24, 2004 4:30 PM > Subject: Color scrolls... > > > > Hey folks, > > > > I am finding myself needing to make custom scrolls for a show I am working > > on. Never having done this myself, i am looking for help, advice, > > whatever on how to do this properly, what supplies i should get, tips for > > success, etc. > > > > thanks in advance, > > > > Jason Cowperthwaite > > Lighting/Audio Coordinator > > Greenberg Theatre - American University ------------------------------ Message-Id: <6.1.2.0.0.20040924181531.00b1fa48 [at] localhost> Date: Fri, 24 Sep 2004 18:22:47 -0700 From: Jerry Durand Subject: Re: lightbulb In-Reply-To: References: At 01:35 PM 9/22/2004, you wrote: >I've heard that the companies who made these bulbs that lasted forever went >out of business, because people only bought the product the one time. >That's what happens when quality control runs amuck. Also, long life lamps aren't very efficient. I have a bedside lamp that I had before I met my wife in 1981. I almost always us it on the "low" setting, so this is why I've never burned out the lamp. However, I'm quite certain the efficiency is very low. If you compare the lumen output of long-life lamps compared to short-life lamps, you'll see the tradeoff. You get life or you get light, but not both (for the same wattage). Now, with florescent lamps, I found when we put high-efficiency transistorized ballasts in our office fixtures, we could use lamps that wouldn't even light in the old fixtures.* We haven't had to change a lamp since. So, we save power AND save on changing lamps (but the ballasts were expensive). A side benefit is you no longer see any flicker, the lamps are running at much higher frequency (I think 50KHz for these). --- *This works because the new "ballasts" don't use the heaters in the lamp, they just strike them with high voltage so there's not much left to burn out. They will eventually die, but not for a long time. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com pgp: 45A2 0A52 1D56 70C2 B865 9D5C 83F2 2112 04CE 2B54 ------------------------------ Message-ID: <4154CB44.37CDBC7F [at] cybercom.net> Date: Fri, 24 Sep 2004 21:35:00 -0400 From: Dale Farmer Subject: Re: Color scrolls... References: Tony Deeming wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > ----- Original Message ----- > From: "Jason" > To: "Stagecraft" > Sent: Friday, September 24, 2004 4:30 PM > Subject: Color scrolls... > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Hey folks, > > > > I am finding myself needing to make custom scrolls for a show I am working > > on. Never having done this myself, i am looking for help, advice, > > whatever on how to do this properly, what supplies i should get, tips for > > success, etc. > > > > thanks in advance, > > > > Jason Cowperthwaite > > Lighting/Audio Coordinator > > Greenberg Theatre - American University > > > > 1. Make SURE the main colour gels are all the same length, excepting the > ends, which obviously need to be longer to wrap round the spools. > > 2. DON'T try to cut using scissors! > > 3. Beg/steal/borrow/buy a decent quality rotary trimming guillotine with > a good right angle edge. > > 4. Make yourself a former board - a flat, smooth, splinter-free piece of > board (MDF would do) about 15" deep and around 3 feet long, and stick/screw > a smooth STRAIGHT piece of timber or metal straight-edge along the edge of > one long side. > > 5. When offering the nicely cut pieces of gel, butt each piece up to the > straight edge and tape together. Obviously use proper heat resist scroller > tape! When cutting the individual gel pieces, cut them about half an inch wider than actually needed. ONce you have assembled the string, trim both edges to finish width. Makes the assembly process a lot easier, not having to worry about precisely lining up the edges. Having a couple good heavy paperweights to hold the gel in place after aligning and during taping is helpful. --Dale ------------------------------ Message-ID: <4154CD07.2C6F8FCE [at] cybercom.net> Date: Fri, 24 Sep 2004 21:42:31 -0400 From: Dale Farmer Subject: Re: No light Flourescent Lights References: Shell Dalzell wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey Kids, > > I am using some 24" and 36" flourescent fixtures in a custom display for a > trade show. The 24" units work just fine and coincidentaly have a little > round "starter" in the circuit. > > The 36" units are the problem. When they are turned on, they will not > actually light up until I touch the lamp tube with my hand. This is under > normal circumstances a pita, but since these units are completely enclosed > in the cabinet, it is a disaster. I have tried some slightly used fixtures > as well as some brand new ones. The 36" units don't have a "starter" and > have a much larger ballast. > > So far I have gotten advice to check line voltage, (have not done it yet but > has always been fine in the past) and to rub the lamp with the comic pages > from the Sunday paper. After I do that, should I go rinse the dust off of > all of the gel in the cabinet? Are they the correct tubes as recommended by the fixture manufacturer? Read the bulb codes and compare. Some tubes don't need starters, some do. Although I've never heard of this kind of failure mode, might be an interesting trick for a halloween house. --Dale ------------------------------ Message-ID: <4154CF2D.786E4AA2 [at] cybercom.net> Date: Fri, 24 Sep 2004 21:51:41 -0400 From: Dale Farmer Subject: Re: revolving door problem References: Janice Pohl wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Please pardon any cross-listing: > > Hello, all. > > I have the beginnings of a tech problem-solving question. Our TD may send > me a message this evening with some of the additional particulars, but I > thought I'd send this out in case I can catch at the close of the week > anyone who might have a suggestion for us. > > We're tackling a revolving door unit for Grand Hotel in a theatre shop which > DOES NOT have welding capabilities. Naturally, all the variations of what > ISN'T working well moved from disappointment yesterday (Thursday) through > several options to PROBLEM today(Friday), as we're closing in on the date we > promised the director it would be usable (Monday). At least we're not at > tech week. > > The door is mounted on a platform (12", I believe). The individual door > panels were designed to evoke large glass ovals. In other words, the plan > was to use sheets of ply with large oval cutouts. > > The doors are mounted on a central pipe. The pipe fitting at the top of the > pipe is mounted on lumber (approx 1'0" square) to which the door frames can > be fixed at 90 degree angles. The biggest problem is wobble: bottom and > top panel "rails," the "stile" length opposite the pipe, and so on. Actors > move through the revolving door a lot, and the "transparency" of the overall > unit is crucial. > > For extra fun, there is no larger architectural structure: no wall area > next to or above the revolving door. Mercifully, the option to have the > whole unit moveable was long scrapped. Go to the local junkyard and get yourself an wheel and axle from a junk car. Have the junkyard shop do appropriate welding to turn the wheel into something that you than bolt down to the surface of the platform. Have them weld up some flanges on the axle sticking up that you can bolt the individual door panels too. Once you have the thing assembled and spinning, figure out some dressing to hide the junkyard parts. If they have a sandblaster, make use of that to give you a good paintable surface on the metal. --Dale ------------------------------ Date: Fri, 24 Sep 2004 22:42:23 -0500 Subject: Re: Juliat Followspots From: Greg Persinger Message-ID: In-Reply-To: Jason wrote: > You HAVE TO BE KIDDING! That's the worst follow spot that I have ever ran. I > have ran follow spots for over 28 years in many configuration and would > rather hold an old Altman by hand than use a Juliat followspot. Jason, Maybe the Juliat followspots are hard to run but the output is beautiful. I agree with Tony that there are some situations where they work incredibly well as I have used them on several shows and a few short tours with excellent results. Like everything there are pros and cons but I found that the good outweighed the bad. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <102.5073a8a6.2e86499d [at] aol.com> Date: Sat, 25 Sep 2004 00:10:05 EDT Subject: Re: lightbulb Eddie writes: >Or you can use a Dimmer to lower the voltage to 108 V (about 90% of 120VAC) >and get the same life from a 120 V lamp I've used a similar technique to extend lamp life in difficult to reach and show critical fixtures. I use the soft patch to limit the light output to 90%. This is bright enough for most purposes and we do not have to remember to write it into every cue to get the savings. It happens automatically. SteveV Orl, FL Bracing for yet another hurricane in the "Sunshine State" ------------------------------ From: =?ISO-8859-1?Q?K=E5re_Olai_Lindbach?= Subject: Re: Commodore Date: Sat, 25 Sep 2004 11:36:20 +0200 Organization: LLP Message-ID: References: In-Reply-To: On Thu, 23 Sep 2004 16:44:28 +0100 (BST), you (Charlie Richmond ) wrote: [About Commodore Amiga] >On Thu, 23 Sep 2004, Kare Olai Lindbach wrote: > >> As a lighting desk also? > >In some cases, yes. We had a proprietary show control system that handled up to >16,000 channels of 0-10V lighting and motion control plus up to 8 million >channels of audio -- all on a single Amiga ;-) Sounds nice. Well, from one who used the Microstar (*) application on an Apple II around 1980, I was just wondering if it was a functional lighting desk. What you describe make me think about a prosess-running application reading from ex. a manual prepared file. Not that that is any bad, but the complexity of a lightdesk lies in those user-interative functions. And the Amiga is a far more advanced machine than the Apple II. (I myself got, and still have several Atart ST-family machines, but never got around to program a stage/next lighting desk there before I went over to Linux-PCs. I have never had a Commodore myself.) (*) I still have a lieflet lying around, and a copy of the application. Those were free, as nowadays, the price was put into the necessary hardware: one or more I/O-cards on the internal card-bus, outputting 0 to +5/+10/-10V0 or something similar. -- mvh/Regards Kåre Olai Lindbach (News: Remove '_delete_' and '.invalid') (HTML-written email from unknown will be discarded) ------------------------------ End of Stagecraft Digest #143 *****************************