Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 8914085; Wed, 15 Dec 2004 03:02:00 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #228 Date: Wed, 15 Dec 2004 03:01:33 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.3 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #228 1. Re: The saw stop by "Paul Guncheon" 2. Re: Saw Stop by 3. Job announcement and description by "Paul H. Sullivan" 4. Re: Stage Combat Choreographers... by "Waxler, Steve (waxlers)" 5. Recall: Stage Combat Choreographers... by "Waxler, Steve (waxlers)" 6. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Waxler, Steve (waxlers)" 7. Re: Stage Combat Choreographers... by Ron Cargile 8. Re: Stage Combat Choreographers... by "CATHERINE BRUMM" 9. Re: Stage Combat Choreographers... by "CATHERINE BRUMM" 10. Re: The New Red Skelton Theatre in Vincennes, Indiana by CB 11. Re: Folding and storing an RP screen. by CB 12. Re: Fire in Tucson Convention Center Arena by CB 13. Re: Fire in Tucson Convention Center Arena by Mark O'Brien 14. Question about shop duty breakdown by "Shakespeare & Company Production Department" 15. Stage Combat Choreographers... by CB 16. Rocks/Boulders by CB 17. Re: Saving the bandwidth by June Abernathy 18. Re: the ethos of sound (and light?) by CB 19. Re: Folding and storing an RP screen. by CB 20. Re: Question about shop duty breakdown by Dale Farmer 21. Slightly OT - Looking for a 16MM Carbon Arc Proj. by Greg Persinger 22. Re: Stage Combat Choreographers... by FrankWood95 [at] aol.com 23. Re: Stage Combat Choreographers... by FrankWood95 [at] aol.com 24. Re: the ethos of sound (and light?) by Jerry Durand 25. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 26. Re: Slightly OT - Looking for a 16MM Carbon Arc Proj. by FrankWood95 [at] aol.com 27. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 28. Re: Richard D. Holen & The New Red Skelton Theatre by Marty_Petlock [at] sarasotagov.com 29. Re: the ethos of sound (and light?) by Charlie Richmond 30. Dimming LEDs by Jerry Durand 31. Re: the ethos of sound (and light?) by Stephen Litterst 32. Re: Stage Combat Choreographers... by "Matthew Breton" 33. fixing radio mic by "Julie Fox" 34. Re: fixing radio mic by Dale Farmer 35. Re: Fire in Tuscon by "Riter, Andrew (Head Ltg)" 36. Re: holiday threads by "Riter, Andrew (Head Ltg)" 37. Re: holiday threads by "Dr. Randall W.A. Davidson" 38. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 39. Re: Stage Combat Choreographers... by "Dr. Randall W.A. Davidson" 40. Re: Stage Combat Choreographers... by FrankWood95 [at] aol.com 41. Re: the ethos of sound (and light?) by Charlie Richmond 42. Re: Stage Combat Choreographers... by "Dr. Randall W.A. Davidson" 43. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 44. Re: the ethos of sound (and light?) by Jerry Durand 45. Re: fixing radio mic by David Duffy 46. Re: Stage Combat Choreographers... by "Matthew Breton" 47. Re: fixing radio mic by "Tony" 48. Stock Platform "texas triscut" system question by THOMAS M SHORROCK 49. Re: Stock Platform "texas triscut" system question by "Immel,Patrick" 50. Re: Stage Combat Choreographers... by "Delbert Hall" 51. Re: Stock Platform "texas triscut" system question by usctd [at] columbia.sc 52. Re: Trio 650 by "holyoak1" 53. Re: Stage Combat Choreographers... by Dale Farmer 54. Re: fixing radio mic by Dale Farmer 55. rosco 1500 fogger by "RODOK!!!" 56. Re: rosco 1500 fogger by Greg Persinger 57. Re: rosco 1500 fogger by "Mike Burnett" 58. Re: rosco 1500 fogger by "Curt Mortimore" 59. Re: fixing radio mic by MissWisc [at] aol.com *** 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: <010701c4e1d8$e488c290$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: The saw stop Date: Tue, 14 Dec 2004 02:31:51 -1000 As I remember, these guys developed what seemed to be a truly effective safety device for both the table and band saws. After they were unable to sell it to manufacturers due to the huge cost of retooling, they lobbied to have government pass a law worded specifically to require all table and band saws incorporate their product. The wording of the proposed law read like one of their sales brochures. I also seem to remember that initially they were not entirely forthcoming in regard to how the saw stopped, i.e. what got broke and how much it cost to restart the tool. Seemed like they were kinda whiny about the whole thing. Laters, Paul "I'm losing my hair," Tom bawled. ------------------------------ From: Subject: Re: Saw Stop Date: Tue, 14 Dec 2004 08:37:19 -0500 Message-ID: <1103031439.41beec8fbcd4c [at] webmail0.isis.unc.edu> References: In-Reply-To: The latest Fine Woodworking (the tools and shops issue) has an article on the Saw Stop. I believe that they saw that it is possible to disable the safety for working with wet wood. > Message-Id: > In-Reply-To: > References: > Date: Mon, 13 Dec 2004 18:04:47 -0500 > From: Mike Katz > Subject: Re: The saw stop > > It is a great idea both for the table saw and for the band saw, > However it disables the saw until a new part can be installed, and > that module is not cheap IIRC , so you need to buy the saw and > several of the modules. Also it will stop if it hits wet wood (I > certainly have had water spraying at me from the saw) again > requiring replacement of the module. It seems like a great idea that > > must have a few kinks ironed out before it is ready for all table > saws. > Mike > > >I saw a demo of this item last week. It is truly amazing and should > > >be considered by everyone that runs a scene shop. This is a link to > > >an article and video on the saw stop on NPR. I have never been this > > >impressed by a safety item before, it is truly amazing. > > > >http://www.npr.org/templates/story/story.php?storyId=4182602 > > > > -- > > Mike Katz > Technical Director > MIT Theater Arts > Rinaldi Tile Building > 77 Mass Ave E33-101 > Cambridge MA 02139 > 617.253.0824 > mkatz [at] mit.edu > "Lunacy Abounds" ------------------------------ Message-Id: <5.2.1.1.0.20041214110351.00b54cb0 [at] pop.mail.yahoo.com> Date: Tue, 14 Dec 2004 11:07:07 -0500 From: "Paul H. Sullivan" Subject: Job announcement and description Job description and announcement. Feel free to contact me directly if you have any questions. POSITION TITLE: Assistant Production Manager POSITION LOCATION: Times Union Center for Performing Arts 300 West Water Street REPORTS TO: Paul Sullivan, Production Manager START DATE: To Be Determined Based on Availability HOURS: Full Time; Hours vary; Evenings, Weekends & Some Holidays Required Benefited SALARY: Salaried; Exempt Based on Experience and Qualifications APPLY: Veterans Memorial Arena 300 A. Philip Randolph Blvd.; or Times Union Center for Performing Arts 300 West Water Street; or Fax Resume: 630-0232; Deborah Johnson; or Email: SMGHR [at] coj.net DEADLINE: Monday, December 20, 2004 DUTIES AND QUALIFICATIONS: Assist the production manager with all technical stage aspects which include, but are not limited to: electrics, audio, fly, crewing, logistics and preventive maintenance for all stage systems, personnel and equipment. Prepares production estimates, coordinates activities and responsibilities of subcontractors and vendors, maintains databases, calendars and production records, prepares payroll, serves as event manager on duty as needed, and assists in training and oversight of event and facility staff in safety procedures and practices. ------------------------------------------------------------------------------------------------------------ JOB TITLE: Assistant Production Manager FACILITY: Times-Union Center FLSA: Salary Exempt DEPARTMENT: Operations REPORTS TO: Production Manager SUPERVISES: Stagehands POSITION SUMMARY: The Assistant Production Manager will work with the Production Manager on all technical stage aspects which include, but are not limited to, electrics, audio, fly, crewing, logistics and preventive maintenance for all stage systems, personnel and equipment. MAJOR RESPONSIBILITIES: * Assist Production Manager in daily office duties * Maintain databases, calendars and production records * Coordinate the activities and responsibilities of subcontractors and vendors involved with productions * Interact with Jacksonvilles leading theater professionals and visiting companies * Assist with special projects and front of house details * Assist with supervision of load-ins, set ups, show runs and strikes for all shows to include civic events, Broadway shows, symphony performances and national concert tours * Coordinate and distribute back-of-house event information to facility departments * Prepare technical production estimates update the client and event files with estimate revisions. * Prepare and process stage employee union payroll * Serve as Event Manager on duty as needed * Assist in the training and oversight of event and facility staff in proper safety procedures and practices * All other duties as assigned WORKING CONDITIONS: * This position requires the ability to work flexible hours, including holidays and weekends, based on events. * Involves walking, standing, bending, stooping and climbing stairs. May include manual labor, moderate lifting and/or arduous working conditions; ability to lift up to 50 pounds * Position may be subject to adverse noise levels, from moderate to loud * Position is not substantially exposed to adverse conditions KNOWLEDGE, SKILLS AND ABILITIES: * Two years training in theater with technical emphasis or professional equivalence * Experience working in a performing arts center/theater desired * Knowledge of IATSE, practices, and procedures * Knowledge of operations, maintenance and stage management * Excellent interpersonal and communications skills are required * Strong organizational and personnel management skills required * Understand and work from general instructions, specifications, blueprints, sketches and schedules * Strong computer skills required * Working knowledge of applicable OSHA, state and other work environment and safety regulations * Ability to work with and motivate union stage personnel and front-of-house personnel * Ability to remain calm in the face of performance crisis situations * Hearing sufficiently to clearly hear voices, alarms, bells and horns and to distinguish colors * To perform this job successfully, an individual must be able to perform each essential duty satisfactorily. The requirements listed above are representative of the knowledge, skill, and/or ability required. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions. Signature below indicates understanding and acceptance of job duties described herein. __________________________________________ Date:__________________ Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF069E0D31 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 11:25:19 -0500 While not in the NC area, Cincinnati is not that far. Try k jenny jones (joneskj [at] ucmail.uc.edu), she is a certified fight choreographer and teaches at the University of Cincinnati. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: CATHERINE BRUMM [mailto:cbrumm [at] nhcs.k12.nc.us] Sent: Monday, December 13, 2004 1:50 PM To: Stagecraft Subject: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am preparing to embark on a HS production of Pirates of Penzance in the spring, officially I am the TD/designer but I am also the voice of reason at times when the director begins to dream beyond her means. I am currently located in Wilmington, NC and I am looking for people expierienced in stage combat and weapons handling to get a list of names I can give hereas to who to call to come 1) choreograph the fights, 2) talk to the cast about the proper way to work with stage weapons, and 3) speak to our "weapons handlers" about the proper care and maintenance of the weapons. If anyone know of anyone in the area I can talk to about the prospect of this project I would appreciate the information greatly. I have some contact in NYC but I think they would be a bit beyond our means. Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF069E0D32 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: Recall: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 11:27:05 -0500 The sender would like to recall the message, "Stage Combat Choreographers...". ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF069E0D36 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Tue, 14 Dec 2004 11:31:51 -0500 You are always welcome here. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] Sent: Monday, December 13, 2004 6:00 PM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Steve: thank you very much for the kind invitation. I fear, maybe that is not the word, but as a rule, pretty constant, I am persona non grata et al. I shall be very pleased when I ma in that territory to drop by. Thank you again. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Monday, December 13, 2004 10:15 AM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Doom, Any time you find yourself in the Cincinnati area you are welcome here. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] Sent: Monday, December 13, 2004 12:37 PM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Sounds really good. When I am doing a workshop in Elkart, a seminar at Notre Dame, visiting my daughter in Muncie, touring the old family homestead in Vincennes, looking up Dennis Andres at the convention center, looking in on Ball State and the rigging system, and trolling the countryside, I would like to see the theater. Hope that is possible. Doom Mobile - 917 331 0207 ------------------------------ Message-Id: <6.0.0.22.2.20041214091631.01b1bc68 [at] pop.uci.edu> Date: Tue, 14 Dec 2004 09:16:48 -0800 From: Ron Cargile Subject: Re: Stage Combat Choreographers... >I am preparing to embark on a HS production of Pirates of Penzance in >the spring, officially I am the TD/designer but I am also the voice of >reason at times when the director begins to dream beyond her means. I am >currently located in Wilmington, NC and I am looking for people >expierienced in stage combat and weapons handling to get a list of names I would suggest calling the School of Drama at NC School of the Arts and see if they can get you some names. (336) 770-3238 ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ Message-Id: Date: Tue, 14 Dec 2004 12:41:10 -0500 From: "CATHERINE BRUMM" Subject: Re: Stage Combat Choreographers... I understand all this and this is why I am trying to get names together now before we even do auditions so that they can be trained well. There is one student here who likes to play around with weapons and collects blades and thinks he knows what he is doing but isn't trained and doesn't. I have worked professionally on shows with far fewer weapons written then Pirates of Penzance which is why I know it is important to have this person involved from day one. I have to get the director to realize this too but I may work through the administration to get that done. Thanks everyone for the asisstance so far, >>> FrankWood95 [at] aol.com 12/13/04 08:28PM >>> I'm on the wrong side of the Pond for you, and I imagine your AHJ might have views. But there's one piece of advice I have to offer. Rehearsal time. This involves the Fight Arranger being involved early, allowed time for his choreography, and then rehearsal time until the actors are move perfect. This includes how to get out of it if it has gone wrong. A broken blade, a missed move: both can wreak havoc. Both can happen. Frank Wood Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html ------------------------------ Message-Id: Date: Tue, 14 Dec 2004 12:52:00 -0500 From: "CATHERINE BRUMM" Subject: Re: Stage Combat Choreographers... My fear is that our over zealous student who deems himself someone who knows this stuff will wear the director down to adding more elements so he can choreograph and the libretto comes with a weapons list and even if we do not do any actual choreography I would still like someone to come in and speak to the students about weapon safety etc. I believe that teaching them respect for the weapons will prove more productive in the long run then just laying down the rules and giving ultimatums...but hey even if I get the director to loose all the weapons this will be good information for future reference. Thank you all again for all your help and advice Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html >>> doomster [at] worldnet.att.net 12/14/04 01:45AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Yes. Having directed Gilbert and Sullivan productions, numerous times, I never used any weapons, and had some successful productions, but that is just me. I reckon choreographed combat can be directed in, and that is the choice of the director. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jacqueline Haney Kidwell Sent: Monday, December 13, 2004 7:16 PM To: Stagecraft Subject: Re: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- --- CATHERINE BRUMM wrote: > I am preparing to embark on a HS production of > Pirates of Penzance in > the spring, officially I am the TD/designer but I am > also the voice of > reason at times when the director begins to dream > beyond her means. I hope you're also pointing out to her that there is no NEED for choreographed fighting in Gilbert & Sullivan---anything that could cause the audience to worry for even a moment is really contrary to the spirit of their works. Jacqueline Haney Kidwell (Valley Light Opera) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <3.0.6.32.20041214105350.01802008 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 10:53:50 From: CB Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana >You would be amazed at what can happen in the course of construction. >Stay with them, badger them, ask questions, and you will be much happier >at the dedication. I speak from a long year of hard-earned experience. This is possibly the most valuable truth told on theis list for a new building owner. Keep at them. Electricians won't understand your needs. Plumbers won't understand your needs. HVAC guys will think that they know your needs better than you. This is about YOUR needs, and if you ain't there, well, the phrase you;ll here is "We took a vote..." Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041214110040.02067670 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:00:40 From: CB Subject: Re: Folding and storing an RP screen. >Somehow, I cannot imagine CB out on stage hosing down the RP screen.... Oh, Mark, you sooo can too.... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041214110345.02067670 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:03:45 From: CB Subject: Re: Fire in Tucson Convention Center Arena >What I heard was that they were blowing a dust mixture, and using >squibs to simulate a mine collapse. That's why "there were no pyrotechnics scheduled" tickled me so much. I know for a fact that one of the set decorators/painters KNOWS the old 'exploding creamer' trick, 'cause I showed it to him. My guess is that the ivestugators will show this to be the cause. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: <847F4472-4DFA-11D9-B83E-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Fire in Tucson Convention Center Arena Date: Tue, 14 Dec 2004 11:03:54 -0700 Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Dec 14, 2004, at 11:03 AM, CB wrote: > I > know for a fact that one of the set decorators/painters KNOWS the old > 'exploding creamer' trick, 'cause I showed it to him. Funny... One of the few things that would get one 86'd from a bar like the Buffet, not that I know anything about that. ------------------------------ Reply-To: From: "Shakespeare & Company Production Department" Subject: Question about shop duty breakdown Date: Tue, 14 Dec 2004 13:20:25 -0500 Message-ID: I am currently in the beginning phases of hiring for next summer, and was wondering if anyone could tell me the duties assigned to the following crew: T.D. A.T.D. Master Carp Shop Foreman We are a theatre company that is growing into spaces and productions larger than we've been in, and we have tried many different packages. I am specifically interested in the differences anyone may know of between shop foreman and Master Carp. You can reply off-list if you like. Thanks in advance, Nathan Towne-Smith Production Manager Shakespeare & Company (413) 637-8302 x15 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. ------------------------------ Message-Id: <3.0.6.32.20041214112525.02067670 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:25:25 From: CB Subject: Stage Combat Choreographers... >I am looking for people >expierienced in stage combat and weapons handling to get a list of names >I can give hereas to who to call to come 1) choreograph the fights, 2) >talk to the cast about the proper way to work with stage weapons, and 3) >speak to our "weapons handlers" about the proper care and maintenance of >the weapons. Look to your local SCA for weapon handling, storage and mantainence (Shire of Seareach?). There may also be someone there who can help with stage fighting as well. Just because these guys fight once a week and don't get hurt doesn't mean that they are capable of teaching stage fighting. Stage fighting is almost the opposite of what they do, the ONLY parallel is that they are holding weapons. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041214112810.02067670 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:28:10 From: CB Subject: Rocks/Boulders >We are looking for ideas on large (5'x3'x3.5') "fake" rocks. Boulders shall >be sat on/stood on. Come take them out of my yard. They'll have to be repainted, as they've been out there a few years (since the TV series "Legend" went off teh air. You remember, the old west McGuyver guy?) and they might need a bit of repair, but there yours for the hauling. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <20041214183140.19666.qmail [at] web14102.mail.yahoo.com> Date: Tue, 14 Dec 2004 10:31:40 -0800 (PST) From: June Abernathy Subject: Re: Saving the bandwidth Allow me to waste some as I congratulate Dr. Doom on his new much abbreviated sig file. Hooray! ===== June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Yahoo! Mail - now with 250MB free storage. Learn more. http://info.mail.yahoo.com/mail_250 ------------------------------ Message-Id: <3.0.6.32.20041214114255.02067670 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:42:55 From: CB Subject: Re: the ethos of sound (and light?) >I dug out a TV enginering text, which is more modern. How much more? I'm betting that there is a publication date on the book somewhere, especially if it is a text book. Give us a hist as to what decade you're dealing with before you drop these nuggets. >The maximum contrast MIGHT be of the order of 600:1, under ideal conditions. >Although the contrast, measured with a photometer at the tube face, may be >very high, it is considered that, under normal viewing conditions, 50:1 is >usually what is percieved by the viewer. If you start off with 100:1, just 2% of >peak white level being reflected from the screen will knock it back to 34:1. "MIGHT, ideal, may, normal, usually, if..." This doesn't sound like a very scientific text, Frank. Truth be told, granny may start at 100:1 nowadays, and if the lights are on and the curtains are open, she may be knocking it back to 30:1, but lest stop generalizing based on Granny's old console with the round screen, shall we? Lets start basing our engineering on something from this decade at the very least, yes. Frank, if you dion't have current information, you don't have correct information. Any contribution you make based on info that is over ten years old should be couched in terms no stronger than that of an opinion. Kids, these opinions are my own. Where facts come into question, I'll present them as I find them where I find them and provide footnote material. When I express my opinion, I will express it as my opinion and advise you to take as many grains of salt as you need. When I repeat rumour I well label it as such, and encourage you to do your own research. Take note, Uncle. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041214114606.01802008 [at] pop.west.cox.net> Date: Tue, 14 Dec 2004 11:46:06 From: CB Subject: Re: Folding and storing an RP screen. >I don't recall the original post saying that it was a Fast Fold screen, >but if it is, then Chris' directions are spot on. Ergo the 'If it is a fastfold, dalite, or similar screen" part of my post. >My only quibble is with >the "Wash, rinse" part. I don't do that part Ehm, my apologies. "Wash, Rinse, Repeat" is a euphamism for "repeat these first steps, in that order, til done". Its a bit of shorthand for "It continues in this fashion." Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <41BF3888.72009B84 [at] cybercom.net> Date: Tue, 14 Dec 2004 14:01:28 -0500 From: Dale Farmer Subject: Re: Question about shop duty breakdown References: Shakespeare & Company Production Department wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am currently in the beginning phases of hiring for next summer, and was > wondering if anyone could tell me the duties assigned to the following crew: > > T.D. > A.T.D. > Master Carp > Shop Foreman > > We are a theatre company that is growing into spaces and productions larger > than we've been in, and we have tried many different packages. I am > specifically interested in the differences anyone may know of between shop The big issue, in my experience, is breaking down the lines of authority. When who the boss is becomes confused, especially if there is disagreements, things get really muddled, and often leads to confrontations. The way I think of them, is that the shop foreman owns the shop space, and doesn't go outside of it. The master carpenter(s) will take the set design, and using the facilities of the shop, and whatever else is needed to build the set. So the MC is the customer of the shop foreman. But in the shop, the foreman is the boss as far as things like safety, work procedures, prioritizing different jobs and so on. The TD and ATD are the customers of the MC, they spec the job, by handing off the set design to the MC. They also have approval on the final product that the MC delivers. IF folks are mentally flexible, they can assume the different roles in the various transactions that go on during the process, and the lines of authority fall naturally out from that based on what is going on. This depends on the personalities involved. --Dale ------------------------------ Date: Tue, 14 Dec 2004 13:20:08 -0600 Subject: Slightly OT - Looking for a 16MM Carbon Arc Proj. From: Greg Persinger Message-ID: In-Reply-To: Hello, I have a friend of mine that is looking for a 16MM Carbon Arc movie projector. I think he would like to have it in working condition but would be willing to consider anything in decent shape. If you have something that fits the bill sitting in your closet and you would like to get rid of it you can post or email me directly and I will put you in touch. Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 14 Dec 2004 14:32:31 EST Subject: Re: Stage Combat Choreographers... In a message dated 14/12/04 02:22:55 GMT Standard Time, theatricalmatt [at] hotmail.com writes: > Um, Frank, if a blade breaks, something's gone horribly, horribly wrong; the > actors aren't sending their energy correctly. It can happen, even at international competition level. This is why epee fencers wear a tough canvas plastron protecting their right armpit and ribs. A lot of epee work is attacks on the sword arm, which is not very theatrical, but if the blade should break at the tip, it's not hard for it to enter the sleeve of your jacket and penetrate a lung. Hence the plastron. Any stabbing weapon needs great care. I have, hanging over my fireplace in France, the sword I once made for the: "A rat! A rat in the arras" scene in Hamlet. In order to penetrate the arras, I had to grind the tip (it was a fencing epee blade) to a sharp point, and I wasn't going to leave that lying around in the general props storage. It was fully lethal. Fights with cutting weapons are generally slightly safer, slower, and more theatrical. But you can still get nasty bruising. Would you believe that a production of 'The Rivals' got as far as the final dress before anyone realised that the fight between Captain Absolute and Sir Lucius O'Trigger had never ben choreographed, let alone rehearsed? I was playing O'Trigger, and in the interval we tried to work something out. It sort of worked, although I bruised his knuckles when he made a bad parry one night. Some choreographers go over the top. I remember seeing a 'Richard III' at Minack some years ago. The Richard-Bolingbroke fight lasted all of ten minutes! First they went at each othe with morning stars, and then with broadswords. Then they wrestled for a while, and I think that Bolingbroke eventually cut his throat. What a waste of drinking time! Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <13f.899ab2c.2ef09fae [at] aol.com> Date: Tue, 14 Dec 2004 14:57:34 EST Subject: Re: Stage Combat Choreographers... In a message dated 14/12/04 18:23:47 GMT Standard Time, psyd [at] cox.net writes: > Just because these guys fight once a week and don't get > hurt doesn't mean that they are capable of teaching stage fighting. Stage > fighting is almost the opposite of what they do, the ONLY parallel is that > they are holding weapons. You are less that fair. They know about weapons, and about their safe use. Well, some weapons: let's stick to swords. But you are generally right. Fencing is about reacting to your opponent. Stage fighting is not. It's about executing pre-determined actions. Almost the first thing that a fight arranger has to do is to devise or learn a method to write a fight down on paper, just like the words of the script. The method I have used is basically that devised by Arthur Wise, in his book 'Weapons in the Theatre' (Longmans, 1968). This shows both the footwork and the bladework. There are probably others. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20041214120627.0297fc00 [at] localhost> Date: Tue, 14 Dec 2004 12:11:17 -0800 From: Jerry Durand Subject: Re: the ethos of sound (and light?) In-Reply-To: References: At 05:14 PM 12/13/2004, you wrote: >Really, it's all down to the Vision Control Engineer, and to the lighting >designer. The VCE has, under his hands, control of the brightness, contrast, >gamma, and colour rendering, of all the cameras, and with Grade 1 monitors to >judge the results on. He it is who determines the technical quality of the >pictures, and the shot-to-shot consistency. But, it used to be the custom >to have, in >a corner of the control room, a cheap, primitive display, so that you couls >see what grandma was getting. I wish more studios would use a TV (not a monitor) to check things, then you wouldn't have so much problem with people wearing fine checks and such that drive TVs crazy. We've demonstrated this to people using our Sony RGB monitor that also has composite inputs. Put a beautiful picture on the screen with RGB and then switch to composite (both originating from our SGI system). Big shock. :) I have run into audio recording studios that have a room with consumer gear in it...just so they can hear it the way the buyer will (not counting the few people with the golden systems). ---------- 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 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 14 Dec 2004 15:21:04 EST Subject: Re: the ethos of sound (and light?) In a message dated 14/12/04 18:41:11 GMT Standard Time, psyd [at] cox.net writes: > How much more? I'm betting that there is a publication date on the book > somewhere, especially if it is a text book. Give us a hist as to what > decade you're dealing with before you drop these nuggets. The publication date is 1969, the publisher is Longmans, and the author was one of my teachers at the BBC's Engineering Training School, one H. V. Sims. No ISBN. Yes the TV Engineering I learned and practised was conservative. The trouble is, that it always has to be backwards compatible. I remember prefixing some of my lectures at that same training school, much later, with the words: "Of course, if we were designing it nowadays, we shouldn't do it quite this way". With modern ICs, the Bruch Blanking sequence is not needed. But it was when it was devised. I have no information about how often consumers update their technology. Frank, if you dion't have current > information, you don't have correct information. Any contribution you make > based on info that is over ten years old should be couched in terms no > stronger than that of an opinion. > Kids, these opinions are my own. Where facts come into question, I'll > present them as I find them where I find them and provide footnote > material. Then do so. Post some documented facts. I have yet seen none from you. I have at least furnished real numbers, from real textbooks for real engineers, and written by real engineers. When I express my opinion, I will express it as my opinion and > advise you to take as many grains of salt as you need. When I repeat > rumour I well label it as such, and encourage you to do your own research. > Take note, Uncle. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1b8.875dadd.2ef0a5c2 [at] aol.com> Date: Tue, 14 Dec 2004 15:23:30 EST Subject: Re: Slightly OT - Looking for a 16MM Carbon Arc Proj. In a message dated 14/12/04 19:21:01 GMT Standard Time, gregpersin [at] comcast.net writes: > I have a friend of mine that is looking for a 16MM Carbon Arc movie > projector. I think he would like to have it in working condition but would > be willing to consider anything in decent shape. > > If you have something that fits the bill sitting in your closet and you > would like to get rid of it you can post or email me directly and I will put > you in touch. The name Bauer comes to mind. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <65.3aa2ee19.2ef0a73d [at] aol.com> Date: Tue, 14 Dec 2004 15:29:49 EST Subject: Re: the ethos of sound (and light?) In a message dated 14/12/04 20:12:27 GMT Standard Time, jdurand [at] interstellar.com writes: > I wish more studios would use a TV (not a monitor) to check things, then > you wouldn't have so much problem with people wearing fine checks and such > that drive TVs crazy. > > We've demonstrated this to people using our Sony RGB monitor that also has > composite inputs. Put a beautiful picture on the screen with RGB and then > switch to composite (both originating from our SGI system). Big shock. :) The BBC used to. But what can you do? I know that check shirts, or striped ones, can confuse the colour sub-carrier. But, what can you do? Frank Wood ------------------------------ Subject: Re: Richard D. Holen & The New Red Skelton Theatre Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 14 Dec 2004 15:53:08 -0500 Richard, You got some really good advice on today's (Tuesday 12/14/04) list. My suggestion would be to take Steve Ehrenberg's posting and have it tattooed on the inside of your eyelids so you can refer to it frequently as you will need it. After it re-opened, I got hired to work here at the poster child for botched theaters and the problems were largely because there was no one on site doing what Steve is telling you. So that's my advice and I'm stickin' to it. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Date: Tue, 14 Dec 2004 20:58:03 +0000 (GMT) From: Charlie Richmond Subject: Re: the ethos of sound (and light?) In-Reply-To: Message-ID: References: On Tue, 14 Dec 2004, Jerry Durand wrote: > I have run into audio recording studios that have a room with consumer gear > in it...just so they can hear it the way the buyer will (not counting the few > people with the golden systems). This is actually quite common - essential for jingle and commercial studios ;-) Charlie ------------------------------ Message-Id: <6.2.0.14.0.20041214124849.0297f3c8 [at] localhost> Date: Tue, 14 Dec 2004 12:59:16 -0800 From: Jerry Durand Subject: Dimming LEDs I was just reading through several of the Color Kinetics patents from this year (the ones that claim to cover dimming of LEDs as well as Lonworks and other carrier-current control). I noticed where they describe how they generate the pulse-width-modulation (PWM) for the LEDs there's a serious flaw in their logic (as well as needing a proof-reader for spelling and grammar). They violate a basic rule of PWM, that updating the data shall NOT add artifacts to the duty cycle. But, whenever they get in a new DMX packet, they freeze the PWM timer until they've completed the update. This WILL change the duty cycle and depending on the rate of DMX packets (up to 800 per second per the DMX spec), this could cause flickering or uneven dimming. I wonder if removing their logic error gives a little protection from their patent? Of course they also claim a patent for using "LEEDs" for lighting (must be LEDs with extra emissions). :) Glad I don't use their products. ---------- 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 ------------------------------ Date: Tue, 14 Dec 2004 16:02:05 -0500 From: Stephen Litterst Subject: Re: the ethos of sound (and light?) Message-id: <41BF54CD.F7079F58 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > > The BBC used to. But what can you do? I know that check shirts, or striped > ones, can confuse the colour sub-carrier. But, what can you do? Um. You can change the shirt? 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: From: "Matthew Breton" Subject: Re: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 16:48:36 -0500 [Re: Stage combat and weapon breakage] >It can happen, even at international competition level. This is why epee >fencers wear a tough canvas plastron protecting their right armpit and >ribs. As you mention in another post, fencing and stage combat are two completely different animals. Trained sportsmen (and women) sometimes make the worse stage combatants; they've been trained to *try* to come in contact with their opponent, whereas in stage combat you try and *not* strike your partner. The defender, of course, has to react as though her were going to be struck, but the actual fight choreography revolves around both participants missing in exciting, dramatic ways. Catherine, maybe the best position for your blade aficiando is as weapons wrangler? Have him be in charge of maintaining the weapons, removing burrs but not sharpening them to a fine blade, locking them up at night and distributing at the top of fight call. It's a role that consumes quite a bit of time, and will allow plenty of monitoring of his activities; if a sword is poorly sharpened, it'll certainly be noticeable by whomever wields it. If you're more confident of his maturity, you might have him demonstrate bsaic sword technique at the beginning of the first fight call, under the watchful eye of the fight choreographer; that way, she can check out any actual stage combat experience he might have (it'll show immediately), and either build him up a little or take him out of the mix. While I can't make personal recommendations, I did a quick Google search for fight choreos in your area, and came up with contact information for at least five; most are college-based (as another list member suggested). -- Matt ======= _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ From: "Julie Fox" Subject: fixing radio mic Date: Tue, 14 Dec 2004 22:16:05 -0000 In-Reply-To: Message-ID: Has anyone got any tips regarding the fixing of radio mic's - where is the best place and what do you use to avoid damaging skin - any advice would be much appreciated Thanks Jay ------------------------------ Message-ID: <41BF7606.713A67BB [at] cybercom.net> Date: Tue, 14 Dec 2004 18:23:50 -0500 From: Dale Farmer Subject: Re: fixing radio mic References: Julie Fox wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has anyone got any tips regarding the fixing of radio mic's - where is the > best place and what do you use to avoid damaging skin - any advice would be > much appreciated > > Thanks > Jay Depends what the problem is. Generally resoldering the connector after it gets intermintent and keeping the battery contacts clean are about as much as I'm willing to do. Find out the cost of sending it back for a factory service. Generally it is not too expensive and they bring the whole thing back to spec. --Dale ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F1601FFB0 [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: RE:Fire in Tuscon Date: Tue, 14 Dec 2004 15:29:01 -0800 What kind of arenas do you have there where there is a rock concert AND a movie shoot at the same time? I'm guessing it they weren't happening in the same ice rink (a typical Canadian areana). Was the movie shoot Up Stage of the concert's backdrop? Or is it more like a trade and convention centre with multiple large rooms, so the two events were actually separated? Can someone please clarify? Andrew M. Riter Head Lighting Technician Chan Centre ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F1601FFB1 [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: RE: holiday threads Date: Tue, 14 Dec 2004 15:31:11 -0800 > > From: "Paul Schreiner" > > > Hey gang we could do our own list Nativity Scene, we have=20 > > lots of Wise Men and Shepherds ...................oh wait,=20 > > what are we missing? > > I'd wager...virgins? > We're missing the all-seeing, all-knowing entity? (sorry, Bill, you're close, but not quite there yet) Andrew M. Riter Head Lighting Technician Chan Centre ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: holiday threads Date: Tue, 14 Dec 2004 15:33:27 -0800 Message-ID: <011c01c4e235$5166eb60$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Does that mean that I cannot qualify? Hmn. just inquiring. So very difficult to surpass Mr. Sapsis...... doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Riter, Andrew (Head Ltg) Sent: Tuesday, December 14, 2004 3:31 PM To: Stagecraft Subject: Re: holiday threads For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > > From: "Paul Schreiner" > > > Hey gang we could do our own list Nativity Scene, we have=20 > > lots of Wise Men and Shepherds ...................oh wait,=20 > > what are we missing? > > I'd wager...virgins? > We're missing the all-seeing, all-knowing entity? (sorry, Bill, you're close, but not quite there yet) Andrew M. Riter Head Lighting Technician Chan Centre ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 14 Dec 2004 18:34:00 EST Subject: Re: the ethos of sound (and light?) In a message dated 14/12/04 20:59:20 GMT Standard Time, charlier [at] RichmondSoundDesign.com writes: > > I have run into audio recording studios that have a room with consumer gear > > > in it...just so they can hear it the way the buyer will (not counting the > few > > people with the golden systems). I suppose that it's sensible. And the gap between good consumer gear ant the professional stuff is narrower, thse days. > > This is actually quite common - essential for jingle and commercial studios ; > -) But that raises an ugly question. What is good consumer gear, or any gear? When I walk or drive round the streets, I am often assaulted by extra special, double heavy bass responses, coming from cars. I sometimes wonder why their doors don't pop out. OK, I have been a professional engineer, whose ambition has been to achieve linear systems. What goes into the microphone comes out of the loudspeaker, but louder, maybe. And I go for classical music, and am 65 years old. That tells you what I am. No apology. Good consumer gear is that which does what the consumer wants. Does he know what it's doing to his his hearing? Frank Wood ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 15:37:36 -0800 Message-ID: <011f01c4e235$e4e08540$8d90fea9 [at] DrDoomsComputer> In-Reply-To: The last major production I directed and teched, a cast of 200, where the use of weapons was required, I hired a professional from Hollywood to work for a week with the students and the Conquistador weapons. Costly, but impressive. Royal Hunt of the Sun. Peter Shaffer. Dr. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of CATHERINE BRUMM Sent: Tuesday, December 14, 2004 9:52 AM To: Stagecraft Subject: Re: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- My fear is that our over zealous student who deems himself someone who knows this stuff will wear the director down to adding more elements so he can choreograph and the libretto comes with a weapons list and even if we do not do any actual choreography I would still like someone to come in and speak to the students about weapon safety etc. I believe that teaching them respect for the weapons will prove more productive in the long run then just laying down the rules and giving ultimatums...but hey even if I get the director to loose all the weapons this will be good information for future reference. Thank you all again for all your help and advice Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html >>> doomster [at] worldnet.att.net 12/14/04 01:45AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Yes. Having directed Gilbert and Sullivan productions, numerous times, I never used any weapons, and had some successful productions, but that is just me. I reckon choreographed combat can be directed in, and that is the choice of the director. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jacqueline Haney Kidwell Sent: Monday, December 13, 2004 7:16 PM To: Stagecraft Subject: Re: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- --- CATHERINE BRUMM wrote: > I am preparing to embark on a HS production of > Pirates of Penzance in > the spring, officially I am the TD/designer but I am > also the voice of > reason at times when the director begins to dream > beyond her means. I hope you're also pointing out to her that there is no NEED for choreographed fighting in Gilbert & Sullivan---anything that could cause the audience to worry for even a moment is really contrary to the spirit of their works. Jacqueline Haney Kidwell (Valley Light Opera) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 14 Dec 2004 18:53:17 EST Subject: Re: Stage Combat Choreographers... In a message dated 14/12/04 21:49:58 GMT Standard Time, theatricalmatt [at] hotmail.com writes: > >It can happen, even at international competition level. This is why epee > >fencers wear a tough canvas plastron protecting their right armpit and > >ribs. > > As you mention in another post, fencing and stage combat are two completely > different animals. This is true. But, fencers at least know how to handle their weapons. Trained sportsmen (and women) sometimes make the worse > stage combatants; they've been trained to *try* to come in contact with > their opponent, whereas in stage combat you try and *not* strike your > partner. No. absolutely no! If you want to achieve any degree of realism, every blow must be aimed to hit. That is why exact choreography is so important. The parries must be as precice as the attacks. But all strikes must be aimed at the opponent's body. The defender, of course, has to react as though her were going to > be struck. And he is. Frank Wood ------------------------------ Date: Tue, 14 Dec 2004 23:54:10 +0000 (GMT) From: Charlie Richmond Subject: Re: the ethos of sound (and light?) In-Reply-To: Message-ID: References: On Tue, 14 Dec 2004 FrankWood95 [at] aol.com wrote: > But that raises an ugly question. What is good consumer gear, or any gear? The object is actually to listen on typical consumer gear so one knows what the typical user will hear... ;-) > When I walk or drive round the streets, I am often assaulted by extra > special, double heavy bass responses, coming from cars. I sometimes wonder why their > doors don't pop out. Because the latches are very sturdy ;-) > Good consumer gear is that which does what the consumer wants. Does he know > what it's doing to his his hearing? More 'professional' audio people destroy their hearing IMHO simply because they often listen at extremely high volumes for longer periods of time. Charlie ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 15:57:01 -0800 Message-ID: <000001c4e238$9b34c7f0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Excellent Frank. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Tuesday, December 14, 2004 3:53 PM To: Stagecraft Subject: Re: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 14/12/04 21:49:58 GMT Standard Time, theatricalmatt [at] hotmail.com writes: > >It can happen, even at international competition level. This is why epee > >fencers wear a tough canvas plastron protecting their right armpit and > >ribs. > > As you mention in another post, fencing and stage combat are two completely > different animals. This is true. But, fencers at least know how to handle their weapons. Trained sportsmen (and women) sometimes make the worse > stage combatants; they've been trained to *try* to come in contact with > their opponent, whereas in stage combat you try and *not* strike your > partner. No. absolutely no! If you want to achieve any degree of realism, every blow must be aimed to hit. That is why exact choreography is so important. The parries must be as precice as the attacks. But all strikes must be aimed at the opponent's body. The defender, of course, has to react as though her were going to > be struck. And he is. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d8.329ca793.2ef0d871 [at] aol.com> Date: Tue, 14 Dec 2004 18:59:45 EST Subject: Re: the ethos of sound (and light?) In a message dated 14/12/04 23:55:13 GMT Standard Time, charlier [at] RichmondSoundDesign.com writes: > More 'professional' audio people destroy their hearing IMHO simply because > they > often listen at extremely high volumes for longer periods of time. I am afraid that you are right. I have managed to avoid this, and have no more than the hearing loss for my age. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20041214155929.0296af30 [at] localhost> Date: Tue, 14 Dec 2004 16:09:46 -0800 From: Jerry Durand Subject: Re: the ethos of sound (and light?) In-Reply-To: References: At 03:34 PM 12/14/2004, you wrote: >But that raises an ugly question. What is good consumer gear, or any gear? I didn't say GOOD gear. You pick the gear that matches the demographic. If this is the local news, the talent should KNOW to not wear check/striped clothes (or ones the same color as the green/blue/orange screen). If you're making an advertisement to play on the radio during commute time, you use an automobile with standard factory sound. If you're selling (pretty much ALL radio and TV is about selling, nothing else) to rich young people, you make it work best on higher quality systems. There are basically two types of home audio/video setups. The type that has the latest and actually knows how to hook it up and then just about everybody else with their Walmart TV and bookshelf stereo (both made in China out of recycled parts). >Good consumer gear is that which does what the consumer wants. Does he know >what it's doing to his his hearing? What's that you say? Could you speak up so I can hear you? I was actually thinking of hearing loss for all the soldiers in Iraq after seeing videos of them using mortars without hearing protection. I have on hearing protection even when I'm 100 feet from the mortars (for fireworks). I would imagine we'll have to turn up the sound even louder in theaters for the returning troops. ---------- 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 ------------------------------ Message-ID: <41BF80E2.8060601 [at] audiovisualdevices.com.au> Date: Wed, 15 Dec 2004 10:10:10 +1000 From: David Duffy Subject: Re: fixing radio mic References: In-Reply-To: Dale Farmer wrote: >Julie Fox wrote: > >>For info, archives & UNSUBSCRIBE, see >>--------------------------------------------------- >> >>Has anyone got any tips regarding the fixing of radio mic's - where is the >>best place and what do you use to avoid damaging skin - any advice would be >>much appreciated >> >> >Depends what the problem is. Generally resoldering the connector after it >gets intermintent and keeping the battery contacts clean are about as much >as I'm willing to do. Find out the cost of sending it back for a factory >service. Generally it is not too expensive and they bring the whole thing >back to spec. > > I think she meant fixing (attaching) it to the person. David... ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 19:14:33 -0500 > Trained sportsmen (and women) sometimes make the worse > > stage combatants; they've been trained to *try* to come in contact with > > their opponent, whereas in stage combat you try and *not* strike your > > partner. >No. absolutely no! If you want to achieve any degree of realism, every >blow >must be aimed to hit. That is why exact choreography is so important. The >parries must be as precice as the attacks. But all strikes must be aimed at >the >opponent's body. And here our philosophies differ. And the philosophies of every fight choreo I've worked with. Consider the usual parallel made between unsheathed weapons and loaded guns: would you allow one actor to point a pistol at another's head? This is a discussion we've had on this list before, iirc. -- Matt ======= _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-ID: <024601c4e23b$4c2cf8a0$0800000a [at] Tony> From: "Tony" References: Subject: Re: fixing radio mic Date: Wed, 15 Dec 2004 00:16:13 -0000 ----- Original Message ----- From: "Dale Farmer" To: "Stagecraft" Sent: Tuesday, December 14, 2004 11:23 PM Subject: Re: fixing radio mic > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > Julie Fox wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Has anyone got any tips regarding the fixing of radio mic's - where is the > > best place and what do you use to avoid damaging skin - any advice would be > > much appreciated > > > > Thanks > > Jay > > Depends what the problem is. Generally resoldering the connector after it > gets intermintent and keeping the battery contacts clean are about as much > as I'm willing to do. Find out the cost of sending it back for a factory > service. Generally it is not too expensive and they bring the whole thing > back to spec. > > --Dale Erm I think Jay meant where to AFFIX the mic heads.....? 8-)) Ynot ------------------------------ Message-ID: <3544234.1103070249388.JavaMail.shorrock [at] fau.edu> Date: Tue, 14 Dec 2004 19:24:09 -0500 (EST) From: THOMAS M SHORROCK Subject: Stock Platform "texas triscut" system question Hi all. We are getting ready to ramp up a new theatre with a new set of stock platforms. After weighing our options, we are looking at a texas triscuit system. I'm curious as to what solutions people have arrived at for custom shape and sizes in the deck. Do you weld the custom frames, 2x4 the frames, etc? Thanks for your input. Tom ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE390244AC9F1 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: Stock Platform "texas triscut" system question Date: Tue, 14 Dec 2004 18:38:36 -0600 We use triscuits and stud walls all of the time! Here is the Yale Tech Brief that explains them: http://www.yale.edu/drama/publications/tech_brief/samples.html Click on: The Triscuit-Studwall Deck System enjoy, Patrick Immel Northwest Missouri State University -----Original Message----- From: THOMAS M SHORROCK To: Stagecraft Sent: 12/14/2004 6:24 PM Subject: Stock Platform "texas triscut" system question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi all. We are getting ready to ramp up a new theatre with a new set of stock platforms. After weighing our options, we are looking at a texas triscuit system. I'm curious as to what solutions people have arrived at for custom shape and sizes in the deck. Do you weld the custom frames, 2x4 the frames, etc? Thanks for your input. Tom ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Stage Combat Choreographers... Date: Tue, 14 Dec 2004 20:09:39 -0500 I do not claim to be an expert here but I have done a little fight choreography (and even taught stage combat) and I was taught (and teach) that every attack is make to a very specific area of the body so that the actor parrying the attack will know exactly where to position the parry, BUT (in most cases) the "fencing measure" - the distance between the opponents in the fight- is such that the attacker cannot actually make a "hit." There are exceptions to this rule, but when it is broken another safey rule must be applied so that the attack is safe. Also, stage fights are usually done at "three-quarter" speed - fast enough to look good, but slow enough so that the actors are in complete control. I think Matt has the right idea - this is acting and not something being done by members of the Society for Creative Annacronism. (Before anyone complains about this comment, this is not a put-down of this group, just people with a different purpose). BTW, Wilmington is 375 miles from me, if I can help. -Delbert Delbert L. Hall 423-773-HALL (4255) > >And here our philosophies differ. And the philosophies of every fight >choreo I've worked with. > >Consider the usual parallel made between unsheathed weapons and loaded >guns: would you allow one actor to point a pistol at another's head? This >is a discussion we've had on this list before, iirc. > > >-- Matt > >======= > >_________________________________________________________________ >Express yourself instantly with MSN Messenger! Download today - it's FREE! >http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ > ------------------------------ Message-ID: <4046.24.168.209.168.1103076764.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Tue, 14 Dec 2004 21:12:44 -0500 (EST) Subject: Re: Stock Platform "texas triscut" system question From: usctd [at] columbia.sc I find it easiest to rip 2x4 down to the correct size and sheet with 3/4" ply to make custom shapes. If you are doing studwalls on 4 foot centers you may need to add a leg here and there, but I find it works well. I just made a bunch of triscuits (and still have sheet goods to make more when time allows) for our last show and it worked great. I adapted the design somewhat to make them match up to a bunch of 1x2 aluminum tubing 4x8 platforms we had when I got here. Both the triscuits (which the students started calling saltines instead) and the aluminum platforms screw in from the top with 4" deck screws and a washer. Goes in quick and is wonderfully quiet and solid. They stack nicely in the corner as well. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- I'm curious as to what solutions people have arrived > at for custom shape and sizes in the deck. Do you weld the custom > frames, 2x4 the frames, etc? > ------------------------------ From: "holyoak1" Cc: Andy [at] DucksEchoSound.com ('Andy Leviss') Subject: RE: Trio 650 Date: Tue, 14 Dec 2004 20:53:27 -0500 In-Reply-To: <002401c4de29$31b816f0$a19afea9 [at] AndyLeviss> Message-ID: Got it Friday and am happy with it - keys are bigger and screen is brighter - only thing that pissed me off is that even though the case is the same the connectors are all different, even the stylus is new size. Transfer went good - couldd not move favorites list and if you like Klondike they want you to repurchase. Kenneth H. Holyoak Information+Insight=Profit HIG, LLC Mail POB 68633 Indianapolis IN 46268-0633 UPS 1508 E 86th Street Suite 177 Indianapolis IN 46240 ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 -----Original Message----- From: Andy Leviss [mailto:Andy [at] DucksEchoSound.com] Sent: Thursday, December 09, 2004 2:56 PM To: 'holyoak1' Subject: RE: Trio 600 Hey Ken, I'll have to check and see which of the general palm lists are still active, because the big one I used to be on has kinda withered and died. In the meantime, the list I mentioned the other day is http://groups.yahoo.com/group/pimlicodatebk (it's actually a list for the program DateBk5 and it's predecessors [which are still supported, in a real software rarity], which is a great datebook replacement, but the same people who are avid DB5 geeks tend to be rabid early adopters, so between bug reports for DB5 from new devices and other general gripes/exciting new features that drift off-topic, it's a fairly good way to get a good idea of the new stuff (although if you don't use DB5, it'd be a bit boring overall, LOL). I'll let you know if I find a more general list that's as good, because I've been meaning to look for myself anyway and haven't quite had the time. --Andy > -----Original Message----- > From: holyoak1 [mailto:holyoak1 [at] comcast.net] > Sent: Thursday, December 09, 2004 10:01 AM > To: 'Andy Leviss'; 'Stagecraft' > Subject: RE: Trio 600 > > > Andy > > Thanks for the update. My 650 is due to arrive tomorrow and > it's a gift from Sprint as they have replaced the 600 3 times so far. > > I will let you know what I think. > > Can you get me a web address for the early adaptors list. I > could use that information as I sometimes get so cutting edge > that the bleeding won't stop. > > > Ken > > > > > > > > > > > Kenneth H. Holyoak > Information+Insight=Profit > HIG, LLC > > Mail > POB 68633 > > Indianapolis IN 46268-0633 > > UPS > > 1508 E 86th Street Suite 177 > Indianapolis IN 46240 > > > > ken [at] kenholyoak.com > > > > 317-253-7000 FAX 317-255-3708 > > > > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Andy Leviss > Sent: Wednesday, December 08, 2004 9:47 PM > To: Stagecraft > Subject: Re: Trio 600 > > For info, archives & UNSUBSCRIBE, see > > > --------------------------------------------------- > > Kenneth Holyoak wrote: > > They just agreed to send me a 650 which just came out and > has the 600 > > bugs all worked out. > > Danger, Will Robinson! The 650 may have fixed the 600's bugs, > but it's got tons of it's own. Don't plan on being able to do > a straight transfer of your data and programs over if you've > got a lot of stuff on the 600; the non-volatile memory system > in the 650 allocates memory in larger chunks, so it won't > fit. PalmOne has acknowleged the problem, is working on a > fix, and is now offering a free 128-mb SD card to 650 owners > to make things semi-workable, if not convenient, until they > have a better fix. > > I've heard of a few other big bugs, too, but most of those > are more specifically related to the program DateBk5, or at > least brought to light by it (the user list for which is > where I get all the early-adopter reports on every new device > that comes out, since my geek factor typically pales in > comparison to the average poster there!). While PalmOne's a > bit slow to fix things, I can say that CESD, the gentleman > behind DB5, is great at fixing things and finding fast > workaround PalmOne's screw-ups! > > --Andy Leviss > Sound Engineer (and Snow Machine Tech, Tour Librarian, and > General Solder Jockey) > Sesame Street Live: Elmo's Coloring Book > This week: Fairfax, VA > Next week: Louisville, KY, then home for two weeks! > > > > --- > Incoming mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.802 / Virus Database: 545 - Release Date: 11/26/2004 > > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.802 / Virus Database: 545 - Release Date: 11/26/2004 ------------------------------ Message-ID: <41BF9FC6.F80E4E3 [at] cybercom.net> Date: Tue, 14 Dec 2004 21:21:58 -0500 From: Dale Farmer Subject: Re: Stage Combat Choreographers... References: Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I do not claim to be an expert here but I have done a little fight > choreography (and even taught stage combat) and I was taught (and teach) > that every attack is make to a very specific area of the body so that the > actor parrying the attack will know exactly where to position the parry, BUT > (in most cases) the "fencing measure" - the distance between the opponents > in the fight- is such that the attacker cannot actually make a "hit." There > are exceptions to this rule, but when it is broken another safey rule must > be applied so that the attack is safe. Also, stage fights are usually done > at "three-quarter" speed - fast enough to look good, but slow enough so that > the actors are in complete control. I think Matt has the right idea - this > is acting and not something being done by members of the Society for > Creative Annacronism. (Before anyone complains about this comment, this is > not a put-down of this group, just people with a different purpose). Yup. Stage fighting == Fake fights with real looking fake weapons. SCA fighting == Real fights with blunted weapons. An SCA sword jock will armor up with something in the area of fifty pounds of armor. Steel, structural plastics and padding. And they still have broken bones and other serious injuries often enough that their rules require locally certified EMTs or better on hand, with a designated vehicle for transportation of the injured to local medical center. --Dale ------------------------------ Message-ID: <41BFA310.E35B43BF [at] cybercom.net> Date: Tue, 14 Dec 2004 21:36:00 -0500 From: Dale Farmer Subject: Re: fixing radio mic References: Tony wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > ----- Original Message ----- > From: "Dale Farmer" > To: "Stagecraft" > Sent: Tuesday, December 14, 2004 11:23 PM > Subject: Re: fixing radio mic > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > > > > > Julie Fox wrote: > > > > > For info, archives & UNSUBSCRIBE, see > > > --------------------------------------------------- > > > > > > Has anyone got any tips regarding the fixing of radio mic's - where is > the > > > best place and what do you use to avoid damaging skin - any advice would > be > > > much appreciated > > > > > > Thanks > > > Jay > > > > Depends what the problem is. Generally resoldering the connector after it > > gets intermintent and keeping the battery contacts clean are about as much > > as I'm willing to do. Find out the cost of sending it back for a factory > > service. Generally it is not too expensive and they bring the whole thing > > back to spec. > > > > --Dale > > Erm I think Jay meant where to AFFIX the mic heads.....? > > 8-)) > > Ynot Get thee a hellerman tool and the little rubber rings. 3M transpore tape applied before the makeup is done. Clean the skin where you are going to tape with a mixture of rubbing alcohol with a little acetone added to it. ( Caution, some people will react poorly to continued use of the acetone. ) This will clean and degrease the skin so that the tape will stick better. Clean shaven too, otherwise the hair will be gone when you remove the tape, and the actor may punch you out. Use the hellerman tool to attach the mic to some mild steel wire, rubber or vinyl coated to match skin tone. Use the mild steel wire to position the capsule where you want it and support it over the ear or whatever. Tape it in place at a couple of spots. Practice will show you what is best after a couple of rehearsals. ------------------------------ Message-ID: <41BFA701.3080500 [at] telus.net> Date: Tue, 14 Dec 2004 19:52:49 -0700 From: "RODOK!!!" Subject: rosco 1500 fogger References: In-Reply-To: Any suggestions on fixing a leaky Rosco 1500 fogger? It's about 10 years old, has been cleaned with distilled water after each run of a show, and with the advent of cheapo foggers on the market, is it worth repairing? Rod Osiowy Wild Theatre Cranbrook, BC ------------------------------ Date: Tue, 14 Dec 2004 21:23:15 -0600 Subject: Re: rosco 1500 fogger From: Greg Persinger Message-ID: In-Reply-To: Open up the fogger and check that all of the brass fittings are tight and that you haven't worn a hole in any of the tubing. If all looks good it is probably the pump that is shot. If it is not something simple then it's not worth messing with as parts are not available for this unit anymore. Good Luck. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Subject: RE: rosco 1500 fogger Date: Tue, 14 Dec 2004 22:27:12 -0500 Message-ID: From: "Mike Burnett" You can still send it in to Rosco to fix. I did that last summer for one of ours, and the total cost was around $100 (including shipping both ways). It was a pump problem.=20 During our fall production of Pippin, I had two of ours open to repair myself (no time to ship). Traced the problem to holes in the hose. Had a dandy of a time trying to find one that was the right flexibility to allow the pump to work right. Finally used a combination of hoses from our chem department on campus since our local hardware store didn't carry any hoses that were flexible enough. M Mike Burnett, M.F.A. Assistant Professor of Theatre Chair, Department of Theatre =20 Huntington College Honoring Christ in Scholarship and Service =20 260-359-4279 office 260-359-4249 fax =20 mburnett [at] huntington.edu www.huntington.edu/theatre I always thank God for you because of his grace given you in Christ Jesus. For in him you have been enriched in every way - in all your speaking and in all your knowledge. --1 Corinthians 1:4-5=20 "We are such stuff as dreams are made on and our little life is rounded with a sleep..." --The Tempest (IV:1, 156-157) =20 ------------------------------ Subject: RE: rosco 1500 fogger Date: Tue, 14 Dec 2004 21:33:59 -0600 Message-ID: From: "Curt Mortimore" Rod, Where is it leaking from? If it is leaking within the heat exchanger toss it or give it to someone for parts. If any of the fittings inside between the pump and the heat exchanger are leaking see if you can tighten those. If it is leaking from the pump chances are pretty good the tygon tube is probably bad. In this case, ask your Rosco dealer if they stock or can order, the tube replacement kit. In my experience, a reasonably skilled technician with a good dollop of patience can replace the tube, you decide who should make the repair. If the tube is the only problem I would encourage repair. If the unit is old and tired, let it be and find a suitable replacement. As far as a replacement goes I cannot suggest any of the "cheapo" units I have seen. My experience is there isn't much tech support for such units and repair is cost prohibitive. They are disposable. However this is not to say such a unit might not be perfect for you depending on how you use your machine. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 ------------------------------ From: MissWisc [at] aol.com Message-ID: <8c.1c304489.2ef14b94 [at] aol.com> Date: Wed, 15 Dec 2004 03:11:00 EST Subject: Re: Re: fixing radio mic In a message dated 12/14/4 8:34:01 PM, dale [at] cybercom.net wrote: <> Please don't! Rubbing alcohol (in VERY small amounts, infrequently used, in an area with excellent mechanical ventilation) is fine if you need to sterilize the skin, but you should be able to get good adhesion of the 3M transpore tape simply by putting it on skin that's been recently washed with soap/water and thoroughly dried. Use a hair dryer on a low setting if you need to dry more water off of the skin. When you remove the tape, use a good moisturizer on the area. (I sell a product called "Calming Influence" that's excellent for this!) Try to move the placement slightly so that the same skin isn't getting the adhesive every time. Many people have developed sensitivities to chemicals including latex and rubbing alcohol because of repeated exposure. You don't want to be the one who puts a substance on someone's skin that causes a potentially fatal reaction. Acetone??? I don't even recommend that for nail polish remover anymore... too harsh, nasty fumes, and highly flammable. Less toxic, safer alternatives are readily available at your local drug store for low cost. I suggest: 1) Attach the mic to the front of a wig and run the wires down the back. 2) Attach it to a loop of elastic that can be worn around the head. 3) Buy a pre-made over the ear headset that will hold it. 4) If the actor wears glasses, it can be attached to the bow of the frames. 5) Get creative in attaching it to clothes. I've used a safety pin to attach it like a corsage (behind the wire, not through) and the loop of the safety pin holds the base of the mic head - can be pinned to any clothing. 6) Used a curler pin (huge bobby pin) as a holder and simply clip it onto a shirt collar. Depending on the pattern of the mic (are there any that aren't omnidirectional??) if you get within 6-8" of the mouth, it'll be fine. Kristi Mz. Doom for the moment... reminding you to be safe out there! Shameless plug: http://www.marykay.con/kross-clausen for Calming Influence ------------------------------ End of Stagecraft Digest #228 *****************************