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 12487179; Wed, 05 Jan 2005 03:01:21 -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 #249 Date: Wed, 05 Jan 2005 03:00:51 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #249 1. Re: Turntable encoders by Loren Schreiber 2. Turntables by "Dougherty, Jim" 3. Re: turntable encoders/ soft wheels by Michael Powers 4. Re: turntable encoders/ soft wheels by "Stephen E. Rees" 5. Re: turntable encoders/ soft wheels by Mike Brubaker 6. Re: turntable encoders/ soft wheels by Mark O'Brien 7. Re: turntable encoders/ soft wheels by Mark O'Brien 8. Theatre Rentals by b Ricie 9. Autocad face by "Adam Berns" 10. Re: turntable encoders/ soft wheels by "Jason" 11. Re: Autocad face by "Rufus" 12. Re: turntable encoders/ soft wheels by Mark O'Brien 13. Re: Autocad face by Boyd Ostroff 14. Re: turntable encoders/ soft wheels by "Delbert Hall" 15. Re: Interlectural property rights by FrankWood95 [at] aol.com 16. Re: intellectual property - long post by FrankWood95 [at] aol.com 17. Re: intellectual property - long post by Pat Kight 18. Re: Theatre Rentals? by Greg Bierly 19. Re: Turntables by Bill Sapsis 20. Re: Turntables by David Marks 21. Re: Autocad face by John Bracewell 22. Re: Autocad face by Mark O'Brien 23. Re: Puccini, Butterflies, etc by FrankWood95 [at] aol.com 24. Re: Intellectual property rights by FrankWood95 [at] aol.com 25. Re: Autocad face by Boyd Ostroff 26. Re: Puccini, Butterflies, etc by Steve Larson 27. Re: Puccini, Butterflies, etc by FrankWood95 [at] aol.com 28. Re: turntable encoders/ soft wheels by Paul Masck 29. Re: Interlectural property rights by Jerry Durand 30. Re: Interlectural property rights by Jerry Durand 31. Re: Autocad face by roguerpj [at] mn.rr.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: <6.1.1.1.2.20050104071332.01b6e928 [at] mail.sdsu.edu> Date: Tue, 04 Jan 2005 07:30:09 -0800 From: Loren Schreiber Subject: Re: Turntable encoders In-Reply-To: References: As others have mentioned, the use of pneumatic or semi-pneumatic tires on encoder shafts will induce irregular errors in your encoder counts, depending on temperature and barometric pressure. Show Motion tried this on the "Jane Eyre" rig and it was a mess. If you simply cannot remove the slip from the turntable drive system, then running the encoder from the turntable pivot is really the only effective way to produce accurate counts. I'd suggest using a pair of timing belt sprockets--one on the hub, bored out to your turntable hub size, and the other on the encoder with an appropriate belt connecting the two. You could use a chain for the same purpose, but that will increase the side-loading on the encoder shaft when the slack is removed from the chain. (Chains really like to have a little slack.) A somewhat lower-tech solution is to drive broad headed nails into the edge of your turntable at regular intervals and use a proximity sensor to count the heads as they go by. It's really quite effective, especially on large turntables. On another note, Jon Lagerquist, Bill Meyer, Fritz Schwentker, Dan Brinker, representitives from Stage Technologies (London) and I will be offering a Master's Class in Scenery Automation this coming summer (July 10--23) in Fresno California. For more information about the class, please contact me off this list. Loren Schreiber Technical Director, San Diego State School of Theatre, Television and Film ------------------------------ Date: Tue, 04 Jan 2005 08:44:39 -0500 Subject: Turntables From: "Dougherty, Jim" Message-ID: Bill Sapsis signs his posts: Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. which had never struck me as odd, in fact had always seemed a justifiable expression of pride in work done well. Then he started talking about the 12" high turntables he has, and got me thinking about his staffing... Oompa Loompa Doomadeedo If you're not spoiled, then you will go far You will live in happiness too Like the Oompa Loompa Doompadeedo - Jim Dougherty P.S. Sapsis Rigging is in Pennsylvania. Hershey Chocolate is in Pennsylvania. Coincidence? I think not. Happy New Year! ------------------------------ Date: Tue, 04 Jan 2005 09:19:29 -0500 From: Michael Powers Subject: Re: turntable encoders/ soft wheels Cc: jared.fortney [at] gmail.com Message-id: <41DAA5F1.6050008 [at] theater.umass.edu> Jared Fortney writes: Subject: turntable encoders/ soft wheels << ........... Does anyone have a good method for mounting an encoder on a turntable? =2E............. >> Jared, The method I have found that works very well is to build (a little late f= or you this time) the table with a chain channel for #40 chain. If you a= re using a chain drive, this is a second channel, if you are using a pres= sure wheel drive, the wheel can ride right on top of the chain. This chai= n is simply wrapped once around the table, stretched to eliminate any sla= ck, and fastened to itself. The encoder can be gear driven directly off = the chain. I suppose you could use an optical sensor if there were a ref= lective surface behind the chain, but I've never tried this. The #40 cha= in is convenient as the links are 1/2" and makes calculations and such ve= ry easy, especially if you make your channel come out to an even # of lin= ks or better yet if you make it come out to an even # of inches. As this = chain has nothing to do with the drive there is absolutely no slipping an= d the accuracy remains right on forever. As you are reading off the oute= r circumference of the table, you can read more accurately than your driv= e system can ever match. If a drive wheel pushing against the chain make= s it try to slip (it won't) you can add in a couple of links with the tab= s on them and fasten the chain hard to the table edge. hope this helps. ichael <>Michael Powers, Technical Director UMass Amherst 112 FAC West Amherst, Ma. 01003 413-545-6821 Voice 413-577-0025 Fax mfpowers (at) theater.umass.edu mptecdir (at) aol.com ------------------------------ Message-ID: <41DAB7A4.40606 [at] fredonia.edu> Date: Tue, 04 Jan 2005 10:35:00 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: turntable encoders/ soft wheels References: Jared, My 24'dia chain drive T/T consists of 8 pieshpaed wedges splined together. There is a 1.5" slot on the edge in which #30 chain runs. The chain only sees contact at the points of the internal framing which is wood. These wooden points started to wear and the chain would slip some. I added short lengths of 3/4" flat bar attached with 2 screws so that the end of the metal was right at the point where the chain hit the wood. The chain now hits the metal instead and gets a better bite. I use two chain tensioners very close together and close to the edge of the T/T to maximize chain contact. No slipping so long as one doesn't try to go from stop to full speed in .5 secs. :) We tend to ramp up to the desired speed w/ a variable speed controller. HTH, Steve Rees, TD SUNY-Fredonia Jared Fortney wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In answer to some questions: > > Jon- We use a threaded rod tensioner similar to what you described. > The drive edge is wood. > > Mark- We've looked at some sort of rubber tape, but never pursued it. > Do you have a part number or source for the non-skid tape? > > Mike- Once before we tried to run the encoder from the shaft. We used > round belting to drive the encoder which was out from underneath the > turntable in case we needed to service it. The belting slipped way > too much on the pivot shaft. Do you have a way to service the encoder > if you mount it to the pivot shaft? > > Bill- All our little people(read: MT students) were crewing shows last > quarter. All we have now are the tall drama students. > > Thanks all for the help. I'll check Grainger tomorrow for a "sponge > wheel" and hopefully some non-skid tape. > > -Jared ------------------------------ Message-Id: <6.1.2.0.0.20050104111023.01a43a00 [at] mail.insightbb.com> Date: Tue, 04 Jan 2005 11:13:22 -0500 From: Mike Brubaker Subject: Re: turntable encoders/ soft wheels In-Reply-To: References: Silly question, perhaps. If an encoder can be gear-driven off a chain secured to the turntable, could you reverse the idea to drive the turntable? Mount the chain as described, then drive the turntable using a gear into, effectively, the edge of the turntable? Mike At 09:19 AM 1/4/2005, Michael Powers wrote: >the chain. This chain is simply wrapped once around the table, stretched >to eliminate any slack, and fastened to itself. The encoder can be gear >driven directly off the chain. I suppose you could use an optical sensor >if there were a reflective surface > If a drive wheel pushing against the chain makes it try to slip (it > won't) you can add in a couple of links with the tabs on them and fasten > the chain hard to the table edge. hope this helps. ------------------------------ In-Reply-To: References: Message-Id: <1C0E3AFC-5E72-11D9-9669-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: turntable encoders/ soft wheels Date: Tue, 4 Jan 2005 10:00:17 -0700 That seems to make a bit of sense, in fact if the chain gad attachments, one would not even need the channel, just a flat surface. Of course any run-out would absolutely kill you. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jan 4, 2005, at 9:13 AM, Mike Brubaker wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Silly question, perhaps. If an encoder can be gear-driven off a chain > secured to the turntable, could you reverse the idea to drive the > turntable? Mount the chain as described, then drive the turntable > using a gear into, effectively, the edge of the turntable? > > Mike > > At 09:19 AM 1/4/2005, Michael Powers wrote: > > >> the chain. This chain is simply wrapped once around the table, >> stretched to eliminate any slack, and fastened to itself. The >> encoder can be gear driven directly off the chain. I suppose you >> could use an optical sensor if there were a reflective surface > > > >> If a drive wheel pushing against the chain makes it try to slip (it >> won't) you can add in a couple of links with the tabs on them and >> fasten the chain hard to the table edge. hope this helps. > ------------------------------ In-Reply-To: References: Message-Id: <4C5154FA-5E72-11D9-9669-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: turntable encoders/ soft wheels Date: Tue, 4 Jan 2005 10:01:38 -0700 That seems to make a bit of sense, in fact if the chain had attachments, one would not even need the channel, just a flat surface. Of course any run-out would absolutely kill you. (oops, forgot to make plain text-sorry) Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jan 4, 2005, at 9:13 AM, Mike Brubaker wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Silly question, perhaps. If an encoder can be gear-driven off a chain > secured to the turntable, could you reverse the idea to drive the > turntable? Mount the chain as described, then drive the turntable > using a gear into, effectively, the edge of the turntable? > > Mike > > At 09:19 AM 1/4/2005, Michael Powers wrote: > > >> the chain. This chain is simply wrapped once around the table, >> stretched to eliminate any slack, and fastened to itself. The >> encoder can be gear driven directly off the chain. I suppose you >> could use an optical sensor if there were a reflective surface > > > >> If a drive wheel pushing against the chain makes it try to slip (it >> won't) you can add in a couple of links with the tabs on them and >> fasten the chain hard to the table edge. hope this helps. > ------------------------------ Message-ID: <20050104170710.30932.qmail [at] web50604.mail.yahoo.com> Date: Tue, 4 Jan 2005 09:07:10 -0800 (PST) From: b Ricie Subject: Theatre Rentals In-Reply-To: Try to think of everything needed from the "in" to the "out". Pre-production labor, cost of the restore, consumables such as tape, batteries, Gel, first aid kits(ice packs go quick) and cleaning. Often times Custodians have their own union, so you should consult them as to what their fee should be. INHO you want the keep the custodians VERY happy as they can make your life very easy or truly difficult. You should also consider other room use fees(use of a music room as a large dressing room or gym as a large holding area for dance schools etc.) In the past I have worked for rental houses that charge a labor fee of "X" dollars and pay only "y" dollars. (Charge $30.00/hr and pay $25.00/hr). You should also look into what kind of insurance the rental group would need and they should provide you with a certificate stating they have said insurance, as well as any other certificates they might need(some cities require an entertainment certificate). Remember, the building is only one part of the equation, without viable equipment in the building you will not have anything worth using. ===== Brian Rice b_ricie [at] yahoo.com __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ------------------------------ Date: Tue, 4 Jan 2005 12:54:04 -0500 Message-Id: <200501041254.AA31785224 [at] adamb.com> From: "Adam Berns" Reply-To: Subject: Autocad face One thing I have never been able to figure out is how to surface a face so when I shade or render, it is a solid surface. For example, if I have a wall that is 4'x10', and has an archway in it for somebody to walk through. How do I make the wall itself solid, and perhaps apply a surface (color) to it? I know I could render it out, bring it into photoshop and fill and etc, but I would like to be able to do this in ACAD. Thanks for your help! ------------------------------ Message-ID: From: "Jason" Cc: jared.fortney [at] gmail.com (Jared Fortney) References: Subject: Re: turntable encoders/ soft wheels Date: Tue, 4 Jan 2005 09:54:54 -0800 You need to redesign your takeups, the chain need to so tight your going to think its going to break; If you can't get that tight take a links out of the chain. Then keep tensioning the chain as it does stretch as you use the turntable. Mount encoder via chain to the shaft of gearbox. Be sure that the motor driving the system does not have a brake on it. With a few run troughs you should be able to be with in 1/4 to 1/2 inch. Also never ever oil the chain during a production unless you want to reset all the values of the controler. Jason ----- Original Message ----- From: "Jared Fortney" > In answer to some questions: > > Jon- We use a threaded rod tensioner similar to what you described. > The drive edge is wood. > > Mark- We've looked at some sort of rubber tape, but never pursued it. > Do you have a part number or source for the non-skid tape? > > Mike- Once before we tried to run the encoder from the shaft. We used > round belting to drive the encoder which was out from underneath the > turntable in case we needed to service it. The belting slipped way > too much on the pivot shaft. Do you have a way to service the encoder > if you mount it to the pivot shaft? > > Bill- All our little people(read: MT students) were crewing shows last > quarter. All we have now are the tall drama students. > > Thanks all for the help. I'll check Grainger tomorrow for a "sponge > wheel" and hopefully some non-skid tape. > > -Jared > ------------------------------ Reply-To: From: "Rufus" Cc: ab [at] adamb.com Subject: RE: Autocad face Date: Tue, 4 Jan 2005 12:02:35 -0600 Message-ID: <027701c4f287$928a2410$6400a8c0 [at] PC123093183111> In-Reply-To: If you use a closed polyline you can attach a Region to it. If you use a rectangle you can user the extrude tool to make it a wall and add color or textures to it. I have some help files on line at www.ldassistant.com that may help you with what you want to do. Please let me know if I can be of any help in the matter. Best regards, Rufus Warren III Voice 708-499-0107 Fax Line 708-499-0046 E-Mail rufus [at] design-drafting . com Web Site www.design-drafting.com autodesk authorized developer & partner HP authorized developer -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Adam Berns Sent: Tuesday, January 04, 2005 11:54 AM To: Stagecraft Subject: Autocad face For info, archives & UNSUBSCRIBE, see --------------------------------------------------- One thing I have never been able to figure out is how to surface a face so when I shade or render, it is a solid surface. For example, if I have a wall that is 4'x10', and has an archway in it for somebody to walk through. How do I make the wall itself solid, and perhaps apply a surface (color) to it? I know I could render it out, bring it into photoshop and fill and etc, but I would like to be able to do this in ACAD. Thanks for your help! ------------------------------ In-Reply-To: References: Message-Id: <366F2E2A-5E7B-11D9-9669-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: turntable encoders/ soft wheels Date: Tue, 4 Jan 2005 11:05:27 -0700 On Jan 4, 2005, at 10:54 AM, Jason wrote: > Also never ever oil the > chain during a production unless you want to reset all the values of > the > controler. Oil on the chain IS good, as a happy chain will operate better, and the better the machine operates, the more accurate the encoders seem to be. That said, I don't like a really nasty or greasy chain. I have soaked the chain in Kerosene, and dried it out. This seems to keep all the little "Bearings" in the chain lubed without a mass amount of slippery goo. It also cuts back on all the dirt & smutch that a greasy chain will pick up. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Date: Tue, 4 Jan 2005 13:28:37 -0500 (EST) From: Boyd Ostroff Cc: ab [at] adamb.com Subject: Re: Autocad face In-Reply-To: Message-ID: References: Here's my AutoCAD face: :-( | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: turntable encoders/ soft wheels Date: Tue, 04 Jan 2005 14:04:24 -0500 >Silly question, perhaps. If an encoder can be gear-driven off a chain >secured to the turntable, could you reverse the idea to drive the >turntable? Mount the chain as described, then drive the turntable using a >gear into, effectively, the edge of the turntable? > >Mike Stage Technologies uses a 2" wide plastic timing belt (less than 1/4" thick) that goes around the turntable. This belt has regually spaced "notches" that work like the teeth of a gear. Their "drive unit" looks a lot set up like a belt sander, with a 6' long belt made of the same timing belt material. The "drive belt" makes significant contact with the "turntable belt" and does exact what you describes above. Delbert L. Hall 423-773-HALL (4255) ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.3c1e0d61.2f0c433c [at] aol.com> Date: Tue, 4 Jan 2005 14:06:36 EST Subject: Re: Interlectural property rights In a message dated 28/12/04 19:18:14 GMT Standard Time, flyingfx [at] hotmail.com writes: > In many instances it is illegal to use someone else's interlectual property > (scenic design, lighting design, music, images from a web site, artwork, > design for a performer flying system, written or spoken words, video images, > > architectural design, etc.) without their permission. To so do opens > yourself up to a legal action, should the owner wish to take such action. To USE is one of the places where there can be trouble. Once upon a time, there was a web site which gathered together articles from various newsgroups and mailing lists, all original in their first incarnations, and made them available on the site, which was free. As had been the original sources. Some pedantic nit-picker objected, vociferously. The result was that the webmaster simply pulled the whole site, and that community lost a valuable resource. Legally, the nit-picker may have been right. From a practical point of view, though, once it's out there, you have little or no control over what happens to it. If someone wants to trawl the net for my posts, and publish them as "The Collected Wisdom of Frank Wood", I can't stop them, and nor would I wish to. At bottom, all authors, even on the mailing list level, want their work to be read by a wide audience. I should probably find it amusing and interesting myself. Who of us can remember a post from three or four years ago, made late at night after a heavy day and a couple of scotches? As we all do, I try to maintain a consistent attitude, but this is sometimes not reflected in our posts. Some point of detail engages our attention, perhaps something on which we have (or think we have) special information, experience, or knowledge. Bang! Away we go, bombarding everybody with things they already (think) they know, or going into great and unneccessary detail. I do it myself. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <127.52e03ae5.2f0c496e [at] aol.com> Date: Tue, 4 Jan 2005 14:33:02 EST Subject: Re: intellectual property - long post In a message dated 30/12/04 17:36:11 GMT Standard Time, bpurdy [at] rochester.rr.com writes: > Recently there was a discussion centring around West Side Story, in > which various tales were recounted about changing the racial or ethnic > identities of characters in that and other shows. This was often done in > response to available talent, and sounded like accepted practice. Genders > have also been changed - sometimes to fulfil a director's "Artistic vision". > > At the time, Richard's point was not mentioned. Is it OK to change > elements of a show or not? Sometimes yes - sometimes no? Since "West Side Story" takes it's plot from Shakespeare's "Romeo and Juliet", how far back do you have to go? The locations are NY, but the mores are universal, given the concept of warring gangs/families. Frank Wood ------------------------------ Message-ID: <41DAF3CC.1060208 [at] peak.org> Date: Tue, 04 Jan 2005 11:51:40 -0800 From: Pat Kight Subject: Re: intellectual property - long post References: In-Reply-To: FrankWood95 [at] aol.com wrote: >> Recently there was a discussion centring around West Side Story, in >> which various tales were recounted about changing the racial or ethnic >> identities of characters in that and other shows. This was often done in >> response to available talent, and sounded like accepted practice. Genders >> have also been changed - sometimes to fulfil a director's "Artistic >> vision". >> At the time, Richard's point was not mentioned. Is it OK to change >> elements of a show or not? Sometimes yes - sometimes no? It's OK to change elements of a show that's under copyright ONLY you get permission from the playwright or his/her agent. > Since "West Side Story" takes it's plot from Shakespeare's "Romeo and > Juliet", how far back do you have to go? The locations are NY, but the mores are > universal, given the concept of warring gangs/families. But the answer to the question, given that "West Side Story" is under copyright even though Shakespeare is not, remains: Ask permission first. -- Pat Kight kightp [at] peak.org ------------------------------ In-Reply-To: References: Message-Id: <2610DD40-5E92-11D9-A8FE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Theatre Rentals? Date: Tue, 4 Jan 2005 15:49:38 -0500 My position was created 3 years after our new 1300 seat Performing Arts Center was opened so rental policies were predetermined. Our district already had a rental policy in place for all of its facilities. All proceeds feed back into the "General Fund" The fee is determined by the business office once a building usage form is submitted. The factors taken in consideration are, if you are a school activity, if the organization is inside or outside the district, if you are a non-profit, if you are charging admission, how many you expect to attend. Typically outside organizations are charged approximately $1000 for the day plus the hourly fee for the technical director and custodian. They tried revamping the fee structure but it never really got anywhere. We don't supply anything other than volunteer student labor IF they are available. I recommend outside groups supply their own technicians since I wind up playing TD, House Manager, Keymaster, Lackey, Asst. Custodian while they are in the hall. I also require they supply their own batteries for wireless mics if they use mine. The biggest thing I would recommend is look at other local halls and compare their pricing and compare what you offer. Try and stay in the same ballpark for pricing. Too much and you won't get full use out of your facility, too little they are going to overbook and drive you insane. I am a one man dept. so I have been trying to get another paid position to cover rentals since I have a full time job before we add in rentals. We could handle more rentals but I would be responsible for being here and then would NEVER see my family. The administration sees my dilemma and fortunately let me turn down applications during the busy seasons. So far we haven't found any great solutions. Thanks for everyones suggestions last time we were on this topic. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Tue, 04 Jan 2005 16:25:08 -0500 Subject: Re: Turntables From: Bill Sapsis Message-ID: In-Reply-To: on 1/4/05 8:44 AM, Dougherty, Jim at jdougher [at] middlebury.edu wrote: > Then he started talking about the 12" high turntables he has, and got me > thinking about his staffing... > > Oompa Loompa Doomadeedo > If you're not spoiled, then you will go far > You will live in happiness too > Like the Oompa Loompa Doompadeedo > > - Jim Dougherty > > P.S. Sapsis Rigging is in Pennsylvania. Hershey Chocolate is in > Pennsylvania. Coincidence? I think not. We're digging a tunnel under the Hershey's Kisses section of the factory even as we speak. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <41DB0C1C.4020307 [at] att.net> Date: Tue, 04 Jan 2005 16:35:24 -0500 From: David Marks Subject: Re: Turntables References: Bill Sapsis wrote: >We're digging a tunnel under the Hershey's Kisses section of the factory even as we speak. > > Are you digging in from the Hershey Theater or all the way from Lansdowne? That's some chocolate craving if you're digging from the office! dave marks - close to Hershey ------------------------------ Message-Id: <5.2.0.9.0.20050104173528.00b4e8b8 [at] pop.lightlink.com> Date: Tue, 04 Jan 2005 17:36:05 -0500 From: John Bracewell Subject: Re: Autocad face In-Reply-To: References: >Here's my AutoCAD face: > >:-( Gee, Boyd. That looks to have shut that thread down REAL fast! -- JLB ------------------------------ In-Reply-To: References: Message-Id: <690BC5CB-5EA2-11D9-B8F6-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Autocad face Date: Tue, 4 Jan 2005 15:46:02 -0700 Show us your Vector-works face... Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jan 4, 2005, at 3:36 PM, John Bracewell wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > >> Here's my AutoCAD face: >> >> :-( > > Gee, Boyd. That looks to have shut that thread down REAL fast! > > -- JLB ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19b.2d76cbea.2f0c797e [at] aol.com> Date: Tue, 4 Jan 2005 17:58:06 EST Subject: Re: Puccini, Butterflies, etc In a message dated 31/12/04 16:02:52 GMT Standard Time, deeming.tony [at] btinternet.com writes: > It has in fact often been said that there is no such thing any more as new > music - just new arrangements/rearrangements! > > Could very possibly be true! (There's only so many ways you can arrange > those li'l black dots!!) It really depends on the duration. Three-note sequences, no problem: ten-note sequences, dodgy: above that you may be subject to being called a plagiarist. But a lot of music is borrowed. A disreputable song I knew at my University, called "Balls to Mr. Banglestein" is a perfectly reputable German folk-song "Ach, du liebe Augustin". I know some disreputable verses to some hymn tunes. It depends on the metre, and on the talent of the lyricist. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12c.5482c798.2f0c7ba8 [at] aol.com> Date: Tue, 4 Jan 2005 18:07:20 EST Subject: Re: Intellectual property rights In a message dated 31/12/04 21:01:21 GMT Standard Time, fwfisher [at] facstaff.wisc.edu writes: > What about > generic light plots, say something for dance consisting of washes and > pipe ends? It would seem to me that a hang that basic shouldn't be > protectable, otherwise, every plot would have to be unique. Suppressing my opinions about the design, you are right. There are basic principles behind good lighting design, and I can see no way in which these can be taken as copyright. Frank Wood ------------------------------ Date: Tue, 4 Jan 2005 18:14:37 -0500 (EST) From: Boyd Ostroff Subject: Re: Autocad face In-Reply-To: Message-ID: References: On Tue, 4 Jan 2005, Mark O'Brien wrote: > Show us your Vector-works face... :-) ------------------------------ Date: Tue, 04 Jan 2005 18:26:41 -0500 Subject: Re: Puccini, Butterflies, etc From: Steve Larson Message-ID: In-Reply-To: Rodgers and Hammerstein and Lerner and Loewe stole profusely from Grieg for some of their biggest musicals. Steve on 1/4/05 5:58 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 31/12/04 16:02:52 GMT Standard Time, > deeming.tony [at] btinternet.com writes: > >> It has in fact often been said that there is no such thing any more as new >> music - just new arrangements/rearrangements! >> >> Could very possibly be true! (There's only so many ways you can arrange >> those li'l black dots!!) > > It really depends on the duration. Three-note sequences, no problem: ten-note > sequences, dodgy: above that you may be subject to being called a plagiarist. > > But a lot of music is borrowed. A disreputable song I knew at my University, > called "Balls to Mr. Banglestein" is a perfectly reputable German folk-song > "Ach, du liebe Augustin". I know some disreputable verses to some hymn tunes. > > It depends on the metre, and on the talent of the lyricist. > > > > Frank Wood > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 4 Jan 2005 18:29:37 EST Subject: Re: Puccini, Butterflies, etc In a message dated 03/01/05 05:26:34 GMT Standard Time, ladesigners [at] juno.com writes: > I don't think something that has fallen into public domain can be taken out By an Act of Parliament, it can; and was. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <3DC06EC8-5EB5-11D9-BE5C-00039301A716 [at] masck.com> From: Paul Masck Subject: Re: turntable encoders/ soft wheels Date: Tue, 4 Jan 2005 20:00:50 -0500 Jon Lagerquist wrote: > I have had good luck with polyhedrons framed in wood. ...trying to visulalize this... good if every production is supposed to look like Buckminster Fuller designed it... Perhaps you meant polygons... How much overhang do you allow in the decking on the edge of the turntable? I assume you cut the decking to be round, seems like this overhang is in a critical area, especially when you have units rolling on and off... P... ---------------------------------------------------------------------- Paul Masck paul [at] masck.com www.masck.com slave to the misshapen chaos of well-seeming forms ----------------------------------------------------------------------- ------------------------------ Message-Id: <6.2.0.14.0.20050104172610.04149150 [at] localhost> Date: Tue, 04 Jan 2005 17:29:51 -0800 From: Jerry Durand Subject: Re: Interlectural property rights In-Reply-To: References: At 11:06 AM 1/4/2005, you wrote: >To USE is one of the places where there can be trouble. Once upon a time, >there was a web site which gathered together articles from various >newsgroups and >mailing lists, all original in their first incarnations, and made them >available on the site, which was free. As had been the original sources. Some >pedantic nit-picker objected, vociferously. The result was that the >webmaster simply >pulled the whole site, and that community lost a valuable resource. One problem is when "private" mailing lists get their archives posted on a web page. If you do a search on my e-mail address you'll find messages going back a LONG time and all the older ones predate web pages. So, when people decided to post these private lists to web pages, a lot of us found our addresses, home phone numbers, etc. start showing up everywhere. I know I never gave permission for these old lists to be published, and had no idea at the time messages were posted that there would even BE such a thing as Google. ---------- 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: <6.2.0.14.0.20050104173056.04149528 [at] localhost> Date: Tue, 04 Jan 2005 17:32:00 -0800 From: Jerry Durand Subject: Re: Interlectural property rights Now that's odd, I just did a new Google search and it only came up with one page of my addresses. I wonder what happened to the other listings, it used to go on for pages. ---------- 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: roguerpj [at] mn.rr.com Cc: ab [at] adamb.com Subject: Re: Autocad face Date: Wed, 05 Jan 2005 01:18:32 -0600 Message-ID: References: In-Reply-To: You can do it in AutoCAD. What you need to do is turn the surface in to 3d objects. The Region command is the best though you can do it with several polygon Mesh Surface commands depending on the shape.=20 If all you want is to have is a solid color first draw the 4x10 as a rectangle then type REGION in the command prompt. Click on the rectangle you just made. Then go in to a shade view. The 4x10 should now look solid and be the same color as the layer color. For the region command to work the outline of the object needs to be one of the following: - a closed 2d polyline - a circle - a 3d face - an ellipse - a closed spline You can take this much further by now applying materials to the region and then rendering. I learned most of this by my self from a great book called 3D Modeling in AutoCAD 2ed by John E. Wilson. It is published by CPM Books and the ISBN number is 0-57820-091-1. I found this book great for taking you through all the basics of 3d surface modeling as well as 3d solid modeling. HTH rob johnson On Tue, 04 Jan 2005 12:54:04 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >One thing I have never been able to figure out is how to surface a face = so when I shade or render, it is a solid surface. For example, if I have= a wall that is 4'x10', and has an archway in it for somebody to walk = through. How do I make the wall itself solid, and perhaps apply a = surface (color) to it? I know I could render it out, bring it into = photoshop and fill and etc, but I would like to be able to do this in = ACAD. > >Thanks for your help! ------------------------------ End of Stagecraft Digest #249 *****************************