Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 14816591; Tue, 18 Jan 2005 03:00:48 -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 #263 Date: Tue, 18 Jan 2005 03:00:28 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: 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 #263 1. Beam Ceiling Rigging by "Steve" 2. sound design application ideas by usctd [at] columbia.sc 3. Re: sound design application ideas by John Bracewell 4. RF MIC orientation by CB 5. Re: Archives by Noah Price 6. Summer Jobs MI Shakespeare Festival by Rich Lindsay 7. Two-Scene Operation of Lighting Consoles by "Sarah Clausen" 8. Re: Two-Scene Operation of Lighting Consoles by "Jon Ares" 9. Re: Two-Scene Operation of Lighting Consoles by Dale Farmer 10. Pedants by Jerry Durand 11. Re: Summer Jobs MI Shakespeare Festival by "Chad Croteau" 12. Re: Pedants by Michael Heinicke 13. Re: Caribeners (was quick links) by "Josh Ratty" 14. Re: Caribeners (was quick links) by "Jeffrey E. Salzberg" 15. Re: Caribeners (was quick links) by Dale Farmer 16. Re: Two-Scene Operation of Lighting Consoles by DanSLDME [at] aol.com 17. Re: OSHA/NFPA Redulations for Theatre (long rant) by Mick Alderson 18. Re: Two-Scene Operation of Lighting Consoles by "Jason" 19. Re: Two-Scene Operation of Lighting Consoles by "Steven Haworth" 20. Re: OSHA/NFPA Redulations for Theatre (long rant) by Barney Simon 21. Re: Stage Manager interviews by "Paul Schreiner" 22. Re: Two-Scene Operation of Lighting Consoles by Herrick Goldman 23. Re: Caribeners (was quick links) by Herrick Goldman 24. Re: Two-Scene Operation of Lighting Consoles by "Jeffrey E. Salzberg" 25. Job Posting by Cosmo Catalano 26. Re: Two-Scene Operation of Lighting Consoles by "Steven Haworth" 27. Re: Pedants by FrankWood95 [at] aol.com 28. Re: Caribeners (was quick links) by FrankWood95 [at] aol.com 29. Re: Two-Scene Operation of Lighting Consoles by FrankWood95 [at] aol.com 30. Re: Stage Manager interviews by Dale Farmer 31. Re: Two-Scene Operation of Lighting Consoles by FrankWood95 [at] aol.com 32. Re: Summer Jobs MI Shakespeare Festival by "Chad Croteau" 33. Re: Carabiners (was quick links) by "Jonathan S. Deull" 34. USITT Archives by Shell Dalzell 35. Re: Caribeners (was quick links) by "Andy Leviss" 36. Re: Two-Scene Operation of Lighting Consoles by "Steve B." 37. Re: Caribeners (was quick links) by Bill Sapsis 38. Re: Two-Scene Operation of Lighting Consoles by "Alf Sauve" 39. Re: USITT Archives by Scott Parker 40. Re: Caribeners (was quick links) by "Matthew Breton" *** 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: <008401c4fc96$3c0067d0$5d7e7244 [at] D78YGH41> From: "Steve" Subject: Beam Ceiling Rigging Date: Mon, 17 Jan 2005 07:12:44 -0600 "Not sure I understand exactly what is going on at that corner, but would a pear ring be an option? I guess this would depend on the angle that those turnbuckles would be at and the forces that would generate on your piece. (I assume you are using appropriate turnbuckles, although some may say you should not be using them overhead at all. Frankly for the weight you are quoting, I don't see its a problem)" The angles of all of the turnbuckle vary, due to the mounting position of the plates. I didn't mention in the first post that some of the beams heights are offset by 6". The individual points are not at the same point or plane. I need to have something that adjusts. I wanted the flexibility for touring. Things could change or move depending on batten position or where points fall. "Are you hanging this from battens, dead-hanging it, or both? Battens If you are only hanging it from three points, wouldn't trim chains work better than turnbuckles? I had turnbuckles in stock. They are way oversized, but I don't mind that a bit. A photograph would really help describe my problem. I will see what I can do. Happy MLK Day. I am going to build scenery. Thanks again, Steve Schepker Southeastern Louisiana University ------------------------------ Message-ID: <11983.24.168.209.168.1105972819.squirrel [at] webmail.columbia.sc> Date: Mon, 17 Jan 2005 09:40:19 -0500 (EST) Subject: sound design application ideas From: usctd [at] columbia.sc My ATD is sending out apps for bigger and better things. He is a lighting and sound designer. He has not applied for stuff as a sound designer before. How do you show the folks what you can do? Do you send a "greatest hits" sound cue CD? Do you send written design statements as part of the portfolio? Ideas?? -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy ------------------------------ Message-Id: <5.2.0.9.0.20050117102842.0288a488 [at] pop.lightlink.com> Date: Mon, 17 Jan 2005 10:30:32 -0500 From: John Bracewell Subject: Re: sound design application ideas In-Reply-To: The most successful sound design documentation, in my experience, is a good resume accompanied by good references regarding one's performance in sound. The problem with playing "greatest hits" is that a good effect designed for a particular theatre usually sounds crappy when played as a stand-alone item. The context is all important. -- JLB ------------------------------ Message-Id: <3.0.6.32.20050116215207.00b63ce0 [at] pop.west.cox.net> Date: Sun, 16 Jan 2005 21:52:07 From: CB Subject: RF MIC orientation Having a Sennheiser 3012 on an actor and having him wanting to orient the pack at a 90 from vertical, were losing a bit of RF level compared to the other Senns. Would turning one of the paddle antennae 90 improve the reception on him? Would it adversely affect the other two receivers? (I need someone's input that the A1 trusts more than mine, please) Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: <1CA7239A-68A1-11D9-BF1C-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Re: Archives Date: Mon, 17 Jan 2005 08:01:56 -0800 On Jan 16, 2005, at 6:33 AM, Paul Guncheon wrote: > It appears the stagecraft archives cannot be accessed or searched. > What's > up with that... or is it just me and my pathetic computer? The archive database has been up and down lately. I'm working on a more robust replacement. Noah ------------------------------ Date: Mon, 17 Jan 2005 11:18:29 -0500 From: Rich Lindsay Subject: Summer Jobs MI Shakespeare Festival Message-ID: <7C470725160D7E2BA5EEF68E [at] staff-38.uprod.music.umich.edu> In-Reply-To: References: I am looking for staff for this summers MI Shakes Fest. The MSF is a small Equity Company performing Shakespeare in an " traditional manner". I have a returning Scenic/ Lighting Designer. We are searching for a Costumer,Costume Shop Staff and Crew. I need a Props Master, Head Electrician and Sound co-ordinator. We need carpenters and Craft person/ Painter. I also have two AEA EMC Asst. Stage Manager spots. The Costumer position is geared to the young professional or the educator on semester break.Most of the spots are suited for Students looking for an entry level professional job with some responsibility. Housing is provided. dates are Mid June through Mid July or The first week of August. More info is available at http://www.umich.edu/~rlindsay/MIS Inquirys to me at rlindsay [at] umich.edu or 734-763-5031 ------------------------------ Subject: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 10:36:12 -0600 Message-ID: <0B70E9798A3B4E4080E46327FA359F2194BC79 [at] MIDL-MAILV.etclink.net> From: "Sarah Clausen" Hi all - I look to the wisdom of the list... I am curious how many of you that have Express-style consoles with Two-Scene operation actually use the two-scene mode during shows. Specifically, are you running your shows with manual crossfades between the two banks of channel faders? Or do you mainly use the channel faders (or keypad) to set your looks, then record them to the cue list using the keypad for playback? If you are using the two-scene operation for playback, how many channels do you typically run in that way? Enquiring minds would like to know -=20 Thanks much! Sarah Sarah Clausen Product Manager Electronic Theatre Controls, Inc. ------------------------------ Message-ID: <000301c4fcb5$cf7d44f0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 08:58:46 -0800 > I am curious how many of you that have Express-style consoles with > Two-Scene operation actually use the two-scene mode during shows. > Specifically, are you running your shows with manual crossfades between > the two banks of channel faders? Or do you mainly use the channel faders > (or keypad) to set your looks, then record them to the cue list using > the keypad for playback? We do, we do! For one-offs, such as concerts and such... I encourage the students to use the 'olde-fashioned' 2-scene mode. For regular shows (plays, musicals) it's all cue-driven - and those cues are entered, predominantly, by keypad. I did have a designer a couple of years ago who did pefer to 'massage' the cues with the sliders, then recorded the looks. I thought this was important for design students to learn as well, as they determine preferences and develop their own styles. > If you are using the two-scene operation for playback, how many channels > do you typically run in that way? > As many as you give us! We have both the 24/48 (24 in 2-scene mode) and 48/96 (48 in 2-scene). Actually I'm not sure if all 48 have been necessary, but then, we had a mainstage with a pathetic number of dimmers, which won't be the case in our new spaces. I stand by my first response: as many as you give us! :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <41EBF371.F3F2CF72 [at] cybercom.net> Date: Mon, 17 Jan 2005 12:18:41 -0500 From: Dale Farmer Subject: Re: Two-Scene Operation of Lighting Consoles References: Sarah Clausen wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi all - > > I look to the wisdom of the list... > > I am curious how many of you that have Express-style consoles with > Two-Scene operation actually use the two-scene mode during shows. > Specifically, are you running your shows with manual crossfades between > the two banks of channel faders? Or do you mainly use the channel faders > (or keypad) to set your looks, then record them to the cue list using > the keypad for playback? > > If you are using the two-scene operation for playback, how many channels > do you typically run in that way? In mainstream theater, cue driven shows have basically taken over. ( Modulo equipment replacement budgets to actually buy the programmable boards. ) The lower budgeted area still has a lot of manual boards still being used. They would like to have programmable boards, but the money isn't there. I do a lot of conventions and trade shows. Two scene preset boards, usually only 12/24 channel ones pretty much rule the roost there. When your lighting design consists of: Podium special and the rest of the stage platform, you don't need very much control. Distributed dimmers have also caught on big in that environment, as getting heavy power feeds is sometimes rather problematical in hotels. this is, of course, in my experience only. --Dale Ob-Pedants: Yes I know that a podium is something you stand on, and a lectern is what you stand behind, but nearly everyone I know calls the lectern a podium now. ------------------------------ Message-Id: <6.2.0.14.0.20050117094930.03f94628 [at] localhost> Date: Mon, 17 Jan 2005 09:51:36 -0800 From: Jerry Durand Subject: Pedants In-Reply-To: References: At 09:18 AM 1/17/2005, you wrote: >Ob-Pedants: Yes I know that a podium is something you stand on, and a >lectern is what you stand behind, but nearly everyone I know calls the >lectern a podium now. I noticed the rules for the presidential debates said the candidates couldn't leave the podium area. Since some didn't even HAVE a podium, I was waiting for someone to wander out to the crowd. :) To bad the rule righters don't even no witch word two use. :( ---------- 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: <000901c4fcbc$f6035040$6401a8c0 [at] cz1lbfinkbrlun> From: "Chad Croteau" References: Subject: Re: Summer Jobs MI Shakespeare Festival Date: Mon, 17 Jan 2005 12:49:55 -0500 Hi Mr. Lindsay. I'm a canadian student in Windsor, Ontario who is looking for employment preferrably in an electrics department. I saw your posting to the Stagecraft Mailing List for the Michigan Shakespeare Festival, and I was wondering if I would be eligible for employment, as I am Canadian? Any information you could give me would be greatly appreciated. Sincerely, Chad Croteau cpcroteau [at] kelcom.igs.net ----- Original Message ----- From: "Rich Lindsay" To: "Stagecraft" Sent: Monday, January 17, 2005 11:18 AM Subject: Summer Jobs MI Shakespeare Festival > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for staff for this summers MI Shakes Fest. > > The MSF is a small Equity Company performing Shakespeare in an " > traditional manner". > > I have a returning Scenic/ Lighting Designer. > We are searching for a Costumer,Costume Shop Staff and Crew. > I need a Props Master, Head Electrician and Sound co-ordinator. > We need carpenters and Craft person/ Painter. > I also have two AEA EMC Asst. Stage Manager spots. > > The Costumer position is geared to the young professional or the educator > on semester break.Most of the spots are suited for Students looking for an > entry level professional job with some responsibility. Housing is provided. > > dates are Mid June through Mid July or The first week of August. > > More info is available at http://www.umich.edu/~rlindsay/MIS > > Inquirys to me at rlindsay [at] umich.edu or 734-763-5031 > > > > ------------------------------ Message-ID: <41EC0004.3040100 [at] sbcglobal.net> Date: Mon, 17 Jan 2005 12:12:20 -0600 From: Michael Heinicke Reply-To: mheinicke [at] sbcglobal.net Subject: Re: Pedants References: In-Reply-To: >> Ob-Pedants: Yes I know that a podium is something you stand on, and a >> lectern is what you stand behind, but nearly everyone I know calls the >> lectern a podium now. After reading all of the corrections on here about the podium/lectern difference, I've been trying to be more "correct" at work. Then I decided to look it up. Merriam-Webster Online has this to say about a podium: "2 a : a dais especially for an orchestral conductor b : LECTERN" So is it now just a losing battle to distinguish between the two? Mike H ------------------------------ Message-ID: <014f01c4fcc2$90c326a0$6601a8c0 [at] Rattys> From: "Josh Ratty" References: Subject: Re: Caribeners (was quick links) Date: Mon, 17 Jan 2005 13:30:04 -0500 Anyone wanna take a shot at the correct spelling for the word "caribener". My memory tells me it's carabiner. Josh Ratty ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Caribeners (was quick links) Date: Mon, 17 Jan 2005 14:02:58 -0500 Message-ID: <013f01c4fcc7$2bfba4e0$6401a8c0 [at] Dell> In-Reply-To: > Anyone wanna take a shot at the correct spelling for the word > "caribener". My memory tells me it's carabiner. C-L-I-P T-H-I-N-G-E-E ------------------------------ Message-ID: <41EC1D11.2375923C [at] cybercom.net> Date: Mon, 17 Jan 2005 15:16:17 -0500 From: Dale Farmer Subject: Re: Caribeners (was quick links) References: "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Anyone wanna take a shot at the correct spelling for the word > > "caribener". My memory tells me it's carabiner. > > C-L-I-P T-H-I-N-G-E-E Key ring. --Dale ------------------------------ From: DanSLDME [at] aol.com Message-ID: Date: Mon, 17 Jan 2005 15:20:12 EST Subject: Re: Two-Scene Operation of Lighting Consoles Hi Sarah et al I bought the Express 24/48 as an upgrade from an 18-channel twoscene manual. Part of the choice was to get something that anybody could use without programming (given that a sensible patch has been set up), and could run as a two scene in manual mode as an easy migration from the old board. Turns out I don't think we've ever actually used it in two scene manual, but we almost always use channel faders for setting looks etc. More experienced LDs will use the keypad / touchpad, but any warm body can do "channel 3 at 50, please" on the channel faders with no significant learning curve. Community theatre, seats 225, 4 productions per year, usually one is a musical. HTH Dan S. ------------------------------ Message-ID: <41EC210D.9050805 [at] uwosh.edu> Date: Mon, 17 Jan 2005 14:33:17 -0600 From: Mick Alderson Subject: Re: OSHA/NFPA Redulations for Theatre (long rant) Bill Conner wrote: > unfortunately rather than the 1977 edition you will probably be better off > using the 2004 edition. NFPA codes are usually revised and re-issued every > 3 to 5 years. > > The unfortunate part is because the current edition no longer includes the > small-scale or match test as it was sometimes called... > So, if their over 5 years old or so have them cleaned and reflameproofed and > sacrifice some material for testing. If they meet those conditions and look > old, faded, or have many tears and stains, explain to the p.t.b that you've > been told by experts that they have outlived their expected life (10 years > in my book) and if there were a fire, the institution would be all the more > liable for having ignored your warnings. All of which means you'll probably want to stick with "Inherently Fire Retardant" fabrics if/when you get new softgoods, even if they don't look as nice. I'm going to make myself a target here, folks, because my frustration level is getting pretty high. Requiring frequent testing, cleaning, fireproofing is all well and good, but the requirements keep pushing towards "for professional use only" kinds of standards, AND finding a place to have such treatment done ain't always easy if you aren't living in the center of a major metropolitan center. Believe me, I WANT to do the "right thing". UW Oshkosh is in northeastern Wisconsin, and is probably best classified as a "mid-sized" facility and program. We have enough budget for shows if we aren't extravagant, but not much else. There are a lot of places less well off than we. I came here about 7 years ago, from a MUCH smaller program within the UW system. UWO was still using curtains that had come with the building in 1970, and the cyc was also original. Some of the curtains were newer, circa 1990. Since then I've managed to retire all the original curtains to the dumpster and buy some newer ones, so my stock is currently made up of the 1990 rags and some that are about 4 years old, and I've replaced the Cyc. I also repaired the fire-curtain, which wasn't working quite right. The velours I bought are IFR, but the cyc is only "treated". Problem is, the manufacturers only rate the treatment for three years, and lately only for one year. I've tried to do something about this. I am about 2 hours from downtown Milwaukee, four from Chicago. I tried to find a place that did such cleaning and treatment in Milaukee, but only found a place to buy the retardants to do it myself. They USED to do such work, but I guess they decided they didn't get enough traffic to pay for the equipment and liability exposure. Shipping further away seemed impractical; the last time I ordered new curtains the shipping charges were a third the price of the goods. By the time I ship curtains cross-country, pay for the treatment and the return shipping, I might as well buy new. Yet I doubt I could get my University to let me buy new every few years! ESPECIALLY when we (like most state institutions nationwide) have taken some pretty major budget hits in the last few years. So my current tactic, in consultation with my local fire marshal, is to buy retardant with my production budget and treat the goods myself. My A.H.J. has been satisfied with that, even though neither he nor I have any means of testing the effectiveness of the treatment; more to the point, he won't and I can't. My University is unwilling to spend a lot more on what is really the smallest program within the University, but which already likely has (with production budgets) one of the largest per-student expenses. I am ALSO less than sanguine about what the retardant chemicals might be doing to MY health. I try to follow the MSDS as best I can, but my application methods are makeshift at best. It wouldn't be the first time that one set of safety codes worked at cross-purposes to another. I want to protect my students and audience from hazards, but what about ME? There is always the arguement that if you can't do it "right" then you shouldn't do it at all, that the value of one life takes precidence over all other concerns. I happen to agree with all that, but I also feel that if we force all the small venues and programs out of business, then there won't be any big, well-funded institutions and programs either. Personally, I feel like I'm fighting a losing battle here. I can quit the business, or I can just ignore those regulations I can't meet. I'm not yet willing to do either. And if I'M having all this trouble, what are the many smaller institutions supposed to do? And what about high schools? A lot of the over-worked underpaid heros who run those programs don't even know they are in trouble, and this industry CAN'T exist without them. -- Mick Alderson TD, Fredric March Theatre University of Wis. Oshkosh ------------------------------ Message-ID: From: "Jason" References: Subject: Re: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 12:50:01 -0800 Normally, I use it in full channel mode. Just use the subs for most live one off shows. I have also been known to program the channels into subs too when I run out of subs one the large shows. The main reason I leave it in channel mode is so a look can be "sweeten". ----- Original Message ----- From: "Sarah Clausen" Hi all - I look to the wisdom of the list... I am curious how many of you that have Express-style consoles with Two-Scene operation actually use the two-scene mode during shows. Specifically, are you running your shows with manual crossfades between the two banks of channel faders? Or do you mainly use the channel faders (or keypad) to set your looks, then record them to the cue list using the keypad for playback? If you are using the two-scene operation for playback, how many channels do you typically run in that way? Enquiring minds would like to know - Thanks much! Sarah Sarah Clausen Product Manager Electronic Theatre Controls, Inc. ------------------------------ Subject: RE: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 15:03:54 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0909321D [at] danube.river.idm.com> From: "Steven Haworth" This is an interesting discussion. Couple examples - Major theatrical production - ETC Express 48/96 - I used 191 channels, = with the first 96 on faders because it was quicker for programming = initial looks. Channels 97-191 were mostly moving lights or more seldom = used specials. In this case, I prefer having the faders available, it's = easier and faster to create looks that way. But I used a lot of groups = (keypad entry) as well. Concerts - I did a lot of coffeehouse concerts on an ETC Idea (24 ch = 2-scene), and here I tended to use the X set of faders for individual = channels, and the Y set as programmed subs. I'd set some initial looks = in the subs, but during live running I often needed to make up live = looks on the spot w/individual faders. As the show went on, I'd save = some of those live looks into subs so I could reuse them. In both these cases, I needed all the faders available, but didn't = really use the 2-scene operation much. For live stuf especially, where = you can't program and can't even predict the show, you really need quick = access to faders or lots of pre-programmed subs. I've often wondered, in this coffeehouse context, how I would use moving = lights in a live way. Is there any board out there that could handle = that well? Perhaps a way to quickly select a group of lights, a color = or template, and a motion? - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-ID: <41EC2CDF.80109 [at] JosephCHansen.com> Date: Mon, 17 Jan 2005 16:23:43 -0500 From: Barney Simon Subject: Re: OSHA/NFPA Redulations for Theatre (long rant) References: In-Reply-To: Mick Alderson wrote: > All of which means you'll probably want to stick with "Inherently Fire > Retardant" fabrics if/when you get new softgoods, even if they don't > look as nice. Send me your address and I'll send you a sample of the velour I am now using in my rental inventory, I think you'll find it very nice indeed. > the manufacturers only rate the treatment for three years, and lately > only for one year. The chemical and the technique is probably the same. My treatment plant has 5-year, 3-year, and 1-year certificates. If they ship to me in NYC I get the 1-year; NJ gets the 3-year; and some places still get the 5-year. It has to do with local standards. > Shipping further away seemed impractical; the last time I ordered new > curtains the shipping charges were a third the price of the goods. By > the time I ship curtains cross-country, pay for the treatment and the > return shipping, I might as well buy new. I once had a customer in Taiwan ship me four crates of drapes, each larger than a mini-cooper, to be treated and returned... go figure. > And if I'M having all this trouble, what are the many smaller > institutions supposed to do? And what about high schools? A lot of the > over-worked underpaid heros who run those programs don't even know > they are in trouble, and this industry CAN'T exist without them. As a curtain sales person, I hear your pain. I always am talking to people who finally have no choice than to replace their torn and worn drapes. I alway recommend IFR first, BUT I have to protect myself in a 'lowest bidder' situation. 21 oz FR cotton velour lists at about $13/yd and the IFR I'm using lists at about $18/yd. on a 200 yard project, that $1,000 difference might be almost all of the profit. I try to explain that re-treating 200 yards of velour one time is about $900 PLUS labor and shipping and loss of time in the theatre. Some days they just don't listen, or that extra puts them over their budget, or any number of reasons for still going with cotton. I applaud your willingness to 'doing the right thing' it is 'the right thing,' but I'm not sure how to avoid it costing more now rather than later. Barney Simon JC Hansen Co. Drapes, Drops, and Dance Floors ------------------------------ Subject: RE: Stage Manager interviews Date: Mon, 17 Jan 2005 16:26:00 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C696 [at] exchange.rmwc.edu> From: "Paul Schreiner" > In a month I will be holding interviews for two summer=20 > non-Equity stage=20 > managers. Each of these SMs will manage two shows. Last=20 > summer I hired=20 > two and we had some problems, likely due to my novice=20 > SM-hiring skills=20 > and expectations. > This job is in a remote location and lasts 4 months. (If you are able=20 > to work in Canada and interested pls respond off the list.)=20 > This list has helped a lot but does anyone want to give me 10=20 > questions=20 > I should be asking in an interview? Back "in the day", when I was interviewing SMs and others for a small summer theatre (how's that for a submission from the Department of Redundancy Department?), I found that one of the best ways of sorting the wheat from the chaff was to ask a couple of "what-if" questions. What would you do if one of your actors was injured in Act I? How would you handle a conflict between two performers? What if there's a power outage? There was one question in particular I wish I could remember, because it was based on one of those crisis situations that actually had occurred once upon a time at this company, but I think I neglected to back up that part of my brain's hard drive... If you've gone through a situation where things would have worked better had an SM handled it differently (or that worked out fabulously because you had a good SM who grabbed the bull by the horns and dealt with it), use that as a basis for question or two like this. You'll find out a lot more about how someone works under pressure by finding out what their thought process is like beforehand. And if they've taken the time to prepare themselves to handle crises, and have a good grasp of human behavior and ego needs, that's half the battle of stage management...and it's a good indicator that they do pay attention (which is a good start towards mastering the other half of the battle). ------------------------------ Date: Mon, 17 Jan 2005 16:36:49 -0500 Subject: Re: Two-Scene Operation of Lighting Consoles From: Herrick Goldman Message-ID: In-Reply-To: Similarly to Steven's pattern I use subs with looks and frequently record into cues in concert/one-off situations but I also program in Inhibitive submasters for specials and some moving light intensities. So if I'm in a cue that I programmed a few minutes prior but want to bump out the fronts for a silhouette button, I just pull down the Inhibitive. I just saw the most well programmed express250 at Joe's Pub in NYC. Kevin Hardy the house LD is running 6 studio spots and 6 morpheus color faders. With other conventionals and is totally set up to run on the fly with groups, subs, and effects. I get to play with it the end of the month And am looking forward to it. I had come in dreading the set up because I knew the inventory and had considered getting a hog500 in there instead. On 1/17/05 16:03, "Steven Haworth" wrote: > > I've often wondered, in this coffeehouse context, how I would use moving > lights in a live way. Is there any board out there that could handle that > well? Perhaps a way to quickly select a group of lights, a color or template, > and a motion? > > > - Steven (sjh [at] idm.com) > --------------------------- > http://www.stagelights.info > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Date: Mon, 17 Jan 2005 16:38:30 -0500 Subject: Re: Caribeners (was quick links) From: Herrick Goldman Message-ID: In-Reply-To: Well it's confusing if you've ever worked in the corporate trade show world. I believe the tool is caribiner but the former company was Carabiner but I may be reversing that. Carabiner merged with Jack Morton to become CarJack some years ago. -H On 1/17/05 13:30, "Josh Ratty" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Anyone wanna take a shot at the correct spelling for the word "caribener". > My memory tells me it's carabiner. > > Josh Ratty > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 16:42:17 -0500 Message-ID: <015901c4fcdd$6dd53dc0$6401a8c0 [at] Dell> In-Reply-To: > Similarly to Steven's pattern I use subs with looks and > frequently record into cues in concert/one-off situations but > I also program in Inhibitive submasters for specials and some > moving light intensities. Inhibitive subs are also a useful CYA for theatres whose houselights are run through the main console...just in case they accidentally get programmed into a cue during last-minute changes. ------------------------------ Date: Mon, 17 Jan 2005 17:21:54 -0500 From: Cosmo Catalano Subject: Job Posting Message-id: <3166DBE6-68D6-11D9-84A3-000D936C1414 [at] williams.edu> Folks-- =09We are starting to gear up for opening our new building. Below is= a=20 job posting for the TD of the main theatre. The posting pretty much= =20 says it all, but if you have more questions, let me know. The theat= re=20 is pretty well laid out, with good equipment, not bleeding edge but i= t=20 will get the job done. The College is excellent at maintaining it's= =20 facilities--even theatres. We'd like to have someone on board soon, but if an excellent candidat= e=20 appears who can't start soon, we are prepared to hire when she/he is= =20 available. Advantages: Pay is good and benefits excellent. Living in a small college town in the middle of the woods. Disadvantages: Living in a small college town in the middle of the woods. Having me as your boss.... Send your application to the address below, not to me. Official Info Below This Line---------------------------------------- Position Available February 01, 2005 Technical Director =9262 Center for Theatre and Dance Seeking a Technical Director to manage operations in the MainStage= =20 Theatre, a 550 seat proscenium theatre that is part of the new 106,00= 0=20 sq ft Class of =9262 Center for Theatre and Dance. The MainStage The= atre=20 will serve as a performance venue for the Williams College Guest=20 Performing Arts Series, Williams College Dance Program, Williamstown= =20 Theatre Festival and various academic departments, programs and campu= s=20 groups. Working under the supervision of the Technical Supervisor and assiste= d=20 by the Center=92s Media Technician, the Technical Director will opera= te=20 the facility in a safe manner in compliance with appropriate College= =20 and governmental regulations; provide technical services for=20 productions by organizing, training and supervising adult and student= =20 crews of varying abilities and resources; support and ascertain=20 production goals, abilities and resources of groups using the MainSta= ge=20 theatre and assist in organizing their productions. Will also instru= ct=20 and oversee the group=92s safe and proper use of production equipment= ;=20 and, when appropriate and as resources allow, may offer design servic= es=20 to groups. Budget, track and report production expenses for casual and student= =20 personnel and production support materials; maintain production=20 equipment of the MainStage; oversee summer use of the venue by the= =20 Williamstown Theatre Festival and act as liaison between the Festival= ,=20 College and Town officials; prepare and participate in a pre- and= =20 post-season walk through of the Center to assess the condition of the= =20 facility prior to and following the Festival=92s residency. As=20 necessary, instruct the Festival staff in the proper use of MainStage= =20 production equipment. This is a 12-month, full time, 2-year term position with the=20 possibility of renewal after the initial two years. MA, MFA or=20 equivalent experience required. Ability to work well with and provid= e=20 technical support for groups of differing skill levels is of primary= =20 importance. Working knowledge of stage rigging, lifts and stage=20 lighting equipment required. Experience with production audio, media= =20 and basic lighting design desirable. Work will involve lifting and= =20 moving heavy objects and working at height. Work schedule will inclu= de=20 irregular hours as well as evening and weekend work. Preferred start= =20 date is April 04, 2005, but can be modified as circumstances dictate.= =20 Resume review begins immediately and continues until position is=20 filled. Job #300137-ART. Please send a cover letter and resume including job number to: Office of Human Resources, Williams College, 15 Park Street, Williamstown, MA 01267 Phone: (413) 597-3129, e-mail: hr [at] williams.edu www.williams.edu/admin/hr =95 Williams College welcomes diversity =95 AA/EOE =20 ------------------------------ Subject: RE: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 16:27:44 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0909321E [at] danube.river.idm.com> From: "Steven Haworth" >I just saw the most well programmed express250 at Joe's Pub in NYC. > >Kevin Hardy the house LD is running 6 studio spots and 6 morpheus color >faders. With other conventionals and is totally set up to run=20 >on the fly >with groups, subs, and effects. I get to play with it the end=20 >of the month >And am looking forward to it. I had come in dreading the set=20 >up because I >knew the inventory and had considered getting a hog500 in=20 >there instead. Can you report back and tell us how the console is set up to handle all = that. I'd love to know! - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.3d1385cf.2f1d9d8c [at] aol.com> Date: Mon, 17 Jan 2005 18:00:28 EST Subject: Re: Pedants In a message dated 17/01/05 18:13:07 GMT Standard Time, mheinicke [at] sbcglobal.net writes: > After reading all of the corrections on here about the podium/lectern > difference, I've been trying to be more "correct" at work. Then I > decided to look it up. Merriam-Webster Online has this to say about a > podium: "2 a : a dais especially for an orchestral conductor b : LECTERN" > So is it now just a losing battle to distinguish between the two? Well, I can't resist chipping in. A 'podium' is correctly defined as a dais. Somewhere to put your feet. A 'lectern' as the etymology suggests, is the place you put your script down, so that you can read it withouut losing eye contact with your audience more than you have to. In most Anglican churches, it is an eagle with outspread wings, from which the lessons are read. Politicians use simpler ones, and a lectern is often placed on a podium, which may contribute to the confusion. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <154.48a96a06.2f1d9e1a [at] aol.com> Date: Mon, 17 Jan 2005 18:02:50 EST Subject: Re: Caribeners (was quick links) In a message dated 17/01/05 18:30:47 GMT Standard Time, josh.ratty [at] verizon.net writes: > Anyone wanna take a shot at the correct spelling for the word "caribener". > My memory tells me it's carabiner. Formally, it is Karabiner. It's a German word. I don't know its etymology, before anyone asks. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f1.3334f0d8.2f1d9f5e [at] aol.com> Date: Mon, 17 Jan 2005 18:08:14 EST Subject: Re: Two-Scene Operation of Lighting Consoles In a message dated 17/01/05 21:04:46 GMT Standard Time, sjh [at] idm.com writes: > Major theatrical production - ETC Express 48/96 - I used 191 channels, with > the first 96 on faders because it was quicker for programming initial looks. > Channels 97-191 were mostly moving lights or more seldom used specials. In > this case, I prefer having the faders available, it's easier and faster to > create looks that way. But I used a lot of groups (keypad entry) as well. > > Concerts - I did a lot of coffeehouse concerts on an ETC Idea (24 ch 2-scene) > , and here I tended to use the X set of faders for individual channels, and > the Y set as programmed subs. I'd set some initial looks in the subs, but > during live running I often needed to make up live looks on the spot w/ > individual faders. As the show went on, I'd save some of those live looks > into subs so I could reuse them. > > In both these cases, I needed all the faders available, but didn't really > use the 2-scene operation much. For live stuf especially, where you can't > program and can't even predict the show, you really need quick access to > faders or lots of pre-programmed subs. > > I've often wondered, in this coffeehouse context, how I would use moving > lights in a live way. Is there any board out there that could handle that > well? Perhaps a way to quickly select a group of lights, a color or template, > and a motion? Frank Wood ------------------------------ Message-ID: <41EC45EC.35A6953B [at] cybercom.net> Date: Mon, 17 Jan 2005 18:10:36 -0500 From: Dale Farmer Subject: Re: Stage Manager interviews References: Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > In a month I will be holding interviews for two summer > > non-Equity stage > > managers. Each of these SMs will manage two shows. Last > > summer I hired > > two and we had some problems, likely due to my novice > > SM-hiring skills > > and expectations. > > This job is in a remote location and lasts 4 months. (If you are able > > to work in Canada and interested pls respond off the list.) > > This list has helped a lot but does anyone want to give me 10 > > questions > > I should be asking in an interview? > > Back "in the day", when I was interviewing SMs and others for a small > summer theatre (how's that for a submission from the Department of > Redundancy Department?), I found that one of the best ways of sorting > the wheat from the chaff was to ask a couple of "what-if" questions. > What would you do if one of your actors was injured in Act I? How would > you handle a conflict between two performers? What if there's a power > outage? > > There was one question in particular I wish I could remember, because it > was based on one of those crisis situations that actually had occurred > once upon a time at this company, but I think I neglected to back up > that part of my brain's hard drive... > > If you've gone through a situation where things would have worked better > had an SM handled it differently (or that worked out fabulously because > you had a good SM who grabbed the bull by the horns and dealt with it), > use that as a basis for question or two like this. You'll find out a > lot more about how someone works under pressure by finding out what > their thought process is like beforehand. And if they've taken the time > to prepare themselves to handle crises, and have a good grasp of human > behavior and ego needs, that's half the battle of stage management...and > it's a good indicator that they do pay attention (which is a good start > towards mastering the other half of the battle). Interesting thoughts. For fun, I help put on science fiction conventions. ( Next one is this coming weekend at the Boston Park Plaza Hotel, come and visit. I'll usually be in the hotel ballroom. ) No pay, weird interesting people, and good friends. ONe of the Boston area groups put together a game on bidding for, planning and then operating a volunteer run convention. Called If I Ran the Zoo. Lots of wild and woolly scenarios, like the attractive young lady wearing a very large snake and very little else wandering around distracting everyone, and the boringly mundane problems like where to you get eight tons of ice on friday afternoon. Unfortunately, every scenario in the game was based on a real incident that happened at one convention or another. ( What do you do when the guys running around with star wars toy guns bring out a response from the local SWAT team? ) So just go back in your memory for all the 'No shit, there we were... ' stories, and fire them off at the candidate. It will immediately become apparent if they got the right stuff or not. --Dale ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <86.1fc0bd5c.2f1da158 [at] aol.com> Date: Mon, 17 Jan 2005 18:16:40 EST Subject: Re: Two-Scene Operation of Lighting Consoles In a message dated 17/01/05 21:04:46 GMT Standard Time, sjh [at] idm.com writes: > Major theatrical production - ETC Express 48/96 - I used 191 channels, with > the first 96 on faders because it was quicker for programming initial looks. > Channels 97-191 were mostly moving lights or more seldom used specials. In > this case, I prefer having the faders available, it's easier and faster to > create looks that way. But I used a lot of groups (keypad entry) as well. > > Concerts - I did a lot of coffeehouse concerts on an ETC Idea (24 ch 2-scene) > , and here I tended to use the X set of faders for individual channels, and > the Y set as programmed subs. I'd set some initial looks in the subs, but > during live running I often needed to make up live looks on the spot w/ > individual faders. As the show went on, I'd save some of those live looks > into subs so I could reuse them. > > In both these cases, I needed all the faders available, but didn't really > use the 2-scene operation much. For live stuf especially, where you can't > program and can't even predict the show, you really need quick access to > faders or lots of pre-programmed subs. > > I've often wondered, in this coffeehouse context, how I would use moving > lights in a live way. Is there any board out there that could handle that > well? Perhaps a way to quickly select a group of lights, a color or template, > and a motion? You are playing my tune. A fader under my hand, for each channel, is the right way to do it. For a few moving lights, you might be able to do this. Above that, I'm afraid that it's the keypad and wheel. In the end, it all comes down to being able to poke the right DMX numbers into the right slots. Only a thorough understanding of your console will tell you how to do that. Frank Wood ------------------------------ From: "Chad Croteau" Subject: RE: Summer Jobs MI Shakespeare Festival Date: Mon, 17 Jan 2005 18:37:28 -0500 Message-ID: In-Reply-To: Well, that was embarassing... I though I had put the right address in the "to" field, but I guess not. Sorry for the wasted bandwidth, folks. Chad -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Chad Croteau Sent: Monday, January 17, 2005 12:50 PM To: Stagecraft Subject: Re: Summer Jobs MI Shakespeare Festival For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi Mr. Lindsay. I'm a canadian student in Windsor, Ontario who is looking for employment preferrably in an electrics department. I saw your posting to the Stagecraft Mailing List for the Michigan Shakespeare Festival, and I was wondering if I would be eligible for employment, as I am Canadian? Any information you could give me would be greatly appreciated. Sincerely, Chad Croteau cpcroteau [at] kelcom.igs.net ----- Original Message ----- From: "Rich Lindsay" To: "Stagecraft" Sent: Monday, January 17, 2005 11:18 AM Subject: Summer Jobs MI Shakespeare Festival > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for staff for this summers MI Shakes Fest. > > The MSF is a small Equity Company performing Shakespeare in an " > traditional manner". > > I have a returning Scenic/ Lighting Designer. > We are searching for a Costumer,Costume Shop Staff and Crew. > I need a Props Master, Head Electrician and Sound co-ordinator. > We need carpenters and Craft person/ Painter. > I also have two AEA EMC Asst. Stage Manager spots. > > The Costumer position is geared to the young professional or the educator > on semester break.Most of the spots are suited for Students looking for an > entry level professional job with some responsibility. Housing is provided. > > dates are Mid June through Mid July or The first week of August. > > More info is available at http://www.umich.edu/~rlindsay/MIS > > Inquirys to me at rlindsay [at] umich.edu or 734-763-5031 > > > > ------------------------------ From: "Jonathan S. Deull" Subject: RE: Carabiners (was quick links) Date: Mon, 17 Jan 2005 18:43:10 -0500 In-Reply-To: Message-ID: Over the years I've seen lots of different combinations of letters to spell that word. Not sure what the "original" or "formal" spelling might be, but a quick web search of the websites of the major manufacturers of the gizmos (Omega, Black Diamond, Petzl, Stubai, Kong, SMC, CMC and others) reveals a remarkable consistency: they all spell it Carabiner. Jonathan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Monday, January 17, 2005 6:03 PM To: Stagecraft Subject: Re: Caribeners (was quick links) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 17/01/05 18:30:47 GMT Standard Time, josh.ratty [at] verizon.net writes: > Anyone wanna take a shot at the correct spelling for the word "caribener". > My memory tells me it's carabiner. Formally, it is Karabiner. It's a German word. I don't know its etymology, before anyone asks. Frank Wood ------------------------------ Date: Mon, 17 Jan 2005 14:02:36 -1000 Subject: USITT Archives From: Shell Dalzell Message-ID: In-Reply-To: Some time ago, about a year or two, someone posted a web link to the USITT archives through the University of Missouri Theater Department. I think. I have lost the link. Does anyone else have it? Aloha, Shell ------------------------------ Message-ID: <1731.206.17.140.84.1106009365.spork [at] webmail.ducksecho.com> In-Reply-To: References: Date: Mon, 17 Jan 2005 19:49:25 -0500 (EST) Subject: Re: Caribeners (was quick links) From: "Andy Leviss" So, a question for those who say we shouldn't use 'biners for overhead lifting and such. I have speaker clusters on my tour that use ATM Flyware (http://www.atmflyware.com) hardware as their rigging. As per ATM's instructions, they're rigged with locking 'biners holding the hanging brackets on the top of my lower speakers and bottom of my upper speakers together (they may even supply said 'biners with the rigging--I'm not sure, but they definitely use them and notate a particular model that I believe they sell in the diagrams on their site and in their "Riggermeister" guidebook). Is this no good? Is ATM in the wrong to be telling you to use 'biners for this? Is there another viable soluation? (I have to double check, but I'm pretty sure that the pin of the shackle is the only part that fits through the holes in the bracket, so to use shackles, one would have to put one shackle on each bracket, and then connect those two shackles with a third one :o1 Would that be recommended over the 'biners? TIA, Andy ------------------------------ Date: Mon, 17 Jan 2005 20:20:48 -0500 From: "Steve B." Subject: Re: Two-Scene Operation of Lighting Consoles Message-id: <002d01c4fcfb$f100f860$6401a8c0 [at] SBFF> References: I use an Express 48/96 in a 2400 seat road house (300 dims). Wish it were a 72/144. Quite a few events are from out of the country and/or events that don't define a channel assignment, thus it's a lot quicker to run in either 2 scene or single scene, depending on numbers of channels required. In general though, events using more definition and breakdowns of channels tend to have pre-cued. For those events, nearly everyone is using a defined channel assignment and nearly always has a disk in Expression/Express format that we load into the console. I often find myself playing catch-up on the keypad as I tend to not run those events and admit to being slow at punching numbers. Can't say I've ever run or programmed a multi-part cue, as example. For the events I run (as Lighting Director - as opposed to ME), where I did the plot conversion or design and know pretty well where things are, the labels on the manual faders are much faster then trying to call channel numbers. Indeed, we once had a Prestige 2000 with a graphics tablet. I had an 8x11 plot on it, color coded and could get channels up very quickly, or as fast as the interpreter could translate. I miss it. The R&R events (Haitian and other Carib type concerts) really need an Avo type, but we make do with the Express. I really need more playback faders (subs) and was disappointed that the Express won't run a cue subroutine on a Sub. Sometimes I'd kill for an Insight, but would hate to give up the 2 scene - or single scene. We're upgrading to Emphasis and 7-8 Studio Spots, but I still feel the need for 35-40 playbacks. An Avo is a solution, but would hate to give up the ability to load in a cue file from a similar console, as well as the fact that we're Net2. Hopefully ETC is building more R&R style into the next console series, as well as fixing stupid stuff such as an inability to Update a cue from channel faders and subs, as well as from a pull down from an inhibitive sub (I use those all the time for FOH channels I don't want bleeding all over the house curtain) and the GM. Maybe the capability to add sub wings ?. Emphasis will be interesting....... Steve Bailey LD/ME Brooklyn Center for the Performing Arts Brooklyn College ------------------------------ Date: Mon, 17 Jan 2005 20:26:32 -0500 Subject: Re: Caribeners (was quick links) From: Bill Sapsis Message-ID: In-Reply-To: on 1/17/05 7:49 PM, Andy Leviss at Andy [at] DucksEchoSound.com wrote: > So, a question for those who say we shouldn't use 'biners for overhead > lifting and such. I have speaker clusters on my tour that use ATM Flyware > (http://www.atmflyware.com) hardware as their rigging. As per ATM's > instructions, they're rigged with locking 'biners holding the hanging > brackets on the top of my lower speakers and bottom of my upper speakers > together (they may even supply said 'biners with the rigging--I'm not > sure, but they definitely use them and notate a particular model that I > believe they sell in the diagrams on their site and in their > "Riggermeister" guidebook). > > Is this no good? Is ATM in the wrong to be telling you to use 'biners for > this? Is there another viable soluation? (I have to double check, but I'm > pretty sure that the pin of the shackle is the only part that fits through > the holes in the bracket, so to use shackles, one would have to put one > shackle on each bracket, and then connect those two shackles with a third > one :o1 Would that be recommended over the 'biners? Andrew Martin (ATM) knows what he's doing. He knows his gear and what works with it. I do not know what biners he's recommending so I really can't comment on them. And, for the record, I wouldn't dream of telling him what to do...publicly. However, as previously noted, I do not use biners for any rigging and do not permit my crews to use them. When I hang ATM hardware I use shackles. 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: <030001c4fd02$3cc2ae50$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: Two-Scene Operation of Lighting Consoles Date: Mon, 17 Jan 2005 21:01:06 -0500 Main worship center, ETC 48/96 w/ 110 dimmers, is always run in single scene mode (with blackout disabled). We have programmed sub-masters with the basic looks. Only once a year does anyone come up with a different lighting plot, and typically, we put those in as subs as well. Most all is done from the subs. Sadly, I have 192 dimmers, but the architect didn't spec for but 110 circuits run! (And most of those are hardwired as twofers, to boot.) There are no extra circuits AND no money to run any extra. It's 500', from the rack to where the extra circuits are most needed! Currently, they won't spring for the 1000' of wire per circuit. To add extra fixtures for special shows, I bring in two 4x600 portable boxes and set light trees in the balcony. The extra 8 circuits are run off a separate 8 channel board. I'd run more than 8 channels but that's all the extra power I could find in the balcony. S--i--g--h. Why is that the person who really knows what's needed in a new building never gets hired until after the building is completed? Alf ------------------------------ Message-ID: <90d9c9980501171917338c25ee [at] mail.gmail.com> Date: Mon, 17 Jan 2005 22:17:49 -0500 From: Scott Parker Reply-To: Scott Parker Subject: Re: USITT Archives In-Reply-To: References: Me thinks you are looking for: http://info.nwmissouri.edu/~pimmel/usitt/source_guide/index.htm Scott On Mon, 17 Jan 2005 14:02:36 -1000, Shell Dalzell wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Some time ago, about a year or two, someone posted a web link to the USITT > archives through the University of Missouri Theater Department. I think. I > have lost the link. Does anyone else have it? > > Aloha, Shell > > -- Take care, Scott Scott C. Parker ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Caribeners (was quick links) Date: Mon, 17 Jan 2005 22:30:50 -0500 > > Anyone wanna take a shot at the correct spelling for the word >"caribener". > > My memory tells me it's carabiner. > Formally, it is Karabiner. It's a German word. I don't know its >etymology, >before anyone asks. It *is* from the German; Karabiners are/were rifle-men (they carry carbines). The word has been anglicized to "carabiner," which most major manufacturers use. -- Matt ====== _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ End of Stagecraft Digest #263 *****************************