Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 15248413; Thu, 20 Jan 2005 16:56:52 -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 #266 Date: Thu, 20 Jan 2005 16:56:31 -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 #266 1. Re: Seating Help! by Mike Brubaker 2. Re: Seating Help! by "Kevin Hardy" 3. Re: On-line Portfolios by Jason Tollefson 4. Re: USITT Housing by Jason Tollefson 5. Re: On-line Portfolios by "Jeffrey E. Salzberg" 6. Re: On-line Portfolios by "Kevin Hardy" 7. Re: Sect 11 vs 16 by Michael Powers 8. Re: On-line Portfolios (What do you use for hosting?) by "Immel,Patrick" 9. Re: On-line Portfolios by "Jon Ares" 10. Re: Seating Help! by "Haagen Trey P Civ 34 TRW/SDAT" 11. Re: Seating Help! by "Jon Ares" 12. ladders and Lifts general practice by Al Fitch 13. plexiglass static by "David R. Krajec" 14. Judging theatre tech innovation. by "James Smith, Soundsculpture Incorporated" 15. forklifting a 9' grand piano by "Byron Lovelace" 16. Anyone in Tokyo in Late February? by Herrick Goldman 17. Re: On-line Portfolios by "Nigel Worsley" 18. Re: Seating Help! by "Haagen Trey P Civ 34 TRW/SDAT" 19. Re: forklifting a 9' grand piano by IAEG [at] aol.com 20. Re: On-line Portfolios (What do you use for hosting?) by gregg hillmar 21. Re: Judging theatre tech innovation. by "Zirngibl, Ryan John" 22. Re: On-line Portfolios by gregg hillmar 23. Re: forklifting a 9' grand piano by Mark O'Brien 24. Re: Two-Scene Operation of Lighting Consoles by CB 25. Re: Seating Help! by "ladesigners [at] juno.com" 26. Re: forklifting a 9' grand piano by Stephen Litterst 27. Re: On-line Portfolios (What do you use for hosting?) by Adam Fitchett 28. Re: On-line Portfolios (What do you use for hosting?) by Mark O'Brien 29. Re: On-line Portfolios (What do you use for hosting?) by Noah Price 30. Re: forklifting a 9' grand piano by IAEG [at] aol.com 31. Re: forklifting a 9' grand piano by "Randy Whitcomb" 32. Re: forklifting a 9' grand piano by Stephen Litterst 33. Re: forklifting a 9' grand piano by "Curt Mortimore" 34. Re: On-line Portfolios (What do you use for hosting?) by "Jon Ares" 35. Re: Sect 11 vs 16 by "Bryan H. Ackler" 36. Metamorphoses pool by "Erik Nelson" 37. Re: Metamorphoses pool by "Jeffrey E. Salzberg" 38. Re: Sect 11 vs 16 by "Delbert Hall" 39. Re: Metamorphoses pool by John McKernon 40. Stagecraft Reception at USITT by "ladesigners [at] juno.com" 41. Re: Metamorphoses pool by "Scott Boyle" 42. Re: Metamorphoses pool by IAEG [at] aol.com 43. Re: Metamorphoses pool by "Michael S. Eddy" 44. Re: Stagecraft Reception at USITT by "Scott C. Parker" 45. Re: Stagecraft Reception at USITT by "Stephen E. Rees" 46. Re: Anyone in Tokyo in Late February? by "Michael Denison" 47. Re: Anyone in Tokyo in Late February? by IAEG [at] aol.com 48. Canada power safety requirements clarification by Jerry Durand 49. Re: Seating Help! by Greg Bierly 50. Re: On-line Portfolios by roguerpj [at] mn.rr.com 51. Re: On-line Portfolios by "Paul Schreiner" 52. Re: On-line Portfolios by Boyd Ostroff 53. Re: On-line Portfolios by "Jeffrey E. Salzberg" 54. Re: Canada power safety requirements clarification by Richard Wolpert 55. Re: On-line Portfolios by "Jeffrey E. Salzberg" 56. Re: Canada power safety requirements clarification by "Tom Heemskerk" 57. Re: On-line Portfolios by "Sarah Clausen" 58. Re: On-line Portfolios by "Sarah Clausen" 59. Re: On-line Portfolios by Boyd Ostroff 60. Re: Canada power safety requirements clarification by Jerry Durand 61. Re: Caribeners (was quick links) by FrankWood95 [at] aol.com 62. Re: ladders and Lifts general practice by FrankWood95 [at] aol.com 63. Re: ladders and Lifts general practice by FrankWood95 [at] aol.com 64. Dock Opinions by Greg Persinger 65. Re: Dock Opinions by IAEG [at] aol.com 66. Argentina in February by Paul Puppo 67. Re: 2 scene Presets by FrankWood95 [at] aol.com 68. Re: Argentina in February by Boyd Ostroff 69. Re: ladders and Lifts general practice by FrankWood95 [at] aol.com 70. Re: Argentina in February by "ladesigners [at] juno.com" 71. Re: static and plexi by FrankWood95 [at] aol.com *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-Id: <6.1.2.0.0.20050120072133.01c847f0 [at] mail.insightbb.com> Date: Thu, 20 Jan 2005 07:36:58 -0500 From: Mike Brubaker Subject: Re: Seating Help! In-Reply-To: References: Consider the following six companies: Ducharme Seating (out of Quebec)--Roch Demers is a good contact Series Seating (Series USA)--their representation is out of Warsaw, Indiana. Tom Boyd is a good contact. American Seating--look at their Spirit chair Hussey Seating--Quattro KI--Concerto (don't look at their Lancaster product) TSI (Theatre Solutions, Inc)--Teatro or Acclaim, both are nice All of these seats use gravity to return the seat to an upright position. I'd suggest staying away from Seating Concepts, although they have a gravity-rise seat. Irwin Seating and Track Seating both do only spring return seats. Some other thoughts: 1. Make sure that you will be up to date with the code. Generally, once you replace the seats, you have to bring the system up to the current code, not the one in effect in 1974. The seating companies will not do this--they leave the responsibility for that on you and your architect/consultant. 2. Request samples of each seat. Sit in them. 3. Code again. Make sure that the seat has the correct envelope (front to back dimension). Current code requires a certain amount of clear width from the back of the seat in front of you to the front of your seat in its upright position. In 1974, that did not matter. 4. Make sure you get spare parts. 5. You have quite a few choices for finishes. Wood, plastic laminate, plastic, or fabric outer back and seat bottoms. Wood, plastic, or plastic laminate arms. Same on the end panels. Not all manufacturers have all of the options available. Do you have an architect or consultant working with you on this? There are many more things to consider, but this is a good set to start with. Mike At 01:24 AM 1/20/2005, you wrote: >Alright folks I just got the approval to replace the seating (413 total) >in my space that was built in 1974 (bad harvest gold color). I need any >and all saga advice about seating, vendors, and process. My timeline is >very short and we need everything in place for the contractor in >mid-June. Thanks in advance! > >Robert Medley >Director of Theater >The Catlin Gabel School >8825 SW Barnes Rd. >Portland, OR 97225 >503 297-1894 ext 362 >medleyr [at] catlin.edu ------------------------------ Reply-To: From: "Kevin Hardy" Subject: RE: Seating Help! Date: Thu, 20 Jan 2005 07:59:01 -0500 Organization: CBI Lighting In-Reply-To: Message-Id: Here is a links, we put the "Springfield" in a small 98 seat theatre I designed and they look and feel great. http://www.irwin-seat.com/market_pages/main.htm Kevin Hardy CBI Lighting 309 East 108th St, #5C New York, New York, 10029 (917) 287-4220 Cellular (212) 369-7510 Studio -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Medley, Robert Sent: Thursday, January 20, 2005 1:24 AM To: Stagecraft Subject: Seating Help! For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Alright folks I just got the approval to replace the seating (413 total) in my space that was built in 1974 (bad harvest gold color). I need any and all saga advice about seating, vendors, and process. My timeline is very short and we need everything in place for the contractor in mid-June. Thanks in advance! Robert Medley Director of Theater The Catlin Gabel School 8825 SW Barnes Rd. Portland, OR 97225 503 297-1894 ext 362 medleyr [at] catlin.edu ------------------------------ Message-ID: <20050120130644.24403.qmail [at] web51008.mail.yahoo.com> Date: Thu, 20 Jan 2005 05:06:44 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: On-line Portfolios In-Reply-To: I'll throw my site out there as well. www.tollefsondesigns.com I use yahoo for web hosting and created the site using Photoshop and a simple word processor. If you're interested, and planning on attending USITT Toronto, you might want to come to a session I'm conducting on web portfolios. It's going to be an introductory primer in site creation using affordable tools and simple techniques. I'm putting the session together now and might be contacting some of you for permission to use your site as examples. Jason Tollefson www.tollefsondesigns.com ------------------------------ Message-ID: <20050120131329.56779.qmail [at] web51004.mail.yahoo.com> Date: Thu, 20 Jan 2005 05:13:29 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re:USITT Housing In-Reply-To: My wife and I are staying at the The Strathcona Hotel: http://www.thestrathconahotel.com/ At $129 Canadian a night, it was much more affordable than the options that USITT was suggesting. It's also much closer than some of the hotels on USITT's list. The place looks good on the website but I've never stayed there so I can't vouch for its quality. Jason Tollefson www.tollefsondesigns.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 08:26:55 -0500 Message-ID: <000701c4fef3$b917f6c0$6401a8c0 [at] Dell> In-Reply-To: > I use yahoo for web hosting I was with Yahoo for about three years. After repeated instances of email sent to accounts at my domain and tech support that most consisted of repeated requests for the same long list of information (and requests such as, "Can you send us the email that bounced?"), I switched to a host that provides better service and more features for half the price. ------------------------------ Reply-To: From: "Kevin Hardy" Cc: jason [at] tollefsondesigns.com Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 08:42:55 -0500 Organization: CBI Lighting In-Reply-To: Message-Id: It's funny that you all are taking about on-line Portfolios, that is exactly what I have been doing for the last week. http://cbilighting.com/ Jason, I really like your site. The question I have is how you did your photo page is it flash? Also the way that Kristina has her portfolio is great. I built mine on dream weaver and granted I am no WEBMASTER (oooooooooooo) by a long shot but it gets the info out there. Please take a look at mine and any pointers would be eagerly accepted. My fear is that my enlarged images are to large? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jason Tollefson Sent: Thursday, January 20, 2005 8:07 AM To: Stagecraft Subject: Re: On-line Portfolios For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'll throw my site out there as well. www.tollefsondesigns.com I use yahoo for web hosting and created the site using Photoshop and a simple word processor. If you're interested, and planning on attending USITT Toronto, you might want to come to a session I'm conducting on web portfolios. It's going to be an introductory primer in site creation using affordable tools and simple techniques. I'm putting the session together now and might be contacting some of you for permission to use your site as examples. Jason Tollefson www.tollefsondesigns.com ------------------------------ Date: Thu, 20 Jan 2005 09:19:05 -0500 From: Michael Powers Subject: Re: Sect 11 vs 16 Message-id: <41EFBDD9.1070806 [at] theater.umass.edu> Mike Brubaker writes: <<.......... Section 11, then, is "Equipment." Theatre=20 equipment generally starts around 11060. Section 16 is Electrical. A dimming system specified in Section 11 is supplied as equipment and,=20 generally, installation is "assigned" to the electrical=20 contractor. Generally, however, the electrical contractor does not have = anything invested in that equipment other than installation. ..........>>= Mike, A prime example of this was a theatre that was built at my undergraduate = school many years ago. There was no consultant, the architect was "less = than knowledgeable" about theatre and the department was between TD's at = the time. The dimming system must have been section 11 and no one paid a= ny attention to the note on the prints, "Wiring By Others." If they did n= otice it, it was obviously a case of "Not my job" to point it out. The di= mmer bank was installed and powered up, the patch bay was installed and b= olted down, the consoles were in place in the respective light booths of = the existing stage and the new theatre. If you haven't already figured i= t out, there was not even conduit run between the dimmers and the patch b= ay, from the dimmers to the booths and the new theatre had no runs for a = single circuit on the stage or FOH. The old theatre did have connections= from the existing circuits to the patch bay as they had already been the= re, just had to be re-connected when the new patch bay was installed. All= the conduit and wiring had to be added after the we moved in and were do= ing shows. The entire first year the new theatre had 4 snakes of 25 cord= s each running from the old theatre through the shop to the new stage. I= think they were about 200' each IIRC. When the electrical work was finis= hed we cut all the snakes into a variety of short cables. At least we ha= d all the jumpers and cable runs that you could want, paid for by the arc= hitect. We had to plan productions very carefully so that both houses did= n't want to use the same circuit at the same time. As we discovered later= that planning was to continue after all the wiring was done To add to the insanity, the dimmer bay and patch bay were shared between = the two stages. Why pay for two expensive installations when one could b= e shared, right? So circuits 001 through 200 were in the new theatre and= 201-400 were in the old house. This was when dimmers were still expensi= ve and the 100 dimmer rack was 6' tall and 14' wide. Slots 1-20 were per= manently assigned to the new theatre, 81-100 to the old house and 21-79 w= ere shared with a toggle selector, and they only purchased 60 dimmers up = front. "you can pull and plug them into the dimmer slots you want and ge= t additional dimmers a little at a time". Anyone who has ever experience= d a "We'll get that ________ later" (Fill in the blank with pit lift, mor= e dimmers, additional line sets etc.) knows full well that "later" =3D "n= ever". Michael <>Michael Powers, Technical Director UMass Amherst 413-545-6821 =20 mfpowers (at) theater.umass.edu mptecdir (at) aol.com ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39024F9FC91 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: On-line Portfolios (What do you use for hosting?) Date: Thu, 20 Jan 2005 08:25:13 -0600 > > I use yahoo for web hosting > I have a digital portfolio that I would like to put online. The choices for hosting are quite daunting in regards to price and services. After looking at some of the portfolios posted, there seems to be quite a few of you with your own sites and domains, which is the direction I would like to head. Are there any good options out there? Horror stories!? Thanks, Pat Immel Northwest Missouri State University ------------------------------ Message-ID: <001101c4fefe$cd232f80$0600000a [at] BRUTUS> From: "Jon Ares" Cc: kevinhardy [at] earthlink.net References: Subject: Re: On-line Portfolios Date: Thu, 20 Jan 2005 06:46:18 -0800 > It's funny that you all are taking about on-line Portfolios, that is > exactly > what I have been doing for the last week. http://cbilighting.com/ I can't get past your first page. I assume those are nav links and images at the bottom of the page, but the images are dead, or don't download, so I can't click on them. Good web design says you should have a plain text nav bar somewhere on the page, in case images don't load, or someone has Javascript turned off, or no Flash, etc. A word to folks about Flash: don't. Or at least, don't without warning. Big splashy Flash 'commercials' as a splash page annoy the heck out of people - me included. If you were advertising your skill as a Flash designer, or an editor of commercials, that's something else. I keep Flash turned off (I used TurnFlash - turn it on only when I need to). Wasted bandwidth. Please don't make Flash the only way to navigate a site, or to find content. Please don't put 'basic content' (such as text, or even images if possible) in Flash. If you want to put a dancing baby in the corner of your site in Flash, that's your choice, but also remember: animated, looping graphics are also poor design. Ok, I'm done. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Subject: RE: Seating Help! Date: Thu, 20 Jan 2005 07:48:23 -0700 Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041341 [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" Seating costs can really run the gamut. First, are you really replacing the seats or are you having them reupholstered? They can also be remanufactured. If your theatre and seats are old, you may want to have them remanufactured. Pick your fabric and the company will strip, repaint and replace all the working parts. If you know the original manufacturer, they probably still have the pattern in stock or in blanks. Just getting the pan and seat back reupholstered is the least expensive. Remanufactured is about two/thirds the price of new ones. New ones, decent to good quality, cost the most. Then there is the removal, transportation, remanufacturing, transportation and reinstall. The process is not quick. We had the seats in our 3000 seat house remanufactured and the process was about five weeks. I would get the money allocated then plan to have them done off season. Trey Haagen Arnold Hall Theatre USAF Academy ------------------------------ Message-ID: <000301c4ff00$a3983280$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Seating Help! Date: Thu, 20 Jan 2005 06:59:28 -0800 > The process is not quick. We had the seats in our 3000 seat house > remanufactured and the process was about five weeks. FIVE WEEKS? Heck, that's nothing. I can't even get the local rigging/drapery company to clean a drape in less than 3 months!!! I would have anticipated 3000 seats taking more like 12 or 16 weeks. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <20050120150057.54137.qmail [at] web51404.mail.yahoo.com> Date: Thu, 20 Jan 2005 07:00:56 -0800 (PST) From: Al Fitch Subject: ladders and Lifts general practice In-Reply-To: <> But the risk of falling is already assumed when you climb up a ladder, scaffold, or genie, whether it's being pushed around, or not. The real difference -- the increased risk of accident -- is probably incalculable.>>> Disclaimer: I'm not a genius when it comes to math, statistics and such but.... Is the risk 50%? When you climb up a ladder you can either come down safely or fall (Hanging on to the grid or a batten is not considered safely in my list of possibilities) Al Fitch ===== Be Kind, Smile and Have Fun. __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo ------------------------------ Reply-To: From: "David R. Krajec" Subject: plexiglass static Date: Thu, 20 Jan 2005 09:03:36 -0600 Message-ID: In-Reply-To: Static cling mucking up your day. Try using old dryer sheets. They work fairly well on safety glasses, too! David Krajec Cardinal Stritch University Milwaukee, WI ------------------------------ From: "James Smith, Soundsculpture Incorporated" Subject: Judging theatre tech innovation. Date: Thu, 20 Jan 2005 10:08:40 -0500 Message-Id: <20050120150843.SBIR19622.tomts10-srv.bellnexxia.net [at] p3m866> I'm one of numerous lucky people who will be judging finalists in this year's USITT Tech Expo in Toronto. If all the preliminary selections make it to the show in March, it will be a display of over 40 of "the best and brightest ideas from technicians from all facets of performing arts: costume, lighting, sound, scenery, props, etc." It is very important to me to judge fairly and appropriately. So I'm seeking your advice: What is truly innovative? Contest entries span a huge range... techniques for applying paint, electronic things, software, even somewhat abstract methodologies can make the grade. It's kind of like deciding which fruit or vegetable is "the best"... the luxury of comparing apples to apples is not afforded. Over the past 20 years I've been solving problems with electronics and motors -- that's my personal background. My remote controlled Phantom of the Opera gondola was, I believe, the quietest, most controllable, most robust and reliable ever made. My Phantom Monkey was pretty good to -- I transmitted live audio from a keyboard in the orchestra pit to a receiver, amp, and speaker in the prop itself. It was the only Monkey that could accommodate variations in singing style by the lead performer; others put audio cassette players inside the monkey -- not great for some of the most intimate vocal performances in the show. (I do a lot of other stuff too, more at www.jamesdavidsmith.com.) Anyway... I think I'm a pretty good choice as a judge in Tech Expo. But your opinions about how to evaluate the entries in an event like this are very much appreciated. Sincerely, James (Jim) Smith Soundsculpture Incorporated jsmith [at] NOSPAMtheatrewireless.com (remove NOSPAM) www.theatrewireless.com ------------------------------ Message-ID: <003f01c4ff02$e9586b80$6601c442 [at] Cassandra> From: "Byron Lovelace" References: Subject: forklifting a 9' grand piano Date: Thu, 20 Jan 2005 09:15:42 -0600 I have an interesting problem. I need to lift and place a 9' grand piano onto a 2' riser. I have no budget for movers, and no manpower to muscle it. But I do have a forklift. Assuming I must use it, do you have a suggestion of approach (pick it from the keyboard or a side), and/or any procedural precautions (blocking, padding, anything else)? Part of me says THis is Nuts, and part of me says What's the Big Deal. So I respectfully turn to my peer group. What do you think? Byron Lovelace Tech Director/Facilities Manager Cultural Activities Center Temple, Texas lovelace [at] hot.rr.com ------------------------------ Date: Thu, 20 Jan 2005 10:21:23 -0500 Subject: Anyone in Tokyo in Late February? From: Herrick Goldman Message-ID: In-Reply-To: Hey folks, I'm doing a concert in Manila in Mid February and I fly back via Tokyo on 2/24. I'm considering Staying a day or two in Tokyo, never having been there before. Anyone around? Any suggestions on where to stay or what to do if I only have 24 hours to sightsee? Contact me off list if you wish. Or just start another "the best place to eat/drink (your city here) thread" -Herrick -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <021001c4ff03$e5d6c960$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: On-line Portfolios Date: Thu, 20 Jan 2005 15:22:46 -0000 Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> It's funny that you all are taking about on-line Portfolios, that is >> exactly >> what I have been doing for the last week. http://cbilighting.com/ > > > I can't get past your first page. I assume those are nav links and images > at the bottom of the page, but the images are dead, or don't download, so I > can't click on them. Good web design says you should have a plain text nav > bar somewhere on the page, in case images don't load, or someone has > Javascript turned off, or no Flash, etc. The navigation buttons are in Flash - god knows why! > A word to folks about Flash: don't. Especially when an image with a link will do EXACTLY the same job! Also, an uncompressed 586KByte image on the front page won't earn you much Kudos with anyone on dialup - that will take well over a minute to download! Nigel Worsley ------------------------------ Subject: RE: Seating Help! Date: Thu, 20 Jan 2005 08:25:55 -0700 Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041342 [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" Well, the process started a year in advance. Picking upholstery, arm rest style and stain. Handicapped seating. =20 Internally, we had to cuss and discuss if we wanted to keep the hat racks attached to the bottom of the pans. ( "Excuse me. Ouch. Damn. Pardon m...Damn. I'm very sorry. Uhhh") And we had the bidding and picking process. We went with the manufacturer from 45 years ago. A lot of folks said that they could do it. Do it well. Less expensive. And locally. (in Colorado ) Our choice was a good one. A crew came in from Kansas. Seats were pulled and loaded into trucks and off to Michigan they went. A few weeks later the first truck was back with a crew. And they went in. From dismounting to patrons seated about 5 weeks. Off season. Lots of coordination. =20 Trey Haagen Arnold Hall Theatre USFA Academy -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares Sent: Thursday, January 20, 2005 07:59 To: Stagecraft Subject: Re: Seating Help! For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > The process is not quick. We had the seats in our 3000 seat house=20 > remanufactured and the process was about five weeks. FIVE WEEKS? Heck, that's nothing. I can't even get the local=20 rigging/drapery company to clean a drape in less than 3 months!!! I would=20 have anticipated 3000 seats taking more like 12 or 16 weeks. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org=20 ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 20 Jan 2005 10:31:50 EST Subject: Re: forklifting a 9' grand piano In a message dated 1/20/05 10:16:33 AM, bklovelace [at] vvm.com writes: >I have an interesting problem. I need to lift and place a 9' grand piano > > >onto a 2' riser. I have no budget for movers, and no manpower to muscle >it. > >But I do have a forklift. Assuming I must use it, do you have a suggestion > > >of approach (pick it from the keyboard or a side), and/or any procedural > > >precautions (blocking, padding, anything else)? Part of me says THis is > > >Nuts, and part of me says What's the Big Deal. So I respectfully turn >to my > >peer group. What do you think? pro piano movers turn the piano on it's side ( the long flat "bass" side ) on a special dolly, remove the legs and pedals ( DON'T DO THIS IF YOU DON'T KNOW HOW! ) etc etc you could carefully lift the piano with a fork lift, , i'd pad the tines, , and spread them wide, , approach from the "bass" side, , with the right hand tine close, , but not too close to the supports for the pedal mechanism, , should be balanced there, of course different manufacturers of concert grands are of different design, , not all present a perfectly even bottom to lift, , you might need some custom modifications to the fork lift tines to lift properly, then CALL A TUNER ! ! ! very best, Keith Arsenault ------------------------------ In-Reply-To: References: Message-Id: From: gregg hillmar Subject: Re: On-line Portfolios (What do you use for hosting?) Date: Thu, 20 Jan 2005 10:35:21 -0500 Having worked as a codesmith writing HTML, (nice left brain/right brain change from design work), I can highly reccomend HOSTWAYS as a host. I use them (www.hillmardesign.com), and have put three or four clients on them, including www.usittchesapeake.org and have never had ANY trouble at all. Good service, no down time in over five years, and good support. Cost seems par for the course. I would not touch yahoo with the proverbial ten foot pole. I moderate several lists on yahoo and the amount of spam coming FROM yahoo often means that yahoo is on everyone's spam provider lists, which then means so are you. HTH g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige On Jan 20, 2005, at 9:25 AM, Immel,Patrick wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > >>> I use yahoo for web hosting >> > > > I have a digital portfolio that I would like to put online. The > choices for > hosting are quite daunting in regards to price and services. After > looking > at some of the portfolios posted, there seems to be quite a few of you > with > your own sites and domains, which is the direction I would like to > head. > Are there any good options out there? Horror stories!? > > Thanks, > > Pat Immel > Northwest Missouri State University > ------------------------------ Subject: RE: Judging theatre tech innovation. Date: Thu, 20 Jan 2005 09:36:24 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383455F [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" I personally think that if someone has invented an aerosol product called either light-be-gone or sound-be-gone which removes all ambient light and sound from an area with a simple spray, they should win. They should not only win the Tech expo but the Nobel peace prize for bringing lighting and sound people together by ending the feud of the "noisy moving lights" (or the bright moving speakers that were brought up a few weeks ago). But that is just my thought. Ryan J. Zirngibl University of Wisconsin - Eau Claire Student - Theatre Arts Scenic Design and Technical Direction -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of James Smith, Soundsculpture Incorporated Sent: Thursday, January 20, 2005 9:09 AM To: Stagecraft Subject: Judging theatre tech innovation. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm one of numerous lucky people who will be judging finalists in this year's USITT Tech Expo in Toronto. If all the preliminary selections make it to the show in March, it will be a display of over 40 of "the best and brightest ideas from technicians from all facets of performing arts: costume, lighting, sound, scenery, props, etc." =20 It is very important to me to judge fairly and appropriately. So I'm seeking your advice: =20 What is truly innovative? =20 Contest entries span a huge range... techniques for applying paint, electronic things, software, even somewhat abstract methodologies can make the grade. It's kind of like deciding which fruit or vegetable is "the best"... the luxury of comparing apples to apples is not afforded. =20 Over the past 20 years I've been solving problems with electronics and motors -- that's my personal background. My remote controlled Phantom of the Opera gondola was, I believe, the quietest, most controllable, most robust and reliable ever made. My Phantom Monkey was pretty good to -- I transmitted live audio from a keyboard in the orchestra pit to a receiver, amp, and speaker in the prop itself. It was the only Monkey that could accommodate variations in singing style by the lead performer; others put audio cassette players inside the monkey -- not great for some of the most intimate vocal performances in the show. (I do a lot of other stuff too, more at www.jamesdavidsmith.com.) =20 Anyway... I think I'm a pretty good choice as a judge in Tech Expo. But your opinions about how to evaluate the entries in an event like this are very much appreciated. =20 Sincerely, James (Jim) Smith Soundsculpture Incorporated jsmith [at] NOSPAMtheatrewireless.com (remove NOSPAM) =20 www.theatrewireless.com ------------------------------ In-Reply-To: References: Message-Id: <256BAC9A-6AF9-11D9-8822-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: On-line Portfolios Date: Thu, 20 Jan 2005 10:37:09 -0500 On Jan 20, 2005, at 9:46 AM, Jon Ares wrote: snip > A word to folks about Flash: don't. > > Or at least, don't without warning. Big splashy Flash 'commercials' > as a splash page annoy the heck out of people - me included. If you > were advertising your skill as a Flash designer, or an editor of > commercials, that's something else. I keep Flash turned off (I used > TurnFlash - turn it on only when I need to). Wasted bandwidth. > Please don't make Flash the only way to navigate a site, or to find > content. Please don't put 'basic content' (such as text, or even > images if possible) in Flash. If you want to put a dancing baby in > the corner of your site in Flash, that's your choice, but also > remember: animated, looping graphics are also poor design. > Again, from a recovering HTML coder. WHAT HE SAID. g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige ------------------------------ In-Reply-To: References: Message-Id: <07087DAC-6AFA-11D9-8AF7-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: forklifting a 9' grand piano Date: Thu, 20 Jan 2005 08:43:27 -0700 Not as Nuts as one might think. I did a show where the piano was on a platform, about 10' High, and about 20' from the edge of the deck. We used a Petty-bone forklift, and we forked it from the keyboard side. Keith suggested the bass side, and that makes sense also. The important thing is to make sure that the contact points have a direct line of compression to the soundboard. Otherwise you need more than a tuner to make it sound good. Funny, than whenever I do something like this, client like to come into the room. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jan 20, 2005, at 8:15 AM, Byron Lovelace wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I have an interesting problem. I need to lift and place a 9' grand > piano onto a 2' riser. I have no budget for movers, and no manpower to > muscle it. But I do have a forklift. Assuming I must use it, do you > have a suggestion of approach (pick it from the keyboard or a side), > and/or any procedural precautions (blocking, padding, anything else)? > Part of me says THis is Nuts, and part of me says What's the Big Deal. > So I respectfully turn to my peer group. What do you think? > > Byron Lovelace > Tech Director/Facilities Manager > Cultural Activities Center > Temple, Texas > lovelace [at] hot.rr.com ------------------------------ Date: Thu, 20 Jan 2005 08:45:31 +0000 From: CB Subject: Re: Two-Scene Operation of Lighting Consoles Message-id: <3.0.6.32.20050120084531.009cc548 [at] pop.west.cox.net> >Oh, no. I disagree completely. Many consultants get paid a percentage of the >contract so there is little incentive to keep the contract cost low. Sorry, shoulda had a smiley on that one... Listen to Charlie, I always do... Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 20 Jan 2005 15:48:43 GMT Subject: Re: Seating Help! Message-Id: <20050120.074851.29549.13436 [at] webmail25.lax.untd.com> I assume that you have been made aware of the 1990 Americans with Disabilities Act (ADA). Since you will have to allow extra depth where wheelchairs will be accommodated, consider providing more spaces than are legally required, and then use that space as all or part of your FOH sound control position. If you comply with ADA by having quick-release removable seats, just be sure that there are at least four additional nonrequired adjacent 'wheelchair' spaces that can cleared of seats for FOH sound. A 'wheelchair space' is 30" wide and 60" deep. /s/ Richard Alright folks I just got the approval to replace the seating (413 total) in my space that was built in 1974 (bad harvest gold color). I need any and all saga advice about seating, vendors, and process. My timeline is very short and we need everything in place for the contractor in mid-June. Thanks in advance! Robert Medley ------------------------------ Date: Thu, 20 Jan 2005 10:50:48 -0500 From: Stephen Litterst Subject: Re: forklifting a 9' grand piano Message-id: <41EFD358.5389CC40 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Byron Lovelace wrote: > --------------------------------------------------- >I need to lift and place a 9' grand piano > onto a 2' riser. I have no budget for movers, and no manpower to muscle it. > But I do have a forklift. I agree with the part of you that thinks it's nuts. Can you think about it in a different way? Perhaps muscle it onto a 6" platform that has notches for the forks of the lift? Strap it down well to that platform and lift the whole thing onto the riser? As Keith said, grands are generally moved and shipped on their side, but if you have no manpower or budget I guess that's not an option. Honestly, 'twere it me, I'd go to the people making the request and spell out the problem -- they want you to move a $10,000, 1/2 ton piano without any help. Have some numbers on what it would cost to get some strong backs in to help you. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <41EFD461.2060100 [at] fitchtech.net> Date: Thu, 20 Jan 2005 10:55:13 -0500 From: Adam Fitchett Subject: Re: On-line Portfolios (What do you use for hosting?) References: In-Reply-To: As a former "web master" I've been very happy with 1and1.com lately. Huge amount of space and very little money as well as good service. Even includes a software package that I found very good and fairly easy to use. (Net Objects Fusion) Granted I don't use mine as an online portfolio but as a personal site primarily for photos, etc. (and not to mention the fact that I never have to change my email address again), unfortunately though it hasn't been updated in almost a year. And there you have my $.02.

-Adam

Immel,Patrick wrote:
For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

 

  
I use yahoo for web hosting
      


I have a digital portfolio that I would like to put online.  The choices for
hosting are quite daunting in regards to price and services.  After looking
at some of the portfolios posted, there seems to be quite a few of you with
your own sites and domains, which is the direction I would like to head.
Are there any good options out there?  Horror stories!?

Thanks,

Pat Immel
Northwest Missouri State University

  

------------------------------ In-Reply-To: References: Message-Id: <22A3A35E-6AFD-11D9-8AF7-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: On-line Portfolios (What do you use for hosting?) Date: Thu, 20 Jan 2005 09:05:42 -0700 This is how our school deals with e-portfolios. http://eportfolio.cfa.arizona.edu/browse.php Once set up, the site is for us to use, even after one would leave the school. Of course mine is incomplete, however there plenty of room, provided that one keeps it concise, and to the point. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ In-Reply-To: References: Message-Id: From: Noah Price Subject: Re: On-line Portfolios (What do you use for hosting?) Date: Thu, 20 Jan 2005 08:09:59 -0800 On Jan 20, 2005, at 6:25 AM, Immel,Patrick wrote: >>> I use yahoo for web hosting > > I have a digital portfolio that I would like to put online. The > choices for > hosting are quite daunting in regards to price and services. After > looking > at some of the portfolios posted, there seems to be quite a few of you > with > your own sites and domains, which is the direction I would like to > head. > Are there any good options out there? Horror stories!? If anyone wants a quick-n-easy way to put up photos, the Stagecraft gallery is available for free. I'm moving it to a more automated system, which will allow you to update photos yourself rather than sending everything through me as with the prior gallery. Many of you have seen it already at I also offer hosting and domain registration, and host web sites and email for several list members. I host some "public service" theatrical sites for free, and have reduced pricing available for volunteer and non-profit theatre groups. Contact me off-list if you'd like more info. List member references available :-) Thanks, Noah ------------------------------ From: IAEG [at] aol.com Message-ID: <143.3d4b881b.2f2132a6 [at] aol.com> Date: Thu, 20 Jan 2005 11:13:26 EST Subject: Re: forklifting a 9' grand piano In a message dated 1/20/05 10:51:27 AM, slitterst [at] ithaca.edu writes: > they want you to move a $10,000, 1/2 ton >piano without any help. he said it's a 9 footer, , , have you priced a Steinway Model D lately? you need to add a zero very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <000601c4ff0b$ca7e6260$0300a8c0 [at] D4D3R151> From: "Randy Whitcomb" References: Subject: Re: forklifting a 9' grand piano Date: Thu, 20 Jan 2005 09:19:15 -0700 From: "Stephen Litterst" > Honestly, 'twere it me, I'd go to the people making the request and > spell out the problem -- they want you to move a $10,000, 1/2 ton > piano without any help. Steve, I think you left out a zero. The last estimate I heard about the value of our Steinway was $90,000. If it were me I'd go back to the people making the request and tell them they need to come up with the money to hire piano movers to lift it onto the platform and to come back and take it down. If something goes wrong with the forklift idea who will be held responsible? Movers carry liability as well as knowledge. You might be able to get the moving company to come in and advise you on using the fork lift at a cost less than what they'd charge to do it all themselves. Maybe one guy to supervise rather than a whole crew. Randy Whitcomb, TD Price Civic Aud. Loveland, CO. ------------------------------ Date: Thu, 20 Jan 2005 11:26:30 -0500 From: Stephen Litterst Subject: Re: forklifting a 9' grand piano Message-id: <41EFDBB6.EA5435E6 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Randy Whitcomb wrote: > --------------------------------------------------- > From: "Stephen Litterst" > Steve, > I think you left out a zero. The last estimate I heard about the value of > our Steinway was $90,000. Yeah, I was dumb and looked up the weight, but not the price. My bad. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: forklifting a 9' grand piano Date: Thu, 20 Jan 2005 11:05:13 -0600 Message-ID: From: "Curt Mortimore" Byron, Visit the following website and view the list of photos. http://safetycenter.navy.mil/photo/archive/default.htm My favorite which may apply to your application is: http://safetycenter.navy.mil/photo/archive/photo84.htm Whatever you do be safe. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Byron Lovelace Sent: Thursday, January 20, 2005 9:16 AM To: Stagecraft Subject: forklifting a 9' grand piano For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have an interesting problem. I need to lift and place a 9' grand piano onto a 2' riser. I have no budget for movers, and no manpower to muscle it.=20 But I do have a forklift. Assuming I must use it, do you have a suggestion=20 of approach (pick it from the keyboard or a side), and/or any procedural precautions (blocking, padding, anything else)? Part of me says THis is=20 Nuts, and part of me says What's the Big Deal. So I respectfully turn to my=20 peer group. What do you think? Byron Lovelace Tech Director/Facilities Manager Cultural Activities Center Temple, Texas lovelace [at] hot.rr.com=20 ------------------------------ Message-ID: <002801c4ff16$99e98d40$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: On-line Portfolios (What do you use for hosting?) Date: Thu, 20 Jan 2005 09:36:40 -0800 > http://eportfolio.cfa.arizona.edu/browse.php > That's a snazzy, simple, elegant setup your school uses! Very nice. PHP is so kewl. At our school, we're hounding the District IT to get the 'broken' PHP and CGI on the servers working. The Advanced Web Design classes are clamoring, and I'm trying to set up ticket reservation stuff and photo display, but waiting for PHP to make it work. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <41EFF1AF.2030102 [at] ix.netcom.com> Date: Thu, 20 Jan 2005 10:00:15 -0800 From: "Bryan H. Ackler" Organization: Va. Tech - Vassar - USITT - NTHP Subject: Re: Sect 11 vs 16 References: In-Reply-To: What this means to the End User is that the Electrical Contractor gets to "recover" his costs of purchasing, handling, and making a reasonable profit on the actual equipment itself (Division 11), in addition to the installation (Division 16). Now some "Owners" purchase the equipment directly under Division 11 and only provide in the Division 16 for the "installation of equipment as provided under Division 11064. Division 11064 being the Sub-Section nominally assigned to Theatrical Lighting Equipment. The Construction Specifications Institute (CSI) is in the process of revising the MasterFormat for specifications and while Division 11 remains for Equipment, Electrical is now moved to Division 26. They have also changed from a five (5) digit Division system (11064) to a six-dot system (26 55 61.00) which makes the Section 11 vs 16 a moot discussion because under the new system Theatrical Lighting has moved from Division 11064 Equipment to Division 26 55 61 Electrical Lighting. http://www.csinet.org/s_csi/index.asp Bryan H. Ackler ------------------------------------------------------- 7881 S.W. Capitol Hwy. #1 Portland, Oregon 97219 503.246.2165 home office 503.313.6620 cell ======================================================= ------------------------------ Date: Wed, 19 Jan 2005 12:28:54 -0500 From: Mike Brubaker Subject: Sect 11 vs 16 (was: Re: Two-Scene Operation of Lighting Consoles..... but not really) Generally speaking, construction specifications are broken down into discreet sections that deal with general trades. Division 5, for example, is Miscellaneous Metals. Section 11, then, is "Equipment." Theatre equipment generally starts around 11060. Section 16 is Electrical. A dimming system specified in Section 11 is supplied as equipment and, generally, installation is "assigned" to the electrical contractor. Generally, however, the electrical contractor does not have anything invested in that equipment other than installation. A dimming system specified in Section 16, on the other hand, is purchased through the electrical contractor. The E.C. is then responsible for both acquisition of the specified equipment and for its installation. Mike At 12:01 PM 1/19/2005, Greg Bierly wrote: >>>>watch out for the Section 11 vs. Section 16 dance. >> >>Can you educate me on Section 11 and 16? ------------------------------ ------------------------------ Message-Id: <200501201801.j0KI1u3v009415 [at] mailhub246.itcs.purdue.edu> From: "Erik Nelson" Subject: Metamorphoses pool Date: Thu, 20 Jan 2005 13:01:49 -0500 Hello all- I'm the TD for a production of Metamorphoses at Purdue University. We're planning on using a ~2500 gal. pool and I'm interested in safe, effective, cheap methods, in that order, for heating it. We're in a relatively small space with mediocre ventilation, so electric heat is the only option. My research so far has led me to spa type heaters from Raypack or Hayward. I think the 11kW models will heat the water to around 72 degrees in about 8 hours. Does anyone have any experience with this technology or know of other avenues I might explore? Any information is greatly appreciated. Erik Nelson eanelson [at] purdue.edu ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Metamorphoses pool Date: Thu, 20 Jan 2005 13:05:58 -0500 Message-ID: <001101c4ff1a$b4b3eea0$6401a8c0 [at] Dell> In-Reply-To: Erik, I know that Florida Studio Theatre in Sarasota recently mounted that show (I think it's still running, actually). You might give them a call. > I'm the TD for a production of Metamorphoses at Purdue > University. We're planning on using a ~2500 gal. pool and I'm > interested in safe, effective, cheap methods, in that order, > for heating it. We're in a relatively small space with > mediocre ventilation, so electric heat is the only option. My > research so far has led me to spa type heaters from Raypack > or Hayward. I think the 11kW models will heat the water to > around 72 degrees in about 8 hours. > > Does anyone have any experience with this technology or know > of other avenues I might explore? ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Sect 11 vs 16 Date: Thu, 20 Jan 2005 13:16:46 -0500 Let me explain for people who have no idea what this thread is about, that it is in reference to MasterFormat, a publication by the Construction Specifications Institute. " MasterFormat is the most widely used standard for organizing specifications and other written information for commercial and institutional building projects in the U.S. and Canada. It provides a master list of divisions, and section numbers and titles within each division, to follow in organizing information about a facility’s construction requirements and associated activities. Standardizing the presentation of such information improves communication among all parties involved in construction projects. That helps the project team deliver structures to owners according to their requirements, timelines, and budgets. MasterFormat is a product of the Construction Specifications Institute (CSI) and Construction Specifications Canada." Although the subject of this thread is "Sect. 11 vs 16" it would have been more correct if it had been "Division 11 vs 16" and Division 16 is a 1995 edition of MasterFormat number. In the 2004 edition of MasterFormat, Electrical is now "Division 26". You can find out more about the 2004 ed. at http://www.csinet.org/s_csi/docs/9400/9361.pdf I am not an expert on MasterFormat, but my brother, who was chair of the 2004 ed. committee, certainly is. If you have question about it, I can pass it along to him. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ Date: Thu, 20 Jan 2005 13:23:15 -0500 Subject: Re: Metamorphoses pool From: John McKernon Message-ID: In-Reply-To: > I think the 11kW models will heat the water to around 72 degrees in about 8 > hours. That temperature seems cool to me - the indoor pool at our "Y" here keeps their pool at 82. There was an article in Entertainment Design a couple of years ago, and I seem to recall there was some discussion in it about the water temperature and other water control issues (such as having wet people backstage and keeping the water clean and bacteria-free). - John McKernon ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 20 Jan 2005 18:27:01 GMT Subject: Stagecraft Reception at USITT Message-Id: <20050120.102718.9617.16956 [at] webmail24.lax.untd.com> Dear World: As it about time to discuss the Stagecraft List reception at the USITT Conference, may I humbly request that it not be scheduled in conflict with the Tech Olympics on Friday night? I have judged every Tech Olympics held in my 30 years of USITT Conferences, and this has precluded me from ever attending the Stagecraft List reception that is counter-programmed in the same timeslot. I would really like to meet face-to-face with other Stagecraft List members. Thank You in advance for considering this scheduling request. I hope that this request is not considered presumptuous, as I am not the Sponsor of the reception. /s/ Richard ------------------------------ Reply-To: From: "Scott Boyle" Subject: RE: Metamorphoses pool Date: Thu, 20 Jan 2005 12:31:02 -0600 Organization: Carroll College Message-ID: <000001c4ff1e$32351d60$73db688c [at] cc.edu> In-Reply-To: Erik wrote: > I think the 11kW models will heat the water to around 72 degrees in about 8 > hours. John wrote: >That temperature seems cool to me - the indoor pool at our "Y" here keeps their pool at 82. There was an article in Entertainment Design a couple of years ago, and I seem to recall there was some discussion in it about the water temperature and other water control issues (such as having wet people backstage and keeping the water clean and bacteria-free).< IIRC, Equity has standards about water temperature both for rain effects and pools. That might be a good source to look at. Scott ------------------------------ From: IAEG [at] aol.com Message-ID: <1f1.3371d05c.2f215546 [at] aol.com> Date: Thu, 20 Jan 2005 13:41:10 EST Subject: Re: Metamorphoses pool In a message dated 1/20/05 1:25:26 PM, stagecraft2004 [at] mckernon.com writes: >> I think the 11kW models will heat the water to around 72 degrees in about >8 >> hours. > >That temperature seems cool to me - the indoor pool at our "Y" here keeps >their pool at 82. There was an article in Entertainment Design a couple >of >years ago, and I seem to recall there was some discussion in it about the >water temperature and other water control issues (such as having wet people >backstage and keeping the water clean and bacteria-free). > >- John McKernon I would think that someone from "O" would have some good comments on this thread very best, Keith Arsenault ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: Metamorphoses pool Date: Wed, 20 Apr 2005 13:45:48 -0400 In-Reply-To: >> I think the 11kW models will heat the water to around 72 degrees in = about 8 >> hours. >That temperature seems cool to me - the indoor pool at our "Y" here = keeps >their pool at 82. There was an article in Entertainment Design a couple = of >years ago, and I seem to recall there was some discussion in it about = the >water temperature and other water control issues (such as having wet = people >backstage and keeping the water clean and bacteria-free). >- John McKernon Here is the link to the Entertainment Design article that was in the = April 2002 issue: http://entertainmentdesignmag.com/mag/show_business_metamorphosing_metamo= rph oses/index.html In case the link breaks, you can go the Entertainment Design website http://entertainmentdesignmag.com/ and search Metamorphoses. Here is the section on the water temp: At Second Stage, Davis learned from the other productions. =93We bought = and rented parts of the scenery from the Center Theatre Group, the producers = of the Mark Taper Forum production, to make sure that the scenery was the = same or better than before,=94 he says. The doorway and cloud panel from the = Los Angeles production were re-used. =93We added chlorination units, = filters, a pool heater, and a cover to keep accumulated crud out of the water as = well as heater units and changing rooms for the actors. We added a second = washer and dryer set and would have added a third if the space was there. You cannot imagine how it adds up, but we go through at least 50 towels in a performance,=94 laughs Davis. The pool is heated to 104=B0 and the cover = is removed approximately 45 minutes before the curtain. =93It cools = quickly, but we need to hit the right temperature for the actors,=94 says Davis. = =93I've had very little trouble with the water in this production =97 I've had worse problems in supposed non-water shows.=94 There is more on the other aspects of the show as well, draining, = filling, care of pool, actors, etc. It is a very cool show and I wish you well with it. Michael Eddy Mseddy2900 [at] hotmail.com ------------------------------ Message-Id: <6.2.0.14.2.20050120135525.027e0b20 [at] mail.usittny.org> Date: Thu, 20 Jan 2005 13:55:37 -0500 From: "Scott C. Parker" Subject: Re: Stagecraft Reception at USITT How about having the reception in the same room as the Olympics? We could all kibitz! I can see it now, shouting 27 different ways to accomplish the same thing. OR. A few young student technicians being told by their mentor that; one day you, with much practice, can be one of those old pharts in the corner. Hmmmm, as I sit back imagining this scenario, perhaps this is not such a good idea. I'm with Richard: let's hope that the Olympics and the stagecraft reception are scheduled at different times. See you in Toronto, Scott At 01:27 PM 1/20/2005, you wrote: >Dear World: >As it about time to discuss the Stagecraft List reception at the USITT >Conference, may I humbly request that it not be scheduled in conflict with >the Tech Olympics on Friday night? onsor of the reception. >/s/ Richard Scott C. Parker Vice Chair NY Area Section of The United States Institute of Theatre Technology www.usittny.org scott [at] usittny.org 718-757-6661 Professor/Technical Director Dept. of Performing Arts Office: 41 Park Row, 1205F Dyson College of Arts and Sciences [at] Pace University 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 212-346-1681 Scott C. Parker ------------------------------ Message-ID: <41F0051F.1010104 [at] fredonia.edu> Date: Thu, 20 Jan 2005 14:23:11 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stagecraft Reception at USITT References: Richard, Boy, some folks ask for the world! Could we not just bring you a plate of shrimp and some cheese curds? :) I think you need to get in touch with somebody in Syracuse post-haste. I'm sorry but I don't know who arranges this. And by the way, your efforts on behalf of this event are truly appreciated. Steve Rees, TD SUNY-Fredonia ladesigners [at] juno.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Dear World: > As it about time to discuss the Stagecraft List reception at the USITT Conference, may I humbly request that it not be scheduled in conflict with the Tech Olympics on Friday night? I have judged every Tech Olympics held in my 30 years of USITT Conferences, and this has precluded me from ever attending the Stagecraft List reception that is counter-programmed in the same timeslot. I would really like to meet face-to-face with other Stagecraft List members. Thank You in advance for considering this scheduling request. I hope that this request is not considered presumptuous, as I am not the Sponsor of the reception. > /s/ Richard ------------------------------ Message-ID: <41EFB21A.32309.242BAA9C [at] localhost> From: "Michael Denison" Date: Thu, 20 Jan 2005 13:28:58 -0600 Subject: Re: Anyone in Tokyo in Late February? Reply-To: In-reply-to: References: Definitely check out the Kabukiza, the national Kabuki theatre. Performances typically last four hours, but for short attention span impaired gaijin (foreigners) you can buy special tickets for one-hour viewing only and sit in a special section with translation earphones. Check it out at http://www.shochiku.co.jp/play/kabukiza/theater/index.html Also, check out the Takarazuka Ruvue, an all female company that does stage revues and all-female productions of stuff like Gone With the Wind and Moby Dick. See: http://kageki.hankyu.co.jp/english/ Staying a day or two in Tokyo, never having been there before. Anyone around? Any suggestions on where to stay or what to do if I only have 24 hours to sightsee? Michael A. Denison Technical Director Cottey College 1000 West Austin Nevada, MO 64772 (417) 667-8181 x 2265 FAX: (417) 667-8103 mdenison [at] cottey.edu www.cottey.edu ------------------------------ From: IAEG [at] aol.com Message-ID: <1d4.342e4250.2f2161db [at] aol.com> Date: Thu, 20 Jan 2005 14:34:51 EST Subject: Re: Anyone in Tokyo in Late February? In a message dated 1/20/05 2:29:50 PM, mdenison [at] cottey.edu writes: >Also, check out the Takarazuka Ruvue, an all female company that >does stage revues and all-female productions of stuff like Gone >With the Wind and Moby Dick. >See: http://kageki.hankyu.co.jp/english/ they played RADIO CITY about ten years ago ? very best, Keith Arsenault ------------------------------ Message-Id: <6.2.0.14.0.20050120113636.03ecb410 [at] localhost> Date: Thu, 20 Jan 2005 11:51:29 -0800 From: Jerry Durand Subject: Canada power safety requirements clarification The company we're sharing a booth with at the USITT Expo received the normal notes about having approved electrical equipment, but it had this note added: >Note: Electrical equipment must be approved as an assembly unit. >Electrical equipment that consists of an assembly or combination of other >individually approved electrical equipment or devices is not considered to >be approved. By "assembly or combination" that could easily be interpreted to mean the AC adapter and anything plugged into it and anything plugged into that. I've had this problem with emissions testing in the past, how do you check a telephone without the entire "assembly" which includes every other phone in the world? I always have to get a judgement from the person doing the test that day as to how much has to be attached to the phone (and it does vary from person to person). I've asked the person who received the note to check with the sender, but thought I'd also check here. Anyone know what they mean by that (as it applies to the USITT Expo)? Do they really care what's plugged into an approved AC adapter? My normal assumption for any country is: "If the AC adapter is approved for that country and the devices attached are low voltage, low power, with no batteries, then any possible combination of those devices is approved." ALL of the AC adapters we use are cUL, CSA, CE. I've shipped our products to Canada (and other countries), Customs has never had a problem with them. ---------- 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 ------------------------------ In-Reply-To: References: Message-Id: <512DAC23-6B1F-11D9-A6F3-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Seating Help! Date: Thu, 20 Jan 2005 15:10:23 -0500 I believe ours are the irwin seating Marquee 51 in our 1300 seat PAC. Very comfortable and not too difficult to service. Get lots of spare parts. > Here is a links, we put the "Springfield" in a small 98 seat theatre I > designed and they look and feel great. > > http://www.irwin-seat.com/market_pages/main.htm Greg Bierly Technical Director Hempfield HS ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: On-line Portfolios Date: Thu, 20 Jan 2005 14:32:02 -0600 Message-ID: References: In-Reply-To: I have gotten a lot of ideas from looking at what you all have posted here.=20 I do, however have some questions. What soft ware do you use to put these together. I have put some web sights up using an old copy of Netscape's Browser suite but it was time consuming and is now vary much out of date. I know of Frontpage but I always start out leery of Microsoft. Also, I noticed some have there resume's available for down load as pdf files, as word documents, or not at all. Has anyone run in to troubles with Mac users and said Documents? Or does the above seem to cover all bases? Rob Johnson =46reelance Set and Lighting Designer ------------------------------ Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 15:37:16 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6B1 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I do, however have some questions. What soft ware do you use=20 > to put these together. I have put some web sights up using an=20 > old copy of Netscape's Browser suite but it was time=20 > consuming and is now vary much out of date. I know of=20 > Frontpage but I always start out leery of Microsoft. Likewise...s'why when I have to do HTML programming I tend to lean towards Chami's (sp?) HTML-Kit freeware. And then I preview the work in Opera to make sure it functions well cross-platform... > Also, I noticed some have there resume's available for down=20 > load as pdf files, as word documents, or not at all. Has=20 > anyone run in to troubles with Mac users and said Documents?=20 > Or does the above seem to cover all bases? IIRC, pdf files were designed to work equally well cross-platform, so going that way is your safest bet. ------------------------------ Date: Thu, 20 Jan 2005 15:41:14 -0500 (EST) From: Boyd Ostroff Subject: Re: On-line Portfolios In-Reply-To: Message-ID: References: On Thu, 20 Jan 2005 roguerpj [at] mn.rr.com wrote: > Also, I noticed some have there resume's available for down load as > pdf files, as word documents, or not at all. Has anyone run in to > troubles with Mac users and said Documents? Windows MS Word files open fine on the Mac... as long as you have MS Office installed. AppleWorks includes a fairly good translator for Word files. PDF is actually the native file format for MacOS X, so that's always a safe bet. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 15:43:02 -0500 Message-ID: <000501c4ff30$a5931750$6401a8c0 [at] Dell> In-reply-to: > I have gotten a lot of ideas from looking at what you all > have posted here. > > I do, however have some questions. What soft ware do you use > to put these together. I have put some web sights up using an > old copy of Netscape's Browser suite but it was time > consuming and is now vary much out of date. I know of > Frontpage but I always start out leery of Microsoft. > > Also, I noticed some have there resume's available for down > load as pdf files, as word documents, or not at all. Has > anyone run in to troubles with Mac users and said Documents? > Or does the above seem to cover all bases? > > Rob Johnson > Freelance Set and Lighting Designer Bob, there are a gazillion shareware and freeware HTML editors. Look at www.tucows.com or www.downloads.com or, for that matter, you can use any text editor. The biggest selling point of PDF is its cross-platform portability, so there shouldn't be any compatibility problem. ------------------------------ Date: Thu, 20 Jan 2005 15:42:35 -0500 From: Richard Wolpert Subject: RE: Canada power safety requirements clarification In-reply-to: Message-id: I think the "approved as an assembly unit" qualifier means that the item using electricity must have some sort of approval ( cUL Listing, Hydro approval, etc.) acceptable to the Authority Having Jurisdiction (inspector), and is being used in a manner consistent with that approval.... OK, now in English.... Let's say you want to distribute power to several lights in your booth. The extension cord that plugs into the facility outlet must be approved. The distribution box or splitter must be approved, and the lights must be approved. As long as they are being used in a manner consistent with their approval, there shouldn't be a problem. So using an approved AC adapter that then powers an approved device designed to accept power from that type of adapter should be acceptable. Going back to my original example of distributing power... using a shop made extension cord of 12/3SJ and a couple of Edison connectors would probably not be approved, unless you take the trouble to get it Listed. If the distro unit it plugs into is a junction box with an inlet and some outlets you put together in your shop, it would probably not be approved. If the devices you are powering ( motor controllers, lights, fog machines, etc. ) ARE approved, that's great. But the items that bring the power to these devices are not approved, so the inspector is going to red-tag you. There is a pattern in the approval process here. Building one-off pieces of equipment, even if that equipment is built from approved components, does not grant you approval of the assembly ( power cord, distro, etc. ). The assembly must be evaluated as a complete assembly, and be used with other approved assemblies in a manner consistent with the approval of the assemblies. This is done to keep someone from nailing a load center to a piece of plywood, mounting some gang-boxes to the can, wiring duplexes to the breakers in the load center and proclaiming it's an approved distro because all the components are approved. My advice... make sure everything you bring has either a CSA or cUL label. Don't save a nickel by making up your own "temporary power" equipment and expecting the inspector to approve it. And be careful of cheap hardware store items made in China. There has been a lot of electrical equipment brough in within the past few years with bogus Listing labels. A good inspector will spot it. It's not something you'll be able to talk your way out of. They're quite insistent about the approval requirements. Even though we build cable assemblies here all the time, I go to the local Home Depot to buy UL Listed cord-sets when I'm going to be exhibiting in jurisdictions like this. Saves a lot of headaches. Good luck, and see you in Toronto Richard A.Wolpert President Union Connector Co., Inc. 40 Dale Street West Babylon, NY 11704 Ph: 631-753-9550 ext. 204 Fx: 631-753-9560 richw [at] unionconnector.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jerry Durand Sent: Thursday, January 20, 2005 2:51 PM To: Stagecraft Subject: Canada power safety requirements clarification For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The company we're sharing a booth with at the USITT Expo received the normal notes about having approved electrical equipment, but it had this note added: >Note: Electrical equipment must be approved as an assembly unit. >Electrical equipment that consists of an assembly or combination of other >individually approved electrical equipment or devices is not considered to >be approved. By "assembly or combination" that could easily be interpreted to mean the AC adapter and anything plugged into it and anything plugged into that. I've had this problem with emissions testing in the past, how do you check a telephone without the entire "assembly" which includes every other phone in the world? I always have to get a judgement from the person doing the test that day as to how much has to be attached to the phone (and it does vary from person to person). I've asked the person who received the note to check with the sender, but thought I'd also check here. Anyone know what they mean by that (as it applies to the USITT Expo)? Do they really care what's plugged into an approved AC adapter? My normal assumption for any country is: "If the AC adapter is approved for that country and the devices attached are low voltage, low power, with no batteries, then any possible combination of those devices is approved." ALL of the AC adapters we use are cUL, CSA, CE. I've shipped our products to Canada (and other countries), Customs has never had a problem with them. ---------- 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 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 15:46:10 -0500 Message-ID: <000601c4ff31$15c7c2f0$6401a8c0 [at] Dell> In-reply-to: > Windows MS Word files open fine on the Mac... as long as you have MS > Office installed. AppleWorks includes a fairly good > translator for Word > files. I'd point out that MS Word isn't necessarily a safe bet even for PC users; many of us prefer WordPerfect. PDF is safer, and it's not dependent on the end user's having the same fonts installed as you do. ------------------------------ Message-ID: <61393.66.183.177.34.1106254092.squirrel [at] 66.183.177.34> In-Reply-To: References: Date: Thu, 20 Jan 2005 12:48:12 -0800 (PST) Subject: Re: Canada power safety requirements clarification From: "Tom Heemskerk" > > By "assembly or combination" that could easily be interpreted to mean the > AC adapter and anything plugged into it and anything plugged into > that. I've had this problem with emissions testing in the past, how do > you > check a telephone without the entire "assembly" which includes every other > phone in the world? I always have to get a judgement from the person > doing > the test that day as to how much has to be attached to the phone (and it > does vary from person to person). > > I've asked the person who received the note to check with the sender, but > thought I'd also check here. Anyone know what they mean by that (as it > applies to the USITT Expo)? Do they really care what's plugged into an > approved AC adapter? > > The term 'assembly' will get interpreted diffferently from place to place, but in my inspector-tough western Canada city this is what's been happening, fwiw: Such things cam-lok cables (made from approved conductors plus approved connectors) and distribution panels (likewise made up from approved parts) are considered assemblies and so must also be "stickered" in their final, assembled form. What gets plugged into these is subject to far less scrutiny, but obviously-fabricated items (such as practicals on scenery) are usually an issue. Occasionally the inspector will look for stickers on unusual stand-alone items like a newly-imported lighting console or LED controller.... th ------------------------------ Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 14:49:27 -0600 Message-ID: <0B70E9798A3B4E4080E46327FA359F2194BC7E [at] MIDL-MAILV.etclink.net> From: "Sarah Clausen" I always prefer that documents intended to look a certain way be distributed as a PDF for a lot of reasons. The Acrobat reader is free, so you don't have to worry that the intended recipient has the word processor you used to create the document. Also, a PDF will not be reformatted by the reader - whereas the opportunity for the recipient's word processor to totally mess up your resume always exists. Lastly, PDFs do not open and then highlight any spelling or grammar mistakes you might have made (or the word processor THINKS you made because the recipient's spell check dictionary doesn't have the names of all your shows, venues and directors in it already). There's nothing worse than opening a document intended to impress someone and then seeing all those red and green squigley lines under big chunks of the text. Or equally bad, they have text symbols turned on and your resume shows up with all those tab and paragraph symbols all over it. Trust me - if you want to control the presentation of your meticulously formatted resume, make it a PDF. My $0.02... Sarah On Thu, 20 Jan 2005 roguerpj [at] mn.rr.com wrote: > Also, I noticed some have there resume's available for down load as=20 > pdf files, as word documents, or not at all. Has anyone run in to=20 > troubles with Mac users and said Documents? ------------------------------ Subject: RE: On-line Portfolios Date: Thu, 20 Jan 2005 14:50:54 -0600 Message-ID: <0B70E9798A3B4E4080E46327FA359F2154C6F9 [at] MIDL-MAILV.etclink.net> From: "Sarah Clausen" Cc: stagecraft [at] jeffsalzberg.com Oh yeah, and EMBED YOUR FONTS IN THE PDF (sorry to yell). -Sarah >I'd point out that MS Word isn't necessarily a safe bet even for PC users; many of us prefer WordPerfect. PDF is safer, >and it's not dependent on the end user's having the same fonts installed as you do. ------------------------------ Date: Thu, 20 Jan 2005 15:58:17 -0500 (EST) From: Boyd Ostroff Cc: stagecraft [at] jeffsalzberg.com Subject: Re: On-line Portfolios In-Reply-To: Message-ID: References: On Thu, 20 Jan 2005, Jeffrey E. Salzberg wrote: > many of us prefer WordPerfect. PDF is safer, and it's not dependent on > the end user's having the same fonts installed as you do. Well if you're using WordPerfect then you should definitely convert your resume to a PDF. I have a friend whose brother gave her a new Windows laptop with WordPerfect as the only word processor. I had to jump through some hoops to exchange files with her on my Mac. Fortunately I had an old copy of MacLink that runs under Classic and will do the translation. You could buy a new copy of MacLink, but it isn't all that cheap. I gather that the Windows versions of Word will translate WordPerfect files, but neither Office X or Office 2004 on the Mac have WordPerfect Translators, nor does AppleWorks. As you may know, WordPerfect stopped development of their Mac version a number of years ago. At that point they offered the current version as a free Mac download. Then a couple years later Micro$oft made a big investment in Corel. After that, the free Mac version vanished (as did Corel's version of Linux). I searched around the net just recently and couldn't come up with any free way to open WordPerfect files under MacOS. Regarding fonts... "it depends." PDF files can be created either with or without special fonts, they can get a lot larger if the fonts are included. Depends on what software you use to create the PDF file. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-Id: <6.2.0.14.0.20050120124009.03f26c38 [at] localhost> Date: Thu, 20 Jan 2005 12:59:40 -0800 From: Jerry Durand Subject: Re: Canada power safety requirements clarification In-Reply-To: References: I just talked to the Electrical Safety Authority of Canada at 1-877-372-7233 and they need EVERY electrical device in our booth certified regardless if it uses AC main power or not. That's every wire, lamp, calculator, (battery powered watch?, pacemaker?), etc., no matter if it runs on 1V or the AC mains. I specifically asked them about an approved 6V AC adapter powering, for example, a clock. Nope, the clock/adapter combo needs it's own approval. I asked about a PC which has plugs for keyboard, mouse, etc. Again, the entire combo must be approved as a unit, changing mice voids the approval. And, their $49/booth exemption form allows you to SHOW unapproved devices, but you may not power them. Going by this you couldn't plug an approved device into an approved extension cord without getting that combo approved. This is a bit much, any comments from people who have "been there, done that"? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <24.68dab4cb.2f21990a [at] aol.com> Date: Thu, 20 Jan 2005 18:30:18 EST Subject: Re: Caribeners (was quick links) In a message dated 19/01/05 01:40:40 GMT Standard Time, mfinney [at] thinkwelldesign.com writes: > The biggest issue is that climbing hardware is a compromise between > durability and weight - in other words, they're designed and fabricated > to weigh as little as possible while still maintaining the ability to > protect against a limited number of extreme shock loads (you know, like > falls and such). As a personal piece of climbing hardware, the > assumption is that you know how many falls that carabiner has seen, how > severe the falls were, how long the piece has been in service, etc. > etc...and that you'll retire the piece after the appropriate period of > time. Some pieces are designed and fabricated for longer and more > rigorous use (witness the rack of rescue hardware in my truck...which > weighs at least double what my sport climbing rack weighs), but none of > it is really designed and fabricated for industrial use where it's going > to see more abuse and will have an unknown history of use. I made this point earlier. If it's my own climbing hardware, on which I bet my own life every time I use it, you can be very sure that I know that it has been properly used, or, if not, I discard it or at least relegate it to non life-threatening uses. Not that I can think of many. But if Karabiners are around for general use, you have no idea what has happened to them. They may have been overloaded, bent, corroded, or twisted. How can you tell, when you don't know who has used them, and for what? And, this time, it's not your own life you are betting, it may well be that of somebody else. Law suits apart, do want that on your conscience? When I gave up climbing, my Karabiners were relegated to tow lines. With wire strops to attach them to the car, and a Karabiner to attach the strops to a triple plait of Nylon webbing, you have an excellent tow line. And if it parts, it is unlikely to cause much trouble. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <147.3db442e1.2f219c41 [at] aol.com> Date: Thu, 20 Jan 2005 18:44:01 EST Subject: Re: ladders and Lifts general practice In a message dated 19/01/05 02:27:37 GMT Standard Time, theatricalmatt [at] hotmail.com writes: > It's not so much against the law as it is bad practice. You could probably > ask for anecdotes about injuries while on castered A-frames and the list > would come up with a few. I have never met one, and would neither countenance one nor climb it. Towers and tallescopes, maybe, if the outriggers are only slightly retracted to provide floor clearance. > > I know of a few places where they use castered A-frames, and continue to do > so, for one simple reason: the convenience outweighs the risk. I don't see that last statement as a guide to working practices. Certainly not good ones, barely acceptable ones. No, strike that. Read unacceptable ones. I'm sure that we've all done such things in the past, when we were younger and braver than we are now. But times have changed, and so have we. If ever I had an A-frame topple under me, I know to jump to the high side, and how to break my fall. It's better than having the whole thing fall on me, but these are skills I never want to exercise. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 20 Jan 2005 18:52:40 EST Subject: Re: ladders and Lifts general practice In a message dated 19/01/05 03:02:20 GMT Standard Time, bill [at] sapsis-rigging.com writes: > Ands, yes, it's done all the time because there is no alternative. At the > moment. But, Bill, there is an alternative. DON'T DO IT! Let the bean counters worry about rigging times and overtime rates. Do a risk assessment, and say to them: "The chances of an incident are so; the extra costs are so; the damages may well be so". Then, with luck, they will retire into their shells. That is the way the sums come out, usually. And all they understand is arithmetic. Frank Wood ------------------------------ Date: Thu, 20 Jan 2005 18:07:05 -0600 Subject: Dock Opinions From: Greg Persinger Message-ID: In-Reply-To: Greetings all, I have a church project that I am currently working on that has the truck loading dock placed dead center of the stage with a roll up door leading into a staging/shop area before hitting another roll up door that is in the upstage center wall. This opens directly onto stage. I am tempted to try to get them to offset the dock to one side of the stage or the other. I think I might be able to get it to come into the wing more than on stage. Any thoughts or preferences? I am coming onto the job late so I am not sure it can be changed at this point and I want to make sure the outcome will outweigh the effort that it will take to make the change. I do know that the way the parking lot is currently designed you can't get a truck to this dock but I know this can be changed. I look forward to hearing your remarks. Sincerely, Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 20 Jan 2005 19:11:01 EST Subject: Re: Dock Opinions In a message dated 1/20/05 7:07:38 PM, gregpersin [at] comcast.net writes: >I am tempted to try to get them to offset the dock to one side of the stage >or the other. I think I might be able to get it to come into the wing more >than on stage. dead center into the shop gives you rear projection opportunities. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ In-Reply-To: References: Message-Id: <8319A0A3-6B42-11D9-B07F-000A95823EDA [at] Nifty-Gadgets.com> From: Paul Puppo Subject: Argentina in February Date: Thu, 20 Jan 2005 16:22:19 -0800 Hi List, I'm planning a trip to Argentina next month, and I was wondering if the collected wisdom of the list had any suggestions/contacts. I am already planning a visit, both tour and event, to the Teatro Colon in BA. Any other ideas? Thanks, Paul Puppo ILLUMINEERING 547 Green Street San Francisco, CA 94133-3905 (415) 397-8776 phone/fax http://www.Nifty-Gadgets.com mailto:Paul [at] Nifty-Gadgets.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <104.590be900.2f21a581 [at] aol.com> Date: Thu, 20 Jan 2005 19:23:29 EST Subject: Re: 2 scene Presets In a message dated 19/01/05 03:21:19 GMT Standard Time, Marty_Petlock [at] sarasotagov.com writes: > 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 A bit of history. There was a time when that was all you could do, which was when I learnt LX OP. Then they got cleverer, and allowed you groups within a two- preset. Then there were three-presets, and then it all got complicated, even before the advent of computers, even at a primitive level. I think Izenour went a far as a ten-preset. Ingenious engineers, of whom I was one, modified an old Strand board to allow 12 independent groups on each preset. But still, the level of each lantern depended, ultimately, on the channel faders. Multiplied by the groups, and again by the preset masters. The trouble was, that the lighting script turned into a nightmare. By the lighting script, I mean the exact instructions to the Operator to move this fader from HERE to THERE, at this time. It could be done, and I have written many such scripts. But it took a lot of skull sweat, to write an exact and accurate script, and as much to excute it. In those days, reams of paper. That is what the computer saved us from. When the director was happy, and the LD calld up: "OK, Plot it", this wasn't the end of the story. In those days, the LX OP had to write down on pieces of paper, the position of every single fader. This took time. Then the LXD took over. His job was to translate this into a set of:"Move this fader from HERE to THERE, NOW. Never mind if the NOW was not a formal LX cue, with an effect on the stage; it still had an effect on what would come next. Nowadays, life is simpler, and much of the paperwork has been eliminated. Computers, simple or elaborate, store states. In the old days, there were many internal lighting cues which had to be executed to make those states available. At bottom, I suppose that that is why am against having the SM call the lighting. They just don't know what needs to be done to prepare the next visible cue. Frank Wood ------------------------------ Date: Thu, 20 Jan 2005 19:29:21 -0500 (EST) From: Boyd Ostroff Subject: Re: Argentina in February In-Reply-To: Message-ID: On Thu, 20 Jan 2005, Paul Puppo wrote: > I am already planning a visit, both tour and event, to the Teatro Colon > in BA. Am also very interested in this topic. Next summer I'll be doing video and projection design for DIE WALKURE at Teatro Colon. Please feel free to contact me privately if you like... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e3.335374a3.2f21a810 [at] aol.com> Date: Thu, 20 Jan 2005 19:34:24 EST Subject: Re: ladders and Lifts general practice In a message dated 19/01/05 13:43:29 GMT Standard Time, jdeull [at] clarktransfer.com writes: > I very recently did a show at a small rep theatre and watched the young TD, > who was used to working ALONE, climb up on his 18' castered A-frame, wrap > his legs around the top rung of the extension, and scoot around the theatre > faster than you could say... well, use your imagination. What is the betting that he makes old age? Frank Wood ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 21 Jan 2005 00:43:24 GMT Subject: Re: Argentina in February Message-Id: <20050120.164332.25772.24368 [at] webmail17.lax.untd.com> Note: After visiting arguably the most beautiful theatre in the world, be prepared for some let-down when returning to a city which considers the architecture of the War Memorial Opera House, the Curran, and the Geary to be high art. Suggestion: View the Casa Rosada from >250' away. PS: Check out boots and similar leather goods. Better than Italy, IMHO! /s/ Richard Hi List, I am already planning a visit, both tour and event, to the Teatro Colon in BA. Paul Puppo ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.1f1d0acc.2f21aacb [at] aol.com> Date: Thu, 20 Jan 2005 19:46:03 EST Subject: Re: static and plexi In a message dated 19/01/05 19:07:38 GMT Standard Time, jknipple [at] howardcc.edu writes: > We're having an issue with static on the plexi. Every piece of dust near the > plexi wants to cling to it, and we need it clean to lightly dust it with > spray paint. Does anyone know of a way to uncharged the plexi? I know that > time will do this exentually, but I don't really have time at the moment. > > Any ideas, anyone? AquaDag, and an earth clamp. Perspex (plexi) is a very good insulator, and allows the surfaces to build up high static charges. AquaDag is a water-suspension of graphite, which is a fair conductor. OilDag will also work, which is an oil-suspension. Which is best for your particular purposes, I cannot say. Frank Wood ------------------------------ End of Stagecraft Digest #266 *****************************