Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 18922537; Thu, 17 Feb 2005 20:24:54 -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 #299 Date: Thu, 17 Feb 2005 20:24:16 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-4.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, RAZOR2_CF_RANGE_51_100,RAZOR2_CHECK autolearn=unavailable version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #299 1. Cable Clip Torque (was Impact Wrenches) by "Scheu Consulting Services" 2. Re: sepia tone/direction of wash by kim.hartshorn [at] plattsburgh.edu 3. Re: sepia tone/direction of wash by Stan Jensen 4. Re: Cable Clip Torque (was Impact Wrenches) by Bill Sapsis 5. checking cable clips was:Impact Wrenches by Greg Bierly 6. Re: checking cable clips was:Impact Wrenches by Bill Sapsis 7. Re: third hand by "Karl G. Ruling" 8. Re: impact wrenches by "Karl G. Ruling" 9. Re: checking cable clips was:Impact Wrenches by Stephen Litterst 10. Self Dimming Candelabra by Chris Wych 11. Re: checking cable clips was:Impact Wrenches by "Jeffrey E. Salzberg" 12. Re: third hand by "Paul Schreiner" 13. Re: third hand/tail by "Bill Potter" 14. Re: checking cable clips was:Impact Wrenches by Bill Sapsis 15. Re: checking cable clips was:Impact Wrenches by Stuart Wheaton 16. Breaking glass panel effect by Mike Katz 17. Re: Breaking glass panel effect by Mark O'Brien 18. Contract negotiations by "Scott Boyle" 19. Re: Contract negotiations by Greg Bierly 20. Re: Contract negotiations by Dale Farmer 21. Cordless impact driver on cable clips by "Dougherty, Jim" 22. Re: Contract negotiations by Christopher Haas CEHAAS 23. Hands or tails by "Dougherty, Jim" 24. (OT?) Looking for scripts, rights by "Jon Ares" 25. Re: Third appendage (slightly OT) by Jacqueline Haney Kidwell 26. Re: Hands or tails by Stephen Litterst 27. Re: impact wrenches by FrankWood95 [at] aol.com 28. Thrid appendage (slightly OT) by CB 29. Re: Thrid appendage (slightly OT) by CB 30. Re: Self Dimming Candelabra by FrankWood95 [at] aol.com 31. Re: checking cable clips was:Impact Wrenches by FrankWood95 [at] aol.com 32. Re: checking cable clips was:Impact Wrenches by "James, Brian" 33. Re: (OT?) Looking for scripts, rights by Dale Farmer 34. Re: (OT?) Looking for scripts, rights by "Elliott Family" 35. Re: checking cable clips was:Impact Wrenches by FrankWood95 [at] aol.com 36. Re: Breaking glass panel effect by Steve Larson 37. Re: third hand by "Waxler, Steve (waxlers)" 38. Re: third hand by Greg Persinger 39. Re: third hand by Stephen Litterst 40. Re: checking cable clips was:Impact Wrenches by Bill Sapsis 41. Re: Contract negotiations by "Waxler, Steve (waxlers)" 42. Re: checking cable clips was:Impact Wrenches by "James, Brian" 43. Re: checking cable clips was:Impact Wrenches by Mark O'Brien 44. Re: Contract negotiations by "Joshua Webb" 45. Re: Contract negotiations by "Waxler, Steve (waxlers)" 46. props in the academy by "David R. Krajec" 47. Re: props in the academy by Stephen Litterst 48. Re: (OT?) Looking for scripts, rights by "ladesigners [at] juno.com" 49. Re: Cable Clip Torque by Jared Fortney 50. Re: props in the academy by "Waxler, Steve (waxlers)" 51. Re: props in the academy by "Waxler, Steve (waxlers)" 52. Re: props in the academy by FrankWood95 [at] aol.com 53. Stock Platforms by "Rob Carovillano" 54. Fog Curtain by "Rob Carovillano" 55. Re: Fog Curtain by "RODOK!!!" 56. Re: props in the academy by Gion DeFrancesco 57. Re: Sepia Tone by "C. Dopher" 58. Re: Costume shop info requested by "C. Dopher" 59. Re: Sepia Tone by "C. Dopher" 60. Re: Sepia Tone by "Joshua Webb" 61. Creating Effects ETC 48/96 by nancy moeur 62. Re: props in the academy by "Stephen E. Rees" 63. Re: Stock Platforms by "Stephen E. Rees" 64. Re: props in the academy by "Stephen E. Rees" 65. Re: Stock Platforms by "Stephen E. Rees" 66. HELP! Colortran Encore 'airflow' light by BKHAIN [at] aol.com 67. Re: HELP! Colortran Encore 'airflow' light by David Duffy 68. Re: Breaking glass panel effect by Stuart Wheaton 69. Re: checking cable clips by Greg Bierly 70. Re: (OT?) Looking for scripts, rights by "Jon Ares" *** 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. ---------------------------------------------------------------------- Reply-To: From: "Scheu Consulting Services" Subject: Cable Clip Torque (was Impact Wrenches) Date: Thu, 17 Feb 2005 08:04:11 -0500 Organization: Scheu Consulting Services, Inc. Message-ID: In-reply-to: Dale Farmer asked: >What is the right amount of torque for the application? >Are they adjustable to give that level of torque? >Is the adjustment calibrated to a traceable standard? The torque will vary depending upon the size of your clips. Assuming you = are using 1/4" cable, Crosby recommends 15 Ft. Lbs. Being that I have never = used or specified anything other than "red" Crosby cable clips (when not = using Nicopress sleeves), I don't know if this holds true with other manufacturers. So if you're really concerned, track down the clips' manufacturer and check with them. If you can't find the manufacturer = (and I'm sure Mr. Sapsis will agree with me here) you may have to consider replacing them with hardware that is "traceable". Yes, a properly sized and calibrated torque wrench should be able to = apply this force. Not sure what you're asking with your last question. = Calibration should be set to the wrench's manufacturer's standard. BTW, Crosby also offers this IMPORTANT advice (their emphasis, not mine) = - "Apply first load to test the assembly. This load should be of equal or greater weight than loads expected in use. Next, check and retighten the nuts to recommended torque." This is because wire rope does stretch = under load, and (although we're talking microns here in everyday theatre use) = will reduce in diameter. Did the installer do this? In my experience, = probably not... :-( Unless Unca Bill was on the job... ;-) Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <1108650892.4214ab8ccab83 [at] webmail.plattsburgh.edu> Date: Thu, 17 Feb 2005 09:34:52 -0500 From: kim.hartshorn [at] plattsburgh.edu Subject: re: sepia tone/direction of wash References: In-Reply-To: It has been my experience that attempting to do this with a front of stage wash will not give you the effect you are looking for. A sepia toned photograph is not like a wash of stage with color...it would almost be an atmospheric effect. For strong color washes that do not seriously affect costumes and faces i personally try to use toplite washes. Also, i think sepia as a color concept is better accomplished through the scenic and costume designs, then the light designer can light for the sepia...not create the sepia. good luck Kim Hartshorn ------------------------------ In-Reply-To: References: Message-Id: <85eb1a1e61cd6aca20dc32d74fdec1fb [at] cmich.edu> From: Stan Jensen Subject: Re: sepia tone/direction of wash Date: Thu, 17 Feb 2005 09:59:01 -0500 On Feb 17, 2005, at 9:34 AM, kim.hartshorn [at] plattsburgh.edu wrote: > ...i think sepia as a color concept > is better accomplished through the scenic and costume designs, then > the light > designer can light for the sepia...not create the sepia. Of course, Kim is absolutely correct. If the entire production is to be a "sepia concept" then all designers will work toward the effect. A color wash is useful to create a moment within an otherwise realistically lit show, or--as in what I understood to be Chris's case--one short piece in a rep plot. Stan Jensen Central Michigan University Department of Speech Communication and Dramatic Art ------------------------------ Date: Thu, 17 Feb 2005 10:15:33 -0500 Subject: Re: Cable Clip Torque (was Impact Wrenches) From: Bill Sapsis Message-ID: In-Reply-To: on 2/17/05 8:04 AM, Scheu Consulting Services at peter [at] scheuconsulting.com wrote: > The torque will vary depending upon the size of your clips. Assuming you are > using 1/4" cable, Crosby recommends 15 Ft. Lbs. Being that I have never used > or specified anything other than "red" Crosby cable clips (when not using > Nicopress sleeves), I don't know if this holds true with other > manufacturers. So if you're really concerned, track down the clips' > manufacturer and check with them. If you can't find the manufacturer (and > I'm sure Mr. Sapsis will agree with me here) you may have to consider > replacing them with hardware that is "traceable". Agreed. But....Crosby is not the end all and be all for wire rope clips. Chicago Hdwr. makes a good drop forged clip also. Same torque. > > Yes, a properly sized and calibrated torque wrench should be able to apply > this force. Not sure what you're asking with your last question. Calibration > should be set to the wrench's manufacturer's standard. > BTW, Crosby also offers this IMPORTANT advice (their emphasis, not mine) - > "Apply first load to test the assembly. This load should be of equal or > greater weight than loads expected in use. Next, check and retighten the > nuts to recommended torque." This is because wire rope does stretch under > load, and (although we're talking microns here in everyday theatre use) will > reduce in diameter. Did the installer do this? In my experience, probably > not... :-( > > Unless Unca Bill was on the job... ;-) Damn straight! Did you know that wire rope clips of any type are illegal for overhead lifting in many European Countries? Is true. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ In-Reply-To: References: Message-Id: <13225548ab736c092c53a4c1e70f7202 [at] dejazzd.com> From: Greg Bierly Subject: checking cable clips was:Impact Wrenches Date: Thu, 17 Feb 2005 10:21:04 -0500 > Should I be double checking all of the terminations? I would check a few randomly throughout the system. If they are good give it a year and then check the entire system. If you find ANY that aren't tight enough check them all now! Or just listen to what Bill has to say. I want to add a question. I know cable clamp terminations can loosen and stretch over the years. I checked all mine 3 years after installation. Does every 5 years after that sound good (checking every connection)? Would that by typically overkill or not enough. Obviously you want to check them if there is any reason for suspicion. ------------------------------ Date: Thu, 17 Feb 2005 10:47:23 -0500 Subject: Re: checking cable clips was:Impact Wrenches From: Bill Sapsis Message-ID: In-Reply-To: on 2/17/05 10:21 AM, Greg Bierly at gbierly [at] dejazzd.com wrote: > I want to add a question. I know cable clamp terminations can loosen > and stretch over the years. I checked all mine 3 years after > installation. Does every 5 years after that sound good (checking every > connection)? Would that by typically overkill or not enough. > Obviously you want to check them if there is any reason for suspicion. No good formula for that, really. Depends on lots of stuff. Frequency of use. How heavy the loads are. Type of performances (heavy metal bands get the building vibrating more than ballet). Location (NYC has subways that rattle buildings and loosen things up) So it's a site by site "level of comfort" (yours) thing. Or change them all out to oval www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. swage fittings and then you can forget about them forever. ------------------------------ From: "Karl G. Ruling" Date: Thu, 17 Feb 2005 10:50:00 -0500 Subject: Re: third hand Reply-to: kruling [at] esta.org Message-ID: <421476D8.31094.5FA867 [at] localhost> In-reply-to: > > Which would be better for a electrician/stagehand to have: a third arm > & hand OR a prehensile tail (one that can support your weight)? The problem with having a third hand is that it would make decision processes more lengthy. One would be able to say, "Well, we could do this. On the other hand, we could do that. But on the other other hand, we could do the other thing." ------------------------------ From: "Karl G. Ruling" Date: Thu, 17 Feb 2005 10:50:00 -0500 Subject: Re: impact wrenches Reply-to: kruling [at] esta.org Message-ID: <421476D8.22010.5FA8D4 [at] localhost> In-reply-to: > > Do they deliver the right amount of torque, or is the old fashioned > > = > torque > > wrench the way to go? > > Boys with toys. An impact wrench on a 1/4' wire rope clip? Give me a > = good old fashioned torque wrench any day. Impact wrenches are great for undoing things. They won't tighten to a specified torque setting. You can fiddle with some to make them bash a nut on hard or not so hard, but there is no real torque setting on any I have seen, so they can't be used to tighten something just the right amount. OT: I paid my graduate school bills by working as an automobile mechanic. The shop I worked in was one of the few shops in town to use torque wrenches on everything that had a torque specification. While I appreciated the speed of impact wrenches, I was often bothered by how much they'll overtighten fasteners. Lug nuts are a common case in point. There's a torque spec for them, and if you go over it you weaken the stud or damage the wheel. You can also make it impossible to change a flat tire by hand. ------------------------------ Date: Thu, 17 Feb 2005 10:50:04 -0500 From: Stephen Litterst Subject: Re: checking cable clips was:Impact Wrenches Message-id: <4214BD2C.7D37299E [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Greg Bierly wrote: > --------------------------------------------------- > I want to add a question. I know cable clamp terminations can loosen > and stretch over the years. I checked all mine 3 years after > installation. Does every 5 years after that sound good (checking every > connection)? Would that by typically overkill or not enough. I'm sure Bill will weigh in on this but just to kick off discussion. It depends on how heavily you use your fly system. If you're frequently putting heavy loads on battens, then you might want to check the terminations yearly. If you have a standard line schedule that doesn't deviate too much, you could do it every other year. Every five years seems to be not enough. We used to check ours only when Bill came for inspection (about every five years) and this past inspection we had several that were surprisingly loose. Now I check them by hand any time I can reach them, and check them by wrench every other year. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <20050217155706.41245.qmail [at] web40711.mail.yahoo.com> Date: Thu, 17 Feb 2005 07:57:06 -0800 (PST) From: Chris Wych Subject: Self Dimming Candelabra Im trying to find a scematic for a self dimming candle circuit. The goal is to have the lights to be battery operated and to go out when the stage lights go out. There can be no wires running to the candelabra since they are carried on. They are also floor standing candelabras. The designer wants them to go out when the lights dim but i think that would be much harder then to have them dim with a photo cell as the stage lights dim to a blackout. I have one scematic that uses two photo cells so that there is less error of it mistakenly gout out with a shadow. I can post the scematic I have later. Anyone have any suggestions? The cheaper the better since the show is a college show with a very small budget. Thanks for the help in advance. Chris Wych ===== IL State U. Theatre Design Student a_small_idiot [at] yahoo.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ http://www.theatretechie.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ __________________________________ Do you Yahoo!? Yahoo! Mail - 250MB free storage. Do more. Manage less. http://info.mail.yahoo.com/mail_250 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: checking cable clips was:Impact Wrenches Date: Thu, 17 Feb 2005 10:57:05 -0500 Message-ID: <032501c51509$57372d50$6401a8c0 [at] Dell> In-Reply-To: > It depends on how heavily you use your fly system. If you're > frequently putting heavy loads on battens, then you might > want to check the terminations yearly. Unless I'm missing something, you can't hurt anything by checking too frequently, so there's really no such thing as overkill. ------------------------------ Subject: RE: third hand Date: Thu, 17 Feb 2005 11:07:34 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C726 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: kruling [at] esta.org > The problem with having a third hand is that it would make decision=20 > processes more lengthy. One would be able to say, "Well, we could do=20 > this. On the other hand, we could do that. But on the other other=20 > hand, we could do the other thing."=20 I do this already, and I only have the typical number of appendages... ------------------------------ Message-id: Date: Thu, 17 Feb 2005 11:10:01 -0500 Subject: Re: third hand/tail From: "Bill Potter" References: In-Reply-To: <=21DOCTYPE HTML PUBLIC =22-//W3C//DTD HTML 4.0 Transitional//EN=22> My tech theater st= udents have decided that a prehensile tail with a hand on the end of it wou= ld be best... or wings=21 or a jet pack=21=21=21

Bill Potter, Technical Director
Paul Mellon Arts Center, Choate Rosemary Hall
Wallingford CT
bpotter=40choate.edu 2= 03-697-2189
------------------------------ Date: Thu, 17 Feb 2005 11:15:15 -0500 Subject: Re: checking cable clips was:Impact Wrenches From: Bill Sapsis Message-ID: In-Reply-To: on 2/17/05 10:47 AM, Bill Sapsis at bill [at] sapsis-rigging.com wrote: > Or change them all out to oval hmmmm. seems I drops a line there. What I was trying to say was that you might want to change your clips out to oval swage fittings and then you can forget about them, forever. Assuming you put them on correctly, of course. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <4214C462.3020304 [at] fuse.net> Date: Thu, 17 Feb 2005 11:20:50 -0500 From: Stuart Wheaton Subject: Re: checking cable clips was:Impact Wrenches References: In-Reply-To: Greg Bierly wrote: > I want to add a question. I know cable clamp terminations can loosen > and stretch over the years. I checked all mine 3 years after > installation. The result of this test should help guide your future testing... If the overwhelming majority were at spec after three years, then you know the general environment does not rattle them loose. If, on the other hand, half of them were loose, you might need to check every year. Perhaps a yearly check of those clips carrying extreme loads, like ceilings, permanent electrics, and travellers. And then a pre-check / re-torqueing of any pipe that is very heavily loaded for the show. And lastly, an overall check as often as experience dictates. I have a few questions of my own... I believe that torque can only be accurately measured in a moving system, so you may need to loosen the nut to get an accurate torque. I do not believe you can just slap a wrench on a bolt and see if the torque is reached before the bolt turns. Am I correct? Can crosby provide a locking type nut? If you put another nut on the U-bolt as a jam nut, would it help keep the clip from loosening, or is the real problem based on wire stretching and wire diameter 'shrinkage'? Stuart ------------------------------ Message-Id: Date: Thu, 17 Feb 2005 11:17:15 -0500 From: Mike Katz Subject: Breaking glass panel effect Good morning all, We are in preliminary discussions on a spring production that the director has a wonderful vision for. He would like to shatter a 4' x 8' "plate glass" window nightly. It will be a great look for the show and we would love to do it if we can. My first step was to go to SmoothOn.com to look for plastic glass resins and sure enough they have Smash resin to do it. So now I have some questions , It will take about 2 1/2 gallons to cast a 4' x 8' x 1/8" sheet which will cost in the vicinity of $200/ rehearsal and performance. Can any one think of a less expensive alternative? has any one out there Used "Smash" to cast breakable windows of any size? How was working with the stuff? I am aware of the health and ventilation issues which are considerable and If we go this route we will take all the necessary precautions . TIA for all your Ideas Mike -- Mike Katz Technical Director MIT Theater Arts Rinaldi Tile Building 77 Mass Ave E33-101 Cambridge MA 02139 617.253.0824 mkatz [at] mit.edu "Lunacy Abounds" ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Breaking glass panel effect Date: Thu, 17 Feb 2005 09:39:00 -0700 I just worked on some corporate job at a hotel, and what they used was a 3' x 8' tempered glass piece. It was hung, as to have about a foot sticking above the frame, hidden from view. They had a solenoid plunger to strike the glass on cue. The whole thing then shattered into a pile of glass crumbles, onto the the floor. At first, I thought it was a bit ho-key, (WTF? was my first reaction) but it seemed to work, and to be safe. It did seem like a PITA, but it looks easier than casting something. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Feb 17, 2005, at 9:17 AM, Mike Katz wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Good morning all, > We are in preliminary discussions on a spring production that the > director has a wonderful vision for. He would like to shatter a 4' x > 8' "plate glass" window nightly. It will be a great look for the > show and we would love to do it if we can. My first step was to go > to SmoothOn.com to look for plastic glass resins and sure enough they > have Smash resin to do it. So now I have some questions , It will > take about 2 1/2 gallons to cast a 4' x 8' x 1/8" sheet which will > cost in the vicinity of $200/ rehearsal and performance. Can any one > think of a less expensive alternative? has any one out there Used > "Smash" to cast breakable windows of any size? How was working with > the stuff? I am aware of the health and ventilation issues which are > considerable and If we go this route we will take all the necessary > precautions . > TIA for all your Ideas > Mike > -- > > Mike Katz > Technical Director > MIT Theater Arts > Rinaldi Tile Building > 77 Mass Ave E33-101 > Cambridge MA 02139 > 617.253.0824 > mkatz [at] mit.edu > "Lunacy Abounds" ------------------------------ Reply-To: From: "Scott Boyle" Subject: Contract negotiations Date: Thu, 17 Feb 2005 10:42:49 -0600 Organization: Carroll College Message-ID: <000001c5150f$b77d6bb0$73db688c [at] cc.edu> Hello all, I am looking for some advice from my academic colleagues. I am a full-time non-tenure track professor at a small liberal arts college. When I was first hired my position as Technical Director was considered a staff position since my main responsibility was running the theatre spaces and working on the shows. As the years passed the administration has slowly added more teaching, design and committee work to my job description while not giving me additional compensation. Sound familiar to anyone? ;-) So now I find myself in a precarious position of feeling I need to ask for a raise and not really sure how to do it. I've heard some of you in similar positions talk about educating your administrators about the amount of work you do. What methods did you use and how effective were they? Given this climate of pay freezes which seems to be running rampant through a lot of small colleges, I'm not sure how effective I will be. I just have to try. You can contact me on or off list. TIA Scott M. Boyle Technical Director Department of Theatre Arts Carroll College 262-524-7308 ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Contract negotiations Date: Thu, 17 Feb 2005 12:03:58 -0500 > I've heard some of you in > similar positions talk about educating your administrators about the > amount of work you do. What methods did you use and how effective were > they? I was fortunate enough to get another semi serious job offer a while back. I was not too interested in leaving but i did use it to my advantage to ask for additional help. They said there was not much more they could do other than raise my pay. Not exactly what I was looking for but it helped. Greg Bierly ------------------------------ Message-ID: <4214D097.ED45BF95 [at] cybercom.net> Date: Thu, 17 Feb 2005 12:12:55 -0500 From: Dale Farmer Subject: Re: Contract negotiations References: Scott Boyle wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello all, > > I am looking for some advice from my academic colleagues. I am a > full-time non-tenure track professor at a small liberal arts college. > When I was first hired my position as Technical Director was considered > a staff position since my main responsibility was running the theatre > spaces and working on the shows. As the years passed the administration > has slowly added more teaching, design and committee work to my job > description while not giving me additional compensation. Sound familiar > to anyone? ;-) > > So now I find myself in a precarious position of feeling I need to ask > for a raise and not really sure how to do it. I've heard some of you in > similar positions talk about educating your administrators about the > amount of work you do. What methods did you use and how effective were > they? > > Given this climate of pay freezes which seems to be running rampant > through a lot of small colleges, I'm not sure how effective I will be. > I just have to try. You can contact me on or off list. Go and look at the professors on tenure track that have comparable experience and teaching loads. If you land in the same ballpark as them, then you have some ammunition to go to the PTB. If the professors are unionized in some fashion, going to that union agent may also prove useful. Good luck, it's going to be a steep uphill battle. --Dale ------------------------------ Date: Thu, 17 Feb 2005 12:17:42 -0500 Subject: Cordless impact driver on cable clips From: "Dougherty, Jim" Message-ID: Although Bill put it gently, let me say loudly not to do this. They are rated, without controllable adjustment, at about 100 foot pounds of torque. I've sheared 1/4" lags with a 12V version without trying too hard. If you have to mechanize the process, a cordless drill with the clutch set at it's lowest setting will spin the nuts on just until they touch, then you can just do the final tightening with a torque wrench the way you're supposed to. Not just for safety, but also to save the hassle of removing the one clip that shears in such a way that you can't get it off to replace it. For everyday driving of screws, etc., they're fabulous tools though. Although you can get drill bits that fit the chuck, they are not good drills. Yeah, I likes the toys :). - Jim Dougherty ATD, Middlebury College. ------------------------------ In-Reply-To: Subject: Re: Contract negotiations Message-ID: From: Christopher Haas CEHAAS Date: Thu, 17 Feb 2005 12:19:39 -0500 Good luck!!! My thoughts have been it's always easier to get a pay raise when you have another job offer in hand or close to in hand. Every University/College that I've moved on from has always come up with the extra money to match offers and to tempt me to stay. It's kind of sad that it takes looking for another job to get the hopes of a significant pay raise. My frustration in my last couple TD positions is the fact that since I'm contract and not tenure track, there's no hope of promotion (Asst Prof to Assoc Prof, etc). So those potential pay raises aren't available either. Don't get me started about the differences between PhD and MFA salaries. Why don't salary scales in Universities reflect that the MFA is a terminal degree? I get tired of being lumped in with the folks with MAs in English, History, etc. I've got the recognized terminal degree for my field, I don't need nor want a Phd!!! Oh well, I guess I should have gone into Engineering like I first thougt I would, but then I would probably have to wear a tie to work, so never mind. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Date: Thu, 17 Feb 2005 12:24:13 -0500 Subject: Hands or tails From: "Dougherty, Jim" Message-ID: Hats off to Stuart Wheaton for beating me to the Larry Niven reference. I would think keeping it symmetrical with two extra limbs would be nicer than one, but the tail might be more feasible as there are critters awfully genetically close to us to take the transplant from or to use for the gene splicing. Build your pants with a fly front and back and you should be set. What about a nose extension like an elephant's trunk? Then, you don't need to hold your beer, you can leave it right on the bar. Let us know how it turns out, in any case. - Jim Dougherty ATD, Middlebury College ------------------------------ Message-ID: <001401c51517$7879da90$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: (OT?) Looking for scripts, rights Date: Thu, 17 Feb 2005 09:38:19 -0800 Have a couple of research/resource questions for the Collected Wisdom.... I've got a student who would like to make a short film based on one of Ray Bradbury's short stories (from 1957) - does anyone know who represents the collected works? (I have discovered that the cable series "Ray Bradbury Theater" did a version of this story in '92, but none of us have seen it.) Richard, do you know who reps this stuff? Second: I'm considering, for next season or later, mounting a production of the Faust tale. I prefer Marlowe's Dr. Faustus, but I would like a massively trimmed down version of that. I would also consider reading a re-worked version of Goethe's 2-volume piece, as long as it too was shorter. I've read lots of shows that are interpretations of the theme (such as Vaclav Havel's Temptation), but I'd really like to do a version of one of the 'classic' texts. Has anyone done a production of this? Know an author who has trimmed down the show? -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <20050217174812.62835.qmail [at] web52005.mail.yahoo.com> Date: Thu, 17 Feb 2005 09:48:11 -0800 (PST) From: Jacqueline Haney Kidwell Subject: Re: Third appendage (slightly OT) In-Reply-To: I'd be more interested in the extra hand. I think it would be useful more often than the prehensile tail. (Ever had to give a pill to a cat?) --Jacki __________________________________ Do you Yahoo!? Yahoo! Mail - Find what you need with new enhanced search. http://info.mail.yahoo.com/mail_250 ------------------------------ Date: Thu, 17 Feb 2005 12:50:13 -0500 From: Stephen Litterst Subject: Re: Hands or tails Message-id: <4214D955.DA2BC864 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Dougherty, Jim" wrote: > --------------------------------------------------- > What about a nose extension like an elephant's trunk? Then, you don't need > to hold your beer, you can leave it right on the bar. Ugh. Drinking when I've got a cold is unpleasant with my current nose. Scotch and mucus just weren't meant as mixers. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a7.31b72f84.2f463601 [at] aol.com> Date: Thu, 17 Feb 2005 13:01:37 EST Subject: Re: impact wrenches In a message dated 17/02/05 15:50:49 GMT Standard Time, kruling [at] esta.org writes: > OT: I paid my graduate school bills by working as an automobile > mechanic. The shop I worked in was one of the few shops in town to > use torque wrenches on everything that had a torque specification. > While I appreciated the speed of impact wrenches, I was often > bothered by how much they'll overtighten fasteners. Lug nuts are a > common case in point. There's a torque spec for them, and if you go > over it you weaken the stud or damage the wheel. You can also make it > impossible to change a flat tire by hand. Too right! The tyre shop I use runs the nuts or bolts up with a pneumatic impact wrench, and then goes round again with a torque wrench. You used to be able to get manual impact wrenches, with a standard 1/2" drive. These were very good for shifting really stubborn nuts. They were driven by a big hammer. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050217111702.016de870 [at] pop.west.cox.net> Date: Thu, 17 Feb 2005 11:17:02 From: CB Subject: Thrid appendage (slightly OT) >Which would be better for a electrician/stagehand to have: a third arm & hand OR a prehensile tail The third arm. I have been saying the last ten years that the three-armed tech will take over the world. Its as good as a prehensile tail, (it can support your weight as well) and it has a hand at the end of it. There is also the added advantage that it doesn't come out of your butt like a tail... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Message-Id: <3.0.6.32.20050217112606.016de870 [at] pop.west.cox.net> Date: Thu, 17 Feb 2005 11:26:06 From: CB Subject: RE: Thrid appendage (slightly OT) > since it wouldn't mess with the symmetry. *Sigh*... theatre people... Symmetry is over-rated >If you do decide to go the third-arm route, why not go all the way and >have a spare head attached and call yourself Zaphod? It been done to death... ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <76.4d22304b.2f463ada [at] aol.com> Date: Thu, 17 Feb 2005 13:22:18 EST Subject: Re: Self Dimming Candelabra In a message dated 17/02/05 15:57:51 GMT Standard Time, a_small_idiot [at] yahoo.com writes: > Im trying to find a scematic for a self dimming candle > circuit. The goal is to have the lights to be battery > operated and to go out when the stage lights go out. > There can be no wires running to the candelabra since > they are carried on. They are also floor standing > candelabras. The designer wants them to go out when > the lights dim but i think that would be much harder > then to have them dim with a photo cell as the stage > lights dim to a blackout. I have one scematic that > uses two photo cells so that there is less error of it > mistakenly gout out with a shadow. I can post the > scematic I have later. Anyone have any suggestions? > The cheaper the better since the show is a college > show with a very small budget. I've done this with a lantern, which was carried on to the stage, and hung on a hook. The hook and the lantern ring had simple connectors, just bare wires. When the lantern found the power supply from the hook, it disconnected the internal battery permanently, and ran from the external supply, so as that was dimmed, so was the lantern. The problem you will have, if you go down this road, is in arranging the pick up from the external supply. It will need very precise positioning of the props when they are set. Actors are seldom good at that, and I think that having them react to the stage lighting may well be more reliable. The circuit itself is simple, and you are to be praised for trying to do it yourself rather than looking for some commercial piece of gear. Surely, in a college, you can find an electronics expert. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e4.352d3ef0.2f463dc4 [at] aol.com> Date: Thu, 17 Feb 2005 13:34:44 EST Subject: Re: checking cable clips was:Impact Wrenches In a message dated 17/02/05 16:14:30 GMT Standard Time, sdwheaton [at] fuse.net writes: > I believe that torque can only be accurately measured in a > moving system, so you may need to loosen the nut to get an > accurate torque. I do not believe you can just slap a > wrench on a bolt and see if the torque is reached before the > bolt turns. Am I correct? I think you are wrong. Torque is a measure of turning effort, in pounds-feet, or kilogram-metres. Force multiplied by distance. If I put my whole weight on the end of a one metre wrench, I shall be causing a torque of 70 Kg-m. Of course, I can exert more force than that implies. But, I have still had immovable wheel nuts. Frank Wood ------------------------------ Subject: RE: checking cable clips was:Impact Wrenches Date: Thu, 17 Feb 2005 13:41:51 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B182 [at] fangorn.cc.vt.edu> From: "James, Brian" Does any body know of a "when in doubt" torque chart that exists? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Stuart Wheaton Sent: Thursday, February 17, 2005 11:21 AM To: Stagecraft Subject: Re: checking cable clips was:Impact Wrenches For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Greg Bierly wrote: > I want to add a question. I know cable clamp terminations can loosen=20 > and stretch over the years. I checked all mine 3 years after=20 > installation.=20 The result of this test should help guide your future=20 testing... If the overwhelming majority were at spec after=20 three years, then you know the general environment does not=20 rattle them loose. If, on the other hand, half of them were=20 loose, you might need to check every year. Perhaps a yearly check of those clips carrying extreme=20 loads, like ceilings, permanent electrics, and travellers.=20 And then a pre-check / re-torqueing of any pipe that is very=20 heavily loaded for the show. And lastly, an overall check=20 as often as experience dictates. I have a few questions of my own... I believe that torque can only be accurately measured in a=20 moving system, so you may need to loosen the nut to get an=20 accurate torque. I do not believe you can just slap a=20 wrench on a bolt and see if the torque is reached before the=20 bolt turns. Am I correct? Can crosby provide a locking type nut? If you put another=20 nut on the U-bolt as a jam nut, would it help keep the clip=20 from loosening, or is the real problem based on wire=20 stretching and wire diameter 'shrinkage'? Stuart ------------------------------ Message-ID: <4214E67A.5742D925 [at] cybercom.net> Date: Thu, 17 Feb 2005 13:46:18 -0500 From: Dale Farmer Subject: Re: (OT?) Looking for scripts, rights References: Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Have a couple of research/resource questions for the Collected Wisdom.... > > I've got a student who would like to make a short film based on one of Ray > Bradbury's short stories (from 1957) - does anyone know who represents the > collected works? (I have discovered that the cable series "Ray Bradbury > Theater" did a version of this story in '92, but none of us have seen it.) > Richard, do you know who reps this stuff? > > Second: I'm considering, for next season or later, mounting a production of > the Faust tale. I prefer Marlowe's Dr. Faustus, but I would like a > massively trimmed down version of that. I would also consider reading a > re-worked version of Goethe's 2-volume piece, as long as it too was shorter. > I've read lots of shows that are interpretations of the theme (such as > Vaclav Havel's Temptation), but I'd really like to do a version of one of > the 'classic' texts. Has anyone done a production of this? Know an author > who has trimmed down the show? The science fiction writers association has a web site with member info. If he isn't listed there, let me know I probably know or know someone who knows his agent. --Dale ------------------------------ Message-Id: <200502171850.j1HIoAiY036170 [at] a.mail.peak.org> From: "Elliott Family" Subject: RE: (OT?) Looking for scripts, rights Date: Thu, 17 Feb 2005 10:50:02 -0800 In-Reply-To: Jon: FIRST, DR. FAUSTUS: The complete works of Marlowe are available online here: http://www.perseus.tufts.edu/Texts/Marlowe.html. I mention this because, as an electronic text, you could more easily do the editing yourself, if you need to. Interestingly, the Faust page (above) shows that there are different version available to peruse: There are two versions: 1604 and 1616 These can be viewed as: original text, or in a modernization Or, in comparison with original & modernization side-by-side There is also: The English Faust Book, original (one of Marlowe's main sources, it says). And, just because I found it amusing, there is a PDF showing that the Center for Puppetry Arts has done a production called Live Faust, Die Young! http://www.puppet.org/pdf/faustguide.pdf This PDF also lists the following http://www.pitt.edu/~dash/faust.html An online database of Faust legends from Europe. http://www.faust.cc/ Goethe's Faust as a rock opera. http://ourworld.compuserve.com/homepages/har/faust.htm Notes on the musical work La Damnation de Faust by Berlioz. http://titus.ispec.net/faust.html View Rembrandt's 1652 etching of Faust. http://turn.to/goethe/ The collected works of Goethe online. http://www.npr.org/programs/attheopera/archives/010120.ato.html National Public Radio's "At the Opera" page for Doktor Faust by Ferruccio Busoni. SECOND, RAY BRADBURY'S AGENT: I CAN tell you (because I called them minutes ago seeking another writer's agent) that William Morris Agency is NOT his agent. Places you can easily try: Writers Guild of America: Membership Representation (323) 782-4502 Or, Membership (323) 782-4532 International Creative Management: 212 556-5600 Warmest regards, John Elliott Albany Civic Theater Yahoo IM handle: Ymir200000000 ICQ #: 250285021 --------------------------------------------------------------------- Eliminate annoying spam! My mailbox is protected by iHateSpam, the #1-rated spam buster. http://www.ihatespam.net -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares Sent: Thursday, February 17, 2005 9:38 AM To: Stagecraft Subject: (OT?) Looking for scripts, rights For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Have a couple of research/resource questions for the Collected Wisdom.... I've got a student who would like to make a short film based on one of Ray Bradbury's short stories (from 1957) - does anyone know who represents the collected works? (I have discovered that the cable series "Ray Bradbury Theater" did a version of this story in '92, but none of us have seen it.) Richard, do you know who reps this stuff? Second: I'm considering, for next season or later, mounting a production of the Faust tale. I prefer Marlowe's Dr. Faustus, but I would like a massively trimmed down version of that. I would also consider reading a re-worked version of Goethe's 2-volume piece, as long as it too was shorter. I've read lots of shows that are interpretations of the theme (such as Vaclav Havel's Temptation), but I'd really like to do a version of one of the 'classic' texts. Has anyone done a production of this? Know an author who has trimmed down the show? -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <15a.4a9f3b69.2f4641ba [at] aol.com> Date: Thu, 17 Feb 2005 13:51:38 EST Subject: Re: checking cable clips was:Impact Wrenches In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu writes: > Does any body know of a "when in doubt" torque chart that exists? If you know the composition and properties of the materials in question, you can work it all out. That is what the manufacturers do. Otherwise, as a rule of thumb, do them up tight with a normal sized wrench. Gorillas apart, and we all have met some, this should be reasonably safe. It should stress neither the cable nor the clamp beyond its limits. Frank Wood ------------------------------ Date: Thu, 17 Feb 2005 13:52:12 -0500 Subject: Re: Breaking glass panel effect From: Steve Larson Message-ID: In-Reply-To: Dude, you have a better budget that I have if you can even think about spending that kind of money. How about breaking it up with multiple panes. I once cooked up some peanut brittle without the peanuts and used as glass panes. Quite easy and not that expensive. Hardest part was the release agent and getting it out of the mold. Steve > From: Mike Katz > Reply-To: "Stagecraft" > Date: Thu, 17 Feb 2005 11:17:15 -0500 > To: "Stagecraft" > Subject: Breaking glass panel effect > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Good morning all, > We are in preliminary discussions on a spring production that the > director has a wonderful vision for. He would like to shatter a 4' x > 8' "plate glass" window nightly. It will be a great look for the > show and we would love to do it if we can. My first step was to go > to SmoothOn.com to look for plastic glass resins and sure enough > they have Smash resin to do it. So now I have some questions , It > will take about 2 1/2 gallons to cast a 4' x 8' x 1/8" sheet which > will cost in the vicinity of $200/ rehearsal and performance. Can any > one think of a less expensive alternative? has any one out there > Used "Smash" to cast breakable windows of any size? How was working > with the stuff? I am aware of the health and ventilation issues > which are considerable and If we go this route we will take all the > necessary precautions . > TIA for all your Ideas > Mike > -- > > Mike Katz > Technical Director > MIT Theater Arts > Rinaldi Tile Building > 77 Mass Ave E33-101 > Cambridge MA 02139 > 617.253.0824 > mkatz [at] mit.edu > "Lunacy Abounds" > > ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: third hand Date: Thu, 17 Feb 2005 14:11:33 -0500 Think of the problems when buy gloves! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- ------------------------------ Date: Thu, 17 Feb 2005 13:24:52 -0600 Subject: Re: third hand From: Greg Persinger Message-ID: In-Reply-To: > Think of the problems when buy gloves! Introducing Setwear's new third hand stagehand glove. For those situations when two gloves just aren't enough. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Date: Thu, 17 Feb 2005 14:25:48 -0500 From: Stephen Litterst Subject: Re: third hand Message-id: <4214EFBC.6C26C1B1 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Waxler, Steve (waxlers)" wrote: > --------------------------------------------------- > Think of the problems when buy gloves! We're a small family in this industry. There would just be a surge of posts to the list asking if anyone has a spare right glove or offering to split the costs of gloves with someone who has the complementary extra hand. Steve LItterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Thu, 17 Feb 2005 15:06:40 -0500 Subject: Re: checking cable clips was:Impact Wrenches From: Bill Sapsis Message-ID: In-Reply-To: on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu writes: > >> Does any body know of a "when in doubt" torque chart that exists? > 1/8" clip 4.5 ft lbs 3/16" clip 7.5 1/4" clip 15.0 5/16" clip 30.0 3/8" clip 45.0 7/16 clip 65 bigger than that and it ain't scenery anymore. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Contract negotiations Date: Thu, 17 Feb 2005 15:12:17 -0500 Many universities do recognize the MFA as a terminal degree (it sounds so deadly) if the granting institution considers it a terminal degree. You can request an equity study. This is something that you, personnel and your department chair participate in. You can help the most by finding institutions similar to the one that you are at and finding out what they are paying for work similar to what you do. There should also be a stated salary range for each academic rank at the University. Part of your equity study should be to see what rank your peers are at, at these different schools. Good luck. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Christopher Haas CEHAAS [mailto:CEHAAS [at] uncg.edu] Sent: Thursday, February 17, 2005 12:20 PM To: Stagecraft Subject: Re: Contract negotiations For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Good luck!!! My thoughts have been it's always easier to get a pay raise when you have another job offer in hand or close to in hand. Every University/College that I've moved on from has always come up with the extra money to match offers and to tempt me to stay. It's kind of sad that it takes looking for another job to get the hopes of a significant pay raise. My frustration in my last couple TD positions is the fact that since I'm contract and not tenure track, there's no hope of promotion (Asst Prof to Assoc Prof, etc). So those potential pay raises aren't available either. Don't get me started about the differences between PhD and MFA salaries. Why don't salary scales in Universities reflect that the MFA is a terminal degree? I get tired of being lumped in with the folks with MAs in English, History, etc. I've got the recognized terminal degree for my field, I don't need nor want a Phd!!! Oh well, I guess I should have gone into Engineering like I first thougt I would, but then I would probably have to wear a tie to work, so never mind. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Subject: RE: checking cable clips was:Impact Wrenches Date: Thu, 17 Feb 2005 15:18:20 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B185 [at] fangorn.cc.vt.edu> From: "James, Brian" Thank you Bill. Your too good to us! -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill Sapsis Sent: Thursday, February 17, 2005 3:07 PM To: Stagecraft Subject: Re: checking cable clips was:Impact Wrenches For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see = > --------------------------------------------------- >=20 > In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu = writes: >=20 >> Does any body know of a "when in doubt" torque chart that exists? >=20 1/8" clip 4.5 ft lbs 3/16" clip 7.5 1/4" clip 15.0 5/16" clip 30.0 3/8" clip 45.0 7/16 clip 65 bigger than that and it ain't scenery anymore. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ In-Reply-To: References: Message-Id: <06fd571a642bae6af669784640d10cd1 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: checking cable clips was:Impact Wrenches Date: Thu, 17 Feb 2005 13:21:57 -0700 Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile REVISED REVISED REVISED! On Feb 17, 2005, at 1:06 PM, Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >> In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu >> writes: >> >>> Does any body know of a "when in doubt" torque chart that exists? >> > > > 1/8" clip 4.5 ft lbs > 3/16" clip 7.5 > 1/4" clip 15.0 > Bigger than THIS and it ain't scenery anymore! My Opinion... > 5/16" clip 30.0 > 3/8" clip 45.0 > 7/16 clip 65 > > bigger than that and it ain't scenery anymore. > > Bill S. > www.sapsis-rigging.com > 800.727.7471 > 800.292.3851 fax > 267.278.4561 mobile > > We stand behind, and under, our work. > ------------------------------ Message-id: Date: Thu, 17 Feb 2005 15:24:06 -0500 Subject: Re: Contract negotiations From: "Joshua Webb" References: In-Reply-To: "Stagecraft" writes: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Many universities do recognize the MFA as a terminal degree (it sounds so >deadly) if the granting institution considers it a terminal degree. You >can >request an equity study. This is something that you, personnel and your >department chair participate in. You can help the most by finding >institutions similar to the one that you are at and finding out what they >are paying for work similar to what you do. There should also be a >stated >salary range for each academic rank at the University. Part of your >equity >study should be to see what rank your peers are at, at these different >schools. Good luck. > >Steve Waxler >Technical Director >College Conservatory of Music >University of Cincinnati > >-----Original Message----- >From: Christopher Haas CEHAAS [mailto:CEHAAS [at] uncg.edu] >Sent: Thursday, February 17, 2005 12:20 PM >To: Stagecraft >Subject: Re: Contract negotiations > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Good luck!!! > >My thoughts have been it's always easier to get a pay raise when you have >another job offer in hand or close to in hand. Every University/College >that I've moved on from has always come up with the extra money to match >offers and to tempt me to stay. It's kind of sad that it takes looking >for another job to get the hopes of a significant pay raise. My >frustration in my last couple TD positions is the fact that since I'm >contract and not tenure track, there's no hope of promotion (Asst Prof >to >Assoc Prof, etc). So those potential pay raises aren't available either. >Don't get me started about the differences between PhD and MFA salaries. >Why don't salary scales in Universities reflect that the MFA is a >terminal >degree? I get tired of being lumped in with the folks with MAs in >English, History, etc. I've got the recognized terminal degree for my >field, I don't need nor want a Phd!!! Oh well, I guess I should have >gone >into Engineering like I first thougt I would, but then I would probably >have to wear a tie to work, so never mind. > >Chip Haas >Technical Director >Department of Theatre >The University of North Carolina at Greensboro > >336-334-3891 Some do recognize it as terminal but simply don't pay the arts positions as they do other fields. I had an experience similar to Chip's (in fact it was the same job), by the time I left they had finally agreed to hire an asst. to deal with some of the load issues. And sorry chip, some of us still have to wear ties. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Contract negotiations Date: Thu, 17 Feb 2005 15:39:47 -0500 There is a little bit of the supply and demand theory. Sorry to say that there seems to be a lot of supply in the arts and the demand is not as high as for engineers or lawyers. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati Some do recognize it as terminal but simply don't pay the arts positions as they do other fields. I had an experience similar to Chip's (in fact it was the same job), by the time I left they had finally agreed to hire an asst. to deal with some of the load issues. And sorry chip, some of us still have to wear ties. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ Reply-To: From: "David R. Krajec" Subject: props in the academy Date: Thu, 17 Feb 2005 15:36:07 -0600 Message-ID: In-reply-to: Just taking a quick informal survey of small to medium liberal arts BA programs in Theatre Who is in charge of props for your productions? Does the director get all of the hand props? Does the scenic area just deal with set props and set dressing? Do you have a separate budget for props? Who comes up with a list of props for a show? If it is the director, what is the deadline for said list? When do the actors get show props in rehearsal? What do you do when the director wants the Titanic the day before you open? (Just kidding, the answer is to shoot him/her.) Any response is appreciated. David Krajec Cardinal Stritch University drkrajec [at] stritch.edu ------------------------------ Date: Thu, 17 Feb 2005 16:46:31 -0500 From: Stephen Litterst Subject: Re: props in the academy Message-id: <421510B7.567866F2 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "David R. Krajec" wrote: > --------------------------------------------------- > > Just taking a quick informal survey of small to medium liberal arts BA > programs in Theatre > > Who is in charge of props for your productions? A student props master under the supervision of the faculty prop master > Does the director get all of the hand props? No. That's the responsibility of the prop master to acquire the props. > Does the scenic area just deal with set props and set dressing? It depends on who has time. Generally the props crew deals with set props and dressing. For items like lamps, they work with the student ME to get the props working. Large furniture pieces may be split between props and scenery to get done. > Do you have a separate budget for props? Our production budgets have a separate budget for props. Our shop supply budgets have lumped props and scenery together, although we're changing that now that we acquired a faculty prop person. > Who comes up with a list of props for a show? Director and scene designer give the lists of props they need to the student prop master, who compiles those two lists with the list he/she has generated from the script. The final list is approved by the sceneic designer and the director before distribution. > If it is the director, what is the deadline for said list? First production meeting (one week after rehearsals start and scene design is finalized) > When do the actors get show props in rehearsal? It depends on the prop. Anything overly fragile or expensive may wait until tech (fine crystal stemware) and guns/swords/etc wait until tech, unless there is a fight call. Then the swords are used for fight call and then locked up by the prop master until the next time they're needed. Our new Prop Professor is a strong advocate of getting as many show props into reahearsal as early as possible. If they're not going to work for any reason she wants to know that sooner rather than later. Stephen Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 17 Feb 2005 21:53:17 GMT Subject: Re: (OT?) Looking for scripts, rights Message-Id: <20050217.135323.8665.92396 [at] webmail11.lax.untd.com> Dear Dale, When I produced "A Medicine for Melancholy", "Towards the Chicago Abyss" and "The Pedestrian" in 1971 or 1972, we contacted Ray Bradbury directly. Theatre West on Cahuenga Bl. West (323)851-4839 should have the information that you wish, as I spoke to him there after seeing one of his newest shows. /s/ Richard > I've got a student who would like to make a short film based on one > of Ray Bradbury's short stories (from 1957) - does anyone know who > represents the collected works? > Richard, do you know who reps this stuff? --Dale ------------------------------ Message-ID: <45c56d3405021714167cce6ec7 [at] mail.gmail.com> Date: Thu, 17 Feb 2005 17:16:14 -0500 From: Jared Fortney Reply-To: Jared Fortney Subject: Re: Cable Clip Torque On the subject of torque wrenches, does anyone have one they particularly like? I've been on the hunt for a t-handled torque driver, but haven't had much luck. I'm mostly interested in using the driver on 1/8" and 3/16" clips, so it doesn't need a huge range. Thanks. ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: props in the academy Date: Thu, 17 Feb 2005 17:26:10 -0500 Here, at CCM, there are students assigned to do props for each production. (All production students will do a props assignment-Sometimes they request a second or third go at it). They are under the guidance of the scenic designer. They take a class with the designer and also prop a given show. Usually two students are assigned to each show (the show are pretty big). The prop list comes from the director with help from the SM. The director and scenic designer have worked on and discussed what the props look like and what the set dressing will be. The SM's are usually responsible for getting/creating rehearsal props (which do not have to be the real thing, only something that resembles it in the important ways). There is a cut off date at which time any new requests will be honored only after the other items are secured and there is still time and money left. We do try to provide the director with what s/he wants if it at all possible. If it is the Titanic that is requested just before opening we inform him that the Titanic has sunk. Just as there is a set construction and costume construction budget, there is a props budget. There is a lump of money for sets, props and paint. If the set will be small (I have yet to see that happen) and the props large, we might shift money from one to the other. How it gets distributed is looked at on a show by show basis. From experience we have a pretty standard distribution but it does change according to the design. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: David R. Krajec [mailto:drkrajec [at] stritch.edu] Sent: Thursday, February 17, 2005 4:36 PM To: Stagecraft Subject: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Just taking a quick informal survey of small to medium liberal arts BA programs in Theatre Who is in charge of props for your productions? Does the director get all of the hand props? Does the scenic area just deal with set props and set dressing? Do you have a separate budget for props? Who comes up with a list of props for a show? If it is the director, what is the deadline for said list? When do the actors get show props in rehearsal? What do you do when the director wants the Titanic the day before you open? (Just kidding, the answer is to shoot him/her.) Any response is appreciated. David Krajec Cardinal Stritch University drkrajec [at] stritch.edu ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: props in the academy Date: Thu, 17 Feb 2005 17:34:10 -0500 Just to add a little to the last post, we have much the same policy as Stephen Litterst... > Does the scenic area just deal with set props and set dressing? THIS IS THE WAY WE APPROACH IT ALSO It depends on who has time. Generally the props crew deals with set props and dressing. For items like lamps, they work with the student ME to get the props working. Large furniture pieces may be split between props and scenery to get done. Our cut off date is usually two weeks before load in > When do the actors get show props in rehearsal? THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY, IF POOSIBLE WE TRY TO ACCOMMODATE. FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW. It depends on the prop. Anything overly fragile or expensive may wait until tech (fine crystal stemware) and guns/swords/etc wait until tech, unless there is a fight call. Then the swords are used for fight call and then locked up by the prop master until the next time they're needed. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Stephen Litterst [mailto:slitterst [at] ithaca.edu] Sent: Thursday, February 17, 2005 4:47 PM To: Stagecraft Subject: Re: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <14.3f423a72.2f467b00 [at] aol.com> Date: Thu, 17 Feb 2005 17:56:00 EST Subject: Re: props in the academy In a message dated 17/02/05 21:37:19 GMT Standard Time, drkrajec [at] stritch.edu writes: > Just taking a quick informal survey of small to medium liberal arts BA > programs in Theatre. We don't quite qualify, being a fairly large amateur outfit. But I thjink that the way we work is not too different. > > Who is in charge of props for your productions? The props master/mistress, under the SM, and this goes for all other answers. The SM is in control of the budget. > Does the director get all of the hand props? See above. > Does the scenic area just deal with set props and set dressing?They have an input, sure. Props is a rather vague area. Furniture, carpets and so on are in the grey bit. The whole design team neds to consider this. > Do you have a separate budget for props? > Who comes up with a list of props for a show? > If it is the director, what is the deadline for said list? Yes, and yes. The SM is the arbiter. In theory, the deadline is the production conference.. Frank Wood ------------------------------ Message-ID: <000201c51544$11ace4b0$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Stock Platforms Date: Thu, 17 Feb 2005 17:57:34 -0500 I am contemplating a change in our stock platforms. We currently have 2x4 frame construction platforms (some of which are 15+ years old, others made from warped wood). We have corner leg brackets bolted to the 4 corners and 2 inside corners. We are going to be raking the stage for our next production and I was thinking that it would be easier to work with 1xstock platforms without the bolted leg brackets. We could reuse the 3/4" ply from most of the platforms we have. In the end the only downside I see is being able to store less (aprox 12 where we now have 18) and the time involved in building them. Input, suggestions? Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Waxler, Steve (waxlers) To: Stagecraft Sent: Thursday, February 17, 2005 5:34 PM Subject: Re: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Just to add a little to the last post, we have much the same policy as Stephen Litterst... > Does the scenic area just deal with set props and set dressing? THIS IS THE WAY WE APPROACH IT ALSO It depends on who has time. Generally the props crew deals with set props and dressing. For items like lamps, they work with the student ME to get the props working. Large furniture pieces may be split between props and scenery to get done. Our cut off date is usually two weeks before load in > When do the actors get show props in rehearsal? THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY, IF POOSIBLE WE TRY TO ACCOMMODATE. FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW. It depends on the prop. Anything overly fragile or expensive may wait until tech (fine crystal stemware) and guns/swords/etc wait until tech, unless there is a fight call. Then the swords are used for fight call and then locked up by the prop master until the next time they're needed. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Stephen Litterst [mailto:slitterst [at] ithaca.edu] Sent: Thursday, February 17, 2005 4:47 PM To: Stagecraft Subject: Re: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ------------------------------ Message-ID: <000501c51545$06e6e890$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Fog Curtain Date: Thu, 17 Feb 2005 18:04:25 -0500 Anyone know of a good way to create a fog curtain/wall effect? Dry Ice or CO2 cooled fog dropped from some type of device would work. Anyone done anything like this. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Waxler, Steve (waxlers) To: Stagecraft Sent: Thursday, February 17, 2005 5:34 PM Subject: Re: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Just to add a little to the last post, we have much the same policy as Stephen Litterst... > Does the scenic area just deal with set props and set dressing? THIS IS THE WAY WE APPROACH IT ALSO It depends on who has time. Generally the props crew deals with set props and dressing. For items like lamps, they work with the student ME to get the props working. Large furniture pieces may be split between props and scenery to get done. Our cut off date is usually two weeks before load in > When do the actors get show props in rehearsal? THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY, IF POOSIBLE WE TRY TO ACCOMMODATE. FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW. It depends on the prop. Anything overly fragile or expensive may wait until tech (fine crystal stemware) and guns/swords/etc wait until tech, unless there is a fight call. Then the swords are used for fight call and then locked up by the prop master until the next time they're needed. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Stephen Litterst [mailto:slitterst [at] ithaca.edu] Sent: Thursday, February 17, 2005 4:47 PM To: Stagecraft Subject: Re: props in the academy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ------------------------------ Message-ID: <42152934.5020202 [at] telus.net> Date: Thu, 17 Feb 2005 16:31:00 -0700 From: "RODOK!!!" Subject: Re: Fog Curtain References: In-Reply-To: We built a fog curtain based on a design that Tracy Nunnally shared. It involved joining lenghts of pvc pipe that went from large to smaller diameter the further from the fog maching that the pipe ran. Holes were cut in the pipe that were smaller closer to the fog machine to larger along the length. A fan box was fitted to the fog machine to push the fog at some pressure through the pipe. We've underhung the fog curtain and have used it from the floor up depending on what was desired. Rod Osiowy Wild Theatre Cranbrook, BC ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 17 Feb 2005 18:33:55 -0500 From: Gion DeFrancesco Subject: Re: props in the academy In our medium sized liberal arts BA porgram, we've divided faculty responsibility so that our TD serves as department prop master (which he had an interest in doing) and the scene designer acts as charge artist. He'll supervise a student prop master on each show, provided there is a student interested in doing it. He or the student prop master gets hand props and dressing (if the designer gets information to him - as designer I like doing my own dressing and also usually help find dressing props) Our stage managers generate props lists. Preliminary is due on the day rehearsals start, added items included in rehearsal reports, final list needs to be complete a week before tech with no changes after. On a really proppy show we'll have a special prop meeting with director, set designer, props master, stage manager so that we're sure how many and/or how used. Same as others with show props in rehearsal. Valuable/fragile, danger items, food wait until tech. Our budget is weird. In our mainstage season the scenery budget includes construction, props and paint. In our secondstage season, props has its own budget (about half the amount of the set budget) (we also call props masters of all genders "props masters") >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Just taking a quick informal survey of small to medium liberal arts BA >programs in Theatre > >Who is in charge of props for your productions? >Does the director get all of the hand props? >Does the scenic area just deal with set props and set dressing? >Do you have a separate budget for props? >Who comes up with a list of props for a show? >If it is the director, what is the deadline for said list? >When do the actors get show props in rehearsal? >What do you do when the director wants the Titanic the day before you open? >(Just kidding, the answer is to shoot him/her.) > >Any response is appreciated. > >David Krajec >Cardinal Stritch University >drkrajec [at] stritch.edu -- +++++++++++++++++++++++++++++++++++++++ Gion DeFrancesco Assistant Professor of Theatre/Scene Designer MUT Production Manager Miami University 131 Center for Performing Arts Oxford, OH 45056 513.529.8318 On the web at http://arts.muohio.edu/defranga ++++++++++++++++++++++++++++++++++++++ "There are no hopeless situations; there are only men who have grown hopeless about them." Clare Boothe Luce ------------------------------ Date: Thu, 17 Feb 2005 18:42:09 -0500 Subject: Re: Sepia Tone From: "C. Dopher" Message-ID: In-Reply-To: Chris Warner: > I am looking to wash a set with a similar color tone that is seen with a > sepia tone photograph or a speia tone film. I am considering R05, R16 any > suggestions would be greatly appreciated. > > Thanks in advance > Chris Warner First, keep in mind that light doesn't do greys or browns very well, certainly not from a single-color wash. Your perceived "sepia" will come as a result of contrasting with something entirely its opposite -- some clear jewel-like greens and blues, for instance. Either put those colors somewhere in the composition with the "sepia" or make them the predominant colors in the previous cue. Crossfade almost to black before fading up the "sepia"-colored cue. As for which gels to use... Well, I've had good luck with R99 (chocolate). Yeah, its a hackneyed color, derided by designers better than I. But for beautiful sidelight in an introspective dance piece, nothing rivals it. It is, however, merely amber + neutral density (as sepia pigment is), so maybe you want to play with R20, R21, R97 and R98 as well as the R05 and R16. R99 looks nicely brown if its introduced to our vision correctly...but alone will soon take on a nice rosy tint, which may or may not be what you're after. YMMV Good luck, Cris Dopher, LD ------------------------------ Date: Thu, 17 Feb 2005 18:57:55 -0500 Subject: Re: Costume shop info requested From: "C. Dopher" Message-ID: In-Reply-To: Phil Johnson: > We are making a new costume shop. Here is what we are looking at. > > 4 new machines > 2 sergers > 1 industiral iron > cutting tables (what size?) > > We have Washer, Dryer, wand steamer and costume storage area. > > What else am I missing other than storage The other responses are well-considered advice. I, too, was in your position once, putting together a new shop from scratch. I've spent time working in a costume shop, so I wasn't going in blind. We ended up with a 1:1:4 ratio on machines. 1 serger (4 thread), 1 buttonhole/fancy stitch machine, and 4 standard, beefy, can't-kill-em cast iron Singers on custom-built tables with rebuilt motors. (I still can't believe the skill of that guy from the Bronx.) 4x8 tables at 40" with storage for bolts underneath, 10" off floor. Homosote tops for ease of pinning; brackets at end of table to hold reams of brown paper (to cover top with). Multiple cabinets with lots of cubby holes and a few cabinets with 48 drawers for notions. Fitting room with multiple mirrors hidden in costume storage; large wooden boxes for scraps storage. Two industrial irons, minimum. Dye room: whatever you put in here, PLEASE, for the LOVE OF GOD, ensure the dye room is separate AND separately ventilated! Your costumers will love you for it and OSHA won't give you any problems (ideally anyone doing dye jobs has been fit-tested for the proper PPE). Washer and dryer doesn't need to be fancy, just big. Adjoining but separate office (with windows) for shop foreman. Finally... Though you have to start work now, you would be wise to hold off on as much as possible until the new costume shop head is hired! Cris Dopher, LD, former TD Costumeshopmonkeynotincluded.div ------------------------------ Date: Thu, 17 Feb 2005 19:14:38 -0500 Subject: Re: Sepia Tone From: "C. Dopher" Message-ID: In-Reply-To: Josh Webb: > I'd tend to agree with my old friend Stan, though I might be inclined to > use R09 or R12 as it would give you a bit more room to play with intensity. R12? Maybe too yellow? R09, good call. I should have mentioned in my last post, I just finished lighting 42nd Street and used R08 and R09 exclusively in the backstage scenes; it was a nice light sepia image, without killing the tremendous variety of colors in the costumes. Cris Dopher, LD ------------------------------ Message-id: Date: Thu, 17 Feb 2005 19:58:41 -0500 Subject: Re: Sepia Tone From: "Joshua Webb" References: In-Reply-To: "Stagecraft" writes: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Josh Webb: >> I'd tend to agree with my old friend Stan, though I might be inclined to >> use R09 or R12 as it would give you a bit more room to play with >intensity. > >R12? Maybe too yellow? R09, good call. > >I should have mentioned in my last post, I just finished lighting 42nd >Street and used R08 and R09 exclusively in the backstage scenes; it was a >nice light sepia image, without killing the tremendous variety of colors >in >the costumes. > >Cris Dopher, LD > Yeah I don't know what I was thinking with the R12, as soon as I sent the message I felt like ducking for cover. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ Date: Thu, 17 Feb 2005 20:09:17 -0500 From: nancy moeur Subject: Creating Effects ETC 48/96 Message-id: <1108688957.4215403dc96ad [at] webmail.williams.edu> Edwin asked: >I am trying to create the effect of a flashing neon sign for an upcoming >production of "Stage Door" I have two S4 to provide the "neon". I am having >one hell of a time trying to create the "flashing" effect. Here is what I >would like the effect to look like: Steve Litterst told him how to write an Effect cue, which was very nice of him. But I want to jump in and say that Effect cues on that board drive me CRAZY if you're later trying to edit the cue, or write a complicated sequence, or whatever. So I figured I'd post my modification to Steve's method. Write your cue as usual. Don't put any of the channels that will be in the effect in the cue (or put them at their base/low levels) Go to BLIND Type SUB 1 (or sub of your choice) TYPE 3 Press S7 (More Softkeys) until "Bump Status" appears in S1 Press S1, 1 to enable the bump button Write your effect as Steve described in the Submaster. Be sure to record when done. Go back to LIVE. Run the effect by running the submaster up or pressing the bump button. OR, attach the effect to the cue by doing this: Go to SETUP Choose 8-Macro Editing Use S1 to pick a Macro Number Touch the Sub 1 BUMP BUTTON once Hit ENTER MACRO to finish recording your macro--all that should be recorded is "Sub1" Go back to LIVE Type CUE ## LINK MACROENTER 1 ENTER CLEAR (clears out the Follow time, unless you want it) In the cue when the effect is supposed to stop, do the same thing. Pressing the bump button (via the macro) will turn off the effect. This takes way longer to explain than to actually do! I encourage my students to just stay away from Effect cues altogether (on the Express) and to use this for anything remotely complicated. On a side Express-related note: Roger asked a couple of days ago about a tutorial for this board. I responded to him privately and sent him mine, and tried to post to the list to offer it to anyone else who wanted it. But I'm not real smart, so I got the address wrong and it bounced.... If anyone DOES want an Express tutorial, let me know. If I sent you one last year, it hasn't been revised much--you probably don't need a new one. I can send either a .doc or a .pdf best to all, (why am I writing about programming instead of going home and making dinner?) -nancy ---- Nancy Moeur AME, Syracuse Stage & SU Drama nmoeur [at] syr.edu -or- nmoeur [at] wso.williams.edu ---- ------------------------------ Message-ID: <421540A6.3020307 [at] fredonia.edu> Date: Thu, 17 Feb 2005 20:11:02 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: props in the academy References: David R. Krajec wrote: >> Just taking a quick informal survey of small to medium liberal arts BA > programs in Theatre > David, we have a BFA component as well but most props types are BAs or non-Production/Design BFAs. Complex shows will get a higher skilled BFA/Prod.Des. student > Who is in charge of props for your productions? Property Supervisor- student-who does job to fulfilll production requirements. Volunteers or is assigned position. > Does the director get all of the hand props? No, prop super working with TD oversight > Does the scenic area just deal with set props and set dressing? Typically but depends on specific item > Do you have a separate budget for props? Yes > Who comes up with a list of props for a show? Director, SM and Props Super. Drop dead date is two weeks previous to All-Day Tech. (Which preceeds 1st Tech by 2 days.) > If it is the director, what is the deadline for said list? > When do the actors get show props in rehearsal? Depends on item but during the week leading up to All-Day Tech generally. Usually about 1.5 weeks before opening. They have DOOFERS up til then. > What do you do when the director wants the Titanic the day before you open? > (Just kidding, the answer is to shoot him/her.) That boat will sink with the deck chairs NOT rearranged to fit the new whim. ;) HTH Steve Rees ------------------------------ Message-ID: <42154360.7010206 [at] fredonia.edu> Date: Thu, 17 Feb 2005 20:22:40 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stock Platforms References: We have a system of stress-skin decks that are 4x8. they mate with 5/4 stock splines that slip into 5/4 grooves on all 4 edges. Mostly we use them flat placed on 1 ft square bluefoam pylons up to about 24" or so. I'll compression leg a 2x4 frame if we need higher but will still deck with the stressskin. For a raked dec, I do tapered 1x4 trestles (custom built as needed but never exceeding 3/4" rise for each foot of run)to be placed on 2' centers up/down stage with 1x3 purlins laid across them left/right on 32" centers that support the 4x8 stresskins. Decks are splined as normal. HTH. Steve Rees,TD SUNY-Fredonia Rob Carovillano wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am contemplating a change in our stock platforms. [snip] ------------------------------ Message-ID: <42154527.7030307 [at] fredonia.edu> Date: Thu, 17 Feb 2005 20:30:15 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: props in the academy References: Hi, For clarification. The LIST is finalized by the end of the first week of rehearsal. The drop dead date is then generally about three weeks later. We use roughly a 6-week production schedule. > >> Who comes up with a list of props for a show? > > Director, SM and Props Super. Drop dead date is two weeks previous to > All-Day Tech. (Which preceeds 1st Tech by 2 days.) HTH, Steve ------------------------------ Message-ID: <421545E7.9010108 [at] fredonia.edu> Date: Thu, 17 Feb 2005 20:33:27 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stock Platforms References: HI Another clarification. Gawd, I'm knackered!! The trestles march across the stage from side to side on 2' centers. the purlins go from downstage to upstage. sorry. I should read before mashing the go button :( Going to bed now. Steve Stephen E. Rees wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We have a system of stress-skin decks that are 4x8. they mate with 5/4 > stock splines that slip into 5/4 grooves on all 4 edges. Mostly we use > them flat placed on 1 ft square bluefoam pylons up to about 24" or so. > I'll compression leg a 2x4 frame if we need higher but will still deck > with the stressskin. For a raked dec, I do tapered 1x4 trestles (custom > built as needed but never exceeding 3/4" rise for each foot of run)to be > placed on 2' centers up/down stage with 1x3 purlins laid across them > left/right on 32" centers that support the 4x8 stresskins. Decks are > splined as normal. > HTH. > Steve Rees,TD > SUNY-Fredonia > > Rob Carovillano wrote: > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> I am contemplating a change in our stock platforms. [snip] > ------------------------------ Date: Thu, 17 Feb 2005 21:04:33 -0500 From: BKHAIN [at] aol.com Subject: HELP! Colortran Encore 'airflow' light Message-ID: <0CA9A35C.0B0D134D.00040801 [at] aol.com> Hey everybody. Anybody know what it means when the red 'airflow' light comes on? I mean obviously I know the board freezes up, but does anybody know how to fix it? We disconnected the board from the dimmers and still have the error light so have deducted that it's some kind of board error. Doing a 'hard reset' by holding down the 'clear' key and turning the key switch on, off, on then reloading the show from disc will fix it for awhile... any body know any other tricks? Please respond directly to this email as I'm on digest. and in the middle of the show. Thanks everybody! Ben bkhain [at] aol.com ------------------------------ Message-ID: <42154EB3.3040405 [at] audiovisualdevices.com.au> Date: Fri, 18 Feb 2005 12:10:59 +1000 From: David Duffy Subject: Re: HELP! Colortran Encore 'airflow' light References: In-Reply-To: BKHAIN [at] aol.com wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Hey everybody. > >Anybody know what it means when the red 'airflow' light comes on? I mean obviously I know the board freezes up, but does anybody know how to fix it? We disconnected the board from the dimmers and still have the error light so have deducted that it's some kind of board error. Doing a 'hard reset' by holding down the 'clear' key and turning the key switch on, off, on then reloading the show from disc will fix it for awhile... any body know any other tricks? > >Please respond directly to this email as I'm on digest. and in the middle of the show. > > Perhaps it's sensing that the cooling fan(s) are blocked or not running? David... ------------------------------ Message-ID: <421556DE.1030403 [at] fuse.net> Date: Thu, 17 Feb 2005 21:45:50 -0500 From: Stuart Wheaton Subject: Re: Breaking glass panel effect References: In-Reply-To: Mike Katz wrote: > Good morning all, > We are in preliminary discussions on a spring production that the > director has a wonderful vision for. He would like to shatter a 4' x 8' > "plate glass" window nightly. It will be a great look for the show and > we would love to do it if we can. If you have room below the pane, you can rig a sliding frame, and drop out the full pane while simultaneously dropping a bunch of pre-cut lexan shards out of the valence over the now empty frame. > My first step was to go to > SmoothOn.com to look for plastic glass resins and sure enough they have > Smash resin to do it. So now I have some questions , It will take > about 2 1/2 gallons to cast a 4' x 8' x 1/8" sheet which will cost in > the vicinity of $200/ rehearsal and performance. I was under the impression that a lot of the casting resins could be re-cast? Is this not possible? Sweep up the old, clean it, add a little new, and re-melt it? Be sure to make a few spares just in case one fails at 10 mins to curtain. Stuart ------------------------------ In-Reply-To: References: Message-Id: <83cf3057b6880ab83dc0f65245f92b07 [at] dejazzd.com> From: Greg Bierly Subject: Re: checking cable clips Date: Thu, 17 Feb 2005 22:10:05 -0500 Mark O'Brian >> 1/8" clip 4.5 ft lbs >> 3/16" clip 7.5 >> 1/4" clip 15.0 > Bigger than THIS and it ain't scenery anymore! > My Opinion... >> 5/16" clip 30.0 >> 3/8" clip 45.0 >> 7/16 clip 65 >> bigger than that and it ain't scenery anymore. >> >> Bill S. It depends on what hall your working. New York, LA, Vegas I agree with Bill. My high school Performing Arts Center I am with you Mark. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <000d01c51568$4d7d8160$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: (OT?) Looking for scripts, rights Date: Thu, 17 Feb 2005 19:16:57 -0800 > Dear Dale, > When I produced "A Medicine for Melancholy", "Towards the Chicago Abyss" > and "The Pedestrian" in 1971 or 1972, we contacted Ray Bradbury directly. > Theatre West on Cahuenga Bl. West (323)851-4839 should have the > information that you wish, as I spoke to him there after seeing one of his > newest shows. Thank you, Richard. (How did Dale's name get on my query?) In my ignorance, I poorly assumed (shame on me) that Ray Bradbury had passed on in recent years. I'm in the process of contacting him (and his 'people') now. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ End of Stagecraft Digest #299 *****************************