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 19876947; Sun, 27 Feb 2005 03:02:16 -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 #309 Date: Sun, 27 Feb 2005 03:01:36 -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=-4.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, BIZ_TLD autolearn=ham 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 #309 1. Re: USITT Stage Expo Passes by "Brian Jeffrey" 2. Re: Designer/Stage Manager Relationship by "Paul Guncheon" 3. Re: USITT Stage Expo Passes by "James Smith, www.theatrewireless.com" 4. Workbox Decorations and Politics by "Paul Guncheon" 5. Re: Designer/Stage Manager Relationship by Reid G Johnson 6. Re: New to Vectorworks by Reid G Johnson 7. Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! No d by Noah Price 8. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad,Electrician! by rkt [at] ronniethevenot.com 9. Articles concerning fly (OT) by rkt [at] ronniethevenot.com 10. Wireless dimmers by MPTecDir [at] aol.com 11. Re: Articles concerning fly (OT) by Bill Sapsis 12. Fire Certificates by b Ricie 13. Re: Fire Certificates by Bill Sapsis 14. Re: Workbox Decorations and Politics by "Jon Ares" 15. Re: Articles concerning fly (OT) by "Sam Fisher" 16. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! by "Jon Ares" 17. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 18. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! ... by FrankWood95 [at] aol.com 19. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! by Mike Brubaker 20. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! by Richard Wolpert 21. Re: Designer/Stage Manager Relationship by "John D. Palmer" 22. Designer/Stage Manager Relationship by CB 23. Re: Stage pin connectors by CB 24. Re: Designer/Stage Manager Relationship by CB 25. Duck's Echo Sound by CB 26. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician!... by FrankWood95 [at] aol.com 27. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 28. raked stage covering by 29. Re: Stage Pin v. Twist in Educational Spaces (OT) by jdeull [at] clarktransfer.com 30. Re: Stage Pin v. Twist in Educational Spaces (OT) by Stephen Litterst 31. Re: Shop Lighting Questions by Dale Farmer 32. Re: Wireless dimmers by "James Smith, www.theatrewireless.com" 33. Re: Falling sheaves of paper by "Jon Ares" 34. Re: Wireless dimmers by John McKernon 35. Re: Stage Pin v. Twist in Educational Spaces (OT) by "Jon Ares" 36. Re: Workbox Decorations and Politics by Dale Farmer 37. Re: Stage Pin v. Twist in Educational Spaces (OT) by Dale Farmer 38. Re: Falling sheaves of paper by Dale Farmer 39. Re: Falling sheaves of paper by "Jon Ares" 40. USITT Schedule in Excel by "Jon Lagerquist" 41. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad,Electrician! No by Mike Benonis 42. Designer/Stage Manager Relationship by June Abernathy 43. Re: Wireless dimmers by Greg Persinger 44. Re: Flush Mount or Pigtail (was Stage Pin v. Twist in Educational Spaces) by Greg Persinger 45. Re: Flush Mount or Pigtail (was Stage Pin v. Twist in EducationalSpaces) by "Christopher K. Nimm" 46. Re: Wireless dimmers by Andrew Vance 47. Re: Stage Pin vs. Twist in Educational Spaces (OT) by Greg Persinger 48. Re: Designer/Stage Manager Relationship by roguerpj [at] mn.rr.com 49. Re: Raked Stage Covering by roguerpj [at] mn.rr.com *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <003101c51c1b$5955ff30$0300a8c0 [at] DESKTOP> From: "Brian Jeffrey" References: Subject: Re: USITT Stage Expo Passes Date: Sat, 26 Feb 2005 10:53:43 -0500 Fortunately I was able to come up with enough Expo passes for next months USITT in Toronto to the dozen plus of you that emailed me back with a mailing address. Sorry, but I don't have any passes left. Should anyone still have a need, I suggest you just go to www.usitt.org and check out the list of show exhibitors and give one of them a phone call. Since the vendors usually all get a stack of passes, expect someome should be able to accomodate. Regards, The Thermoman of Dazian Brian Jeffrey www.dazian.com ------------------------------ Date: Sat, 26 Feb 2005 05:59:17 -1000 From: "Paul Guncheon" Subject: Re: Designer/Stage Manager Relationship Message-id: <002d01c51c1c$21160380$0202a8c0 [at] yourxhtr8hvc4p> References: <> The stage manager can do this if he/she wishes. It would be desirable if this information is provided as in "The script calls for this and now we all know we need this" than as any kind of control issue. At this first meeting, I will already know what is needed. I have initial creative meetings with the director alone... I do not design "by committee", finding the suggestions of others to be "noise" until I want them. I have walked out of meetings in which the production stage manager has asked me to present my first design to the entire cast and crew for discussion. I told her that I didn't want or need anyone's input at that point except for the director. <> Unless the director has no vision. Some that I have worked with cannot visualize anything technical and focus completely on the actors, leaving the material "vision" to the designers. Unfortunately, I have also worked with directors who have no vision and don't know it. That can get real ugly... it was one of these dolts that caused me to quit one of the only two shows I left in my career. The other show I left because the director doing an extremely low budget production in a miniscule space demanded various elaborate set pieces, scene changes, etc. based on information he received from a cultural group that was providing 3 costumes for the show. He was very specific of what the set should look like and was not open to suggestion. The final straw came when I asked to have the theatre for 1 day to install the major set pieces and the director told me that they had to rehearse on that day. He emailed me a schedule showing that they were rehearsing every day until opening, allowing no time for technical operations except after 10:00 p.m. I was working 12 hour days 6-7 days per week and could only squeeze in a couple of days to work an this set. I certainly was not going in after 10. I told him that I couldn't help him out... he was stunned. Laters, Paul "There will be no further developments" Tom said negatively. ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: USITT Stage Expo Passes Date: Sat, 26 Feb 2005 11:11:32 -0500 In-Reply-To: Message-Id: <20050226161133.YTKY1899.tomts13-srv.bellnexxia.net [at] p3m866> I have a stack of passes as well, and would be happy to send a few to those in need. It's the same deal -- entry onto the tradeshow floor, but not the conferences. Email me your address off-list and I'll get 'em out. Jim jsmith [at] theatrewireless.com www.theatrewireless.com > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Brian Jeffrey > Sent: February 26, 2005 10:54 AM > To: Stagecraft > Subject: Re: USITT Stage Expo Passes > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Fortunately I was able to come up with enough Expo passes for > next months USITT in Toronto to the dozen plus of you that > emailed me back with a mailing address. Sorry, but I don't > have any passes left. Should anyone still have a need, I > suggest you just go to www.usitt.org and check out the list > of show exhibitors and give one of them a phone call. Since > the vendors usually all get a stack of passes, expect someome > should be able to accomodate. > Regards, > The Thermoman of Dazian > Brian Jeffrey > www.dazian.com > > > > ------------------------------ Date: Sat, 26 Feb 2005 06:27:55 -1000 From: "Paul Guncheon" Subject: Workbox Decorations and Politics Message-id: <004001c51c20$210760b0$0202a8c0 [at] yourxhtr8hvc4p> References: <> Most of the personal road boxes I have seen have not had much in the way of what might be considered offensive or trolling stickers on the exterior. the interior, which is a rather "personal space" is another matter. It seems there are no rules per se, but rather limits you yourself set on the type of feedback you are wiling to accept. Laters, Paul "You are now entering the US of A." Tom stated. ------------------------------ Message-Id: Date: Sat, 26 Feb 2005 11:44:38 -0500 From: Reid G Johnson Subject: RE: Designer/Stage Manager Relationship I'll admit a SM produced spreadsheet used to bother me as presumptive, but I now welcome the information. It is an info tool much more than an imposition on my territory. In my experience, such a spreadsheet doesn't mean something HAS to be done a certain way. It can, and should, be a useful basis for discussion w/ the Director and other designers concerning expectations. This is a collaboration after all. Too many lose sight of that. If we buck this attempt at collating show needs we are not helping the whole to come together. Also, it can be partially a reality check against my own analysis, which usually (and always should) predate getting this from an SM. Do your homework! That said, I take such a spreadsheet with a grain of salt. Some of the interp may be off base. It may be minimal. A production's direction may be diverging from the assumptions drawn from a reading of the script. Fine. I'm the specialist who will cover all of those bases. Beyond that I'm the specialist who has the vision to create what's appropriate to the production being done NOW. That may or may not relate closely with whatever notes are in a script. In the end, I'll surely have more to contribute. Further, or different, interp of: mood, time of day, more/different cueing than the Samuel French 'lights up and lights down' indications. In fact, those are so useless and minimal that I rarely consult the back of the script. Best of luck with your class, Reid Mark Harvey wrote: >I'm using a new textbook for the stage management class I teach and >wanted to get some thoughts from designers on this list. > > > >Your thoughts? The students in the class look forward to your >viewpoint concerning this issue. -- Reid G Johnson Resident Lighting Designer/Master Electrician Meadow Brook Theatre Ensemble Rochester, Michigan ------------------------------ Message-Id: Date: Sat, 26 Feb 2005 12:05:29 -0500 From: Reid G Johnson Subject: Re: New to Vectorworks Cc: rcarovillano [at] verizon.net (Rob Carovillano) > The layer I am drawing the set on is a new layer called "Set". The lines I > draw on this layer are also showing up in gray. The visibility is set to > visible so again I'm baffled. Any help? What John and Boyd said... In addition, you can set, or change the defaults of what color the background is and the color of the letters by setting the colors in the attribute palette while having nothing selected in any other palette. Adjust the line and the bucket color choices. THEN, when you select the alpha icon to insert text, it will pick up what you set. Restated: In order to change the default, you should do it with nothing selected from the 2d Tools palette. Sometimes I will end up with text that enters with strange color combos. Deselect the text icon, reset those choices, and reselect text and enter your text. You can play with lines or shapes the same way. Make settings with nothing selected, then select 'line' or whatever and draw. This comes into play for me when drawing a bunch of lines that I want to be red, with a certain line weight. Instead of selecting them all after the fact and changing things, I'll do the above. Mild disclaimer: I still use Version 8.5.2. I am assuming this still applies to the newer versions. Good luck, reid -- ------------------------------------------- Reid G Johnson Utica, MI Team Pterodactyl Logistics and Stats '93 BMW K1100GS .....o~'o ------------------------------------------- ------------------------------ In-Reply-To: References: Message-Id: <857da3be69256c6fce77c208d49debe5 [at] theprices.net> From: Noah Price Subject: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! No doughnuts!) Date: Sat, 26 Feb 2005 09:14:43 -0800 On Feb 21, 2005, at 4:52 AM, Chris Warner wrote: > On twist vs. Stage Pin, in educational spaces (ie Junior High and > Highschool) twist lock is the only allowable plug on stage something > about > needing to be able to lock them. Very timely... I'm designing the lighting portion of a theater renovation for a school (a private K-12, or so), and just ran into this. Is it true? Do I need to stick with twist lock in a school space? Anyone have reference to the appropriate regulations if this is or isn't true? (Sunnyvale, California, USA, if it's a regional thing) All of the pros/cons presented over the past few days aside, my reason for moving to stage pin is entirely practical -- my local rentals are all stage pin, and they have a limited number of stage-pin to twist lock adapters. This is important since I'm likely to rent a large portion of the bigger shows for the next couple years. Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ From: rkt [at] ronniethevenot.com Date: Sat, 26 Feb 2005 10:28:34 -0700 Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad,Electrician! No doughnuts!) Message-Id: <20050226172834.C77194F46A [at] ws6-5.us4.outblaze.com> Do I need to stick with twist lock in a school=20 space? (snip) I am a high school student in Arizona and I know that our theatre does not = use Twistlock adapters, we use stage pin on all of instruments and even use= edison for our portable system (used for outdoor shows and black box shows= ). Our systems was installed in the theatre just a few years ago when our o= ld system died. We have had no problems with instruments coming unplugged t= hat I know of. However, our director has say our almost everything that goe= s into the building but I am almost certain that he did not know the advant= ages and disadvantages of the connectors because he has a very limited know= ledge of lighting, or technical theatre for that matter. Although, this may be a regional restriction. You may want to investigate w= hat other schools in your area are using especially those is your district. Ronald Thevenot ------------------------------ From: rkt [at] ronniethevenot.com Date: Sat, 26 Feb 2005 10:30:53 -0700 Subject: Articles concerning fly (OT) Message-Id: <20050226173053.D3C6EEDE0C [at] ws6-1.us4.outblaze.com> Hello, I am writing a paper comparing articles, and later a presuasive essay, on d= ifferent types of fly systems. I was wonder if anyone on the list could giv= e me some sources of articles concerning counter-weighted fly systems and m= otorized dead-lift or other non-counter weighted systems. Thank you for your help, Ronald Thevenot ------------------------------ Date: Sat, 26 Feb 2005 12:41:58 -0500 From: MPTecDir [at] aol.com Cc: mfpowers [at] theater.umass.edu Subject: Wireless dimmers Message-ID: <771B8665.5A5A60EB.00740ECC [at] aol.com> Hey gang, UMass is considering getting some wireless dimmers. Anybody have any info on brands that are great? Ones that suck? Ones that are easy to install and hook up? DMX control of course. etc.??? Also any tips on what to expect in terms of reliability and such? Brooke, what kind of units did you guys use on "Beauty"?? Any info is welcome. -- Michael Michael Powers, Technical Director U Mass Amherst, Dept of Theatre 112 Fine Arts Center West 151 Presidents Drive Ofc 2 Amherst, MA 01003-9331 Phone: 413-545-6821 Fax: 413-577-0025 http://www.umass.edu/theater/ mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Date: Sat, 26 Feb 2005 12:47:45 -0500 Subject: Re: Articles concerning fly (OT) From: Bill Sapsis Message-ID: In-Reply-To: on 2/26/05 12:30 PM, rkt [at] ronniethevenot.com at rkt [at] ronniethevenot.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello, > > I am writing a paper comparing articles, and later a presuasive essay, on > different types of fly systems. I was wonder if anyone on the list could give > me some sources of articles concerning counter-weighted fly systems and > motorized dead-lift or other non-counter weighted systems. > > Thank you for your help, > > Ronald Thevenot Hmmmmmm. Articles on fly systems. let me see. I used to know a guy who wrote articles on fly systems. Oh yeah, I remember now. Me. Check out the website http://sapsis-rigging.com/UB.ArticleIndex.html and see if any of those help. Dana Taylor just wrote one for PLSN. TD & T (the USITT magazine) has had articles in the past as have Stage Directions magazine and Entertainment Design. I'm sure you could find some old Theatre Crafts magazine articles floating around the web somewhere. Zat help? 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: <20050226175213.2256.qmail [at] web50603.mail.yahoo.com> Date: Sat, 26 Feb 2005 09:52:13 -0800 (PST) From: b Ricie Subject: Fire Certificates In-Reply-To: Hello o wise list, how I have missed thee. I am currently on the road with a Broadway style show. We will be playing the Kodak Theatre in LA soon and they need flame certs. before any of our goods can go in the air. My Question is Can anyone tell me what the goods have to do in order to get the okee-dokey from the State? If answers could be sent to my e-mail address it would be greatly appreciated. Thanks in advance. ===== Brian Rice Technical Director "The Best Little Whorehouse in Texas" 508-287-8207 b_ricie [at] yahoo.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Sat, 26 Feb 2005 13:02:41 -0500 Subject: Re: Fire Certificates From: Bill Sapsis Message-ID: In-Reply-To: on 2/26/05 12:52 PM, b Ricie at b_ricie [at] yahoo.com wrote: > Hello o wise list, how I have missed thee. > I am currently on the road with a Broadway style show. > We will be playing the Kodak Theatre in LA soon and > they need flame certs. before any of our goods can go > in the air. My Question is Can anyone tell me what the > goods have to do in order to get the okee-dokey from > the State? If answers could be sent to my e-mail > address it would be greatly appreciated. > Thanks in advance. You should check with the theatre to see what type of certs are needed. Normally (and I use that word cautiously) a flame retardant certificate on goods (curtains, scenery...whatever) used in a theatre in California must reference the California codes. You should have received certificates on all your goods from the supplying vendors when the tour first got made up. Those certs may not have been generated in California and as such, may not meet the California requirements. The Kodak Theatre should be able to supply you with sample certs. even if they have to block out the name of the vendor or something due to privacy issues. Zat help? 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: <000901c51c2d$a8e80090$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Workbox Decorations and Politics Date: Sat, 26 Feb 2005 10:04:48 -0800 > Most of the personal road boxes I have seen have not had much in the way > of > what might be considered offensive or trolling stickers on the exterior. > the interior, which is a rather "personal space" is another matter. I carry a small ammo box of hand tools and testers... only one sticker on it: "Runs with scissors." A gift from a student long ago, but I use it to demark the ammo box of tools so I don't grab my ammo box of electrical parts, my ammo box of pyro stuff, etc. If only the lid wouldn't keep falling off after opening it, though. Wish it had a captive hinge. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "Sam Fisher" Subject: RE: Articles concerning fly (OT) Date: Sat, 26 Feb 2005 13:07:30 -0500 In-Reply-To: Message-ID: Bill Sapsis wrote, " I'm sure you could find some old Theatre Crafts magazine articles floating around the web somewhere." Most college university libraries have the entire Theatre Crafts magazine on micro film. Sam Fisher ------------------------------ Message-ID: <001701c51c2e$bf19f570$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! No doughnuts!) Date: Sat, 26 Feb 2005 10:12:34 -0800 > Very timely... I'm designing the lighting portion of a theater renovation > for a school (a private K-12, or so), and just ran into this. Is it true? > Do I need to stick with twist lock in a school space? Anyone have > reference to the appropriate regulations if this is or isn't true? > (Sunnyvale, California, USA, if it's a regional thing) Yes, do what you can to find out if there is some regulation in the region in question. This generalization that schools must be twist-lock is an urban legend. I know for a fact in my region, this is NOT a requirement at all, but over the last 20 years I have heard many a 'consultant' claim that it is. The truth is, someone at the school or district office has made the decision, but more commonly it was just whatever the consultant put in the spec, and no one looked twice at it. So often, particularly in grade schools and middle schools (where it's rare to hire a consultant) the PTB assume lights will go up, plugged in, and never moved. They're only unplugged for replacing the lamp (hopefully). -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f9.57b0e2a.2f521ce1 [at] aol.com> Date: Sat, 26 Feb 2005 13:41:37 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 26/02/05 16:45:47 GMT Standard Time, reidlite [at] earthlink.net writes: > I'll admit a SM produced spreadsheet used to bother me as > presumptive, but I now welcome the information. It is an info tool > much more than an imposition on my territory. > > In my experience, such a spreadsheet doesn't mean something HAS to be > done a certain way. It can, and should, be a useful basis for > discussion w/ the Director and other designers concerning > expectations. This is a collaboration after all. Too many lose sight > of that. If we buck this attempt at collating show needs we are not > helping the whole to come together. It all depends on the show. Shakespeare provides little or no information, and you may use or ignore it as you choose. "A room in the castle; another room in the castle; a rocky seashore" and that is all the guidance. Shaw often writes very elaborate stage directions, which, again, the director and designer may choose to ignore. > > Beyond that I'm the specialist who has the vision to create what's > appropriate to the production being done NOW. That may or may not > relate closely with whatever notes are in a script. In the end, I'll > surely have more to contribute. Further, or different, interp of: > mood, time of day, more/different cueing than the Samuel French > 'lights up and lights down' indications. In fact, those are so > useless and minimal that I rarely consult the back of the script. I was intending to say that, too. These are merely instructions for re-creating a particular production, which neither the director nor designer may have in mind. When the general design is firm, and has been agreed to be technically feasible and within budget, only then may the SM produce the lists of props, furniture, and so on: the LD the hire list (if he doesn't work within the inventory): the construction and wardrobe teams their lists. It is useful that these exist, but there is no way that they can be created without a firm design. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <79.4006d523.2f522180 [at] aol.com> Date: Sat, 26 Feb 2005 14:01:20 EST Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! ... In a message dated 26/02/05 18:13:36 GMT Standard Time, jonares [at] hevanet.com writes: > Yes, do what you can to find out if there is some regulation in the region > in question. This generalization that schools must be twist-lock is an > urban legend. I know for a fact in my region, this is NOT a requirement at > all, but over the last 20 years I have heard many a 'consultant' claim that > it is. The truth is, someone at the school or district office has made the > decision, but more commonly it was just whatever the consultant put in the > spec, and no one looked twice at it. > > So often, particularly in grade schools and middle schools (where it's rare > to hire a consultant) the PTB assume lights will go up, plugged in, and > never moved. They're only unplugged for replacing the lamp (hopefully). Cynical, but true. We have an advantage in the UK, that the rules are uniform, in general, so local legislatures and administrations can't interfere. When we opened our new playhouse, in 1964, we had three good Engineers involved, who were quick to tread on technical sillies. Now, we still have good Engineers around, but they are beset by administrators and bean-counters. Sic transit gloria mundi. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20050226142502.0422b418 [at] mail.insightbb.com> Date: Sat, 26 Feb 2005 14:33:30 -0500 From: Mike Brubaker Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! No doughnuts!) In-Reply-To: References: I have not encountered this as a requirement for high schools in the midwest--Michigan, Ohio, Indiana, Illinois, Nebraska, Missouri, and Kansas--but that certainly does not mean that there aren't states/jurisdictions with the requirement. Noah, regarding your specific question: http://www.bsc.ca.gov/title_24/t24_2001tried.html. The California Electric code is, according to this, the 1999 edition of the National Electric Code. I don't have access to a copy here, but I expect that there are some on the list with a copy that could find out whether schools are required to have locking connectors. Mike At 12:14 PM 2/26/2005, Noah Price wrote: >>On twist vs. Stage Pin, in educational spaces (ie Junior High and >>Highschool) twist lock is the only allowable plug on stage something about >>needing to be able to lock them. > >Very timely... I'm designing the lighting portion of a theater renovation >for a school (a private K-12, or so), and just ran into this. Is it true? >Do I need to stick with twist lock in a school space? Anyone have >reference to the appropriate regulations if this is or isn't true? >(Sunnyvale, California, USA, if it's a regional thing) ------------------------------ Date: Sat, 26 Feb 2005 15:01:46 -0500 From: Richard Wolpert Subject: RE: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! No doughnuts!) In-reply-to: Message-id: We build a lot of distribution for schools and educational spaces, and I've also heard that stage pin type devices are not allowed because a "locking" type connector is required. I'm not sure it's an urban legend, but I wouldn't be surprised if that's the case. However, I think there was probably some "locking connector" requirement at some time in the past. We developed a locking stage pin connector back in the 70's. That was at the request of several consultants, and consequently had sales of the plugs (male) was about 6,000 units a year. The locking style was discontinued several years ago because sales fell to only a few hundred units a year. We continue to build distribution for schools with standard pin connectors, and usually only get requests for locking devices on projects in the Midwest. Does anyone know of a specific jurisdiction or local code requirement that mandates the use "locking" devices? I'm curious to know as are a number of folks I've chatted with. Richard A.Wolpert President Union Connector Co., Inc. 40 Dale Street West Babylon, NY 11704 Ph: 631-753-9550 ext. 204 Fx: 631-753-9560 richw [at] unionconnector.com ------------------------------ Message-ID: <000901c51c43$deaf3ca0$6501a8c0 [at] Toshiba2> From: "John D. Palmer" References: Subject: Re: Designer/Stage Manager Relationship Date: Sat, 26 Feb 2005 12:43:46 -0800 I think really it is about the relationship. Unfortunately, this approach might seem condescending or intrusive. If the Stage Manager and the Designer are working together for the first time, it might be taken that the SM doesn't think very much of the designer. I have had a just out of school SM do this once. I seem to remember being very put off by it. Also, at the first production meeting who is worried about cues. Now, an idea of the given circumstances of the play that might require planning from the start of production is valid. I just don't think that the first production meeting is the time to discuss "House to half". Two other side thoughts: one, most of the SM's I have worked with have enough work to do covering their own paperwork, they shouldn't have to do mine. Two, I am going to start over again anyway, so please don't feel that you need to take the time to do it on my account. On the subject of cue lists, I don't have a complete list of cues until opening night. Up until then, any list of cues is strictly in preliminary form and subject to change. (Hopefully not after opening, but I am sure many of us have been there.) TTFN, John >The textbook, The Back Stage Guide to Stage Management by >Thomas A. >Kelly, comes highly recommended by professional stage >managers, so I >was a little surprised by the comments made on pages 28-35 >about how >Mr. Kelly recommends stage managers prepare a production >analysis >before meeting with the production team. > >His recommendation is for the stage manager to create a >spread sheet >with script expectations for costumes, scenery, props, >lighting, sound >and special effects, and distribute them to the designers >at the first >production meeting. My question concerns whether you, as >designers, >would welcome that kind of information at this early stage >of the >design process. My inclination is to prefer to do my own >analysis and >then compare notes with the stage manager to be sure we've >addressed >all issues concerning the play, but perhaps I'm being too >protective >and such information would actually be welcomed by other >designers. ------------------------------ ------------------------------ Message-Id: <3.0.6.32.20050226135059.01909b98 [at] pop.west.cox.net> Date: Sat, 26 Feb 2005 13:50:59 From: CB Subject: Designer/Stage Manager Relationship >Your thoughts? The students in the class look forward to your >viewpoint concerning this issue. I agree with you, but the stage manager has handed you a list of what he is expecting to happen, from his point of view. I.e., "this is what I think that I am expecting". Any SM that handed that to you with the expectation that you would use it as your job-list, never to stray, is insane, and should be poisoned or pushed down a well. As a list of possibilities, as the first step in a collaboration, I don'w think that it is out of line. As long as all parties involved know that it WILL change. I'm used to getting (actually, squeezing) this information from a director, but as long as the director knows what is happening and is cool with it, I have no problem using it as a jumping off point. The SM has to agree with the director's choices, and vice versa, or all bets are off. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050226135814.01909b98 [at] pop.west.cox.net> Date: Sat, 26 Feb 2005 13:58:14 From: CB Subject: Re: Stage pin connectors >My free advice is that you look at what you need, rather than what >most people need. The undpoken truth in this advice is, "Try early on to make the two the same thing, so that everyone plays nice with everyone else". This is the basic concept behind 'industry standards' in a nutshell. Now if we could just buy one manufacturer a nutcracker, we'd all be golden. Yeah, if you are retro-fitting something existing, you want to try to match what you have if you can't afford 'industry standardization', but if you can affords it, or are starting from scratch, go with waht's already out there being used. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050226141000.01909b98 [at] pop.west.cox.net> Date: Sat, 26 Feb 2005 14:10:00 From: CB Subject: Re: Designer/Stage Manager Relationship > Certainly, any >SM who presumes to tell me how to light a show is going to get a dusty response. SM's tell me what to do all the time. As the master clock of the show, we in the entertainment industry tend to use them to our full advantage. I'm thinking that the SM is presenting a bare-bones outline , as in, "Here in the script, it says that the scene changes from afternoon to late evening. I'm thinking that this is going to be a lighting cue, yes? Will there be a sound cue there as well? Like maybe trafic noises diminish a bit and oh, say, maybe crickets?" While these may not be design choices, if the designers are on the same page, it allows the SM to begin to get an idea of his workload, and the rythm of the show as well. Remember (with Frank as the obvious exception, of course) the SM will be taking the disgn elements that we create and making them happen in time and on cue for the rest of the run. The better that he is prepared and familiar with the better he will be able to pull off the design you hand him. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050226141510.01909b98 [at] pop.west.cox.net> Date: Sat, 26 Feb 2005 14:15:10 From: CB Subject: Duck's Echo Sound >My theory, of >course, is that there's no need to risk rubbing anybody the wrong way, >especially when out touring to the many varied parts of our country and >working with people of all sorts of beliefs, shapes, sizes, etc.. Am I >being overly cautious? Some bumper stickers are there to see who is the guy with no particular senxe of humor or ability to realize the rights of others to have differing opinions. Its better to havehim identified early, even if he hates you, than to have him slowly and covertly decide that he hates you. The devil you know, and all that. 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... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <89.2198278d.2f52602d [at] aol.com> Date: Sat, 26 Feb 2005 18:28:45 EST Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician!... In a message dated 26/02/05 20:01:54 GMT Standard Time, richw [at] unionconnector.com writes: > Does anyone know of a specific jurisdiction or local code requirement that > mandates the use "locking" devices? I'm curious to know as are a number of > folks I've chatted with. It's really a matter of doing a proper, informed, risk assessment. Those who write local codes, and, for that matter, AHJs, often don't have the engineering skills. They don't ask the right questions, let alone provide the right answers. First, exactly what is the risk? Is it of the connector pair pulling apart, which is no higher than nuisance level? Is it of the wires pulling out of the female connector, which potentially leaves live conductors waving in the breeze? Is there a fire risk, due to high resistance connections? I'm not an expert, and there may be others that I haven't considered. Ask Dr. Doom. When you have answered this one, consider the probabilities, and how dangerous faults may be caused. Disconnecting a luminaire is no more than a nuisance, whatever the LD may think. Having loose cables waving from a power source is another question: a dangling plug is not. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2b.6dc2661b.2f526305 [at] aol.com> Date: Sat, 26 Feb 2005 18:40:53 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 26/02/05 21:05:39 GMT Standard Time, psyd [at] cox.net writes: > > SM's tell me what to do all the time. As the master clock of the show, we > in the entertainment industry tend to use them to our full advantage. I'm > thinking that the SM is presenting a bare-bones outline , as in, "Here in > the script, it says that the scene changes from afternoon to late evening. > I'm thinking that this is going to be a lighting cue, yes? Will there be a > sound cue there as well? Like maybe trafic noises diminish a bit and oh, > say, maybe crickets?" While these may not be design choices, if the > designers are on the same page, it allows the SM to begin to get an idea of > his workload, and the rythm of the show as well. Remember (with Frank as > the obvious exception, of course) the SM will be taking the disgn elements > that we create and making them happen in time and on cue for the rest of > the run. The better that he is prepared and familiar with the better he > will be able to pull off the design you hand him. Contradictions. If you operate this archaic system, the SM may be able to dictate the timing of cues. What then happens is up to the LD, and the SD. And. of course the Director. Frank Wood ------------------------------ Message-ID: <000f01c51c5e$f5cddca0$0500a8c0 [at] lpt> From: References: Subject: raked stage covering Date: Sat, 26 Feb 2005 17:57:40 -0600 Organization: Minnesota Ballet Rolling your black dance floor over your raked stage still gives you seams. It'll give you four or five seams that run the full length of the stage. Is the marley floor the same length as your raked stage? If it's not, I don't recommend cutting it unless you don't plan on using the marley again. I use black gaff to tape the seams of my marley. But why not just tape the seams of the 4x8 plywood and just paint? Try a small section and see if you still see the tape. It's a quicker version of a dutchman, and easier to remove at strike. A ground cloth the full size of the stage might be cost prohibitive.However, if you can make it happen, why not size it like a drop to fit? I have painted my black marley floor with spray painted dots to mark center and quarter stage for the dancers and they don't complain about dancing on it. But that's just a few dots and not full stage with some design. Kenneth Pogin Production Manager Minnesota Ballet ------------------------------ Message-ID: <1109463299.42211103ba410 [at] mail.clarktransfer.com> Date: Sat, 26 Feb 2005 19:14:59 -0500 From: jdeull [at] clarktransfer.com Subject: Re: Stage Pin v. Twist in Educational Spaces (OT) References: In-Reply-To: "Having loose cables waving from a power source is another question: a dangling plug is not." Jumping off onto a tangent from there... In a raceway of stagepin lighting circuits along a catwalk... Would you rather have receptacles built into the raceway, or have pigtails with female plug receptacles coming out of the raceway? Pros and cons either way? Jonathan Deull Edmund Burke School ------------------------------ Date: Sat, 26 Feb 2005 19:34:04 -0500 From: Stephen Litterst Subject: Re: Stage Pin v. Twist in Educational Spaces (OT) Message-id: <4221157C.60CB1795 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: jdeull [at] clarktransfer.com wrote: > --------------------------------------------------- > In a raceway of stagepin lighting circuits along a catwalk... Would you rather > have receptacles built into the raceway, or have pigtails with female plug > receptacles coming out of the raceway? Pros and cons either way? Personal preference is panel-mount receptacles in the raceway. Pigtails have strain relief issues, can be caught or damaged by moving scenery when not in use, and the rubber jacketing can break down. There are some maintenance concerns with panel-mounts, but not as many. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <422118D0.D2135990 [at] cybercom.net> Date: Sat, 26 Feb 2005 19:48:16 -0500 From: Dale Farmer Subject: Re: Shop Lighting Questions References: Rich Lindsay wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Folks I need a little input. After a decade of working in a hole ....We > are getting a new shop....woot > > I do have a question about illumination. > > What lighting is best suited for a scene/paint shop? > > If thats not available (expence etc) , What alternatives are there? > > What , if any, options have people thought would be good but turned out > horrible? I'd go with a reasonable full spectrum fixture. Metal halide or fluorescent depending on ceiling height. Then put in semi-permanently a couple of your normal theatrical fixtures aiming at the usual painting area so you can see what it looks like under your actual theater lighting. --Dale ------------------------------ From: "James Smith, www.theatrewireless.com" Cc: theatrewireless [at] yahoogroups.com Subject: RE: Wireless dimmers Date: Sat, 26 Feb 2005 19:52:18 -0500 In-Reply-To: Message-Id: <20050227005230.ZBPX19622.tomts10-srv.bellnexxia.net [at] p3m866> > UMass is considering getting some wireless dimmers. Anybody > have any info on brands that are great? I was hesitant to jump right into this thread, being obviously biased... kinda hoped someone else would vouch for our stuff! For wireless dimming, our RC4 system is the easiest to hookup and use, with integrated radio receivers and dimmers (every receiver includes 4 dimmers). It's totally reliable. We're "debuting" our RC4 2.0 firmware at the USITT show in March, but we actually started shipping 2.0 this month, fully tested and fully functional (not vapor, not beta). Not only do you configure the dimmers from the transmitter (as always), you can now check battery voltage, complete with a V display on the transmitter screen, even in the middle of a running cue. Lots of other features added as well, to a core that remains the most versatile available. The Beauty and the Beast US tour used 3 of our predecessor RC3 systems with good results. A few older shows used our very obsolete SNET2 system, which started to run into trouble in the 450Mhz band towards the end of it's saleable/useful life (mid 1990's). Our switch to 907Mhz spread spectrum long ago resolved all such problems you may have heard of. There are customer testimonials posted on our site, and I think we should be able to get some of our users to speak up here as well. For more info, please contact me off-list. Jim Smith www.theatrewireless.com P.S. I've posted this response to 2 different groups, my sincerest apologies to those who have received it twice. ------------------------------ Message-ID: <000701c51c69$76aa8e40$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Falling sheaves of paper Date: Sat, 26 Feb 2005 17:12:53 -0800 I just wanted to thank everyone who contributed to the 'falling sheaves of paper' thread from about a month ago... the gag we're going with (that an outside shop is building) consists of a speed-controlled motor, with a shaft (about 20' long) that drives several wheels - probably neumatic tires or rubberized casters - that will spit out stacks and stacks of paper on cue. It is yet to be determined if gravity alone will be enough tension on the stacks of paper, or if some sort of tensioning device (bungee?) will be needed to maintain traction. This should work great, as we need about 25 linear feet of falling paper. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Sat, 26 Feb 2005 20:14:42 -0500 Subject: Re: Wireless dimmers From: John McKernon Message-ID: In-Reply-To: > UMass is considering getting some wireless dimmers. Anybody > have any info on brands that are great? I'd take a look at the ones from City Theatrical. If you're going to be at USITT, I imagine they'll be showing them there - they've been on the market for a couple of years now. - John ------------------------------ Message-ID: <001101c51c6a$1d7c1770$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Stage Pin v. Twist in Educational Spaces (OT) Date: Sat, 26 Feb 2005 17:17:33 -0800 > In a raceway of stagepin lighting circuits along a catwalk... Would you > rather > have receptacles built into the raceway, or have pigtails with female plug > receptacles coming out of the raceway? Pros and cons either way? I prefer piggytails. In a few spaces around here that have flush-mount receptacles, pulling on the male GSP eventually made the female flush-mount come ripping out. Pigtails also dangle, so if someone is walking by and brushes a connection, no harm. Flush-mounts mean the rigid male connector is perpendicular to the raceway, and bumping in to one usually won't result in breakage per se, but adds to the wear and tear of the female flush-mount, helping it on to its way of getting pulled out when trying to disconnect. At least this has been my experience. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <42212141.AF788F03 [at] cybercom.net> Date: Sat, 26 Feb 2005 20:24:17 -0500 From: Dale Farmer Subject: Re: Workbox Decorations and Politics References: Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Most of the personal road boxes I have seen have not had much in the way > > of > > what might be considered offensive or trolling stickers on the exterior. > > the interior, which is a rather "personal space" is another matter. > > I carry a small ammo box of hand tools and testers... only one sticker on > it: "Runs with scissors." A gift from a student long ago, but I use it to > demark the ammo box of tools so I don't grab my ammo box of electrical > parts, my ammo box of pyro stuff, etc. > > If only the lid wouldn't keep falling off after opening it, though. Wish it > had a captive hinge. You can make the hinge captive, if you have someone good with an arc welder around. Basically, you extend the last hinge pin a bit, then put the lid on, ensure that it opens and closes, then peen over the protruding pin until you have a snug fit. An alternative method, which you use of you have a spot welder, is to add a bit of sheet metal to the other side of the lid, so even when it's open, there is some metal blocking it from sliding off. These methods apply to US type ammo cans. YMMV. As for decorating a personal road box. I'd say use your discretion. Applying distinctive paint jobs and the like for easy identification sounds reasonable. Tour stickers should be fine. ( unless you used to tour with heavy metal groups, and now are touring with a religious road show. ) I'd avoid political, blatantly offensive, and so on materials. I'd apply the rule of thumb: would I be ashamed to show it to my mom? --Dale ------------------------------ Message-ID: <42212351.59D07F57 [at] cybercom.net> Date: Sat, 26 Feb 2005 20:33:05 -0500 From: Dale Farmer Subject: Re: Stage Pin v. Twist in Educational Spaces (OT) References: jdeull [at] clarktransfer.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Having loose cables waving from a power source is another question: a dangling > plug is not." > > Jumping off onto a tangent from there... > > In a raceway of stagepin lighting circuits along a catwalk... Would you rather > have receptacles built into the raceway, or have pigtails with female plug > receptacles coming out of the raceway? Pros and cons either way? > > Jonathan Deull > Edmund Burke School Dangling cables catch on things, wear out faster, and basically have more moving parts to fail. I'd go with built in. Do ensure the contractor doesn't install them facing down or up on the raceway. Also remember to have non-dimmed power up there for the multitude of things that use it nowadays. --Dale ------------------------------ Message-ID: <422123F6.A5395DC2 [at] cybercom.net> Date: Sat, 26 Feb 2005 20:35:50 -0500 From: Dale Farmer Subject: Re: Falling sheaves of paper References: Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I just wanted to thank everyone who contributed to the 'falling sheaves of > paper' thread from about a month ago... the gag we're going with (that an > outside shop is building) consists of a speed-controlled motor, with a shaft > (about 20' long) that drives several wheels - probably neumatic tires or > rubberized casters - that will spit out stacks and stacks of paper on cue. > It is yet to be determined if gravity alone will be enough tension on the > stacks of paper, or if some sort of tensioning device (bungee?) will be > needed to maintain traction. > > This should work great, as we need about 25 linear feet of falling paper. I'd be interested in seeing a video of this effect going off. I also want to see the video of the faces of the janitors when you tell them about this mess that needs to be picked up. --Dale ------------------------------ Message-ID: <002701c51c6c$eea9fa90$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Falling sheaves of paper Date: Sat, 26 Feb 2005 17:37:43 -0800 > I'd be interested in seeing a video of this effect going off. I also > want > to see the video of the faces of the janitors when you tell them about > this mess that needs to be picked up. :) These 'janitors' are the actors onstage at the time of the mess. They pick up all the paper during the scene. (The play is "Dear Charlotte," by Joy Gregory. An Oregon premiere.) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "Jon Lagerquist" Date: Sat, 26 Feb 2005 18:34:49 -0800 Subject: USITT Schedule in Excel Reply-to: jon [at] lagerquist.com Message-ID: <4220C149.14538.11668481 [at] localhost> I pushed the schedule for the USITT conference through a couple of editors and turned it into an Excel spreadsheet so that I could sort by day, time, commission or title. I posted it at: http://lagerquist.com/usittindex.html Jon Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ Date: Sat, 26 Feb 2005 22:24:21 -0500 Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad,Electrician! No doughnuts!) From: Mike Benonis Message-ID: In-Reply-To: On 2/26/05 12:28 PM, "rkt [at] ronniethevenot.com" wrote: >> Do I need to stick with twist lock in a school >> space? (snip) > > I am a high school student in Arizona and I know that our theatre does not use > Twistlock adapters, we use stage pin on all of instruments and even use edison > for our portable system (used for outdoor shows and black box shows). Our > systems was installed in the theatre just a few years ago when our old system > died. We have had no problems with instruments coming unplugged that I know > of. However, our director has say our almost everything that goes into the > building but I am almost certain that he did not know the advantages and > disadvantages of the connectors because he has a very limited knowledge of > lighting, or technical theatre for that matter. > > Although, this may be a regional restriction. You may want to investigate what > other schools in your area are using especially those is your district. > > Ronald Thevenot We also have stage pin connectors in both our main stage and our black box. We've had no issues with them, other than the inability to plug fixtures in in other parts of the building (which was remedied with a number of stage pin to Edison cables that were made for us). Our school is in its fifth year of operation, btw. Best regards, -Mike Benonis Senior and Sound Designer/Technician Stone Bridge High School 43100 Hay Road Ashburn, VA 20147 (703) 779-8900 ------------------------------ Message-ID: <20050227051020.67641.qmail [at] web14121.mail.yahoo.com> Date: Sat, 26 Feb 2005 21:10:19 -0800 (PST) From: June Abernathy Subject: Designer/Stage Manager Relationship I like the Tom Kelly book, and I think the Script Analysis thing he does is the best thing in the book. It is absolutely great! Most designers and even the director are concentrating only on their part of the gig when they read through a script. The SM is the one who is paying attention to the fact that you have 15 chorus dancers needing a quick change at the same time that you must do a huge set change that will involve moving wagons on and off into the wings. Catching this early means that you can figure out BEFORE technical rehearsals how to get both things done without running over dancers or stopping a scene change cold, or whatever. It's really vital for the SM, I think, to do the breakdown. Mainly, I think, for yourself. To see potential pitfalls like the above before they happen, to get an overview of how big or small the prop or costume or sound needs for a show will be, to break the script down into manageable french scene chunks, etc. It helps figure out running crew needs, ASM duties - a lot of things. Of course, the director may have their own ideas of how to break the script down into pieces, or what prop or costume needs are, or whatever. Ditto for designers. But it gives you a great starting place for those discussions. And, for designers or prop masters or whoever who haven't done their homework, you can say, "Well, here's what I've come up with from the script. Of course, there are bound to be additions and subtractions and changes, and you are sure to have your own ideas. But if it's helpful to you as a starting point, great." Of course it's arrogant to deliver the document as a fait accompli, but it's also, I think, arrogant for a designer or director to take offense at being offered such a thing when the desire is only to help, and help coordinate departments. I always used to go through the script and figure out french scene breaks, preliminary prop lists, light cue sheets, sound cue sheets, and etc. The beauty of the Tom Kelly method is that you are looking at all that information side by side, in time, and getting a much better idea of show flow, traffic patterns, and where departments potentially collide and conflict. I love it. It's the best part of the book. I think teaching your students to do this for every script is a tremendously good idea. Teaching them to approach directors, designers, and department heads with a little bit of tact and decorum is another great lesson, of course. Teaching future directors, designers, and department heads to value the contributions of a good stage manager would be a nice touch, if you get the chance. :) June Abernathy AEA Stage Manager IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Yahoo! Mail - You care about security. So do we. http://promotions.yahoo.com/new_mail ------------------------------ Date: Sat, 26 Feb 2005 23:59:49 -0600 Subject: Re: Wireless dimmers From: Greg Persinger Message-ID: In-Reply-To: I know Gilderfluke makes a wireless DMX transmitter and DC dimmers. You might look at what they have. Www.gilderfluke.com Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Date: Sun, 27 Feb 2005 00:07:10 -0600 Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in Educational Spaces) From: Greg Persinger Message-ID: In-Reply-To: Flush Mount gets my vote. It always seems to much more straightforward when trying to find where your fixture is plugged in and you don't have the extra cable to deal with when it is not being used. Also less to fail and maintain. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <000e01c51c96$ce8e1fa0$6c01a8c0 [at] tamiasuis> From: "Christopher K. Nimm" References: Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in EducationalSpaces) Date: Sun, 27 Feb 2005 00:37:27 -0600 I may be jumping into this new thread a little late, but I still must ask: do you have problems with instrument mobility when using flush mounted circuits? Every time I've used one I've found myself wishing for ten to twenty lengths of three foot cable to make up for the missing pigtails. Of course, this could be due to design errors on my own part, but the job just seems easier with that extra pigtail on the raceway. Chris Nimm ----- Original Message ----- From: "Greg Persinger" To: "Stagecraft" Sent: Sunday, February 27, 2005 12:07 AM Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in EducationalSpaces) > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Flush Mount gets my vote. > > It always seems to much more straightforward when trying to find where > your > fixture is plugged in and you don't have the extra cable to deal with when > it is not being used. > > Also less to fail and maintain. > > > Greg Persinger > Vivid Illumination > > Greg [at] Vividillumination.com > > ------------------------------ In-Reply-To: References: Message-Id: <1d5f86bac3f93d67b193550867ec9bee [at] andrewvance.com> From: Andrew Vance Subject: Re: Wireless dimmers Date: Sun, 27 Feb 2005 00:49:49 -0600 On 26 Feb, 2005, at 18:52, James Smith wrote: > kinda hoped someone else would vouch for our stuff! I can vouch for their stuff! In another life, I used the old RC3 system fairly regularly and have advocated it here in the past. They're easy to set-up and maintain and small enough to conceal the guts in most anything. Its a great solution for getting those pesky lights in hard to cable/conceal places to dim and turn off when the rest of the lights do. The only downside [which I'm sure you'll have with most any system] is making sure you've got a charged battery for the receiver and source. I wish I had some of the units on my current show. While they wouldn't have *really* been necessary, it would have saved me from running all that cable for those few pesky candles. I haven't had any experience with RC4, but if its anything like the RC3 I'm sure its a great product. -- Sincerely, Andrew Vance Lighting Designer www.andrewvance.com ------------------------------ Date: Sun, 27 Feb 2005 01:15:19 -0600 Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT) From: Greg Persinger Message-ID: In-Reply-To: I have heard that the reason for using twist lock in educational spaces was because they are safer than stage pin. The way it was explained to me was this. With a twist lock it is very difficult for anything to touch the energized pins, but on a stage pin it can separate a slight bit from the female outlet and there is the possibility of something conductive coming in contact with the energized pins. Also there is more chance of fingers coming in contact with the energized pins while plugging and unplugging a stage pin than with a twist lock. Following that line of reasoning every outlet in the school needs to be twist lock as you would hate to have a student die plugging in the VCR with an Edison plug on it. They might touch the pins while plugging or unplugging. Probably a more logical reason for the twist lock is that code states that for a dimmer circuit in a theater the device needs to be rated the same as the over-current protection. For most dimmers this is 20 Amps and standard Edison outlets and plugs are not 20 Amp rated devices (although you can get them), instead most electrical contractors would immediately think of a twist lock as that is what most electricians and electrical engineers spec for 20Amp devices. Since stage pin are generally unknown in the typical electricians and electrical engineers world, this plug would not even be considered as an option. Since they have no knowledge of them they don't know that a stage pin is a 20Amp rated device, much cheaper than twist lock, an industry standard, and more durable and more easily repairable than twist lock. Thus they don't get used. I too like others have heard that you have to use twist lock in schools but I have been to many schools with stage pin connectors and have never had anyone show me where this has been a code issue or law that stage pin can't be used. The 1999 NEC Article 518 defines places of assembly of 100 or more persons including auditoriums within schools (518-2 a) Article 518-2 c states that any theatrical areas wiring in a place of assembly shall comply with article 520 - Theaters, Audience Areas of Motion Picture and Television Studios, and Similar Locations. Article 520 allows properly rated stage pin plugs and outlets. So it seems as though it would be either a state or local code that would dictate plug type. A call to the local county's electrical inspector ought to get you the answer. +++++++++ Warning off topic inspector advice++++++++++ Just a word of advice on dealing with electrical inspectors, they can be a pain to deal with for a number of reasons but one of the biggest reasons is if they are in an area that doesn't have many dimming systems they probably don't have a clue what Article 520 of the NEC says nor have they probably seen any of the equipment that 520 says we can use. Because of this the question to ask is not "can we use stage pin plugs or do we have to use twist lock", but instead "I have a potential project in your area (I try never to give the project name or location this way you stay under the radar and don't tip off the AHJ that you aren't a local. Sometimes it doesn't matter, sometimes it does. Maybe it's a Southern thing.) and was looking to get some information on your local electrical codes. Have you adopted the National Electrical Code as your code regulations for your area? If so what issuing year. If not how can I get a copy of your codes. Are there any addendums to the NEC for your county and state? If so how do I get a copy?" Once you are armed with their version of the code you can meet the code requirements in your design and politely educate the AHJ as to what you are doing to meet code in your project if you are questioned. This doesn't mean the AHJ can't make you do something stupid but it shows you have done your homework and are trying to abide by the laws he is sworn to uphold. "This is the way we do it in our industry" is a bad answer, "NEC 1999 Article 520-9 Branch Circuits allows me to use stage pin plugs because they are rated for 20Amps at 120 Volts and my dimmer feeding the circuits are rated at 120 Volts and have 20Amp breakers for over-current protection. It is my understanding that this is the code you follow. " is a good answer. ++++++++++ all done ++++++++++++++++++ I hope this helps. I, like others, would also like to hear if your area actually mandates the connector type. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Designer/Stage Manager Relationship Date: Sun, 27 Feb 2005 01:34:57 -0600 Message-ID: References: In-Reply-To: June, Thank you for putting some of my thoughts into words.=20 I have, as a lighting designer, been told not to worry about covering for a long costume change. Only to have a long late night tech meeting later to fix the fact that there was a long change and nothing was happening on stage.=20 I think to often SMs become a note taker for the rehearsal and design process when they should indeed be just as much a part of making a show happen as any designer. rob johnson ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Raked Stage Covering Date: Sun, 27 Feb 2005 01:46:56 -0600 Message-ID: References: In-Reply-To: The old theatre I worked for did this all the time in the studio space we had. It had a tile floor in it and we could not paint the floor. So we would lay linoleum upside down and paint it. We only had 2 problems. One time the linoleum had markings on the back that bleed through the paint. The next time we used this flooring we spray painted the marks with silver spray paint prior to painting the floor. The other problem was that the linoleum tended to rip if a heavy object was dragged over it. rob johnson On Fri, 25 Feb 2005 19:24:36 -0500 (EST), you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >In a message dated 2/25/05 6:59:16 PM, rcarovillano [at] verizon.net writes: > ><< I have a black vinyl dance floor, but we would really like to=20 > >paint the surface. Any ideas? >> > > > >in the early days of PBS's DANCE IN AMERICA, when it was shot at the = then new=20 >Opryland Studios in Nashville, the temporary suspended dance floor in = the=20 >studio was covered with cheap kitchen linoleum, , laid FACE DOWN, with = the porous=20 >felt like side up,=20 > >that was then painted and sealed to suit the ballet being shot > >just a thought,=20 > > > > >very best, > >Keith Arsenault > >IAEG - International Arts & Entertainment Group=20 >Tampa, Florida ------------------------------ End of Stagecraft Digest #309 *****************************