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 20869821; Mon, 14 Mar 2005 21:08:00 -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 #329 Date: Mon, 14 Mar 2005 21:07:22 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #329 1. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by "Jeffrey E. Salzberg" 2. Re: info on doing Peter Pan by "Delbert Hall" 3. Re: Empirical Peep Data by "Paul Guncheon" 4. Re: what is LD50 by "holyoak1" 5. Re: God's Dimmer (was Re: Lighting Designers (was Re: ETC Expression/Express Wir by Jason Tollefson 6. Re: PDA recommendation by Stephen Litterst 7. Re: distressing costumes by Steve Larson 8. Driving to USITT/Toronto by "Scheu Consulting Services" 9. Re: Peeeeeps by Shawn Palmer 10. Re: Station fire, Warwick, Rhode Island by murr rhame 11. Re: Station fire, Warwick, Rhode Island by "Jeffrey E. Salzberg" 12. Re: Station fire, Warwick, Rhode Island by Bruce Purdy 13. Re: Station fire, Warwick, Rhode Island by Dale Farmer 14. Re: Station fire, Warwick, Rhode Island by "Paul Schreiner" 15. Re: costumers by Michael 16. Re: Driving to USITT/Toronto by Adam Janzen 17. Re: Abe Feder (was a lot of other things) by "Michael Finney" 18. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by FrankWood95 [at] aol.com 19. Re: Empirical Peep Data by "C. Dopher" 20. Re: Empirical Peep Data by "C. Dopher" 21. Re: Station fire, Warwick, Rhode Island by "Don Taco" 22. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 23. Re: Station fire, Warwick, Rhode Island by "Jeffrey E. Salzberg" 24. Re: Empirical Peep Data by "Don Taco" 25. Re: ETC Expression/Express Wireless RFU by "Jeffrey E. Salzberg" 26. Consoles by "C. Dopher" 27. retensioning handlines by "Rob Carovillano" 28. Re: retensioning handlines by Stephen Litterst 29. Re: retensioning handlines by Bill Sapsis 30. Re: retensioning handlines by Bill Sapsis 31. Re: retensioning handlines by "Frank E. Merrill" 32. Re: retensioning handlines by Stephen Litterst 33. Re: retensioning handlines by Bill Sapsis 34. Re: retensioning handlines by Stephen Litterst 35. Tech Packet by "James, Brian" 36. Re: retensioning handlines by "Waxler, Steve (waxlers)" 37. Re: retensioning handlines by Bill Sapsis 38. Old Skewl Inellabeams by "Aaron O'Quinn" 39. Re: Consoles by John McKernon 40. Re: retensioning handlines by Dale Farmer 41. Re: retensioning handlines by "Waxler, Steve (waxlers)" 42. Re: Tech Packet by Steve Larson 43. Re: Tech Packet by Dale Farmer 44. Mother Courage and Prop Chickens by Barney Simon 45. insurance carriers, slightly OT by "Jack Morones" 46. Re: Tech Packet by "James, Brian" 47. Re: Mother Courage and Prop Chickens by "Jeffrey E. Salzberg" 48. Video Monitoring Followup by "Aaron N O'Quinn" 49. Re: retensioning handlines by Bill Sapsis 50. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 51. Re: Station fire, Warwick, Rhode Island by FrankWood95 [at] aol.com 52. Re: AOL update for those who use AIM by MissWisc [at] aol.com 53. Re: Tech Packet by Michael Feinberg 54. Re: Tech Packet by Richard Bakos 55. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 56. Re: Tech Packet by Greg Persinger 57. Re: ETC Expression/Express Wireless RFU by "Jeffrey E. Salzberg" 58. Re: Mother Courage and Prop Chickens by FrankWood95 [at] aol.com 59. Re: retensioning handlines by "Waxler, Steve (waxlers)" 60. Re: retensioning handlines by "Delbert Hall" 61. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 62. Re: AOL update for those who use AIM by Herrick Goldman 63. Re: AOL update for those who use AIM by "Joe Golden" 64. Re: AOL update for those who use AIM by Herrick Goldman 65. Re: Tech Packet by Mark O'Brien 66. Re: Tech Packet by Michael Feinberg 67. Re: AOL update for those who use AIM by "Michael S. Eddy" 68. Re: AOL update for those who use AIM by Herrick Goldman 69. Stage Pin Connectors (BATES vs. Entertainment Power Systems) by "Brandon Slokowski" 70. Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) by Mike Brubaker 71. Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) by Greg Bierly 72. Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) by Greg Persinger 73. Re: God's Dimmer (was Re: Lighting Designers (was Re: ETC Expression/Express Wir by Stuart Wheaton 74. Re: Tech Packet by Mark O'Brien *** 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: "Jeffrey E. Salzberg" Subject: RE: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) Date: Mon, 14 Mar 2005 06:06:21 -0500 Message-ID: <000401c52885$de0b2180$6801a8c0 [at] Dell> In-Reply-To: > -----Original Message----- > From: Stuart Wheaton [mailto:sdwheaton [at] fuse.net] > Sent: Monday, March 14, 2005 12:48 AM > To: Stagecraft > Subject: Re: Lighting Designers (was Re: ETC > Expression/Express Wireless RFU) > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Jeffrey E. Salzberg wrote: > > > > > B. Having reportly remarked, upon seeing a sunset, that "Isn't it > > amazing what G-d can do with only one dimmer?" > > > God doesn't use a dimmer, he rotates the whole theatre.... ...And one hell of a lot of diffusion. ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: info on doing Peter Pan Date: Mon, 14 Mar 2005 07:21:32 -0500 I have done a number of productions where we have had less than 20 feet of height. In a space like the one that Jeff describes, I would recommend that the scenic designer place the nursery window on one side of the stage and line up directly under the track system. This would allow me to use a combination of pendulum swing and travel for Peter's flight into the nursery. This gives you a much nicer look flight than the short hop you would get from a pendulum with such a short height. I wouls also recommend that the fireplace be directly oppite the window so that Peter could fly to the mantle with ease. With this arrangement Peter could actually fly out of the nursery at the end of ACT I. I have also rigged tracks so that John, Michael, and Wendy could also fly off stage in low height situations as well, but this adds to the cost. -Delbert Delbert L. Hall 423-773-HALL (4255) > >NorthWest Children's Theatre in Portland Or has done the non-musical >version of Pan several times over the last 10 years. It's become sort of >their signature production/cash cow. The catch here is the stage. They >perform in an ex-Christian Science church building, and have no fly system >at all. For Pan, they hung a truss over the stage on chain motors, cutting >holes in the ceiling in order to rig pick points from the ceiling structure >above the plaster. Still, the trim on the truss was about 16' above the >deck. >Foy did the flying and they said it was about the lowest grid they'd ever >worked with. But it worked. You don't have to go that high to get the >effect across. > > >Jeff A Forbes >PMB 124 6820 SE Foster Rd >Portland OR 97206 >(503)-888-5619 >www.performanceworksnw.org > ------------------------------ Date: Mon, 14 Mar 2005 03:07:42 -1000 From: "Paul Guncheon" Subject: Re: Empirical Peep Data Message-id: <0c6001c52896$cf208eb0$0202a8c0 [at] yourxhtr8hvc4p> References: <> I would suspect there would be no change in appearance but by now, due to lack of oxygen, the peep is DEAD. Oh the horror of it all. sick heartless bastard... Laters, Paul "Why did we cut down this tree?" Tom asked, stumped. ------------------------------ From: "holyoak1" Subject: RE: what is LD50 Date: Mon, 14 Mar 2005 09:00:14 -0500 In-Reply-To: Message-ID: What would you propose we use in stead of mice, etc. - actors? Kenneth H. Holyoak Information+Insight=Profit HIG, LLC Mail POB 68633 Indianapolis IN 46268-0633 UPS 1508 E 86th Street Suite 177 Indianapolis IN 46240 ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R. Krajec Sent: Sunday, March 13, 2005 10:01 PM To: Stagecraft Subject: what is LD50 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- FYI LD50 stands for "Lethal Dose - 50%" Procter & Gambel test consumer products to make sure that they are safe for human use. To do that, they use quite a few methods, but the LD50 test is pretty awful. Basically, as I understand it, with a given population of test subjects (mice, rats, rabbits, etc.) they expose said population to a product in increasing quantities. When 50% of said population has expired (hence lethal), they have proved something. PETA and others are opposed to animal testing and this is one of the things they oppose. 'Nuff said. David K. ------------------------------ Message-ID: <20050314135912.807.qmail [at] web51009.mail.yahoo.com> Date: Mon, 14 Mar 2005 05:59:12 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: God's Dimmer (was Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU)) In-Reply-To: > > B. Having reportly remarked, upon seeing a sunset, that "Isn't it > > amazing what G-d can do with only one dimmer?" > > > God doesn't use a dimmer, he rotates the whole theatre.... THANK YOU! I've had this same argument on the outdoor show I work on at Walt Disney World. They (the SM) ask me to turn the sun and/or moon's intensity down and I always have to remind them that it's a non-dim circuit so the only option is to move it out of sightlines which is an automation issue, not a lighting issue so the Show Control dept needs to address it. Some people just don't understand. Jason Tollefson Production Planner Disney-MGM Studios Walt Disney World jason [at] tollefsondesigns.com ------------------------------ Date: Mon, 14 Mar 2005 09:18:21 -0500 (EST) From: Stephen Litterst Subject: Re: PDA recommendation In-reply-to: Message-id: <4469.172.150.241.2.1110809901.squirrel [at] 172.150.241.2> References: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > On Mar 13, 2005, at 3:01 AM, Stagecraft wrote: > >> I visited Rob Halliday during the in for Oklahoma. He had found a >> driver >> that allowed him to use the "free" Strand off-line editor for control >> and >> thus able to control the entire rig wirelessly from his Apple laptop >> with an >> Apple Airport card. It was so cool to see the entire rig run off a >> laptop >> from the deck. >> > I would love to know about this. Any chance of posting the directions? There's a manual available on the Strand website entitled "Using Mactinosh computers" or something similar. Rob details all his Mac tricks in there. Steve Litterst ------------------------------ Date: Mon, 14 Mar 2005 09:28:46 -0500 Subject: Re: distressing costumes From: Steve Larson Message-ID: In-Reply-To: You are not going to reach many costume folk on this list. I believe there is a costume list somewhere out there, and I'm sure someone on this list knows where and will tell you. steve > From: darcy elora > Reply-To: "Stagecraft" > Date: Sun, 13 Mar 2005 19:01:58 -0800 (PST) > To: "Stagecraft" > Subject: distressing costumes > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am new to the group so forgive me if this has been > discussed recently. I am fairly new to the > professional world of costume designing and am > starting a project that has a very sepia toned feel. I > need to kick everything down a couple of notches (both > color wise and distressing wise). I am not building > pieces so I need techniques to take down pre-existing > garments. I know the basic dying and distressing > techniques they teach in class (ie: fiber reactive > dying with ecru dye, wire brush, etc). Any secrets I > don't know of yet? > > Thanks! > Darcy Hofer > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: Driving to USITT/Toronto Date: Mon, 14 Mar 2005 09:36:45 -0500 Organization: Scheu Consulting Services, Inc. Message-ID: <000901c528a3$3f924ce0$c9fea8c0 [at] ROXY> In-reply-to: I apologize if this is a bit late... But if any of you are planning on driving to USITT in Toronto, Canadian law requires that you carry a Canadian insurance card for your vehicle. You can get one from your agent, usually same day. Having had a very serious altercation with a pickup truck in Nova Scotia some years back (not my fault), I can tell you from experience you REALLY want to get the Canadian card. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <4235B00B.9050709 [at] northnet.net> Date: Mon, 14 Mar 2005 09:38:51 -0600 From: Shawn Palmer Subject: Re: Peeeeeps References: In-Reply-To: >> Try working with some young teens after they ingest 47 (the local >> record) Pixie Sticks simultaneously. And for the love... do NOT snort >> them. > > Yeah, nothing's worse than walking around with that purple or orange > crust on your nose. > > Reminds me of the gradeschoolers with the purple, red or blue felt pen > marks under his nose - from sniffing those fruit 'flavored' pens. (Do > they still make those? Talk about yummy.) > > -- Jon Ares They still make 'em. I had a kid go into shock after snorting Pixie Sticks. How the heck do you do that?? That takes some kind of talent... Shawn ------------------------------ Date: Mon, 14 Mar 2005 11:31:13 -0500 (EST) From: murr rhame Subject: Re: Station fire, Warwick, Rhode Island In-Reply-To: Message-ID: References: On Sat, 12 Mar 2005, "Bll Conner" wrote: > The NIST report is out and is recommended reading for anyone > involved with entertainment technology and facilities. And at > 24 pages - really not too onerous. http://www.nist.gov/public_affairs/ncst.htm/#Rhode_Island_Nightclub http://tinyurl.com/6fgca The NIST report recommends that NFPA 1126 (Pyrotechnic Before a Proximate Audience) be changed to ban pyrotechnics from venues under 10,000 square feet (930 square meters). I suspect this would eliminate the use of pyro in well over 90% of nightclubs. If you're just measuring the stage and the house, a 10,000 square foot requirement would also eliminate most theatres under 2000 seats. In my humble opinion, that is a fairly onerous requirement. This proposal could easily eliminate pyro in performances as small as a birthday party magic act and as large as a "big room" spectaculars in a Las Vegas casinos. It could also affect industrial shows as well as regional, community, university and professional theatres. The NIST report includes detailed analysis of building codes, materials testing, emergency response and computer modeling of the fire. From what I've read, the NIST report says nothing about the gross lack of compliance with existing NFPA 1126 rules for proximate pyrotechnics. If NFPA 1126 rules had been followed, this fire would not have happened. Tightening the rules won't help if people don't follow existing rules. - murr - ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Station fire, Warwick, Rhode Island Date: Mon, 14 Mar 2005 11:41:35 -0500 Message-ID: <001001c528b4$b2defe30$6801a8c0 [at] Dell> In-reply-to: > In my humble opinion, that is a fairly onerous requirement. > This proposal could easily eliminate pyro in performances as small > as a birthday party magic act and as large as a "big room" > spectaculars in a Las Vegas casinos. How about we just add a provision that all musicians, dancers, musicians, actors, and musicians be beaten about the head until they understand that "no" means "no"? ------------------------------ Date: Mon, 14 Mar 2005 11:59:58 -0500 Subject: Re: Station fire, Warwick, Rhode Island From: Bruce Purdy Message-ID: In-Reply-To: > In my humble opinion, that is a fairly onerous requirement. This > proposal could easily eliminate pyro in performances as small as > a birthday party magic act and as large as a "big room" > spectaculars in a Las Vegas casinos. It could also affect > industrial shows as well as regional, community, university and > professional theatres. IMHO, the term "Pyrotechnics" (and restrictions therefore) is far too broad and general. As I understand it, NFPA lumps everything from fireworks down to a small piece if flash paper together as "Pyrotechnics". When I as a Magician set off a 2"x 3" piece of flash paper, the risk is in an entirely different league from the fireworks that was used at the station. Nonetheless, my understanding is that such use would be equally restricted. This seems entirely wrong to me. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <4235C412.F65A027B [at] cybercom.net> Date: Mon, 14 Mar 2005 12:04:18 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Station fire, Warwick, Rhode Island References: murr rhame wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Sat, 12 Mar 2005, "Bll Conner" wrote: > > > The NIST report is out and is recommended reading for anyone > > involved with entertainment technology and facilities. And at > > 24 pages - really not too onerous. > > http://www.nist.gov/public_affairs/ncst.htm/#Rhode_Island_Nightclub > > http://tinyurl.com/6fgca > > The NIST report recommends that NFPA 1126 (Pyrotechnic Before a > Proximate Audience) be changed to ban pyrotechnics from venues > under 10,000 square feet (930 square meters). I suspect this > would eliminate the use of pyro in well over 90% of nightclubs. > If you're just measuring the stage and the house, a 10,000 square > foot requirement would also eliminate most theatres under 2000 > seats. > > In my humble opinion, that is a fairly onerous requirement. This > proposal could easily eliminate pyro in performances as small as > a birthday party magic act and as large as a "big room" > spectaculars in a Las Vegas casinos. It could also affect > industrial shows as well as regional, community, university and > professional theatres. > > The NIST report includes detailed analysis of building codes, > materials testing, emergency response and computer modeling of > the fire. From what I've read, the NIST report says nothing > about the gross lack of compliance with existing NFPA 1126 rules > for proximate pyrotechnics. If NFPA 1126 rules had been > followed, this fire would not have happened. Tightening the > rules won't help if people don't follow existing rules. > > - murr - This is a draft report for comments. Send in your comments. --Dale ------------------------------ Subject: RE: Station fire, Warwick, Rhode Island Date: Mon, 14 Mar 2005 12:40:57 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C759 [at] exchange.rmwc.edu> From: "Paul Schreiner" > > > The NIST report is out and is recommended reading for anyone=20 > > > involved with entertainment technology and facilities. And at 24=20 > > > pages - really not too onerous. > > > > http://www.nist.gov/public_affairs/ncst.htm/#Rhode_Island_Nightclub > > > > http://tinyurl.com/6fgca > > > This is a draft report for comments. Send in your comments. I'm having trouble finding an address to which to send comments... ------------------------------ Message-ID: <4235CDBA.9040201 [at] ix.netcom.com> Date: Mon, 14 Mar 2005 09:45:30 -0800 From: Michael Subject: re: costumers Tony, Please don your fire-retardent coveralls. This is not directed at you. You are in the unfortunate position as a conduit from this list of professionals to your producers. While the wage figure is being hottly debated, what about the schedule and staffing issues. You mentioned that production is begun a week prior to opening with actors arriving only 3 days prior to opening. How are fittings supposed to happen during this short period of time? During rehearsals? What level of theater is this that only has 3 days rehearsal before opening the first show? Are they rehearsing elsewhere where the costume shop (that means more than one poor soul) can have access to do fittings? And how many are in the costume shop? Are you asking one person to work for far less than minimum wage to design, pull, alter, build, dress, maintain, etc.? And what sort of shows are you doing? Period, modern dress? Resources? Build all, pull from ample stock, rent? Budget size? What size cast? How many changes? The only show you announce on your website is Chicago. No small show by any means. All this figure into an enormously large work load for just one person, who probably doesn't have much experience, because for that rate of pay, no matter how generous you may think it is, anyone with experience would rather wait tables. At least they'll get tips for waiting hand and foot on demanding people. My wife is a costume designer of over 25 years. She is now a professor of cosume design. She and her compadres warn their grad students against these kind of jobs. Your producers may tell them that the experience will be so great for their careers, but in the end, with this sort of theater, they will end up with nothing they would ever want to put in their portfolios. She says this is the sort of wage she received as an apprentice 25 years ago. And finally, as a former techincal director, how does the scene shop operate in comparison to the costume shop? Are you the set designer, td, props, scenic artist, master carpenter, and deck crew? This is equivalent to asking one person to do costumes. Plus they have to deal with the talent on a one-to-one basis. Not an easy task, often requiring skills in negotiating and empathy. Something the scene shop rarely has to experience. Best Regards, Michael Millar ------------------------------ Message-ID: <4637909c05031410017fa99777 [at] mail.gmail.com> Date: Mon, 14 Mar 2005 13:01:43 -0500 From: Adam Janzen Reply-To: Adam Janzen Cc: peter [at] scheuconsulting.com Subject: Re: Driving to USITT/Toronto In-Reply-To: References: Yep, the fines were raised in Ontario somewhat recently. I believe it's a $5000 (CDN) min charge. Adam On Mon, 14 Mar 2005 09:36:45 -0500, Scheu Consulting Services wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I apologize if this is a bit late... > > But if any of you are planning on driving to USITT in Toronto, Canadian law > requires that you carry a Canadian insurance card for your vehicle. You can > get one from your agent, usually same day. > > Having had a very serious altercation with a pickup truck in Nova Scotia > some years back (not my fault), I can tell you from experience you REALLY > want to get the Canadian card. > > Peter Scheu > > Scheu Consulting Services, Inc. > www.scheuconsulting.com > Tel: 315.422.9984 > fax: 413.513.4966 > > ------------------------------ Subject: Re: Abe Feder (was a lot of other things) Date: Mon, 14 Mar 2005 10:02:18 -0800 Message-ID: From: "Michael Finney" Thanks to Jeffrey and Keith for more "Fun with Abe" facts and quotes! My personal favourite came out of conversation he and I had when I was first lighting a big building. I asked him how he approached it and he said (in that great, gravely voice of his): "Kid, just light the important stuff first...the b*$tards will just cut the other stuff anyway!" Now *there's* a man who'd been around the block a time or two! For anybody who doesn't know about Abe, check out the list of Broadway credits at: http://www.ibdb.com/person.asp?ID=3D25648 His architectural credits included: the 1964 New York World's Fair, Expo '67, the San Francisco Civic Center, Rockefeller Plaza, the Israel National Museum in Jerusalem, the Minskoff Theatre in New York, all theatres in the Kennedy Center in Washington, DC. and (at the young, young age of 76) the relighting of the RCA building in NYC in '86. As "big name" a designer as he was, I always found him incredibly generous with his time and knowledge. I'd say that any designer would be well served by striving to be Abe-like when they grow up. =20 Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19b.2f99d3cf.2f672fc1 [at] aol.com> Date: Mon, 14 Mar 2005 13:19:45 EST Subject: Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) In a message dated 13/03/05 23:48:27 GMT Standard Time, mfinney [at] thinkwelldesign.com writes: > BTW - oddly enough I've lit any number of small parlor comedies (and > dance pieces, and operas, and trade shows, and store displays, and > architectural projects). I'm willing to bet that I've even worked in a > number of spaces even smaller and quirkier than the one you call home. > I somehow doubt I'd be useless in your job - I'd just approach it > differently than you. You could probably work in my venue - assuming > you'd learn the tools. I doubt it. I have a feeling that it would be like trying to pull nails with a wrench. I know my own limitations. OK, I'll try anything, but I don't like starting a job which I know I shall not be able to do well, or even adequately. It's not fair to my employer, if I'm being paid; to the performers and crew; and especially to the audience. For all that, if there's really nobody else, I'll take a swing at it. But, at my time of life, I don't need the hassle. Frank Wood ------------------------------ Date: Mon, 14 Mar 2005 13:57:14 -0500 Subject: Re: Empirical Peep Data From: "C. Dopher" Message-ID: In-Reply-To: Loren wrote: > Peeps in the microwave swell up a little, spurt a little puff of steam > (smoke?) and then collapse into a puddle that, when using yellow Peeps, > looks like a fried egg. Upon cooling, the Peeps get real hard and brittle. > When broken open, there is a thin brown center strata among the other > colors, indicating, according to our scientists, either a rich, chocolaty > center or burnt sugar. None of our investigators opted to test either > theory. We also discovered that the hard Peep puddles make excellent mini > Frisbees and fly a lot father than beer bottle caps. > > These experiments were carried out with genuine Peeps brand peeps. Use of > other (off shore) peeps may have different results. Loren, I appreciate your efforts and will endeavor to duplicate/verify your results as soon as possible. In the meantime, its been brought to my attention that peeps aren't the only Peeps available -- that the bunnies are feeling left out. I wonder if the results are the same, given their individual volumentric differences from peeps? Alas, I have only one package of bunnies right now, so supply is too short to waste any on testing. When supply gets better, I'll attempt to find out. Cris Dopher, LD Who won't be making it to USITT and is taking a break from doing his taxes. ------------------------------ Date: Mon, 14 Mar 2005 13:59:13 -0500 Subject: Re: Empirical Peep Data From: "C. Dopher" Message-ID: In-Reply-To: Oh, I meant to add that, in light of the NIST report on the RI Club fire, it would seem to me that shape and size of the material being tested, as well as the amount of energy being applied in a given length of time, has substantial effect on the outcome. Hence my interest in different Peeps and - now that I think of it - different microwave power. Cris Dopher ------------------------------ Message-ID: <063e01c528c9$b7cdc2e0$e28aaa43 [at] DonTaco> From: "Don Taco" Cc: stagecraft [at] jeffsalzberg.com References: Subject: Re: Station fire, Warwick, Rhode Island Date: Mon, 14 Mar 2005 11:12:05 -0800 ----- Original Message ----- From: "Jeffrey E. Salzberg" >> spectaculars in a Las Vegas casinos. > > How about we just add a provision that all musicians, dancers, > musicians, actors, and musicians be beaten about the head until they > understand that "no" means "no"? > > Well. Aren't you the dreamer today? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 14 Mar 2005 14:15:43 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 14/03/05 02:12:27 GMT Standard Time, psyd [at] cox.net writes: > Frank, you have probably noticed all the vitriolic comments spewed your way > in the last few digests, heaven knows everyone else did. I'll let you in > on a hint. You could avoid it easily, and everyone might even begin to > like you summat. You do things differently than a VERY LARGE portion of > the professionals on this list. Yes, I do. And they work. They work for me, my directors, and my audiences. That is my defence. > In addition, the world has moved on a lot since you last kept up with sound > and lighting technology and technique. There are a myriad of usefull and > nice things out there, and whether you like them or not causes us little > concern. So you say. Things have certainly changed, in the fields of equipment and technology. In that of technique, I am less sure. The right light, from the right direction, is what a Lighting Designer is for. How he achieves it is his problem. The two definitions of 'right' are his alone. Telling us whether you like them or not is a tiny bit > interesting, but telling us that they are bad or wrong is just starting to > get very damned annoying, ergo the vitriol. These are matters of opinion. That yours are emphatic, I know. That they are valid. I don't. The vigour with which you express them fails to convince me. > Point in fact: The fact that you can reach any of your instruments in > fifteen seconds helps us not one whit. Even if we could, we would > sometimes like to use the automation to change the shutters, color, gobo, > gobo rotation, focus or someother parameter faster than fifteen seconds. I'm sure you would. Some of you seem to be lazier then I am > Sometimes more than once in fifteen seconds, and sometimes simulteneously > on more than one instrument. Movers allow us to do that. If you don't > wish to have that capability, that is fine, but allow us that like the new, > usefull technology to carry on a discourse on its merits and applications > without interruption. Please, its just polite. > And yes, changing any of the parameters of any instrument from the comfort > of the control room is nice. Both for the operator, and for the audience > that sits under those cats. I'd hate to see anyone walking in cats above > my head during a show, its quite distracting. > Now, I'd never want to bring up asking someone to remove someone from the > list, but I can remember giving you this hint a number of times, and others > have been less kind and less polite, and understandably so. All we are > asking is that you allow us to play in the world that we must play in, > without the luxury of beoing able to change our environment, and help each > other solve our problems (or at least commiserate) without being told jsut > how stupid we are. Is that to big a favor to ask? Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Station fire, Warwick, Rhode Island Date: Mon, 14 Mar 2005 14:16:33 -0500 Message-ID: <000001c528ca$594f9620$6801a8c0 [at] Dell> In-Reply-To: > > How about we just add a provision that all musicians, dancers, > > musicians, actors, and musicians be beaten about the head > until they > > understand that "no" means "no"? > > > > > > Well. Aren't you the dreamer today? Well, then, could we just beat them until we tire of it? ------------------------------ Message-ID: <065301c528cb$75e39b50$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: Empirical Peep Data Date: Mon, 14 Mar 2005 11:24:26 -0800 > Oh, I meant to add that, in light of the NIST report on the RI Club fire, > it > would seem to me that shape and size of the material being tested, as well > as the amount of energy being applied in a given length of time, has > substantial effect on the outcome. Hence my interest in different Peeps > and > - now that I think of it - different microwave power. > > Cris Dopher > Now, *there* is a fascinating anology to pursue. Compare and contrast marshmallow bunnies in a microwave oven with rock patrons in a small night club with pyrotechnics. There's a Master's thesis lurking in there, if properly researched, I betcha. And frightening amounts of available data. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: ETC Expression/Express Wireless RFU Date: Mon, 14 Mar 2005 14:29:16 -0500 Message-ID: <000201c528cc$1fbff380$6801a8c0 [at] Dell> In-Reply-To: > You do things > differently than > > a VERY LARGE portion of the professionals on this list. > > Yes, I do. And they work. They work for me, my directors, and > my audiences. > That is my defence. No defense needed for that, Frank, and no one's criticising you for doing things your way...but, though you might not intend this, sometimes it seems as if you are telling us that your way is the Absolute and Only True Path. ------------------------------ Date: Mon, 14 Mar 2005 14:29:57 -0500 Subject: Consoles From: "C. Dopher" Message-ID: In-Reply-To: The discussion of tracking v non-tracking consoles has been very interesting. My personal preference is non-tracking (I love the Expressions) if only because I think that way. In a few conversations recently with other designers, I've come to realize that I'm dissatisfied with every lighting board on the market, because I want the boards we're going to be seeing in three to five years. My predictions: 1) No boards will be based on proprietary OS. Like the Maxxis (I think?) they will run off kernel version of XP or similar. (Linux, etc.) We're moving towards a day when the computer brains of the boards are merely embedded software on standard motherboards and the console is -- a fancy, specialized keyboard, much as they are now. Some boards are now sold with real keyboards attached. The Maxxis even plays DVDs! 2) Support for USB keyboards, mice, and graphics tablets will become universal. 3) Every board will have a big, red, blinking, shiny UNDO key. Even one level of "undo" would save untold hours of reprogramming. 4) Despite coporate competition and protection of proprietary technologies, manufacturers will eventually settle on a third-party universal file format for show files -- one that is self-encoding and self-extracting so that a show recorded on a more complex board will load fine on simpler boards, though you may lose some of the advances capabilities (part cues might get compressed to single cues, or whatnot). The simpler board will have the instructions for reconstructing the show in the file, not in costly plug-ins or whatnot. Going from simpler board to complex board is, obviously, a given. (By the way, I'm thinking of something like a PDF, but for lighting land.) 5) Video will become an omnipresent part of American theatre, no longer just the province of rock shows - control will be consolidated at the lighting board and will be as seemlessly integrated to the running of the show as lighting-only cues. We may, in fact, begin to see boards with media servers built in. The fewer black boxes sitting around backstage the better. 6) Use of floppies to store show data will give way to hard drives, USB keys, and CDRWs/DVRs. This is only because CDs work better as coasters than floppies. ;) 7) Universal battery backup, good for half hour or so. If the power goes out, you can at least save the show before going for coffee. Or if the power's not out, but your assistant tripped over the powerline or some janitor flipped the breaker -- you won't lose anything 7b) Like many current boards (but not all), RAM will remain intact on power outage and/or auto-saving after every command (same result for the end user, so I don't care.) 7c) Auto-saving of show files on a user-set time frame, to create a snapshot history of your programming ("didn't we used to have that yellow and green cue?") 8) The ability to open multiple show files at once. Only the show-file in the foreground runs. The others are accessible for pulling cue, patch, submaster, and effects resources. User of Vectorworks will be familiar with this idea. What do you all think? [ Hey ETC, you listening? You make it to market with this stuff first and a) your manufacturing costs will go down, b) your sales will remain strong or go up, and c) you'll have a lock on the patents for a certain few technologies that remain to be created in order for this all to work. ] ------------------------------ Date: Mon, 14 Mar 2005 14:56:00 -0500 From: "Rob Carovillano" Subject: retensioning handlines Message-id: <003201c528cf$d8f3ba00$a8a44481 [at] rcarovil> References: I need to retension some of the handlines on our single purchase counterweight system. The company that installed them did a piss poor job and there is several feet of slack in some of the lines. The University won't let me bring Bill in because we have a 5 year maintenance contract with the other company who is supposed to perform annual inspections. I haven't seen them in 18 months and they don't return my phone calls, which is okay because I never want them in my space again. Anyway I have been trying to do it but I just cant seem to get enough tension on the line and then tie the knot without losing all the tension. What can I do to get it right? Also what is the specific knot that should be used? (the installer used several different knots on different lines). After I get these lines tensioned I need to work on leveling the pipes, which are a good 6 inches off level on some lines. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ------------------------------ Date: Mon, 14 Mar 2005 15:01:14 -0500 From: Stephen Litterst Subject: Re: retensioning handlines Message-id: <4235ED8A.B0503B53 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Rob Carovillano wrote: > --------------------------------------------------- > I need to retension some of the handlines on our single purchase > counterweight system. Anyway I have been > trying to do it but I just cant seem to get enough tension on the line and > then tie the knot without losing all the tension. What can I do to get it > right? Also what is the specific knot that should be used? (the installer > used several different knots on different lines). When I retension our lines I prop the floating block up, tie the tightest two half hitches I can and then let the floating block back down. Use for a few days and then re-tighten the knot. Which knot you use is sorta up to you. I've seen either bowlines or two half hitches used in various theatres. If your operating rail is at the midrail then you might want to consider using bowlines for your top lines as that knot will be pulled out of position as the arbor goes past the operator. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 14 Mar 2005 15:15:55 -0500 Subject: Re: retensioning handlines From: Bill Sapsis Message-ID: In-Reply-To: Yikes! Folks, please notice that he said I was not responsible for this work. It's someone else. To answer your question I need to know what type of rope you have in there. Assuming it's Multiline II 1) Place the arbor about 6' above the floor. 2) Raise the floor block about 3/4" up in it's guide track. 3) Untie the knot at the bottom of the arbor but do not pull the line out of the ring on the bottom. 4) Pull down on the tail for all your worth. 5) Tie 2 half hitches and either tape the tail to the standing line or tie wrap it. That should leave your floor block about 1/2 up in the guide tracks, which is just where you want it. If you have Manila, you have my deepest sympathies. When pulling up the floor blocks they should go all the way up. Synthetic line should not stretch unless force is applied to it. How much elongation there is in a synthetic line is based on force applied and type of construction of the rope. Braided ropes stretch more than twisted lines will. But they're a lot stronger. Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html on 3/14/05 2:56 PM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to retension some of the handlines on our single purchase > counterweight system. The company that installed them did a piss poor job > and there is several feet of slack in some of the lines. The University > won't let me bring Bill in because we have a 5 year maintenance contract > with the other company who is supposed to perform annual inspections. I > haven't seen them in 18 months and they don't return my phone calls, which > is okay because I never want them in my space again. Anyway I have been > trying to do it but I just cant seem to get enough tension on the line and > then tie the knot without losing all the tension. What can I do to get it > right? Also what is the specific knot that should be used? (the installer > used several different knots on different lines). > > After I get these lines tensioned I need to work on leveling the pipes, > which are a good 6 inches off level on some lines. > > Rob Carovillano > Technical Director > Bluett Theatre > Saint Joseph's University > 610-660-1044 > rcarovil [at] sju.edu > ------------------------------ Date: Mon, 14 Mar 2005 15:17:09 -0500 Subject: Re: retensioning handlines From: Bill Sapsis Message-ID: In-Reply-To: on 3/14/05 3:01 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote: > Which knot you use is sorta up to you. I've seen either bowlines or > two half hitches used in various theatres. If your operating rail is > at the midrail then you might want to consider using bowlines for your > top lines as that knot will be pulled out of position as the arbor > goes past the operator. ?????????????????????????????????? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 14 Mar 2005 15:15:39 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <736102409.20050314151539 [at] tcon.net> Subject: Re: retensioning handlines In-Reply-To: References: Hello all, Monday, March 14, 2005, Rob Carovillano wrote: > I need to retension some of the handlines on our single purchase > counterweight system...What can I do to get it > right? When i'm doing such a job, and assuming it is a tee-bar system you're fighting, I cut a length of 2x6 to fit under the Floor Block and with the block up and supporting the weight I pull up the slack and tie a tautline hitch under the arbor. I like a tautline hitch over two half-hitches because it puts an extra loop in the line in case some future doofus needs a little extra line. I whip the end of the line with Saf-T-Tape and then secure the bitter end to the working end of the line. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Date: Mon, 14 Mar 2005 15:28:39 -0500 From: Stephen Litterst Subject: Re: retensioning handlines Message-id: <4235F3F7.2E775DCF [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Ok, so I've confused Uncle Bill. That's an accomplishment. My comment comes from a working hypothesis of a near accident we had on our last show. The top knot on the arbor untied itself. Since the piece was in weight, and the operator had the presence of mind to hold on to the line, nothing happened. The TD and I had never had this happen before and came up with the hypothesis that as the arbor passes the operator at the midrail, they grab the back rope and pull it towards them as they pull down. This motion of the knot caused the two half hitches to loosen. (At some point, the tail had come untaped -- we're still working on how that might have happened) We came up with the hypothesis based on this never happening to any of the faculty here (a fair bit of experience even without Dr. John) and that the only thing different about our system is the operating line being at the midrail. I'm open to other suggestions/guesses. Our last inspection was October of '03. We corrected the situation and checked all of our other knots. Bill Sapsis wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > on 3/14/05 3:01 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote: > > > Which knot you use is sorta up to you. I've seen either bowlines or > > two half hitches used in various theatres. If your operating rail is > > at the midrail then you might want to consider using bowlines for your > > top lines as that knot will be pulled out of position as the arbor > > goes past the operator. > > ?????????????????????????????????? > > Bill S. > www.sapsis-rigging.com > 800.727.7471 > 800.292.3851 fax > 267.278.4561 mobile > > Please support the Long Reach Long Riders on their 2nd annual benefit ride > http://sapsis-rigging.com/LRLR.html -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 14 Mar 2005 15:47:23 -0500 Subject: Re: retensioning handlines From: Bill Sapsis Message-ID: In-Reply-To: on 3/14/05 3:28 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote: > The top knot on the arbor untied itself. Since the > piece was in weight, and the operator had the presence of mind to hold > on to the line, nothing happened. The TD and I had never had this > happen before and came up with the hypothesis that as the arbor passes > the operator at the midrail, they grab the back rope and pull it > towards them as they pull down I suspect the ???? came from a difference in terminology. When you said 'top knot' I thought you mean the knot at the top of the arbor. you are actually talking about the knot at the bottom of the arbor, yes? I have found that tie wraps work really well for keep the tail tight to the line. Once the tail is under control, the two half hitches can't come out. On the top of the arbor we tie a bowline OR we tie 2 half hitches and then stab the tail back through the standing line. With tension on the line the tail cannot come out. Won't work on Stage Set-X though. I forget what you have up in Ithaca. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 14 Mar 2005 15:50:51 -0500 From: Stephen Litterst Subject: Re: retensioning handlines Message-id: <4235F92B.DB772ECF [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Bill Sapsis wrote: > --------------------------------------------------- > I suspect the ???? came from a difference in terminology. When you said > 'top knot' I thought you mean the knot at the top of the arbor. you are > actually talking about the knot at the bottom of the arbor, yes? Actually I was talking about the knot on the top of the arbor. > I have found that tie wraps work really well for keep the tail tight to the > line. Once the tail is under control, the two half hitches can't come out. We think that the motion of the rope caused the tape to wiggle past the end of the tail, allowing the knot to loosen. > On the top of the arbor we tie a bowline OR we tie 2 half hitches and then > stab the tail back through the standing line. With tension on the line the > tail cannot come out. Won't work on Stage Set-X though. I forget what you > have up in Ithaca. We have the Stage Set-X. We remedied the situation with tape but I'll go add some tie-wraps to the lines for added security. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: Tech Packet Date: Mon, 14 Mar 2005 15:55:35 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801CE97D65 [at] fangorn.cc.vt.edu> From: "James, Brian" Sorry to bring up an old topic....... Many people jumped in with advice and help with my question about tech = packet content. For better or worse, my packet is completed. If you would like to see what the end results, using every ones = suggestions, looks like, I have included the link below. If you see it and have more comments, I am always game for improvement. http://www.uusa.vt.edu/eventServices/ProdServices/PDF/BurrrTechSpring05.p= df ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: retensioning handlines Date: Mon, 14 Mar 2005 15:57:41 -0500 Not to contradict Bill, but if you have manila, don't pull the floor blocks all the way up because if the rope shrinks (and it will with humidity changes) the system becomes so tight the lines don't want to move at all. Found this out the hard way. Do it just like if you were using Multiline II Steve Waxler Technical Director College Conservatory of Music University of Cincinnati If you have Manila, you have my deepest sympathies. When pulling up the floor blocks they should go all the way up. Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 14 Mar 2005 16:16:12 -0500 Subject: Re: retensioning handlines From: Bill Sapsis Message-ID: In-Reply-To: on 3/14/05 3:57 PM, Waxler, Steve (waxlers) at WAXLERS [at] UCMAIL.UC.EDU wrote: > Not to contradict Bill, but if you have manila, don't pull the floor blocks > all the way up because if the rope shrinks (and it will with humidity > changes) the system becomes so tight the lines don't want to move at all. > Found this out the hard way. Do it just like if you were using Multiline II Not to contradict Steve who didn't want to contradict me but......... When you pull the manila all the way up and then operate the line set *once* the manila will stretch out enough to render the shrinking problem a non issue. I bring the floor blocks all the way up cause the damn manila stretches so much. When I tie the knot I run the set. If I can't run the set for some reason I simply grab the onstage line and lean back. That usually stretches the line enough to drop the floor block about 2 inches. If you pull the blocks only half way up, then you'll be going through this process twice as often. Whatcha think Steve? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: In-Reply-To: From: "Aaron O'Quinn" Subject: Old Skewl Inellabeams Date: Mon, 14 Mar 2005 15:14:28 -0600 Dear Friends, I was powering up two of our old school intellabeams that I am using in a show next weekend and I have found that only one of them will come on. The fuse is intact. My only thought was that the little toggle switch that is tripped when the cover is open may be bad, that or the power supply. Any thoughts/similar experiences? Aaron O'Quinn ------------------------------ Date: Mon, 14 Mar 2005 16:20:12 -0500 Subject: Re: Consoles From: John McKernon Message-ID: In-Reply-To: > 4) Despite coporate competition and protection of proprietary technologies, > manufacturers will eventually settle on a third-party universal file format > for show files -- one that is self-encoding and self-extracting so that a > show recorded on a more complex board will load fine on simpler boards Don't bet on it. Every console has slightly different features and ways of executing cues, which means there often isn't an easy way to translate what was done from one desk to another. Taking a show written with dozens of overlapping part cues and making it run on the equivalent of preset board is almost impossible - and if you did it, the result would be hell to maintain or modify. The USITT ASCII cue standard has been around for a long, long time and 99.99% of manufacturers have avoided it for an equally long time, if only because of the intractable problems involved in reducing things to "stupid" cue level. Come with me sometime to "Chicago" or my "Nutcracker" and I'll show you cues that can't be done with crossfades, simply because of the way the show and its transitions work. In a perfect world, every console would read every other console's data. But if I have a show designed on an Obsession with 6-8 parts in every cue, I would rather oversee the conversion to a lower-level console myself rather than depend on someone else (such as the engineer who wrote the console software) to do it. With so much automated equipment in use, cues reduced to simple crossfades would be either useless or make more problems than having to relight the show from scratch. >5) Video will become an omnipresent part of American theatre, no longer >just the province of rock shows - control will be consolidated at the >lighting board and will be as seemlessly integrated to the running of the >show as lighting-only cues. We may, in fact, begin to see boards with media >servers built in. The fewer black boxes sitting around backstage the >better. The sooner we stop thinking of projected video as lighting, the better. Video is part of the overall look of the show, and as such should be created by the scenic designer or a separate projections designer. Projected elements have been part of shows since light sources were invented, and there's no reason for them to suddenly be thrust into the hands of the lighting designer. If the video is projecting "lighting", then fine - give it to me, I'd love to use video projectors to produce sunlight gently rippling through the trees. If it's "scenery", then leave it in the hands of someone else. I'll be happy to let the lighting console trigger cues, but I'm way too busy dealing with the lighting to add "projections designer" to my job description. Just my .02, of course... Let's not start a consoles war. - John ------------------------------ Message-ID: <42360258.5F26E790 [at] cybercom.net> Date: Mon, 14 Mar 2005 16:30:01 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: retensioning handlines References: Rob Carovillano wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to retension some of the handlines on our single purchase > counterweight system. The company that installed them did a piss poor job > and there is several feet of slack in some of the lines. The University > won't let me bring Bill in because we have a 5 year maintenance contract > with the other company who is supposed to perform annual inspections. I > haven't seen them in 18 months and they don't return my phone calls, which > is okay because I never want them in my space again. Anyway I have been > trying to do it but I just cant seem to get enough tension on the line and > then tie the knot without losing all the tension. What can I do to get it > right? Also what is the specific knot that should be used? (the installer > used several different knots on different lines). If the company hasn't been onsite in over a year for their annual inspection, then you have a good piece of ammunition to get the contract canceled for non-performance. Just do be sure that they really haven't shown up. ( They may have been let in by the custodians without letting anyone else know. ) Check with your accounts payable folks and see when their last invoice was. --Dale As for the tensioning, the two half hitches and then secure the free end of the rope to keep the knot tight. This is far easier with someone else helping you. Or you can rig a small weight to some trick line to hold tension on the line while you tie the knots. ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: retensioning handlines Date: Mon, 14 Mar 2005 16:39:26 -0500 I think that it might work for new manila but older manila that has gone through its initial stretch (but keeps stretching some) does not afford that luxury. The first time I did this, many, many years ago, I was so proud of myself seeing how high I got the tension blocks and how tight the ropes were. The next week I wasn't so happy. Luckily I had left enough tail on most of the sets that permitted me to work a little slack into the lines. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Bill Sapsis [mailto:bill [at] sapsis-rigging.com] Sent: Monday, March 14, 2005 4:16 PM To: Stagecraft Subject: Re: retensioning handlines For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 3/14/05 3:57 PM, Waxler, Steve (waxlers) at WAXLERS [at] UCMAIL.UC.EDU wrote: > Not to contradict Bill, but if you have manila, don't pull the floor blocks > all the way up because if the rope shrinks (and it will with humidity > changes) the system becomes so tight the lines don't want to move at all. > Found this out the hard way. Do it just like if you were using Multiline II Not to contradict Steve who didn't want to contradict me but......... When you pull the manila all the way up and then operate the line set *once* the manila will stretch out enough to render the shrinking problem a non issue. I bring the floor blocks all the way up cause the damn manila stretches so much. When I tie the knot I run the set. If I can't run the set for some reason I simply grab the onstage line and lean back. That usually stretches the line enough to drop the floor block about 2 inches. If you pull the blocks only half way up, then you'll be going through this process twice as often. Whatcha think Steve? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 14 Mar 2005 16:43:45 -0500 Subject: Re: Tech Packet From: Steve Larson Message-ID: In-Reply-To: I'm getting an internal error message when I go to it. I even went through the basic website to get to it and got the same message. sjl > From: "James, Brian" > Reply-To: "Stagecraft" > Date: Mon, 14 Mar 2005 15:55:35 -0500 > To: "Stagecraft" > Subject: Tech Packet > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Sorry to bring up an old topic....... > > Many people jumped in with advice and help with my question about tech packet > content. > > For better or worse, my packet is completed. > > If you would like to see what the end results, using every ones suggestions, > looks like, I have included the link below. > > If you see it and have more comments, I am always game for improvement. > > http://www.uusa.vt.edu/eventServices/ProdServices/PDF/BurrrTechSpring05.pdf > > ------------------------------ Message-ID: <423607D6.B0F6E68E [at] cybercom.net> Date: Mon, 14 Mar 2005 16:53:27 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Tech Packet References: "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Sorry to bring up an old topic....... > > Many people jumped in with advice and help with my question about tech packet content. > > For better or worse, my packet is completed. > > If you would like to see what the end results, using every ones suggestions, looks like, I have included the link below. > > If you see it and have more comments, I am always game for improvement. > > http://www.uusa.vt.edu/eventServices/ProdServices/PDF/BurrrTechSpring05.pdf Looks good to me. A couple of spelling nits. Buss is an electrical component, a Bus you need a parking space for. Steal is not something you can hang rigging on. I don't know what a NEMA-1430 plug is, perhaps you meant 14-30? The other RV power plug also has a NEMA number, or something. --Dale ------------------------------ Message-ID: <42360777.6010706 [at] josephchansen.com> Date: Mon, 14 Mar 2005 16:51:51 -0500 From: Barney Simon Subject: Mother Courage and Prop Chickens References: In-Reply-To: Some of my customer's are crazy.... I just had a fellow I've know for years ask me if I had prop pluckable chickens to us in "Mother Courage." I suggested that the visit one of the local poultry markets (I know he has several), but he did not like that idea. Has anyone else solved this problem? Thanks Barney Simon JC Hansen Co Drape Drops and Dance Floors (but no chickens) ------------------------------ From: "Jack Morones" Subject: insurance carriers, slightly OT Date: Mon, 14 Mar 2005 14:00:15 -0800 Organization: Saddleback College Message-ID: <000001c528e1$346c1ba0$6500a8c0 [at] SCJACKLT> Greeting to the list! I am doing some volunteer work with a non-profit renaissance re-enactment group. They are in the process of searching for new general liability insurance. If you know of a carrier that may be willing to cover such a group or currently use a carrier that you can recommend, please let me know ASAP. Please contact me privately at jmorone [at] cox.net. Thanks, in advance, for your assistance. Jack Morones McKinney Theatre And in this case, The Adrian Empire, Inc. ------------------------------ Subject: RE: Tech Packet Date: Mon, 14 Mar 2005 17:06:37 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B266 [at] fangorn.cc.vt.edu> From: "James, Brian" Thank you for catching those! -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Dale Farmer Sent: Monday, March 14, 2005 4:53 PM To: Stagecraft Subject: Re: Tech Packet =08 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see = > --------------------------------------------------- > > Sorry to bring up an old topic....... > > Many people jumped in with advice and help with my question about tech = packet content. > > For better or worse, my packet is completed. > > If you would like to see what the end results, using every ones = suggestions, looks like, I have included the link below. > > If you see it and have more comments, I am always game for = improvement. > > = http://www.uusa.vt.edu/eventServices/ProdServices/PDF/BurrrTechSpring05.p= df Looks good to me. A couple of spelling nits. Buss is an electrical component, a Bus you need a parking space for. Steal is not something you can hang rigging on. I don't know what a NEMA-1430 plug is, perhaps you meant 14-30? The other RV power plug also has a NEMA number, or something. --Dale ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Mother Courage and Prop Chickens Date: Mon, 14 Mar 2005 17:10:28 -0500 Message-ID: <002101c528e2$a47ccf10$6801a8c0 [at] Dell> In-Reply-To: > I just had a fellow I've know for years ask me if I had prop > pluckable > chickens to us in "Mother Courage." > > I suggested that the visit one of the local poultry markets > (I know he > has several), but he did not like that idea. Has anyone else solved > this problem? Well, I'm not a propster, but it seems to me.... A. Buy a rubber chicken. B. Poke holes. C. Stick feathers in holes. ------------------------------ Message-ID: From: "Aaron N O'Quinn" Subject: Video Monitoring Followup Date: Mon, 14 Mar 2005 16:23:50 -0600 Message-ID: <001501c528e4$7f240a10$650fa8c0 [at] Lapto> In-Reply-To: Hello All, Just wanted to follow up and let you all know that I decided to go with the modulator recombined to the coax distro system idea. I think this will allow for the most flexibility and additions to the system in the future. I have ordered all of the equipment and ended up going with a color camera that doubles as a BW infrared in low light. Thank you all so much for all of your help. Aaron -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.2 - Release Date: 3/11/2005 ------------------------------ Date: Mon, 14 Mar 2005 17:31:40 -0500 Subject: Re: retensioning handlines From: Bill Sapsis Message-ID: In-Reply-To: on 3/14/05 4:39 PM, Waxler, Steve (waxlers) at WAXLERS [at] UCMAIL.UC.EDU wrote: > I think that it might work for new manila but older manila that has gone > through its initial stretch (but keeps stretching some) does not afford that > luxury. The first time I did this, many, many years ago, I was so proud of > myself seeing how high I got the tension blocks and how tight the ropes > were. The next week I wasn't so happy. Luckily I had left enough tail on > most of the sets that permitted me to work a little slack into the lines. It's important to remember that the main element of a rope that allows the rope to carry weight is elongation. If the rope can stretch it can carry more weight. If all the stretch is gone then it has reached it's failure point. With the synthetic lines the ability to stretch is defined by the construction of the fibres. Braided ropes stretch because the braid is somewhat perpendicular to the run of the rope. Manila stretches and the diameter of the rope changes. That dimension change becomes a problem when it doesn't relax back to it's original size when the load is removed. Steve, in your case the manila sounds like it was rather old and reaching the end of it's service life. How's zat? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ec.36e7964f.2f677093 [at] aol.com> Date: Mon, 14 Mar 2005 17:56:19 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 14/03/05 19:17:10 GMT Standard Time, FrankWood95 [at] aol.com writes: > > Point in fact: The fact that you can reach any of your instruments in > > fifteen seconds helps us not one whit. Even if we could, we would > > sometimes like to use the automation to change the shutters, color, gobo, > > gobo rotation, focus or someother parameter faster than fifteen seconds. I missed this one in my previous post. It is not 'automation'.. It needs exact programming by the LD. Once that has been done, it will do what it has been told. But, 20 or 30 parameters! It's easier to walk to the luminaire and adjust it, or to rig another. For me, at least. If you have to play with cherry-pickers, maybe not. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f7.5f2772f.2f677110 [at] aol.com> Date: Mon, 14 Mar 2005 17:58:24 EST Subject: Re: Station fire, Warwick, Rhode Island In a message dated 14/03/05 19:18:27 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > > How about we just add a provision that all musicians, dancers, > > > musicians, actors, and musicians be beaten about the head > > until they > > > understand that "no" means "no"? > > > > > > > > > > Well. Aren't you the dreamer today? > > Well, then, could we just beat them until we tire of it? Famous quote. "What part of 'No' don't you understand. Frank Wood ------------------------------ Date: Mon, 14 Mar 2005 17:59:18 -0500 From: MissWisc [at] aol.com Subject: Re: AOL update for those who use AIM Message-ID: <0F1A17D5.7BA8ED9B.007B9F2A [at] aol.com> I find it difficult to believe that AOL would bother with archiving my "Hi honey, how's your day?" IMs. I think that paragraph is in there so that if a person is reported to AOL for a TOS voilation, they can't sue saying the content of the IM is private. Then again, I've been wrong in the past. Kristi ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 14 Mar 2005 18:01:26 -0500 From: Michael Feinberg Subject: Re: Tech Packet > Looks good to me. A couple of spelling nits. >Buss is an electrical component, a Bus you need a parking space for. >Steal is not something you can hang rigging on. >I don't know what a NEMA-1430 plug is, perhaps you meant 14-30? >The other RV power plug also has a NEMA number, or something. I've seen "range plug" used to describe both 2p3w 250V grounded devices (NEMA 6-30- two horizontal prongs and a u-ground) and 3p3w 125/250V ungrounded devices (NEMA 10-30 - two angled prongs and a vertical prong). Of course there is also the non-NEMA 2p3w 120V 30A "RV plug" that has two angled flat prongs like the 10-30, but has a u-ground instead of the vertical prong. I'd give voltages and currents for all of the plugs to help clarify. Other notes: -pg4: You don't specify what connectors or lack there of are at the 100A bus disconnect -pg5: what is the long distance policy on the phone in the office? -pg5: You don't say how to hire the trained student crew or what the rate is -pg8: some clarification on "production kills" is probably in order, I (and perhaps others) have never heard the term before. Are you referring to the mix position? -pg8: Is the baby grand available for renter's use? -pg8: What's the policy on nailing/screwing/painting the deck? -pg8: How far on/off stage can the legs travel on their tracks? -pg11: I'm confused by the socapex. After some thinking I'm guessing you mean that there are three socopex connectors mounted on the wall MSR near the disconnect for the dimmer racks. There are 25' cables to run between these connectors and the dimmer racks, but the tour will need to provide the fan outs to actually plug into the dimmers. The other end of the socapex connectors runs through the wall to the FOH truss where there are hard-wired fan outs to 2P&G connectors. Is this correct? If not, or even if so, you might want to try and rework that language a bit. -pg12: DMX runs to stage _left_ near power disconnect, but on the previous page disconnect is given as being stage _right_ -pg13: "please discuss needs in _the_ advance." That _the_ is probably a mistake. -pg19: dimensions would be useful, can a truck make the turn to back up into the dock? -pg21: this page is 180deg flipped from the other landscape pages But all of the above are just little things to be fixed in editing (which is why I assume you shared it with this list,) overall it is a very thorough and well executed tech packet. Well done. -- -Michael Feinberg, CTS ------------------------------ Message-ID: <42361847.3000606 [at] StudioOneSB.com> Date: Mon, 14 Mar 2005 18:03:35 -0500 From: Richard Bakos Organization: Studio One Inc. Subject: Re: Tech Packet References: In-Reply-To: Dale Farmer wrote: >I don't know what a NEMA-1430 plug is, perhaps you meant 14-30? >The other RV power plug also has a NEMA number, or something. > > The 14-30 would be a non locking 115/250v configuration and the L14-30 would be the locking version. My suggestion would be the frequency list would to be include the list of TV stations both analog and Digital that are in your area. A lot of your wireless is in those bands. -- Richard Bakos President Studio One Inc. 25833 State Road 2 South Bend, In 46619-4736 VOICE 574-232-9084 FAX 574-232-2220 Rick [at] StudioOneSB.com www.StudioOnesb.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <66.52f4ce73.2f677394 [at] aol.com> Date: Mon, 14 Mar 2005 18:09:08 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 14/03/05 19:30:25 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > No defense needed for that, Frank, and no one's criticising you for > doing things your way...but, though you might not intend this, sometimes > it seems as if you are telling us that your way is the Absolute and Only > True Path. I don't say that. God forbid! I make no claim to have the Tablets of Stone. But, many of you do, and that is where I quibble.I quote Kipling. "there are nine and sixty ways of composing tribal lays, and every single one is right". So it is with stage lighting. Frank Wood ------------------------------ Date: Mon, 14 Mar 2005 17:10:07 -0600 Subject: Re: Tech Packet From: Greg Persinger Message-ID: In-Reply-To: Dale Farmer wrote: > Buss is an electrical component, a Bus you need a parking space for. To quote Karl Ruling: A "buss" is a kiss. A "bus" is "a conductor or assembly of conductors." (Webster's 9th New Collegiate dictionary) Don't buss the bus bars. I hope that helps. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: ETC Expression/Express Wireless RFU Date: Mon, 14 Mar 2005 18:13:24 -0500 Message-ID: <002f01c528eb$6f85c330$6801a8c0 [at] Dell> In-Reply-To: > exact programming by the LD. Once that has been done, it will > do what it has been > told. But, 20 or 30 parameters! It's easier to walk to the > luminaire and > adjust it, or to rig another. When they change 30 or 40 times (or more) in one evening? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <81.2371ed01.2f67764e [at] aol.com> Date: Mon, 14 Mar 2005 18:20:46 EST Subject: Re: Mother Courage and Prop Chickens In a message dated 14/03/05 21:55:26 GMT Standard Time, barney [at] josephchansen.com writes: > I just had a fellow I've know for years ask me if I had prop pluckable > chickens to us in "Mother Courage." > > I suggested that the visit one of the local poultry markets (I know he > has several), but he did not like that idea. Has anyone else solved > this problem? Well, it is needed. I suggest a visit to your local poulterer,. Maybe he will take back the plucked,, or part pkuckd carcasses back. He might even provide tuition. Frank Wood ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: retensioning handlines Date: Mon, 14 Mar 2005 18:24:34 -0500 Very possible. The lines were replace a few years later. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati Steve, in your case the manila sounds like it was rather old and reaching the end of it's service life. How's zat? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: retensioning handlines Date: Mon, 14 Mar 2005 18:26:17 -0500 Did someone say knots????? I use a Yosemite bowline on the top of the arbor. This is similar to a regular bowline, but the biter end is tucked back through the throat of the knot to secure it. It is also a more "finished" looking knot. If you are at USITT, come to my knot program on Wednesday at 6:00pm. It is one of the knots we will demonstrate. For the bottom, use a taut-line hitch (aka rolling hitch). I tape down the ends of both knots with electrical tape. -Delbert Delbert L. Hall 423-773-HALL (4255) > > I need to retension some of the handlines on our single purchase > > counterweight system. The company that installed them did a piss poor >job > > and there is several feet of slack in some of the lines. The University > > won't let me bring Bill in because we have a 5 year maintenance contract > > with the other company who is supposed to perform annual inspections. I > > haven't seen them in 18 months and they don't return my phone calls, >which > > is okay because I never want them in my space again. Anyway I have been > > trying to do it but I just cant seem to get enough tension on the line >and > > then tie the knot without losing all the tension. What can I do to get >it > > right? Also what is the specific knot that should be used? (the >installer > > used several different knots on different lines). > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <154.4cec9456.2f677908 [at] aol.com> Date: Mon, 14 Mar 2005 18:32:24 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 14/03/05 23:15:11 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > exact programming by the LD. Once that has been done, it will > > do what it has been > > told. But, 20 or 30 parameters! It's easier to walk to the > > luminaire and > > adjust it, or to rig another. > > > When they change 30 or 40 times (or more) in one evening? Just so. If you want to work with programmable luminaires, that is one of the problems you face. Frank Wood ------------------------------ Date: Mon, 14 Mar 2005 18:56:46 -0500 Subject: Re: AOL update for those who use AIM From: Herrick Goldman Message-ID: In-Reply-To: Actually I have a picture in my mind of AOL putting out an "adult coffee table book" ,think that Madonna book from the 80's, that contains essentially a compilation of Adult creative writing. While a fun idea I'd bet many of the authors would have a problem with it. Not that I've ever written anything of the sort mind you. I'm pure as the driven snow. Occasionally I have been know to drift. _H On 3/14/05 5:59 PM, "MissWisc [at] aol.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I find it difficult to believe that AOL would bother with archiving my "Hi > honey, how's your day?" IMs. I think that paragraph is in there so that if a > person is reported to AOL for a TOS voilation, they can't sue saying the > content of the IM is private. > > Then again, I've been wrong in the past. > > Kristi > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Subject: RE: AOL update for those who use AIM Date: Mon, 14 Mar 2005 15:57:52 -0800 Message-ID: From: "Joe Golden" Is that wet snow or the kind in zip locks? =20 > I'm pure as the driven snow. Occasionally I have been know to drift. >=20 > _H >=20 >=20 ------------------------------ Date: Mon, 14 Mar 2005 19:06:46 -0500 Subject: Re: AOL update for those who use AIM From: Herrick Goldman Message-ID: In-Reply-To: Wet ski-able snow thank you. On 3/14/05 6:57 PM, "Joe Golden" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Is that wet snow or the kind in zip locks? > > > >> I'm pure as the driven snow. Occasionally I have been know to drift. >> >> _H >> >> > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ In-Reply-To: References: Message-Id: <914d66dc55860010a43cb0ece1f042d6 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Tech Packet Date: Mon, 14 Mar 2005 17:17:02 -0700 Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Mar 14, 2005, at 4:01 PM, Michael Feinberg wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> Looks good to me. A couple of spelling nits. >> Buss is an electrical component, a Bus you need a parking space for. >> Steal is not something you can hang rigging on. >> I don't know what a NEMA-1430 plug is, perhaps you meant 14-30? >> The other RV power plug also has a NEMA number, or something. > > I've seen "range plug" used to describe both 2p3w 250V grounded > devices (NEMA 6-30- two horizontal prongs and a u-ground) and 3p3w > 125/250V ungrounded devices (NEMA 10-30 - two angled prongs and a > vertical prong). Of course there is also the non-NEMA 2p3w 120V 30A > "RV plug" that has two angled flat prongs like the 10-30, but has a > u-ground instead of the vertical prong. I'd give voltages and > currents for all of the plugs to help clarify. > For an RV plug, the 30 plug is odd, because it is 30A 110-120V NOT 208! ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 14 Mar 2005 20:20:55 -0500 From: Michael Feinberg Subject: Re: Tech Packet >For an RV plug, the 30 plug is odd, because it is 30A 110-120V NOT 208! The appropriate NEMA plug for 30A/120V is a 5-30, which looks like an oversized normal edison (5-15) with the neutral conductor bent 90deg in the middle. But for reasons lost in antiquity (or at least compatibility with antiquity,) most RVs don't use this, instead using the old non-NEMA plug, which has no name that I'm aware besides "RV plug". Of course now many big RVs instead used NEMA 14-50 50A 125/250V plugs, which gives them more than 3 times the available power of the old 30A/120V hookups. I would have expected one of these at the RV power panel instead of the 14-30, as not only are they common in RVs, but the t14-50 is also often found in theaters for portable welders. Of course the 14-30 is standard (in new construction) for laundry dryers, so I guess it's pretty common as well. Can you tell I like connectors. :) -- -Michael Feinberg, CTS ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: AOL update for those who use AIM Date: Mon, 14 Mar 2005 20:42:30 -0500 In-reply-to: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Herrick Goldman I'm pure as the driven snow. Occasionally I have been know to drift. _H Herrick, Would you be the kind to have been dumped onstage, from a safely rigged snow bag, then swept up and reused for the next show? Enquiring minds, ya know Michael Eddy ------------------------------ Date: Mon, 14 Mar 2005 21:09:35 -0500 Subject: Re: AOL update for those who use AIM From: Herrick Goldman Message-ID: In-Reply-To: Michael this is a family list you know and I've already said HELL once this week. On 3/14/05 8:42 PM, "Michael S. Eddy" wrote: > _H > > Herrick, > > Would you be the kind to have been dumped onstage, from a safely rigged snow > bag, then swept up and reused for the next show? > > Enquiring minds, ya know > > Michael Eddy > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: From: "Brandon Slokowski" Subject: Stage Pin Connectors (BATES vs. Entertainment Power Systems) Date: Mon, 14 Mar 2005 21:32:00 -0500 I’m getting ready to purchase a large number of stage pin connectors. I am trying to decide between the “BATES” style by Advanced Devices and the “Entertainment Power Systems” style from Creative Stage Lighting. Until very recently when I spent several days building some new cables for a client I had always preferred the BATES style for both durability and the way that the connector fit in my hand. It seems that I have always seen more of the EPS connectors broken than of the BATES. Working with hundreds of EPS connectors the other day I began to wonder which one would be the better option. For the most part, the only difference so far seems to be prices, by which the EPS style wins by up to two dollars at some suppliers. Any personal preferences and experiences are greatly appreciated. Thanks in advance! Brandon Slokowski ------------------------------ Message-Id: <6.2.0.14.0.20050314214017.01e70eb0 [at] mail.insightbb.com> Date: Mon, 14 Mar 2005 21:42:51 -0500 From: Mike Brubaker Subject: Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) In-Reply-To: References: I have a personal preference for Pintech. Often less expensive. Easy to use--and reuse. It's difficult to mess up the initial installation and, when someone does something to it we'd all rather not think about, they're easy to get back into service. A friend of mine pointed me at them. I was sold after putting them on a new collection of extensions for a local theatre. Mike At 09:32 PM 3/14/2005, Brandon Slokowski wrote: >Any personal preferences and experiences are greatly appreciated. Thanks >in advance! ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) Date: Mon, 14 Mar 2005 22:00:13 -0500 I have a personal preference for Pintech. Often less expensive. Easy to use--and reuse. Mike I like them also and have gotten a good deal from Production Advantage. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Mon, 14 Mar 2005 21:25:14 -0600 Subject: Re: Stage Pin Connectors (BATES vs. Entertainment Power Systems) From: Greg Persinger Message-ID: In-Reply-To: I have had very good luck with the Pintech connectors and would purchase them over the EPS any day. The Bates connectors are good but I'm not sure they are $2.00 more per unit good, especially when the Pintech seem to hold up almost as well. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <42365DEB.2010405 [at] fuse.net> Date: Mon, 14 Mar 2005 23:00:43 -0500 From: Stuart Wheaton Subject: Re: God's Dimmer (was Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU)) References: In-Reply-To: Jason Tollefson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >>>B. Having reportly remarked, upon seeing a sunset, that "Isn't it >>>amazing what G-d can do with only one dimmer?" >> >> >>God doesn't use a dimmer, he rotates the whole theatre.... > > > THANK YOU! I've had this same argument on the outdoor show I work on at Walt Disney World. They > (the SM) ask me to turn the sun and/or moon's intensity down and I always have to remind them that > it's a non-dim circuit so the only option is to move it out of sightlines which is an automation > issue, not a lighting issue so the Show Control dept needs to address it. Some people just don't > understand. > > Jason Tollefson > Production Planner > Disney-MGM Studios > Walt Disney World > jason [at] tollefsondesigns.com > No trouble... Give Mr. Mark C. Williams a slap on the back and tell him all the snow has melted up here.... And if you really want to see him laugh, leave the "NIU- Great facility" line of Delbert's and my response out where he can find it! Best, Stuart Wheaton ------------------------------ Message-ID: <20050314214420.c0s4o4kkc4ggskk0 [at] www.email.arizona.edu> Date: Mon, 14 Mar 2005 21:44:20 -0700 From: Mark O'Brien Subject: Re: Tech Packet References: In-Reply-To: Of course in older RV's the power draw is next to nothing. I guess there is a plus side to not having the big expensive one. Usually I just use an adapter plug that turns the RV plug into a edison. Even when the AC is on I -hardly- ever blow the breaker. -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting Michael Feinberg : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> For an RV plug, the 30 plug is odd, because it is 30A 110-120V NOT 208! > The appropriate NEMA plug for 30A/120V is a 5-30, which looks like an > oversized normal edison (5-15) with the neutral conductor bent 90deg > in the middle. But for reasons lost in antiquity (or at least > compatibility with antiquity,) most RVs don't use this, instead using > the old non-NEMA plug, which has no name that I'm aware besides "RV > plug". > > Of course now many big RVs instead used NEMA 14-50 50A 125/250V > plugs, which gives them more than 3 times the available power of the > old 30A/120V hookups. I would have expected one of these at the RV > power panel instead of the 14-30, as not only are they common in RVs, > but the t14-50 is also often found in theaters for portable welders. > Of course the 14-30 is standard (in new construction) for laundry > dryers, so I guess it's pretty common as well. > > Can you tell I like connectors. :) > > -- > -Michael Feinberg, CTS ------------------------------ End of Stagecraft Digest #329 *****************************