Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 21662590; Tue, 05 Apr 2005 03:00:58 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #353 Date: Tue, 05 Apr 2005 03:00:41 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, DRUGS_PAIN 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 #353 1. Re: Positioning your hazer by "Paul Guncheon" 2. Re: Positioning Your Hazer by zhamm [at] email.unc.edu 3. Foam Coating by "Eccleston, Mark" 4. Re: Straight Jacket by Steve Larson 5. Re: Projector Issues by "richard j. archer" 6. Hazer location by "Dougherty, Jim" 7. Re: Foam Coating by Greg Bierly 8. Re: Foam Coating by usctd [at] columbia.sc 9. Re: Positioning your hazer by Ford H Sellers 10. Re: Positioning your hazer by Stephen Litterst 11. Fwd: Schedule change FYI by "Thomas Rodman" 12. Re: Schedule change FYI by Herrick Goldman 13. Re: Schedule change FYI by Stephen Litterst 14. Visiting New York looking fro advice. by 15. job opening --slightly OT by "Jonathan S. Deull" 16. Re: Schedule change FYI by Herrick Goldman 17. Strand Lighting Console LBX Issues (Long) by "Charles J Korecki" 18. Re: Photos of electrical practice by Dorian Kelly 19. Re: Foam Coating by "Zirngibl, Ryan John" 20. Re: Straight Jacket by "Simon Shuker" 21. Re: Photos of electrical practice by "LES LIND" 22. Re: Foam Coating by Samuel Jones 23. Disclaimer language? by "Jon Ares" 24. Re: Disclaimer language? by "Frank E. Merrill" 25. I hate computers.... by "Thomas Rodman" 26. Re: Strand Lighting Console LBX Issues (Long) by Ford H Sellers 27. foam coating by Chuck Mitchell 28. Re: Disclaimer language? by "Scheu Consulting Services" 29. Re: Projector Issues by FrankWood95 [at] aol.com 30. Re: Disclaimer language? by "Scheu Consulting Services" 31. Re: Projector Issues by CB 32. Re: Projector Issues by FrankWood95 [at] aol.com 33. Re: Projector Issues by CB 34. Re: Projector Issues by CB 35. Re: Projector Issues by "Nigel Worsley" 36. Re: Projector Issues by FrankWood95 [at] aol.com 37. Re: Photos of electrical practice by "Chad Croteau" 38. Re: Photos of electrical practice by FrankWood95 [at] aol.com 39. Re: Photos of electrical practice by Stephen Litterst 40. Re: Projector Issues by Michael Feinberg 41. Re: Photos of electrical practice by FrankWood95 [at] aol.com 42. Re: Projector Issues by "ladesigners [at] juno.com" 43. Re: Projector Issues by Greg Persinger 44. Re: "Archival recording" myth debunking by Marty_Petlock [at] sarasotagov.com 45. Re: Projector Issues by Bruce Purdy 46. Re: Projector Issues by Boyd Ostroff 47. MFA in sound design at Brandeis University by David Wilson 48. Re: Projector Issues by Greg Persinger 49. NCSA Digital Theatre Sound Design Workshop by Jason Romney 50. Re: Photos of electrical practice by Dale Farmer 51. Re: Foam Coating by Stuart Wheaton 52. Re: Positioning your hazer by "C. Dopher" *** 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. ---------------------------------------------------------------------- Date: Mon, 04 Apr 2005 01:11:52 -1000 From: "Paul Guncheon" Subject: Re: Positioning your hazer Message-id: <001201c53907$1b856b10$0202a8c0 [at] yourxhtr8hvc4p> References: > I'm curious: where do you put your hazer on the stage to ensure (or attempt > for) an even coverage of haze during performances, and why do you put it > there? As you can tell from the different responses, it varies. Basically it's wherever and whatever works best. Get the thing out of the way and out of earshot. Give the hazer distance from view to spread out the haze, perhaps helping it out with fans. Notice and use (rather than fight, if you can) any air currents present on your stage. Make a little fog on your stage and watch what it does. Turn the hazer on early enough to have the haze the way you like it when you open, and on long enough to keep it that way. You will have to experiment. I used to run a G-300 hazer in a loft 12' off the ground in a fabric storage room in the SL wing at the plaster line. I helped the haze out with a12" Vornado fan set at low. I would run it for 1/2 hour before curtain When the curtain went up, the house AC sucked all the haze off the stage in a matter of minutes. I had the house shut down the AC for the first number, a concept that truly confused the house staff at first. ------------------------------ Message-ID: <20050404082621.wa54uc1nkk40k4kw [at] webmail7.isis.unc.edu> Date: Mon, 4 Apr 2005 08:26:21 -0400 From: zhamm [at] email.unc.edu Subject: Re: Positioning Your Hazer References: In-Reply-To: We have a thrust space and when we can we put our hazer or fogger in the trap room and use drier hose to run it where we want it. Unfortunately our hazer is rather loud and needs the extra sound insulation that the trap gives, although we have put it in the grid on occasion. As far as fans go, I took some four inch duct and mounted computer case fans in them. These get put on the onstage ends of the drier hose and make a difference pulling the fog out fo the trap. Zach Hamm PlayMakers Repertory Company > > I'm curious: where do you put your hazer on the stage to ensure (or attempt > for) an even coverage of haze during performances, and why do you put it > there? Do you use ductwork? Fans? Is there any ambient "wind" on the > stage that you have to worry about? I know that it'll vary from theatre to > theatre, but I'd still like to hear about it. Personally, I'm trying to > find a good place for a hazer for an upcoming dance show. Thanks. > > Chris Nimm > no credentials whatsoever ------------------------------ Message-ID: <029D880648EA1D49BC9016D1FCAB288001A44F32 [at] cosmo.pei.com> From: "Eccleston, Mark" Subject: Foam Coating Date: Mon, 4 Apr 2005 07:34:47 -0500 I'm building a number of props from styrofoam and want to protect them and be able to get a smooth surface for painting. I know there are some over the counter products available to do this, but was wondering if anyone had a home-made recipe for making there own foam coating or possibly some recommendations on what to buy if I do purchase from a theatrical supplier. Thanks in advance. Mark S. Eccleston Technical Director Mystic Gulf Productions Huntsville, Alabama 256-694-8575 ------------------------------ Date: Mon, 04 Apr 2005 08:36:00 -0400 Subject: Re: Straight Jacket From: Steve Larson Message-ID: In-Reply-To: In the time this thread has spread around the world three times, I could have built 50 straight jackets. sjl > From: FrankWood95 [at] aol.com > Reply-To: "Stagecraft" > Date: Sun, 3 Apr 2005 16:35:00 EDT > To: "Stagecraft" > Subject: Re: Straight Jacket > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 29/03/05 03:08:38 GMT Daylight Time, breed [at] whittier.edu > writes: > >> Do a search for "straight jacket" and you should find one listed if you >> scroll down the page. At a cost of only $22.75, it might not be a very >> convincing version, but you could check some of the many other links >> provided on the Costume Page site. > > Possibly a search for "strait jacket" might me more rewarding, since that is > its correct name. With or without the space. > > Frank Wood > > ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 4 Apr 2005 07:39:29 -0500 From: "richard j. archer" Subject: Re: Projector Issues >\ > > Back in the 60s, Kubrick was pushing a new, higher frame rate film >standard. I think it was 60 or 72 fps on regular 35mm stock. He made a >promo film, and IIRC, only one movie house ever actually used it, and only >for the demos. obviously, it didn't catch on. I heard some stories about >it that it was basically, too real, for the audience of film people. > > > --Dale Most of this was done by Douglas Trumball ( 2001 Space Odyssey special effects--look him up), including the original Showscan at 60fps on 70mm film. If interested in large format higher film rates you might also look up MaxiVision 48. Dick A TD, Cornell Univ ------------------------------ Date: Mon, 04 Apr 2005 08:51:07 -0400 Subject: Hazer location From: "Dougherty, Jim" Message-ID: We use a G300, which we place in a small mechanical room SL, which is about the height of the top of the proscenium (off a fly gallery). We duct the haze via 4" plastic drainage hose to a light bridge just US of the pro. It doesn't run directly offstage, but rather hits a wye about a third of the way across stage, so that it comes out of the holes in the pipe evenly - when we did a straight run, more came out SL than SR. We put a box fan on the light bridge to disperse the haze before it comes into audience view. Timing is variable depending on the show, set, etc. - it tends to fill the flies then settle to the stage, and needs to be turned off well before the effect should end. All the haze at the grid eventually falls and can fill the house. We put the hazer in the mechanical room because of the noise. If the flow is uneven in the hose, we've resorted to high tech methods like stuffing a rag into the high flow section to divert haze to the other path. Trial and error each show tells us how much to flow and when. - Jim Dougherty ATD, Middlebury College Theatre Department ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Foam Coating Date: Mon, 4 Apr 2005 09:28:48 -0400 > I'm building a number of props from styrofoam and want to protect them > and > be able to get a smooth surface for painting. I am sure you will get these from a lot of people. I have had good success with Rosco's Foamcoat. Jaxsan 600 comes highly recommended along with elastomeric roof sealers. I know the archives (if accessible) has a lot of home brews. If brittleness in not an issue standard wallboard compound will get you a smooth paintable surface. It will not take a lot of abuse. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <2115.129.252.241.105.1112622637.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Mon, 4 Apr 2005 09:50:37 -0400 (EDT) Subject: Re: Foam Coating From: usctd [at] columbia.sc We sometimes use a combo of latex caulk and joint compound. It provides a smooth and pretty durable surface. Getting the caulk out of the tubes and into the bucket is a great job for the intro to theatre kids! This does not provide a "smooth" surface, but it is a neat option if you require the type of surface. There is a shop in town that specializes in foam and foam coats for construction. I get custom molding shapes from them. They have a product that is used for stucco and rock finishes that I have been purchasing to coat some of my foam pieces. I get a 5gal bucket of off-tints for $25.00. Normaly the rices is $45.00. They have a few different kinds with varying size of rock/sand to provide texture. Perhaps an option for future use. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm building a number of props from styrofoam and want to protect them and > be able to get a smooth surface for painting. ------------------------------ Message-Id: <5.2.1.1.2.20050404094752.02623618 [at] postoffice8.mail.cornell.edu> Date: Mon, 04 Apr 2005 09:51:37 -0400 From: Ford H Sellers Subject: Re: Positioning your hazer In-Reply-To: References: We find our positions change per show. However, in general a DF-50, mid-stage, above head-height, with a fan to help disperse has worked for us. -Ford >I'm curious: where do you put your hazer on the stage to ensure (or >attempt for) an even coverage of haze during performances, and why do you >put it there? Do you use ductwork? Fans? Is there any ambient "wind" on >the stage that you have to worry about? I know that it'll vary from >theatre to theatre, but I'd still like to hear about it. Personally, I'm >trying to find a good place for a hazer for an upcoming dance show. Thanks. > >Chris Nimm >no credentials whatsoever ************************ Ford H Sellers Master Electrician Cornell University (607) 254-2736 office (607) 254-2733 fax ------------------------------ Date: Mon, 04 Apr 2005 09:56:56 -0400 From: Stephen Litterst Subject: Re: Positioning your hazer Message-id: <425147A8.2204507A [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Immel,Patrick" wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > -----Original Message----- > From: Stephen Litterst > When it works, the US position is great because the haze really > disperses > is quite even by the time the audience sees it. > ***************************************** > How long before house open do you turn on your hazer? It depends on the show. If the house opens with the main rag in we generally start hazing at about 10 mins before curtain. And as soon as the curtain opens it looks fantastic for the five minutes it takes for the HVAC to suck the haze into the house. I don't recall doing a fully hazed show without a main rag in that theatre. What's becoming more common is for designers to want specific scenes hazed, and that's what really causes the ulcer to flare up. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <200504040857440106.0B1D0A33 [at] 10.1.1.3> References: <739CC1D6DD3BC94E85815D7F0712F6C07748C5 [at] mi-v.asf.private> Date: Mon, 04 Apr 2005 08:57:44 -0500 From: "Thomas Rodman" Cc: trodman [at] asf.net, Georgia.Crisp [at] navy.mil, teckish [at] hotmail.com Cc: david.hartney [at] earthlink.net, nesnyder [at] gmail.com, ccp99 [at] aol.com, colleen.manuszak [at] tacom.army.mil Cc: camoboy101 [at] excite.com, wilie.luzano [at] holloman.af.mil, dhons [at] kent.edu, jack.schmidt [at] btn-inc.com Cc: jsofranko [at] compuserve.com, nyettinger [at] aol.com, Jason_lancaster [at] bellsouth.net, mail [at] etcconnect.com Cc: dmangone+ [at] pitt.edu, sewers [at] kent.edu, wjolauer [at] yahoo.com, millercl [at] usmc-mccs.org Cc: LightGuyBDE [at] netscape.net, tjloyd [at] hotmail.com, flplayers [at] sg.ufl.edu, david.hartney [at] earthlink.net Cc: info [at] pyropak.com, NathanRoss_22 [at] hotmail.com, Catherine_Girardi [at] yahoo.com, roymiracle [at] yahoo.com Cc: scientifics [at] edsci.com, straxus [at] mouselook.com, joshua.wellnitz [at] gmail.com, techaimes [at] yahoo.com Cc: james [at] jhelms.net, toconnell [at] asf.net, connie.buckley [at] usmc-mccs.org Cc: CustomerService [at] ChristmasLightsEtc.com, scottspork [at] yahoo.com, bgazo [at] prg.com, klowery [at] elon.edu, gwydion13 [at] aol.com Cc: jbillman [at] asf.net, john [at] cattanach.info, james.yost [at] leavenworth.army.mil, bob.taylor [at] navy.mil Cc: james.yost [at] leavenworth.army.mil, info [at] tlsinc.com, rdail [at] asf.net, sales [at] brassgobos.com Cc: lisa.timmermann [at] scott.af.mil, mwinkelm [at] mail.aum.edu, dmray [at] teleport.com, sheri.hayes [at] cannon.af.mil Cc: scott.scherberger [at] riley.army.mil, info [at] armagcorp.com, toliver [at] mainstage.com, Dubuiwd [at] millsaps.edu Cc: service [at] globalindustrial.com, knightcycle [at] hotmail.com, mwangen [at] concentric.net, barbizon [at] gate.net Cc: vicki.peterson [at] peterson.af.mil, sediggins [at] hotmail.com, amy.brown [at] maxwell.af.mil, waterboy73 [at] yahoo.com Cc: christinecausey [at] yahoo.com, info [at] lemaitrefx.com, jaleclaire [at] hotmail.com, thom [at] thomasquintas.com Cc: info [at] hitechrent.com, dfjordan [at] mailer.fsu.edu, jlross [at] hotmail.com, tech [at] esta.org, jeho [at] email.unc.du Cc: Mckeenniloc [at] aol.com, druzika [at] pomona.edu, mccreary_km [at] hotmail.com, robinos [at] ivillage.com Cc: gwalker [at] tlsinc.com, ecoco [at] wc.stephens.edu, wschwartz [at] americanlighting.com, fishbang [at] mouselook.com Cc: TheatreTechAtl [at] norcostco.com, info [at] pyropak.com, dvaudo [at] barbizon.com, lizlee [at] puppet.org, daver [at] lehighdim.com Cc: rdillard [at] barbizon.com, frayerb [at] nevada.edu, rbudin [at] ramapo.edu, daplin [at] tlsinc.com Cc: skhughey [at] email.com, joel707227 [at] aol.com, anngator [at] aol.com, bcomer [at] tlsinc.com, DawnChiang [at] aol.com Cc: bigmann64 [at] inkbarn.com, info [at] sfxdesigninc.com, orestage [at] cdsnet.net, varns [at] siu.edu, quotes [at] mcminone.com Cc: Disc40801 [at] MAC.com, tech [at] nemetschek.net Subject: Fwd: Schedule change FYI Everyone who is working on Sunday, please note the change in the Shrew= Rehearsal Schedule discussed below: *********** BEGIN FORWARDED MESSAGE *********** On 4/1/2005 at 4:26 PM Jerry Genochio wrote: >Well, no need to wait until Monday. The response has been >overwhelmingly in favor of returning to the original rehearsal times for >Sunday, April 10. So the rehearsal block for that day will be 1-5, >7-11. Please adjust your schedules. > >Thanks, > >jerry > *********** END FORWARDED MESSAGE *********** ************************************************************************ Thomas Rodman Voice: 334-271-5385 Master Electrician Fax: 334-271-5348 Electrics Department E-Mail: trodman [at] asf.net Alabama Shakespeare Festival 1 Festival Drive Montgomery, AL 36117 ************************************************************************ ------------------------------ Date: Mon, 04 Apr 2005 10:28:27 -0400 Subject: Re: Schedule change FYI From: Herrick Goldman Message-ID: In-Reply-To: But that totally screws my focus and programming time! And I can't call my crew after 5pm without hitting OT!. On 4/4/05 9:57 AM, "Thomas Rodman" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Everyone who is working on Sunday, please note the change in the Shrew > Rehearsal Schedule discussed below: > > > *********** BEGIN FORWARDED MESSAGE *********** > > On 4/1/2005 at 4:26 PM Jerry Genochio wrote: > >> Well, no need to wait until Monday. The response has been >> overwhelmingly in favor of returning to the original rehearsal times for >> Sunday, April 10. So the rehearsal block for that day will be 1-5, >> 7-11. Please adjust your schedules. >> >> Thanks, >> >> jerry -- 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 ------------------------------ Date: Mon, 04 Apr 2005 10:30:23 -0400 From: Stephen Litterst Subject: Re: Schedule change FYI Message-id: <42514F7F.5D8AC95C [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Herrick Goldman wrote: > --------------------------------------------------- > > But that totally screws my focus and programming time! And I can't call my > crew after 5pm without hitting OT!. Oh, suddenly on this show you need focus time? What changed? Next you'll tell me you need a budget to be able to color the lights! -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: =?iso-8859-1?Q?Visiting_New_York_looking_fro_advice=2E?= From: Date: Mon, 4 Apr 2005 16:30:03 +0200 Message-ID: <0MKyxe-1DIScV3wuv-0001Zo [at] mrelay.perfora.net> Hello all, I am getting ready to visit New York with my wife on April 15-17. I am looking for recommendations for a good show to see and any recommendations for a hotel to stay. If you can please respond of list as I get the digest. Thanks, Jonathan Wills ------------------------------ From: "Jonathan S. Deull" Cc: ndeull [at] clarktransfer.com ('Norma Deull') Subject: job opening --slightly OT Date: Mon, 4 Apr 2005 10:35:01 -0400 Message-ID: Clark Transfer, the theatrical transportation and logistics company (www.clarktransfer.com), is looking for a dispatcher to manage major = tours from our headquarters in Harrisburg, PA. I know it is not strictly stagecraft, but if there is anyone out there interested in the interface = of show business and trucking, please contact me off-list. Thanks for the bandwidth. * * * * * * * * * * * * * * * *=20 Jonathan S. Deull Executive Vice President Clark Transfer, Inc. jdeull [at] clarktransfer.com Phone:=A0=A0=A0 (202) 232-4138 Fax:=A0=A0=A0=A0=A0 (202) 232-4139 Cel:=A0=A0=A0=A0=A0 (202) 256-9207 ------------------------------ Date: Mon, 04 Apr 2005 11:12:59 -0400 Subject: Re: Schedule change FYI From: Herrick Goldman Message-ID: In-Reply-To: Well dammit Steve! We talked about this at the production meeting, the one that you came late to! Maybe if you hadn't been doodling the whole time you would have been involved in the conversation. I need more focus time because your crew installed the deck upside down and backwards and you forgot to flame proof it by the way. So now of course it's my crew that gets screwed out of time. Ah so typical... BTW when I came in this morning I discovered one of the linesets had runon us and crashed thru the set. Plus the sprinklers went off and soaked everything. Call me to discuss the new schedule. :) Yours, -herrick On 4/4/05 10:30 AM, "Stephen Litterst" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Herrick Goldman wrote: >> --------------------------------------------------- >> >> But that totally screws my focus and programming time! And I can't call my >> crew after 5pm without hitting OT!. > > Oh, suddenly on this show you need focus time? What changed? Next > you'll tell me you need a budget to be able to color the lights! > -- 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: "Charles J Korecki" Subject: Strand Lighting Console LBX Issues (Long) Date: Mon, 04 Apr 2005 11:26:15 -0400 HI. I'm new to the list and I've been lurking for a few days. I work for a public high school in NE Ohio. When I started working here I inherited a Strand LBX Lighting Console (and Strand CD 80 dimmer rack). The console has developed some emotional issues and the certified Strand Repair Center in Cleveland has not been able to correct the problem. For those of you familiar with the console, the external monitor will normally display the date/time and the grand master output accross the top of the monitor. About a year ago, the date/time stopped working and then this information disappeared from the screen. Then, just before all my Christmas concerts, the board refused to boot up. I called tech support and they told me to open up the console and press the little white button which forces some kind of "hard" start up. Using this method, I got the board up and running. I limped through my concerts and never turned the board off. When I finally took the board to the repair center/vendor, they looked at it for a month and finally decided that the battery was bad. They replaced the battery and the board worked fine. The date/time and grand master level were all present on the monitor. However, the console once again has started to act up. First the date/time stamp stopped working. I left the console on for several days thnking that the battery had gone bad again. However, the date/time and GM level have completely disappeared off the monitor. Has anyone ever experienced anything like this? Anyone have any suggestions? Or know any other good Strand Service centers I can call. The guys at the one in Cleveland just keep scratching their heads. Thanks for you help! Charles J Korecki Theater Operations Coordinator Cuyahoga Falls City Schools ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 4 Apr 2005 16:26:15 +0100 From: Dorian Kelly Subject: Re: Photos of electrical practice >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >> I once built a brine barrel dimmer too, just to see if it was true. All >> those who built one raise your hands. > I understand the correct method of adjusting the electrolyte was to scientifically p*ss in it. Please isolate first. Dorian Illuminati ------------------------------ Subject: RE: Foam Coating Date: Mon, 4 Apr 2005 10:31:18 -0500 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B03834576 [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" Subject: RE: Straight Jacket Date: Mon, 4 Apr 2005 19:35:18 +0400 In-Reply-To: Message-Id: <20050404153529.7634F5874 [at] mail05.powweb.com> I have just purchased some from my local medical supplies company. It might be worth asking but my guys did say "we will have to find them because we do get much call for them". Normally I get my guys to make something similar for friends stag nights, -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve Larson Sent: Monday, April 04, 2005 4:36 PM To: Stagecraft Subject: Re: Straight Jacket For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In the time this thread has spread around the world three times, I could have built 50 straight jackets. sjl > From: FrankWood95 [at] aol.com > Reply-To: "Stagecraft" > Date: Sun, 3 Apr 2005 16:35:00 EDT > To: "Stagecraft" > Subject: Re: Straight Jacket > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > In a message dated 29/03/05 03:08:38 GMT Daylight Time, > breed [at] whittier.edu > writes: > >> Do a search for "straight jacket" and you should find one listed if >> you scroll down the page. At a cost of only $22.75, it might not be >> a very convincing version, but you could check some of the many other >> links provided on the Costume Page site. > > Possibly a search for "strait jacket" might me more rewarding, since > that is its correct name. With or without the space. > > Frank Wood > > ------------------------------ Message-Id: Date: Mon, 04 Apr 2005 11:38:18 -0400 From: "LES LIND" Subject: Re: Photos of electrical practice Talk about peeing on an electric fence...wow! Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> dorian [at] essex.ac.uk 4/4/05 11:26 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >> I once built a brine barrel dimmer too, just to see if it was true. All >> those who built one raise your hands. > I understand the correct method of adjusting the electrolyte was to scientifically p*ss in it. Please isolate first. Dorian Illuminati ------------------------------ In-Reply-To: References: Message-Id: From: Samuel Jones Subject: Re: Foam Coating Date: Mon, 4 Apr 2005 09:36:45 -0700 Is this flame proofed? Sam Samuel L. Jones Dance Program, Theater Production Supervisor Dept. of World Arts and Cultures, UCLA sjones [at] arts.ucla.edu (310) 825-5823(w) (310) 993-4172(c) (310) 207-0392(h) =================================================== On Apr 4, 2005, at 8:31 AM, Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > and be able to get a smooth surface for painting. > > > This has become the year of the foam for me, between carving a 6' tall > 8' wide car and making ornate candelabras and many other things I've > fallen in love with it. What I've found that works well is Kool Seal > Elastomeric roof coating, but for added strength incase anyone where to > say, kick your massive foam car in the middle of a dance number (or for > that matter climb on it after the show so their parents can get a > picture of them with the set) I brush on cheesecloth in the roof coat. > Two coats of roof coating and cheese cloth seem to make stuff nearly > indestructible (although if I were taking the show on the road I'd > probably do closer to five just because I get paranoid). To help with > a > smoothness try sanding it (I've of course assuming you and I are > talking > about the same either pink, blue or white polystyrene, Styrofoam is a > brand name I believe that came from DuPont? Can anyone confirm this?) > it's amazing how well wood tools like rasps and sand paper work on > Styrofoam. Ok although I am not keeping a logical order to how I am > describing this you would sand the piece BEFORE you coat and cheese > cloth it, you do have a bit of a texture, but if you put another layer > of roof coat on at the end it tames it down a bit and people can't > really tell if you have the 16 foot rule to work by. > > Good luck and happy sculpting! > > Peace, > > Ryan J. Zirngibl > Student- Theatre Arts > University of Wisconsin - Eau Claire > Scenic Design > > ------------------------------ Message-ID: <000301c53939$a9865780$0600000a [at] BRUTUS> From: "Jon Ares" Subject: Disclaimer language? Date: Mon, 4 Apr 2005 10:13:46 -0700 What's the more-or-less common disclaimer often placed on construction drawings that basicallys says the designer is not responsible for the construction, or the safety of these designs? (Yes, I know disclaimers usually don't hold up in court, but still....) Does anyone know the wordage? -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Mon, 4 Apr 2005 12:20:37 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1107078738.20050404122037 [at] tcon.net> Subject: Re: Disclaimer language? In-Reply-To: References: Hello ! Monday, April 4, 2005, Jon Ares wrote: > What's the more-or-less common disclaimer often placed on construction > drawings that basicallys says the designer is not responsible for the > construction, or the safety of these designs? Dad had a rubber stamp made that said something on the order of "This drawing is prepared for the benefit of architects and engineers in their work of planning a theatre and is not to be construed as a legal acceptance of responsibility for construction errors committed by others." Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: <200504041225470126.0BD81F15 [at] 10.1.1.3> Date: Mon, 04 Apr 2005 12:25:47 -0500 From: "Thomas Rodman" Subject: I hate computers.... Sorry about the accidental posting concerning a rehearsal schedule change.= We have had some problems with our email system here for a few days due= to some strong storms that came through.... Tom ************************************************************************ Thomas Rodman Voice: 334-271-5385 Master Electrician Fax: 334-271-5348 Electrics Department E-Mail: trodman [at] asf.net Alabama Shakespeare Festival 1 Festival Drive Montgomery, AL 36117 ************************************************************************ ------------------------------ Message-Id: <5.2.1.1.2.20050404132101.03bedc18 [at] postoffice8.mail.cornell.edu> Date: Mon, 04 Apr 2005 13:23:36 -0400 From: Ford H Sellers Subject: Re: Strand Lighting Console LBX Issues (Long) In-Reply-To: Try Joel at Strand in NJ. 1-800-233-3314. He's been a great help to me for parts for our CD-80's, and general knowledge of all things Strand. At 11:26 AM 4/4/2005, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >HI. I'm new to the list and I've been lurking for a few days. I work for >a public high school in NE Ohio. >When I started working here I inherited a Strand LBX Lighting Console (and >Strand CD 80 dimmer rack). >The console has developed some emotional issues and the certified Strand >Repair Center in Cleveland has not been able to correct the problem. > >For those of you familiar with the console, the external monitor will >normally display the date/time and the grand master output accross the top >of the monitor. About a year ago, the date/time stopped working and then >this information disappeared from the screen. Then, just before all my >Christmas concerts, the board refused to boot up. I called tech support >and they told me to open up the console and press the little white button >which forces some kind of "hard" start up. Using this method, I got the >board up and running. I limped through my concerts and never turned the >board off. >When I finally took the board to the repair center/vendor, they looked at >it for a month and finally decided that the battery was bad. They >replaced the battery and the board worked fine. The date/time and grand >master level were all present on the monitor. > >However, the console once again has started to act up. First the >date/time stamp stopped working. I left the console on for several days >thnking that the battery had gone bad again. However, the date/time and >GM level have completely disappeared off the monitor. > >Has anyone ever experienced anything like this? Anyone have any >suggestions? Or know any other good Strand Service centers I can >call. The guys at the one in Cleveland just keep scratching their heads. > >Thanks for you help! > >Charles J Korecki >Theater Operations Coordinator >Cuyahoga Falls City Schools > > ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Date: Mon, 04 Apr 2005 12:38:20 -0500 From: Chuck Mitchell Subject: foam coating Message-id: <001701c5393d$17daca10$15e25c90 [at] Chuck> Coating foam with a roughly 50-50 mix of potter's clay (the powder) and white glue works well. Throw in a bit of water if needed, but too much will make it crack. Apply a few thin coats rather than one thick one. Flex glue works best, but regular Elmer's often works fine. You can add a bit of paint or colorant to give it a base color. Buy the clay from pottery supply companies. We have used Cedar Height Gold, which around here goes for $ 1-012 a 50 lb. bag. Chuck Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: Disclaimer language? Date: Mon, 4 Apr 2005 13:39:52 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <002b01c5393d$4ef87060$c9fea8c0 [at] ROXY> In-reply-to: Jon Ares wrote: >What's the more-or-less common disclaimer often placed on construction >drawings that basicallys says the designer is not responsible for the >construction, or the safety of these designs? (Yes, I know >disclaimers >usually don't hold up in court, but still....) Does anyone know the >wordage? It will vary by discipline, and whether or not you are a likened professional. I've seen literally dozens of different types, written up by dozens of different lawyers. For consulting work, my corporation lawyer suggested I use the following: THIS DRAWING IS THE PROPERTY OF (your name here) AND IS INTENDED FOR USE WITH THIS PROJECT ONLY. IT IS SUBJECT TO REVIEW BY THE PROJECT'S ARCHITECT AND/OR ENGINEER AND IS PROVIDED SOLELY TO COMMUNICATE DESIGN INTENT, NOT FABRICATION OR INSTALLATION DETAILS. ANY ERRORS, OMISSIONS, OR AMBIGUITIES SHALL NOT RELIEVE ANY CONTRACTOR OF THEIR OBLIGATIONS TO COMPLY WITH APPLICABLE CODES AND REGULATIONS, OR THE PROJECT'S GENERAL CONDITIONS AND SPECIFICATIONS. THE CONTRACTOR IS SOLELY RESPONSIBLE FOR PROVIDING COMPLETE, SAFE, AND FULLY OPERATIONAL SYSTEMS. (Sorry for the all caps... Cut 'n paste.) You are exactly right in saying that this won't keep you OUT of court (though it may stand up as an argument against your liability - "I was only telling you what the INTENT was, not how to do it"). But you can get sued even with a perfect disclaimer. I just see the disclaimer as putting all parties on notice that they need to review things VERY, VERY carefully. My best advise - talk to your lawyer. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <29.7072f71d.2f82d7ce [at] aol.com> Date: Mon, 4 Apr 2005 13:47:58 EDT Subject: Re: Projector Issues In a message dated 04/04/05 01:55:22 GMT Daylight Time, slitterst [at] ithaca.edu writes: > Based on the context of JErry's screening, the original source for the DLP > was the original computer rendering of the movie. Monster's Inc was a > PIXAR film, and they've been known to do screenings from the original > digital source. This is why PIXAR DVDs have incredible clarity, since > they've never seen a film print. OK, but this raises the reverse question. Where did the answer print come from? I worked for some time recording TV on to film, back in the late sixties for the BBC. I imagine that recording computer generated movies poses similar problems, although you are not trying to work in real time. Then, it was difficult and a bit dodgy, although 35mm worked pretty well. So well, indeed that when the department folded (killed by VT and colour TV), Technicolor bought three of the cameras for making separation negatives of VT productions for release. The camera mechanisms were that accurate. They were basically a standard Mitchell camera, with two pin-and-slot accelerators between the drive motor and the camera itself, to achieve a fast pull-down. The pull-down wasn't fast enough to occur in the field blanking time, of course. That would have involved aggelerations of 3,000g! If I remember right, it took 35mS. The sequence was: Insert claws Extract register pins Pull down Insert register pins Extract claws. To record the whole picture, there was optical intensity control. A medium persistence CRT was used for the display, with a double wedge ND filter in front. The 'scarp' slope changed to the 'dip' slope on line 35 (PAL numbers), and the shutter opened. No sooner, and no later. It was quite a motor drive system, taking a whole bay, with the power regulator, two inverters for the two-phase drive, the inverter drivers, and right at the top, the electronics to derive the drive information from the video signal. This was designed by the Lancashire Dynamo Company, and was the most reliable piece of electronics I have ever come across. There wre three accessible controls, marked 'First Differential', 'Second Differential', and 'Integral'. Classic servo technique, and it worked. Frank Wood ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: Disclaimer language? Date: Mon, 4 Apr 2005 13:54:45 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <000701c5393f$639a59f0$c9fea8c0 [at] ROXY> In-Reply-To: Oops. I wrote: >It will vary by discipline, and whether or not you are a likened >professional. I should have said "licensed" professional (such as an Architect or PE). Damn spell checker... Peter Scheu ------------------------------ Message-Id: <3.0.6.32.20050404191100.016f0c70 [at] pop.west.cox.net> Date: Mon, 04 Apr 2005 19:11:00 From: CB Subject: Re: Projector Issues >They also happen to be the nominal mains frequencies. In the >early days of TV equipment, it was important that they matched. Actually, it was kind of important that the didn't match. This is why colorburst crystals run at 3.579545 MHz and NTSC's framerate is actually 29.97 FPS, making the Drop-Frame version of Time Code a necessity in coding audio, and/or mixing vdeo and film. 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: Date: Mon, 4 Apr 2005 14:18:22 EDT Subject: Re: Projector Issues In a message dated 04/04/05 02:34:14 GMT Daylight Time, dale [at] cybercom.net writes: > > > It's also why interlace in TV systems. > > > > No doubt this is a factor, but based on several articles I've read it had > > more to do with the capabilities of original video equipment which had to > > sweep the electron beam across the screen and also the available bandwidth > > for tranmission. With LCD's and plasma screens there is no interlace > > (nothing is actually "scanning"), so the 60i signals must be deinterlaced > > and converted to 30 (or 25) frame progressive (30p). Scanning speed was never an issue, once we had gone away from mechanical scanning. Electrons move faster than motors. Nor is bandwidth, which is decided by the definition, or vice versa. TV systems are defined by making the vertical and horizontal definitions more or less the same. To be fair, all of these are interconnected, hence standards. Flicker is the major criterion. At 25 or 30Hz, flicker can be objectionable. That is why PAL, NTSC, and SECAM are all interlaced, Odd line numbers in field one, even in field two. It makes the electronics more complicated. If we were starting NOW, we should probably go down a different road. But we still have to cater for Granny with her 1950 TV. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050404191903.016f0c70 [at] pop.west.cox.net> Date: Mon, 04 Apr 2005 19:19:03 From: CB Subject: Re: Projector Issues >Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max >anyone? Ehm, the death of Beta was due to Sony not licensing ayone to make their Beta decks. JVC licensed anyone to build and sell a VHS (Vertical Helical Scan) machine, so there were a lot of them. So a lot of people made their movies available on VHS. The hardware of the Beta deck was superior, but the software for the cheaper model was ubiquitous, so consumers flocked to the format that had more movies, not a better image. HOWEVER, Sony continued to dominate in the PROFESSIONAL arena, where Beta's are used even today. Not for long, and they have gone to a digital format, but from the eighties on, Beta decks were almost an industry standard (or as close as that industry gets to standardizing anything...) ------------------------------ Message-Id: <3.0.6.32.20050404192436.016f0c70 [at] pop.west.cox.net> Date: Mon, 04 Apr 2005 19:24:36 From: CB Subject: Re: Projector Issues >I heard some stories about >it that it was basically, too real, for the audience of film people. I think tripling the stock and processing costs, not to mention tripling the mag changes on the set, storage, etc, would put any 'film people' off their lattes. 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: <08ab01c53944$527229a0$a174fea9 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: Projector Issues Date: Mon, 4 Apr 2005 19:30:03 +0100 FrankWood95 [at] aol.com wrote: > Scanning speed was never an issue, once we had gone away from mechanical > scanning. Electrons move faster than motors. Nor is bandwidth, which is decided by > the definition, or vice versa. TV systems are defined by making the vertical > and horizontal definitions more or less the same. To be fair, all of these are > interconnected, hence standards. Flicker is the major criterion. At 25 or > 30Hz, flicker can be objectionable. That is why PAL, NTSC, and SECAM are all > interlaced, Odd line numbers in field one, even in field two. > > It makes the electronics more complicated. If we were starting NOW, we should > probably go down a different road. But we still have to cater for Granny with > her 1950 TV. No we don't! As you well know, the current 625 line system didn't come in until 1964, so Granny's 1950 TV would have been for the earlier 405 line system that was finally switched off in 1985. Maybe Granny has one of these: http://www.domino405.co.uk/ Nigel Worsley ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.42c070f1.2f82e752 [at] aol.com> Date: Mon, 4 Apr 2005 14:54:10 EDT Subject: Re: Projector Issues In a message dated 04/04/05 19:13:25 GMT Daylight Time, psyd [at] cox.net writes: > >They also happen to be the nominal mains frequencies. In the > >early days of TV equipment, it was important that they matched. > > Actually, it was kind of important that the didn't match. Cobblers. In the early years, it was vital that they matched. Frank Wood ------------------------------ Message-ID: <008e01c53957$4e97b3f0$6401a8c0 [at] cz1lbfinkbrlun> From: "Chad Croteau" References: Subject: Re: Photos of electrical practice Date: Mon, 4 Apr 2005 16:45:56 -0400 > I understand the correct method of adjusting the electrolyte was to > scientifically p*ss in it. Please isolate first. > > Dorian > Illuminati This myth has been the source of a lot of debate at my university drama deparment... I'm hoping the list might be able to play Mythbusters and help answer a few questions that we've come up with: 1) when I did a grade 8 science project on the conductive properties of certain liquids, I learned that the more electrolytes present in a liquid, the more conductive it became. In other words, the more salty the water, the greater the current that passed through it. If this is true, wouldn't you need a "standard" amount of salt in the salt water of the dimmers to ensure that each dimmer performed the same way? If this is true, wouldn't that make urine a poor choice of refill liquid (althoug probably a convenient one?) 2) If the water evaporates from the dimmers, would the salt still not be inside the vat/container/whatever? Wouldn't you only need to top up with water, and not salt? I'd be very grateful to anyone who can help me stop scratching my head on this one... The bald spot is getting noticeable! Thanks! Chad ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <6b.427d8134.2f830e3f [at] aol.com> Date: Mon, 4 Apr 2005 17:40:15 EDT Subject: Re: Photos of electrical practice In a message dated 04/04/05 21:52:31 GMT Daylight Time, cpcroteau [at] kelcom.igs.net writes: > 1) when I did a grade 8 science project on the conductive properties of > certain liquids, I learned that the more electrolytes present in a liquid, > the more conductive it became. In other words, the more salty the water, > the greater the current that passed through it. If this is true, wouldn't > you need a "standard" amount of salt in the salt water of the dimmers to > ensure that each dimmer performed the same way? If this is true, wouldn't > that make urine a poor choice of refill liquid (althoug probably a > convenient one?) Lighting is pragmatic. The levels are set by eye. Provided that no-one pisses in a dimmer, they will be consistent, after the tech. Frank Wood ------------------------------ Date: Mon, 04 Apr 2005 17:45:01 -0400 From: Stephen Litterst Subject: Re: Photos of electrical practice Message-id: <4251B55D.1B3AC3E0 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > --------------------------------------------------- > > 1) when I did a grade 8 science project on the conductive properties of > > certain liquids, I learned that the more electrolytes present in a liquid, > > the more conductive it became. In other words, the more salty the water, > > the greater the current that passed through it. If this is true, wouldn't > > you need a "standard" amount of salt in the salt water of the dimmers to > > ensure that each dimmer performed the same way? If this is true, wouldn't > > that make urine a poor choice of refill liquid (althoug probably a > > convenient one?) > > Lighting is pragmatic. The levels are set by eye. Provided that no-one pisses > in a dimmer, they will be consistent, after the tech. Based on my knowledge of saltwater/brine dimmers, the levels would not be the same unless the tanks were topped off. The heat from resistance causes the water to evaporate, changing the salinity of the mixture, which changes its conductivity. So at the end of a 12 hr day, the dimmer levels will be off. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 4 Apr 2005 17:51:40 -0400 From: Michael Feinberg Subject: Re: Projector Issues >No we don't! As you well know, the current 625 line system didn't >come in until 1964, >so Granny's 1950 TV would have been for the earlier 405 line system >that was finally >switched off in 1985. > >Maybe Granny has one of these: >http://www.domino405.co.uk/ So she can spend £400 to keep using a 50 year old black and white TV?!? Must be a lot of sentimental attachment to that TV. For that $750 US, she could go out and upgrade to HD with a 32" CRT or a 20" LCD. (I don't know what UK TV prices are like.) Though I guess in a museum (or possibly theatre) application, being able to send video to a vintage TV _might_ be worth the cost. -- -Michael Feinberg, CTS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <85.24ec7e06.2f8312b5 [at] aol.com> Date: Mon, 4 Apr 2005 17:59:17 EDT Subject: Re: Photos of electrical practice In a message dated 04/04/05 22:45:52 GMT Daylight Time, slitterst [at] ithaca.edu writes: > Based on my knowledge of saltwater/brine dimmers, the levels would not > be the same unless the tanks were topped off. The heat from > resistance causes the water to evaporate, changing the salinity of the > mixture, which changes its conductivity. So at the end of a 12 hr > day, the dimmer levels will be off. Possibly. I know of them, but I count myself fortunate not to have had to deal with them Frank Wood ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 4 Apr 2005 22:11:15 GMT Subject: Re: Projector Issues Message-Id: <20050404.151152.23871.199125 [at] webmail01.lax.untd.com> I bought a brand new LCD 20" TV with RF, VGA, S-Video, composite, component, and other video and audio inputs for $399 retail last week. /s/ Richard For that $750 US, she could go out and upgrade to HD with a 32" CRT or a 20" LCD. (I don't know what UK TV prices are like.) -Michael Feinberg, CTS ------------------------------ Date: Mon, 04 Apr 2005 17:45:20 -0500 Subject: Re: Projector Issues From: Greg Persinger Message-ID: In-Reply-To: Michael Feinberg wrote: > For that $750 US, she could go out and upgrade to HD with a 32" CRT > or a 20" LCD. (I don't know what UK TV prices are like.) > > Though I guess in a museum (or possibly theatre) application, being > able to send video to a vintage TV _might_ be worth the cost. No you take the vintage TV and strip the guts out of the cabinet and put a new TV inside the old cabinet. Because of the difference in the old electronics usually you can get the new TV, cabinet and all, inside the vintage cabinet. Solves a bunch of problems and is much cheaper. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Subject: Re: "Archival recording" myth debunking Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Mon, 4 Apr 2005 19:06:17 -0400 Local 412 approaches the question from the other side stating: "If any rehearsal or performance is recorded for audio or video resale or rebroadcast, Local 412's Video rates and conditions shall apply." The logic being if someone is going to profit from their work over and above the performances they are entitled to share in those profits. Tapers sign a release form that says they will use that recording for "Archival purposes only' and will pay the difference if that changes. There have actually been situations when organizations agreed to pay the extra when someone saw a broadcast of a performance. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Date: Mon, 04 Apr 2005 19:40:58 -0400 Subject: Re: Projector Issues From: Bruce Purdy Message-ID: In-Reply-To: >> Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max >> anyone? > > Ehm, the death of Beta was due to Sony not licensing ayone to make their > Beta decks. JVC licensed anyone to build and sell a VHS (Vertical Helical > Scan) machine, so there were a lot of them. So a lot of people made their > movies available on VHS. The hardware of the Beta deck was superior, but > the software for the cheaper model was ubiquitous, so consumers flocked to > the format that had more movies, not a better image. Kind of like what happened when Apple maintained exclusivity on their technology, and IBM allowed others to make clones. The inferior product became ubiquitous. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Mon, 4 Apr 2005 20:00:42 -0400 (EDT) From: Boyd Ostroff Subject: Re: Projector Issues In-Reply-To: Message-ID: References: On Mon, 4 Apr 2005, Bruce Purdy wrote: > Kind of like what happened when Apple maintained exclusivity on their > technology But it's payback time now as people are gravitating towards the Mac, having reached the point of frustration with the inferior product ;-) | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-Id: From: David Wilson Subject: MFA in sound design at Brandeis University Date: Mon, 4 Apr 2005 20:34:42 -0400 Applications are now being accepted for the MFA in theater design, sound technology at Brandeis University. Although the official title is sound technology, the course of study is flexible, and open to those interested in music composition and scoring for theater and film as well as those interested in production, reinforcement, and the like. Opportunities exist to explore a second area of theater design - lighting, costumes, and scenery, if inclined. Tuition remission and stipends available. Pass this link along to anyone interested: http://people.brandeis.edu/~wilson/ MFA%20Sound%20Design%20Brandeis%20.htm If anyone has an area for posting MFA info, I can email a word File. Thank You David Wilson Artist in Residence in Lighting and Sound Spingold Theater Brandeis University Waltham MA 02454 USA ------------------------------ Date: Mon, 04 Apr 2005 20:25:48 -0500 Subject: Re: Projector Issues From: Greg Persinger Message-ID: In-Reply-To: > >>> Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max >>> anyone? >> >> Ehm, the death of Beta was due to Sony not licensing ayone to make their >> Beta decks. JVC licensed anyone to build and sell a VHS (Vertical Helical >> Scan) machine, so there were a lot of them. So a lot of people made their >> movies available on VHS. The hardware of the Beta deck was superior, but >> the software for the cheaper model was ubiquitous, so consumers flocked to >> the format that had more movies, not a better image. > > Kind of like what happened when Apple maintained exclusivity on their > technology, and IBM allowed others to make clones. The inferior product > became ubiquitous. The funny thing is that Sony invented both VHS and Beta. Sony kept the better technology, Beta, and sold off VHS to JVC who marketed the snot out of it and the rest is history. BUT this is only in the consumer market. Sony and their products, especially Beta decks, are pretty much the standard in the broadcast market. I can't say I have ever seen a major broadcast truck with primarily JVC or Panasonic gear. I doubt a truck like that would even be considered for A or B level projects. It's really JVC and Panasonic that are stepping off the bandwagon in the hopes that their product will be widely adopted and they can grab a market niche. Sony probably has a better idea of what the market will actually support and will probably sink the JVC and Panasonic products. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: Cc: THEATRE-SOUND [at] LISTSERV.AOL.COM (Discussion list for people working in sound for live theatre.) From: Jason Romney Subject: NCSA Digital Theatre Sound Design Workshop Date: Mon, 4 Apr 2005 22:16:27 -0400 Hello everyone, North Carolina School of the Arts is offering a summer continuing education workshop in digital theatre sound design. I don't want to take up a lot of bandwidth on the details but those who are interested can visit the web page: http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp Please forward this to anyone you think would be interested and feel free to contact me off-list with any questions. We have 12 seats available which will be filled on a first come, first serve basis. If you're interested, please sign up soon! Forgive the commercial post but we really want to get the word out about this unique opportunity. Jason Romney Sound Design Instructor North Carolina School of the Arts jason [at] cd-romney.com romneyj [at] ncarts.edu http://www.ncarts.edu/ncsaprod/designandproduction/ http://www.cd-romney.com ------------------------------ Message-ID: <4252103B.D55E9E [at] cybercom.net> Date: Tue, 05 Apr 2005 00:12:43 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Cc: tf [at] techno-fandom.org (TF) Subject: Re: Photos of electrical practice References: Richard Wolpert wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This is a request from all of you out there who have pics ( digital or > otherwise ) of "scary" electrical practices. I'm developing a series of > seminars/classes that will range from basic electricity for neophytes, to > code and engineering issues for consultants and TD's. Having pictures of > things NOT to do would be most helpful. It would also lighten the mood a > bit. Nothing better to wake folks up during a lecture than a picture shown > on the overhead. > > I'll give full credit to whoever provides me the pics. Oh yeah, cartoons > are acceptable as well. > 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 Not really stagecraft, but scary electrical practices indeed.... I'm talking on a news group with a fellow who is having power problems at his mountian top site in Alaska. Couple of equipment shelters full of radars and radios to support a military training range. The engineers in control say they don't have to follow NEC or any other code, just their own expert judgment. Three phase generator feeding a couple of equipment huts. Earth and neutral are bonded together at each hut power panel, and at the generator, five wires from the generator to each hut. The engineers put all the radios and stuff on phase A, overflow equipment and HVAC on phase B, and nothing on phase C. But it gets better. They have some antenna towers, which are grounded to the same electrical ground bus in the huts. Which also serves as the negative pole of the DC power system for all the telecom and microwave comm gear. The battery bank is not fused or switched. The only way to work on the battery bank is to shut down all the power at the generator after turning off all the DC loads at each piece of equipment. But wait, there's more..... The engineers are complaining about data errors, and think it is because the ground system voltage keeps changing with a bunch of complex harmonics on it. And they didn't have enough DC power, so the put in a bigger rectifier, but now the AC wires feeding the rectifier are pretty hot, and the breaker pops sometimes. Oh yeah remember the site is at the top of the mountain. No roads, every service call is a helicopter ride. They still haven't figured out why the power supplies on the equipment keep failing, but they are pretty sure it as something to do with the power. None of the people involved, of course, are licensed electricians, but they are college edumacated engineers. I've asked him for pictures, and for a copy of the inevitable accident investigation report. --Dale ------------------------------ Message-ID: <42521082.5000103 [at] fuse.net> Date: Tue, 05 Apr 2005 00:13:54 -0400 From: Stuart Wheaton Subject: Re: Foam Coating References: In-Reply-To: Eccleston, Mark wrote: > > I'm building a number of props from styrofoam and want to protect them and > be able to get a smooth surface for painting. I know there are some over > the counter products available to do this, but was wondering if anyone had a > home-made recipe for making there own foam coating or possibly some > recommendations on what to buy if I do purchase from a theatrical supplier. > Thanks in advance. > Just to protect the foam, you could use cheese cloth and elmers glue. That will also give you a textured surface that will key your over layer. Drywall compound mixed with glue or even gesso might be options. Bondo might also be an option depending on what you need to do with it. Stuart ------------------------------ Date: Tue, 05 Apr 2005 00:52:58 -0400 Subject: Re: Positioning your hazer From: "C. Dopher" Message-ID: In-Reply-To: Steve Litterst wrote: > When it works, the US position is great because the haze really disperses > is quite even by the time the audience sees it. Good answer. And now I'm waiting.... Go ahead, ask me. Ask me why I'm waiting. Cris Dopher ------------------------------ End of Stagecraft Digest #353 *****************************