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 21770383; Sun, 10 Apr 2005 03:01:03 -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 #358 Date: Sun, 10 Apr 2005 03:00:38 -0700 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 #358 1. Re: Gerber update by "Paul Guncheon" 2. Re: He's baaaack... by Bill Sapsis 3. Re: ETC Moving Light Copy/Paste by "Weston Wilkerson" 4. Re: Gerber update by "Weston Wilkerson" 5. Re: He's baaaack... by Delbert Hall 6. Re: He's baaaack... by "Stephen E. Rees" 7. Re: He's baaaack... by Scott Parker 8. Re: Positioning your hazer by Marty_Petlock [at] sarasotagov.com 9. Re: Positioning your hazer by IAEG [at] aol.com 10. Re: Sound question and film by FrankWood95 [at] aol.com 11. Re: Positioning your hazer by Marty_Petlock [at] sarasotagov.com 12. Re: Sound question and film by FrankWood95 [at] aol.com 13. Re: He's baaaack... by FrankWood95 [at] aol.com 14. Re: He's baaaack... by Bruce Purdy 15. Re: Sound question and film by David Marks 16. Re: Vacationer by Greg Bierly 17. Re: Sound question and film by FrankWood95 [at] aol.com 18. Re: Sound question and film by David Marks 19. Re: He's baaaack... by Pat Kight 20. Seeking overhire lighting/sound techs (NYC) by Mike Voytko 21. Sound question and film by CB 22. Re: Seeking overhire lighting/sound techs (NYC) by Eddie Kramer 23. Re: Sound question and film by Sunil Rajan 24. FW: Gerber update by "jsmith at theatrewireless.com" 25. Re: Sound question and film by FrankWood95 [at] aol.com 26. Re: Sound question and film by FrankWood95 [at] aol.com 27. Re: FW: Gerber update by Jerry Durand 28. Re: Positioning your hazer by Stephen Litterst 29. theatre company reference by stage craft 30. baaack & related question by stage craft 31. Re: Visiting New York looking for advice by David Carrico 32. Re: baaack & related question by "Robert G. Anderson" 33. Re: baaack & related question by Dale Farmer 34. Re: theatre company reference by "Sam Fisher" 35. Box Office software... by Steve Jones 36. Re: theatre company reference by Bill Sapsis *** 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: Sat, 09 Apr 2005 01:30:18 -1000 From: "Paul Guncheon" Subject: Re: Gerber update Message-id: <008a01c53cf7$82ed0fd0$0202a8c0 [at] yourxhtr8hvc4p> References: After receiving part of yet another lecture on the molecular structure of stainless steel, Gerber finally acquiesced and sent me a replacement handle for the Gerber Evolution multitool that I returned to them because of curious and unusual spot corrosion. While I explained to them that of the 25 or so multitools that I own, theirs was the only one to rust, their response was quite defensive claiming operator error, lack of maintenance, environmental factors, and the like. I had kept the tool in its sheath, in a tool box for about a year and had started to use it when one of the blades of my Victorinox multitool broke and I returned it for repair. (Victorinox replaced the too immediately without question.) Within a week, the Gerber started to rust... even on blades that had not been opened. I considered this, and still do, to be a flaw in manufacturing. Gerber's continued response is that they are not responsible for any corrosion and that it is a factor of the structure of the stainless steel that they use in the manufacture of their tools. My suggestion that perhaps they ought to consider using a higher quality steel was met with a repetition of their molecular composition lecture. When I questioned the quality of their steel, I was informed that steel, while appearing homogenous, is comprised of "grains" "not unlike lava" (Whatever that means). Apparently rust can attack some of the grains which are not as impervious as others, resulting in corrosion. My response was "And your point is...?" My suggestion to the customer service person I spoke with that that was all fine and good but perhaps Gerber ought to find a higher quality steel that had fewer or no grains that rust (like all the other tool makers) was met with a befuddled silence. I, for one, will not purchase any further tools from Gerber, nor recommend their products to others. This decision in part may also be the result my returning a folding knife to them after the blade snapping about 6 weeks ago. I have heard nothing from them in all this time and the customer service person to whom I spoke did not seem concerned about this length of time. In my opinion, there are too many other companies with better products, warranties, and customer service than to deal with Gerber. Laters, Paul "A thousand thanks, Monsieur," said Tom mercifully. ------------------------------ Date: Sat, 09 Apr 2005 08:05:18 -0400 Subject: Re: He's baaaack... From: Bill Sapsis Message-ID: In-Reply-To: on 4/9/05 3:33 AM, Herrick Goldman at Herrick [at] HGLightingDesign.com wrote: > Welcome home! And congratulations. Now if we can only get Rigger back > online... Welcome back Steve. LLama's and donkey's??? How cool is that? Just out of curiosity, when do you get time to deal with all the animals, a family and work? I had an e-mail conversation with Dave Vick recently. He's thinking about joining our motorcycle ride. he's no longer at the Wharton. I suspect he'll get back online when he's ready. 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: From: "Weston Wilkerson" Subject: Re: ETC Moving Light Copy/Paste Date: Sat, 09 Apr 2005 08:11:33 -0400 >The first thing I do on an Expression/Express when starting a new >show is program Update as Macro 1. Then it is an actual key, and >needs only one keystroke. I still prefer the 'Next' and 'Previous' Channel Check buttons as Macro 1 & 2. Then, if I have movers, I fill the rest with moving light macros. <><><><><><><><><><><><><><><><><><><><> Weston Wilkerson University of Tennessee Theater Lighting Design e: Weston_Wilkerson [at] hotmail.com <><><><><><><><><><><><><><><><><><><><> ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: Re: Gerber update Date: Sat, 09 Apr 2005 08:14:57 -0400 I find it funny that their efforts to outgun you with chemistry was trumped by saying "That's great how steel is made. Why isn't yours better?" <><><><><><><><><><><><><><><><><><><><> Weston Wilkerson University of Tennessee Theater Lighting Design e: Weston_Wilkerson [at] hotmail.com <><><><><><><><><><><><><><><><><><><><> ------------------------------ Message-ID: Date: Sat, 9 Apr 2005 09:22:28 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: He's baaaack... In-Reply-To: References: Glad to have you back Steve. Your life has certainly changed since leaving MTSU. We are looking forward to hearing more your adventures in KY. -Delbert -- Delbert Hall Phone: 423-772-4255 ------------------------------ Message-ID: <4257DE24.7080701 [at] fredonia.edu> Date: Sat, 09 Apr 2005 09:52:36 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: He's baaaack... References: Hi Steve, Welcome back!! It seems your hiatus was good for you folks. Best Wishes. Steve Rees, TD SUNY-Fredonia Steve Jones wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Greetings! > > After falling off the face of the planet, one of the list's past Admins > returns to the fold. > [snip] ------------------------------ Message-ID: <90d9c99805040910323113bf85 [at] mail.gmail.com> Date: Sat, 9 Apr 2005 13:32:10 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Re: He's baaaack... In-Reply-To: References: Congratulations!! And, welcome back. Scott On Apr 8, 2005 10:50 PM, Steve Jones -- Take care, Scott Scott C. Parker ------------------------------ Subject: Re: Re: Positioning your hazer Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sat, 9 Apr 2005 13:34:51 -0400 Jeff Salzberg wrote: "Marty, I'm always happy if I can manage to keep HVAC ducts from in front of the FOH lighting positions. Jeff, As a side note, years ago at the old Asolo Theatre, I had a Century 2100 series Leko hung as part of the curtain wash maybe 6" away from an AC supply vent in the ceiling, it always had chilled air flowing over it. I hung it lamped with an EGG and it never burned out. Seven years later when I got new equipment it was still burning. I know that's not what you meant and O Boy does that happen all the time, not just to lights but they seem to love putting ductwork under the fly system whenever possible. 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. ********** ------------------------------ From: IAEG [at] aol.com Message-ID: <64.52bb2eb0.2f896d7a [at] aol.com> Date: Sat, 9 Apr 2005 13:40:10 EDT Subject: Re: Positioning your hazer In a message dated 4/9/05 1:35:50 PM, Marty_Petlock [at] sarasotagov.com writes: << and O Boy does that happen all the time, not just to lights but they seem to love putting ductwork under the fly system whenever possible. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. >> as Delbert will tell you, , there's a theatre in Tampa with cable running through conduit sleeves that pass THROUGH duct work, , , how's that for good design! very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d7.3a27cda4.2f896e01 [at] aol.com> Date: Sat, 9 Apr 2005 13:42:25 EDT Subject: Re: Sound question and film In a message dated 09/04/05 03:54:50 GMT Daylight Time, pabrah [at] telus.net writes: > Any suggestions? I have only worked with DAT only once, but it was in a > studio. This is out in the field and not on a set. > > I have no idea what the camera is either.. it isn't a small little digital > hand held one...larger one on a tripod etc. I am pretty sure of. Don't forget that you will need some way of synchronising the sound and vision signals at editing and assembly time. SMPTE time code is commonly used, but there are other ways. Ask your editor what they would like, and hire in the gear. You may be surprised to know that a clapper-board is still a useful adjunct. > > Any advice with regards to calibration and uncalibrated nominal levels? This is with the analog signal .... You will have to trust the meters on the mixer. Set the main outputs to the standard level, and the channels to -6dB from full. Rehearse each shot to get the levels right, adjusting the channel input controls so that the meters seldom, if ever, go into the red. The -6dB is to give you something in hand if it's quieter than it qas at rehearsal. It is a good idea to record about a minute of standard level 1KHz tone at the start of each disc so that the editor can set up the standard levels on his equipment. Monitor on loudspeakers if you can: on headphones if you can't. I assume that all the gear is battery powered. Even if there is a generator for lighting purposes, use this only for charging batteries. Good luck! If there is any other help you need, ask me personally. I have spent many years working for the BBC as a real engineer in film sound. While I was made redundant some 12 years ago, and times and equipment have changed, I can still remember the principles. Frank Wood ------------------------------ Subject: Re: Re: Positioning your hazer Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sat, 9 Apr 2005 13:48:48 -0400 Dale Farmer wrote: " No secret. Just patience and repetition of the requirements over and over again. Keeping an eagle eye on the drawings *every* time a change comes out. Just because a change you wanted got added to revision 9 of the drawing, doesn't mean that the draftsperson won't get lazy doing rev 10, and rather than checking out rev 9 to do the change, grabbed rev 6 that he still had on his hard drive, and created rev 10, losing all the changes from rev 7, 8, and 9. Being on the job site every couple of days and checking the actual construction against the current drawings. Being a pain in the patoot when you find someone doing something wrong. That's why good consultants charge so much, they have to put in all that time to keep features from leaking out of the building. Tell them what you are about to tell them you need. Then tell them what you need. Then tell them what you just told them you need. I didn't do this for theater construction, but for computer room construction and data cable plant installations." Dale, You're right and the keyword is "good consultants", let's add good architects too. I should have been more clear that my involvement has mostly been crew, owner's staff or friend of the house. Unless the office is in the same town you likely won't have the consultant on site every day and meetings with planners are periodic. There are always disasters (don't get me started), usually everyone involved cares but my point was the fog and haze needs of end users, which should be simple, are never accorded the same importance as lighting positions, rigging, sound, etc. Maybe I should rephrase and ask: Is anyone out there who can point to a venue and say it has ideal conditions for haze & fog effects? 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. ********** ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8c.24a73c6e.2f8972d3 [at] aol.com> Date: Sat, 9 Apr 2005 14:02:59 EDT Subject: Re: Sound question and film In a message dated 09/04/05 05:50:55 GMT Daylight Time, davidmarks [at] att.net writes: > Setting levels: Usual practice is to set 1K tone from the mixer to the > DAT at -20 on > the DAT meters. Some mixers use -18. Key is not to run out of headroom. > Peaks at -12 are good, this gives you adequate headroom for surprises. This seems a very low level. BBC practice was to set line-up tone at 8dB below the system peak level. But I am not familiar with modern metering customs. We used a device called a Peak Programme Meter. This is a device with which you may not be familiar. If ever you meet one, it will have a black dial and a white pointer, with a scale running, quite coarsely, from 1 to 7, in 4dB steps. 6 is the nominal peak, 4 the standard for reference level. The meter itself has a very fast attack time, and, thanks to electronics, a slow decay. It also does a log to linear conversion. The fundamental design must be 70 years older or more, but they are still in normal use, although the electronics have changed, over the years. It's my opinion that there is no superior device for measuring programme levels. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <67.4289f440.2f89732c [at] aol.com> Date: Sat, 9 Apr 2005 14:04:28 EDT Subject: Re: He's baaaack... Frank Wood ------------------------------ Date: Sat, 09 Apr 2005 14:05:08 -0400 Subject: Re: He's baaaack... From: Bruce Purdy Message-ID: In-Reply-To: Welcome home! Glad to have you back. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <42582AB2.4010509 [at] att.net> Date: Sat, 09 Apr 2005 14:19:14 -0500 From: David Marks Subject: Re: Sound question and film References: In-Reply-To: FrankWood95 [at] aol.com wrote: >This seems a very low level. BBC practice was to set line-up tone at 8dB >below the system peak level. But I am not familiar with modern metering customs. >We used a device called a Peak Programme Meter. This is a device with which you >may not be familiar. > > Digital, Frank, digital. If you set a digital meter to line up at -8, anything above normal voice level will clip instantly. Digital is good, there is much headroom if used wisely. Yes I know what a PPM is. Yes PPM is wonderful. SQN mixers, one of the standards of the film industry, made on the Isle of Man, have PPM meters. Sound Devices mixers can be put into PPM mode, which is a good thing. dave marks ------------------------------ In-Reply-To: References: Message-Id: <18f1e8af7b4e63f85ae78376fda61a35 [at] dejazzd.com> From: Greg Bierly Subject: Re: Vacationer Date: Sat, 9 Apr 2005 14:32:03 -0400 >> What's a "vacationer"? > > Its like a regular patron, but comes from out-of-town. It's just like > us, > except it goes out-of-town to get AWAY from work instead of to GO to > work. > It also has money, and sleeps a lot, drives nice cars and wears colored > clothing. KEEP IT AWAY FROM ALL THINGS TECHNICAL, though, it can be > dangerous and it is very soft and fragile. It will make the oddest > noises > at the oddest times, but can be trained to sit almost quietly and make > the > appropriate noises at the appropriate times during your show if it is > otherwise quiet and dark enough, and is usually domesticated to be > milked > of its cashflow. I LOVE IT! can I steal... borrow... ehem..... use this definition? Greg Bierly Technical Director Hempfield HS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 9 Apr 2005 14:52:06 EDT Subject: Re: Sound question and film In a message dated 09/04/05 19:18:46 GMT Daylight Time, davidmarks [at] att.net writes: > Digital, Frank, digital. If you set a digital meter to line up at -8, > anything above > normal voice level will clip instantly. > Digital is good, there is much headroom if used wisely. > Yes I know what a PPM is. Yes PPM is wonderful. > SQN mixers, one of the standards of the film industry, made on the Isle > of Man, have PPM meters. > Sound Devices mixers can be put into PPM mode, which is a good thing. I just point out that the originator of this post was talking about analogue. And I am glad to find a fellow-enthusiast for PPMs But, digital devices have quite rigid limiters, hopefully soft ones. That is why monitoring is so important, at the latest point in the signal chain you can manage. Digital systems can't handle overloads. In a 16 bit system, the next count after FF is 00, and so on upwards. This creates huge discontinuities in the signals. Analogue transmitters, have similar problems. Anything which gets the carrier to turn off is bad news. FM transmitters are little better.. They just go out of band. While it may not be a problem for you, it can wreck the reception for others. Frank Wood ------------------------------ Message-ID: <42583584.6070700 [at] att.net> Date: Sat, 09 Apr 2005 15:05:24 -0500 From: David Marks Subject: Re: Sound question and film References: In-Reply-To: FrankWood95 [at] aol.com wrote: > > I just point out that the originator of this post was talking about >analogue. > PamelaAbra wrote: "The signals are to be sent to a mixer (instead of the camera), and then the signal goes to a digital recording system or possibly DAT recorder." No, she was talking about digital and DAT, a digital format. I told her how to align an analog mixer to a digital device using accepted US practices in the film/video business. Dave Marks ------------------------------ Message-ID: <425828EA.5060201 [at] peak.org> Date: Sat, 09 Apr 2005 12:11:38 -0700 From: Pat Kight Subject: Re: He's baaaack... References: In-Reply-To: Steve Jones wrote: > Greetings! > > After falling off the face of the planet, one of the list's past Admins > returns to the fold. Welcome back, Steve! -- Pat Kight kightp [at] peak.org ------------------------------ Message-Id: <599e10473d4a9757619ff68f6e95cf82 [at] nyu.edu> From: Mike Voytko Subject: Seeking overhire lighting/sound techs (NYC) Date: Sat, 9 Apr 2005 16:42:24 -0400 Hi All... I'm looking to add to my overhire list for next season at NYU/Tisch Theatrical Production (MFA Acting/Design/Dance programs) Currently seeking: * sound board ops (experience w/SFX software a big plus) * light board ops (w/ETC Obsession experience) * electricians/MEs Please submit resume/refs. via email to the address below. Include the word "overhire" in the subject line. Please, no phone calls/faxes. Thanks! -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University ------------------------------ Message-Id: <3.0.6.32.20050409135829.016f5220 [at] pop.west.cox.net> Date: Sat, 09 Apr 2005 13:58:29 From: CB Subject: Sound question and film >Any suggestions? I have only worked with DAT only once, but it was in a >studio. This is out in the field and not on a set. >I have no idea what the camera is either.. it isn't a small little digital >hand held one...larger one on a tripod etc. I am pretty sure of. >Any advice with regards to calibration and uncalibrated nominal levels? This >is with the analog signal .... I hate to say this, but from the questions that you are asking, it seems that the project is a bit over your head. The PSM gig requires that you know the format and usage of the audio from capture transducers to what the editor is going to use. Well, not requires, but ya should. You should at least be familiar with the camera and its recording capabilities. Is this actually a film project? Or is it really video? A DAT is like any other digital signal recorder, it wants to see anything up to 0dB, and NOTHING over it. I'm not sure what the "calibration and uncalibrated nominal levels? This is with the analog signal" refers to. Which part of the chain are you asking about? What level the mic should be at, gain wise? What level the gain on the mixer should be at? PSM is sorta like the sound designer for the production. He should be making the decisions as to what gear is used, how the acquired sound is stored, mic choices and almost anything else. I almost had a show ruined because I didn't take responsibilty for where the writer stored the tapes (long story, don't even ask). The director can suggest the DAT, but the editor will have to be able to access the DAT and easily get the info onto whatever platform he uses to edit. The director can suggest a wireless, but if you can hit it with a shottie, its your budget that goes away. I'm guessing that the biggest suggestion I can make is to get the editor, the director, and an experienced PSM together to decide how the hurdles are going to be overcome, and then get a stack of operator's manuals in front of you. 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: In-Reply-To: References: Date: Sat, 9 Apr 2005 16:59:48 -0400 From: Eddie Kramer Subject: Re: Seeking overhire lighting/sound techs (NYC) On 4/9/05 Mike Voytko sent: >I'm looking to add to my overhire list for next season Try calling Local One at 212-333-2500, who knows you may wind-up getting someone from the Stagecraft list. Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Message-ID: <17955060.1113082026238.JavaMail.root [at] ernie.psp.pas.earthlink.net> Date: Sat, 9 Apr 2005 14:27:06 -0700 (PDT) From: Sunil Rajan Reply-To: Sunil Rajan Subject: Re: Sound question and film Cc: pabrah [at] telus.net From: "Pamela Abra" Subject: Sound question and film Date: Fri, 8 Apr 2005 19:54:04 -0700 Hello all I would like some feedback and other opinions with regard to sound in the video/film field please. I am the sound person for an upcoming documentary and the Director has informed me that we will be needing a wireless lav for the actress, (possibly more) as well as regular shot gun mics etc on booms. The signals are to be sent to a mixer (instead of the camera), and then the signal goes to a digital recording system or possibly DAT recorder. I am guessing that this is the best way to record other than sending the signals to an Apple Laptop with Garage Band where it will be recorded as a wave file....but this would have to be a rather large harddrive I am guessing. Any suggestions? I have only worked with DAT only once, but it was in a studio. This is out in the field and not on a set. I have no idea what the camera is either.. it isn't a small little digital hand held one...larger one on a tripod etc. I am pretty sure of. Any advice with regards to calibration and uncalibrated nominal levels? This is with the analog signal .... Hi Pam! Having just completed working on a 24p feature (DVC-Pro Video), I can relate some info that might help! I'm assuming that the camera is a least Digi-Beta or 24p camera, which is the de-facto choice these days. There are a plethora of choices of recording medium these days, and on the movie I worked on, they chose to record audio straight to tape (into the camera, but I insisted on having a mixer in-line), which usually makes it easier to edit later on. If you/they are renting the gear, it'll probably be a timecode DAT (Fostex PD-4, PD-6, etc.). Most location film mixers (I like any of the SoundDevices stuff) can put out a slate tone which usually reads -20 or -10dBu on digital gear at nominal line level gain. I tend to put a vocal head-slate on the tape, giving the audio post folks all the relevant info, something like "Head Slate for Tape # 'x', -name of project-, DP name, mixer/recordist name, sampling rate, timecode info (or not), etc. Following is 1kHz tone at -20dBu" followed by tone. Hope this helps, feel free to email me offlist with any questions! Cheers, Sunil Rajan Freelance Audio Mercenary ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: FW: Gerber update Date: Sat, 9 Apr 2005 18:29:50 -0400 Organization: Home of the RC4 Wireless Dimmer System Message-Id: <20050409222954.MERS27245.tomts25-srv.bellnexxia.net [at] p3m866> > My suggestion to the customer service person I spoke with that that > was all fine and good but perhaps Gerber ought to find a higher > quality steel that had fewer or no grains that rust (like all the > other tool makers) was met with a befuddled silence. I completely agree with all complaints about Gerber customer service. In my mind, that's the key point in this saga. I'm going to stay away from Gerber. But now I'd like to delve more into the makeup of steel... When I was growing up, my father (who was very knowledgable about all things to do with machining, tools, etc.) told me that he would never buy a stainless steel knife because it could never hold an edge as well as carbon steel. The trade-off for having to keep it oiled was a much better knife. Is there a chance that Gerber has entertained this philosophy, but not effectively communicated it? There may be people out there who would buy in, provided they knew what they were getting into. Perhaps -- in some cases -- their blades are better? Or maybe this is all obsolete and outdated metallergy. Does anybody out there know more about steel, stainless steel, and how well they hold an edge? Jim www.theatrewireless.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 9 Apr 2005 18:42:28 EDT Subject: Re: Sound question and film In a message dated 09/04/05 20:04:53 GMT Daylight Time, davidmarks [at] att.net writes: > No, she was talking about digital and DAT, a digital format. I told her > how to align an analog mixer > to a digital device using accepted US practices in the film/video business. Maybe. But up to the input to the recording device, it is an analogue signal. That, I understood, was her concern. It was much the same in the days when it was analogue all the way. OK, digital systems have a much wider dynamic range, but that's all. There are those who will say that digital recording and replay is an invention of the devil, a theory to whoch I do not subscribe. I have an old-fashioned approach to audio equipment. A recorder is a device out of which the signals emerge later, and on demand. But, as near as can be done, the same. So with amplifiers. What goes in the front comes out of the back, only bigger. Totally linear systems. I am aware of the problems. But that should be the designer's aim. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a8.35641ea0.2f89bc67 [at] aol.com> Date: Sat, 9 Apr 2005 19:16:55 EDT Subject: Re: Sound question and film In a message dated 09/04/05 21:45:49 GMT Daylight Time, psyd [at] cox.net writes: > Is this > actually a film project? Or is it really video? It makes little difference. > A DAT is like any other digital signal recorder, it wants to see anything > up to 0dB, and NOTHING over it. I don't know your calibration numbers And, what sort of decibels are you using? I know of several sorts. I'm not sure what the "calibration and > uncalibrated nominal levels? This is with the analog signal" refers to. > Which part of the chain are you asking about? What level the mic should be > at, gain wise? What level the gain on the mixer should be at? > PSM is sorta like the sound designer for the production. He should be > making the decisions as to what gear is used, how the acquired sound is > stored, mic choices and almost anything else. I almost had a show ruined > because I didn't take responsibilty for where the writer stored the tapes > (long story, don't even ask). Nonsense! The PSM knows as much about sound engineering as a frog does about Friday. And the system line-up is a purely enngineering problem . > The director can suggest the DAT, but the editor will have to be able to > access the DAT and easily get the info onto whatever platform he uses to > edit. The director can suggest a wireless, but if you can hit it with a > shottie, its your budget that goes away. Without more information, I can make no mu=ore sensible comments than I have. > I'm guessing that the biggest suggestion I can make is to get the editor, > the director, and an experienced PSM together to decide how the hurdles are > going to be overcome, and then get a stack of operator's manuals in front > of you. I approve of reading the manusls. This is usually helpful. I approve of getting the editor involved. I don't see what the PSM has to contribute, apart from budgetary control. The SD is the principal figure I should expect to see involved. These people know the equipment, what they are trying to do, and how to do it, Frank Wood ------------------------------ Message-Id: <6.2.1.2.0.20050409172639.02990310 [at] localhost> Date: Sat, 09 Apr 2005 17:28:16 -0700 From: Jerry Durand Subject: Re: FW: Gerber update In-Reply-To: References: At 03:29 PM 4/9/2005, you wrote: >When I was growing up, my father (who was very knowledgable about all things >to do with machining, tools, etc.) told me that he would never buy a >stainless steel knife because it could never hold an edge as well as carbon >steel. The trade-off for having to keep it oiled was a much better knife. My father (also a machinist at one point) also didn't like stainless knives. He said the best blades rusted black. Keep them sharp and oiled. I'm still using some of his tools from around WW-II time. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Sat, 09 Apr 2005 21:38:40 -0400 (EDT) From: Stephen Litterst Subject: Re: Positioning your hazer In-reply-to: Message-id: <1800.172.162.119.222.1113097120.squirrel [at] 172.162.119.222> References: > --------------------------------------------------- > as Delbert will tell you, , there's a theatre in Tampa with cable running > through conduit sleeves that pass THROUGH duct work, , , Tampa, Hell! I've got ducts like that in my theatre! And the arena has ductwork conveniently blocking access to the raceways. Steve Litterst ------------------------------ Message-ID: <20050410022746.94038.qmail [at] web61307.mail.yahoo.com> Date: Sat, 9 Apr 2005 19:27:46 -0700 (PDT) From: stage craft Subject: theatre company reference Hi all- The performing arts complex on my campus is having their rigging inspected by William McCorckle of Custom Stage Services. Can anyone provide references (good or other) about the company. Googling the co shows them based in Ellaville, GA. I've got to ask the PAC tech dir why they're getting their rigging inspected since it's only 2 years old (and I'm not sure this company is the installing company)... Mr. McCorckle is also offering a workshop on rigging systems (geared toward students) and I'm interested in getting more info on him. Note that I will be contacting the TD and possibly the company to get more info for my students. -alex- Alex Postpischil Technical Director University of Mississippi (who's own rigging system needs a lot of work, but the Dept & College won't buy the justification/need) -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Message-ID: <20050410024157.5745.qmail [at] web61309.mail.yahoo.com> Date: Sat, 9 Apr 2005 19:41:57 -0700 (PDT) From: stage craft Subject: baaack & related question First, welcome back to Steve & congrats on the success! Steve's leaving MTSU (and reasons he cites) reminds me of similar situations in other academic settings. I'd like to get the list's wisdom on matters relating to treatment of TDs by other faculty members. This includes handling/solving situations such as: 1) where the "Artistic Director" who is a director by training indiscriminately alters designs (mostly minor, but some involve safety devices like railings on elevated platforms) without consulting either the designer (a grad student), faculty designer, or TD; 2) directors who have trouble understanding that design budgets are to be met - not just a suggestion, and no you can't have money from anywhere else; 3) faculty in general with a lack of respect for the technical needs of a production (which includes a lack of recruiting of students interested in tech theatre, leaving almost no one to build the shows); 4) and designers (student & faculty) who can't seem to keep the shop or stage neat. Needless to say, I'm frustrated. I don't remember these types of problems from my undergraduate (UNCG) or graduate education (Wisconsin). At UNCG there was no true tech program (combined with design), as is the case at my present university. But things here just seem so far away from what I've experienced in the rest of the world (including some professional theatre in the DC area)... Can anyone provide some insight?? Yes, I keep trying to make the best of the situation - but the "screw this" mentally is constantly lurking at the back of my mind! I can see the situation getting a lot better with a lot of work and over time, but I'm not sure I can put up with the situation for another 2, 3, or 5 years... I'm not really looking for positive strokes - just examples of ways to improve the thinking/understanding/actions of everyone (including me!!!). -alex- Alex Postpischil Technical Director U of MS -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Message-ID: <1964cf3b0504092013775ac543 [at] mail.gmail.com> Date: Sat, 9 Apr 2005 23:13:03 -0400 From: David Carrico Reply-To: David Carrico Subject: Re: Visiting New York looking for advice In-Reply-To: References: What, Sunil, you got something against the little downtown guys? The Times review of Mr. Labute's latest wasn't that great... ------------------------------ Message-ID: <00ae01c53d7b$9ea4cf40$214b3b45 [at] 0016599365> From: "Robert G. Anderson" References: Subject: Re: baaack & related question Date: Sat, 9 Apr 2005 22:15:55 -0500 Alex: Get in touch with Wayne Durst at Mississippi State. You and he can talk about Mississippi's support for the arts.... his email is dur [at] ra.msstate.edu ----- Original Message ----- From: "stage craft" To: "Stagecraft" Sent: Saturday, April 09, 2005 9:41 PM Subject: baaack & related question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > First, welcome back to Steve & congrats on the > success! > > Steve's leaving MTSU (and reasons he cites) reminds me > of similar situations in other academic settings. I'd > like to get the list's wisdom on matters relating to > treatment of TDs by other faculty members. This > includes handling/solving situations such as: > 1) where the "Artistic Director" who is a director by > training indiscriminately alters designs (mostly > minor, but some involve safety devices like railings > on elevated platforms) without consulting either the > designer (a grad student), faculty designer, or TD; > 2) directors who have trouble understanding that > design budgets are to be met - not just a suggestion, > and no you can't have money from anywhere else; > 3) faculty in general with a lack of respect for the > technical needs of a production (which includes a lack > of recruiting of students interested in tech theatre, > leaving almost no one to build the shows); > 4) and designers (student & faculty) who can't seem to > keep the shop or stage neat. > > Needless to say, I'm frustrated. I don't remember > these types of problems from my undergraduate (UNCG) > or graduate education (Wisconsin). At UNCG there was > no true tech program (combined with design), as is the > case at my present university. But things here just > seem so far away from what I've experienced in the > rest of the world (including some professional theatre > in the DC area)... > > Can anyone provide some insight?? Yes, I keep trying > to make the best of the situation - but the "screw > this" mentally is constantly lurking at the back of my > mind! I can see the situation getting a lot better > with a lot of work and over time, but I'm not sure I > can put up with the situation for another 2, 3, or 5 > years... I'm not really looking for positive strokes - > just examples of ways to improve the > thinking/understanding/actions of everyone (including > me!!!). > -alex- > > Alex Postpischil > Technical Director > U of MS > > -alex- > > Alex M. Postpischil, Technical Director > Department of Theatre Arts > University of Mississippi > University, MS 38677 > 662.915.6993 > 662.915.5968 - fax > > > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business - Try our new resources site! > http://smallbusiness.yahoo.com/resources/ > ------------------------------ Message-ID: <42589F2E.B4071998 [at] cybercom.net> Date: Sat, 09 Apr 2005 23:36:14 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: baaack & related question References: stage craft wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > First, welcome back to Steve & congrats on the > success! > > Steve's leaving MTSU (and reasons he cites) reminds me > of similar situations in other academic settings. I'd > like to get the list's wisdom on matters relating to > treatment of TDs by other faculty members. This > includes handling/solving situations such as: > 1) where the "Artistic Director" who is a director by > training indiscriminately alters designs (mostly > minor, but some involve safety devices like railings > on elevated platforms) without consulting either the > designer (a grad student), faculty designer, or TD; This is a communication and chain of command problem. With the related issues, I will speculate, of authority and responsibility having been separated. Who tells the workers with the tools in their hands what to do? If this is more than one person then this sort of issue will crop up again and again. If the workers are taking these sorts of directions from the overall director, then your chain of command has been broken. You need to educate your workers and the directors that all such direction must pass through the TD or their appropriate deputy ( carps, riggers, electricians, etc. ) before being acted upon. > > 2) directors who have trouble understanding that > design budgets are to be met - not just a suggestion, > and no you can't have money from anywhere else; This is the authority and responsibility being divided up. The TD has the responsibility to stay within the budget, but the director has the authority to expend those resources without having to take responsibility for exceeding the budget. You need to work with your management to find a way to charge those expenses back to the director and/or block any work that has not been budgeted and authorized. Must have authority and responsibility together, otherwise you have something like the US congress and the federal government. > > 3) faculty in general with a lack of respect for the > technical needs of a production (which includes a lack > of recruiting of students interested in tech theatre, > leaving almost no one to build the shows); That's where you need to start doing all that people stuff I'm not so good at. Working within your department and the larger community for understanding and hopefully some respect. This is a never ending struggle. > > 4) and designers (student & faculty) who can't seem to > keep the shop or stage neat. > Again you need to put some responsibility on the culprits. Do you have any carrots and or sticks available to you? This can be scheduling convenient working times in the spaces, charging the production overtime for undue cleanup needs, affecting their grades, dirtbag of the month awards, and so on. Write up clear and consistent guidelines for these carrots and sticks for the individuals involved. Keep records of all the atta-boys and gotchas. Dispense carrots and sticks as provided by your guidelines. --Dale ------------------------------ From: "Sam Fisher" Subject: RE: theatre company reference Date: Sun, 10 Apr 2005 00:52:58 -0400 In-Reply-To: Message-ID: First rigging should be inspected annually. Second, I have experience with Custom Stage's inspections and they are typically more then just inspections. They will do most, if not all, of the required maintenance on a rigging system while they are performing the inspection. Third, it is good to periodically have your system inspected by someone other then the installer. I just finished a job in Pennsylvania for Hall Associates Flying Effects and had to spend some time repairing a lineset on a system that had just been inspected by the local company that installed it. If I was there as an inspector the entire counterweight system (only 3 years old) would have received an F. No, of course it wasn't Sapsis' work. What you should do is explain to your department how much money they will save by having all the venues on campus inspected at the same time. Good Luck. Sam Fisher VP - Fisher Theatrical, LLC. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of stage craft Sent: Saturday, April 09, 2005 10:28 PM To: Stagecraft Subject: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi all- The performing arts complex on my campus is having their rigging inspected by William McCorckle of Custom Stage Services. Can anyone provide references (good or other) about the company. Googling the co shows them based in Ellaville, GA. I've got to ask the PAC tech dir why they're getting their rigging inspected since it's only 2 years old (and I'm not sure this company is the installing company)... Mr. McCorckle is also offering a workshop on rigging systems (geared toward students) and I'm interested in getting more info on him. Note that I will be contacting the TD and possibly the company to get more info for my students. -alex- Alex Postpischil Technical Director University of Mississippi (who's own rigging system needs a lot of work, but the Dept & College won't buy the justification/need) -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Date: Sun, 10 Apr 2005 00:20:02 -0500 Subject: Box Office software... From: Steve Jones Message-ID: In-Reply-To: Greetings! One of my tasks as we open the Plaza Theatre is in selecting Box Office Software. Any suggestions? We have an 1,100 seat house w/ balcony. We will need season, reserve, and general admission tickets and will create seating charts and do sales for different clients as well as hopefully handling ticket sales for other events/venues in town. We also need web based sales as we do not have a full time box office person. I have use FOLIO and do not care for it. I am looking at tickets.com ProVenue Plus. Thanks for any insight. Steve ------------------------------ Date: Sun, 10 Apr 2005 01:34:49 -0400 Subject: Re: theatre company reference From: Bill Sapsis Message-ID: In-Reply-To: on 4/10/05 12:52 AM, Sam Fisher at Sam [at] FisherTheatrical.com wrote: > No, of course it wasn't Sapsis' work. Whew! 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 ------------------------------ End of Stagecraft Digest #358 *****************************