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 21784110; Mon, 11 Apr 2005 03:00:47 -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 #359 Date: Mon, 11 Apr 2005 03:00:35 -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 #359 1. Re: Sound question and film by Brian Munroe 2. Cleaning cyc (was positioning hazer) by "C. Dopher" 3. Re: Gerber update by "Paul Guncheon" 4. Re: Cleaning cyc (was positioning hazer) by JDruc3737 [at] aol.com 5. Re: Cleaning cyc (was positioning hazer) by barney 6. Re: theatre company reference by Delbert Hall 7. Re: Gerber update by Jerry Durand 8. Re: Sound question and film by FrankWood95 [at] aol.com 9. Re: Gerber update by FrankWood95 [at] aol.com 10. Express trackpad being very grabby! by Scott Parker 11. Re: Express trackpad being very grabby! by Greg Persinger 12. Re: Express trackpad being very grabby! by Mat Goebel 13. Re: Vacationer by CB 14. Re: Sound question and film by CB 15. Re: Sound question and film by CB 16. Re: Sound question and film by CB 17. Re: theatre company reference by "Paul Schreiner" 18. Re: Sound question and film by Charlie Richmond 19. Re: Sound question and film by FrankWood95 [at] aol.com 20. Re: Sound question and film by FrankWood95 [at] aol.com 21. Re: Sound question and film by FrankWood95 [at] aol.com 22. Re: Sound question and film by FrankWood95 [at] aol.com 23. Re: Sound question and film by FrankWood95 [at] aol.com 24. Re: Box Office software... by Greg Williams 25. Re: baaack & related question by "Waxler, Steve (waxlers)" 26. Re: Sound question and film by Charlie Richmond 27. related question by *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: Date: Sun, 10 Apr 2005 07:14:36 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Sound question and film In-Reply-To: References: On Apr 9, 2005 7:16 PM, FrankWood95 [at] aol.com wrote: > > Nonsense! The PSM knows as much about sound engineering as a frog does about > Friday. I don't see what the PSM has to contribute, apart > from budgetary control. It took me a minute to figure it out, but PSM, in this case, means Production Sound Mixer. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Date: Sun, 10 Apr 2005 07:54:32 -0400 Subject: Cleaning cyc (was positioning hazer) From: "C. Dopher" Message-ID: In-Reply-To: Marty Petlock wrote: > 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. How about ductowrk over the fly ssytem? As in, right over the center of the cyc? I just pulled down the west-coasted cyc yesterday, getting ready for a dance concert we start teching today. Found that because the TD had west-coasted it a couple of months ago, or more, and no other protection, that the HVAC outlet sitting three feet over the flown-out lineset had deposited a large quantity of dust on/in the cyc. I whipped off what I could with a flogger made of a bunch of tieline, but the cyc remains quite dirty in some very visible areas. Anybody have an idea what to do about this? Cris Dopher, LD ------------------------------ Date: Sun, 10 Apr 2005 03:34:51 -1000 From: "Paul Guncheon" Subject: Re: Gerber update Message-id: <000901c53dd2$13850b80$0202a8c0 [at] yourxhtr8hvc4p> References: Welcome back Steve. What kind of pet does a llama make? <> It could be a factor of a company that names itself using the term "Legendary". <> Extremely possible... the key word being "entertain". It appears that Gerber again is too involved with being "Legendary" to realize they're becoming not very good. While I am in agreement with your father, the higher quality stainless knives that I have certainly hold an edge, but not as well as the antique German chisels that I have. However even those chisels don't rust like the Gerber. Here in Hawai'i, we are well aware of the effects of our environment on the works of man.. Hawai'i doesn't let you keep anything... except maybe rocks. I know how fast steel will rust and corrode. When I moved here, I brought my car, a Checker A-11, in cherry condition. It rusted in half within a year. I'm serious, the body actually broke in half... this after the trunk floor fell off and the rear windshield came out. A little about steel from Google: Knife Materials The metal that a knife blade is made out of is a very important consideration when purchasing a knife. The different metals all have different characteristics of sharpening and holding an edge. Here are the three most common types of knife materials. 1. Carbon Steel This is the Traditional knife material used most widely over the past few hundred years. It is a good material because it can hold an extremely sharp edge. It also has several disadvantages, for instance, it discolors easily and sometimes transfers color to the food you are cutting. Carbon Steel also reacts with eggs, onions and acid foods (it may leave a metallic taste). 2. Stainless Steel This material will not rust or corrode but is a very poor choice for knives, it is too brittle and it is difficult to keep a very sharp edge on a stainless steel knife. 3. High Carbon Stain Free Steel This is a relatively new alloy that combines the best features of Carbon Steel and new modern alloy metals (Chromium-Molybdenum Steel). A quality High Carbon Stain Free Alloy Steel knife should have a Rockwell Hardness of 56/57 , this steel is the perfect hardness for the professional. It takes an edge as well as Carbon Steel and holds it longer, it will not rust, corrode, discolor or stain the knife or food. Knives made of this material are highly prized by Professional Chefs and cooks and they are traditionally very expensive. High Carbon Steel, High Carbon Alloy Steel, High Carbon Stain Free Steel High Carbon Rust Frei Steel and High Carbon Rust Free Steel all fall under this category. There are a few other alloy steel names that are manufactured with similar materials. 4. Ceramic Cutlery This is a new process combines the best features of Cutlery and new modern age ceramics. These ceramics are the second hardest edge available, followed by diamonds. >> Laters, Paul "I'm so depressed" cried Tom. ------------------------------ From: JDruc3737 [at] aol.com Message-ID: <1c5.25b60ac4.2f8a8a50 [at] aol.com> Date: Sun, 10 Apr 2005 09:55:28 EDT Subject: Re: Cleaning cyc (was positioning hazer) Cris, Maybe you should use the flogger on the TD instead. It won't get the cyc any cleaner, but it might make you feel better. Jeff In a message dated 4/10/2005 7:55:28 AM Eastern Daylight Time, brooklyn [at] dopher.com writes: Found that because the TD had west-coasted it a couple of months ago, or more, and no other protection, that the HVAC outlet sitting three feet over the flown-out lineset had deposited a large quantity of dust on/in the cyc. I whipped off what I could with a flogger made of a bunch of tieline, but the cyc remains quite dirty in some very visible areas. Anybody have an idea what to do about this? Jeffrey Drucker Production Manager Bard College Theater & Dance Depts. 845-758-7956 drucker [at] bard.edu ------------------------------ Message-ID: <4259326E.1070107 [at] JosephCHansen.com> Date: Sun, 10 Apr 2005 10:04:30 -0400 From: barney Subject: Re: Cleaning cyc (was positioning hazer) References: In-Reply-To: C. Dopher wrote: >the cyc remains quite dirty in some very >visible areas. > >Anybody have an idea what to do about this? > In our shop we lay drapes and drops out and use a carpet vacuum. You certainly do not want to use an water based product as it will mainly move the dirt and the flame retardant around and not remove it. Barney Simon JC Hansen Co. Drapes, Drops, and Dance Floors ------------------------------ Message-ID: Date: Sun, 10 Apr 2005 10:51:22 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: theatre company reference In-Reply-To: References: I agree with everything in Sam's post. I have seem several installs done by Custom Stage, and they were all well done. I have also done a number of shows in PA and have found that one rigging company in that state (not Sapsis) does a very poor job installing stage rigging. This company seems to do a lot of work in schools in PA and I suspect this is because they are the low bidder. I have taken a position with ZFX Flying Illusions, and last weekend we were discussing the problem with poor rigging in a large number of PA schools, so this rigging company is widely known for the poor quality of their work. Custom Stage has a good reputation as an installer. I also agree with Sam that your rigging should be inspected once per year. I recommend that you alternated inspectors each year. Fresh eyes sometimes see things that get missed. The cost of an inspection will be very little compared to the cost of an accident. -Delbert > > 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/ > > -- Delbert Hall Phone: 423-772-4255 ------------------------------ Message-Id: <6.2.1.2.0.20050410101025.0294b1f0 [at] localhost> Date: Sun, 10 Apr 2005 10:14:05 -0700 From: Jerry Durand Subject: Re: Gerber update In-Reply-To: References: At 06:34 AM 4/10/2005, you wrote: >4. Ceramic Cutlery > >This is a new process combines the best features of Cutlery and new modern >age ceramics. These ceramics are the second hardest edge available, followed >by diamonds. >> My wife has one of these knives in the kitchen. Wonderful for cutting things without bones, but being extremely hard, it's easy to chip the edge if you do hit something hard and nothing we have could resharpen it (you send it back to Kyocera for repairs). ALWAYS use a polyethylene cutting board. She wisely doesn't let me use the knife. :) PS, not cheap! ---------- 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 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <60.532f23e4.2f8abe3d [at] aol.com> Date: Sun, 10 Apr 2005 13:37:01 EDT Subject: Re: Sound question and film In a message dated 10/04/05 12:15:19 GMT Daylight Time, bpmunroe [at] gmail.com writes: > It took me a minute to figure it out, but PSM, in this case, means > Production Sound Mixer. Confusion! It also, and more usually, stands for Production Stage Manager. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1da.39b533be.2f8ac2ab [at] aol.com> Date: Sun, 10 Apr 2005 13:55:55 EDT Subject: Re: Gerber update In a message dated 10/04/05 18:14:50 GMT Daylight Time, jdurand [at] interstellar.com writes: > My wife has one of these knives in the kitchen. Wonderful for cutting > things without bones, but being extremely hard, it's easy to chip the edge > if you do hit something hard and nothing we have could resharpen it (you > send it back to Kyocera for repairs). This can happen to carbon steel knives, too. I still have one that my father found a piece of bone in a joint with. There is a big jag in the cutting edge. Fortunately, I have another, of the same period (1930-ish) without any jags. I have yet a third, fully three feet long, with a horn handle. It was especially made for cutting the cake at my parent's wedding. It will be nosurprise that our family business was cutlery, In Sheffield, England. ALWAYS use a polyethylene cutting > board. She wisely doesn't let me use the knife. :) Myself, I prefer wood. While it's hell to keep clean, it doesn't seem to blunt the knives the way hard polyethylene does. I have seen adverts for toughened glass cutting boards, and can think of no quicker way to wreck a good knife. Frank Wood ------------------------------ Message-ID: <90d9c998050410110665ba41c1 [at] mail.gmail.com> Date: Sun, 10 Apr 2005 14:06:56 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Express trackpad being very grabby! Greetings All, Here I am in tech trying to write cues and the trackpad wants all the attention. I think the pad's cover is simply warn out and is not releasing itself. Does anyone know how to simply disconnect it? I wanted to ask before I open the thing and start mucking around. If I disconnect just the pad's wires, will I kill anything else in the board? Thanks.. -- Take care, Scott Scott C. Parker ------------------------------ Date: Sun, 10 Apr 2005 13:30:11 -0500 Subject: Re: Express trackpad being very grabby! From: Greg Persinger Message-ID: In-Reply-To: Scott C. Parker wrote: > Does anyone know how to simply disconnect it? I wanted to ask > before I open the thing and start mucking around. > If I disconnect just the pad's wires, will I kill anything else in the board? Scott, I highly recommend that you not take your Express apart as it is easy to do major damage to the console if you do it incorrectly. Because the Express was the "budget" series of the Expression line it is built much differently then the rest of the Expression line consoles. What you will find when you open it up is that everything is soldered to a PC board so there won't be any wires to remove. As far as repair goes it will probably go back to the factory as most dealers will not touch the insides of an Express because of the difficulty of getting them apart and back together correctly. Sorry I don't have better news for you. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: Date: Sun, 10 Apr 2005 12:28:32 -0700 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Express trackpad being very grabby! In-Reply-To: References: I had a similar problem a while ago with an express board as well. Try cleaning the trackpad with a solution of rubbing alcohol and water (mix equal parts by volume). Worked for me. On Apr 10, 2005 11:30 AM, Greg Persinger wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Scott C. Parker wrote: > > > Does anyone know how to simply disconnect it? I wanted to ask > > before I open the thing and start mucking around. > > If I disconnect just the pad's wires, will I kill anything else in the board? -- Mat Goebel Cell: 510.693.1448 ------------------------------ Message-Id: <3.0.6.32.20050410125729.01919ae0 [at] pop.west.cox.net> Date: Sun, 10 Apr 2005 12:57:29 From: CB Subject: Re: Vacationer >I LOVE IT! can I steal... borrow... ehem..... use this definition? If the credits don't read like my name is Chris Babble, sure. All I ask is that you spell my name right... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050410130616.01706310 [at] pop.west.cox.net> Date: Sun, 10 Apr 2005 13:06:16 From: CB Subject: Re: Sound question and film >This seems a very low level. BBC practice was to set line-up tone at 8dB >below the system peak level. With a 96dB (at least) dynamic range on almost any digital recorder nowadays, that12 to 20 dB isn' being missed. As David said, however, setting up for -8 for the system leaves you on;y 8 db of headroom. Period. No going beyond. Even a brickwall limiter lets t squeek once in a while, and its a reshoot for the scene. Tape is cheap, even film is cheap compared to the rental on the gear, the talent, and the crew. That lost 20 db is so much easier to lose than even one take. >But I am not familiar with modern metering customs. We kinda got that. Seeing as you knew that, its kinda odd that you would jump in on the topic about contemporary metering,,, >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. Yup. There a number of meters available on quite a large number of gera for film and video that let you choose the ballistics that you are familiar with/need for the job. Weclome to the nineties, Frank... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050410131014.01706310 [at] pop.west.cox.net> Date: Sun, 10 Apr 2005 13:10:14 From: CB Subject: Re: Sound question and film >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. Whcih is a really great idea. I like to include a phone number so that the editor can get me if he has any questions, and doesn't have to go hunting up my contact info. I also like to start the header with a 'good morning' or hello, and end it with a wish for a happy editing session. Just a little trick Jim Pilcher taught me... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050410131859.01706310 [at] pop.west.cox.net> Date: Sun, 10 Apr 2005 13:18:59 From: CB Subject: Re: Sound question and film >It makes little difference. *Sigh* [smartass]Yeah, I know Frank. Sound for film and sound for video are exactly the same. As with vidoe game sound and theatreical sound. They all use the same methodology, and the exact same tools. Even if its digital. [/smartass] >I don't know your calibration numbers And, what sort of decibels are you >using? I know of several sorts. The ones on the front to the DAT machine Frank. dBm >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 'SD' in the film world, on location*, is commonly refered to as the 'Production Sound Mixer' or PSM. The 'Sound Designer' (if there is one) is someone that comes in in post, mostly. He 'may' be involved from the beginning, but only in theoretical discussions, usually. >Without more information, I can make no more sensible comments than I have. We've been having that discussion for the last three or four years, Frank. I like to put it, when I find myself in this situation, "Dang!, Sorry! I just couldn't shuddup any faster!" *read the sig, Frank. Read it again. Read it *closely*. 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... ------------------------------ Subject: RE: theatre company reference Date: Sun, 10 Apr 2005 16:10:59 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7B6 [at] exchange.rmwc.edu> From: "Paul Schreiner" > 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) Theoretically, rigging should be inspected every year. And the first couple of times around, I'd probably ask someone not involved in the installation to do it, too, so they couldn't cover their butts if something was wrong with the install. ------------------------------ Date: Sun, 10 Apr 2005 21:57:12 +0100 (BST) From: Charlie Richmond Subject: Re: Sound question and film In-Reply-To: Message-ID: References: On Sun, 10 Apr 2005, CB wrote: >> I don't know your calibration numbers And, what sort of decibels are you >> using? I know of several sorts. > > The ones on the front to the DAT machine Frank. dBm I'm sure Frank will catch this little slip so here's a way to try to calm the situation down: dBm is an absolute power reference level relative to 1mW and it's not what the DAT machine is calibrated in. Close but the recording level can be adjusted in dB to be related to dBm any way you want it ;-) Relatively minor point, though, since the machine is calibrated in dB which is adjusted to relate to dBm input levels at the input jack in a specific fashion. Charlie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19c.31064e06.2f8af71e [at] aol.com> Date: Sun, 10 Apr 2005 17:39:42 EDT Subject: Re: Sound question and film In a message dated 10/04/05 20:53:28 GMT Daylight Time, psyd [at] cox.net writes: > With a 96dB (at least) dynamic range on almost any digital recorder > nowadays, that12 to 20 dB isn' being missed. As David said, however, > setting up for -8 for the system leaves you on;y 8 db of headroom. Period. > No going beyond. This isn't true. With analogue recording systems, with which I have spent my life, you are making judgements about signal-to-noise ratios, and distortion levels. If you go over the normal +8dB, there will be more distortion than is generally acceptable. Sometimes it happens, even though you are sitting there with your hands on the faders. And you can live with it. The closer you get to the transmitter, the less tolerable it is. With an analogue transmitter, turning off the carrier by over-modulation is a grave sin: with an FM transmitter, you will be sending out-of-band signals, which may upset innocent parties on adjacent channels. Digital devices have even more rigid limits. The next step after FF, at the 16-bit level, is 00. Transgressing this limit produces really horrible noises. So for systems with more bits. But all of these, and AM and FM transmitters, have limiters in the line. One BBC design was particularly clever. The audio signal was delayed, and the signal going to the control element was not. This meant that the gain was reduced before the peak arrived. At the other end of the scale, you want to have the highest safe level, to keep away from the 'noise floor'. I have always been taught to record at the highest safe level. This gives you the best noise performance. Uncontrolled levels are difficult. When I did our deaf-aid system, I put as much headroom in as I could. Each microphone has an head amplifier, about 6" form the mike. This is capable of sending 40V back to the passive mixer, which drives the Sennheiser system. Except when someone fires off maroons, it is seldom tested. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f5.76691d9.2f8afb4a [at] aol.com> Date: Sun, 10 Apr 2005 17:57:30 EDT Subject: Re: Sound question and film In a message dated 10/04/05 21:07:18 GMT Daylight Time, psyd [at] cox.net writes: > > >I don't know your calibration numbers And, what sort of decibels are you > >using? I know of several sorts. > > The ones on the front to the DAT machine Frank. dBm Unlikely. These have specific impedance considerations. I Think it mrorelikeky that you mean dBu. Well, there are several different sorts of Decibel. Don't forget that Decibels are a ratio measurement, and nothing else. By tagging a character onto the end, tyou can specify the reference point. > > >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 'SD' in the film world, on location*, is commonly refered to as the > 'Production Sound Mixer' or PSM. The 'Sound Designer' (if there is one) is > someone that comes in in post, mostly. He 'may' be involved from the > beginning, but only in theoretical discussions, usually. > > >Without more information, I can make no more sensible comments than I have. > > We've been having that discussion for the last three or four years, Frank. > I like to put it, when I find myself in this situation, "Dang!, Sorry! I > just couldn't shuddup any faster!" Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 10 Apr 2005 18:08:19 EDT Subject: Re: Sound question and film In a message dated 10/04/05 21:58:13 GMT Daylight Time, charlier [at] RichmondSoundDesign.com writes: > I'm sure Frank will catch this little slip so here's a way to try to calm the > > situation down: dBm is an absolute power reference level relative to 1mW > and > it's not what the DAT machine is calibrated in. Close but the recording > level > can be adjusted in dB to be related to dBm any way you want it ;-) > Relatively > minor point, though, since the machine is calibrated in dB which is adjusted > to > relate to dBm input levels at the input jack in a specific fashion. Charlie. You're off beam, here. dBm refers to 600 ohm junctions. These went out with the ark, although the disign principles are still useful. You probably mean dBu. These use the same numbers, but the impedance implications are missing. Zero level is 0.775V. RMS. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f4.7672735.2f8aff23 [at] aol.com> Date: Sun, 10 Apr 2005 18:13:55 EDT Subject: Re: Sound question and film In a message dated 10/04/05 20:53:28 GMT Daylight Time, psyd [at] cox.net writes: > Yup. There a number of meters available on quite a large number of gera > for film and video that let you choose the ballistics that you are familiar > with/need for the job. > Weclome to the nineties, Frank. Well, I stand by what I have said. There is no better meter than the BBC PPM. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 10 Apr 2005 18:15:51 EDT Subject: Re: Sound question and film In a message dated 10/04/05 20:57:34 GMT Daylight Time, psyd [at] cox.net writes: > >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. > > Whcih is a really great idea. I like to include a phone number so that > the editor can get me if he has any questions, and doesn't have to go > hunting up my contact info. I also like to start the header with a 'good > morning' or hello, and end it with a wish for a happy editing session. > Just a little trick Jim Pilcher taught me... Fine. But don't forget the clapper-board. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <4607b95650e06ea9d3d8afd361722c75 [at] appstate.edu> From: Greg Williams Subject: Re: Box Office software... Date: Sun, 10 Apr 2005 20:05:11 -0400 On Apr 10, 2005, at 1:20 AM, Steve Jones wrote: > One of my tasks as we open the Plaza Theatre is in selecting Box Office > Software. Any suggestions? ... I am looking at tickets.com ProVenue > Plus. > Hello Steve, and welcome back! We use ProVenue Plus. It is a very versatile system, fairly easy to learn to use, and has a lot of powerful features that you can "grow into" as you feel the need. It can also do web-based sales right out of the box. The road-house where I worked until a couple of years ago also uses it. Ping me off-list if you'd like me to put you in contact with their box office person, who is a whiz at ProVenue. She can answer any in-depth questions. Hope that helps! -=Greg Williams=- Production Manager Valborg Theatre, Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: baaack & related question Date: Sun, 10 Apr 2005 21:14:54 -0400 It has to start with respect. If the faculty and staff do not respect each other and each other's work there is very little that can make that right. And then the students will follow the faculty's lead. Here the design and technical faculty have a great deal of input on the selection of show for the season. We do not have a voice in what the performing students need or get to choose our favorite scripts, but we do get to say that those two big chorus shows in the same quarter can not be accommodated by the costume shop; or that multi, multi scene show can not be done in the short production period. Things like that. And then we are given the budgets... The designers and directors design the show and we get to cost them. If they are over budget we get to sit with the designer and see how they can be made to fit within the budget. And if they can't be satisfactorily cut, then they need to reconceive and redesign the show. It is all handled pleasantly and professionally. It is not a personal attack. I am not sure how we got there but this is the way that it works for us. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 --------------------------------------------------- 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. 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: Mon, 11 Apr 2005 03:15:47 +0100 (BST) From: Charlie Richmond Subject: Re: Sound question and film In-Reply-To: Message-ID: References: On Sun, 10 Apr 2005 FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 10/04/05 21:58:13 GMT Daylight Time, > charlier [at] RichmondSoundDesign.com writes: > >> I'm sure Frank will catch this little slip so here's a way to try to calm > the >> >> situation down: dBm is an absolute power reference level relative to 1mW >> and >> it's not what the DAT machine is calibrated in. Close but the recording >> level >> can be adjusted in dB to be related to dBm any way you want it ;-) >> Relatively >> minor point, though, since the machine is calibrated in dB which is > adjusted >> to >> relate to dBm input levels at the input jack in a specific fashion. > > Charlie. > > You're off beam, here. dBm refers to 600 ohm junctions. These went out > with the ark, although the disign principles are still useful. As usual, you're half right. I'm not the one who used dBm the first time -- Chris was and I was saying exactly what you are -- that dBm refers to a 1mW power level [in a 600 ohm circuit]. Get with the programme ;-) > You probably mean dBu. These use the same numbers, but the impedance > implications are missing. Zero level is 0.775V. RMS. I didn't mean that at all. I meant what I said, but this kind of conversation gets complicated even on a technical sound list so I'm not going to get drawn into it any further. Your definition of dBu is correct and it is the preferred one for measuring signal levels at interconnects exactly as you say but Chris was referring to the dB level on the 'front' of the DAT, which presumably means the metering, but I'll bow out now and let you two guys go back at it again ;-) Charlie ------------------------------ Message-ID: <000701c53e3f$cb3f9250$0500a8c0 [at] lpt> From: Subject: related question Date: Sun, 10 Apr 2005 21:40:14 -0500 Organization: Minnesota Ballet <... I'm not really looking for positive strokes - just examples of ways to improve the thinking/understanding/actions of everyone (including me!!!). -alex-> I'm sure many people on the list will say "I feel your pain." We've all been there, done that, still doing it! I was given a little nugget of wisdom many years ago: There are three ways of doing something, and you can only do two of them at the same time. 1) You can do it quickly. 2) You can do it with high quality. 3) You can do it cheap. Quick and high quality will not be cheap. Quick and cheap will not be high quality. Cheap and high quality will not be done any time soon. My second phrase of wisdom I told my Artistic Director over and over again was that I could do anything his imagination could think up, he just had to foot the bill to make it happen. To my surprise one day (a year later) we were talking about something he wanted to do and I told him we (could) make it happen. His response was: "Yea, but can I afford it?" These two nuggets of wisdom have done wonders for me in getting my message to directors and has improved the "thinking/understanding" of those around me. Kenneth Pogin Production Manager / Tour Manager Minnesota Ballet ------------------------------ End of Stagecraft Digest #359 *****************************