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 21799082; Tue, 12 Apr 2005 03:01:14 -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 #360 Date: Tue, 12 Apr 2005 03:01:04 -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 #360 1. Re: theatre company reference by "Bll Conner" 2. Re: theatre company reference by "Jeffrey E. Salzberg" 3. Re: theatre company reference by Greg Bierly 4. Re: Cleaning cyc (was positioning hazer) by "Paul Schreiner" 5. Re: baaack & related question by "Paul Schreiner" 6. FW: related question by "jsmith at theatrewireless.com" 7. scuff marks on stage floor by "David R. Krajec" 8. Re: theatre company reference by Christopher Haas CEHAAS 9. Re: scuff marks on stage floor by "Merel Ray-Pfeifer" 10. Re: theatre company reference by Bruce Purdy 11. Re: baaack & related question by "Chris Warner" 12. Re: He's baaaack... by "Warren Stiles" 13. Re: Box Office software... by "Warren Stiles" 14. Re: theatre company reference by "Sam Fisher" 15. Re: Gerber update by CB 16. Re: Sound question and film by CB 17. Re: Sound question and film by CB 18. Re: Sound question and film by CB 19. Re: Sound question and film by CB 20. Re: Sound question and film by CB 21. related question by CB 22. Re: Gerber update by Mick Alderson 23. Scrim repair by "Paul Schreiner" 24. Re: Scrim repair by Barney Simon 25. Dance towers by "Steve B." 26. Re: Cleaning cyc (was positioning hazer) by Chris Davis 27. Re: related question by Paul Puppo 28. Re: Sound question and film by FrankWood95 [at] aol.com 29. Delrin by "Warren Stiles" 30. Re: related question by FrankWood95 [at] aol.com 31. Re: Sound question and film by FrankWood95 [at] aol.com 32. Re: related question by "Occy" 33. Re: Delrin by Dale Farmer 34. Re: Delrin by Mark O'Brien 35. Re: Sound question and film by Greg Williams 36. Re: Delrin by "Occy" 37. Re: theatre company reference by "Robert Bruemmer" *** 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: <001a01c53e91$5f949440$6a01a8c0 [at] BCA1> Reply-To: "Bll Conner" From: "Bll Conner" Subject: Re: theatre company reference Date: Mon, 11 Apr 2005 07:24:08 -0500 I'm a little uneasy with the notion of annual rigging inspections - as in one rule fits all and every system should be inspected annually no matter how small or how seldom used and every system should be inspected annually no matter how large or how heavily used. Further, it would seem the thoroughness and competency of the inspector is still more critical than the frequency of the inspection. So post the name of the not so hot rigging company in PA already. Bill ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: bill-conner [at] att.net ('Bll Conner') Subject: RE: theatre company reference Date: Mon, 11 Apr 2005 08:32:47 -0400 Message-ID: <001201c53e92$947610c0$6601a8c0 [at] Dell> In-Reply-To: > I'm a little uneasy with the notion of annual rigging > inspections It might not always be necessary, but I can't imagine a situation in which it would hurt. ------------------------------ In-Reply-To: References: Message-Id: <82010003aab994c7d56b76569829eb05 [at] dejazzd.com> From: Greg Bierly Subject: Re: theatre company reference Date: Mon, 11 Apr 2005 08:40:55 -0400 > So post the name of the not so hot rigging company in PA already. > > Bill If they are who I think they are I don't know there name (if they even have one). They were doing two installs at once in adjacent counties. They were working during the day at a new high school theater and driving the hour to a newly renovated performing arts center with sometimes an hour or two of sleep between the two if they got lucky. Both were coming down to turnover dates and they flat out refused to look at punch-list items since they were "punchy" themselves. They got the job done and that was it. No attention to detail. I don't know if they were hired by the GC, a subcontrator, or rigging supplier. Nice enough guys when they had sleep. In there defense they were up against some impossible timelines BUT you should never have to run overlapping 18 hour shifts on two simultaneous installs. Admit your overbooked and call for help even if it means calling in your competitor. Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: RE: Cleaning cyc (was positioning hazer) Date: Mon, 11 Apr 2005 09:13:27 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7B9 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Maybe you should use the flogger on the TD instead. It won't=20 > get the cyc any=20 > cleaner, but it might make you feel better. All well and good, but there's always the chance the TD might actually enjoy that sorta thing... ------------------------------ Subject: RE: baaack & related question Date: Mon, 11 Apr 2005 09:26:04 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7BA [at] exchange.rmwc.edu> From: "Paul Schreiner" > 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.=20 In my experience, part of the problem with directing faculty/technical staff relationships stems from the fact that in many places the technical personnel are staff and not faculty. In certain institutions, with certain people in charge, there then becomes this sense of "second-class citizenship". =20 A few years ago, I was working on a production of "Betty's Summer Vacation" in an already overloaded schedule. The director (with whom I never saw eye to eye...only partly cuz she was married to another TD-type) was expecting a railing on a particular platform; this railing had never been drawn by the designer on his groundplan, and had never been communicated to me. The director (who also had a habit of directing scenic/technical notes to the designer in person and not me in any form of written communication) got a bit snippy after rehearsal one night, and made a comment about needing the railing and when were we going to get it. I replied that I'd have it up as soon as I got a note about it, because it wasn't on the drawing. After I left, she scrawled a rather rude note on a piece of legal pad paper and taped it to the platform in question--and did this in the presence of students. Yes, it's an all-too common attitude. But I haven't found a solution to it other than to present the problem to the chair and hope s/he is sympathetic; and, if not, find an institution that hasn't yet succumbed to this mindset. S'why I'm here and not there any more! ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: FW: related question Date: Mon, 11 Apr 2005 09:38:55 -0400 Organization: Home of the RC4 Wireless Dimmer System Message-Id: <20050411133857.YVCK21470.tomts22-srv.bellnexxia.net [at] p3m866> I've always liked that one. Even further reduced: - cheap - fast - good Pick any two! Jim www.theatrewireless.com > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > productionmanager [at] minnesotaballet.org > Sent: April 10, 2005 10:40 PM > To: Stagecraft > Subject: related question > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > <... 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 > > > > ------------------------------ Reply-To: From: "David R. Krajec" Subject: scuff marks on stage floor Date: Mon, 11 Apr 2005 09:21:12 -0500 Message-ID: In-Reply-To: Here's a poser for y'all! Strips of luan (laid to simulate a wood floor), stained and sealed with a flat acrylic sealer (brand unknown). Some shoes are leaving serious black scuff marks on the floor. Scuff marks are very hard to get up. Any ideas on how to prevent this from happening? The finish has to be flat. Would a polyurethane work? Opening night is Thursday. Thanks, David K. ------------------------------ In-Reply-To: Subject: Re: theatre company reference Message-ID: From: Christopher Haas CEHAAS Date: Mon, 11 Apr 2005 10:25:32 -0400 I worked with William McCorkle many years ago when he was performing inspections for Custom Rigging out of Greensboro and he inspected the PAC for which I was the TD. He was a great guy to deal with, and really worked hard at both the inspection and at educationg myself and the students who were assisting with the inspection. I second the earlier comment about him performing maintenance while inspecting, it seemed that all the little things he caught, he fixed because it was "easier to do it now while I'm right here". While it has been several years since I dealt with him, I wouldn't hesitate to work with him again or to bring his company in to perform work for me. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-Id: Date: Mon, 11 Apr 2005 09:33:51 -0500 From: "Merel Ray-Pfeifer" Subject: Re: scuff marks on stage floor Here's a poser for y'all! Strips of luan (laid to simulate a wood floor), stained and sealed with a flat acrylic sealer (brand unknown). Some shoes are leaving serious black scuff marks on the floor. Scuff marks are very hard to get up. Any ideas on how to prevent this from happening? The finish has to be flat. Would a polyurethane work? Opening night is Thursday. Thanks, David K. No poser at all I just had a show with that situation in January. Start with a nylon scrubby the kind you would use on a teflon pan. If that isn't enough a slightly damp rag with paint thinner. Dont rub to hard or to much. You may need to do a touch up with more poly afterwards. But a light coat of poly will give it a real fresh look for opening. Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 ------------------------------ Date: Mon, 11 Apr 2005 10:42:26 -0400 Subject: Re: theatre company reference From: Bruce Purdy Message-ID: In-Reply-To: >> I'm a little uneasy with the notion of annual rigging >> inspections > > It might not always be necessary, but I can't imagine a situation in > which it would hurt. > > If you can't even imagine it, you haven't ever dealt with the economics of operating a non profit theatre in small town USA! :-) ------------------------------ Message-ID: <004201c53ea6$43c8bf10$6401a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: baaack & related question Date: Mon, 11 Apr 2005 07:53:47 -0700 Sadly it's the attitude among many in political instutions it appears, one of the theatre groups I work with have been notified that the space would demolished in approximately a year, leaving the group without a space until a new library can be built, considering this is California, you can imagine how long it could take. Chris ----- Original Message ----- From: "Paul Schreiner" To: "Stagecraft" Sent: Monday, April 11, 2005 6:26 AM Subject: Re: baaack & related question Yes, it's an all-too common attitude. But I haven't found a solution to it other than to present the problem to the chair and hope s/he is sympathetic; and, if not, find an institution that hasn't yet succumbed to this mindset. S'why I'm here and not there any more! -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.5 - Release Date: 4/7/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.5 - Release Date: 4/7/2005 ------------------------------ From: "Warren Stiles" Date: Mon, 11 Apr 2005 10:09:27 -0500 Subject: Re: He's baaaack... Message-Id: <20050411150928.27486CDA75 [at] ws1-2a.us4.outblaze.com>

Hi Steve,

Welcome back to the list, and congratulations on the new baby and other = successes.

G. Warren Stiles


> Greetings!
> 3) We had a baby (Natalie Hope Jones) and h= er first birthday is next
> Saturday.

Dew knot trus=
sed yore spell chequer two fined awl yore mistakes. - Brendan Hills

------------------------------ From: "Warren Stiles" Date: Mon, 11 Apr 2005 10:18:20 -0500 Subject: Re: Box Office software... Message-Id: <20050411151821.09755CDA3E [at] ws1-2a.us4.outblaze.com>

I don't have any personal experience with it, but as I was leaving Vande= rbilt, I believe that they were trying out Velvetseat.com for web based tic= ket sales with some success. IIRC it handles credit card sales, season subs= criptions, seating charts, etc... and is compatable with existing websites.= Has anyone else had experience with this?

G. Warren Stiles

----- Original Message -----
snip
> > Greetings!
>
> One of my tasks as we open the Plaza Th= eatre is in selecting Box Office
> Software.
snip




Dew knot trussed yore spell chequer two fined awl yore mi=
stakes. - Brendan Hills


------------------------------ From: "Sam Fisher" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: theatre company reference Date: Mon, 11 Apr 2005 11:25:45 -0400 In-Reply-To: Message-ID: A yearly rigging inspection doesn't necessarily have to be done by a rigging company. For instance the competent staff of a venue could thoroughly inspect their systems annually and every few years bring in an outside company to also inspect it. Sam Fisher VP - Fisher Theatrical, LLC. 410-455-9641 office 410-455-9643 fax 410-961-0921 cell All information contained in this email, including any attachments, is to be treated as Confidential. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E. Salzberg Sent: Monday, April 11, 2005 8:33 AM To: Stagecraft Cc: 'Bll Conner' Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I'm a little uneasy with the notion of annual rigging > inspections It might not always be necessary, but I can't imagine a situation in which it would hurt. ------------------------------ Message-Id: <3.0.6.32.20050411101138.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:11:38 From: CB Subject: Re: Gerber update >When I moved here, I brought >my car, a Checker A-11, in cherry condition. It rusted in half within a >year. AAAUGH! You took a Checker to Hawaii?!? That's like tearing the wings of of spotted owls! Anyone who is going to a seaside or island locaton, or any other car-eating environment that has to find a good home for a Checker, or an old Ferrari, whatever, I have garage space in Tucson... 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: <3.0.6.32.20050411101442.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:14:42 From: CB Subject: Re: Sound question and film >Confusion! It also, and more usually, stands for Production Stage Manager. Except in film, where there isn't one... 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: <3.0.6.32.20050411102330.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:23:30 From: CB Subject: Re: Sound question and film >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. HMmm... I was going to say something else having to do with dBm, and then thought better of it, and I can't for the life of me remember what it was. I deleted the sentence, but I must have left those three letters. Listen to Charlie, they aren't the same, and I apologize for the mixup if it confused anyone. 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: <3.0.6.32.20050411103627.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:36:27 From: CB Subject: Re: Sound question and film >> 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. >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. First you say it isn't true, then you go on to prove my point. On a digital recorder,(which is what we were posting about) the analog experience that you have is somewhat counterproductive in the level-setting arena. First, the noise floor is almost a non-issue, secong, the next step after FF is going to be the first step after 0 dBFS, and will be unusable. Therefore, if you set up so that nominal levels are -8, and 0 is the last usable bit, you have 8 dB of headroom, adn no more. >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. This was all true for analog, not quite as true for digital. As I said, the noise floor is so far down as to be almost non-existant (audio purists will now start the argument over the meaning of the word non-existant) and headroom beyond 0 dBFS IS non-existant, these rules no longer apply in the same manner. 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: <3.0.6.32.20050411103847.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:38:47 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, >Fine. But don't forget the clapper-board. Quoi?!? What ever for? 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: <3.0.6.32.20050411104139.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:41:39 From: CB Subject: Re: Sound question and film > I'm not going to get drawn >into it any further. >I'll bow out now and let you two guys go back at it again ;-) Once again, Charlie shows just how much smarter he is than 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: <3.0.6.32.20050411104353.016f69d8 [at] pop.west.cox.net> Date: Mon, 11 Apr 2005 10:43:53 From: CB Subject: related question >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. Also one of my favorites. I let them know that the answer is always yes in my shop. The real question that they need to know the answer to is: "Can you write the check?" 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... ------------------------------ Date: Mon, 11 Apr 2005 12:42:33 -0500 From: Mick Alderson Subject: Re: Gerber update Message-id: Paul Guncheon reposted from Google: > > 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 > How well an steel takes and hold an edge has to do with how fine grained it is (how big are the crystals that form as it cools) and how inherently hard it is. Carbon steel is pretty forgiving, so it's popular. It is fairly fine grained and the carbon makes it fairly hard (a little carbon goes a long way). It was the traditional steel because it was easy to work, and you could judge its hardness by color as it cooled, then quench at the right moment to get a predictable hardness and grain size. That made it possible for a smith to work by hand and by eye, and get a good blade. But the carbon makes it rust/ tarnish VERY easily. > > 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. Adding chromium to iron to make stainless steel makes it very hard and brittle and gives it pretty large crystals. So the crystals break off easily under pressure, making it instantly dull > > 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. Making steel has got to be like making a cake, add chromium for stain resistance, moly for toughness, carbon for grain and edge holding, etc. It is only stain RESISTANT, though as adding the carbon also adds easy staining back in, countering what the chromium does. It's a fine balance. Stain resistant steels can be fined grained, and so hold an edge, but it takes very precise temperature control in the "heat treatment" process when the crystals are reformed. It is usually done in electric ovens so tempurature can be raised to a precise point, and cooled at a specific (slow) rate, sort of like annealing glass, to keep grain structure small. Overheat the blade or cool too fast, and the crystals reform large, and ruin the steel. Just guessing, but it sounds like Gerber may have upped the carbon content to get better edge holding and easier resharpening qualities, but that made it more susceptible to corrosion in Hawaii's salt-laden environs, and now they don't want to admit it. No, I'm NOT a cutlery-smith, but I am a small-time knife collector, so I read about it alot Take this with a grain of salt, but don't get the salt on your knives! ;-) Mick Alderson TD, Fredric March Theatre University of Wisconsin Oshkosh alderson [at] uwosh.edu ------------------------------ Subject: Scrim repair Date: Mon, 11 Apr 2005 15:49:48 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7BD [at] exchange.rmwc.edu> From: "Paul Schreiner" I have a black scrim with a couple of small (quarter-size and less) holes in it. If they were straight rips, it'd be an easy (relatively speaking) repair job for me, as I've done that sort of thing before...but unfortunately, these are holes where the material that once was there is no longer. I have a little bit of time, and want to give a repair a try, but weaving ain't my strong suit. I'm googling now, but if anyone has any knowledge of some online instructions or suggestions as to how to do this, could you point me to them? Much obliged... ------------------------------ Message-ID: <425AD976.7030602 [at] josephchansen.com> Date: Mon, 11 Apr 2005 16:09:26 -0400 From: Barney Simon Subject: Re: Scrim repair References: In-Reply-To: Paul Schreiner wrote: >I have a black scrim with a couple of small (quarter-size and less) >holes in it. ...weaving... > You are correct that re-weaving is the way to go, scrim is relatively easy, use a hoop to hold the fabric, use a heavy thread or light weight yarn. I'll see if we have some more info around here... Or, not as practical as doing it yourself, find someone who crochets or a tailor that reweaves. Barney Simon JC Hansen Co., Inc. Drapes, Drops, and Dance Floors. ------------------------------ Date: Mon, 11 Apr 2005 16:12:32 -0400 From: "Steve B." Subject: Dance towers Message-id: <000b01c53ed2$cba85c70$6701a8c0 [at] SBFF> References: Some help and thoughts from the list required. We have decided it's time to acquire/build a dance side light tower setup. To keep from having to build booms, we want to keep a set of 8 towers, similar to the style used by touring dance companies and touring shows to provide for a fast setup up of side light. Design objectives: - +7 ft. or so, hold up to 5 units ea., S4's down the road, Altman 4.5" zooms for now, thinking 2 shins at +1', +2'-6", and 2 head hi's at +5' and +6'-6"' or so, something in the middle as required. - Some vertical flexibility for unit positioning (or not if designed well). - As narrow as possible - it doesn't need to be 2 units side by side. - Does not need to stack, doesn't need to be able to build higher to +14', +21', as example (we have lighting ladders) - Doesn't necessarily need casters/wheels/dolly as we can load onto carts to store vertically. So, 2 questions. 1) Does anyone know of any source of used units. I've tried PRG/4th Phase, no go. The usual sources - usedlighting.com, and others generally never had these units as they were often one-off's for specific companies, etc... I'm thinking defunct dance companies, etc... or a company that changed to a newer design and still has the old ones around. 2) Any thoughts on home built ?. Kindorf ?, steel ?, etc... appreciated. has anyone got a design that works for them and are willing to share ?. I have access to someone who can weld aluminum as needed. Thanks in advance, and feel free to contact direct at: baileyst [at] brooklyn.cuny.edu Steve Bailey LD/ME Brooklyn Center for the Performing Arts Brooklyn College ------------------------------ Date: Mon, 11 Apr 2005 12:05:41 -0400 From: Chris Davis Subject: Re: Cleaning cyc (was positioning hazer) In-reply-to: Message-id: <5.1.0.14.0.20050411120418.00a00240 [at] mail-hub.optonline.net> I believe it's a prerequisite at the theatre Cris is speaking of. At 09:13 AM 4/11/2005 -0400, Paul Shreiner wrote: >-- > > > 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. > >All well and good, but there's always the chance the TD might actually >enjoy that sorta thing... __________________________________ Chris Davis cdavis [at] queenstheatre.org Associate Lighting Supervisor Queens Theatre In The Park http://www.queenstheatre.org ------------------------------ Message-ID: <3998154b05041114447500a23a [at] mail.gmail.com> Date: Mon, 11 Apr 2005 14:44:19 -0700 From: Paul Puppo Reply-To: Paul Puppo Subject: Re: related question In-Reply-To: References: I like to say: "Reality is defined by two things, the laws of physics, and the black ink in the check book." Paul Puppo ILLUMINEERING http://www.Nifty-Gadgets.com On Mon, 11 Apr 2005 10:43:53, CB wrote: > "Can you write the check?" > Chris "Chris" Babbie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 11 Apr 2005 18:25:56 EDT Subject: Re: Sound question and film In a message dated 11/04/05 03:17:29 GMT Daylight Time, charlier [at] RichmondSoundDesign.com writes: > 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 ; > -) The metering on a DAT may mean anything. Study of the handbook may help. If I were designing one, something on the display would indicate a peak level, but there would be some internal headroom over that, and a rigid limiter before the signal hit the ADC. A count overload sounds terrible. In the BBC, and other professional organisations, levels are precisely defined by the engineering team, who will, in critical situations, check the line-up daily. I have just got back from a memorial service for a friend of mine. This included a certain amount of music played in off a cassette machine. While I am sure that the cassette was correctly recorded, the playback levels had not been checked, so the playback machine was being asked to do more than it was capable of, in terms of output. This rather sloppy approach is common among amateurs. To be fair, handling music with a wide dynamic range is difficult. A hand on the fader is good, as is a really good compressor. Both imply good measurement techniques. Frank Wood ------------------------------ From: "Warren Stiles" Date: Mon, 11 Apr 2005 17:32:33 -0500 Subject: Delrin Message-Id: <20050411223233.0D54ECDA32 [at] ws1-2a.us4.outblaze.com>


I've recently come across an odd rigging related problem. I'm involv= ed in the installation of an automated rigging system in a new theatre. Dur= ing a site visit to the venue last week to inspect the dimming installation= , I noticed that the steelworkers had installed five 45 degree beams f= rom the back of the proscenium wall up to the roofing steel. You guessed it= ...they are directly beneath the future position of the loft blocks on= the first electric, and no, they were not on the structural drawings. We h= ave a way to offset the loft blocks so that the lift lines will drop beside= the diagonal beams. My concern is that with a certain amount of lateral sw= ay, the lift lines may still come into contact with the steel. While this i= s unlikely, it is not impossible. The manufacturers' recommendation is that= we place a Delrin (similar to UHMW) cover over the steel to prevent damage= to the lines in the event that they contact the beams. Of course, regular = inspections will be needed. So the question is, has anyone on the list enco= untered this kind of situation before, and/or attempted this kind of soluti= on? Also, has anyone had any experience, positive or negative, with Delrin?= Thanks in advance,

G. Warren


Dew knot trussed yore spell chequer two fi=
ned awl yore mistakes. - Brendan Hills


------------------------------ From: FrankWood95 [at] aol.com Message-ID: <80.256d35d9.2f8c5858 [at] aol.com> Date: Mon, 11 Apr 2005 18:46:48 EDT Subject: Re: related question In a message dated 11/04/05 03:41:10 GMT Daylight Time, productionmanager [at] minnesotaballet.org writes: > 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?" Both are wise phrases, although the first is rather bold. I have met directors with hypertrophied imaginations. But they do emphasise the importance of the artistic and technical people getting together before too many decisions are taken. Chats in the bar are a very useful preliminary. What I do find depressing is just how often the technical side's input has to be negative. But they are the people who know about the fabric of the theatre. They really need to be able to go back into the production concept, and say; "I see what you are trying to do. But, the grid will not support a two ton point load. How can we do this within the physical limitations?" Dialogue is the name of the game, well before final decisions are taken. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <85.255f3201.2f8c59f5 [at] aol.com> Date: Mon, 11 Apr 2005 18:53:41 EDT Subject: Re: Sound question and film In a message dated 11/04/05 18:25:53 GMT Daylight Time, psyd [at] cox.net writes: > >Fine. But don't forget the clapper-board. > > Quoi?!? What ever for? Synchronisation, at edit time. Frank Wood ------------------------------ Message-ID: From: "Occy" Cc: ppuppo [at] gmail.com (Paul Puppo) References: Subject: Re: related question Date: Mon, 11 Apr 2005 15:57:48 -0700 ----- Original Message ----- From: "Paul Puppo" Whos quote is that as I would like to use it > I like to say: > "Reality is defined by two things, the laws of physics, and the black > ink in the check book." > > Paul Puppo > ILLUMINEERING > http://www.Nifty-Gadgets.com > ------------------------------ Message-ID: <425B0624.E0D79103 [at] cybercom.net> Date: Mon, 11 Apr 2005 19:20:04 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Delrin References: Warren Stiles wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > > I've recently come across an odd rigging related problem. I'm involved > in the installation of an automated rigging system in a new theatre. > During a site visit to the venue last week to inspect the dimming > installation, I noticed that the steelworkers had installed five 45 > degree beams from the back of the proscenium wall up to the roofing > steel. You guessed it...they are directly beneath the future position > of the loft blocks on the first electric, and no, they were not on the > structural drawings. We have a way to offset the loft blocks so that > the lift lines will drop beside the diagonal beams. My concern is that > with a certain amount of lateral sway, the lift lines may still come > into contact with the steel. While this is unlikely, it is not > impossible. The manufacturers' recommendation is that we place a > Delrin (similar to UHMW) cover over the steel to prevent damage to the > lines in the event that they contact the beams. Of course, regular > inspections will be needed. So the question is, has anyone on the list > encountered this kind of situation before, and/or attempted this kind > of solution? Also, has anyone had any experience, positive or > negative, with Delrin? Thanks in advance, > > G. Warren Delrin is a rather tough plastic, that slides reasonably nicely. Some furniture companies use it for making floor glides. Slapping a couple of bars of delrin on the steel sounds like a fine idea. To elaborate it a bit more, put a ground fault detector on a sensor wire that is in the middle of one of the delrin bars. when the things wear partly through the delrin, they will touch the sensor wire and activate the detector. --Dale ------------------------------ Message-ID: <20050411173455.s22pwgsow8408koc [at] www.email.arizona.edu> Date: Mon, 11 Apr 2005 17:34:55 -0700 From: Mark O'Brien Subject: Re: Delrin References: In-Reply-To: Pretty slick idea... -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting Dale Farmer : > > Delrin is a rather tough plastic, that slides reasonably nicely. > Some > furniture companies use it for making floor glides. Slapping a couple > of bars of delrin on the steel sounds like a fine idea. To elaborate > it > a bit more, put a ground fault detector on a sensor wire that is in the > middle of one of the delrin bars. when the things wear partly through > the delrin, they will touch the sensor wire and activate the detector. > > --Dale ------------------------------ In-Reply-To: References: Message-Id: <0f46023853844fdcc6fede76a68f69d4 [at] appstate.edu> From: Greg Williams Subject: Re: Sound question and film Date: Mon, 11 Apr 2005 20:35:17 -0400 On Apr 11, 2005, at 6:53 PM, FrankWood95 [at] aol.com wrote: > In a message dated 11/04/05 18:25:53 GMT Daylight Time, psyd [at] cox.net > writes: > >>> Fine. But don't forget the clapper-board. >> >> Quoi?!? What ever for? > > Synchronisation, at edit time. > > Frank Wood > Yeah Chris, c'mon... when you crank up the kinetoscope and play the sync tone on the phonograph, you _must_ have a clapper-board. Don't forget the lime-light so that you can read it, though! Sheesh, Chris, it's not like you do this with current technology for a living or anything... -=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: "Occy" References: Subject: Re: Delrin Date: Mon, 11 Apr 2005 18:02:21 -0700 Dale, that's a good idea, but what if the entire counter weight system is built with Nylatron sheaves and headblocks? Its totally electrically isolated from the building unless electrics are hung with grounds. I am sure it won't be long until the NEC solves this problem with out some type of bonding to the electrical ground of the building. If I were the rigging contractor I would in major contact with the architect, the theater consultant and the structural engineer to find out why my prints where not up dated as the change happen, as the change that some approved will cause many problems in more ways than one in the future not including the job that I am doing. I have had many steel, electrical, HVAC and security contractors remove or redesign things as they don't know how a theater has to work. The best one is when the HVAC guys had to move the supply duct 3 time time once to get the battens to come in and another time to make the pin rail functional. ----- Original Message ----- From: "Dale Farmer" > Delrin is a rather tough plastic, that slides reasonably nicely. > Some > furniture companies use it for making floor glides. Slapping a couple > of bars of delrin on the steel sounds like a fine idea. To elaborate > it > a bit more, put a ground fault detector on a sensor wire that is in the > middle of one of the delrin bars. when the things wear partly through > the delrin, they will touch the sensor wire and activate the detector. > > --Dale > > > ------------------------------ From: "Robert Bruemmer" Subject: RE: theatre company reference Date: Mon, 11 Apr 2005 21:39:14 -0400 Organization: Plymouth State University Message-ID: <005f01c53f00$6f491ea0$3947889e [at] plymouth.edu> In-Reply-To: Here, here, that's exactly what we do,. Annually ourselves and every 5 an independent. Bob Bruemmer TD Silver Cultural Arts Center Plymouth State University Plymouth NH -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sam = Fisher Sent: Monday, April 11, 2005 11:26 AM To: Stagecraft Cc: stagecraft [at] jeffsalzberg.com Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- A yearly rigging inspection doesn't necessarily have to be done by a = rigging company. For instance the competent staff of a venue could thoroughly inspect their systems annually and every few years bring in an outside company to also inspect it. Sam Fisher VP - Fisher Theatrical, LLC. 410-455-9641 office 410-455-9643 fax 410-961-0921 cell =20 All information contained in this email, including any attachments, is = to be treated as Confidential.=20 ------------------------------ End of Stagecraft Digest #360 *****************************