Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 23937645; Fri, 29 Jul 2005 03:01:19 -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 #472 Date: Fri, 29 Jul 2005 03:00:55 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #472 1. Re: Arts Jobs by "ladesigners [at] juno.com" 2. Re: Show record photography advice by Steve Larson 3. Re: Makita Batteries by "Paul Guncheon" 4. Re: RGB lighting idea by "Davis, Thomas J" 5. Re: RGB lighting idea by Stephen Litterst 6. Re: Show record photography advice by "Jon Ares" 7. Re: Show record photography advice by "Fritz, Barry L" 8. photography advise by "RICHARD FINKELSTEIN" 9. Re: Makita Batteries by "Jim at TheatreWireless.com" 10. Re: photography advise by Delbert Hall 11. Re: photography advise by "Jeffrey E. Salzberg" 12. Re: RGB lighting idea by Dale Farmer 13. Re: Makita Batteries by Dale Farmer 14. Re: RGB lighting idea by "Christopher K. Nimm" 15. Young electrician needed in NYC by Herrick Goldman 16. Re: Show record photography advice by "Jon Ares" 17. Re: Show record photography advice by Steve Larson 18. dusty beards by Jerry Durand 19. Re: Makita Batteries by Jerry Durand 20. Re: RGB lighting idea by Jerry Durand 21. Re: RGB lighting idea by CB 22. Re: RGB lighting idea - ruminations (long) by "C. Dopher" 23. Re: Recommendations on Assistive Listening by "James, Brian" 24. Re: RGB lighting idea by Dale Farmer 25. Re: Show record photography advice by "Bill Nelson" 26. Re: RGB lighting idea/video projectors by "ladesigners [at] juno.com" 27. Re: RGB lighting idea - ruminations (long) by "Bill Nelson" 28. Re: Recommendations on Assistive Listening by "Bill Nelson" 29. list reading problem (question) by Judy *** 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. ---------------------------------------------------------------------- From: "ladesigners [at] juno.com" Date: Thu, 28 Jul 2005 11:04:56 GMT Subject: Re: Arts Jobs Message-Id: <20050728.040512.10264.159305 [at] webmail26.lax.untd.com> It appears that it is the City of Sarasota's job to support you, so you can support the Arts. Our job is Show Business, not Show Talent. /s/ Richard Just remember folks: It's not our job to support the Arts. It's the Art's job to support us. Please keep this in mind at all times. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Date: Thu, 28 Jul 2005 08:21:17 -0400 Subject: Re: Show record photography advice From: Steve Larson Message-ID: In-Reply-To: I shoot digital and do a great deal of bracketing. I also am well adept at Photoshop. In most cases, I know enough tricks to get the final prints to look like the show did. Quite often it requires some very fine tuning on brightness, contrast, and levels. I'm not adverse to cutting and pasting together the best of several shots to get the look I'm after. It takes a great deal of time and patience to get it right. I still shoot film occasionally. I have the processor develop the film and then scan it to a disk. I require 300 or 600 dpi scans. Never 72 dpi as some places do. I also have a flatbed scanner that can scan slides and negatives. Steve > From: "C. Dopher" > Reply-To: "Stagecraft" > Date: Wed, 27 Jul 2005 20:51:51 -0400 > To: "Stagecraft" > Subject: Re: Show record photography advice > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On 7/26/05 3:18 PM, "Tom Grabowski" wrote: > >> I know that part of the problem is d= >> ue to the equipment but I currently cannot afford to upgrade to a higher-en= >> d digital camera yet. > > Rent. Yes, there are places that rent professional digital equipment. > >> My question is what are people doing for record shot= >> s now? What were the options out there in the way of film today? > > Have you tried T160 or T320 slide film? I don't know about getting back > multiple slides and negatives, but I find it to be good for getting lighting > shots. > > Cris Dopher, LD > > > ------------------------------ Date: Thu, 28 Jul 2005 02:47:16 -1000 From: "Paul Guncheon" Subject: Re: Makita Batteries Message-id: <003d01c59372$7c8b83c0$c6354104 [at] yourxhtr8hvc4p> References: I was real excited (well... not "that" exited) several years ago when Makita came out with a 3.0 amp hour 12v battery with a built in LED light. The price was rather hefty. in the $150.00 range. I waited for them to go on sale and got on for around $100. I noticed that it was not lasting as ling as a 2.2 ah battery and returned it. The hardware store, being a mom and pop operation with whom I have dealt for years, exchanged it without question. The second battery performed even worse after a month or two and then was burnt out by a bad generator. (Rule #117: Never charge batteries on a generator. Corollary to rule #117: Ever.) The company that supplied the bad generator replaced the battery and this one is functioning worse than a 2.2 ah battery right out of the box. I spoke with a Makita representative in person who said he would ship me a couple of new batteries but I have not received them yet... it's only been around 5-6 weeks though. I also spoke with fellow list member Shell ("it's too expensive") Dalzell who, although he too was initially exited about the batteries, had three die a rapid death... or perhaps they are lingering. In any event, have any other list member had problems with these batteries. I am going to contact the Makita office and would like as much ammo as I can garner Laters, Paul. "I'm currently thinking about a figure somewhere between 7 and 9", said Tom considerately. ------------------------------ Subject: RE: RGB lighting idea Date: Thu, 28 Jul 2005 08:48:18 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A920B [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" I have been using LCD (I think this is the same thing as DLP, but see below) projectors as scenery and pattern projectors for years (granted, easier at a college where they seem to inhabit every room). For a couple shows, we have done essentially what one of you suggested- the "backdrops" for each scene were power point slides. As far as controlling beam shape, etc, I would think that between the keystone adjustment of the better projectors, and a commercial graphics program (I have used Corel Draw with success) you could get a pretty accurate light beam. With enough lumens, you can light the width of a small stage with one of these (as luck would have it, we have a small stage). Gives a new definition to "painting with light"- you can paint with multiple colors and shapes on one "brush." It may be a short leap to animating a light plot- each projector fed by video. Now, if I can just get a follow-spot rigged to work off GPS. Can anyone tell me if there is a technical difference of any sort between LCD projectors and DLP projectors? The terms seem to be used interchangeably around this college. =20 Tom Davis =20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry Durand Sent: Wednesday, July 27, 2005 7:59 PM To: Stagecraft Subject: Re: RGB lighting idea For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 04:48 PM 7/27/2005, you wrote: >Jerry, can we design this so that it generates lots of noise and RF? Sure, but not if I make more money off selling it than DMX thingies. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Date: Thu, 28 Jul 2005 09:25:51 -0400 From: Stephen Litterst Subject: Re: RGB lighting idea Message-id: <42E8DCDF.760BD5D5 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Davis, Thomas J" wrote: > --------------------------------------------------- As far as > controlling beam shape, etc, I would think that between the keystone > adjustment of the better projectors, and a commercial graphics program > (I have used Corel Draw with success) you could get a pretty accurate > light beam. As far as beam size and shape, I think we'd be better off changing these optically. I'd rather be able to focus all my lumens into a narrower beam, rather than just masking them off with the software. > Can anyone tell me if there is a technical difference of any sort > between LCD projectors and DLP projectors? The terms seem to be used > interchangeably around this college. LCP and DLP are not the same thing. LCD projectors send the light through LCD panels, similar to those used in overhead projector displays (if anyone remembers those). Where a pixel is desired, the panel remains transparent, and where no pixel is desired the panel becomes opaque. DLP projectors use the Texas Instruments Digital Micromirror device. The DMD is composed of tens of thousands of mirrors on tiny hinges. The light source bounces off the DMD, where a pixel is on, the mirror is focused towards the lens. Where a pixel is off, the mirror is focused away. The primary advantage of DLP is the ratio of white to black. On a good LCD projector, you'll get a ratio of around 1:500 (white is 500 times more intense than black). That's not bad, but on a dark stage, you'll see the grey outline of the projection, even if it's a black screen. DLP projectors have ratios in the 1:1000 range, because black pixels are literally not transmitting their light. And oversimplification, but you get the idea. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <000b01c5937c$99a62f00$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Show record photography advice Date: Thu, 28 Jul 2005 06:59:41 -0700 > I shoot digital and do a great deal of bracketing. I also > am well adept at Photoshop. In most cases, I know enough > tricks to get the final prints to look like the show did. I too have moved from 'analog' photography to digital - Canon Digital Rebel as well, although I use better lenses than the 'stock' Canon one that comes with the kit. After a while, I decided to sell off all my film cameras (made a lot more money off of them than I thought I would - but then I'm a wonk for high-quality glass.) I even packed up my darkroom... anyone want a darkroom? Have a lot of gear sitting here! I too will use Photoshop to tweak show photos a bit, but never the color, and rarely 'brightness and contrast.' I do nudge curves a bit (ride it up a bit in the lower regions, so it looks more like what the eyeball sees), but I have always had a really good 'internal' metering system. I frequently use my Rebel (in theatre) in a spot metering mode, and set the exposure to underexpose by 1/3, 2/3 or 1 full stop under. This keeps the highlights from going into Neverland, digital-wise. I use a tripod. ISO will be 400 to 800, typically. I set the white balance to 3200K, though I could set it to anything I want. (If I were shooting under predominantly 500w fresnels, I could lower the K.) I was never terribly happy using labs for my processing - a slightly 'off' chemical and your negatives or slides would be permanently impacted. Once I found a good lab and technician, I stuck with them, until that technician left. Now, with digital, I don't have to worry about that. - Jon Ares www.hevanet.com/acreative ------------------------------ Subject: RE: Show record photography advice Date: Thu, 28 Jul 2005 10:05:30 -0400 Message-ID: <425AA404B858C34B92C8BF2FBFAEA662F41D30 [at] ecexch1.etown.edu> From: "Fritz, Barry L" Snip > I too have moved from 'analog' photography to digital - Canon Digital > Rebel > as well, although I use better lenses than the 'stock' Canon one that > comes > with the kit. After a while, I decided to sell off all my film cameras > (made a lot more money off of them than I thought I would - but then I'm a > wonk for high-quality glass.) I even packed up my darkroom... anyone want > a > darkroom? Have a lot of gear sitting here! Snip=20 What gear do you have? Just curious, who else on the list has their own darkroom? Barry Fritz ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: photography advise Date: Thu, 28 Jul 2005 10:08:41 -0400 For stage plays and documentation of scenery and lighting, the quality of the camera is actually secondary to other factors of control. The following examples were done years ago with a 2.2 mega pixel camera, not too far removed from what's available today in cell phone cameras. Some of the keys here include: Getting the exposure PERFECT, you want to have detail in both highlights and shadows; Getting the right moment, so as to keep the action as clear as possible; Getting the color settings perfect for the picture; and a very good knowledge of the way that Photoshop can be used to enhance resolution and exposure and color. http://www.rfdesigns.org/cin.htm http://www.rfdesigns.org/add.htm I'm on a panel at the Memphis USITT dealing with digital photography where I will be able to discuss some interesting specific strategies. I have put in for a professional development workshop but that would need to wait until the following year. By the way, I had to move to the top of the line equipment after the shots above, but not because of my theatre work, but rather for work on the world scene in Ballet. I was competing literally with the top stage photographers in the world, most using film, at the largest dance performance in the world, the USA International Ballet Competition. Publications all over were looking for the best work and I wanted to be competitive. From experimentation in previous years I knew that I would need to be able to freeze male dancers mid air IN PERFORMANCE and under very difficult costume/lighting conditions. The results were actually staggering and in fact Dance Magazine created a special section to feature the work, most printed full-page. You can see some of these shots (at web resolutions) at. http://www.rfdesigns.org/ibc/index.htm The edge I had did involve the expensive equipment, mostly in the ability to freeze the high-speed male dancers, but what still set me apart involved the first pointers that I listed. By getting the exposure perfect the results were highly publishable. And through what I had learned as a designer and lower-res photog with Photoshop, I was able to enhance the images off the scale in resolution. Next year, 4 years later, I will be back at the IBC as one of two "official" photographers. Again I want to be competitive at the highest level, but now digital isn't a novelty. The Canon Rebel made higher end digital EQUIPMENT more affordable to the masses (including members of the press). While again I plan to upgrade to the top of the line (which will also give me a nice "spare" camera. But what I think will still set me apart is that perfect exposure and knowledge of enhancement technique in Photoshop, and for dance, more important than theatre, being able to get the shot at the exact right moment. By the way, from viewing the work at the Toronto World Stage Design Expo, many more people are getting better and better at mastery of the digital image onstage all the time. The quality of photography work has greatly increased, so many people are obviously learning how to do things "right"! Richard Finkelstein Head of Design James Madison University http://www.rfdesigns.org/ http://www.artslynx.org/ ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: Makita Batteries Date: Thu, 28 Jul 2005 10:24:35 -0400 In-Reply-To: Message-Id: <20050728142440.GIFB26102.tomts10-srv.bellnexxia.net [at] p3m866> > I was real excited (well... not "that" exited) several years > ago when Makita came out with a 3.0 amp hour 12v battery with > a built in LED light. Paul, A big portion of my seminar on wireless dimming is focussed on batteries. When batteries aren't working for you -- for any application -- I like to investigate. And, I've worked with Makita in the past using both their motors and their batteries (at different times) for custom projects. A couple of inside connections I have might be of help. If you can spare the time, please tell me more, on- or off-list: What kind of battery is it (NiCad / NiMH / Li /SLA)? Do they come with (or require) a special charger, or are they supposed to work with chargers you already owned? Are you using a Makita charger? When you mention a generator, do you mean a typical 120V/60Hz gas genny? If it outputs a sine-wave anywhere near spec it probably isn't related your problem. Are the new 3Ah batteries the same physical size as the older 2.2Ah ones? Is there a link on the web with more information about these batteries? Jim www.theatrewireless.com P.S. I love your Tom Swifties. ------------------------------ Message-ID: Date: Thu, 28 Jul 2005 10:49:19 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: photography advise In-Reply-To: References: > I'm on a panel at the Memphis USITT dealing with digital photography wher= e I > will be able to discuss some interesting specific strategies. I have put = in > for a professional development workshop but that would need to wait until > the following year. >=20 Hey Richard - the USITT web site does not show an upcoming conference in Memphis. Do you know something the rest of us don't? -Delbert --=20 Delbert Hall Phone: 423-773-4255 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: delbert.hall [at] gmail.com ('Delbert Hall') Subject: RE: photography advise Date: Thu, 28 Jul 2005 10:59:44 -0400 Message-ID: <007101c59385$00dbdeb0$6801a8c0 [at] Dell> In-Reply-To: > Hey Richard - the USITT web site does not show an upcoming > conference in Memphis. Do you know something the rest of us don't? NEVER ask Richard that question. ------------------------------ Message-ID: <42E8F303.DA24E637 [at] cybercom.net> Date: Thu, 28 Jul 2005 11:00:19 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: RGB lighting idea References:

Stephen Litterst wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Davis, Thomas J" wrote: > > --------------------------------------------------- > As far as > > controlling beam shape, etc, I would think that between the keystone > > adjustment of the better projectors, and a commercial graphics program > > (I have used Corel Draw with success) you could get a pretty accurate > > light beam. > > As far as beam size and shape, I think we'd be better off changing > these optically. I'd rather be able to focus all my lumens into a > narrower beam, rather than just masking them off with the software. > > > > Can anyone tell me if there is a technical difference of any sort > > between LCD projectors and DLP projectors? The terms seem to be used > > interchangeably around this college. > > LCP and DLP are not the same thing. LCD projectors send the light > through LCD panels, similar to those used in overhead projector > displays (if anyone remembers those). Where a pixel is desired, the > panel remains transparent, and where no pixel is desired the panel > becomes opaque. > > DLP projectors use the Texas Instruments Digital Micromirror device. > The DMD is composed of tens of thousands of mirrors on tiny hinges. > The light source bounces off the DMD, where a pixel is on, the mirror > is focused towards the lens. Where a pixel is off, the mirror is > focused away. > > The primary advantage of DLP is the ratio of white to black. On a > good LCD projector, you'll get a ratio of around 1:500 (white is 500 > times more intense than black). That's not bad, but on a dark stage, > you'll see the grey outline of the projection, even if it's a black > screen. DLP projectors have ratios in the 1:1000 range, because black > pixels are literally not transmitting their light. > > And oversimplification, but you get the idea. And once the patent on the DLP chip runs out, look for the price of video projectors to drop. DLP is in all ways except for the licensing fees a better technology. --Dale ------------------------------ Message-ID: <42E8F6ED.E850AA7 [at] cybercom.net> Date: Thu, 28 Jul 2005 11:17:01 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Makita Batteries References: "Jim at TheatreWireless.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > I was real excited (well... not "that" exited) several years > > ago when Makita came out with a 3.0 amp hour 12v battery with > > a built in LED light. > > Paul, > > A big portion of my seminar on wireless dimming is focussed on batteries. > When batteries aren't working for you -- for any application -- I like to > investigate. > > And, I've worked with Makita in the past using both their motors and their > batteries (at different times) for custom projects. A couple of inside > connections I have might be of help. > > If you can spare the time, please tell me more, on- or off-list: > > What kind of battery is it (NiCad / NiMH / Li /SLA)? > > Do they come with (or require) a special charger, or are they supposed to > work with chargers you already owned? Are you using a Makita charger? > The usual battery pack problems I've run into relate to using the wrong charger, or someone screwing with the charger to make it charge faster. One time the issue was that there was a rack of battery chargers in a locking cabinet without any ventilation. At the end of the day they were loaded up with variously used up batteries and locked up. Heat buildup from charging accelerated aging of the batteries. > > When you mention a generator, do you mean a typical 120V/60Hz gas genny? If > it outputs a sine-wave anywhere near spec it probably isn't related your > problem. > Cheaper/smaller homeowner grade generators do not like switching power supplies. If the chargers use a switching power supply, then you need to load up the generator with a resistive load greater than about 50% of capacity. Ran into this with running computers on portable generators. The controller on the generator starts surging engine speed and you end up with wildly swaying voltage and hz. Damages everything involved if allowed to continue. I will put in a plug here for the Honda inverter generators. The gasoline engine generates DC, which the inverter then puts out as AC. Haven't tried them with computers, but every one I've used has been a peach. I just wish they came larger than 2kw size. Great job site generator, and much quieter than the competition. Very reliable as well. --Dale ------------------------------ Message-ID: <004201c5938c$6d592370$6701a8c0 [at] tamiasuis> From: "Christopher K. Nimm" References:

Subject: Re: RGB lighting idea Date: Thu, 28 Jul 2005 10:52:58 -0500 > And once the patent on the DLP chip runs out, look for the price of > video projectors to drop. DLP is in all ways except for the licensing > fees a better technology. > > --Dale > Are there any other video projection technologies in addition to LCD and DLP? Chris Nimm ------------------------------ Date: Thu, 28 Jul 2005 12:59:35 -0400 Subject: Young electrician needed in NYC From: Herrick Goldman Message-ID: In-Reply-To: Hey folks. I'm looking for a college type electrician who is capable of building and cabling 2 booms with 4 units each for a performing arts summer camp. It's probably 2 or 3 hours worth of work with a few people to help them and it pays $150. If you have anyone who is interested in this please contact Cori at: cori [at] wingspanarts.org Thanks _herrick -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <000501c59398$f09fe550$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Show record photography advice Date: Thu, 28 Jul 2005 10:22:33 -0700 > What gear do you have? > > Just curious, who else on the list has their own darkroom? Barry et al... I have put a page on my website with an image of some of the darkroom goodies I have available. As I wrote on the web page, I have lots of other things as well, like film reels and canisters, grain focuser, dodging tools, safelights, etc "at no extra charge." I'd prefer to sell it all in one swoop, though - don't want to part it out. I'd let it go pretty cheaply - plus shipping. Really, I don't care about the money (except shipping), but I do want it to go to someone who'd use the stuff. The enlarger isn't covered with bells and whistles, but if you know enlargers, you know it's mostly about the lens, and the lens I have for it is a Nikkor - STUNNING. (If you have a darkroom and a lesser lens, you won't believe the transformation your work will take if you upgrade the lens.) http://www.hevanet.com/acreative/darkroom.htm - Jon Ares ------------------------------ Date: Thu, 28 Jul 2005 13:42:01 -0400 Subject: Re: Show record photography advice From: Steve Larson Message-ID: In-Reply-To: Though I personally don't need it, (have my own), this is good stuff, folks. This ain't cheap crap. Steve > From: "Jon Ares" > http://www.hevanet.com/acreative/darkroom.htm > > - Jon Ares > > > ------------------------------ Message-Id: <6.2.3.4.0.20050728121128.029f17d8 [at] 192.168.0.13> Date: Thu, 28 Jul 2005 12:13:44 -0700 From: Jerry Durand Subject: dusty beards A while back I was looking for a new dust mask that works with beards. I found one, North 7190N99 from McMaster. It works find for general dust (I use it mainly with the band saw) even with my beard. I'm sure it leaks a little, but life is dangerous and I've had the beard since the 1970's, I don't think I'll remove it now. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-Id: <6.2.3.4.0.20050728121828.029f1170 [at] 192.168.0.13> Date: Thu, 28 Jul 2005 12:19:46 -0700 From: Jerry Durand Subject: Re: Makita Batteries In-Reply-To: References:

At 08:17 AM 7/28/2005, you wrote: > I will put in a plug here for the Honda inverter > generators. The gasoline >engine generates DC, which the inverter then puts out as AC. Haven't >tried them with computers, but every one I've used has been a peach. >I just wish they came larger than 2kw size. Great job site generator, and >much quieter than the competition. Very reliable as well. I've got an old tiny one like that (don't remember the brand), puts out 12VDC and 120VAC. Haven't used it in years, but it was great for charging batteries in the field. The engine is about the size of a chain-saw engine. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-Id: <6.2.3.4.0.20050728122022.029f1400 [at] 192.168.0.13> Date: Thu, 28 Jul 2005 12:22:51 -0700 From: Jerry Durand Subject: Re: RGB lighting idea In-Reply-To: References:

At 08:52 AM 7/28/2005, you wrote: >Are there any other video projection technologies in addition to LCD and DLP? A predecessor to the DLP was used by NORAD. Take a metal mirror in a vacuum, spray a mist of oil on it and clean off pixels with an electron beam. Repeat. With an arc light and a few mirrors, you have slow animations of missiles coming in from the USSR up on the wall. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-Id: <3.0.6.32.20050728134023.011b1a30 [at] pop.west.cox.net> Date: Thu, 28 Jul 2005 13:40:23 From: CB Subject: Re: RGB lighting idea >Not exactly, the "real" DLP is trying to put pixels on a screen, it >would be "real hard" to get the shape/size of beam you want. If you're doing a color wash, the thing could be focused soft,and the 'pixels' would run together, not that their seen after a dozen feet back anyways. The 'shutters' could be done in a photoshop type program. Fill the screen with the color that you want, fill with black anywhere you want it to go away. 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: Thu, 28 Jul 2005 20:04:53 -0400 Subject: Re: RGB lighting idea - ruminations (long) From: "C. Dopher" Message-ID: In-Reply-To: <3CF87682970858499CA56707FB1F092B0A920A [at] wscc-s-003000.westshore.edu> On 7/27/05 8:57 AM, "Davis, Thomas J" wrote: > Seriously, I think you all should get your butts down to the patent > office before this thing appears with a Rosco logo on it (no offense > meant to Rosco) > TD This is true. Merely discussing a new idea doesn't create a basis for prior art. You'd have to have a (nearly) working prototype and show it around to establish prior art and prevent corporate thievery. Get the patent first, of course, before you show it around, otherwise you won't be able to get a patent, having already made the idea/technology public domain. Been thinking about this idea. A spinning RGB wheel with a pulsed light source behind it, allowing selection and mixture of the primaries: neat! It would be quite unique: a subtractive color filter that could create the entire rainbow additively. The wheel would probably need to be RGB + something. If we're talking an OLED light source, that something would probably be amber, perhaps. I wonder what the effect would be if the fourth color were grey or black? Could you create the kind of dirty colors that (at the moment) only gels can give us? 3 or 4 input parameters, to let us "mix" at the board, translated to a given light pulse pattern to output the right light. Lots of processing power needed I think. What if the wheel were a constant gradient of dichroic color, so that the light pulse is a static factor, and only the timing of where it happens in the color wheel's position is changed. Only one input parameter needed! Extend the idea: program the light for three pulses per revolution, each lasting 1 minute of arc. Want a pure color? The controller only allows every third pulse. The closer to "white" you wanted to move, the more the other two pulses come into the action, slowly bringing up the other two colors that will mix with the first toward white. With this method, you could not only get a smooth color fade from one color to the next to white to whatever, but also INSTANT color changes could be had, too. Even faster than the best moving lights have now, with a speed of... Well, we'll get there. But we're back up to three paramters. Now, the light source. Given just a RGB wheel, if the light were on at full, would you get a "white" light, but at...50% intensity? You couldn't get 100% of the lamps output. Dimming would be an interesting problem, I guess. Or at least getting a smooth dimming curve. Wait, never mind. The rainbow dichroic wheel, or even just a RGB wheel, could be graduated toward black from the middle "track" of the disc towards center. Graduate it toward clear at the edge... Perhaps we can get down to two control parameters. You'd want a cheap, easily replaceable light source. Or one that lasts longer than the rest of the unit. Only LEDs fit that bill, right now. Tungsten or arc are cheap, but don't dim well. Strobes overheat and kill themselves. Then there's the motor for the color wheel. Why have one when you could perhaps, instead, have three light sources behind the color filters and then merge the beams? But now I'm getting away from the idea... Motor speed/pulse rate. Movies need only 24 frames per second to fool the eye into an illusion of fluidity. Some cartoons go as low as 3 frames per second, but they're a little jerky. I should think that, similar to digital sampling at 44kHz, you'd need to emit a stream of color "samples" at extremely high frequency to additive mix the color. Let's say we need at least 24 pulses per second of EACH color sampled to mix it effectively. This puts your disc rotational speed at 1440 rpm. And lets say that in order to mix color from any multiple-colored media, you'd need to pulse the light (either for full-strength on a graduated-color dichroic or simply to dim the light on a pure RGB disc) a 1/2 degree of arc intervals, perhaps even smaller. You'd need to be able to output pulses as short (conceivably shorter) as .00005787 seconds long, about twice as long as the sampling pulse of a laser in a CD player. Even if dimming is taken care of by a shutter, any attempt at starting to mix a LITTLE bit of one primary color with another will mean needing those extremely short pulses of light. Damn. Now I'm ready to start drafting different versions of this thing. The disc and motor are practically off-the-shelf technology. Now I just need a point source that puts out an almighty light in pulses of 5/100,000 of a second. Cris Dopher, the over-thinking-it LD ------------------------------ Subject: RE: Recommendations on Assistive Listening Date: Thu, 28 Jul 2005 21:33:30 -0400 Message-ID: From: "James, Brian" I am a huge fan of FM. Look at Listen Technologies. We just installed one of their systems and = it is quite nice. There is a small group of us hoping to make this the = standard system for campus venues in fact.. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Thackaberr [at] aol.com Sent: Monday, July 25, 2005 6:13 PM To: Stagecraft Subject: Recommendations on Assistive Listening For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Long Time Lurker looking for suggestions on mics, and IR systems for a = new =20 assistive listening system for a small thrust theater. I've read the = 1999 =20 thread, but I'm hoping for some current model numbers. Also, does = anybody know =20 how many devices should be ordered as a percentage of the house size? =20 Neil Thackaberry Actors' Summit Hudson OH 44236 ------------------------------ Message-ID: <42E99989.CEA80DD6 [at] cybercom.net> Date: Thu, 28 Jul 2005 22:50:49 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: RGB lighting idea References:

"Christopher K. Nimm" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > And once the patent on the DLP chip runs out, look for the price of > > video projectors to drop. DLP is in all ways except for the licensing > > fees a better technology. > > > > --Dale > > > > Are there any other video projection technologies in addition to LCD and > DLP? > > Chris Nimm Yes, but none of the ones I'm aware of can match the number of lumens on the screen that DLP and LCD can achieve. The next technology challenge is increasing the resolution of the projector. I haven't heard of a video projector yet that can achieve full HDTV resolution. --Dale ------------------------------ Message-ID: <3305.64.28.63.12.1122611676.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 28 Jul 2005 21:34:36 -0700 (PDT) Subject: Re: Show record photography advice From: "Bill Nelson" > The enlarger isn't covered with bells and whistles, but if you know > enlargers, you know it's mostly about the lens, and the lens I have for it > is a Nikkor - STUNNING. (If you have a darkroom and a lesser lens, you > won't believe the transformation your work will take if you upgrade the > lens.) OK for a basic enlarger, but I think I will stick with my Beseler 4x5 MXT with the dicro color head. You are correct about the Nikkor lenses though, they are very sharp. Bill ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 29 Jul 2005 04:29:31 GMT Subject: Re: RGB lighting idea/video projectors Message-Id: <20050728.213027.14028.173772 [at] webmail28.lax.untd.com> Technically, your assessment is probably correct, but the newest generation of projectors now being beta tested to replace those leased to the largest sized movie theatres to exhibit 'Star Wars 3' look pretty good, yet there is nothing available that will allow you to secretly replace a 70mm Simplex-style projector with its 12KW Christie lamphouse throwing out 'X' lumens, nor is there even a prototype of a video or data projector, as far as I know, that can can be used as a swap-out for an Imax/Omnimax projector in a revenue-producing application. For most purposes, a video projector with a lumen output nearing a Pani BP12 slide projector would be adequate. /s/ Richard none of the ones I'm aware of can match the number of lumens on the screen that DLP and LCD can achieve. The next technology challenge is increasing the resolution of the projector. I haven't heard of a video projector yet that can achieve full HDTV resolution. --Dale ------------------------------ Message-ID: <3326.64.28.63.12.1122613720.squirrel [at] webmail.peak.org> In-Reply-To: References: <3CF87682970858499CA56707FB1F092B0A920A [at] wscc-s-003000.westshore.edu> Date: Thu, 28 Jul 2005 22:08:40 -0700 (PDT) Subject: Re: RGB lighting idea - ruminations (long) From: "Bill Nelson" > It would be quite unique: a subtractive color filter that could create > the > entire rainbow additively. The wheel would probably need to be RGB + > something. If we're talking an OLED light source, that something would > probably be amber, perhaps. I don't know about "unique" - the idea is not original. Some early color televisions used the spinning RGB wheel - there was even a construction project in one of the electronics magazines. I think the early color cameras also used the wheel with one B&W vidicon tube. I doubt if anyone could get a patent on that part of the idea. Now, timed pulses through a spinning dicro tri-wheel, that has possibilities. Bill ------------------------------ Message-ID: <3331.64.28.63.12.1122614213.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Thu, 28 Jul 2005 22:16:53 -0700 (PDT) Subject: Re: Recommendations on Assistive Listening From: "Bill Nelson" > I am a huge fan of FM. > Look at Listen Technologies. We just installed one of their systems and it > is quite nice. There is a small group of us hoping to make this the > standard system for campus venues in fact.. All systems have their own set of problems. I believe Europe is standardizing on the inductive loop. One of the reasons for that is a majority of hearing aids there have the T-coil in them. All the person has to do to hear the augmented sound is flick a switch on the hearing aid to activate the coil. It is more problematic in the US, since there is so little use of inductive loops. Very few hearing aids have the coil, and many sales people have never heard of them. Bill ------------------------------ Message-ID: <42EA06BE.6040503 [at] post.tau.ac.il> Date: Fri, 29 Jul 2005 12:36:46 +0200 From: Judy Subject: list reading problem (question) Sometimes when I get the list (in digest mode) the second half or 2/3 of it comes out with the font so light it's hard to read. This usually only happens when I read it off the web, and not when I download it. It doesn't bother me but I wish I knew why. Any ideas? It doesn't happen with any other lists or emails I get. Judy ------------------------------ End of Stagecraft Digest #472 *****************************