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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 24515619; Wed, 31 Aug 2005 03:02:30 -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 #505 Date: Wed, 31 Aug 2005 03:01:48 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AS_SEEN_ON,AWL, BAYES_00,DRUGS_PAIN,SARE_MONEYTERMS,SARE_WEOFFER,TW_UH autolearn=ham version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #505 1. Re: Photo request by Kevin Lee Allen 2. Re: Photo request by Kevin Lee Allen 3. blue sidelights by kupfer [at] post.tau.ac.il 4. Re: plaigerism and thanks Herrick by Steve Larson 5. Re: plaigerism and thanks Herrick by "Paul Schreiner" 6. Re: plaigerism and thanks Herrick by "Jeffrey E. Salzberg" 7. Re: plaigerism and thanks Herrick by IAEG [at] aol.com 8. Did ja miss me by "Ray-Pfeifer, Merel" 9. Re: plaigerism and thanks Herrick by "Tony Deeming" 10. Re: plaigerism and thanks Herrick by "ladesigners [at] juno.com" 11. Re: Photo request by "Jon Ares" 12. Re: Photo request by IAEG [at] aol.com 13. Re: Points in a concrete ceiling by "RD" 14. Re: Points in a concrete ceiling by "RD" 15. Re: plaigerism and thanks Herrick by Kurt Cypher 16. Re: plaigerism and thanks Herrick by "Jon Ares" 17. Re: plaigerism and thanks Herrick by Kurt Cypher 18. Re: Scenic tree by Loren Schreiber 19. Re: plaigerism and thanks Herrick by "Jeffrey E. Salzberg" 20. Re: plaigerism and thanks Herrick by Kurt Cypher 21. Re: plaigerism and thanks Herrick by "richard j. archer" 22. Re: plaigerism and thanks Herrick by Kurt Cypher 23. Re: plaigerism and thanks Herrick by "Paul Schreiner" 24. intellectual property protection by Linda Essig 25. Re: Wireless AV gear question... by "Ash Munro" 26. Re: Wireless AV gear question... by "Steve Jones" 27. leds in homes by Judy 28. Re: leds in homes by Herrick Goldman 29. Re: plagiarism and thanks Herrick (longish - sorry) by "Michael Finney" 30. Re: leds in homes by "holyoak1" 31. Re: Cable Number labels by William McLachlan 32. Re: plagiarism and thanks Herrick by CB 33. Re: plagiarism and thanks Herrick by CB 34. Scenic tree by CB 35. Re: plaigerism and thanks Herrick by Jerry Durand 36. Re: CSNY, harmonies by CB 37. Re: plaigerism and thanks Herrick by Brian Aldous 38. Re: leds in homes by Jerry Durand 39. Re: power distribution info by Brian Aldous 40. Re: power distribution info by "Jeffrey E. Salzberg" 41. Re: power distribution info by IAEG [at] aol.com 42. Plaza Theatre by CB 43. on a serious note by IAEG [at] aol.com 44. Re: leds in homes by "Jim at TheatreWireless.com" 45. Re: leds in homes by Jerry Durand 46. Re: leds in homes by "Michael S. Eddy" 47. Ghost Light standards by "Jeffrey Kanyuck" 48. Re: leds in homes by Jerry Durand 49. Re: Ghost Light standards by Jerry Durand 50. Re: plaigerism and thanks Herrick by "ladesigners [at] juno.com" 51. Re: on a serious note by gregg hillmar 52. Re: Plaza Theatre by "Fitch, Tracy" 53. Re: Ghost Light standards by "Steve B." 54. Re: Halloween ? by Stuart Wheaton 55. OSHA lifting limitations by "Chris Warner" 56. Re: Halloween ? by "Alf Sauve" 57. Re: Wireless AV gear question... by "C. Dopher" 58. Re: Ghost Light standards by "Matthew Breton" 59. Re: power distribution info by "Matthew Breton" 60. Re: plagiarism and thanks Herrick by "Matthew Breton" 61. Re: plaigerism and thanks Herrick by Bruce Purdy 62. Re: OSHA lifting limitations by "Bill Nelson" 63. Re: plaigerism and thanks Herrick by "Bill Nelson" 64. OT: Removing stuck drain cap. by Scott Parker 65. Tenure & Promotion Workshop, NYC USITT by Scott Parker 66. Collage Fair NYC-Sept. 24th by Scott Parker *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Tue, 30 Aug 2005 06:47:10 -0400 From: Kevin Lee Allen Subject: Re: Photo request In-reply-to: Message-id: <84C1B7D4-6D03-4C9B-9E56-392E33F4F58C [at] klad.com> References: wow, that's great! On Aug 29, 2005, at 9:05 PM, IAEG [at] aol.com wrote: > they were typical struggling performers of the day, , > > it's a great photo, and a favorite of mine > ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Date: Tue, 30 Aug 2005 06:48:02 -0400 From: Kevin Lee Allen Subject: Re: Photo request In-reply-to: Message-id: References: and that's even better. On Aug 29, 2005, at 9:21 PM, IAEG [at] aol.com wrote: > Dad turns 90 in February, Mom turns 79 this November, she runs my =20 > costume > shop and is currently teaching an 8 week course in tutu =20 > construction. Dad still > mows the lawn. > ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <1125400641.43144041aab97 [at] webmail.tau.ac.il> Date: Tue, 30 Aug 2005 14:17:21 +0300 From: kupfer [at] post.tau.ac.il Subject: blue sidelights "Keep in mind that Judy is, I believe, in Isreal. Even in Israel with all the problems, there is some respect of rights. I = suppose I could have made a fuss and even gotten some money out of it, but then I= would probably never have worked there again, and there are not all that many p= laces to work here (or weren't at the time, it's different now.) "Did they actually re-hang the plot and focus it to match your focus? " YES INDEED! "It wasn't appropriate, it didn't look right, and perhaps they'll learn a lesson from it all." Ha. How many people do you know who realize when lighting doesn't look ri= ght? (and don't tell me THAT is only in Israel:) ) In fact I was amused that t= hey had thought it would work because they knew Sylphides and Giselle are sim= ilar in style. I thought the fact that in fact it didn't work cast an interest= ing light (whoops...) on the difference between the two ballets. ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. ------------------------------ Date: Tue, 30 Aug 2005 08:58:37 -0400 Subject: Re: plaigerism and thanks Herrick From: Steve Larson Message-ID: In-Reply-To: Well, we're not union. Our archives date back over 30 years. They chronicle an important piece of history for our city. We'll probably keep doing it. We emphatically tell folks who ask, "No, you can't borrow the tape/DVD. We're sorry." Period. Steve > From: June Abernathy > Well, not in a situation involving any of the > theatrical unions, you can't. In a non-union > situation, you just shouldn't. > > ------------------------------ Subject: RE: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 09:21:08 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C8DA [at] exchange.rmwc.edu> From: "Paul Schreiner" In a community theatre or professional situation, all of the arguments and whatnot about why one shouldn't or can't make an "archival" video of a performance are all well and good, and I have no philosophical issues with any of them. Where things for me (in particular, and many on the list as well) get a little hazy are performances in the realm of education. There are times where, as viable educational materials, videos of past productions can be very valuable. There generally are no legal issues as I understand it, provided irresponsible copying is prohibited, because (a) students aren't unionized and (b) most design work is for hire and therefore owned by the institution rather than the designers themselves. But it does make for a fuzzy line when trying to explain the whys and wherefores to the students... What does the law say about this facet of the issue? ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 09:25:03 -0400 Message-ID: <000701c5ad66$3e74d240$6601a8c0 [at] Dell> In-Reply-To: > There generally are no legal issues as I understand it, > provided irresponsible copying is prohibited, because (a) > students aren't unionized and (b) most design work is for > hire and therefore owned by the institution rather than the > designers themselves. The script, however, is copyrighted. ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Tue, 30 Aug 2005 09:27:47 EDT Subject: Re: plaigerism and thanks Herrick In a message dated 8/30/05 9:21:33 AM, pschreiner [at] rmwc.edu writes: << What does the law say about this facet of the issue? >> regardless of the union status, , the educational status etc etc, , , taping the show is almost certainly prohibited by the license agreement that granted the rights to do the show, unless of course it's an original piece by a student / faculty member, etc etc. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Mon, 29 Aug 2005 16:55:34 -0400 Subject: Did ja miss me From: "Ray-Pfeifer, Merel" Message-ID: Hi List, I'm back. For further details e-mail me off list. Merel Ray-Pfeifer Technical Director Central Michigan University Mt Pleasant, MI 989/774-6594 ------------------------------ From: "Tony Deeming" Subject: RE: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 14:37:08 +0100 Message-ID: In-reply-to: Which sort of raises the question "Why make an archival video in the first place?". Again, sitting firmly on the fence, for long running pro shows I can easily understand the need NOT to make a video copy, as this could/would result in lost revenue for anyone who saw the thing on TV and decided against watching the real thing. BUT for those short run events, (particularly the am-drams) where those involved want to keep a record for themselves and their kin of them when they were on stage, why is that so bad? If I saw the Little Piddlington's production of Grease that they did last year, and then watched it on video today because my daughter played Sandy, I'm pretty sure it would NOT influence me in a decision whether to go to Greater tossing's version next month. It most certainly wouldn't stop me watching a pro show of Grease! So, where is the real harm? We've already discussed the difficulties involved in recreating a complete (or even partial) lighting rig, so let's talk about exactly what harm might be done to a short-run pro or am show that wanted an archival type video for their members..... Tony > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Steve > Larson > Sent: 30 August 2005 13:59 > To: Stagecraft > Subject: Re: plaigerism and thanks Herrick > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Well, we're not union. Our archives date > back over 30 years. They chronicle an > important piece of history for our city. > We'll probably keep doing it. We emphatically > tell folks who ask, "No, you can't borrow > the tape/DVD. We're sorry." Period. > > Steve > > > From: June Abernathy > > > Well, not in a situation involving any of the > > theatrical unions, you can't. In a non-union > > situation, you just shouldn't. > > > > > > ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 30 Aug 2005 13:36:12 GMT Subject: Re: plaigerism and thanks Herrick Message-Id: <20050830.063701.8422.202263 [at] webmail06.lax.untd.com> Wrong. A student does not have to be unionized to enjoy the Right of Privacy and the institution has the right that the designer would have had to prevent the Intellectual Property from being stolen. /s/ Richard > There generally are no legal issues as I understand it, > provided irresponsible copying is prohibited, because (a) > students aren't unionized and (b) most design work is for > hire and therefore owned by the institution rather than the > designers themselves. The script, however, is copyrighted. ------------------------------ Message-ID: <001801c5ad68$1ef4f060$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Photo request Date: Tue, 30 Aug 2005 06:38:35 -0700 > they were typical struggling performers of the day, , > What a wonderful photo, Keith. Thanks for sharing! - Jon Ares www.hevanet.com/acreative ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Tue, 30 Aug 2005 09:44:33 EDT Subject: Re: Photo request In a message dated 8/30/05 9:39:19 AM, jonares [at] hevanet.com writes: << What a wonderful photo, Keith. Thanks for sharing! >> thanks to Jon and the others for their comments, I was a little concerned about posting it, , didn't really want to make the "list" a place for posting family photos, , to my knowledge, , Jeff Salzberg is the only one on the list to have met my folks, , and that was (cough cough) what about 20 years ago ? ( Yikes ! ) very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Reply-To: From: "RD" Subject: RE: Points in a concrete ceiling Date: Tue, 30 Aug 2005 07:46:42 -0600 In-Reply-To: Message-ID: Contact rshamel [at] gis.net who keeps our archives of thousands of pictures of rigging, etc. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of wyn Sent: Monday, August 29, 2005 1:13 PM To: Stagecraft Subject: Points in a concrete ceiling For info, archives & UNSUBSCRIBE, see --------------------------------------------------- What is the best way to install points into a concrete ceiling? I have a show that requires some pipe to be mounted under a concrete ceiling in a 40+ year old buildingfor cable runs .I know i will have to get the engineers involved to make sure it's safe but what i need is what has worked for you in the past . On another subject my wife has asked me to find pics for her math class of rigging failers that she can put on the wall as an example of how math is used and what could happen if you do it wrong. ------------------------------ Reply-To: From: "RD" Subject: RE: Points in a concrete ceiling Date: Tue, 30 Aug 2005 07:46:42 -0600 In-Reply-To: Message-ID: You might check at the Morgantown, W.VA. arena, they used Richmond Rockets which mount cables in the concrete ceiling holding up the catwalks, etc. I did the risk assessment there some years ago. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Howard Ires Sent: Monday, August 29, 2005 1:23 PM To: Stagecraft Subject: Re: Points in a concrete ceiling For info, archives & UNSUBSCRIBE, see --------------------------------------------------- wyn wrote: > What is the best way to install points into a concrete ceiling? that depends on so many different variables.... > I have a > show that requires some pipe to be mounted under a concrete ceiling in a > 40+ year old buildingfor cable runs .I know i will have to get the > engineers involved to make sure it's safe but what i need is what has > worked for you in the past I have drilled right through and tied off to another piece of pipe on the other side when possible. That way I was pretty well assured that the point would not come down without taking the whole ceiling with it. i would not trust any kind of expansion fastener, hilti nail, lead anchor etc... to put a point into a ceiling. . > On another subject my wife has asked me to find pics for her math class > of rigging failers that she can put on the wall as an example of how > math is used and what could happen if you do it wrong. > I googled "engineering disasters" and got this, among others: http://www.soe.uoguelph.ca/webfiles/wjames/homepage/Teaching/FamousEngrgDisa sters.htm ------------------------------ Date: Tue, 30 Aug 2005 09:52:29 -0400 From: Kurt Cypher Subject: Re: plaigerism and thanks Herrick In-reply-to: Message-id: <4314649D.4020203 [at] cyphernet.homedns.org> References: IAEG [at] aol.com wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >In a message dated 8/30/05 9:21:33 AM, pschreiner [at] rmwc.edu writes: > ><< >What does the law say about this facet of the issue? >> > >regardless of the union status, , the educational status etc etc, , , taping >the show is almost certainly prohibited by the license agreement that granted >the rights to do the show, > >unless of course it's an original piece by a student / faculty member, etc >etc. > >very best, > >Keith Arsenault > > I used to be on the board of directors for a community theater group that I'm a member of, and I read several of the contracts that we signed to get rights to do the shows that season (MTI, Tams-Witmark, etc). Every one that I read had a clause that said something to the effect of "thou shalt not record", prohibiting both audio and video recordings. My understanding, from talking to a lawyer aquaintence, is that this effectively waives any "fair use" or "archival" rights you may have, because you signed the contract agreeing not to do it. I think one of the contracts had wording that said you agree not to record "performances", which some people take to mean you can record the final dress rehearsal, but it really depends on your definition of "performance", as the rights-holder may define a final dress rehearsal as a performance. Being a small community theater that regularly stands on the brink of running out of money, I doubt any of the big rights houses would set their lawyers loose on us. But, if someone sent them a copy of a video of one of their shows, they would be well within their rights to refuse to let us do any of their shows in the future. And all it would take is for one person to develop a grudge against the theater group, and decide to send one of his "archival for personal use" copies of a show to whoever holds the rights to that show. The only shows we tape any more are original works, where we know the author. Just my $0.02, Kurt ------------------------------ Message-ID: <002a01c5ad6b$71ef20d0$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 07:02:23 -0700 > Being a small community theater that regularly stands on the brink of > running out of money, I doubt any of the big rights houses would set their > lawyers loose on us. Sam French and Jim Casey (author of "Grease") sent a Lincoln towncar full of attorneys to lil' ol' Wilsonville, Oregon, USA, to the local high school for 'changing' the show. Don't think it couldn't happen to you. - Jon Ares www.hevanet.com/acreative ------------------------------ Date: Tue, 30 Aug 2005 10:05:33 -0400 From: Kurt Cypher Subject: Re: plaigerism and thanks Herrick In-reply-to: Message-id: <431467AD.1040207 [at] cyphernet.homedns.org> References: Tony Deeming wrote: >So, where is the real harm? We've already discussed the difficulties >involved in recreating a complete (or even partial) lighting rig, so let's >talk about exactly what harm might be done to a short-run pro or am show >that wanted an archival type video for their members..... > >Tony > Personally, I agree that amateur groups, especially children's theater, ought to be allowed to make videotapes of shows. Unfortunately, if the contract you sign to get the rights says you agree not to record the show then legally, you shouldn't tape it. I guess it really just depends on how paranoid your group is, and whether they're willing to take the chance that someone might alert MTI or Tams-Witmark to the existence of your tape. Kurt ------------------------------ Message-Id: <6.1.1.1.2.20050830070651.02f498e8 [at] mail.sdsu.edu> Date: Tue, 30 Aug 2005 07:10:36 -0700 From: Loren Schreiber Subject: Re: Scenic tree In-Reply-To: References: The La Jolla Playhouse had a beautiful bas-relief tree in the Jane Eyre musical. It was just a steel rod armature covered with a wire mesh and then sprayed with foam. It was built by a professional display company and looked very good. I think it was all of 6" deep, but by judicious carving and painting, it looked completely dimensional. Loren Schreiber, Technical Director School of Theatre, Television and Film San Diego State University Long Reach Long Riders announce dates for the 2006 Charity Ride. Check out www.sapsis-rigging.com/LRLR.html for more information. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 10:11:52 -0400 Message-ID: <001401c5ad6c$c8279e40$6601a8c0 [at] Dell> In-Reply-To: > Being a small community theater that regularly stands on the brink of=20 > running out of money, I doubt any of the big rights houses would set=20 > their lawyers loose on us.=20 I know that Richard et. al. will correct me if I'm wrong, but I believe = that copyright-holders' failure to aggressively protect their rights can be = used against them in future litigation, so they may well sue for that reason, even if their chance of actually receiving monetary damages is slight. ------------------------------ Date: Tue, 30 Aug 2005 10:27:51 -0400 From: Kurt Cypher Subject: Re: plaigerism and thanks Herrick In-reply-to: Message-id: <43146CE7.6040709 [at] cyphernet.homedns.org> References:

Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> Being a small community theater that regularly stands on the brink of >> running out of money, I doubt any of the big rights houses would set >> their lawyers loose on us. > > Sam French and Jim Casey (author of "Grease") sent a Lincoln towncar > full of attorneys to lil' ol' Wilsonville, Oregon, USA, to the local > high school for 'changing' the show. Don't think it couldn't happen > to you. > > - Jon Ares > www.hevanet.com/acreative Doesn't surprise me in the least. I would expect the rights-holders to react in force when someone makes major changes to a show, since that changes how the public sees their product. Personally, I see the videotaping as being a lesser "crime" (just my opinion), unless of course the videotape shows that the group made changes to the script, then they're in even bigger trouble. If a videotape were sent to a rights-holder, it's quite possible they'd send a pack of lawyers to visit, but once they realized legal proceedings would cost more than they could ever hope to get out of this group, they would quite possibly just go the easier/cheaper route, and deny permission to do any of their shows in the future. Of course, depending on what kind of mood the lawyers and their corporate bosses are in, they might decide to make an example of one community theater group in court, as a warning to the other groups in the area. As for having lawyers set loose upon us, we got a "cease and desist" letter from Tams-Witmark several years back (no personal lawyer visit) because we were using some songs from a couple of their shows in a homemade musical review (which had already closed 2 weeks prior). If they had just asked nicely, we would've gladly shown them how we were complying with ASCAP and/or BMI rules regarding using their songs. Kurt ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 30 Aug 2005 09:34:30 -0500 From: "richard j. archer" Subject: Re: plaigerism and thanks Herrick Just to add another two cents; I've heard (or maybe worked there but I couldn't really say) of various theatres with equity members where the management got and sometimes did not get permission to tape. These were not really archival videos. Early run thrus (still in rehearsal hall) have been taped which proved a big help for lighting designers who for one reason or another were not able to get to the run thru. These also helped in deciding cue placement for designers, directors and stage managers during non stage time. Performances have been taped when shows were going to be transfered (or there was the good possibility that they would). This proved very helpful for altering designs to fit the theatre (especially if done by another shop or staff), for the future producers and for the director if cast members could not make the move. Dick A TD, Cornell U ------------------------------ Date: Tue, 30 Aug 2005 10:36:10 -0400 From: Kurt Cypher Subject: Re: plaigerism and thanks Herrick In-reply-to: Message-id: <43146EDA.1030001 [at] cyphernet.homedns.org> References: Jeffrey E. Salzberg wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >>Being a small community theater that regularly stands on the brink of >>running out of money, I doubt any of the big rights houses would set >>their lawyers loose on us. >> >> >I know that Richard et. al. will correct me if I'm wrong, but I believe that >copyright-holders' failure to aggressively protect their rights can be used >against them in future litigation, so they may well sue for that reason, >even if their chance of actually receiving monetary damages is slight. > > Very good point. I guess the point I was trying to make was that there would be some sort of retaliation, whether they just deny us rights to do shows, or sue us into bankruptcy. With the former, we potentially lose access to big-name shows that would draw in big crowds. With the latter, the theater has no money or equipment to put on a show. Either way, it'll have a financial impact on the group. You just have to decide if your group is willing to take that risk, and if you do, hope they don't decide to make an example of you. All it takes is one member of the group with access to the videotape to develop a grudge (real or imagined) against the theater, and send it in. Kurt ------------------------------ Subject: RE: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 11:05:59 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C8DB [at] exchange.rmwc.edu> From: "Paul Schreiner" > Wrong. A student does not have to be unionized to enjoy the=20 > Right of Privacy and the institution has the right that the=20 > designer would have had to prevent the Intellectual Property=20 > from being stolen.=20 Okay, I'm with you on the student portion...but what if it's the institution wanting to make the video? Can they then effectively waive that protective right regarding the intellectual property in order to record a copy of the show for posterity and teaching purposes? And if the students involved receive course credit for roles in the show and on the crew, does that then trump the privacy rights you mention if the video is made for instructional purposes in an educational institution? > The script, however, is copyrighted. Not always... ------------------------------ Date: Tue, 30 Aug 2005 08:42:06 -0700 From: Linda Essig Subject: intellectual property protection Message-id: <66C9F437CFECB443816F5387EBFC279F228425 [at] EX01.asurite.ad.asu.edu> Dear list: I thought I would come out of lurk mode to let Cris (and the rest) know about a well publicized 1996-97 legal case involving Loy Arcenas' set design for "Love! Valour! Compassion!". United Scenic Artists, the union of professional set, lighting, costume and sound designers, art directors and allied professions took up the case and received positive result on behalf of the designer (see http://www.usa829.org/USA/copyright.htm for more info on the case and copyright protection for stage designs). My own contracts usually contain some clause about the design remaining my intellectual property, rather than the design being a "work for hire." In other words, a producer hires my services, but does not "buy" the design. Cheers, Linda Professor Linda Essig Chair and Artistic Director of Theatre Herberger College of Fine Arts Arizona State University Tempe AZ=20 ------------------------------ From: "Ash Munro" Subject: RE: Wireless AV gear question... Date: Tue, 30 Aug 2005 11:49:04 -0400 Message-ID: <000d01c5ad7a$5c3a57f0$6701a8c0 [at] charlottedt> In-reply-to: Steve wrote: >>We need talking heads at the lectern on stage to be able to show and control their Powerpoints on the screen on stage from the projector in the balcony.<< If you transmit your video and audio signal wirelessly to the projector, how does the audio signal get sent to an input on your sound system? How about turning the setup around, and using wireless control. D'san makes a cue light that will also mimic some keyboard stokes (fwd, back, black screen) Lets you put the laptop in the booth (or wherever your hardwired PJ input connections terminate), send audio to the mixer, send video to the projector, and if there is a wireless hiccup, the worst that happens is a slide doesn't advance, rather than a complete loss of image. The downsides to this plan, convincing the presenter to let go of the laptop, and a loss of the confidence monitor at the podium. Ash Munro Charlotte Division Manager A&V Company ------------------------------ From: "Steve Jones" Subject: RE: Wireless AV gear question... Date: Tue, 30 Aug 2005 11:01:59 -0500 Organization: Plaza Theatre In-Reply-To: Message-ID: > The downsides to this plan, convincing the presenter to let > go of the laptop, and a loss of the confidence monitor at the podium EXACTLY why this won't work. The laptop needs to be ON STAGE with the presenter. They REFUSE to let go of it. Plus, that means I need another staff person up with the laptop at the complete other end of the theatre, for any problems. Our projector came with a "wireless" mouse that you can use to control a laptop remotely and the projector. But it has a 10-15 foot range. The projector is 150 feet away. Plus it seems to only behave properly with Windows, and not with Macs. The audio would go to the projector wirelessly, then leaves thru an audio OUT on the projector where it then runs to the mixer. Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 651-2511 http://www.glasgowplazatheatre.org > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Ash Munro > Sent: Tuesday, August 30, 2005 10:49 AM > To: Stagecraft > Subject: Re: Wireless AV gear question... > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Steve wrote: > >>We need talking heads at the lectern on stage to be able to show and > control their Powerpoints on the screen on stage from the > projector in the balcony.<< > > If you transmit your video and audio signal wirelessly to the > projector, how does the audio signal get sent to an input on > your sound system? How about turning the setup around, and > using wireless control. D'san makes a cue light that will > also mimic some keyboard stokes (fwd, back, black > screen) Lets you put the laptop in the booth (or wherever > your hardwired PJ input connections terminate), send audio to > the mixer, send video to the projector, and if there is a > wireless hiccup, the worst that happens is a slide doesn't > advance, rather than a complete loss of image. > > The downsides to this plan, convincing the presenter to let > go of the laptop, and a loss of the confidence monitor at the podium. > > Ash Munro > Charlotte Division Manager > A&V Company > > > > ------------------------------ Message-ID: <43149D50.1020706 [at] post.tau.ac.il> Date: Tue, 30 Aug 2005 19:54:24 +0200 From: Judy Subject: leds in homes Hi everybody, This isn't quite stage related, but maybe somebody out there knows: I read an article last year about an architect who lit his own home exclusively with LEDs. Anybody know about this, or how I can find out more info? I need to know pretty soon. I think the article was in the NY Times but I can't find it in the archive, maybe because I don't know the name. Thanks for any help, Judy ------------------------------ Date: Tue, 30 Aug 2005 13:42:54 -0400 Subject: Re: leds in homes From: Herrick Goldman Message-ID: In-Reply-To: Please post this info to the list. I have anew condo to light and was interested as well. On 8/30/05 1:54 PM, "Judy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi everybody, > > This isn't quite stage related, but maybe somebody out there knows: I > read an article last year about an architect who lit his own home > exclusively with LEDs. Anybody know about this, or how I can find out > more info? I need to know pretty soon. I think the article was in the NY > Times but I can't find it in the archive, maybe because I don't know the > name. > Thanks for any help, > Judy > -- 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 ------------------------------ Subject: Re: plagiarism and thanks Herrick (longish - sorry) Date: Tue, 30 Aug 2005 10:56:40 -0700 Message-ID: From: "Michael Finney" Thanks for kicking this one off, Brother Herrick! (and I know I owe you an email).... I'm just going to throw a few random things into the mix (and I apologize - this ended up getting more wordy than I'd planned): Like Herrick, I have an intellectual property attorney in the family (my father-in-law). He's been in-sync with everything that Richard has been sharing. Just to say it publicly - big thanks to Richard for sharing his expertise, and I love the idea of a USITT (or LDI) session. Maybe we can add a second one on how many of us seem to have direct contact with the legal profession! And in the good, "not been arrested" sort of way.... Lighting for dance has always seemed to present even more of an issue related to reproducing previously produced work - for the simple reason that most major companies have a wide variety of works (or varying length) in their rep, from a wide variety of sources. While they've almost certainly arranged the rights from the choreographer or producing company to present the work, the question of lighting may or may not have been addressed. In some of the cases, the lighting was integral to "key" moments of the piece (think of the final stage look of Ailey's "The River"). (BTW: I'm not just speculating here - I'm basing this on several stints as resident designer for a couple of major companies, and the experience of my wife who's been choreographer and/or company manager for several smaller companies). Now, in most cases, the designer's work was done under a "work for hire" contract as Richard described it, and the rights for the design (at least the "look") attach to the performance rights. Personally, the companies that I worked with had the policy of contacting both the owner of the piece regarding the questions of rights to the designs (scenic, lighting, costume) *and* the involved designers...even if just to confirm that there were no potential problems, and to make sure that we were crediting the piece properly. We offered compensation if it seemed appropriate, although I don't recall anybody (and this included big name designers) soliciting it, and I don't recall it ever being more than $500. The cool thing was how many times the call led to some wonderful discussions of the piece, how it was created, what they'd do differently (remember that most dance designers are working from rep plots even to create new pieces), and just generally how they approached lighting for dance...worth the phone call every time! (My favourite was Jennifer Tipton - I got in touch with her about "Enough Said", a Clark Tippett piece that she originated on ABT and Miami Ballet...she not only gave me permission to reproduce the lighting, she told me that she'd never really liked the first scherzo section and suggested (pretty strongly!) that I take the initiative to change it and send her photos or video....gotta love the generosity of that!). Bottom line - we felt (as professional companies) and I personally felt (as a designer) that we had a moral obligation to make sure that the question of "ownership" of the designs was handled in an appropriate manner. That ain't always the case. I can name two different large, large theme park companies that have not only remounted attractions that I've designed in new locations (which I can't complain about - they were done as "work for hire" as defined in my contracts, and I made sure I was paid in line with that), but have come back to request not only full sets of design drawings from the original project ('cause they lost their 5 bleeding sets of as-builts), but also sets of *their* base facility drawings ('cause they lost those too)...and then *didn't pay for the copying costs"! Annoying, but not worth litigating....the cost gets added to the overhead of doing work with them in the future (it was actually in there to begin with - these guys are known for this sort of thing in the industry). As far as litigation against somebody who steals a design: well, it's probably going to cost more than you're ever going to recover. On the other hand, a "relaxed" attitude to the ownership of design annoys me, and it sure makes a difference about who I'll choose to work with or who I'll hire (this is too small an industry for karma to not catch up with you eventually). Of course, I did choose to not hire the guy who showed up in my office a couple of years ago with some really lovely photos of "his" design work....that (unfortunately for him) happened to be a piece that I'd done (and had in my portfolio)...I was even able to identify the performance, since it was a combination of dancers that only did the piece once. Yikes! (all I can figure is that he worked with the house crew and shot the rehearsal from somewhere I didn't notice) He not only lost points for trying to pass off somebody else's work as his own, he got serious "idiot" points for not even bothering to research who he was interviewing with! (the scary thing is how often this happens - several of the creative directors in my office have similar stories). Regarding the question of "work for hire" and contracts - I've taken the step (on advice of my attorney) of acknowledging in the contract that I am creating "work for hire", specifically as interpreted under the laws of the State of California. That clears up any confusion about the matter - and it can allow me to make the distinction between fees for work that I know will be reproduced over and over versus the fees for one off's. (sometimes that even works!). One quirk is that we've inserted a clause in the payment agreement that states that (I'm paraphrasing here - probably a cardinal sin in the legal world!) the rights are fully released only after the final payment. As Cynthia says, it'd be tough to enforce, but it's helped pry that final payment out of a couple of people's hands in the past. I also have a different agreement that *doesn't* release the rights for more than a single use...it's just not used very often. In *both* cases, I retain the right to use images and documents from the work for marketing purposes (and state that specifically in the contract). BTW: I have no idea if I'm in the minority or majority in this opinion, but I've never really cared if somebody reused one of my plots in a space. The plot almost certainly contained a number of compromises that I wouldn't necessarily choose to make the second time, and it *definitely* will contain things that I'd change the next time ('cause I'll probably come up with *something* I like better next time...I hope...) . Assuming that I have *any* kind of coherent structure to how I priced the job, I was paid for the time to perform the mechanics of creating the plot. The *design* resides in what I do with that plot - and I can absolutely promise you that two designers working from the same plot can get dramatically different designs from it. And, hopefully, *that's* what I'm getting paid for when I'm hired as a designer - the ability to create a design (an intellectual property) from the physical components (the material commodity). But that's my $.02....your mileage may vary...professional designer in a closed studio.... =20 Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com=20 ------------------------------ From: "holyoak1" Subject: RE: leds in homes Date: Tue, 30 Aug 2005 13:00:28 -0500 In-reply-to: Message-ID: Gersil Kay wrote a book (literally on fiber optics and LED) on it. "Girsil Kay" on Google had 132 hits Gersil Kay Conservation Lighting International Ltd. 1901 Walnut Street, Suite 9B Philadelphia, PA 19103 (215) 568-0923 Kenneth H. Holyoak Information+Insight=Profit HIG, LLC Mail POB 68633 Indianapolis IN 46268-0633 UPS 1508 E 86th Street Suite 177 Indianapolis IN 46240 ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Herrick Goldman Sent: Tuesday, August 30, 2005 12:43 PM To: Stagecraft Subject: Re: leds in homes For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Please post this info to the list. I have anew condo to light and was interested as well. On 8/30/05 1:54 PM, "Judy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi everybody, > > This isn't quite stage related, but maybe somebody out there knows: I > read an article last year about an architect who lit his own home > exclusively with LEDs. Anybody know about this, or how I can find out > more info? I need to know pretty soon. I think the article was in the NY > Times but I can't find it in the archive, maybe because I don't know the > name. > Thanks for any help, > Judy > -- 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 ------------------------------ In-Reply-To: References: Message-Id: <1358F4DB-4BEA-456A-B510-015BD8FEF46F [at] wmld.com> From: William McLachlan Subject: Re: Cable Number labels Date: Tue, 30 Aug 2005 11:35:47 -0700 Found'em! Thanks all, Willy On Aug 29, 2005, at 6:47 PM, Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > > >> Here's a silly question: Who can give me a source for the black-on- >> yellow number labels we often use to mark stage cables' lengths? >> > > Go to www.mouser.com. Look under "Wire & Cable Management" and > then "Wire > Identification". > > > > > > ------------------------------ Message-Id: <3.0.6.32.20050830115350.00ce4770 [at] pop.west.cox.net> Date: Tue, 30 Aug 2005 11:53:50 From: CB Subject: RE: plagiarism and thanks Herrick >Me, I'd just as soon have grown up during the age of big band and swing, >except, y'know, for that WWII thing.... Yup, even the wars were better written back then. They had a beat, you could dance to them, I'd give 'em an 86... 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: <3.0.6.32.20050830115510.00ce4770 [at] pop.west.cox.net> Date: Tue, 30 Aug 2005 11:55:10 From: CB Subject: Re: plagiarism and thanks Herrick >Aaaaaaaaaaaarrrrrrrrrrrrrgggggggghhhhhhhhhhhhh > >(runs screaming from the room) Whose turn is it wo make sur Unk gets his meds? 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: <3.0.6.32.20050830120023.00ce4770 [at] pop.west.cox.net> Date: Tue, 30 Aug 2005 12:00:23 From: CB Subject: Scenic tree > This tree will fly, and track in. Has anyone made something like this >that has a fair amount of 2 dimensional detail, but very little 3 >dimensional detail, that did not look like butt? >I am looking for a simple. yet elegant solution. On or off list is >fine. I built a couple of them (four?) in Joey's shop for Drac. I thouhgt that they looked great, but I'm a sound guy. These flew, and had points, IIRC. You should call him. He misses you! These trees (again, if I am not mistooken) are in the Ballet Arts gear. They'll prolly rent 'em if Joey's there to vouch for you. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <6.2.3.4.0.20050830121534.0297d298 [at] 192.168.0.13> Date: Tue, 30 Aug 2005 12:17:30 -0700 From: Jerry Durand Subject: Re: plaigerism and thanks Herrick In-Reply-To: References: At 06:36 AM 8/30/2005, you wrote: >Wrong. A student does not have to be unionized to enjoy the Right >of Privacy and the institution has the right that the designer would >have had to prevent the Intellectual Property from being stolen. >/s/ Richard How about outdoor/public performances? From what I understand, a person has NO expectation of privacy in a public place as long as you don't record audio. It's why security camera and news shows are legal. -- 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: <3.0.6.32.20050830120755.00ce4770 [at] pop.west.cox.net> Date: Tue, 30 Aug 2005 12:07:55 From: CB Subject: Re: CSNY, harmonies >After all those foreign subtances, it's amazing he can see/hear. On another list, we were comparing the works of some musicians before and after their recreational pharmacology experimentation periods. It wassad how many were more creative/enjoyable while using, and how many either dissappeared or you'd wished they had, after they cleaned up. It was suggested that the popularity of rehab centers ruined the music business, and when the 'new, hip' drugs started coming around, no one cared about talent anymore, just marketability. "I've never advocated the use of drugs, alchohol, violence or insanity to anyone, but they've always worked for me!" HST, RIP 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... ------------------------------ In-Reply-To: References: Message-Id: <57C10B46-198B-11DA-A51F-000A9592AE20 [at] tany.com> From: Brian Aldous Subject: Re: plaigerism and thanks Herrick Date: Tue, 30 Aug 2005 15:22:02 -0400 Actually, this is about "archival" - There is a big exception whose legality I have no idea of... dance. Archival taping by choreographers seems to be the principal means of preserving and also providing proof of copywright of their work. I am used to my choreographers taping every rehearsal and most performances as a means of teaching and providing corrections for the next day's company class. Rehearsal tapes are rarely preserved beyond that day, but everyone carefully tapes at least one performance or dress rehearsal as the principal means of reproducing the work at a future date. Recordings are also often required by funders both in the application process and as proof of how the money was spent, as well as by venues booking companies in, who want to see some idea of what they are getting. I am sure that if I objected to the taping of a piece I had lit, it would be the LAST piece I ever lit. BA Brian Aldous Lighting Design brian [at] tany.com On Aug 30, 2005, at 6:01 AM, Stagecraft wrote: ------------------------------ Message-Id: <6.2.3.4.0.20050830122344.03dab798 [at] 192.168.0.13> Date: Tue, 30 Aug 2005 12:26:20 -0700 From: Jerry Durand Subject: Re: leds in homes In-Reply-To: References:

At 10:42 AM 8/30/2005, you wrote: >Please post this info to the list. I have anew condo to light and was >interested as well. There's a home in San Jose that has a bunch of LED Effects RGB heads lighting the back yard/hot tub/patio. We had one of these heads on display at the Stage Expo. It's all run off one of our DMX boxes hidden in the wall with a mechanical switch to chose lighting patterns (including moonlight with random lighting flashes). The interior of the home is NOT LEDs. -- 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 ------------------------------ In-Reply-To: References: Message-Id: From: Brian Aldous Subject: Re: power distribution info Date: Tue, 30 Aug 2005 15:31:38 -0400 Are there any basic guides to power distro for dimming systems out there? Sometimes I get tired of getting phone calls asking me questions like "Hey, I'm doing a show at Jane Doe Horrible Loft Space out in East New York, they have 60 Amps single phase, can I plug in 2 12x2.4 sensors on top of the 18 old analog dimmers there?" BA Brian Aldous Lighting Design brian [at] tany.com On Aug 30, 2005, at 6:01 AM, Stagecraft wrote: ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: power distribution info Date: Tue, 30 Aug 2005 15:34:58 -0400 Message-ID: <001e01c5ad99$eb725f70$6601a8c0 [at] Dell> In-Reply-To: > "Hey, I'm doing a show at Jane Doe Horrible Loft Space out in > East New > York, they have 60 Amps single phase, I'm surprised they have that much. ------------------------------ From: IAEG [at] aol.com Message-ID: <1ee.42e7594d.30461040 [at] aol.com> Date: Tue, 30 Aug 2005 15:40:48 EDT Subject: Re: power distribution info In a message dated 8/30/05 3:31:47 PM, brian [at] tany.com writes: << , can I plug in 2 12x2.4 sensors on top of the 18 old analog dimmers there?" >> Sure you can "plug them in" ! will they work? will the building catch fire ? those are other questions, , , very best, Keith ------------------------------ Message-Id: <3.0.6.32.20050830123127.00ce4770 [at] pop.west.cox.net> Date: Tue, 30 Aug 2005 12:31:27 From: CB Subject: Plaza Theatre >I am looking for feedback on equipment that will allow a laptop to send >audio and video output to a Sanyo digital projector that is 150 feet away >wirelessly. Something like the Avocent LongView Wireless Extender. Anyone >have anything they recommend or have experience with? > >We need talking heads at the lectern on stage to be able to show and control >their Powerpoints on the screen on stage from the projector in the balcony. We've either put the laptop on the stage and run a VGA cable (with amplification) back to the projector, or we've had the laptop at the projector and used a wireless mouse to control it. The latter is easier if you have a VGA cable running back to the lectern and the presenter can see what he is operating without having to look at the big screen (i.e., some sort of cinfidence monitor built into the lectern or onthe floor in front of him). Contact your local A/V producer for corporate stuff, they deal with this almost every show. OTOH, there are wireless products that have a coupla buttons on them, one lights agreen 'Forward' arrow at teh operator's position, and another operates a red 'Back' arrow. If they need no mor control than that, I can turn you on to a coupla places to but one, and a coupla dozen places to rent one. There are also a coupla tutoring programs that allow one computer to 'take over' the display of another, over ethernet, or Wi-Fi. This method would require the software, two computers, and a Wi-fi cards in both, at the very least. If you like, I can try to trackdown the person I was discussing this with last night, and see if he has a name or URL for said software. He and I were discussing a was to make the information on my laptop available to him on his, from the A2 position to the A1. Example: If I'm running Sennheiser's Computer Display Software on my computer backstage, it'd be great if the A1 could open a window on his computer FOH with the same display in it. "Hey, Look at what 'Schehazerade's' mic is doing!" "Oh, yeah, that's wierd!" I'd love to have a method by which my laptops info could be sent via Wi-Fi to some other computer, not controlling another computer, but as a 'view' of some sort or another. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: IAEG [at] aol.com Message-ID: <14.4c57a662.304612d7 [at] aol.com> Date: Tue, 30 Aug 2005 15:51:51 EDT Subject: on a serious note Friends, I just took a break from the office, , grabbed a bite to eat and saw some of the footage from the Mississippi Gulf coast, Oh my, oh my, , it looks worse than Andrew in Miami Dade Co For those of you who have visited on tour the Grand Casino with one of the few "real" venues there. The Casino is gone, completely gone the theatre is there, , the Hotel / Parking lot structure is there, but the Lobby and the two barges that were connected to it for the "casino" floor are no where to be seen, gone! and I doubt that the water there was deep enough for these two story structures to actually "sink" and disappear. A major portion of The Hard Rock Casino under construction has collapsed, The Beau Rivage looks like it came through relatively intact although I would imagine there is serious water damage, the US 90 bridge is "gone" The devastation and destruction of homes and business and I am sure the resultant loss of life as well is enormous. As a Gulf Coast resident that was evacuated three times last year, and lost power at one point for a week I just can't imagine what these people are going to be going through for the next weeks, months and quite frankly years as that area recovers This is a human tragedy of proportions I don't think we have seen in our life time and it's effects on the entire country in terms of the economy will be felt for quite some time. It is going to make Andrew and Charley pale in comparison. it certainly gives me pause, , sending out best wishes, love and prayers to all those folks affected, , very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: leds in homes Date: Tue, 30 Aug 2005 17:00:11 -0400 In-Reply-To: Message-Id: <20050830210017.ZTXT26102.tomts10-srv.bellnexxia.net [at] p3m866> My brother-in-law bought a hot-tub with LED lighting built-in. I was shocked to see a licensing statement for Color Kinetics. Yikes -- it's not just about entertainment stuff! Jim > There's a home in San Jose that has a bunch of LED Effects > RGB heads lighting the back yard/hot tub/patio. We had one > of these heads on display at the Stage Expo. It's all run > off one of our DMX boxes hidden in the wall with a mechanical > switch to chose lighting patterns (including moonlight with > random lighting flashes). The interior of the home is NOT LEDs. > Jerry Durand ------------------------------ Message-Id: <6.2.3.4.0.20050830140238.029f5d30 [at] 192.168.0.13> Date: Tue, 30 Aug 2005 14:04:05 -0700 From: Jerry Durand Subject: Re: leds in homes In-Reply-To: References:

At 02:00 PM 8/30/2005, you wrote: >My brother-in-law bought a hot-tub with LED lighting built-in. I was >shocked to see a licensing statement for Color Kinetics. Yikes -- it's not >just about entertainment stuff! Nope, they invented lighting hot tubs with colored lights. That's why they got about a dozen patents last year, to protect all their original inventions. I mean, who would have thought of using colored lights in a pool or hot tub or theatre before they invented the idea? -- 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: Reply-To: From: "Michael S. Eddy" Subject: RE: leds in homes Date: Tue, 30 Aug 2005 17:50:25 -0400 In-Reply-To: Judy wrote: > This isn't quite stage related, but maybe somebody out there knows: I > read an article last year about an architect who lit his own home > exclusively with LEDs. Anybody know about this, or how I can find out > more info? I need to know pretty soon. I think the article was in the NY > Times but I can't find it in the archive, maybe because I don't know the > name. Judy, I don't know about the article in the NY Times, but Mondiale publishing out of the UK had a lot of coverage on the Vos Pad in Chelsea. You can read about it and see some shots here: http://www.mondiale.co.uk/mondoarc/vos.html You can also see and read more here: www.thevospad.com When I was at PLASA a few years back we were all invited to go see it, I missed the trip, but everyone else who went was scared by the owner and everyone felt very nauseous from all of the LED lighting. The feeling was that it was very harsh and set them on edge. You also had to have all of the window shades closed to make it work, and they had used a lot of tricks with the space including mirrors and reflective surfaces, but to anyone used to a NYC apartment, they are already used to that! I hope this helps. Michael S. Eddy mseddy2900 [at] hotmail.com ------------------------------ Message-Id: Date: Tue, 30 Aug 2005 17:54:52 -0400 From: "Jeffrey Kanyuck" Subject: Ghost Light standards Hey All, Hope everyone is doing well. I'm looking for information on any standard requirements for Ghost Lights. I've got a great one but, our security department keeps turning it off saying it's a fire hazard and I have to SHOW THEM IN WRITING any kind of proof otherwise. I've looked in OSHA and ANSI, but, I'm not seeing anything on it. I'm sure I'm looking in the wrong place. Any help would be appreciated. Jeff Kanyuck ------------------------------ Message-Id: <6.2.3.4.0.20050830145612.029bc110 [at] 192.168.0.13> Date: Tue, 30 Aug 2005 14:56:45 -0700 From: Jerry Durand Subject: Re: leds in homes In-Reply-To: References:

At 02:50 PM 8/30/2005, you wrote: >When I was at PLASA a few years back we were all invited to go see it, I >missed the trip, but everyone else who went was scared by the owner and >everyone felt very nauseous from all of the LED lighting. The feeling was >that it was very harsh and set them on edge. You also had to have all of the >window shades closed to make it work, and they had used a lot of tricks with >the space including mirrors and reflective surfaces, but to anyone used to a >NYC apartment, they are already used to that! Used to the nausea, harshness, or tricks? :) -- 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: <6.2.3.4.0.20050830145743.029dc160 [at] 192.168.0.13> Date: Tue, 30 Aug 2005 14:58:47 -0700 From: Jerry Durand Subject: Re: Ghost Light standards In-Reply-To: References: At 02:54 PM 8/30/2005, you wrote: > I've got a great one but, our security department keeps turning it >off saying it's a fire hazard and I have to SHOW THEM IN WRITING any >kind of proof otherwise. Could you call it a "work light" or "safety night light"? Surely they don't make you turn off the lights in the exit signs at night, those are "safety lights". -- 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 ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 30 Aug 2005 22:08:49 GMT Subject: Re: plaigerism and thanks Herrick Message-Id: <20050830.150855.29056.213021 [at] webmail04.lax.untd.com> You still can't exploit a person's name or likeness for commercial purposes. The first time that some parent gets a copy of a tape shot by another parent, and reimburses the first parent with anything, including one peppercorn, for it, it becomes a commercial adventure, whether profitable or not. There are exceptions for paparazzi that are not relevant here, having to do with their status of Public Figures, but you still can't shoot celebrities DURING a performance without a clearance. The rights of the person being photographed are cumulative. Recording audio or not will likely be legally irrelevant. /s/ Richard Response to:_________________ How about outdoor/public performances? From what I understand, a person has NO expectation of privacy in a public place as long as you don't record audio. It's why security camera and news shows are legal. Jerry Durand ------------------------------ In-Reply-To: References: Message-Id: <29DE9FCB-AB95-4416-8C3C-02CECA84D5DD [at] hillmardesign.com> From: gregg hillmar Subject: Re: on a serious note Date: Tue, 30 Aug 2005 19:31:02 -0400 Yeah, I was thinking about Steve Schepker and some of our other list members who are in that area, hoping they were all right, but as they have no power- (in places they are saying months (yes!) before power can be restored), I didn't post yet as they can't answer. My thoughts and prayers are with them all. It is a catastrophe of epic proportions. Having survived through Isabel and Gaston up here in the mid-east coast- both are small in comparison. We suffered through two weeks of no power- that's nothing compared to what these people will endure. At least in our neighborhood, humanity was the keyword, unlike some of the lawlessness we've seen on TV. OF course we shouldn't talk to much, with the Henrico county ibook riots in our backyard... Still, I wish all down that way the best. g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige On Aug 30, 2005, at 3:51 PM, IAEG [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > Friends, > > I just took a break from the office, , grabbed a bite to eat and > saw some of > the footage from the Mississippi Gulf coast, > > Oh my, oh my, , it looks worse than Andrew in Miami Dade Co > > For those of you who have visited on tour the Grand Casino with one > of the > few "real" venues there. > > The Casino is gone, completely gone > > the theatre is there, , the Hotel / Parking lot structure is there, > > but the Lobby and the two barges that were connected to it for the > "casino" > floor are no where to be seen, gone! and I doubt that the water > there was deep > enough for these two story structures to actually "sink" and > disappear. > > A major portion of The Hard Rock Casino under construction has > collapsed, > > The Beau Rivage looks like it came through relatively intact > although I would > imagine there is serious water damage, > > the US 90 bridge is "gone" > > The devastation and destruction of homes and business and I am sure > the > resultant loss of life as well is enormous. > > As a Gulf Coast resident that was evacuated three times last year, > and lost > power at one point for a week I just can't imagine what these > people are going > to be going through for the next weeks, months and quite frankly > years as that > area recovers > > This is a human tragedy of proportions I don't think we have seen > in our life > time and it's effects on the entire country in terms of the economy > will be > felt for quite some time. > > It is going to make Andrew and Charley pale in comparison. > > it certainly gives me pause, , > > sending out best wishes, love and prayers to all those folks > affected, , > > > very best, > > Keith Arsenault > > IAEG - International Arts & Entertainment Group > Tampa, Florida > ------------------------------ Subject: RE: Plaza Theatre Date: Tue, 30 Aug 2005 19:37:20 -0400 Message-ID: From: "Fitch, Tracy" Most any remote control program can also be used as a viewer. Consider any of the many implementation of VNC like TightVNC (at http://www.tightvnc.com/ ). TightVNC is free GPLed software with a whole heck of a lot of improvements over baseline vnc. Stuff like better compression to use less bandwidth and viewport scaling to something other than the resolution on the original host. (trust me -- try it, you'll like it) You can setup readonly passwords for the person logging in which keeps them from controlling and only lets them view. Take that and tie your laptops together with any wifi driver that lets you build an adhoc network and you're there, Chris. (Can you tell I've already been working on this problem for a remote SFX control system?) =20 Chris "Chris" Babbie wrote: > He and I were discussing a was to make the information on my=20 > laptop available to him on his, from the A2 position to the=20 > A1. Example: If I'm running Sennheiser's Computer Display=20 > Software on my computer backstage, it'd be great if the A1=20 > could open a window on his computer FOH with the same display=20 > in it. "Hey, Look at what 'Schehazerade's' mic is doing!" > "Oh, yeah, that's wierd!" =20 > I'd love to have a method by which my laptops info could be=20 > sent via Wi-Fi to some other computer, not controlling=20 > another computer, but as a 'view' > of some sort or another. -- Tracy S. Fitch; TD, UNCCharlotte; LD, Everywhere Else; Geek, Universally ------------------------------ Date: Tue, 30 Aug 2005 20:00:20 -0400 From: "Steve B." Subject: Re: Ghost Light standards Message-id: <005e01c5adbe$fa997680$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Jeffrey Kanyuck" > Hey All, > Hope everyone is doing well. > I'm looking for information on any standard requirements for Ghost > Lights. > I've got a great one but, our security department keeps turning it > off saying it's a fire hazard and I have to SHOW THEM IN WRITING any > kind of proof otherwise. > I've looked in OSHA and ANSI, but, I'm not seeing anything on it. > I'm sure I'm looking in the wrong place. > Any help would be appreciated. Have you asked them for documentation that explains how it's a fire hazard ?. Seriously though, maybe a conversation with a senior member of the department explaining how it's an enclosed fixture, away from any flammable materials, with a load that's well under the rating of socket and wiring and SERVES A PURPOSE !, kind of like a street lamp. We had issues for a while with our security department, with random members who would come in to the theater in the early AM, turn off the ghost light (they had no issues with it), and turn on all the house lights, for the remainder of the day, until a stage staff member came in, to turn them off. Really annoying as no note could stop them and I could not figure out who.... An ETC Unison LCD panel with code access only solved the problem. The ghost light is now a pair of 500w floods in the apron ceiling, also on the automated Unison system. Security can't touch it. Steve Bailey Brooklyn College ------------------------------ Message-ID: <4314FFAF.8010603 [at] fuse.net> Date: Tue, 30 Aug 2005 20:54:07 -0400 From: Stuart Wheaton Subject: Re: Halloween ? References: In-Reply-To: IAEG [at] aol.com wrote: > I know that both Herrick and I are heavily involved in lighting large scale > Halloween projects, are their others here on the list that are doing the same ? NO, but I am already building a sleigh for a fat guy in a red suit... If I can get it all done before November maybe I'll have time to recover and I won't hate x-mas this year. ------------------------------ From: "Chris Warner" Subject: OSHA lifting limitations Date: Tue, 30 Aug 2005 18:41:44 -0700 Message-ID: <003201c5adcd$24d5a7d0$6401a8c0 [at] chris> Hey guys, not necessarily theatre related but with most of us schlepping and moving lighting fixtures and other items I figured it would be a good place to ask the question. My current day job (working to put myself and my wife through college), I had been asked to lift a load of 165lbs 20ft, using 1/2" rope and a block with a single pulley. The rope and the pulley were rated at 400lbs working weight, and did not have a label restricting overhead use. My question is under OSHA requirements, what is the proper equipment been to do this job, and what is the maximum weight a single person can lift without help? Thanks for the info. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.17/85 - Release Date: 8/30/2005 ------------------------------ Message-ID: <015a01c5add0$7e27af60$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References:

Subject: Re: Halloween ? Date: Tue, 30 Aug 2005 21:38:46 -0400 NO! NO! A pox on you. I spent two Halloweens working for Norcostco (Atlanta Costume). That's more than enough Halloween for a lifetime. Alf ------------------------------ Date: Tue, 30 Aug 2005 22:50:44 -0400 Subject: Re: Wireless AV gear question... From: "C. Dopher" Message-ID: In-Reply-To: On 8/29/05 3:53 PM, "Steve Jones" wrote: > Greetings all! > > I am looking for feedback on equipment that will allow a laptop to send > audio and video output to a Sanyo digital projector that is 150 feet away > wirelessly. Something like the Avocent LongView Wireless Extender. Anyone > have anything they recommend or have experience with? Well, equipment to wirelessly control a powerpoint presentation is old hat. They even have it skinnied down to a USB dongle and a pocket widget now: http://www.zyonshop.com/product/beamplus.htm I'm sure with some hunting and pecking you can find a similar product that will work over 150 feet. Cris Dopher ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: Ghost Light standards Date: Tue, 30 Aug 2005 23:06:17 -0400 > I'm looking for information on any standard requirements for Ghost >Lights. > I've got a great one but, our security department keeps turning it >off saying it's a fire hazard and I have to SHOW THEM IN WRITING any >kind of proof otherwise. Is it demonstrably hazardous? If you made it using UL-listed components, and wired it in a manner that meets NEC compliance, there should be no issue. If you bought it off the shelf -- ha! like anyone in theater does that -- then show 'em the box and be done with it. If they really insist, tell 'em they can hire a licensed electrician to check it out. I'm sure they'll go crazy for that idea. But -- don't go courting disaster. If you can do this without tweaking your security folks off, more's the better. Treat 'em nice, and they should do the same to you. -- Matt ========= _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee� Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: power distribution info Date: Tue, 30 Aug 2005 23:17:03 -0400 >Sometimes I get tired of getting phone calls asking me questions like >"Hey, I'm doing a show at Jane Doe Horrible Loft Space out in East New >York, they have 60 Amps single phase, can I plug in 2 12x2.4 sensors on top >of the 18 old analog dimmers there?" We *all* get tired of questions like that. But as for guidelines, yeah: What's the maximum draw that would be created by the dimmer packs you want to bring in? What's the maximum load of the available tie-in? And what else is existing in the space that would reduce that load? The problem with the Jane Does of the world is that while you can definitely answer the first one, people will only *sometimes* know the answer to the second, and *rarely* know the answer to the third. Thankfully, this lack of information -- and the ability to fill in the blanks -- creates a job for you and me both. -- Matt ======== _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar � get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: plagiarism and thanks Herrick Date: Tue, 30 Aug 2005 23:28:00 -0400 The English major in me feels compelled to point out that it's spelled "plagiarism." It's an interesting word with Latin roots; ultimately it refers to a net used for fishing or hunting. Oddly enough, there's a Greek word (plagiotropic) meaning "having the longer axis inclined away from the vertical," which sounds like a few old lighting fixtures I know. -- Matt ======== _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Date: Wed, 31 Aug 2005 01:15:08 -0400 Subject: Re: plaigerism and thanks Herrick From: Bruce Purdy Message-ID: In-Reply-To: > Sam French and Jim Casey (author of "Grease") sent a Lincoln towncar full of > attorneys to lil' ol' Wilsonville, Oregon, USA, to the local high school for > 'changing' the show. Don't think it couldn't happen to you. Speaking of "Changing" Grease, it seems productions I've seen lately include music from the movie instead of some of the original stage version songs. Have the rights holders changed the version that they licence, or do they offer a choice? I used to love the play, but I hated the movie changes. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <3023.64.28.53.85.1125469203.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 30 Aug 2005 23:20:03 -0700 (PDT) Subject: Re: OSHA lifting limitations From: "Bill Nelson" > I had been asked to lift a load of > 165lbs 20ft, using 1/2" rope and a block with a single pulley. The rope > and the pulley were rated at 400lbs working weight, and did not have a > label restricting overhead use. My question is under OSHA requirements, > what is the proper equipment been to do this job, and what is the > maximum weight a single person can lift without help? I don't know about OSHA rules, but I feel that that is too much weight for one person to safely lift using single purchase tackle. When you figure in friction losses, you are probably looking at close to 200 pounds of pull needed to lift that weight. While I can "sweat up" that much (and more) if I have a good pinrail available, I would not be able to budge it otherwise. I only weigh about 150 pounds. I don't like any load that I cannot lift by pulling with one arm, even if there is someone tailing the rope. Bill ------------------------------ Message-ID: <3142.64.28.53.85.1125471531.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Tue, 30 Aug 2005 23:58:51 -0700 (PDT) Subject: Re: plaigerism and thanks Herrick From: "Bill Nelson" >> Sam French and Jim Casey (author of "Grease") sent a Lincoln towncar >> full of >> attorneys to lil' ol' Wilsonville, Oregon, USA, to the local high school >> for >> 'changing' the show. Don't think it couldn't happen to you. Hm. I couldn't find anything through a Google search. Can you provide a cite? Bill ------------------------------ Message-ID: <90d9c998050831021627055c88 [at] mail.gmail.com> Date: Wed, 31 Aug 2005 05:16:36 -0400 From: Scott Parker Subject: OT: Removing stuck drain cap. Greetings all, I'm trying to get a drain cap out of a drain. The brainiacks who were renovating my basement before I bought the house screwed in a drain cap before pouring cement into the floor of the shower. I've chiseled out all the cement around the threaded insert, but it's still stuck. Almost like using super lock-tight. Any suggestions as to getting this out? My next step may be to drill it out. It's a 2" line though. =20 Thanks for any suggestions, Scott --=20 Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza=20 =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Message-ID: <90d9c998050831023512f7fa55 [at] mail.gmail.com> Date: Wed, 31 Aug 2005 05:35:10 -0400 From: Scott Parker Subject: Tenure & Promotion Workshop, NYC USITT USITT NY Area Chapter is sponsering a Tenure & Promotion Workshop on September 24th at Pace University. Our workshop will be for those who may need guidance and/or mentoring towards obtaining tenure and/or promotion. For more information, and directions to Pace, go to www.usittny.org. To RSVP please send a note to RSVP [at] USITTNY.org. --=20 Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza=20 =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Message-ID: <90d9c9980508310245d402028 [at] mail.gmail.com> Date: Wed, 31 Aug 2005 05:45:05 -0400 From: Scott Parker Cc: hstech [at] googlegroups.com (hstech group) Subject: Collage Fair NYC-Sept. 24th USITT NY Section is sponsering an undergraduate and graduate theatre college fair! Sept. 24th 2005 from 2-5pm. All students are invited to meet and great. Portfolio review appointments may be available; space is limited. To RSVP or obtain additional information, please contact RSVP [at] USITTNY.org. Feel free to pass this along. For more information and directions to Pace, go to www.usittny.org. Schools wishing to participate in the school fair should be USITT NY chapter members or pay a small fee. Contact rsvp [at] usittny.org --=20 Take care, Scott =09Scott C. Parker =09Chair, USITT NYAS =09212-346-1423 Fax: 914-989-8425 ------------------------------ End of Stagecraft Digest #505 *****************************