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 24742472; Sun, 18 Sep 2005 03:01:06 -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 #523 Date: Sun, 18 Sep 2005 03:00:20 -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=unavailable version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #523 1. Alkalite LED Strips by Herrick Goldman 2. Disney in New Orleans by Mark O'Brien 3. Re: Latex paint storage by "Paul Guncheon" 4. Re: Disney in New Orleans by Kevin Lee Allen 5. Re: Disney in New Orleans by John McKernon 6. Re: Alkalite LED Strips by "Jim at TheatreWireless.com" 7. Re: Disney in New Orleans by "Jon Ares" 8. Re: Disney in New Orleans by "Jeffrey E. Salzberg" 9. Re: Disney in New Orleans by IAEG [at] aol.com 10. Publicity/posters by "Storms, Randy" 11. Re: Publicity/posters by Dale Farmer 12. Re: Publicity/posters by "Jon Ares" 13. Re: hazardous chemical (paint and dye) storage by FrankWood95 [at] aol.com 14. Re: Disney in New Orleans by Kevin Lee Allen 15. Re: Disney in New Orleans by "Josh Ratty" 16. Re: Disney in New Orleans by Mark O'Brien 17. Re: Disney in New Orleans by "Jeremiah Minh Greenblatt" 18. Re: Disney in New Orleans by Charlie Richmond 19. Re: Disney in New Orleans by "Paul Schreiner" 20. Stairwell on Stage by "Eric Geater at Home" 21. Re: Stairwell on Stage by Mark O'Brien 22. Re: Stairwell on Stage by "Paul Schreiner" 23. Intermodulation calculator, redux by "Paul Schreiner" 24. Re: Stairwell on Stage by Pat Kight 25. Re: Stairwell on Stage by Bruce Purdy 26. Re: Stairwell on Stage by James Feinberg 27. Re: Disney in New Orleans by FrankWood95 [at] aol.com 28. Re: Stairwell on Stage by FrankWood95 [at] aol.com 29. Re: Alkalite LED Strips by "Michael S. Eddy" 30. Re: Publicity/posters by "Tony Deeming" 31. What is it ..... by "Tony Deeming" 32. Re: Alkalite LED Strips by Herrick Goldman 33. Re: Digital Photo Question /HELP (off Topic) by Noah Price 34. Re: intellectual property / ethics by "RD" 35. Re: intellectual property / ethics by "RD" 36. Re: Stairwell on Stage by "Eric Geater at Home" 37. Re: Digital Photo Question /HELP (off Topic) by "Jon Lagerquist" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Sat, 17 Sep 2005 08:05:49 -0400 Subject: Alkalite LED Strips From: Herrick Goldman Message-ID: Hey Folks, I'm taking a show to Shanghai and the vendor is attempting to substitute MR-16 strips with Alkalite LED Strips http://www.alkalite.com/ Does anyone have any experience with this? Thanks. -H -- 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: <20050917053911.p18gc48wsog4sgoo [at] www.email.arizona.edu> Date: Sat, 17 Sep 2005 05:39:11 -0700 From: Mark O'Brien Subject: Disney in New Orleans References: In-Reply-To: From the New York Times. (I think you have to register) http://tinyurl.com/84dnm Disney on Parade By MAUREEN DOWD Published: September 17, 2005 WASHINGTON The president, as he fondly recalled the other day, used to get well lit in New Orleans. Not any more. On Thursday night, Mr. Bush wanted to appear casually in charge as he waged his own Battle of New Orleans in Jackson Square. Instead, he looked as if he'd been dropped off by his folks in front of a eerie, blue-hued castle at Disney World. (Must be Sleeping Beauty's Castle, given the somnambulant pace of W.'s response to Katrina.) All Andrew Jackson's horses, and all the Boy King's men could not put Humpty Dumpty together again. His gladiatorial walk across the darkened greensward, past a St. Louis Cathedral bathed in moon glow from White House klieg lights, just seemed to intensify the sense of an isolated, out-of-touch president clinging to hollow symbols as his disastrous disaster agency continues to flail. In a ruined city - still largely without power, stinking with piles of garbage and still 40 percent submerged; where people are foraging in the miasma and muck for food, corpses and the sentimental detritus of their lives; and where unbearably sad stories continue to spill out about hordes of evacuees who lost their homes and patients who died in hospitals without either electricity or rescuers - isn't it rather tasteless, not to mention a waste of energy, to haul in White House generators just to give the president a burnished skin tone and a prettified background? The slick White House TV production team was trying to salvage W.'s "High Noon" snap with some snazzy Hollywood-style lighting - the same Reaganesque stagecraft they had provided when W. made a prime-time television address from Ellis Island on the first anniversary of the 9/11 attacks. On that occasion, Scott Sforza, a former ABC producer, and Bob DeServi, a former NBC cameraman and a lighting expert, rented three barges of giant Musco lights, the kind used for "Monday Night Football" and Rolling Stones concerts, floated them across New York Harbor and illuminated the Statue of Liberty as a backdrop for Mr. Bush. Before the presidential address, Mr. DeServi was surveying his handiwork in Jackson Square, crowing to reporters about his cathedral: "Oh, it's heated up. It's going to print loud." As Elisabeth Bumiller, the White House reporter for The Times, noted in a pool report, the image wizards had put up a large swath of military camouflage netting, held in place by bags of rocks and strung on poles, to hide the president from the deserted and desolate streets of the French Quarter ghost town. The president is still looking for a tiny spot of unreality in New Orleans - and in Iraq, where a violent rampage has spiked the three-day death tally to over 200. ------------------------------ Date: Sat, 17 Sep 2005 04:09:33 -1000 From: "Paul Guncheon" Subject: Re: Latex paint storage Message-id: <049301c5bb91$6e54a420$c6354104 [at] yourxhtr8hvc4p> References: <> Perhaps I'm somewhat of a skeptic but my experiences with insurance inspectors suggests that their main reason for inspecting was to find "violations", no matter how mythical, so they can write you up and the insurance company can raise your rates. I've had some pretty incredible inspections by some rather unpleasant inspectors. I admit that I have sometimes a cavalier attitude towards some truly dangerous things.... but I do not consider a can of spray paint to be "bomb waiting to go off." Of course, this was the same inspector who wanted us to take down all the sheets of styrofoam brickwork from overhead storage as he couldn't believe that the 1/2" steel rod hangers could possibly support the weight of all the stone. "How did you get that up there anyway?" Laters, Paul "Is your name Timothy or Russell?" Tom asked timorously. Laters, Paul ------------------------------ Date: Sat, 17 Sep 2005 11:00:28 -0400 From: Kevin Lee Allen Subject: Re: Disney in New Orleans In-reply-to: Message-id: <46FEB7D2-F4EB-4741-A6AF-FD5F0EAC3CF0 [at] klad.com> References:

I was surprised actually at how badly I thought that both the =20 president and the Cathedral were lit for that speech. I have come to =20 expect much more in production value from this team. On Sep 17, 2005, at 8:39 AM, Mark O'Brien wrote: > The slick White House TV production team was trying to salvage W.'s =20= > "High Noon" > snap with some snazzy Hollywood-style lighting - the same Reaganesque > stagecraft they had provided when W. made a prime-time television =20 > address from > Ellis Island on the first anniversary of the 9/11 attacks. On that =20 > occasion, > Scott Sforza, a former ABC producer, and Bob DeServi, a former NBC =20 > cameraman > and a lighting expert, rented three barges of giant Musco lights, =20 > the kind used > for "Monday Night Football" and Rolling Stones concerts, floated =20 > them across New > York Harbor and illuminated the Statue of Liberty as a backdrop for =20= > Mr. Bush. > > Before the presidential address, Mr. DeServi was surveying his =20 > handiwork in > Jackson Square, crowing to reporters about his cathedral: "Oh, it's =20= > heated up. > It's going to print loud." ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Date: Sat, 17 Sep 2005 11:33:21 -0400 Subject: Re: Disney in New Orleans From: John McKernon Message-ID: In-Reply-To: > I was surprised actually at how badly I thought that both the > president and the Cathedral were lit for that speech. I have come to > expect much more in production value from this team. Brian Williams, on the NBC 6pm broadcast last night, mentioned that the power in the area came on sometime before the President's appearance, and went out again about an hour after he left. Do you suppose they didn't use gennies? FWIW, NBC also broadcast a report last night from a local bar that was lit only by flashlight, so if the President had really wanted to, he could have done without special lighting - of course, I'm happy that our colleagues are gainfully employed, but still... - John ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: Alkalite LED Strips Date: Sat, 17 Sep 2005 12:41:19 -0400 In-reply-to: Message-Id: <20050917164126.TKOV28424.tomts25-srv.bellnexxia.net [at] p3m866> I don't know anything about Alkalite -- they could be great. But... If they are using white LEDs you will be very disappointed with color rendering. These lamps trick the eye into looking white by using a blue LED plus doping inside the component to add some content down at the red end of the spectrum. There is almost no light produced in the middle of the spectrum. Get a swatch book and light it with an LED to see what I mean (do this in the dark, of course, so there is no other light present). Also, try putting gels in front on a white LED -- it will surprise you. On the other hand, if Alkalite is using multiple color LEDs (i.e. red/green/blue clusters, or even more colors in a tight group) the result can be quite pleasant. But then the power savings aren't anywhere near what you'd expect (it takes less energy to produce just the ends of the spectrum than it does to produce the whole thing). And the cost of multi-color devices is high. Short answer: get a hold of these substitute devices and try them out, or you could be in for an unpleasant surprise. Jim www.theatrewireless.com > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Herrick Goldman > Sent: September 17, 2005 8:06 AM > To: Stagecraft > Subject: Alkalite LED Strips > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hey Folks, > > I'm taking a show to Shanghai and the vendor is attempting to > substitute > MR-16 strips with Alkalite LED Strips http://www.alkalite.com/ > > Does anyone have any experience with this? > > Thanks. > > -H > > > > -- > 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: <000b01c5bba6$c091e800$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Disney in New Orleans Date: Sat, 17 Sep 2005 09:42:11 -0700 > I was surprised actually at how badly I thought that both the president > and the Cathedral were lit for that speech. I have come to expect much > more in production value from this team. > I thought so, too. I thought it was flat, dark, desolate and creepy. (Why blue? Was it supposed to be a bayou moon?) It was like he called a midnight town hall meeting and no one showed up. - Jon Ares www.hevanet.com/acreative ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Disney in New Orleans Date: Sat, 17 Sep 2005 12:51:51 -0400 Message-ID: <000001c5bba8$1daaf490$6701a8c0 [at] Dell> In-reply-to: > I thought so, too. I thought it was flat, dark, desolate and > creepy. (Why > blue? Was it supposed to be a bayou moon?) It was like he called a > midnight town hall meeting and no one showed up. I was just relieved to see that this administration really *could* get equipment and supplies into New Orleans, no matter how late. ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Sat, 17 Sep 2005 13:04:37 EDT Subject: Re: Disney in New Orleans In a message dated 9/17/05 12:54:02 PM, stagecraft [at] jeffsalzberg.com writes: << > I thought so, too. I thought it was flat, dark, desolate and > creepy. (Why > blue? Was it supposed to be a bayou moon?) It was like he called a > midnight town hall meeting and no one showed up. I was just relieved to see that this administration really *could* get equipment and supplies into New Orleans, no matter how late. >> having worked on a couple of Presidential Events, , , it seems to me that the White House Communications office has a couple of C 130's on call to shuttle production and media gear where needed, and providing exactly the same foot candles on the President at every stop and exactly the same audio / video hook ups for all the networks crews as needed wherever in the world they go, it's an amazing process to watch from the inside, , very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Subject: Publicity/posters Date: Sat, 17 Sep 2005 10:06:47 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C032 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" It's a little silly, but I was wondering if anyone had a rule of thumb = for the optimal interval for show posters to be hung prior to opening = night. I'm thinking any longer than 4 weeks and the posters would get = destroyed, fewer than 2 weeks and it doesn't allow people time to spot = the poster, investigate, and make plans to attend. Any thoughts on how to get the most bang from our postering bucks? Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-ID: <432C4F69.5D999FD1 [at] cybercom.net> Date: Sat, 17 Sep 2005 13:16:25 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Publicity/posters References: "Storms, Randy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > It's a little silly, but I was wondering if anyone had a rule of thumb for the optimal interval for show posters to be hung prior to opening night. I'm thinking any longer than 4 weeks and the posters would get destroyed, fewer than 2 weeks and it doesn't allow people time to spot the poster, investigate, and make plans to attend. > > Any thoughts on how to get the most bang from our postering bucks? > > Randy Storms > rstorms [at] bham.wednet.edu Never gave it that much thought. What is the situation? High school theater show is much different from a broadway show. You can get full color 8.5x11 glossies very cheaply for saturation postering around town. (watch out for sign ordinances, they may fine you and make you go back and remove them all. ) --Dale ------------------------------ Message-ID: <001b01c5bbac$5062abe0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Publicity/posters Date: Sat, 17 Sep 2005 10:22:00 -0700 > It's a little silly, but I was wondering if anyone had a rule of thumb for > the optimal interval for show posters to be hung prior to opening night. > I'm thinking any longer than 4 weeks and the posters would get destroyed, > fewer than 2 weeks and it doesn't allow people time to spot the poster, > investigate, and make plans to attend. We do 2 weeks out, roughly. More than that, as you said (re: 4 weeks) they get destroyed, and also suffer from fatigue (seeing it all the time tends to make you forget about it). We also don't start selling tickets until this time as well... not worth the time (or money, if you're paying a box office person) to have someone there much before that to deal with the 1 or 2 reservations a day. Culturally in our area, most folks don't bother making advance reservations anyway, and just 'show up' expecting tix to be available. And of course they show up right at Curtain. This is the situation at our venues... your situation may be different. - Jon Ares www.hevanet.com/acreative ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <7d.712ce739.305db149 [at] aol.com> Date: Sat, 17 Sep 2005 13:50:01 EDT Subject: Re: hazardous chemical (paint and dye) storage In a message dated 17/09/05 02:29:38 GMT Daylight Time, dale [at] cybercom.net writes: > HAZMATs come in a bunch of different varieties, all of which > can kill you. A given material can have several different hazards. > Plutonium, for instance, is radioactive, toxic, and a class D > flammable all at the same time. An excellent and useful summary. A few extra points. Nitrate compounds are quite to very dangerous, as are chlorates. Both have available oxygen in their molecules, which is quite easy to release. Potassium nitrate (satlpetre) is an ingredient in gunpowder. Ammonium nitrate, a common fertiliser, is also a high explosive. A shipload of it nearly levelled the port of Halifax, Nova Scotia, during the first war, when it took fire. Sodium chlorate, a common weedkiller, bursts into violent flame when mixed with sugar and strong sulphuric acid. Liquid oxygen and oils react badly together, which is why you never ever grease the threads on an oxygen bottle. Dust can explode, with the aid of a flame. A dust esplosion, following a small drape fire in a theatre in Newcastle-on-Tyne, blew a great dint in the fire curtain, which had been dropped. Make a paper funnel, put a coffee-spoon of flour in the narrow end, and blow it through a naked flame. The result will surprise you. Do it outdoors, for preference. To know some elementary chemistry is desirable. I haven't studied it for over 50 years, but it comes back. Frank Wood ------------------------------ Date: Sat, 17 Sep 2005 14:04:09 -0400 From: Kevin Lee Allen Subject: Re: Disney in New Orleans In-reply-to: Message-id: <1F671DE3-3DFE-4D1C-B511-50AE84FBE838 [at] klad.com> References:

exactly and he seemed washed out and clammy looking. On Sep 17, 2005, at 12:42 PM, Jon Ares wrote: > I thought it was flat, dark, desolate and creepy. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Date: Sat, 17 Sep 2005 14:06:46 -0400 From: "Josh Ratty" Subject: RE: Disney in New Orleans In-reply-to: Message-id: <002001c5bbb2$91703570$6600a8c0 [at] Rattys> I'm a little disappointed that we as a list have so little directly related to stagecraft to discuss that we have to post a very political and one sided article just to discuss lighting. I'm sure a democrat would have done it differently. Right. Stepping off of my soapbox and ducking. Josh Ratty -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mark O'Brien Sent: Saturday, September 17, 2005 7:39 AM To: Stagecraft Subject: Disney in New Orleans For info, archives & UNSUBSCRIBE, see --------------------------------------------------- From the New York Times. (I think you have to register) http://tinyurl.com/84dnm Disney on Parade By MAUREEN DOWD Published: September 17, 2005 WASHINGTON The president, as he fondly recalled the other day, used to get well lit in New Orleans. Not any more. On Thursday night, Mr. Bush wanted to appear casually in charge as he waged his own Battle of New Orleans in Jackson Square. Instead, he looked as if he'd been dropped off by his folks in front of a eerie, blue-hued castle at Disney World. (Must be Sleeping Beauty's Castle, given the somnambulant pace of W.'s response to Katrina.) All Andrew Jackson's horses, and all the Boy King's men could not put Humpty Dumpty together again. His gladiatorial walk across the darkened greensward, past a St. Louis Cathedral bathed in moon glow from White House klieg lights, just seemed to intensify the sense of an isolated, out-of-touch president clinging to hollow symbols as his disastrous disaster agency continues to flail. In a ruined city - still largely without power, stinking with piles of garbage and still 40 percent submerged; where people are foraging in the miasma and muck for food, corpses and the sentimental detritus of their lives; and where unbearably sad stories continue to spill out about hordes of evacuees who lost their homes and patients who died in hospitals without either electricity or rescuers - isn't it rather tasteless, not to mention a waste of energy, to haul in White House generators just to give the president a burnished skin tone and a prettified background? The slick White House TV production team was trying to salvage W.'s "High Noon" snap with some snazzy Hollywood-style lighting - the same Reaganesque stagecraft they had provided when W. made a prime-time television address from Ellis Island on the first anniversary of the 9/11 attacks. On that occasion, Scott Sforza, a former ABC producer, and Bob DeServi, a former NBC cameraman and a lighting expert, rented three barges of giant Musco lights, the kind used for "Monday Night Football" and Rolling Stones concerts, floated them across New York Harbor and illuminated the Statue of Liberty as a backdrop for Mr. Bush. Before the presidential address, Mr. DeServi was surveying his handiwork in Jackson Square, crowing to reporters about his cathedral: "Oh, it's heated up. It's going to print loud." As Elisabeth Bumiller, the White House reporter for The Times, noted in a pool report, the image wizards had put up a large swath of military camouflage netting, held in place by bags of rocks and strung on poles, to hide the president from the deserted and desolate streets of the French Quarter ghost town. The president is still looking for a tiny spot of unreality in New Orleans - and in Iraq, where a violent rampage has spiked the three-day death tally to over 200. ------------------------------ Message-ID: <20050917111340.ko4soo08sg8gg44c [at] www.email.arizona.edu> Date: Sat, 17 Sep 2005 11:13:40 -0700 From: Mark O'Brien Subject: Re: Disney in New Orleans References: In-Reply-To: Quoting Josh Ratty : > > I'm a little disappointed that we as a list have so little directly > related to stagecraft to discuss that we have to post a very political > and one sided article just to discuss lighting. I'm sure a democrat > would have done it differently. Right. Stepping off of my soapbox and > ducking. Ok, Ya got me there. He would have done it just about the same... ... A week earlier. (Really ducking) Mark O'Brien Opera Technical Director University of Arizona, School of Music 520-621-7025 520-591-1803 Mobile ------------------------------ From: "Jeremiah Minh Greenblatt" Subject: RE: Disney in New Orleans Date: Sat, 17 Sep 2005 14:09:22 -0400 Message-ID: <000b01c5bbb2$f136a430$0200a8c0 [at] Roadbox> In-Reply-To: "exactly and he seemed washed out and clammy looking." Not to mention that he was wearing a shirt the exact same color as the background - a mistake every auditioning actor should know to avoid let alone experienced designers. - J.Minh ------------------------------ Date: Sat, 17 Sep 2005 19:17:36 +0100 (BST) From: Charlie Richmond Subject: Re: Disney in New Orleans In-Reply-To: Message-ID: References:

On Sat, 17 Sep 2005, Mark O'Brien wrote: > Ya got me there. He would have done it just about the same... And SHE would have done it with class two weeks earlier ;-) ------------------------------ Subject: RE: Disney in New Orleans Date: Sat, 17 Sep 2005 16:13:16 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C967 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: stagecraft [at] jeffsalzberg.com > I was just relieved to see that this administration really=20 > *could* get equipment and supplies into New Orleans, no=20 > matter how late. All depends on the motivation, apparently...what that says about the fuel currently being tossed on the racist/classist theories being bandied about, I'm not gonna venture a guess on that one. ------------------------------ From: "Eric Geater at Home" Subject: Stairwell on Stage Date: Sat, 17 Sep 2005 15:34:26 -0500 Message-ID: Hello, everyone. Newbie; please flame to rokit at bellsouth dot net. Our community theatre organization has two plays back to back that will require the use of an onstage staircase ("Rumors" and "The Sound of Music"). I call it fortuitous, considering that years of plays before this never required them, but I'm also concerned about their construction. I've never built stairs before, and our org doesn't have as many construction people around as they used to. I really could benefit from any resource this list might provide, because Google has not been sufficient in detailing such a complex design. Luckily, we've got a month to sort this out before pre-production occurs. If this means I need a book, or website, or plans, I just need resources of any kind. Thank you! My name is Eric Geater, and I'm new to this list. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.22/97 - Release Date: 9/12/2005 ------------------------------ In-Reply-To: References: Message-Id: <187368bc4daf472257ed94a97be99c1a [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Stairwell on Stage Date: Sat, 17 Sep 2005 13:44:33 -0700 On Sep 17, 2005, at 1:34 PM, Eric Geater at Home wrote: > My name is Eric Geater, and I'm new to this list. > Hi Eric, Welcome Mark-O Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Subject: RE: Stairwell on Stage Date: Sat, 17 Sep 2005 16:46:11 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C968 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Our community theatre organization has two plays back to back=20 > that will require the use of an onstage staircase ("Rumors"=20 > and "The Sound of Music"). I call it fortuitous, considering=20 > that years of plays before this never required them, but I'm=20 > also concerned about their construction. >=20 > I really could benefit from any resource this list might=20 > provide, because Google has not been sufficient in detailing=20 > such a complex design. =20 Well, depending on the particulars of the design, stairs aren't really tremendously complex if you keep a few basic principles in mind. Think of the stair carriages as a single unit, with the treads merely "placed" (okay, they're fastened securely, but I tend not to rely on them for lateral stability) on the carriages. The quickest and easiest place to find some pointers on stair building is in your local hardware store. Buy a 12" Swanson speed square; they are very handy for the project, and come with a little instruction book to help you out. Most of it focuses on roof construction, but it does include a section on stairs. After that...a lot of the questions are best answered (IMO...especially for a newbie) after hearing a bit more about the specifics of this staircase...height, width, tread depth, mobility, stuff like that. ------------------------------ Subject: Intermodulation calculator, redux Date: Sat, 17 Sep 2005 16:53:42 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C969 [at] exchange.rmwc.edu> From: "Paul Schreiner" In conversation with Chris Babbie, we discovered that the link I sent the list from the A-T website only works sometimes, with some browsers, and there doesn't seem to be any rhyme or reason for it. IE works for neither of us, Opera works for me both at home and at work, and it works in Mozilla at home. I don't get it. Anyway, on a successful attempt I looked at the page source and pulled the following link (run through TinyURL, of course): http://tinyurl.com/az7jx This seems to work, opening up Audio-Technica's 30-channel wireless frequency intermodulation calculator. Here's hoping this helps someone else as well... ------------------------------ Message-ID: <432C8334.7090906 [at] peak.org> Date: Sat, 17 Sep 2005 13:57:24 -0700 From: Pat Kight Subject: Re: Stairwell on Stage References: In-Reply-To: Eric Geater at Home wrote: > Hello, everyone. Newbie; please flame to rokit at bellsouth dot net. > > Our community theatre organization has two plays back to back that will > require the use of an onstage staircase ("Rumors" and "The Sound of Music"). > I call it fortuitous, considering that years of plays before this never > required them, but I'm also concerned about their construction. > > I've never built stairs before, and our org doesn't have as many > construction people around as they used to. > > I really could benefit from any resource this list might provide, because > Google has not been sufficient in detailing such a complex design. Luckily, > we've got a month to sort this out before pre-production occurs. If this > means I need a book, or website, or plans, I just need resources of any > kind. > > Thank you! > > My name is Eric Geater, and I'm new to this list. Welcome, Eric. Others are chiming in with construction specifics, so let me make one point that I've seen missed in many community theater sets: However you construct your stairs, make sure the risers are all the same height, at least within each unit. Nothing is more disconcerting - or dangerous - for actors than to be going up and down stairs where the rise changes from 7" to 6" to 9" without warning. This is even more important for offstage escape stairs than it is for the ones visible to the audience. I've damned near killed myself on more than one occasion because somebody cobbled a set of escape steps together without paying attention to this little detail. If you plan to keep the stairs in stock and think you might be building more in the future, making them all to standard rise (and to a lesser degree, tread) dimensions will make it *much* easier to use them as modules for future sets, too. -- Pat Kight Albany (Oregon) Civic Theater kightp [at] peak.org ------------------------------ Date: Sat, 17 Sep 2005 17:10:24 -0400 Subject: Re: Stairwell on Stage From: Bruce Purdy Message-ID: In-Reply-To: > Hello, everyone. Newbie; please flame to rokit at bellsouth dot net. > Welcome aboard Eric! Here you will find everyone from raw newbies to experts in various fields. The best resource you'll ever find for stagecraft! > Our community theatre organization has two plays back to back that will > require the use of an onstage staircase ("Rumors" and "The Sound of Music"). > I call it fortuitous, considering that years of plays before this never > required them, but I'm also concerned about their construction. One other resource I'd HIGHLY recommend if you haven't already discovered it, is the "Backstage Handbook" http://tinyurl.com/cedb4 Whilst not a full "How to do it" course on any one topic, it is chock full of useful reference information about anything you might need to know as a stage technician. (Including stair construction.) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References: Message-Id: <34cd236f4383cedfee3a897f382ad52d [at] sandiego.edu> From: James Feinberg Subject: Re: Stairwell on Stage Date: Sat, 17 Sep 2005 15:50:06 -0700 Eric, You might want to track down a copy of John Holloway's Illustrated Theatre Production Guide, ISBN: 0240804937 If I recall correctly, he has a pretty good section on building stairs. --James Feinberg University of San Diego On Sep 17, 2005, at 1:34 PM, Eric Geater at Home wrote: > I've never built stairs before, and our org doesn't have as many > construction people around as they used to. > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12d.64f6ac15.305df933 [at] aol.com> Date: Sat, 17 Sep 2005 18:56:51 EDT Subject: Re: Disney in New Orleans In a message dated 17/09/05 21:15:14 GMT Daylight Time, pschreiner [at] rmwc.edu writes: > > I was just relieved to see that this administration really > > *could* get equipment and supplies into New Orleans, no > > matter how late. > > All depends on the motivation, apparently...what that says about the > fuel currently being tossed on the racist/classist theories being > bandied about, I'm not gonna venture a guess on that one. It's the time scale which is worrying. From the UK side of the pond, all the news programmes were telling us that a size 4 hurricane was heading for New Orleans, three days before it hit. The consequences of such a thing are well known to you over there. The questions that need to be asked are: Why were not the relief teams in position and ready to roll as soon as it was safe? Why was not an evacuation programme in place to handle all those who had not got out ahead of the storm? Why was it not anticipated that the levees would be overtopped or breached? I'm not in the business of apportioning blame. But contrast this with SE France. Torrential rains wewere forecast here, about the same time. 60 fire teams were mobilised, and 60 frogmen. Evacuation sites were made ready. All this on the strength of the advice from the weathermen. It was less bad than had been foreseen, OK.. But preparing for the worst is always sensible. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.4de5c49e.305dfb46 [at] aol.com> Date: Sat, 17 Sep 2005 19:05:42 EDT Subject: Re: Stairwell on Stage In a message dated 17/09/05 22:07:39 GMT Daylight Time, kightp [at] peak.org writes: > Nothing is more disconcerting - or dangerous - for actors than to be going > up and down stairs where the rise changes from 7" to 6" to 9" without > warning. This is even more important for offstage escape stairs than it is > for the ones visible to the audience. I've damned near killed myself on > more than one occasion because somebody cobbled a set of escape steps > together without paying attention to this little detail. Don't I know it! The stairs to my roof-terrace, in my house in France, are helical, with variable rises. I am always very cautious on them, most particularly on their descent. Not good news! We hope to be able to have them replaced this winter, but it is an expensive proposition. Frank Wood ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Cc: Herrick [at] HGLightingDesign.com Subject: RE: Alkalite LED Strips Date: Sat, 17 Sep 2005 19:19:22 -0400 In-Reply-To: Herrick Goldman wrote, > I'm taking a show to Shanghai and the vendor is attempting to substitute > MR-16 strips with Alkalite LED Strips http://www.alkalite.com/ > > Does anyone have any experience with this? Herrick, I have not heard anything about the units. FYI, Elation out of Los Angeles is the US distributor for the units, so you should be able to get a demo unit out of Elation to try out. You've got enough clout to get a demo! www.elationlighting.com or call: 323-582-3311 in their ad, 323-582-3322 on their website. HTH, Michael S. Eddy Eddy Marketing & Consulting mseddy2900 [at] hotmail.com ------------------------------ From: "Tony Deeming" Subject: RE: Publicity/posters Date: Sun, 18 Sep 2005 00:39:17 +0100 Message-ID: In-Reply-To: I usually recommend around 4 weeks, not just for the reasons below, but also cos longer than that and the punters get a little blase about the event - familiarity breeding, etc. Of course, posters/flyers for a season should be out around 4 weeks before the FIRST event... TD > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Storms, > Randy > Sent: 17 September 2005 18:07 > To: Stagecraft > Subject: Publicity/posters > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > It's a little silly, but I was wondering if anyone had a rule of > thumb for the optimal interval for show posters to be hung prior > to opening night. I'm thinking any longer than 4 weeks and the > posters would get destroyed, fewer than 2 weeks and it doesn't > allow people time to spot the poster, investigate, and make plans > to attend. > > Any thoughts on how to get the most bang from our postering bucks? > > Randy Storms > rstorms [at] bham.wednet.edu > ------------------------------ From: "Tony Deeming" Subject: What is it ..... Date: Sun, 18 Sep 2005 01:26:57 +0100 Message-ID: In-Reply-To: ..... about some sound squeeks that makes them think that a concert MUST have LOADS of bass thumping out??? Took my young daughters to a (UK) pop band's gig this evening, and whilst the main set was pretty much ok, the support sound was dreadful! Apart from the fact that the lead guy on stage rambled on at sixty mph (which made him only partly audible), the poor quality mix with bass up to number twelve, it seemed, shot down any hope of me understanding much of what he said twixt the songs! I do like a good bass element to my rock, it must be said, but there's such a thing as too much of a good thing!! The main gig, as I say, wasn't too bad at all - not wholly my cuppa tea, but the girls loved it. The set started to warm up for me, however, when they did a more than passable cover of "Pinball Wizard" which had my good lady and I singing out the words, much to the public embarrassment of our 12 & 9 yr olds!!! And didn't we make sure they knew we knew the words to a song they thought was 'new'!! 8-)))) Nothing over special on the LX front - lots of moving heads on stage, but too few out front, I felt. What I did like was the use of a 'rain of fire' effect from the stage grid and the pyro effects on stage - could only be described as four synchronised vertical flame throwers! 8-) Upright cylinders, presumably with a gas-feed and a fast-acting valve connected to a pyro-tech's fingers via contactors. Very nicely used in a variety of sequences - could almost see the pyro guy sitting enjoying 'playing' them like a keyboard! The other thing I did like was the four video screens up stage - all independently controlled, and presumably some sort of LCD flat-screens. They started as two screens SL & SR, then these split to make 4 separate pictures, then the centre two connected to make one large & two small screens. From where we sat (admittedly way back in the arena) the joins couldn't be seen. Lovely crystal clear video from the live feeds and/or background stuff. VERY nice. TD ------------------------------ Date: Sat, 17 Sep 2005 20:29:50 -0400 Subject: Re: Alkalite LED Strips From: Herrick Goldman Message-ID: In-Reply-To: Thanks for the input guys. Especially thanks Michael for KNOWING that I have enough clout to get demos from across the Country. :) And Jim you raise a very good point about the White LED's It never occurred to me as I generally use the RGB's. I'll let you all know what happens. -H -- 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: <5746150C-AB87-4078-ABF1-78EFC995BC0E [at] theprices.net> From: Noah Price Subject: Re: Digital Photo Question /HELP (off Topic) Date: Sat, 17 Sep 2005 19:01:06 -0700 On Sep 15, 2005, at 5:12 PM, Paul Sullivan wrote: > ... My > wife has a massive collection of photos from Band camp > and performances for my Daughters HS marching band. > They are Labeled, in folders by date. > > I want to take all 2500 pictures and batch process > process them to generate a Low res photo, A Med Res, > and the Original. ... Depending on your ultimate goal, you might also consider photo gallery software that can do this on the fly. Then you just upload your original photos, and the software presents thumbnails and various resolutions (depending how you set things up). I use one of these for the new Stagecraft gallery: I use "Gallery": Another popular choice is "Coppermine": Contact me off list if you'd like more info about setting up either. G'luck! Noah ------------------------------ Reply-To: From: "RD" Subject: RE: intellectual property / ethics Date: Sat, 17 Sep 2005 20:31:41 -0600 In-Reply-To: Message-ID: NAH. DOOM -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Sent: Wednesday, September 14, 2005 2:35 PM To: Stagecraft Subject: Re: intellectual property / ethics For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Barney.....You tell the client what happened and ask them if they want to buy the bad one from you at a reduced price. When they say no, ask them if you can keep it. If they say yes, you're good to go. If they say no, you now own a lovely wall decoration for your warehouse. Zat help? Maybe a little? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile On 9/14/05 3:32 PM, "Barney Simon" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Okay, first I'll admit that I have seen both these topics before, and > typically skip them. But NOW, I am looking for information. > > Let me pose a hypothetical... > A client comes to me with a digital file (maybe specially commissioned, > maybe not) to digitally print on a 30 x 30 muslin. The printer ships it > to me and it is printed on canvas, so I have them redo it. > The printer does not want the wrong one back and the client does not > know that it exists (we were able to find and correct the issue before > the due date and it is fixed) > So I have delivered the muslin version, and I have a canvas version on > my shelf. > > Can I: add it to my rental stock? sell it to the client as a spare? use > it at trade shows to say see we digitally print? ------------------------------ Reply-To: From: "RD" Subject: RE: intellectual property / ethics Date: Sat, 17 Sep 2005 20:31:41 -0600 In-Reply-To: Message-ID: REALLY? DOOM=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Kevin = Lee Allen Sent: Wednesday, September 14, 2005 3:12 PM To: Stagecraft Subject: Re: intellectual property / ethics For info, archives & UNSUBSCRIBE, see --------------------------------------------------- wow, an all but Solomonic answer. I try to do the best I can with each of these moral/ethical dilemmas. =20 This was worthy of George Carlson. Good answer. Doesn't exactly =20 address the issue of where did the artwork originate, but certainly =20 put the onus on the client to address the issue, if required. On Sep 14, 2005, at 4:34 PM, Bill Sapsis wrote: > Barney.....You tell the client what happened and ask them if they =20 > want to > buy the bad one from you at a reduced price. When they say no, ask =20 > them if > you can keep it. If they say yes, you're good to go. If they say =20 > no, you > now own a lovely wall decoration for your warehouse. > ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =EF=A3=BF ------------------------------ From: "Eric Geater at Home" Subject: RE: Stairwell on Stage Date: Sat, 17 Sep 2005 23:18:01 -0500 Message-ID: In-Reply-To: > If you plan to keep the stairs in stock and think you might be building > more in the future, making them all to standard rise (and to a lesser > degree, tread) dimensions will make it *much* easier to use them > as modules for future sets, too. Now there's a word I wasn't expecting... "modules". Since I have to play on my ignorance, could I get a definition of just how "modular" stairs can be? Specifically, since I was hoping that our stair construction *would* benefit two different shows (with very different usage, since the stairs in Rumors are attached to the rear wall, and the staircase in TSOM faces forward), pardon me if I get excited by hearing words like "modular". Baited breath, Eric -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.22/97 - Release Date: 9/12/2005 ------------------------------ From: "Jon Lagerquist" Date: Sun, 18 Sep 2005 02:51:26 -0700 Subject: Re: Digital Photo Question /HELP (off Topic) Reply-to: jon [at] lagerquist.com Message-ID: <432CD62E.4617.8E78734 [at] localhost> In-reply-to: References: Not on a single file basis. But if you want to insert "outdated" into all of the files names the version 2 directory for a show, this is the tool for you. > Is renaming files a problem in the Wintel world? Jon Lagerquist ------------------------------ End of Stagecraft Digest #523 *****************************