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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 25429583; Wed, 09 Nov 2005 03:03:02 -0800 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 #577 Date: Wed, 09 Nov 2005 03:01:51 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, TW_XL autolearn=unavailable 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 #577 1. Re: Preventing color burn out by Stephen Litterst 2. Re: Preventing color burn out by "Frank E. Merrill" 3. Re: Automated Madness by Dale Farmer 4. Re: Getting black background from video by Dale Farmer 5. Re: Preventing color burn out by "G. D. George" 6. Re: Automated Madness by Bruce Purdy 7. Re: Automated Madness by "Jeffrey E. Salzberg" 8. Re: Automated Madness by Dale Farmer 9. Re: Automated Madness by Dale Farmer 10. Re: Getting black background from video by "Jon Lagerquist" 11. Re: Automated Madness by "Tony Deeming" 12. Re: Preventing color burn out by "Matthew Breton" 13. Re: Internet access at LDI in Orlando by Jerry Durand 14. Re: Internet access at LDI in Orlando by Dale Farmer 15. Re: Automated Madness by "Paul Schreiner" 16. Re: Automated Madness by Dale Power 17. scrollers and focus points by Paul Marsland 18. Re: scrollers and focus points by "Paul Schreiner" 19. Re: a simple etc express 24/48 question by Cris Dopher 20. Motor speed control by Paul Marsland 21. Re: a simple etc express 24/48 question by "John Penisten" 22. Re: a simple etc express 24/48 question by Ben 23. Re: scrollers and focus points by "Jeffrey E. Salzberg" 24. Re: scrollers and focus points by Adam Berns 25. Re: Preventing color burn out by FrankWood95 [at] aol.com 26. Re: Preventing color burn out by "Paul Schreiner" 27. Re: Preventing color burn out by FrankWood95 [at] aol.com 28. Re: Preventing color burn out by Marty_Petlock [at] sarasotagov.com 29. Re: Automated Madness by FrankWood95 [at] aol.com 30. Re: Preventing color burn out by "Laura McMeley" 31. Re: Preventing color burn out by "Steven Haworth" 32. The Rigidization of Resin Shells Used in Inflatable Structures by Jerry Durand 33. Light-emitting fabric by Jerry Durand 34. More disclosures from Station Nightclub fire. by Dale Farmer 35. USITT Conference by simmel [at] maine.edu 36. Re: USITT Conference by "Ray-Pfeifer, Merel" 37. Re: Preventing color burn out by "Jeffrey E. Salzberg" 38. Re: Preventing color burn out by "Jeffrey E. Salzberg" 39. Re: Preventing color burn out by Stephen Litterst 40. Re: Preventing color burn out by "Jeffrey E. Salzberg" 41. Lee Filters: Tal? by Scott Parker 42. Re: Preventing color burn out by FrankWood95 [at] aol.com 43. Re: More disclosures from Station Nightclub fire. by FrankWood95 [at] aol.com 44. Re: Preventing color burn out by Ken Romaine 45. Re: Preventing color burn out by "David Paul Stock" 46. Depth and height issues by "Eric Geater at Home" 47. Re: Automated Madness by "Bill Nelson" 48. What do they call this on the fly rail? by "Occy" 49. Re: Depth and height issues by "Jon Ares" 50. Induction lamps by Todd Lipcon 51. Re: Preventing color burn out by June Abernathy 52. Re: Getting black background from video by Villem Teder *** 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, 08 Nov 2005 07:59:24 -0500 (EST) From: Stephen Litterst Subject: Re: Preventing color burn out In-reply-to: Message-id: <1796.172.135.145.160.1131454764.squirrel [at] 172.135.145.160> References: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm having trouble with some 2k fresnels burning through the L119 they > have > in them. I'm going to try the HT version tomorrow, but I have also heard > of > people scoring gel as a method of preventing or delaying burnouts and I > was > wondering if the list had any experience of this method. Do you think it > works? What other tricks have you tried and how well did they work? There was an article in TD&T about ten years ago about this very practice. The author did a controlled experiment and found that a.) perforating/scoring the gel lets white light through, changing the color saturation b.) there was no apparent extension of the life of the gel. What's worked for us is using stand-offs/gel extenders to get the color away from the lens. Budget being what it is, we take our 8" top hats and tape the gel to the end. Increases the life of the gel from one rehearsal to indefinite. Steve Litterst ------------------------------ Date: Tue, 8 Nov 2005 08:12:10 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <10910247905.20051108081210 [at] tcon.net> Subject: Re: Preventing color burn out In-Reply-To: References: Howdy ! Tuesday, November 8, 2005, Laura McMeley wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > I'm having trouble with some 2k fresnels burning through the L119 they have > in them. I'm going to try the HT version tomorrow, but I have also heard of > people scoring gel as a method of preventing or delaying burnouts and I was > wondering if the list had any experience of this method. Do you think it > works? What other tricks have you tried and how well did they work? Use a ponce (AKA "pounce") wheel, available from a sewing store, to put many little holes in a dark filter. Yes, that will permit "white" light through the filter and, yes, that will result in a "lighter" color than without the holes, but the holes will not show due to the mingling of the non-coherent light rays. I used a wallpaper-perforating tool last night in process of encouraging some stubborn wallpaper to disappear from a closet, and wonder if such tool could be used instead of the ponce wheel? I see two reasons color filters fail prematurely in theatrical lighting as heat and... well...heat. Okay. Make that one reason with two culprits. The first is where heat is trapped between the instrument and the filter, and the tiny holes permit ventilation. the second is where the filter is in a plane where the light path focuses energy, which translates into heat in the filter. For that, try to move the filter out of that focal plane. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.60 mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: <4370A7B9.D872BA2A [at] cybercom.net> Date: Tue, 08 Nov 2005 08:27:21 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Automated Madness References: Gillian Koch wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Happening to just one particular fixture or a couple of them?" > > The same problem has occurred with several of the fixtures. > > "Check your DMX cables to be sure they really are DMX cables, > and termination isn't enabled elsewhere?" > > The cables we're using are three-pin shielded XLR, with a three- to > five-pin adapter at the DMX box up on the catwalk. Three pin XLR cables are, by definition, not DMX cables. They need to be five pin XLR, and meet the spec for RS485. microphone cables will sort of work, but they will also lead to these sorts of weirdness as their impedance is wrong, and they mess up the signal. Those misguided manufacturers who install three pin xlr connectors for DMX are wrong. --Dale ------------------------------ Message-ID: <4370A84A.7F51E28D [at] cybercom.net> Date: Tue, 08 Nov 2005 08:29:46 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Getting black background from video References: Joe wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Rig a shutter to block the video when it is not being used. Can > >be as simple as a flap of cardboard to DMX controlled shutter. > > > > --Dale > > In this case, I am wanting the deep black while I am actually projecting > images surrounded by black. E.g. a galaxy or illustrations of the orbits of > the planets. > > Joe Dunfee joe [at] dunfee.com > Gordonville, Pennsylvania, U.S.A. Ahhhhh..... That's not a lighting question, that is a video question. You can manipulate your video projector's contrast and brightness levels to accommodate your need, to some degree. --Dale ------------------------------ From: "G. D. George" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 08:33:26 -0500 in-reply-to: Message-ID: Well, I used to use a pounce wheel --er emmm borrowed... yeah that's it --from the costume shop. Run it over the problematic gel, especially in the center, as I recall, several times and viola! As I recall, it worked well with L119 in a 1K. Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Laura McMeley Sent: Tuesday, November 08, 2005 1:06 AM To: Stagecraft Subject: Preventing color burn out For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm having trouble with some 2k fresnels burning through the L119 they have in them. I'm going to try the HT version tomorrow, but I have also heard of people scoring gel as a method of preventing or delaying burnouts and I was wondering if the list had any experience of this method. Do you think it works? What other tricks have you tried and how well did they work? Laura McMeley Resident Lighting Supervisor The Dallas Opera ------------------------------ Date: Tue, 08 Nov 2005 08:39:28 -0500 Subject: Re: Automated Madness From: Bruce Purdy Message-ID: In-Reply-To: Dale Farmer wrote: > Three pin XLR cables are, by definition, not DMX cables. They > need to be five pin XLR, and meet the spec for RS485. microphone > cables will sort of work, but they will also lead to these sorts of > weirdness as their impedance is wrong, and they mess up the signal. > Those misguided manufacturers who install three pin xlr connectors > for DMX are wrong. I have always heard that microphone cables should not be used for DMX. Whilst I'm not too knowledgeable about cable technology, I understood it to be due to the type of shielding, twist of the wire, or something like that. Not 3 vs. 5 wires. Yes, DMX is *supposed* to be 5 wire, and equipment with 3-pin is "Non standard" and wrong - but assuming that that's what you are using then having an unused pair in the cable shouldn't make any difference. Other qualities of the cable, I would imagine, are important. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Automated Madness Date: Tue, 8 Nov 2005 08:52:36 -0500 Message-ID: <000601c5e46b$b09e86e0$6601a8c0 [at] Dell> In-reply-to: > Three pin XLR cables are, by definition, not DMX cables. They > need to be five pin XLR, and meet the spec for RS485. There's no reason why a 3-conductor cable, as long as it has the proper impedance and capacitance, can't be used. Pins 4 & 5 are for manufacturers' proprietary use and are rarely used. > Those misguided manufacturers who > install three pin xlr connectors for DMX are wrong. It makes me crazy, too, but many moving-light manufacturers use 3-pin. ------------------------------ Message-ID: <4370AF59.1A76D589 [at] cybercom.net> Date: Tue, 08 Nov 2005 08:59:53 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Automated Madness References: Bruce Purdy wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dale Farmer wrote: > > > Three pin XLR cables are, by definition, not DMX cables. They > > need to be five pin XLR, and meet the spec for RS485. microphone > > cables will sort of work, but they will also lead to these sorts of > > weirdness as their impedance is wrong, and they mess up the signal. > > Those misguided manufacturers who install three pin xlr connectors > > for DMX are wrong. > > I have always heard that microphone cables should not be used for DMX. > Whilst I'm not too knowledgeable about cable technology, I understood it to > be due to the type of shielding, twist of the wire, or something like that. > Not 3 vs. 5 wires. > > Yes, DMX is *supposed* to be 5 wire, and equipment with 3-pin is "Non > standard" and wrong - but assuming that that's what you are using then > having an unused pair in the cable shouldn't make any difference. Other > qualities of the cable, I would imagine, are important. Impedance, not number of pairs is why microphone cable is wrong. I forget offhand what the correct impedance is, but it is enough different from what microphone cable is to cause weird intermittent data corruption problems on DMX. --Dale ------------------------------ Message-ID: <4370B0C4.C7D3F618 [at] cybercom.net> Date: Tue, 08 Nov 2005 09:05:56 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Automated Madness References: "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Three pin XLR cables are, by definition, not DMX cables. They > > need to be five pin XLR, and meet the spec for RS485. > > There's no reason why a 3-conductor cable, as long as it has the proper > impedance and capacitance, can't be used. Pins 4 & 5 are for manufacturers' > proprietary use and are rarely used. > > > Those misguided manufacturers who > > install three pin xlr connectors for DMX are wrong. > > It makes me crazy, too, but many moving-light manufacturers use 3-pin. DMX, by definition, is a 5 pin XLR. RS485, the underlying electrical and data standard that DMX uses, does not specify connectors. The makers did that because a three pin XLR is a lot cheaper. It makes me wonder what other shortcuts they did to save a few pennies on an expensive moving light. Offhand, only martin did that. The cheap DJ market has gone wholly to 3 pin XLR, but pretty much everything in that market is junk anyway. --Dale ------------------------------ From: "Jon Lagerquist" Date: Tue, 08 Nov 2005 06:14:26 -0800 Subject: Re: Getting black background from video Reply-to: jon [at] lagerquist.com Message-ID: <43704242.2842.51D566E [at] localhost> In-reply-to: Assuming that your projector is adjusted optimaly, the best black you will get is the color of your screen in the ambient light. So with a black screen and scrim you should be in decent shape. > In this case, I am wanting the deep black while I am actually > projecting > images surrounded by black. E.g. a galaxy or illustrations of the orbits > of the planets. Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ From: "Tony Deeming" Subject: RE: Automated Madness Date: Tue, 8 Nov 2005 14:32:43 -0000 Message-ID: In-Reply-To: > > > Three pin XLR cables are, by definition, not DMX cables. They > > > need to be five pin XLR, and meet the spec for RS485. > > > > There's no reason why a 3-conductor cable, as long as it has the proper > > impedance and capacitance, can't be used. Pins 4 & 5 are for > manufacturers' > > proprietary use and are rarely used. > > > > > Those misguided manufacturers who > > > install three pin xlr connectors for DMX are wrong. > > > > It makes me crazy, too, but many moving-light manufacturers use 3-pin. > > DMX, by definition, is a 5 pin XLR. RS485, the underlying > electrical and > data standard that DMX uses, does not specify connectors. The makers > did that because a three pin XLR is a lot cheaper. It makes me wonder > what other shortcuts they did to save a few pennies on an expensive > moving light. > Offhand, only martin did that. The cheap DJ market has gone wholly > to 3 pin XLR, but pretty much everything in that market is junk anyway. > > > --Dale This is an old debate, and whilst worthy of such, I suspect that we're not going to get any progress towards the 100% standard connector any time soon. However, I will agree with Bruce that the type of connector, be it 3 or 5 pin, makes absolutely NO difference to the performance of the DMX signal. It is only an interface between the cable and the unit involved. As has been said, the issues that CAN affect the signal are the type of cable used (twisted/non-twisted, impedance and make-up etc). Add to that the possibility that there could be a reversal involved (manufacturer's or otherwise) and the other debate about whether terminators are necessary, and that's where you need to look for problems. I can cope with the 5/3 pin issue - I have a stock of converters - and the reversal possibility - I also have a stock of short correction leads - and all of our DMX cable is made up with the appropriate spec. So I believe that we (and I suspect most other venues) are well equipped to solve most regular 'manufacturer based' problems. That just leaves faults that might occur on fixtures or damage to cabling, which should be trackable by substitution. TD ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: Preventing color burn out Date: Tue, 08 Nov 2005 09:46:26 -0500 >I'm having trouble with some 2k fresnels burning through the L119 they have >in them. I'm going to try the HT version tomorrow, but I have also heard of >people scoring gel as a method of preventing or delaying burnouts and I was >wondering if the list had any experience of this method. Do you think it >works? What other tricks have you tried and how well did they work? I'm certain by this time people have suggested perforating the gel or using heat shield. You might also want to try using a color extender, which is simply a device to move the gel further away from the fresnel lens. If you're using the same 2Ks I know, they take a 10" frame. City Theatrical makes 'em. But I call the 2Ks gel-eaters. I've never known any that don't go through gel quickly. It may be less expensive to use dichroic glass, or another alternative to gel. -- Matt ========= _________________________________________________________________ Don�t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ In-Reply-To: References: Message-Id: <8C9931AF-9723-48AB-9DEF-A8C190B911F4 [at] interstellar.com> From: Jerry Durand Subject: Re: Internet access at LDI in Orlando Date: Tue, 8 Nov 2005 07:12:52 -0800 On Nov 7, 2005, at 10:15 PM, Thad Kramer wrote: > As for the > convention center, its $5 per hour or $25 per day. Better than in Toronto, the convention center was several hundred for WiFi (I don't remember the number, just remember everyone going "WHAT!"). I forgot to mention, take a CAT-5 cable. On our recent Canada trip our hotels along the way had: Free WiFi throughout the hotel; Free WiFi in the office only (our WiFi card could just pick it up from the room) Free WIRED Ethernet jack in the room "What's WiFi?" ------------------------------ Message-ID: <4370C6AD.334B4371 [at] cybercom.net> Date: Tue, 08 Nov 2005 10:39:26 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Internet access at LDI in Orlando References:

Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Nov 7, 2005, at 10:15 PM, Thad Kramer wrote: > > > As for the > > convention center, its $5 per hour or $25 per day. > > Better than in Toronto, the convention center was several hundred for > WiFi (I don't remember the number, just remember everyone going > "WHAT!"). > > I forgot to mention, take a CAT-5 cable. On our recent Canada trip > our hotels along the way had: > Free WiFi throughout the hotel; > Free WiFi in the office only (our WiFi card could just pick it up > from the room) > Free WIRED Ethernet jack in the room > "What's WiFi?" I keep in my computer bag a three foot and a 25 foot cable, and a small 4 port hub. Makes things a lot more flexible. --Dale ------------------------------ Subject: RE: Automated Madness Date: Tue, 8 Nov 2005 10:43:31 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA33 [at] exchange.rmwc.edu> From: "Paul Schreiner" > DMX, by definition, is a 5 pin XLR. RS485, the underlying=20 > electrical and > data standard that DMX uses, does not specify connectors. The=20 > makers did that because a three pin XLR is a lot cheaper. =20 Yes, when DMX was developed as a standard, 5-pin XLR connectors were basically what was in mind. But what's more important is the cable impedance. Any cable that meets RS-485 standards will work well for DMX. Mic cables, while they may transmit DMX fairly well, do not have the correct impedance, and can produce some rather unpredictable results--especially with runs longer than about 10-20'. RS-485 cable requires 54 ohm cable, IIRC, while a lot of mic cables these days are anywhere between 45-85 ohms or greater. 3-pin jacks were installed on a lot of DMX-driven equipment for a number of reasons. As has been said, in a standard 5-pin configuration, pin 1 is ground, pins 2 & 3 are for one set of data signals, and 4 & 5 are set aside for a second set of data signals, but at the manufacturer's option. The textbook example is one of having the first pair transmit data from the board to the fixture/dimmer/device, and the second pair be a path for signals traveling the opposite direction (so that the board can receive input from the fixture or dimmer or whatever, usually for monitoring purposes). For devices that do not require or do not have the capacity to send signals back to the board, there's no need for a 5-pin connector, since the last two pins would be connected only to air. Yes, the 3-pin jacks are generally a few pennies cheaper; yes, there was some consumer-driven response along the lines of "if those pins aren't needed, why can't I just use mic cable?" The Expression3 has three DMX outputs, so there's no need for splitters here for the three separate universes required. My first instinct is to check the cables, and replace them with something actually suited for DMX. Your sound guys will love you for returning their mic cables to them... ------------------------------ Message-ID: <4370C928.CEBADC4A [at] swgc.mun.ca> Date: Tue, 08 Nov 2005 12:20:00 -0330 From: Dale Power Subject: Re: Automated Madness References:

Hi Folks, I've also had issues with using different cable that have been 'digitally rated' in the same chain. This is actually a variance of what Dale has said. Cheers Dale Power > > > > > The same problem has occurred with several of the fixtures. > > > > "Check your DMX cables to be sure they really are DMX cables, > > and termination isn't enabled elsewhere?" > > > > The cables we're using are three-pin shielded XLR, with a three- to > > five-pin adapter at the DMX box up on the catwalk. > > Three pin XLR cables are, by definition, not DMX cables. They > need to be five pin XLR, and meet the spec for RS485. microphone > cables will sort of work, but they will also lead to these sorts of > weirdness as their impedance is wrong, and they mess up the signal. > Those misguided manufacturers who install three pin xlr connectors > for DMX are wrong. > > --Dale ------------------------------ Message-ID: <20051108161734.20403.qmail [at] web52211.mail.yahoo.com> Date: Tue, 8 Nov 2005 08:17:34 -0800 (PST) From: Paul Marsland Subject: scrollers and focus points In-Reply-To: > Next show, try setting them up as moving > lights, and > pre-mixing a palette of colours that you record in > focus groups. Thanks goodness someone finally mentioned focus points on the Express -- I think this is the best "time effective" solution. If you don't like the 25 or 50 or 200 custom colors you've made into focus points THEN you can grab a channel and adjust it, or just call out another focus point. Unless the director is hanging over your shoulder; "...now maybe a bit more red, no, how 'bout a touch more blue, no, can you go back to the color from cue 189.6? Fine, maybe just a tad less yellow?..." UGH! Then maybe the dual "inhibit/pile-on" sub combo the the best "creative" solution __________________________________ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ------------------------------ Subject: RE: scrollers and focus points Date: Tue, 8 Nov 2005 11:19:43 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA35 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Unless the director is hanging over your shoulder; > "...now maybe a bit more red, no, how 'bout a touch > more blue, no, can you go back to the color from cue > 189.6? Fine, maybe just a tad less yellow?..." UGH! > Then maybe the dual "inhibit/pile-on" sub combo the > the best "creative" solution What's the programming sequence for recording a director onto an inhibitive sub? ------------------------------ In-Reply-To: References: Message-Id: <1C35C248-D9DB-407D-B7CA-3D8F46F3457F [at] dopher.com> From: Cris Dopher Subject: Re: a simple etc express 24/48 question Date: Tue, 8 Nov 2005 11:19:43 -0500 From: Stephen Litterst > > I don't remember if Express allows you to change the HTP/LTP status of > a submaster. I believe the Express is a highest-takes-precedence only board. The submitter needs a latest-takes-precedence board or one that does, actually, do both. What he wants simply cannot be done smoothly on an Express. My suggestion is to take those channels out of the cues entirely and run them via regular submasters only. Most board ops who can breath and blink at the same time should be able to handle a few subs and a go button simultaneously. > > One thing that may make the trackpad more attractive is to use a PDA > stylus to adjust things on it. Nothing will make that POS more attractive. ETC's worst idea ever. Cris Dopher ------------------------------ Message-ID: <20051108162444.45186.qmail [at] web52210.mail.yahoo.com> Date: Tue, 8 Nov 2005 08:24:44 -0800 (PST) From: Paul Marsland Subject: Motor speed control In-Reply-To: Gillian, Can you not just unpatch the M-speed control address for all of your fixtures in about a minute-and-a-half? You won't lose any other cue or patch info and will be able to get most of the moving light effect you've programmed, take a few notes during the show and look to correct any residual M-speed issues in the coming days. Paul > As an addendum, the idea has been addressed that the > problem may be > with the motor speed control on the console itself. > Unfortunately, > time crunch is such that it is nigh-impossible for > us to figure out > how to reset the motor speed before the performances > begin and as such > the fixtures have been officially cut. The TD has > said that we'll be > able to play with the fixtures and their problems > after the show has > run its course, but until then his hands are tied > with everything else > that needs to be done, and mine are too > inexperienced to be sure I'm > not messing something up permanently. If anyone > knows of a quick fix > to the motor speed control reset without screwing up > any of the > cues/patches that are already in the board, feel > free to contact me __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Message-ID: <4370D31B.8000007 [at] fullcompass.com> Date: Tue, 08 Nov 2005 10:32:27 -0600 From: "John Penisten" Subject: Re: a simple etc express 24/48 question The Express/ion line can be configured for LTP. Go to "setup", option 11, I believe, is channel attributes, and you can select for each channel either "normal" or LTP. I hope this helps. John -- John Penisten Full Compass Systems Rental, Production, Design http://www.fullcompass.com Phone: 800-356-5844 Ext. 1355 Fax: 608-831-6330 ------------------------------ Message-ID: <486dbc510511080835t442856c5t1b1c6744bf308af9 [at] mail.gmail.com> Date: Tue, 8 Nov 2005 11:35:14 -0500 From: Ben Subject: Re: a simple etc express 24/48 question In-Reply-To: References:

The express can turn individual channels to LTP. This can be accomplished in the Channel Attributes Page off of the main setup page (Option 11 me thinks) Now if this will help you is a different matter, but I have used LTP on an Express before somewhat successfully. -ben ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: scrollers and focus points Date: Tue, 8 Nov 2005 11:48:54 -0500 Message-ID: <000e01c5e484$510427d0$6601a8c0 [at] Dell> In-Reply-To: > > Unless the director is hanging over your shoulder; > > "...now maybe a bit more red, no, how 'bout a touch > > more blue, no, can you go back to the color from cue > > 189.6? Fine, maybe just a tad less yellow?..." UGH! > > Then maybe the dual "inhibit/pile-on" sub combo the > > the best "creative" solution > > What's the programming sequence for recording a director onto > an inhibitive sub? Since that involves a nail gun, it's a carpentry problem. ------------------------------ Message-ID: <9496636.1131472632877.JavaMail.gunntd [at] mac.com> Date: Tue, 08 Nov 2005 09:57:12 -0800 From: Adam Berns Subject: Re: scrollers and focus points in-reply-to: references: Gees, you must of worked with this director before... On Tuesday, November 08, 2005, at 08:18AM, Paul Marsland wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >> Next show, try setting them up as moving >> lights, and >> pre-mixing a palette of colours that you record in >> focus groups. > >Thanks goodness someone finally mentioned focus points >on the Express -- I think this is the best "time >effective" solution. If you don't like the 25 or 50 >or 200 custom colors you've made into focus points >THEN you can grab a channel and adjust it, or just >call out another focus point. > >Unless the director is hanging over your shoulder; >"...now maybe a bit more red, no, how 'bout a touch >more blue, no, can you go back to the color from cue >189.6? Fine, maybe just a tad less yellow?..." UGH! >Then maybe the dual "inhibit/pile-on" sub combo the >the best "creative" solution > > > >__________________________________ >Yahoo! FareChase: Search multiple travel sites in one click. >http://farechase.yahoo.com > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <20f.dd726dd.30a245c5 [at] aol.com> Date: Tue, 8 Nov 2005 13:17:41 EST Subject: Re: Preventing color burn out In a message dated 08/11/05 06:06:27 GMT Standard Time, lmcmeley [at] msn.com writes: > I'm having trouble with some 2k fresnels burning through the L119 they have > in them. I'm going to try the HT version tomorrow, but I have also heard of > people scoring gel as a method of preventing or delaying burnouts and I was > wondering if the list had any experience of this method. Do you think it > works? What other tricks have you tried and how well did they work? L119 has a transmission of 3.1%. This means that 96.9% of the 2 KW is being absorbed in the filter. Certainly, you should use the HT version. You should also check the focus: a displaced reflector can put an image of the lamp filament on to the filter, which is very fatal. I have heard that making pinholes in the filter can improve life, but I have not tried it. Frank Wood ------------------------------ Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 13:22:31 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA36 [at] exchange.rmwc.edu> From: "Paul Schreiner" > > What other tricks have you tried and how well did they work? Haven't tried it personally, but there's always Rosco HeatShield... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <233.b22554.30a247de [at] aol.com> Date: Tue, 8 Nov 2005 13:26:38 EST Subject: Re: Preventing color burn out In a message dated 08/11/05 06:39:02 GMT Standard Time, bearz2 [at] cox.net writes: > Put some distance between the lens and the gel, also, add a UV protector > between the gel and the lens. > > My .02. > Chris Warner I think that an IR filter would be more useful. While this merely tranfers the heat problem to the IR filter, these are often man enough to stand it. A glass dichrioc would be best, and while expensive, might well save costs in gel and time. My curiosity was aroused by the initial post. What purpose does this lantern serve in the rig? It might be better to use some other lantern, such as a flood. These are usually better ventilated, in that area. Frank Wood ------------------------------ Subject: Re: Preventing color burn out Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 8 Nov 2005 13:40:40 -0500 Laura, We used to run a pounce wheel (ask wardrobe) over sheets of gel to allow heat to vent but that was in the days of real gel and dinosaurs had just gone extinct.. Most of the plastics seem to just grow bigger holes as the stuff melts. You could try Rosco's heat shield between lens and color, leave air space. If you have some kind of extender that will get the color farther away from the lens that might help too, again, leave airspace for the heat to escape. ................................................................................................................................................................................................................................................................................................................. Message-ID: From: "Laura McMeley" Subject: Preventing color burn out Date: Tue, 08 Nov 2005 00:05:57 -0600 I'm having trouble with some 2k fresnels burning through the L119 they have in them. I'm going to try the HT version tomorrow, but I have also heard of people scoring gel as a method of preventing or delaying burnouts and I was wondering if the list had any experience of this method. Do you think it works? What other tricks have you tried and how well did they work? Laura McMeley Resident Lighting Supervisor The Dallas Opera Marty Petlock Technical Production Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <21c.22c5c55.30a24bcd [at] aol.com> Date: Tue, 8 Nov 2005 13:43:25 EST Subject: Re: Automated Madness In a message dated 08/11/05 13:24:43 GMT Standard Time, dale [at] cybercom.net writes: > Three pin XLR cables are, by definition, not DMX cables. They > need to be five pin XLR, and meet the spec for RS485. microphone > cables will sort of work, but they will also lead to these sorts of > weirdness as their impedance is wrong, and they mess up the signal. > Those misguided manufacturers who install three pin xlr connectors > for DMX are wrong. You have to work with the world as it is, and an XLR-3 is perfectly adequate for DMX, with a suitable cable correctly terminated. I agree that it exposes one to the temptation of using microphone cables for DMX, and this is wrong, although it may well work. But it may well confuse the rest of the system. The one thing you must not do is to have Y-junctions. Either use a proper splitter, or run only one DMX line through all the equipment, with a termination at the remote end. Much, but not all, equipment has two connectors for the DMX line, allowing this. An alternative is a loop-through/terminate switch. Frank Wood ------------------------------ Message-ID: From: "Laura McMeley" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 13:41:25 -0600 In-Reply-To: The designer has specified 12 2k fresnels for a mostly downlight wash in this color. He also has 3 other washes, but in lighter blues and ambers = that aren't as prone to burnout. Unfortunately the rig is already in the air = and blocked from flying back in by the scenery so we can=92t make any substitutions at this point. (I did try to suggest substitutes when he ordered them, but he was not interested.)mFortunately, the run is only 4 performances, so even if we have to change color every night it won=92t = kill us, just drive the electricians crazy. The only access to these units is = via focus track from US of the electric, or man lift on a counter rake (very time consuming and not a favorite of the guys. At this point, I am going = to try the HT gel when we change it out next. If that doesn't hold, I'll = add some heat shield on the next go round, but with no way to separate the = heat shield from the color, I'm not sure how much good it will do. Hopefully enough to get us through the run. Both of these can be done from the = focus track. Last resort is to get out the man lift and counter rake and put = the gel on the front of the barndoors. Laura > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > FrankWood95 [at] aol.com > Sent: Tuesday, November 08, 2005 12:27 PM > To: Stagecraft > Subject: Re: Preventing color burn out >=20 > For info, archives & UNSUBSCRIBE, see = > --------------------------------------------------- >=20 > In a message dated 08/11/05 06:39:02 GMT Standard Time, bearz2 [at] cox.net > writes: >=20 > > Put some distance between the lens and the gel, also, add a UV = protector > > between the gel and the lens. > > > > My .02. > > Chris Warner >=20 > I think that an IR filter would be more useful. While this merely = tranfers > the heat problem to the IR filter, these are often man enough to stand = it. > A > glass dichrioc would be best, and while expensive, might well save = costs > in gel > and time. >=20 > My curiosity was aroused by the initial post. What purpose does this > lantern > serve in the rig? It might be better to use some other lantern, such = as a > flood. These are usually better ventilated, in that area. >=20 > Frank Wood ------------------------------ Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 14:11:44 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DC7 [at] danube.river.idm.com> From: "Steven Haworth" Lee 119 is very close to my favorite for this type of use - Rosco 74. = L119 has a 3.1% transmission, while R74 has a 4.0%. That doesn't sound = like much, but it will help - anything that lets more light thru will = burn a bit cooler. And I've good results w/R74 not burning as quickly - = one of the reasons I use it so often. So, in addition to the other suggestions, I'd recommend trying R74 = instead of L119. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-Id: <6.2.3.4.0.20051108122339.029df890 [at] 192.168.0.13> Date: Tue, 08 Nov 2005 12:26:24 -0800 From: Jerry Durand Subject: The Rigidization of Resin Shells Used in Inflatable Structures This might be quite useful to those doing outdoor temporary gigs. Wonder about using it for smaller items on stage? Inflate a column, harden it, turn off the air. At the end of the run in that city you un-harden it, ship it to the next stop and re-use. Sets by mail-order? From NASA Tech Briefs: TECHNOLOGY BUSINESS BRIEFS The Rigidization of Resin Shells Used in Inflatable Structures Eliminates "softness" and limited shape for large inflatable structures. Composite resins are exposed to lasers causing photochemical reactions, which harden the shells of the desired structure. This thermal and photo treatment is reversible and upon ending its usefulness, the structure can be disassembled and used again. Applications: * Temporary shelters and housing * Shipping, storage containers for large equipment * Unmanned aerial vehicles The Technology Business Briefs portray licensing or selling opportunities included in NextTechs' $2.0 billion Technology Portfolio. Access this brief and others at: http://link.abpi.net/l.php?20051024A3 The online Technology Exchange launched by NextTechs Technologies, LLC contains 140 research disciplines in 26 technology sectors, representing 352 companies and 41 industries. Search NextTechs' Technology Portfolio at: http://link.abpi.net/l.php?20051024A4 -- 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: <6.2.3.4.0.20051108123405.02942a58 [at] 192.168.0.13> Date: Tue, 08 Nov 2005 12:35:49 -0800 From: Jerry Durand Subject: Light-emitting fabric More NASA stuff... Luminex(R) is a non-reflective fabric that emits its own light for use in apparel and architectural and automotive fabrics. Wearable fabrics are illuminated by a low-voltage LED or a halogen bulb. The fiber's cladding emits light along the surface, and could integrate electronics such as microchips. Applications include safety clothing, apparel for nighttime use, and interior illumination. View this technology at: http://link.abpi.net/l.php?20051101A3 -- 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: <437113CD.CD25948C [at] cybercom.net> Date: Tue, 08 Nov 2005 16:08:30 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: More disclosures from Station Nightclub fire. http://www.cnn.com/2005/LAW/11/08/club.fire.ap/index.html Apparently the company that sold them the foam had as a policy not to inform their customers about the flammability of the foam. Oops. --Dale ------------------------------ Message-Id: Date: Tue, 8 Nov 2005 16:42:30 -0500 From: simmel [at] maine.edu Subject: USITT Conference Dear List; Can someone tell me when and where the next USITT Conference is being held. We are going to send some faculty for our Theatre position search. Peter Simmel Chair, Visual and Performing Arts U of M ------------------------------ Date: Tue, 08 Nov 2005 16:45:59 -0500 Subject: Re: USITT Conference From: "Ray-Pfeifer, Merel" Message-ID: In-Reply-To: Louisville, KY March 29-April 1 More info is available online google USITT. -- Merel Ray-Pfeifer Technical Director Dept of Speech Comm. & Dramatic Arts Central Michigan University Mt Pleasant, MI 48858 989/774-6594 On 11/8/05 4:42 PM, "simmel [at] maine.edu" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dear List; Can someone tell me when and where the next USITT > Conference is being held. We are going to send some faculty for our > Theatre position search. > > Peter Simmel > Chair, Visual and Performing Arts > U of M ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 16:58:55 -0500 Message-ID: <002401c5e4af$a077c260$6601a8c0 [at] Dell> In-Reply-To: > Haven't tried it personally, but there's always Rosco HeatShield... It works quite well, when used correctly. As someone else pointed out, you *must* leave air between the HS and the gel -- Rosco recommends 1/2" on either side, but I've found it works OK with 1/4" between the gel and the HS. It would be interesting to do a study and measure the difference between a gel that's 1/2" from the HS and a gel in the same position, but without the HS. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 17:00:11 -0500 Message-ID: <002501c5e4af$cdcb9c50$6601a8c0 [at] Dell> In-Reply-To: > but that was in the days of real > gel Oh, yeah? Well, I used to bounce light off colored silk.... ------------------------------ Date: Tue, 08 Nov 2005 17:06:50 -0500 From: Stephen Litterst Subject: Re: Preventing color burn out In-reply-to: Message-id: <4371217A.9090609 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Jeffrey E. Salzberg wrote: > --------------------------------------------------- > It would be interesting to do a study and measure the difference between a > gel that's 1/2" from the HS and a gel in the same position, but without the > HS. Are you hypothesizing that moving the gel 1/2" further from the lens is what does the trick, and that the HS is simply a placebo? Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 17:13:31 -0500 Message-ID: <002601c5e4b1$ab1b6210$6601a8c0 [at] Dell> In-Reply-To: > > It would be interesting to do a study and measure the difference > > between a gel that's 1/2" from the HS and a gel in the same > position, > > but without the HS. > > Are you hypothesizing that moving the gel 1/2" further from the lens > is what does the trick, and that the HS is simply a placebo? I would *never* suggest that a theatrical supplier would do such a...well...theatrical thing. I'm just curious to know how much difference there would be. ------------------------------ Message-ID: <90d9c9980511081508x608b9633v9fb546b91d498564 [at] mail.gmail.com> Date: Tue, 8 Nov 2005 18:08:14 -0500 From: Scott Parker Subject: Lee Filters: Tal? Lee Filter's web site seems to be down. Does anyone have contact info for Tal? Thanks, Scott -- 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 =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <232.b8e352.30a28bda [at] aol.com> Date: Tue, 8 Nov 2005 18:16:42 EST Subject: Re: Preventing color burn out In a message dated 08/11/05 19:42:34 GMT Standard Time, LMcMeley [at] msn.com=20 writes: >=20 > The designer has specified 12 2k fresnels for a mostly downlight wash in > this color. He also has 3 other washes, but in lighter blues and ambers=20 that > aren't as prone to burnout. Unfortunately the rig is already in the air a= nd > blocked from flying back in by the scenery so we can=E2=80=99t make any > substitutions at this point. (I did try to suggest substitutes when he > ordered them, but he was not interested.)mFortunately, the run is only 4 > performances, so even if we have to change color every night it won=E2= =80=99t kill > us, just drive the electricians crazy. You have a problem here. Two, actually. In the short term with the gels, and= =20 in the long term with the designer. For the first, HT gels should help. Not=20 much, though, Fresnels used as downlighters are not well ventilated. They ar= e=20 principally designed for more horizontal applications. For the second, the designer patently has a closed mind-set. I don't know=20 where you are, nor what lanterns are available to you. But I am of the firm=20 opinion that this is a wrong answer. As I think that you are. Myself, I shou= ld go=20 for symmetrical cyc floods. Strand once made a lantern called an 'Acting Are= a=20 Flood', Patt 76, which was ideal for this purpose. Sadly, they are now obsol= ete. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <6b.5165e8d4.30a28c8f [at] aol.com> Date: Tue, 8 Nov 2005 18:19:43 EST Subject: Re: More disclosures from Station Nightclub fire. In a message dated 08/11/05 21:07:57 GMT Standard Time, dale [at] cybercom.net writes: > Apparently the company that sold them the foam had as a > policy not to inform their customers about the flammability > of the foam. Oops. Not 'oops'. Criminal stupidity is more like it. Frank Wood ------------------------------ Message-ID: Date: Tue, 8 Nov 2005 19:52:31 -0500 From: Ken Romaine Subject: Re: Preventing color burn out In-Reply-To: References: Frank: You have NO idea what the designer was trying to accomplish. You have NO idea what limits the designer had to work within. You have NO idea about ANYTHING related to this application. I quote you - " I don't know where you are, nor what lanterns are available to you." You don't even know what the venue is or what show this is for. You know NOTHING about this. Yet you pontificate - "...I am of the firm opinion that this is a wrong answer. As I think that you are. Myself, I should go for symmetrical cyc floods. Strand once made a lantern called an 'Acting Area Flood', Patt 76, which was ideal for this purpose." The fact that you can design a show with so little information, and from such a distance thrills me. I wish every lighting designer I ever worked with was like you. So positive. A constant. Never changing. You're my hero. I want to be just like you when you grow up. To the rest of the list - sorry. It's been building for a while. And now back to your regular programming. -- Ken Romaine Northeast US Sales Manager - Barco Events The opinions expressed here are mine - all mine - no matter how much I want to impose them on the rest of the world. On 11/8/05, FrankWood95 [at] aol.com wrote: > You have a problem here. Two, actually. In the short term with the gels, = and > in the long term with the designer. For the first, HT gels should help. N= ot > much, though, Fresnels used as downlighters are not well ventilated. They= are > principally designed for more horizontal applications. > > For the second, the designer patently has a closed mind-set. I don't know > where you are, nor what lanterns are available to you. But I am of the fi= rm > opinion that this is a wrong answer. As I think that you are. Myself, I s= hould go > for symmetrical cyc floods. Strand once made a lantern called an 'Acting = Area > Flood', Patt 76, which was ideal for this purpose. Sadly, they are now ob= solete. > > Frank Wood ------------------------------ From: "David Paul Stock" Subject: RE: Preventing color burn out Date: Tue, 8 Nov 2005 22:24:46 -0500 Message-ID: In-Reply-To: 2K fresnels are typically used for film and television lighting. It is common practice in those disciplines to stand off the color media from the front of the instrument. They use a variety of methods (C-stands and knuckles with various accessories to hold the gel, flag, scrims and so forth) Pouncing the gels is not an effective means of extending the life of the color media. It has been proven that it changes the color and transmission quality. The UV filter and Heat shield mediums have limited effectiveness. Reference a basic film or television lighting or grip book, catalog or website such as Mole Richardson for the aforementioned equipment. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Laura McMeley Sent: Tuesday, November 08, 2005 1:06 AM To: Stagecraft Subject: Preventing color burn out For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm having trouble with some 2k fresnels burning through the L119 they have in them. I'm going to try the HT version tomorrow, but I have also heard of people scoring gel as a method of preventing or delaying burnouts and I was wondering if the list had any experience of this method. Do you think it works? What other tricks have you tried and how well did they work? Laura McMeley Resident Lighting Supervisor The Dallas Opera ------------------------------ From: "Eric Geater at Home" Subject: Depth and height issues Date: Tue, 8 Nov 2005 22:25:39 -0600 Message-ID: Hello, list! I will start my first-time direction of a play in 3 weeks, with Neil Simon's Rumors. I went to the school where the play will be held today, and noticed in horror that I don't have a lot of room for a high production. For those out of the loop, Rumors has a great-room appearance, with a stairwell and landing that leads into two bedroom doors. For action of the farce, I cannot imagine this production having six doors on the first floor, without losing something in the action... this means that I'm stuck with the second floor thing. But my problem is that I can only go so high. With the rearmost backdrop boom, when lowered to the point that it sits at the same level as the middle light teaser, I have 13' of clearance from it to floor (as viewed from the back row). And what's worse: I don't need to be back that far; I need to be in front of the light teaser itself, or go completely against the back wall. While that's not impossible, I also want to maximize my sightlines for the rearmost audience. A compromise I thought of tonight includes taking the set's back wall as far as possible, and only going up 7' to the landing, with another 7' on top of that for the bedroom door entrances. It makes the show less intimate, IMO, to be back that far, and it forces the actors to use a louder-than-normal voice. But if I come too far forward, I'll be cutting off heads and torsos for some of the patrons during some pivotal scenes. When faced with a short proscenium, what kind of sight tricks do you employ, and how would you figure that into your set's design? Waiting with ferocious ears, Eric Geater -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.362 / Virus Database: 267.12.8/163 - Release Date: 11/8/2005 ------------------------------ Message-ID: <1114.208.51.52.30.1131511032.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 8 Nov 2005 20:37:12 -0800 (PST) Subject: Re: Automated Madness From: "Bill Nelson" >> Three pin XLR cables are, by definition, not DMX cables. They >> need to be five pin XLR, and meet the spec for RS485. microphone >> cables will sort of work, but they will also lead to these sorts of >> weirdness as their impedance is wrong, and they mess up the signal. >> Those misguided manufacturers who install three pin xlr connectors >> for DMX are wrong. Out of necessity, I have frequently used microphone cables for my DMX runs in the two venues where I do lighting design. These runs often total several hundred feet in total cable length - but only connect to various portable 4 dimmer packs. Maybe I have been fortunate, but I have never had any signal problems. Bill ------------------------------ Message-ID: From: "Occy" Subject: What do they call this on the fly rail? Date: Tue, 8 Nov 2005 20:32:20 -0800 On the modern counter weight fly rails systems there is the rope/line lock attached to the lock rail then below the lock rail there is a pipe/bar/rail that is use for snub lines instead of the lock rail. What is it called and the official name of it? And here the worst part of it I have install, repaired and trained personal on counter weight systems than I care to remember and can't recall what the print calls the rail below the lock rail. ------------------------------ Message-ID: <002d01c5e4eb$c4262990$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Depth and height issues Date: Tue, 8 Nov 2005 21:09:30 -0800 > But my problem is that I can only go so high. With the rearmost backdrop > boom, when lowered to the point that it sits at the same level as the > middle > light teaser, I have 13' of clearance from it to floor (as viewed from the > back row). And what's worse: I don't need to be back that far; I need to > be in front of the light teaser itself, or go completely against the back > wall. While that's not impossible, I also want to maximize my sightlines > for the rearmost audience. > > A compromise I thought of tonight includes taking the set's back wall as > far > as possible, and only going up 7' to the landing, with another 7' on top > of > that for the bedroom door entrances. I'm a bit muddled with regards to your description, but I have seen Rumors successfully done with an 'upstairs' of only being perhaps 5' higher than the 'great room.' Think Split Level house. Say, for instance, the entry/powder room/foyer is perhaps 3 steps higher than the great room (and place it SR, or USR) and UC, or UL is the profile of a stairwell going only about 7-10 steps up to another landing, where the bedrooms are. The great room (or living room) doesn't need to be too deep, if you're doing a proscenium production - sightlines being as they are (relatively flat) the eye can easily think there's more room between the footlights and the walls or staircases than are really there. You don't need to have a 'conversation pit' as deep as it might be in real life.... I've got pics of a digital model and the 'real' thing at my website - maybe just imagine the staircase only going 5' high, and maybe all the elements are at more of an angle. (In the production pictured, the sitting area DC was very shallow - probably 7' at the most...) - Jon Ares www.hevanet.com/acreative ------------------------------ Date: Wed, 9 Nov 2005 01:32:36 -0500 (EST) From: Todd Lipcon Subject: Induction lamps Message-ID: <20051109013038.Y41618 [at] mercea.mercea.net> Hi all, I was wondering if anyone has experience with induction lamps of the following description: "CFSQLHB-165-120v-4100 made by Compact Fluorescent System in New Jersey / Phillips lamp 165Watts" Electricians have specified four of them to act as work/rehearsal lights in a 35x55 black box. Anyone have any suggestions before we give them the go-ahead (and the cash?) Also -- anyone have current contact info for Brian Shipinski of Upstaging? He's generally the lamp master, but his usual email bounced. Thanks -Todd ------------------------------ Message-ID: <20051109064000.76514.qmail [at] web33109.mail.mud.yahoo.com> Date: Tue, 8 Nov 2005 22:40:00 -0800 (PST) From: June Abernathy Subject: Re: Preventing color burn out >Put some distance between the lens and the gel, also, >add a UV protector between the gel and the lens. >My .02. >Chris Warner What he said. In the interest of getting the color farther away from the heat,I know you can get a gel "extender" from several vendors - essentially a top hat with a gel frame at the end - for lekos. I'm assuming you can get such a thing for a fresnel. Also, Rosco makes an expensive but good IR Heat Shield, which is essentially a heavy gel that blocks a lot of - you guessed it, IR and heat - but it needs a little space between itself and the gel. It needs to be handled carefully, and the proper side must go toward the heat source. Other companies make other kinds of heat shield, but some kind is definately indicated in your situation. You mentioned putting holes in the gel. Indeed, the old method was to "ponce" the gel. We used to use a little tool with a toothed wheel on the end to make patterns of little tiny holes in the gel. (Called a "ponce wheel", AFAIK.) Found at fabric supply stores, the little tool was made to transfer markings from patterns onto cloth. If you have a wardrobe department handy, they may have one. This can work, not as well as heat shield, and not if your application means that the little holes of white light will show. The other possibility, depending on your budget, your time frame, and how often you have this issue, is to buy some glass color. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <3.0.6.32.20051109021235.00856100 [at] mail.interlog.com> Date: Wed, 09 Nov 2005 02:12:35 -0500 From: Villem Teder Subject: Re: Getting black background from video At 03:00 AM 11/8/05 -0800, you wrote: > snip.... > In this case, I am wanting the deep black while I am actually projecting >images surrounded by black. E.g. a galaxy or illustrations of the orbits of >the planets. > >Joe Dunfee joe [at] dunfee.com >Gordonville, Pennsylvania, U.S.A. > The issue here is, how bright do you need the projection? While the DLP dark chip for e-cinema, and the D-ILA (LCoS) systems claim increased contrast ratios every year, the only video projection system that can achieve what you are looking for is CRT-based. Which of course comes with it's own "issues". Regards, Villem Teder Toronto ------------------------------ End of Stagecraft Digest #577 *****************************