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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #578

 1. Re: Induction lamps
    by Kevin Holly <kholly [at] mac.com>
 2. Re: Depth and height issues
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
 3. Re: Depth and height issues
    by Barney Simon <barney [at] JosephCHansen.com>
 4. Re: Depth and height issues
    by Jim Hyslop <jhyslop [at] dreampossible.ca>
 5. Re: What do they call this on the fly rail?
    by Jim Hyslop <jhyslop [at] dreampossible.ca>
 6. Re: What do they call this on the fly rail?
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 7. Re: Depth and height issues
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 8. Re: What do they call this on the fly rail?
    by Stephen Litterst <slitterst [at] ithaca.edu>
 9. Keeping mics on sweaty actors
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
10. Re: Keeping mics on sweaty actors
    by "Michael Diederich" <mdiederich [at] mvcc.edu>
11. Re: Keeping mics on sweaty actors
    by "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
12. Re: Preventing color burn out
    by Bill Sapsis <bill [at] sapsis-rigging.com>
13. Re: Keeping mics on sweaty actors
    by Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
14. Re: Keeping mics on sweaty actors
    by MissWisc [at] aol.com
15. Re: Depth and height issues
    by MissWisc [at] aol.com
16. Re: Internet access while travelling
    by Nathan Kahn/Look Solutions <nk [at] looksolutions.com>
17. Re: Keeping mics on sweaty actors
    by Phil Blackwood <phillip.blackwood [at] gmail.com>
18. Re: Depth and height issues
    by Wood Chip-P26398 <Chip.Wood [at] motorola.com>
19. Re: Automated Madness
    by "Aaron W. Braun" <ABraun [at] ArdeeDesign.com>
20. Re: Internet access at LDI in Orlando
    by CB <psyd [at] cox.net>
21. Keeping mics on sweaty actors
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
22. Re: Preventing color burn out
    by CB <psyd [at] cox.net>
23. Dimmable Fluorescent Ballasts
    by "Michael Wade" <mike [at] focusnote.com>
24. Re: Dimmable Fluorescent Ballasts
    by Jerry Durand <jdurand [at] interstellar.com>
25. Kime Paint
    by "Eric Huss" <eh [at] sachsmorganstudio.com>
26. Re: Dimmable Fluorescent Ballasts
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
27. Downlight wash fixtures  (was Preventing color burn out)
    by "Steven Haworth" <sjh [at] idm.com>
28. Re: Stock Platforms
    by "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>
29. Re: Preventing color burn out
    by FrankWood95 [at] aol.com
30. Re: Automated Madness
    by Gillian Koch <gil.koch [at] gmail.com>
31. Re: Lust?
    by "Michael Wade" <mike [at] focusnote.com>
32. Re: Downlight wash fixtures  (was Preventing color burn out)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
33. Re: Stock Platforms
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
34. Re: Keeping mics on sweaty actors
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
35. Re: Automated Madness
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
36. Re: Preventing color burn out
    by FrankWood95 [at] aol.com
37. Re: Preventing color burn out
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
38. Re: Automated Madness
    by Jerry Durand <jdurand [at] interstellar.com>
39. Re: Dimmable Fluorescent Ballasts
    by Mike Voytko <mv35 [at] nyu.edu>
40. Re: Depth and height issues
    by June Abernathy <jea00321 [at] yahoo.com>
41. Re: What do they call this on the fly rail?
    by "Peter Scheu" <peter [at] scheuconsulting.com>
42. Re: Depth and height issues
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
43. Re: Kime Paint
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
44. Re: Kime Paint
    by "Ash Munro" <amunro [at] avcompany.com>
45. Re: Downlight wash fixtures  (was Preventing color burn out)
    by "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
46. work/rehearsal lights
    by Paul Marsland <paulbmarsland [at] yahoo.com>
47. Re: Downlight wash fixtures (was Preventing color burn out)
    by Shawn King <skingld [at] gmail.com>
48. Re: Automated Madness
    by <dale [at] cybercom.net>
49. Re: What do they call this on the fly rail?
    by "richard j. archer" <rja10 [at] cornell.edu>
50. Re: What do they call this on the fly rail?
    by Bill Sapsis <bill [at] sapsis-rigging.com>
51. Re: Automated Madness
    by "Adam Zeek" <dmx0512 [at] hotmail.com>
52. Re: What do they call this on the fly rail?
    by Delbert Hall <delbert.hall [at] gmail.com>
53. Re: Depth and height issues
    by Jim Hyslop <jhyslop [at] dreampossible.ca>
54. Re: Automated Madness
    by "Bill Nelson" <billn [at] peak.org>
55. Re: Preventing color burn out
    by MissWisc [at] aol.com
56. Re: Depth and height issues
    by "Bill Nelson" <billn [at] peak.org>
57. Re: Keeping mics on sweaty actors
    by "Tony Kambic" <Eagle194 [at] netscape.com>
58. Re: Automated Madness
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
59. Re: Keeping mics on sweaty actors
    by "Bill Nelson" <billn [at] peak.org>
60. Re: What do they call this on the fly rail?
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
61. Re: Automated Madness
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
62. Re: Automated Madness
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
63. Re: Depth and height issues
    by Jim Hyslop <jhyslop [at] dreampossible.ca>
64. Re: Automated Madness
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
65. Re: Depth and height issues
    by MissWisc [at] aol.com
66. Re: Automated Madness
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
67. Re: Preventing color burn out
    by FrankWood95 [at] aol.com
68. Re: Automated Madness
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
69. Re: Downlight wash fixtures  (was Preventing color burn out)
    by FrankWood95 [at] aol.com
70. Re: Downlight wash fixtures (was Preventing color burn out)
    by FrankWood95 [at] aol.com
71. Re: Preventing color burn out
    by Bruce Purdy <bpurdy [at] rochester.rr.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

----------------------------------------------------------------------

Message-Id: <a06230900bf979fa80dc9 [at] [67.39.184.150]>
In-Reply-To: <list-25426712 [at] prxy.net>
References: <list-25426712 [at] prxy.net>
Date: Wed, 9 Nov 2005 06:49:25 -0600
From: Kevin Holly <kholly [at] mac.com>
Subject: Re: Induction lamps

Upstaging is beginning their long anticipated move right now so that 
could be the reason the e-mail bounced. Things are a little chaotic 
over there right now. I took two Technobeams over for repair on 
Monday. Try calling him at 847-949-4900



>Also -- anyone have current contact info for Brian Shipinski of 
>Upstaging? He's generally the lamp master, but his usual email 
>bounced.


------------------------------

Message-ID: <06db01c5e52c$1ed69bf0$6501a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-25425366 [at] prxy.net>
Subject: Re: Depth and height issues
Date: Wed, 9 Nov 2005 07:50:07 -0500

Give thought to going another direction.  Build the staircase and the 
bedroom door in front of the proscenium, off to one side or the other.   It 
would require more building because you now have to enclose the bedroom 
itself to give actors someplace to "go".  But, talk about intimate.

Did something similar with Music Man.  Mrs Paroo's front porch was build SR, 
DS of the proscenium on the apron.   Porch scenes were done with the curtain 
closed, which allowed set changes on stage at the same time. (Helped keep 
time between scenes minimal.)  The porch scenes were intimate.  The area 
between the front row of seats and the stage became the street in front of 
Paroo's house.  The actors (especially Winthrop) didn't have to project as 
much and the audience loved taking pictures of themselves in front of the 
set after the show.   Also we didn't have to build an interior house set for 
Paroo, since the piano scenes were all done in front of the curtain next to 
the front porch set.

Alf




----- Original Message ----- 
From: "Eric Geater at Home" <rokit [at] bellsouth.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Tuesday, November 08, 2005 11:25 PM
Subject: Depth and height issues


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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: <4371F0C3.1080705 [at] JosephCHansen.com>
Date: Wed, 09 Nov 2005 07:51:15 -0500
From: Barney Simon <barney [at] JosephCHansen.com>
Reply-To:  Barney [at] JosephCHansen.com
Organization: Joseph C Hansen Co., Inc
Subject: Re: Depth and height issues
References: <list-25425366 [at] prxy.net> <list-25425935 [at] prxy.net>
In-Reply-To: <list-25425935 [at] prxy.net>

Jon Ares wrote:

> I'm a bit muddled with regards to your description, ... Think Split 
> Level house. 

I was also thinking that it might be interesting to put the 'upstairs'
downstairs in the orchestra pit.  Often in the seaside area I spend time
in houses are built ' upside down'  Bedrooms downstairs; kitchen and
living space upstairs upstairs to be able to have the view.

-- 
Barney Simon
JC Hansen Co., Inc
Drapes Drops and Dance Floors

423 West 43rd Street, NYC
212-246-8055 F:212-246-8189
JCHansen.com
866-988-8055


------------------------------

Message-ID: <4371F996.3010603 [at] dreampossible.ca>
Date: Wed, 09 Nov 2005 08:28:54 -0500
From: Jim Hyslop <jhyslop [at] dreampossible.ca>
Organization: DreamPossible Inc.
Subject: Re: Depth and height issues
References: <list-25425366 [at] prxy.net>
In-Reply-To: <list-25425366 [at] prxy.net>

Eric Geater at Home wrote:
> I will start my first-time direction of a play in 3 weeks, with Neil Simon's
> Rumors.  

Congratulations!

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.

Congratulations, again, on encountering your first major challenge.

As a director, one of the first things you must learn is how to
compromise. Yes, your *ideal* would be to have a second floor, but the
reality appears to be that you will not be able to have that. Instead of
trying to find a way to force the set to conform to your vision (and
thereby cause other problems), use your imagination and creativity -
which are two of the major factors that got you selected as the director
- to modify your vision to fit the reality of your venue.

I'm not suggesting that you should always give up when faced with a
problem, but you have to recognize what your losing battles are. The
most effective directors I've worked with know when to push for their
vision, and when to let go. And how to come up with creative solutions
to problems that crop up.

> 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?

Cast very short actors ;=) Seriously, though, Jon's suggestion of a
ranch-style house may be an effective compromise.

-- 
Jim Hyslop


------------------------------

Message-ID: <4371F9F4.3030905 [at] dreampossible.ca>
Date: Wed, 09 Nov 2005 08:30:28 -0500
From: Jim Hyslop <jhyslop [at] dreampossible.ca>
Organization: DreamPossible Inc.
Subject: Re: What do they call this on the fly rail?
References: <list-25425481 [at] prxy.net>
In-Reply-To: <list-25425481 [at] prxy.net>

Occy wrote:
> 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?

"Thingy?"

-- 
Jim Hyslop


------------------------------

Message-ID: <4371FA7C.9020801 [at] fredonia.edu>
Date: Wed, 09 Nov 2005 08:32:44 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: What do they call this on the fly rail?
References: <list-25425481 [at] prxy.net>

Do you refer to the angled piece of flat bar immediately adjacent to the 
angle iron to which the rope lock is attached?  If so, I've always known 
this as the card rail as we place lineset ID cards there.  If you mean 
the piece of 1.5 inch flat bar that might be at the level of the 
take-up/idler/floor block about 6" above the deck, then I can't help. 
The Clancy catalog does not put a name to it.  In my older Clancy rig, 
we snub to the lock rail (where the locks are) as there is nothing else 
with sufficient structure at that level.  I've added lengthwise split 
PVC pipe over the sharp edges of lock rail and card rail to ease the 
turns on the snubber as necessary. HTH.
Regards,
Steve Rees,TD
SUNY-Fredonia

Occy wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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. 



------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Depth and height issues
Date: Wed, 9 Nov 2005 08:34:56 -0500
Message-ID: <004901c5e532$62dd4140$6601a8c0 [at] Dell>
In-Reply-To: <list-25431000 [at] prxy.net>



> The most effective directors I've worked with 
> know when to push for their vision, and when to let go.

I agree, and I'd add: "...And know the difference between 'vision' and
'ego.'"



------------------------------

Date: Wed, 09 Nov 2005 09:22:36 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: What do they call this on the fly rail?
In-reply-to: <list-25425481 [at] prxy.net>
Message-id: <4372062C.4080908 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25425481 [at] prxy.net>

Occy wrote:
> ---------------------------------------------------
> 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. 

I don't no nuthin' 'bout no "official" nomenclature, but I call ours 
either the crash rail, or the stop rail.  Its prime function is to 
keep the arbor from traveling too far, although our operators prefer 
to use it as a method of making the most noise possible when running 
the flies.

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Date: Wed, 09 Nov 2005 10:30:43 -0500
Subject: Keeping mics on sweaty actors
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <BF978053.10D6%raypf1mg [at] cmich.edu>
In-Reply-To: <list-25431064 [at] prxy.net>



Any advice on how to keep a body mic on an extra sweaty actor who has
several quick changes.

We are using a forehead mounting position with clear first aid tape.  It is
working well for all but the lead who sweats like crazy.

Any wisdom would be appreciated.
-- 
Merel Ray-Pfeifer
Technical Director
Dept of Speech Comm. & Dramatic Arts
Central Michigan University
Mt Pleasant, MI  48858

989/774-6594


------------------------------

Subject: RE: Keeping mics on sweaty actors
Date: Wed, 9 Nov 2005 10:54:50 -0500
Message-ID: <CA2E466B6CEC9B449481950C30F907E73A63B1 [at] mvcc-newexch.mvcc.edu>
From: "Michael Diederich" <mdiederich [at] mvcc.edu>

>>>> Any advice on how to keep a body mic on an extra sweaty actor who
has
several quick changes.

We are using a forehead mounting position with clear first aid tape.  It
is
working well for all but the lead who sweats like crazy.<<<<

We like to use a bent paperclip or a wire with about the same gauge
(found in craft stores) taped to the mic cable that is bent around to
fit the ear. (It's way cheaper than buying the expensive manufactured
version) It can come down closer to the mouth and shouldn't be affected
by the sweat. If you use flesh colored tape or makeup it should blend in
pretty well, and shouldn't be a visual distraction.=20

------------------------------

From: "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
Subject: RE: Keeping mics on sweaty actors
Date: Wed, 9 Nov 2005 10:03:41 -0600
In-Reply-To: <list-25432565 [at] prxy.net>
Message-ID: <IPP3A700.L3Q [at] mail.accd.edu>

How far down the forehead? If it's in the hairline you should be able to get
it with some combination of toupee clips and elastic. Further down the
forehead consider toupee tape (which may sweat off) or spirit gum (which
will not sweat off, but isn't the best for the mic either). You could also
try applying a large piece of surgical tape directly to clean dry skin, and
then taping the mic to that tape. The idea behind surgical tapes like
Transpore is that the patient (performer) will sweat through the tape...
instead of sweating off the tape. This only works when the tape is applied
to clean dry skin. Use an alcohol swap on the area to be taped. 

A carp will undoubtedly tell you to use a staple gun.  

Justin Bennett
Technical Director / Theatre Manager
St. Philip's College - Watson Fine Arts Center
jbennett43 [at] mail.accd.edu
(210) 531-4706 Office
(210) 531-4768 Fax


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Ray-Pfeifer, Merel

Any advice on how to keep a body mic on an extra sweaty actor who has
several quick changes.




------------------------------

Date: Wed, 09 Nov 2005 11:15:07 -0500
Subject: Re: Preventing color burn out
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BF978ABB.4D80%bill [at] sapsis-rigging.com>
In-Reply-To: <list-25423150 [at] prxy.net>

Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,

<Sound of shuffling feet as people rise to their feet>

Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,

<cheering.  Spontaneous outburst of bravos.  Loud whistling>

Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,
Applause, applause, applause, applause, applause, applause, applause,



Thank you Ken.
Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561 mobile

Join the Long Reach Long Riders on their 3rd annual cross country charity
motorcycle ride.   <www.LRLR.org>



On 11/8/05 7:52 PM, "Ken Romaine" <ken.stagecraft [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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 <FrankWood95 [at] aol.com> wrote:



------------------------------

Message-ID: <20051109161733.46245.qmail [at] web36213.mail.mud.yahoo.com>
Date: Wed, 9 Nov 2005 08:17:32 -0800 (PST)
From: Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
Subject: Re: Keeping mics on sweaty actors
In-Reply-To: <list-25432565 [at] prxy.net>

For a show with stickers placed on actors' faces, I
had the sweatiest ones dab antiperspirant on the spots
beforehand.  It worked great.  (And isn't it always
the sweatiest ones who wind up in the heaviest
costumes?)

         Jacki

--- "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu> wrote:

> Any advice on how to keep a body mic on an extra
> sweaty actor who has several quick changes.
> 
> We are using a forehead mounting position with clear
> first aid tape.  


		
__________________________________ 
Start your day with Yahoo! - Make it your home page! 
http://www.yahoo.com/r/hs

------------------------------

From: MissWisc [at] aol.com
Message-ID: <1fa.154e07c5.30a3808d [at] aol.com>
Date: Wed, 9 Nov 2005 11:40:45 EST
Subject: Re: Keeping mics on sweaty actors

_raypf1mg [at] cmich.edu_ (mailto:raypf1mg [at] cmich.edu)  writes:   <<  Any advice on 
how to keep a body mic on an extra sweaty actor who  has several quick 
changes. >>
 
Attach a loop of elastic string to the mic. Size the loop to fit the  actor's 
head. The actor puts the loop around their head like a hat band, combs  hair 
over it (or uses bobby pins/wig clips if preferred) and the mic is  positioned 
mid fore-head. Your wardrobe people might  have elastic string in stock 
already (it looks like a big  rubber band that is fabric covered). If needed, the 
actor can easily pull  it off between changes, but a better bet is to simply 
let the mic wire dangle  down the actor's back under the clothing and have the 
belt pack worn in the  small of the back. You can run the mic wire over the top 
of the  head or have it follow the path of the elastic string over one ear. 
Can be  worn under fast wig changes too if you run the loop and mic wire under 
a wig  cap.

Kristi
 

------------------------------

From: MissWisc [at] aol.com
Message-ID: <19c.4059b04b.30a38437 [at] aol.com>
Date: Wed, 9 Nov 2005 11:56:23 EST
Subject: Re: Depth and height issues

First of all - kudos to you for being willing to  direct a HS show!

Have you thought of modeling your set as a tri-level  home? The "basement" is 
only 4' lower than the first floor which in turn is 4'  lower than the second 
floor. The first floor is off-set; beside/next to the  basement and second 
floor part of the building. That way your "upstairs" is up a  short flight of 
stairs to what is a common platform height of 4'. You have fewer  safety 
problems if you stick with that height and you could create stock  platforms that can 
be used in future shows. You only need two floors so just  pretend that there 
is a basement "crawl space" under the second  floor.

Your actors SHOULD be using a "louder than normal voice".   Ask if the 
choral/voice teacher in the bulding can work with the kids on correct  vocal 
projection if you're not knowledgeable. They also must use excellent  diction so the 
audience can clearly understand them. Don't be afraid to spend a  couple of 
the first few rehearsals as reading ones where you focus on diction  and 
projection. Put them along the front edge of the stage as you sit in the  last row of 
the house and give feedback over a god mic. It's easier for kids to  learn it 
that way than to have to try to correct it after they have the words  
learned. 

Kristi  


------------------------------

Message-Id: <5.0.0.25.2.20051109120213.02869a70 [at] 127.0.0.1>
Date: Wed, 09 Nov 2005 12:02:47 -0500
From: Nathan Kahn/Look Solutions <nk [at] looksolutions.com>
Subject: Re: Internet access while travelling

I've been using AOL for this purpose for forever (it seems like). I don't 
use if for anything else - just dialup while travelling. There are probably 
better options nowadays, I'm just not bothered enough to look into it :-)

Of course if my hotel has dialup or WIFI I use that.

One of the nice things about AOL is the access numbers overseas. I can 
always find a local phone number to access AOL with in Europe - there's 
usually an AOL access fee of $6/hr. - I check the access numbers in 
advance, before leaving the states (easier that way).

FYI,
Nathan

------------------------------------------------------------------------
Look Solutions USA, Ltd.
114 W. Third St.
Waynesboro, PA 17268
Toll-Free: 1-800-426-4189
Phone: 1-717-762-7490
Fax: 1-717-762-7366
Company Email: usa [at] looksolutions.com
Personal Email: nk [at] looksolutions.com
Web: www.fogspecs.com


------------------------------

Message-ID: <9cbafac70511090914t3b74229fs962058465a327a8f [at] mail.gmail.com>
Date: Wed, 9 Nov 2005 10:14:06 -0700
From: Phil Blackwood <phillip.blackwood [at] gmail.com>
Subject: Re: Keeping mics on sweaty actors
In-Reply-To: <list-25432565 [at] prxy.net>
References: <list-25431064 [at] prxy.net> <list-25432565 [at] prxy.net>

Be sure to have a can of spray air backstage for blowing the sweat out
of the mic element. Also be sure that the mic is muted before doing
this...
At my last venue we had the sweatiest actor ever. He could drench a
mic pack INSIDE a latex wrapper, and the tips of the mic element would
be filled with sweat before the 2nd number. So we wrapped the pack in
cotton AND latex, and had air to blow out the sweat backstage.
Sorry, no advice on how to keep it ON him...

> Any advice on how to keep a body mic on an extra sweaty actor who has
> several quick changes.

Phillip Blackwood
Technical Director
School of Theatre Arts
University of Arizona
(520)621-1104

------------------------------

Message-ID: <2E3198416D5E7A4FB3FEC7E6838FE36B14E717 [at] ct11exm60.ds.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
Subject: RE: Depth and height issues
Date: Wed, 9 Nov 2005 10:35:58 -0700 

This is a great technique that my wife used throughout her HS directing days.  She put them US however, not way DS.  


Chip 
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com
Sent: 11/09/2005 9:56 AM
To: Stagecraft
Subject: Re: Depth and height issues

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

First of all - kudos to you for being willing to  direct a HS show!

They also must use excellent  diction so the audience can clearly understand them. Don't be afraid to spend a  couple of the first few rehearsals as reading ones where you focus on diction  and projection. Put them along the front edge of the stage as you sit in the  last row of the house and give feedback over a god mic. It's easier for kids to  learn it that way than to have to try to correct it after they have the words learned. 

Kristi  


------------------------------

From: "Aaron W. Braun" <ABraun [at] ArdeeDesign.com>
Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 11:47:43 -0600
Message-ID: <EGEMKCCELEEMDAPDPDFPMEEJCEAA.ABraun [at] ArdeeDesign.com>
In-Reply-To: <list-25429567 [at] prxy.net>

Bill, I can assure you that you have been fortunate.  I have done many
system commissionings over my career and put a scope meter on the DMX
signal.  Microphone cable is the wrong impedence and causes distortion to
the DMX signal.  The longer the distance, the more the distortion.  One of
the reasons you have been fortunate is that the cables were only used with
dimmer packs.  Because of dimmer response times and the fact that
incandescent loads are attached, glitches and flickers tend to be moderated
and aren't necessarily visible.  Automated fixtures are much less forgiving
and are designed to have fast response times to DMX changes.  I have seen
mirrors, gobo wheels, color wheels, etc. glitch when microphone cable is
used.  RS422/RS485 rated cable is essential to reliable operation of DMX
equipment.

Sincerely,

Aaron Braun
Ardee Design Group, LLC
Nashville, TN

-----Original Message-----
Date: Tue, 8 Nov 2005 20:37:12 -0800 (PST)
Subject: Re: Automated Madness
From: "Bill Nelson" <billn [at] peak.org>

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: <3.0.6.32.20051109105250.00d98ca0 [at] pop.west.cox.net>
Date: Wed, 09 Nov 2005 10:52:50
From: CB <psyd [at] cox.net>
Subject: RE: Internet access at LDI in Orlando

>We are currently staying at the Rosen Plaza hotel. Internet access is
>$10 per day here. I don't know about the other hotels. As for the
>convention center, its $5 per hour or $25 per day. Hope that helps, and
>I hope to see you here.

On one tour that Thad was on, the A2 traveled with a coupla routers in his
kit.  One would get set up on hte deck if he could sweet talk the locals
into providing him with a line, and the other would get set up in the
hotel.  This way, eight or ten people could get internet access for the
same $10 a day.  I Orlando, I got a month to month T-mobile account (It was
a month for the same price as four days at the hotel, and I was going to be
there for a week) and that has come in handy at the Starbuck'ses.
Dang, Thad, I just missed you.  We were at Dead Bob's just a coupla weeks
ago, and stayed at the consruction site a few block up 4!

------------------------------

Date: Wed, 09 Nov 2005 10:30:43 -0500
Subject: Keeping mics on sweaty actors
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <BF978053.10D6%raypf1mg [at] cmich.edu>
In-Reply-To: <list-25431064 [at] prxy.net>



Any advice on how to keep a body mic on an extra sweaty actor who has
several quick changes.

We are using a forehead mounting position with clear first aid tape.  It is
working well for all but the lead who sweats like crazy.

Any wisdom would be appreciated.
-- 
Merel Ray-Pfeifer
Technical Director
Dept of Speech Comm. & Dramatic Arts
Central Michigan University
Mt Pleasant, MI  48858

989/774-6594


------------------------------

Message-Id: <3.0.6.32.20051109110659.00d98ca0 [at] pop.west.cox.net>
Date: Wed, 09 Nov 2005 11:06:59
From: CB <psyd [at] cox.net>
Subject: Re: Preventing color burn out

>To the rest of the list - sorry.  It's been building for a while.

We get it, I just tend to blow up less spectacularly nowadays.  Frank's
posts are like his lighting designs; colorless, tangential, unvarying, and
neither take advantage of any technical improvements from 1967 onward...
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

Date: Wed, 09 Nov 2005 13:10:00 -0500
Subject: Dimmable Fluorescent Ballasts
Cc: mike [at] focusnote.com
Reply-To: mike [at] focusnote.com
From: "Michael Wade" <mike [at] focusnote.com>
Message-ID: <op.szzjeyk5l92zon [at] mike>

Hi all.

I am working on a production that requires dimmable fluorescents and I  
know that we recently discussed these but can not seem to get the search  
function to work.

I have vague recollections of using "Mark 7" ballasts in the past but can  
not remember exactly.

Feel free to email me off lust with any suggestions.

Thanks for the help-

Mike Wade
mike [at] focusnote.com



------------------------------

Message-Id: <6.2.3.4.0.20051109101155.03bfbdb8 [at] 192.168.0.13>
Date: Wed, 09 Nov 2005 10:13:28 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Dimmable Fluorescent Ballasts
In-Reply-To: <list-25435639 [at] prxy.net>
References: <list-25435639 [at] prxy.net>

At 10:10 AM 11/9/2005, you wrote:
>I have vague recollections of using "Mark 7" ballasts in the past but can
>not remember exactly.


Depends on how you want to dim, a few people such as www.tridonic.com 
make DMX controllable ballasts.

There are also ballasts that you can dim with a regular dimmer.



-- 
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



------------------------------

Subject: Kime Paint
Date: Wed, 9 Nov 2005 13:24:24 -0500
Message-ID: <8D0F4F12534EC940AF0C5732BF5BDC061AE7A8 [at] smsserver.SMSStudio.local>
From: "Eric Huss" <eh [at] sachsmorganstudio.com>

Hello all,

I was just asked if I have ever heard of kime paint.  I haven't, but I
know someone out there has.  Has anyone heard of this stuff?  If so, who
makes it?  What is the base?

Eric Huss
www.sachsmorganstudio.com

------------------------------

Subject: RE: Dimmable Fluorescent Ballasts
Date: Wed, 9 Nov 2005 13:18:31 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA38 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: mike [at] focusnote.com

> Feel free to email me off lust with any suggestions.

I just forwarded you a bunch of responses to the earlier thread from my
gmail account...I think I got all the ones that actually mention product
names! :)

------------------------------

Subject: Downlight wash fixtures  (was Preventing color burn out)
Date: Wed, 9 Nov 2005 12:23:16 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DCE [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

But apart from Frank's style, isn't a 2k fresnel overkill for a =
downlight wash?  Maybe useful from a really high trim, but it seems like =
an unusual choice to me (but then again I don't know the specifics of =
the design or the venue).  And I've only used a 2k fresnel once myself =
(a old 10", as a sort of key-light on a really large thrust stage) - =
they are fun & punchy, but darned hot.  And the filaments respond pretty =
slowly.

So what is a typical instrument for such washes?  In the US, I've seen =
1k 8" fresnels, Par64s, S4 pars or (from higher trims) ellips used. From =
lower trims, I've often used 6" fresnels. What else do people use?


- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

------------------------------

Message-Id: <200511091825.jA9IPeLO062110 [at] oz.plymouth.edu>
From: "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>
Subject: RE: Stock Platforms
Date: Wed, 9 Nov 2005 13:25:36 -0500
Organization: Plymouth State University
In-Reply-To: <list-18898295 [at] prxy.net>

Hi all,

Looking for alternative material suggestions for creating fake stone. fire
restrictions in our black box prevent me from using the typical homosote,
blue or bead foam. 

Thanks, as always !

Bob 



Robert Bruemmer
Technical Operations Manager
Silver Center
Plymouth State University
MSC#36
Plymouth, NH 03264
(603) 535-2718
 


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <1c0.3575ed4c.30a39b21 [at] aol.com>
Date: Wed, 9 Nov 2005 13:34:09 EST
Subject: Re: Preventing color burn out

In a message dated 09/11/05 00:53:00 GMT Standard Time, 
ken.stagecraft [at] gmail.com writes:

> You have NO idea what the designer was trying to accomplish. 
>  You have NO idea what limits the designer had to work within.

Both true. But I can detect a situation which is, let us say, technically 
unlikely to work very well. A 2 KW fresnel is a great eater of gel at the best of 
times, even when pointed more horizontally, and with lighter colours than 
L119. If I can see a potential problem, even with limited information, how much 
more should the LD have seen it? 
>  
>  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.

Again true. Well, trueish. But the poster has provided a bit of useful 
informatiom. First, she said that the bar could not be flown in, because of set 
constraints. This implies the electrics crew playing with access equipment to do a 
gel change. Mind, even in what you will think of as my 'picayune' little 
theatre, where I can walk from the control room to any lantern inside of a minute, 
I should find this a great nuisance. Remember that the gel has to be cut to 
size, and preferably fitted to the frames before you start.

Second, she said that she had tried to persuade the LD to use some other 
lanterns, and that he refused to consider it. He may have been right, but without 
a post from him, we shall never know. Personally, and my imagination may be 
limited, I find it hard to conceive of a reason.

>  You know NOTHING about this.

In particular, perhaps not. The information was not there last night, when I 
posted. But I have been lighting shows for nearly fifty years now, and have 
accumulated some ideas of what can and cannot be reasonably done. Also, my post 
offered some constructive advice. Yours was nothing but a rant, directed at me 
personally. In future, when you feel a need to express your spleen, it would 
be better done off list. My e-mail address is no secret, and I am sure that 
many of us will consider your vapourings as a waste of bandwidth.



Frank Wood

------------------------------

Message-ID: <7daa121e0511091034s12448d61l5a8413be5cabccf8 [at] mail.gmail.com>
Date: Wed, 9 Nov 2005 13:34:27 -0500
From: Gillian Koch <gil.koch [at] gmail.com>
Subject: Re: Automated Madness

"Can you not just unpatch the M-speed control address
for all of your fixtures in about a minute-and-a-half?"

Why is it always the simplest solutions that I never think of? Will
get right on this in the next upcoming day or so... I've been banned
from the theatre due to a case of strep throat (talk about perfect
timing... opening night's thursday. whoo.)

As to the three vs. five pin debate, I'll toss my own two cents in,
for what they're worth. As I understand it, there are three types of
cabling. XLR (3pin), DMX(5pin), and mic cable. Mic cable tends to look
exactly like the XLR, which is why people get the two confused.

Our theatre has runs of all three, but the XLR and mic cable have
different insulation colors--the mic is black, while the shielded XLR
cable is red. (Is there an unshielded?)

Also, regarding the 5-pin, I've been told a number of things from
"5-pin is industry standard, and anything else is a deviation" to
"there's no point to 5-pin, because the fixtures only really use three
of the five pins. The other two are there 'just in case'."

If any of this is just a rookie's misconception, please feel free to
knock me about the head a couple times until I get it right.

Until next time.... *resume lurk-mode*

Gillian Koch
techy/ME-in-training
Drexel University

------------------------------

Cc: jbrace [at] lightlink.com (John Bracewell)
Cc: mike [at] focusnote.com
Subject: Re: Lust?
Reply-To: mike [at] focusnote.com
References: <5.2.0.9.0.20051109131724.02e5b008 [at] pop.lightlink.com>
Message-ID: <op.szzkqfrnl92zon [at] mike>
From: "Michael Wade" <mike [at] focusnote.com>
Date: Wed, 09 Nov 2005 13:38:29 -0500
In-Reply-To: <5.2.0.9.0.20051109131724.02e5b008 [at] pop.lightlink.com>

That darn spell check!

Thanks Doc!

On Wed, 09 Nov 2005 13:19:24 -0500, John Bracewell <jbrace [at] lightlink.com>  
wrote:

>
>> Feel free to email me off lust with any suggestions
>
> Mike, you old dog.  How long are you on "lust?"  So when can someone  
> e-mail you?
>
> Just kidding.  I know it's a typo, but I just couldn't resist.
>
> -- Doc





------------------------------

Date: Wed, 09 Nov 2005 11:53:11 -0500
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BF9793A7.B0CA%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25435903 [at] prxy.net>

> So what is a typical instrument for such washes?  In the US, I've seen 1k 8"
> fresnels, Par64s, S4 pars or (from higher trims) ellips used. From lower
> trims, I've often used 6" fresnels. What else do people use?

    My standard "House plot" has three top washes, a Red, blue and "White"
(Actually R33). For the latter, I use 8" 1k Fresnels (4 per electric to
cover 43' proscenium). They work great from our usual 25' - 30' trim.

    For the Red and blue washes I use Par 64s, Three per electric, because -
well, that's what I have to work with. Even with WFL lamps and frost, they
do not give me the even coverage that the Fresnels do. I'd love to have
another couple dozen 8" Fresnels to work with.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

Subject: RE: Stock Platforms
Date: Wed, 9 Nov 2005 13:43:56 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA39 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Looking for alternative material suggestions for creating=20
> fake stone. fire restrictions in our black box prevent me=20
> from using the typical homosote, blue or bead foam.=20

You could theoretically run another option past your AHJ...blue foam
covered liberally with Rosco Foamcoat.  That might satisfy him/her as
far as flammability is concerned...

------------------------------

Date: Wed, 09 Nov 2005 13:49:39 -0500
Subject: Re: Keeping mics on sweaty actors
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <BF97AEF3.10F4%raypf1mg [at] cmich.edu>
In-Reply-To: <list-25432565 [at] prxy.net>




Sorry for the repeat post.

Thanks for the suggestions so far.  We are using clear first aid tape with
an alcohol wipe before hand and it is working on most of the actors just
fine.  Just 2 super soakers are problematic.



Merel


------------------------------

Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 13:53:07 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3A [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> As to the three vs. five pin debate, I'll toss my own two=20
> cents in, for what they're worth. As I understand it, there=20
> are three types of cabling. XLR (3pin), DMX(5pin), and mic=20
> cable. Mic cable tends to look exactly like the XLR, which is=20
> why people get the two confused.

XLR refers not to the cable, but to the connector.  There technically is
no such thing as "XLR cable" AFAIK, common usage notwithstanding.  "DMX"
cable refers to any 3- or 5-conductor cable meeting RS-485 specs, but
I've also heard it more as a reference to what type of signal is being
sent down a particular cable.

> Our theatre has runs of all three, but the XLR and mic cable=20
> have different insulation colors--the mic is black, while the=20
> shielded XLR cable is red. (Is there an unshielded?)

Most cables used with XLR connectors are shielded; types of shields,
however, vary from cable to cable, manufacturer to manufacturer.  The
most efficient at actually shielding are braided.

> Also, regarding the 5-pin, I've been told a number of things=20
> from "5-pin is industry standard, and anything else is a=20
> deviation" to "there's no point to 5-pin, because the=20
> fixtures only really use three of the five pins. The other=20
> two are there 'just in case'."

The entire gamut of opinions exist...but both of the ones above have
some merit to them.  5-pin is what was originally intended, and
installing a permanent run of RS-485 cable that only has three
conductors is a waste of time and money.  OTOH, a substantial portion of
the devices on the market today only accept 3-pin connectors; and the
4th and 5th conductors are (and always have been) there only if needed
by the device.

Practical upshot...if this is not going to be a permanent install, you
can get some RS-485-compliant cable pretty easily (your IT department
may have scads of it lying about...won't look like mic cable, and it
won't provide much strain relief in the connector, but it'll work).
Wire yourself up some 3-pin or 5-pin connectors (depending on your
particular devices) and free up all that mic cable that's up there now.

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <207.ddfe0d1.30a39ffc [at] aol.com>
Date: Wed, 9 Nov 2005 13:54:52 EST
Subject: Re: Preventing color burn out

In a message dated 09/11/05 18:07:50 GMT Standard Time, psyd [at] cox.net writes:

> We get it, I just tend to blow up less spectacularly nowadays.  Frank's
>  posts are like his lighting designs; colorless, tangential, unvarying, and
>  neither take advantage of any technical improvements from 1967 onward...

 Chris.
    This, too has been building. " Were you born stupid, or did you have to 
study?"

Frank Wood

------------------------------

Date: Wed, 09 Nov 2005 12:12:41 -0500
Subject: Re: Preventing color burn out
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BF979839.B0D0%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25436106 [at] prxy.net>

In response to a pent up rebuke, Frank wrote:

> In future, when you feel a need to express your spleen, it would
> be better done off list. My e-mail address is no secret, and I am sure that
> many of us will consider your vapourings as a waste of bandwidth.

    Quite the contrary! I think most on the list took a vicarious thrill  in
reading what we ourselves wish we had written!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

Message-Id: <6.2.3.4.0.20051109110430.03c0b970 [at] 192.168.0.13>
Date: Wed, 09 Nov 2005 11:05:11 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Automated Madness
In-Reply-To: <list-25436471 [at] prxy.net>
References: <list-25436471 [at] prxy.net>

At 10:53 AM 11/9/2005, you wrote:
>Practical upshot...if this is not going to be a permanent install, you
>can get some RS-485-compliant cable pretty easily (your IT department
>may have scads of it lying about...won't look like mic cable, and it
>won't provide much strain relief in the connector, but it'll work).
>Wire yourself up some 3-pin or 5-pin connectors (depending on your
>particular devices) and free up all that mic cable that's up there now.

The ANSI DMX512 spec also allows CAT-5 cable, with certain 
restrictions.  Cheap, easy to find, works.


-- 
Jerry Durand
Durand Interstellar, Inc.
219 Oak Wood Way
Los Gatos, California 95032-2523 USA
tel:  +1 408 356-3886, USA toll free:  1 866 356-3886
web:  www.interstellar.com



------------------------------

In-Reply-To: <list-25435639 [at] prxy.net>
References: <list-25435639 [at] prxy.net>
Message-Id: <e561b428bab396a05b120026f74e3a14 [at] nyu.edu>
From: Mike Voytko <mv35 [at] nyu.edu>
Subject: Re: Dimmable Fluorescent Ballasts
Date: Wed, 9 Nov 2005 14:12:54 -0500

Mike,

Advance Mark 7 ballasts are the version that dim via an extra 0-10V 
line.

Check out the Advance Mark X line; they are a 2-wire model that can be 
fed and dimmed with a single circuit.
Less dimming range than the Mark 7 (30% I think?) but it's the same 
line that's in the L&E fixtures we have.

The Grainger part # for the 2x32-watt T8 model is 3VK03 (catalog page 
#706)
List price is $89.90 each but I got mine for $55--they may be on sale 
right now.

HTH,
Mike V.
--
Mike Voytko
Lighting & Sound Supervisor
TSOA Theatrical Production
New York University
<mike.voytko [at] nyu.edu>


On Nov 9, 2005, at 1:10 PM, Michael Wade wrote:

> I am working on a production that requires dimmable fluorescents and I 
> know that we recently discussed these but can not seem to get the 
> search function to work.
>
> I have vague recollections of using "Mark 7" ballasts in the past but 
> can not remember exactly.
>
> Feel free to email me off lust with any suggestions.
>
> Thanks for the help-
>
> Mike Wade
> mike [at] focusnote.com


------------------------------

Message-ID: <20051109191555.82687.qmail [at] web33104.mail.mud.yahoo.com>
Date: Wed, 9 Nov 2005 11:15:55 -0800 (PST)
From: June Abernathy <jea00321 [at] yahoo.com>
Subject: Re: Depth and height issues


>Hello, list!

>I will start my first-time direction of a play in 3
>weeks, with Neil Simon's Rumors.  

So you are directing AND designing what the set will
look like? Unusual. Lacking a set designer, is there a
technical director or carpenter or lighting designer
or something of the kind that you could kick ideas
around with?

<snip>
>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?

The most obvious solution, in my mind, would be to
have your second floor be only a few steps up, rather
than a literal second floor height, unless there is
something in the action which demands otherwise. You
can either play this upper level literally, as though
in a split level house, or you can play it as though
it is, indeed, all the way up at second floor height.
That would require a little more "acting" from your
actors, and you might want to underscore the idea with
a change in paint or wallpaper color, a short cutaway
wall for the second floor areas, or something like
that.

>Waiting with ferocious ears,

That has a very exciting sound to it!

>Eric Geater



June Abernathy
IATSE #321 (Tampa, FL)
FOH Electrician
The Lion King National Tour (Gazelle)


		
__________________________________ 
Yahoo! FareChase: Search multiple travel sites in one click.
http://farechase.yahoo.com

------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: What do they call this on the fly rail?
Date: Wed, 9 Nov 2005 13:20:32 -0600
Organization: Scheu Consulting Services, Inc
Message-ID: <001b01c5e562$a9c14ae0$d7c111ac [at] TOSHIBA>
In-reply-to: <list-25425481 [at] prxy.net>

The pipe as you describe it is not a "standard" part of a "standard" =
locking
rail. It was probably added by a consultant to allow a tie off point fro
snub lines or to attach a block and fall. If it's only 1 1/2" sched 40 =
pipe,
I wouldn't put too much load into it.

Since it's a custom fabrication, it really doesn't have a name. I'd call =
it
a "custom locking rail snubbing pipe". You can call it "Bob" if you =
want...

Peter Scheu
Scheu Consulting Services, Inc.
www.scheuconsulting.com=20



> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
> Sent: Tuesday, November 08, 2005 10:32 PM
> To: Stagecraft
> Subject: What do they call this on the fly rail?
>=20
>=20
> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> On the modern counter weight fly rails systems there is the=20
> rope/line lock=20
> attached to the lock rail then below the lock rail there is a=20
> pipe/bar/rail=20
> that is use for snub lines instead of the lock rail. What is=20
> it called and=20
> the official name of it? And here the worst part of it I have=20
> install,=20
> repaired and trained personal on counter weight systems than=20
> I care to=20
> remember and can't recall what the print calls the rail below=20
> the lock rail.=20
>=20


------------------------------

Date: Wed, 09 Nov 2005 12:50:04 -0500
Subject: Re: Depth and height issues
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BF97A0FC.B0DB%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25436838 [at] prxy.net>

June Abernathy wrote:
> 
> So you are directing AND designing what the set will
> look like? Unusual.

    June, in your world of IATSE shows and national tours, it certainly
would be unusual, but in school and community theatre it is not unusual at
all. 

    I can't remember the last time a community theatre played my house in
which the director din NOT design the set. I've rarely seen an actual
drawing of any kind, although one did build a "Model" - out of Legos!

    There is rarely a "Master carpenter" either - The director takes a bunch
of actors and other volunteers with little carpentry experience, and tells
them what his "Artistic vision" is and expects them to build it. As the
facility's TD, it falls on me to try and keep things as safe as I can.

    Just a glimpse into the "Other side" of Theatre.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

Message-ID: <43725129.70503 [at] fredonia.edu>
Date: Wed, 09 Nov 2005 14:42:33 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Kime Paint
References: <list-25435773 [at] prxy.net>


Eric,
I wonder if this might be a typo and you mean lime paint as in lime 
washes that are frequently applied to masonry surfaces like stucco and 
adobe.  Maybe Google Lime Wash and see what happens.  On the other hand, 
there is a painter named Daniel Kime as well. Maybe refers to his style??
Steve Rees, TD
SUNY-Fredonia

Eric Huss wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hello all,
> 
> I was just asked if I have ever heard of kime paint.  I haven't, but I
> know someone out there has.  Has anyone heard of this stuff?  If so, who
> makes it?  What is the base?
> 
> Eric Huss
> www.sachsmorganstudio.com



------------------------------

From: "Ash Munro" <amunro [at] avcompany.com>
Subject: RE: Kime Paint
Date: Wed, 9 Nov 2005 14:50:23 -0500
Message-ID: <012d01c5e566$d68ee100$6701a8c0 [at] charlottedt>
In-Reply-To: <list-25435773 [at] prxy.net>

Tried an alternate spelling and found this...

http://www.keimpaints.co.uk/development/main.php


Ash Munro
Charlotte Division Manager
A&V Company
 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Eric Huss
Sent: Wednesday, November 09, 2005 1:24 PM
To: Stagecraft
Subject: Kime Paint

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Hello all,

I was just asked if I have ever heard of kime paint.  I haven't, but I
know someone out there has.  Has anyone heard of this stuff?  If so, who
makes it?  What is the base?

Eric Huss
www.sachsmorganstudio.com


------------------------------

From: "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
Subject: RE: Downlight wash fixtures  (was Preventing color burn out)
Date: Wed, 9 Nov 2005 14:03:27 -0600
In-Reply-To: <list-25435903 [at] prxy.net>
Message-ID: <IPPEDT00.L61 [at] mail.accd.edu>

I have a couple dozen 2K 8" fres. I tend to use them for down/back color
washes usually lamped at 1k for lower saturation colors, and 2k for dark
blues/lavs. Sure, they eat gel, but isn't that why we call it an expendable?
Besides, how else are you going to get appreciable output from a gel with 4%
transmission, if not a bigger lamp?  Standard area downlight is usually a 1k
6" fresnel. 

Justin Bennett
Technical Director / Theatre Manager
St. Philip's College - Watson Fine Arts Center
jbennett43 [at] mail.accd.edu
(210) 531-4706 Office
(210) 531-4768 Fax

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steven
Haworth


So what is a typical instrument for such washes?  In the US, I've seen 1k 8"
fresnels, Par64s, S4 pars or (from higher trims) ellips used. From lower
trims, I've often used 6" fresnels. What else do people use?



------------------------------

Message-ID: <20051109202523.63311.qmail [at] web52215.mail.yahoo.com>
Date: Wed, 9 Nov 2005 12:25:23 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: work/rehearsal lights
In-Reply-To: <list-25429567 [at] prxy.net>

Hey Todd,

First, they should give you cut sheets on the fixtures
and the lamps.

Second, the Philips website states these lamps are
rated for 60,000+ hrs.  Is the projected light level
worth the installed cost/annual maintenance?  Compared
to other (less cutting edge) lighting solutions?

Third, in our facility, I can point at three spaces
roughly 30 x 50 that have what I would consider good
work/rehearsal lighting.  Each one has over a dozen
fixtures.  Various ceiling heights, lamp types and
fixture types, but plenty of fixtures.  My gut says
that unless your prospective fixtures put out light in
astounding quantity, four fixtures seems kind of
skimpy.

Lastly, ask for a demo of the unit -- if you like it,
buy it.  It looks like fascinating technology and I'd
love to hear your opinions.

PS - I personally like the slightly blue color and
would take the 4100K lamp over the 2900K and 3000K
lamps that they offer.  I use a lot of 4100K twist
fluorescents at home and work.

> "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?)
> 
> Thanks
> -Todd



		
__________________________________ 
Yahoo! FareChase: Search multiple travel sites in one click.
http://farechase.yahoo.com

------------------------------

Message-ID: <84c790f30511091228h60d16206m40730c1a8ed8cb77 [at] mail.gmail.com>
Date: Wed, 9 Nov 2005 15:28:35 -0500
From: Shawn King <skingld [at] gmail.com>
Subject: Re: Downlight wash fixtures (was Preventing color burn out)
In-Reply-To: <list-25435903 [at] prxy.net>
References: <list-25435903 [at] prxy.net>

On 11/9/05, Steven Haworth <sjh [at] idm.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> So what is a typical instrument for such washes?  In the US, I've seen 1k=
 8" fresnels, Par64s, S4 pars or (from higher trims) ellips used. From lowe=
r trims, I've often used 6" fresnels. What else do people use?

Here at Dance Theater Workshop, our rep plot uses Source Four Parnels
with scrollers.  Our grid height is 19'.  I am not completely in love
with them, I think a regular S4 Par MFL would be better.  We also have
a system of 36 degree backs, which is great for templete backs.  I
think it would be nice if we had another system of PARs as backlight
too, as the 36 degrees can look somewhat splotchy.

Shawn King

------------------------------

Message-ID: <24badbd923284551b78e78e5e50174c4 [at] cybercom.net>
Date: Wed, 09 Nov 2005 15:35:12 -0500
From:  <dale [at] cybercom.net>
Subject: Re: Automated Madness
Reply-to: <dale [at] cybercom.net>
In-Reply-To: <list-25436471 [at] prxy.net>
References: <list-25436471 [at] prxy.net>

On 1:53:07 pm 11/09/05 "Paul Schreiner" <pschreiner [at] rmwc.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net
> />
> ---------------------------------------------------
>
> >  As to the three vs. five pin debate, I'll toss my own two
> >  cents in, for what they're worth. As I understand it, there
> >  are three types of cabling. XLR (3pin), DMX(5pin), and mic
> >  cable. Mic cable tends to look exactly like the XLR, which is
> >  why people get the two confused.
>
> XLR refers not to the cable, but to the connector.  There technically
> is no such thing as "XLR cable" AFAIK, common usage notwithstanding.
> "DMX" cable refers to any 3- or 5-conductor cable meeting RS-485
> specs, but I've also heard it more as a reference to what type of
> signal is being sent down a particular cable.
>
> >  Our theatre has runs of all three, but the XLR and mic cable
> >  have different insulation colors--the mic is black, while the
> >  shielded XLR cable is red. (Is there an unshielded?)
>
> Most cables used with XLR connectors are shielded; types of shields,
> however, vary from cable to cable, manufacturer to manufacturer.  The
> most efficient at actually shielding are braided.
>
> >  Also, regarding the 5-pin, I've been told a number of things
> >  from "5-pin is industry standard, and anything else is a
> >  deviation" to "there's no point to 5-pin, because the
> >  fixtures only really use three of the five pins. The other
> >  two are there 'just in case'."
>
> The entire gamut of opinions exist...but both of the ones above have
> some merit to them.  5-pin is what was originally intended, and
> installing a permanent run of RS-485 cable that only has three
> conductors is a waste of time and money.  OTOH, a substantial portion
> of the devices on the market today only accept 3-pin connectors; and
> the 4th and 5th conductors are (and always have been) there only if
> needed by the device.
>
> Practical upshot...if this is not going to be a permanent install, you
> can get some RS-485-compliant cable pretty easily (your IT department
> may have scads of it lying about...won't look like mic cable, and it
> won't provide much strain relief in the connector, but it'll work).
> Wire yourself up some 3-pin or 5-pin connectors (depending on your
> particular devices) and free up all that mic cable that's up there
> now.

  Regular cat 5 ethernet cable actually  works just fine for DMX.  There 
is a draft specification out there with pinouts and recommended practices 
from someone. ( USITT?) The impedence is close enough to work, and the 
tight twisting of the cable gives good enough noise rejection to work over 
a couple of hundred meters of cable in a typical theater RFI enviroment.  
ANd there is no possibility of clueless labor folks coiling up your DMX 
cables and throwing them into the sound cable trunk.  

  --Dale


------------------------------

Message-Id: <p05210601bf9813e3f714 [at] [132.236.252.58]>
In-Reply-To: <list-25436885 [at] prxy.net>
References: <list-25436885 [at] prxy.net>
Date: Wed, 9 Nov 2005 16:07:26 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: What do they call this on the fly rail?

I have also seen the bar Steve Rees mentioned earlier--the one 6" off 
the floor. This one could be a reaction bar for a capstan winch.  Tie 
a big rope to the arbor, run the pipe in and attached scenery.  Run 
rope around winch, pull arbor down and load it from the floor so you 
don't need anyone up on the loading bridge.  They had one at one 
theatre I worked at in Cleveland.  I don't remember it ever being 
used by the stagehands in the six seasons I worked there.

Dick A
TD, Cornell U





Peter Scheu answered:

>The pipe as you describe it is not a "standard" part of a "standard" locking
>rail. It was probably added by a consultant to allow a tie off point fro
>snub lines or to attach a block and fall. If it's only 1 1/2" sched 40 pipe,
>I wouldn't put too much load into it.
>
>Since it's a custom fabrication, it really doesn't have a name. I'd call it
>a "custom locking rail snubbing pipe". You can call it "Bob" if you want...




>
>  > -----Original Message-----
>  > ----------------------
>  >
>>  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 .......

------------------------------

Date: Wed, 09 Nov 2005 16:40:34 -0500
Subject: Re: What do they call this on the fly rail?
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BF97D702.4DCA%bill [at] sapsis-rigging.com>
In-Reply-To: <list-25438679 [at] prxy.net>



The reaction bar, sometimes called a toe bar, for a capstan's winch is
normally located only an inch or so above the floor.  6" above the floor may
allow too much play for the winch and result in the winch slipping out.
That would be bad.

Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561 mobile

Join the Long Reach Long Riders on their 3rd annual cross country charity
motorcycle ride.   <www.LRLR.org>




On 11/9/05 4:07 PM, "richard j. archer" <rja10 [at] cornell.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I have also seen the bar Steve Rees mentioned earlier--the one 6" off
> the floor. This one could be a reaction bar for a capstan winch.  Tie
> a big rope to the arbor, run the pipe in and attached scenery.  Run
> rope around winch, pull arbor down and load it from the floor so you
> don't need anyone up on the loading bridge.  They had one at one
> theatre I worked at in Cleveland.  I don't remember it ever being
> used by the stagehands in the six seasons I worked there.
> 
> Dick A
> TD, Cornell U
> 
> 



------------------------------

Message-ID: <BAY106-F1248B41BB9200B53BBFA82B8670 [at] phx.gbl>
In-Reply-To: <list-25435265 [at] prxy.net>
From: "Adam Zeek" <dmx0512 [at] hotmail.com>
Subject: Re: Automated Madness
Date: Wed, 09 Nov 2005 17:09:45 -0500

I've never posted before, but this discussion seemed so contrary to all my 
experiences I though I'd chime in. I've done multiple setups with 
intelligent lights in a few different venues. The lights I've used tend to 
be Martin lights from Mac 250s to some of the more DJ lights like the MX10s. 
I have never once had a problem with using regular mic cable for the DMX 
chain. (And believe me, I've used some pretty crappy mic cable.) In my 
experience as long as the cable is fine with a mic, it has been fine 
transmitting dmx to lighting fixtures. I have even gone as far to run dmx 
through a house sound system by taking the chain directly from the board in 
the booth and pluggin it into the patch panel, which worked out very well 
and cleaned up a lot of unecessary cable. I've put dmx through multiple 
different connectors and still no problems. I've converted 5 pin to 3 pin, 
then to 1/4 inch, and then back to 3 pin, and then run it over a 100 foot 
length of cable. Nothing wrong whatsoever. I've done long runs of cable, and 
short runs of cable. All to the same effect. Absolutely NO PROBLEMS.

The one problem that I did run into with some Mac 250s I was working with 
was that when we attached a dmx terminator at the end of the chain, we had 
the same strange effect that the original poster was describing. Removing 
the terminator completely relieved this problem. I don't know why this is, 
but I have never attached a terminator and I haven't had any problems since.

While I do acknowledge that it's probably better to use a higher quality 
cable to run dmx, I'm usually not too bothered by it because I've never 
encountered a problem in the last 4 years I've been working with intelligent 
lights. So I really do hope that someone on the list has a good explanation 
for this. I'm very interested to hear an explanation. Again, I could be 
living in my ignorance, but until my ignorance is proven wrong, why not live 
in bliss?

Thanks a lot!

~Adam


>From: "Aaron W. Braun" <ABraun [at] ArdeeDesign.com>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Re: Automated Madness
>Date: Wed, 9 Nov 2005 11:47:43 -0600
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Bill, I can assure you that you have been fortunate.  I have done many
>system commissionings over my career and put a scope meter on the DMX
>signal.  Microphone cable is the wrong impedence and causes distortion to
>the DMX signal.  The longer the distance, the more the distortion.  One of
>the reasons you have been fortunate is that the cables were only used with
>dimmer packs.  Because of dimmer response times and the fact that
>incandescent loads are attached, glitches and flickers tend to be moderated
>and aren't necessarily visible.  Automated fixtures are much less forgiving
>and are designed to have fast response times to DMX changes.  I have seen
>mirrors, gobo wheels, color wheels, etc. glitch when microphone cable is
>used.  RS422/RS485 rated cable is essential to reliable operation of DMX
>equipment.
>
>Sincerely,
>
>Aaron Braun
>Ardee Design Group, LLC
>Nashville, TN
>
>-----Original Message-----
>Date: Tue, 8 Nov 2005 20:37:12 -0800 (PST)
>Subject: Re: Automated Madness
>From: "Bill Nelson" <billn [at] peak.org>
>
>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
>
>

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/


------------------------------

Message-ID: <b7318c480511091417q113a7c49m9898edf7ff6be4d6 [at] mail.gmail.com>
Date: Wed, 9 Nov 2005 17:17:28 -0500
From: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: What do they call this on the fly rail?
In-Reply-To: <list-25438679 [at] prxy.net>
References: <list-25436885 [at] prxy.net> <list-25438679 [at] prxy.net>

There seems to be no standard here. The rope locks are usually
monunted on a piece of angle, but not always. I have seen some locking
rails where there is no steel between the rope locks, although usually
there is some steel tying all of the rock locks together into a
"frame."  Common types of steel that I have seen joining the rope
locks frames include various sizes of angle iron, ( from 1.5" to 4")=20
6" dia. pipe (with holes and belaying pin), 1.5" pipe, and rectangular
tubing.  Often there is a combination of type of steel tying the rope
locks into a frame.    Sometimes there is horizonal steel that is
close to the floor and sometimes there is steel that is several inches
below the rope locks. Sometimes there is steel at several locations
between the floor and the rope locks.   It can be anywhere.  What you
call this steel depends on what you use it for, since there is no
standard way these things are constructed.  My favorite terms are a
"snub rail" if is near the locking rail, and "capstand rail" or "toe
rail" if it is near the floor.  But you can call it anything you wish.

-Delbert


On 11/9/05, richard j. archer <rja10 [at] cornell.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I have also seen the bar Steve Rees mentioned earlier--the one 6" off
> the floor. This one could be a reaction bar for a capstan winch.  Tie
> a big rope to the arbor, run the pipe in and attached scenery.  Run
> rope around winch, pull arbor down and load it from the floor so you
> don't need anyone up on the loading bridge.  They had one at one
> theatre I worked at in Cleveland.  I don't remember it ever being
> used by the stagehands in the six seasons I worked there.
>
> Dick A
> TD, Cornell U
>
>
>
>
>
> Peter Scheu answered:
>
> >The pipe as you describe it is not a "standard" part of a "standard" loc=
king
> >rail. It was probably added by a consultant to allow a tie off point fro
> >snub lines or to attach a block and fall. If it's only 1 1/2" sched 40 p=
ipe,
> >I wouldn't put too much load into it.
> >
> >Since it's a custom fabrication, it really doesn't have a name. I'd call=
 it
> >a "custom locking rail snubbing pipe". You can call it "Bob" if you want=
...
>
>
>
>
> >
> >  > -----Original Message-----
> >  > ----------------------
> >  >
> >>  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 .......
>


--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

------------------------------

Message-ID: <437275B0.3000302 [at] dreampossible.ca>
Date: Wed, 09 Nov 2005 17:18:24 -0500
From: Jim Hyslop <jhyslop [at] dreampossible.ca>
Organization: DreamPossible Inc.
Subject: Re: Depth and height issues
References: <list-25437178 [at] prxy.net>
In-Reply-To: <list-25437178 [at] prxy.net>

-----BEGIN PGP SIGNED MESSAGE-----
Hash: SHA1

Bruce Purdy wrote:
>     June, in your world of IATSE shows and national tours, it certainly
> would be unusual, but in school and community theatre it is not unusual at
> all. 
> 
>     I can't remember the last time a community theatre played my house in
> which the director din NOT design the set. I've rarely seen an actual
> drawing of any kind, although one did build a "Model" - out of Legos!
> 
>     There is rarely a "Master carpenter" either - The director takes a bunch
> of actors and other volunteers with little carpentry experience, and tells
> them what his "Artistic vision" is and expects them to build it. As the
> facility's TD, it falls on me to try and keep things as safe as I can.
> 
>     Just a glimpse into the "Other side" of Theatre.

And then there's the middle ground. I'm the president of a community
theatre group (Scarborough Music Theatre), and we always have a set
designer. We also have a Master Carpenter for all our shows (three per
season). 'Course, our MC is a house builder by trade, so most of his
sets are waaay over-built, but he's learning ;=)

- --
Jim Hyslop
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------------------------------

Message-ID: <24527.69.59.200.119.1131575744.squirrel [at] webmail.peak.org>
In-Reply-To: <list-25435265 [at] prxy.net>
References: <list-25429567 [at] prxy.net> <list-25435265 [at] prxy.net>
Date: Wed, 9 Nov 2005 14:35:44 -0800 (PST)
Subject: Re: Automated Madness
From: "Bill Nelson" <billn [at] peak.org>

> One of the reasons you have been fortunate is that the cables were only
used with
> dimmer packs.  Because of dimmer response times and the fact that
> incandescent loads are attached, glitches and flickers tend to be
> moderated and aren't necessarily visible. Automated fixtures are much less
> forgiving
> and are designed to have fast response times to DMX changes.  I have seen
> mirrors, gobo wheels, color wheels, etc. glitch when microphone cable is
> used.  RS422/RS485 rated cable is essential to reliable operation of DMX
> equipment.

Actually, I misspoke. I have also used the mike cables with my color
scrollers, gobo rotators and even my new SX4 unit. I have not noticed any
glitches with any of them.

Maybe, one of these days, I will haul my ancient scope to the theatre and
take a look at the waveforms.

Bill


------------------------------

From: MissWisc [at] aol.com
Message-ID: <87.33c8878f.30a3d30d [at] aol.com>
Date: Wed, 9 Nov 2005 17:32:45 EST
Subject: Re: Preventing color burn out

FrankWood95 [at] aol.com writes:
<<psyd [at] cox.net writes:

> We  get it, I just tend to blow up less spectacularly nowadays.  Frank's   
posts are like his
> lighting designs; colorless, tangential, unvarying, and  neither  take 
advantage of any  
> technical improvements from 1967  onward...

Chris.
This, too has been building. "  Were you born stupid, or did you have to 
study?"
Frank Wood   >>
 
BOYS! I'm ashamed of you two! Now both of you go to your rooms and don't  
come out until you can be civil. I'm making pork roast for supper and you don't  
want to miss that now, do you??? (Unless you prefer to eat crow?) 
 
REMEMBER! Theatre is all about being able to play well with others.  
Sometimes that means you should choose to ignore someone because you  simply can't get 
along with them. That's a "difference of artistic temperment"  and is why 
some of us still love Shakespeare and some prefer an evening of  sweaty men in 
skimpy costumes wrestling. Both can pay the bills. Of course, I  prefer my 
sweaty men in skimpy costumes singing and dancing, but that's a topic  for another 
time.  < VBG>
 
Kristi
AKA Mom
P.S. I still love you both. 


------------------------------

Message-ID: <24548.69.59.200.119.1131577002.squirrel [at] webmail.peak.org>
In-Reply-To: <list-25434010 [at] prxy.net>
References: <list-25434010 [at] prxy.net>
Date: Wed, 9 Nov 2005 14:56:42 -0800 (PST)
Subject: Re: Depth and height issues
From: "Bill Nelson" <billn [at] peak.org>

> Your actors SHOULD be using a "louder than normal voice".   Ask if the
> choral/voice teacher in the bulding can work with the kids on correct
> vocal
> projection if you're not knowledgeable. They also must use excellent
> diction so the
> audience can clearly understand them. Don't be afraid to spend a  couple
> of
> the first few rehearsals as reading ones where you focus on diction  and
> projection. Put them along the front edge of the stage as you sit in the
> last row of
> the house and give feedback over a god mic. It's easier for kids to  learn
> it
> that way than to have to try to correct it after they have the words
> learned.

God mike? If you expect the students to be able to project to the back of
the house, shouldn't you be able to project as far as the stage?

Bill


------------------------------

Reply-To: <Eagle194 [at] netscape.com>
From: "Tony Kambic" <Eagle194 [at] netscape.com>
Cc: raypf1mg [at] cmich.edu
Subject: RE: Keeping mics on sweaty actors
Date: Wed, 9 Nov 2005 18:01:43 -0500
Message-ID: <000501c5e581$8ee28940$dbf9c7ac [at] tony>
In-Reply-To: <list-25432565 [at] prxy.net>

Also try using Tegaderm-brand surgical tape/warps. We would get the big =
IV
squares, then cut them down into little strips. It is much stickier than
first-aid tape, completely clear (so you can stick it anywhere & it's =
not
seen), plus stretches a little for better application. Check your local
hospital supplier.

Be sure to use alcohol/witch hazel on any actor before taping them using =
any
method.

Tony Kambic

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Ray-Pfeifer, Merel
Sent: Wednesday, November 09, 2005 10:31 AM
To: Stagecraft
Subject: Keeping mics on sweaty actors

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------



Any advice on how to keep a body mic on an extra sweaty actor who has
several quick changes.

We are using a forehead mounting position with clear first aid tape.  It =
is
working well for all but the lead who sweats like crazy.

Any wisdom would be appreciated.
--=20
Merel Ray-Pfeifer
Technical Director
Dept of Speech Comm. & Dramatic Arts
Central Michigan University
Mt Pleasant, MI  48858

989/774-6594



------------------------------

Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 15:06:22 -0800
Message-ID: <555928311F8B2943B65FC7197942C3B70538C0A2 [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>


This has been my experience as well. =20
-- r.

Randy Storms
rstorms [at] bham.wednet.edu
______________________________________

>I have never once had a problem with using regular mic cable for the =
DMX=20
>chain. (And believe me, I've used some pretty crappy mic cable.) In my=20
>experience as long as the cable is fine with a mic, it has been fine=20
>transmitting dmx to lighting fixtures. I have even gone as far to run =
dmx=20
>through a house sound system by taking the chain directly from the =
board in=20
>the booth and pluggin it into the patch panel, which worked out very =
well=20
>and cleaned up a lot of unecessary cable. <SNIP> Absolutely NO =
PROBLEMS.


------------------------------

Message-ID: <24653.69.59.200.119.1131578742.squirrel [at] webmail.peak.org>
In-Reply-To: <list-25440016 [at] prxy.net>
References: <list-25432565 [at] prxy.net> <list-25440016 [at] prxy.net>
Date: Wed, 9 Nov 2005 15:25:42 -0800 (PST)
Subject: Re: Keeping mics on sweaty actors
From: "Bill Nelson" <billn [at] peak.org>

Be very cautious about blowing out mike elements, especially with
compressed gases of any sort. The diaphrams are not designed for such
punishment and it will void any warranty if you damage them.

Bill


------------------------------

Message-ID: <437284B0.7040609 [at] fredonia.edu>
Date: Wed, 09 Nov 2005 18:22:24 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: What do they call this on the fly rail?
References: <list-25439032 [at] prxy.net>

The piece of flat bar on my lock rail is decidedly not a reaction bar. 
It would not resist any vertical forces.  On the other hand, it does 
keep soccer balls from getting stuck between the take-up blocks though.  :)
Steve

Bill Sapsis wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> 
> The reaction bar, sometimes called a toe bar, for a capstan's winch is
> normally located only an inch or so above the floor.  6" above the floor may
> allow too much play for the winch and result in the winch slipping out.
> That would be bad.
> 
> Bill S.
> www.sapsis-rigging.com
> 800.727.7471
> 800.292.3851  fax
> 267.278.4561 mobile
> 
> Join the Long Reach Long Riders on their 3rd annual cross country charity
> motorcycle ride.   <www.LRLR.org>
> 
> 
> 
> 
> On 11/9/05 4:07 PM, "richard j. archer" <rja10 [at] cornell.edu> wrote:
> 
> 
>>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>>---------------------------------------------------
>>
>>I have also seen the bar Steve Rees mentioned earlier--the one 6" off
>>the floor. This one could be a reaction bar for a capstan winch.  Tie
>>a big rope to the arbor, run the pipe in and attached scenery.  Run
>>rope around winch, pull arbor down and load it from the floor so you
>>don't need anyone up on the loading bridge.  They had one at one
>>theatre I worked at in Cleveland.  I don't remember it ever being
>>used by the stagehands in the six seasons I worked there.
>>
>>Dick A
>>TD, Cornell U
>>
>>
> 
> 



------------------------------

Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 18:28:19 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3B [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: dale [at] cybercom.net

>   Regular cat 5 ethernet cable actually  works just fine for=20
> DMX.  There=20
> is a draft specification out there with pinouts and=20
> recommended practices=20
> from someone. ( USITT?) The impedence is close enough to=20
> work, and the=20
> tight twisting of the cable gives good enough noise rejection=20
> to work over=20
> a couple of hundred meters of cable in a typical theater RFI=20
> enviroment. =20
> ANd there is no possibility of clueless labor folks coiling=20
> up your DMX=20
> cables and throwing them into the sound cable trunk. =20

Yes!  That's it!  Why I couldn't think of "CAT-5" is beyond me.  I've
used it before, with sterling results, and not on dimmers--but on a pair
of Cyberlights and a pair of connected Mac500Es, with about 200' of
total cable run.

Pinouts for XLR5 are as follows:  pin 1, ground; pin 2, data1 +; pin 3,
data1 -; pin 4, data2 +; pin 5, data2 -.

When I ran CAT-5 for this particular install, it was 8-conductor cable
with braided shield.  Each pair was doubled up, so that two wires
actually ran from pin 2 on one end to pin 2 on the other; the shield was
soldered to pin 1 for grounding.  IIRC, of course, as this was a couple
of years ago, and we've obviously seen what's happened to my memory in
the intervening time.

I'd tell you my memory ain't what it used to be, but I don't remember
what it used to be...

------------------------------

Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 18:35:05 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3C [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I've never posted before, but this discussion seemed so=20
> contrary to all my=20
> experiences I though I'd chime in. I've done multiple setups with=20
> intelligent lights in a few different venues. The lights I've=20
> used tend to=20
> be Martin lights from Mac 250s to some of the more DJ lights=20
> like the MX10s.=20
> I have never once had a problem with using regular mic cable=20
> for the DMX=20
> chain. (And believe me, I've used some pretty crappy mic=20
> cable.) In my=20
> experience as long as the cable is fine with a mic, it has been fine=20
> transmitting dmx to lighting fixtures.=20

Okay...by way of clarification.

Yes, there are instances where mic cable can adequately transmit DMX,
even over lengthy runs.

It's not ideal.  And when you least expect it, or can least afford it,
it may come back to bite you with some decidedly random effects caused
by interference or cable capacitance/impedance or what have you.

In my experience, we started our rig with mic cable.  Ran fine for about
six months.  After that, things started happening (or not happening, as
the case may be).  It may have been a new source of RF interference that
was picked up by the cable that affected the signal, I don't know.  What
I do know is that switching to the aforementioned CAT-5 cable did the
trick.

YMMV, but if I were the client I'd expect RS-485 compliant cable rather
than any ol' mic cables you might have lying around.

------------------------------

Message-ID: <43728897.9020001 [at] dreampossible.ca>
Date: Wed, 09 Nov 2005 18:39:03 -0500
From: Jim Hyslop <jhyslop [at] dreampossible.ca>
Organization: DreamPossible Inc.
Subject: Re: Depth and height issues
References: <list-25434010 [at] prxy.net> <list-25439875 [at] prxy.net>
In-Reply-To: <list-25439875 [at] prxy.net>

Bill Nelson wrote:

> God mike? If you expect the students to be able to project to the back of
> the house, shouldn't you be able to project as far as the stage?

If you're an actor/director, sure. If you're just a director, maybe not.
After all, you wouldn't necessarily expect a football coach to be able
to run a 75 yard return. But, that same coach should be able to tell the
players how to improve their running abilities.

-- 
Jim Hyslop


------------------------------

Date: Wed, 9 Nov 2005 23:39:16 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Automated Madness
In-Reply-To: <list-25440105 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511092332050.17304 [at] viscount.richmondsounddesign.com>
References: <list-25440105 [at] prxy.net>

On Wed, 9 Nov 2005, Storms, Randy wrote:

> This has been my experience as well.

I think these seemingly contradictory experiences point to some equipment that 
may be better engineered than some others.  It might be quite revealing to find 
out if there are any consistencies in which equipment has trouble with mic 
cables and which does not ;-)

Charlie

------------------------------

From: MissWisc [at] aol.com
Message-ID: <97.6c4653b8.30a3e445 [at] aol.com>
Date: Wed, 9 Nov 2005 18:46:13 EST
Subject: Re: Depth and height issues

_billn [at] peak.org_ (mailto:billn [at] peak.org)  writes:
<<God  mike? If you expect the students to be able to project to the back of
the  house, shouldn't you be able to project as far as the stage?>>
 
Ideally, yes. But remember, Bill, this was the director who didn't know  that 
actors need to project. Because of that, I think it's safe to assume he  
hasn't mastered that skill himself and would need the mic. 

Kristi
 

------------------------------

Subject: RE: Automated Madness
Date: Wed, 9 Nov 2005 18:47:33 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3D [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I think these seemingly contradictory experiences point to=20
> some equipment that=20
> may be better engineered than some others.  It might be quite=20
> revealing to find=20
> out if there are any consistencies in which equipment has=20
> trouble with mic=20
> cables and which does not ;-)

While it may be a question of what's well-designed at what isn't, my
money's on different environments and different usage.  Stringing
together a couple of 6- or 8-channel DJ fixtures in a well-isolated
environment may work better than a couple of 20-channel Cyberlights
(with a large dance show, for example, running fast cues in the
hundreds) in a facility that is more conducive to passing stray
interference.

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <7e.75d5640c.30a3e5d0 [at] aol.com>
Date: Wed, 9 Nov 2005 18:52:48 EST
Subject: Re: Preventing color burn out

In a message dated 09/11/05 19:02:44 GMT Standard Time, 
bpurdy [at] rochester.rr.com writes:

> > In future, when you feel a need to express your spleen, it would
>  > be better done off list. My e-mail address is no secret, and I am sure 
> that
>  > many of us will consider your vapourings as a waste of bandwidth.
>  
>      Quite the contrary! I think most on the list took a vicarious thrill  
in
>  reading what we ourselves wish we had written!

Thanks, Bruce! It' nice to know who one's friends are.

On a more serious note, I try to post nothing but what I believe to be sound 
advice. No more than that. Postings often fail to tell us things that would 
make better advice possible, and one has to make guesses,which are sometimes 
wrong. This doesn't mean that the advice is wrong, only that is inappropriate to 
the particular circumstances.

If you were to trawl the archives, you would be able to compile a book of 
sound technical advice, and an amusing book of bad advice. The first would pose a 
hell of a problem in indexing, but is, I think possible. And, I suppose that 
your own editorial judgement would be imposed. I think that the free 
discussions are more valuable.

All of us here have experience, in many different theatres. What works for 
you may not work for me, and vice versa. 

Never forget that this list is read not only by we who post, but by many 
other lurkers, who are learning our craft. Who is to know what useful bits of 
information they pick up from it.

Frank Wood

------------------------------

Date: Thu, 10 Nov 2005 00:06:36 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Automated Madness
In-Reply-To: <list-25440696 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511100005390.17304 [at] viscount.richmondsounddesign.com>
References: <list-25440696 [at] prxy.net>

On Wed, 9 Nov 2005, Paul Schreiner wrote:

> (with a large dance show, for example, running fast cues in the
> hundreds) in a facility that is more conducive to passing stray
> interference.

With respect, the speed with which cues are run has nothing to do with the DMX 
data rate, which remains steady...

Charlie

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <bd.64990755.30a3e9d6 [at] aol.com>
Date: Wed, 9 Nov 2005 19:09:58 EST
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)

In a message dated 09/11/05 20:06:54 GMT Standard Time, 
jbennett43 [at] mail.accd.edu writes:

> I have a couple dozen 2K 8" fres. I tend to use them for down/back color
>  washes usually lamped at 1k for lower saturation colors, and 2k for dark
>  blues/lavs. Sure, they eat gel, but isn't that why we call it an 
expendable?
>  Besides, how else are you going to get appreciable output from a gel with 
4%
>  transmission, if not a bigger lamp?  Standard area downlight is usually a 
1k
>  6" fresnel. 

It's not something I should do, but my theatre is different from yours, as is 
my design style, and probably the shows I elect to light.

I also note that you say 'down/back', Steep backlight is often used. A well 
reputed London LD uses it a lot, with strong sidelights and virtually nothing 
from the front. The pictures he creates, with strong sidelighting and the house 
follow spots, are very dramatic. I have to say that I have seen a lot of his 
work, and dislikd most of it. I have a weakness for seeing faces.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <220.254ce62.30a3ed0f [at] aol.com>
Date: Wed, 9 Nov 2005 19:23:43 EST
Subject: Re: Downlight wash fixtures (was Preventing color burn out)

In a message dated 09/11/05 20:29:18 GMT Standard Time, skingld [at] gmail.com 
writes:

> > So what is a typical instrument for such washes?  In the US, I've seen 1k 
8"
>  fresnels, Par64s, S4 pars or (from higher trims) ellips used. From lower 
> trims, I've often used 6" fresnels. What else do people use?

As anyone who has been on this list for a long time will know, I think washe 
went out with the ark.

That said, people will still try to do them. I bow to their judgement, since 
they know what they are trying to do.

Frank Wood

------------------------------

Date: Wed, 09 Nov 2005 20:20:04 -0500
Subject: Re: Preventing color burn out
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BF980A74.B0FF%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25440769 [at] prxy.net>

Frank wrote:
> 
> Thanks, Bruce! It' nice to know who one's friends are.
> 
Hey, we're all friends here, but even the best of mates get annoyed with
each other from time to time.  ;-)

> On a more serious note, I try to post nothing but what I believe to be sound
> advice. No more than that.

And no less. The complaint is that you post "advice" and opinions on *every*
topic that comes up. I have always found that more is to be learned by
listening than by talking. You don't usually show a great eagerness to learn
new things, but instead speak like some kind of all-knowing "Expert" on
every conceivable subject.

>Postings often fail to tell us things that would
> make better advice possible, and one has to make guesses,which are sometimes
> wrong. This doesn't mean that the advice is wrong

If I was interested in listening to people that never admit that they might
be wrong I'd be a Republican! (Sorry folks, couldn't resist that one!)

> All of us here have experience, in many different theatres. What works for
> you may not work for me, and vice versa.
> 
I'm certainly glad to hear you admit that one. From what I've seen, your
theatre looks like a wonderful place, but certainly unique as compared to
what most on this list deal with. Since your experience is in a situation
that does not apply to much of the advice sought, your pontificating is
often not appreciated.

    All we ask is that you be a trifle bit more selective in your urge to
respond to everything.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

End of Stagecraft Digest #578
*****************************