Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 25466464; Fri, 11 Nov 2005 03:02:46 -0800 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #580 Date: Fri, 11 Nov 2005 03:01:26 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, TJ_EMPTY_SUBJECT autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #580 1. Re: Downlight wash fixtures (was Preventing color burn out) by "Jeffrey E. Salzberg" 2. Inexpensive color extenders by Scott Peterson 3. Strange locking rails by Delbert Hall 4. Re: Automated Madness by "Paul Schreiner" 5. Re: Automated Madness by "Paul Schreiner" 6. Re: Strange locking rails by "Stephen E. Rees" 7. Re: Strange locking rails by "Stephen E. Rees" 8. XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Steven Haworth" 9. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Jeffrey E. Salzberg" 10. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Steven Haworth" 11. Re: Downlight wash fixtures by Paul Marsland 12. Keeping mics on sweaty actors by CB 13. by kupfer [at] post.tau.ac.il 14. Re: Fake Stone by Steve Boone 15. Re: Depth and height issues by CB 16. Re: Automated Madness by CB 17. Re: No Subject by IAEG [at] aol.com 18. Re: Downlight wash fixtures by IAEG [at] aol.com 19. Re: Automated Madness by CB 20. Re: Automated Madness by Dale Farmer 21. Re: Automated Madness by "Paul Schreiner" 22. Re: Keeping mics on sweaty actors by CB 23. Re: Downlight wash fixtures by "Steve B." 24. Re: Automated Madness by "ladesigners [at] juno.com" 25. Crew calling software by Paul Marsland 26. Re: Depth and height issues by Greg Bierly 27. Re: Preventing color burn out by Greg Bierly 28. Re: Strange locking rails by Wood Chip-P26398 29. Re: La Mancha... by "Wild, Larry" 30. Re: Depth and height issues by Jim Hyslop 31. cell phone uploads by ken frederickson 32. Emergency lighting by Ken Zinkl 33. Re: Emergency lighting by "Jeffrey Kanyuck" 34. Re: Emergency lighting by Jerry Durand 35. Re: Downlight wash fixtures (was Preventing color burn out) by FrankWood95 [at] aol.com 36. Re: Downlight wash fixtures (was Preventing color burn out) by Jim Hyslop 37. Re: Downlight wash fixtures (was Preventing color burn out) by FrankWood95 [at] aol.com 38. Re: Downlight wash fixtures (was Preventing color burn out) by "Paul Schreiner" 39. Re: Automated Madness by FrankWood95 [at] aol.com 40. Re: Emergency lighting by FrankWood95 [at] aol.com 41. Re: Downlight wash fixtures (was Preventing color burn out) by IAEG [at] aol.com 42. Re: Strange locking rails by "RD" 43. Re: Question about Strand Lekos by "Jeffrey E. Salzberg" 44. Re: Keeping mics on sweaty actors by "Davis, Thomas J" 45. DMX512 by "Adam Zeek" 46. Re: Keeping mics on sweaty actors by "Paul Schreiner" 47. Re: Keeping mics on sweaty actors by Jerry Durand 48. Miter Saw Question by Michael Heinicke 49. Re: Miter Saw Question by "Michael Diederich" 50. Re: Strange locking rails by Bill Sapsis 51. Anyone heard of this company? by Norman Lazarus 52. ...mics on ... actors - Where? by "Flowers, Curt" 53. ...mics on ... actors - Makeup? by "Flowers, Curt" 54. Re: Automated Madness by Stephen Litterst 55. Re: Emergency lighting by "Peter Scheu" 56. Re: Miter Saw Question by Stuart Wheaton 57. Re: Miter Saw Question by "Curtis L. Mortimore" 58. Re: Crew calling software by "Bill Nelson" 59. fire sprinkler installation placement vs. lighting rigs by "Don Taco" 60. Re: fire sprinkler installation placement vs. lighting rigs by "Bill Nelson" 61. Re: fire sprinkler installation placement vs. lighting rigs by "Bill Nelson" 62. Re: Fake Stone by "Bill Nelson" 63. Re: cell phone uploads by "Ken" 64. Re: Fake Stone by Steve Larson 65. Re: cell phone uploads by "Jon Ares" 66. A little disclosure on my group (OT) by "Eric Geater at Home" 67. Re: Crew calling software by Jim Hyslop 68. Re: Automated Madnes by Mitch Hefter 69. Re: Emergency lighting by "Chris Warner" 70. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by seanrmc [at] earthlink.net *** 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. ---------------------------------------------------------------------- Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Downlight wash fixtures (was Preventing color burn out) Date: Thu, 10 Nov 2005 07:10:12 -0500 Message-ID: <000801c5e5ef$b7713000$6601a8c0 [at] Dell> In-Reply-To: > > isn't a 2k Fresnel overkill for a > > downlight > > wash? Remember, these things are gelled with L119 -- a *very* saturated blue. ------------------------------ Message-ID: <43733E17.9020507 [at] earthlink.net> Date: Thu, 10 Nov 2005 04:33:27 -0800 From: Scott Peterson Subject: Inexpensive color extenders References: In-Reply-To: If you're in a bind, you can make a cheap color extender using 2 gel frames and a few machine screws. Put gel in one frame, then put another frame underneath. Hold the two gel frames together face-to-face, then drill a hole for a #10 machine screw (3/16" maybe) in each corner of the frames. Push a #10 x 1" (or longer) machine screw thru one frame and snug a nut down to the frame. Put another nut about 1/2" from the end of the screw, and place the second frame on the screw. Then snug another nut down to secure the second frame. Repeat for the other 3 corners. If your fixtures are over the audience, you might want to add lock washers, apply Loc-tite, or use nylocks on the front nuts so nothing can come loose. And you should safety the extender to the fixture with bailing wire, aircraft cable, or zip-tyes. Sure, it makes changing the gel slightly difficult, but you could drill a larger hole in the front frame, or notch the frame so you could still open it. The screw heads might not slide into the gel holders of some instruments, but they do fit into Altman 6x9s. Just my 2 cents... -Scott Scott Peterson Technical Director Upland Stage Centre / Highlander Auditorium scpteck [at] earthlink.net ------------------------------ Message-ID: Date: Thu, 10 Nov 2005 07:50:54 -0500 From: Delbert Hall Subject: Strange locking rails I see all kinds of strange and interesting locking rails as I go to different theatres. One of the strangest was in a high school in Florida. When you released the handle on the rope lock, the rope lock did NOT release. To actually release the lock, the operator then had to press a pedal near the floor, below the rope lock that he/she wanted to release (there was one pedal for each lineset/ropelock). I do not remember who made this system. Somebody on the list might know. It was a bit of a pain to operate because there was an extra task to do every time you moved a batten. But, you could not walkaway from the locking rail and leave a line "unlocked." -Delbert -- Delbert L. Hall ZFX Flying Director Phone: 714-585-7070 ------------------------------ Subject: RE: Automated Madness Date: Thu, 10 Nov 2005 08:19:44 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3E [at] exchange.rmwc.edu> From: "Paul Schreiner" > From the 2004 ANSI version: "Equipment in this category=20 > shall use 5-pin=20 > XLR connectors . . ." and ". . . use the 5-pin XLR=20 > connector, but shall=20 > not use any other XLR connector." Thanks for the clarification from a voice of authority on this. I didn't have the time yesterday to dig out the relevant literature on the standard, but couldn't remember if the connector was included as part of the standard. Either way, s'why I mentioned using 5-conductor (or more) cable for permanent installs. > And someone misstated the pin-out. The correct pinout is: > 1 Data Link Common > 2 Data1- > 3 Data1+ > 4 Data2- > 5 Data2+ Thanks also for the correction. Had my pluses and minuses reversed. Doh! ------------------------------ Subject: RE: Automated Madness Date: Thu, 10 Nov 2005 08:25:32 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA3F [at] exchange.rmwc.edu> From: "Paul Schreiner" > With respect, the speed with which cues are run has nothing=20 > to do with the DMX=20 > data rate, which remains steady... Yes, that's true (and I hadn't forgotten that part, either! Yay me!), but without having John Huntington's book in front of me I couldn't recall if DMX data is transmitted continuously or only with a change-of-state; if the latter, then the more changes you have, the more likely it would be for one or more of them to become corrupted. If someone could refresh my memory on this, it'd be appreciated...I've gone nearly 18 months now without playing with automated fixtures, and I'm apparently getting a tad rusty! (Anyone got a couple of Mac500Es collecting dust that I could barter for? I won't hold my breath, but...) ------------------------------ Message-ID: <43734D36.6030001 [at] fredonia.edu> Date: Thu, 10 Nov 2005 08:37:58 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Strange locking rails References: Delbert, That sounds exactly like a system that Tiffin Scenic in Tiffin, Ohio makes (made). I think the intent is to allow safe operation in venues where there might not be a lot of skilled users like high schools and the like. It also incorporates a mechanical overspeed sensor of sorts that locks up the lineset if it is out of weight. Catholic University of America in Washington,DC has such an installation. The system is NOT ergonomically designed. The foot treadle is located in such a manner as to force the operator to be applying a downward force while pulling the operating/hand/purchase line and effectively countering that force. YOu also have to stand right next to rail and it is hard to get comfortable purchase on the line. Lots of back strain involved. The system I used at CUA was not real well maintained and had lots of lock ups that needed huge pry bars to fix. They are also provided with an integral key lock system to further confound the user. Encountered a couple with the keys broken off in the lock - fortunately in the unlocked position. They are not very user friendly. Steve Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I see all kinds of strange and interesting locking rails ------------------------------ Message-ID: <4373507F.2090800 [at] fredonia.edu> Date: Thu, 10 Nov 2005 08:51:59 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Strange locking rails References:

Quick follow-up. The system to which I referred is NOT the much newer Restrictor model to be found at the Tiffin website. That looks like it is a much more refined concept in locking systems. It is certainly not its forebear. Steve Stephen E. Rees wrote: > That sounds exactly like a system that Tiffin Scenic in Tiffin, Ohio > makes (made). ------------------------------ Subject: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Thu, 10 Nov 2005 08:02:37 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DD3 [at] danube.river.idm.com> From: "Steven Haworth" ETC now has an XWFL lens option for the S4 pars - anybody used them? = I'm specing a project now w/only a 12' trim to the grid, and need really = wide backlight options. I'm trying to avoid 6" fresnels, since the = bases tend to die so quickly. My current thoughts are S4 pars w/XWFL = lens and MCM reflectors (heat is also an issue w/such a low trim). - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info >strips make for a fast focus on a dance plot. For the low ceiling at=20 >Symphony Space, we used "shortie" PAR 64 with VWFL lamps, which worked=20 >well - they really ate color, but most shows there are one offs. =20 >Unfortunately the very wide lamps are no longer made & we are looking=20 >to move on. Sc4 "Par" wides are too narrow & hard to blend so we'll=20 >likely be going (can you smell my reluctance?) to ParNels. I=20 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Thu, 10 Nov 2005 09:08:40 -0500 Message-ID: <002d01c5e600$440194f0$6601a8c0 [at] Dell> In-Reply-To: > ETC now has an XWFL lens option for the S4 pars - anybody > used them? Note that the S4 XWFL beam is round, not oval. If this is what you want/need, they should be fine (and there's always R104 or R113 if you need it wider on one axis). ------------------------------ Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Thu, 10 Nov 2005 08:12:48 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DD4 [at] danube.river.idm.com> From: "Steven Haworth" Cc: stagecraft [at] jeffsalzberg.com >Note that the S4 XWFL beam is round, not oval. If this is what you >want/need, they should be fine (and there's always R104 or=20 >R113 if you need it wider on one axis). Actually, I'd think the round beams would be easier to blend. I've = never gotten a smooth blend from Par64s anyway. You know, another thought is using something like L&E's Runt cyc fixture = for a toplight wash... kinda radical, but w/such a low trim I might just = try it. I'm specing a bunch of those for the cyc anyway, so I'll have = some to play with. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-ID: <20051110143249.42752.qmail [at] web52207.mail.yahoo.com> Date: Thu, 10 Nov 2005 06:32:49 -0800 (PST) From: Paul Marsland Subject: Re: Downlight wash fixtures In-Reply-To: Brian Aldous wrote: > 2 kW Fresnels are a very useful tool for > concentrated color washes. I > have used them frequently & very happily. When > using highly saturated > colors in a 2 kW, I put heat shield in the color > slot of the unit, and > the color in the slot in the barn door. ... > > I find that I am willing to consider anything that > spits light out one > end & not the other - the punchier the better, of > course; what I > actually use depends on local inventory and throw > distance. I like > the Sc4 down system at DTW, and the ParNels are OK. > I've used PAR 56 > strips (at the Joyce) and PAR64 strips (anyone else > remember those?) - > strips make for a fast focus on a dance plot. For > the low ceiling at > Symphony Space, we used "shortie" PAR 64 with VWFL... Very well stated, Brian! Your post agrees with my own three elements of design; -what you want (the effect) -what you got (the inventory, hanging positions, crew, imagination, etc.) -money/time I watched an Australian dance company use 2k 8" Fresnels for their high sides, one unit per color on a goodly sized stage (worked beautifully) A local dance company uses 8" 2k Fresnels for saturated back light washes (just as you describe so well) I tried 2k 8"Fresnels for front lights when I wanted every other fixture in the joint for gobos and texture (you know that short list of shows in your career that you consider to be the best looking and the most gratifying design experience once you're done? This was one of those few shows for me) > ... Sc4 "Par" wides are too narrow & hard > to blend so we'll > likely be going (can you smell my reluctance?) to > ParNels. I am sure you've used them to develop your opinion, but I really like the PARNels since our trim heights are usually between 20' and 28'. Lower trims than that and you do get blending issues. They are a great blend of size, economy and functionality for our space... > > meanwhile, back at the original post topic... > > If the designer specs a particular color, he should > get it. That is > what we do. The LD who specced the L119 is highly > regarded in this > profession and deservedly so. Yes, R74 is similar, > and were I asked by > an ME if it was OK to sub it, I personally would say > yes... as long as > it was done from the start, not after cues had been > written. Whether a > designer should ask for the heat shield or leave it > up to the ME to > remember depends on the personalities & venue, I > suppose. As a > designer, I put it as a suggestion & leave it up to > the electrician to > decide. When I was an PE, I just used it and > swallowed the cost, > figuring that heat shield was cheaper than a 4 hr > min. trip back up the > ladder with fresh color. I think all of this goes back to Kristi's "playing well with others" mantra. > > On the pounce wheel... I was ME for a long run once.. > Conclusion: Pouncing has no useful effect on fading > of R79 or L135 > (the other dnlite color) whatsoever. Maybe it > helped with the old > thick plastics (Roscolene, Cinemoid) but it is a > waste of time on > modern mylar & polymers. So give that pounce wheel > back to the costume > shop you lifted it from. Thanks for the "Mythbusters-esque" investigation. Nice to see a methodical study supporting what I have always thought based on my casual experiences. Paul __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Message-Id: <3.0.6.32.20051110074019.00b74d40 [at] pop.west.cox.net> Date: Thu, 10 Nov 2005 07:40:19 From: CB Subject: Keeping mics on sweaty actors >Any advice on how to keep a body mic on an extra sweaty actor who has >several quick changes. Ya mean a reg'lar ole lav mic? Its going to depend on costuming summat, but I like to use toupee clips. Tie a bit of elastic betwixt the two holes, and thread the mic through the elastic. Two or three will keep the mic in the hair. Another method is to tie elastic at the mic and eight inches (or so) back on the cable. Mic cable on one side and elastic on the other makes a loop that goes around the actor's head like a headband. I could prolly come up with a coupla pics if these descriptions aren't enough. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <1131634295.43735e77a123d [at] webmail.tau.ac.il> Date: Thu, 10 Nov 2005 16:51:35 +0200 From: kupfer [at] post.tau.ac.il Subject: "isn't a 2k fresnel overkill for a downlight > wash? Maybe useful from a really high trim, but it seems like an unusu= al > choice to me (but then again I don't know the specifics of the design o= r > the venue). Well, operas often go with big, brash, overkill lighting, sort of like th= e sets and costumes. " I used to think it was overkill but I find the 1k units aren't strong eno= ugh any more, and the reason (here in the Middle East anyway :) ) is that we're u= sing Pars for backlights and for so many other things too. If I have 10 Pars f= or each circuit of backlights, and another 8 as sidelights, and so on, the 1= k fresnels just wash out and disappear. Nothing big and brash about the gen= eral lighting. It's just different. In the old days when everything was PCs an= d fresnels and lekos, the 1ks worked fine. (guess that shows how old I am..= .) Judy ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 10 Nov 2005 09:59:58 -0500 From: Steve Boone Subject: Re: Fake Stone I've used polyester batting (which also goes by Fiberfill or pillow stuffing), soaked in plaster. It makes a formable mass that is roughly half the weight of stone, and it doesn't want to catch fire unless extraordinary ignition sources get involved (like a pre-heating torch that essentially bakes it back to its basic components!). You have to get the batting from an upholstery supplier and the plaster from a construction supply place to make it affordable. Otherwise, retail store quantities/prices are pretty steep. The problems are: it's messy it's heavier than foam it stays clammy for several days or weeks depending on thickness. Advantages: sets fast takes paint well very realistic look for round river stone kind of rocks quite strong Oh, I also used polystyrene resin and lots of cab-o-sil once long ago, and I've used fiberglass (chopped strand). There are lots of health & safety issues with both approaches, and the messy factor goes industrial. The odor is a serious problem if you're indoors, and the clean-up (Acetone) poses its own major set of problems. Getting the chopped strand to lay flat is absolute witchcraft (otherwise you sand it after its set). But the results are quite good. What about using some of that vacu-form sheet stuff? I think BMI Supply sells it. Good luck! Steve Boone, Scene Designer (today) Bowling Green State University >At 6:32 PM -0800 11/9/05, "Robert Bruemmer" >Subject: RE: Stock Platforms >Date: Wed, 9 Nov 2005 13:25:36 -0500 > >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. > >Robert Bruemmer >Technical Operations Manager >Silver Center >Plymouth State University >MSC#36 >Plymouth, NH 03264 >(603) 535-2718 > ------------------------------ Message-Id: <3.0.6.32.20051110080636.00b74d40 [at] pop.west.cox.net> Date: Thu, 10 Nov 2005 08:06:36 From: CB Subject: Re: Depth and height issues >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? It isn't about volume, its about perspective. As most houses are designed to have the acoustics assist sound coming from the stage going to the rear of the house, the sound coming the other way doesn't have the same assistance. Actors engaging in discussions about blocking, delivery, etc., would have an acoustical advantage. With the god mike, the director has an acoustical advantage with the additional advantage of delivering edicts in calm, normal speaking tones. Hidden in that tone is the potential for the overwhelming shout that could devastate the delicate actors. Kinda like owning the nuclear option. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20051110081205.00b74d40 [at] pop.west.cox.net> Date: Thu, 10 Nov 2005 08:12:05 From: CB Subject: RE: Automated Madness >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 Not always a good idea. If you have two wires twisted together on each pin, you are defeating the cmr and capacitance designed into that twist. If you use one side of the twist from each of two twisted pairs, you run the chance that one will break and you'll show continuity when tested, but actually have a large antenna on the other. I know, it feels right, but I've been bit before. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: IAEG [at] aol.com Message-ID: <259.b0a199.30a4bf57 [at] aol.com> Date: Thu, 10 Nov 2005 10:20:55 EST Subject: Re: No Subject In a message dated 11/10/05 9:52:22 AM, kupfer [at] post.tau.ac.il writes: << "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). Well, operas often go with big, brash, overkill lighting, sort of like the sets and costumes. " I used to think it was overkill but I find the 1k units aren't strong enough any more, and the reason (here in the Middle East anyway :) ) is that we're using Pars for backlights and for so many other things too. If I have 10 Pars for each circuit of backlights, and another 8 as sidelights, and so on, the 1k fresnels just wash out and disappear. Nothing big and brash about the general lighting. It's just different. In the old days when everything was PCs and fresnels and lekos, the 1ks worked fine. (guess that shows how old I am...) Judy >> additionally, , , in many ballet and opera venues, , Downlight / Backlight washes might be trimmed well in excess of 30', that might be hard for those of you in smaller venues with prosceniums that aren't that high, but it's not uncommon a 2K Fresnel with a highly saturated colour, at a 30' plus trim isn't much at all when you get down to stage level I saw the original plot for LA MANCHA once, at Circle in the Square, , don't recall whose design , or what book, but there were a couple of 5k's, , , I would assume to give the effect of the intense, single source sun light of the Spanish Plain RIVERDANCE carries an 5k (?) HMI on a stand for an up stage right side light that blasts out behind principals when they enter up there, , ( some one on the list almost certainly has experience with this and will chime in on the exact nature of that lamp and how it is controlled ) I sure if SVOBODA had access to 2K PARs for his infamous CARMEN at the MET back in the 70's, , he would have used them to be sure (again someone on the list no doubt can chime in with info on that production ) and again, , I don't recall the designer credits, , but for the original SATYAGRAHA (sic) weren't there HMI's as shin busters ? on one side off the stage only. the start up, , , rise in lumens and changing colour temp simulated a sun rise if i recall correctly very best, Keith Arsenault President IAEG - International Arts & Entertainment Group Tampa, Florida www.iaeginc.com www.circusnexus.org ------------------------------ From: IAEG [at] aol.com Message-ID: <9f.6befe098.30a4bf94 [at] aol.com> Date: Thu, 10 Nov 2005 10:21:56 EST Subject: Re: Downlight wash fixtures In a message dated 11/10/05 9:33:23 AM, paulbmarsland [at] yahoo.com writes: << > I've used PAR 56 > strips (at the Joyce) and PAR64 strips (anyone else > remember those?) - > strips make for a fast focus on a dance plot >> yep, , , I recall the TOM SKELTON / JOFFREY BALLET rep plot at CITY CENTER had both PAR 56 strip and PAR 64 strip, it rocked, , , I'm pretty certain they toured with it in those days as well, , to Iowa, Chicago, Berkley, , etc etc very best, Keith Arsenault President IAEG - International Arts & Entertainment Group Tampa, Florida www.iaeginc.com www.circusnexus.org ------------------------------ Message-Id: <3.0.6.32.20051110082228.00b74d40 [at] pop.west.cox.net> Date: Thu, 10 Nov 2005 08:22:28 From: CB Subject: Re: Automated Madness >Fooling them again.... Priceless > > >Mark-O I so needed that today! Its a dark and dreary (and cold and windy) day on the wrong side of the Hudson, and I'm going to be back on Monday. I must find you and show the proper homage when I do... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <437366FE.B1055E37 [at] cybercom.net> Date: Thu, 10 Nov 2005 10:27:58 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Automated Madness References: Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > With respect, the speed with which cues are run has nothing > > to do with the DMX > > data rate, which remains steady... > > Yes, that's true (and I hadn't forgotten that part, either! Yay me!), > but without having John Huntington's book in front of me I couldn't > recall if DMX data is transmitted continuously or only with a > change-of-state; if the latter, then the more changes you have, the more > likely it would be for one or more of them to become corrupted. > > If someone could refresh my memory on this, it'd be appreciated...I've > gone nearly 18 months now without playing with automated fixtures, and > I'm apparently getting a tad rusty! > > (Anyone got a couple of Mac500Es collecting dust that I could barter > for? I won't hold my breath, but...) The state of all the channels are sent all the time. That way if one gets an error through the error gets corrected a fraction of a second later, which for many, is before the lamp is visibly changed, or just flickers slightly. One can transmit less than the full universe of 512 channels, which doesn't increase the data rate, but does increase the update rate. Some DMX chipsets ( I have no idea which ones) couldn't cope with very fast update rates, so even though you were only using, say, 25 channels, you sent the data for the first hundred or so to slow down the update rate. This parameter is sometimes mislabeled data rate. --Dale ------------------------------ Subject: RE: Automated Madness Date: Thu, 10 Nov 2005 10:27:17 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA40 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Not always a good idea. If you have two wires twisted=20 > together on each pin, you are defeating the cmr and=20 > capacitance designed into that twist. If you use one side of=20 > the twist from each of two twisted pairs, you run the chance=20 > that one will break and you'll show continuity when tested,=20 > but actually have a large antenna on the other. I know, it=20 > feels right, but I've been bit before. Thanks...never thought of it that way. Guess I should look into a couple of EE courses 'afore I go spouting off about these things too much in the future! :) ------------------------------ Message-Id: <3.0.6.32.20051110083202.00b74d40 [at] pop.west.cox.net> Date: Thu, 10 Nov 2005 08:32:02 From: CB Subject: Re: Keeping mics on sweaty actors >Yes. Specifically, be sure to spray across, not in to the element. Which may or may not save the diaphragm, which was the original intent. The only way that I'll blow out a mic screen is from the back. Other than that, I'll soak up the sweat with a q-tip, rinse with distilled, and soak it up again. A good screen will hold the sweat and the water and keep it away from the diaphragm, and blowing across it can blow sweat into the diaphragm. Horses for courses, of course. In either case, be sure that you know what you are doing with pressurised air cans and delicate, expensive mics. I could be being a bit paranoid, but I prefer that to replacing gear. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Thu, 10 Nov 2005 10:37:09 -0500 From: "Steve B." Subject: Re: Downlight wash fixtures Message-id: <003b01c5e60c$9d2ff8d0$6601a8c0 [at] SBFF> References: ----- Original Message ----- From: , , , > > I recall the TOM SKELTON / JOFFREY BALLET rep plot at CITY CENTER had both > PAR 56 strip and PAR 64 strip, > > it rocked, , , > > I'm pretty certain they toured with it in those days as well, , to > Iowa, > Chicago, Berkley, , etc etc Elliot Feld toured with PAR56 strips as well. Only thing I saw as a problem with 56 and 64 stips as Bax, if you want a smooth wash, you HAVE to use them at a certain height and distance apart. Any lower or further apart and they're very spotty, with no way to correct to focus, as you can with individual units. We use PAR64's, 1kw wide lamps at approx. +22ft, 4 across per wash on a stage with a 39ft. Prosc. opening. The plot gets you 2 or 3 electrics of 3 washes of back lights. It sometimes wants a 5th lamp in the wash...... Steve Bailey Brooklyn College ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 10 Nov 2005 15:39:53 GMT Subject: Re: Automated Madness Message-Id: <20051110.074025.2520.20455 [at] webmail31.lax.untd.com> There is no need to double up. At less than $30/1000' for CAT5+, you can= pull multiple runs for a very robust 'hub-and-spoke' rather than 'daisy= -chain' or 'star' topography and still have full redundancy or 2 univers= es on each cable. I use plenum-rated CAT6 STP. /s/ Richard >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 actual= ly ran from pin 2 on one end to pin 2 on the other ------------------------------ Message-ID: <20051110155503.57546.qmail [at] web52210.mail.yahoo.com> Date: Thu, 10 Nov 2005 07:55:03 -0800 (PST) From: Paul Marsland Subject: Crew calling software In-Reply-To: Do any of you listers use a software application for dealing with your crew calling and scheduling issues? Our current spreadsheet bandaid solution is growing more tiresome by the day and I am having trouble finding some software that can handle multiple staff, venue, schedule, and task items in a convenient manner. Thanks for any ideas. Paul __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ In-Reply-To: References:

Message-Id: <2219d592ecd67eb6edc2a2b59e848820 [at] dejazzd.com> From: Greg Bierly Subject: Re: Depth and height issues Date: Thu, 10 Nov 2005 11:58:57 -0500 > Jim Hyslop > -----BEGIN PGP SIGNATURE----- > Version: GnuPG v1.4.2 (MingW32) > Comment: Using GnuPG with Thunderbird - http://enigmail.mozdev.org > > iD8DBQFDcnWwLdDyDwyJw+MRAl4fAKD4/nsRynlaAjX7mMRghifEjztiMQCg/Nc/ > wy07Q4JsNE6DfD+gPKnNcjA= > =fEQ3 > -----END PGP SIGNATURE----- Don't you think just plain ol "Jim" as a sig would be fine? ;-) Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <2dc2062f3e40a8035cbe601177af5797 [at] dejazzd.com> From: Greg Bierly Subject: Re: Preventing color burn out Date: Thu, 10 Nov 2005 11:59:09 -0500 > Kristi > AKA Mom > P.S. I still love you both. Every listserve should have a "List Mom" as good as ours. Thanks! Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <2E3198416D5E7A4FB3FEC7E6838FE36B14E79F [at] ct11exm60.ds.mot.com> From: Wood Chip-P26398 Cc: Rees [at] fredonia.edu Subject: RE: Strange locking rails Date: Thu, 10 Nov 2005 10:04:50 -0700 As is often the case when safety meets heads-on with efficiency. A perfectly safe car would be doable, but nobody could afford it or buy it because it would look like a tank. Designing for Human Factors while keeping it safe, affordable, attractive, and practical has paid my salary for a long time. Never ending struggle. Chip From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees I think the intent is to allow safe operation in venues where there might not be a lot of skilled users like high schools and the like. The system is NOT ergonomically designed. The foot treadle is located in such a manner as to force the operator to be applying a downward force while pulling the operating/hand/purchase line and effectively countering that force. YOu also have to stand right next to rail and it is hard to get comfortable purchase on the line. Lots of back strain involved. The system I used at CUA was not real well maintained and had lots of lock ups that needed huge pry bars to fix. They are also provided with an integral key lock system to further confound the user. Encountered a couple with the keys broken off in the lock - fortunately in the unlocked position. They are not very user friendly. ------------------------------ Subject: RE: La Mancha... Date: Thu, 10 Nov 2005 11:14:15 -0600 Message-ID: <79EC830AA6FE144797DDB30DC498593804FEE6D0 [at] nsu-ex01.nsu.local> From: "Wild, Larry" Keith Arsenault wrote: "I saw the original plot for LA MANCHA once, at Circle in the Square, , = don't=20 recall whose design , or what book, but there were a couple of 5k's, , , = I would assume to give the effect of the intense, single source sun = light of the Spanish Plain" ----------------------------- The designer of LA MANCHA was Howard Bay. The show opened in October = 1965 at the ANTA-Washington Square Theatre, the thrust stage theatre Jo = Mielziner designed for the opening production (Arthur Miller's _After = the Fall_) of the Lincoln Center Rep Company. The plot in Howard Bay's = book (_Stage Design_, 1974) is from a proscenium production, probably at = the Martin Beck Theatre. The 5K fresnel back lit the staircase. Larry Wild Northern State University Aberdeen, SD ------------------------------ Message-ID: <437382D8.5090004 [at] dreampossible.ca> Date: Thu, 10 Nov 2005 12:26:48 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Depth and height issues References:

In-Reply-To: Greg Bierly wrote: >> Jim Hyslop >> -----BEGIN PGP SIGNATURE----- >> Version: GnuPG v1.4.2 (MingW32) >> Comment: Using GnuPG with Thunderbird - http://enigmail.mozdev.org >> >> iD8DBQFDcnWwLdDyDwyJw+MRAl4fAKD4/nsRynlaAjX7mMRghifEjztiMQCg/Nc/ >> wy07Q4JsNE6DfD+gPKnNcjA= >> =fEQ3 >> -----END PGP SIGNATURE----- > > > Don't you think just plain ol "Jim" as a sig would be fine? > ;-) Sorry about that - I forgot to turn off GPG signing. I use it routinely on business-related correspondence. Hope this is better: -- Jim Hyslop ------------------------------ Message-ID: <20051110175416.70991.qmail [at] web50805.mail.yahoo.com> Date: Thu, 10 Nov 2005 09:54:15 -0800 (PST) From: ken frederickson Subject: cell phone uploads In-Reply-To: does anyone know of a way to upload a song to a cell phone to make it a ring style? __________________________________ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ------------------------------ Message-ID: <20051110175846.88772.qmail [at] web81801.mail.mud.yahoo.com> Date: Thu, 10 Nov 2005 09:58:46 -0800 (PST) From: Ken Zinkl Subject: Emergency lighting In-Reply-To: Hi all. I am emerging out of lurk mode to find out if anybody know how long battery powered emergency lighting should last. I have heard anything from 10 minutes to 2 hours. I just started a new job and I want to check the run time on my emergency lighting and get anything replaced/fixed as needed. Thanks Ken Zinkl ------------------------------ Message-Id: Date: Thu, 10 Nov 2005 13:06:20 -0500 From: "Jeffrey Kanyuck" Subject: Re: Emergency lighting >>> kzinkl [at] sbcglobal.net 11/10/2005 12:58:46 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi all. I am emerging out of lurk mode to find out if anybody know how long battery powered emergency lighting should last. I have heard anything from 10 minutes to 2 hours. I just started a new job and I want to check the run time on my emergency lighting and get anything replaced/fixed as needed. Thanks Ken Zinkl Ken, Emergency lighting time required is dependent upon the environment it is in. How large an area, use of the area (seating, egress), city-state that you are in.. all that type of thing. Your best bet would be to contact an inspector type in the area to ask them the same question just as you asked it here. To ensure that you are following proper guidelines, I seriously doubt it will prompt an inpromtu inspection. They'll just be happy to tell you and know that someone is doing their job. Then check the manufacturers specifications for the emergency lighting instrumentation you are using. Jeff Kanyuck ------------------------------ Message-Id: <6.2.3.4.0.20051110100517.03c50308 [at] 192.168.0.13> Date: Thu, 10 Nov 2005 10:07:51 -0800 From: Jerry Durand Subject: Re: Emergency lighting In-Reply-To: References:

At 09:58 AM 11/10/2005, you wrote: >Hi all. I am emerging out of lurk mode to find out if >anybody know how long battery powered emergency >lighting should last. I have heard anything from 10 >minutes to 2 hours. I just started a new job and I >want to check the run time on my emergency lighting >and get anything replaced/fixed as needed. You'll have to check with your local authority for the number for your venue. I think a typical number is 45 minutes. Lights from McMaster say they run for 90. -- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d6.4994ce52.30a4ec1c [at] aol.com> Date: Thu, 10 Nov 2005 13:31:56 EST Subject: Re: Downlight wash fixtures (was Preventing color burn out) In a message dated 10/11/05 05:15:32 GMT Standard Time, jonares [at] hevanet.com writes: > Well, operas often go with big, brash, overkill lighting, sort of like the > sets and costumes. Don't get me wrong - I love opera, and doing the big, > brash, overkill design. I've used 2Ks for downs in some opera, as well as a > show (6 Characters...) that we placed on a 1920's sound stage - wanted the > brash downlight for some key moments. Sure they do. I have seen many operas lit by Wolfgang Goebbel, who seems to use exclusively side lighting. He creates very dramatic pictures, this way, with absolutely no FOH lighting. They are good pictures. The trouble is that you can't hear the words. I once went to an opera he'd lit with an elderly Viennese lady, who was fluent in German and Italian, and she couldn't hear the words. I think that, on a sub-conscious level, we all lip-read to some extent. Without reasonable facial visibility, hearing the words is a lot harder. In many houses, the follow-spots make good the deficiency. With a soft focus, they are surprisingly unobtrusive. Frank Wood ------------------------------ Message-ID: <4373945C.8090606 [at] dreampossible.ca> Date: Thu, 10 Nov 2005 13:41:32 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Downlight wash fixtures (was Preventing color burn out) References: In-Reply-To: FrankWood95 [at] aol.com wrote: > I once went to an opera he'd lit with an elderly Viennese lady, who was > fluent in German and Italian, and she couldn't hear the words. I think that, on a > sub-conscious level, we all lip-read to some extent. I'd agree with that. I don't know if there are any studies to back this up, but my lighting instructor at college said that it's a psychological phenomenon - if you can't see the face, you can't hear the voice. -- Jim Hyslop ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <210.dd4b66f.30a4eea0 [at] aol.com> Date: Thu, 10 Nov 2005 13:42:40 EST Subject: Re: Downlight wash fixtures (was Preventing color burn out) In a message dated 10/11/05 12:11:13 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > > isn't a 2k Fresnel overkill for a > > > downlight > > > wash? > > Remember, these things are gelled with L119 -- a *very* saturated blue. With about 50% transmission down in the red range. Frank Wood ------------------------------ Subject: RE: Downlight wash fixtures (was Preventing color burn out) Date: Thu, 10 Nov 2005 13:50:06 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA44 [at] exchange.rmwc.edu> From: "Paul Schreiner" > > I once went to an opera he'd lit with an elderly Viennese lady, who=20 > > was > > fluent in German and Italian, and she couldn't hear the=20 > words. I think that, on a=20 > > sub-conscious level, we all lip-read to some extent. >=20 > I'd agree with that. I don't know if there are any studies to=20 > back this up, but my lighting instructor at college said that=20 > it's a psychological phenomenon - if you can't see the face,=20 > you can't hear the voice. Very much in agreement on this one...though I have to ask, Frank, how did he go about lighting an opera with an elderly Viennese lady? How do you indicate one of those on the plot? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19b.40f48fd3.30a4f0b6 [at] aol.com> Date: Thu, 10 Nov 2005 13:51:34 EST Subject: Re: Automated Madness In a message dated 10/11/05 13:26:11 GMT Standard Time, pschreiner [at] rmwc.edu writes: > Yes, that's true (and I hadn't forgotten that part, either! Yay me!), > but without having John Huntington's book in front of me I couldn't > recall if DMX data is transmitted continuously or only with a > change-of-state; if the latter, then the more changes you have, the more > likely it would be for one or more of them to become corrupted. DMX data is sent continuously. The control system determines what the data are. Any movement of a control is reflected in a change in the data stream. Depending on the recieving end, invalid data may well be blocked, the recieving element holding the last valid state until a new valid state is received. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <22d.e64b05.30a4f3b8 [at] aol.com> Date: Thu, 10 Nov 2005 14:04:24 EST Subject: Re: Emergency lighting In a message dated 10/11/05 17:59:23 GMT Standard Time, kzinkl [at] sbcglobal.net writes: > Hi all. I am emerging out of lurk mode to find out if > anybody know how long battery powered emergency > lighting should last. I have heard anything from 10 > minutes to 2 hours. I just started a new job and I > want to check the run time on my emergency lighting > and get anything replaced/fixed as needed. Three hours is the UK standard. Check it out with your AHJ. They set the standards, unless OHSA has done it for them. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <221.2679b3e.30a4f3c5 [at] aol.com> Date: Thu, 10 Nov 2005 14:04:37 EST Subject: Re: Downlight wash fixtures (was Preventing color burn out) In a message dated 11/10/05 1:53:20 PM, pschreiner [at] rmwc.edu writes: << , Frank, how did he go about lighting an opera with an elderly Viennese lady? >> what is the lumen output and colour temp of an elderly Viennese (sic?) lady ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Reply-To: From: "RD" Cc: Rees [at] fredonia.edu Subject: RE: Strange locking rails Date: Thu, 10 Nov 2005 12:05:45 -0700 In-Reply-To: Message-ID: We are talking more than forty years ago in Texas at the Bob Hope theater. The first such system. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Thursday, November 10, 2005 6:38 AM To: Stagecraft Subject: Re: Strange locking rails For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Delbert, That sounds exactly like a system that Tiffin Scenic in Tiffin, Ohio makes (made). I think the intent is to allow safe operation in venues where there might not be a lot of skilled users like high schools and the like. It also incorporates a mechanical overspeed sensor of sorts that locks up the lineset if it is out of weight. Catholic University of America in Washington,DC has such an installation. The system is NOT ergonomically designed. The foot treadle is located in such a manner as to force the operator to be applying a downward force while pulling the operating/hand/purchase line and effectively countering that force. YOu also have to stand right next to rail and it is hard to get comfortable purchase on the line. Lots of back strain involved. The system I used at CUA was not real well maintained and had lots of lock ups that needed huge pry bars to fix. They are also provided with an integral key lock system to further confound the user. Encountered a couple with the keys broken off in the lock - fortunately in the unlocked position. They are not very user friendly. Steve Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I see all kinds of strange and interesting locking rails ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Question about Strand Lekos Date: Thu, 10 Nov 2005 14:37:35 -0500 Message-ID: <000801c5e62e$36f531d0$6601a8c0 [at] Dell> In-Reply-To: > I've have been focusing the same vintage of 2212's since > 1988. With a 1/4 to 1/2 inch of travel left on the lense > train (with my fixtures) you would have very soft edge. Most > often my throw distance is around 30'. After focusing to a > hard edge I have more like an inch and a half of outward > travel to vary the softness of the edge. It's proportional to the throw. ------------------------------ Subject: RE: Keeping mics on sweaty actors Date: Thu, 10 Nov 2005 15:12:10 -0500 Message-ID: <3CF87682970858499CA56707FB1F092B9027A0 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" Cc: Eagle194 [at] netscape.com Another brand name (for what I think Tony is recommending) is Bio-clusive. It is a J&J product. Years ago my doc recommended it as a dressing over stitches. As long as the skin is dry when you put it on, you can shower and it won't come off. Granted, sweat is coming from under the tape or patch, but I've used it with success over the years. Some larger drug stores carry it, or you can try a hospital supply. Comes in several sizes. It's not cheap, but then neither is the mic that is flopping around. Tom Davis -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tony Kambic Sent: Wednesday, November 09, 2005 6:02 PM To: Stagecraft Cc: raypf1mg [at] cmich.edu Subject: Re: Keeping mics on sweaty actors For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 --------------------------------------------------- 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 ------------------------------ Message-ID: From: "Adam Zeek" Subject: DMX512 Date: Thu, 10 Nov 2005 15:28:46 -0500 This is the only logical explanation that I've been able to find why you should not use sound cable to transmit DMX protocol other than, "You just shouldn't!" DMX512 in theory DMX512 cable is used to link a DMX512 controller to many DMX512 fixtures. Each fixture has a DMX512 in and usually a DMX512 thru connector. The DMX512 in on the first fixture is connected to the DMX512 out connector on the controller, then the DMX512 thru is connected to the DMX in of the second fixture, and so on. The final, empty, DMX512 thru connector should have a DMX512 terminating plug plugged into it. A DMX terminator is a 120 ohm resistor between pins 2 and 3 of the connector. Fixtures therefore 'daisy-chain' from one to the other. The connectors themselves should be 5 pin XLR, however only 3 pins of the 5 are used. Many manufacturers use 3 pin XLR connectors, in violation of the Standard. Only cable designed for use with DMX512 should be used. Testing by ESTA has shown that CAT5 cable may be used without signal quality compromise. However, due to the common use of 3 pin XLR connectors, microphone cables are often used for DMX512, and this is certainly not a recommended practice. Hot and cold are the opposite way round to sound cables, and the signal travels in the opposite direction to the pins (female is out, male is in). The pin layout is: 1. Earth 2. Cold 3. Hot 4. (Not used) Was return - 5. (Not used) Was return + -The above as taken from the wikipedia online encyclopedia _________________________________________________________________ Don�t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Subject: RE: Keeping mics on sweaty actors Date: Thu, 10 Nov 2005 15:32:20 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196CA46 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Another brand name (for what I think Tony is recommending) is=20 > Bio-clusive. It is a J&J product. Years ago my doc=20 > recommended it as a dressing over stitches. As long as the=20 > skin is dry when you put it on, you can shower and it won't=20 > come off. =20 If it won't come off in the shower, how DO you remove it? ------------------------------ Message-Id: <6.2.3.4.0.20051110123734.0360e7a8 [at] 192.168.0.13> Date: Thu, 10 Nov 2005 12:40:11 -0800 From: Jerry Durand Subject: Re: Keeping mics on sweaty actors In-Reply-To: References: At 12:32 PM 11/10/2005, you wrote: >If it won't come off in the shower, how DO you remove it? When I was working on medical equipment, I came home every night with electrodes stuck on me (designer AND guinea pig). My wife found that 90% isopropyl takes them off without removing the hair or skin. :) Of course I found the silver chloride electrode cream is pretty harsh if you put electrodes in the same place several days in a row. :( -- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-ID: <20051110205322.21209.qmail [at] web81501.mail.mud.yahoo.com> Date: Thu, 10 Nov 2005 12:53:22 -0800 (PST) From: Michael Heinicke Subject: Miter Saw Question I was asked a question by one of my students recently that I don't have an answer for. Hopefully someone on the list will though. The DeWalt miter saw that we use has a factory set stop position at 31.62 degrees. Does anyone know what this angle is used for? It is nothing that I have ever used, but I would assume that it is commonly used somewhere since it is included as a preset stop. TIA, Mike H ------------------------------ Subject: RE: Miter Saw Question Date: Thu, 10 Nov 2005 16:06:48 -0500 Message-ID: From: "Michael Diederich" Here is what I found with a Google search: "Miter Matters Preset detent positions on the saw's turntable (typically set at 0, 15, 22.5, 30, and 45 degrees) help to position the blade quickly and accurately for common miter cuts. Some manufacturers also offer detents for the common crown molding angles on the miter and bevel scales. But the detents on some saws can be tricky to override if you want to make minute adjustments to the fit of a cut--say, a 32.25-degree miter instead of the 31.62 degrees that crown molding typically requires. The miter and bevel scales offered by different manufacturers aren't equally easy to read, either. This is particularly true of bevel scales, which are often partially hidden behind the body of the saw." Mike Diederich MVCC Utica, NY >>>>>I was asked a question by one of my students recently that I don't have an answer for. Hopefully someone on the list will though. The DeWalt miter saw that we use has a factory set stop position at 31.62 degrees. Does anyone know what this angle is used for? It is nothing that I have ever used, but I would assume that it is commonly used somewhere since it is included as a preset stop. TIA, Mike H<<<<< ------------------------------ Date: Thu, 10 Nov 2005 16:29:23 -0500 Subject: Re: Strange locking rails From: Bill Sapsis Message-ID: In-Reply-To: This is a Tiffin, Inc. system. 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. On 11/10/05 7:50 AM, "Delbert Hall" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I see all kinds of strange and interesting locking rails as I go to > different theatres. One of the strangest was in a high school in > Florida. When you released the handle on the rope lock, the rope lock > did NOT release. To actually release the lock, the operator then had > to press a pedal near the floor, below the rope lock that he/she > wanted to release (there was one pedal for each lineset/ropelock). I > do not remember who made this system. Somebody on the list might > know. It was a bit of a pain to operate because there was an extra > task to do every time you moved a batten. But, you could not walkaway > from the locking rail and leave a line "unlocked." > > -Delbert > > -- > Delbert L. Hall > ZFX Flying Director > Phone: 714-585-7070 ------------------------------ Message-ID: <20051110212946.77465.qmail [at] web51713.mail.yahoo.com> Date: Thu, 10 Nov 2005 13:29:45 -0800 (PST) From: Norman Lazarus Subject: Anyone heard of this company? In-Reply-To: Anyone heard anything about this company? www.vciexhibits.com They sent me an e-mail that they are looking to fill a sales position. They pulled my resume from monster. Not sure what to make of them, the e-mail had some buzzwords including; "high earning potential" and "we will train you". Thanks, Norman __________________________________ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ------------------------------ Subject: ...mics on ... actors - Where? Date: Thu, 10 Nov 2005 16:26:56 -0600 Message-ID: <6A5D1F7AAA9AD24696B12DC283BAF9F7255A4B [at] ADMINMAIL1.ui.uillinois.edu> From: "Flowers, Curt" Good thread on how to keep a mic on an actor. Let's pretend I have no trouble keeping the mics on. I've seen references to: in the hair, at the temple, on the forehead, over the ear, .... =20 Where is the best place to put a mic on a singer and/or actor?=20 =20 Much Thanks. Curt, Illinois ------------------------------ Subject: ...mics on ... actors - Makeup? Date: Thu, 10 Nov 2005 16:27:54 -0600 Message-ID: <6A5D1F7AAA9AD24696B12DC283BAF9F7255A4C [at] ADMINMAIL1.ui.uillinois.edu> From: "Flowers, Curt" Do you send the actor to makeup after you 'mount' the mic? Or before?=20 =20 =20 More Thanks! Curt ------------------------------ Date: Thu, 10 Nov 2005 19:26:58 -0500 (EST) From: Stephen Litterst Subject: Re: Automated Madness In-reply-to: Message-id: <30740.65.15.132.48.1131668818.squirrel [at] 65.15.132.48> References: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> With respect, the speed with which cues are run has nothing >> to do with the DMX >> data rate, which remains steady... > > Yes, that's true (and I hadn't forgotten that part, either! Yay me!), > but without having John Huntington's book in front of me I couldn't > recall if DMX data is transmitted continuously or only with a > change-of-state; Uh-oh. You didn't say that. Please don't get Charlie started on this one... :) > If someone could refresh my memory on this, it'd be appreciated...I've > gone nearly 18 months now without playing with automated fixtures, and > I'm apparently getting a tad rusty! DMX is based on EIA-485, and is continuously transmitting. A full universe of DMX will update roughly 44 times a second. Steve Litterst ------------------------------ Reply-To: From: "Peter Scheu" Subject: RE: Emergency lighting Date: Thu, 10 Nov 2005 18:38:18 -0600 Organization: Scheu Consulting Services, Inc Message-ID: <001601c5e658$39273af0$d7c111ac [at] TOSHIBA> In-reply-to: Frank Wood wrote: > Three hours is the UK standard. Check it out with your AHJ. > They set the > standards, unless OHSA has done it for them. Frank, just FYI... OSHA stands for "Occupational Safety and Health Administration". It is a Federal Government (USA) agency that regulates workplace safety (in a nutshell). They have absolutely NO jurisdiction over emergency lighting requirements. That would be a "Life Safety" issue that would be addressed by ONLY by building codes and the local AHJ's. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com ------------------------------ Message-ID: <4373EE9A.8040808 [at] fuse.net> Date: Thu, 10 Nov 2005 20:06:34 -0500 From: Stuart Wheaton Subject: Re: Miter Saw Question References: In-Reply-To: Michael Heinicke wrote: > The DeWalt miter saw that we use > has a factory set stop position at 31.62 degrees. Does > anyone know what this angle is used for? It is nothing > that I have ever used, but I would assume that it is > commonly used somewhere since it is included as a > preset stop. When combined with an appropriate bevel setting, check your manual or look for matching symbols on the angle scales, you can miter crown moulding flat on the saw table. Stuart ------------------------------ Date: Thu, 10 Nov 2005 20:13:30 -0500 Subject: Re: Miter Saw Question From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Mike, The easy answer. For cutting crown moulding. I'm no expert and I'm going to show I'm no mathematical genius, but I know this much: Common crown mouldings have a 38 degree spring from the wall. A compound mitre is required when two pieces of crown meet at a corner. A bunch of math happens involving the angle of the corner and the 38 degrees of spring built into the crown. The resultant cut which needs to be made for a 90 degree corner is 31.62 degrees of mitre and 33.86 degrees of bevel. The smart folks at DeWalt and other manufacturers figured out I might need a bit of help cypherin that thar angle and built it into the saw. This way I set the saw to the "presets", lay the moulding flat on it's back and chop away! So now the question is: Can someone smarter than me show the math? Curtis -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Message-ID: <26669.69.59.200.119.1131674577.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 10 Nov 2005 18:02:57 -0800 (PST) Subject: Re: Crew calling software From: "Bill Nelson" > Do any of you listers use a software application for > dealing with your crew calling and scheduling issues? > Our current spreadsheet bandaid solution is growing > more tiresome by the day and I am having trouble > finding some software that can handle multiple staff, > venue, schedule, and task items in a convenient > manner. Look into project management software, such as Microsoft Project. It has all sorts of features, including warning you if you try to schedule a person for two tasks at the same time. Bill ------------------------------ Message-ID: <006201c5e666$29f8c8b0$e28aaa43 [at] DonTaco> From: "Don Taco" References:

Subject: fire sprinkler installation placement vs. lighting rigs Date: Thu, 10 Nov 2005 18:18:06 -0800 Anyone have a handy fact-sheet, installation manual, or valuable reference source to peruse and help assure ourselves that the Fire Sprinkler Installation Company in a Very Small Town knows how to install them with no possibility of our theatrical lighting setting them off (a Bad Thing)? I assume they have knowledge bases and can be trusted. But, a little research of our own can't hurt, and this could also possibly justify the long-term wish list item of tearing off all the lath and plaster ceiling, exposing the joists (think of it... no more pulleys pulling loose from the lath and dropping flown items!), and gaining a few feet of clumsy but usable working space. Thanks! Of course, 'who is going to pay for this?' is still a very real concern. But having sprinklers can only be a good thing in the long run. ------------------------------ Message-ID: <26723.69.59.200.119.1131676318.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 10 Nov 2005 18:31:58 -0800 (PST) Subject: Re: fire sprinkler installation placement vs. lighting rigs From: "Bill Nelson" > Installation Company in a Very Small Town knows how to install them with > no > possibility of our theatrical lighting setting them off (a Bad Thing)? I > assume they have knowledge bases and can be trusted. But, a little > research > of our own can't hurt, and this could also possibly justify the long-term > wish list item of tearing off all the lath and plaster ceiling, exposing > the > joists (think of it... no more pulleys pulling loose from the lath and > dropping flown items!), and gaining a few feet of clumsy but usable > working space. Sprinkler heads are usually triggered by heat. That means that sprinklers in the pit and storage areas would not be affected by our lighting instruments. I believe all that the only places we need to install sprinklers, at least for now, are the pit and basement storage. If so, we will want stubs in place to pipe the other necessary areas in the future. Bill ------------------------------ Message-ID: <26726.69.59.200.119.1131676481.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 10 Nov 2005 18:34:41 -0800 (PST) Subject: Re: fire sprinkler installation placement vs. lighting rigs From: "Bill Nelson" > Anyone have a handy fact-sheet, installation manual, or valuable > reference source to peruse and help assure ourselves that the Fire The only reference I can think of would be the Oregon Fire Codes. Finding the proper variations for theatres might be a challenge, but a call to the state offices might produce the right documents. Bill ------------------------------ Message-ID: <26756.69.59.200.119.1131677762.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 10 Nov 2005 18:56:02 -0800 (PST) Subject: Re: Fake Stone From: "Bill Nelson" >>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. More information is needed. Are you trying to emulate rock walls, large boulders or small rocks? The old "chicken wire and paper mache" works well. With a good wooden frame underneath, boulders are even strong enough to support actors. Bill ------------------------------ From: "Ken" Subject: RE: cell phone uploads Date: Thu, 10 Nov 2005 22:31:32 -0500 Message-ID: <00a401c5e670$70a42b60$0200a8c0 [at] COMPAQ> In-Reply-To: I created a midi file of a song I liked on the midi recorder of the church organ. I could then upload it to my Treo 600 and now 650 It works great - every phone is different and you need to search not all make the USB cables available to general public but the all exist Ken Holyoak -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of ken frederickson Sent: Thursday, November 10, 2005 12:54 PM To: Stagecraft Subject: cell phone uploads For info, archives & UNSUBSCRIBE, see --------------------------------------------------- does anyone know of a way to upload a song to a cell phone to make it a ring style? __________________________________ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ------------------------------ Date: Thu, 10 Nov 2005 22:39:51 -0500 Subject: Re: Fake Stone From: Steve Larson Message-ID: In-Reply-To: If there are mobile homes in your area, go to a dealer who sells accessories. They make skirting for mobile homes that looks like stone. Just paint them for a more realistic look. Steve > From: "Bill Nelson" > Reply-To: "Stagecraft" > Date: Thu, 10 Nov 2005 18:56:02 -0800 (PST) > To: "Stagecraft" > Subject: Re: Fake Stone > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> Looking for alternative material suggestions for creating fake stone. >>> fire >>> restrictions in our black box prevent me from using the typical homosote, >>> blue or bead foam. > > More information is needed. Are you trying to emulate rock walls, large > boulders or small rocks? > > The old "chicken wire and paper mache" works well. With a good wooden > frame underneath, boulders are even strong enough to support actors. > > Bill > > ------------------------------ Message-ID: <005c01c5e674$dbeffc60$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: cell phone uploads Date: Thu, 10 Nov 2005 20:03:22 -0800 > I created a midi file of a song I liked on the midi recorder of the church > organ. I could then upload it to my Treo 600 and now 650 > > It works great - every phone is different and you need to search not all > make the USB cables available to general public but the all exist > I've got a Razr and it allows MP3s to be directly uploaded and used (it then compresses it into something different, but it works.) - Jon Ares www.hevanet.com/acreative ------------------------------ From: "Eric Geater at Home" Subject: A little disclosure on my group (OT) Date: Thu, 10 Nov 2005 22:40:07 -0600 Message-ID: I want to step back a moment and better describe the sitchumation about our theatre group, because I certainly didn't intend to mislead anyone (and apologies if I did): I am the president of a non-profit community theatre organization in a rural area of Western Tennessee, with a total population of ~24,000 people IIRC. All actors, technicians, directors and whatnot come from this area to serve this area. When I said I was directing at the High School, that wasn't because I'm directing HS kids; the HS has the theatre that our group uses. We don't have our own house. We must use what is available to us, and their stage (in most circumstances) does exactly what we need it to. Now when I said I'm directing AND designing the set, that is true. I'm also handling publicity and assisting in set construction... when one is in a small group, one finds out how many handles they can juggle, and does so. :-) Sorry for the confusion, if any. Eric -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.362 / Virus Database: 267.12.8/165 - Release Date: 11/9/2005 ------------------------------ Message-ID: <43742312.6010101 [at] dreampossible.ca> Date: Thu, 10 Nov 2005 23:50:26 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Crew calling software References:

In-Reply-To: Bill Nelson wrote: > Look into project management software, such as Microsoft Project. It has > all sorts of features, including warning you if you try to schedule a > person for two tasks at the same time. Hmmm... I've used MS Project, and it is best suited for... well, projects. As in construction projects, where you have dependencies and predecessors, etc. and are working towards an established goal ("build this skyscraper"). I could be wrong, but I have a feeling Paul may find trying to force Project into a scheduling mode may be as difficult and frustrating as the spreadsheet was. If nothing else exists, how many others on this list would be interested in the kind of software Paul wants? I write software for a living (and live for theatre ;=) and if there's sufficient demand I could put something together. -- Jim Hyslop ------------------------------ Message-Id: <6.1.0.6.2.20051110231035.01ec23f0 [at] mail.designrelief.com> Date: Thu, 10 Nov 2005 23:18:45 -0600 From: Mitch Hefter Subject: Re: Automated Madnes In-Reply-To: References: On 11/10/2005, Tony Deeming wrote: > > -----Original Message----- > > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Mitch > > Hefter > > > > > Many listers have written about DMX512. > > > >Mitch, with the greatest possible respect, it is not the users that are >guilty of the bastardisation of the DMX protocol, but the manufacturers - >some of whom are MAJOR suppliers to the entertainments industry. > >Whether we, as users of the kit, believe that a 5-pin connector is the right >way to interface between cable and fixture is, quite frankly, irrelevant. You are absolutely right. The freight train of wrong style DMX512 connectors was started by manufactures (we have spoken to one this year who somehow makes DMX512 products but didn't know that the 5-Pin connector is the standard - we're still puzzling over that one). Note that any product that is marked USITT DMX512-A or ANSI E1.11 cannot have a 3-pin XLR and be considered compliant. However, the genesis of DMX512 back in 1986 was demand from the users. So I am hoping fresh demand will help turn this freight train around. > >My 10c > >TD Thank you, . . . ------------------------------------------------------------------------ Mitch Hefter ESTA / USITT DMX512 Revision (ANSI E1.11) Task Group Chair USITT Engineering Vice-Commissioner, DMX512 Subcommittee Chair Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com ------------------------------ From: "Chris Warner" Subject: RE: Emergency lighting Date: Thu, 10 Nov 2005 22:47:57 -0800 Message-ID: <003801c5e68b$d958df50$6401a8c0 [at] chris> In-Reply-To: > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Ken Zinkl > Sent: Thursday, November 10, 2005 9:59 AM > To: Stagecraft > Subject: Emergency lighting > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi all. I am emerging out of lurk mode to find out if > anybody know how long battery powered emergency > lighting should last. I have heard anything from 10 > minutes to 2 hours. I just started a new job and I > want to check the run time on my emergency lighting > and get anything replaced/fixed as needed. > > Thanks > > Ken Zinkl > The correct answer according to NFPA and NEC, is 90 minutes, 15 minutes if there is a generator backup. In a former life I maintained UPS technology, and lighting was always spec'd for 90mins. The test I used to do (Inverter technology mind you) was to put a meter on the DC buss, and a current clamp, and fail input power to the inverter, then a timed test, 20 min. in my case and log the DC buss voltage and DC current. Ideally at 30 min. you want more then nominal on the buss. Sorry way more technical information and details than you needed I realize. Good Luck. Chris Warner -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.362 / Virus Database: 267.12.8/166 - Release Date: 11/10/2005 ------------------------------ Message-ID: <4957398.1131694349266.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net> Date: Fri, 11 Nov 2005 02:32:29 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Cc: sjh [at] idm.com They XWFL's are pretty good, but if you do want the flexibility of Fresnels, etc.... Look at the Selecon gear....especially the Acclaim 4" Fresnel (yes, that's right--more light than most 6" models) and their small PC's. Also, look at Arri's small Fresnels--I'm not sure if they have theatre models of the smaller fresnels, but either way they make great Fresnels. Email me off-list for contact information for Selecon's US rep if you'd like--I have it at the office. --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Steven Haworth ETC now has an XWFL lens option for the S4 pars - anybody used them? I'm specing a project now w/only a 12' trim to the grid, and need really wide backlight options. I'm trying to avoid 6" fresnels, since the bases tend to die so quickly. My current thoughts are S4 pars w/XWFL lens and MCM reflectors (heat is also an issue w/such a low trim). ------------------------------ End of Stagecraft Digest #580 *****************************