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 25484310; Sat, 12 Nov 2005 03:02:58 -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 #581 Date: Sat, 12 Nov 2005 03:01:34 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 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 #581 1. Re: Miter Saw Question by Jim Hyslop 2. Re: Emergency lighting by Jim Hyslop 3. Re: fire sprinkler installation placement vs. lighting rigs by Dale Farmer 4. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Jason Cowperthwaite 5. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Jeffrey E. Salzberg" 6. Re: ...mics on ... actors - Makeup? by "Ray-Pfeifer, Merel" 7. Re: Crew calling software by "G. D. George" 8. recommendations for general work lights by "David R. Krajec" 9. fire sprinkler installation by b Ricie 10. Re: fire sprinkler installation by "Jeffrey E. Salzberg" 11. Re: fire sprinkler installation by Dale Farmer 12. Re: fire sprinkler installation by "Jeffrey E. Salzberg" 13. Re: fire sprinkler installation by "Jon Ares" 14. Re: fire sprinkler installation by "Jeffrey E. Salzberg" 15. Re: fire sprinkler installation by Mark O'Brien 16. Re: recommendations for general work lights by "Davis, Thomas J" 17. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Steven Haworth" 18. DMX over Cat5 (was: Automated Madness) by "Aaron W. Braun" 19. cell phone uploads by CB 20. Re: fire sprinkler installation by FrankWood95 [at] aol.com 21. Re: fire sprinkler installation by "Jeffrey E. Salzberg" 22. ...mics on ... actors - Where? by CB 23. Re: fire sprinkler installation by FrankWood95 [at] aol.com 24. Tucson pyrotechnic performers heating up stage by theatre safety programs 25. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by FrankWood95 [at] aol.com 26. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Shawn King 27. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "Jeffrey E. Salzberg" 28. Re: fire sprinkler installation by FrankWood95 [at] aol.com 29. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by FrankWood95 [at] aol.com 30. Re: fire sprinkler installation by Wood Chip-P26398 31. Re: Tucson pyrotechnic performers heating up stage by Steve Larson 32. Re: fire sprinkler installation by Steve Larson 33. Re: The benefits and artistic relavance of L181... etc by "Steven Haworth" 34. Wicked in Chicago by "Warmbold, Bo" 35. Re: Crew calling software by "Nick Blower" 36. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Greg Bierly 37. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Bruce Purdy 38. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by "JUSTIN DAVID BENNETT" 39. Re: ...mics on ... actors - Where? by "JUSTIN DAVID BENNETT" 40. Re: ...mics on ... actors - Where? by Steve Larson 41. Re: The benefits and artistic relavance of L181... etc by FrankWood95 [at] aol.com 42. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by FrankWood95 [at] aol.com 43. Re: Crew calling software by "Bill Nelson" 44. Re: fire sprinkler installation by "Peter Scheu" 45. Re: Strange locking rails by "Waxler, Steve $waxlers$" 46. Re: fire sprinkler installation by "Waxler, Steve $waxlers$" 47. Re: fire sprinkler installation by "Don Taco" *** 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: <437495D6.3050309 [at] dreampossible.ca> Date: Fri, 11 Nov 2005 08:00:06 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Miter Saw Question References: In-Reply-To: Curtis L. Mortimore wrote: > 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? I've worked out how to get the mitre, but I'm still working on the bevel. Hopefully I'll be able to render this reasonably clearly in ASCII-art (use a fixed-pitch font to get best results): Side view: | d | ---------------------- ceiling | / | / |x/ c |/ | | | | | wall Since the mitre angle is unaffected by the width of the molding, the diagrams only show the back of the molding. Distance 'd' is the distance the molding stands out from the wall. Distance 'c' is the width of the back of the crown. Angle x is 38 degrees (side question: why 38? Why not a round number like 40?). Recall from your high-school math that the sin of an angle (in a right-angled triangle) is equal to the opposite side divided by the hypotenuse, so: d sin(x) = --- c For simplicitly, let's say we're using a crown molding 1" wide at the back, then we have: sin(38) = d d = 0.61566" (approx) Now, for the top view: | | | | | | | | ----------\ | ---- \ | d \ | \| _____ | d | Since the mitre, viewed from the top, is 45 degrees, that means the distance that the top of the crown extends past the bottom is also distance 'd'. So, looking directly at the crown molding, we have a face view something like this: | d | --------------- ---- \ . | \ . | \ . c \M. | \._________ _|_ M is the mitre angle. Going back to high school again, the tangent of an angle is equal to the opposite side divided by the adjacent side, or: d tan(M) = --- c d=0.61566, c=1, so: tan(M) = 0.61566 therefore the mitre angle is 31.62 degrees. This all assumes, of course, a perfect world where the walls and ceilings actually form 90 degree angles ;=) I think the bevel angle will involve more complex diagrams, so if I get it figured out, I'll just put it up on the web and post a link to it. -- Jim Hyslop ------------------------------ Message-ID: <43749911.6060900 [at] dreampossible.ca> Date: Fri, 11 Nov 2005 08:13:53 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Emergency lighting References: In-Reply-To: Chris Warner wrote: >>From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Ken > Zinkl > >>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. > > > The correct answer according to NFPA and NEC, is 90 minutes, 15 minutes > if there is a generator backup. That is the "correct answer" if you make certain assumptions. Do you know Ken, and where he is? Can you assume he lives in the same jurisdiction as you? I'm assuming that NFPA and NEC are U.S. entities. In Ontario, where I live, they have no effect, and the law in my area requires a minimum of 30 minutes: http://www.e-laws.gov.on.ca/DBLaws/Regs/English/970388_e.htm#9.5.3.9.(1) Ken, the bottom line is: contact a local authority, such as your local Fire Marshall. They will give you information that is correct for your area. > In a former life I maintained UPS > technology, and lighting was always spec'd for 90mins. Exceeding the minimum required can never hurt, of course. -- Jim Hyslop ------------------------------ Message-ID: <43749C42.E52885A6 [at] cybercom.net> Date: Fri, 11 Nov 2005 08:27:30 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: fire sprinkler installation placement vs. lighting rigs References:

Don Taco wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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. Like the electrical code, there are special sections in the building code for sprinklers for theaters and places of public assembly. Unless this company does a lot of them, they may not notice this until too late. Not knowing which building code you are under, I cannot be specific. Work with your local fire and building inspectors, and the sprinkler company designer to give you a suitable installation. That all being said, typical sprinkler heads in the US are made to open up at about 135 degrees F. for normal usage. There are ones that are made to open at lower temperatures, which are normally for places like the ceilings of large open spaces. There are ones that are made to open at higher temperatures, which are usually for places like over the stoves and ovens in a kitchen. There are also heads with different water flow rates, spray patterns and so on. You know what the normal usage of your space is. The inspectors and the sprinkler designers know the law and the engineering to make the system work properly. Work together now, don't wait until they have already done the system design and then try to force changes. --Dale ------------------------------ Message-ID: <3eb8da960511110534q4381bf2eh7d9e03656481f5d6 [at] mail.gmail.com> Date: Fri, 11 Nov 2005 08:34:03 -0500 From: Jason Cowperthwaite Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In-Reply-To: References: I would like to second the suggestion of looking at the selecon Acclaim 4.5= 's I just worked on a show at a theatre with a 10'6" grid which had a small stock of the 4.5's. By the end of tech i was mourning that I did not have more available to me. They put out a suprising ammount of light and seemed to handle color very well. Definitely worth a look. I took a look at the photometrics for the XWFL a good while ago when they were first released... dont they dip very severly in footcandles from the WFL? If i remember correctly, much more than the drops between the other lenses? I Do remember running some calculations for short to mid-height grids and laughing. *shrug* Hope this helps, Jason Cowperthwaite On 11/11/05, seanrmc [at] earthlink.net wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > They XWFL's are pretty good, but if you do want the flexibility of Fresne= ls, 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 mo= dels 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 l= ike--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 t= o die so quickly. My current thoughts are S4 pars w/XWFL lens and MCM refl= ectors (heat is also an issue w/such a low trim). > > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Fri, 11 Nov 2005 08:45:25 -0500 Message-ID: <000401c5e6c6$2e503a50$6601a8c0 [at] Dell> In-Reply-To: =20 > I took a look at the photometrics for the XWFL a good while=20 > ago when they were first released... dont they dip very=20 > severly in footcandles from the WFL?=20 According to my photometrics spreadsheet (available free at http://www.jeffsalzberg.com/Software/Originals/Photometrics.xls), at an = 18' throw, a S4 PAR with MFL lens gives a 7.02'x9.45' beam at 469.75 fc. WFL: 10.35'x19.35' / 109.88 fc XWFL: 19.8' / 82.36 fc Of course, with an 18' throw, I probably wouldn't be using an XWFL, so = these figures are just for comparison. ------------------------------ Date: Fri, 11 Nov 2005 08:57:32 -0500 Subject: Re: ...mics on ... actors - Makeup? From: "Ray-Pfeifer, Merel" Message-ID: In-Reply-To: I send them to make up after for most of my actors except for the super soakers, they go in for a barrier spray (keeps them from getting as sweaty) first. Hair is a different story. Most check out the mic cable before they do hair so it can be camouflaged by the hair. Then they come to be taped on, go to make up, come back for the battery pack right before mic check. -- Merel Ray-Pfeifer Technical Director Dept of Speech Comm. & Dramatic Arts Central Michigan University Mt Pleasant, MI 48858 989/774-6594 On 11/10/05 5:27 PM, "Flowers, Curt" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Do you send the actor to makeup after you 'mount' the mic? Or before? > > > More Thanks! > Curt ------------------------------ From: "G. D. George" Subject: RE: Crew calling software Date: Fri, 11 Nov 2005 10:17:54 -0500 In-reply-to: Message-ID: Hi folks, I too have used MS Project. It can be made to work for a theatre, but requires quite a bit of set up in terms of defining those resources and dependencies. I suspect that these tasks are common to all projects however. What I did the last time I was playing with it was to set up an entire season as a main project. Each show that we were doing then became a task (phase? sub-project? Can't remember) within the project, and each phase of production became a list of sub-tasks. At one point, in a manic fit, I had entered the steps and man-hours required to build flats and platforms. (Note that this sort of thing only has to be entered once and can be copied to new projects as well as within existing ones.) Additionally, anything that comes in from another department or off the road gets scheduled as its own sub-project. For the resources I used staff, of course, as well as volunteers. I also set up spaces (Theatres, shops, rehearsal halls, etc.) You might include vehicles as well. Project makes that easy as I recall. Project allows you to track costs per person as well as material costs. I think it could, with relatively little coaxing, track rental costs and rental income as well. For my purposes, I found that it wasn't worth the time investment required to keep the software up to date, but for a larger operation, I can see where it might work. Cheers, Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jim Hyslop Sent: Thursday, November 10, 2005 11:50 PM To: Stagecraft Subject: Re: Crew calling software For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 ------------------------------ Reply-To: From: "David R. Krajec" Subject: recommendations for general work lights Date: Fri, 11 Nov 2005 09:33:37 -0600 Message-ID: In-Reply-To: I am in a facility that serves mostly the theatre department, but we also have to host a number of music events, graduation events and worship services. I currently am using PAR 64's for a front wash and S4 PARS for a top wash for these events. This provides a nice even wash of light over the whole stage and suits the purpose well. I went with the S4 PAR for top light because of its low profile. I would have used a PAR 64 but my line sets are on 9" centers and things would start knocking around in the air when the lines are run. Soooo.... I'm looking for a good, cheap, efficient luminaire that can serve the purpose described. If the fixture has an easily replaceable lamp that is also inexpensive that would be bonus. I want to replace all of the fixtures with the recommended luminaire. Thanks! David Krajec Cardinal Stritch University Host of the KCACTF Region III Festival 2007/2008 ------------------------------ Message-ID: <20051111155234.12260.qmail [at] web50606.mail.yahoo.com> Date: Fri, 11 Nov 2005 07:52:33 -0800 (PST) From: b Ricie Subject: fire sprinkler installation In-Reply-To: Keep an eye on them. I am sure they know their business, but do not assume they know yours. A town here on Cape Cod Built a brand new High School about 7 years ago. When the Theatre(really auditorium) opened there were plenty of problems to be fixed. For starters the booth was sound proof with no window to open and the sound board was 25 feet from the rack with no way of putting the equipment side by side. That was the small problem. The big problem was the fire sprinkler heads were placed just in front of the FOH lighting positions. No way to focus or use the FOH lighting without setting off the sprinklers. The solution was to go in and create a new lighting position far enough away so heat from the lights would not be an issue anymore. Nothing like having to fix a brand new building. Beware of the lowest bidder. Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 10:56:05 -0500 Message-ID: <000b01c5e6d8$6fb73810$6601a8c0 [at] Dell> In-Reply-To: > Beware of the lowest bidder. There are only two ways that a low bid can cause problems by virtue only of its being the low bid: 1. Fraud, or B. Poorly-written specs. ------------------------------ Message-ID: <4374C3F3.31DD2D6E [at] cybercom.net> Date: Fri, 11 Nov 2005 11:16:51 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: fire sprinkler installation References: "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Beware of the lowest bidder. > > There are only two ways that a low bid can cause problems by virtue only of > its being the low bid: > > 1. Fraud, or > > B. Poorly-written specs. Having been on both sides of the bid process for a lot of years, I have come to realize that there is no such thing as a complete specification. They take years of use and reuse before they really get nailed down. Go and read the US DoD MILSPEC for fruitcake sometime. Or any other product that you are well familiar with. --Dale ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 11:25:48 -0500 Message-ID: <001501c5e6dc$96c08480$6601a8c0 [at] Dell> In-Reply-To: > Having been on both sides of the bid process for a lot of > years, I have come to realize that there is no such thing as > a complete specification. You can't nail down everything, but it's not that hard to make sure your lighting positions are not occluded and that you don't get a substandard lighting console, or any of the other things that people frequently bemoan. ------------------------------ Message-ID: <000701c5e6de$36c75b10$0600000a [at] BRUTUS> From: "Jon Ares" Cc: stagecraft [at] jeffsalzberg.com References: Subject: Re: fire sprinkler installation Date: Fri, 11 Nov 2005 08:37:32 -0800 > You can't nail down everything, but it's not that hard to make sure your > lighting positions are not occluded and that you don't get a substandard > lighting console, or any of the other things that people frequently > bemoan. Oh really??? Now YOU are starting to sound like Frank!! I cannot tell you how many new/retrofit theatres I've worked on, where those that write the checks had ANY interest in listening to the guy who had to use these places!! They won't even let me IN the buildings they're building "for me" right now. I have visions of a giant air duct running right down the middle of the stage, about 4' off the deck. But I wouldn't know, and every time I voice my concern that things may not be happening to spec, I keep getting patted on the head with a condescending line like, "Don't you worry your pretty little head. is making sure everything is being built correctly." (Of course, Mr. Construction Coordinator, the nicest, most competent guy ever, has never been inside a theatre.) I did get to spec lights and system, but when it comes to sprinklers, air ducts, catwalk intrusions, etc, I can only hope that the theatre consultants are being kept more in the loop than I am. - Jon Ares www.hevanet.com/acreative ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 11:47:00 -0500 Message-ID: <001e01c5e6df$8cb31810$6601a8c0 [at] Dell> In-Reply-To: <000701c5e6de$36c75b10$0600000a [at] BRUTUS> > Oh really??? Now YOU are starting to sound like Frank!! I > cannot tell you=20 > how many new/retrofit theatres I've worked on, where those=20 > that write the=20 > checks had ANY interest in listening to the guy who had to use these=20 > places!! They won't even let me IN the buildings they're=20 > building "for me" The fact that the spec would have been good if they had let you write it does not change the fact that they *didn't* let you write it...and the = spec, therefore, was bad. ------------------------------ In-Reply-To: References: Message-Id: <66fbca9ff64b37462faa89ff18260c92 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: fire sprinkler installation Date: Fri, 11 Nov 2005 10:13:15 -0700 On Nov 11, 2005, at 9:47 AM, Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> Oh really??? Now YOU are starting to sound like Frank!! I >> cannot tell you >> how many new/retrofit theatres I've worked on, where those >> that write the >> checks had ANY interest in listening to the guy who had to use these >> places!! They won't even let me IN the buildings they're >> building "for me" > > The fact that the spec would have been good if they had let you write > it > does not change the fact that they *didn't* let you write it...and the > spec, > therefore, was bad. > Of course I have this floor.... It has issues of levelness, and now it is falling apart. The specs were written pretty tight, and during the walktrough, the Architect had found things wrong, yet the powers that be signed off on it. Go figure. Mark O Santos / McGarry in 2006 ------------------------------ Subject: RE: recommendations for general work lights Date: Fri, 11 Nov 2005 12:27:16 -0500 Message-ID: <3CF87682970858499CA56707FB1F092B902889 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" Cc: drkrajec [at] stritch.edu No offense intended, David, but if what you have works, why are you replacing it? What do you need a new fixture to do that is not being done by the ones you have? Or are you looking for something that will better serve the theater department that can also provide general lighting? Tom D. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R. Krajec Sent: Friday, November 11, 2005 10:34 AM To: Stagecraft Subject: recommendations for general work lights For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am in a facility that serves mostly the theatre department, but we also have to host a number of music events, graduation events and worship services. I currently am using PAR 64's for a front wash and S4 PARS for a top wash for these events. This provides a nice even wash of light over the whole stage and suits the purpose well. I went with the S4 PAR for top light because of its low profile. I would have used a PAR 64 but my line sets are on 9" centers and things would start knocking around in the air when the lines are run. Soooo.... I'm looking for a good, cheap, efficient luminaire that can serve the purpose described. If the fixture has an easily replaceable lamp that is also inexpensive that would be bonus. I want to replace all of the fixtures with the recommended luminaire. Thanks! David Krajec Cardinal Stritch University Host of the KCACTF Region III Festival 2007/2008 ------------------------------ Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Fri, 11 Nov 2005 11:37:51 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DE3 [at] danube.river.idm.com> From: "Steven Haworth" Cc: stagecraft [at] jeffsalzberg.com >> I took a look at the photometrics for the XWFL a good while=20 >> ago when they were first released... dont they dip very=20 >> severly in footcandles from the WFL?=20 When you go that wide, I'd expect the photometrics to drop off, but = w/very short throws I can usually live w/that. I modeled the new lens in MacLux Pro a while back, and with a 12' trim, = and a head-height of 5', they were plenty punchy - I seem to remember = the overlapping washes being 150 fc or better - for the application. And I was modeling the 575w lamps; w/the newer S4 Par models you can = lamp 'em to 750w. Or, I do have a pile of Par64s w/1k lamps when I need = a wash in L119, or even worse L181. :-) - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ From: "Aaron W. Braun" Subject: DMX over Cat5 (was: Automated Madness) Date: Fri, 11 Nov 2005 12:14:39 -0600 Message-ID: In-Reply-To: I agree with this. Use one pair for the data. If it fails, replace it with the spare pair. Doubling up could introduce issues as mentioned below. I haven't seen a standard yet for the color-code to use with Cat5 on DMX. The test information that ESTA performed on DMX over Cat5 can be found at http://www.esta.org/tsp/working_groups/CP/DMXoverCat5.htm . ETC's current version of it's plug-in stations allows for either RS-422/485 cable or Cat5 cable terminations, depending on the terminal block style that you plug into the back of the station. Without a published standard to follow, I use ETC's to connect to 5-Pin XLR's: Pin 1 (Common): Wht/Brn & Brn Pin 2 (Data 1-): Org Pin 3 (Data 1+): Wht/Org Pin 4 (Data 2-): Grn Pin 5 (Data 2+): Wht/Grn (No Connection): Wht/Blu & Blu Sincerely, Aaron Braun Ardee Design Group, LLC Nashville, TN -----Original Message----- > 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. ------------------------------ Message-Id: <3.0.6.32.20051111113651.00b80d88 [at] pop.west.cox.net> Date: Fri, 11 Nov 2005 11:36:51 From: CB Subject: cell phone uploads >does anyone know of a way to upload a song to a cell >phone to make it a ring style? That's a bit like asking if anyone knows how to make a ligthing fixture change color while panning, tilting, and then changing pattern. Some instruments do it differently than others, and some aren't designed to do it. Different phones use different types of audio, and some won't upload ringtones at all. I'd suggest contacting your service providor or the phones manufacturer. 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: FrankWood95 [at] aol.com Message-ID: <12e.69d654ef.30a64146 [at] aol.com> Date: Fri, 11 Nov 2005 13:47:34 EST Subject: Re: fire sprinkler installation In a message dated 11/11/05 15:56:42 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > Beware of the lowest bidder. > > There are only two ways that a low bid can cause problems by virtue only of > its being the low bid: > > 1. Fraud, or > > B. Poorly-written specs. There are other ways. Poorly qualified staff, substandard materials, and poor sub-contractors. To write a proper, detailed specification is not easy, and needs training. Few of us have the training or the time to do it, so we have to rely on architects or contactors to do some of it for us. If they submit drawings and proposals early enough, these can be checked and altered. Unfortunately these are often late in coming, and you have to scramble to check everything. When using specialists, over-writing the specification can be dangerous. By all means tell them what you want to be able to do, but don't tell them how to do it. Our show control desk got done the wrong way, and we now have a desk which does rather less than its predecessor did, with old-fashioned technology, at enormous expense. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 13:50:10 -0500 Message-ID: <002c01c5e6f0$c16db860$6601a8c0 [at] Dell> In-Reply-To: > To write a proper, detailed specification is=20 > not easy, and=20 > needs training. Few of us have the training or the time to do=20 > it, so we have to=20 > rely on architects or contactors to do some of it for us. Regardless of who writes it, a poorly-written spec is still a = poorly-written spec. ------------------------------ Message-Id: <3.0.6.32.20051111115852.00b80d88 [at] pop.west.cox.net> Date: Fri, 11 Nov 2005 11:58:52 From: CB Subject: ...mics on ... actors - Where? >Where is the best place to put a mic on a singer and/or actor? I'm guessing that you are referring to lav mikes. We had one sow where the actor held a dynamic cardioid handheld mic, well, in her hand, for the entirety of the show. She chose it as stylistic approach to the character (one woman experimental theatre, ala "Vagina Monologues" twenty years ago). I've never had so much to work with as a designer since. I got to block mic moves and placements for effects and dynamics. I'll list that as the best. Next best would be as close to the sound-hole as possible, without being in it, and someplace where you can't see it. The goal is gain-before-feedback while keeping the inverse square law and signal to noise in mind. As far as the most common omni lavs are concerned, proximity effect isn't an issue, so if you can get it on the upper lip (out of the breath pattern of the nostrils, of course) that would be ideal. I don't see that placement as being easily hidden however. Newer E6 mics from Countryman have a small boom that places the mic just off the breath exit axis of the actor's mouth, but I don't care for the look. My preference is in the hairline, above the ear at about the temple. If there is enough hair there to cover the mic, its about as close as one can get to the mouth. If I were to have my choice, you couldn't get an Equity card without having the sinus access and the mucosa of one nostril (thier choice) and have a good quality mic implanted. Connector access could be in a number of places, also of their choice. Certain roles would be, of course, limited by connector placement choice. As far as make-up and hair are concerned, they should be done with the actor before the mic goes on. If the actor MUST get a mic before hair or makeup (as in the case with prosthetics or wigs) the mic can go on and a cap can be put over it and removed after the other processes. Sennheiser sells such a cap, but a small bit of tape can do just as well. I like to use a brightly colored piece of tape so that everyone sees it and the actor doesn't show up on stage with the tape still in place. 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: FrankWood95 [at] aol.com Message-ID: <20b.e2165f9.30a643e5 [at] aol.com> Date: Fri, 11 Nov 2005 13:58:45 EST Subject: Re: fire sprinkler installation In a message dated 11/11/05 16:37:56 GMT Standard Time, jonares [at] hevanet.com writes: > Oh really??? Now YOU are starting to sound like Frank!! I cannot tell you > how many new/retrofit theatres I've worked on, where those that write the > checks had ANY interest in listening to the guy who had to use these > places!! They won't even let me IN the buildings they're building "for me" > right now. I have visions of a giant air duct running right down the middle > > of the stage, about 4' off the deck. But I wouldn't know, and every time I > voice my concern that things may not be happening to spec, I keep getting > patted on the head with a condescending line like, "Don't you worry your > pretty little head. is making sure > everything is being built correctly." (Of course, Mr. Construction > Coordinator, the nicest, most competent guy ever, has never been inside a > theatre.) > > I did get to spec lights and system, but when it comes to sprinklers, air > ducts, catwalk intrusions, etc, I can only hope that the theatre consultants > > are being kept more in the loop than I am. Very much sympathy! We have done two major projects in the last decade, and both have had problems. Like you, I have been forbidden to talk to contractors. Back when I was in charge of various installations for the BBC, I always tried to maintain a harmonious relationship with the end users, and they with me. They supplied the information about what they needed to be able to do, and I supplied the engineering to allow this, and issued detailed instructions about what was to be done. Frank Wood ------------------------------ Message-Id: <6.2.3.4.2.20051111120148.0219df88 [at] mail.earthlink.net> Date: Fri, 11 Nov 2005 12:02:46 -0700 From: theatre safety programs Subject: Tucson pyrotechnic performers heating up stage Interesting article jerry gorrell Tucson pyrotechnic performers heating up stage Sarah Mauet Arizona Daily Star Nov. 11, 2005 12:00 AM TUCSON - Fire dancers are not just the subjects of myths and legends They're alive and well in Tucson's pyrotechnic performance troupe Flam Chen. At a recent show, performers twirled fiery chains, sparred with flaming staffs, danced with fire fans, spun on stilts, created a ring of fire and set the stage ablaze. "I was mesmerized," Mark Donohue, said after watching his first Flam Chen performance. advertisement Artistic director Nadia Hagen, 42, started Flam Chen a decade ago after a friend who visited Bali taught her to spin poi, a chain with flames on each end. Hagen was instantly hooked on fire spinning, which was more playful than her previous performance art. "It was something I was doing because I was tired of being serious," she said. "This was really lighthearted and circus-y. A lot of what I'd done was verbal, and I was relieved to not have to think of things to say. To be able to communicate in a way that wasn't about words was actually freeing." While fire spinning does sound like something from Barnum and Bailey's, the troupe's performances touch on deeper themes. The show at Nimbus Brewing Company in October was called "Monkey King," and the costumes, characters and story were inspired by East Asian folklore. "We try to write shows without thinking about the fire so much," said performer and technical director Paul Weir. "It's almost never, 'This is a show about fire spinning.' " The most somber show the troupe does all year is for the finale of the All Souls' Procession, Tucson's annual community-wide grieving ritual. "We write a special show for the All Souls' Procession," Hagen said. "It's performed once and never again." The troupe consists of 10 core performers and a couple of crew members , but it takes on additional people for large and touring performances. Performer Randall Swindell, 18, has been spinning with Flam Chen for a year. He has performed in every Flam Chen show since he first learned to walk on stilts for last year's All Souls' Procession. "Since I started doing it, it has expanded my awareness," he said. "I've learned more in the past year than I have in the previous 17 years." Performer Kelsey Hadfield, 26, has been in Flam Chen for three years. She compared the troupe's performances to an opera without singing. "It's an amazing creative outlet," she said. "It's a show. We all take on characters." While fire spinning falls under the "don't try this at home" category, it is fairly safe, Hadfield said. She learns all the moves with unlit tools and practices over and over before trying anything lit. "I practice until I'm comfortable with something," she said. While pyrotechnic performance is still fairly new in America, it's catching on like wildfire. Flam Chen has performed around the country and in Canada, including at a festival in Montreal where it performed before a crowd of 5,000 to 10,000 each night for 12 consecutive nights. "People want to see things that are more visceral," Weir said. "They want to smell the smoke and feel the heat coming off the stage." The group's shows and fire-spinning techniques have become more elaborate over time, Hagen said. "There's a learning curve," she said. "Once someone tells you that you can do that, it's possible. It becomes easy. Twenty years from now, who knows what people will be doing." ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <146.51214f82.30a645c8 [at] aol.com> Date: Fri, 11 Nov 2005 14:06:48 EST Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In a message dated 11/11/05 17:38:18 GMT Standard Time, sjh [at] idm.com writes: > And I was modeling the 575w lamps; w/the newer S4 Par models you can lamp 'em > to 750w. Or, I do have a pile of Par64s w/1k lamps when I need a wash in > L119, or even worse L181. :-) This is purely for information, so that I might learn something. Why do you want washes in such dark blues? L119 has a transmission of 3.1%, and L181 of 0.78%. Frank Wood ------------------------------ Message-ID: <84c790f30511111110u47401c80ud16636c0bb003a96 [at] mail.gmail.com> Date: Fri, 11 Nov 2005 14:10:41 -0500 From: Shawn King Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In-Reply-To: References: Because its pretty! On 11/11/05, FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > > This is purely for information, so that I might learn something. Why do y= ou > want washes in such dark blues? L119 has a transmission of 3.1%, and L181= of > 0.78%. > > > Frank Wood > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Fri, 11 Nov 2005 14:11:05 -0500 Message-ID: <002d01c5e6f3$ad0c6800$6601a8c0 [at] Dell> In-Reply-To: > This is purely for information, so that I might learn > something. Why do you > want washes in such dark blues? L119 has a transmission of > 3.1%, and L181 of > 0.78%. Because some times dark blue, like any other color, is artistically appropriate. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <208.e131886.30a6472d [at] aol.com> Date: Fri, 11 Nov 2005 14:12:45 EST Subject: Re: fire sprinkler installation In a message dated 11/11/05 18:50:50 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > To write a proper, detailed specification is > > not easy, and > > needs training. Few of us have the training or the time to do > > it, so we have to > > rely on architects or contactors to do some of it for us. > > Regardless of who writes it, a poorly-written spec is still a poorly-written > spec. True. But where do you find someone who can write one well, and who can make a judgement on whether this has been done? And, even more difficult, to say that it has been badly done, get the author to believe it, and to have it re-drafted? Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <96.32bd340e.30a648de [at] aol.com> Date: Fri, 11 Nov 2005 14:19:58 EST Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In a message dated 11/11/05 19:11:39 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > This is purely for information, so that I might learn > > something. Why do you > > want washes in such dark blues? L119 has a transmission of > > 3.1%, and L181 of > > 0.78%. > > Because some times dark blue, like any other color, is artistically > appropriate. Now the discussion begins. Why? What makes a colour which provides virtually no illumination 'artistically appropriate'? Frank Wood ------------------------------ Message-ID: <2E3198416D5E7A4FB3FEC7E6838FE36B14E843 [at] ct11exm60.ds.mot.com> From: Wood Chip-P26398 Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 12:20:07 -0700 Ah, but the air duct across the stage at 4' would allow you to exercise your imagination (not to mention the actor's backs) for new designs. Think of it as an opportunity, not an obstacle. Chip > I have visions of a giant air duct running right down the middle > of the stage, about 4' off the deck. ------------------------------ Date: Fri, 11 Nov 2005 14:16:32 -0500 Subject: Re: Tucson pyrotechnic performers heating up stage From: Steve Larson Message-ID: In-Reply-To: So much for strike. Steve > From: theatre safety programs > Reply-To: "Stagecraft" > Date: Fri, 11 Nov 2005 12:02:46 -0700 > To: "Stagecraft" > Subject: Tucson pyrotechnic performers heating up stage " set the stage ablaze". ------------------------------ Date: Fri, 11 Nov 2005 14:18:37 -0500 Subject: Re: fire sprinkler installation From: Steve Larson Message-ID: In-Reply-To: How about 11'-6" off the deck in each 15' wide wing making the use of wagons a mere dream. Steve > From: Wood Chip-P26398 > Reply-To: "Stagecraft" > Date: Fri, 11 Nov 2005 12:20:07 -0700 > To: "Stagecraft" > Subject: Re: fire sprinkler installation > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Ah, but the air duct across the stage at 4' would allow you to exercise your > imagination (not to mention the actor's backs) for new designs. Think of it > as an opportunity, not an obstacle. > > > Chip > >> I have visions of a giant air duct running right down the middle >> of the stage, about 4' off the deck. ------------------------------ Subject: RE: The benefits and artistic relavance of L181... etc Date: Fri, 11 Nov 2005 13:50:09 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DE6 [at] danube.river.idm.com> From: "Steven Haworth" >Now the discussion begins. Why? What makes a colour which=20 >provides virtually no illumination 'artistically appropriate'? For rock concert work, a heavy wash of L181 (and yes, you need punchy = fixtures), contrasted with a few lighter colors, can make a very = dramatic stage picture. L181, in particular, creates almost a = blacklight effect. It is very dark, and you need to carefully control = the other lighting or it gets washed out, but used properly it's pretty = cool. On straight plays or musicals, I haven't yet used L181 but I've often = used the other dark blues - L119, R74, R79, R80 etc for night scenes, = usually as backlight, and usually with lighter blues or lavendars for = face and side light. It's all a matter of contrast. I can light a bright musical with nearly = 200fc on faces, yet have areas with only 100fc looking dark (and = sometimes I want them to look dark, and other times I don't). I've also = created scenes at night (and once in a cave) where you can actually have = face light as low as 30-40 fc, and very dark colors elsewhere. Done = right, the faces are still visible and still 'look' bright enough. Of course, you could never have such contrasts in video, but in live = theatre you can often pull such things off. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Subject: Wicked in Chicago Date: Fri, 11 Nov 2005 14:02:58 -0600 Message-ID: <4712A45C0680F445A48DEE8E91F9F7D602EF6E9A [at] LHEXCHANGE.hs.district128.org> From: "Warmbold, Bo" Hey all, Does anyone know anyone, or is anyone working on the "Wicked" production currently in Chicago. Saw it last night and would love to confirm some of my thoughts about "how they did that." =20 =20 Thanks, =20 =20 =20 Bo Warmbold Vernon Hills High School Productions Technician ------------------------------ Reply-To: From: "Nick Blower" Subject: RE: Crew calling software Date: Fri, 11 Nov 2005 21:53:29 -0000 Message-ID: <000001c5e70a$5b9fb690$0200a8c0 [at] silvertoe> In-reply-to: What's wrong with a big A4 diary and a pencil? Old fashioned I know but it makes it easy to schedule the calls and the numbers you need... Nick -- ______________________________________ Nick Blower (nick [at] redeggs.co.uk) -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Nelson Sent: 11 November 2005 02:03 To: Stagecraft Subject: Re: Crew calling software For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > 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 ------------------------------ In-Reply-To: References: Message-Id: <44d2b88645bdd18114e4f61e0528bb43 [at] dejazzd.com> From: Greg Bierly Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Fri, 11 Nov 2005 17:16:57 -0500 > Now the discussion begins. Why? What makes a colour which provides > virtually > no illumination 'artistically appropriate'? Question for your question: Why does Rosco/Lee/Gam etc. even include such low transmission colors in their inventory... let alone sell a lot of it I am sure. Answer: Because 99 percent of lighting designers don't light shows the way you do Frank. I think I am going to go somewhere and let my head explode now...... Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Fri, 11 Nov 2005 17:38:27 -0500 Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) From: Bruce Purdy Message-ID: In-Reply-To: > Because 99 percent of lighting designers > don't light shows the way you do Frank. > > I think I am going to go somewhere and let my head explode now...... I goota say this Greg, I was pleased to see that Frank was asking a serious question in an attempt to understand other approaches. Good form, Frank! I think Steven Haworth's reply was much more useful in this situation. Here's to an elevated level of communications on the list! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "JUSTIN DAVID BENNETT" Subject: RE: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Fri, 11 Nov 2005 16:39:24 -0600 In-reply-to: Message-ID: I really don't mean to be funny, but when you put it in front of a punchy fixture like a 2k fresnel you can achieve acceptable illumination. I personally like to use progressively more saturated colors for fronts, sides, and backs to provide modeling and depth. Fronts are unsaturated (think L202) to allow for visibility, while backs are more saturated (such as L119). This allows for a more dramatic stage picture without sacrificing visibility. A configuration such as this will usually fill in the shadows created by your front light without washing them out as an unsaturated color would. Sometimes one effect may be preferable to the other. What will be considered artistically appropriate is entirely dependant on the discretion of the artist. If there were concrete answers it would be science and not art. 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 FrankWood95 [at] aol.com Now the discussion begins. Why? What makes a colour which provides virtually no illumination 'artistically appropriate'? ------------------------------ From: "JUSTIN DAVID BENNETT" Subject: RE: ...mics on ... actors - Where? Date: Fri, 11 Nov 2005 16:54:03 -0600 In-reply-to: Message-ID: I'll pretty much second what CB said. One of the main reasons to place the mic above the neck is to ensure a consistent distance between the mic and the mouth. Below the neck mounting makes for a nightmare in level chasing. Every time the actor turns their head you must alter the level at the board to obtain a consistent level in the house. Beyond that it's a question of visibility. The forehead mount will usually require less eq to make sound good, but the ear mount is often easier to rig and swap between actors if necessary. If visibility is not a concern, the headset/boom (think Rent) option will usually get the best gain before feedback. 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 CB >Where is the best place to put a mic on a singer and/or actor? ------------------------------ Date: Fri, 11 Nov 2005 19:17:33 -0500 Subject: Re: ...mics on ... actors - Where? From: Steve Larson Message-ID: In-Reply-To: And don't forget the problems of having a mic where costumes, arms, and actors can brush or bump against it. Steve > >> Where is the best place to put a mic on a singer and/or actor? > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <213.df4bd58.30a69004 [at] aol.com> Date: Fri, 11 Nov 2005 19:23:32 EST Subject: Re: The benefits and artistic relavance of L181... etc In a message dated 11/11/05 19:51:18 GMT Standard Time, sjh [at] idm.com writes: > For rock concert work, a heavy wash of L181 (and yes, you need punchy > fixtures), contrasted with a few lighter colors, can make a very dramatic > stage picture. L181, in particular, creates almost a blacklight effect. It > is very dark, and you need to carefully control the other lighting or it gets > washed out, but used properly it's pretty cool. Useful information. I have never lit a rock concert, but I had a feeling that this was what was to be done. > > On straight plays or musicals, I haven't yet used L181 but I've often used > the other dark blues - L119, R74, R79, R80 etc for night scenes, usually as > backlight, and usually with lighter blues or lavendars for face and side > light. This all depends on the visibility you want to achieve. I agree the dark blue backlight, although not, perhaps, as dark as L119. For visibility, I like a colour called 'Daylight Blue'. I think that it's a Rosco colour, and I have only a Lee book to hand. Carefully applied, it makes good moonlight. Lavender I am less sure about. > > It's all a matter of contrast. I can light a bright musical with nearly > 200fc on faces, yet have areas with only 100fc looking dark (and sometimes I > want them to look dark, and other times I don't). I've also created scenes > at night (and once in a cave) where you can actually have face light as low > as 30-40 fc, and very dark colors elsewhere. Done right, the faces are still > visible and still 'look' bright enough. I never measure light levels, except when taking photographs. I use my judgement, informed by nearly fifty years of experience. That, after all, is what the audience will be doing. If it is a good picture, they will buy it, as will I. If it is not, I have to do more work on it. > > Of course, you could never have such contrasts in video, but in live theatre > you can often pull such things off. Oh, yes! 100:1 is fine in theatre, and you can go higher. Video systems don't like this, but the human eye is a lot more flexible than any camera and monitor yet invented. If you are after realism. If not, video allows you to adjust a lot of parameters, and this may work for some shows. I do it myself, with still photos I have scanned in or taken digitally. Playing with lift, gain, and gamma can be rewarding, if you know how to do it. Not so easy to do on the fly, though. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1c9.35aa40c8.30a69162 [at] aol.com> Date: Fri, 11 Nov 2005 19:29:22 EST Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In a message dated 11/11/05 22:18:49 GMT Standard Time, gbierly [at] dejazzd.com writes: > Question for your question: Why does Rosco/Lee/Gam etc. even include > such low transmission colors in their inventory... let alone sell a lot > of it I am sure. Answer: Because 99 percent of lighting designers > don't light shows the way you do Frank. > > I think I am going to go somewhere and let my head explode now..... Don't do that. Instead, put it in gear and tell me why. Frank Wood ------------------------------ Message-ID: <28418.69.59.200.119.1131762163.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Fri, 11 Nov 2005 18:22:43 -0800 (PST) Subject: Re: Crew calling software From: "Bill Nelson" > 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. Agreed, MS Project is far from ideal. However, it would work, even for single productions. There are probably more suitable packages available. A Google search might be productive. Bill ------------------------------ Reply-To: From: "Peter Scheu" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 21:07:08 -0600 Organization: Scheu Consulting Services, Inc Message-ID: <000001c5e736$2ef33c30$d7c111ac [at] TOSHIBA> In-Reply-To: Jeffrey E. Salzberg (among others) wrote: > > Beware of the lowest bidder. >=20 > There are only two ways that a low bid can cause problems by=20 > virtue only of its being the low bid: >=20 > 1. Fraud, or >=20 > B. Poorly-written specs. Having been directly involved in such issues for +/- 15 years now, I can opine with some confidence that the specs are not the problem. I am = willing to bet that the lighting spec didn't say "make sure the sprinklers = aren't in the way" and that the sprinkler specs didn't say "install in front of catwalk lighting instruments". Any number of things happened... If there was a consultant on the = project, they didn't make a progress visits to the site to catch such problems = early (which they even may not have been contracted to do). Even if they had, = and communicated it to the Owner or Architect, the latter took no corrective action. If the lighting supply contractor brought the condition to the attention of the GC, and the GC asked the sprinkler contractor to move = the obstruction, the sprinkler guys probably said, "Sure. For an extra = $XXXXX, to which the GC "declined". And the Owner won't approve a change order = to pay to correct the condition, because it's not their fault. Problem is, on all construction projects, s**t happens. And when it = does, it's almost impossible to track down the "guilty" party. Ultimately, = it's the GC or Architect's fault for failing to coordinate the work of = various trades, or for not enforcing contract clauses that mandated proper coordination. But you can't blame it on the "specs". Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com=20 > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20 > Of=20 > Sent: Friday, November 11, 2005 9:56 AM > To: Stagecraft > Subject: Re: fire sprinkler installation >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 >=20 ------------------------------ Subject: RE: Strange locking rails Date: Fri, 11 Nov 2005 22:18:22 -0500 Message-ID: From: "Waxler, Steve $waxlers$" Back in 1970 Tiffen had planned to install that system in the then being built theater At the University of Cincinnati. I arrived during construction and found a "sample system" on the site. After figuring out what it was I requested that the system be changed to a standard operating counterweight system. That was done and I am still using, and happy with, the system. I seem to recall that they did put that system with the "dead man" into Catholic University but went back a year or so later and removed it. The folks there found it very restricting and difficult to use. Steve Waxler=20 Technical Director=20 College Conservatory of Music=20 University of Cincinnati=20 waxlers [at] uc.edu http://www.ccm.uc.edu/tdp/=20 513 556-3709 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert Hall Sent: Thursday, November 10, 2005 7:51 AM To: Stagecraft Subject: Strange locking rails 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 ------------------------------ Subject: RE: fire sprinkler installation Date: Fri, 11 Nov 2005 22:31:28 -0500 Message-ID: From: "Waxler, Steve $waxlers$" Cc: stagecraft [at] jeffsalzberg.com Look at the installation drawings very carefully and if you do not understand some of it ask. Be on site during construction as much as you can. They will run sprinkler pipes under battens, across loading doors, through lighting positions. Try to work with the architect/contractor before hand to explain your needs. Be on the site, be on the site. Steve Waxler=20 Technical Director=20 College Conservatory of Music=20 University of Cincinnati=20 waxlers [at] uc.edu http://www.ccm.uc.edu/tdp/=20 513 556-3709 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E. Salzberg Sent: Friday, November 11, 2005 11:26 AM To: Stagecraft Subject: Re: fire sprinkler installation For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Having been on both sides of the bid process for a lot of=20 > years, I have come to realize that there is no such thing as=20 > a complete specification. You can't nail down everything, but it's not that hard to make sure your lighting positions are not occluded and that you don't get a substandard lighting console, or any of the other things that people frequently bemoan. ------------------------------ Message-ID: <012701c5e746$868b4bd0$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: fire sprinkler installation Date: Fri, 11 Nov 2005 21:03:56 -0800 Look at the installation drawings very carefully and if you do not understand some of it ask. Steve Waxler My theater design instructor tells a story of 'looking over' the multi-multi-pages of drawings for the new facility, where he worked or studied, I forget. At some point, they asked, 'What is this little circle that has no reference number and only appears on this one page?' It was a drain pipe, something like an overflow for the HVAC on the roof, that was drawn to run not quite dead center down the rear-wall/concrete-cyclorama/projection-surface. Luckily, they asked first, and made it be moved. ------------------------------ End of Stagecraft Digest #581 *****************************