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 25501218; Sun, 13 Nov 2005 03:01:41 -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 #582 Date: Sun, 13 Nov 2005 03:00:44 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-4.8 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, SARE_ADULT2 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 #582 1. Re: Crew calling software by Jason Cowperthwaite 2. Re: Strange locking rails by Delbert Hall 3. Re: Strange locking rails by Bill Sapsis 4. Re: Strange locking rails by "Jeffrey E. Salzberg" 5. Re: fire sprinkler installation by "Peter Scheu" 6. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Greg Bierly 7. Re: fire sprinkler installation by CB 8. Tucson pyrotechnic performers heating up stage by CB 9. Re: Crew calling software by Jim Hyslop 10. Lowest bidder by b Ricie 11. Re: Lowest bidder by "Jon Ares" 12. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Mick Alderson 13. Re: fire sprinkler installation by FrankWood95 [at] aol.com 14. Re: Internet access while travelling by Patrick McCreary 15. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by FrankWood95 [at] aol.com 16. Re: fire sprinkler installation by FrankWood95 [at] aol.com 17. Re: Crew calling software by FrankWood95 [at] aol.com 18. Re: Crew calling software by Jerry Durand 19. Re: Lowest bidder by FrankWood95 [at] aol.com 20. Re: Crew calling software by Jim Hyslop 21. Re: Crew calling software by Jerry Durand 22. Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) by Jim Hyslop 23. Re: Crew calling software by "Jeffrey E. Salzberg" 24. Re: DMX512 by Ford H Sellers 25. Re: Crew calling software by Andy Ciddor 26. Re: DMX512 by FrankWood95 [at] aol.com 27. Re: Lowest bidder by "Peter Scheu" 28. Re: Strange locking rails by Delbert Hall 29. Re: Lowest bidder by "Josh Ratty" 30. Re: Crew calling software by Jim Hyslop *** 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: <3eb8da960511120412y60cc6dbcicc4ac7c15f3470e8 [at] mail.gmail.com> Date: Sat, 12 Nov 2005 07:12:00 -0500 From: Jason Cowperthwaite Subject: Re: Crew calling software In-Reply-To: References:

Did a quick search of www.download.com using "schedule management" and came up w/ 118 results. Also, since people are already invoking the name Microsoft, what about bashing a quick database together with MS Access? Jason Cowperthwaite On 11/11/05, Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > 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 migh= t > be productive. > > Bill > > ------------------------------ Message-ID: Date: Sat, 12 Nov 2005 07:37:58 -0500 From: Delbert Hall Subject: Re: Strange locking rails In-Reply-To: References: Tiffin makes several type of rope locks. I have been in a many theatres that use their rope locks that have a key/lock built into each rope lock. A couple of years ago I was in a high school in Columbus, OH where the T-bar track was some type of aluminum channel that was approximately 5" wide. I seem to remember that a lot of the arbor was made of aluminum too. It has been a while now so I don't remember a lot of the details, I see so many different systems, but I remember that the arbor was very noisy in this track and it was not very smooth. There are a lot of strange counter weight systems in theatres. Even the "normal" ones can have odd rope locks, and/or varying amounts/types of steel in the locking rail frame. Too many theatres do not have loading platforms, and many of the ones that do, the platform is too high to easily load weight onto the arbour. Girdiron also vary in material and construction. One at a high school in GA where I have done several shows has the only 1" gaps between the steel channels, so it is extremely difficult to get a sling around the steel. Another theatre in GA has has only catwalks that make up the grid with large spaces (about 8' wide) between the catwalks where you cannot walk or hang blocks, unless you span these spaces with your own steel, which I have done. My point is that there is no standard when it comes to grids and counterweight systems. They all seem to be different in some respect. -Delbert ------------------------------ Date: Sat, 12 Nov 2005 08:05:43 -0500 Subject: Re: Strange locking rails From: Bill Sapsis Message-ID: In-Reply-To: With regard to older theatres I would agree with Delbert. But for theatres built after, oh, say about 1985 or so, the equipment has indeed become pretty much standard. Loft and headblocks are pretty much the same (although I'm sure the manufacturers would take umbrage with that comment), rope locks, with the exception of Tiffin equipment, are also extremely similar. The grids, in a typical flyhouse anyway, are also becoming more standard. The newer ones are all 3" channel. The lack of a grid or loading bridge, or the incorrect placement of the loading bridge, is normally the result of an economic decision or just plain stupidity. 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 11/12/05 7:37 AM, "Delbert Hall" wrote: > My point is that there is no standard when it comes to grids and > counterweight systems. They all seem to be different in some respect. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Strange locking rails Date: Sat, 12 Nov 2005 08:12:45 -0500 Message-ID: <001001c5e78a$c8c95cf0$6601a8c0 [at] Dell> In-Reply-To: > The lack > of a grid or loading bridge, or the incorrect placement of > the loading bridge, is normally the result of an economic > decision or just plain stupidity. ...Or an economic decision based on plain stupidity. ------------------------------ Reply-To: From: "Peter Scheu" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: fire sprinkler installation Date: Sat, 12 Nov 2005 07:21:55 -0600 Organization: Scheu Consulting Services, Inc Message-ID: <001201c5e78c$102b7b90$d7c111ac [at] TOSHIBA> In-reply-to: <000101c5e765$c956cfb0$6601a8c0 [at] Dell> Jeffery, As you probably know, construction contract documents are provided in = two forms - plans (drawings) and written specifications (text only "specs"). = So every project has "plans and specs". It is a very rare instance that the written specs say anything about exactly where something like sprinkler lines are to be exactly installed. In most sprinkler drawings, the branch lines are usually shown in plan = view with no specific elevation shown, except that head locations and = elevations must meet the local code requirements and any coverage requirements of = the type of head mandated. The actual installation drawings (shop drawings) would be provided by the fire protection/plumbing contractor who = presumably is licensed and certified to design and install the sprinklers per code = (not per "specs"). Assuming that the sprinklers were installed per those = legally mandated requirements, the failure was in coordination, not the "specs". If the original contract drawings for each discipline (electrical, HVAC, architectural, fire protection, and theatre equipment, etc.) were not properly coordinated, or if the building designers were ignorant of what = the requirements for each are, that's the architect's fault. If the shop drawings and work of the various trades were not properly coordinated in = the field, that's the fault of the GC or their subcontractors, but not the "specs" per se. Semantics (and a fine distinction at that), I grant you, but language is important. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com=20 > -----Original Message----- > From: Jeffrey E. Salzberg [mailto:stagecraft [at] jeffsalzberg.com]=20 > Sent: Saturday, November 12, 2005 2:48 AM > To: peter [at] scheuconsulting.com > Subject: RE: fire sprinkler installation >=20 >=20 > =20 > > Having been directly involved in such issues for +/- 15 years > > now, I can opine with some confidence that the specs are not=20 > > the problem. I am willing to bet that the lighting spec=20 > > didn't say "make sure the sprinklers aren't in the way" and=20 > > that the sprinkler specs didn't say "install in front of=20 > > catwalk lighting instruments". >=20 > No, but somewhere there were drawings that showed where those=20 > sprinklers were going to be. The drawings are part of the spec. >=20 > ...And if there were no such drawings, well, that's part of=20 > the spec, too. >=20 > ....And if there had been drawings that showed the sprinklers=20 > being in a different, not-harmful, location, *that* would=20 > have been part of the spec. >=20 > ...So the spec was bad. >=20 >=20 ------------------------------ In-Reply-To: References: Message-Id: <6f365071696b5638e58f7a7bd4957994 [at] dejazzd.com> From: Greg Bierly Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) Date: Sat, 12 Nov 2005 08:33:58 -0500 > 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. I apologize. It was a rough day yesterday and I read the question way to quickly and was too fired up already. After reading your original post Frank I realized I skipped right over your first sentence and jump all over you, Sorry. In answer to your original question there are instances you want a very vibrant and rich hue that you can only get from a highly saturated gel. I find using a L119 with a L106 or R27 really compliment each other in a decorative setting when dressing up a plain black backdrop for a music program. Mid size concerts ie. rock,country,jazz tend to not carry scenery and projection and don't have many requirements for the hall beyond "make it look good." After running lights for the 6th show of the week the black curtain behind the performers can get very dull so a few breakups or beams grazing the curtain in saturated colors can really help accentuate the mood of a song. Lee 181 Congo Blue is a NEAR UV effect that still allows you to fade the effect without the use of expensive dowsers. The rich violet allows for high contrast effects with other saturated colors such as ambers or greens (R22 is one of my favorites) while still washing the entire stage with just enough light for the audience to see. Fading to deep blue between songs allows a stage to be lit with enough lighting for musicians to see to get set up for the next song without drawing the audiences attention to them while they prep their instruments and paraphernalia. In the above concert examples the solo performers or lead would be lit in a pale or no color followspot or special thus the strong saturation is not objectionable since the brightness of the spot/special directs the attention of the audience to the performer featured. This effect used judiciously can be very striking and dramatic. I believe others have already expressed some of the major uses of such strong colors in theatre but I'll stress the very common practice I have seen using deep blues to represent "night" in scenes. I also find very saturated colors as a back or high side can bring a performer out from certain colors of scenery in a subtle fashion in scenes were you don't want a very bright look. I apologize to everyone, Frank included, for my snide and half formed remarks in yesterdays post. Thank you Bruce for bringing me to my senses and I should learn that it never pays to come off half cocked.... Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <3.0.6.32.20051112065755.00b73b90 [at] pop.west.cox.net> Date: Sat, 12 Nov 2005 06:57:55 From: CB Subject: Re: fire sprinkler installation >They won't even let me IN the buildings they're building "for me" > 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.) They're either not very bright or criminally involved. Search the archives, there are far too many stories about the resulting theatres of the situation you describe. none of them will tell you that its any cheaper to change things once the subs are done with it, and very few of them have happy endings. Show them this and all the other e-mails. Show them the e-mails that will inevitably result from your posting. Let them know that every mistake made in construction now will be paid for at almost every show, and then show them how many shows you do. Anyone that says that the user shouldn't be involved in the constructions phase is an idiot or taking graft. Period. If things don't change, quit. It isn't going to be worth the headache. Go find a pace to work where they listen to you, and that has been built by people who aren't stupid and/or crooked. 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: <3.0.6.32.20051112070545.00b73b90 [at] pop.west.cox.net> Date: Sat, 12 Nov 2005 07:05:45 From: CB Subject: Tucson pyrotechnic performers heating up stage >Tucson pyrotechnic performers heating up stage Yup, its good that they're finally getting the recognition they deserve. They also do a lot to get kids interested in the arts. I have two friends that have kids woring with the FC guys, one is about eleven, and goes to practice with them right after her trapeze classes! 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: <437607E5.4030604 [at] dreampossible.ca> Date: Sat, 12 Nov 2005 10:19:01 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Crew calling software References: In-Reply-To: Nick Blower wrote: > 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... Heh, in this day and age of technology, we sometimes forget that the best solutions can still be the low-tech ones. I guess it depends on how much you have to manage - if it's a single venue with not very many shows, pencil and paper probably would work. On the other hand, if there are multiple venues, and many dozens of crew members to manage, pencil and paper may not be sufficient. -- Jim Hyslop ------------------------------ Message-ID: <20051112173647.68510.qmail [at] web50611.mail.yahoo.com> Date: Sat, 12 Nov 2005 09:36:47 -0800 (PST) From: b Ricie Subject: Lowest bidder In-Reply-To: It must be fraud. How many times have we seen job openings that requiring skill sets that would have cost bundles to get yet the pay scale is barley enough to live on? I recently lost a job to an ex student of mine. Why? because the college was not willing to pay me what I was worth. (their words, not mine.) Instead, they hired him at a rate less then he was already making. The offer of benefits was what won him over. (I always thought benefits were just that, benefits, not salary compensation.)Now, "He" calls a number of times a week for guidance, advice, or just to rant. Why is he there? Because he was the lowest bidder. I feel it is my duty as an ex instructor to support him, so I will. Was he the right person for the job? Probably not. Again I say beware 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 ------------------------------ Message-ID: <001701c5e7b5$6a21bd20$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Lowest bidder Date: Sat, 12 Nov 2005 10:17:59 -0800 > How many times have we seen job > openings that requiring skill sets that would have > cost bundles to get yet the pay scale is barley enough > to live on? There have been jobs/gigs I wish they'd paid me in barley - and hops, too. - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <43763250.7040006 [at] uwosh.edu> Date: Sat, 12 Nov 2005 12:20:00 -0600 From: Mick Alderson Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) > > On 11/11/05, FrankWood95 [at] aol.com wrote: > >> 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%. >>> I like Shawn Kings answer: > > Because its pretty! Sometimes "pretty" is all the reason you need! We're trying to make art here, aren't we? So aesthetics are part of the goal. If you like deep blue, then it's right. As everybodys' tastes are different, so each production team's solution is going to be different, and just as valid as any other as long as they like it and it doesn't confuse the audience TOO much! ;-) Communication is also the goal. If reality were all we were after, then for moonlight we would all be using "no-color" for a "moonlight" key, and NO fill light for the other angles. The Moon, after all is pale grey in a black sky (light pollution aside). The light the Moon reflects is exactly the same color as sunlight, only dimmer. Lee 209 is a lot closer to "reality" than is a Rosco 65 or 57, but I doubt the audience would get it. They believe moonlight is blue, or lavender, or some other cool color, and that the night sky is dark blue. So pale blue "moonlight" and a deep blue wash may communicate better than giving the audience what really IS. -- Mick Alderson TD, Fredric March Theatre University of Wis. Oshkosh ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f8.16d02321.30a78d6a [at] aol.com> Date: Sat, 12 Nov 2005 13:24:42 EST Subject: Re: fire sprinkler installation In a message dated 12/11/05 03:08:04 GMT Standard Time, peter [at] scheuconsulting.com writes: > 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". You can to some extent. I know how hard it is to write a specification properly, particularly on a subject away from my field. It's nearly as hard to check one. In the case in point, though, one little clause ought to have served. "No part of the installation shall interfere with the normal use of the theatre." That should transfer the responsibility squarely to the sprinkler installers. They would have to find out about the way the premises are used. They would probably make a draft proposal, and have a site meeting with the department involved, with a record made and agreed. When we had some substantial works carried out some years ago, we appointerd a 'Clerk of Works' of our own. He was on site every working day, and his duties were to keep an eye on everything that was going on, and to see that it was done right. By and large, he did a good job, and is now the Theatre Engineer, responsible for evrything from the drains to the heating plant. In his spare time (we are an amateur house) he builds sets and props. Frank Wood ------------------------------ Date: Sat, 12 Nov 2005 13:36:39 -0500 From: Patrick McCreary Subject: Re: Internet access while travelling In-reply-to: Message-id: <5.2.1.1.1.20051112133509.01ea1500 [at] incoming.verizon.net> References:

I'm posting this job description as cut-and-pasted from our Department= Chair: Faculty Openings ANTICIPATED TEMPORARY POSITION IN THEATER The Position: The Theater and Dance Department at Indiana University of=20 Pennsylvania invites applications for a non-tenure track temporary =BE=20 part-time position for Spring 2006. The position would involve teaching=20 three courses: beginning acting, stage voice and introduction to=20 theater. Salary and rank (at either Instructor or Assistant Professor=20 level) would be dependent upon applicant credentials. Qualifications: Applicants should have a minimum of a M. A. in Theater=20 with significant professional or teaching experience or an M.F.A. in Acting= =20 or Directing (preferred) with relevant teaching experience. How to Apply: Send cover letter, curriculum vita, a short summary of=20 teaching philosophy, and a list of three references to Ed Simpson, Theater= =20 and Dance Department, Indiana University of Pennsylvania, 401 S. 11th=20 Street, Indiana, Pa, 15705 (Email: esimpson [at] iup.edu). Position open until= =20 filled. IUP is a member of the Pennsylvania State System of Higher Education and is= =20 an Affirmative Action/Equal Opportunity Employer. The Department of=20 Theater and Dance is a fully accredited member of the National Association= =20 of Schools of Theater. G. Patrick McCreary Ass't. Professor - Technical Director Department of Theater and Dance Indiana University of Pennsylvania Indiana, PA 15701 (Office) 724-357-2644 (Home) 724-349-4309 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <190.4cf6940a.30a791ff [at] aol.com> Date: Sat, 12 Nov 2005 13:44:15 EST Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) In a message dated 12/11/05 13:36:00 GMT Standard Time, gbierly [at] dejazzd.com writes: > I believe others have already expressed some of the major uses of such > strong colors in theatre but I'll stress the very common practice I > have seen using deep blues to represent "night" in scenes. I also find > very saturated colors as a back or high side can bring a performer out > from certain colors of scenery in a subtle fashion in scenes were you > don't want a very bright look. This can work well, although, in straight plays, the audince has a weakness for seeing the actors' faces in something like their natural colours. But certainly a strong dark blue top or back light is very effective on very dark skins. Another trick I have used, for nightmares or magic scenes, has been to cross light in complementary colours. Magenta / green: cyan / red: yellow / blue. These combinations mix to white on the set, but give an unreal appearance to the actors. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12d.684ea6db.30a79581 [at] aol.com> Date: Sat, 12 Nov 2005 13:59:13 EST Subject: Re: fire sprinkler installation In a message dated 12/11/05 13:58:25 GMT Standard Time, psyd [at] cox.net writes: > They're either not very bright or criminally involved. Search the > archives, there are far too many stories about the resulting theatres of > the situation you describe. none of them will tell you that its any cheaper > to change things once the subs are done with it, and very few of them have > happy endings. Show them this and all the other e-mails. Show them the > e-mails that will inevitably result from your posting. Let them know that > every mistake made in construction now will be paid for at almost every > show, and then show them how many shows you do. Anyone that says that the > user shouldn't be involved in the constructions phase is an idiot or taking > graft. Period. I agree with this, except about the crookedness. Perhaps it is more common where you are. But many people who undertake such work cannot tell their coccyx from their humerus. On an ordinary building site, they may be reasonably capable. But, in doing work in a theatre, they are completely out of their depth. A real Theatre Consultant is the right way to go. This is usually an expensive answer. But then, so is remedial work. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <147.5214e854.30a79665 [at] aol.com> Date: Sat, 12 Nov 2005 14:03:01 EST Subject: Re: Crew calling software In a message dated 12/11/05 15:19:55 GMT Standard Time, jhyslop [at] dreampossible.ca writes: > Heh, in this day and age of technology, we sometimes forget that the > best solutions can still be the low-tech ones. Right on. My address book is an A6 indexed book. Slightly tedious, but completely proof against hackers. Frank Wood ------------------------------ Message-Id: <6.2.3.4.0.20051112110619.029a7220 [at] 192.168.0.13> Date: Sat, 12 Nov 2005 11:07:18 -0800 From: Jerry Durand Subject: Re: Crew calling software In-Reply-To: References: At 11:03 AM 11/12/2005, Frank Wood wrote: >Right on. My address book is an A6 indexed book. Slightly tedious, but >completely proof against hackers. Backups? Is it spilled-[drink of choice] proof? -- 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: <13d.205267de.30a79964 [at] aol.com> Date: Sat, 12 Nov 2005 14:15:48 EST Subject: Re: Lowest bidder In a message dated 12/11/05 17:37:30 GMT Standard Time, b_ricie [at] yahoo.com writes: > It must be fraud. How many times have we seen job > openings that requiring skill sets that would have > cost bundles to get yet the pay scale is barley enough > to live on? I recently lost a job to an ex student of > mine. Why? because the college was not willing to pay > me what I was worth. (their words, not mine.) Instead, > they hired him at a rate less then he was already > making. The offer of benefits was what won him over. > (I always thought benefits were just that, benefits, > not salary compensation.)Now, "He" calls a number of > times a week for guidance, advice, or just to rant. > Why is he there? Because he was the lowest bidder. I > feel it is my duty as an ex instructor to support him, > so I will. Was he the right person for the job? > Probably not. Again I say beware the lowest bidder. And so do I. I have stood where you stand, and seen former pupils promoted over my head. I still remember the day when he came into my office and told me that I was no longer allowed to smoke. Having a psychological advantage, I told him to go away, and he did. Frank Wood ------------------------------ Message-ID: <437657B7.3040606 [at] dreampossible.ca> Date: Sat, 12 Nov 2005 15:59:35 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Crew calling software References:

In-Reply-To: Jerry Durand wrote: > At 11:03 AM 11/12/2005, Frank Wood wrote: > >> Right on. My address book is an A6 indexed book. Slightly tedious, but >> completely proof against hackers. > > > Backups? Is it spilled-[drink of choice] proof? We had a saying at college: no piece of theatre paperwork is official until it has the "coffee-ring" stamp of approval on it :=) -- Jim Hyslop ------------------------------ In-Reply-To: References:

Message-Id: <1CD19022-A116-41C1-85F3-66CDE86702E4 [at] interstellar.com> From: Jerry Durand Subject: Re: Crew calling software Date: Sat, 12 Nov 2005 13:08:10 -0800 On Nov 12, 2005, at 12:59 PM, Jim Hyslop wrote: > We had a saying at college: no piece of theatre paperwork is official > until it has the "coffee-ring" stamp of approval on it :=) Need to get coffee cups with the theatre's crest in relief on the bottom of the cup. That way the rings really ARE a stamp. :) ------------------------------ Message-ID: <43765B08.5090806 [at] dreampossible.ca> Date: Sat, 12 Nov 2005 16:13:44 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: XWFL option for Sc4 Pars (Was Downlight wash fixtures) References: In-Reply-To: FrankWood95 [at] aol.com wrote: > Another trick I have used, for nightmares or magic scenes, has been to cross > light in complementary colours. Magenta / green: cyan / red: yellow / blue. > These combinations mix to white on the set, but give an unreal appearance to > the actors. I used a similar technique when lighting "Little Shop of Horrors" once. I had three sets of Fresnels, with deep primary colours in them. For the most part, I used them to enhance the general mood established by the main lights (which were less saturated). At the climax of the show, where the plant is going wild, I used just the Fresnels for the primary lighting source. The colours were balanced to white (or reasonably close to white - if you've tried to mix white using primaries, you know how difficult that can be), so the actors' skin tones looked normal, but all the shadows had rich, saturated colours in them. Very effective. -- Jim Hyslop ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Crew calling software Date: Sat, 12 Nov 2005 16:47:12 -0500 Message-ID: <003e01c5e7d2$a713faa0$6601a8c0 [at] Dell> In-Reply-To: > > We had a saying at college: no piece of theatre paperwork > is official > > until it has the "coffee-ring" stamp of approval on it :=) > > Need to get coffee cups with the theatre's crest in relief on the > bottom of the cup. That way the rings really ARE a stamp. OK, you guys have inspired me. I've added a coffee cup ring to my library of stage lighting fixtures (available free at http://www.jeffsalzberg.com/articles.htm). ------------------------------ Message-Id: <6.2.3.4.2.20051112165809.1004f660 [at] postoffice8.mail.cornell.edu> Date: Sat, 12 Nov 2005 17:08:42 -0500 From: Ford H Sellers Subject: Re: DMX512 In-Reply-To: References: At 06:01 AM 11/11/2005, you wrote: >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!" How About this: Sound Cable isn't the same spec as "Data Cable". In fact over extreme lengths (over 1000') the higher resistance cable will deform your wave. Dmx is transmitted as a square wave (ie on or off). Over great lengths the greater resistance cable can (and does) make the waveform curve. For a great explanation of this take a look at Rich Cadena's book: Focus on Lighting Technology. You might also find it on-line in the PLSN "focus on technology" archive at: http://plsn.net/eve/ubb.x?a=frm&s=432102841&f=747108291 . -ford ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Message-Id: <4.3.2.7.2.20051113095542.04594c78 [at] pop3.kilowatt.com.au> Date: Sun, 13 Nov 2005 09:58:19 +1100 From: Andy Ciddor Subject: Re: Crew calling software In-Reply-To: References: At 08:47 13.11.2005, Jeffrey E. Salzberg wrote: >OK, you guys have inspired me. I've added a coffee cup ring to my library >of stage lighting fixtures (available free at >http://www.jeffsalzberg.com/articles.htm). The coffee cup ring was the first AutoCAD block that my students ever produced when I introduced CAD classes in 1988 :-) Andy ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a1.4107618e.30a7d4c6 [at] aol.com> Date: Sat, 12 Nov 2005 18:29:10 EST Subject: Re: DMX512 In a message dated 12/11/05 22:09:11 GMT Standard Time, fhs4 [at] cornell.edu writes: > How About this: > Sound Cable isn't the same spec as "Data Cable". In fact over > extreme lengths (over 1000') the higher resistance cable will deform > your wave. Dmx is transmitted as a square wave (ie on or off). Over > great lengths the greater resistance cable can (and does) make the > waveform curve. For a great explanation of this take a look at Rich > Cadena's book: Focus on Lighting Technology. Nice idea, but wrong. DMX transmitters and recievers are designed to wirk with 120 ohm cables, The transmitter expects to see that impedance, from a properly terminated cable. This is because it is a high frequency signal. TV systems are even more tetchy. You may be able to get away with mic cables, but don't be surprised if you have problems. Misterminations are the main source of these. Frank Wood ------------------------------ Reply-To: From: "Peter Scheu" Subject: RE: Lowest bidder Date: Sat, 12 Nov 2005 20:04:03 -0500 Organization: Scheu Consulting Services, Inc Message-ID: <000101c5e7ee$2641b400$d7c111ac [at] TOSHIBA> In-Reply-To: b Ricie wrote: >Again I say beware the lowest bidder. Well, not always... If the low bidder is JR Clancy, ETC, SECOA, or some other major "brand name", one has much less to fear. What you really have to watch out for is the spread between the low guy = and the next-to-low guy, and the rest of the pack. If numbers from bidders = 1, 2, and 3 are only 10% apart and bidder #4 is 50% lower, THEN it's time to really start worrying and try to get then thrown out. They obviously = don't know what they're doing, or they left something out. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com=20 ------------------------------ Message-ID: Date: Sat, 12 Nov 2005 21:00:45 -0500 From: Delbert Hall Cc: stagecraft [at] jeffsalzberg.com Subject: Re: Strange locking rails In-Reply-To: References:

Stupidity is in no short supply when it comes to architects designing bad theatres. I am working in a high school auditorium (proscenium theatre) this weekend where the stage house is only about 22 feet high (with a pipe grid at 16' above the stage), but the house is around 45 feet tall (there is no balcony and the orchectra is very flat) where most of this space is above the suspended ceiling. Had the architect made the stage house as tall as the house, they could have had a counterweight system, but as it is, everything over the stage has to be dead hung while there is a huge amount of waisted space over the house. The theatre is only five years old. -Delbert On 11/12/05, Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > > The lack > > of a grid or loading bridge, or the incorrect placement of > > the loading bridge, is normally the result of an economic > > decision or just plain stupidity. > > ...Or an economic decision based on plain stupidity. > > > -- Delbert L. Hall ZFX Flying Director Phone: 714-585-7070 ------------------------------ Date: Sat, 12 Nov 2005 22:26:09 -0500 From: "Josh Ratty" Subject: RE: Lowest bidder In-reply-to: Cc: peter [at] scheuconsulting.com Message-id: <009e01c5e801$fe08fb60$0201000a [at] Rattys> The MBTA in Boston recently re-signed KONE for their elevator and escalator contract after a miserable 5 years of performance. It turns out they also underbid some competitors by as much as 50%. I can't wait to see the kind of work they do this time around. Commuter beware. Josh Ratty -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Peter Scheu Sent: Saturday, November 12, 2005 8:04 PM To: Stagecraft Subject: Re: Lowest bidder For info, archives & UNSUBSCRIBE, see --------------------------------------------------- b Ricie wrote: >Again I say beware the lowest bidder. Well, not always... If the low bidder is JR Clancy, ETC, SECOA, or some other major "brand name", one has much less to fear. What you really have to watch out for is the spread between the low guy and the next-to-low guy, and the rest of the pack. If numbers from bidders 1, 2, and 3 are only 10% apart and bidder #4 is 50% lower, THEN it's time to really start worrying and try to get then thrown out. They obviously don't know what they're doing, or they left something out. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com ------------------------------ Message-ID: <4376C190.1060407 [at] dreampossible.ca> Date: Sat, 12 Nov 2005 23:31:12 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: Crew calling software References: In-Reply-To: Jeffrey E. Salzberg wrote: > OK, you guys have inspired me. I've added a coffee cup ring to my library > of stage lighting fixtures (available free at > http://www.jeffsalzberg.com/articles.htm). ROFL! -- Jim Hyslop ------------------------------ End of Stagecraft Digest #582 *****************************