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Subject: Stagecraft Digest #584
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #584

 1. Re: fire sprinkler installation
    by "Bill Conner" <bill-conner [at] att.net>
 2. lowest bidder
    by b Ricie <b_ricie [at] yahoo.com>
 3. Re: Fake Stone
    by "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>
 4. T.M.Millie in Pueblo, CO
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
 5. Re: lowest bidder
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
 6. Re: fire sprinkler installation
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
 7. Saturated colors - example photos (was XWFL downlights)
    by "Steven Haworth" <sjh [at] idm.com>
 8. Re: fire sprinkler installation
    by "Jon Ares" <jonares [at] hevanet.com>
 9. Re: Saturated colors - example photos (was XWFL downlights)
    by "Steven Haworth" <sjh [at] idm.com>
10. Re: Downlight wash fixtures  (was Preventing color burn out)
    by "Jon Ares" <jonares [at] hevanet.com>
11. Re: fire sprinkler installation
    by Stephen Litterst <slitterst [at] ithaca.edu>
12. Over the Hill
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
13. Re: DMX512
    by Ford H Sellers <fhs4 [at] cornell.edu>
14. clown foam?
    by Joseph Lott <stagecraft [at] healylott.com>
15. Re: clown foam?
    by IAEG [at] aol.com
16. Temporary Faculty; Bellingham, WA
    by "Lon Butcher" <Lon.Butcher [at] wwu.edu>
17. Re: Over the Hill
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
18. Martin or High End
    by Ken Zinkl <kzinkl [at] sbcglobal.net>
19. Re: Preventing color burn out
    by Ron Cargile <rcargile [at] uci.edu>
20. Re: Strange locking rails
    by FrankWood95 [at] aol.com
21. Re: Preventing color burn out
    by FrankWood95 [at] aol.com
22. Re: Downlight wash fixtures  (was Preventing color burn out)
    by FrankWood95 [at] aol.com
23. Re: Saturated colors - example photos (was XWFL downlights)
    by FrankWood95 [at] aol.com
24. Re: DMX512
    by FrankWood95 [at] aol.com
25. Re: Preventing color burn out
    by "Laura McMeley" <LMcMeley [at] msn.com>
26. Re: Preventing color burn out
    by "Laura McMeley" <LMcMeley [at] msn.com>
27. Re: DMX512
    by Bill Sapsis <bill [at] sapsis-rigging.com>
28. CAT6 Cable
    by "Donald A Rowe" <TechDir [at] comcast.net>
29. finish on muslin stained glass
    by "Ian Paul Guzzone" <Guzzone [at] Oswego.EDU>
30. Re: finish on muslin stained glass
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
31. Re: CAT6 Cable
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
32. Re: Martin or High End
    by rwhitco [at] comcast.net
33. Re: DMX512
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>

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

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

Message-ID: <001a01c5e915$704b5f60$6401a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: fire sprinkler installation
Date: Mon, 14 Nov 2005 06:17:52 -0600

Kristi posts:  "We've certainly talked about a lot of places  where things 
are messed up...
what are some venues where "they" did it  right?"

There are quite a few and many more where most users wouldn't complain much. 
I get more sensitive thinking that a gridiron should be perfectly clear so 
you can hang a set anywhere and obstructing a 8-10" zone for a roof drain or 
sprinklers over 35' is maddening - especially when I was successful in 
getting holes fabricated in the beams.

Recent project I determined roof height based on mechanical engineers 
agreeing to a wide, shallow duct.  Job went design build in next phase and 
the contractor changed the duct.  Now, for a short section of 6 very long 
catwalks one has to nearly crawl.  User says not a big deal (he had no 
catwalks before!) and Owner won't pay to change it, especially because it 
would delay opening.

As much as anything I dislike being the bad guy that comes to the site and 
sees that something has to be torn out and done again - and towards or at 
the end of the job usually.  Especially irritating when I have repeatedly 
asked for an opportunity to review submittal drawings for sprinklers and 
ducts and the like and someone else in the system decides to not send me a 
copy.

I have seen some - usually consultantless - where it seems whoever designed 
it was clueless.  The misaligned loading bridge is of course a major safety 
issue and occluded catwalks (where the architect's ceiling won) are not 
rare.

I will say that getting the design team on a tour early on with several good 
examples is probably the best means for avoidance.  Clear the floor and let 
them load a weight or focus a light across the room and upstage.  Very well 
spent time.

Did you really want a list?

Bill


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

Message-ID: <20051114135407.57958.qmail [at] web50602.mail.yahoo.com>
Date: Mon, 14 Nov 2005 05:54:07 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: lowest bidder
In-Reply-To: <list-25519331 [at] prxy.net>


>>You're either part of the problem, or part of the
>>solution.  Don't get 
>>me
>>wrong, I might be doing the same thing in your
>>shoes, but with the 
>>benefit
>>of being able to stand back and look at it from >>an
uninvolved position, 
>>it
>>looks as if you need to let the kid dangle.

 Chris,
You are probably right. He is an honest, hard working
kid and I hate to see him or anyone suffer. That is
only part one of the problem. Part two is I still use
the venue. I came through a few weeks ago with an
Opera and had to nip a few problems in the bud before
we arrived. The paradox I found myself in was one of
no way out. I, in recent past, have been employed by
the venue, the local Opera presenter, and the Opera
producer himself. I may not be quite right , but my
gut tells me that if the problems were not corrected
blame would have fallen on me. In that situation I
find the lines of problem vs solution very convoluted.
I suppose it was indeed self preservation that made me
act that week. He is new to this kinda work, and I am
letting the leash get longer and longer. Thanks for
telling me what I needed to hear.


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: <200511141522.jAEFMHxg062956 [at] oz.plymouth.edu>
From: "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>
Subject: RE: Fake Stone
Date: Mon, 14 Nov 2005 10:22:15 -0500
Organization: Plymouth State University
In-Reply-To: <list-25462155 [at] prxy.net>



Thanks for the excellent suggestions, 

We're building a stone chimney. I'm game for trying a few different options
of course but leaning toward the more flame resistant options for our Black
box space.


We are always trying to strike a balance with our fire chief, his preference
would be no scenery at all

Thanks again,

Bob


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve
Larson
Sent: Thursday, November 10, 2005 10:40 PM
To: Stagecraft
Subject: Re: Fake Stone

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

If there are mobile homes in your area, go to a
dealer who sells accessories.  They make skirting
for mobile homes that looks like stone.  Just
paint them for a more realistic look.

Steve



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

Subject: T.M.Millie in Pueblo, CO
Date: Mon, 14 Nov 2005 07:22:13 -0800
Message-ID: <555928311F8B2943B65FC7197942C3B70538C0A4 [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>

Any listers working Thoroughly Modern Millie this week in Pueblo?
They did a one-off here in Bellingham, WA yesterday - fun show, great =
crew, but piercingly, painfully LOUD.  I was on followspot for the =
performance and during the first act I had to have a number of cues =
repeated for me - I finally resorted to ripping a corner off a grody old =
towel hanging from a nearby drainpipe and jamming it in my non-muff ear =
until intermission, when I could retrieve my real earplugs from my gig =
bag.

Also, if you're a carp, try to get a look at the mechanism for =
deploying/retracting the stairs on the wagon units - low tech and very, =
very cool.

Cheers,
-- r.

Randy Storms
rstorms [at] bham.wednet.edu

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

Subject: RE: lowest bidder
Date: Mon, 14 Nov 2005 10:58:20 -0500
Message-ID: <3CF87682970858499CA56707FB1F092B902986 [at] wscc-s-003000.westshore.edu>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>



There are many of us in the same boat.  I am classified by the college
as the "theater technician."  Now, in most colleges I am familiar with,
if you design (or oversee student designers) scenery and lighting for
4-5 shows, tech direct those shows, co-ordinate use of the space by the
Music and other programs, teach a course every semester, provide tech
support and stage management for 15 visiting artists (all of that is in
the job description), you would be called the Tech Director.  Now, why
didn't they give me the title?  Easy.  If they did, they would have to
pay me (by board policy) an amount equivalent to what other small
college Tech Directors are paid.  Which is (I have checked) 50% more
than what I am paid here.

Sorry for the rant.  Now, I need to figure out a way to teach theater
organization in my class without letting the second assistant stage
managers realize that "technically" they are my boss.

On the other hand, if any of you could use an over-the-hill (52 year
old) TD who can design sets and lights for a small stage, also has an
MBA and teaches Econ, drop me a line.... =20

Tom Davis

>>You're either part of the problem, or part of the
>>solution.  Don't get=20
>>me
>>wrong, I might be doing the same thing in your
>>shoes, but with the=20
>>benefit
>>of being able to stand back and look at it from >>an
uninvolved position,=20
>>it
>>looks as if you need to let the kid dangle.

 Chris,
You are probably right. He is an honest, hard working
kid and I hate to see him or anyone suffer. That is
only part one of the problem. Part two is I still use
the venue. I came through a few weeks ago with an
Opera and had to nip a few problems in the bud before
we arrived. The paradox I found myself in was one of
no way out. I, in recent past, have been employed by
the venue, the local Opera presenter, and the Opera
producer himself. I may not be quite right , but my
gut tells me that if the problems were not corrected
blame would have fallen on me. In that situation I
find the lines of problem vs solution very convoluted.
I suppose it was indeed self preservation that made me
act that week. He is new to this kinda work, and I am
letting the leash get longer and longer. Thanks for
telling me what I needed to hear.


Brian Rice=20
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the=20
light."


=09
	=09
__________________________________=20
Yahoo! Mail - PC Magazine Editors' Choice 2005=20
http://mail.yahoo.com

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

Date: Mon, 14 Nov 2005 11:12:16 -0500
Subject: Re: fire sprinkler installation
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BF9E2190.B2AB%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25520462 [at] prxy.net>

> Recent project I determined roof height based on mechanical engineers
> agreeing to a wide, shallow duct.  Job went design build in next phase and
> the contractor changed the duct.  Now, for a short section of 6 very long
> catwalks one has to nearly crawl.

    This kind of lunacy really bugs me. You'd think that at least the guy
installing the duct would say "Whoa, something's wrong here - I'm blocking
off this catwalk!" and check with his boss.

    I'm curious as to whether the catwalks and light hanging pipes are
installed before or after the ducts and sprinkler pipes?

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Subject: Saturated colors - example photos (was XWFL downlights)
Date: Mon, 14 Nov 2005 10:16:07 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DEC [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

Perhaps some examples would be useful.

Here's a shot from a show I lit some years ago:
	http://www.stagelights.info/picts/garden/dogs/garden0503-03.jpg
This has a wash of R74 (dark blue) and R23 (orange) on the back wall, =
R367 (light blue) for top light, and R55 (lavendar) for face light.  I =
was also experimenting with a little R50 (mauve, sort of rosy) at the =
bottom of the back wall. As you can probably see, the R55 looks 'white' =
in this use, and reads as white to the audience.  Actually, it's a lot =
cooler than white, and going w/o gel would've looked too warm for the =
look I was after.

Here's another shot from the show:
	http://www.stagelights.info/picts/garden/dogs/garden0503-04.jpg
this time highlighting only two of the guys, a touch darker overall, and =
a touch of G455 (dusty amber) from SL.


And one more shot:
	http://www.stagelights.info/picts/pp/PP-06.jpg
This one again used pale lavendar for face light (R54), and a =
greeny/blue (R70) for moonlight (from SL side).  There as some R74 (dark =
blue) in the back light.  The rest of the colors were from automated =
lights (HighEnd StudioColors 575) - including more dark blue backlight =
and a strong pale-lavendar key light from SL side.  The main actor's =
face is somewhat shadowed here, but that's exactly the effect I was =
after.

You can see the full light plot, and the colors & positions I used, =
here:
	http://www.stagelights.info/picts/pp/PP_Plot.jpg

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


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

Message-ID: <000d01c5e936$b9078230$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25523660 [at] prxy.net>
Subject: Re: fire sprinkler installation
Date: Mon, 14 Nov 2005 08:16:08 -0800

>    This kind of lunacy really bugs me. You'd think that at least the guy
> installing the duct would say "Whoa, something's wrong here - I'm blocking
> off this catwalk!" and check with his boss.


Not likely.  He will probably think the catwalk was built for his own use 
and ease of access.

The sad fact is there is still an inordinate amount of contractors and 
services (and administrators) that assume that catwalk access is something 
that's only needed maybe once a year.  (Maybe to check on that air duct or 
roof drain?)

     - Jon Ares
www.hevanet.com/acreative 


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

Subject: RE: Saturated colors - example photos (was XWFL downlights)
Date: Mon, 14 Nov 2005 10:28:20 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5DED [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

Actually, these side lights were from SR...  not enough caffeine yet!

- Steven

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

Message-ID: <000901c5e938$fe90f3c0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25515323 [at] prxy.net>
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)
Date: Mon, 14 Nov 2005 08:32:24 -0800

>  I am told
> that the use of very bright lights is typical of German designers. He also
> had 3 5k's on the ground and a 2.5k HMI in the air. And he would have used
> more HMI's if we could have afforded them.


One of my favorite coffee table books is "Light Fantastic" by Max Keller. 
He uses a LOT of pics and plots from the German opera stage, and it's true: 
not too many 'traditional' fixtures, but several big, beefy, high-output 
fixtures and very saturate colours.  5Ks and 10Ks and buttloads of HMIs not 
uncommon with some of the examples in the book.

     - Jon Ares
www.hevanet.com/acreative 


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

Date: Mon, 14 Nov 2005 11:35:54 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: fire sprinkler installation
In-reply-to: <list-25520462 [at] prxy.net>
Message-id: <4378BCEA.4000203 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25520462 [at] prxy.net>

Bill Conner wrote:
> ---------------------------------------------------

> Kristi posts:  "We've certainly talked about a lot of places  where 
> things are messed up...
> what are some venues where "they" did it  right?"

I'd have to cast my vote for the Jepson Theatre at the University of 
Richmond.   Access to all the FOH areas is clear and comfortable for 
anyone.  (I'm 5'18" and don't have to duck *anywhere* in the theatre.) 
  Circuits are plentiful, although they're occasionally duplexed in 
other positions.  The only things we ever complained about were the 
Stage Manager's console, and the door/moving wall into the shop.

I miss it.

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

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

Message-ID: <4378BD8B.8010400 [at] fredonia.edu>
Date: Mon, 14 Nov 2005 11:38:35 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Over the Hill
References: <list-25523381 [at] prxy.net>

Tom,

Think of 52 as just entering your prime.  Just remember that in most 
cases, Old Age and Treachery will overcome Youth and Skill. :)  You have 
a long way to go before being over the hill.
Steve Rees,  TD
SUNY-Fredonia

Davis, Thomas J wrote:

> On the other hand, if any of you could use an over-the-hill (52 year
> old) TD who can design sets and lights for a small stage, also has an
> MBA and teaches Econ, drop me a line....  


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

Message-Id: <6.2.3.4.2.20051114115527.02307bb0 [at] postoffice8.mail.cornell.edu>
Date: Mon, 14 Nov 2005 12:08:55 -0500
From: Ford H Sellers <fhs4 [at] cornell.edu>
Subject: Re: DMX512

Frank,

 >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:


 >Nice idea, but wrong.


Nope,
         Actually not wrong.  If you refer to my=20
whole post, you'll see that I'm responding to=20
someone who says that he can find no reason to=20
use Mic cable instead of data cable.  While you=20
are correct 120 ohm cable will work (in fact 100=20
ohm is used frequently to very little ill=20
effect), not all mic cables are made with 120 ohm=20
cable.  While I should have said "capacitance"=20
instead of resistance, I stand by the Statement=20
that non-spec cable will result in a "Sawtooth"=20
waveform rather than an "On-off Square=20
wave".  I've seen it with perfectly good mic cable, WITH correct=
 termination.

This text is copied from USITT's website:=20
http://www.usitt.org/standards/DMX512_FAQ.html#FAQ_06

The original and 1990 versions of the standard=20
specify 120 ohm or 100 ohm 1=96 or 2=96twisted pair=20
shielded cable suitable for use with EIA=96485 (120=20
ohm) and EIA=96422 (100 ohm) electronics. Since=20
DMX512 electronics are based on EIA=96485, 120 ohm=20
cable normally provides optimal performance.=20
However, many installations are installed with=20
100 ohm (EIA=96422) cable and perform flawlessly.=20
The quality of the installation is probably more=20
important than the distinction between 100 ohm and 120 ohm cable.

A common question is "can we use a good=20
microphone cable?" The answer here is no. While=20
there is some tolerance allowing for 100 ohm to=20
120 ohm cable, simply put, microphone cable is=20
not at all suitable because of its high=20
capacitance and incorrect characteristic=20
impedance. It might work in some instances, but=20
it is not appropriate for the electronics=20
involved and it will fail at the most inopportune times.


************************
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=20



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

Message-ID: <4378D6E9.7020603 [at] healylott.com>
Date: Mon, 14 Nov 2005 13:26:49 -0500
From: Joseph Lott <stagecraft [at] healylott.com>
Subject: clown foam?

Anyone know what the Big Apple Circus clowns are using for their 
whipped/shaving cream substitute this year? They have an extended bit 
built around a wallpaper-hanging motif that uses buckets of the stuff, 
smearing it all over their faces, their clothes and the floor.

It looked like some kind of synthetic goop to me -- much more viscosity 
than I would expect from something water-based, or from real whipped 
cream or shaving cream. When they dumped it on each other's heads, it 
didn't go splashing to the floor; instead it would ooze. It also turned 
into dusty-looking particles when they clapped their foamy hands together.

Any ideas?

Just curious,
Joe

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

From: IAEG [at] aol.com
Message-ID: <19d.413651f8.30aa3340 [at] aol.com>
Date: Mon, 14 Nov 2005 13:36:48 EST
Subject: Re: clown foam?


In a message dated 11/14/05 1:27:19 PM, stagecraft [at] healylott.com writes:

<< 

Anyone know what the Big Apple Circus clowns are using for their 

whipped/shaving cream substitute this year? They have an extended bit 

built around a wallpaper-hanging motif that uses buckets of the stuff, 

smearing it all over their faces, their clothes and the floor.


It looked like some kind of synthetic goop to me -- much more viscosity 

than I would expect from something water-based, or from real whipped 

cream or shaving cream. When they dumped it on each other's heads, it 

didn't go splashing to the floor; instead it would ooze. It also turned 

into dusty-looking particles when they clapped their foamy hands together.


Any ideas?


Just curious,

Joe

 >>


I do not know for certain what they are using, but traditionally "Clown Soap 
Suds"  are Ivory Soap flakes mixed with a drill mounted paint mixer in a pail.

maybe they have added a touch of glycerine ? 



very best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

Subject: Temporary Faculty; Bellingham, WA
Date: Mon, 14 Nov 2005 11:26:48 -0800
Message-ID: <F43E397F01F82C4088F714D0D1FAE6AB034DACDD [at] EVS2.univ.dir.wwu.edu>
From: "Lon Butcher" <Lon.Butcher [at] wwu.edu>

Greetings Ladies and Gentlemen of "The List",

Hello to the familiar faces and names.
I've been here at WWU for a year now and am thoroughly content with the
move.

Below is an edited posting of a temporary opening for a Lighting
designer/faculty for Spring '06.
There will also be a permanent TD position posted soon.=20

"Guest Artist - Winter Quarter 2006
Department of Theatre Arts

POSITION
 Guest Artist Residency - Lighting Designer and Lighting Design
Instructor

DUTIES
Teach 2 lighting design courses: Intermediate Lighting Design and
Advanced Lighting design for liberal arts BA/MA program. Design Lights
and execute design for Winter Production of "Evita". Dates of residency
are January 4th - March 17th.  Fee for Lighting Design - 2500.00. Fee
for Teaching  - 3,600.00/class.

UNIVERSITY
Western Washington University is located in Bellingham, WA, a city of
approximately 74,000 located between Seattle WA and Vancouver, BC, near
mountains, the San Juan Islands, lakes and rural areas.  The University
enrolls approximately 13,500 students in six colleges.

HOW TO APPLY
Send letters of application addressing the above qualifications,
curriculum vitae, and references to:

Gregory Pulver
Chair - Department of Theatre Arts=20
Western Washington University
516 High Street MS 9108
Bellingham, WA 98225-9108
Theatre Arts Department # 360/650-3876"

Cheers,
Lon

Lon Butcher
College of Fine and Performing Arts
Western Washington University
Bellingham, WA 98225-9109


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

Subject: RE: Over the Hill
Date: Mon, 14 Nov 2005 16:42:32 -0500
Message-ID: <3CF87682970858499CA56707FB1F092B902A7E [at] wscc-s-003000.westshore.edu>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>
Cc: Rees [at] fredonia.edu

Thanks Steve,

My own favorite line, when the younger guys get in my face about my age
is:

"You should think twice before you draw on an old gunfighter." =20

Tom Davis, the once and future TD


_______________________________________________________
Steve wrote:

Tom,

Think of 52 as just entering your prime.  Just remember that in most=20
cases, Old Age and Treachery will overcome Youth and Skill. :)  You have

a long way to go before being over the hill.
Steve Rees,  TD
SUNY-Fredonia

Davis, Thomas J wrote:

> On the other hand, if any of you could use an over-the-hill (52 year
> old) TD who can design sets and lights for a small stage, also has an
> MBA and teaches Econ, drop me a line.... =20


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

Message-ID: <20051114223746.65587.qmail [at] web81811.mail.mud.yahoo.com>
Date: Mon, 14 Nov 2005 14:37:46 -0800 (PST)
From: Ken Zinkl <kzinkl [at] sbcglobal.net>
Subject: Martin or High End
In-Reply-To: <list-25528881 [at] prxy.net>

I was just informed by one of my drama instructors
that he wants to buy 2 moving lights this year.  He is
looking at the Martin 250 spot fixture but I think the
High End Studio Spot 250 would be better based on a
quick read of brochures.  If anyone out there has
experience with these fixtures I would like to hear on
or off list what you thought of them and any problems
that you had.  Also I am worried that a MSD250 may not
punch through the conventional lights.  My trim on
electrics is around 20' and throw from the catwalks is
about 30'.

Thanks 

Ken Zinkl
Auditorium Manager
Fort Zumwalt South High School
St. Peters MO
636-281-0732

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

Message-Id: <6.2.3.4.2.20051114152451.01db28f0 [at] pop.uci.edu>
Date: Mon, 14 Nov 2005 15:28:40 -0800
From: Ron Cargile <rcargile [at] uci.edu>
Subject: Re: Preventing color burn out

Maybe I'm just curious, maybe I'm a nerd, maybe I don't have enough 
to do in the day.
Who knows?  Anyway, I was prompted by the recent thread about 
extending gel life.

A test of the effectiveness of "Heat Shield" gel in a lighting fixture:

The test:
The lighting fixture used for this test is an ETC Source 4jr 
36degree, lamped at 575 watts
(Lamp type Osram HPL575 115/X) All temperature measurements were made using a
Fluke 62 Mini IR Thermometer at a distance of 6 inches from the front 
of the lighting
fixture, and aimed at the center of the aperture.

For the basis of comparison, the fixture was fitted with a gel frame 
holding a single
thickness of GAM Blackwrap, placed in the front slot of the fixture 
(where, for example,
a top hat would be placed).  Blackwrap was chosen to capture 100% of 
the energy
passing out the front of the fixture.  I used GAM 099 heat shield. 
The heat shield, when
installed, was in a gel frame in the gel frame slot.  The distance 
between the heat shield
and the Blackwrap was 3/8 of an inch, and shimmed to maintain a 
uniform distance

For the final test, Blackwrap was placed over the end of a top hat to 
increase the distance
between the heat shield and the Blackwrap, a distance of 5-1/4 inches.

The fixture was allowed to heat up for 15 minutes before any 
measurements other than
baseline were taken.  To make sure that the measurements were not 
influenced by having
the fixture on for other measurements, the fixture was allowed to 
cool for one hour
between measurements.


Baseline temperature (fixture at room temperature): 69.5 degrees F

Heated fixture without heat shield:  296.5 degrees F

Heated fixture with heat shield at close spacing:  280.5 degrees F 
(16 degrees cooler)

Heated fixture without heat shield at far spacing:  195.0 degrees F

Heated fixture with heat shield at far spacing:  177.0 degrees F (18 
degrees cooler)


On an irrelevant but heat-related note, the hottest external part of 
the fixture was clocked
at 475.0 degrees F, on the top of the fixture, just in front of the base cap.



----
Ron Cargile
ME, Univ of CA, Irvine


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

From: FrankWood95 [at] aol.com
Message-ID: <215.e2c836b.30aa898a [at] aol.com>
Date: Mon, 14 Nov 2005 19:44:58 EST
Subject: Re: Strange locking rails

In a message dated 13/11/05 02:01:24 GMT Standard Time, 
delbert.hall [at] gmail.com writes:

> 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.

As you say, architects will do these things. It's not always stupidity: 
sometimes it's cost limitations. When we built our theatre, back in 1964, we just 
could not afford proper flying arrangements, even though they were in the 
original wish list. So, we settled for a flat roof structure 8' above the lighting 
bridges, a headrail, and some solid timber bars securely fixed for fly rails, 
near stage floor level.

You would be surprised at what can be done within these limitations, and with 
ingenuity and a few people who understand wire rope, hemp lines, and knots, 
clips, and all the other gear. Olio drops, including one towed down by a basket 
with an actor on board, the basket falling straight into the pit. The actor 
climbed out, and later the balloon, in which he had notionally ascended, flew 
out again. This was the only thing ever to go wrong, and then not badly. To 
keep things under control, and actors worth of stage weights was added to the 
basket before he got out. This avoided the counterweight getting out of hand. 
After the show, when it was all tied off, these had to be laboriously removed, 
and lowered back into the pit. This bit got lefy out, one night, so when the 
actor was flown in, there were two of him in the basket. Of course, this 
overpowered the counterweight, and his descent was more rapid than usual. But thanks 
to the friction in the system, not too much to control. He landed safely.

The roof structure is of about 12" x 6" steel girders, and Hall Stage used to 
do blocks to mount on these. That meant that is quite easy to build your own 
grid, as needed. Where angular diversion was needed, similar blocks with rated 
chain slings served.

Given modern safety rules, you couldn't do it now. But, I quote Sir Alfred 
Pugsley, as quoted by J.E.Gordon:-"It is inherently imposible to make 
regulations about the strength of structures which are proof against both fools and 
knaves without preventing, or at best handicapping, development and innovation." 
This seems to me to me to be what modern rules are doing. ANY technical 
innovation, in whatever field, which does not conform to "current practice", is 
subject to so many enquiries, investigations, denigrations by old-fashioned 
practitioners, and so on, as to make many innovators just plain give up from 
frustration. Those who did not were strong-minded men who managed to do it their way, 
and won, or almost.

Take Sebastien de Ziani Ferranti. He was an early champion of electric power 
distribution at high voltage AC, and built a huge power station at Deptfors to 
do this for London. The authorities of the day though it a better idea to use 
local power stations supplying low voltage DC, and this opinion held sway. 
Each and every Parish Council had its own opinion, usually ill informed. But 
they enforced them.

Ferranti was right. Look at the 400KV power lines swooping across the 
farmlands of most countries and the evidence will be apparant. But he was unhappily 
ahead of the engineering. He used slow steam engines to drive his alternators, 
which were of enormous size. Special engineering machinery had to be created 
to machine theit enornous shafts and armatures. Then Charles Parsons invented 
the steam turbine. At a stroke, Ferranti's giant generators were obsolete.

That is the way any technology advances. And it is being stultified today, by 
rules and regulations.

Rant over, and resuming a normal sceptical engineer point of view.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <b9.655839ae.30aa8e72 [at] aol.com>
Date: Mon, 14 Nov 2005 20:05:54 EST
Subject: Re: Preventing color burn out

In a message dated 14/11/05 04:47:14 GMT Standard Time, LMcMeley [at] msn.com 
writes:

> Wolfgang accepted the suggestion
>  and we have now made it through 2 shows without a gel change.

This raises a question in my head. Please tell me the rest of his name.

I know of a lighting designer with such a forename: I have seen some of his 
work, in various theatres.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <1e2.48c51ffc.30aa901e [at] aol.com>
Date: Mon, 14 Nov 2005 20:13:02 EST
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)

In a message dated 14/11/05 04:52:17 GMT Standard Time, LMcMeley [at] msn.com 
writes:

> Here at the opera a 2k wash is a little unusual. Typically we would see
>  parcans or 1k fresnels. Our typical trim is around 35' to 40' ft. I am told
>  that the use of very bright lights is typical of German designers. He also
>  had 3 5k's on the ground and a 2.5k HMI in the air. And he would have used
>  more HMI's if we could have afforded them.

These are lightng design techniques with which I am unfamiliar, as an 
exponent. Follow-spots, though, from suitable angles and suitably focussed and 
operated, cover a multitude of problems. Myself, I prefer not to have the problems 
in the first place.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <25d.1153f93.30aa93a4 [at] aol.com>
Date: Mon, 14 Nov 2005 20:28:04 EST
Subject: Re: Saturated colors - example photos (was XWFL downlights)

In a message dated 14/11/05 16:16:53 GMT Standard Time, sjh [at] idm.com writes:

> 
>  Perhaps some examples would be useful.

I don't like to say this, but I looked at them, and the word "ugly" came to 
mind.

Don't get me wrong, we are in different businesses. I work on straight stage 
plays: you on pop concerts. A chalk and cheese comparison.

Go on photobucket, with my e-mail address, and you will see what I mean. We 
have wholly different intents.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <252.102abf6.30aa9b36 [at] aol.com>
Date: Mon, 14 Nov 2005 21:00:22 EST
Subject: Re: DMX512

In a message dated 14/11/05 17:10:01 GMT Standard Time, fhs4 [at] cornell.edu 
writes:

> A common question is "can we use a good 
>  microphone cable?" The answer here is no.

I am with you. Without going into the whole question of cable impedance, and 
terminations, I am with you. With reservations.

The characteristic impedance of microphone cables, which handle audio signals 
between 30Hz and 20 KHz, is of small importance. For non coaxial cables 
handling higher frequencies it is,

The trouble is that this is not always true.  There is mush evedince  that 
mic cables can hadnle |DMX. , and much evideence that it cannot.

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

Message-ID: <BAY103-DAV15E171BDBBBD40AF94D1A5DF5D0 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: Preventing color burn out
Date: Mon, 14 Nov 2005 20:06:34 -0600
In-Reply-To: <list-25531337 [at] prxy.net>

This is Wolfgang Goebbel. Since you referred to him by name earlier, I
assumed you had knowledge that he was the designer in question.

Laura
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
> FrankWood95 [at] aol.com
> Sent: Monday, November 14, 2005 7:06 PM
> To: Stagecraft
> Subject: Re: Preventing color burn out
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 14/11/05 04:47:14 GMT Standard Time, LMcMeley [at] msn.com
> writes:
> 
> > Wolfgang accepted the suggestion
> >  and we have now made it through 2 shows without a gel change.
> 
> This raises a question in my head. Please tell me the rest of his name.
> 
> I know of a lighting designer with such a forename: I have seen some of
> his
> work, in various theatres.
> 
> Frank Wood

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

Message-ID: <BAY103-DAV176DE2C6F7497243C59ED9DF5D0 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: Preventing color burn out
Date: Mon, 14 Nov 2005 20:09:59 -0600
In-Reply-To: <list-25530362 [at] prxy.net>

I'm curious why you would choose a Source 4 unit as your test subject, since
they are designed to pass most of the heat out the back of the unit via
their specially designed diachronic reflector. This would seem to make it a
poor choice of instrument for this test.

Laura
> A test of the effectiveness of "Heat Shield" gel in a lighting fixture:
> 
> The test:
> The lighting fixture used for this test is an ETC Source 4jr
> 36degree, lamped at 575 watts

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

Date: Mon, 14 Nov 2005 21:10:29 -0500
Subject: Re: DMX512
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BF9EADC5.5071%bill [at] sapsis-rigging.com>
In-Reply-To: <list-25531983 [at] prxy.net>

Thanks for clearing that up Frank.

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

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






On 11/14/05 9:00 PM, "FrankWood95 [at] aol.com" <FrankWood95 [at] aol.com> wrote:

> The trouble is that this is not always true.  There is mush evedince  that
> mic cables can hadnle |DMX. , and much evideence that it cannot.



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

Message-ID: <002f01c5e98c$80d40900$0201a8c0 [at] hsd1.pa.comcast.net>
From: "Donald A Rowe" <TechDir [at] comcast.net>
References: <list-25532125 [at] prxy.net>
Subject: CAT6 Cable
Date: Mon, 14 Nov 2005 21:30:11 -0500

    I'm working on renovating my old high school and they are running the
ETC Net too so many places in the auditorium it's not even funny but my
question is has anyone used CAT6 cable for this aplication or know anything
about it.  I don't see why it wouldn't work but I see nothing saying that it
DOES work.  Thanks


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

Message-ID: <55626.129.3.12.217.1132022785.squirrel [at] 129.3.12.217>
Date: Mon, 14 Nov 2005 21:46:25 -0500 (EST)
Subject: finish on muslin stained glass
From: "Ian Paul Guzzone" <Guzzone [at] Oswego.EDU>

hello all,

I am a student designer in oswego, new york and for a design of mine i
went with frank lloyd wright mission style stained glass windows. The
treatment looks beautiful when back lit; however, during day scenes the
windows flatten and end up looking like a mondrian painting. i was
wondering if any one had any tips on toning down the colors  and/or giving
it more of a lustor when front lit.

thanks for your time,
Ian Guzzone


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

Message-ID: <43795177.1000309 [at] fredonia.edu>
Date: Mon, 14 Nov 2005 22:09:43 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: finish on muslin stained glass
References: <list-25532474 [at] prxy.net>

Ian
To tone down the colors, perhaps a French Enamel Varnish (FEV) might do 
it.  For more luster, how about  clear acrylic in gloss or satin?
HTH.
Steve Rees, TD
SUNY-Fredonia

Ian Paul Guzzone wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> hello all,
> 
> I am a student designer in oswego, new york and for a design of mine i
> went with frank lloyd wright mission style stained glass windows. The
> treatment looks beautiful when back lit; however, during day scenes the
> windows flatten and end up looking like a mondrian painting. i was
> wondering if any one had any tips on toning down the colors  and/or giving
> it more of a lustor when front lit.
> 
> thanks for your time,
> Ian Guzzone



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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Tue, 15 Nov 2005 03:21:59 GMT
Subject: Re: CAT6 Cable
Message-Id: <20051114.192218.26022.33285 [at] webmail30.lax.untd.com>

CAT6 works for me. If you can convince them to locate a RJ-45 outlet nea=
r every position that could conceivably ever have a moving light or othe=
r DMX (or later protocol) device, you can then buy 6' CAT6 cables to run=
 from the outlet to the instrument, with the connectors already attached=
, at a 99cent store. A single-gang outlet plate can have up to 6 RJ-45 j=
acks preinstalled on it, and you can easily thread 6 runs of CAT6 throug=
h a 1/2" EMT conduit [at $30 per 1000' of CAT6], so the parts cost is mi=
nimal. Since the last 5' of the CAT6 run gets the most abuse, being able=
 to replace it, or its connector, if it gets damaged for 99 cents is ver=
y cost-efficient in terms of labor as well as materials. Another advanta=
ge is, that with 6 universes available at each lighting position, it is =
easy to have certain equipment electronically unavailable to the princip=
al, choir director, custodian, or community group by plugging them into =
a DMX universe that they don't have access to. <g>
/s/ Richard
_____________________________
    I'm working on renovating my old high school and they are running th=
e ETC Net too so many places in the auditorium it's not even funny but m=
y question is has anyone used CAT6 cable for this aplication or know any=
thing about it.  I don't see why it wouldn't work but I see nothing sayi=
ng that it DOES work.  Thanks

 


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

From: rwhitco [at] comcast.net
Subject: Re: Martin or High End
Date: Tue, 15 Nov 2005 03:41:00 +0000
Message-Id: <111520050341.19083.437958CC000CF35C00004A8B2205889116010C9B0708999D [at] comcast.net>

We've had two StudioSpot 250s for 5 years now.  I really like them.  I have not used the Martins so I can't do a comparison.  They have been very dependable and useful for me.

We use them for our school productions as well as for outside rentals, primarily dance recitals.

You're right that they have trouble punching through a bright stage, but we manage to find plenty of uses for them.  Sometimes we have to go with no color and that does the trick.

Randy Whitcomb
Manager/TD
Price Aud.
Thompson Valley HS
Loveland, CO 


> I was just informed by one of my drama instructors
> that he wants to buy 2 moving lights this year.  He is
> looking at the Martin 250 spot fixture but I think the
> High End Studio Spot 250 would be better based on a
> quick read of brochures.  If anyone out there has
> experience with these fixtures I would like to hear on
> or off list what you thought of them and any problems
> that you had.  Also I am worried that a MSD250 may not
> punch through the conventional lights. 

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: DMX512
Date: Tue, 15 Nov 2005 05:04:41 -0500
Message-ID: <000201c5e9cc$0231de70$6601a8c0 [at] Dell>
In-Reply-To: <list-25531983 [at] prxy.net>

OK, here's a question approaching the issue from the other side:

I have some three-pin DMX cable.  Is there any reason I can't/shouldn't use
it for running Clear-Com?



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

End of Stagecraft Digest #584
*****************************