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 25556937; Wed, 16 Nov 2005 03:02:26 -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 #585 Date: Wed, 16 Nov 2005 03:01:29 -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 #585 1. Re: Preventing color burn out by "Bill Nelson" 2. Re: DMX512 by "Bill Nelson" 3. Subject: Re: fire sprinkler installation by "Bill Conner" 4. Re: fire sprinkler installation by Bruce Purdy 5. Re: finish on muslin stained glass by Kevin Lowry 6. Re: fire sprinkler installation by Jim Hyslop 7. Re: DMX512 by Dale Farmer 8. Re: DMX512 by "Jeffrey E. Salzberg" 9. Re: Subject: Re: fire sprinkler installation by Dale Farmer 10. Re: DMX512 by Dale Farmer 11. Re: fire sprinkler installation by Bruce Purdy 12. Re: fire sprinkler installation by "LES LIND" 13. Re: Preventing color burn out by Ron Cargile 14. Re: Preventing color burn out by FrankWood95 [at] aol.com 15. lowest bidder by CB 16. Re: fire sprinkler installation by CB 17. A show called firedance by Herrick Goldman 18. Re: A show called firedance by Jerry Durand 19. Re: A show called firedance by "Jeffrey E. Salzberg" 20. Re: A show called firedance by Herrick Goldman 21. Re: A show called firedance by Dale Farmer 22. Re: Martin or High End by "Donald Robert Fox" 23. Re: A show called firedance by Barney Simon 24. Crew calling software by Paul Marsland 25. cheap worklights by Paul Marsland 26. They Got It Right (Was RE: fire sprinkler installation) by "Peter Scheu" 27. Re: They Got It Right (Was RE: fire sprinkler installation) by IAEG [at] aol.com 28. Safety Contracts by Michael Cook 29. Re: Safety Contracts by Dale Farmer 30. Re: lowest bidder by FrankWood95 [at] aol.com 31. Re: A show called firedance by FrankWood95 [at] aol.com 32. Re: A show called firedance by Herrick Goldman 33. Re: finish on muslin stained glass by FrankWood95 [at] aol.com 34. Re: DMX512 by FrankWood95 [at] aol.com 35. Re: fire sprinkler installation by FrankWood95 [at] aol.com 36. American DJ LED fixture by Greg Bierly 37. Re: American DJ LED fixture by seanrmc [at] earthlink.net 38. Re: American DJ LED fixture by Bruce Purdy 39. Re: American DJ LED fixture by Greg Bierly 40. Re: Preventing color burn out by "Bill Nelson" 41. Question #1 by Bruce Purdy 42. Question #2 by Bruce Purdy 43. Re: Question #1 by "Family" 44. Re: Question #2 by "Family" 45. Re: DMX512 by Todd Lipcon *** 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: <1168.208.51.52.26.1132053465.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 15 Nov 2005 03:17:45 -0800 (PST) Subject: Re: Preventing color burn out From: "Bill Nelson" >> 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 Try it with an instrument that does not already pass a fair share of the IR through the mirror. I think you will find that the heat shield is much more effective. Bill ------------------------------ Message-ID: <1178.208.51.52.26.1132054286.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 15 Nov 2005 03:31:26 -0800 (PST) Subject: Re: DMX512 From: "Bill Nelson" > 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? It should work fine for audio frequencies. I have seen comm sets patched together with just about every kind of wire you can imagine. They all seemed to work fine. Personally, I would stick with at least shielded twisted pair cables - to minimize noise pickup. Bill ------------------------------ Message-ID: <002c01c5e9d9$bb571a70$7300470a [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Subject: Re: fire sprinkler installation Date: Tue, 15 Nov 2005 05:43:00 -0600 Bruce posts: I'm curious as to whether the catwalks and light hanging pipes are installed before or after the ducts and sprinkler pipes? In this case, ducts were up long before catwalks. Bill ------------------------------ Date: Tue, 15 Nov 2005 07:09:44 -0500 Subject: Re: fire sprinkler installation From: Bruce Purdy Message-ID: In-Reply-To: >Bruce posts: >>I'm curious as to whether the catwalks and light hanging >> pipes are installed before or after the ducts and sprinkler pipes? > > In this case, ducts were up long before catwalks. > Aha! Thanks, now I can understand a little bit better how this could happen. The HVAC guys don't see the "Big picture", they just look at the ducts way up there and figure "why should we use those special ducts way up there? - they're not in anyone's way!" Is the same true of the sprinkler pipe / lighting position problems? Would either problem have been possible to rectify by adjusting the catwalk / lighting position to compensate for the already misplaced obstruction? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <5a73bd8d0511150513r621be26ei18da0e691acdcc3b [at] mail.gmail.com> Date: Tue, 15 Nov 2005 08:13:59 -0500 From: Kevin Lowry Subject: Re: finish on muslin stained glass In-Reply-To: References: Ian, I would suggest using crystal gel. It is a new product from rosco that would work very nicley it will add some texture as well as a luster. if you have any other questions you can always email scenicpaint [at] rosco.com Kevin Lowry Designs 614-205-7617 ------------------------------ Message-ID: <4379DFFF.6040404 [at] dreampossible.ca> Date: Tue, 15 Nov 2005 08:17:51 -0500 From: Jim Hyslop Organization: DreamPossible Inc. Subject: Re: fire sprinkler installation References: In-Reply-To: Bruce Purdy wrote: > Aha! Thanks, now I can understand a little bit better how this could > happen. The HVAC guys don't see the "Big picture", they just look at the > ducts way up there and figure "why should we use those special ducts way up > there? - they're not in anyone's way!" This may be a naive question, but: wouldn't their contract require them to install the ducts *as specified*, or at the very least shouldn't they have asked someone before deviating from the specifications? -- Jim Hyslop ------------------------------ Message-ID: <4379E1B4.EB5527C6 [at] cybercom.net> Date: Tue, 15 Nov 2005 08:25:09 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: DMX512 References: "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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? Clear com signal is already kinda noisy, and moderate degradation of audio quality is normally not a problem, so I don't see why not. I'd guess that you would not notice the difference in typical installations. Give it a try sometime when you have time to play with it, let us know what the results are please. --Dale ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: DMX512 Date: Tue, 15 Nov 2005 08:28:26 -0500 Message-ID: <000701c5e9e8$78ae71f0$6601a8c0 [at] Dell> In-Reply-To: =20 > Give it a try > sometime > when you have time to play with it, let us know what the=20 > results are please. Actually, I have been using it, for runs up to 100'. It's always = worked, but I wanted to make sure that I wasn't setting myself up for a = situation in which I'd find out -- at a horribly inopportune moment -- that it = didn't. Using the three-pin DMX cable for my com runs, of course, means that I = don't have to also carry 3-pin mic cable -- which means that I'm not opening = up the chance of inadvertently using mic cable for DMX. ------------------------------ Message-ID: <4379E4C6.39DE04E1 [at] cybercom.net> Date: Tue, 15 Nov 2005 08:38:14 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Subject: Re: fire sprinkler installation References: Bill Conner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Bruce posts: I'm curious as to whether the catwalks and light hanging > pipes are installed before or after the ducts and sprinkler pipes? > > In this case, ducts were up long before catwalks. > > Bill Interesting. The theaters I've worked, the catwalks looked like they were installed along with the frame of the building, long before the HVAC contractors would have arrived on site. ALthough I have also seen construction where the ductwork had to be installed along with the steel frame, since otherwise the sections would have never been able to fit in otherwise. That being said, the duct installers are used to putting in oddly shaped section to get around obstacles that are not there yet. So I would not expect them to make a job site change to put in a straight section. This still lands back on the construction coordinator for not checking the drawings carefully, or not knowing that the ductwork would block an opening. One useful thing you can do for catwalks, light openings, and what not that needs to stay unobstructed is to put into the main set of drawings (the ones that get sent out to the subs for them to add their stuff too. ) You indicate sight lines and so on with a phantom object, and a notation that this area must remain unobstructed. Another thing is to designate the paths between the loading dock, scene shop, storage and stage as a freight pathway, with minimum clearances of x by y on the base plan. --Dale ------------------------------ Message-ID: <4379E90D.C6E7657D [at] cybercom.net> Date: Tue, 15 Nov 2005 08:56:29 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: DMX512 References: "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > Give it a try > > sometime > > when you have time to play with it, let us know what the > > results are please. > > Actually, I have been using it, for runs up to 100'. It's always worked, > but I wanted to make sure that I wasn't setting myself up for a situation in > which I'd find out -- at a horribly inopportune moment -- that it didn't. > > Using the three-pin DMX cable for my com runs, of course, means that I don't > have to also carry 3-pin mic cable -- which means that I'm not opening up > the chance of inadvertently using mic cable for DMX. What I did was to buy a bunch of green mic cable for the intercom. Very rarely does the sound guy have green mic cable. It makes tracing cable through a mess of other cables a lot easier, and real easy to instruct local crew. --Dale PS. ANyone looking for an electrician/AV tech for a tour, I'm looking for a gig again. ------------------------------ Date: Tue, 15 Nov 2005 08:58:38 -0500 Subject: Re: fire sprinkler installation From: Bruce Purdy Message-ID: In-Reply-To: > Bruce Purdy wrote: >> Aha! Thanks, now I can understand a little bit better how this could >> happen. The HVAC guys don't see the "Big picture", they just look at the >> ducts way up there and figure "why should we use those special ducts way up >> there? - they're not in anyone's way!" > > This may be a naive question, but: wouldn't their contract require them > to install the ducts *as specified*, or at the very least shouldn't they > have asked someone before deviating from the specifications? > Indubitably! Further, the construction manager should have caught this type of thing. Unfortunately, life ain't always as it should be, and "The best laid schemes o' mice & men gang aft a-gley" ! I find it worthy of note as to what might contribute to the problem at the lowest and most organic level. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-Id: Date: Tue, 15 Nov 2005 09:04:07 -0500 From: "LES LIND" Subject: Re: fire sprinkler installation With the recent renovations here at our high school, the cautionary words of the old coot who had already gone through 3 or 4 school renovations and whose place I took, rang out loud and clear. Hide your tools and watch them like a hawk. The GC gives the men prints and that's the way they install it. They don't question anything. One exception was the tin knocker who was installing the duct into the music area said, "This isn't gonna work. There won't be enough flow to the orchestra room." I asked him to say something to the clerk-of-the-works. He said he did but it would involve a change order that would mean more money. They left it go and a year later the district had to install a booster heater in the duct to punch more heat to the orchestra room. All the windows in the newly added area had outside sills that graded back to the window instead of away. ALL of them. After a steady rain the sills were laying full of water. I said something at the next construction meeting. They did not change anything. A gas main for a furnace was plumbed directly in front of an access door of the boiler. The installers never said anything. These are just a few of the stories and I'm sure each of you has your own file full of them. I think the job gets done as per specs and if the specs are not correct, even if it's in-your-face obvious that's it's wrong, that's the way it gets installed. It costs too much to change it. And oh so much more later when it has to be. Les >>> jhyslop [at] dreampossible.ca 11/15/05 8:17 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >This may be a naive question, but: wouldn't their contract require them >to install the ducts *as specified*, or at the very least shouldn't they >have asked someone before deviating from the specifications? >-- >Jim Hyslop ------------------------------ Message-Id: <6.2.3.4.2.20051115094716.01d0e9b8 [at] pop.uci.edu> Date: Tue, 15 Nov 2005 09:54:44 -0800 From: Ron Cargile Subject: RE: Preventing color burn out Laura McMeley asked: >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. The primary reason is that it was sitting next to the bench in the shop. None the less, I don't think that it's actually relevant to the heat shield test, as any fixture would work. I wasn't testing the fixture, I was testing the heat shield. So long as the same fixture is used for all the tests, the basic data should be the same. I would expect that regardless of the type of fixture used, the heat shield would still offer about 17 degrees of heat protection. If I find the time in the near future, I may try the test again using a fresnel, a par can, or some other non- Source 4 fixture and see if that has any bearing on the results. ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 15 Nov 2005 13:18:17 EST Subject: Re: Preventing color burn out In a message dated 15/11/05 02:07:06 GMT Standard Time, LMcMeley [at] msn.com writes: > This is Wolfgang Goebbel. Since you referred to him by name earlier, I > assumed you had knowledge that he was the designer in question. No. I just recognised the first name and the lighting style. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20051115120746.011dbe08 [at] pop.west.cox.net> Date: Tue, 15 Nov 2005 12:07:46 From: CB Subject: lowest bidder > 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. Well, as we all konw, it isn't how well the show does. It isn't even how much they like it. Nor is it about how much money you're making. It 'Isn't About The Show, Even', its about plausible deniability. >Thanks for >telling me what I needed to hear. My pleasure. I would, however, in your shoes, probably be doing the same thing. 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: <3.0.6.32.20051115124146.00b9ad80 [at] pop.west.cox.net> Date: Tue, 15 Nov 2005 12:41:46 From: CB Subject: Re: fire sprinkler installation >We've certainly talked about a lot of places where things are messed up... >what are some venues where "they" did it right? I really liked the New Jersey Performing Arts Center. Now, if Local 21 could convince the guys there to be as good as the house, I'd just love it. Is there a northeast definition of 'call' that I'm unaware of? The space we worked in in Loiseville was pretty nice, too. The method of getting Mults to FOH sucked, but the rest of the place seemed pretty nice. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Tue, 15 Nov 2005 14:45:00 -0500 Subject: A show called firedance From: Herrick Goldman Message-ID: In-Reply-To: Hey folks, As many of you know I usually keep business details to myself and I don't trash people publicly. However I have just been released from a show I helped create called "Firedance" produced by a company called Red Entertainment in NYC. Should any of you LD's or other disciplines, be contacted by these folks, be very careful. They asked me to sign a contract that included some really ridiculous items. Such as my not being able to sue them should they libel or slander me. As well as a denial of any responsibility should I be injured while working for them. The list goes on. I faithfully executed a production for them in Manila in February of last year. I had a Right of First refusal and they signed a standard Design contract at that time. Should you be contacted, please call me first. In no way will I interfere with your taking the job or with your negotiations with red Entertainment but I would just like to give you the inside scoop on the workings of Red. I hope this doesn't start a flame war and should any of you be interested in this unique and exciting contract that was sent to me I'd be happy to share it with you. -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-Id: <6.2.3.4.0.20051115115009.03c00c18 [at] 192.168.0.13> Date: Tue, 15 Nov 2005 12:00:05 -0800 From: Jerry Durand Subject: Re: A show called firedance In-Reply-To: References: At 11:45 AM 11/15/2005, you wrote: >I hope this doesn't start a flame war and should any of you be interested >in this unique and exciting contract that was sent to me I'd be happy to >share it with you. I've received some "Interesting Contracts", I'm sure we all have. My most memorable contract items are below, feel free to add to the list. A developer contract downloaded from the public website of large electronics company requires that I not divulge the existence of the contract. I've seen several contracts that try to own everything I design from now 'till the end of time. Almost all of them say I can't copy any documents and must destroy all copies. I point out that they send me most stuff by e-mail which is copied from server to server, backed up, etc. When I ask if I should leave their files off our weekly computer backups and our RAID disks, they say "of course not". I've had that clause modified/deleted in every contract. I've also found out that according to the paperwork, I started work several months before a company hired me, so I was now way behind schedule and that would reflect on my review. I didn't know you could get a bad job review on your first day. -- 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 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: A show called firedance Date: Tue, 15 Nov 2005 15:06:13 -0500 Message-ID: <003301c5ea20$0af1d0c0$6601a8c0 [at] Dell> In-Reply-To: > I've received some "Interesting Contracts", I'm sure we all have. My=20 > most memorable contract items are below, feel free to add to the list. Not a contract (and this ties in with our "specifications" thread), = but.... The purchasing department at the University of Houston once received a purchase order that specified that "Item shall be compatible with all = future purchases by the College of Education". ------------------------------ Date: Tue, 15 Nov 2005 15:12:19 -0500 Subject: Re: A show called firedance From: Herrick Goldman Message-ID: In-Reply-To: Yeah these guys are just plain ignorant. I think they pulled the contract form a book somewhere. What makes me maddest is that they don't seem to understand that a contract is a 2 way street and both sides should be negotiable. My TD and director are well aware that essentially all I really want is a Right of First refusal, a paycheck (not even a big one) , and decent travel, housing, and per diem. I'll copy and paste their version if others really want to see it. On 11/15/05 3:00 PM, "Jerry Durand" wrote: > > I've received some "Interesting Contracts", I'm sure we all have. My > most memorable contract items are below, feel free to add to the list. -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <437A4BA3.4C83FA92 [at] cybercom.net> Date: Tue, 15 Nov 2005 15:57:07 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: A show called firedance References: Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 11:45 AM 11/15/2005, you wrote: > >I hope this doesn't start a flame war and should any of you be interested > >in this unique and exciting contract that was sent to me I'd be happy to > >share it with you. > > I've received some "Interesting Contracts", I'm sure we all have. My > most memorable contract items are below, feel free to add to the list. > > A developer contract downloaded from the public website of large > electronics company requires that I not divulge the existence of the contract. > > I've seen several contracts that try to own everything I design from > now 'till the end of time. > > Almost all of them say I can't copy any documents and must destroy > all copies. I point out that they send me most stuff by e-mail which > is copied from server to server, backed up, etc. When I ask if I > should leave their files off our weekly computer backups and our RAID > disks, they say "of course not". I've had that clause > modified/deleted in every contract. I was temping as a PC mechanic, and got a three week job for a very large mutual fund company. ( Fidelity) The first day they gave me a thing labeled Non-Disclosure agreement to sign. It not only had all the usual non-disclosure stuff, but it had non compete clauses that went out for 12 months, intellectual property clauses that gave them ownership of anything I created on or off the job, for the next 12 months, and gave them permission to do background checks and invade my privacy in a lot of ways. Well, I actually read the thing, which rather surprised them, and when I pointed out that these clauses were patently ridiculous for the job I was being contracted to do, they were quite surprised. Over the next hour or so, I explained this to steadily higher levels of people in the hierarchy, until they eventually told me to go away. I turned in a timecard to the temp agency, which they never paid me for. Sorry guys, three weeks of temping does not entitle you to anything more than three weeks of temping. sheesh! --Dale ------------------------------ Message-ID: In-Reply-To: From: "Donald Robert Fox" Subject: RE: Martin or High End Date: Tue, 15 Nov 2005 20:53:56 +0000

You should also take a look at the ETC Revolution Fixture




Donald Robert Fox, M.F.A.
USA-AEA-IALD
Asst. Professor of Design
University of the Incarnate Word
Dept. of Theatre Arts
From:  Ken Zinkl <kzinkl [at] sbcglobal.net>
Reply-To:  "Stagecraft" <stagecraft [at] theatrical.net>
To:  "Stagecraft" <stagecraft [at] theatrical.net>
Subject:  Martin or High End
Date:  Mon, 14 Nov 2005 14:37:46 -0800 (PST)
For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.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: <437A4621.6000802 [at] JosephCHansen.com> Date: Tue, 15 Nov 2005 15:33:37 -0500 From: Barney Simon Reply-To: Barney [at] JosephCHansen.com Organization: Joseph C Hansen Co., Inc Subject: Re: A show called firedance References: In-Reply-To: Jeffrey E. Salzberg wrote: >Not a contract (and this ties in with our "specifications" thread), but.... > > Yes, I recieve drapery specs that in paragraph 1 say the the material is 100% cotton velour and in paragraph 5 says all material must be IFR. Or the ever popular drapery sewn flat with 50% added fullness sewn in. -- Barney Simon JC Hansen Co., Inc Drapes Drops and Dance Floors 423 West 43rd Street, NYC 212-246-8055 F:212-246-8189 JCHansen.com 866-988-8055 ------------------------------ Message-ID: <20051115213011.32570.qmail [at] web52207.mail.yahoo.com> Date: Tue, 15 Nov 2005 13:30:10 -0800 (PST) From: Paul Marsland Subject: Crew calling software In-Reply-To: In our situation, we have multiple supervisors (in multiple offices) scheduling multiple events in multiple venues, pulling crew members from a single labor pool. It's becoming increasingly difficult to staff shows, not knowing who is already scheduled on another event in another part of the complex. That, and I don't think I can find an A4 diary in the US...probably have to import one. Paul > From: "Nick Blower" > > 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... > __________________________________ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ------------------------------ Message-ID: <20051115220911.66651.qmail [at] web52208.mail.yahoo.com> Date: Tue, 15 Nov 2005 14:09:11 -0800 (PST) From: Paul Marsland Subject: cheap worklights In-Reply-To: > 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. > I think you can't beat a generic worklight / floodlight from your local home or industrial supply store. 500w fixture for about $10-$15. Lamps maybe $5-$10 (maybe there is a 3000 hour lamp, like a Q500/T3 130v?). Add another $15-$20 worth of c-clamp, j-box, wire, wire clamp, plug and an hour of labor. Heck, you could probably do a dozen or so in four hours. The fixture will be UL listed, though your work will not. Paul __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Reply-To: From: "Peter Scheu" Subject: They Got It Right (Was RE: fire sprinkler installation) Date: Tue, 15 Nov 2005 17:12:18 -0500 Organization: Scheu Consulting Services, Inc Message-ID: <000001c5ea31$ad8d1a90$ea00000a [at] TOSHIBA> In-reply-to: I just finished an inspection at the Kravis Center for the Performing = Arts in West Palm Beach.=20 It is one of the most "tech friendly" theatres I've ever seen. Right = down to a small elevator onstage up to the loading gallery and grid. All the catwalks are in the right places and every piece of rigging, lighting, = and sound gear is easily accessible. Three loading doors direct to the = stage, material handing systems everywhere, and clean and well maintained. I think it was a Fisher/Dachs project. Regardless, It's one where they = got (most of) it right. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com=20 ------------------------------ From: IAEG [at] aol.com Message-ID: <1a2.41250ed9.30abc2ad [at] aol.com> Date: Tue, 15 Nov 2005 18:01:01 EST Subject: Re: They Got It Right (Was RE: fire sprinkler installation) In a message dated 11/15/05 5:13:16 PM, peter [at] scheuconsulting.com writes: << I just finished an inspection at the Kravis Center for the Performing Arts in West Palm Beach. It is one of the most "tech friendly" theatres I've ever seen. Right down to a small elevator onstage up to the loading gallery and grid. All the catwalks are in the right places and every piece of rigging, lighting, and sound gear is easily accessible. Three loading doors direct to the stage, material handing systems everywhere, and clean and well maintained. I think it was a Fisher/Dachs project. Regardless, It's one where they got (most of) it right. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com >> good venue, , good people there, I was pleased when I toured through there two years ago very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <437A6A6B.5030009 [at] stmarys-ca.edu> Date: Tue, 15 Nov 2005 15:08:27 -0800 From: Michael Cook Subject: Safety Contracts References: In-Reply-To: Try as I may, I can't get into the archives. It keeps telling me my connection is refused. So, I thought I would ask the list – sorry if this topic has been previously discussed: Do any of you have students sign "contracts" or forms, after appropriate training, declaring they will obey all the shop safety rules while operating tools and power equipment, and not sue the school (or me/you) if an accident occurs? Does such a form exists? Is it legal? Thanks, Michael ------------------------------ Message-ID: <437A7175.52C175C [at] cybercom.net> Date: Tue, 15 Nov 2005 18:38:29 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Safety Contracts References: Michael Cook wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Try as I may, I can't get into the archives. It keeps telling me my > connection is refused. So, I thought I would ask the list – sorry if > this topic has been previously discussed: Do any of you have students > sign "contracts" or forms, after appropriate training, declaring they > will obey all the shop safety rules while operating tools and power > equipment, and not sue the school (or me/you) if an accident occurs? > Does such a form exists? Is it legal? Thanks, > Michael Usually they are called disclaimers. they take forever to get done, and costs lots of lawyer hours. They rarely stop someone from suing if they feel like it anyway, but they may provide some ammunition in a lawsuit to the facility. What they do provide is a track record that the person was aware that safety rules existed, and that they are required to follow them. Bottom line is they are not needed with reasonable people, and they won't stop unreasonable people from doing stupid shit. They may provide some peace of mind for nervous administrators. Once you do start doing them though, do them for everyone. ---Dale (not a lawyer) ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <158.5c362152.30abcb0b [at] aol.com> Date: Tue, 15 Nov 2005 18:36:43 EST Subject: Re: lowest bidder In a message dated 15/11/05 19:15:00 GMT Standard Time, psyd [at] cox.net writes: > Well, as we all konw, it isn't how well the show does. It isn't even how > much they like it. Nor is it about how much money you're making. It 'Isn't > About The Show, Even', its about plausible deniability. I think it needs to be more than plausible. Put everything in writing, and keep copies. This may save you a lot of trouble, and money. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <256.1218f29.30abcb7e [at] aol.com> Date: Tue, 15 Nov 2005 18:38:38 EST Subject: Re: A show called firedance In a message dated 15/11/05 19:44:45 GMT Standard Time, Herrick [at] HGLightingDesign.com writes: > I hope this doesn't start a flame war and should any of you be interested > in this unique and exciting contract that was sent to me I'd be happy to > share it with you. Considering the title of the show, this would be appropriate! Frank Wood ------------------------------ Date: Tue, 15 Nov 2005 18:58:10 -0500 Subject: Re: A show called firedance From: Herrick Goldman Message-ID: In-Reply-To: Touche! On 11/15/05 6:38 PM, "FrankWood95 [at] aol.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 15/11/05 19:44:45 GMT Standard Time, > Herrick [at] HGLightingDesign.com writes: > >> I hope this doesn't start a flame war and should any of you be interested >> in this unique and exciting contract that was sent to me I'd be happy to >> share it with you. > > Considering the title of the show, this would be appropriate! > > Frank Wood > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <22e.15f79e2.30abd224 [at] aol.com> Date: Tue, 15 Nov 2005 19:07:00 EST Subject: Re: finish on muslin stained glass In a message dated 15/11/05 02:47:01 GMT Standard Time, Guzzone [at] Oswego.EDU writes: > 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. With a notionally day scene, there is daylight outside the windows. Just turn up some of the back lighting. I should turn this around. What is the notional source for the back lighting in the night scenes? Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25b.1308c15.30abd680 [at] aol.com> Date: Tue, 15 Nov 2005 19:25:36 EST Subject: Re: DMX512 In a message dated 15/11/05 02:11:14 GMT Standard Time, bill [at] sapsis-rigging.com writes: > Thanks for clearing that up Frank. Sarky! But you know that it's true. A lot of people use mic cable for DMX, and get away with it. It is quite a tolerant protocol, and, with a small installation, you always have the possibility of slowing the data rate. I should prefer not to do it myself, but, if it's the only way to get the show on the road , you do what you can. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1c8.3624e11a.30abdab3 [at] aol.com> Date: Tue, 15 Nov 2005 19:43:31 EST Subject: Re: fire sprinkler installation In a message dated 14/11/05 12:18:26 GMT Standard Time, bill-conner [at] att.net writes: > 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. > MUCH! That says it all! This is a defeatist policy. If it isn't right, complain. Take your complaint as far up the management tree as is posible. Then, learn to live with it. But, making your complaint heard gets it off your chest, and may occasionally do some good. Frank Wood ------------------------------ Message-Id: <5cf1715c79a89a105c292fc89d91045d [at] dejazzd.com> From: Greg Bierly Subject: American DJ LED fixture Date: Tue, 15 Nov 2005 23:14:17 -0500 Has anyone else seen the press on the new American DJ P64 LED. It is a LED colormixing PAR can. My question is, "if it a color mixing instrument, why would you need a gel frame?" Links: http://www.lightingandsoundamerica.com/news/story.asp?ID=A4SBIK or http://www.americandj.com/product.asp?ProductIDNumber=1558&cat=L.E.D. ------------------------------ Message-ID: <4992626.1132117332868.JavaMail.root [at] elwamui-hound.atl.sa.earthlink.net> Date: Wed, 16 Nov 2005 00:02:12 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: American DJ LED fixture Ummm.... Frost, Silk, etc.... --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Greg Bierly Has anyone else seen the press on the new American DJ P64 LED. It is a LED colormixing PAR can. My question is, "if it a color mixing instrument, why would you need a gel frame?" ------------------------------ Date: Wed, 16 Nov 2005 00:38:19 -0500 Subject: Re: American DJ LED fixture From: Bruce Purdy Message-ID: In-Reply-To: >"if it a color mixing > instrument, why would you need a gel frame?" Barndoors? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References: Message-Id: <22fddc609188c4aa005c5b3a582df6c6 [at] dejazzd.com> From: Greg Bierly Subject: Re: American DJ LED fixture Date: Wed, 16 Nov 2005 00:23:06 -0500 > Ummm.... > Frost, Silk, etc.... > --Sean Thanks.... I was racking my brain and couldn't come up with a good reason. I am getting pretty stupid lately. Maybe I need to take a break from the list for a while. I can give it up anytime.... like right now.... maybe one more post..... Maybe tomorrow...... Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <1100.208.51.52.17.1132121798.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 15 Nov 2005 22:16:38 -0800 (PST) Subject: Re: Preventing color burn out From: "Bill Nelson" > The primary reason is that it was sitting next to the bench in the > shop. None the less, I don't think that it's actually relevant to > the heat shield test, as any fixture would work. I wasn't testing > the fixture, I was testing the heat shield. So long as the same > fixture is used for all the tests, the basic data should be the > same. I would expect that regardless of the type of fixture used, > the heat shield would still offer about 17 degrees of heat > protection. If I find the time in the near future, I may try the > test again using a fresnel, a par can, or some other non- Source 4 > fixture and see if that has any bearing on the results. I think you will find a big difference, when you try a different fixture. The reason is that the Source 4 already removes much of the IR energy that the Rosco heat shield is designed to block. If the IR is not there, then the HS can't block it - thus only a small temperature difference. Bill ------------------------------ Date: Wed, 16 Nov 2005 01:15:15 -0500 Subject: Question #1 From: Bruce Purdy Message-ID: I have some handicap seating spaces in the auditorium, that I would like to label with the standard blue "handicap" design used for parking spaces, rest rooms etc. I have Googled "Handicap stencils" and all I can find are 39" stencils for parking lots. I've also looked at Lowes and such to no avail. Does anyone know where I can find an inexpensive stencil of an appropriate size to paint the floor in a handicap seating space? I suppose I *could* try to paint it freehand, but I don't think I've got the talent to do it well. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 16 Nov 2005 01:25:16 -0500 Subject: Question #2 From: Bruce Purdy Message-ID: Is there any way to assign a submaster on an ETC Express board to be independent? (Not controlled by the grand master, Blackout button etc.) I assign two subs to control the houselights, and it would be extremely helpful to have them be completely independent - but I haven't been able to figure out any way to do it. Is it possible? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "Family" Subject: RE: Question #1 Date: Tue, 15 Nov 2005 22:28:57 -0800 Message-ID: <000801c5ea77$06a48420$0200a8c0 [at] cornbread> In-Reply-To: Bruce, Why not just copy one of the handicap images from the web and enlarge it to whatever size you want? Then glue it to a stencil, cut it out, lay it down, and paint. If you need a stencil knife (the ones that heat up are best), you can probably ask to borrow one through someone at a craft place. Or tell me the size you want and I'll make it for you. --John --------------------------------------------------------------------- Eliminate annoying spam! My mailbox is protected by iHateSpam, the #1-rated spam buster. http://www.ihatespam.net -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce Purdy Sent: Tuesday, November 15, 2005 10:15 PM To: Stagecraft Subject: Question #1 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have some handicap seating spaces in the auditorium, that I would like to label with the standard blue "handicap" design used for parking spaces, rest rooms etc. I have Googled "Handicap stencils" and all I can find are 39" stencils for parking lots. I've also looked at Lowes and such to no avail. Does anyone know where I can find an inexpensive stencil of an appropriate size to paint the floor in a handicap seating space? I suppose I *could* try to paint it freehand, but I don't think I've got the talent to do it well. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "Family" Subject: RE: Question #2 Date: Tue, 15 Nov 2005 22:43:51 -0800 Message-ID: <000901c5ea79$1b7ce700$0200a8c0 [at] cornbread> In-Reply-To: Bruce, Let me say right up front that I could quite possibly be very wrong about my answer to this one. I do not have an Express board, nor have I ever used one. But I did download the manual for a 48/96 board (PDF) and ran a search for "independent of grand." Here's what I found (p. 53): Channel Attributes display The Channel Attribute display shows the following settings for every console channel. . Independent Designates whether a channel is dependent upon or independent of Grandmaster, Flash, Release, Solo, and Blackout control. Independent channels have a "y" in the Ind field, while all others have no entry in the Ind field. You must press [Rel] twice, or in some cases, three times to release independent channels. If nothing else, the description seems to fit the criteria you laid out. Now, how that plays out in reality--I don't have a clue. Warmest regards, John Elliott Albany, Oregon --------------------------------------------------------------------- Eliminate annoying spam! My mailbox is protected by iHateSpam, the #1-rated spam buster. http://www.ihatespam.net -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce Purdy Sent: Tuesday, November 15, 2005 10:25 PM To: Stagecraft Subject: Question #2 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Is there any way to assign a submaster on an ETC Express board to be independent? (Not controlled by the grand master, Blackout button etc.) I assign two subs to control the houselights, and it would be extremely helpful to have them be completely independent - but I haven't been able to figure out any way to do it. Is it possible? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 16 Nov 2005 03:58:59 -0500 (EST) From: Todd Lipcon Subject: Re: DMX512 In-Reply-To: Message-ID: <20051116035005.F33149 [at] mercea.mercea.net> References: On Tue, 15 Nov 2005, FrankWood95 [at] aol.com wrote: > Sarky! But you know that it's true. A lot of people use mic cable for DMX, > and get away with it. It is quite a tolerant protocol, and, with a small > installation, you always have the possibility of slowing the data rate. Maybe I misunderstand what you are getting at here, but you cannot slow the data rate of DMX. The serial data transmission rate is locked in at about 250kbps. You're allowed to space out the frames of DMX to greater amounts by transmitting a variable amount of data in each frame, but the actual width of each pulse on the line is still going to be 4us if you are in spec. The transmission line characteristics (i.e. characteristic impedance and line capacitance) primarily determine the "crispness" of the edges of the data pulses. If the cable doesn't allow well-defined enough pulses, the receiving end is going to have trouble decoding the signal no matter how fast the variable refresh rate is. The receiving end's tolerance for slow rise times, overshoot, etc. depends on various design factors, and therefore one's ability to use non-spec cable for DMX512 transmission is linked strongly to what you're sending it into, as well as the obvious factors of line length and specs. Thanks -Todd (a fellow engineer) ------------------------------ End of Stagecraft Digest #585 *****************************