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

Stagecraft Digest, Issue #586

 1. Re: Crew calling software
    by Delbert Hall <delbert.hall [at] gmail.com>
 2. Re: Crew calling software
    by Delbert Hall <delbert.hall [at] gmail.com>
 3. Re: Crew calling software
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 4. Re: fire sprinkler installation
    by "Bill Conner" <bill-conner [at] att.net>
 5. Colored Smoke or Fog
    by Chris Wych <a_small_idiot [at] yahoo.com>
 6. Re: fire sprinkler installation
    by Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
 7. Re: fire sprinkler installation
    by "Bill Conner" <bill-conner [at] att.net>
 8. Re: Question #2
    by Stephen Litterst <slitterst [at] ithaca.edu>
 9. Re: DMX512
    by Stephen Litterst <slitterst [at] ithaca.edu>
10. Contract Oddities
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
11. Re: Contract Oddities
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
12. Re: Question #1
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
13. Re: DMX512
    by "G. D. George" <ggeorge [at] capital.edu>
14. Re: Contract Oddities
    by "G. D. George" <ggeorge [at] capital.edu>
15. Re: Question #1 (Wheelchair stencil)
    by MissWisc [at] aol.com
16. Painting the floor #3
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
17. Re: Question #1
    by Steve Larson <tiptd [at] theatreinthepark.com>
18. Re: Contract Oddities
    by Stephen Litterst <slitterst [at] ithaca.edu>
19. Re: Painting the floor #3
    by Greg Bierly <gbierly [at] dejazzd.com>
20. Paint on concrete decks. 
    by Dale Farmer <dale [at] cybercom.net>
21. Re: DMX512
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
22. Re: fire sprinkler installation
    by Tom Grabowski <tomgrab [at] utpa.edu>
23. Re: They Got It Right (Was RE: fire sprinkler installation)
    by "richard j. archer" <rja10 [at] cornell.edu>
24. Re: Crew calling software
    by "Jon Ares" <jonares [at] hevanet.com>
25. Re: Contract Oddities
    by "Jon Ares" <jonares [at] hevanet.com>
26. Re: Contract Oddities
    by "Jon Ares" <jonares [at] hevanet.com>
27. Re: Crew calling software
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
28. They got it right
    by b Ricie <b_ricie [at] yahoo.com>
29. Re: Crew calling software
    by "Jon Ares" <jonares [at] hevanet.com>
30. Crazy contracts
    by b Ricie <b_ricie [at] yahoo.com>
31. Re: Crew calling software
    by Delbert Hall <delbert.hall [at] gmail.com>
32. Re: Crew calling software
    by "Adam Berns" <gunntd [at] mac.com>
33. Re: Question #2
    by "Adam Berns" <gunntd [at] mac.com>
34. Re: Question #2
    by Wood Chip-P26398 <Chip.Wood [at] motorola.com>
35. Re: Question #2
    by James Feinberg <feinberg [at] sandiego.edu>
36. Re: Question #2
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
37. Re: fire sprinkler installation
    by Jerry Durand <jdurand [at] interstellar.com>
38. Re: Question #1
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
39. Re: Question #2 - independent subs.
    by Stephen Litterst <slitterst [at] ithaca.edu>
40. Re: Question #2
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
41. Re: Crew calling software
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
42. Re: DMX512
    by FrankWood95 [at] aol.com
43. Re: Question #1
    by Steve Larson <tiptd [at] theatreinthepark.com>
44. Re: fire sprinkler installation
    by FrankWood95 [at] aol.com
45. Re: Crew calling software
    by FrankWood95 [at] aol.com
46. Re: Crew calling software
    by FrankWood95 [at] aol.com
47. Re: Crew calling software
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
48. Re: Crew calling software
    by Stephen Litterst <slitterst [at] ithaca.edu>
49. Re: Crew calling software
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
50. Re: Question #2
    by "Steven Haworth" <sjh [at] idm.com>
51. bijou issues, or a rant 
    by Ken Zinkl <kzinkl [at] sbcglobal.net>
52. Re: Safety Contracts
    by theatre safety programs <theatresafe [at] jgorrell.com>
53. Re: Crew calling software
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
54. A show called firedance
    by CB <psyd [at] cox.net>
55. Re: Safety Contracts
    by Steve Larson <tiptd [at] theatreinthepark.com>
56. Re: A show called firedance
    by CB <psyd [at] cox.net>
57. Re: lowest bidder
    by CB <psyd [at] cox.net>
58. Re: Question #2
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
59. Re: Question #1
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
60. Re: Question #1
    by Steve Larson <tiptd [at] theatreinthepark.com>
61. Re: Question #2
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
62. Re: Question #1
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
63. Re: Question #1
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
64. Undeliverable mail: Re: A show called firedance
    by Marty_Petlock [at] sarasotagov.com
65. Re: A show called firedance
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
66. Re: Crew calling software
    by FrankWood95 [at] aol.com
67. Re: A show called firedance
    by Kevin Lee Allen <klad [at] klad.com>
68. Re: A show called firedance
    by Stephen Litterst <slitterst [at] ithaca.edu>
69. Re: lowest bidder
    by FrankWood95 [at] aol.com
70. Re: A show called firedance
    by IAEG [at] aol.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: <b7318c480511160327y31f2d78bx876e468e2c236d9 [at] mail.gmail.com>
Date: Wed, 16 Nov 2005 06:27:49 -0500
From: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25547233 [at] prxy.net>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net>

> > 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...

What would the ideal cue calling software contain?  Would have the
entire script or only cue lines?

Has anyone trired just using an Excel spreadsheet for this purpose?  A
spreadsheet, combined with a software clock and a software stopwatch
(set up on dual monitors) might work well.  Cues could be color coded
in the spreadsheet.  Notes could be included, etc. Just a thought.

-Delbert

--
Delbert L. Hall

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

Message-ID: <b7318c480511160333t40eb13dal3b871a614ed8c27d [at] mail.gmail.com>
Date: Wed, 16 Nov 2005 06:33:05 -0500
From: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25557245 [at] prxy.net>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net>
	 <list-25557245 [at] prxy.net>

Before anyone corrects me, I know that I switched topics from "crew
calling" to "cue calling."  Thinking about the first topic got me to
thinking of the other, but I forgot to edit the subject line.  Sorry.

-Delbert

>
> What would the ideal cue calling software contain?  Would have the
> entire script or only cue lines?
>
> Has anyone trired just using an Excel spreadsheet for this purpose?  A
> spreadsheet, combined with a software clock and a software stopwatch
> (set up on dual monitors) might work well.  Cues could be color coded
> in the spreadsheet.  Notes could be included, etc. Just a thought.
>
> -Delbert
>
> --
> Delbert L. Hall
>


--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Crew calling software
Date: Wed, 16 Nov 2005 06:34:48 -0500
Message-ID: <000e01c5eaa1$c40e4170$6601a8c0 [at] Dell>
In-Reply-To: <list-25557245 [at] prxy.net>

=20
> What would the ideal cue calling software contain?  Would=20
> have the entire script or only cue lines?

I've thought of this over the years and came to much the same =
conclusions
you did.

Mine would have a split screen option (so the SM could scan forwards) =
and an
automatic scroll.  Colors would be user-definable, so the stage manager
could color code sound cues, light cues, standbys, or whatever.  It =
would
contain whatever text the SM wanted -- just cue lines, or the entire =
script
-- and would let the SM attach notes to any line -- for actor line =
notes,
perhaps.



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

Message-ID: <001b01c5eaaa$ba0d7070$7300470a [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: fire sprinkler installation
Date: Wed, 16 Nov 2005 06:39:02 -0600

"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?"

They should ask.  I required them to ask by including review of in my 
contract.  But, in design build especially, with the Owner already accused 
of delaying the project which has a firm opening date with liquidated 
damages, there are a lot of parties that don't want to take it out and 
change it.  It was seen as soon as it was installed but the right people did 
not have the chance to review shop drawings.

As I said, if someone suggests design build, start screaming until they take 
it back.  It may be fine for some types of buildings but it is especially 
hazardous for ones that use entertainment technology.

Bill 


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

Message-ID: <20051116124417.84615.qmail [at] web34711.mail.mud.yahoo.com>
Date: Wed, 16 Nov 2005 04:44:17 -0800 (PST)
From: Chris Wych <a_small_idiot [at] yahoo.com>
Subject: Colored Smoke or Fog

Does anyone have suggestions to make colored fog or
smoke.  Im looking for black smoke that you would get
from burning oil.  The only way I have found to do
colored fog or smoke is to light it with the color,
but that doesnt work too well with black.  Is there a
way to contain a smoke curtain and color it?

Thanks
Chris Wych


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

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

Date: Wed, 16 Nov 2005 07:52:01 -0500
From: Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
Subject: Re: fire sprinkler installation
In-reply-to: <list-25556900 [at] prxy.net>
Message-id: <bd6dc40851bb45d160a2eec59731b9bb [at] williams.edu>
References: <list-25556900 [at] prxy.net>

I have two venues adjacent to each other.  One was built from scratch, 
and the other renovated at the same time as the new one was opening.  
Not surprisingly, the renovation did not get the same attention as the 
newly built one and it shows in many ways--one of which is the location 
and installation of the utilities.

Both venues went through a "Coordination" process.  This is where (on 
this project at least) project managers for all the trades meet 
regularly to create what are essentially working drawings indicating 
where sprinkler, plumbing, ductwork and major conduit racks will go.  
Essentially turning the designers drawings into something the 
installers can use in the field.  A reality check, as often each 
specialty creates it's own design drawing set w/o seeing what others 
are doing in the same space. It's a complicated 3-D puzzle, 
particularly in a building like a theatre, with lots of different 
floors and ceilings that don't line up from room to room, large 
openings and oversized ducts and pipes.

The coordination process for a 106,000 sqft new building took about 4-5 
months of 4-6 hour weekly meetings and a separate contractor was hired 
just to produce the resultant drawings--including a couple of 3-D 
flythroughs of complicated utility spaces.  On this project I was 
fortunate enough as a "users rep" to participate in these meetings.  
Even with all that, there were still areas where only by getting onto 
the job site, attending meetings, forming relationships with the trades 
foremen and simply being there to answer (and pose) questions made 
significant differences in the useability of the new building.  By the 
time you get through the coordination process you know where the 
critical points are, so you make sure you are around when the work 
starts in those locations.  Sometimes having a full scale model is the 
only way to really make the details sing your song.

On the renovation, because to some extent I was trying to open the 
newly built portion of the project, I could not "make the rounds" of 
that project as frequently, or followup on as many issues.  As a 
result, the utilities, while not making it impossible to do some work, 
are much more of a inconvenience than they had to be.

The lesson to take away here is there is no substitute for personal 
involvement in a project.  It is built by people, who although they 
think what we do is pretty weird, do much the same that we do:  Look at 
drawings, figure out how to do it and work with others to get it done.  
That said, this is an extremely time consuming process.  The end of the 
project was like the week before tech rehearsal--for 6 months.   I was 
lucky to get some reduction in my production duties, and support from 
both the owner and the GC for my participation in the process.  The 
more I hear about other projects, the more I'm finding out this was a 
rare opportunity.  I was fortunate to have a long history of employment 
with the owner, and a measure of trust and respect within the 
Facilities/Services department.  Also, being a private institution, the 
process was not fraught with the multiple layers of bureaucracy that 
public projects somehow generate.

Cosmo


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

Message-ID: <004301c5eaac$a8b732a0$7300470a [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: fire sprinkler installation
Date: Wed, 16 Nov 2005 06:52:52 -0600

Bruce posts:  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?

Sometimes but often it is all fabricated - catwalk pieces, ducts, and 
sprinkler pipes - simultaneously and being installed near the same time. 
Contractors work hard to get it all to fit and don't envision portable gear 
and beams of light and curtains and such - which always comes last.  In this 
case, lowering the catwalk under the duct would obstruct sightlines from the 
rear of the balcony and also the lighting position further back - plus 
looked just plain strange.

Had it not been design build this would have been caught.  And, as it is, 
the lighting designer with the Owner is not terribly unhappy about this.

The contractors did suck up the cost for changing the connector strips - 
which had to be redesigned with a break for the duct - so nobody came out 
ahead.

Bill


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

Date: Wed, 16 Nov 2005 08:17:32 -0500 (EST)
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Question #2
In-reply-to: <list-25553549 [at] prxy.net>
Message-id: <1538.172.169.135.167.1132147052.squirrel [at] 172.169.135.167>
References: <list-25553549 [at] prxy.net>

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

I'll check when I get to work, but I don't think Express lets you set the
parameters of the submasters beyond Pileon or Inhibitive.

You could, however, make the houselight channels themselves independent.

Steve L.


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

Date: Wed, 16 Nov 2005 08:20:45 -0500 (EST)
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: DMX512
In-reply-to: <list-25555292 [at] prxy.net>
Message-id: <1562.172.169.135.167.1132147245.squirrel [at] 172.169.135.167>
References: <list-25549565 [at] prxy.net> <list-25555292 [at] prxy.net>

> ---------------------------------------------------
> 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.

However, many consoles allow you to alter the "DMX Transmission Rate."  I
know my Obsession allows me to set it to Low/Fast/Max.


steve L.


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

Message-ID: <437B32C9.6040001 [at] fredonia.edu>
Date: Wed, 16 Nov 2005 08:23:21 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Contract Oddities
References: <list-25546156 [at] prxy.net> <list-25546783 [at] prxy.net>

All,
Jeez, if we collected enough wierdies and collated them into one 
document, we could confound the planet for years to come.
Steve




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

Date: Wed, 16 Nov 2005 08:39:33 -0500
Subject: Re: Contract Oddities
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BFA0A0C5.8BF0%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-25559158 [at] prxy.net>

Lets make a big ridiculous contract and post it on the web for download and
title it "Live event contracts for dummies"  we should put in certain words
that will "watermark" it for us all and when we actually get offered said
contract in the future we'll know to just run away.



On 11/16/05 8:23 AM, "Stephen E. Rees" <Rees [at] fredonia.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> All,
> Jeez, if we collected enough wierdies and collated them into one
> document, we could confound the planet for years to come.
> Steve
> 
> 
> 
> 

-- 
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: <437B37ED.6070202 [at] fredonia.edu>
Date: Wed, 16 Nov 2005 08:45:17 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Question #1
References: <list-25553454 [at] prxy.net>

Bruce,
Can you Photoshop an  appropriate image in the right scale to print out 
on a large format printer and then hand cut that?  Then sponge brush the 
  shape on the floor.
Steve Rees
SUNY-Fredonia

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



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

From: "G. D. George" <ggeorge [at] capital.edu>
Subject: RE: DMX512
Date: Wed, 16 Nov 2005 08:46:07 -0500
In-Reply-To: <list-25524571 [at] prxy.net>
Message-ID: <MALFRONTpEI0Z2Ex93K00000cc1 [at] malfront.capital.edu>

Hi folks,
     For our current production, I'm setting up to cheap (American DJ--it's
what I could borrow) mirror lights to simulate spot lights in a
concentration camp guard tower.  The effect should be a fairly straight
forward combination of pan and tilt cues.  I've got the lights working with
our Innovator board, but cannot figure out how to write the cues.  The board
manual notes that I can program each attribute to a channel, but that this
is not the recommended way to write cues.  I was under the impression that I
should write the lights into an effect, but that's not working...  So... My
question is:  what is / are the ways to write the cues into the board. 
 
Thanks!
Jerry George
 
G. D. George
Assistant Professor and Technical Director
Capital University Theatre
Department of Communications
1 College and Main
Columbus, OH 43209

(614) 236-6498
ggeorge [at] capital.edu	




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

From: "G. D. George" <ggeorge [at] capital.edu>
Subject: RE: Contract Oddities
Date: Wed, 16 Nov 2005 08:47:34 -0500
In-Reply-To: <list-25559325 [at] prxy.net>
Message-ID: <MALFRONTlBLMasiZAPG00000cc2 [at] malfront.capital.edu>

Hi folks,
 
While I'm de-lurked, I've got a paint question.  Well, not about paint per
se, but one of the things that I want to deal with this summer is cleaning
up our cement stage, theatre, and shop floors.  All have multiple layers of
paint, most if not all of which is latex based. (I think... When I got here
there were some mysterious, unlabeled, concoctions in the paint area and
they may have wound up on the floor at some point.)
 
Anyway, three questions: 
     1) How to remove the layers of paint down to bare floor safely?
     2) How to treat the floor after it's cleared?
     3) How to paint the floor in the future.
 
Regarding number three, I can think of two options, excluding the old " no
paint on the floor".  We could just continue to add paint to the newly
cleaned floor.  Or we could put down a marley-type surface (which would make
it a bit better to work on than bare cement, but not much).  The
disadvantage to that is that the floor would have to be moved for each show.
I supposed I could put plywood on sleepers and a dance floor over that, but
again it would have to be the entire space (too expensive, I suspect) or
moved for each show.
 
Thanks again,
 
Jerry


G. D. George
Assistant Professor and Technical Director
Capital University Theatre
Department of Communications
1 College and Main
Columbus, OH 43209

(614) 236-6498
ggeorge [at] capital.edu	






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

From: MissWisc [at] aol.com
Message-ID: <1c0.3619bcc8.30ac99ad [at] aol.com>
Date: Wed, 16 Nov 2005 09:18:21 EST
Subject: Re: Question #1 (Wheelchair stencil)

bpurdy [at] rochester.rr.com writes:
<<   Does anyone know  where I can find an inexpensive stencil of an 
appropriate size to paint the  floor in a handicap seating space?>>  
 
Make one. 
 
Simply take the sign you want and use a photocopier to blow it up/reduce it  
to the correct size. Then glue the paper onto tag board ("oaktag" "crescent  
board") or a similar stronger surface of your choice (what's laying around in  
your shop?) and use a craft knife to cut out the stencil as needed. Would be a 
 good project for a student/volunteer/new worker also as it doesn't need to  
be perfect. 
 
May I suggest... there are street sign versions of it available at my local  
hardware store for 99 cents - why not mount one of those signs on the side  of 
the chair/wall adjacent to the space? Sometimes when a floor is painted, the  
traction changes. That's not a big deal to those of us who walk, but in a  
wheelchair, it's a pain and that pain is magnified in the dark. 
 
Kristi
 

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

Subject: Painting the floor #3
Date: Wed, 16 Nov 2005 09:41:44 -0500
Message-ID: <3CF87682970858499CA56707FB1F092B902BCD [at] wscc-s-003000.westshore.edu>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>



Jerry wrote:
    3) How to paint the floor in the future.
=20
Regarding number three, I can think of two options, excluding the old "
no
paint on the floor".  We could just continue to add paint to the newly
cleaned floor.  Or we could put down a marley-type surface ....


Hi Jerry,

I am not sure this will work for you, but the solution I came up with
here (where we have a newly refinished wood floor which we don't want to
paint, at least until it wears a bit) is to use reject vinyl flooring
from a local factory seconds discount dealer.  Just regular kitchen
flooring, that we rollout face down, and then paint the back for the
show.  It is pretty tough stuff, seems to take paint fairly well (latex,
haven't tried casein), and you can tape the seams together underneath.
Sometimes the pattern on the face telegraphs through, so the cheaper
stuff with little texture works better than the high end stuff with
intricate pattern.  When the show is over, you can roll it back up and
save it for the next. =20

Our experience is that large pieces will stay in place if taped or
stapled around the perimeter.  I wouldn't really advise it as dance
floor per say, but one of my first uses was to make an "infield" for
Damn Yankees, and it survived the dance numbers and the casters that
rolled over it, and we've used the same rolls of material several times
since (although it seems they get smaller as we shape them differently
for each show).

Of course, this is only a variation on the heavy canvas ground cloths we
used to sew up and paint, but when I priced it out, the flooring was
cheaper (can't say if this would be true at the moment- how much oil is
there in vinyl flooring?).  And I didn't need to glue it down or size
it.
Tom D.


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

Date: Wed, 16 Nov 2005 09:37:11 -0500
Subject: Re: Question #1
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BFA0AE47.86E0%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-25553454 [at] prxy.net>

Scan logo, transfer to stencil board, cut
out, mask, paint.  Sit back and relax.

Steve

> From: Bruce Purdy <bpurdy [at] rochester.rr.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 16 Nov 2005 01:15:15 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Question #1
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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 09:49:06 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Contract Oddities
In-reply-to: <list-25559443 [at] prxy.net>
Message-id: <437B46E2.8000307 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25559443 [at] prxy.net>

G. D. George wrote:
> ---------------------------------------------------
> Anyway, three questions: 
>      1) How to remove the layers of paint down to bare floor safely?
>      2) How to treat the floor after it's cleared?
>      3) How to paint the floor in the future.

1.) Talk to you building/campus custodians.  I'd think a floor buffer 
with the appropriate chemicals would do wonders.

2.)  Get some floor paint and the appropriate sealer.  Use a 
texture/no-slip additive in the shop.

Steve L.

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

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

In-Reply-To: <list-25560106 [at] prxy.net>
References: <list-25560106 [at] prxy.net>
Message-Id: <5b84d85ce28dcdbacba933a5340cd16c [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Painting the floor #3
Date: Wed, 16 Nov 2005 10:08:47 -0500

> I am not sure this will work for you, but the solution I came up with
> here (where we have a newly refinished wood floor which we don't want 
> to
> paint, at least until it wears a bit) is to use reject vinyl flooring
> from a local factory seconds discount dealer.

I prepped an industrial for Armstrong World Industries (flooring 
manufacturer) once in their airplane hanger and had great success with 
4 of their 12' by 75' rolls right from the factory.  They were a bear 
to work with (especially to unroll by hand and get upside down) but 
once it was down it was an incredible work surface.  It was durable, 
resiliant, and soaked up paint spills beautifully.  It could have been 
rolled up and used dozens of times for the amount of abuse it took.

Greg Bierly
Technical Director
Hempfield HS


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

Message-ID: <437B4F4F.59FF0C1D [at] cybercom.net>
Date: Wed, 16 Nov 2005 10:25:03 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Paint on concrete decks. 
References: <list-25559443 [at] prxy.net>



"G. D. George" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hi folks,
>
> While I'm de-lurked, I've got a paint question.  Well, not about paint per
> se, but one of the things that I want to deal with this summer is cleaning
> up our cement stage, theatre, and shop floors.  All have multiple layers of
> paint, most if not all of which is latex based. (I think... When I got here
> there were some mysterious, unlabeled, concoctions in the paint area and
> they may have wound up on the floor at some point.)
>
> Anyway, three questions:
>      1) How to remove the layers of paint down to bare floor safely?

    For thick accumulations, they are selling in the store right now implements
of destruction that are made for scraping ice from sidewalks.   For the
thin spots, and the residue from the scraper, you will have to experiment
with various paint strippers, chemical, heat, and abrasive methods to get
down to bare concrete.

>
>      2) How to treat the floor after it's cleared?

    Concrete sealer. ( similar to a polyurethane floor finish)

>
>      3) How to paint the floor in the future.
>

    You can get concrete sealers in various colors.

    Something you may try is just laying down masonite panels on the
concrete, securing them with a dab of low strength adhesive in each
corner.  Prime the masonite, both sides and the edges, before laying.
Then paint the masonite for each show as needed.  Remove and
replace the masonite as needed. ( annually or biannually likely)
    I saw an ad years ago for a paint that you laid down that was
rubberlike.  you painted over it until you got tired of it, then you
peeled up the paint like a big sheet of rubber, carrying all the
old paint on top of it with it.  If the stuff is still around, that may
be a solution.

    --Dale



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

Date: Wed, 16 Nov 2005 15:30:10 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: DMX512
In-Reply-To: <list-25538060 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511161528110.5768 [at] viscount.richmondsounddesign.com>
References: <list-25538060 [at] prxy.net>

On Tue, 15 Nov 2005, Jeffrey E. Salzberg wrote:

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

There are lots of reasons why DMX rated cable should work for Clear-Com and lots 
of reasons why it might not be very good ;-)

To quote a friend ;-)



Does Clear-Com publish specifications required for its connecting cable?


Charlie

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

From: Tom Grabowski <tomgrab [at] utpa.edu>
Subject: Re: fire sprinkler installation
Date: Wed, 16 Nov 2005 09:33:11 -0600
In-Reply-To: <list-25556900 [at] prxy.net>
Message-ID: <20051116093311156.00000003076 [at] TGRABOWSKI>


	In a conversation with the general contactor that built our new church, he=
 said that it cost him an average of 6 times as much to do something the se=
cond time as it did the first time.  It didn't stop some things being done =
a third or fourth time.

-- =

Tom Grabowski			University of Texas-Pan American
Designer				Communication Department
Tomgrab [at] UTPA.edu			Edinburg, Texas 78541
956/381-3588			FAX 956/318-2187


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

Message-Id: <p05210600bfa1006e46a3 [at] [132.236.252.58]>
In-Reply-To: <list-25547845 [at] prxy.net>
References: <list-25547845 [at] prxy.net>
Date: Wed, 16 Nov 2005 10:30:20 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: They Got It Right (Was RE: fire sprinkler installation)


It's an ARTEC project from feasibility through construction.  Opened Nov 92

Dick A
TD Cornell U





>
>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. .....
>
>I think it was a Fisher/Dachs project. Regardless, It's one where they got
>(most of) it right.
>
>Peter Scheu


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

Message-ID: <001501c5eac7$788daf30$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net> <list-25557245 [at] prxy.net>
Subject: Re: Crew calling software
Date: Wed, 16 Nov 2005 08:04:49 -0800

> What would the ideal cue calling software contain?  Would have the
> entire script or only cue lines?
>
> Has anyone trired just using an Excel spreadsheet for this purpose?  A
> spreadsheet, combined with a software clock and a software stopwatch
> (set up on dual monitors) might work well.

One could take this a step further: add some voice recognition software, and 
when the computer "hears" the cue given, could then cue the crew, or just 
execute the cue itself.  If the voice recog software is finicky, then one 
could sit down with each actor and have him/her read the lines into the 
computer, to develop a voice print.

Of course, some fuzzy logic would need to be developed, so the computer 
could determine that the Actron had skipped 3 pages (or all of Act II) and 
would react accordingly.

I'm sure Frank is rolling in his grave right now, at the thought of an 
automated SM.  (Um, err... I know Frank's not dead... just a metaphorical 
grave.  Or maybe he IS dead, and his computer just spits out the same 
pontifications he's blessed us with for years??)

<tongue totally in cheek>

      - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <002d01c5eac8$32282e20$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25559325 [at] prxy.net>
Subject: Re: Contract Oddities
Date: Wed, 16 Nov 2005 08:10:00 -0800

> Lets make a big ridiculous contract and post it on the web for download 
> and
> title it "Live event contracts for dummies"  we should put in certain 
> words
> that will "watermark" it for us all and when we actually get offered said
> contract in the future we'll know to just run away.


Could we watermark it by slipping in "Frank Wood" or "Unka Bill" in there? 
If we see either of those, we'll know where it came from....    :)

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <003f01c5eac9$09c46880$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25559443 [at] prxy.net> <list-25560224 [at] prxy.net>
Subject: Re: Contract Oddities
Date: Wed, 16 Nov 2005 08:16:02 -0800

> 1.) Talk to you building/campus custodians.  I'd think a floor buffer with 
> the appropriate chemicals would do wonders.
>
> 2.)  Get some floor paint and the appropriate sealer.  Use a 
> texture/no-slip additive in the shop.


My high school had a nice scene shop, but with concrete floors.  At the end 
of the year, the PAC custodian would bring in the floor buffer with a 
sacrificial scrubby disc, and some sort of cleaning product, and would 
remove the accumulated paint and wood glue droppings with very little 
effort.  He'd then mop down a coat of a concrete sealer.  I don't know what 
it was back then, but now-a-days there are water-based concrete sealers that 
give an amazingly glossy finish that's extremely easy to clean.

     - Jon Ares
www.hevanet.com/acreative 


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

Date: Wed, 16 Nov 2005 16:45:28 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25561271 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511161640280.8937 [at] viscount.richmondsounddesign.com>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net> <list-25557245 [at] prxy.net>
 <list-25561271 [at] prxy.net>

On Wed, 16 Nov 2005, Jon Ares wrote:

> One could take this a step further: add some voice recognition software, and 
> when the computer "hears" the cue given, could then cue the crew, or just 
> execute the cue itself.  If the voice recog software is finicky, then one 
> could sit down with each actor and have him/her read the lines into the 
> computer, to develop a voice print.

I was working on software like this (and simpler) as a natural extension of show 
control software (of course...) and conferred with the Stage Managers' 
association for several years at USITT conferences in the early 90s.  Not only 
was not one single stage manager interested in this sort of thing, the last 
thing they wanted to have do anything with to run a show was a computer or 
software (including show control software) and they thought that what we were 
proposing was the most offensive thing that could be proposed for their 
profession.

As far as I can tell, this hasn't changed much even though there are lots of SMs 
running shows using show control software at theme parks and on cruise ships...


Charlie

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

Message-ID: <20051116164813.83385.qmail [at] web50611.mail.yahoo.com>
Date: Wed, 16 Nov 2005 08:48:12 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: They got it right
In-Reply-To: <list-25556900 [at] prxy.net>

I agree about the Kravis center. The Philharmonic in
Naples is also a fine venue. But the finest folk have
to be at Marty's place. Is it the location of the
theatres in Florida that make them so nice? Or is it
all the money the "Snow Birds" bring? 
For a West Coast example the Cirritos Center is a
wonderful space with a GREAT crew. Far superior to its
neighbor the Kodak as far as usability. If you visit
there see if you can get one of their interactive
disks. The Cerritos can be arranged into 6 or so
different configurations. Really cool place.


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


		
__________________________________ 
Yahoo! FareChase: Search multiple travel sites in one click.
http://farechase.yahoo.com

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

Message-ID: <000501c5eace$92a756d0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net> <list-25557245 [at] prxy.net> <list-25561271 [at] prxy.net> <list-25561848 [at] prxy.net>
Subject: Re: Crew calling software
Date: Wed, 16 Nov 2005 08:55:39 -0800

>  Not only was not one single stage manager interested in this sort of 
> thing, the last thing they wanted to have do anything with to run a show 
> was a computer or software (including show control software) and they 
> thought that what we were proposing was the most offensive thing that 
> could be proposed for their profession.


I can definitely see this issue... (that's one reason I made the 
tongue-in-cheek suggestion in the first place.)  :)  I'm sure such things 
would be about as popular with pro SMs as "Jack" stations are with radio 
DJs.  (A "Jack" station is an automated, dj-less station.  Most are those 
trendy, first-name stations, called "Jack," "Bob," "Charlie," etc.)

(Personally I like automated stations - I can't stand useless "I think I'm 
so funny" DJ banter.  But I'd prefer a flesh-and-blood SM calling my show. 
Assuming he/she doesn't insert 'personality' or standup comedy into the 
calls.)

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <20051116165802.155.qmail [at] web50609.mail.yahoo.com>
Date: Wed, 16 Nov 2005 08:58:02 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Crazy contracts
In-Reply-To: <list-25556900 [at] prxy.net>

I think I am going to start making my own crazy
contracts. I am gonna do em for Doctors, and dentists,
and any other person that gives me piles of paperwork
to fill out. Wouldn't it be great to go into a dentist
and give the secretary a clip board worth of info to
fill out as she gives you yours. You could include
things like: Said doctor agrees to treat ME and not my
Insurance. All prices will be agreed upon before any
work will be done. Any expenses deemed obscene by said
patient will be paid by said doctor... well you get
the idea. I just think it would be fun to, with a
straight face, hand them a bunch of mumbo jumbo, see
if they read and sign it.


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: <b7318c480511160910x74414d28tc31b301f1ef0b591 [at] mail.gmail.com>
Date: Wed, 16 Nov 2005 12:10:59 -0500
From: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25561988 [at] prxy.net>
References: <list-25484285 [at] prxy.net> <list-25547233 [at] prxy.net>
	 <list-25557245 [at] prxy.net> <list-25561271 [at] prxy.net>
	 <list-25561848 [at] prxy.net> <list-25561988 [at] prxy.net>

> >  Not only was not one single stage manager interested in this sort of
> > thing, the last thing they wanted to have do anything with to run a sho=
w
> > was a computer or software (including show control software) and they
> > thought that what we were proposing was the most offensive thing that
> > could be proposed for their profession.

This may be changing.  I was working on a production at a major
regional theatre just a few weeks ago where there were no less than
nine laptops set up on production tables in the house during the tech.
rehearsal.  The SM was just one of the many people using a computer
during the rehearsal. The SM actually used his laptop almost
constantly during the rehearsal. I will contact the PM (who was
occassionaly using his during the rehearsal) to try to find out what
software the SM was using.

-Delbert

--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

From: "Adam Berns" <gunntd [at] mac.com>
Cc: stagecraft [at] jeffsalzberg.com
Subject: RE: Crew calling software
Date: Wed, 16 Nov 2005 09:21:08 -0800
Message-ID: <000301c5ead2$2282db00$6500a8c0 [at] adamhome>
In-reply-to: <list-25557365 [at] prxy.net>

Sometimes, simplicity is the best way.  Maybe I missed a chunk of this
thread, but reading form a monitor.  Have you ever tried to read a full play
off a PDF?  I am all for technology, however, sometimes it is not the best
way.  True a binder can get torn pages, but a computer monitor could have
problems, along with the computer.  Currently, in our booth, we have 1 PC
for sound (and all the junk to go along with sound), and a light board. That
is already enough to try to manage and support.  If it's a one person show,
I have done work with SoundCueSystem's Midi interfaces to control the light
board, so all a SM does is have to hit the right mouse key.  But as I
explain to the students, it's not about the number of cues, it's about what
it something goes wrong.  What if an actor misses a cue, the SM then needs
to jump ahead cues, taking their off the stage and prompt book to figure
that out, then it all goes to hell.  (Sorry, I just had a long discussion
with my SM and sound op who convinced the SM that since there where only 7
sound cues in the show, they did not need and sound op...)  Sorry, I
digressed...  Next time you try doing a show, first try to get the prompt
into the computer is a usable fashion (with our without OCR), then make
changes, then add blocking notes.  Then add to your prompt book, color.  Is
blue a light cue or sound cue, is green a light cue or sound cue.  Under low
light, it can be hard.

I've tried to go down this road.  Until more plays are available as PDF, or
something, using a computer to do cues just doesn't seem feasible.


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E.
Salzberg
Sent: Wednesday, November 16, 2005 3:35 AM
To: Stagecraft
Subject: Re: Crew calling software

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

 
> What would the ideal cue calling software contain?  Would 
> have the entire script or only cue lines?

I've thought of this over the years and came to much the same conclusions
you did.

Mine would have a split screen option (so the SM could scan forwards) and an
automatic scroll.  Colors would be user-definable, so the stage manager
could color code sound cues, light cues, standbys, or whatever.  It would
contain whatever text the SM wanted -- just cue lines, or the entire script
-- and would let the SM attach notes to any line -- for actor line notes,
perhaps.




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

From: "Adam Berns" <gunntd [at] mac.com>
Subject: RE: Question #2
Date: Wed, 16 Nov 2005 09:22:59 -0800
Message-ID: <000401c5ead2$641ab1f0$6500a8c0 [at] adamhome>
In-reply-to: <list-25559082 [at] prxy.net>

I have checked this as well, and have not found a way to do it.  Tell your
director to get a small light if he needs to surf the internet on his
computer during Q to Q (oh wait, that's my director)

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen
Litterst
Sent: Wednesday, November 16, 2005 5:18 AM
To: Stagecraft
Subject: Re: Question #2

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

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

I'll check when I get to work, but I don't think Express lets you set the
parameters of the submasters beyond Pileon or Inhibitive.

You could, however, make the houselight channels themselves independent.

Steve L.



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

Message-ID: <2E3198416D5E7A4FB3FEC7E6838FE36B2784D3 [at] ct11exm60.ds.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
Subject: RE: Question #2
Date: Wed, 16 Nov 2005 10:29:00 -0700

He can buy a USB powered light cheaply or they have one built-in on the ThinkPad.  Ducking!!! 


Chip 

From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Adam Berns
  
Tell your director to get a small light if he needs to surf the internet on his computer during Q to Q (oh wait, that's my director)

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

In-Reply-To: <list-25553549 [at] prxy.net>
References: <list-25553549 [at] prxy.net>
Message-Id: <b6e0ea28a2dce2426e27d9787c290de1 [at] sandiego.edu>
From: James Feinberg <feinberg [at] sandiego.edu>
Subject: Re: Question #2
Date: Wed, 16 Nov 2005 09:50:53 -0800

Bruce,

It won't give you quite the level of control that a submaster would, 
but if you PARK the houselight channels, they'll stay on regardless and 
they won't get written into your cues.

--James Feinberg
University of San Diego

On Nov 15, 2005, at 10:25 PM, Bruce Purdy wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>     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 13:09:27 -0500
Subject: Re: Question #2
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BFA0E007.B39E%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25553746 [at] prxy.net>

 John Elliott wrote:

> 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):
> 
    Great idea using the PDF manual and  the "Search" function. That hard
copy manual frustrates me whenever I try to look up a specific question, and
I'm still new at this board. I'm sure I'll use the PDF search in the future!

    Thank you and Steve L. for both pointing out that although I apparently
can not make the sub independent, I *can* do so with the houselight channels
directly.  

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-Id: <6.2.3.4.0.20051116095103.029f7ae8 [at] 192.168.0.13>
Date: Wed, 16 Nov 2005 10:07:37 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: fire sprinkler installation
In-Reply-To: <list-25560797 [at] prxy.net>
References: <list-25556900 [at] prxy.net>
 <list-25560797 [at] prxy.net>

At 07:33 AM 11/16/2005, you wrote:
>         In a conversation with the general contactor that built our 
> new church, he said that it cost him an average of 6 times as much 
> to do something the second time as it did the first time.  It 
> didn't stop some things being done a third or fourth time.

A number of years back we were re-doing the heating system here.  I 
researched HVAC systems and designed an efficient system.  Our 
regular contractor put in what he could, then we tried to order the 
custom sheet metal ducting.

We were turned down by just about every HVAC shop in the area because 
they said it wasn't a "standard" system.  We couldn't figure out why 
they cared, all we were ordering was duct and we were supplying the 
specifications.  Still, no bid.  We eventually found one contractor 
who charged a lot to fabricate and install it and did a poor job 
(it's poor when things don't fit, I have to take it all apart, remove 
blockages, and seal joints).  The installer also said the system 
could never work.  We reported the installer's attitude and work 
quality to his boss and actually got an apology (big surprise).

The system is currently humming quitely keeping us warm years later, 
and our heating bill is way less than our neighbors.  I hope it keeps 
"not working" like this.



-- 
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



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

Date: Wed, 16 Nov 2005 13:13:16 -0500
Subject: RE: Question #1
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BFA0E0EC.B3A4%bpurdy [at] rochester.rr.com>
In-Reply-To: <BFA0DCBB.B39D%bpurdy [at] rochester.rr.com>

    Thank you John, Steve R, Steve L and Kristi for the advice to make my
own stencil. Doh!  Why didn't I think of that myself?? I will take your
advice!

    Sometimes when your brain freezes up, it's great to have friends that
can knock you upside the head and make you think again! I love this list!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House




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

Date: Wed, 16 Nov 2005 13:16:14 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Question #2 - independent subs.
In-reply-to: <list-25563009 [at] prxy.net>
Message-id: <437B776E.3000302 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25563009 [at] prxy.net>

Bruce Purdy wrote:
> ---------------------------------------------------
>     Thank you and Steve L. for both pointing out that although I apparently
> can not make the sub independent, I *can* do so with the houselight channels
> directly.  

I feel obligated to point out that if you had a Strand console you 
could set the submaster itself to independent.

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

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Question #2
Date: Wed, 16 Nov 2005 13:17:16 -0500
Message-ID: <001301c5ead9$fd0715f0$6601a8c0 [at] Dell>
In-Reply-To: <list-25563009 [at] prxy.net>


>     Great idea using the PDF manual and  the "Search" 
> function. That hard copy manual frustrates me whenever I try 
> to look up a specific question, and I'm still new at this 
> board. I'm sure I'll use the PDF search in the future!

Remember that ETC has a free offline editor that is really a console
emulator; it's a convenient way to learn the various functions.



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

Date: Wed, 16 Nov 2005 18:22:43 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25562382 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511161817140.9826 [at] viscount.richmondsounddesign.com>
References: <list-25562382 [at] prxy.net>

On Wed, 16 Nov 2005, Adam Berns wrote:

> something, using a computer to do cues just doesn't seem feasible.

It's way more than feasible.  We had software actually doing this 15 years ago 
but no one wanted to do it.  It was extremely slick and quite foolproof but did 
not use pdfs and it included a word processor so that texts could be edited as 
well (and cues entered and highlighted) and then of course it called the cues 
electronically via MIDI.  Very attractive package since it was based entirely on 
a WYSIWYG publishing program which had the features below already in it.

> Mine would have a split screen option (so the SM could scan forwards) and an
> automatic scroll.  Colors would be user-definable, so the stage manager
> could color code sound cues, light cues, standbys, or whatever.  It would
> contain whatever text the SM wanted -- just cue lines, or the entire script
> -- and would let the SM attach notes to any line -- for actor line notes,
> perhaps.

All we really had to do was add in the AREXX commands that triggered the cues 
when the cursor hit the highlight....

Charlie

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

From: FrankWood95 [at] aol.com
Message-ID: <207.e86dff6.30acd45b [at] aol.com>
Date: Wed, 16 Nov 2005 13:28:43 EST
Subject: Re: DMX512

In a message dated 16/11/05 08:59:34 GMT Standard Time, todd [at] lipcon.org 
writes:

> 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.

You are right. That is really what I was thinking of. 

Late at night, after playing bridge all evening!


Frank Wood

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

Date: Wed, 16 Nov 2005 13:27:03 -0500
Subject: Re: Question #1
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BFA0E427.8706%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-25563100 [at] prxy.net>

You forgot to go to Starbucks!

Steve

> From: Bruce Purdy <bpurdy [at] rochester.rr.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 16 Nov 2005 13:13:16 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Question #1
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Thank you John, Steve R, Steve L and Kristi for the advice to make my
> own stencil. Doh!  Why didn't I think of that myself?? I will take your
> advice!
> 
> Sometimes when your brain freezes up, it's great to have friends that
> can knock you upside the head and make you think again! I love this list!
> 
> Bruce
> -- 
> Bruce Purdy
> Technical Director
> Smith Opera House
> 
> 
> 


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

From: FrankWood95 [at] aol.com
Message-ID: <c8.6c6ec601.30acd659 [at] aol.com>
Date: Wed, 16 Nov 2005 13:37:13 EST
Subject: Re: fire sprinkler installation

In a message dated 16/11/05 12:39:33 GMT Standard Time, bill-conner [at] att.net 
writes:

> They should ask.  I required them to ask by including review of in my 
>  contract.  But, in design build especially, with the Owner already accused 
>  of delaying the project which has a firm opening date with liquidated 
>  damages, there are a lot of parties that don't want to take it out and 
>  change it.  It was seen as soon as it was installed but the right people 
did 
> 
>  not have the chance to review shop drawings.

That is all too often the case. The drawings are late in coming, and to to 
the wrong people. By the time they are in the hands of someone who can make 
constructive comments on them, it is too late for these to be acted on.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <233.175e64e.30acd9e4 [at] aol.com>
Date: Wed, 16 Nov 2005 13:52:20 EST
Subject: Re: Crew calling software

In a message dated 16/11/05 16:05:22 GMT Standard Time, jonares [at] hevanet.com 
writes:

> I'm sure Frank is rolling in his grave right now, at the thought of an 
>  automated SM. 

ROTFL! I have previously suggested that, given the way most of you prefer to 
work, that it would be a good idea to give the SM a remote GO button to the 
lighting control, and let the duty operator retire to the bar. This just goes 
one stage further.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <258.1453532.30acdb90 [at] aol.com>
Date: Wed, 16 Nov 2005 13:59:28 EST
Subject: Re: Crew calling software

In a message dated 16/11/05 16:45:53 GMT Standard Time, 
charlier [at] RichmondSoundDesign.com writes:

> I was working on software like this (and simpler) as a natural extension of 
> show 
>  control software (of course...) and conferred with the Stage Managers' 
>  association for several years at USITT conferences in the early 90s.  Not 
> only 
>  was not one single stage manager interested in this sort of thing, the 
last 
>  thing they wanted to have do anything with to run a show was a computer or 
>  software (including show control software) and they thought that what we 
> were 
>  proposing was the most offensive thing that could be proposed for their 
>  profession.

It seems to be a very conservative industry. Suggestions for different ways 
of working are usually met with the response: "We've always done it this way."


Frank Wood

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Crew calling software
Date: Wed, 16 Nov 2005 14:06:12 -0500
Message-ID: <001401c5eae0$d2b52d30$6601a8c0 [at] Dell>
In-Reply-To: <list-25563773 [at] prxy.net>



> -----Original Message-----
> From: FrankWood95 [at] aol.com [mailto:FrankWood95 [at] aol.com] 


> It seems to be a very conservative industry. Suggestions for 
> different ways 
> of working are usually met with the response: "We've always 
> done it this way."

I think I'll just sit back and watch the replies to that one....



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

Date: Wed, 16 Nov 2005 14:08:10 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Crew calling software
In-reply-to: <list-25563773 [at] prxy.net>
Message-id: <437B839A.2010108 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25563773 [at] prxy.net>

FrankWood95 [at] aol.com wrote:
> ---------------------------------------------------

> It seems to be a very conservative industry. Suggestions for different ways 
> of working are usually met with the response: "We've always done it this way."

While I'll admit to being an occasional offender of that philosophy, 
it is usually a situational response.   If you suggest a different way 
that I've tried and it didn't work then, I'm going to be less inclined 
to devote my resources to it.

New ideas, now that's a different story.  My experiences in the 
industry have been that folks are usually willing to explore new 
ideas.  It all depends on the schedule and budget.  LEDs are taking 
off as an idea, over the time-honored method of picking one's colour 
in advance.  Some people are even open to using saturated colour washes.

Steve L.

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

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Crew calling software
Date: Wed, 16 Nov 2005 14:11:42 -0500
Message-ID: <001501c5eae1$978627e0$6601a8c0 [at] Dell>
In-Reply-To: <list-25563909 [at] prxy.net>


> LEDs are taking 
> off as an idea, over the time-honored method of picking one's colour 
> in advance. 

The use of LEDs doesn't preclude the selection of colors in advance.



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

Subject: RE: Question #2
Date: Wed, 16 Nov 2005 13:13:57 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B5E06 [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

I'm fond of writing macros to park dimmers at certain levels - works to =
bring houselights/worklights up or down w/o messing up my cues, and also =
for moving light init & shutdown sequences.

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

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

Message-ID: <20051116191811.41304.qmail [at] web81809.mail.mud.yahoo.com>
Date: Wed, 16 Nov 2005 11:18:11 -0800 (PST)
From: Ken Zinkl <kzinkl [at] sbcglobal.net>
Subject: bijou issues, or a rant 
In-Reply-To: <list-25563431 [at] prxy.net>

With my new job I have to learn a new light board.  No
problem I thought until I tried to make the scrollers
move while dark (very simple on a Strand 300 or 500
series).  I decided that I would do this like I have
done on ETC Express boards where I hold the scroller
channels at the set position while the lights fade out
(cue 8).  Then have another cue follow (8.1) that
starts 1 second after cue 8 is over to change the
scrollers.  It turns out that a Bijou does not have
auto follows or I can not find them and the factory
does not know how to do this either.  

I then went to the manual and found an item called
"multipart" cues.  Basically it is like writing parts
on an ETC with the parts step.  From the manual
“Multipart cues and sequentially numbered cues that
all start together with one press of the {GO} button. 
If you wish to have cues 6,7,8,9,10 all start at the
same time you would...."   I thought great this will
solve my problem.  WRONG!  When I did this I followed
the set up for multipart cues and then put a delay on
cue 8.1 so it would start one second after cue 8
finished.  It turns out that all of the fades happen
on whatever the last cue in the multipart is so
nothing would happen for 3 seconds and then everything
would go in a zero count fade when only the scrollers
should be moving.  

The people at the factory were as helpful as they
could be and very apologetic about not having a
solution for me and are going to pass my complaint on
up to R & D but I am amazed that after 6 years (that
is how long the board has been on the market according
to tech support) that a software update has not been
made to correct this problem.  

OK rant over.  Does anyone else out their have a Bijou
and what have you done to make scrollers (if you have
them) move while dark besides adding another cue that
must be called?  Also I have noticed that when I dim a
light it does not dim smoothly.  The dimming is more
like walking down stairs and by that I mean it holds a
level for a short time the drops down and holds and
drops, etc until the fade is over. Is this a falt of
the board or of my dimmers?  My dimming is also from
EDI and was installed when the building was built in
2000 or 2001.  

Thanks for listening.  I feel better now.

Ken Zinkl
Auditorium Manager
Fort Zumwalt South High School
636-281-0732

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

Message-Id: <6.2.3.4.2.20051116122142.020f6390 [at] mail.earthlink.net>
Date: Wed, 16 Nov 2005 12:25:26 -0700
From: theatre safety programs <theatresafe [at] jgorrell.com>
Subject: Re: Safety Contracts

I passed your questions and concerns to a lawyer who is familiar with 
both entertainment industry and with accident and injury litigation 
from the plaintiff and the defense side.  This is his response.

As a general rule, contracts which seek to limit or waive a party's 
right to sue are deemed violative of public policy and are 
unenforceable.  In my opinion, an "contract" signed by a student "not 
to sue" as contemplated here would never see the light of day in a 
court proceeding.

 From a practical point of view, although such agreements are 
generally unenforceable, they do sometimes discourage an injured 
party from bringing an action, especially when they have not 
consulted an attorney who would advise them that the waiver is worthless.

As to a written statement that the student agrees to "obey all the 
shop safety rules while operating tools and power equipment," I think 
that such a document could have value on the issue of negligence of 
the school/instructor and/or the comparative negligence of the 
injured student.  A further statement signed by the student that they 
are "aware of the inherent dangers of the machinery in the shop," as 
a basis for agreeing to "obey all the shop safety rules" would be a 
good addition to the proposed "contract."

Hope this helps.

Jerry Gorrell
Technical Director, City of Phoenix Civic Plaza Department, Venue 
Management Division
Principal, Theatre Safety Programs



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

Date: Wed, 16 Nov 2005 19:37:40 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Crew calling software
In-Reply-To: <list-25563866 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0511161934480.12677 [at] viscount.richmondsounddesign.com>
References: <list-25563866 [at] prxy.net>

On Wed, 16 Nov 2005, Jeffrey E. Salzberg wrote:

>> It seems to be a very conservative industry. Suggestions for different ways 
>> of working are usually met with the response: "We've always done it this 
>> way."
>
> I think I'll just sit back and watch the replies to that one....

It's certainly what I found.  I just don't have the time any more to develop new 
ideas and then wait 30 years for the theatre 'industry' to realise it's a good 
idea...

And you might be waiting a similarly long time for responses to this thread...

Charlie

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

Message-Id: <3.0.6.32.20051116124034.00ce64e0 [at] pop.west.cox.net>
Date: Wed, 16 Nov 2005 12:40:34
From: CB <psyd [at] cox.net>
Subject: A show called firedance

>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. 

Does it start with two jobs, as in "Assistant Sound/Assistant Carpenter",
and then go on to describe the duties of both for the paycheck of one?  The
I think I still have ya beat on the scale of ridiculous, H.  I'v ehad
contracts in teh past that have been extremely vague, and then those that
have been extremely precise about every little thing.  I've signed both.
The extremely vague contracts allow me to interpret them any way that I
wish, and the extremely precise contracts are impossible to live up to, and
consequently, the contractor tends to be in breach within 48 hours.  In
either case, I can play the "I'm done, and I'm going home now" card if
things start to get too wierd.  The 'Mercenary Stagehand' T-shirt comes out
when the money gets thin, and that usually stops any silly ideas.
I've been out on pinks, and modified pinks, and I've been out on contracts
I've negotiated.  I prefer the ones that I've negotiated, as I'll support
my position when there are questions, and I've gotten little support in
other cases.
Thanks for the heads up!
				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: Wed, 16 Nov 2005 14:45:16 -0500
Subject: Re: Safety Contracts
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BFA0F67C.8717%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-25564240 [at] prxy.net>

When I was teaching (27 years), I always had a liability
insurance policy to protect myself and my family.

Steve

> From: theatre safety programs <theatresafe [at] jgorrell.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 16 Nov 2005 12:25:26 -0700
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Safety Contracts
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I passed your questions and concerns to a lawyer who is familiar with
> both entertainment industry and with accident and injury litigation
> from the plaintiff and the defense side.  This is his response.
> 
> As a general rule, contracts which seek to limit or waive a party's
> right to sue are deemed violative of public policy and are
> unenforceable.  In my opinion, an "contract" signed by a student "not
> to sue" as contemplated here would never see the light of day in a
> court proceeding.
> 
> From a practical point of view, although such agreements are
> generally unenforceable, they do sometimes discourage an injured
> party from bringing an action, especially when they have not
> consulted an attorney who would advise them that the waiver is worthless.
> 
> As to a written statement that the student agrees to "obey all the
> shop safety rules while operating tools and power equipment," I think
> that such a document could have value on the issue of negligence of
> the school/instructor and/or the comparative negligence of the
> injured student.  A further statement signed by the student that they
> are "aware of the inherent dangers of the machinery in the shop," as
> a basis for agreeing to "obey all the shop safety rules" would be a
> good addition to the proposed "contract."
> 
> Hope this helps.
> 
> Jerry Gorrell
> Technical Director, City of Phoenix Civic Plaza Department, Venue
> Management Division
> Principal, Theatre Safety Programs
> 
> 


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

Message-Id: <3.0.6.32.20051116125510.00ce64e0 [at] pop.west.cox.net>
Date: Wed, 16 Nov 2005 12:55:10
From: CB <psyd [at] cox.net>
Subject: Re: A show called firedance

>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. 

Write "Left Unsigned" in a very fancy script, and post date the signature
till after your work period is up (as in '2105'). If they really have any
concerns, they'll ask you about it, if its boiler-plate that no one cares
about, well, its boiler-plate that no one cares about.
Once, while helping a scenic designer buddy of mine, on a Friday, I got
some splinters.  No big deal.  Saturday morning, I had swollen, hot, red
fingers.  Like tow sausages.  Sort of a big deal.  After followng the
beaurocratic trail of breadcrumbs to the ER, I received treatment, and
instructions to get follow-up care at an industrial claims urgent care
facility on Monday.  Monday came, and I was asked to 'donate' a sample. "A
urine sample for splinters?!?"  "No, a urine sample for the drug test."  A
drug test for splinters!!!???!!!"  "No, a drug test for the insurance
company."
Well, I refused, they called the IATSE local's payroll company that covered
us with WC, and the woman told them to refuse treatment.  I asked that the
refusal be put in writing, as my attorney would never believe that I was
actually told that, and a lurry of phone calls ensued.  I was asked to the
phone, and was told that I had signed a document when I signed up for the
payroll company that waived my constitutional right to privacy. I suggested
as that might be something that I'd remember, and if they had such a
document with my signature on it that I'd apologise, donate, and get on
with it, but if they didn't I should get teh medical attention I deserved
and get on with it.  The saw to my medical needs, and couldn't produce the
document (It hadn't been a requirement when I signed up, and they neglected
to send me a copy when the insurance company decided to add it).
The gist of the reason that they fired me (the PAYROLL company fired me
from the union rolls!) was that I didn't comply with a contractual
agreement that I should have signed, but didn't.  The local simply shrugged
and said that there wasn't anything that they could do.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20051116125941.00ce64e0 [at] pop.west.cox.net>
Date: Wed, 16 Nov 2005 12:59:41
From: CB <psyd [at] cox.net>
Subject: Re: lowest bidder

>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.

This is the same attitude that has made this country the litigous whiners
that they are, Frank, and the litigious whiners that you are continually
pointing out. If you can't trust my word on things, why am I working for
you?  I can weasel out of just about anything I put on paper, if it is my
intention.  If I look you in the eye, and shake your hand, and tell you I'm
going to do somehting, however, it WILL get done, or medical personell will
be calling you to tell you why.
				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: Wed, 16 Nov 2005 15:35:47 -0500
Subject: Re: Question #2
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BFA10253.B3B9%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25563172 [at] prxy.net>

> Remember that ETC has a free offline editor that is really a console
> emulator; it's a convenient way to learn the various functions.

    I do know that the OLE exists, but I haven't tried it. It won't work on
a Mac, and unless I'm missing something I don't see any advantage over just
playing on the real board anyway. In our venue unless there is a show going
on, the board just sits there in an empty auditorium waiting for me.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Wed, 16 Nov 2005 15:37:40 -0500
Subject: Re: Question #1
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BFA102C4.B3BA%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-25563357 [at] prxy.net>

> You forgot to go to Starbucks!

    Starbucks? What's that?

    Out here in the middle of nowhere, the closest thing to a Starbucks is
Dunkin' Doughnuts! 

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Wed, 16 Nov 2005 15:41:41 -0500
Subject: Re: Question #1
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BFA103B5.871F%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-25565265 [at] prxy.net>

They've got high octane too, don't they?

Steve

> From: Bruce Purdy <bpurdy [at] rochester.rr.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 16 Nov 2005 15:37:40 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Question #1
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> You forgot to go to Starbucks!
> 
> Starbucks? What's that?
> 
> Out here in the middle of nowhere, the closest thing to a Starbucks is
> Dunkin' Doughnuts!
> 
> Bruce
> -- 
> Bruce Purdy
> Technical Director
> Smith Opera House
> 
> 


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Question #2
Date: Wed, 16 Nov 2005 15:47:22 -0500
Message-ID: <001d01c5eaee$f4b81d30$6601a8c0 [at] Dell>
In-Reply-To: <list-25565225 [at] prxy.net>


>     I do know that the OLE exists, but I haven't tried it. It 
> won't work on a Mac, and unless I'm missing something I don't 
> see any advantage over just playing on the real board anyway. 

If you have unfettered access to the console, certainly that's better, but
there's something to be said for sitting back at home, with a cold beverage
at hand.



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Question #1
Date: Wed, 16 Nov 2005 15:48:12 -0500
Message-ID: <001e01c5eaef$128a6430$6601a8c0 [at] Dell>
In-Reply-To: <list-25565265 [at] prxy.net>

 
>     Out here in the middle of nowhere, the closest thing to a 
> Starbucks is Dunkin' Doughnuts! 

In Manhattan, the thing that's usually closest to a Starbucks is...another
Starbucks.



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

Message-ID: <437BA0AD.2050104 [at] fredonia.edu>
Date: Wed, 16 Nov 2005 16:12:13 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Question #1
References: <list-25565265 [at] prxy.net>

Are there no Tim Horton's?  Have you no TimBits?  Dunkin'Donuts indeed. 
Oh fie!  A pox on all your houses!
Steve

Bruce Purdy wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
>>You forgot to go to Starbucks!
> 
> 
>     Starbucks? What's that?
> 
>     Out here in the middle of nowhere, the closest thing to a Starbucks is
> Dunkin' Doughnuts! 
> 
> Bruce



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

Subject: Undeliverable mail: Re: A show called firedance
Message-ID: <OFA4D18D97.8A78CD87-ON852570BB.00784EC5-852570BB.0077D345 [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Wed, 16 Nov 2005 16:47:43 -0500

Failed to deliver to 'stagecraft [at] theatrical.net'
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To: "Stagecraft" <stagecraft [at] theatrical.net>
Subject: Re: A show called firedance
MIME-Version: 1.0
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From: Marty_Petlock [at] sarasotagov.com
Date: Wed, 16 Nov 2005 16:45:40 -0500
X-MIMETrack: Serialize by Router on IMAIL/SARACITY(Release 5.0.12
|February 13, 2003) at
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Content-Type: multipart/alternative; boundary="=_alternative
0077A331852570BB_="



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

Date: Wed, 16 Nov 2005 18:28:29 -0500
Subject: Re: A show called firedance
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BFA12ACD.8C4C%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-25564542 [at] prxy.net>

On 11/16/05 12:40 PM, "CB" <psyd [at] cox.net> wrote:

=20
>=20
> Does it start with two jobs, as in "Assistant Sound/Assistant Carpenter",
> and then go on to describe the duties of both for the paycheck of one?  T=
he
> I think I still have ya beat on the scale of ridiculous, H.  I'v ehad
> contracts in teh past that have been extremely vague, and then those that
> have been extremely precise about every little thing.  I've signed both.
> The extremely vague contracts allow me to interpret them any way that I
> wish, and the extremely precise contracts are impossible to live up to, a=
nd
> consequently, the contractor tends to be in breach within 48 hours.  In
> either case, I can play the "I'm done, and I'm going home now" card if
> things start to get too wierd.  The 'Mercenary Stagehand' T-shirt comes o=
ut
> when the money gets thin, and that usually stops any silly ideas.
> I've been out on pinks, and modified pinks, and I've been out on contract=
s
> I've negotiated.  I prefer the ones that I've negotiated, as I'll support
> my position when there are questions, and I've gotten little support in
> other cases.
> Thanks for the heads up!
> Chris "Chris" Babbie


Oh CB YOU have no idea! These guys literally want the right to slander and
Libel me. This has nothing to do with Pinks and unions. They are just
idiots. They also want the right to my image and name.


Here I'll paste it in.......


APOLOGIES TO DIGEST READERS>>>>>

I've had a number of requests for this so just skip if you don't want to se=
e
it.

Contract follows:

LIGHTING AGREEMENT=20

This Agreement dated as of ___________________ is by and between Red
Entertainment,=20
having its address at 16 Penn Plaza Suite 1750 New York, NY 10001,
hereinafter to be referred
to as =B3Company=B2 and Herrick Goldman, hereinafter to be referred to as
"Designer", having his
address at:=20
Address: XXXXXXX=20

Telephone: XXXXXXX=20

SS#:=20

Terms of Agreement=20

In consideration of the mutual covenants herein contained, =B3Company=B2 and
=B3Designer=B2 hereby=20
agree as follows:=20

1. Acknowledgement and Acceptance of Agreement. The Services, provided by
=B3Designer=B2=20
on behalf of =B3Company=B2, shall be provided under the terms and conditions of
this Agreement, Exhibit A, Exhibit B, Exhibit C, any amendments to this
Agreement, and any operating rules or policies that may be published from
time to time by =B3Company=B2, all of which are hereby  incorporated by
reference.

2. Description of Services. =B3Company=B2 hereby engages "Designer", and
"Designer ", accepts  engagement to provide to =B3Company=B2 the following
services: (a) create a complete rider of  the specific equipment needed for
production, (b) correspond with FIREDANCE Company Manager and with
production management of venue and rental house to ensure proper
equipment will be provided or substituted, (c) supply specifications and
create a lighting  design concept that mirrors the Artistic Director's
vision, and takes into account the available space, budget and volunteers,
(d) supervise and instruct the lighting programmer provided by venue on
lighting for the performance as requested by =B3Company=B2, (e) create a 3-D
Vectorworks file to provide to Artistic Director, (f) work diligently and i=
n
good faith, collaborating on the lighting design with the Artistic Director=
,
and including without limitation the lighting designer, scenic designer,
costume designer, and props designer.

3. Term. =B3Designer=B2 shall provide services to =B3Company=B2 for a term
commencing on the date of this Agreement and ending Wednesday December 6,
2005. =B3Designer=B2 shall be paid according to the Schedule of Payments set
forth in Exhibit A, attached to and included in this Agreement.

4. Time Commitment. =B3Designer=B2 shall commence designing for the Project
immediately, upon signing this Agreement. Thereafter, =B3Designer=B2 agrees to
work such hours and at such times as =B3Company=B2 and =B3Designer=B2 shall mutuall=
y
deem necessary to complete the Project in a timely and professional manner.

5. Independent Contractor. =B3Designer=B2 is and throughout this Agreement shal=
l
be an independent contractor and not an employee, partner or agent of
=B3Company=B2. =B3Designer=B2 shall not be entitled to nor receive any benefit
normally provided to =B3Company's=B2 employees such as, but not limited to,
vacation payment, retirement, health care or sick pay. =B3Company=B2 shall not
be responsible for withholding income or other taxes from the payments
made to =B3Designer=B2. =B3Designer=B2 shall be solely responsible for filing all
returns and paying any income, social security or other tax levied upon or
determined with respect to the payments made to
=B3Designer=B2 pursuant to this Agreement.

6. Compensation. =B3Company=B2 agrees to pay =B3Designer=B2, and =B3Designer=B2, agrees
to accept in full payment for services performed pursuant to this Agreement=
,
a flat rate of $XXXXXX

7. Tools and Supplies. Unless otherwise agreed to by =B3Company=B2 in
advance,=B3Designer=B2 shall be solely responsible for procuring, paying for an=
d
maintaining any equipment, software, paper, tools or supplies necessary or
appropriate for the performance of
=B3Designer's=B2 services hereunder.

8. Travel and Accommodations. =B3Designer=B2 will be provided airfare, hotel an=
d
daily transportation during travel dates to and from hotel to venue.

9. Right to Name and Likeness. =B3Designer=B2 hereby grants to =B3Company=B2 the
right to use the name and likeness of =B3Designer=B2 in connection with trade
names, trademarks, training programs, advertising and any other commercial
or business purpose of =B3Company=B2.

10. Force Majeure. If =B3Company=B2 is prevented from presenting the production
by any cause beyond =B3Company=B9s=B2 reasonable control, the engagement shall be
suspended. During such interruption, if the said suspension shall continue
for more than two weeks, =B3Designer=B2 may give written notice to =B3Company=B2
terminating this Agreement. The parties hereto shall thereafter be released
from continued engagement under this Agreement.

11. Termination of Agreement. Without cause, the =B3Company=B2 may terminate
this agreement at any time upon two weeks (14 days) written notice to the
=B3Designer=B2. If the =B3Company=B2 requests, the =B3Designer=B2 will continue to
perform his duties and may be paid his regular salary up to the date of
termination.=20

12. Indemnity. =B3Designer=B2 releases and agrees to forever hold harmless
=B3Company=B2, their third party service providers, their parents, subsidiaries=
,
affiliates, officers, employees and agents from any and all rights, claims
and causes of any and all civil and/or administrative actions,
claims, demands, rights, proceedings, causes of action of any nature and
description whatsoever, whether state or federal, legal, equitable or
regulatory in nature, known or unknown, suspected or unsuspected, disclosed
or undisclosed, absolute or contingent, that =B3Designer=B2 and =B3Designer=B9s=B2
heirs, and administrators may now have, or ever had, or can, shall or may a=
t
any time in the future have, or is or ever was capable of asserting against
any of them for any liability for any matter, cause, or thing whatsoever.
Said release of liability shall include, but not be limited to any liabilit=
y
relating to libel and/or slander, any injury, loss, damage, whether direct,
compensatory, incidental or consequential, including death and property,
arising in whole or in part, directly or indirectly, from =B3Designer=B9s=B2
connection with the performance of =B3Designer=B9s=B2 obligations under this
agreement.=20

13. Company=B9s Proprietary Rights. =B3Designer=B2 acknowledges and agrees that
content, including, but not limited to, text, software, music, sound,
photographs, graphics, video, or other material presented by =B3Company=B2 to
=B3Designer=B2 through the Services or third party is protected by copyrights,
trademarks, service marks, patents, or other proprietary rights and
laws. Where photographs are concerned, there is absolutely no picture takin=
g
or camera recording of any kind permitted, unless where authorized by
=B3Company=B2. =B3Designer=B2, where permission has been granted, may only utilize
pictures as stipulated by =B3Company=B2. =B3Designer=B2 acknowledges that even wher=
e
permission is granted to =B3Designer=B2 for picture taking, =B3Company=B2 retains
rights to said pictures and reserves the authority to request copies.
=B3Designer=B2 acknowledges and agrees that =B3Designer=B2 is permitted to use this
material and information only as expressly authorized by =B3Company=B2, and may
not copy, reproduce, transmit, distribute, or create derivative works of
such content or information without such
express authorization.

14.=20
Confidentiality. =B3Designer=B2 agrees not to use or disclose or make available
to anyone for use outside of =B3Company=B2, either during the term of this
Agreement or subsequent to the  expiration of this Agreement, for any
reason, any trade secret or proprietary information, including but not
limited to training procedures, employee procedures, product processes,
ingredients and formulation, business strategies, overall operations and an=
y
related data and information (collectively called "Confidential
Information") to any person, firm, corporation or entity. Should =B3Designer=B2
reveal or threaten to reveal this information, the =B3Company=B2 shall
be entitled to an injunction restraining the =B3Designer=B2 from disclosing
same, or from rendering any services to any entity to whom said information
has been or is threatened to be disclosed, the right to secure an injunctio=
n
is not exclusive, and the =B3Company=B2 may pursue any other remedies it has
against the =B3Designer=B2 for a breach or threatened breach of this condition,
including the recovery of damages from the =B3Designer=B2, without further proo=
f
of irreparable harm for any actual or threatened violation of this Agreemen=
t
by =B3Designer=B2. =B3Designer=B2 further agrees that upon expiration of this
Agreement =B3Designer=B2 shall promptly deliver to =B3Company=B2 all scripts, props=
,
uniforms, costumes, documents, data or material belonging to or concerning
=B3Company=B2 or relating to =B3Company=B9s=B2 affairs containing or constituting
Confidential Information.

15. Employee to Devote Full Time to Company. The =B3Designer=B2 will devote ful=
l
time, attention, and energies to the business of the =B3Company=B2, and during
the term of this agreement will not engage in any other business activity
during the hours necessary to provide services to =B3Company=B2 as set forth in
this Agreement, regardless of whether such activity is pursued for
profit, gain, or other pecuniary advantage. =B3Designer=B2 is not prohibited
from making personal investments in any other businesses provided those
investments do not require active involvement in the operation of said
companies.

16. Amendment. =B3Company=B2 may modify this Agreement at any time, and such
modifications shall be effective immediately upon posting or other method o=
f
notification to =B3Designer=B2.

17. Interpretation. This Agreement shall be interpreted under and governed
by the laws of the State of New York.

18. Notices. Any notice required to be given or otherwise given pursuant to
this Agreement shall be in writing and shall be hand delivered, mailed by
certified mail, return receipt requested or sent by recognized overnight
courier service as follows:

XXXXX

19. Complete Agreement. This is the complete and final agreement between
=B3Company=B2 and =B3Designer=B2. This Agreement supersedes all prior written or
oral representations or agreements concerning its subject matter.


That's all. I'm waiting for them to post the gig on Craigslist.

--=20
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: <219.e62a0e9.30ad1ffa [at] aol.com>
Date: Wed, 16 Nov 2005 18:51:22 EST
Subject: Re: Crew calling software

In a message dated 16/11/05 19:08:54 GMT Standard Time, slitterst [at] ithaca.edu 
writes:

> While I'll admit to being an occasional offender of that philosophy, 
>  it is usually a situational response.   If you suggest a different way 
>  that I've tried and it didn't work then, I'm going to be less inclined 
>  to devote my resources to it.

That is a fair response. At least you have tried a different way.
>  
>  New ideas, now that's a different story.  My experiences in the 
>  industry have been that folks are usually willing to explore new 
>  ideas.  It all depends on the schedule and budget.  LEDs are taking 
>  off as an idea, over the time-honored method of picking one's colour 
>  in advance.  Some people are even open to using saturated colour washes.

I suppose I am against them because of my own experiences, back in the late 
fifties when I was still at school. The equipment was primitive in the extreme. 
Three battens of open sprayed lamps, each with three circuits, and three 
dimmers, one for each circuit on all three battens and the footlights. The lamps 
were open white, amber, and blue. If you wanted to lose abatten, you pulled out 
the appropriate fuse. For aur big Christmas show, either a Shakespeare or a G 
& S operetta, we screwed a few more dimmers to the adjacent woodwork, and 
hired in a couple of Patt 23 for FOH. There were also a few assorted floods, and 
a couple of old Patt 45s.


We made it work, somehow. Then I read Fred Bentham, and saw that there was a 
better way to do it. Later, I read Pilbrow and Appia, and went on a course 
with Robert Ornbo. This changed such lighting style as I had, as did learning 
about TV lighting. All this has made me believe that flat, frontal colour washes 
are seriously old fashioned.

Wolfgang Goebbel's style is a case in point. I have seen several of his 
shows, and there is seldom, if ever, any frontal lighting. Top, back, and side are 
what he uses, supplemented by soft follow-spots. It makes very dramatic 
pictures for opera, for which it works. For straight plays, I believe that you need 
to create real places. Rock concerts are out of my orbit.


Frank Wood

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

Date: Wed, 16 Nov 2005 18:55:07 -0500
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: A show called firedance
In-reply-to: <list-25567544 [at] prxy.net>
Message-id: <7F50CA0D-4D4B-4F7B-9DEB-469866B45AAA [at] klad.com>
References: <list-25564542 [at] prxy.net> <list-25567544 [at] prxy.net>

I like this part.


On Nov 16, 2005, at 6:28 PM, Herrick Goldman wrote:

> 16. Amendment. =C2=B3Company=C2=B2 may modify this Agreement at any =
time, =20
> and such
> modifications shall be effective immediately upon posting or other =20
> method of
> notification to =C2=B3Designer=C2=B2.


-----
Kevin Lee Allen
Architect of Dreams
http://www.klad.com
973.744.6352.voice
201.280.3841.mobile
klad [at] klad.com
=EF=A3=BF




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

Date: Wed, 16 Nov 2005 19:09:23 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: A show called firedance
In-reply-to: <list-25567544 [at] prxy.net>
Message-id: <437BCA33.6030604 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-25567544 [at] prxy.net>

Herrick Goldman wrote:
> ---------------------------------------------------

> They also want the right to my image..


Had they seen your image before they made that demand?

Steve L.

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

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

From: FrankWood95 [at] aol.com
Message-ID: <159.5ca2ff83.30ad2433 [at] aol.com>
Date: Wed, 16 Nov 2005 19:09:23 EST
Subject: Re: lowest bidder

In a message dated 16/11/05 20:06:50 GMT Standard Time, psyd [at] cox.net writes:

> This is the same attitude that has made this country the litigous whiners
>  that they are, Frank, and the litigious whiners that you are continually
>  pointing out.

I know this, and deplore it. Nobody will take responsibility any more. But, 
we mus live with the world as it is, and not as we wish it were.

 If you can't trust my word on things, why am I working for
>  you?  I can weasel out of just about anything I put on paper, if it is my
>  intention.  If I look you in the eye, and shake your hand, and tell you I'm
>  going to do somehting, however, it WILL get done, or medical personell will

I like your attitude. Unfortunately, it doesn't work any more. These are the 
first techniques that a professional con-man learns, or a salesman. In my 
book. there is little difference between the two. Words on paper are actionable.

 

Frank Wood

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

From: IAEG [at] aol.com
Message-ID: <156.5ca4550a.30ad2500 [at] aol.com>
Date: Wed, 16 Nov 2005 19:12:48 EST
Subject: Re: A show called firedance
Cc: klad [at] klad.com


In a message dated 11/16/05 6:56:01 PM, klad [at] klad.com writes:

<< 

I like this part.



On Nov 16, 2005, at 6:28 PM, Herrick Goldman wrote:


> 16. Amendment. xCompanyx may modify this Agreement at any time,  

> and such

> modifications shall be effective immediately upon posting or other  

> method of

> notification to xDesignerx. >>




basically it says it can modify and re write the contract at will,, and you 
have no say in it whatsover, 

that really wouldn't hold up in court,, 

you can't write what ever you want in a contract,  if there were ever 
litigation though, doesn't mean that it would stand up.

I think often Producers using inexperienced artists / crew etc will write 
contracts that are meant to intimidate for psychological purposes,   basically 
scaring them into not suing



very best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

End of Stagecraft Digest #586
*****************************