Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 25575638; Thu, 17 Nov 2005 03:02:11 -0800 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #587 Date: Thu, 17 Nov 2005 03:01:08 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #587 1. Re: Question #2 by Ken Romaine 2. Re: A show called firedance by "Bill Nelson" 3. Re: A show called firedance by Bruce Purdy 4. Re: Certification info. by Bill Sapsis 5. Re: bijou issues, or a rant by "Bill Nelson" 6. Re: DMX512 by "Bill Nelson" 7. Re: Crew calling software by "Bill Nelson" 8. Re: A show called firedance by "Lee A. Saylor" 9. Re: A show called firedance by Jerry Durand 10. Re: DMX512 by "Bill Nelson" 11. Re: Certification info. by Greg Bierly 12. Re: Certification info. by Bill Sapsis 13. Re: Certification info. by Greg Bierly 14. Re: Crew calling software by Dale Farmer 15. Re: Crew calling software by "Adam Zeek" 16. Re: Crew calling software by CB 17. Re: A show called firedance by CB 18. Re: Question #1 by "Jon Ares" 19. Re: A show called firedance by "Jon Ares" 20. Re: Colored Smoke or Fog by Michael Powers 21. Re: A show called firedance by "Jon Ares" 22. Cue Calling Software - the upcoming SM thread consolidated by June Abernathy 23. Cue Calling Software by June Abernathy 24. Re: Colored Smoke or Fog by "Tony Deeming" 25. Re: Contract Oddities by "Tony Deeming" *** 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: Date: Wed, 16 Nov 2005 19:16:59 -0500 From: Ken Romaine Cc: stagecraft [at] jeffsalzberg.com Subject: Re: Question #2 In-Reply-To: References:

Like I am right now. Oh - sorry. Didn't realize that was my "exterior voice". -- Ken Romaine Northeast US Sales Manager - Barco Events The opinions expressed here are mine - all mine - no matter how much I want to impose them on the rest of the world. On 11/16/05, Jeffrey E. Salzberg wrote: > > If you have unfettered access to the console, certainly that's better, bu= t > there's something to be said for sitting back at home, with a cold bevera= ge > at hand. > ------------------------------ Message-ID: <1080.208.51.52.35.1132188491.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 16 Nov 2005 16:48:11 -0800 (PST) Subject: Re: A show called firedance From: "Bill Nelson" > 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 you meant to say "you can write whatever you want" ... "any amendments to this Agreement, and any operating rules or policies that may be published from time to time by ³Company², all of which are hereby incorporated by reference." from Paragraph 1, would likely have problems in court. Paragraph 12 is also a doozy. It attempts to free them from any responsibility - even accidents through gross negligence. > 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 Probably. But this is, by far, the worst I have ever seen. Bill ------------------------------ Date: Wed, 16 Nov 2005 19:47:27 -0500 Subject: Re: A show called firedance From: Bruce Purdy Message-ID: In-Reply-To: > They also want the right to my image.. I would not think that this is so bad. (Certainly in relation to other parts of the contract!) I would think that they want the ability to put your name, photo, etc. in the program without having to enter into a whole 'nuther negotiation. That would seem reasonable to me. Perhaps they may decide to publish some sort of brochure or something related to the show, and might want to credit the designer. Assuming that you do good work that you are proud of, (and I have no doubt that you do!) why would this be a bad thing? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 16 Nov 2005 19:49:59 -0500 Subject: Re: Certification info. From: Bill Sapsis Message-ID: In-Reply-To: Greetings, y'all. As some of you may have heard, we conducted our first rigging certification tests this past Saturday at LDI. A little over 200 riggers took either the Arena Rigging test or the Theatrical Rigging test. Some of the more masochistic in the group took both. Judging by the fact that no one came after me with a pitch fork and a torch and after listening to the comments made by some of the test takers after the test was over, it looks like we have a success story on our hands. If nothing else it's nice to be able to breathe again. And while the rigging certification is now an ongoing project, I've been asked to assist in the Electrical Certification which is working it's way through the process. And part of that process is a survey similar to the one we did for rigging. What follows is a notice from the ever popular rigging certification manager at ETCP, Katie Geraghty << Call for Entertainment Electricians to Participate in Survey. Job analysis is the foundation upon which to build a viable and rigorous certification examination. The job analysis will focus on analyzing electrical tasks based on importance, time spent and consequence of error. A survey regarding this job analysis will be developed this fall by the appointed SMEs with the help of AMP. The survey will be administered by email in December 2005. ETCP needs your help to ensure that the examination reflects the job requirements. Your judgments will assist the SMEs in developing the examination specifications. If you are an experienced entertainment electrician and are interested in participating, please email Katie Geraghty, ETCP Certification Director at kgeraghty [at] esta.org with your: 1. Name 2. Email Address (if you do not have an email address but would like to participate please send your mailing address to: 875 Sixth Avenue, Suite 1005, New York, NY 10001) The first electrical examination will be held at the 2006 ETS-LDI tradeshow in Las Vegas, NV. Candidate handbooks and applications for the electrical examination will be available in March 2006. Under the auspices of the Entertainment Services and Technology Association (ESTA), ETCP is being developed with the following organizations: AMPTP, CITT, CCE, IATSE, IAAM, InfoComm/ICIA, The League of American Theatres and Producers, PRG, TEA, and USITT. >> It is my hope that the electricians out there (and you know who you are) will step up and participate in this survey. As shown with the rigging certification, this stuff is not going away. You can bury your head all you want but that just means someone is going to step on your butt as they pass you by. Or, as Neal Cassady, my hero in the old days, used to say. You're either on the bus or you're off the bus. Thanks to all who helped with the rigging certification. It was an amazing 5 years. And a thanks in advance to all who help with the Electrical Certification. Be well Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Join the Long Reach Long Riders on their 3rd annual cross country charity motorcycle ride. ------------------------------ Message-ID: <1092.208.51.52.35.1132190057.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 16 Nov 2005 17:14:17 -0800 (PST) Subject: Re: bijou issues, or a rant From: "Bill Nelson" > 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. The Bijou DOES have autofollow cues. Go to the cue list and select the cue you want to follow the previous cue. Press one of the "F keys" (F3?) which shows as cue type. What you want is AP "Autofollow Preset". I am surprised that the factory support people do not know this. I believe it is also in the manual. > 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? The sequence would be Cue 8 - fade scrollers, Cue 8.1 - move scrollers (no need for a delay after the fade). You can fade up the scrollers on any following cue where sufficient time has been allowed for the move. >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. I have never seen that happen on either Bijou controlled system that I work with. One system has Strand CD80 packs and the other a rack of EDI SP-2Q modules. There IS a problem with the software for long fades. If the calculated decrement is too small, then the light level does not change until the last step of the fade. In other words, it acts as a non-dim device on such fades. You may be hitting a boarder situation where some of the intermediate levels are actually computed. Try shortening the fade time, if it is long, and see if the problem goes away. There are two other major shortcomings on the Bijou, that I have noticed. 1) There is no way to record an effect in a cue. It has to be recorded in a submaster and the submaster used to run the effect. 2) The Omega board had the capability, when in Stage mode, of reducing a channel level by moving the slider up to grab the existing level and drag it down to the desired level. You could then update the cue. That capability does not exist on the Bijou. On the other hand, it is easy to learn how to program the Bijou - at least the basic functions. Bill ------------------------------ Message-ID: <1114.208.51.52.35.1132191874.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 16 Nov 2005 17:44:34 -0800 (PST) Subject: Re: DMX512 From: "Bill Nelson" >> 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. If I understand how the frames are constructed, each pulse may not be 4 us. If you have two 1's in a row, then the pulse width will be 8 us - the same is true for 2 0's in a row. For example, the start byte (for dimmers) consists of 9 bits low followed by 2 bits high. The level at the start of the frame is high, so this means there is a low pulse of 36 us followed by at least an 8 us high pulse. While each frame is 44 us, a variable amount of time is allowed between of the 256 frames. That can vary from 0 to 1 second. I don't know what you mean by "transmitting a variable amont of data in each frame". Each frame is 11 bits of 4 us each. The data rate is slowed down by adding time between frames. The end of the byte frame stream (and start of the next stream) is signaled by a low "break" of 88 us followed by a 8 us high pulse. Bill ------------------------------ Message-ID: <1121.208.51.52.35.1132192464.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 16 Nov 2005 17:54:24 -0800 (PST) Subject: Re: Crew calling software From: "Bill Nelson" > 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. That is fine for cues that occur on a spoken phrase - assuming that the phrase is unique and that the actor does not skip it. But many cues depend on stage action, and may not match up at all well with the spoken lines. For example, I just lit "Blithe Spirit" - where Madam Arcati speaks the line "Lights!", just before "switching off" the room lights. The problem is, she has to go to the light switch after saying the line - and that time delay can vary by a second or more. Bill ------------------------------ From: "Lee A. Saylor" Subject: Re: A show called firedance Date: Wed, 16 Nov 2005 19:48:10 -0600 Organization: Lawrence Arts Center Message-ID: <003c01c5eb18$fa84d940$6901a8c0 [at] Tech> In-Reply-To: Herrick, Isn't it nice that in section 5 it says: 5. Independent Contractor. Designer is and throughout this Agreement shall be an independent contractor and not an employee, partner or agent of Company. And then it says in section 15: 15. Employee to Devote Full Time to Company. The Designer will devote full time, attention, and energies to the business of the Company So, which is it? Independent Contractor or employee? --Lee Saylor ------------------------------ In-Reply-To: References: Message-Id: From: Jerry Durand Subject: Re: A show called firedance Date: Wed, 16 Nov 2005 18:14:35 -0800 The company referred to you as an employee, I believe that voids any =20 contractor status and they now have to treat you as an employee. =20 Good retirement/medical plans? On Nov 16, 2005, at 3:28 PM, Herrick Goldman wrote: > > 15. Employee to Devote Full Time to Company. The =B3Designer=B2 will =20= > devote full > time, attention, and energies to the business of the =B3Company=B2, = and =20 > during > the term of this agreement will not engage in any other business =20 > activity > during the hours necessary to provide services to =B3Company=B2 as set = =20 > forth in > this Agreement, regardless of whether such activity is pursued for > profit, gain, or other pecuniary advantage. =B3Designer=B2 is not =20 > prohibited > from making personal investments in any other businesses provided =20 > those > investments do not require active involvement in the operation of said > companies. ------------------------------ Message-ID: <1175.208.51.52.35.1132194394.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 16 Nov 2005 18:26:34 -0800 (PST) Subject: Re: DMX512 From: "Bill Nelson" > 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. I have never used the Innovator, so cannot help much. But the Colortran site says the board has many channels specifically designed for moving lights. There should be examples in the manual on how to do so. Bill ------------------------------ In-Reply-To: References: Message-Id: <98ccfc423e75c0daafab4d40e72bee1b [at] dejazzd.com> From: Greg Bierly Subject: Re: Certification info. Date: Wed, 16 Nov 2005 22:04:56 -0500 > A little over 200 > riggers took either the Arena Rigging test or the Theatrical Rigging > test. > Some of the more masochistic in the group took both. > > Judging by the fact that no one came after me with a pitch fork and a > torch > and after listening to the comments made by some of the test takers > after > the test was over, it looks like we have a success story on our hands. Do you have any rough numbers as to how many of the 200 passed and are now certified (or certifiable)? Inquiring minds want to know. (I don't need there names just rough figures will suffice) Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Wed, 16 Nov 2005 22:13:02 -0500 Subject: Re: Certification info. From: Bill Sapsis Message-ID: In-Reply-To: Test results will not be published for about 8 weeks or so. So sayeth our test administration company. I know that's a long time to wait but they say they need that time to evaluate everything. This is the first test, after all. They don't have a point of reference to score it. They have to make one. And the scores will not be published. Only the names of the people who are certified (ie. passed the test) will be published. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Join the Long Reach Long Riders on their 3rd annual cross country charity motorcycle ride. On 11/16/05 10:04 PM, "Greg Bierly" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Do you have any rough numbers as to how many of the 200 passed and are > now certified (or certifiable)? Inquiring minds want to know. (I > don't need there names just rough figures will suffice) > > Greg Bierly > Technical Director > Hempfield HS > ------------------------------ In-Reply-To: References: Message-Id: <05e14ba873fd85b4f7408d146a0f6fbc [at] dejazzd.com> From: Greg Bierly Subject: Re: Certification info. Date: Wed, 16 Nov 2005 23:32:34 -0500 > And the scores will not be published. Only the names of the people > who are > certified (ie. passed the test) will be published. I guess I can wait 8 weeks for a list of names if I have to ;-) I am just curious on this round what percentage wound up passing (Without seeing the room of test takers I would think it would be pretty good but the test material did seem pretty extensive) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <437C1236.1141396B [at] cybercom.net> Date: Thu, 17 Nov 2005 00:16:38 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Crew calling software References:

Charlie Richmond wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 COmputers are great tools, but they aren't the right tool for every situation. I can see a stage manager using a computer and that computer sends the go signals over to the computer running the light board, and the computer running sound effects, and the automated mixer for the wireless microphones that the actors are wearing, and the motorized fly system, and the radio controlled movers built into the set pieces. And you know what, the show will look great. fewer missed cues, cost less since you don't need a couple of board operators, and there will be fewer folks chattering on the intercom. Until something breaks. Then the whole show has to stop as the tech crew, which is just the SM, goes and fixes the problem. That is the big problem with all this automation. It lets you get by with fewer people in the normal running, but leaves you vulnerable to failure. That inevitable failure is far more obvious, and more likely to be a show stopper. The graceful degradation that having live operators who know their craft and the show pretty much automatically gives you is lost. But, all that being said, having laptops out during the rehearsal process is great, saves you having to transcribe all those scribbly, not really legible notes in the margins after you go home and have half forgotten what you meant. --Dale ------------------------------ Message-ID: In-Reply-To: From: "Adam Zeek" Subject: Re: Crew calling software Date: Thu, 17 Nov 2005 00:24:29 -0500 Once when I was running sound for a production with a rediculous number of sound cues I put the script into power point. I color coded all of the cues and even added notes off to the side as needed. It was really clean and worked nicely. Once we got into the run of the show I simply put it into presentation mode and hit the spacebar whenever I needed to turn the page. Don't know how well this would work for stage managers though. >From: "Adam Berns" >Reply-To: "Stagecraft" >To: "Stagecraft" >CC: stagecraft [at] jeffsalzberg.com >Subject: Re: Crew calling software >Date: Wed, 16 Nov 2005 09:21:08 -0800 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >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 >--------------------------------------------------- > > > > 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. > > > _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-Id: <3.0.6.32.20051116224609.00ce6758 [at] pop.west.cox.net> Date: Wed, 16 Nov 2005 22:46:09 From: CB Subject: Re: Crew calling software >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.) There have been shows that I have crewed that I'd have had to have walked away from had it not been for the 'festive' atmosphere on cans. The SM is the traffic cop for this type of behaviour, so if he is boring, headsets are boring. The one-man 'Bill Gilinsky' show is a recent fave... 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: <3.0.6.32.20051116230245.00ce6758 [at] pop.west.cox.net> Date: Wed, 16 Nov 2005 23:02:45 From: CB Subject: Re: A show called firedance >1. Acknowledgement and Acceptance of Agreement. The Services, provided by >Designer on behalf of Company, shall be provided under the terms and conditions >of this Agreement, Exhibit A, Exhibit B, Exhibit C, any amendments to this >Agreement, ...And there it is, the golden loophole. Anytime someone gathers all the legal mumbo-jumbo that they can into a pile to throw at you in a giant CYA attempt, they get sloppy, and the weaselly-minded among us sign happily. "any amendment to this Agreement". Once you get yourself into a bind, simply write and amendment, and you're covered. Sign the contract and amend at your leisure, sir! These are easy. The more crap there is, the more apt they are to have made a mistake. 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: <003701c5eb3e$a487a560$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Question #1 Date: Wed, 16 Nov 2005 22:17:53 -0800 >> 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. > Try the Northwest, where they came from. Do we REALLY need a 1-square-block mall to have a Starbutts on each of its 4 floors?? Plus 2 outside said mall? - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <004301c5eb3f$34510880$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: A show called firedance Date: Wed, 16 Nov 2005 22:21:54 -0800 > I like this part. > > > On Nov 16, 2005, at 6:28 PM, Herrick Goldman wrote: > >> 16. Amendment. Â³CompanyÂ² may modify this Agreement at any time, and such >> modifications shall be effective immediately upon posting or other >> method of >> notification to Â³DesignerÂ². This is typical boilerplate of every software (and hardware) End-User License Agreement (except they don't have to tell you - you have to find it, apparently by checking their website from time to time). Even every service and bank uses this - check your cable company or bank's "Rights and Responsibilities" statement they're required to send you annually. Sign of the times. - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <58f67b0f0511162234l4ab0bda3mfe5ebfcb8f538846 [at] mail.gmail.com> Date: Thu, 17 Nov 2005 00:34:11 -0600 From: Michael Powers Cc: a_small_idiot [at] yahoo.com (Chris Wych) Subject: Re: Colored Smoke or Fog Chris Wych wrote: <> Chris, While this has been covered before, I can't get the list archives to work. So here goes. First, there is no way to produce a "fog" that is colored. This is because fogs are a vaporized form of a fluid. Notice that virtually all fog fluids on the market today are water based and basicly clear, no color. Even the haze fluids that use mineral oil or similar are for all practical purposes, clear. As yet there are no fluids with an intrinsic color that are safe to breathe by mammals and many other living organisms, think mustard gas. If you want colored fog or haze, light it with color. Smoke, on the other hand, can be colored almost any shade of the rainbow. The color is produced by unburned particulate matter, frequently various hydrocarbons. However smoke is can be deadly. In fires, most deaths are caused by smoke inhalation, not the flames. In the past, colored smoke was sometimes used on stage and often used in film and video. The use of colored smoke on stage is now a thing of the past due largely to the unions who (wisely) declared them a serious health hazard to performers and technicians. In film, colored smoke, including black burning oil, is rarely used today (if at all) in the presence of "talent" or added or tinted in post. Movies can skirt the issue in a number of ways. It is only one take if any for the Talent. Stunt people often and technicians always, can wear respirators or other protective gear. The shoot for a smoke FX is usually out doors. On stage the gag is rehearsal after rehearsal, day after day. Any colored smoke, especially indoors, will coat any surface it comes in contact with. A prime example would be any household with a coal stove (I grew up in one). Spring cleaning wasn't just a saying. Over the winter, with the house closed up, every surface was coated in a thin layer of carbon soot. Even though the air always seemed clear and clean, even though most of the particulate matter went up the flue, when you rubbed your finger across a surface in the spring, you could see it. The carbon in the air was very small and of a very low concentration.=20 That's why you couldn't see it. Yet it left a coating on everything, windows, walls, lungs....... Imagine what particulate matter large enough and concentrated enough to see would do. Black smoke is basicly pure unburned carbon. It is a very oily, smelly and sticks to everything. To see a good example, find an oxy-acetylene welding kit. Light up the torch with only acetylene, no oxygen, and turn the flame down until you see the air fill with wisps of pure carbon. Hold a board or something near it and then look at the result. Check out the area a few minutes later when all the wisps have settled down on everything. This is what will cover your entire theatre, lights, costumes, electronics, floors, hair, lungs, etc. Bottom line, you don't want black smoke on stage. -- Michael Michael Powers 515-557-0178 cell ------------------------------ Message-ID: <005f01c5eb40$f7cb3050$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: A show called firedance Date: Wed, 16 Nov 2005 22:34:31 -0800 > The company referred to you as an employee, I believe that voids any > contractor status and they now have to treat you as an employee. Good > retirement/medical plans? If we want to talk about unenforceable 'employee' contracts: the IRS has very specific guidelines regarding an Independent Contractor. According to the IRS, you are a defacto employee if (among other criteria): your specific project has a specific due date; you must report to, or perform some or all of your work at a specified location or time; or you report directly to someone regarding the process or outcome of your work. Ok, show of hands: who here has ever been told, "Please design my show. Oh, and it doesn't matter when you complete it, or where you do it. Oh, and don't tell me when you're done, because I'm not in charge." - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <20051117082342.61166.qmail [at] web33107.mail.mud.yahoo.com> Date: Thu, 17 Nov 2005 00:23:42 -0800 (PST) From: June Abernathy Subject: Cue Calling Software - the upcoming SM thread consolidated Well, this thread is back, is it? We usually back into in when Frank goes on a rant about how operators don't need an SM to call cues since they have their carefully labeled scripts to hand a full view of the stage available to them, and they have had time to watch and learn the show and the nuances therin. Then some of us explain that other theaters are different from Frank's, and some shows are more complicated than others, and that having a single person responsible for coordinating matters is generally considered a Good Thing in these places. Then Charlie will chime in with the glories of Show Control, and how everything can be automated so that the SM needs only push the occasional button, but that, of course, all sorts of safeties and overrides are available if things get out of hand. Then I, or someone else, or I *and* several someone elses point out that we don't think that show control offers us the flexibility that Charlie thinks it does, and we worry about what happens when somebody trips, or jumps 8 pages of dialogue, or a wagon gets stuck, or something. We'd like to be able to customize our response so we have a choice between smacking an E-stop to bring the show to a grinding halt or continuing on in hopes that Trixie will get out of the way of the wagon in time. We post tales of how we elegantly and artfully worked around some problem by being able to control the separate elements separately with great ease. We then get all artsy about the finesse and beauty of being able to time things to work with live music, and the nuance of things happening just so. Charlie usually replies by saying that Show Control, properly used by trained people allows all this, and so much more. But, that we like things as they have always been and have our heads stuck in the sand but it's our loss. We snarkily reply that someone hitting a button in Vegas or a Theme Park or a Cruise Ship isn't a Real Stage Manager (TM). Frank will repeat that he doesn't see the need for a Stage Manager. And we all grumble off to our corners until this comes up again. I propose that we save a wee bit of bandwidth this time and avoid the Repeating Stage Management Thread this time. Any takers? June Abernathy AEA Stage Manager Tampa, FL __________________________________ Start your day with Yahoo! - Make it your home page! http://www.yahoo.com/r/hs ------------------------------ Message-ID: <20051117091249.4050.qmail [at] web33109.mail.mud.yahoo.com> Date: Thu, 17 Nov 2005 01:12:48 -0800 (PST) From: June Abernathy Subject: Cue Calling Software Sorry to post twice - and in the same thread! But we've kind of devolved into two threads. As far as using a computer for cue calling in the sense that you put the show script on a computer and virtually annotate, color code, etc., there are a couple of reasons that there is resistance to this, and I don't think any of them have anything to do with SM's having a fear of computers and technology. Of course there are laptops all over the place in production. SMs generate paperwork like nobody's business, as do most designers, directors, and their assistants. Because computers are all over the place and SMs use them, it doesn't necessarily follow that they would like having the calling script on a computer. I have seen scripts put on the computer, and marked up as calling scripts. Then printed off and used. This gives you a backup in case something happens to the magic paper book, and let's you update annotations (or script, if it's a new show) easily. The advantages a computer brings without the day to day headaches a computer brings. One reason computer calling scripts are resisted, possibly the biggest, is that computers are tempermental, and s [at] #! happens, and you really don't want to be staring at a blue screen of death in the middle of the world's biggest production number.(I know this sounds like fear of technology. I prefer to think of it as familiarity with technology). Now, of course, we could work around this problem by doing what the operators of all the computer consoles on a big show do - we could have a backup computer set to kick in and run seamlessly in case of failure of the main computer. But that means having two computers solely dedicated to show calling, which is an expensive option, and linking them, which there is probably software available for, but I'm not familiar with it. I'm guessing the expense of such a thing would be deeply unpopular with the bean counting crowd. And where would you put it? Or, you could have a paper copy for backup. But then you'd have to go to the trouble of making it up and keeping it up, and it's double work for no discernable reason. If you're going to go to the trouble of making and keeping up a paper backup, why wouldn't you just use IT and be done with it? And, if something goes awry in the show, you want to be able to deal with it, without having to think about scrolling ahead and clicking back into the script. I guess with a lot of practice, that might eventually become as automatic as flipping around in a book, but I'm not sure. I've had to jump to cues quickly on a light board, but then, I wasn't trying to coordinate 6 other departments at the same time. And jumping to a cue number on a light board is not quite the same as trying to find a specific page number or more likely, bookmarked place in a text document. If you don't have a dedicated computer for the task, do you use an SM office computer? Many places don't have such a thing - the SMs use their personal computers. I can't imagine a lot of bean counters liking the idea of a dedicated one. I can't imagine a lot of SMs liking the idea of using their own, or an office computer for the task. Would you want to drag a computer back and forth to the calling position every night? Unusuable to anyone but the calling SM during the show? (And of course, this also goes back to the above mentioned worry about backup). There's little things. You would have to have power available for the computer. Not a BIG deal, but a consideration. Room for it - including the screen. Time and effort to train yourself (and any and all assistants who will call) on the system, and time to input the raw data and format everything. If you aren't dragging it back and forth to an office, can you secure it at night? As for pushing a button and making cues happen, that's not managing, that's operating. Two separate jobs. In a non-union situation, one person can do them both, but they aren't the same job. Even if you call the button pusher "Stage Manager". And - LINE NOTES? Did I see that in someone's post? Because if you have time to go into the computer and add an annotation to the script about so and so and the fact that they missed or screwed up this line, you have so little to do that you must work in Frank's theater. And in that case, perhaps the computerized calling script is kind of overkill. We've discussed the SM using a computer in rehearsal for taking blocking, line notes, show notes, etc. I don't think it will fly. For one thing, it's noisy. Many Directors and Actors HATE hearing someone clicking keys during rehearsals. Besides being a distraction to them, it gives them the impression that you are not paying attention to the task at hand. And for dashing off a quick note, I think handwriting is still faster. If you use any symbols for taking blocking, handwriting is almost certainly faster. Computers are useful tools. But they aren't always the best solution for everything. Sorry for the length - June Abernathy AEA Stage Manager Tampa, FL __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ From: "Tony Deeming" Subject: RE: Colored Smoke or Fog Date: Thu, 17 Nov 2005 10:49:01 -0000 Message-ID: In-Reply-To: Le Maitre USED to make smoke cartridges with black smoke, but apparently have only recently stopped doing so, I'm told because they can no longer source the dye - reasons behind that I don't know. They still do (AFAIK) a range of other colours, as per their web site video. (The black is still on there because they've not had chance to film & upload a new one!!) This I know because we wanted a black smoke cart for our show in January and I failed. Whether any other suppliers can still do them I've not found out yet, but I am still looking....! TD > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Chris > Wych > Sent: 16 November 2005 12:44 > To: Stagecraft > Subject: Colored Smoke or Fog > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 > ------------------------------ From: "Tony Deeming" Subject: RE: Contract Oddities Date: Thu, 17 Nov 2005 10:54:41 -0000 Message-ID: In-Reply-To: I've got plenty of space on my 'Theatre Fun Pages' for this sort of thing! If anyone wants to write it, I'll certainly publish it!!! 8-))))))))) www dot abbeytheatre dot co dot uk - follow the Theatre Fun links.... TD > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Herrick > Goldman > Sent: 16 November 2005 13:40 > To: Stagecraft > Subject: Re: Contract Oddities > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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" wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > 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 > > > ------------------------------ End of Stagecraft Digest #587 *****************************