Return-Path: <stagecraft-report [at] theatrical.net>
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 26310529; Sat, 31 Dec 2005 03:00:47 -0800
X-ListServer: CommuniGate Pro LIST 4.2.10
List-Unsubscribe: <mailto:stagecraft-off [at] theatrical.net>
List-ID: <stagecraft.theatrical.net>
Message-ID: <list-26310527 [at] prxy.net>
From: "Stagecraft" <stagecraft [at] theatrical.net>
Sender: "Stagecraft" <stagecraft [at] theatrical.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Precedence: list
Subject: Stagecraft Digest #637
Date: Sat, 31 Dec 2005 03:00:25 -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=ham 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 <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #637

 1. Interesting cases
    by Paul Marsland <paulbmarsland [at] yahoo.com>
 2. Nutcracker
    by Paul Marsland <paulbmarsland [at] yahoo.com>
 3. Acoustics/Opera houses
    by b Ricie <b_ricie [at] yahoo.com>
 4. bagels
    by Judy <kupfer [at] post.tau.ac.il>
 5. Re: Brighter musicals
    by FrankWood95 [at] aol.com
 6. Re: Interesting cases
    by CB <psyd [at] cox.net>
 7. Re: Electrics call
    by FrankWood95 [at] aol.com
 8. Re: Interesting cases
    by CB <psyd [at] cox.net>
 9. Re: Wikipedia needs you!
    by CB <psyd [at] cox.net>
10. Re: Brighter musicals
    by FrankWood95 [at] aol.com
11. Electrics call
    by CB <psyd [at] cox.net>
12. Re: Interesting cases
    by CB <psyd [at] cox.net>
13. Re: Wikipedia needs you!
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
14. Re: Electrics call
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
15. Vacation in Vegas
    by Shell Dalzell <sdalzell [at] hawaii.rr.com>
16. Re: Electrics Call
    by SS <cueonego [at] gmail.com>
17. Re: Brighter musicals
    by John McKernon <stagecraft2005 [at] mckernon.com>
18. Re: Brighter musicals
    by FrankWood95 [at] aol.com
19. Re: Interesting cases
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
20. Re: Brighter musicals
    by "Jon Ares" <jonares [at] hevanet.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: <20051230141840.38014.qmail [at] web52212.mail.yahoo.com>
Date: Fri, 30 Dec 2005 06:18:40 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: Interesting cases
In-Reply-To: <list-26291890 [at] prxy.net>

> Plywood, much more durable.   Hinged lid, with
> holdbacks
> to keep it from flopping over.  One motor per case,
> stackable, handles on all four sides.  A dedicated
> spot for
> the chain bag and pickle that is easily accessible
> when the
> motor is in it's nest.   Space in the top for a coil
> of motor
> cable.  A nest or hook or something for the other
> end of
> the chain to live in, keeping it easily grabbable. 
> Labels
> stenciled on five sides of the box in plain english,
> not some
> cryptic notation.  Large diameter caster wheels, two
> fixed,
> two swiveling. Internal compartments setup so when
> the
> box gets flipped on the truck, stuff stays in it's
> hole.
> 
>     --Dale

Well thought out Dale!  These sound like the motor
boxes I would hope to see coming off a truck.  But for
the couple of in-house motors I would reduce the labor
and materials a bit to make a single case for two
motors.  The OP probably won't need to flip, lift, or
stack in his situation.  While I personally like four
swivels, your reasoning on the fixed makes sense.  If
we had boxes with two swivel and two fixed, I would
add an arrow or graphic or indicator of some kind on
the lid so you can tell which end to start pushing
from.

Paul




	
		
__________________________________ 
Yahoo! for Good - Make a difference this year. 
http://brand.yahoo.com/cybergivingweek2005/

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

Message-ID: <20051230142110.80335.qmail [at] web52202.mail.yahoo.com>
Date: Fri, 30 Dec 2005 06:21:10 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: Nutcracker
In-Reply-To: <list-26291890 [at] prxy.net>

I'm not sure whether I would prefer reading all of
these Nutcracker posts or doing 46 performances of the
darned show itself.


		
__________________________________________ 
Yahoo! DSL – Something to write home about. 
Just $16.99/mo. or less. 
dsl.yahoo.com 


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

Message-ID: <20051230155317.34406.qmail [at] web50611.mail.yahoo.com>
Date: Fri, 30 Dec 2005 07:53:17 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Acoustics/Opera houses
In-Reply-To: <list-26291890 [at] prxy.net>

Sorry chip, I have confused the issue. I was taking
objection the the modern study of acoustics, not the
acoustics of Opera houses. You stated 1898 as the
advent of the modern study of acoustics. My brief
history of electricity was to illustrate that long
before the modern study of electricity a lot of study
had already been done. The same goes for acoustics.

During the Hellenistic period General Lysimacus had a
25,000 seat theatre carved into the side of Mount
Pion. The Ephesian Theatre remains an "acoustically
perfect shell." I am certain the modern minds went
there for a bit of research.

The Bolshoi Theatre is also considered to be
"acoustically perfect." Though the building that is
there today is not the same as the original from 1776.
The 1955 rebuild is based on Osip Bove's design of
1825.

Concertgebouw, a concert hall in the Netherlands dates
to 1892 is know as "Acoustically perfect."

The Salt Lake Mormon Tabernacle built between 1864 &
1867 had acoustical problems. A gent by the name of
Truman O. Angell was brought in to fix the problem.
Angell's addition of 1870 resolved the issue and
helped the Tabernacle to earn an international
reputation as a "nearly perfect acoustical building."
Yes, a consultant brought in to fix an acoustical
problem a full 28 years before the modern study of
acoustics.

Though Boston's Symphony Hall (opened 1900) is
credited as being the first auditorium designed in
accordance with scientifically derived acoustical
principals, I can safely say acoustics and the study
of them had "been on the mind" for some time before.



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


	
		
__________________________________ 
Yahoo! for Good - Make a difference this year. 
http://brand.yahoo.com/cybergivingweek2005/

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

Message-ID: <43B557A1.3000600 [at] post.tau.ac.il>
Date: Fri, 30 Dec 2005 17:52:01 +0200
From: Judy <kupfer [at] post.tau.ac.il>
Cc: rfinkels [at] msn.com
Subject: bagels

This is a bit off topic, but had to set the record straight:

>I went to Israel to do Wizard of Oz and the only bagle I saw was 
>on the plane over.
>
Errm....when was that? in the 70's? I've seen plenty of bagels around 
here in Tel Aviv, all sorts including onion and whole wheat these 
days....true, they are mostly sold in American-type coffee shop chains 
:-)    

Judy

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

From: FrankWood95 [at] aol.com
Message-ID: <226.3da94fb.30e6d4e4 [at] aol.com>
Date: Fri, 30 Dec 2005 13:22:28 EST
Subject: Re: Brighter musicals

In a message dated 30/12/05 02:48:42 GMT Standard Time, 
stagecraft2005 [at] mckernon.com writes:

> Keep in mind that Billington is actually quite a conservative designer in
>  terms of equipment. There are other current Broadway designers who would
>  have put 400-500 lights FOH if they had designed "Footloose", for totals on
>  an entire show over 1000 lights.

By no means knocking their work: I haven't seen it. But, for curiosity, where 
do they find to put them all, and where all the electricity?


Frank Wood

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

Message-Id: <3.0.6.32.20051230120138.00cf9ec8 [at] pop.west.cox.net>
Date: Fri, 30 Dec 2005 12:01:38
From: CB <psyd [at] cox.net>
Subject: Re: Interesting cases

>Hinged... one less thing to get  misplaced. 

If one misplaces a lid between the time one opens a box (or a pair of
motors) and the time one removes a motor, one should stay in some dept.
that doesn't have heavy things that come in boxes.  I can't rightly recall
one of those off-hand, but I'm sure some depts or another has nothing that
arrives in heavy boxes.
My preference, as often as I get to play with motors, is that the lid be
msot of the case, and remove.  Like a guit amp case, leaving a tray with a
cradle on it, motor sitting all exposed and gleaming.  I'm not what would
happen with the chain, but I'm sure some genius will come up with
something.  The advantage is not having to lift the motor over the lip of
the box getting it in and out, saving a lot of backs in the process.
O'course, if the motor is guided in and out while attached to the grid, the
only advantage is that the lid can't hit you in the head while you are
guiding the motor in.
Hinges are for boxes that you are in and out of, constantly getting small
stuff.  Cables and such.  Large items tend to be a bit of a strain, and
having one person on either side makes it so much easier.  Plus, there's
that smack on the back of the head again, catching the cable while putting
something in the case.

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

From: FrankWood95 [at] aol.com
Message-ID: <129.6b850193.30e6d640 [at] aol.com>
Date: Fri, 30 Dec 2005 13:28:16 EST
Subject: Re: Electrics call

In a message dated 30/12/05 03:26:08 GMT Standard Time, ppuppo [at] gmail.com 
writes:

> eah, but it would only take :30 seconds with all of us!

You have got to be joking! With so many independently minded people, two 
hours is more likely, and that's just to rig and focus one boom. Even then, it 
wouldn't match the one on the other side!

Frank Wood

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

Message-Id: <3.0.6.32.20051230120947.00cf9ec8 [at] pop.west.cox.net>
Date: Fri, 30 Dec 2005 12:09:47
From: CB <psyd [at] cox.net>
Subject: RE: Interesting cases

>If there is a special orientation in which the boxes should stack or load I
>like to vary the labeling to easily indicate this (i.e. varying color or
>size of stencil on the front). Having some sort of dry-erase panel for job
>specific labeling can also be helpful.

Colored Gaff tape.  I've been on huge corporates and theatre gigs where the
load is defined by color (either dept or location) and pertinent info is
written on the tape.  The box itself, though, should be labled with its
contents.  In English (or the most common language of the folk that'll be
handling the boxes).  The serial number or nickname that you all use in the
shop to inventory is cute and all, but it isn't really helpful to the local
that you want to be really helpful.
Dry erase will do just that.  Try a plexi covered card holder if you need
some temporary labeling.
				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: <3.0.6.32.20051230121207.00cf9ec8 [at] pop.west.cox.net>
Date: Fri, 30 Dec 2005 12:12:07
From: CB <psyd [at] cox.net>
Subject: Re: Wikipedia needs you!

>Um...  not MY submission ;-)  Check out the history of the edits....  Sound 
>Design has been worked on a lot in the last few months..

I meant the submission about you.  Congrats, BTW...

>> designer submission.  I was a bit curious as to why the 'Godfather of Sound
>> Design' received no mention at all 
>Presuming you mean Abe,
>But if there is a significant reason for inserting his first credit (such as 
>being the first time Broadway really acknowledged the importance of a sound 
>desinger in some way - or even just his Nom de plume of Godfather) then you 
>should definitely add it in...

Oh, yeah.  It *IS* Wikipedia, isn't it?

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

From: FrankWood95 [at] aol.com
Message-ID: <dc.345f62c3.30e6d9ac [at] aol.com>
Date: Fri, 30 Dec 2005 13:42:52 EST
Subject: Re: Brighter musicals

In a message dated 30/12/05 08:40:17 GMT Standard Time, billn [at] peak.org writes:

> >This does not surprise me. The US came late to modern lighting design,
>  >indeed, I harbour a suspicion that 'colour wash and specials' lighting is
>  >still around.
>  
>  Yes, such lighting is still around. In two of the venues where I do
>  lighting design, it is not by choice - it is forced by lack of dimmer
>  circuits and lighting instruments.

Sure. I've had to do it that way, and for the same resons. Plus one other, 
time. If that's the house rig, and you're on a short get-in, you may well have 
to leave it there.

This usually happens in multi-purpose halls, with two or three shows a year. 
The luminaires are never taken down, cleaned, or checked for safety; the gels 
are covered in dust and scratches. Nobody notices.


Frank Wood

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

Message-Id: <3.0.6.32.20051230124114.00cf9ec8 [at] pop.west.cox.net>
Date: Fri, 30 Dec 2005 12:41:14
From: CB <psyd [at] cox.net>
Subject: Electrics call

>Are you available the evenings of the second and third?

What's it pay?  Are you flying me, or am I on my own?
				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: <3.0.6.32.20051230124631.00cf9ec8 [at] pop.west.cox.net>
Date: Fri, 30 Dec 2005 12:46:31
From: CB <psyd [at] cox.net>
Subject: Re: Interesting cases

>This is, of course,
>somewhat of a religious question, right up there with which way
>is the proper way to coil cables.

The proper way to coil a cable is:  (at thsi point, the more devout amongst
you may want to bow your heads, epiphanies are on their way...)
In the manner that the owner of the cable prefers.  If you don't know, ask.
 If you don't know how to coil it in the manner he requests, you haven't
the skills necessary to be assigned to a dept with cables in it.
On the casters thing, however, I have to agree.  Boxes handle just fine
with two stupid wheels and two smart wheels.  Til you get in the truck.
Then you *need* them all to swivel.  Your loaders are having a hard enough
time, and pushers aren't working all that hard, all the wheels should
swivel.
				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: Fri, 30 Dec 2005 21:04:11 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Wikipedia needs you!
In-Reply-To: <list-26298462 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0512302100280.22211 [at] viscount.richmondsounddesign.com>
References: <list-26298462 [at] prxy.net>

On Fri, 30 Dec 2005, CB wrote:

> I meant the submission about you.  Congrats, BTW...

No need ;-)  There were links to me in various articles so it was suggested that 
I write it, which I did.  Then it was suggested it was not encyclopedic enough 
so I rewrote it.  Then someone suggested it should be deleted but it was voted 
not to.  Such is the adventure of wikis - they are ruled by the majority (or at 
least those who care, which is actually quite a good procedure...)

> Oh, yeah.  It *IS* Wikipedia, isn't it?

Definitely.  And you should check out what it all looks like now after a dozen 
edits or so... ;-)

Happy New Year!!
Charlie

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Electrics call
Date: Fri, 30 Dec 2005 16:25:42 -0500
Message-ID: <006901c60d87$971e28c0$6701a8c0 [at] Dell>
In-Reply-To: <list-26298889 [at] prxy.net>


 
> Are you flying me, or am I on my own?

If you want to be flown, you need to talk to Delbert or Bill.


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

In-Reply-To: <list-26272368 [at] prxy.net>
References: <list-26272368 [at] prxy.net>
Message-Id: <265E32B7-8EC1-4B7B-8EFF-C75B56AA5516 [at] hawaii.rr.com>
From: Shell Dalzell <sdalzell [at] hawaii.rr.com>
Subject: Vacation in Vegas
Date: Fri, 30 Dec 2005 11:34:50 -1000

Hey all,

My wife, daughter and I will be in Las Vegas on Jan 14,15, and 16.   
Planning on seeing Avenue Q and Ka.  Are there any list members  
working on those shows?  Love to get a backstage tour.  Drop me a  
note if possible.


Aloha,  Shell
sdalzell [at] hawaii.rr.com



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

Message-ID: <8231e7ea0512301438n62c0c527h5d38b5beb9126d84 [at] mail.gmail.com>
Date: Fri, 30 Dec 2005 17:38:02 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Electrics Call

>> Are you flying me, or am I on my own?

If you want to be flown, you need to talk to Delbert or Bill.<<

Ha!!

I suppose the question to ask now is: "Are you certified?" :)

-SS
TTS
EKU

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

Date: Fri, 30 Dec 2005 18:02:04 -0500
Subject: Re: Brighter musicals
From: John McKernon <stagecraft2005 [at] mckernon.com>
Message-ID: <BFDB269C.59A1%stagecraft2005 [at] mckernon.com>
In-Reply-To: <list-26298201 [at] prxy.net>

> By no means knocking their work: I haven't seen it. But, for curiosity, where
> do they find to put them all, and where all the electricity?

Electricity is no problem, most of the NY theaters were given substantial
amounts of AC when they were converted from DC back in the 70's, and the
newer theaters have even more.

"Chitty Chitty Bang Bang" has five racks of 96x2.4kw dimmers and close to
500 conventional lights plus ML's.

Where do they put all the lights? Well, they add double- and triple-hung
trusses FOH, they triple hang the box booms, put lights on 15" centers on
the balcony rail, fill the wings with towers and ladders full of lights,
hang them behind full-stage plastic drops, tuck them into corners of the
scenery, under the deck, and generally cram them into every possible nook
and cranny.

And of course the scene designer is often complicit in all this too, with
scenery that lights up all over the place (windows, steps, fiber optics,
etc. etc.). Almost all of the scenery in "Spamalot" lights up in one way or
another.

Does all this make the show better? No, not necessarily. But they sure do
give the lighting designer a chance to write a whole lot of cues, and at a
certain point audiences expect it. It's sort of the theme park mentality
"More is not enough".

And of course, the extravagance provides ample employment for legions of our
friends - assuming the show is a hit, which they rarely are.

- John McKernon



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

From: FrankWood95 [at] aol.com
Message-ID: <261.4777d1a.30e72a6c [at] aol.com>
Date: Fri, 30 Dec 2005 19:27:24 EST
Subject: Re: Brighter musicals

In a message dated 30/12/05 23:03:57 GMT Standard Time, 
stagecraft2005 [at] mckernon.com writes:

> Where do they put all the lights? Well, they add double- and triple-hung
>  trusses FOH, they triple hang the box booms, put lights on 15" centers on
>  the balcony rail, fill the wings with towers and ladders full of lights,
>  hang them behind full-stage plastic drops, tuck them into corners of the
>  scenery, under the deck, and generally cram them into every possible nook
>  and cranny.
>  
>  And of course the scene designer is often complicit in all this too, with
>  scenery that lights up all over the place (windows, steps, fiber optics,
>  etc. etc.). Almost all of the scenery in "Spamalot" lights up in one way or
>  another.

You've pre-empted my next question, which would have been why? I have just 
looked through Richard Pilbrow's hang list for the 1994 Broadway production of 
"Show Boat". I make it about 200 luminaires, plus follow spots and lightning 
strobes. He is an nternationally acclaimed designer.
>  
>  Does all this make the show better? No, not necessarily. But they sure do
>  give the lighting designer a chance to write a whole lot of cues, and at a
>  certain point audiences expect it. It's sort of the theme park mentality
>  "More is not enough".

I suppose this is true. I shouldn't like to try it, myself. Trying to keep 
track of a much more limited rig, even with all the paperwork (lists by purpose, 
by location, by channel number, by lantern type), is all I can manage, when 
I'm painting the pictures. Shuffling through reams of paperwork takes a lot of 
time, and annoys directors and operators alike. I like to have most of this in 
my head.

But then I am playing in a different game, largely. Straight plays are my 
forte. That said, I have been complained at by the actors for lighting them so 
brightly that they were forgetting their words! Make what you can from that.



Frank Wood

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

Message-ID: <000a01c60da6$1a8f29c0$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
Subject: Re: Interesting cases
Date: Fri, 30 Dec 2005 18:04:08 -0700

Mike:

Having been involved with many a motor case, I would like to put in my
two
cents worth.

If your motors NEVER leave your venue, you do not have to build a
roadworthy
case. Build a steel frame on heavy casters that you can wheel around and
rest the motors IN.  I say IN so the top can be flat and you can stack
stuff
on top of it.

A majority of the motors out here are CM 1 Ton showmotors. I assume
these
are your motors.

I couldn't even imagine dumb casters on a motor case. On a crowded deck
with
truss, lighting cases et al, a (motor) case should be able to move any
direction at any time.

Plastic sucks. They warp with heat, uneven floors, oddpacks... which
makes
them hard to work with.  Opening, closing, locking. to name a few.

Wood:  Seven ply 3/4" throughout, heavy on the glue, light on the
screws.
Channel, Slot, Dado, whatever, where ever you can to increase angular
contact.
Internal "positioners" for a inset PIANO HINGED  lid (absolutely
Kristi!) to close and line up on the
lower part of the case to prevent lid shift when closing, stacking, and
strapping.

Internal bracing should be designed for compartmentalizing for motor,
chain and hook.
Try to compartment where the chain can drop straight into the box, not
piled
under the motor. 75' of chain piles up nicely in a 6"x 10"x 14" deep
hole.
Many motors don't have handles, integrate a place to hang the chain hook
readily accessible when you open the case. Searching for a hook in a 75'
pile of greasy motor chain, 'nuff said.

Most motor cases I see are, in order: 1. not stacked, or 2.tipped on
end, or 3.double
stacked a far third.
Handles should be spring loaded.

I agree with Matt and Dale:
Wheel wells in the lid. just in case you have a forklift or four
football players to double stack.
(Very good tray for that shackle and pin you don't want to lay on the
deck)
Make certain they're all the same height (even if you have motors with
different lift capacities)
Hinged lid, with holdbacks to keep it from flopping over.

One company I work with keeps control/power cable in the case. Sometimes
as
much as 2- 600' runs of 12/3. (don't go there)  If your rigging has to
go in
there pile it on top of the motor, last in first out... Lid depth

I prefer double cases, less pushing. Have a divider at center inside
that
goes all the way up into the lid. Keeps things sorted.  Cases should be
able
to go two wide or four wide (orientation) in a typical truck, with room
to
get a track strap on each side. TWO Handles on each end are sufficient.
I
think you are wasting hardware for anything more, although it may be
convenient for ramping.

Label for the typical stagehand to understand:   e.g.  2- 1 ton motors.
On
the lid.
A small inset for show / placement label is great: 1/16th deep, 5-1/2" H
x
8-1/2"W (one advantage plastic molding has)

Have the case oriented where the motors will go in the case ONLY one
way.
Chain bag hook to outside so the chain can pile up at center is typical,
but
not inclusive.

Paint.  Use a heavy flexible (usually black) paint /coating to protect
the
wood. a couple layers.
Stay away from laminating, great for Wardrobe cases but not for motor
cases.
Corner braces, eight each.

OR just wait for a three truck or bigger concert tour to come through,
get
backstage with your camera and shoot twenty-four pictures of a motor
case.
PRG lighting and Clair Brothers sound both have tough motor road cases.
I
don't know if PRG manufactures their own, but Clair does.  Personal
favorite
is Clair Bros.' usually two ton, motor cases.

Robert E. Riddle
Idaho Scenic and Rigging
Production Manager/Stage manager/Rigger/Carpenter/Grunt, for Rent



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

Message-ID: <000701c60da8$c28bda90$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-26303230 [at] prxy.net>
Subject: Re: Brighter musicals
Date: Fri, 30 Dec 2005 17:23:09 -0800

> Trying to keep
> track of a much more limited rig, even with all the paperwork (lists by 
> purpose,
> by location, by channel number, by lantern type), is all I can manage, 
> when
> I'm painting the pictures. Shuffling through reams of paperwork takes a 
> lot of
> time, and annoys directors and operators alike. I like to have most of 
> this in
> my head.


I hear you there....  but a lot of fixtures/hanging positions on these 
'mega' shows are "single purpose" - designed for just one scene or gag.  So 
think of it this way: for each scene in "The Seagull," there's a (nearly) 
full, and different, light hang, just for that scene.  A lot of paperwork? 
Yep, but it's not too hard to wrap the brain around, knowing that only 30 
fixtures are for this scene.

Not that many of us on this list ever have a budget to design like that, 
but....

     - Jon Ares
www.hevanet.com/acreative 


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

End of Stagecraft Digest #637
*****************************