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Subject: Stagecraft Digest #650
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #650

 1. Re: RGB Dimmable Fluorescents report
    by "Laura McMeley" <LMcMeley [at] msn.com>
 2. Re: Followspot Boomerang
    by "Laura McMeley" <LMcMeley [at] msn.com>
 3. Re: Rabbit Ears
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
 4. Re: Rabbit Ears
    by "Bill Nelson" <billn [at] peak.org>
 5. Re: [SPAM?]  Re: RGB Dimmable Fluorescents report
    by "Bill Nelson" <billn [at] peak.org>
 6. stages aboard
    by "Christopher K. Nimm" <nimmck [at] charter.net>
 7. Re: stages aboard
    by MissWisc [at] aol.com
 8. Re: stages aboard
    by Paul Puppo <ppuppo [at] gmail.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: <BAY113-DAV161FCEEBA50D62B470907DDF270 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: RGB Dimmable Fluorescents report
Date: Thu, 12 Jan 2006 00:04:58 -0600
Message-ID: <002901c6173e$1e7df420$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-26576788 [at] prxy.net>

I actually had read the recommendation about burning the tubes in. I asked
the guy we rented them from and he assured me that they had been burned in
for at least that long. Of course, since they weren't mine, I had no way of
confirming that assertion, and no time to burn them in myself. In this case,
the designer wasn't concerned, so it was not an issue.

Laura
972-333-5016


> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Patrick
> McCreary
> Sent: Wednesday, January 11, 2006 6:12 PM
> To: Stagecraft
> Subject: Re: RGB Dimmable Fluorescents report
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Laura wrote:
> 
> >I can report that these units worked very nicely for us. No need for
> >separate ballasts or any complicated wiring, just plug into a dimmer like
> >any other light. There is a pop on but a little creative cueing bringing
> >them on in an otherwise bright cue and most of the audience will never
> see
> >it.
> >
> >Laura McMeley
> >Resident Lighting Coordinator
> >The Dallas Opera
> >972-333-5016
> >http://www.geocities.com/lmcmeley/
> 
> Pretty much any tube that can be dimmed can be dimmed directly from a
> theatrical dimmer using a Mark 10 Powerline ballast -
> 
>          http://www.advancetransformer.com/products/fluorescent-
> electronic.jsp?pbid=37
> 
> We 're spec'ing them for houselights in an upcoming renovation. Wire the
> fixtures up, plug 'em in to a lighting circuit, and let 'em rip.
> 
> As far as bumping on goes, very few people seem to be aware that virtually
> every ballast and lamp manufacturer say that a flourescent tube wants to
> be
> "burned in" for at least 100 hours before you can expect a smooth dimming
> curve.
> 
> Patrick
> 
> G. Patrick McCreary
> Ass't. Professor - Technical Director
> Department of Theater and Dance
> Indiana University of Pennsylvania
> Indiana, PA 15701
> (Office) 724-357-2644
> (Home) 724-349-4309


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

Message-ID: <BAY113-DAV19AEFCA2E5A8D31F0AF00DF270 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Cc: stagecraft [at] jeffsalzberg.com
Subject: RE: Followspot Boomerang
Date: Thu, 12 Jan 2006 00:07:35 -0600
Message-ID: <002b01c6173e$7bfa99f0$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-26571507 [at] prxy.net>

I was chatting about this issue with one of the electricians at the music
hall here and he pointed out that consistency is important when the show is
a traveling show that comes with it's own spot operators but uses house
spots. In this case, the spots are often loaded by the local guys. The shows
operator then needs the colors to be in the same order for each house that
he is in, or he will likely grab the wrong one during the show.

Laura
972-333-5016


> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey
> E. Salzberg
> Sent: Wednesday, January 11, 2006 2:50 PM
> To: Stagecraft
> Subject: Re: Followspot Boomerang
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> > Okay I asked the initial question regarding Frame 1
> > close or far from Op.
> 
> I don't see where it's the designer's business whether Frame #1 is close
> or
> far.  As long as I get the color I want when I want it, how it gets there
> is
> the operator's business.


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

Message-ID: <02b501c61d88$f0406e70$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
References: <list-26564920 [at] prxy.net> <list-26568124 [at] prxy.net>     <list-26568495 [at] prxy.net> <list-26569503 [at] prxy.net> <list-26583496 [at] prxy.net>
Subject: Re: Rabbit Ears
Date: Thu, 19 Jan 2006 23:15:40 -0700

Bill N:
Having only recently been a first time user of rabbit ears.
Rigging a Dora the Explorer touring show.  I was impressed with them.
Their simplicity.
Never too old to learn syndrome.
My question is about the version you mention that has the "Front" open:
Are they nearly as strong as the regular ones? and by how much less?
Does the Cam rotate around to lock the rope in after it has been laid in
and not locked down?
I'm imagining the regular style with a 3/4" slot cut into one side.

Your definitely right about bulky. The tour brought six and they took up
half a drape basket.
Rope handling didn't seem to be an issue, at least this time.

Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning

----- Original Message ----- 
From: "Bill Nelson" <billn [at] peak.org>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, January 11, 2006 10:53 PM
Subject: Re: Rabbit Ears


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> There are a number of problems with rabbit ears, and similar devices.
They
> are bulky - and it is easy to get line end tangled up in the ears.
>
> But they certainly are inexpensive to make. I like the variation that
has
> the front open, so that the line tail can be slipped in without
threading
> it up through the middle. I often also use a variation that has only
one
> "ear" - basically a wooden cam cleat.
>
> Bill
>


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

Message-ID: <1229.208.51.52.91.1137050522.squirrel [at] webmail.peak.org>
In-Reply-To: <list-26584122 [at] prxy.net>
References: <list-26564920 [at] prxy.net> <list-26568124 [at] prxy.net>    
    <list-26568495 [at] prxy.net> <list-26569503 [at] prxy.net>
    <list-26583496 [at] prxy.net> <list-26584122 [at] prxy.net>
Date: Wed, 11 Jan 2006 23:22:02 -0800 (PST)
Subject: Re: Rabbit Ears
From: "Bill Nelson" <billn [at] peak.org>


> Having only recently been a first time user of rabbit ears.
> Rigging a Dora the Explorer touring show.  I was impressed with them.
> Their simplicity.
> Never too old to learn syndrome.
> My question is about the version you mention that has the "Front" open:
> Are they nearly as strong as the regular ones? and by how much less?

Imagine them made without the front plate. No, they are not as strong. And
there is a small risk of the rope jumping out of the cleat.

On the versions I built, the cam does not automatically rotate to lock the
rope - on either style. It might be possible to design them so that it
would. I wanted the cleat to remain open until I closed it against the
rope.
To close, I would pull the rope to slightly further than my desired trim
height, then insert the rope and wrap the tail around an ear. That would
pull the ear closed. Once closed, I would do the figure 8 with the tail to
lock it shut. Easy and quick.

I don't have any CAD software, so can't view the drawings that were
mentioned. On mine, I put some "tooth" on the cams, so they would grip
multiple rope diameters a bit better.

Bill


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

Message-ID: <1242.208.51.52.91.1137051166.squirrel [at] webmail.peak.org>
In-Reply-To: <list-26583701 [at] prxy.net>
References: <list-26576788 [at] prxy.net> <list-26583701 [at] prxy.net>
Date: Wed, 11 Jan 2006 23:32:46 -0800 (PST)
Subject: Re: [SPAM?]  Re: RGB Dimmable Fluorescents report
From: "Bill Nelson" <billn [at] peak.org>


> I actually had read the recommendation about burning the tubes in. I asked
> the guy we rented them from and he assured me that they had been burned in
> for at least that long. Of course, since they weren't mine, I had no way
> of confirming that assertion, and no time to burn them in myself. In this
> case, the designer wasn't concerned, so it was not an issue.

The explanation that was given to me was that the tube life would be
drastically shortened if they were not burned in properly. There was no
mention of any "flash on" problem.

Bill


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

Message-ID: <002701c6174b$b119c540$6401a8c0 [at] nutkin>
From: "Christopher K. Nimm" <nimmck [at] charter.net>
Subject: stages aboard
Date: Thu, 12 Jan 2006 01:42:08 -0600

 was watching a commercial for a cruise ship line line yesterday, and 
noticed that this particular cruise seemed to offer fully-staged variety 
shows onboard.  Lighting, sound, everything.  So I wondered: how are lights 
and scenery hung on a moving boat.  Am I to assume that the same cable-hung 
linesets are used?  If so, I don't understand how the crew deals with the 
invariable motion of the ship itself.  I can imagine that it would be 
irritating to focus lights during pitching, heavy seas.  Actually, the 
concept is hilarious to me but in reality would be dangerous.  Do any of you 
work on the aforementioned ships?

Chris Nimm 


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

From: MissWisc [at] aol.com
Message-ID: <156.5f5ff567.30f767f3 [at] aol.com>
Date: Thu, 12 Jan 2006 03:06:11 EST
Subject: Re: stages aboard

_nimmck [at] charter.net_ (mailto:nimmck [at] charter.net)   writes:
<<I can imagine that it would be irritating to focus lights  during pitching, 
heavy seas.>>

Ever heard of ports of call? They are in one every day or  two.

Those boats are so huge that the movement is barely  noticeable.

Kristi
 

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

Message-ID: <3998154b0601120133x1ac77b12i2aa175abc676f101 [at] mail.gmail.com>
Date: Thu, 12 Jan 2006 01:33:26 -0800
From: Paul Puppo <ppuppo [at] gmail.com>
Subject: Re: stages aboard
In-Reply-To: <list-26585880 [at] prxy.net>
References: <list-26585880 [at] prxy.net>

On 1/12/06, MissWisc [at] aol.com <MissWisc [at] aol.com> wrote:

> Ever heard of ports of call?

With all due respect Kristi,  I myself have, within my first week on
board the s/s Norway, BEFORE I had my sea legs, re-installed one of
the 4 intellabeams(r), in the unistrut(r) 17 feet over the stage.=20
Great fun, I recomend it to anyone. Not. :-(

I won't go into all the nasty details but let's just say, I wasn't in
charge and I'm older and wiser now, and I'd do it very differently!

Anyway, port days are sacred, we'd do ANYthing to avoid having to work
on board on a port day and miss getting off the ship...

I only ever worked on the Norway (god rest her soul), never any of the
larger, modern ships with the 4 deck fly lofts...

I'm sure David Wetmore, usually lurking on this list, would have more to ad=
d.



Paul Puppo

http://www.Nifty-Gadgets.com

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

End of Stagecraft Digest #650
*****************************