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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 26620842; Fri, 13 Jan 2006 03:02:32 -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 #651 Date: Fri, 13 Jan 2006 03:01:26 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, TW_PP autolearn=unavailable version=3.0.4 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #651 1. Re: stages aboard by "Matthew Breton" 2. Re: Rabbit Ears by Delbert Hall 3. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by Paul Schreiner 4. Re: stages aboard by IAEG [at] aol.com 5. Re: Followspot Boomerang by Mark O'Brien 6. Re: Followspot Boomerang by "Jeffrey E. Salzberg" 7. Re: stages aboard by John McKernon 8. Re: stages aboard by Steve Larson 9. Re: stages aboard by IAEG [at] aol.com 10. Re: Another Certified Rigger by Scott Parker 11. Re: solenoids/SETC by "Curtis L. Mortimore" 12. This guy is amazing by Bob Frame 13. stages aboard by b Ricie 14. Re: stages aboard by 15. Re: Rabbit Ears by "Bill Nelson" 16. Holiday Lights by Paul Marsland 17. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by Greg Bierly 18. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by Steve Larson 19. VW11 to VW 9.5 translation by "Dougherty, Jim" 20. RGB Dimmable Fluorescents by Maura McGuinness 21. Re: Followspot Boomerang by June Abernathy 22. Another sprinkler story by rwhitco [at] comcast.net 23. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by "Occy" 24. Re: Followspot Boomerang by "Occy" 25. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by SS 26. Re: The Phantom of Opera' officially knocked off 'Cats' NEWS by Steve Larson 27. AV Tech/Company needed January 18 - Columbus, GA by CB 28. Re: vector works by CB 29. flaming arrow by CB 30. Re: Scrim Storage by "Waxler, Steve $waxlers$" 31. Re: VW11 to VW 9.5 translation by Samuel Jones 32. Re: Another Certified Rigger by CB 33. Re: VW11 to VW 9.5 translation by "Paul Schreiner" 34. Re: Flaming arrows(rather long) by CB 35. Pre Bob Barker, was-Re: The Phantom of Opera' officially knocked off 'Cats' NEW by "Idaho Scenic and Rigging" 36. Re: stages aboard by "chrisharris25" 37. Re: Scenery and Flame Retardant by Maia Robbins-Zust 38. Re: Scenery and Flame Retardant by FrankWood95 [at] aol.com 39. Re: Scenery and Flame Retardant by "Bill Nelson" 40. Re: stages aboard by Greg Williams 41. Re: Scenery and Flame Retardant by "Idaho Scenic and Rigging" 42. Re: Scenery and Flame Retardant by MissWisc [at] aol.com 43. Re: Scenery and Flame Retardant by J Burch 44. Re: Another Certified Rigger by 45. Re: Labeled socks (was Re: Followspot Boomerang) by "Tony Deeming" 46. Re: Labeled socks (was Re: Followspot Boomerang) by Bill Sapsis 47. Re: Scenery and Flame Retardant by 48. Re: Scenery and Flame Retardant by "Idaho Scenic and Rigging" 49. Why we do what we do... by MissWisc [at] aol.com 50. diy multicable? by "Christopher K. Nimm" 51. Re: VW11 to VW 9.5 translation by Kevin Lee Allen 52. Re: stages aboard by Eric Rouse 53. Re: This guy is amazing by Eric Rouse 54. Re: stages aboard by "chrisharris25" 55. Re: Flaming arrows(rather long) by StevevETTrn [at] aol.com 56. URTA by Roxann Adamsen 57. Re: stages aboard by Stuart Wheaton 58. Re: Holiday Lights by Herrick Goldman 59. Re: Flaming arrows and Coleman fuel by "Idaho Scenic and Rigging" *** 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: In-Reply-To: From: "Matthew Breton" Subject: RE: stages aboard Date: Thu, 12 Jan 2006 06:47:44 -0500 >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. Keep in mind that these are *cruise* ships. They like to avoid pitching, heavy seas wherever possible -- the clients complain, and cleaning bills escalate. Making lighting easier is just a side benefit. -- Matt (not a cruise-ship technician) ======== _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Message-ID: Date: Thu, 12 Jan 2006 07:38:42 -0500 From: Delbert Hall Subject: Re: Rabbit Ears In-Reply-To: References:

Bill has fairly accurately described the "new" design that I mentioned in an earlier post. The basic shape of the unit looks something like the shape below. If we think of this as the "front," they are approximately 6" tall, 8" wide, and 3" deep. (Think of the overall design being similar to a loft block, only it has no sheave.) _______ | \ | \ | |# =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The base is made from two pieces of angle, configured just like you would find on an overhung loft block. There is a single strip of 3" wide steel plate that is bent and welded to the side plates. This piece runs around three of the five sides shown in the drawing: across the top, along the angled side, and along the short vertical side of the unit. The "#" on my drawing represents a piece of steel tubing that is welded to the bent strip of steel, near the base. The rope runs up through the tubing, and then along the three sides of the unit that I have just mentioned. On the angled side is mounted a set of cam cleates (http://www.harkenstore.com/uniface.urd/SCCYSPW1) . The rope runs though the cam cleats and is locked off. When the rope gets to the top, it is figure-eighted around a tie-off cleat (http://www.boatus-store.com/webapp/wcs/stores/servlet/product/20002/-1/200= 02/72015/20002/488/332/2) I did not try to show either of these on my crude drawing. That is it. I hope it makes sense. Being steel, these rabbit ears are stronger than the wooden ones. The spring loaded cam cleats make them easier to use. But, thay are more difficult and more expensive to build. Bill, what cam cleat did you use? -Delbert On 1/12/06, Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > 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. An= d > 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 th= e > 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 t= o > 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 > > -- Delbert L. Hall ZFX Flying Director Phone: 714-585-7070 ------------------------------ Message-ID: Date: Thu, 12 Jan 2006 08:11:19 -0500 From: Paul Schreiner Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS In-Reply-To: References:

> > Also, today's college students have never known a world with out Bob > > Barker heading up The Price is Right. While not as long as Mouse Trap = or > > Phantom. It's got it's place in history as well. > > Bob Barker's been on PIR for more than 30 years.... OTOH, today's college students have never known a world where Bob Barker still dyed his hair. Place in history and all that... ------------------------------ From: IAEG [at] aol.com Message-ID: <1a0.43fbfc55.30f7b140 [at] aol.com> Date: Thu, 12 Jan 2006 08:18:56 EST Subject: Re: stages aboard In a message dated 1/12/06 4:34:03 AM, ppuppo [at] gmail.com writes: << 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 as well have not worked the Cruise ship gig, , but I do know that the Norway being a much older ship designed for transatlantic cruising ( originally the S S FRANCE ) did not have the state of the art stabilization gear that contemporary CRUISE ships have, I do know the NORWAY was retro fitted with stabilization, but I doubt it was up to the standards of the new mega ships. I did one special event on the old SS CARNIVALE ( on it for a full week ) that was also originally built as a trans atlantic ship in the post war period, if memory serves me right I believe in it's original life it did the Liverpool to Montreal route. I can assure you that ship ROCKED AND ROLLLED and we were in "quartering seas" ( pitching and rolling at the same time ) going through the New Providence Straight ( Grand Bahama to the North , Nassau to the South ) and almost half of the CREW got sick that eve. There was supposedly some degree of stabilization gear, , but ya could have fooled me ! If I am not mistaken, , I think that some of the "fly systems" in the newer ships are created with hydaulically activated arms, , extending down from the "grid" and that they ride in Tracks to each side of the stage to some degree to keep allignment. but there has to be someone on the list with REAL knowledge, , anyone from either of the DISNEY ships ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <20060112063212.05qj7cw4s0sg8css [at] www.email.arizona.edu> Date: Thu, 12 Jan 2006 06:32:12 -0700 From: Mark O'Brien Subject: Re: Followspot Boomerang References: In-Reply-To: Quoting Laura McMeley : > 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. But... When I send the spot operators up to the spots with the frames, I either just hand them the frames, or I have distributed them to the spots earlier. I don't load them in the machines. They could load them as 134256 and I could care less, as long as they know where frame 2 is. Mark O'Brien Opera Technical Director University of Arizona, School of Music 520-621-7025 520-591-1803 Mobile ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Followspot Boomerang Date: Thu, 12 Jan 2006 08:41:37 -0500 Message-ID: <001001c6177d$e9541370$6701a8c0 [at] Dell> In-Reply-To: =20 > > In this case, the spots are often=20 > loaded by the=20 > > local guys. The shows operator then needs the colors to be=20 > in the same=20 > > order for each house that he is in, or he will likely grab=20 > the wrong=20 > > one during the show. It's still, I think, a matter to be worked out by the electricians. If it makes my electricians' life easier, I'll certainly spec it on the = plot however they like it, but it's an operational issue, not a design one. ------------------------------ Date: Thu, 12 Jan 2006 08:45:25 -0500 Subject: Re: stages aboard From: John McKernon Message-ID: In-Reply-To: > 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? Everything that moves is in tracks, including overhead fly lines - all lighting positions are rigid. Nothing hangs from cables or is free to move in any way because even the best of boats has plenty of movement. - John McKernon ------------------------------ Date: Thu, 12 Jan 2006 09:16:05 -0500 Subject: Re: stages aboard From: Steve Larson Message-ID: In-Reply-To: I cruised to Bermuda several years ago out of NYC. The trip over was nasty. Large live shows were cancelled for the dancers sake. Many passengers flew back to NYC from Bermuda. Trip back was like sailing on glass. Steve > From: "Matthew Breton" > Reply-To: "Stagecraft" > Date: Thu, 12 Jan 2006 06:47:44 -0500 > To: "Stagecraft" > Subject: Re: stages aboard >=20 > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 >> I can imagine that it would be irritating to focus lights during pitchin= g, >> heavy seas. Actually, the concept is hilarious to me but in reality wou= ld >> be dangerous. >=20 > Keep in mind that these are *cruise* ships. They like to avoid pitching, > heavy seas wherever possible -- the clients complain, and cleaning bills > escalate. Making lighting easier is just a side benefit. >=20 >=20 > -- Matt (not a cruise-ship technician) >=20 > =3D=3D=3D=3D=3D=3D=3D=3D >=20 > _________________________________________________________________ > Don=92t just search. Find. Check out the new MSN Search! > http://search.msn.click-url.com/go/onm00200636ave/direct/01/ >=20 ------------------------------ From: IAEG [at] aol.com Message-ID: <2d9.ac44c0.30f7c102 [at] aol.com> Date: Thu, 12 Jan 2006 09:26:10 EST Subject: Re: stages aboard In a message dated 1/12/06 9:16:55 AM, tiptd [at] theatreinthepark.com writes: << I cruised to Bermuda several years ago out of NYC. The trip over was nasty. Large live shows were cancelled for the dancers sake. >> I actually recall talking with some ballet dancers years ago who were on a special "arts cruise", this was an older, less sophisticated ship and I think they were attempting to do standard repertoire "pas de deux" on a ballroom dance floor or a stage that was only about 2' off the deck, , they gave up after two aborted performances were interupted with one dancer actually stepping off the stage and a girl falling attempting "fouettes" but everytime I see the TV commercials featuring big production numbers on these newer cruise ships , , I think back to their stories and how far things have come on the ocean very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <90d9c9980601120627j146196bei3d040f7d0f0ac8df [at] mail.gmail.com> Date: Thu, 12 Jan 2006 09:27:21 -0500 From: Scott Parker Subject: Re: Another Certified Rigger In-Reply-To: References:

That sounds like a "NO"... ;-) On 1/11/06, Bill wrote: She can give you the correct answer and the reasons for it. > -- Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Date: Thu, 12 Jan 2006 09:47:51 -0500 Subject: Re: solenoids/SETC From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Peter, I don't have an immediate source for solenoids but my standard suggestion's are; McMaster Carr, Grainger, Surplus Center, or a supplier in your area you may have a relationship with. That being said. Every time I have tried to use a solenoid in a theatre I have had problems with noise. Mechanically they worked great, just not quiet enough for the environment they were to be used in. I have had most success with pneumatic cylinder based systems. My other suggestion: The ole tie-line-on-a-nail-trick is about as cheap as you can get and sometimes in my experience offers an invaluable level of simplicity and not-having-to-futz-with-it for the same effect. YMMV -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B902CE4431 [at] exchange-nt.cayuga-cc.edu> From: Bob Frame Subject: This guy is amazing Date: Thu, 12 Jan 2006 10:42:25 -0500 Here's a link to a true artist in wood http://www.liviodemarchi.com/ukmain3.htm ------------------------------ Message-ID: <20060112160557.40868.qmail [at] web50611.mail.yahoo.com> Date: Thu, 12 Jan 2006 08:05:57 -0800 (PST) From: b Ricie Subject: stages aboard In-Reply-To: I have done some theatre at sea with The Theatre Guild. We were on smaller ships so we did not have the luxury of the large theatres ships now have. The space we had to use was the movie theatre and we would bring with us everything we needed to turn said space into a working theatre. Lights, sets, sound, even platforming to turn the mini stage into a usable thrust that could fit a piano. Getting the sea legs is important. For the first few days everyone looks a bit drunk, I actually felt a bit drunk. The lighting was mounted to the ceiling so movement of the fixtures was not a problem, but ya had to get the fixture up there. It is very un nerving to be on a ladder in calm seas let alone rough seas. The thing to remember about a ship is the closer you are to the waterline and the middle of the ship, the more stable the ride. While cruising by day the ship would usually have the stabilizers out, and would pull the stabilizers in at night for increased speed. Stabilizers are really the only defense a ship has toward smooth sailing, if Mother nature wants rough seas, you have rough seas. I have sailed the Mediterranean, the Black sea, the Caribbean, and the Amazon. By far the roughest seas I encountered were on the Caribbean, however we did hit a sand bar while on the Amazon. The entire length of the ship rode the sand bar and listed quite a bit to the side. I was working in the theatre at the time and the person rehearsing on stage looked as if they were walking up hill. I kinda felt like I was in the Poseidon Adventure for a moment, not a good feeling. So, even smooth river cruising can be rough. Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <230c47e1589e162f49e5db5811ed6ae7 [at] cybercom.net> Date: Thu, 12 Jan 2006 11:11:29 -0500 From: Subject: Re: stages aboard Reply-to: In-Reply-To: References: On 9:26:10 am 01/12/06 IAEG [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > > In a message dated 1/12/06 9:16:55 AM, tiptd [at] theatreinthepark.com > writes: > << I cruised to Bermuda several years ago out of NYC. > > The trip over was nasty. Large live shows were > > cancelled for the dancers sake. >> > > > I actually recall talking with some ballet dancers years ago who were > on a special "arts cruise", this was an older, less sophisticated > ship and I think they were attempting to do standard repertoire "pas > de deux" on a ballroom dance floor or a stage that was only about 2' > off the deck, , > they gave up after two aborted performances were interupted with one > dancer actually stepping off the stage and a girl falling attempting > "fouettes" > but everytime I see the TV commercials featuring big production > numbers on these newer cruise ships , , I think back to their stories > and how far things have come on the ocean > > very best, > > Keith Arsenault > Fin stabilizers for large ships started appearing around 1960. Prior to that there were things called bilge keels that were basically large fixed fins that stuck out underwater that slowed down a ships rolling. Active fin stabilizers are essentially additional rudders that stick out into the water, and are controlled to counteract the rolling motion of the ship. They are, unfortunately, also under a great deal of stress when in use, and break down a lot. They do nothing to control pitching. ( Forward and aft axis of motion) The only real control for that is to make the ship longer. Making the ship longer, however, makes the sagging and hogging problem much worse, and increases the cost of the ship to build. The faster a ship is moving through the water, the more effective they can be. Thus when you need them the most, during a storm, the ship is slowed down and they become less effective. During normal operation, in non-stormy weather, they can keep a ship so stable that you would not notice any rolling. My first expereince with fin stabilizers was on a USN frigate that I was getting an orientation ride on. They put the fin stabilizers into manual mode, and twirled the knob. The ship leaned over about 15 degrees and just stayed there until the guy switched it back to automatic. creepy, but an effective demonstration. So you still have to have everything secured to handle a rough storm on a ship, but noticable rolling is now mostly confined to storms and manuvering in port. --Dale ( former naval person ) ------------------------------ Message-ID: <2223.208.51.52.91.1137082823.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 12 Jan 2006 08:20:23 -0800 (PST) Subject: Re: Rabbit Ears From: "Bill Nelson" > Bill, what cam cleat did you use? I didn't. I was just commenting that the original design is basically a cam cleat - with double cams. I have used several styles of cam cleats on sailboats for various adjustable lines. If I were to make a permanent cleat for the theatre, I would use one of the marine variety - although they are very expensive. Bill ------------------------------ Message-ID: <20060112165609.65693.qmail [at] web52204.mail.yahoo.com> Date: Thu, 12 Jan 2006 08:56:09 -0800 (PST) From: Paul Marsland Subject: Holiday Lights In-Reply-To: Did anyone else see the Lite (or Light) Beer commercial around New Years that featured our favorite home light show with TSO soundtrack? As cheesey as it was, it was kind of nice to see the display in high(er) resolution and full color. Paul __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ In-Reply-To: References:

Message-Id: <3286f38cf58f9ca73860bda387cc28eb [at] dejazzd.com> From: Greg Bierly Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS Date: Thu, 12 Jan 2006 12:53:33 -0500 > Also, today's college students have never known a world with out Bob > Barker heading up The Price is Right. I don't remember a world without Bob on Price is Right and I have been out of college 15 years. When I was home sick from school or summer vacation I knew the TV could go off after Price is Right at noon since there was nothing else to watch on the 5 channels we had until Bug Bunny came on at 4. For you young uns' we actually had to get up and change the channels and adjust the volume. :) Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Thu, 12 Jan 2006 13:12:02 -0500 Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS From: Steve Larson Message-ID: In-Reply-To: When I was a kid in the midwest, we had to go outside and actually move a lever that would turn the antenna next to the house. We had only three channels on "good" days. Steve > From: Greg Bierly > Reply-To: "Stagecraft" > Date: Thu, 12 Jan 2006 12:53:33 -0500 > To: "Stagecraft" > Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> Also, today's college students have never known a world with out Bob >> Barker heading up The Price is Right. > > I don't remember a world without Bob on Price is Right and I have been > out of college 15 years. When I was home sick from school or summer > vacation I knew the TV could go off after Price is Right at noon since > there was nothing else to watch on the 5 channels we had until Bug > Bunny came on at 4. For you young uns' we actually had to get up and > change the channels and adjust the volume. :) > > > Greg Bierly > Technical Director > Hempfield HS > ------------------------------ Date: Thu, 12 Jan 2006 13:17:33 -0500 Subject: VW11 to VW 9.5 translation From: "Dougherty, Jim" Message-ID: Someone asked for help recently translating files from VW11 back to VW 9.5. Could that procedure be posted here, so that the helpful people don't become a service for the rest of us who may have to do this? It's sad that the file formats aren't backward compatible, or that an export option isn't readily obvious. Thanks. - Jim Dougherty ATD, Middlebury College Theatre Department ------------------------------ Message-ID: <20060112183805.59414.qmail [at] web51907.mail.yahoo.com> Date: Thu, 12 Jan 2006 10:38:05 -0800 (PST) From: Maura McGuinness Subject: RGB Dimmable Fluorescents In-Reply-To: I don't know which dimmable fluorescents you are referring to but I recently abused the Martin Stage Cyclos. The boss wanted to strobe the fixtures for about 30 seconds at a time with random colors. Easy enough to program and sustain until we went to a different look and then tried to strobe again. We lost different colors of tubes at different times. After much breaking and troubleshooting and pulling fixtures apart, we installed an inline switch to cycle the power between cues. We had enough blackouts in the sequence to do that. I don't recommend flashing the fixtures at high rates but they will work with some massaging. Maura McGuinness > > Message-ID: > > From: "Laura McMeley" > 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: > > 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 > > > > --------------------------------------------------- > > > > 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 - > > > > > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <20060112184532.10490.qmail [at] web33106.mail.mud.yahoo.com> Date: Thu, 12 Jan 2006 10:45:32 -0800 (PST) From: June Abernathy Subject: Re: Followspot Boomerang Of course, anyone can ignore any "standard", and do what they will, if the standard in question is a recommendation and not a law, or is just plain unenforceable, as in the case of the boomerang. The problem I see with not contesting such a "recommended standard" is that there is the potential for students and educators to see it and assume that it is, indeed, the industry standard, and teach accordingly. While it is a stupid little thing to get worked up over, the fact is that in 20 years of calling shows, both as a Stage Manager and as a Front Light electrician, I have found the industry standard is to have Frame 1 closest to the operator. To have an industry standard published that declares exactly the opposite is worrisome. I tour the country, running one spot and calling cues to local operators on 4 more. To me, it is hugely vitally important that we all agree on what handle is Frame 1 and what handle is Frame 6, because I call all the color changes that way. As in "Put in Frame 1" rather than "Put in R05". In theory, as long as an operator had the right color in whatever they were calling "Frame 1", it would all work out. OTOH, there are sometimes other considerations. Like, I have a frost in Frame 6, and it's there because the designers want it to be as far away from the heat source as possible. (At least on a Lycian 3K, how close a ziploc baggie gets to a 3K lamp makes a measurable difference in it's effective life). And, in the case of a touring show like mine, sometimes operators change mid run, or have a substitute in for them for specific conflicts, and it's safest to have everyone on the same page. Of course, I have the handles on the boomerangs of all the spots I carry marked the way I want them. And when I use house spots FOH, I do mention that the way our show is set up means Frame 1 closest to the operator and Frame 6 farthest away. Sometimes I even mark them.(This generally gets me groans and comments like "It's not my first day" and "Yeah, like every other show" and "Duh!") I do it in case it is, actually, somebody's first day on a spot, or in case there is some local wierdness that involves them loading spot color backwards on other shows. Haven't encountered that yet, but I allow for the possibility. If someone is going to go to the trouble to write a standard, whether it be recommended or required, enforceable or not, I think it behooves them to research as best they can what the current "standard" is. If you are attempting to change the current standard and create a new one, that's one thing. If you are attempting to simply reflect the current standard, that's another. I sent a comment in to the committee in regards to the boomerang numbering system portrayed, because I feel like it's important. I'm hoping that they will either choose to reflect the actual "standard", or simply omit the marking and leave off recommending anything. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: rwhitco [at] comcast.net Cc: dale [at] cybercom.net Subject: Another sprinkler story Date: Thu, 12 Jan 2006 18:47:24 +0000 Message-Id: <011220061847.7732.43C6A43C00091D6D00001E342200760180010C9B0708999D [at] comcast.net> We hosted the state competition of a national beauty pagent this past fall. The second day, folks arrived at the auditorium rather bleary eyed. It seems a mom had hung a gown on a sprinkler head in the motel room. It went off around 5 am. Randy Whitcomb Manager/TD Price Civic Aud. Loveland, CO. ------------------------------ Message-ID: From: "Occy" References:

Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS Date: Thu, 12 Jan 2006 10:50:55 -0800 What I can't believe is that Bob still uses a corded mic. ----- Original Message ----- From: "Paul Schreiner" > > Also, today's college students have never known a world with out Bob > > Barker heading up The Price is Right. While not as long as Mouse Trap > > or > > Phantom. It's got it's place in history as well. > > Bob Barker's been on PIR for more than 30 years.... OTOH, today's college students have never known a world where Bob Barker still dyed his hair. Place in history and all that... ------------------------------ Message-ID: From: "Occy" References: Subject: Re: Followspot Boomerang Date: Thu, 12 Jan 2006 10:57:39 -0800 Thank You, June ----- Original Message ----- From: "June Abernathy" > > Of course, anyone can ignore any "standard", and do > what they will, if the standard in question is a > recommendation and not a law, or is just plain > unenforceable, as in the case of the boomerang. The > problem I see with not contesting such a "recommended > standard" is that there is the potential for students > and educators to see it and assume that it is, indeed, > the industry standard, and teach accordingly. > > While it is a stupid little thing to get worked up > over, the fact is that in 20 years of calling shows, > both as a Stage Manager and as a Front Light > electrician, I have found the industry standard is to > have Frame 1 closest to the operator. To have an > industry standard published that declares exactly the > opposite is worrisome. I tour the country, running one > spot and calling cues to local operators on 4 more. To > me, it is hugely vitally important that we all agree > on what handle is Frame 1 and what handle is Frame 6, > because I call all the color changes that way. As in > "Put in Frame 1" rather than "Put in R05". In theory, > as long as an operator had the right color in whatever > they were calling "Frame 1", it would all work out. > OTOH, there are sometimes other considerations. Like, > I have a frost in Frame 6, and it's there because the > designers want it to be as far away from the heat > source as possible. (At least on a Lycian 3K, how > close a ziploc baggie gets to a 3K lamp makes a > measurable difference in it's effective life). And, in > the case of a touring show like mine, sometimes > operators change mid run, or have a substitute in for > them for specific conflicts, and it's safest to have > everyone on the same page. > > Of course, I have the handles on the boomerangs of all > the spots I carry marked the way I want them. And when > I use house spots FOH, I do mention that the way our > show is set up means Frame 1 closest to the operator > and Frame 6 farthest away. Sometimes I even mark > them.(This generally gets me groans and comments like > "It's not my first day" and "Yeah, like every other > show" and "Duh!") I do it in case it is, actually, > somebody's first day on a spot, or in case there is > some local wierdness that involves them loading spot > color backwards on other shows. Haven't encountered > that yet, but I allow for the possibility. > > If someone is going to go to the trouble to write a > standard, whether it be recommended or required, > enforceable or not, I think it behooves them to > research as best they can what the current "standard" > is. If you are attempting to change the current > standard and create a new one, that's one thing. If > you are attempting to simply reflect the current > standard, that's another. I sent a comment in to the > committee in regards to the boomerang numbering system > portrayed, because I feel like it's important. I'm > hoping that they will either choose to reflect the > actual "standard", or simply omit the marking and > leave off recommending anything. > > > > > June Abernathy > IATSE #321 (Tampa, FL) > FOH Electrician > The Lion King National Tour (Gazelle) > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ------------------------------ Message-ID: <8231e7ea0601121124u2db89cc0x5aad84220f5a039f [at] mail.gmail.com> Date: Thu, 12 Jan 2006 14:24:57 -0500 From: SS Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS >>>What I can't believe is that Bob still uses a corded mic.<<< What I can't believe is that Bob is still alive, let alone not using a wireless mic!! :) The "Dick Clark" of game shows he is. Actually, I believe he's older than Dick. So nevermind. - SS TTS EKU "Oh, and next Friday... is Hawaiian shirt day... so, you know, if you want to you can go ahead and wear a Hawaiian shirt and jeans. " --Bill Lumbergh ------------------------------ Date: Thu, 12 Jan 2006 14:25:22 -0500 Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS From: Steve Larson Message-ID: In-Reply-To: It's actually an IV line running good drugs into his body to keep him alive. Steve > From: "Occy" > Reply-To: "Stagecraft" > Date: Thu, 12 Jan 2006 10:50:55 -0800 > To: "Stagecraft" > Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > What I can't believe is that Bob still uses a corded mic. > > > ----- Original Message ----- > From: "Paul Schreiner" >>> Also, today's college students have never known a world with out Bob >>> Barker heading up The Price is Right. While not as long as Mouse Trap >>> or >>> Phantom. It's got it's place in history as well. >> >> Bob Barker's been on PIR for more than 30 years.... > > OTOH, today's college students have never known a world where Bob > Barker still dyed his hair. Place in history and all that... ------------------------------ Message-Id: <3.0.6.32.20060112122937.00d03178 [at] pop.west.cox.net> Date: Thu, 12 Jan 2006 12:29:37 From: CB Subject: AV Tech/Company needed January 18 - Columbus, GA Let me know what airline, I'll do it. The check should arrive well before my departure time, however. 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: <3.0.6.32.20060112123233.00d03178 [at] pop.west.cox.net> Date: Thu, 12 Jan 2006 12:32:33 From: CB Subject: RE: vector works All I have to say is that you really have to be wary of software designers that can't find the delete key and can't follow simple instructions. Maybe its that 'pro' thang... 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: <3.0.6.32.20060112123450.00d03178 [at] pop.west.cox.net> Date: Thu, 12 Jan 2006 12:34:50 From: CB Subject: flaming arrow >Frank, me thinks he was offering POLITICIAN as a >postable word, and not calling you one. I think that Frank was taking issue with the word as postable, not taking it as a personally directed insult. I think I may agree with him! He just forgot the smiley... ------------------------------ Subject: RE: Scrim Storage Date: Thu, 12 Jan 2006 14:36:40 -0500 Message-ID: From: "Waxler, Steve $waxlers$" Actually (and we have had this discussion before) according to "Theatre Backstage from A to Z" by Warren Lounsbury (it is an old book) West Coasting is "Lowering flown draperies or legs directly from the pipe batten into a drapery bag". Gathering it up and tying it to a pipe (whether directly or in a long bag) is furling. I have a number of furling bags that are the length of my battens and have a strap with a snap hook on one long edge and an eye on the opposite long edge. We either lay the bag on the floor and lower the goods into it or gather the goods into our arms as it descends and then slip the bag around it, wrap the strap around the pipe and clip it to the eye. You can do this with the bottom pipe still in but it dose not stretch the fabric. =20 Steve Waxler=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jim Hyslop Sent: Thursday, December 08, 2005 11:27 AM To: Stagecraft Subject: Re: Scrim Storage For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stephen Litterst wrote: > Our scrims are west-coasted, then stuffed in a canvas bag and kept in a > hamper. Ok, I've been hoping someone would post something that would give me a clue. I've searched jargon files, and done a google. Nothing. I'll bit: what does "west-coasted" MEAN? --=20 Jim Hyslop ------------------------------ In-Reply-To: References: Message-Id: From: Samuel Jones Subject: Re: VW11 to VW 9.5 translation Date: Thu, 12 Jan 2006 11:37:44 -0800 On Jan 12, 2006, at 10:17 AM, Dougherty, Jim wrote: > Someone asked for help recently translating files from VW11 back to VW > 9.5. > Could that procedure be posted here, so that the helpful people don't > become > a service for the rest of us who may have to do this? It's sad that > the > file formats aren't backward compatible, or that an export option isn't > readily obvious. Version 11 has an export to version 9 command, so you can only do this if you _have_ version 11. Sam Samuel L. Jones Dance Program, Theater Production Supervisor Dept. of World Arts and Cultures, UCLA sjones [at] arts.ucla.edu (310) 825-5823(w) (310) 993-4172(c) (310) 207-0392(h) =================================================== > > Thanks. > > - Jim Dougherty > ATD, Middlebury College Theatre Department > ------------------------------ Message-Id: <3.0.6.32.20060112124116.00d03178 [at] pop.west.cox.net> Date: Thu, 12 Jan 2006 12:41:16 From: CB Subject: Re: Another Certified Rigger > I don't know, I've known some guys who are really hard to tell from > girls (an ex-housemate was the queen of TGSF.org). There's also been > a few girls that could pass as guys. :) There's 'Mick', who works for a scenic co in Phoenix, jsut started wearing more and more make-up to the gigs (if he worked in wigs or wardrobe, it might be less surprising at load-in, but he was a head carp!) till he just ended up in drag. Those of us that got in at the "Is he wearing rouge?" stage got to take it little by little, but its great to see a first-time red-neck trying to figure out how to ignore taking his cues from Mr. Fancypants. The fact that he's a great guy, a great and knowledgable carp, and funny as a crutch, Rich, doesn't make it too difficult. And then there is the Dance capt of two tours ago, who happened to win the Miss Gay Az pageant that I was A1 on, ten years before the tour. They were all pretty convincing. Judging a book by its cover and all that... 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... ------------------------------ Subject: RE: VW11 to VW 9.5 translation Date: Thu, 12 Jan 2006 14:46:52 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9A9D [at] exchange.rmwc.edu> From: "Paul Schreiner" > Version 11 has an export to version 9 command, so you can=20 > only do this=20 > if you _have_ version 11. But ONLY if you have the Professional version. As I understand it, the educational version can only step back one version (and mine only has the VW 10 option, so I'm pretty confident of this). ------------------------------ Message-Id: <3.0.6.32.20060112130325.00d03178 [at] pop.west.cox.net> Date: Thu, 12 Jan 2006 13:03:25 From: CB Subject: Re: Flaming arrows(rather long) >YHGTBK? Yeah, yeah he is. Hey, its one of my weaknesses, but for the more susceptible and guillable out there, sprinkle a few smileys in an around your funnier posts. There is a great danger that some of them are taking us seriously, and that could lead to injury or even death. ; > 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: <008101c61dfe$5b9507b0$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References: Subject: Pre Bob Barker, was-Re: The Phantom of Opera' officially knocked off 'Cats' NEWS Date: Fri, 20 Jan 2006 13:16:11 -0700 OK one better. We had a ladder up the side of the house for a bit when we moved into a different place. It was my Older brothers job to climb up on the roof, me as the intermediary standing at the side of the house, between he and my mom who was sitting in front of the TV, to communicate "no, back just a bit" and "Quit touching it," until we had the best reception for the 4 stations. I remember channel 4 NBC always came in best... Cable was the thing that came off the antenna and ran through the screen and always kept the window nearest the TV open just a crack, even in winter. Fred and Fay in the afternoon, sigh... Denver then. Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning ----- Original Message ----- From: "Steve Larson" To: "Stagecraft" Sent: Thursday, January 12, 2006 11:12 AM Subject: Re: The Phantom of Opera' officially knocked off 'Cats' NEWS > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > When I was a kid in the midwest, we had to go > outside and actually move a lever that would > turn the antenna next to the house. We had > only three channels on "good" days. > ------------------------------ Message-ID: <005301c617b8$3375b050$1401a8c0 [at] CHRISLAPTOP> Reply-To: "chrisharris25" From: "chrisharris25" References: Subject: Re: stages aboard Date: Thu, 12 Jan 2006 15:38:52 -0500 Hi Chris I've only worked on the Royal Carribean ships installing scenery so I can only speak for those ships. But I believe the type of rigging is becoming typical on your larger cruise ships. All of the battens are suspended from line shaft winches at the "ceiling" of the fly house. This allows the battens to file as high as possible. The battens all tend to be box or ladder truss. On the ends of the trusses are gooved guides. On BOTH sides of the stage fly loft are T-track systems similar to those found in a land theater, however the tracks are turned around so that the grooves on the trusses ride up the spline of the tee. This traps the batten and keeps it from swinging from side to side and upstage/downstage. When scenery walls are installed, they are usally steel or aluminum framed walls with with guides that continue down from the batten to the bottom of the wall. When the wall flies up into the out position, it is completely trapped by the guides and can not move. The guide system stops 12'-14' above the floor to allow for the wings. But none of the battens, under normal usage, descend out of the tracks. Sort of like a large filing cabinet inverted and stuffed into the fly loft! Chris Christopher Harris Sapsis Rigging, Inc. www.sapsis-rigging.com ----- Original Message ----- From: "Christopher K. Nimm" To: "Stagecraft" Sent: Thursday, January 12, 2006 2:42 AM Subject: stages aboard > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 > ------------------------------ Date: Thu, 12 Jan 2006 18:34:04 -0500 From: Maia Robbins-Zust Subject: Re: Scenery and Flame Retardant Message-id: <43C6E76C.2030309 [at] williams.edu> I've been building scenery for the last two decades or so. And like Mr. Sapsis mentioned: paint everything with paint mixed with Rosco's P50 (or a similiar type product). This uses up alot of old paint and its impressive when you mention it to your clients (especially while you're trying to convince them to actually pay you for your work). Several times over the years I've had co-workers or clients ask about this, which has gotten me curious enough to try burn tests on various scenic items. Hollywood framed flats, (built out of 1" pine with 1/4" luaun facing), back-painted with the flame proofed paint mixture definately will not ignite with the use of a bic lighter - but then neither will they when there is no paint mixture on them. This just means that it takes much more heat than that generated by a cigarette lighter to start a scenic flat burning. The only time I've ever seen a wooden piece of scenery burn was a 17 foot high hollywood-framed flat that got placed just under the lens of an ellipsoidal spotlight hanging on a pipe above it. The light got turned on and proceeded to heat up the top piece of 1"x pine. I don't actually know how long it was before we all started to smell something burning, but by the time we figured out where the burn smell was coming from we found that a good 6 inch long by 1/4 inch deep section of the pine under the light had burnt away and that the wood was smoldering - though there were no flames. As soon as the flat was removed from under the light, the "fire" slowly went out. That particular flat had not been back painted at all and I'm not at all convinced that a thin coat of paint mixed with P50 would have changed anything. Conclusion - if they want it flame proofed - do it because it's simple to do and not all that much more expensive. Does it really accomplish anything? Well.... Frankly, if you've got something on your stage that's hot enough to start a piece of wooden scenery burning it's probably to late and you'd better hope the fire detectors and sprinkler system are all in working order. Hope that helps. Maia Robbins-Zust Tech. Dir. Williams College Dept. of Theatre Co-owner; Berkshire Production Resources ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <59.35baee6a.30f84a79 [at] aol.com> Date: Thu, 12 Jan 2006 19:12:41 EST Subject: Re: Scenery and Flame Retardant In a message dated 12/01/06 23:30:54 GMT Standard Time, Maia.Robbins-Zust [at] williams.edu writes: > The only time I've ever seen a wooden piece of scenery burn was a 17 > foot high hollywood-framed flat that got placed just under the lens of > an ellipsoidal spotlight hanging on a pipe above it. The light got > turned on and proceeded to heat up the top piece of 1"x pine. I don't > actually know how long it was before we all started to smell something > burning, but by the time we figured out where the burn smell was coming > from we found that a good 6 inch long by 1/4 inch deep section of the > pine under the light had burnt away and that the wood was smoldering - > though there were no flames. As soon as the flat was removed from under > the light, the "fire" slowly went out. That particular flat had not > been back painted at all and I'm not at all convinced that a thin coat > of paint mixed with P50 would have changed anything. I've come close. I was up a wooden stepladder, focussing three 1KW PAR lanterns on a boom. By the time I had set the top one, there was smoke coming from the ladder. On the other hand, a designer wanted to use a lot of polystyrene foam for some flats. I ran a test with a 1KW PAR at 6", as I wasn't entirely happy. After three hours, all that had happened was that the sheet had got thinner where the beam had fallen. Just that: no smoke, no flame, no bad smell. But a 10" 2KW fresnel with a cracked lens will eat L117HT in about 5 minutes. I think that it all depends on the exact optics. I have noticed that some varifocal ellipsoidals seem to put an image of the lamp filament on the gel, at some focal positions. But anyway, of the power you put into the lamp. about 80% comes out as heat somewhere or other. Selecon have at least addressed the problem, by using dichroic reflectors and a big heat sink/radiator on the rear of the lantern. I am told that you can grill a fair steak on this. You can certainly grill your fingers. Even smaller lanterns get very hot inside. I have measured temperatures up to 220C inside the simple Redhead, beloved of location filming. This has implications about internal wiring. I remember meeting on where the earth (ground) wire was bright green. You might think this usual, but this was the malachite green of corroded copper, from which the insulation had long gone. Frank Wood ------------------------------ Message-ID: <1250.208.51.52.123.1137111547.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Thu, 12 Jan 2006 16:19:07 -0800 (PST) Subject: Re: Scenery and Flame Retardant From: "Bill Nelson" > Conclusion - if they want it flame proofed - do it because it's simple > to do and not all that much more expensive. Does it really accomplish > anything? Well.... Frankly, if you've got something on your stage > that's hot enough to start a piece of wooden scenery burning it's > probably to late and you'd better hope the fire detectors and sprinkler > system are all in working order. There is really no such thing as "flame proofing" of a set, the materials like R50 are flame retardants. They do not change the flammability of the underlying material. All they do is reduce the risk of flame spread if something ignites. For the example given, it is likely that the charring would have occurred anyway - maybe even faster if a flat black back paint had been used. The retardant adds a fair amount to the cost of the paint - about $10/gallon in the size of retardant that we purchase. But we only use it when painting cloth drops, not on wood. Bill ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Williams Subject: Re: stages aboard Date: Thu, 12 Jan 2006 19:28:18 -0500 Hi Chris! I was wondering when you would chime in on this one. Congratulations on being an ETCP Certified Rigger! So the only questions now are: a) did Bill buy the beer, and b) who outscored who, you or Mike Sapsis? :-) -=Greg Williams=- Production Manager Valborg Theatre Appalachian State University Join us for our 2006 ride! 7/9 - 7/18, go to LRLR.org for more info On Jan 12, 2006, at 3:38 PM, chrisharris25 wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > Hi Chris > I've only worked on the Royal Carribean ships installing scenery so > I can only speak for those ships. But I believe the type of rigging > is becoming typical on your larger cruise ships. > > All of the battens are suspended from line shaft winches at the > "ceiling" of the fly house. This allows the battens to file as high > as possible. The battens all tend to be box or ladder truss. On > the ends of the trusses are gooved guides. > On BOTH sides of the stage fly loft are T-track systems similar to > those found in a land theater, however the tracks are turned around > so that the grooves on the trusses ride up the spline of the tee. > This traps the batten and keeps it from swinging from side to side > and upstage/downstage. > > When scenery walls are installed, they are usally steel or aluminum > framed walls with with guides that continue down from the batten to > the bottom of the wall. When the wall flies up into the out > position, it is completely trapped by the guides and can not move. > > The guide system stops 12'-14' above the floor to allow for the > wings. But none of the battens, under normal usage, descend out of > the tracks. Sort of like a large filing cabinet inverted and > stuffed into the fly loft! > > Chris > Christopher Harris > Sapsis Rigging, Inc. > www.sapsis-rigging.com ------------------------------ Message-ID: <000601c617d9$66882ba0$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References: Subject: Re: Scenery and Flame Retardant Date: Thu, 12 Jan 2006 17:36:31 -0700 Has Somebody Somewhere done controlled tests ========== >Well.... Frankly, if you've got something on your stage >that's hot enough to start a piece of wooden scenery burning it's >probably to late and you'd better hope the fire detectors and sprinkler >system are all in working order. While out with a tour last year a Socapex, while disconnected from the fan out, and having just been dropped to the stage from a landed truss, smoldered for who knows, not more than a couple minutes,(we smelled SOMETHING) and then promptly burst into flames. We "chemicalled" it and killed power to that pack. The resulting damage was a very melted connector, approximately 30 inches of visibly damaged multi and a 10inch burn mark on the stage deck where it had caught fire. This happened all within 60 seconds in front of a dozen deck hands and three roadies. Had circumstances been different? Was the Deck Fireproofed? ========== Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning Robert E. Riddle, Sr. Owner manager Idaho Scenic and Rigging P O Box 9576 Boise, ID 83707 Cell 208-861-5593 Fax 208-433-9189 ------------------------------ From: MissWisc [at] aol.com Message-ID: <26f.4068f71.30f854d0 [at] aol.com> Date: Thu, 12 Jan 2006 19:56:48 EST Subject: Re: Scenery and Flame Retardant _Maia.Robbins-Zust [at] williams.edu_ (mailto:Maia.Robbins-Zust [at] williams.edu) writes: << Conclusion - if they want it flame proofed - do it because it's simple to do and not all that much more expensive. Does it really accomplish anything? Well.... Frankly, if you've got something on your stage that's hot enough to start a piece of wooden scenery burning it's probably to late and you'd better hope the fire detectors and sprinkler system are all in working order.>> Maia makes an excellent point.. it's flame RETARDED not proofed. The idea is to make it possible to get the people out so we do not have another Iriquois disaster. (Theatre fire in downtown Chicago appx 100 years ago where over 600 people died.) I've also seen "smoulders" caused by ellipsoidals getting too close to soft goods. Don't think that just because something has been flame retarded, that it'll never burn, but the fact it does a good job of slowing down the process is well worth the small added expense of using the stuff. Kristi ------------------------------ Message-ID: <20060113012415.57971.qmail [at] web33309.mail.mud.yahoo.com> Date: Thu, 12 Jan 2006 17:24:15 -0800 (PST) From: J Burch Subject: Re: Scenery and Flame Retardant In-Reply-To: ... > > For the example given, it is likely that the > charring would have occurred > anyway - maybe even faster if a flat black back > paint had been used. > ... > Bill > Why would flat black paint, particularly if flame retardant was used char faster than unpainted/untreated lumber, or lumber paints another color? Thanks Jean __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <045db11fedbf8bca9ec14bb30c8f025b [at] cybercom.net> Date: Thu, 12 Jan 2006 20:18:33 -0500 From: Subject: Re: Another Certified Rigger Reply-to: In-Reply-To: References: On 12:41:16 pm 01/12/06 CB wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > > I don't know, I've known some guys who are really hard to tell from > > girls (an ex-housemate was the queen of TGSF.org). There's also > > been a few girls that could pass as guys. :) > > There's 'Mick', who works for a scenic co in Phoenix, jsut started > wearing more and more make-up to the gigs (if he worked in wigs or > wardrobe, it might be less surprising at load-in, but he was a head > carp!) till he just ended up in drag. Those of us that got in at the > "Is he wearing rouge?" stage got to take it little by little, but its > great to see a first-time red-neck trying to figure out how to ignore > taking his cues from Mr. Fancypants. The fact that he's a great guy, > a great and knowledgable carp, and funny as a crutch, Rich, doesn't > make it too difficult. And then there is the Dance capt of two tours > ago, who happened to win the Miss Gay Az pageant that I was A1 on, > ten years before the tour. They were all pretty convincing. > Judging a book by its cover and all that... > Guy I used to work with. ( he was a computer programmer. ) cross dressed to a fare-thee-well. everything was perfect.... except for the thick full black beard. *shakes head* peoples are wieeerd..... --Dale ------------------------------ From: "Tony Deeming" Subject: RE: Labeled socks (was Re: Followspot Boomerang) Date: Fri, 13 Jan 2006 01:29:12 -0000 Message-ID: In-Reply-To: > > My brother-in-law's name is Bill, the family found a gift catalog with > al sorts of things labeled "BILL". So the whole family got together > an each gave him a "BILL" gift. My wif'e and my contribution was four > pair of socks labeled "Bill's sock" and "Bill's OTHER sock" > -- > Michael > Erm, I get all sorts of things belonging to Bill.... Bill's electric, Bill's Gas (phew!), Bill's phones, etc etc..... 8-)))))))))))))))) TD ------------------------------ Date: Thu, 12 Jan 2006 20:36:34 -0500 Subject: Re: Labeled socks (was Re: Followspot Boomerang) From: Bill Sapsis Message-ID: In-Reply-To: On 1/12/06 8:29 PM, "Tony Deeming" wrote: > Erm, I get all sorts of things belonging to Bill.... > Bill's electric, Bill's Gas (phew!), Bill's phones, etc etc..... > > 8-)))))))))))))))) > > TD 's ok. You can keep em 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: Date: Thu, 12 Jan 2006 20:49:22 -0500 From: Subject: Re: Scenery and Flame Retardant Reply-to: In-Reply-To: References: On 8:24:15 pm 01/12/06 J Burch wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > > ... > > > > For the example given, it is likely that the > > charring would have occurred > > anyway - maybe even faster if a flat black back > > paint had been used. > > > ... > > Bill > > > > > Why would flat black paint, particularly if flame > retardant was used char faster than > unpainted/untreated lumber, or lumber paints another > color? > absorption. flat black absorbs virtually all the light falling upon it. Something painted white reflects nearly all the light falling upon it. It's why the snow melts off the darker painted car faster than it melts off the white cars. --Dale ------------------------------ Message-ID: <003101c617e5$c0f0bd30$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" Cc: dale [at] cybercom.net References:

Subject: Re: Scenery and Flame Retardant Date: Thu, 12 Jan 2006 19:04:57 -0700 Which is why you will not find black vinyl car seats in Phoenix > absorption. flat black absorbs virtually all the > light falling upon it. Something painted white reflects > nearly all the light falling upon it. It's why the > snow melts off the darker painted car faster than it > melts off the white cars. > > --Dale > ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Thu, 12 Jan 2006 21:35:08 EST Subject: Why we do what we do... The following is Kim Jobe's column from this week's Corinth, MS newspaper=20 and is reprinted here with her permission. Feel free to share so long as yo= u=20 include this notice. Kristi R-C << THEATRE BECOMES MORE MAGICAL IN NYC My family couldn=E2=80=99t be classified as exactly =E2=80=9Ccultured.=E2= =80=9D Although I considered the Coliseum Theatre my second home on Saturday=20 afternoons while growing up and my mother professed to attending similar sh= owings=20 when she was a child, my family didn=E2=80=99t go to see a movie together o= n a regular=20 basis. In fact, I can count on one finger how many times we went to a movie= =20 theater - once. That event was to see a restored version of =E2=80=9CGone W= ith the=20 Wind=E2=80=9D that I napped through. I don=E2=80=99t think my family ever went to see a stage play of any sort.=20= My=20 sister, Jindra, and I went to Northeast to view a student version of =E2= =80=9CSouth Pacific=E2=80=9D when I was very young. And I saw two high school productions - =E2=80=9CUp= the Down=20 Staircase=E2=80=9D and some show the senior class at Walnut High School did= - when I=20 was a teenager. So I can=E2=80=99t explain where my fascination of live theater originated.= But it=E2=80=99 s there deep inside me.=20 I=E2=80=99ve attended my fair share of Corinth Theatre-Arts productions - a= nd even=20 served a short stint on the organization=E2=80=99s board. I=E2=80=99ve been= a season=20 ticket-holder at the Orpheum Theatre in Memphis, Tenn., on several occasion= s.=20 Although our seats were in the =E2=80=9Cnose bleed=E2=80=9D section, we eve= n attended the cast=20 parties afterwards at the Peabody as if we=E2=80=99d sat in the best seat i= n the house. =20 Since then, I=E2=80=99ve seen =E2=80=9CLion King,=E2=80=9D =E2=80=9CHairspr= ay=E2=80=9D and =E2=80=9CMovin=E2=80=99 Out=E2=80=9D for my=20 birthday for the past three years and have shared the shows with three=20 different friends to make the experience even more fun. Fortunately, I=E2=80=99ve even seen a show in a London theatre. Visiting th= ere a=20 decade or so ago, I was able to see =E2=80=9CLes Miserable.=E2=80=9D The ex= perience was a very=20 positive one and ranks high in my memories of that journey. But none of these experiences can overshadow having had the opportunity to=20 actually see a Broadway play in New York City. Having been blessed to visit= =20 the =E2=80=9CBig Apple=E2=80=9D on four occasions, I=E2=80=99ve taken in as=20= much theatre there as I=20 could.=20 In fact, the last trip there I was determined to see a show each day. I did= n=E2=80=99 t quite do that, but I did have front row seats at =E2=80=9CProof=E2=80= =9D - which=20 included Jennifer Jason Leigh eating a bowl of cereal while perched on the=20= edge of=20 the stage and holding the bowl over my head. I also had decent floor seats=20= to=20 a revival of =E2=80=9C42nd Street=E2=80=9D which featured Tom Wopat of =E2= =80=9CDukes of Hazzard=E2=80=9D=20 fame and a problem mid-way through the first act that stopped the show and=20 frightened us in the audience during a post-9/11 moment. It turns out an ac= tress=20 became ill backstage and had to be replaced quickly - the show went on and=20 Wopat made an =E2=80=9Caside=E2=80=9D comment to us about the joy of live th= eatre. =20 Seventeenth row seats at a theatre uptown to see =E2=80=9CContact=E2=80=9D w= as also a fun=20 experience - as was later obtaining a Playbill from eBay signed by every ac= tor=20 I saw in the show that evening. Can you say the TKTS booth downtown was a good place to purchase theatre=20 tickets that year? As wonderful as all those memories are, though, they pale in comparison to=20 having been able to see what is now the longest-running show on Broadway. T= his=20 past Monday, =E2=80=9CPhantom of the Opera=E2=80=9D staged its 7,486th show= to surpass the=20 previous record set by =E2=80=9CCats.=E2=80=9D My opportunity to see the show that has called the Majestic Theatre =E2=80= =9Chome=E2=80=9D=20 since Jan. 26, 1988, came a few years after it opened. The version I viewe= d=20 didn=E2=80=99t have Michael Crawford playing the man in the white mask, but= it was=20 still a magical evening anyway. One that I will forever treasure. Fortunately, the year before I saw =E2=80=9CPhantom=E2=80=9D I had the chanc= e to go to the=20 Winter Garden Theatre to see =E2=80=9CCats.=E2=80=9D It was there that I can= now add to my=20 career resum=C3=A9 that I have literally danced and sung on Broadway. Duri= ng the=20 show=E2=80=99s intermission, audience members were invited to come up on st= age to see=20 the unique set. While looking at the large tires and cat food boxes there,=20 and trying hard not to fall on the high-glossed floor that was shined up to= =20 help the dancers move more cat-like and free, I seized the opportunity to s= ing=20 and dance. Mid-stage I quietly sang =E2=80=9CHappy Birthday=E2=80=9D while d= oing a slight =20 shuffle of sorts, possibly a modified tap routine, to the beat. Reading the stories about =E2=80=9CPhantom=E2=80=99s=E2=80=9D celebration o= n Monday, I couldn=E2=80=99t=20 help but recall the joy I felt sitting in the audience watching, unknowingl= y,=20 history in the making even at that point. It didn=E2=80=99t matter to me th= at the=20 price of the ticket almost equaled the cost of my car payment for the mont= h. I=E2=80=99m very grateful for the travel opportunities I=E2=80=99ve had in=20= the past - and=20 hope there are more =E2=80=9CBig Apple=E2=80=9D bites in the future. I=E2= =80=99m believing for a=20 Kristin Chenoweth/Idena Menzel return to =E2=80=9CWicked=E2=80=9D since I= =E2=80=99ve vowed not to miss=20 them the second time if it ever happens. Live theatre is great almost anywhere you can view it. But there=E2=80=99s=20= still=20 nothing like seeing it on the =E2=80=9CGreat White Way.=E2=80=9D =20 >> =20 ------------------------------ Message-ID: <001f01c617e5$cf715ae0$6401a8c0 [at] nutkin> From: "Christopher K. Nimm" Subject: diy multicable? Date: Thu, 12 Jan 2006 20:05:16 -0600 Next question: awhile back someone asked about using a multiple conductor cable (I think that's what it's called) to easily install additional permanent circuits on a box boom position. The consensus seemed to be that going with permamently-installed conduit was the better idea, but it got me thinking. Is it plausible to build a Socopex-like breakout cable with wire, flexible conduit and connectors? Would that be absolutely forbidden by the NEC? It seems like a good idea to me, but maybe it's just because I have a large instrument-circuiting job ahead of me. Chris Nimm ------------------------------ Date: Thu, 12 Jan 2006 22:08:56 -0500 From: Kevin Lee Allen Subject: Re: VW11 to VW 9.5 translation In-reply-to: Message-id: <49163003-1CB1-4F14-AD7E-B5884B2D0D32 [at] klad.com> References:

v12 will go back to v9. I believe that v 11 will go back to v8. On Jan 12, 2006, at 2:37 PM, Samuel Jones wrote: > Version 11 has an export to version 9 command, so you can only do =20 > this if you _have_ version 11. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <41f080680601121915y18cfe749o9dd135ddb6d512f0 [at] mail.gmail.com> Date: Thu, 12 Jan 2006 22:15:58 -0500 From: Eric Rouse Cc: chrisharris25 [at] earthlink.net (chrisharris25) Subject: Re: stages aboard In-Reply-To: References:

> All of the battens are suspended from line shaft winches at the "ceiling"= of > the fly house. This allows the battens to file as high as possible. The > battens all tend to be box or ladder truss. On the ends of the trusses a= re > gooved guides. > On BOTH sides of the stage fly loft are T-track systems similar to those > found in a land theater, however the tracks are turned around so that the > grooves on the trusses ride up the spline of the tee. This traps the batt= en > and keeps it from swinging from side to side and upstage/downstage. Ditto on the Disney ships from what I remember from a couple site surveys. Except for the "gooved guides" ;-) -- Eric Rouse TD-Penn State University State College, PA ------------------------------ Message-ID: <41f080680601121919t2a6040ecpe206f3f4687a6d5b [at] mail.gmail.com> Date: Thu, 12 Jan 2006 22:19:43 -0500 From: Eric Rouse Subject: Re: This guy is amazing In-Reply-To: References: When I worked at the Bellagio I used to hop across the street to the Venitian where there was a shop that had his work. I would take friends to see the stuff. The detail was absolutely incredible. I specifically remember a pair of pants over a chair that looked absolutely real....except for the knots. > Here's a link to a true artist in wood > > http://www.liviodemarchi.com/ukmain3.htm > -- Eric Rouse TD-Penn State University State College, PA ------------------------------ Message-ID: <002701c617f3$166753c0$0b00a8c0 [at] CHRISLAPTOP> Reply-To: "chrisharris25" From: "chrisharris25" References:

Subject: Re: stages aboard Date: Thu, 12 Jan 2006 22:40:23 -0500 We ALWAYS try to make Bill buy the beer!! As far as the who outscored who thing! Let's just say bragging rights came down to a single (1) point! I'll leave it at that! Chris Christopher Harris Sapsis Rigging, Inc. www.sapsis-rigging.com ----- Original Message ----- From: "Greg Williams" To: "Stagecraft" Sent: Thursday, January 12, 2006 7:28 PM Subject: Re: stages aboard > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi Chris! > I was wondering when you would chime in on this one. Congratulations on > being an ETCP Certified Rigger! > So the only questions now are: a) did Bill buy the beer, and b) who > outscored who, you or Mike Sapsis? > > :-) > -=Greg Williams=- > Production Manager > Valborg Theatre > Appalachian State University > > Join us for our 2006 ride! 7/9 - 7/18, go to LRLR.org for more info > ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <223.62fd284.30f87d2b [at] aol.com> Date: Thu, 12 Jan 2006 22:48:59 EST Subject: Re: Flaming arrows(rather long) >Kerosene is easy to ignite and burns quickly with a bright flame. Great >visual but wants to burn out quickly and really needs a constant supply >of fuel to keep going. This reminded me of the Polynesian Fire Knife Dancers with whom I have worked on occasion. They bound several pieces (2"x6") of ceiling tile to one end of the long knife with steel binding wire and a stack of several 4" diameter circles to the other end. These were then soaked in regular Coleman fuel for some time to thoroughly saturate the fiber board. To prevent it from dripping too much on the way to the stage, they would twirl the unlit knife to throw off the excess liquid. I would light the knife for them back stage and they would run on and twirl away. The speed of the motion reduced the size of the flame compared to what it was when not moving (big, dramatic flames) but it was still quite noticeable and gave a good latent image of the motion. The dance lasted quite a bit longer than an arrow flight would. Something like this could be adaptable to an arrow and there should be no shortage of Coleman fuel at a campout. Footnote 1: It was always amusing to see the look on a new techs face when they saw us extinguish the flaming knives by dunking them into the container of fuel. Footnote 2: It took some serious searching to find the MSDS for Coleman Fuel. Turns out it is manufactured as something else entirely. Steve Vanciel Orlando, FL ------------------------------ Message-ID: <43C722EB.9060000 [at] cox.net> Date: Thu, 12 Jan 2006 20:47:55 -0700 From: Roxann Adamsen Subject: URTA Greetings all, This is aimed mainly at you academic types so bear with me... I am planning on attending URTA this year to interview for grad school. I've been out of school for a couple of years and have lost touch with my professors. My company is nominating me but no one there has any experience with this including my supervisors who are willing to serve as my coach. My question is what goes into an URTA presentation? Is it a poster board or just your portfolio or something? What are recruiters looking for in a presentation? The info from URTA seemed very vague to me. Any info or advice would be appreciated Thanks, Roxann Adamsen ------------------------------ Message-ID: <43C7283A.5 [at] fuse.net> Date: Thu, 12 Jan 2006 23:10:34 -0500 From: Stuart Wheaton Subject: Re: stages aboard References:

In-Reply-To: chrisharris25 wrote: > Hi Chris > I've only worked on the Royal Carribean ships installing scenery so I > can only speak for those ships. But I believe the type of rigging is > becoming typical on your larger cruise ships. > > All of the battens are suspended from line shaft winches at the > "ceiling" of the fly house. This allows the battens to file as high as > possible. The battens all tend to be box or ladder truss. On the ends > of the trusses are gooved guides. > On BOTH sides of the stage fly loft are T-track systems similar to those > found in a land theater, however the tracks are turned around so that > the grooves on the trusses ride up the spline of the tee. This traps the > batten and keeps it from swinging from side to side and upstage/downstage. > Hey Chris, Great job on the Certification! One little fine tuning, on the Voyager Class ships, they are line shafts, on the Radiance Class ships they are cabled to multi grooved winch drums in a gallery SL. The guide system is essentially the same in both classes, and very well described. I have been on these ships in quite rough seas (the Explorer delivered across the North Atlantic, in November, dodging between the remains of a couple hurricanes) and the flown scenery is the only stuff that ain't doing crazy things. Stuart ------------------------------ Date: Fri, 13 Jan 2006 00:09:41 -0500 Subject: Re: Holiday Lights From: Herrick Goldman Message-ID: In-Reply-To: Word from TSO was they flew the guy to Seattle to see the show and had him backstage. Miller Lite paid him a one time $10,000 fee. Which I guess is pretty good for a guy with no agent and no ambitions to get a national TV spot. On 1/12/06 11:56 AM, "Paul Marsland" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Did anyone else see the Lite (or Light) Beer > commercial around New Years that featured our favorite > home light show with TSO soundtrack? As cheesey as it > was, it was kind of nice to see the display in > high(er) resolution and full color. > > Paul > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <009101c6180c$ac194810$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References: Subject: Re: Flaming arrows and Coleman fuel Date: Thu, 12 Jan 2006 23:43:32 -0700 Steve V. Ok, ante up with what it really was and the MSDS sheet whereabouts. This may prove beneficial for me. Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning > > Footnote 2: It took some serious searching to find the MSDS for Coleman > Fuel. Turns out it is manufactured as something else entirely. > ----- Original Message ----- From: To: "Stagecraft" Sent: Thursday, January 12, 2006 8:48 PM Subject: Re: Flaming arrows(rather long) ------------------------------ End of Stagecraft Digest #651 *****************************