Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 26676782; Sun, 15 Jan 2006 03:01:08 -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 #653 Date: Sun, 15 Jan 2006 03:00:18 -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_XL 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 #653 1. Re: Union Dealings by Jason Tollefson 2. Re: Scenery and Flame Retardant by "Bill Conner" 3. Re: Beauty Queen Leenane by Rick Malone 4. Nutcracker sleigh by "Paul Guncheon" 5. Re: Union Dealings by "Jon Ares" 6. Beauty Queen oil gag by "Robert Napoli" 7. Re: diy multicable? by Mitch Hefter 8. Re: Union Dealings by Michael Heinicke 9. Union dealings by b Ricie 10. Re: Union dealings by Bruce Purdy 11. Re: Scenery and Flame Retardant by FrankWood95 [at] aol.com 12. Re: Beauty Queen Leenane by CB 13. Carpentry/Paint Call by CB 14. Re: Union Dealings by CB 15. Re: Union Dealings by SS 16. Re: Union Dealings by SS 17. Re: Union Dealings by Paul Schreiner 18. Re: Beauty Queen Leenane by Steve Larson 19. Lightweight headsets by Stuart Baulch 20. Re: Lightweight headsets by Mat Goebel 21. Re: Lightweight headsets by Phil Genera 22. Re: Union Dealings by FrankWood95 [at] aol.com 23. Re: Union Dealings by "Tony Deeming" 24. Re: Lightweight headsets by Eric Lin 25. Re: URTA by "David Stock" 26. Re: Union Dealings by Joe Golden 27. Re: Lightweight headsets by Mat Goebel 28. Re: Union Dealings by Jim Hyslop 29. Re: Carpentry/Paint Call by "Jeffrey E. Salzberg" 30. Re: Carpentry/Paint Call by "Mt. Angel Performing Arts Center" *** 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: <20060114140943.8815.qmail [at] web51006.mail.yahoo.com> Date: Sat, 14 Jan 2006 06:09:43 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: Union Dealings In-Reply-To: At first glance I'd agree that being paid for 12 when only working 5 seems like hiway robbery let's also realize that there are other points of view. The four-hour mins are also a way to ensure that the promoter takes the time to do the job right. Most producers I've worked with have had the attitude that "If I'm paying for 4 hours I've got little incentive to get out faster than that." So they don't end up rushing a job just to say a couple of labor hours. In my opinion nothing causes more accidents than someone rushing to get a job done. That being said, I've personally never worked a house where the calls were separated if continuous. If I show up I'm garanteed four hours of work (or at least of pay). If I work both the in and show and out. I'm still only garanteed four hours but I'll probably work more than that and get paid for the hours I work. If they bring in someone only for the out, that lucky stiff will probably work less than but get paid for his min four. Jason Tollefson ww.tollefsondesigns.com > Ok,.. but, here they give us the same person for load-in, show, and > load-out. If their call starts at Noon for load-in, the show happens at > 2pm, and the load-out happens at 3:30pm till 5pm when they walk out the > door, with the same people ALL the way through, according to the union > the crewmembers should each be paid for 12 hours of work for only 5 > hours of actually being present and working, and never leaving the stage > for more than 15 minutes for two breaks. > Jeff Kanyuck ------------------------------ Message-ID: <002501c61920$d35097c0$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Scenery and Flame Retardant Date: Sat, 14 Jan 2006 09:40:19 -0600 Frank W. posted: "What you are doing is buying time to evacuate the audience. The classic response to a fire on stage is to drop the safety curtain, and open the roof vents. This will, if the fire has taken hold, turn the stage area into a furnace. No matter, the audience has had time to get out." In the US, are required to be sprinklered in practically all if not all jurisdictions. All of the national model codes have required this for at least 30-40 years for new construction and the Life Safety Code and other fire codes have required retrofitting stages (and dressing rooms and other backstage spaces) for almost as long. It would be extremely unlikely for a fire to "take hold" in a sprinklered stage. I don't understand quite the reticence of Europeans to sprinkler stages. The number of non-fire incidents involving sprinklers in the US is negligible. As far as flame retardant, I recall the then president of BOCAI (Building Officials and Code Administrators International) remarking it was one of the biggest frauds ever put on the American people. That not uncommon sentiment among quote a few fire safety experts, along with my own experience of seeing new, labeled, certificated cotton velour stage drapes literally burst into flame leaves me with little confidence in the concept but, by all means, don't violate the regulations. It will at least be one less thing that can be held against you and your employer when settling. Regards, Bill ------------------------------ Message-ID: <20060114163255.8459.qmail [at] web80503.mail.yahoo.com> Date: Sat, 14 Jan 2006 08:32:55 -0800 (PST) From: Rick Malone Subject: Re: Beauty Queen Leenane As I recall, when I designed the show (lights and sound), there was never any smoke but a subtle build of the sound of the random pop and sizzle from a speaker hidden in the stove always got a gasp from the audience when the "hot" room temp oil was poured on the hand. Some good acting helped also. This was in a 120 seat black box in a three side config. As previously mentioned, grease normally doesn't smoke until it is overheated. There's not enough time in the lines for oil to overheat realistically. Rick Malone in San Antonio ------------------------------ Date: Sat, 14 Jan 2006 06:36:06 -1000 From: "Paul Guncheon" Subject: Nutcracker sleigh Message-id: <043201c61928$9e353070$0202a8c0 [at] HUNKACRAP> References: A couple of years ago I built a motorized sleigh for "The Nutcracker" using a golf cart as the base. (I removed the steering wheel and replaced it with a linear actuator, but kept (although modified) the pedal cluster.) It strips down to the frame and has a few safe guards. It's actually pretty neat. In any event, the ballet company is putting it up for sale. If anyone is interested, please contact me off list and I will put you in touch with the guy. Laters, Paul "This boat leaks", said Tom balefully. ------------------------------ Message-ID: <000301c6192c$bff04d90$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Union Dealings Date: Sat, 14 Jan 2006 09:05:41 -0800 > The four-hour mins are also a way to > ensure that the promoter takes the time to do the job right. Most > producers I've worked with have > had the attitude that "If I'm paying for 4 hours I've got little incentive > to get out faster than > that." But if the load-in can only be from 10 until Noon (for example), then it's not possible for the worker or the promoter to say, "Oh, go ahead and take 4 hours, if it means getting the job done well." Sometimes there are other issues in play when determining the available hours for the work - the truck schedule, venue rental charges and personnel, the previous show that's still on deck, etc.... - Jon Ares www.hevanet.com/acreative ------------------------------ Message-Id: <200601141733.k0EHXnbx130738 [at] f05n15.cac.psu.edu> From: "Robert Napoli" Subject: Beauty Queen oil gag Date: Sat, 14 Jan 2006 12:36:30 -0500 Robert Napoli wrote: > --------------------------------------------------- > > Have any of you done the boiling oil poured over the hand gag in > Beauty Queen? > The problem I can't solve is how to "heat" the oil so it "smokes" and > then pour it over the actor's hand as if to scald them. Multiple > casting of that character has been ruled out by the director. Stephen C. Litterst wrote: 'How visible is the effect to the audience? Could you make the pot "smoke" and then pour room temp oil over the actor?" As written the "oil" is poured into the pan on the stove, heated and then poured over the other actress. I guess I could rig "smoke to come out of the stove with one of those "cool mist" gizmo's the sell in craft stores.I think they cut on and off relatively fast. ------------------------------ Message-Id: <6.1.0.6.2.20060114112754.0322e438 [at] mail.DesignRelief.com> Date: Sat, 14 Jan 2006 11:38:03 -0600 From: Mitch Hefter Subject: Re: diy multicable? In-Reply-To: References: I wrote: >Chris Nimm wrote: > > > 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. > > Apologies for multiple responses on this thread. Hopefully my typing will improve by the time I get back from the NEC Panel 15 meeting starting Sunday (I may not be able to read and post until I return) Just to be clear - Yes, but NOT with flexible conduit and wire. See the following key portions of the 2005 NEC (you have to look at more than just these excerpts): >520.67 Multipole Branch-Circuit Cable Connectors > >520.68 Conductors for Portables >(A) Conductor Type >(1) General Flexible conductors, including cable extensions, used to >supply portable stage equipment shall be listed extra-hard usage cords or >cables. > . . . >(4) Breakouts. > Listed, hard usage (junior hard service) cords shall be >permitted in breakout assemblies where all of the following conditions are >met: > >====== Another point - even if flexible metal conduit was OK, the Socapex (or other connector) would have to be listed for use with the conduit. That might be the larger challenge. . . . ------------------------------------- Mitch Hefter Member NEC Panel 15 Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com http://www.etdimming.com ------------------------------ Message-ID: <20060114175140.43579.qmail [at] web81504.mail.mud.yahoo.com> Date: Sat, 14 Jan 2006 09:51:40 -0800 (PST) From: Michael Heinicke Subject: Re: Union Dealings In-Reply-To: --- Tony Kambic wrote: > The IATSE Unions that I have dealt with seem to be > along the same pay scales > others have mentioned. However, I have yet to find a > substitute for an IATSE > hand. They know what they are doing (To quote Rob't > "They know the stage, > the safety, and the gear. enough said there") and, > opposed to a small > college-age crew, you do not have to show them how a > screwgun works. > > Bottom line is you pay for what you get...a union > crew will get the job done > on time & easy, but you'll pay a bundle for it. A > non-union crew will need > more attention (believe me...I've been on several) > if the show is large & > has complicated equipment. They may require extra > stress on your part, but > they will be cheaper in the long run. I would just like to point out that like any generalization, there are exceptions to this. The tour that I was with several years ago went into a couple of union venues that had very poor crews. I would have gladly taken some of the excellent college crews that we worked with over those guys. We also worked with terrific union crews and terrible college crews. So as always, YMMV. I just dislike seeing an automatic assumption that union crews are always good and college crews (or others) are not as skilled. My $.02 Mike Heinicke ------------------------------ Message-ID: <20060114175150.49709.qmail [at] web50601.mail.yahoo.com> Date: Sat, 14 Jan 2006 09:51:50 -0800 (PST) From: b Ricie Subject: Union dealings In-Reply-To: Jeff, I find the union frustrating at times. The lack of standardization makes it tough when on the road. I too have found what others have said about minimum calls to be true. However, without a contract, tell the union that if they are going to bill for all that time you intend on using it. Think of how many chores, or items on a wish list could be accomplished with a full union crew in 7 hours. If they want the minimum, work them for the hours. Another option is to put together a good student crew. Occasionally one can assemble a non union crew that can blow the local crew outta the water. 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 ------------------------------ Date: Sat, 14 Jan 2006 13:30:23 -0500 Subject: Re: Union dealings From: Bruce Purdy Message-ID: In-Reply-To: > However, without a contract, tell the > union that if they are going to bill for all that time > you intend on using it. Think of how many chores, or > items on a wish list could be accomplished with a full > union crew in 7 hours. If they want the minimum, work > them for the hours. Problem is: If they extort pay according to the way it was described, any other "chores" would likely be considered a fourth separate "call", and you'd be charged another four hours for that as well! Whilst I don't work with the unions (Except for a rare but occasional rigging call), I have established a four hour minimum per call for my crews. If they work a load in, then go home and come back for the load out, I pay two separate four hour calls. It is sometimes cheaper to keep them on through a show even if they don't have something to do, and make it one call. (Two hours in, one performance, one hour out for example). Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <275.40fd79d.30faa0b3 [at] aol.com> Date: Sat, 14 Jan 2006 13:45:07 EST Subject: Re: Scenery and Flame Retardant In a message dated 14/01/06 15:40:48 GMT Standard Time, bill-conner [at] att.net writes: > In the US, are required to be sprinklered in practically all if not all > jurisdictions. All of the national model codes have required this for at > least 30-40 years for new construction and the Life Safety Code and other > fire codes have required retrofitting stages (and dressing rooms and other > backstage spaces) for almost as long. It would be extremely unlikely for a > fire to "take hold" in a sprinklered stage. I don't understand quite the > reticence of Europeans to sprinkler stages. Some problems come to mind. When you consider the great height of the stage area, it seems to me that it will take some time for the heat to get to the heads. This will give a fire time to take hold. Another height related problem is delivery of a sufficient quantity of water from up there. This will be exacerbated by all the flown gear, which will mask some areas. There is also a problem with mixing water with hot electrical equipment. This may well extend the fire damage to the electrical installation areas. The extensive pipework may also interfere with the flying arrangements. Another possible difficulty might be with the water pressure being inadequate to deliver a sufficient flow: fire departments use powerful pumps to put water on a fire. I'm not knocking sprinklers, just pointing out potential problems. These will be particularly acute in a retrofit. Most European theatres were built at least 60 years and more ago. I can think of few brand new buildings, apart from the Opera Bastille, in Paris, the Millennium Theatre in Cardiff, and the Opera House in Helsinki. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20060114123259.00cc5140 [at] pop.west.cox.net> Date: Sat, 14 Jan 2006 12:32:59 From: CB Subject: Re: Beauty Queen Leenane >> The problem I can't solve is how to "heat" the oil so it "smokes" and then >> pour it over the actor's hand as if to scald them. Multiple casting of that >> character has been ruled out by the director. > >I haven't done the effect, but I've heated a lot of oil to the boiling >point, and as a rule, it doesn't emit smoke or steam, at least not until >you start frying food in it. This is a job for... (dun-dun-DAH) SOUND MAN! So, you'se gots a pot of erl on the burner. Some actie walks up to see if its hot, and drops a bit of sumpin in it (like some water, or sumpin). Fire up the sizzle-crackle cue, and, VIOLA, the audience is convinced that its berling hot erl. The screams of the actor receiving the hot erl treatment will convince those that are still skeptical. 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: <3.0.6.32.20060114131020.00cc5140 [at] pop.west.cox.net> Date: Sat, 14 Jan 2006 13:10:20 From: CB Subject: Carpentry/Paint Call >The producer with whom I'm currently working needs someone at 10:30PM Sunday >the 15th at the West End Theatre (86th St & West End Ave. in Manhattan) to >paint the floor (about 30'x20') and (maybe) set up a 4'x8' platform and 6-8 >masking flats. You keep sending this kind of stuf out without a pay scale. If you can get near my day rate and a decent per diem, have an airline ticket and a hotel res ready and I'll pick it up at the gate. Do I need to bring any tools? 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: <3.0.6.32.20060114133106.00cc5140 [at] pop.west.cox.net> Date: Sat, 14 Jan 2006 13:31:06 From: CB Subject: Re: Union Dealings >Makes sense from what point of view? Are you suggesting that charging 12 >hours for five hours of continuous work is sensible? To me, that's not >sensible, that's greed. and.. >> Unions are great when the workers are being abused, but sadly, people >> who get power will eventually abuse it. > >Having worked as a production assistant on non-union film shoots (60-70 >hours per week, for a paltry $150/wk - and the producers were planning >to cut it back to $100/wk for the next film), I can greatly appreciate >the need for unions. However, it seems that too many unions have >forgotten that their purpose is to protect workers, not to extort as >much as possible from the company. OK, I'm all for bashing the IA when they start the silly crapk, but this does make sense. First off, PA has always been and will always be a paid intern position. Two reasons for that are, 1. The PA is the first one promoted to a reeellly good gig, I've seen two PA's become second camera assistants (with all the pay and experience that that entails) which means that they are looking good for a second or a second second gig on thier next film, and 2. lots of the positions are filled by fim students that aren't going to be very serious about their future. There are usually more of the former than the latter after the first day, and even more after teh first week. OK, it makes sense to the guys getting the calls. There are times when the venue is a half hour or more from my house. Its an hour (at least) round trip. I work an hour and a half, and it takes two hours out of my day. Since I told the BA (or whoever) that I'd take the gig two weeks ago, I had to pass on the two days of work I got offered day-before-yesterday. I may have to come back for the the out, which means that I have another hour of driving to do to get another hour or hour-and-a-half paycheck. I could end up spending my whole day getting paid for two and a half hours, and spending another two hours on the road. Granted, in this particular case, I'd be doing a show in between, and end up getting paid five hours, but I still had to reserve this whole day for your show. If your particular circumstances don't resemble thos I've just described, then yeah, re-negotiate. Don't like the minimums? Cut offer to cut the in and out crew down to a third of what you originally had, and have the rest only show up for the show call. Of course, with a third of the crew, it will actually take four hours for the in, and almost that long for the out. Part of what you're paying for is the expediancy. If, however, I were to hear that my tour was cutting the crew, and I'd have to show up at eight in the morning to wait for hands for two hours, just to save a bit of budget, I may have to set something on fire. Saving money at the crews expense is only a good idea if they get to sit at the table. Saving money off the backs of your crew (i.e., you discover a great way to save money, and the only thing that has to happen to get this windfall is that the cerw has to drive a mini-van to the next two shows instead of flying/riding in the bus, or flat-meat meals instead of real food, or see the above example, etc.) is a sure recipe for mutiny. You may not see it, but the small things that a crew does to save time and money, because they are concientious workers and all, start to dissappear. In their place are strange petty cash receipts and billing for things you hadn't considered. Bottom line is, this 'standard' is there to protect the workers' interests. In this case, it doesn't need so much protecting, so it could be renegotiated. 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: <8231e7ea0601141231o72729344ma4ded1878e4d17f5 [at] mail.gmail.com> Date: Sat, 14 Jan 2006 15:31:16 -0500 From: SS Subject: Re: Union Dealings In-Reply-To: References:

Tony Kambic wrote: >>>> I have yet to find a substitute for an IATSE hand. They know what they are doing (To quote Rob't "They know the stage,the safety, and the gear. enough said there") and, opposed to a small college-age crew, you do not have to show them how a screwgun works. A non-union crew will need more attention (believe me...I've been on several) if the show is large & has complicated equipment. They may require extra stress on your part, but they will be cheaper in the long run. Bottom line is you pay for what you get...a union crew will get the job done on time & easy, but you'll pay a bundle for it. <<<< Not always my good friend/fomer co-worker/trusty sidekick. Just because you are in a union doesn't make you smarter, faster, or better than anyone else. You'd be surprised some of the things I've seen non-union (and college kids) show an IA guy. In short, not everyone you'd think could to tie a bowline--knows how to tie a bowline :) Well, that and I just wanted to throw a friendly jab at you :)- - 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 ------------------------------ Message-ID: <8231e7ea0601141231m64407530ra2c198cea9f5ad44 [at] mail.gmail.com> Date: Sat, 14 Jan 2006 15:31:38 -0500 From: SS Subject: Re: Union Dealings In-Reply-To: References:

>>>SS wrote: So I imagine the 12hr minimum day rate makes sense.<<< >>>Jim Hyslop wrote: Makes sense from what point of view? Are you suggesting that charging 12 hours for five hours of continuous work is sensible? To me, that's not sensible, that's greed.<<< Jim- My statement above was not written in support of, or condoning the right for IA to be greedy. I was just trying to be short in response with the fact that, not having all the details, I was following their (Jeff's Local) possible point of view. That's all. I now revert to pleading the 5th with my opinions regarding this matter :) - 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 ------------------------------ Message-ID: Date: Sat, 14 Jan 2006 16:13:55 -0500 From: Paul Schreiner Subject: Re: Union Dealings In-Reply-To: References:

> I would just like to point out that like any > generalization, there are exceptions to this. The tour > that I was with several years ago went into a couple > of union venues that had very poor crews. I would have > gladly taken some of the excellent college crews that > we worked with over those guys. We also worked with > terrific union crews and terrible college crews. So as > always, YMMV. I just dislike seeing an automatic > assumption that union crews are always good and > college crews (or others) are not as skilled. Waaaay back when, I did a bus-n-truck that played both union houses and college campuses. By far, the most efficient (note: I did not say "best") crew was one of the college crews, in Lima, Ohio. Got us out of the house completely in 27 minutes (when strikes were normally pushing 90). OTOH, out of all the bus-n-trucks I did, the BEST crew I had was in the union house in Ft. Lauderdale, Florida, at the Broward. Damn fine crew who basically greeted me at the loading dock and said, "We've got it covered, go have some donuts and chill." A close second woulda been the crew in Toronto--when you've got a 430 instrument house plot to light a show you're used to doing with 12 channels and 32 instruments (if you're lucky), and focus takes just over two hours, you're a very happy camper. Basically, gotta watch the stereotypes. There are great college crews, there are union crews that blow them outta the water...and then there are the other extremes. It all depends... Not that this has anything to do with pay scales...though my personal opinion is that any union contract that mandates 12 hours of pay for 5 hours of work under the presented circumstances is a little...how shall we say, off? (Disclaimer: I don't want the above statement to make you think I'm anti-union...FWIW, when I was ten I was walking the picket line with my dad during PATCO. I'm very pro-union...but I have trouble condoning this sort of thing in good conscience.) ------------------------------ Date: Sat, 14 Jan 2006 16:35:29 -0500 Subject: Re: Beauty Queen Leenane From: Steve Larson Message-ID: In-Reply-To: I saw the show in NY and did not note smoke coming from the oil. We were saw were great actors making it look real. Now if great actors are not available, I would baste the director in hot oil to test the effect. Steve > From: Rick Malone > Reply-To: "Stagecraft" > Date: Sat, 14 Jan 2006 08:32:55 -0800 (PST) > To: "Stagecraft" > Subject: Re: Beauty Queen Leenane > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > As I recall, when I designed the show (lights and > sound), there was never any smoke but a subtle build > of the sound of the random pop and sizzle from a > speaker hidden in the stove always got a gasp from the > audience when the "hot" room temp oil was poured on > the hand. Some good acting helped also. This was in > a 120 seat black box in a three side config. As > previously mentioned, grease normally doesn't smoke > until it is overheated. There's not enough time in > the lines for oil to overheat realistically. > > Rick Malone > in San Antonio ------------------------------ Date: Sat, 14 Jan 2006 17:31:47 -0500 Subject: Lightweight headsets In-Reply-To: References: From: Stuart Baulch Message-Id: <1137277910.892D4DB [at] bc12.dngr.org> I'm just about to start a new gig as a full-time operator, for the first time in several years, and I think it's time to invest in a lightweight headset for comm use. Who has a model that they would recommend (or that they would warn me away from....) Thanks, Stuart B Young Centre for the Performing Arts ...where they're still installing doors, electrical and plumbing and we open the building tomorrow... ------------------------------ Message-ID: Date: Sat, 14 Jan 2006 14:52:45 -0800 From: Mat Goebel Subject: Re: Lightweight headsets In-Reply-To: References:

I've been happy with my modified motorola. Cheaper than a standard issue clearcom headset too... http://www.matgoebel.com/headset/headset.htm On 14/01/06, Stuart Baulch wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm just about to start a new gig as a full-time operator, for the first > time in several years, and I think it's time to invest in a lightweight > headset for comm use. > > Who has a model that they would recommend (or that they would warn me > away from....) > > Thanks, > > Stuart B > Young Centre for the Performing Arts > ...where they're still installing doors, electrical and plumbing and we > open the building tomorrow... > -- Mat Goebel www.matgoebel.com Mobile: 510.693.1448 ------------------------------ Message-ID: <43C98776.8040603 [at] fivesevenfive.org> Date: Sat, 14 Jan 2006 15:21:26 -0800 From: Phil Genera Subject: Re: Lightweight headsets References:

In-Reply-To: Mat Goebel wrote: > I've been happy with my modified motorola. Cheaper than a standard > issue clearcom headset too... Has anyone tried this rig with the higher end cell headsets on the market today, like the Shure QSHB3 or Etymotic ETY*COM? I'd sure like an excuse to spend far too much money on a cell headset, and doing double duty in the theatre is certainly a good one. -- Phil Genera San Jose, CA ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <7e.78d0192f.30fae527 [at] aol.com> Date: Sat, 14 Jan 2006 18:37:11 EST Subject: Re: Union Dealings I know nothing about IATSE, other than what I have learned on this list. But, to me on the other side of the pond, it seems to be following the path of the Teamsters. When I was working, I was paid for a 42-hour week, or an 84-hour fortnight, according to my job. Over time came in as extras, at time-and a-half. To accomplish a project, I have worked five twelve-hour days on the run, and been paid accordingly, as were my subordinates. I had honest employers, and known rules, which I knew. They paid the going rates. As a part of the maintenance team, if nobody has broken anything, I had little to do. I spent the 'free' time in learning more about electronics and about computers. Neither is a skill that can be neglected. If the rules in California are different from those in Maine, there will be problems. I don't know either. But it seems to me that, if you are required to be present at your place of employment for X hours, you should be paid for them. If there is a gap, so be it. Have a drink, get some food, and relax Frank Wood ------------------------------ From: "Tony Deeming" Subject: RE: Union Dealings Date: Sun, 15 Jan 2006 00:33:17 -0000 Message-ID: In-Reply-To: The problem is, Frank, that you're talking about a basic day-job with defined hours and negotiated long term contracts. I too know naught about how things work stateside, BUT I believe I understand the principles of what's been discussed thus far insomuch as it's absolutely and totally outside o anything you will have come across at the Beeb! If I read it right, the work under discussion is basically classifiable as casual or part-time work on an ad-hoc or on-demand need for any given show's load-in, run or get-out, and whilst the regular crew travelling with said touring show will likely be on a more formal pay-scale (ie paid for the actual hours when they're worked) the minimum 4-hour rate will be for those on the fringes, brought in whenever needed, and as such will not qualify for a weekly wage. That about sum it up, guys? TD > > I know nothing about IATSE, other than what I have learned on > this list. But, > to me on the other side of the pond, it seems to be following the > path of the > Teamsters. > > When I was working, I was paid for a 42-hour week, or an 84-hour > fortnight, > according to my job. Over time came in as extras, at time-and a-half. To > accomplish a project, I have worked five twelve-hour days on the > run, and been paid > accordingly, as were my subordinates. > > I had honest employers, and known rules, which I knew. They paid > the going > rates. As a part of the maintenance team, if nobody has broken > anything, I had > little to do. I spent the 'free' time in learning more about > electronics and > about computers. Neither is a skill that can be neglected. > > If the rules in California are different from those in Maine, > there will be > problems. I don't know either. But it seems to me that, if you > are required to > be present at your place of employment for X hours, you should be > paid for > them. If there is a gap, so be it. Have a drink, get some food, and relax > > Frank Wood > ------------------------------ Message-ID: <914532060601141656v55fd8fdfuf279c3faef7e0cc1 [at] mail.gmail.com> Date: Sat, 14 Jan 2006 18:56:00 -0600 From: Eric Lin Subject: Re: Lightweight headsets In-Reply-To: References:

If it works with most all headsets It'd be nice to see someone put them together as prebuilt adapters, one end the 4pin xlr and 9v connector off the the other end the cellphone 2.5mm plug, or two seperate mini plugs. Either for people who'd like to use more expensive lightweight cellphone headsets, or possibly theatres (schools) that would like to use cheap cell/computer headsets. I'll probably try it with computer headsets for the second group On 1/14/06, Phil Genera wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Mat Goebel wrote: > > I've been happy with my modified motorola. Cheaper than a standard > > issue clearcom headset too... > > Has anyone tried this rig with the higher end cell headsets on the > market today, like the Shure QSHB3 or Etymotic ETY*COM? I'd sure like an > excuse to spend far too much money on a cell headset, and doing double > duty in the theatre is certainly a good one. > > -- > Phil Genera > San Jose, CA > -- -Eric Lin ------------------------------ Reply-To: From: "David Stock" Subject: RE: URTA Date: Sat, 14 Jan 2006 20:51:49 -0500 Message-ID: In-Reply-To: Roxann, As one who attended URTA some time ago with excellent results I can tell you that it was very competitive. The more you can do to enhance your work through visual presentation the better. I presented my best portfolio work on foam core poster boards complete with concept statements, research samples, pics, and drawings. I also had resumes and business cards available for the taking. In addition, I also had my portfolio available for review. You would be best advised to prepare a list of questions for those who choose too interview you. This will help you to decide which institutions to target for a hopeful visit and invited 2nd interview in person. Plan to follow up the URTA interviews with a letter of thanks and interest to further your chances. I hope this helps. Break a leg! -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Roxann Adamsen Sent: Thursday, January 12, 2006 10:48 PM To: Stagecraft Subject: URTA For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 ------------------------------ From: =?ISO-8859-1?Q?Joe=20Golden?= Subject: Re: Union Dealings Date: 14 Jan 2006 18:09:26 -0800 Message-ID: You have summed it up pretty well. Joe Golden Sent from my Treo --------------------- The problem is, Frank, that you're talking about a basic day-job with defined hours and negotiated long term contracts. I too know naught about how things work stateside, BUT I believe I understand the principles of what's been discussed thus far insomuch as = it's absolutely and totally outside o anything you will have come across at the Beeb! If I read it right, the work under discussion is basically classifiable as casual or part-time work on an ad-hoc or on-demand need for any given = show's load-in, run or get-out, and whilst the regular crew travelling with said touring show will likely be on a more formal pay-scale (ie paid for the actual hours when they're worked) the minimum 4-hour rate will be for = those on the fringes, brought in whenever needed, and as such will not qualify= for a weekly wage. That about sum it up, guys? TD ------------------------------ Message-ID: Date: Sat, 14 Jan 2006 18:12:00 -0800 From: Mat Goebel Subject: Re: Lightweight headsets In-Reply-To: References:

Chris Leffel was kind and brave enough to pioneer a cell phone headset variation of this. I imagine other cell headsets would be similar. http://www.matgoebel.com/headset/headset2.htm On 14/01/06, Eric Lin wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > If it works with most all headsets It'd be nice to see someone put > them together as prebuilt adapters, one end the 4pin xlr and 9v > connector off the the other end the cellphone 2.5mm plug, or two > seperate mini plugs. Either for people who'd like to use more > expensive lightweight cellphone headsets, or possibly theatres > (schools) that would like to use cheap cell/computer headsets. > I'll probably try it with computer headsets for the second group > > > On 1/14/06, Phil Genera wrote: > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Mat Goebel wrote: > > > I've been happy with my modified motorola. Cheaper than a standard > > > issue clearcom headset too... > > > > Has anyone tried this rig with the higher end cell headsets on the > > market today, like the Shure QSHB3 or Etymotic ETY*COM? I'd sure like a= n > > excuse to spend far too much money on a cell headset, and doing double > > duty in the theatre is certainly a good one. > > > > -- > > Phil Genera > > San Jose, CA > > > > > -- > -Eric Lin > -- Mat Goebel www.matgoebel.com Mobile: 510.693.1448 ------------------------------ Message-ID: <43C9C15A.8060605 [at] dreampossible.ca> Date: Sat, 14 Jan 2006 22:28:26 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Union Dealings References: In-Reply-To: CB wrote: >>Makes sense from what point of view? Are you suggesting that charging 12 >>hours for five hours of continuous work is sensible? To me, that's not >>sensible, that's greed. > > and.. > >>>Unions are great when the workers are being abused, but sadly, people >>>who get power will eventually abuse it. >> >>Having worked as a production assistant on non-union film shoots (60-70 >>hours per week, for a paltry $150/wk - and the producers were planning >>to cut it back to $100/wk for the next film), I can greatly appreciate >>the need for unions. However, it seems that too many unions have >>forgotten that their purpose is to protect workers, not to extort as >>much as possible from the company. > > > OK, I'm all for bashing the IA when they start the silly crapk, but this > does make sense. I think you may have misread my message: I was not slamming IA, nor any other unions. On the contrary, I was illustrating why I believe unions are sometimes necessary - the film gigs I worked on were NON-union. Having said that, though, and having suffered through that poverty, I strongly disagree that paying anyone $150 for a 70 hour work week (before tax deductions, by the way), to be followed by a 33% pay cut, can EVER "make sense." I don't care if the position is considered an "intern" position or not - even interns have to keep a roof over their head, and pay for food between gigs. This is precisely why unions were formed: to PREVENT such abuses, and if the unions can't remember that, then they have outlived their usefulness. > First off, PA has always been and will always be a paid > intern position. I'm not so sure about that. In Canada, the DGC covers PAs, and the lowest weekly rate in Ontario is $600/week - a far cry from the starvation wages offered by the non-union scum... er, I mean, producers I worked with long ago :-) > OK, it makes sense to the guys getting the calls. There are times when the > venue is a half hour or more from my house. I'm not arguing against a four hour minimum call. I fully agree with, and heartily support, a minimum 4-hour call. I could possibly even be pursuaded that, in some circumstances, a minimum 8-hour call might be justified. What I object to, is a minimum 12-hour call for no apparent reason, which is effectively what the OP is up against. -- Jim Hyslop ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Carpentry/Paint Call Date: Sun, 15 Jan 2006 00:34:48 -0500 Message-ID: <002101c61995$66a8ae30$6701a8c0 [at] Dell> In-Reply-To: > You keep sending this kind of stuf out without a pay scale. ...Because I keep sending it in the middle of the night. ------------------------------ Date: Sat, 14 Jan 2006 22:28:41 -0800 From: "Mt. Angel Performing Arts Center" Subject: Re: Carpentry/Paint Call In-reply-to: Message-id: <43C9EB99.90002 [at] mtangelperformingarts.com> References: Jeffrey E. Salzberg wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > > > >>You keep sending this kind of stuf out without a pay scale. >> >> > > >...Because I keep sending it in the middle of the night. > > > > Oh - so it's 'A day's work for a day's pay" - but no pay scale at night? Please don't tell our management about this... Carla ------------------------------ End of Stagecraft Digest #653 *****************************