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 26708115; Mon, 16 Jan 2006 03:01:25 -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 #654 Date: Mon, 16 Jan 2006 03:00:25 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=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 #654 1. College/Professional Advice by "Dana Taylor" 2. Re: College/Professional Advice by "Jeffrey E. Salzberg" 3. Re: College/Professional Advice by John McKernon 4. Re: College/Professional Advice by Phil Blackwood 5. Re: URTA by Jonathan Pellow 6. Re: College/Professional Advice by Sean Evans 7. Re: Scenery and Flame Retardant by "Bill Conner" 8. Re: College/Professional Advice by "Stephen E. Rees" 9. Re: College/Professional Advice by Samuel Jones 10. Re: College/Professional Advice by "Idaho Scenic and Rigging" 11. Re: College/Professional Advice by Jim Hyslop 12. union dealings and 4 hr minimum by b Ricie 13. Re: Scenery and Flame Retardant by Barney Simon 14. Re: College/Professional Advice (long) by MissWisc [at] aol.com 15. Re: union dealings and 4 hr minimum by "ladesigners [at] juno.com" 16. Re: Union Dealings by Mick Alderson 17. Re: Scenery and Flame Retardant by Jerry Durand 18. Re: College/Professional Advice by Brian James 19. Re: College/Professional Advice (pretty short) by "Alf Sauve" 20. Re: College/Professional Advice by "Thomas Schraeder" 21. Re: College/Professional Advice (pretty short) by "ladesigners [at] juno.com" 22. Re: Union Dealings by FrankWood95 [at] aol.com 23. Re: Union Dealings by FrankWood95 [at] aol.com 24. Re: College/Professional Advice by "ladesigners [at] juno.com" 25. by Patrick McCreary 26. Re: Union Dealings by "Tony Deeming" 27. Re: Scenery and Flame Retardant by FrankWood95 [at] aol.com 28. Re: Union Dealings by "ladesigners [at] juno.com" 29. Re: by Jerry Durand 30. Re: Re: by "Jon Ares" 31. Re: Re: by "Don Taco" 32. Strand 300 boot-up by "Tony Deeming" 33. Re: Source for stageweights by 34. Lightweight headsets by CB 35. Re: Union Dealings by CB 36. Re: Lightweight headsets by Mark O'Brien 37. Re: Lightweight headsets by Michael de Almeida 38. Re: Re: by Bill Sapsis 39. Re: Union Dealings by CB 40. Re: Carpentry/Paint Call by CB 41. Re: Carpentry/Paint Call by CB 42. Re: Re: by "Jon Ares" 43. Re: Carpentry/Paint Call by "ladesigners [at] juno.com" 44. Re: Strand 300 boot-up by "John Gibilisco" 45. Re: Strand 300 boot-up by "Tony Deeming" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-Id: Date: Sun, 15 Jan 2006 07:03:17 -0600 From: "Dana Taylor" Subject: College/Professional Advice Posted: Sun Jan 15, 2006 11:43 am Post subject: High School Class Wish = List =20 ---------------------------------------------------------------------------= ----- =20 Hi Folks:=20 I am working on a "Build Your Own High School Curriculum" article for = secondary technical theatre students and am interested in your responses = to the following: What high school classes do you wish you had taken? Specifically, what = classes (outside of theatre classes) do you now realize would have been of = benefit to you? Likewise, what classes would have made your collegiate = technical theatre studies more meaningful or easier?=20 Thanks for your assistance,=20 Dana Taylor Dana W. Taylor Mt. Vernon Sr. High School 812.838.4356 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: College/Professional Advice Date: Sun, 15 Jan 2006 08:39:22 -0500 Message-ID: <002a01c619d9$17c12790$6701a8c0 [at] Dell> In-Reply-To: > What high school classes do you wish you had taken? It's more like, "What HS classes do I wish I'd paid closer attention to?" Algebra and Geometry. "I'll never need that stuff; I'm going into theatre." Of course, I use "that stuff" every damned day; I had to go back and teach myself. There are still annoying gaps in my knowledge. ...And the Geometry teacher was funny-looking, so I really wasn't inclined to take her seriously. I wish now that I'd concentrated then on factors that were, y'know, relevant. ------------------------------ Date: Sun, 15 Jan 2006 10:07:20 -0500 Subject: Re: College/Professional Advice From: John McKernon Message-ID: In-Reply-To: > What high school classes do you wish you had taken? Specifically, what classes > (outside of theatre classes) do you now realize would have been of benefit to > you? Likewise, what classes would have made your collegiate technical theatre > studies more meaningful or easier? The one class I *did* take in high school that I am forever thankful my mother insisted on, was typing, including how to type a letter and other forms. Of course, the primary benefit was learning how to type accurately and quickly. Geometry and trig come in awfully useful now and again when trying to figure out "interesting" scenic pieces or while programming, but my geometry class was the last period of the day and I sat in the last row next to the window, where I tended to nap. - John ------------------------------ Message-ID: <9cbafac70601150745h3412d21co7da374b270a362c8 [at] mail.gmail.com> Date: Sun, 15 Jan 2006 15:45:34 +0000 From: Phil Blackwood Cc: stagecraft [at] jeffsalzberg.com Subject: Re: College/Professional Advice In-Reply-To: References:

> Algebra and Geometry. > "I'll never need that stuff; I'm going into theatre." > Of course, I use "that stuff" every damned day; I had to go back and teac= h > myself. There are still annoying gaps in my knowledge. No Kidding! I had an algebra II teacher that was so confusing to me I not only refused to learn anything I forgot all I had learned in algebra I, also! But hey YEARBOOK sure has come in handy! And since my Drama class contained *NO* information about technical theatre, it's been somewhat useless to me, too. But it was fun. -- Phillip Blackwood Technical Director School of Theater Arts University of Arizona (520)621-1104 ------------------------------ Message-ID: <43CA75FF.10007 [at] gmail.com> Date: Sun, 15 Jan 2006 11:19:11 -0500 From: Jonathan Pellow Subject: Re: URTA References: In-Reply-To: Roxann, I interviewed at U/RTAs in New York last spring. I can't speak for the recruiters, but I can tell you about it from this interviewee's perspective. First, I suggest bringing any/all the work you have that reflects well on your abilities or demonstrates development over time, whether it is in a formal portfolio or not. The most impressive presentations included any or all of the following: bound portfolios, posterboard-type displays, model boxes, piles of sketchbooks, loose drawings, drafting, etc. Also include a stack of resumes. For display purposes, the only thing you're guaranteed is a typical 6-foot folding table, but you will likely have a wall behind it against which to lean things. Don't hesitate to put additional material under, in front of, or next to your table, on the floor, chairs, payphones, or anything else you can find (as long as you're not intruding on someone else). Obviously you'll want to take the hour they allow you to arrange it all neatly, but the content is more important than a polished presentation. Include more material rather than less - if the work is good, a slightly chaotic presentation won't scare anyone away. Make sure your best work is readily visible to get their attention; if they're interested, they'll dig around a bit to see what else you have. Get there on time (early) or you'll miss the whatever they have to tell you at the beginning and you'll be left wondering what you're supposed to do. The set-up hour goes by very quickly if you have a lot of material. Bring some tape, scissors, markers, etc. since you don't know quite what kind of space you'll have to work with or if you'll want to add last-minute labels or whatever. Any boxes you use to carry materials might prove useful for propping things up on your table. When the hour is up, take a deep breath, walk away, and go find something to distract yourself until you come back for the interviews. One final note: get some sleep the night before. If you get a lot of interviews, you'll be glad you did (or, alternatively, you'll wish you did). Good luck. Jonathan Pellow Note to all - as this is my first time posting (through Gmail via Thunderbird) I hope it comes through okay. I apologize in advance for any garbling. ------------------------------ Message-ID: <35e1805a0601150821s28390459vcfd7cbeb50265c13 [at] mail.gmail.com> Date: Sun, 15 Jan 2006 10:21:46 -0600 From: Sean Evans Subject: Re: College/Professional Advice In-Reply-To: References:

I'd say, theater or not, the one class I wish I had taken is some sort of personal finance. This should be required for high school graduation. I screwed myself over with credit cards in college, and now, almost a quarter of my income goes to debt. That makes it much harder to work for the love of theater rather than following the money. ------------------------------ Message-ID: <003e01c619f0$ea0ffe80$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Scenery and Flame Retardant Date: Sun, 15 Jan 2006 10:29:52 -0600 Frank W. Posted: "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." If one looks at actual fires on stages, they almost all begin in the flys - usually around the electrics. If you look at actual fires, Washington Public Library theatre in Chicago and Peace Center in Greenville, SC come to mind, fires around this elevation were quickly suppressed by sprinklers under the roof. Make that one sprinkler in Greenville - and the one under the roof, not the one under the gridiron. We sprinkler skyscrapers much taller than stages so the technology and gear for delivering vast amounts of water to the top of the stage is not a challenge at all. It may be partly due to a newer utility infra-structure in the US than Europe. In any case, getting water has been one of the few items that has rarely been a problem in my experience on projects here. I was waiting for someone to suggest that the damage from water to put a fire out might be worse than the fire damage. Somehow, I think most people believe they're better off having to replace a lot of equipment in just one part of a building that is still standing and sound rather replace the entire building that is in ashes. While coordination is required - and I'm sure there are theatres where that didn't happen - anyone can see that it isn't that hard to slip a sprinkler system into a stage. Yes - one must simply get the attention of the sprinkler system designer focused on areas that must be kept clear - but it isn't that hard. When you consider the amount of combustible material on a stage - less or substantially less than many other occupancies today where there is storage such as office file rooms, libraries, retail, and big box stores for instance - a sprinkler system may be much less challenged. than in other occupancies. And if you are on the ceiling in those other places and look down, you'll not see large parts of the floor. Look down from a grid and you can see most of the floor or at least the show deck. Does scenery obstruct water spray from a sprinkler? Certainly some - but that is accounted for in the system design. It would be remiss to overlook the quick and astute actions of stage hands today when it comes to fires on the deck. They act quickly and are effective. Look at the record. Of stage fires mentioned in recent years in the US, at least two of them were buildings still under construction and the sprinkler systems were not operative. I don't take those seriously as to the audience we should be planning for. The building was not complete. (There were no audiences to the best of my knowledge.) I'm sure the differences in construction and production across the Atlantic account for some of your misgivings but for the most part a sprinkler system is simple, inexpensive, and very effective on a stage. Frank, you and I come from an era when people still remembered theatre fires. We probably both met and knew people who fought in WWII. Things have changed perhaps more in the US than the UK. We don't have the 150 flown pieces of unflameproofed linen painted with oil based paints hanging on preservative (kerosene) laden hemp rope. We don't have open flame and unenclosed arc light sources. And as you have pointed out, we have a mania in the US for not allowing anything or anyone to be injured or in the least bit inconvenienced and that shows up in our regulations and construction practices. So flame retard away. But don't suggest that fire safety curtains, vents, and flame retardant treatment is - all together - anywhere near the equivalent of modern sprinklers for fire protection. Regards, Bill Conner ASTC ------------------------------ Message-ID: <43CA7A52.4060705 [at] fredonia.edu> Date: Sun, 15 Jan 2006 11:37:38 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: College/Professional Advice References: I'll second Mr. Salzberg's comment - in spades. You need those math skills for most of what we do. Also, work real hard at learning to write and speak the English language. It's the primary means of communication we've got. Then, learn another language so you can have more to sell to a potential employer. Be sure to be interested in something(s) other than theatre. You need to have something you can escape to at the end of call. There are lots more ideas out there and our friends here will provide a lot of them. Steve Rees, TD SUNY-Fredonia Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > >>What high school classes do you wish you had taken? > > > It's more like, "What HS classes do I wish I'd paid closer attention to?" > > Algebra and Geometry. > > "I'll never need that stuff; I'm going into theatre." > > Of course, I use "that stuff" every damned day; I had to go back and teach > myself. There are still annoying gaps in my knowledge. > > ...And the Geometry teacher was funny-looking, so I really wasn't inclined > to take her seriously. I wish now that I'd concentrated then on factors > that were, y'know, relevant. ------------------------------ In-Reply-To: References: Message-Id: <8cdc4c7362401b0d8732dfd0a59ecef8 [at] ucla.edu> From: Samuel Jones Subject: Re: College/Professional Advice Date: Sun, 15 Jan 2006 08:42:38 -0800 Much of what I missed were trade school skills like welding, but these are also skills you can go back and take classes for. The math courses were important, but I didn't know it. Spending a whole year doing trigonometric proofs didn't seem relevant. I wish I had paid more attention. The relationships between sine, tangent, secant, and their reciprocals provide short cuts whenever I draft new spaces or sets, or even when surveying new spaces. If only the teacher had sprinkled in a few examples of applications in the real world, it would have seemed like the special tool for finding out about the world that it really is. The same is true for geometry. Basic linear algebra is used every day. How do you find out what the amount Z is when you only know X and Y; again, everyday. I should have taken a drawing class somewhere, but I don't think I had the opportunity. Drawing is such a powerful communication skill, and I attempt to draw on napkins enough to miss the skill to do it right. Thank god for computers when they are available, but they aren't always at hand. I have found being able to read rhythm indispensable, and I wish I had learned to read music. I think those music skills broaden your life experience beyond imagining, but if you don't want to imagine, think about stage managing musicals and opera or designing lights for same. Then there is dance. I wish there had been more Shakespeare covered in depth. Wanting to be literate is reason enough, but the breadth of his work, and the breadth of the material left by those trying to interpret him is a well that never goes dry. Getting led by a teacher in love with Shakespeare will give you foundation to back for great reward. HTH Sam Samuel L. Jones Technical Director, Dance Program, Dept. of World Arts and Cultures, UCLA. sjones [at] arts.ucla.edu ======================================================================== ==== On Jan 15, 2006, at 5:03 AM, Dana Taylor wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Posted: Sun Jan 15, 2006 11:43 am Post subject: High School Class > Wish List > > ----------------------------------------------------------------------- > --------- > > Hi Folks: > > I am working on a "Build Your Own High School Curriculum" article for > secondary technical theatre students and am interested in your > responses to the following: > > What high school classes do you wish you had taken? Specifically, what > classes (outside of theatre classes) do you now realize would have > been of benefit to you? Likewise, what classes would have made your > collegiate technical theatre studies more meaningful or easier? > > Thanks for your assistance, > > Dana Taylor > > Dana W. Taylor > Mt. Vernon Sr. High School > 812.838.4356 > > ------------------------------ Message-ID: <001801c619f9$45e82270$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References: Subject: Re: College/Professional Advice Date: Sun, 15 Jan 2006 10:29:43 -0700 To clone much of what others have said and add my own two cents. Algebra Trigonometry Drafting Home Economics = Sewing, how to make Ramen noodles interesting Wood and Metal Shops Basic Office skills Basic Electronics Dance Music And the real world art of construction. Say NO to the McDonalds's job. Learn an apprentice skill: Hammers, saws, electrical wiring, lighting. and now computers and programming. I tell people all the time that our industry bastardizes just about every other specialty. Very little was created by theater for theater. We constantly steal from the trades and make the changes necessary for application to theater. Rarely is it the reverse. Art reflects life backstage as well. Very few of us KNEW, as Freshmen in High School, theater was going to be our trade. I returned to college as a single parent at 28 years old. I was an English Major. I FELL into theater shop work because I wanted to learn about theater as a Script Writer 23 years ago. OOPS. Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning ----- Original Message ----- From: "Dana Taylor" To: "Stagecraft" Sent: Sunday, January 15, 2006 6:03 AM Subject: College/Professional Advice For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Posted: Sun Jan 15, 2006 11:43 am Post subject: High School Class Wish List ------------------------------------------------------------------------ -------- Hi Folks: I am working on a "Build Your Own High School Curriculum" article for secondary technical theatre students and am interested in your responses to the following: What high school classes do you wish you had taken? Specifically, what classes (outside of theatre classes) do you now realize would have been of benefit to you? Likewise, what classes would have made your collegiate technical theatre studies more meaningful or easier? Thanks for your assistance, Dana Taylor Dana W. Taylor Mt. Vernon Sr. High School 812.838.4356 ------------------------------ Message-ID: <43CA8876.1090903 [at] dreampossible.ca> Date: Sun, 15 Jan 2006 12:37:58 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: College/Professional Advice References:

In-Reply-To: Stephen E. Rees wrote: > Be sure to be interested in > something(s) other than theatre. You need to have something you can > escape to at the end of call. Isn't that what pubs are for? >:-> -- Jim Hyslop ------------------------------ Message-ID: <20060115175555.3783.qmail [at] web50615.mail.yahoo.com> Date: Sun, 15 Jan 2006 09:55:55 -0800 (PST) From: b Ricie Subject: union dealings and 4 hr minimum In-Reply-To: As a non union person I do take a lead from the union. I too work by the 4 hr minimum call...BUT... The 4 hr minimum is to make it worth my time to leave my house, find parking, and do my time. If the gig takes 2 hours I get paid for four. If the gig takes 12 hours, I get paid for 12. I use the union rules for morning coffee break and lunch break with all crews union or non. A typical day schedule would be: 8am load in 10am coffee split lunch 12-1 carpenters 1-2 electricians sound and wardrobe whenever as long as it did not exceed 5 hour before lunch. 1/2 hour lunches were paid 1 hour lunches were un paid as afternoon work was accomplished crews would be cut. dinner break to who ever was left making sure they had at least an hour before show call. 7:00 show call for an 8:00 curtain Strike call. Usually the only people getting the 4hr minimum were the loaders. One 4hr call for the in and a separate 4hr call for the out, and often times they were different people for both calls. Everyone else was on a day call and paid by the hour for their time with the 4hr minimum as the base pay. Some houses would make us take a 15 min break at the end of the show, yet others it would only be the show run crew that had to take a 15 min break at the end of the show, and still others that had no break at the end of the show. Thought the union is the same, the rules seem to change day to day, state to state, venue to venue. It seems in the days of rigging certification and electrical certification we could come up with some better form of standardization for IATSE. To better illustrate my point(sorry for the band with) Getting a show that had already played all over North America into the Kodak in LA was like going to a foreign country. We always had 4 electricians, The Kodak used 6 We always had 2 sound techs, The Kodak used 4 we always ran with 3 wardrobe, The Kodak divides them between floors and sides of the stage we had to use something like 8 We always used 4 loaders and split them between trucks, The Kodak will not let you split loaders. While advancing the crew needs I caved to their "rules" only to get a phone call from the presenter, who was outta his mind about the labor costs. I explained that we did not need all that labor, and indeed his problem was with the Kodak. We did manage to whittle down the crew number a bit, but still had far more crew than we needed, YET THE SHOW STILL TOOK ALL DAY TO LOAD IN. We had just played a venue in South Carolina. Our crew was inexperienced High School children, and for the first time on our tour EVERYONE took lunch at the same time. Yup we were finished loading in by lunchtime and the rest of the afternoon was spent touching up paint and fixing things. Don't get me wrong, I have had some GREAT union dealings as well as some horrid dealings, and that is where, I feel, the problem is. Stricter standardization would make IATSE a stronger union and make life for those on the road a lil bit more bearable. 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: <43CA9509.9000409 [at] JosephCHansen.com> Date: Sun, 15 Jan 2006 13:31:37 -0500 From: Barney Simon Reply-To: barney [at] JosephCHansen.com Organization: Joseph C Hansen Co., Inc. Subject: Re: Scenery and Flame Retardant References: In-Reply-To: And speaking of state of the art fire suppression... I saw within the last year, a liquid product that was totally inert and evaporated in about an hour. The demo tossed laptops and cell phones in to the liquid with no ill effects. The fire suppression system could be set off in a television studio, and once the burned pieces had been removed, the studio could be up and running in about an hour (once the stuff evaporated). Has any one had experience with this stuff? Might have been a 3M product. -- Barney Simon JC Hansen Co., Inc Drapes Drops and Dance Floors 423 West 43rd Street, NYC 212-246-8055 F:212-246-8189 JCHansen.com 866-988-8055 ------------------------------ From: MissWisc [at] aol.com Message-ID: <232.539784a.30fbf036 [at] aol.com> Date: Sun, 15 Jan 2006 13:36:38 EST Subject: RE: College/Professional Advice (long) High schools are not designed to prepare students for careers (or even further study) in technical theatre. I learned mostly by observing and asking questions. I'm just barely old enough that because I am female, I wasn't allowed to take shop classes or do the "dangerous" tech theatre things in HS. Federal law changed that while I was in school, but the district where I grew up was rural and teachers made it known that girls weren't welcome. As for theatre, I was allowed to paint sets and make costumes, but not go to the lighting bridge nor the catwalks, much less work there. I learned from my father who studied radio and TV repair at DeVry. He taught me how to use hand/electric tools, basics of electricity, woodworking, shop safety, etc. I was in 4-H and used what Dad taught me for fair projects as well as fixing things around the house. Learned to machine sew from my grandmother. Learned hand sewing from my mom (who still does beautiful embroidery!) and a friend who was wardrobe person for Miss Wisconsin. More recently, I've learned fast ways to glitz things from Vicki, an IA sister, who had a career as an exotic dancer and now makes costumes for showgirls. Yes, math is important. I LOVED geometry, because I had a teacher who included lots of real-world examples. We were always building an imaginary house. Hated algebra - had a teacher who was hired for his coaching skills rather than his teaching abilities. (He got into an accident driving drunk and was out for a month. The sub had no clue, so the guy who was to become my geometry teacher the next year came into algebra class and in one day got us caught up with 4 weeks of material!) Had a great trig teacher in college - again lots of real world examples. I can read music thanks to years of piano lessons but learned to "sight sing" in college where I majored in music ... again, not something taught in HS. My HS taught Romeo and Juliet in 9th and Julius Caesar in 10th - each kid had a part and you read it from your seat then answered questions. Could have been a shopping list. I knew I had a hole in my knowledge and found a summer class to fill it at UW - Madison. One week - learned a ton and had a blast. We did tableau, acted scenes, talked about how to make it more "alive" and how to help kids get a handle on the language. My son knows the plot lines almost as much as I do thanks to some "comic" book versions that Scholastic has out. He's working on the "real" versions now. Also took a class at UW Madison that was lighting and scenic design all crammed into one week. Basically reinforced what I already knew from being a stagehand and taught me rudimentary drafting. What would I recommend... JOB SHADOW and read everything you can get your hands on! Find folks who know their stuff, watch them work, offer a hand, and politely ask questions. Doesn't have to be a formal apprenticeship. Take personal responsibility for getting the knowledge you need. Learn to make coffee (props!) and don't feel that any job is "less important" than any other. Don't limit yourself to one area - or even just to theatre applications, be well rounded. Many of the techniques used in building a house are used onstage too - learn with them also. I know several people who do wardrobe for theatre and custom sewing from home. Or who are stage electricians and work for IBEW things too. Carpenters who can build a set today and cabinets for houses the next will never lack for work. I'm constantly amazed at the extremely high intelligence and breadth of knowledge I find in most tech theatre people. We are always learning. HTH Kristi ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 15 Jan 2006 18:41:51 GMT Subject: Re: union dealings and 4 hr minimum Message-Id: <20060115.104157.17584.8725 [at] webmail31.lax.untd.com> Dear Brian, There are tens of thousands of IA members in SoCal that have somewhat co= -ordinated schedules, particularly when it comes to breaks, meals, and t= urn-around times, belong to the same Health, Welfare and Pension Plans, = et cetera, and have much fewer strikes than our East Coast Brethren. The= re are also far fewer labor disputes initiated by SoCal Musicians and Te= amsters than in NYC, for example. I have used the imperfect analogy of '= on location' with 'on the road'. As both a Employer and Employee under I= A contracts since 1970 or so, I think that the IA Business Agents locate= d in SoCal have struck a reasonable balance on the issue of fair compens= ation vs. producer comfort zones. = /s/ Richard ____________________________ Stricter standardization would make IATSE a stronger union and make life for those on the road a lil bit more bearable. Brian Rice = ------------------------------ Message-ID: <43CA9F5F.6030805 [at] uwosh.edu> Date: Sun, 15 Jan 2006 13:15:43 -0600 From: Mick Alderson Subject: Re: Union Dealings >>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 It does sound a bit "greedy" to me on it's face, but as somebody (possibly Kristi) already pointed out, sometimes the reason is to GET a contract in a non-contracted venue. The problem is, the "minimums" structure is set up to cover how MOST shows happen, i.e. 4 hr.+ load-in, two or three hour long show periods, and a 3 hr+ load-out period in the middle of the night. Minimums are set up mostly to make sure the members and associated workers get enough compensation to make it worthwhile to bother showing up. As CB said, when you include travel time and other jobs turned down, a two-hour work-call isn't worth MY time. It doesn't even make my expenses. Even a five hour work-call can cost me money in other work I didn't get. From the Local's point of view, the strict "minimums" setup is ALSO an incentive to employers to negotiate a contract. I'm a memeber of IA 470, the same Local that Kristi belongs to; she has described some of the accomodations we have in some contracts. If you don't have a contract crafted to your particular situation, you get our "generic" work rules, which are actually more stringent than ANY of our contracts. Negotiate a contract with us and you can get better terms (possibly LOTS better), because it can be crafted to fit the kind of shows you really do. Most of our contracts have 4/4/4 minimums, but we do have ONE contact with a school system where small shows like the one described are typical, which are promoted by the school system for elementary school audiences. They resisted a contract with us for a LONG time, and agreed to negotiate to lower expenses on these shows. So now we have two scales in this venue. One is for "outside promoters" with "4/Show/4" minimums at full scale, and another for "school" shows which are "Show+actual load-in/load-out time worked", at a somewhat reduced scale. They ONLY got that deal because they were willing to negotiate. I do have to point out that many members who could work there will not. There is enough work with the Local now that they can easily make more money per day elsewhere. So, if an employer makes themselves the cut-rate employer, they may get the cut-rate employees. I take calls in this venue when I can (and I'm not "cut-rate" ;-), but I AM a "true-believer" in the value of exposing young audiences to theatre. For many of our members, such a belief is a luxury they can't afford. -- Mick Alderson IATSE Local 470 Northeastern Wisconsin ------------------------------ Message-Id: <7.0.0.16.0.20060115111650.01ed85f8 [at] interstellar.com> Date: Sun, 15 Jan 2006 11:19:20 -0800 From: Jerry Durand Subject: Re: Scenery and Flame Retardant In-Reply-To: References:

At 10:31 AM 1/15/2006, you wrote: >porated in about an hour. The demo tossed laptops and cell phones >in to the liquid with no ill effects. The fire suppression system >could be set off in a television studio, and once the burned pieces >had been removed, the studio could be up and running in about an >hour (once the stuff evaporated). A modern environmentally friendly replacement for Halon? Something that's just as damaging as Halon, but not on the banned list? Halon re-introduced under some new "clean air" law? -- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-ID: <43CAB056.9080206 [at] gmail.com> Date: Sun, 15 Jan 2006 15:28:06 -0500 From: Brian James Reply-To: brianedwardjames [at] gmail.com Subject: Re: College/Professional Advice References:

In-Reply-To: I would add to this Physics and Business Law/Management. I would emphasize the business courses because I hear a lot of excuses for why entertainment operate differently than other businesses, however we still have the same laws and the same responsibilities to manage funds and lets not forget the other financial responsibility........ the tax guy! Idaho Scenic and Rigging wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >To clone much of what others have said and add my own two cents. > >Algebra >Trigonometry >Drafting >Home Economics = Sewing, how to make Ramen noodles interesting >Wood and Metal Shops >Basic Office skills >Basic Electronics >Dance >Music > >And the real world art of construction. Say NO to the McDonalds's job. >Learn an apprentice skill: Hammers, saws, electrical wiring, lighting. >and now computers and programming. > > I tell people all the time that our industry bastardizes just about >every other specialty. Very little was created by theater for theater. >We constantly steal from the trades and make the changes necessary for >application to theater. Rarely is it the reverse. Art reflects life >backstage as well. > >Very few of us KNEW, as Freshmen in High School, theater was going to be >our trade. > >I returned to college as a single parent at 28 years old. I was an >English Major. I FELL into theater shop work because I wanted to learn >about theater as a Script Writer 23 years ago. OOPS. > >Robert Riddle >Will Disagree for the Sake of Discussion >Will Discuss for the Sake of Learning > > >----- Original Message ----- >From: "Dana Taylor" >To: "Stagecraft" >Sent: Sunday, January 15, 2006 6:03 AM >Subject: College/Professional Advice > > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Posted: Sun Jan 15, 2006 11:43 am Post subject: High School Class >Wish List > >------------------------------------------------------------------------ >-------- > >Hi Folks: > >I am working on a "Build Your Own High School Curriculum" article for >secondary technical theatre students and am interested in your responses >to the following: > >What high school classes do you wish you had taken? Specifically, what >classes (outside of theatre classes) do you now realize would have been >of benefit to you? Likewise, what classes would have made your >collegiate technical theatre studies more meaningful or easier? > >Thanks for your assistance, > >Dana Taylor > >Dana W. Taylor >Mt. Vernon Sr. High School >812.838.4356 > > > > -- Brian James ------------------------------ Message-ID: <020901c61a22$77e5b1b0$6501a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: College/Professional Advice (pretty short) Date: Sun, 15 Jan 2006 17:23:57 -0500 Well, my daddy says, the three most important things to know are how to weld, how to fix a diesel engine and how to sew. Then he was a Carny. One subject largely ignored is Economics (micro econ, not macro). Take it from the Social Science department if you have a choice. They'll put more emphasis on human behavior and less on finance and accounting. [Quick lesson: ] Econ is the study of methods of allocations of scarce goods and resources. Like time, like fly space, like wireless mic's, like electrical power, like print space in a program, like parking spaces, and yes, like money. Alf Just my two cents worth and it's worth every penny. ------------------------------ Message-ID: In-Reply-To: From: "Thomas Schraeder" Subject: RE: College/Professional Advice Date: Sun, 15 Jan 2006 17:34:50 -0500 Dana, While I'm hearing a lot from colleagues on the list about training for specific skills (and that may be perfect for individuals seeking a career in technical thatre) I think there are more important issues. These issues revolve around the wisdom of deciding the course of your life when you are 15 to 17 years old, and the possibility that your high school's definition of "technical theatre" is really "anything other than acting." Most of the responses to your question are focused on the carpentry, electrical, and general technical skills which are necessary for production, but ignore the possibilities of an interest in design. My observations about incoming freshmen are based on looking at them as potential designers. It seems that they often don't have foundations for understanding culture, language, art, and literature. Many of them are software wizards, understand moving lights, and DMX universes, but they don't have much feeling about or know how to respond to what they are asked to support. Should you encourage a student interested in design to immerse themselves in science and technology, if it means they understand history and psychology less? I don't think so. It also seems a poor course to encourage a future technician to focus on creative writing and graphic arts. But more importantly, it is sad that young people feel compelled to make choices this early in their lives. It is possible to choose a college, university, or technical school that will give you mechanical, scientific, artistic, or creative skills in any area. I would advise any student (as I advised [and am advising]) my own two daughters to build a foundation that can allow for any structure to be placed upon it. Just my two cents Tom Schraeder Lighting Design Wayne State University Theatre 4841 Cass Ave., Suite 3225 Detroit, MI 48202 313-577-7908 - office 313-577-0935 - fax >From: "Dana Taylor" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: College/Professional Advice >Date: Sun, 15 Jan 2006 07:03:17 -0600 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Posted: Sun Jan 15, 2006 11:43 am Post subject: High School Class Wish >List > >-------------------------------------------------------------------------------- > >Hi Folks: > >I am working on a "Build Your Own High School Curriculum" article for >secondary technical theatre students and am interested in your responses to >the following: > >What high school classes do you wish you had taken? Specifically, what >classes (outside of theatre classes) do you now realize would have been of >benefit to you? Likewise, what classes would have made your collegiate >technical theatre studies more meaningful or easier? > >Thanks for your assistance, > >Dana Taylor > >Dana W. Taylor >Mt. Vernon Sr. High School >812.838.4356 ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 15 Jan 2006 23:31:14 GMT Subject: Re: College/Professional Advice (pretty short) Message-Id: <20060115.153121.17584.9131 [at] webmail31.lax.untd.com> Dear Alf, I concur that Economics should be an important component in an unde= rgraduate education, and even though engineering, physics and solid geom= etry were my favorite university classes, securing a JD when I found tha= t a DFA was unavailable in my interest area turned out to be the right d= ecision. I allowed me an opportunity to make riskier design decisions wi= thout the self-censorship that can accompany a design project when you f= ear that you'll become homeless if your design becomes a 'Glorious Failu= re' artistically. In my view, a Glorious Failure beats mediocrity every = time, and having a back-up degree and license allows you more artistic f= reedom, as well as the ability to assume greater control over your own d= estiny. It is unlikely that you'll be fired or overruled by anyone, incl= uding the director, when you are the producer or co-producer of the show= . /s/ Richard __________________________ [Quick lesson: ] Econ is the study of methods of allocations of scarce goods and resource= s. Like time, like fly space, like wireless mic's, like electrical power= , like print space in a program, like parking spaces, and yes, like mone= y. Alf ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <92.355dd22c.30fc3ae2 [at] aol.com> Date: Sun, 15 Jan 2006 18:55:14 EST Subject: Re: Union Dealings In a message dated 15/01/06 00:33:57 GMT Standard Time, deeming.tony [at] btinternet.com writes: > 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! Not entirely. In some jobs, one worked seven twelve-hour days over a fortnight, with seven days off. If 'the exigencies of the service' meant coming in on your day off, you got a minimum eight hours, at the hourly rate. Sometimes it could be more demanding, particularly in the late stages of a big job. When we were finishing off Pebble Mill, it wasn't unusual to work a 9-to-5 day in the office in London, catch a train to Birmingham, have dinner and wait until the studio was free, work most of the night on odd jobs that still needed doing, catch a morning train back to London, taking breakfast on the train, and put in another full day in the office. I was younger then, and poorer! It was profitable, but was it hard work?! This, mind you, is a team of three professional engineers, all with professional consciences. We all knew what had to be done to finish the job completely. It was, perhaps, 97% complete then, and in use by the station staff for programme purposes. We wanted 100%, and we got it. Now, they've knocked it down. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1b9.23537d1d.30fc3e3e [at] aol.com> Date: Sun, 15 Jan 2006 19:09:34 EST Subject: Re: Union Dealings In a message dated 15/01/06 03:29:17 GMT Standard Time, theatre [at] dreampossible.ca writes: > 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. > > 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. Unhappily, some of them can't. Many do a service to their members, by insisting on reasonable conditions of work and pay scales. Others, on both sides of the pond, are not at all reasonable. There are three sides to a trade dispute: that of the union, of the management, and of the customers. The last are often neglected. But, if it were not for them, there wouldn't be any business. Karl Marx has a lot to answer for. Frank Wood ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 16 Jan 2006 00:14:10 GMT Subject: Re: College/Professional Advice Message-Id: <20060115.161444.17584.9187 [at] webmail31.lax.untd.com> Dear Dana, At the High School level, I think that History is the most importan= t component of a secondary education that could lead someone to employme= nt in the arts with a serious possibility of advancement to Design or Ma= nagement. There is no excuse for insisting that the student reinvent the= wheel, except for High School science experiments and competitions wher= e scientific technique, such as double-blind testing, the use of placebo= s, and Controls are emphasized, and the results are relatively unimporta= nt by comparison to the Scientific Method. Furthermore, it is wise to he= ed George Santayana's wisdom: Those who do not remember the past are CON= DEMNED to repeat it. (my emphasis) High School history classes provide t= his institutional memory which is essential for an performing or visual = arts designer or technician to progress. The student will have to learn = it now or learn it on the job at the employer's expense, but certain his= torical information must be learned before someone can be regarded as a = professional. They say that being a professional means that you know the= shortcuts. Imparting this knowledge of historically tried-and-true shor= tcuts starts on the High School's watch. >Hi Folks: >I am working on a "Build Your Own High School Curriculum" article for >secondary technical theatre students and am interested in your response= s to the following: >What high school classes do you wish you had taken? Specifically, what = classes (outside of theatre classes) do you now realize would have been = of benefit to you? Likewise, what classes would have made your collegiat= e technical theatre studies more meaningful or easier? >Thanks for your assistance, >Dana Taylor ------------------------------ Date: Sun, 15 Jan 2006 19:16:22 -0500 From: Patrick McCreary Subject: Message-id: <5.2.1.1.1.20060115191603.01f359b8 [at] incoming.verizon.net> SUSPEND G. Patrick McCreary Ass't. Professor - Technical Director Department of Theater and Dance Indiana University of Pennsylvania Indiana, PA 15701 (Office) 724-357-2644 (Home) 724-349-4309 ------------------------------ From: "Tony Deeming" Subject: RE: Union Dealings Date: Mon, 16 Jan 2006 00:21:37 -0000 Message-ID: In-Reply-To: I said: Frank said: To which I'd reply: Frank - once again you TOTALLY miss the pint, and also missed off the key text in my original posted reply. I pointed out that the crew who are looking at the question of 4-hour minimums for a call are NOT FULLY EMPLOYED BY ANY ONE COMPANY. They are, I suspect, self employed, or casual staff or both, who happen to belong to a union which caters for such. You, OTOH, were employed by the BBC on a full time contract, unless I'm mistook. Whether you worked long hours during times of heavy workload is quite honestly totally irrelevant, in the same way as my own work excesses (in my day job) would be. (For example, I've worked many a 30 hour weekend sandwiched betwixt two full weeks where necessary, and for many years was on a 24-hour rota support team where I could be called upon to work anything up to seven 10 to 12 hour night shifts and the like at short notice - but as that's nowt to do with stagecraft I won't dwell further on that!) Sorry, but this is another example of Frank Wood dipping a toe into a subject he has no direct experience in, and failing to take note of any real information as posted, and trying (unsuccessfully) to make some sort of comparison to his old job so that he might seem worthy of the bandwidth in posting what amounts to drivel. Apologies - hadn't meant this as a flame, but Frank - do us a favour and keep out of what you obviously don't understand. TD ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <102.6fed6e14.30fc4158 [at] aol.com> Date: Sun, 15 Jan 2006 19:22:48 EST Subject: Re: Scenery and Flame Retardant In a message dated 15/01/06 16:30:10 GMT Standard Time, bill-conner [at] att.net writes: > Frank, you and I > come from an era when people still remembered theatre fires. We probably > both met and knew people who fought in WWII. Things have changed perhaps > more in the US than the UK. We don't have the 150 flown pieces of > unflameproofed linen painted with oil based paints hanging on preservative > (kerosene) laden hemp rope. We don't have open flame and unenclosed arc > light sources. And as you have pointed out, we have a mania in the US for > not allowing anything or anyone to be injured or in the least bit > inconvenienced and that shows up in our regulations and construction > practices. > > So flame retard away. But don't suggest that fire safety curtains, vents, > and flame retardant treatment is - all together - anywhere near the > equivalent of modern sprinklers for fire protection. We do. But I still regard the safe and orderly evacuation of the audience as the main priority. For this, I think our way better. Frank Wood ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 16 Jan 2006 00:24:00 GMT Subject: Re: Union Dealings Message-Id: <20060115.162450.17584.9201 [at] webmail31.lax.untd.com> Historically, the Unions main duty has been to protect the LEAST co= mpetent or SLOWEST worker, not the most indispensable one whose absence = could cause the whole project to fail and therefore will be compensated = at a fair rate in order to avoid a bidding war with a competitor. /s/ Richard. _______________________ = Many do a service to their members, by insisting on reasonable condition= s of work and pay scales. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: From: Jerry Durand Subject: Re: Date: Sun, 15 Jan 2006 16:37:12 -0800 On Jan 15, 2006, at 4:16 PM, Patrick McCreary wrote: > SUSPEND That a rigging command? :) ------------------------------ Message-ID: <001501c61a35$d57d5ef0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Date: Sun, 15 Jan 2006 16:43:14 -0800 >> SUSPEND > > That a rigging command? :) Actually, it's the answer to #104 on the certification exam.... People are posting the answers in code, and if we all pay very close attention to this list, eventually all the answers will be given. - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <035d01c61a37$0fed4810$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: Date: Sun, 15 Jan 2006 16:51:59 -0800 >>> SUSPEND >> >> That a rigging command? :) > > > Actually, it's the answer to #104 on the certification exam.... > > People are posting the answers in code, and if we all pay very close > attention to this list, eventually all the answers will be given. > > - Jon Ares I got that one wrong, I guess. I chose LEVITATE. . ------------------------------ From: "Tony Deeming" Subject: Strand 300 boot-up Date: Mon, 16 Jan 2006 01:06:02 -0000 Message-ID: OK, having scoured the manual (the BIG one!) and not yet finding anything to point the way (admittedly I've only scoured the text when either rushed or tired, but hey - when am I not during panto...??!!), I throw myself at the mercy of the group. When booting up the ol' Strand 300, it has recently started to default to an old show file, and not, as it did previously, to the last show file saved. This obviously has to be a setup option, but scanning thru the screens I've yet to find the one to revert to the way I need it. Whilst not a 'showstopper' it is a pain to have to re-load the show again each time. Anyone know exactly how to get this reset? Cheers TD ------------------------------ Message-ID: Date: Sun, 15 Jan 2006 22:59:42 -0500 From: Subject: Re: Source for stageweights Reply-to: In-Reply-To: References: On 1:04:56 pm 01/13/06 Greg Bierly wrote: > For info, archives & UNSUBSCRIBE, see > Sandbags (unloaded) - Proadv.com, Sapsis-rigging.com, Proexp.com, > etc.... fill in any vendor from this list. > > Sand - anyone LOCAL that can provide DRY sand. > Clean, washed, and dry sand. They will, inevitably get wet eventually. You don't want that organic residue to get wet and start decomposing on you, and if they happen to supply you beach sand, you don't want the salt residue. --Dale ------------------------------ Message-Id: <3.0.6.32.20060115214931.00d045a8 [at] pop.west.cox.net> Date: Sun, 15 Jan 2006 21:49:31 From: CB Subject: Lightweight headsets >Who has a model that they would recommend (or that they would warn me >away from....) As a sound guy, I rarely have to wear one, but it does happen. to that end, I took my favorite set of broken cans (that's the favorite set of cans that were already broken), and used one ear and the headband. I may have hotglued, gaff taped, stapled or super-glued a pad on the other side where an eiarpiece had broken off. To the still attached earpice I screwed the mic off an 82nd airborne pilot who had been a chaod and not been particularly attentive's boom mike off his helmet, and soldered a 4 pin XLR to the end. The cost was almost negligable, and the noise cancelling mic EV came up with for the flying chickens works really well in a high-noise environment. It sounds a bit like the helmet mic recordings from Vietnam era movies in quiet environments. The tiara is removable, and is completely optional. The only purpose it serves is to keep the OBTW client asking someone else for stuff on corporate and industrials... Other than that, at the other end of the spectrum is the modified Shure SM-12. Same transducer (IIRC) as the SM-58, and sounds great, although the in-ear style is hard to get used to. 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: <3.0.6.32.20060115215921.00d045a8 [at] pop.west.cox.net> Date: Sun, 15 Jan 2006 21:59:21 From: CB Subject: RE: Union Dealings >That about sum it up, guys? Brill! I see someone else is on Frank's English-to-English translator. 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: <20060115220834.lfogkc4w00wcwc0w [at] www.email.arizona.edu> Date: Sun, 15 Jan 2006 22:08:34 -0700 From: Mark O'Brien Subject: Re: Lightweight headsets References: In-Reply-To: I'll check in with a Sennheiser HMD 410 It has 2 ears, but one swings away when you do not want it. Even with the volume low, one can hear, and the rest of the folks on com can hear you well. I think they are about 200 USD, but if you have to wear one all day whilst listening to the pill pushers. it is well worth it. Mark-O Mark O'Brien Opera Technical Director University of Arizona, School of Music 520-621-7025 520-591-1803 Mobile Quoting CB : >> Who has a model that they would recommend (or that they would warn me >> away from....) > > As a sound guy, I rarely have to wear one, but it does happen. to that > end, I took my favorite set of broken cans (that's the favorite set of cans > that were already broken), and used one ear and the headband. I may have > hotglued, gaff taped, stapled or super-glued a pad on the other side where > an eiarpiece had broken off. To the still attached earpice I screwed the > mic off an 82nd airborne pilot who had been a chaod and not been > particularly attentive's boom mike off his helmet, and soldered a 4 pin XLR > to the end. The cost was almost negligable, and the noise cancelling mic > EV came up with for the flying chickens works really well in a high-noise > environment. It sounds a bit like the helmet mic recordings from Vietnam > era movies in quiet environments. > The tiara is removable, and is completely optional. The only purpose it > serves is to keep the OBTW client asking someone else for stuff on > corporate and industrials... > Other than that, at the other end of the spectrum is the modified Shure > SM-12. Same transducer (IIRC) as the SM-58, and sounds great, although the > in-ear style is hard to get used to. ------------------------------ In-Reply-To: References: Message-Id: <1E8E1EA2-3DFA-4EE0-B16A-A7D60FFCB03C [at] comcast.net> From: Michael de Almeida Subject: Re: Lightweight headsets Date: Mon, 16 Jan 2006 00:10:26 -0500 Hello, I'm using a Production Intercom SMH-110. As a sound person I like it because the earpiece sits away from your ear. This makes it easy to hear the show and clearcom at the same time. The microphone is really sensitive and it takes a little sidetone tweeking to make it not feed back. But it's light and sounds really good. I don't know if you can still get them, but if you can, it is worth a look. Good luck. - Mike D >> Who has a model that they would recommend (or that they would warn me >> away from....) ------------------------------ Date: Mon, 16 Jan 2006 00:11:54 -0500 Subject: Re: From: Bill Sapsis Message-ID: In-Reply-To: On 1/15/06 7:43 PM, "Jon Ares" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> SUSPEND >> >> That a rigging command? :) > > > Actually, it's the answer to #104 on the certification exam.... > > People are posting the answers in code, and if we all pay very close > attention to this list, eventually all the answers will be given. > > - Jon Ares > www.hevanet.com/acreative > Damn. Hey Katie....they're on to us. We're gonna have to change the test! 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: <3.0.6.32.20060115221801.00d045a8 [at] pop.west.cox.net> Date: Sun, 15 Jan 2006 22:18:01 From: CB Subject: Re: Union Dealings >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. The slamming was more of a general response than a response to your particular post. A union PA will get paid, on average, a buck a day ($100). a PA on a non-union gig will get paid gas and McDonald's money. Maybe. It is the way. >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. The PA positions on non-union film gigs are usually filled by rich college kids, poor college kids, family, friends, or the slow kid that just wants to hang out. THe latter tends to me the most helpful. All kidding aside, I once responded to "I'm just a lowly PA" with "LOWLY! I'd like to see the movie that got finished without PA's!" Truth be told, PA tends to be a starting position, not a career. I could be wrong, but I don't think that there are any PA classes at AFI. >What I object to, is a minimum 12-hour call for no apparent reason, It isn't for no apparant reason. I pointed out just what it is for. The reason is very apparant for those that are used to getting four hour minimums. The joke is based on minimums, so there has to be a precedent. The fact that these minimums are not necessary in *this* particular case is something that they won't broach if you won't. When a frind of mine leaves TJ, he always (and I mena always) gets a plaster of paris last supper, usually covered with glitter. The kids that are selling them in the street will tell you that they cost anywhere from $60 to $80 depending on what you're driving. I've never seen him pay as much as $20 for one, thouhg. ------------------------------ Message-Id: <3.0.6.32.20060115221855.00d045a8 [at] pop.west.cox.net> Date: Sun, 15 Jan 2006 22:18:55 From: CB Subject: RE: Carpentry/Paint Call >> You keep sending this kind of stuf out without a pay scale. >...Because I keep sending it in the middle of the night. I wish you could see the giggly-grin that that gave me! 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: <3.0.6.32.20060115222242.00d045a8 [at] pop.west.cox.net> Date: Sun, 15 Jan 2006 22:22:42 From: CB Subject: Re: Carpentry/Paint Call >Oh - so it's 'A day's work for a day's pay" - > >but no pay scale at night? I once told an employer (who is first and foremost, my good friend) that if she wanted me to work over the holidays I needed a bump for Christmas, Hannukah, Kwanza, and Ramadan. Her response was perfect, "Ramadan, hunh? OK, so, no meal penalties til sundown?" 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: <000b01c61a5d$2af7c740$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Date: Sun, 15 Jan 2006 21:24:48 -0800 >>>> SUSPEND >>> >>> That a rigging command? :) >> >> >> Actually, it's the answer to #104 on the certification exam.... >> >> People are posting the answers in code, and if we all pay very close >> attention to this list, eventually all the answers will be given. > Damn. Hey Katie....they're on to us. We're gonna have to change the > test! > > Bill S. Aww, don't change the test... not too many figured out the following system: #21 starts with S #22 starts with A #23 starts with P #24 starts with S #25 starts with I #26 starts with S - Jon Ares www.hevanet.com/acreative ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 16 Jan 2006 05:57:45 GMT Subject: Re: Carpentry/Paint Call Message-Id: <20060115.215835.24078.9621 [at] webmail34.lax.untd.com> That works for a periodic Seder, too. Did you request a bump for Tet? /s/ Richard ______________________ I once told an employer (who is first and foremost, my good friend) that= if she wanted me to work over the holidays I needed a bump for Christma= s, Hannukah, Kwanza, and Ramadan. Her response was perfect, "Ramadan, h= unh? OK, so, no meal penalties til sundown?" Chris Babbie ------------------------------ Message-ID: <003301c61a68$957dac00$6400a8c0 [at] om.cox.net> From: "John Gibilisco" References: Subject: Re: Strand 300 boot-up Date: Mon, 16 Jan 2006 00:46:30 -0600 > When booting up the ol' Strand 300, it has recently started to default to an > old show file, > > Anyone know exactly how to get this reset? Tony, I'm wondering if this console is or was networked? Each console is a "node" and has a DOS file that may be edited. It is the 220node.cfg file. If you take a look at it you should find a comment line (scroll to the bottom of the file) that reads: # Numberof show to load at start up: (user- and system - edited) # 0 (current show) or 1 -> 5 (listed in .usr file) user_show = 0 The line without # in front of it is what you want to edit. user_show = 0 You want it to read "0" for current show. Now getting to the file is the trick. I don't have a console in front of me. but you should be able to open it from the closing shutdown screen. Just type in 220node.cfg. From the software on a 500 (I'm guessing here) Press [MORE] then a soft key {LOAD FILE} then a new soft key {NET CONFIG} scroll down, set to show "0" then restart. You can read about in the NETWORK section of the manual. I hope this the correct answer. Best, John Gibilisco Omaha Playhouse ------------------------------ From: "Tony Deeming" Subject: RE: Strand 300 boot-up Date: Mon, 16 Jan 2006 10:29:32 -0000 Message-ID: In-Reply-To: > > > When booting up the ol' Strand 300, it has recently started to > default to > an > > old show file, > > > Anyone know exactly how to get this reset? > > Tony, > > I'm wondering if this console is or was networked? Each console > is a "node" and has a DOS file that may be edited. It is the 220node.cfg file. > > If you take a look at it you should find a comment line (scroll to the bottom of the file) that reads: > > # Numberof show to load at start up: (user- and system - edited) > # 0 (current show) or 1 -> 5 (listed in .usr file) > user_show = 0 > > The line without # in front of it is what you want to edit. user_show = 0 > > You want it to read "0" for current show. > > John Gibilisco > Omaha Playhouse > Now THIS sounds interesting!! No, the console has never been networked, but that doesn't rule out the possibility that 'playing fingers' haven't stumbled across a setting that might have gotten changed in some way affecting the system. I've printed off your response and will pop in and look at that later! Thanks Tony ------------------------------ End of Stagecraft Digest #654 *****************************