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 26923030; Mon, 23 Jan 2006 03:02:14 -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 #664 Date: Mon, 23 Jan 2006 03:01:31 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, INITIAL_INVEST,WORK_AT_HOME autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #664 1. Re: labeling S4's by "Bill Nelson" 2. Re: AHJ and fire by Jim Hyslop 3. McHales locks its doors today: NYTimes by Scott Parker 4. Re: labeling S4's by Nancy Moeur 5. Re: labeling S4's by Steve Bailey 6. Casters by BKHAIN [at] aol.com 7. Re: labeling S4's by SS 8. Insulation and adhesives by barney 9. Re: Casters by Mike Katz 10. Re: Insulation and adhesives by "Jon Ares" 11. Re: labeling S4's by FrankWood95 [at] aol.com 12. Re: AHJ and fire by "Bill Conner" 13. Props help..."rescue mode" by Paul Schreiner 14. Re: Wire Rope Tricks by David d'Anjou 15. Re: Casters by "Curtis L. Mortimore" 16. Re: Filter Foam by "Curtis L. Mortimore" 17. Re: Insulation and adhesives by "Curtis L. Mortimore" 18. Glassbreakers by J Burch 19. Re: Props help..."rescue mode" by 20. Re: Glassbreakers by 21. Re: Insulation and adhesives by Barney Simon 22. Re: Casters by Jim Hyslop 23. Re: Casters by "Fred Schoening, Jr." 24. Re: labeling S4's by MissWisc [at] aol.com 25. Re: It's happened again.... by CB 26. Question for NYC lighting designers by CB 27. Re: labeling S4's by "Laura McMeley" *** 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: <1090.208.51.52.119.1137929193.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Sun, 22 Jan 2006 03:26:33 -0800 (PST) Subject: Re: labeling S4's From: "Bill Nelson" > I have a related question: what's it like designing with variable-degree > S4s versus the fixed-angle type? Do you mark the preffered degree angle > on > the light plot during the mathematical-figure-outy-stages, or do you just > try to get it close and then leave the fine-tuning for focusing time? I haven't found that marking the desired beam angle to be of much help with the various models of zooms. All I need to know is that the instrument will produce the beam width I desire - I get the "best" width at focus. Bill ------------------------------ Message-ID: <43D3942A.1000209 [at] dreampossible.ca> Date: Sun, 22 Jan 2006 09:18:18 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: AHJ and fire References: In-Reply-To: David R. Krajec wrote: > Caveat: It should be noted that we had another nearby high school that had > two (suspicious) fires in the theatre area. He tried to push this storage > issue on them as well. I think that one is still in discussion. Can I get a clarification, please: did these suspicious fires occur before or after the discussions? Did the fires occur in the storage areas? -- Jim Hyslop ------------------------------ Message-ID: <90d9c9980601220836u410862beubb48a13bb069930b [at] mail.gmail.com> Date: Sun, 22 Jan 2006 11:36:43 -0500 From: Scott Parker Subject: McHales locks its doors today: NYTimes http://www.nytimes.com/2006/01/22/nyregion/22mchales.html -- Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Date: Sun, 22 Jan 2006 12:31:59 -0500 From: Nancy Moeur Subject: Re: labeling S4's Message-ID: <4414AB28 [at] OrangeMail> Steve L. wrote: >The folks at Syracuse Stage use e-tape, I believe. Looks pretty good, but I'm >not sure how durable it is. Nancy, you still reading the list? Yep, I'm still here...in tech, no less. There was e-tape on the units when I got here, but it didn't hold up very well. About 3 years ago we painted all sides of the gel holder neatly with latex paint. It's doing pretty well. Tape being put over the paint (like Stage Management marking things with white gaff) does pull a bit of paint off sometimes. Spray paint would probably be a better option, but with 400 units, we didn't really want to mask all of them before painting--or haul them all into the spray booth! Our code (based on the code for the Altman 360Qs the Source Fours replaced) is: 19-white 26-orange 36-no paint 50-green There's nothing really special about the code, though. Having the paint visible from all sides of the unit (and from above and below) is the crucial part, I think. best, -nancy ___________ Nancy Moeur AME, Syracuse Stage & SU Drama nmoeur [at] syr.edu ------------------------------ Message-ID: From: Steve Bailey Subject: RE: labeling S4's Date: Sun, 22 Jan 2006 12:39:21 -0500 -----Original Message----- From: Christopher K. Nimm [mailto:nimmck [at] charter.net] --------------------------------------------------- I have a related question: what's it like designing with variable-degree S4s versus the fixed-angle type? Do you mark the preffered degree angle on the light plot during the mathematical-figure-outy-stages, or do you just try to get it close and then leave the fine-tuning for focusing time? Chris Nimm The ETC S4 Zooms have degree markings on the dial, thus it's possible to have the deck elec's preset the zoom setting. The Altman zooms, Shakespeare, 1K series and the obsolete 4.5" series, never had degree settings, or any kind of reference settings (Go figure). We made up settings so as to have a starting point. When I had my 20 FOH cove units as Shakespeare zooms, I installed labels alongside the lenses, and would specify in the Vectorworks FOH Prep Sheets, where I wanted the zoom settings. Two thoughts on this, coming from a road house with a lot of zooms (note that our plot generally stays hung): 1) It saves time if the house elec. and/or LD did the adaptation from a plot sent to the theater. Especially if you know a visiting LD has spec'd a 36 degree at position X, with 26 degree next, etc.. Then if time allows, preset the lenses. 2) Invariably, once the visiting LD knows it's a zoom. They're going to say "Can you make it a little larger/smaller". This is especially true if the space is larger/smaller then the plot was designed originally intended. 3) I never found zooms much slower to focus, and always was of the opinion that having another tool, in this case, adjustable image size, to be a benefit to the look of the show. They save a ton of time in prep, not having to move lens barrels or units. Steve Bailey Brooklyn College ------------------------------ From: BKHAIN [at] aol.com Message-ID: Date: Sun, 22 Jan 2006 12:56:39 EST Subject: Casters What are people using for regular old platform casters? I presume it's not the Menards / Home Depot $4 caster like I've inherited? I'm looking for the casters that make a platform glide across the floor with nary a sound. And I presume you're spending more than $4 each? I am aware of zero throw caster units but I've always thought they were for special use. But since we're on the subject is there a difference between 'zero throw' and 'triple swivel'? I know this has been discussed before however I'm still not clear if there's a difference other than nomenclature... Thanks everybody. Benjamin Hain Freelance TD / LD / General Theater Guy Rochester, MN ------------------------------ Message-ID: <8231e7ea0601221016j5643d91bl5ea99ad6a79a5580 [at] mail.gmail.com> Date: Sun, 22 Jan 2006 13:16:08 -0500 From: SS Subject: Re: labeling S4's In-Reply-To: References: >>>>We made up settings so as to have a starting point. When I had my 20 FOH cove units as Shakespeare zooms, I installed labels alongside the lenses, and would specify in the Vectorworks FOH Prep Sheets, where I wanted the zoom settings. Two thoughts on this, coming from a road house with a lot of zooms (note that our plot generally stays hung): 1) It saves time if the house elec. and/or LD did the adaptation from a plot sent to the theater. Especially if you know a visiting LD has spec'd a 36 degree at position X, with 26 degree next, etc.. Then if time allows, preset the lenses. 2) Invariably, once the visiting LD knows it's a zoom. They're going to say "Can you make it a little larger/smaller". This is especially true if the space is larger/smaller then the plot was designed originally intended. 3) I never found zooms much slower to focus, and always was of the opinion that having another tool, in this case, adjustable image size, to be a benefit to the look of the show. They save a ton of time in prep, not having to move lens barrels or units.<<<< Having worked for Steve, in said roadhouse (whether he remembers me or not, I was merely a simpleton overhire for he, Dave and Chet :)-. I did, however, enjoy working with them and their regular crew very much!!) a number of years back I will concur with his thoughts and actions. No hassle, very efficient focus/load time, open options, and more time to enjoy the catering :) -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: <43D3CE1F.8010308 [at] JosephCHansen.com> Date: Sun, 22 Jan 2006 13:25:35 -0500 From: barney Subject: Insulation and adhesives I have a client looking to have a layer of poly batting (like inside a quilt) attached in a couple of layers to a canvas backing to make set pieces for a Christmas show later this year. I do not want to sew the layers, as they would look, well, quilted. Any suggestions as to what clear, FR, adhesives (spray?) I should start looking at? -- 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 ------------------------------ Message-ID: <7cd95e180601221100s1485d57byeae3988bd7b59f97 [at] mail.gmail.com> Date: Sun, 22 Jan 2006 14:00:20 -0500 From: Mike Katz Subject: Re: Casters In-Reply-To: References: We order a soft wheel caster from grainger that is not perfect but is relatively affordable, $11 something for a 4" wheel swivel caster. It is not as smooth as a Darnell but it is OK for our small theater. Triple swivel casters are 3 casters on a single mounting plate, they are often smaller casters to reduce the OA height without sacrificing load capacity. IMHO they are not especially useful for us generally in the theater. Zero throw casters are 3 casters mounted on a plate that is mounted on a bearing that is mounted to a second plate that mounts to the scenic unit. We are building 6 of them for our next production using 5/8" plywood and a 9" lazy susan bearing. They solve the problem of a unit swinging around the throw of a standard swivel caster when you change or reverse direction. They allow clean and smooth movement of non-tracked free moving platforms. Very useful when you have a free moving platform that can not be tracked. Mike On 1/22/06, BKHAIN [at] aol.com wrote:> Snip What are people using for regular old platform casters? > But since we're on the subject is there a difference between 'zero > throw' and 'triple swivel'?> > Benjamin Hain -- Mike Katz Technical Director MIT Theater Arts 617.253.0824 ------------------------------ Message-ID: <001701c61f86$c1e81910$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Insulation and adhesives Date: Sun, 22 Jan 2006 11:05:06 -0800 > I do not want to sew the layers, as they would look, well, quilted. Any > suggestions as to what clear, FR, adhesives (spray?) I should start > looking at? > Upholsterers and inferior decorators frequently use spray adhesive on the batting (or rather, on the cloth that goes over the batting, and the substrate the whole shebang is attached to) - to hold the batting. This is mostly to keep the batting from 'migrating' from the position/shape you want. You didn't mention - are these shapes mounted to anything like plywood or such? Or is it fabric on both sides, like a pillow? If it's mounted to ply or such, spray the ply with the adhesive (Super 77 and others), apply the batting, then apply spray to the covering fabric, lay over the batting, wrap the edges and secure them (staples, whatever). - Jon Ares www.hevanet.com/acreative ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <292.4608923.31053594 [at] aol.com> Date: Sun, 22 Jan 2006 14:23:00 EST Subject: Re: labeling S4's In a message dated 22/01/06 09:33:20 GMT Standard Time, nimmck [at] charter.net writes: > I have a related question: what's it like designing with variable-degree > S4s versus the fixed-angle type? Do you mark the preffered degree angle on > the light plot during the mathematical-figure-outy-stages, or do you just > try to get it close and then leave the fine-tuning for focusing time? Personally, since I know what the purpose of the luminaire is, I regard juggling with the angle as a part of the focus process. I think it saves a lot of time, in two ways. First, at design time, it saves having to do all the mathematics. As long as the beam angle is within the range, you know that it will work. Calibrated controls came late; two separate knobs used to be the norm. Tweak until it looks right. Second, it saves time when rigging. No changing of lens tubes; they are all there. True, the optical efficiency is a bit lower, but pulling in the shutters to get a smaller beam does nothing for that. Frank Wood ------------------------------ Message-ID: <00b001c61f8b$27453500$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: RE: AHJ and fire Date: Sun, 22 Jan 2006 13:36:33 -0600 Sorry for the longish post but some very basic issues are addressed that deserve detailed responses. In terms of requirements for scenery and such on stages I clipped the following from the 2003 Life Safety Code, as good of guide as any to start with and likely one your fire marshal is familiar with even if it doesn't have the force of law where you are. 13.4.5.11 Flame-Retardant Requirements. 13.4.5.11.1 Combustible scenery of cloth, film, vegetation (dry), and similar materials shall meet the requirements of NFPA 701, Standard Methods of Fire Tests for Flame Propagation of Textiles and Films. 13.4.5.11.2 Foamed plastics (see definition of cellular or foamed plastic in 3.3.30) shall be permitted to be used only by specific approval of the authority having jurisdiction. 13.4.5.11.3 Scenery and stage properties on thrust stages shall be of either noncombustible or limited-combustible materials. 13.7.3 Furnishings, Decorations, and Scenery. 13.7.3.1 Fabrics and films used for decorative purposes, all draperies and curtains, and similar furnishings shall be in accordance with the provisions of 10.3.1. 13.7.3.2 The authority having jurisdiction shall impose controls on the quantity and arrangement of combustible contents in assembly occupancies to provide an adequate level of safety to life from fire. 13.7.3.3* Exposed foamed plastic materials and unprotected materials containing foamed plastic used for decorative purposes or stage scenery shall have a heat release rate not exceeding 100 kW where tested in accordance with UL 1975, Standard for Fire Tests for Foamed Plastics Used for Decorative Purposes. 13.7.3.4 The requirement of 13.7.3.3 shall not apply to individual foamed plastic items and items containing foamed plastic where the foamed plastic does not exceed 0.45 kg (1 lb) in weight. I said this was a good source but, as happens when I hear a comment or question that forces me to reread a code - and I have been on the committee for assembly occupancies for over 18 years and longer than anyone else still on it - I realize how much more work there is to do. This section is obviously antiquated, not well coordinated, difficult to enforce, and, I am willing to suggest, all too frequently not complied with. By the way, some would say 13.4.5.11 really is to deal with the building but includes scenery and is fact in a section on "Stages and Platforms"; 13.7 is titled operating features so more specifically deals with contents but, who has the better lawyer will make the final determination. First, is not very practical to think that of the great amount of non-profit theatrical production activity - like high schools, community theatres, and colleges - many could meet requirements that require laboratory testing of virtually everything built for a show. You can at least buy some fabrics that the supplier or manufacturer has tested according to NFPA 701. Maybe someone on the list from a dealer or manufacturer will tell us which fabrics are commonly available and if they are tested according to the CURRENT NFPA 701, not the last edition which was much easier to pass. (And tell us if test method 1 or 2 please.) BUT, painting or other treatments may render the test results invalid. Do you ask the a.h.j. every time you use a piece of expanded or extruded polystyrene? I'm sure many don't. That would include orchestra shells and platforms with foam cores I believe, and, literally, a foam coffee cup. I didn't even bother posting open flame and pyro regs. In case you wonder about what limited combustibility is, here is the definition from the 2003 Life Safety Code: 3.3.135.2* Limited-Combustible (Material). Refers to a building construction material not complying with the definition of noncombustible (see 3.3.135.3) that, in the form in which it is used, has a potential heat value not exceeding 8140 kJ/kg (3500 Btu/lb), where tested in accordance with NFPA 259, Standard Test Method for Potential Heat of Building Materials, and includes (1) materials having a structural base of noncombustible material, with a surfacing not exceeding a thickness of 3.2mm(1?8 in.) that has a flame spread index not greater than 50; and (2) materials, in the form and thickness used, other than as described in (1), having neither a flame spread index greater than 25 nor evidence of continued progressive combustion, and of such composition that surfaces that would be exposed by cutting through the material on any plane would have neither a flame spread index greater than 25 nor evidence of continued progressive combustion. [220:2.1] Unless you like building with cement, sand, stone, glass, and maybe really thick steel or a few other metals, forget about non-combustible for the most part: 3.3.135.3 Noncombustible (Material). Refers to a material that, in the form in which it is used and under the conditions anticipated, does not ignite, burn, support combustion, or release flammable vapors, when subjected to fire or heat. Materials that are reported as passing ASTM E 136, Standard Test Method for Behavior of Materials in a Vertical Tube Furnace at 750 Degrees C, are considered noncombustible materials. -------------------------------------------------------------------------------------------------------- As far as sprinklers, NFPA 13 (the standard for sprinklers most everywhere in the US) use the terms "control and suppression". In short, some are required to control the fire and some to suppress it. Evidence suggests that they do often suppress the fire, perhaps even where that is not the primary goal. For instance, they are required in schools for property protection as well as life safety because of the problems of losing a school, even if there is no loss of life. The disruption to the students and the community are huge. (I work at home and have kids: DON'T tell me they may be at home all day for the next two months!) As far as storage and the shop: in my experience I believe they are both treated as ordinary hazard I by NFPA 13. I'd suggest if anything the shop is more hazardous because of the processes and dust and greater likelihood of occupants, but I don't think there is much difference in the sprinkler system in either, but you would need a Registered Design Professional to tell you for sure - and assume the liability for telling you. In the end, be smart and on the look-out for obvious problems. Lights and other sources of heat like pyro and smoke effects and such are frequently responsible for fire on stages so pay special attention to practicals and such. And, as stated by others, welcome, seek advice and support from, and help your fire marshal. BTW - were we so concerned about injuries from falls, we might really accomplish something, considering that the cost of those injuries are well in excess of 100 times the cost of injuries from fire.....but that for another day. Regards, Bill Conner, ASTC ------------------------------ Message-ID: Date: Sun, 22 Jan 2006 15:10:42 -0500 From: Paul Schreiner Subject: Props help..."rescue mode" Anyone in/near Virginia have in your props stock a pair of not-necessarily-realistic-looking "machine" guns for renting/borrowing until the end of the month? Original concept had something like a tommy gun called for, but we're not picky... ------------------------------ Message-ID: <96c90e340601221247g7d9e5e79v8b2833dc785cf3a9 [at] mail.gmail.com> Date: Sun, 22 Jan 2006 12:47:29 -0800 From: David d'Anjou Subject: Re: Wire Rope Tricks In-Reply-To: References:

Quidam's system was the basis for designing the one on Corteo and is pretty similar. As Jared said there is nothing really complicated about the idelr pulleys or connection to the carriages. The Quidam aparatus, is, in fact named the "telepherique" after a ski lift. What I have always found cool about the telepherique is that while items are constantly lowered and raised while travelling, there are no dedicated lifting winches. Instead, each track has 2 carriages and a cable is run from one carriage to a pulley on the second carriage where it turns 90 degrees and drops vertically. By seperating the carriages the lifting line raises up and by bringing them together it drops. Tracking them both at different speeds achieves a combined lift/travel. In another scene we might use both carriages as simple horizontal travels with a fixed height item underneath... Microtrol did the automation for that as well and calculating the relationships, distances and heights across the curved trusses was not an obvious thing to do with 1996 technology. I can certainly go get any more detailed info if you'd like. -David d'Anjou Cirque du Soleil Mirage 2006 project On 1/19/06, Jared Fortney wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi Brian, > I can't speak directly for Quidam, but on Corteo our giant arch is > called the Patience (it makes sense once you set it up) and the > tractor cable support is much simpler than a ski lift style system. > each of our four tracks has a stacked set of pulleys periodically > throughout the arch. There is enough room between the pulleys to > allow the attachment bracket of the dolly to pass without touching. > Unlike a shi lift, the suport of the dolly comes from standard style > beam trolley wheels. The upper pulleys keep the cable from falling > down onto the dolly and the lower pulleys keep the cable from falling > below the track. As far as the attachment method, it's just a pair of > swaged eyes that attach to a bracket on the dolly with a pair of > bolts. > > The really interesting part of our system is the method of cable > tensioning. The entire motor/drive pulley assembly is on a set of > rails and is pulled back to a predetermined tension with chain > come-alongs. FWIW, the unit was built by Show Canada and automated by > Microtrol. Let me know if you have any more questions, I'll try to > find answers. If anyone's coming to see Corteo in San Jose, say hi. > > -Jared Fortney > Rigger > CdS, Corteo > -- David d'Anjou Cirque du Soleil Mirage 2006 project ------------------------------ Date: Sun, 22 Jan 2006 15:57:56 -0500 Subject: Re: Casters From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Benjamin, I personally dislike the garden variety $4 caster as I am sure a lot of others do. My experiences with Darnell-Rose casters have been quite good though cost is usually the killer when I have tried to purchase them for a project. The Darnell-rose website is, Colson is my next favorite. I know there are several other manufactures which produce almost identical models but I am not familiar with many brands. I like the performa wheel and the affordability of the 2 series caster. The most common size I have used is a 4" X 1-1/4", which seems to be soft enough to be quiet, yet hard enough to roll really well and I have found the 300 lb capacity to be enough for most of the loads I have needed to move. McMaster Carr sells an equivalent from Task King. stock number 2702T22. We ran into a time crunch on our last production and bought a version of these at the local Menards. They have performed very well though cost a couple three dollars more each. The new-to-me wheel I am experimenting with is an Osprey caster. I get them from McMaster Carr, Stock number 27075T11, $8.74 each. They seem to be doing quite well but the jury is still out. One I have yet to try... The Harbor Freight Tools store just opened last week and who can resist! They have a blue, 4" X 1-1/4" swivel which looks very much like the Osprey mentioned above for $6.49 each! I will give them a test the next time I need casters. Triple swivel vs. Zero-throw. In my experience these terms have been used universally to describe a device which consists of three swivel casters mounted to a plate with a center pivot. The center pivot is then attached to the bottom of a cart/platform/thing-that-needs-to-move. The combination of pivot points allow easy directional changes without the problems of "caster braking". As far as them being a specialty item, I disagree. Yes there is a time and place but if you have moderate to heavy loads and/or require graceful directional changes the zero-thorw might be just the ticket. I have pictures of some shop-built units in a rather unique application if you would like to see them. Last but not least. Try your local industrial supply and/or industrial surplus options. OR, Surplus Center, They usually have a good selection of stuff available. Check Item # 1-2525. HTH! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Date: Sun, 22 Jan 2006 16:28:07 -0500 Subject: Re: Filter Foam From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Johan, Polyurethane Foam Air Filter Rolls, 10' X 48", 30 PPI, Charcoal gray. McMaster Carr, , search 629, then scroll to bottom of page. Good luck! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Date: Sun, 22 Jan 2006 16:30:50 -0500 Subject: Re: Insulation and adhesives From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Barney, I'll ask my wife... In the mean-time you might try posting this to the costume list. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 > From: barney > Reply-To: "Stagecraft" > Date: Sun, 22 Jan 2006 13:25:35 -0500 > To: "Stagecraft" > Subject: Insulation and adhesives > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I have a client looking to have a layer of poly batting (like inside a > quilt) attached in a couple of layers to a canvas backing to make set > pieces for a Christmas show later this year. > > I do not want to sew the layers, as they would look, well, quilted. Any > suggestions as to what clear, FR, adhesives (spray?) I should start > looking at? > > -- > 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 > > > ------------------------------ Message-ID: <20060123003700.12508.qmail [at] web33313.mail.mud.yahoo.com> Date: Sun, 22 Jan 2006 16:36:59 -0800 (PST) From: J Burch Subject: Glassbreakers Greetings I am looking at ways to break a pane of tempered glass. One of my options is a squip operated device that used s nail to break the pane. http://www.sweeney-special-effects.com/Glass_Breakers_Cable_Cutters/glass_breakers_cable_cutters.html I have a couple of questions about this item. First has anyone had any experience with it? It looks to me like it would mount perpendicular to the pane, and I am concerned about concealing the device. Would it be able to function if it was hidden around the perimeter of the window. Specifically, would the glasspane break if this device was located diretly behind a framing member of the window? Do you have other options on how to break tempered glass? I know that there are other glass options, but for multiple reasons, I need to use the tempered. Thanks in advance for your help! Jean Burch UMKC TD Canidate __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: Date: Sun, 22 Jan 2006 19:52:23 -0500 From: Subject: Re: Props help..."rescue mode" Reply-to: In-Reply-To: References: On 3:10:42 pm 01/22/06 Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > Anyone in/near Virginia have in your props stock a pair of > not-necessarily-realistic-looking "machine" guns for renting/borrowing > until the end of the month? Original concept had something like a > tommy gun called for, but we're not picky... > There are still being sold today single shot versions of the venerable thompson submachine gun. If you just need a non-firing prop, check your local gun stores to see if you can lease one that has had the firing pin removed. ISTRC that someone also makes a cosmetically indistinguisable one that shoots 8mm blanks. One can also look into airsoft guns. They look sufficiently gunlike at a glance, but only shoot small plastic pellets. All appropriate safety precautions, etc. --Dale ------------------------------ Message-ID: Date: Sun, 22 Jan 2006 20:11:32 -0500 From: Subject: Re: Glassbreakers Reply-to: In-Reply-To: References: On 7:36:59 pm 01/22/06 J Burch wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > Greetings > I am looking at ways to break a pane of tempered > glass. One of my options is a squip operated device > that used s nail to break the pane. > > http://www.sweeney-special-effects.com/Glass_Breakers_Cable_Cutters/gl > ass_breakers_cable_cutters.html > > I have a couple of questions about this item. First > has anyone had any experience with it? It looks to me > like it would mount perpendicular to the pane, and I > am concerned about concealing the device. Would it be > able to function if it was hidden around the perimeter > of the window. Specifically, would the glasspane > break if this device was located diretly behind a > framing member of the window? > > Do you have other options on how to break tempered > glass? I know that there are other glass options, but > for multiple reasons, I need to use the tempered. > Extend the glass past the edge of the frame and conceal the device inside the frame. This also makes swapping in replacement glass a bit easier, just sorta slide it into the slot. --Dale ------------------------------ Message-ID: <43D43D11.5090407 [at] JosephCHansen.com> Date: Sun, 22 Jan 2006 21:18:57 -0500 From: Barney Simon Reply-To: barney [at] JosephCHansen.com Organization: Joseph C Hansen Co., Inc. Subject: Re: Insulation and adhesives References:

In-Reply-To: Jon Ares wrote: > > You didn't mention - are these shapes mounted to anything like plywood > or such? Free hanging drapes. -- 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 ------------------------------ Message-ID: <43D449A2.9050000 [at] dreampossible.ca> Date: Sun, 22 Jan 2006 22:12:34 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Casters References: In-Reply-To: BKHAIN [at] aol.com wrote: > What are people using for regular old platform casters? I presume it's not > the Menards / Home Depot $4 caster like I've inherited? I'm looking for the > casters that make a platform glide across the floor with nary a sound. And I > presume you're spending more than $4 each? Unfortunately, given the amount of rumbling and squealing coming from the set pieces on our last production, I think our group does use the $4 specials. I'm trying to convince our group to make a capital investment in a set of pneumatically operated casters. I've worked with another group that uses them, and they're very quiet. The casters are mounted on a built-in pneumatic piston. When you actuate the piston, it pushes the caster down, lifting the set piece off the stage and allowing it to move freely. Release the pressure, and the set piece settles straight down exactly where it is. The big problem is the initial investment - something like $1500-$1800. By the way, one trick I've heard of to help reduce rumbling is to fill any voids under the set pieces with fibreglass insulation. Has anyone tried this technique? -- Jim Hyslop ------------------------------ Message-ID: <20987793.1137988728581.JavaMail.root [at] mswamui-blood.atl.sa.earthlink.net> Date: Sun, 22 Jan 2006 21:58:48 -0600 (GMT-06:00) From: "Fred Schoening, Jr." Reply-To: "Fred Schoening, Jr." Subject: Re: Casters I'll second the recommendation for the Colson casters. I love them and use them whenever possible. In addition to the "regular" caster types, you can also get them in a model that has a 7/8" square stem - made for inserting into 1" square box tube. Another feature I love is their 'Total Lock Brake.' It locks the caster from rolling and swiveling simultaneously, providing for a very stable piece of scenery or shop tool. As for rumbling, I personally don't think the fiberglass-insulation-under-the-platform trick is very effective. For one thing, you're trying to muffle a noise that's already been made. Plus, fiberglass insulation is just nasty to work with. IMHO, it's better to keep the noise from being produced in the first place. Your best bet is to start with the softest caster wheel you can get away with. I find that Colson's Performa line is pretty good for this. As has been said, other companies make products very similar to this. If you're still in the planning stages, the next step might be to plan for a rubber pad between the caster and the platform. On a grander scale, the smoother the surface you're rolling on, the less rumble you're going to get. Also, I've a hunch that casters mounted on pistons might give you less rumble - the air could act as a bit of a cushion if adjusted to a pressure not too far above that required to keep the platform up. Hope this helps, Fred "Big Fred" Schoening Technical Director, Dallas Theater Center Dallas, Texas, USA P.S.: For those of you who are familiar with the Arts District Theater (a.k.a. the big tin shed) the beginning of the end is upon us. The environmental cleanup folks are starting to go through the building to do their thing, and the demolition crew will be following right behind them. I'll try to get pictures for anyone who's interested. -----Original Message----- >By the way, one trick I've heard of to help reduce rumbling is to fill >any voids under the set pieces with fibreglass insulation. Has anyone >tried this technique? > >Jim Hyslop ------------------------------ From: MissWisc [at] aol.com Message-ID: <2db.135e35f.3105be09 [at] aol.com> Date: Mon, 23 Jan 2006 00:05:13 EST Subject: Re: labeling S4's salukitd [at] gmail.com writes: << I am wondering how everyone labels their different Source 4 lens tubes. >> We used some stickers that look like they came from ETC. Kristi ------------------------------ Message-Id: <3.0.6.32.20060122233032.00d19c28 [at] pop.west.cox.net> Date: Sun, 22 Jan 2006 23:30:32 From: CB Subject: RE: It's happened again.... >Credentials, on the other hand, are easily assessed by administrators and >accrediting bodies that want everything to be quantitatively based, have >little or no concept of theatre or theatrical practices, and really don't >care about commitments to theatre or to one's art in general. ...a philosophy that I eschew, and have successfully avoided for most of my adult life. My credentials are my work, my dedication, my love of art, and my loyalty. Those that I've worked for know this and tell others. I continue to work. I wonder how some of the 'greats' in theatrical history would have rated in a 'qunatitatively based credentialing system'. Academia (for the most part) has become part of the problem, instead of part of the solution. 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: <3.0.6.32.20060122234930.00d19c28 [at] pop.west.cox.net> Date: Sun, 22 Jan 2006 23:49:30 From: CB Subject: Question for NYC lighting designers >...And no, Chris, I won't pay your travel and per diem for you to come >measure and draw it heh-heh-heh-heh-heh-heh-heh-heh-heh! 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: From: "Laura McMeley" Subject: RE: labeling S4's Date: Mon, 23 Jan 2006 01:14:46 -0600 Message-ID: <000601c61fec$b171dc90$6600a8c0 [at] tdolighting01> In-Reply-To: The guys at the music hall label ours with colored etape around the yoke, then really resist changing out barrels. They'd rather change out the whole unit if possible. I make things easier at hang time by make my drafting symbols match their color code when I print up the hanging cards. Makes it really easy for new and old guys to get the right units. Especially easy for the older guys who can't see small print so well any more. Laura McMeley Resident Lighting Coordinator The Dallas Opera ------------------------------ End of Stagecraft Digest #664 *****************************