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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 27593884; Tue, 14 Feb 2006 03:01:35 -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 #691 Date: Tue, 14 Feb 2006 03:00:33 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, TW_MF autolearn=unavailable version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #691 1. Re: Opening ceremonies of the Olympic Winter Games by IAEG [at] aol.com 2. indoor pond by b Ricie 3. Re: Indoor pond with a waterfall by Richard Keith 4. Re: Halation in profile spots by Ford Sellers 5. Re: Halation in profile spots by "Stephen E. Rees" 6. Re: Transparent Aluminum by Jerry Durand 7. Re: Lab Fees for Tech courses? by simmel [at] maine.edu 8. Re: Lab Fees for Tech courses? by seanrmc [at] earthlink.net 9. Re: Halation in profile spots by Ford Sellers 10. Re: Transparent Aluminum by Stephen Litterst 11. Re: Lab Fees for Tech courses? by "ladesigners [at] juno.com" 12. Re: Halation in profile spots by Stephen Litterst 13. Re: Lab Fees for Tech courses? by "Matthew Breton" 14. Re: Halation in profile spots by "Jon Ares" 15. Re: Lab Fees for Tech courses by "Rock, Michael Edward" 16. Re: Lab Fees for Tech courses? by simmel [at] maine.edu 17. Re: Halation in profile spots by Jerry Durand 18. Re: Halation in profile spots by "JUSTIN DAVID BENNETT" 19. spike marks by "LES LIND" 20. analog control inverter? by "Harold Hallikainen" 21. Re: Indoor pond with a waterfall by Jim Hyslop 22. Re: spike marks by "Jeffrey E. Salzberg" 23. Re: spike marks by "Daniel O'Donnell" 24. Re: spike marks by "Jeffrey Kanyuck" 25. Re: Lab Fees for Tech courses? by simmel [at] maine.edu 26. Re: Lab Fees for Tech courses by Steve Shelley 27. Re: spike marks by "Matthew Breton" 28. Re: Lab Fees for Tech courses? by "Ray-Pfeifer, Merel" 29. Re: Indoor pond with a waterfall by "Jim at TheatreWireless.com" 30. Re: spike marks by SS 31. Re: Indoor pond with a waterfall by Bill Sapsis 32. Re: spike marks by "Matthew Breton" 33. Re: spike marks by "Paul Schreiner" 34. Re: spike marks by "Mike Burnett" 35. Re: spike marks by "Jeffrey E. Salzberg" 36. Re: Opening ceremonies of the Olympic Winter Games by FrankWood95 [at] aol.com 37. Re: Indoor pond with a waterfall by "Davis, Thomas J" 38. Re: indoor pond by FrankWood95 [at] aol.com 39. Re: Halation in profile spots by Ford Sellers 40. Re: Halation in profile spots by FrankWood95 [at] aol.com 41. Re: Halation in profile spots by Noemi Ybarra 42. Re: Halation in profile spots by Noemi Ybarra 43. Re: Halation in profile spots by FrankWood95 [at] aol.com 44. Re: Halation in profile spots by FrankWood95 [at] aol.com 45. Re: Indoor pond with a waterfall by FrankWood95 [at] aol.com 46. Re: Halation in profile spots by FrankWood95 [at] aol.com 47. Re: Halation in profile spots by "Jeffrey E. Salzberg" 48. Re: Pictures by "G. D. George" 49. Re: spike marks by Richard Keith 50. Re: Indoor pond with a waterfall by Richard Keith 51. Re: Pictures by Steve Larson 52. Re: Pictures by FrankWood95 [at] aol.com 53. Re: spike marks by "Josh Ratty" 54. Re: spike marks by Bruce Purdy 55. Re: Pictures by "Zirngibl, Ryan John" 56. Re: spike marks by "Idaho Scenic and Rigging" 57. Re: If your bored by Dale Farmer 58. Re: Halation in profile spots by Dale Farmer 59. Re: Lab Fees for Tech courses? by Dale Farmer 60. Re: Pictures by rwhitco [at] comcast.net 61. Re: Opening ceremonies of the Olympic Winter Games by "Bill Nelson" 62. Re: Halation in profile spots by "Bill Nelson" *** 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. ---------------------------------------------------------------------- From: IAEG [at] aol.com Message-ID: <234.6cd4164.3121d4ca [at] aol.com> Date: Mon, 13 Feb 2006 07:25:46 EST Subject: Re: Opening ceremonies of the Olympic Winter Games In a message dated 2/12/06 9:40:09 PM, chip.a.wood [at] gmail.com writes: << Though the Canadian women's curling team did put out--I mean, publish--a nude calendar this past year IIRC to raise funds and supporters. Haven't seen it, though. >> Australia's female soccer or field hockey , , don't recall which, , did the same four years ago best regards, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <20060213133838.10920.qmail [at] web50610.mail.yahoo.com> Date: Mon, 13 Feb 2006 05:38:38 -0800 (PST) From: b Ricie Subject: indoor pond In-Reply-To: >>>Sorry to disagree Jon, and I hate to name drop, but my figures come directly from an MIT trained Engineer I was in on this build with Brian and I saw the calculations (which were beyond me, so I can neither confirm or refute their validity.) However, I remember it as the greatest outward pressure being 1/3 the way up the side from the floor and that that figure was not universal but a product of our particular pool size and shape. OK, not much help, but I've been out of touch for a while and wanted to speak up. Chris Ex Cape Cod TD, now South Carolina based freelancer.<<< MMMMM Crow tastes good today. Bad memory good notes. It is indeed 1/3 from the bottom, but not the bottom. If I can find the calculations I will post them, but as I have said in the past, DO THE MATH. DO not rely on gut's or I think's. 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: <6.2.3.4.2.20060213085424.01f92bb8 [at] pop.service.ohio-state.edu> Date: Mon, 13 Feb 2006 09:04:51 -0500 From: Richard Keith Subject: Re: Indoor pond with a waterfall In-Reply-To: References: yes, several times... First, Depending upon size and effect, buy the pond liners and felt sub-liner and remind students not to screw liner at bottom. Build your frame to handle the weight of the water. I made my own rocks out of foam that I sealed. Most pond pumps give info to get proper pump size for lift of water and flow. At home I believe I still have the links I used. Really Quite easy. Added lights to pond for great effect for night scenes. The major problem we have had is that the water fall can become too LOUD for the director and that we have to have more intermissions for bathroom breaks. It will take some playing with flow and how much of a free drop into pond to achieve effect. Also, If actors are falling into the water, it will get cold. A floating water heater helps. Any splashed water tends to seep under pond and warp floor. Plus plan how you are going to remove the water at end of show. Also consider putting a bio tablet in water to keep down bacteria build-up. Richard Keith Mansfield OSU At 11:44 PM 2/10/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Has any one here built and indoor water effect including a water >fall? If so, I would love some hints on where to look for some "hoe >too" information. As well as any insight you may have.... > > >-- >Brian James > >Everyone has a photographic memory, some people just don't have film" > ------------------------------ Message-Id: <6.2.1.2.2.20060213093330.03816978 [at] postoffice8.mail.cornell.edu> Date: Mon, 13 Feb 2006 09:34:29 -0500 From: Ford Sellers Subject: Re: Halation in profile spots In-Reply-To: References: CHROMATIC ABBERATION..... ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Message-ID: <43F0A332.4050801 [at] fredonia.edu> Date: Mon, 13 Feb 2006 10:18:10 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Halation in profile spots References: It is called chromatic aberration and to my understanding, what you are seeing is light rays refracted in a diffuse, random fashion at the very edge of a PC lens where there is a narrow flat area about 3/16" wide around the rim. This means that the Plano and Convex side don't come together at a point. The flat rim helps to prevent chipping and cracking of the lens. The flat edge acts like a prism, but not a very good one as it is not polished, just a sort of smooth casting. HTH. Steve Rees The other Steve Stephen LItterst wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Since I haven't kicked up enough of a ruckus lately, I figured I'd toss > another question out there. > > Halation in an ERS. Those stray beams of light that make getting a > sharp focus on templates problematic and keep us from getting perfect > shutter cuts. > This is a result of the rays of light that are transmitting directly > from the lamp to the lens, bypassing the ellipsoidal reflector? Or is > there a different cause? > > Steve Litterst > Troublemaker > slitterst [at] ithaca.edu ------------------------------ In-Reply-To: References: Message-Id: From: Jerry Durand Subject: Re: Transparent Aluminum Date: Mon, 13 Feb 2006 07:24:57 -0800 On Feb 13, 2006, at 12:06 AM, Herrick Goldman wrote: > Oh good! Can we save the whales now? Not if it in any way bothers big business. :( BTW, in that article I notice it says metallic glass isn't transparent but you can see through the piece the guy's holding. Maybe they meant it isn't water clear? ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 13 Feb 2006 10:29:03 -0500 From: simmel [at] maine.edu Subject: Re: Lab Fees for Tech courses? Dear List: Next Fall we will be changing to a 4 credit per course curriculum, adding Lab components to almost all our technical courses: Scenic, Lighting, Costume, Makeup as well as the introduction of new CAD courses in each of the design areas. As Chair, I've been given the task to establish what "Course Fees" should be attached to each of these areas. I was wondering if individuals would share with me, off List if they wish, what Lab fees they require of their students in their technical courses., or what Fees they think are reasonable. I know the last part may be difficult not knowing what is being required as far as projects and such for each class. However, some ballpark figures would be helpful for me to put together a proposal for the Provost. Thanks Peter Simmel U of M ------------------------------ Message-ID: <16864416.1139845180438.JavaMail.root [at] elwamui-hybrid.atl.sa.earthlink.net> Date: Mon, 13 Feb 2006 10:39:40 -0500 (EST) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Lab Fees for Tech courses? Peter.... How much additional cost will the department be incurring? Well, other than the addition of the CAD, which I'd say is part of the assumed cost of teaching today's technology. Will the lab hours be used towards getting departmental productions up, or will they exist "on their own"? For example, will the scenic students be building scenery for the next show, or will they be building things that are _only_ for the class? Many programs have "lab hours" which are well-intentioned (getting people to work in each department) but often end up being a source of "production fodder". --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- >From: simmel [at] maine.edu > >Dear List: Next Fall we will be changing to a 4 credit per course >curriculum, adding Lab components to almost all our technical >courses: Scenic, Lighting, Costume, Makeup as well as the >introduction of new CAD courses in each of the design areas. As >Chair, I've been given the task to establish what "Course Fees" >should be attached to each of these areas. I was wondering if >individuals would share with me, off List if they wish, what Lab fees >they require of their students >in their technical courses., or what Fees they think are reasonable. >I know the last part may be difficult not knowing what is being >required as far as projects and such for each class. However, some >ballpark figures would be helpful for me to put together a proposal >for the Provost. > >Thanks > >Peter Simmel >U of M ------------------------------ Message-Id: <6.2.1.2.2.20060213102554.03616ad0 [at] postoffice8.mail.cornell.edu> Date: Mon, 13 Feb 2006 10:43:55 -0500 From: Ford Sellers Subject: Re: Halation in profile spots In-Reply-To: References: Ok Steve, I'll take yer serve... Chromatic abberation caused by the different ways that different wavelengths of light are diffracted by a lens. This causes the colorful halo around a sharply focused Gobo, or shutter cut. SOME of the instruments we use now have "achromatic lenses", which help eliminate abberation. However, ANY impurities in the focal train (dust, a freshman's fingerprints, etc) will add to the slop made by the slight wiggle in our barrels, and all of the other inconsistencies that we deal with in real world applications, as opposed to in the laboratory. my $.02 Steve?...Volley? At 09:46 PM 2/12/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Since I haven't kicked up enough of a ruckus lately, I figured I'd toss >another question out there. > >Halation in an ERS. Those stray beams of light that make getting a sharp >focus on templates problematic and keep us from getting perfect shutter cuts. >This is a result of the rays of light that are transmitting directly from >the lamp to the lens, bypassing the ellipsoidal reflector? Or is there a >different cause? > >Steve Litterst >Troublemaker >slitterst [at] ithaca.edu ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Date: Mon, 13 Feb 2006 10:44:43 -0500 From: Stephen Litterst Subject: Re: Transparent Aluminum In-reply-to: Message-id: <43F0A96B.8040404 [at] ithaca.edu> References:

> --------------------------------------------------- > On Feb 13, 2006, at 12:06 AM, Herrick Goldman wrote: > >> Oh good! Can we save the whales now? Knock yourself out. Collect the whole set. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 13 Feb 2006 15:53:39 GMT Subject: Re: Lab Fees for Tech courses? Message-Id: <20060213.075407.10965.84102 [at] webmail36.lax.untd.com> Dear Peter, It sounds like the administration is creating a situation where the stud= ents may be paying for the privilege of performing slave labor to build = shows. I am well aware that SOMEONE has to build and run the shows, but = this is NOT the value system that should be instilled upon a future thea= trical workforce in training. Could 'Work-Study' dollars be given the st= udents involved so they at least they break even? /s/ Richard ___________________________________ >Dear List: Next Fall we will be changing to a 4 credit per course = >curriculum, adding Lab components to almost all our technical = >courses: Scenic, Lighting, Costume, Makeup as well as the = >introduction of new CAD courses in each of the design areas. As = >Chair, I've been given the task to establish what "Course Fees" = >should be attached to each of these areas. I was wondering if = >individuals would share with me, off List if they wish, what Lab fees t= hey require of their students>in their technical courses., or what Fees = they think are reasonable. = >Thanks >Peter Simmel ------------------------------ Date: Mon, 13 Feb 2006 11:10:12 -0500 From: Stephen Litterst Subject: Re: Halation in profile spots In-reply-to: Message-id: <43F0AF64.5000603 [at] ithaca.edu> References:

Ford Sellers wrote: > --------------------------------------------------- > > Ok Steve, I'll take yer serve... > > Chromatic abberation caused by the different ways that different > wavelengths of light are diffracted by a lens. This causes the colorful > halo around a sharply focused Gobo, or shutter cut. SOME of the > instruments we use now have "achromatic lenses", which help eliminate > abberation. However, ANY impurities in the focal train (dust, a > freshman's fingerprints, etc) will add to the slop made by the slight > wiggle in our barrels, and all of the other inconsistencies that we deal > with in real world applications, as opposed to in the laboratory. > > my $.02 > > Steve?...Volley? Nice return. So what so many of my teachers and textbooks have referred to as "halation" is simply chromatic aberration? And the incident rays of light from the lamp don't have anything to do with halation/chromatic aberration? And now my volley -- if chromatic aberration is the cause of irregular template focus, why does dropping a donut in *beyond the lens* clean up the the template focus? The donut isn't refracting the rays of light to make the meet up in the same plane. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Lab Fees for Tech courses? Date: Mon, 13 Feb 2006 11:14:39 -0500 What do lab fees cover in other courses? In chemistry, for instance, they're going to cover the cost of material which the students wouldn't otherwise have access to -- sulfuric acid, molybdynium, or whatever it is kids play with these days. What's the parallel in theater? The lumber for the set? That should already be a budgeted item. Tools? Ditto. *Maybe* you can justify these items as lab fees to the administration; I suspect you'd have a harder time doing so to a colleague, yet alone a student. Define what the lab fee covers, and I think you'll find your answer. Matthew Breton Technical Director Cambridge Family YMCA Theater (617) 447-5261 (cell) www.cambymca.org >From: simmel [at] maine.edu >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Lab Fees for Tech courses? >Date: Mon, 13 Feb 2006 10:29:03 -0500 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Dear List: Next Fall we will be changing to a 4 credit per course >curriculum, adding Lab components to almost all our technical courses: >Scenic, Lighting, Costume, Makeup as well as the introduction of new CAD >courses in each of the design areas. As Chair, I've been given the task to >establish what "Course Fees" should be attached to each of these areas. I >was wondering if individuals would share with me, off List if they wish, >what Lab fees they require of their students >in their technical courses., or what Fees they think are reasonable. I know >the last part may be difficult not knowing what is being required as far as >projects and such for each class. However, some ballpark figures would be >helpful for me to put together a proposal for the Provost. > >Thanks > >Peter Simmel >U of M _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee� Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Message-ID: <000901c630b8$c11bfb30$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Halation in profile spots Date: Mon, 13 Feb 2006 08:15:49 -0800 > Nice return. So what so many of my teachers and textbooks have referred > to as "halation" is simply chromatic aberration? And the incident rays of > light from the lamp don't have anything to do with halation/chromatic > aberration? Everyone just hang tight. Frank will be chiming in with the undisputed and complete truth very soon... and I guarantee you all have it "wrong and wrong." The Great and Knowing Physicist and Beeb Engineer will reveal all.... - Jon Ares www.hevanet.com/acreative ------------------------------ Subject: RE: Lab Fees for Tech courses Date: Mon, 13 Feb 2006 10:16:25 -0600 Message-ID: <2121C6A125DFE64FAC02D41B52C3391602585F0D [at] msc.uwgb.edu> From: "Rock, Michael Edward" So far I have only taken two tech theater courses and both had lab fees. = In stagecraft the fee was $20 and that covered wood for projects and = rope. The class meet Tuesdays and Thursdays for 75 minutes as well as a = 3 hour lab Friday afternoon. One hour of the lab was spent on safety and = the other two hours were spent on projects, no show work was to be done = in lab except when the saw shop was full. (split the class in half, = seven working on the project and 7 on stage doing show work then flip = next week.) =20 For stage lighting the fee was $20 and that covered an adjustable end = wrench (or in my case as I had a few already I got a needle noose pliers = and a lineman's pliers) a 1/4 plan view lighting template and a color = swatch book. The class meets Wednesday and Friday for two hours with = several onsite and offsite light hangs and plenty of projects.=20 =20 Show work is done by practicum students. All practicums are one credit = and do not have a course fee.=20 =20 As a student I have no problem with a $20 fee for it is a drop in the = bucket on the total cost of schooling. =20 Hope this helps Mike =20 ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 13 Feb 2006 11:36:09 -0500 From: simmel [at] maine.edu Subject: Re: Lab Fees for Tech courses? > > >Peter.... > >How much additional cost will the department be incurring? Well, >other than the addition of the CAD, which I'd say is part of the >assumed cost of teaching today's technology. The department will not(directly) be incurring any additional cost. The new faculty will be receiving monies for each of the courses, that amount has yet to be determined. Most likely the new CAD monies will come from Computer Center who will request their own increase to cover the cost of software and such. Departments can make a request for a "pot" of what is know as "Tech Fee Monies" at the end of the year to purchase new equipment, repair, upgrade. Generally, it's not for new or replacement material. > >Will the lab hours be used towards getting departmental productions >up, or will they exist "on their own"? For example, will the scenic >students be building scenery for the next show, or will they be >building things that are _only_ for the class? I really don't know, the new faculty will be determining that aspect of their courses. I image it will be a combination of both. However, they might be separate. > >Many programs have "lab hours" which are well-intentioned (getting >people to work in each department) but often end up being a source >of "production fodder". The directive from the Provost and the President when we began the change to 4 credits is that it could not just be the "old 3 credit courses re-cycled into 4 credits" without additional contact time and more in-depth work within each discipline. We have other Theatre courses-Acting and Technical I, II where students receive credit for participation and working on productions in performance, design and construction or technical running crews. The new Lab hours for the courses can not be used to "assign" students to productions. However, the new Stage Management course does require the student to assume, before he/she receives credit for the class, the role of a stage manager for a main stage production. Peter U of M > > >--Sean > >Sean R. McCarthy >seanrmc [at] earthlink.net > > > >-----Original Message----- >>From: simmel [at] maine.edu >> >>Dear List: Next Fall we will be changing to a 4 credit per course >>curriculum, adding Lab components to almost all our technical >>courses: Scenic, Lighting, Costume, Makeup as well as the >>introduction of new CAD courses in each of the design areas. As >>Chair, I've been given the task to establish what "Course Fees" >>should be attached to each of these areas. I was wondering if >>individuals would share with me, off List if they wish, what Lab fees >>they require of their students >>in their technical courses., or what Fees they think are reasonable. >>I know the last part may be difficult not knowing what is being >>required as far as projects and such for each class. However, some >>ballpark figures would be helpful for me to put together a proposal >>for the Provost. >> >>Thanks >> >>Peter Simmel >>U of M ------------------------------ In-Reply-To: References:

Message-Id: From: Jerry Durand Subject: Re: Halation in profile spots Date: Mon, 13 Feb 2006 08:38:09 -0800 On Feb 13, 2006, at 8:15 AM, Jon Ares wrote: > Everyone just hang tight. Frank will be chiming in with the > undisputed and complete truth very soon... and I guarantee you all > have it "wrong and wrong." The Great and Knowing Physicist and > Beeb Engineer will reveal all.... But you must remember that UK light flows on the left while the rest of us have it flow on the right. :) ------------------------------ From: "JUSTIN DAVID BENNETT" Subject: RE: Halation in profile spots Date: Mon, 13 Feb 2006 10:42:57 -0600 In-Reply-To: Message-ID: My understanding has always been that a lens is most precise in doing it's job near the center and that aberrations occur near the edge of the lens (as has been said here already). All a donut does is block the aberrant rays, and allow the well behaved ones to continue on. Accordingly, there is a drop in intensity. Justin Bennett Technical Director / Theatre Manager St. Philip's College - Watson Fine Arts Center jbennett43 [at] mail.accd.edu (210) 531-4706 Office (210) 531-4768 Fax -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen Litterst And now my volley -- if chromatic aberration is the cause of irregular template focus, why does dropping a donut in *beyond the lens* clean up the the template focus? The donut isn't refracting the rays of light to make the meet up in the same plane. ------------------------------ Message-Id: Date: Mon, 13 Feb 2006 11:38:24 -0500 From: "LES LIND" Subject: spike marks I've just put up with it up to this point. But now I'm asking... What do you all use for spiking set pieces. Here at the high school I've tried cloth half inch spike tape but that seems to curl up and come off when the dancers dance on it. What works best for us is two inch masking tape. Dancing and non-castered moving sets doesn't seem to bother it because it just tears out chuncks of tape rather than pull up the entire piece. It is difficult to remove however. I haven't tried gaffers tape cause it seems a bit expensive for that use. Just wondering... Les Les Lind Northeastern High School Manchester, PA ------------------------------ Message-ID: <22268.207.177.227.29.1139849242.squirrel [at] sujan.hallikainen.org> In-Reply-To: References:

Date: Mon, 13 Feb 2006 08:47:22 -0800 (PST) Subject: analog control inverter? From: "Harold Hallikainen" I've got a customer whose console outputs analog control that is 0 to -12V. Our dimmers accept 0 to +10V control (and DMX!). Before I build something custom, does anyone know of a 12 channel inverting amplifier for such applications? THANKS!!! Harold -- FCC Rules Updated Daily at http://www.hallikainen.com ------------------------------ Message-ID: <43F0B8F6.7060406 [at] dreampossible.ca> Date: Mon, 13 Feb 2006 11:51:02 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Indoor pond with a waterfall References:

In-Reply-To: Richard Keith wrote: > Build your > frame to handle the weight of the water. One thing I don't remember seeing mentioned. Make sure your stage floor can handle the weight - water is damn HEAVY. -- Jim Hyslop ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: spike marks Date: Mon, 13 Feb 2006 11:53:29 -0500 Message-ID: <003a01c630be$0445a370$6501a8c0 [at] Dell> In-Reply-To: The cloth spike tape *is* gaffers' tape. I hate it, for exactly the reason you cite. I find the best spike tape to be colored electrical tape (available at your local hardware store or Home Despot). The important thing to remember is that it must be cut with a scissors or knife; if you tear it by hand, it puckers up and won't stay down. > I've just put up with it up to this point. But now I'm > asking... What do you all use for spiking set pieces. Here at > the high school I've tried cloth half inch spike tape but > that seems to curl up and come off when the dancers dance on > it. What works best for us is two inch masking tape. Dancing > and non-castered moving sets doesn't seem to bother it > because it just tears out chuncks of tape rather than pull up > the entire piece. It is difficult to remove however. I > haven't tried gaffers tape cause it seems a bit expensive for > that use. Just wondering... Les ------------------------------ In-Reply-To: References: Message-Id: From: "Daniel O'Donnell" Subject: Re: spike marks Date: Mon, 13 Feb 2006 11:56:02 -0500 Half in spike tape, covered with 2 inch clear packing tape. On Feb 13, 2006, at 11:38 AM, LES LIND wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > I've just put up with it up to this point. But now I'm asking... > What do you all use for spiking set pieces. Here at the high school > I've tried cloth half inch spike tape but that seems to curl up and > come --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ Message-Id: Date: Mon, 13 Feb 2006 11:56:55 -0500 From: "Jeffrey Kanyuck" Subject: Re: spike marks Les, We use the half in gaff then cover it with the clear dance floor tape. If you haven't ever seen it here's a weblink for it.. and no i'm not trying to sell it. Though this is the company I use as they have terrific prices even with shipping. http://www34.pair.com/harrison/thetapeworks.com/PT06.htm Jeff >>> lindl [at] nesd.k12.pa.us 2/13/2006 11:38:24 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I've just put up with it up to this point. But now I'm asking... What do you all use for spiking set pieces. Here at the high school I've tried cloth half inch spike tape but that seems to curl up and come off when the dancers dance on it. What works best for us is two inch masking tape. Dancing and non-castered moving sets doesn't seem to bother it because it just tears out chuncks of tape rather than pull up the entire piece. It is difficult to remove however. I haven't tried gaffers tape cause it seems a bit expensive for that use. Just wondering... Les Les Lind Northeastern High School Manchester, PA ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 13 Feb 2006 11:55:21 -0500 From: simmel [at] maine.edu Subject: Re: Lab Fees for Tech courses? > > >What do lab fees cover in other courses? In=20 >chemistry, for instance, they're going to cover=20 >the cost of material which the students wouldn't=20 >otherwise have access to -- sulfuric acid,=20 >molybdynium, or whatever it is kids play with=20 >these days. The Lab fees we have now covers different=20 elements. In Stage Makeup, they cover the cost of=20 each student receiving a customized Makeup Kit=20 for all the course assignments including facial=20 hair(beards) bald cap, etc. It also covers some=20 general Makeup cost such as facial creme, cotton=20 swabs, sponges. Also for replacement from the=20 general Theatre Makeup stock (Clown white always=20 seems to run out as does spirit gum) In Costumes it's for "general supplies" students=20 use in their construction, Computer paper for CAD=20 projects. New, Replacement and Repaired=20 equipment, etc. comes from General Theatre Funds. > >What's the parallel in theater? The lumber for=20 >the set? That should already be a budgeted=20 >item. Tools? Ditto. *Maybe* you can justify=20 >these items as lab fees to the administration; I=20 >suspect you'd have a harder time doing so to a=20 >colleague, yet alone a student. The above is in budget for each show.(Wood, etc)=20 New, Replacement-Repair Power and Hand tools=20 comes from the universities General Tech fee=20 monies- General Theatre Funds or Student Senate=20 money request. > >Define what the lab fee covers, and I think you'll find your answer. That's part of my request. Not being a Tech=20 person, but with new Tech faculty coming in next=20 year-I need to make the request now for the Fall.=20 I was hoping the List members might provide=20 examples of what they consider appropriate course fees for=20 "whatever" they use the monies for in their=20 classes. (Not Production costs) > > >Matthew Breton >Technical Director >Cambridge Family YMCA Theater >(617) 447-5261 (cell) >www.cambymca.org > > > > >>From: simmel [at] maine.edu >>Reply-To: "Stagecraft" >>To: "Stagecraft" >>Subject: Re: Lab Fees for Tech courses? >>Date: Mon, 13 Feb 2006 10:29:03 -0500 >> >>For info, archives & UNSUBSCRIBE, see >>--------------------------------------------------- >> >>Dear List: Next Fall we will be changing to a 4=20 >>credit per course curriculum, adding Lab=20 >>components to almost all our technical courses:=20 >>Scenic, Lighting, Costume, Makeup as well as=20 >>the introduction of new CAD courses in each of=20 >>the design areas. As Chair, I've been given the=20 >>task to establish what "Course Fees" should be=20 >>attached to each of these areas. I was=20 >>wondering if individuals would share with me,=20 >>off List if they wish, what Lab fees they=20 >>require of their students >>in their technical courses., or what Fees they=20 >>think are reasonable. I know the last part may=20 >>be difficult not knowing what is being required=20 >>as far as projects and such for each class.=20 >>However, some ballpark figures would be helpful=20 >>for me to put together a proposal for the=20 >>Provost. >> >>Thanks >> >>Peter Simmel >>U of M > >_________________________________________________________________ >Is your PC infected? Get a FREE online computer=20 >virus scan from McAfee=AE Security.=20 >http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3D3963 ------------------------------ Date: Mon, 13 Feb 2006 12:04:22 -0500 Subject: Re: Lab Fees for Tech courses From: Steve Shelley Message-ID: In-Reply-To: Hello mike; Hopefully the 1/4" plan view lighting template was green, and had the instruments horizontally distributed on 1'-6" centered and vertically aligned on their hanging point? And had the symbols for all the latest and up to date conventional and moving light fixtures? Just checking. If you got a blue one, you got stuck with yesterday's technology. Shelley On 2/13/06 11:16 AM, "Rock, Michael Edward" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > So far I have only taken two tech theater courses and both had lab fees. In > stagecraft the fee was $20 and that covered wood for projects and rope. The > class meet Tuesdays and Thursdays for 75 minutes as well as a 3 hour lab > Friday afternoon. One hour of the lab was spent on safety and the other two > hours were spent on projects, no show work was to be done in lab except when > the saw shop was full. (split the class in half, seven working on the project > and 7 on stage doing show work then flip next week.) > > For stage lighting the fee was $20 and that covered an adjustable end wrench > (or in my case as I had a few already I got a needle noose pliers and a > lineman's pliers) a 1/4 plan view lighting template and a color swatch book. > The class meets Wednesday and Friday for two hours with several onsite and > offsite light hangs and plenty of projects. > > Show work is done by practicum students. All practicums are one credit and do > not have a course fee. > > As a student I have no problem with a $20 fee for it is a drop in the bucket > on the total cost of schooling. > > Hope this helps > Mike -- Steve Shelley (212) 865-2969 home (917) 334-7625 cell (212) 749-9117 fax MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: spike marks Date: Mon, 13 Feb 2006 12:07:53 -0500 I've used both half-inch spike tape and colored electric tape with great success. I generally try and get a color reasonably close to the floor color, just in case the audience sees it. Whichever you use, cover it with some clear packing tape, or it'll pick up on performer's feet before opening night. I absolutely *hate* masking tape. Matthew Breton Technical Director Cambridge Family YMCA Theater (617) 447-5261 (cell) www.cambymca.org >From: "LES LIND" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: spike marks >Date: Mon, 13 Feb 2006 11:38:24 -0500 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I've just put up with it up to this point. But now I'm asking... >What do you all use for spiking set pieces. Here at the high school >I've tried cloth half inch spike tape but that seems to curl up and come >off when the dancers dance on it. What works best for us is two inch >masking tape. Dancing and non-castered moving sets doesn't seem to >bother it because it just tears out chuncks of tape rather than pull up >the entire piece. It is difficult to remove however. I haven't tried >gaffers tape cause it seems a bit expensive for that use. >Just wondering... >Les > > >Les Lind >Northeastern High School >Manchester, PA > > _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Date: Mon, 13 Feb 2006 12:17:58 -0500 Subject: Re: Lab Fees for Tech courses? From: "Ray-Pfeifer, Merel" Message-ID: In-Reply-To: I would suggest you start with a list of the projects (outside of the show builds) that you plan to have them complete and do a cost out for each. Are you going to need more tools to accomidate more hands? Try to keep lab size as small as you can comfprtably handle. Emphasize the safety element with the bean counters, or the tool/equipment requirements. How many screw guns do you own, enough for a full class? We don't have lab fees, but my students learn by building the set for the show. Classroom supplies come out of a different budget. I try to make it a learning experience for them not a working experience. Merel > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dear List: Next Fall we will be changing to a 4 credit per course > curriculum, adding Lab components to almost all our technical > courses: Scenic, Lighting, Costume, Makeup as well as the > introduction of new CAD courses in each of the design areas. As > Chair, I've been given the task to establish what "Course Fees" > should be attached to each of these areas. I was wondering if > individuals would share with me, off List if they wish, what Lab fees > they require of their students > in their technical courses., or what Fees they think are reasonable. > I know the last part may be difficult not knowing what is being > required as far as projects and such for each class. However, some > ballpark figures would be helpful for me to put together a proposal > for the Provost. > > Thanks > > Peter Simmel > U of M ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: Indoor pond with a waterfall Date: Mon, 13 Feb 2006 12:32:00 -0500 In-Reply-To: Message-Id: <20060213173207.ZLWG13653.tomts36-srv.bellnexxia.net [at] p3m866> > One thing I don't remember seeing mentioned. Make sure your > stage floor can handle the weight - water is damn HEAVY. Estimate 10 pounds per gallon of water. My 38-gallon fish tank doesn't really look very big but weighs 400 pounds including water, glass, lamps, pumps, and other stuff in the tank. It has re-inforcements across the top to keep the sides together. A smaller 10 gallon tank I have lacks the re-inforcements across the top, and you can see the sides bowing out -- the lid no longer fits properly. And that's a very small tank. Both tanks are 1/4-inch thick glass, but I don't know what kind of glass. Jim www.theatrewireless.com ------------------------------ Message-ID: <8231e7ea0602130940j7d3da8ebk6bcaa589507e95ab [at] mail.gmail.com> Date: Mon, 13 Feb 2006 12:40:00 -0500 From: SS Subject: Re: spike marks In-Reply-To: References: Half inch spike (of the vinyl variety), with clear dance tape, or J-Lar tape (someone in film correct me if I'm wrong here, same or no?!!) seems to work best on Marley floors. No peeling, and very little to no stickys. Not to shoot down Daniel or Matthew's comments, but packing tape doesn't always peel nicely, and IMHO tends to leave a residue. Otherwise, half inch spike (gaff/cloth). HTH -SS TTS-EKU ------------------------------ Date: Mon, 13 Feb 2006 12:47:21 -0500 Subject: Re: Indoor pond with a waterfall From: Bill Sapsis Message-ID: In-Reply-To: How much do the fish weigh? On 2/13/06 12:32 PM, "Jim at TheatreWireless.com" wrote: > Estimate 10 pounds per gallon of water. My 38-gallon fish tank doesn't > really look very big but weighs 400 pounds including water, glass, lamps, > pumps, and other stuff in the tank. It has re-inforcements across the top > to keep the sides together. ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: spike marks Date: Mon, 13 Feb 2006 13:02:10 -0500 >Not to shoot down Daniel or Matthew's comments, but packing tape >doesn't always peel nicely, and IMHO tends to leave a residue. You don't have to shoot it down, because I agree -- it doesn't always peel nicely. On the other hand, I haven't found any tape that'll stay down by itself, or anything else that'll cover it as nicely. I'm open to suggestions! -- Matt _________________________________________________________________ On the road to retirement? Check out MSN Life Events for advice on how to get there! http://lifeevents.msn.com/category.aspx?cid=Retirement ------------------------------ Subject: RE: spike marks Date: Mon, 13 Feb 2006 13:06:29 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B47 [at] exchange.rmwc.edu> From: "Paul Schreiner" > >Not to shoot down Daniel or Matthew's comments, but packing tape=20 > >doesn't always peel nicely, and IMHO tends to leave a residue. I'll second the spike tape plus packing tape vote...with a couple of notes. Yes, packing tape doesn't always peel up nicely, but it's a helluva lot better than dealing with masking tape IMO. It's also a lot easier if one makes certain to leave a courtesy tab. This approach makes painting your stage floor a bit of an easier process as well, because you don't need to pull up your spikes to do your show painting (and then have to respike all your furniture). Go with care, and you can just wipe the fresh paint off the packing tape as you go. Even if you don't use the packing tape over spike tape, it is HIGHLY recommended to do so when you're relying on glow tape... ------------------------------ Subject: RE: spike marks Date: Mon, 13 Feb 2006 13:12:20 -0500 Message-ID: From: "Mike Burnett" Paint markers. Nothing to pull up. If you spike the wrong place, just paint over and start again. I've found that you can also make little notes (letters mainly) that remind people of what is where on the floor. And, they come in a variety of colors, so multi scene shows are easy to handle, as is blending the mark into the floor treatment, should that be needed. MB ________________________________________________________________________ _ Mike Burnett, M.F.A. Assistant Professor of Theatre Chair, Department of Theatre =20 Huntington University Impact your World...for Christ...in Scholarship...through Service =20 260-359-4279 office 260-359-4249 fax =20 mburnett [at] huntington.edu www.huntington.edu/theatre =20 =20 Let us not become weary in doing good, for at the proper time we will reap a harvest if we do not give up. =20 Therefore, as we have opportunity, let us do good to all people, especially to those who belong to the family of believers =20 Galatians 6:9-10=20 =20 "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." --Hamlet (I, v, 166-167) =20 ________________________________________________________________________ _ =20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of LES LIND Sent: Monday, February 13, 2006 11:38 AM To: Stagecraft Subject: spike marks For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I've just put up with it up to this point. But now I'm asking... What do you all use for spiking set pieces. Here at the high school I've tried cloth half inch spike tape but that seems to curl up and come off when the dancers dance on it. What works best for us is two inch masking tape. Dancing and non-castered moving sets doesn't seem to bother it because it just tears out chuncks of tape rather than pull up the entire piece. It is difficult to remove however. I haven't tried gaffers tape cause it seems a bit expensive for that use. Just wondering... Les Les Lind Northeastern High School Manchester, PA ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: spike marks Date: Mon, 13 Feb 2006 13:21:03 -0500 Message-ID: <003f01c630ca$403833f0$6501a8c0 [at] Dell> In-Reply-To: > nicely. On the other hand, I haven't found any tape that'll > stay down by > itself, As I said in another message, vinyl electrical tape, when applied correctly (cut, not torn) does very well. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f6.1b33a792.312228a2 [at] aol.com> Date: Mon, 13 Feb 2006 13:23:30 EST Subject: Re: Opening ceremonies of the Olympic Winter Games In a message dated 13/02/06 09:15:05 GMT Standard Time, dorian [at] essex.ac.uk writes: > I remember a marconi Mk 4 being dropped down a concrete staircase. It > still worked after minor repair. They built them strong, in those days. I remember a Marconi monitor being dropped on one corner. It was a funny shape afterwards, so we dropped it on the opposite corner to straighten it up. It survived. Frank Wood ------------------------------ Subject: RE: Indoor pond with a waterfall Date: Mon, 13 Feb 2006 13:32:50 -0500 Message-ID: <3CF87682970858499CA56707FB1F092BD60D2E [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" I didn't see a lot of information on the size or precise use of this pond (maybe I missed something). There has been some good advice and a lot of amusing discussion on calculus that most of us can't do, but remember 2 things.... 1- As already mentioned-the weight. A gallon is actually a lot smaller than it looks. The water weighs about 8 lbs. per gallon, but there are 8 gallons (roughly) in a cubic foot- water weighs 64 lbs. per cubic foot. I am not kidding, look it up. I've had designers who assumed, based on their personal assessment of the size of a milk jug, that there were maybe 2 gallons in a cubic foot, and were shocked when the bid came in for the support structure. (I helped build a large fountain that had to roll on and off stage, you should have seen the casters and framing under that thing) 2- Make absolutely, positively certain that your pond and your electricity remain mutually exclusive. I built a flooded basement for a TV commercial once, and the lighting guy really, really wanted to put a light stand in the middle of the (flooded) floor, with several humans standing in the water. Luckily, I had foreseen the eventuality and put it in the contract with the producer that no lighting or audio equipment (or stands, or tables supporting such) could be put in the water. Tom D -----Original Message----- --------------------------------------------------- From Bill: How much do the fish weigh? On 2/13/06 12:32 PM, "Jim at TheatreWireless.com" wrote: > Estimate 10 pounds per gallon of water. My 38-gallon fish tank doesn't > really look very big but weighs 400 pounds including water, glass, lamps, > pumps, and other stuff in the tank. It has re-inforcements across the top > to keep the sides together. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19f.457b4f7a.31222b1d [at] aol.com> Date: Mon, 13 Feb 2006 13:34:05 EST Subject: Re: indoor pond In a message dated 13/02/06 13:39:15 GMT Standard Time, b_ricie [at] yahoo.com writes: > However, I > remember it as the greatest outward pressure being 1/3 > the way up the > side > from the floor and that that figure was not universal > but a product of > our > particular pool size and shape. The pressure in a fluid is a scalar quantity, and is exerted equally in all directions. Since the pressure is greatest at the lowest level, so is the force exerted on the wall. This comes to you direct from a physicist trained at the University of Manchester. Frank Wood ------------------------------ Message-Id: <6.2.1.2.2.20060213133852.030bbea8 [at] postoffice8.mail.cornell.edu> Date: Mon, 13 Feb 2006 13:39:49 -0500 From: Ford Sellers Subject: Re: Halation in profile spots In-Reply-To: References:

What he said!!! >And now my volley -- if chromatic aberration is the cause of irregular >template focus, why does dropping a donut in *beyond the lens* clean up >the the template focus? The donut isn't refracting the rays of light to >make the meet up in the same plane. > >Steve L. >------------------------------------------------------------------------------------------------------------------------------------- >My understanding has always been that a lens is most precise in doing it's >job near the center and that aberrations occur near the edge of the lens (as >has been said here already). All a donut does is block the aberrant rays, >and allow the well behaved ones to continue on. Accordingly, there is a drop >in intensity. > >Justin Bennett ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2d5.2cae7df.312233fa [at] aol.com> Date: Mon, 13 Feb 2006 14:11:54 EST Subject: Re: Halation in profile spots In a message dated 13/02/06 15:15:58 GMT Standard Time, Rees [at] fredonia.edu writes: > It is called chromatic aberration and to my understanding, what you are > seeing is light rays refracted in a diffuse, random fashion at the very > edge of a PC lens where there is a narrow flat area about 3/16" wide > around the rim. This means that the Plano and Convex side don't come > together at a point. The flat rim helps to prevent chipping and > cracking of the lens. The flat edge acts like a prism, but not a very > good one as it is not polished, just a sort of smooth casting. Simple lenses suffer from five distinct aberrations: spherical aberration, chromatic aberration, coma, astigmatism, and one other I forget. Simple geometrical optics works for "thin" lenses, and for lens diameters small by comparison with their focal length. It is based on the approximation that sinA=A for small angles, measured in radians. Up to about 10 degrees, it works reasonably well. In theatre lanterns, none of these is usually true. The lenses are thick, and the angles often large, and they are usually cast. This is why camera and projector lenses are so complicated and expensive. Their lenses are accurately ground, sometimes to non-spherical forms. Mirrors have the same problems, if spherical, save the chromatic aberration. This last is due to the fact that the refractive index of all materials depends on the wavelength of the light. There are noticeable differences between the res end of the spectrum and the blue, the value usually quoted being for the Sodium D-line at 589nm. The cure for this is to use two or more elements of different composition, one positive and one negative. If the spread of refractive index and its D-line value are different, it is possible to get the chromatic aberrations to cancel out, while still keeping the lens action. Frank Wood ------------------------------ Message-ID: <43F0D918.9E880C1A [at] jonesphillips.com> Date: Mon, 13 Feb 2006 14:08:08 -0500 From: Noemi Ybarra Subject: Re: Halation in profile spots References:

One of my favorite terms...fairly trips off the tongue. Noemi Ford Sellers wrote: > CHROMATIC ABBERATION..... ------------------------------ Message-ID: <43F0DA03.B42F9A26 [at] jonesphillips.com> Date: Mon, 13 Feb 2006 14:12:03 -0500 From: Noemi Ybarra Subject: Re: Halation in profile spots References:

Stephen Litterst wrote: > Ford Sellers wrote: > > --------------------------------------------------- > > > > Ok Steve, I'll take yer serve... > > > > Chromatic abberation caused by the different ways that different > > wavelengths of light are diffracted by a lens. This causes the colorful > > halo around a sharply focused Gobo, or shutter cut. > > > > my $.02 > > > > Steve?...Volley? > > Nice return. So what so many of my teachers and textbooks have referred > to as "halation" is simply chromatic aberration? And the incident rays > of light from the lamp don't have anything to do with halation/chromatic > aberration? My understanding was that chromatic aberration caused the "rainbow" ring around the edge of the light beam. Halation is the soft, fuzzy, often irregular "flare" of light. Are they the same, or caused by the same things? Noemi ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <140.55030e8b.31223637 [at] aol.com> Date: Mon, 13 Feb 2006 14:21:27 EST Subject: Re: Halation in profile spots In a message dated 13/02/06 16:11:16 GMT Standard Time, slitterst [at] ithaca.edu writes: > And now my volley -- if chromatic aberration is the cause of irregular > template focus, why does dropping a donut in *beyond the lens* clean up > the the template focus? The donut isn't refracting the rays of light to > make the meet up in the same plane. Because it brings you closer to the optical axis, at the cost of some light. The angles through which the light is being deviated are smaller, and this reduces all the aberrations. To take an extreme example, a pinhole camera has none of them. It is, though not very efficient. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a7.485065e0.312237b2 [at] aol.com> Date: Mon, 13 Feb 2006 14:27:46 EST Subject: Re: Halation in profile spots In a message dated 13/02/06 16:17:27 GMT Standard Time, jonares [at] hevanet.com writes: > Everyone just hang tight. Frank will be chiming in with the undisputed and > complete truth very soon... and I guarantee you all have it "wrong and > wrong." The Great and Knowing Physicist and Beeb Engineer will reveal > all.... Already done. Well, most of it. I had a textbook on the subject, which I can no longer find, so it is all from memory. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <105.71a169c3.31223ae6 [at] aol.com> Date: Mon, 13 Feb 2006 14:41:26 EST Subject: Re: Indoor pond with a waterfall In a message dated 13/02/06 18:32:32 GMT Standard Time, TJDavis [at] westshore.edu writes: > 1- As already mentioned-the weight. A gallon is actually a lot smaller > than it looks. The water weighs about 8 lbs. per gallon, but there are > 8 gallons (roughly) in a cubic foot- water weighs 64 lbs. per cubic > foot. I am not kidding, look it up. A cubic foot of water weighs 62.5 pounds. For those metrically inclined, a litre weighs a kilogram. This is a chunk of water 10cm cube. Near enough 4" cube for 2.2 pounds. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <27a.4c929dc.31223cda [at] aol.com> Date: Mon, 13 Feb 2006 14:49:46 EST Subject: Re: Halation in profile spots In a message dated 13/02/06 19:16:53 GMT Standard Time, noemi [at] jonesphillips.com writes: > My understanding was that chromatic aberration caused the "rainbow" ring > around the edge of the light beam. Halation is the soft, fuzzy, often > irregular "flare" of light. Are they the same, or caused by the same things? > Strictly speaking halation means creating haloes. Chromatic aberration will create coloured ones: spherical aberration plain ones. They are also caused by various reflections which may be present, such as between the rear of the lens and the gobo holder. A dirty lens will do the same job, as will a dirty gel. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Halation in profile spots Date: Mon, 13 Feb 2006 14:53:42 -0500 Message-ID: <004401c630d7$3106f800$6501a8c0 [at] Dell> In-Reply-To: > A dirty lens will do the same job, as > will a dirty gel. Ah, for the good old days of sending people to wash gel.... ------------------------------ From: "G. D. George" Subject: RE: Pictures Date: Mon, 13 Feb 2006 16:11:17 -0500 In-Reply-To: Message-ID: I still shoot 35mm Tungsten Balanced Ektachrome slides of each production. Good color. Slow though. I can push the newer "high speed" ASA 160 to 320, but it's still hard to shoot scenes that are dimly lit without a support. I've been thinking about trying high-speed daylight balanced film with a filter, but havn't got that far yet. I am afraid that anything that fast will go very grainy. Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Saturday, February 11, 2006 1:43 PM To: Stagecraft Subject: Re: Pictures For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 11/02/06 05:50:17 GMT Standard Time, taco [at] peak.org writes: > Apropos of nothing, well, almost nothing, well, okay, I'll just be > long-winded about it. Rarely, if ever, do production photos illustrate, > demonstrate, reflect upon, or even resemble the lighting design as seen in > the theater. Especially as you move down the food chain to smaller and > smaller theaters. It all depends on who takes the photos. I always take a set of the shows I have lit, in addition to the official ones. Since they are usually hand held, and under nothing but the stage lighting, the definition is not all I should wish, even using a digital camera with an anti-shake facility on a monopod. But they look like the show was, since I take them for record purposes. You can find a few on photobucket under my name, with the colour rensering sort of corrected, since most started out on film. I do agree that, in general, they are often very iffy. When I see the local professional unfurl his umbrellas for flash, I groan. But, to be fair, these are for a different purpose. They are sold to the cast at a profit. There is an article at http://www.oswego.edu/academics/colleges_and_departments/departments/theatre /prodhist/photoart.html which you might find interesting. Frank Wood ------------------------------ Message-Id: <6.2.3.4.2.20060213165850.01f1ed80 [at] pop.service.ohio-state.edu> Date: Mon, 13 Feb 2006 17:00:17 -0500 From: Richard Keith Subject: Re: spike marks In-Reply-To: References: I use the 1/2" spike tape without any problem from dancers or wagons. I have seen some SM's use clear packing tape over them to protect them from my paint.... Richard KeithAt 11:38 AM 2/13/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I've just put up with it up to this point. But now I'm asking... >What do you all use for spiking set pieces. Here at the high school >I've tried cloth half inch spike tape but that seems to curl up and come >off when the dancers dance on it. What works best for us is two inch >masking tape. Dancing and non-castered moving sets doesn't seem to >bother it because it just tears out chuncks of tape rather than pull up >the entire piece. It is difficult to remove however. I haven't tried >gaffers tape cause it seems a bit expensive for that use. >Just wondering... >Les > > >Les Lind >Northeastern High School >Manchester, PA ------------------------------ Message-Id: <6.2.3.4.2.20060213170200.01f87c20 [at] pop.service.ohio-state.edu> Date: Mon, 13 Feb 2006 17:02:24 -0500 From: Richard Keith Subject: Re: Indoor pond with a waterfall In-Reply-To: References:

At 11:51 AM 2/13/2006, you wrote: >Richard Keith wrote: > > Build your > > frame to handle the weight of the water. > >One thing I don't remember seeing mentioned. Make sure your stage floor >can handle the weight - water is damn HEAVY. > >-- >Jim Hyslop Yep, Good Point,,,, Rick ------------------------------ Date: Mon, 13 Feb 2006 17:04:50 -0500 Subject: Re: Pictures From: Steve Larson Message-ID: In-Reply-To: You'll lose a stop or so because of the filter. Check the figures. If the film is fast enough then it won't matter. Might consider going with a nice digital camera. Steve > From: "G. D. George" > Reply-To: "Stagecraft" > Date: Mon, 13 Feb 2006 16:11:17 -0500 > To: "Stagecraft" > Subject: Re: Pictures > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I still shoot 35mm Tungsten Balanced Ektachrome slides of each production. > Good color. Slow though. I can push the newer "high speed" ASA 160 to 320, > but it's still hard to shoot scenes that are dimly lit without a support. > I've been thinking about trying high-speed daylight balanced film with a > filter, but havn't got that far yet. I am afraid that anything that fast > will go very grainy. > > Jerry > > G. D. George > Assistant Professor and Technical Director > Capital University Theatre > Department of Communications > 1 College and Main > Columbus, OH 43209 > > (614) 236-6498 > ggeorge [at] capital.edu > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > FrankWood95 [at] aol.com > Sent: Saturday, February 11, 2006 1:43 PM > To: Stagecraft > Subject: Re: Pictures > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 11/02/06 05:50:17 GMT Standard Time, taco [at] peak.org > writes: > >> Apropos of nothing, well, almost nothing, well, okay, I'll just be >> long-winded about it. Rarely, if ever, do production photos illustrate, >> demonstrate, reflect upon, or even resemble the lighting design as seen > in >> the theater. Especially as you move down the food chain to smaller and >> smaller theaters. > > It all depends on who takes the photos. I always take a set of the shows I > have lit, in addition to the official ones. Since they are usually hand > held, > and under nothing but the stage lighting, the definition is not all I should > > wish, even using a digital camera with an anti-shake facility on a monopod. > But > they look like the show was, since I take them for record purposes. You can > find a few on photobucket under my name, with the colour rensering sort of > corrected, since most started out on film. > > I do agree that, in general, they are often very iffy. When I see the local > professional unfurl his umbrellas for flash, I groan. But, to be fair, these > > are for a different purpose. They are sold to the cast at a profit. > > There is an article at > http://www.oswego.edu/academics/colleges_and_departments/departments/theatre > /prodhist/photoart.html which you might find interesting. > > > Frank Wood > > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <267.5a671fe.31226c9f [at] aol.com> Date: Mon, 13 Feb 2006 18:13:35 EST Subject: Re: Pictures In a message dated 13/02/06 21:12:51 GMT Standard Time, ggeorge [at] capital.edu writes: > I still shoot 35mm Tungsten Balanced Ektachrome slides of each production. > Good color. Slow though. I can push the newer "high speed" ASA 160 to 320, > but it's still hard to shoot scenes that are dimly lit without a support. > I've been thinking about trying high-speed daylight balanced film with a > filter, but havn't got that far yet. I am afraid that anything that fast > will go very grainy. Some hold up very well. I use Kodak Royal, which is 1,000ASA, and daylight balanced. I find an 82B filter a fair compromise between colour correction and light loss. It gives good solid blacks, and little grain. I believe that there is an even faster Fuji film, but have nver used it. Of course, anythong that I post has been further corrected in the computer. Here's the vital trick, though. I tell my camera's auto systems that the film is 1,800ASA. This copes well with the high contrast range of much stage lighting, giving little white crushing. Even so, exposure times are often long, and my hand is not as steady as it was. I have to shoot hand-held, as I am usually on an arena stage. I use only prime lenses: 35mm f/2.4, 50mm f/1.8, and 80mm f/1.8. It works for me. Frank Wood ------------------------------ Date: Mon, 13 Feb 2006 18:40:20 -0500 From: "Josh Ratty" Subject: RE: spike marks In-reply-to: Reply-to: Message-id: <003d01c630f6$daf97f30$0201000a [at] Rattys> I've seen clear tape used over the spike to protect them, usually Marley tape but also packing tape. This is over 1/2" spike or regular gaff. Good luck! Josh Ratty -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of LES LIND Sent: Monday, February 13, 2006 11:38 AM To: Stagecraft Subject: spike marks For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I've just put up with it up to this point. But now I'm asking... What do you all use for spiking set pieces. Here at the high school I've tried cloth half inch spike tape but that seems to curl up and come off when the dancers dance on it. What works best for us is two inch masking tape. Dancing and non-castered moving sets doesn't seem to bother it because it just tears out chuncks of tape rather than pull up the entire piece. It is difficult to remove however. I haven't tried gaffers tape cause it seems a bit expensive for that use. Just wondering... Les Les Lind Northeastern High School Manchester, PA ------------------------------ Date: Mon, 13 Feb 2006 19:01:44 -0500 Subject: Re: spike marks From: Bruce Purdy Message-ID: In-Reply-To: > Even if you don't use the packing tape over spike tape, it is HIGHLY > recommended to do so when you're relying on glow tape... One dance troupe that came through had arrows on the floor in the wings to show the dancers where to go (To the crossover, dressing rooms and stage entrance positions). They used glow tape for the arrows, covered with clear packing tape, but they were on 1' square floor tiles. They simply gaff taped the whole tile down where they wanted them, so they could re-use them wherever they performed. Seemed like a clever idea to me. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Subject: RE: Pictures Date: Mon, 13 Feb 2006 18:42:30 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B038346CB [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" =20 In a production earlier this season I did an experiment for my = photography, I shot three different ways. The first was with Ektachrome = Tungsten slide film pushed through, the second with ASA 1600 film and a = 82A filter and the third a color balanced Digital SLR. All of these = were shot with Canon Rebel Series Cameras to try to make the results = most comparable. My findings: The Ektachrome provided for absolutely gorgeous pictures with vibrant = color. The extra exposure time did create a few problems with movement, = but that wasn't the worst problem when it came down it. My concern with = the slide film is I haven't been able to find anyone who can print them = well in the area, projected they look absolutely stunning with rich = colors, then I bring them in to get printed and every time they are = washed out or very sloppy. If I could find someone that I trusted with = printing them I would feel confident this would be my preferred method = of photography. The high speed film and filter provided deep and rich color (although = not completely accurate all of the time) and it seems that even and = idiot can print it fairly well, it is a bit grainy, but not all that bad = (in the past few years high speed films seem to have gotten much better = with lessoning the grainy quality). This is most likely the method I = will be using for the next few years, until I find another way. The digital camera worked surprisingly well. I, for one, HATE digital = cameras, I think they are the devil and kill a lot of the poetry of = photographic imagery, but I will admit all of the shots I used for my = portfolio from this show came from the digital camera I used. I = probably would continue shooting with one, but I was lent the camera = that I used and don't know that I could afford my own at this point in = my career (plus I will always have a soft spot in my heart for film and = am going to try to cling to that as long as I can). Ryan J. Zirngibl University of Wisconsin-Eau Claire Student-Theatre Arts Scenic Designer --=20 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.6/258 - Release Date: = 2/13/2006 =20 ------------------------------ Message-ID: <002d01c63105$4e0473f0$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" Cc: stagecraft [at] jeffsalzberg.com References: Subject: Re: spike marks Date: Mon, 13 Feb 2006 18:23:47 -0700 I'll have to agree with the electrical tape. It lays "lower" and doesn't have near the "roll up in a wad tendency", I use it on wood and marley with no problem. On swept Concrete I use the Gaff Tape and use a rubber mallet to conform it to the concrete Slick concrete is back to e tape. Cutting it IS essential.otherwise it will want to stretch back. I have often used Paint pens in High traffic areas. It comes off Marley and finished wood with just a little dab of mineral spirits and a wee bit o' elbow grease. Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning ----- Original Message ----- From: "Jeffrey E. Salzberg" To: "Stagecraft" Sent: Monday, February 13, 2006 9:53 AM Subject: Re: spike marks > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The cloth spike tape *is* gaffers' tape. I hate it, for exactly the reason > you cite. I find the best spike tape to be colored electrical tape > (available at your local hardware store or Home Despot). The important > thing to remember is that it must be cut with a scissors or knife; if you > tear it by hand, it puckers up and won't stay down. > > > > I've just put up with it up to this point. But now I'm > > asking... What do you all use for spiking set pieces. Here at > > the high school I've tried cloth half inch spike tape but > > that seems to curl up and come off when the dancers dance on > > it. What works best for us is two inch masking tape. Dancing > > and non-castered moving sets doesn't seem to bother it > > because it just tears out chuncks of tape rather than pull up > > the entire piece. It is difficult to remove however. I > > haven't tried gaffers tape cause it seems a bit expensive for > > that use. Just wondering... Les > ------------------------------ Message-ID: <43F13D12.7090007 [at] cybercom.net> Date: Mon, 13 Feb 2006 21:14:42 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: If your bored References: In-Reply-To: Maurice Moe Conn wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > try this out > > http://www.winterrowd.com/maze.swf > > Moe > Okay. I'm wide awake now. and everyone is looking at me funny. --Dale ------------------------------ Message-ID: <43F13EA4.9000601 [at] cybercom.net> Date: Mon, 13 Feb 2006 21:21:24 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: Halation in profile spots References:

In-Reply-To: Noemi Ybarra wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Stephen Litterst wrote: > >> Ford Sellers wrote: >>> --------------------------------------------------- >>> >>> Ok Steve, I'll take yer serve... >>> >>> Chromatic abberation caused by the different ways that different >>> wavelengths of light are diffracted by a lens. This causes the colorful >>> halo around a sharply focused Gobo, or shutter cut. >>> >>> my $.02 >>> >>> Steve?...Volley? >> Nice return. So what so many of my teachers and textbooks have referred >> to as "halation" is simply chromatic aberration? And the incident rays >> of light from the lamp don't have anything to do with halation/chromatic >> aberration? > > My understanding was that chromatic aberration caused the "rainbow" ring > around the edge of the light beam. Halation is the soft, fuzzy, often > irregular "flare" of light. Are they the same, or caused by the same things? > > Noemi > > > > Not really. if your lens was perfect, and perfectly clean then you would not have halation. But since there is dust, fingerprints, and microscopic irregularities in the glass, each of these causes some scattering of the light. Did you know that the final polishing stage of the lenses and reflectors of astronomical telescopes are done by hand. Literally by hand, using just the abrasive properties of human skin. Since they cannot afford to polish source 4 lenses to this level, we live with it and move on. --Dale ------------------------------ Message-ID: <43F1425C.1010000 [at] cybercom.net> Date: Mon, 13 Feb 2006 21:37:16 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: Lab Fees for Tech courses? References:

In-Reply-To: simmel [at] maine.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dear List: Next Fall we will be changing to a 4 credit per course > curriculum, adding Lab components to almost all our technical courses: > Scenic, Lighting, Costume, Makeup as well as the introduction of new CAD > courses in each of the design areas. As Chair, I've been given the task > to establish what "Course Fees" should be attached to each of these > areas. I was wondering if individuals would share with me, off List if > they wish, what Lab fees they require of their students > in their technical courses., or what Fees they think are reasonable. I > know the last part may be difficult not knowing what is being required > as far as projects and such for each class. However, some ballpark > figures would be helpful for me to put together a proposal for the Provost. > > Thanks > > Peter Simmel > U of M > > > Off the top of my head, all the usual consumables really ought to be coming from the show budget that the stuff is being built for. But, there are things that you could assess lab fees. For instance, are you teaching them welding as part of the course. ( this is, by the way, a very useful skill. ) You could run into some serious costs buying metal, electrodes, gases and so on for learning this. You could have a lab fee for required safety gear and personal tools. ANSI rated safety glasses, hearing protection, safety toe shoes, work gloves, hard hat, welding mask etc. can run into serious money if you are buying them for everyone. It's also an ownership thing. Students are more likely to take care of their PPE if they get it once at the beginning of the year, with their name on it, and know that they have to replace it themselves if they damage or lose it. Individual tool kits for the high loss rate tools, like screwdrivers, side cutters, multimeters and so on. --Dale ------------------------------ From: rwhitco [at] comcast.net Subject: Re: Pictures Date: Tue, 14 Feb 2006 02:53:59 +0000 Message-Id: <021420060253.18387.43F146470004BBF3000047D32200737478010C9B0708999D [at] comcast.net> My concern with the slide film is I > haven't been able to find anyone who can print them well in the area, projected > they look absolutely stunning with rich colors, then I bring them in to get > printed and every time they are washed out or very sloppy. If I could find > someone that I trusted with printing them I would feel confident this would be I've been working on my portfolio recently and found a local company that does hi res. scans of slides. They are very good. They are about $3 a piece but worth it. I can make my own 81/2 x11 prints from the files. Ask around for high end photo shops. The art teacher at my school recommended them. For one show I designed I took some captures from a 16 bit DV tape. These too give pretty impressive results at 81/2 x 11. Randy Whitcomb Manager/TD Price Civic Aud. Loveland, CO ------------------------------ Message-ID: <1091.208.51.52.118.1139903578.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Mon, 13 Feb 2006 23:52:58 -0800 (PST) Subject: Re: Opening ceremonies of the Olympic Winter Games From: "Bill Nelson" > Excuse me??? Curling not a big ticket event? I beg to differ. What can > be > more exciting than watching the top curlers of the world battle it out? > <> Heh, heh. Yeah. It is enough of a favorite to get live coverage - unfortuntely, it started at something like 2 AM PST. Bill ------------------------------ Message-ID: <1379.208.51.52.118.1139908669.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Tue, 14 Feb 2006 01:17:49 -0800 (PST) Subject: Re: Halation in profile spots From: "Bill Nelson" >Halation in an ERS. Those stray beams of light that make getting a sharp >focus on templates problematic and keep us from getting perfect shutter > cuts. >This is a result of the rays of light that are transmitting directly from >the lamp to the lens, bypassing the ellipsoidal reflector? Or is there a >different cause? Direct light is just one of the causes. Some others are: chromatic aberation - diffraction at edges of shutters, gobos and gate - imperfections in/on the reflector - light is not a point source - reflections from inside the instrument prior to the gate bouncing through the gate - reflections from the lamp side of the gate/shutters/gobo bounced back to the reflector and rereflected through the gate - light striking the edge of the lens - thick gobo - misalignment of the light source. There are probably more, but these are all I can think of at the moment. Bill ------------------------------ End of Stagecraft Digest #691 *****************************