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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 27853821; Wed, 22 Feb 2006 03:01:07 -0800 X-Spam-Status: No, score=-4.0 required=5.0 tests=ADVANCE_FEE_1,AWL,BAYES_00, NO_RECEIVED,NO_RELAYS autolearn=unavailable version=3.1.0 X-Spam-Checker-Version: SpamAssassin 3.1.0 (2005-09-13) on prxy.net X-Spam-Level: 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 #699 Date: Wed, 22 Feb 2006 03:00:14 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #699 1. Hi-Fi Audiophiles by Paul Marsland 2. video switching by "Jonathan S. Deull" 3. Re: video switching by Dale Farmer 4. Re: Cheap-o fog? by Pat Kight 5. Re: Work Load by "G. D. George" 6. Re: NCSA Continuing Education in Technical Theatre by John McKernon 7. Re: Falling Flowers by "Michael Banvard" 8. Re: Hi-Fi Audiophiles by "Randy B." 9. Re: Altman Spots by "Curtis L. Mortimore" 10. Re: Hanging Chior Mics by "Paul Schreiner" 11. Ringling cancels in NYC by "David Carrico" 12. Re: Cheap-o fog? by "Nathan Kahn" 13. Re: Hi-Fi Audiophiles by Greg Bierly 14. Re: Servicing a Martin MX-10 by Greg Bierly 15. Re: Hi-Fi Audiophiles by "JUSTIN DAVID BENNETT" 16. Re: Hi-Fi Audiophiles by "Daniel O'Donnell" 17. Re: Hanging Chior Mics by Greg Bierly 18. Back online by Jerry Durand 19. Re: NCSA Continuing Education in Technical Theatre by Jason Romney 20. Re: video switching by "Ash Munro" 21. Re: Falling Flowers by "Curtis L. Mortimore" 22. Re: Hi-Fi Audiophiles by FrankWood95 [at] aol.com 23. Tech riders for small touring groups by Michael Millar 24. Re: Tech riders for small touring groups by "Paul Schreiner" 25. Re: Hi-Fi Audiophiles by FrankWood95 [at] aol.com 26. dimmers, DMX by Judy 27. Re: video switching by FrankWood95 [at] aol.com 28. Re: Tech riders for small touring groups by Steve Larson 29. Re: Hanging Chior Mics by FrankWood95 [at] aol.com 30. Re: Tech riders for small touring groups by "Steve Jones" 31. Re: dimmers, DMX by FrankWood95 [at] aol.com 32. Re: Tech riders for small touring groups by "Jeffrey E. Salzberg" 33. Cheap-o fog? by CB 34. Hanging Chior Mics by CB 35. PAR64 VNSP photometrics by "Frank E. Merrill" 36. Re: PAR64 VNSP photometrics by "Jeffrey E. Salzberg" 37. Re: PAR64 VNSP photometrics by Stephen Litterst 38. Re: Good news: Blue Light Makes People Alert at Night by Sunil Rajan 39. Hi-Fi Audiophiles by CB 40. Re: Hanging Chior Mics by "Paul Schreiner" 41. Re: Hi-Fi Audiophiles by "Paul Schreiner" 42. Re: Hi-Fi Audiophiles by MissWisc [at] aol.com 43. Re: Cheap-o fog? by Dale Farmer 44. Re: Cheap-o fog? by Jerry Durand 45. Folding Chairs by "Jonathan S. Deull" 46. Re: Cheap-o fog? by Pat Kight 47. Re: Cheap-o fog? by "Nigel Worsley" 48. Re: Tech riders for small touring groups by "Matthew Breton" 49. Re: Cheap-o fog? by Greg Bierly 50. Re: video switching by "Jason Cowperthwaite" 51. Re: video switching by "Bill Nelson" 52. Re: Cheap-o fog? 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. ---------------------------------------------------------------------- Message-ID: <20060221131303.22168.qmail [at] web52207.mail.yahoo.com> Date: Tue, 21 Feb 2006 05:13:03 -0800 (PST) From: Paul Marsland Subject: Hi-Fi Audiophiles In-Reply-To: It's no wonder these things cost north of $50 -- just look at the qualities cryogenic treatment imparts on a mere duplex outlet! From the web site: "While both high-conductivity outlets provide a superior amount of musical information, the HBL5362BK offers a relaxed, mid-hall presentation, with layers of depth. The sound field is quite spacious, musicians and singers are presented with organic wholeness and rock-solid image specificity, and speakers tend to completely disappear." UNBELIEVABLE! > From: "Alf Sauve" > Date: Mon, 20 Feb 2006 22:09:13 -0500 > > Here's the latest to separate audiophiles from their > wallets. I'm sure > all theatres can find room in their budget for $50 a > piece Edison > connectors. > > http://www.audioexcellenceaz.com/acproducts.htm > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: "Jonathan S. Deull" Subject: video switching Date: Tue, 21 Feb 2006 08:38:09 -0500 Message-ID: <008b01c636ec$0dcf50b0$6701a8c0 [at] M60> Our high school frequently uses video projection in theatrical = productions =96 often with multiple sources (laptop, DVD, live cameras).=A0 Are there simple/inexpensive (not a production switcher) gizmos that people have = used to allow seamless switching between multiple video sources into one projector?=A0 Using the remote control to switch projector inputs is not = a viable option. Thanks. Jonathan=20 * * * * * * * * * * * * * * * * Jonathan S. Deull Edmund Burke School Washington, DC jdeull [at] clarktransfer.com ------------------------------ Message-ID: <43FB1E89.7000701 [at] cybercom.net> Date: Tue, 21 Feb 2006 09:07:05 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: video switching References: In-Reply-To: Jonathan S. Deull wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Our high school frequently uses video projection in theatrical productions – > often with multiple sources (laptop, DVD, live cameras). Are there > simple/inexpensive (not a production switcher) gizmos that people have used > to allow seamless switching between multiple video sources into one > projector? Using the remote control to switch projector inputs is not a > viable option. > If you don't mind the visual artifacts of the projector resynchronizing every time you switch, you can get a cheap video switch at local consumer electronics stores for ten bucks or so. IF the projector has a blackout shutter, and all the switch transitions are covered by it, this is a perfectly good inexpensive solution. --Dale ------------------------------ Message-ID: <43FB2622.7070107 [at] peak.org> Date: Tue, 21 Feb 2006 06:39:30 -0800 From: Pat Kight Subject: Re: Cheap-o fog? References:

In-Reply-To: Bill Nelson wrote: > I like the CO2 idea. It would not be difficult to build a manifold that > would help disperse the cloud formed. The only problems I see is that the > cloud might settle to the deck, and much of the output would be solid CO2. I'd thought of that, but I think we can work around it. The "explosion" happens just offstage, and the set design includes a window through which we can direct the "steam cloud" so it (a) looks cool and (b) keeps the frosty stuff out of the main traffic area for the ensuing scene. -- Pat Kight kightp [at] peak.org ------------------------------ From: "G. D. George" Subject: RE: Work Load Date: Tue, 21 Feb 2006 09:39:10 -0500 In-reply-to: Message-ID: We open on Thursdays and usually do four shows. I do not attend performances unless I have to photograph. Between teaching load and production responsibilities, on a smallish to medium-sized show, (it's a very small space) the week leading up to opening and the run (through Sunday) work out to about eighty hours. (This last one was about 178 hours total for both weeks. But that's only because the Chair was in the show and decided to wrap up strike before we were done... And here I thought the TD had to run strike. All these years I've been doing it wrong...) On a larger show, when there's little or no student help, that average can hit a hundred. That doesn't happen too often though, and is either a result of underestimating help or available assistance or a result of me going nuts with a design (or both). The week before these two is usually only(?) around sixty. I think that my average week is around fifty hours during the semester, more if there's a larger show going up and I call people on weekends. Of course, I'm faculty and on a nine month contract, so I get summers off. Oh, wait, no I don't... I can't think of the last time I got a summer "off". The long weeks must be to make up for the lousy pay... Hmmm that doesn't work out either. Would somebody please remind me why I'm in this business? 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 JUSTIN DAVID BENNETT Sent: Monday, February 20, 2006 2:11 PM To: Stagecraft Subject: Work Load For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I was wondering if anyone on the list would be willing to share with me the typical number of hours they work in the three weeks prior to opening a production. I am hoping to raise my administrations awareness of the time and personnel commitment necessary to successfully mount a production. I'm specifically interested in TD's (especially those with first in/last our responsibilities), but I welcome the input of anyone. Where possible please include whether or not you are an educational institution, and how many individuals are paid as crew and/or designers on your 'average' show. This should lend a great deal more credibility to my cause. Please respond off list unless you feel this conversation is pertinent to the masses. Thanks in advance! 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 ------------------------------ Date: Tue, 21 Feb 2006 09:57:07 -0500 Subject: Re: NCSA Continuing Education in Technical Theatre From: John McKernon Message-ID: In-Reply-To: > AUTOCAD RULES! In the architectural and technical direction worlds, yes. Among lighting designers, VectorWorks is the preferred tool, at least in New York. NCSA puts a heavy emphasis on AutoCad, hence their hosting the class. - John ------------------------------ From: "Michael Banvard" Subject: RE: Falling Flowers Date: Tue, 21 Feb 2006 09:06:45 -0600 Message-ID: <001f01c636f8$6e683430$8c00a8c0 [at] Gelert2> In-Reply-To: > I need to be able to control the > release of the flowers. Any suggestions would be appreciated. What about electromagnets? Have the center of the flower be a small disk of metal and mount a simple electromagnet to the limb of the tree. Have current running to the magnet until it's time to fall, and then kill the circuit. Or, to think backwards, use a magnet for the flower, and attach it to an electromagnet without current. To release, send the current through so that the polarity of the flower and the electromagnet are the same, and the flower should fall off. Just a thought off the top of my head, and it prevents having lines snag up in the limbs. I don't know how small they go, but solenoids might be another idea, but I think that they tend to be noisy. - Michael Banvard Saint Louis University High School ------------------------------ Message-ID: <007001c636fb$4f6295f0$850aa8c0 [at] GLOBAL.SCJ.LOC> From: "Randy B." References:

Subject: Re: Hi-Fi Audiophiles Date: Tue, 21 Feb 2006 09:27:21 -0600 These thing are standard Hospital or ground isolated outlets that one can purchase at Granger etc. ----- Original Message ----- From: "Brian James" To: "Stagecraft" Sent: Monday, February 20, 2006 10:17 PM Subject: Re: Hi-Fi Audiophiles > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Darn, and I thought changing all of my speaker cables to the $100/ft > special cables and my knobs on my soundboards to wood should be all I > needed for perfect sound....... > Alf Sauve wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Here's the latest to separate audiophiles from their wallets. I'm > > sure all theatres can find room in their budget for $50 a piece Edison > > connectors. > > > > http://www.audioexcellenceaz.com/acproducts.htm > > > > Gotta love it. I bet this could be marketed to lighting designers as > > well. "Blues will be bluer and reds redder....." Why oh why did I > > ever leave corporate marketing when there are so > > many......opportunities out there. Oh yeah, I remember, I refused to > > be involved with useless products. > > > > Alf > > Storyteller > > > > > > > -- > Brian James > > Everyone has a photographic memory, some people just don't have film" > > ------------------------------ Date: Tue, 21 Feb 2006 10:31:05 -0500 Subject: Re: Altman Spots From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Brian, I have no direct experience with a Altman Satellite-1 though I have worked on quite a few Altman spots. If these are new units I would be chasing after who I bought them from. The problems you describe seem out of line for a new unit. If you are having problems with who you bought them from, call Altman and see if they can help you. I sold a handful of follow spots at a previous employer and every unit we sent out had been tested and tuned before it left our shop. A throw of 25 to 30 feet seems extremely short to me and maybe a bit short for the Satellite-1. That being said, I had one customer that insisted the 1.2K HMI was the only spot he could use for his 50' throw at the church. Recommendations: My experience with Lycian followspots has been quite good and I would look to them first every time I'm looking for a followspot. With this short of a throw have you looked into some of the kits which use an off-the-shelf ERS? Maybe lacking a bit of the functionality of a purpose built unit, but could be a good investment if you already have a spare fixture available. YMMV Good luck! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Subject: RE: Hanging Chior Mics Date: Tue, 21 Feb 2006 11:17:50 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B59 [at] exchange.rmwc.edu> From: "Paul Schreiner" Audio-Technica AT853. And Full Compass has those as well. ------------------------------ Message-ID: <1964cf3b0602210822x2f568a3elbe6e8daa4978de8a [at] mail.gmail.com> Date: Tue, 21 Feb 2006 11:22:12 -0500 From: "David Carrico" Subject: Ringling cancels in NYC I won't shout this time... Does anyone out there know why Ringling cancelled its run at Madison Square Garden? I notices last night that "CANCELLED" signs had been posted on the posters for the Circus at the 6th Avenue Subway stop, and a quick search on Google yielded nothing. -- Dave Carrico New York Metropolitan Area ------------------------------ Message-ID: <77fad3270602210835t1f3c7036n744873e00605cc08 [at] mail.gmail.com> Date: Tue, 21 Feb 2006 11:35:04 -0500 From: "Nathan Kahn" Subject: Re: Cheap-o fog? In-Reply-To: References: > I'm wondering whether any of the DJ/Halloween smoke-in-a-can products > (as, for instance, this stuff: > http://www.theatrefx.com/store/commerce.cgi?product=3Dhazers ) might work > for this kind of effect. It sounds as if the stuff works reasonably well > to create a hazy atmosphere; has anyone tried using it to create a > burst-of-steam effect? Hi Pat, I don't think this product will read on stage. In any case, at $13.95, it's over your less-than-$10 budget! :-) You can buy a cheap fog machine that works, for $20 during the Halloween season, and $30 off-season. Off-season sources include Spencer Gifts, Toys-R-Us, or online amazon.com and ebay. Happy fogging, Nathan -- Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Email: usa [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ In-Reply-To: References:

Message-Id: <0F55F30F-1097-49B9-BF13-1F5CB0AFB0CA [at] dejazzd.com> From: Greg Bierly Subject: Re: Hi-Fi Audiophiles Date: Tue, 21 Feb 2006 11:40:58 -0500 > These thing are standard Hospital or ground isolated outlets that > one can > purchase at Granger etc. But those have not been cryogenically treated. ;) ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Servicing a Martin MX-10 Date: Tue, 21 Feb 2006 11:44:55 -0500 > This sounds like a stripped gear in the drive, probably due to a > stiffness at > a late point in the drive train. > > Frank Wood I realize mechanics are mechanics and it sounds accurate but I want to point out this diagnosis comes from a man that can't see a purpose for a moving light let alone consider using one in his theatre. ;) Greg Bierly Technical Director Hempfield High School ------------------------------ From: "JUSTIN DAVID BENNETT" Subject: RE: Hi-Fi Audiophiles Date: Tue, 21 Feb 2006 10:48:33 -0600 In-Reply-To: Message-ID: -----Original Message----- "...speakers tend to completely disappear." So if the sound guys use these their cabinets won't be in the LX guys' way? We may have a use for these yet! 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 ------------------------------ In-Reply-To: References: Message-Id: From: "Daniel O'Donnell" Subject: Re: Hi-Fi Audiophiles Date: Tue, 21 Feb 2006 11:52:37 -0500 On Feb 21, 2006, at 11:48 AM, JUSTIN DAVID BENNETT wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > -----Original Message----- > > "...speakers tend to completely disappear." > > So if the sound guys use these their cabinets won't be in the LX > guys' way? > We may have a use for these yet! Yea, but you can get the same effect by leaving them unattended on the loading dock overnight. --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Bierly Subject: Re: Hanging Chior Mics Date: Tue, 21 Feb 2006 11:51:47 -0500 > I'm looking at purchasing a pair of choir mikes to use overhead for > musical theatre productions to help reinforce the voices of the > chorus. FullCompass lists the following types of choir mics and I > was wondering if anyone could endorse one manufacturer over another. I have both the Audio-Technica AT853 and the Shure MX202 and feel the AT works well in non reinforcement applications but the Shure has much better gain before feedback. The AT has a much wider pickup pattern but the Shure has replaceable heads for different pickup patterns. I have been switching over the Shures as need be. I find the AT's are fine when feedback is not going to be an issue. Greg Bierly Technical Director Hempfield High School ------------------------------ Message-Id: <7.0.1.0.0.20060221085306.01fd3bd0 [at] interstellar.com> Date: Tue, 21 Feb 2006 08:57:35 -0800 From: Jerry Durand Subject: Back online I think the computers are plotting against me. While I was out of town, Covad did "system maintenance" which left our server's DSL modem thinking it was connected, but it wasn't routed to the Internet (when this happens, the modem needs to be powered off for 10 minutes to reset the Covad routing). They only seem to do maintenance when I'm gone, never while I'm here. So, I'm back and the server's back online. If there was any interesting discussions in the last couple of days, I missed them. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 ------------------------------ In-Reply-To: References: Message-Id: <29796A2B-E8B8-47EF-9268-2E402506C8C7 [at] cd-romney.com> From: Jason Romney Subject: Re: NCSA Continuing Education in Technical Theatre Date: Tue, 21 Feb 2006 12:11:13 -0500 On Feb 20, 2006, at 10:37 PM, Steve Shelley wrote: > No vectorworks for theatre? Seems somewhat shortsighted considering > the > current professional drafting scene. We considered offering a VectorWorks class this year but the faculty member who would teach it is not available this summer. We're trying to grow this summer continuing education program slowly so we don't find ourselves running faster than we are able. Last year we had one class, this year we have three. Next year we anticipate adding a couple more and Vectorworks will likely be one of them. Thanks for the feedback. _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp http://www.cd-romney.com ------------------------------ From: "Ash Munro" Subject: RE: video switching Date: Tue, 21 Feb 2006 12:37:34 -0500 Message-ID: <011001c6370d$83082750$6403a8c0 [at] charlottedt> In-Reply-To: Jonathon, How seamless do you want the transition to be? A true seamless fade, a = quick switch through black, a quick switch with freeze, or just something that doesn't have the "no input/input #1/input #2" OSD you get using the projector input select. True seamless and inexpensive don't play well together, if you can stand = the black/freeze option you can save chunks of money because you aren't = paying for two scalers. The Sony DSC1024 has been bulletproof, but is now a collector's item, and priced accordingly. Check out the Analog Way Ultra-Vio, takes just about any format input, and freezes the live input = for a second or so while it grabs and scales the next input. I can=92t find = my pricing info on it, but it was definitely a good balance between pricing = and features. The bargain basement option is to find something that will downconvert = your PC to a video signal (unless it already has a composite out) and use a = 4x1 video bang box. Ash Munro Charlotte Division Manager A&V Company=A0 >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of = Jonathan S. Deull >Sent: Tuesday, February 21, 2006 8:38 AM >To: Stagecraft >Subject: video switching > >For info, archives & UNSUBSCRIBE, see = >--------------------------------------------------- > >Our high school frequently uses video projection in theatrical = productions =96 >often with multiple sources (laptop, DVD, live cameras).=A0 Are there >simple/inexpensive (not a production switcher) gizmos that people have = used >to allow seamless switching between multiple video sources into one >projector?=A0 Using the remote control to switch projector inputs is = not a >viable option. > >Thanks. >Jonathan > >* * * * * * * * * * * * * * * * >Jonathan S. Deull >Edmund Burke School >Washington, DC >jdeull [at] clarktransfer.com ------------------------------ Date: Tue, 21 Feb 2006 12:52:37 -0500 Subject: Re: Falling Flowers From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Zarin, How close is the "falling thing" to the grid/ceiling/whatever's up there? And, How much of that is obscured by "tree"? Do not attach the flower to the tree but rather hang it near enough so that an audience member would think it was. Find a rather large nut say for a 5/8 or 3/4" bolt(as heavy as you can get away with). Drill a small hole through the side of the nut large enough to accept a small nail. Hang the nut with "something that will hold it up"(I'll let you decide what is safe). Attach a monofilament line to pull the nail out of the hole on cue. Use glass beads for "loft blocks" on the monofilament to get the appropriate end to the operator. Paint the whole apparatus in an appropriately camouflaging color. Attach a small loop of monofilament to the back of the flower. Push this loop into the opening in the nut and insert the release nail. Presumably the nut would be hung in such a way that the nail would pull straight up to release. The purpose of the nut is to provide enough mass so it doesn't flail about during the release process and the nail pulls freely. By not attaching it to the tree, if it does move some the tree doesn't, thus revealing your cleverly disguised trick. Also, don't forget some system of resetting the thing... Person on a ladder? Trained Monkey? Fly the apparatus in? Good luck. That's my idea, your mileage will probably be quite different. Good luck! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 > From: "Barnes, Zarin" > Reply-To: "Stagecraft" > Date: Mon, 20 Feb 2006 22:27:52 -0500 > To: "Stagecraft" > Subject: Falling Flowers > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am a student from Huntington University designing a show that requires that > I have flowers fall from a tree periodically through out the run. I am > designing in a 14'-0" tall studio space, and I need to be able to control the > release of the flowers. Any suggestions would be appreciated. > Thanks, > Zarin Barnes > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <277.5424dad.312cb45c [at] aol.com> Date: Tue, 21 Feb 2006 13:22:20 EST Subject: Re: Hi-Fi Audiophiles In a message dated 21/02/06 07:27:53 GMT Standard Time, billn [at] peak.org writes: > > Here's the latest to separate audiophiles from their wallets. I'm sure > > all theatres can find room in their budget for $50 a piece Edison > > connectors. > > Yep. There is no end to the idiocy of the "golden eared" crowd. Funny how > all of them refuse blind testing of their prize components. I once read a story, quoted by the cable vendor, of a guy who was persuaded to re-wire the speakers in his theatre with one of the magic cables. He said that it not only sounded better, but also that it was noticeably louder. At a guess, the original runs were in zip cord. Frank Wood ------------------------------ Message-ID: <43FB5D9B.2080409 [at] ix.netcom.com> Date: Tue, 21 Feb 2006 12:36:11 -0600 From: Michael Millar Subject: Tech riders for small touring groups Does anyone have a few tech riders for small theatrical touring groups they could share? I've been appointed to help a group who's new at touring format their rider so the venue isn't surprised by too much. Also, this group seems to want to remain dependent on the presenter providing props and furniture, instead of travelling with them. How common is this? I think it rather odd, personally. As it is, I'm trying to get them to travel with a sound op and hire a psm who can at least handle a light board. Thanks, Michael Millar ------------------------------ Subject: RE: Tech riders for small touring groups Date: Tue, 21 Feb 2006 13:40:50 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B5C [at] exchange.rmwc.edu> From: "Paul Schreiner" > Also, this group seems to want to remain dependent on the presenter=20 > providing props and furniture, instead of travelling with=20 > them. How common is this? I think it rather odd, personally.=20 It's actually fairly common for small groups and those who do a fair amount of far-flung travel. Second City requires the presenter to provide the chairs and other props needs (which are minimal), as do plenty of other companies. If the props and furniture are easily located or don't need to be *exactly* so-and-so style, it makes more sense oftentimes to have them acquired (or pulled from stock) rather than having to deal with shipping or transporation... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2ee.17a5f3d.312cb8fb [at] aol.com> Date: Tue, 21 Feb 2006 13:42:03 EST Subject: Re: Hi-Fi Audiophiles In a message dated 21/02/06 13:13:38 GMT Standard Time, paulbmarsland [at] yahoo.com writes: > "While both high-conductivity outlets provide a > superior amount of musical information, the HBL5362BK > offers a relaxed, mid-hall presentation, with layers > of depth. The sound field is quite spacious, musicians > and singers are presented with organic wholeness and > rock-solid image specificity, and speakers tend to > completely disappear." > > UNBELIEVABLE! Unfortunately, all too believable. This is the kind of useless garbage that the 'golden eared' brigade believes. Real engineering measurements and double blind testing are things they seem unable to grasp. As a sometimes designer of audio gear, I had a reputation for over-engineering things. Maybe I did, but they worked first time, as a rule. This is a lot better than having endless service calls, and cheaper, in the long run. Frank Wood ------------------------------ Message-ID: <43FB6185.2010607 [at] post.tau.ac.il> Date: Tue, 21 Feb 2006 20:52:53 +0200 From: Judy Subject: dimmers, DMX Thanks to everybody who took the trouble to answer. >Judy, what kind of dimmers are in the venue? There are the rare brand(s) of >dimmer packs which have a programming choice to set them to turn "on" when >powered up with no valid DMX. It may be that sort of an issue. Let us know >what type is in question, so we can offer more insights...... > These are not at all "intelligent dimmers" but the low end of the line, no options to choose if they lose power. I finally got hold of the electronics man at the firm which sold them, and he said there is a control circuit in there which needs to be replaced. I really wanted to know what it was, but he didn't have time to explain on the phone. A temporary solution was to turn off the circuit breakers, unplug the DMX cable, that resets the circuit and it works for now. But it will need to go into the shop when we finish this round of performances. >All the dimmers in the box are on one fuse? > Nope - the show is not in a theater but in a big dance club, and they have something really annoying - not sure what it's called in English, one of those gadgets that trips if you have a tiny difference between live and neutral, that people put in homes so their children won't get electrocuted. That may be ok for a dance club but it's not much fun when you have a setup with over 100 units! ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2cc.3c1a435.312cbca0 [at] aol.com> Date: Tue, 21 Feb 2006 13:57:36 EST Subject: Re: video switching In a message dated 21/02/06 13:38:53 GMT Standard Time,=20 jdeull [at] clarktransfer.com writes: > Our high school frequently uses video projection in theatrical productions= =E2=80=93 > often with multiple sources (laptop, DVD, live cameras).=C2=A0 Are there > simple/inexpensive (not a production switcher) gizmos that people have us= ed > to allow seamless switching between multiple video sources into one > projector?=C2=A0 Using the remote control to switch projector inputs is n= ot a > viable option. Not really. Seamless switching needs to be done in the field blanking=20 interval, on the lowest level. This implies that the source timing must matc= h=20 closely. Using a computer as a source makes this very difficult, as the fiel= d rate is=20 usually very different from that of a standard video signal. There are cleve= r=20 digital gadgets around which can handle this problem, but simple and cheap=20 they're not. The better cameras usually have a facility for locking their timing to an=20 external source, and most DVD players send a signal all the time, so you cou= ld=20 use this as a timing reference. Frank Wood ------------------------------ Date: Tue, 21 Feb 2006 14:10:45 -0500 Subject: Re: Tech riders for small touring groups From: Steve Larson Message-ID: In-Reply-To: When Pat Carroll was touring Gertrude Stein, she had a list of props for her show, including a cot for the dressing room for her to rest on. My wife got stuck as dresser for her. Imagine helping her into tights. Pat was no small lady. She left the stage exhausted, had a short lie-down and burst onto the stage for Act 2. Had a similar rider for a Mark Twain show. Specific, period antiques. We selected three or four possibilities for each piece and let them make the final decision when they arrived. They were overwhelmed with what we gave them. Got a letter weeks later showing their appreciation. Steve > From: Michael Millar > Reply-To: "Stagecraft" > Date: Tue, 21 Feb 2006 12:36:11 -0600 > To: "Stagecraft" > Subject: Tech riders for small touring groups > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Does anyone have a few tech riders for small theatrical touring groups > they could share? I've been appointed to help a group who's new at > touring format their rider so the venue isn't surprised by too much. > Also, this group seems to want to remain dependent on the presenter > providing props and furniture, instead of travelling with them. > How common is this? I think it rather odd, personally. As it is, I'm > trying to get them to travel with a sound op and hire a psm who can at > least handle a light board. > > Thanks, > Michael Millar > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 21 Feb 2006 14:18:56 EST Subject: Re: Hanging Chior Mics In a message dated 21/02/06 17:38:46 GMT Standard Time, gbierly [at] dejazzd.com writes: > > I'm looking at purchasing a pair of choir mikes to use overhead for > > musical theatre productions to help reinforce the voices of the > > chorus. FullCompass lists the following types of choir mics and I > > was wondering if anyone could endorse one manufacturer over another. I don't really see why you would need them. That said, AKG is a reliable manufacturer, and has, or had, a range of reasonably priced microphones, with interchangeable heads fot different polar diagrams. I used four short shotguns for our hearing assist system some years ago. Since they are up among the lighting gear, each has a head amplifier, sending back at high level and with a high overload capacity. Frank Wood ------------------------------ From: "Steve Jones" Subject: RE: Tech riders for small touring groups Date: Tue, 21 Feb 2006 13:29:37 -0600 Organization: Plaza Theatre In-Reply-To: Message-ID: As a presenter, I can tell you I would not be interested in most acts that wanted us to supply a bunch of things they should be touring with. I already have to supply local transportation, housing, hospitality, and such. Maybe if they play just university theatres that can access theatre department inventories, that would work. But as a venue only, we don't have any type of stock. Now, if it's just a straight back chair or two, or a rug, that's no big deal. What all are they expecting a presenter to provide them? Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org An Evening With Groucho Saturday, April 22, 2006, 7:00 PM 1964 - The Tribute Friday, May 12, 2006, 7:00 PM -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Michael Millar Sent: Tuesday, February 21, 2006 12:36 PM To: Stagecraft Subject: Tech riders for small touring groups For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone have a few tech riders for small theatrical touring groups they could share? I've been appointed to help a group who's new at touring format their rider so the venue isn't surprised by too much. Also, this group seems to want to remain dependent on the presenter providing props and furniture, instead of travelling with them. How common is this? I think it rather odd, personally. As it is, I'm trying to get them to travel with a sound op and hire a psm who can at least handle a light board. Thanks, Michael Millar ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <129.6e5564e2.312cc526 [at] aol.com> Date: Tue, 21 Feb 2006 14:33:58 EST Subject: Re: dimmers, DMX In a message dated 21/02/06 18:53:15 GMT Standard Time, kupfer [at] post.tau.ac.il writes: > Nope - the show is not in a theater but in a big dance club, and they > have something really annoying - not sure what it's called in English, > one of those gadgets that trips if you have a tiny difference between > live and neutral, that people put in homes so their children won't get > electrocuted. That may be ok for a dance club but it's not much fun when > you have a setup with over 100 units! In English, it's an Earth Leakage Circuit Breaker, in American a Ground Fault Current Interruptor. It detects an imbalance between th live and neutral currents, and trips at a preset level and time. UK practice is for it to trip at 30mA in 30 mS, this being reckoned a safe level which will not kill you. The assumption is that the imbalance is due to an unauthorised ground current, probably flowing through you. Don't knock them, they save lives. Ideally, all outlets in a kitchen and those outside the house should be so protected. Anywhere there may be water around. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Tech riders for small touring groups Date: Tue, 21 Feb 2006 15:00:11 -0500 Message-ID: <001d01c63721$6c898c80$6501a8c0 [at] Dell> In-Reply-To: > Second City requires the > presenter to provide the chairs and other props needs So does Hal Holbrook, when he's touring with "Mark Twain Tonight!" ------------------------------ Message-Id: <3.0.6.32.20060221143647.00d29e38 [at] pop.west.cox.net> Date: Tue, 21 Feb 2006 14:36:47 From: CB Subject: Cheap-o fog? >has anyone tried using it to create a >burst-of-steam effect? I've put hot water over a bit of crushed dry ice in a two liter bottle before. The effect was that the fog shot out in a great plume like a fire hydrant that's lost its top. If you try something like this, however, remember that the plume shot out right before I capped the two liter bottle with the hope that the incredible sonic-boom type explosion that resulted would keep the pidgeons out of my buddies steel stock rack. 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: <3.0.6.32.20060221145938.00d29e38 [at] pop.west.cox.net> Date: Tue, 21 Feb 2006 14:59:38 From: CB Subject: Hanging Chior Mics >I was wondering >if anyone could endorse one manufacturer over another. EEK! The type of mic you use should be specifically tailored to the position that you will have it in, and the acoustic environment that you will using it in. A decent sound engineer (with experience in these sort of applications, of course) should be suggesting a placement and a pattern, and then you should buy the most rugged and quality ridden mic in that type that you can afford. All of these manufacturers make a decent product, and all of their mic's performance will suffer if the wrong mic is used in the wrong application. 'Chorus mic' tends to describe a mic that is easily suspended and pointed as opposed to 'a mic that is best for recording and amplifiying choruses'. Shotguns or PCC's amy well be better choices for you epending on use. ------------------------------ Date: Tue, 21 Feb 2006 17:05:39 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <302306890.20060221170539 [at] tcon.net> Subject: PAR64 VNSP photometrics O wise oracles of stagecraft I beseech thee. Hear thy humble servant and hold they wrath at my pleading once more: Can anyone point me toward the beam angle and footcandle estimates for a Q1000PAR64/VNSP? For you young whippersnappers that is an FFN lamp bulb. My customer hopes for at least 60 fc in a beam 8 to 10 feet in diameter (hard to do with an oval beam PAR) at eighty feet. Since cost is a significant factor and a soft-edge beam is desireable, I lean toward a pin spot instead of a defocused ellipsoidal. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.65.03 mailto:Lamplighter [at] tcon.net ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: Lamplighter [at] tcon.net ('Frank E. Merrill') Subject: RE: PAR64 VNSP photometrics Date: Tue, 21 Feb 2006 17:11:08 -0500 Message-ID: <000201c63733$b79e4320$6501a8c0 [at] Dell> In-Reply-To: > Can anyone point me toward the beam angle and footcandle > estimates for a Q1000PAR64/VNSP? For you young > whippersnappers that is an FFN lamp bulb. Check out the Photometrics Spreadsheet at http://www.jeffsalzberg.com/Software/Originals/Photometrics.xls. ------------------------------ Date: Tue, 21 Feb 2006 17:20:19 -0500 From: Stephen Litterst Subject: Re: PAR64 VNSP photometrics In-reply-to: Message-id: <43FB9223.1010509 [at] ithaca.edu> References: Frank E. Merrill wrote: > --------------------------------------------------- > Can anyone point me toward the beam angle and footcandle estimates for > a Q1000PAR64/VNSP? For you young whippersnappers that is an FFN lamp > bulb. Accoring to the Photometrics handbook, it's a 24 x 10 degree beam. Multiplication factors of .43 and .17 and peak candela of 400,000. At eighty feet they should have 63fc in a 34' x 14' beam. For a throw of that distance, I'd go with a beam projector. The Strand 1k Beamlite would make a 6' diameter beam at eighty feet. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ In-Reply-To: References: Message-Id: <3D4D4EEC-A329-11DA-9E25-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Re: Good news: Blue Light Makes People Alert at Night Date: Tue, 21 Feb 2006 17:27:27 -0500 On Feb 7, 2006, at 6:01 AM, Stagecraft wrote: > From: "Paul Guncheon" > Subject: Re: Good news: Blue Light Makes People Alert at Night > Message-id: <000501c62b21$ac6b8300$0202a8c0 [at] HUNKACRAP> > References: > >> "Light exposure to this system, particularly blue light, directly >> reduces >> sleepiness," said Steven Lockley of the Brigham and Women's Hospital. >> "Subjects exposed to blue light were able to sustain a high level of >> alertness during the night when people usually feel most sleepy, and >> these >> results suggest that light may be a powerful countermeasure for the > negative effects of fatigue for people who work at night." > > As I read the article, I truly question the claim. First of all, They > studied a total of 16 people... not exactly a broad sample. Secondly, > it > seems like they turned on the light and said the subjects immediately > perked > up. > > Well... duh. > So... does it apply to people who work in the DARK as well? Read: all of us theatre folks who are stuck in a darkened theatre for 16+ hrs a day during tech weeks? If that's the case, blue backstage run lights should make us MORE alert, instead of putting us to sleep during slow numbers? Wonder if it would work if I put blue gel on my console LittleLites? Cheers, Sunil Rajan Freelance Audio Mercenary currently: PSE, Altar Boyz NYC ------------------------------ Message-Id: <3.0.6.32.20060221154322.00d29e38 [at] pop.west.cox.net> Date: Tue, 21 Feb 2006 15:43:22 From: CB Subject: Hi-Fi Audiophiles >Here's the latest to separate audiophiles from their wallets. For those that are newto the list, may I re-iterate the story of the audiophile speaker wire test that included a double blind exposure to Monster, Polk, DeCorp, Goetz, and a 'secret' cable. As none of the high-end professionals ever know which cable they were listening to, brand loyalty or pauola couldn't come into play. After listending to all the oxygen-free, gold-filled, wallet-emptying specimens, the scores were tallied and the winner was... ... The jumper cables from the back of truck that delivered the gear. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Subject: RE: Hanging Chior Mics Date: Tue, 21 Feb 2006 17:33:29 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B5E [at] exchange.rmwc.edu> From: "Paul Schreiner" > EEK! =20 Thanks, Chris, for this. I shoulda caught myself earlier, but I've been a bit under the weather the past day and a half, and my brain ain't totally firing on all cylinders...so I jumped in with the knee-jerk answer. Anyway, he's absolutely right. There's so much missing from the OP's question that it makes offering a hard-and-fast guide impossible. What kind of space? What's the distance from mic trim (should hanging be the way to go) to head-height? Primarily reinforcement to hear quiet voices speaking from way US, or boosting a few singing voices over a large orchestra? And so forth...I could go on, but you (hopefully) get the point. That being said, I've used the 853s before in a couple of different situations; in one space, they were for all-around general reinforcement at a 16' trim (so only about 10' to head height). There, they were fabulous. In another space (1100-seat hall with 18' x 42' proscenium), they helped a bit, but not nearly as much...and they instead were best suited for choral/ensemble recordings (which we did plenty of). If you could give us an idea what the application is here, we might be able to point you in a better direction... ------------------------------ Subject: RE: Hi-Fi Audiophiles Date: Tue, 21 Feb 2006 17:35:56 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B5F [at] exchange.rmwc.edu> From: "Paul Schreiner" > For those that are newto the list, may I re-iterate the story=20 > of the audiophile speaker wire test=20 Anywhere you know of to find a copy of that story with details? ------------------------------ From: MissWisc [at] aol.com Message-ID: <1e0.4df43741.312cf074 [at] aol.com> Date: Tue, 21 Feb 2006 17:38:44 EST Subject: Re: Hi-Fi Audiophiles Everything that arrives here via semi truck in this weather IS. ;) Kristi gbierly [at] dejazzd.com writes: But those have not been cryogenically treated. ;) ------------------------------ Message-ID: <43FBA035.7040006 [at] cybercom.net> Date: Tue, 21 Feb 2006 18:20:21 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: Cheap-o fog? References: In-Reply-To: CB wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> has anyone tried using it to create a >> burst-of-steam effect? > > I've put hot water over a bit of crushed dry ice in a two liter bottle > before. The effect was that the fog shot out in a great plume like a fire > hydrant that's lost its top. If you try something like this, however, > remember that the plume shot out right before I capped the two liter bottle > with the hope that the incredible sonic-boom type explosion that resulted > would keep the pidgeons out of my buddies steel stock rack. > Chris "Chris" Babbie > Location Sound > MON AZ > I observed some folks do that exact thing. CHips of dry ice in a plastic soda bottle, add water, screw on cap and toss it into some shrubbery. They then decided that since it had not gone boom after a minute or so, that it must have been defective. Gal reached in, picked up the bottle, shook it a bit and *then* it exploded in her hand. Gaining the undivided attention of everyone in the vicinity, and a few minutes later, the close attention of a couple of state troopers who had happened to be driving past and heard the bang. Fortunately for her, she only sprained her thumb, and the police believed her 'I'm a ditzy gothling' act. --Dale ------------------------------ Message-Id: <7.0.1.0.0.20060221152833.01f9c8d8 [at] interstellar.com> Date: Tue, 21 Feb 2006 15:30:34 -0800 From: Jerry Durand Subject: Re: Cheap-o fog? In-Reply-To: References:

At 03:20 PM 2/21/2006, you wrote: > Gaining the undivided attention of everyone in the vicinity, >and a few minutes later, the close attention of a couple of >state troopers who had happened to be driving past and >heard the bang. Aside from the danger of injury to you or others (especially if it's on the ground, flying rocks HURT), this does fall under "improvised explosive device" (IED) and you could find yourself in a lot more trouble than you anticipated (depends on the AHJ). -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 ------------------------------ From: "Jonathan S. Deull" Subject: Folding Chairs Date: Tue, 21 Feb 2006 19:22:35 -0500 Message-ID: <000601c63746$146130b0$6701a8c0 [at] M60> I've been shopping for folding chairs for our studio theatre. I like = the Clarin, but the best price I have found (for the model 3400) is $71 delivered. That is too much money for us. Does anyone have any good alternatives to recommend -- either sources for the Clarin or other = lines. Thanks. Jonathan * * * * * * * * * * * * * * * * Jonathan S. Deull Edmund Burke School jdeull [at] clarktransfer.com Phone:=A0=A0=A0 (202) 232-4138 Fax:=A0=A0=A0=A0=A0=A0(202) 232-4139 Cel:=A0=A0=A0=A0=A0=A0(202) 256-9207 ------------------------------ Message-ID: <43FBB2EF.1080802 [at] peak.org> Date: Tue, 21 Feb 2006 16:40:15 -0800 From: Pat Kight Subject: Re: Cheap-o fog? References:

In-Reply-To: Jerry Durand wrote: >> Gaining the undivided attention of everyone in the vicinity, >> and a few minutes later, the close attention of a couple of >> state troopers who had happened to be driving past and >> heard the bang. > Aside from the danger of injury to you or others (especially if it's on > the ground, flying rocks HURT), this does fall under "improvised > explosive device" (IED) and you could find yourself in a lot more > trouble than you anticipated (depends on the AHJ). I assure everyone reading this that I have no plans to follow Chris's tongue-in-cheek suggestion. Not on stage, at any rate. (-: Having visions of one of our student readers trying this for an assignment and, as the shrapnel settles, trying to explain, "... but I read about it on the stagecraft list!" Me, I'm going with the CO2 fire extinguisher plan... -- Pat Kight kightp [at] peak.org ------------------------------ Message-ID: <009e01c6374e$0d5d1a60$0e00a8c0 [at] Nogle> From: "Nigel Worsley" References:

Subject: Re: Cheap-o fog? Date: Wed, 22 Feb 2006 01:19:30 -0000 "Bill Nelson" > I think ACT has plenty of fog juice. The problem is that the cloud > persistence is far too long. The same problem exists with hazers. Fog juice is mainly water, with additives to ensure that the steam created in the machine hangs around along time. Diluting it with distilled water reduces the persistence, and saves money too! For a show some years back, I needed the effect of a fractured heating pipe emitting a jet of steam. Diluting the juice ten to one with water worked great, but for the effect that Pat was after I suspect that five to one might be a better mix. Nigel Worsley ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Tech riders for small touring groups Date: Tue, 21 Feb 2006 20:46:15 -0500 > > Also, this group seems to want to remain dependent on the presenter > > providing props and furniture, instead of travelling with > > them. How common is this? I think it rather odd, personally. >It's actually fairly common for small groups and those who do a fair >amount of far-flung travel. Second City requires the presenter to >provide the chairs and other props needs (which are minimal), as do >plenty of other companies. I've worked with Second City. They're a good group, and their props *are* entirely minimal and straightforward. That being said, if a group presents you with a rider with criteria you can't or don't want to meet (whether it be antique props, gold-plated tableware or red m&ms), the answer's simple -- don't book 'em. -- 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 ------------------------------ In-Reply-To: References:

Message-Id: <5B39D04F-8808-41C8-BD65-F2614600F3B3 [at] dejazzd.com> From: Greg Bierly Subject: Re: Cheap-o fog? Date: Tue, 21 Feb 2006 22:26:59 -0500 > I assure everyone reading this that I have no plans to follow > Chris's tongue-in-cheek suggestion. > > Not on stage, at any rate. (-: > > Having visions of one of our student readers trying this for an > assignment and, as the shrapnel settles, trying to explain, "... > but I read about it on the stagecraft list!" I had a close call earlier in my career. I have since downloaded a graphic pic from a website that someone sent to the list a few years back. Anytime we use dry ice I post a close up pic of the cap wound someone suffered from a dry ice bomb. Right between the eyes. It is graphic enough to get my point across. (For those with a strong stomach I just image.google searched dry ice bomb injury and came up with the pic at http://www.dryiceinfo.com/fog.htm) Greg Bierly Technical Director Hempfield High School ------------------------------ Message-ID: <3eb8da960602212031r4c1e0a09rc2e0772d199b35c0 [at] mail.gmail.com> Date: Tue, 21 Feb 2006 23:31:37 -0500 From: "Jason Cowperthwaite" Subject: Re: video switching In-Reply-To: References: Hi Jonathan, Not sure of an exact answer for your problem, but if you are actually in the DC area as your Sig states, I would highly suggest giving Metro Technical Services a call to see if they can help you out with a solution. Those guys are excellent w/ video/film, and have been extremly helpful for me in the past. There number is (301) 470-2142. Hope this helps and good luck! Jason Cowperthwaite On 2/21/06, Jonathan S. Deull wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Our high school frequently uses video projection in theatrical production= s =96 > often with multiple sources (laptop, DVD, live cameras). Are there > simple/inexpensive (not a production switcher) gizmos that people have us= ed > to allow seamless switching between multiple video sources into one > projector? Using the remote control to switch projector inputs is not a > viable option. > > Thanks. > Jonathan > > * * * * * * * * * * * * * * * * > Jonathan S. Deull > Edmund Burke School > Washington, DC > jdeull [at] clarktransfer.com > > > ------------------------------ Message-ID: <1100.208.51.52.74.1140601252.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 22 Feb 2006 01:40:52 -0800 (PST) Subject: Re: video switching From: "Bill Nelson" > Our high school frequently uses video projection in theatrical > productions - often with multiple sources (laptop, DVD, live cameras). Are > there simple/inexpensive (not a production switcher) gizmos that people > have used to allow seamless switching between multiple video sources into > one projector? Using the remote control to switch projector inputs is not > a viable option. Nope. To get seamless switching, you need a sync source and all the equipment must accept external sync. Without that, you will get tearing, frame rolling etc when switching between sources. Even a production switcher needs a sync reference. Bill ------------------------------ Message-ID: <1160.208.51.52.74.1140602140.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 22 Feb 2006 01:55:40 -0800 (PST) Subject: Re: Cheap-o fog? From: "Bill Nelson" >> Aside from the danger of injury to you or others (especially if it's on >> the ground, flying rocks HURT), this does fall under "improvised >> explosive device" (IED) and you could find yourself in a lot more >> trouble than you anticipated (depends on the AHJ). It depends on the statutes in the area where you live. In some jurisdictions, unless the explosion is caused by heat and burning, it is not considered to be an IED. That is a rather unintelligent differentiation, as a compressed gas tank that is purposely ruptured can do as much damage as a chemical powered explosion. I don't know if he is still in Corvallis, but I knew a person who made one of these dry ice devices. Unfortunately, it exploded in his hand - causing some simi-serious lacerations. He said he was being charged with manufacture of an explosive device, but I never heard the outcome. Bill ------------------------------ End of Stagecraft Digest #699 *****************************