Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 30311966; Wed, 17 May 2006 03:02:38 -0700 X-Spam-Level: X-Spam-Status: No, score=-3.6 required=5.0 tests=AWL,BAYES_00,NO_RECEIVED, NO_RELAYS autolearn=unavailable version=3.1.1 X-Spam-Checker-Version: SpamAssassin 3.1.1 (2006-03-10) on localhost 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 #810 Date: Wed, 17 May 2006 03:00:39 -0700 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 #810 1. Behind the Scenes makes its first grant by "C. Dopher" 2. Re: vacation by "Noah Price" 3. Impressive New Tricks of Light, All Within the Laws of Physics by Herrick Goldman 4. Richard's Fotos by 5. Re: Richard's Fotos by John McKernon 6. Tool bars ACad '06 by "Michael Powers" 7. Re: Richard's Fotos by Kevin Lee Allen 8. Kate's Vacation by b Ricie 9. Re: Kate's Vacation by Herrick Goldman 10. Re: Kate's Vacation by Kate Daly 11. Re: Richard's Fotos by 12. Re: Kate's Vacation by Kate Daly 13. Re: Tool bars ACad '06 by "Ken Romaine" 14. Re: Tool bars ACad '06 by SS 15. Re: Tool bars ACad '06 by SS 16. Re: Impressive New Tricks of Light, All Within the Laws of Physics by "RD" 17. Re: Reaching deep for Behind The Scenes by Loren Schreiber 18. Weapons: “best practice” procedures... by "Scott Parker" 19. Re: Weapons: “best practice” procedures ... by Kate Daly 20. Re: Weapons: "best practice" procedures ... by "Jeffrey E. Salzberg" 21. Re: Weapons: "best practice" procedures... by "Salvatori, Jason" 22. Re: Weapons: "best practice" procedures... by Jim Hyslop 23. Re: Weapons: “best practice” procedures... by rwhitco [at] comcast.net (Randy Whitcomb) 24. Good mixer type by "Joe Golden" 25. Cats Moon Design by Paul Marsland 26. Re: Weapons: „best practice‰ procedures... by "Ray-Pfeifer, Merel" 27. Re: Good mixer type by "Storms, Randy" 28. Re: Good mixer type by "Joe Golden" 29. Re: Good mixer type by "Salvatori, Jason" 30. Re: Weapons: „best practice‰ procedures... by "RD" 31. Re: Weapons: "best practice" procedures... by "RD" 32. Re: Weapons: “best practice” procedures... by FrankWood95 [at] aol.com 33. Re: Weapons: “best practice” procedures ... by FrankWood95 [at] aol.com 34. Re: Weapons: "best practice" procedures... by Pat Kight 35. Re: Weapons: “best practice” procedures ... by Kate Daly 36. Re: Tool bars ACad '06 by "Victor W. Smith" 37. Re: Weapons: “best practice” procedures ... by rwhitco [at] comcast.net (Randy Whitcomb) 38. Re: Weapons: "best practice" procedures ... by "Steve Jones" 39. Re: Weapons: "best practice" procedures... by FrankWood95 [at] aol.com 40. Re: Weapons: “best practice” procedures... by Clive Mitchell 41. Re: Weapons: "best practice" procedures... by "Steve Jones" 42. Re: Weapons: "best practice" procedures ... by FrankWood95 [at] aol.com 43. Re: Weapons: "best practice" procedures... by FrankWood95 [at] aol.com 44. Re: Weapons: “best practice” procedures... by rwhitco [at] comcast.net (Randy Whitcomb) 45. Re: Weapons: “best practice” procedures ... by Kate Daly 46. Re: Weapons: "best practice" procedures... by "Matthew Breton" 47. Re: Weapons: "best practice" procedures... by "Matthew Breton" 48. Re: Attending a rock concert by CB 49. Re: Weapons: “best practice” procedures... by Dale Farmer 50. Re: Weapons: "best practice" procedures ... by Dale Farmer 51. Re: Weapons: "best practice" procedures... by "Alf Sauve" 52. Re: Weapons: "best practice" procedures ... by "Don Taco" 53. Re: Tool bars ACad '06 by "Jeffrey Mulvey" 54. Curved Ramp by Shell Dalzell *** 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. ---------------------------------------------------------------------- In-Reply-To: References: Message-Id: From: "C. Dopher" Subject: Behind the Scenes makes its first grant Date: Tue, 16 May 2006 07:55:38 -0400 I didn't see this posted yet to the list, but it seemed timely in regards to my last post here. On May 15, 2006, at 11:16 AM, Lori Rubinstein wrote: > Dear Long Riders, > > I am very pleased to let you know that the Board of The ESTA > Foundation has just awarded the very first Behind the Scenes grant. > It has gone to Christian Choi, a moving light programmer and > lighting director who has been out of work almost two years due to > a back injury and two very tough surgeries. Christian had gone > through all of his savings, including his retirement money, and was > destitute. The grant will allow him to keep a roof over his head > and to get the physical therapy that he needs to regain his > strength and return to work. > > I have attached the press release about the grant which is going > out today to all the industry magazines. Christian is graciously > allowing us to publicize the grant to create more awareness of the > program and is writing an article for publication. > > I had the honor of being the one to call Christian with the news > that he had been awarded the grant. He was completely overwhelmed > and later wrote to me "Words can't express how thankful and > relieved we are. We've gone from complete destitution to hope and > I just can't thank the Foundation enough for that." > > The thanks also go to all of you for your tremendous support of > this new program. Thank you not only for the money you have raised, > but also for creating awareness of the program, for your personal > commitment, and for making it so much fun. Here's looking forward > to bringing hope to many, many more people for a long time to come. > > Best, > Lori > -- > ________________________ > Lori Rubinstein > The ESTA Foundation > 875 Sixth Avenue, Suite 1005 > New York, NY 10001 > 212-244-1421 Fax: 212-244-1502 > info [at] estafoundation.org > www [at] estafoundation.org > ------------------------------ From: "Noah Price" Subject: Re: vacation Date: 16 May 2006 07:59:00 -0400 Message-ID:<3230611160.2206587 [at] mail.prxy.net> > I checked the website, but it doesn't > tell me how to return to active > status when I get back from > vacation. Just write to the appropriate subcribe address and the address will be changed from inactive to the selected mode: stagecraft-subscribe [at] theatrical.net (single messages) stagecraft-digest [at] theatrical.net (daily digests) Thanks :-) Noah ------------------------------ Date: Tue, 16 May 2006 09:02:17 -0400 Subject: Impressive New Tricks of Light, All Within the Laws of Physics From: Herrick Goldman Message-ID: He says "Nifty" I say "TIMESAVER" From today's New York times: Article Tools Sponsored By By KENNETH CHANG Published: May 16, 2006 To make light go backward, hold up a mirror. Light bounces off the mirror and goes back. More Information From the University of Rochester Robert W. Boyd, a professor of optics at the University of Rochester, however, did not choose this easy, straightforward technique. Instead, in the latest example of logic-defying tricks that physicists can now perform with light, Dr. Boyd and his colleagues demonstrated an optical fiber =8B a glass strand that transmits pulses of light =8B with a couple of od= d characteristics: =B6A pulse of light shot into the fiber departs before it enters. =B6Within the fiber, the pulse travels backward =8B and faster than the speed o= f light. Perhaps most amazingly, Dr. Boyd's results do not violate any law of physics. The effect is indeed predicted by the equations describing the propagation of waves. "This is a good example of something which is very counterintuitive that th= e laws of nature permit," Dr. Boyd said. An article describing the experiment appears in the current issue of the journal Science. In the vacuum of space, light travels at a constant 186,171 miles per second. When it passes through a transparent material like glass or water, it slows slightly, in effect bouncing off atoms as it moves. In 1999, physicists led by Lene Vestergaard Hau of Harvard slowed the speed of light to a leisurely 38 miles per hour by shining it into an exotic ultracooled material known as Bose-Einstein condensate. Two years later, Dr. Hau's group, as well as a second team of scientists at the Harvard-Smithsonian Center for Astrophysics, were able to bring light t= o a standstill =8B and then release it with its original properties intact. In other experiments, scientists have shown that it is possible to make light at least appear as if it is traveling faster than the speed of light. Physicists hope to harness such manipulations of light to speed up optical communications. For Dr. Boyd's trick, the scientists used an optical fiber of glass with small amounts of the metal erbium, which acts as an amplifier. In the experiment, a pulse of laser light was fired into the fiber. Even before th= e peak of the pulse entered the fiber, another pulse appeared, seemingly out of nowhere, at the far end of the fiber. This new pulse then split in two. One, a twin of the original pulse, moved forward, while the other moved backward through the fiber. The backward pulse, which traveled faster than the speed of light, and the original pulse met at the front end of the fiber, where they canceled each other. Even though one pulse momentarily became three, the experiment did not violate the law mandating conservation of energy because the amplifying effect of the erbium added a temporary surge of energy. At first glance, the experiment appears to flout the usual speed limit on the transmission of signals as the original pulse jumped to the forward-moving pulse on the other side of the fiber. However, the pulses were in a shape known as Gaussian, which is, in principle, infinite in width, though in practice not quite that wide. Thus, the outgoing pulse was actually just part of the original pulse that was reshaped by the fiber's unusual properties. "It's really kind of showing the kind of manipulation of light we can do these days," Dr. Hau said of Dr. Boyd's experiment. Dr. Boyd said this effect might find some application in speeding up optica= l communications, but it is, for now, mostly just an impressive trick of physics. "I find it neat," he said. "I find it nifty." --=20 Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Subject: Richard's Fotos Date: Tue, 16 May 2006 09:26:03 -0400 Message-ID: From: =20 Hi, It has been pointed out to me that I misidentified the foto #570 as Sylvia Pannell yesterday. It is not her, but rather Marjorie Bradley Kellogg, the Sound Design winner. Sorry for any confusion. Steve Rees, TD SUNY-Fredonia=20 ------------------------------ Date: Tue, 16 May 2006 10:13:46 -0400 Subject: Re: Richard's Fotos From: John McKernon Message-ID: In-Reply-To: > It has been pointed out to me that I misidentified the foto #570 as > Sylvia Pannell yesterday. It is not her, but rather Marjorie Bradley > Kellogg, the Sound Design winner. > Sorry for any confusion. Confusion, indeed! Marjorie Bradley Kellogg was a noted scenic designer and science fiction author, who passed away in 1993. Glad to hear she's been reincarnated as a sound designer!...;) - John ------------------------------ Message-ID: <58f67b0f0605160731j2599a64boc590e7df8f66d1c5 [at] mail.gmail.com> Date: Tue, 16 May 2006 09:31:46 -0500 From: "Michael Powers" Subject: Tool bars ACad '06 I have recently upgraded to AutoCad 2006. There are definitely some changes that have me a bit flummoxed. First, I like to work with tool bars instead of pull down menus. In 2002 when you wanted a tool bar to appear you simply clicked view;toolbars and a list appeared. You clicked on the box by the one you wanted and it appeared. In '06 I click on view;toolbars and the menu appears but when I try to get a tool bar to appear nothing happens. I click on "show by default" and have tried top, bottom sides, floating etc, clicked on "apply". All the toolbars go blank for a couple of seconds but when they come back, everything is the same, no new tool bar? Second, How can I save or convert a .dwg to a PDF and vice versa??? Last (for now), is there a basic shareware or verrry cheeeeap lighting program that works with AC '06? I don't need much as the drawings I do are submittals and "as built", not design work. It would be nice if it would simply provide a block of instruments and count them when they get used. Any thoughts? --=20 Michael Michael Powers Director of Operations Central Lighting & Equipment 1720 Fuller Rd. Suite 150 West Des Moines Iowa 50265 515-277-4190 877-977-4190 Fax 515-277-2295 515-557-0178 cell michael [at] clelights.com ------------------------------ Date: Tue, 16 May 2006 10:31:22 -0400 From: Kevin Lee Allen Subject: Re: Richard's Fotos In-reply-to: Message-id: <5726FFED-B132-46B7-8DED-3158EF796D8D [at] klad.com> References:

I was going to comment that photo 570 looked like Marge. I think Marjorie Kellog and Marjorie Bradley Kellogg are two =20 different people. Of course, there was a set designer named Marjorie Kellogg who became =20= Marjorie Bradley Kellogg, just to avoid this sort of confusion. I think that the fine folks at Colgate would be surprised to hear =20 their set designer and professor has been dead for 13 years. On May 16, 2006, at 10:13 AM, John McKernon wrote: > Confusion, indeed! Marjorie Bradley Kellogg was a noted scenic =20 > designer and > science fiction author, who passed away in 1993. Glad to hear she's =20= > been > reincarnated as a sound designer!...;) ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <20060516144322.46444.qmail [at] web50611.mail.yahoo.com> Date: Tue, 16 May 2006 07:43:22 -0700 (PDT) From: b Ricie Subject: Kate's Vacation In-Reply-To: Kate, Ya have to drive right past me to get to P-town. How long ya gonna be on the Cape for? If my schedule allows I would love to meet for a beverage. I could even arrange a tour of The Cape Playhouse(in the town of Dennis) for ya, and follow it up with a 4-wheel cruise on one of my favorite beaches in the world, let alone the Cape. (The Cape Playhouse proclaims itself to be the oldest continually running summer stock in the country. The history contained within the walls is well worth the visit.) Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Tue, 16 May 2006 10:56:14 -0400 Subject: Re: Kate's Vacation From: Herrick Goldman Message-ID: In-Reply-To: I can also probably get you into a show at Cape Rep. in Brewster on 6a. Heck, lets all go to the Cape. On 5/16/06 10:43 AM, "b Ricie" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Kate, > Ya have to drive right past me to get to P-town. How > long ya gonna be on the Cape for? If my schedule Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-Id: <6.1.2.0.2.20060516105529.02c56ff8 [at] mail.comcast.net> Date: Tue, 16 May 2006 10:55:53 -0400 From: Kate Daly Subject: Re: Kate's Vacation In-Reply-To: References:

Cool! Details of our itinerary off list. Thanks!! At 10:43 AM 5/16/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Kate, >Ya have to drive right past me to get to P-town. How >long ya gonna be on the Cape for? If my schedule >allows I would love to meet for a beverage. I could >even arrange a tour of The Cape Playhouse(in the town >of Dennis) for ya, and follow it up with a 4-wheel >cruise on one of my favorite beaches in the world, let >alone the Cape. >(The Cape Playhouse proclaims itself to be the oldest >continually running summer stock in the country. The >history contained within the walls is well worth the >visit.) > > >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 ------------------------------ Subject: RE: Richard's Fotos Date: Tue, 16 May 2006 11:10:52 -0400 Message-ID: From: S2V2aW4gc2FpZDogIkkgdGhpbmsgdGhhdCB0aGUgZmluZSBmb2xrcyBhdCBDb2xnYXRlIHdvdWxk IGJlIHN1cnByaXNlZCB0byBoZWFyIHRoZWlyIHNldCBkZXNpZ25lciBhbmQgcHJvZmVzc29yIGhh cyBiZWVuIGRlYWQgZm9yIDEzIHllYXJzLiIgIEkgdGhpbmsgdGhhdCBjYW4gc29tZXRpbWVzIGhh cHBlbiBpbiBhY2FkZW1lLiAgSSBrbm93IHRoZXJlIGFyZSBzb21lIGRheXMgbGlrZSB0aGF0IC0g dG9kYXkgYmVpbmcgb25lIG9mIHRoZW0uICA7KSAgQXJycmdoLg0KU3RldmUNCiANCg0KLS0tLS1P cmlnaW5hbCBNZXNzYWdlLS0tLS0NCkZyb206IFN0YWdlY3JhZnQgW21haWx0bzpzdGFnZWNyYWZ0 QHRoZWF0cmljYWwubmV0XSBPbiBCZWhhbGYgT2YgS2V2aW4gTGVlIEFsbGVuDQpTZW50OiBUdWVz ZGF5LCBNYXkgMTYsIDIwMDYgMTA6MzEgQU0NClRvOiBTdGFnZWNyYWZ0DQpTdWJqZWN0OiBSZTog UmljaGFyZCdzIEZvdG9zDQoNCkZvciBpbmZvLCBhcmNoaXZlcyAmIFVOU1VCU0NSSUJFLCBzZWUg PGh0dHA6Ly9zdGFnZWNyYWZ0LnRoZXByaWNlcy5uZXQvPg0KLS0tLS0tLS0tLS0tLS0tLS0tLS0t LS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tDQoNCg0KSSB3YXMgZ29pbmcgdG8gY29tbWVu dCB0aGF0IHBob3RvIDU3MCBsb29rZWQgbGlrZSBNYXJnZS4NCg0KSSB0aGluayBNYXJqb3JpZSBL ZWxsb2cgYW5kIE1hcmpvcmllIEJyYWRsZXkgS2VsbG9nZyBhcmUgdHdvIGRpZmZlcmVudCBwZW9w bGUuDQoNCk9mIGNvdXJzZSwgdGhlcmUgd2FzIGEgc2V0IGRlc2lnbmVyIG5hbWVkIE1hcmpvcmll IEtlbGxvZ2cgd2hvIGJlY2FtZSBNYXJqb3JpZSBCcmFkbGV5IEtlbGxvZ2csIGp1c3QgdG8gYXZv aWQgdGhpcyBzb3J0IG9mIGNvbmZ1c2lvbi4NCg0KSSB0aGluayB0aGF0IHRoZSBmaW5lIGZvbGtz IGF0IENvbGdhdGUgd291bGQgYmUgc3VycHJpc2VkIHRvIGhlYXIgdGhlaXIgc2V0IGRlc2lnbmVy IGFuZCBwcm9mZXNzb3IgaGFzIGJlZW4gZGVhZCBmb3IgMTMgeWVhcnMuDQoNCg0KDQpPbiBNYXkg MTYsIDIwMDYsIGF0IDEwOjEzIEFNLCBKb2huIE1jS2Vybm9uIHdyb3RlOg0KDQo+IENvbmZ1c2lv biwgaW5kZWVkISBNYXJqb3JpZSBCcmFkbGV5IEtlbGxvZ2cgd2FzIGEgbm90ZWQgc2NlbmljIA0K PiBkZXNpZ25lciBhbmQgc2NpZW5jZSBmaWN0aW9uIGF1dGhvciwgd2hvIHBhc3NlZCBhd2F5IGlu IDE5OTMuIEdsYWQgdG8gDQo+IGhlYXIgc2hlJ3MgYmVlbiByZWluY2FybmF0ZWQgYXMgYSBzb3Vu ZCBkZXNpZ25lciEuLi47KQ0KDQoNCi0tLS0tDQpLZXZpbiBMZWUgQWxsZW4NCkFyY2hpdGVjdCBv ZiBEcmVhbXMNCmh0dHA6Ly93d3cua2xhZC5jb20NCjk3My43NDQuNjM1Mi52b2ljZQ0KMjAxLjI4 MC4zODQxLm1vYmlsZQ0Ka2xhZEBrbGFkLmNvbQ0K76O/DQoNCg0KDQo= ------------------------------ Message-Id: <6.1.2.0.2.20060516111110.03db1ec0 [at] mail.comcast.net> Date: Tue, 16 May 2006 11:13:02 -0400 From: Kate Daly Subject: Re: Kate's Vacation In-Reply-To: References:

A "Stagecraft" party on the Cape -- woo hoo!! Provincetown might never be the same, LOL. At 10:56 AM 5/16/2006, Herrick Goldman wrote: >Heck, lets all go to the Cape. ------------------------------ Message-ID: Date: Tue, 16 May 2006 11:38:40 -0400 From: "Ken Romaine" Cc: mptecdir [at] gmail.com (Michael Powers) Subject: Re: Tool bars ACad '06 In-Reply-To: References: Michael: I forwarded your messgage to my wife (an AutoCAD goddess-for-hire) and here is her reply: Oooooh, I'm so sorry. This is part of the brilliant reworking of the file system that only gets harder to work with in 2007. What he must do is go to the Help menu and navigate to the CUI chapter called "Customize the User Interface". I use Civil3D and Land, but I'm sure AutoCAD2006 has some sort of chapter regarding this. Mine was about 30 pages long, just to get one little toolbar to load. But after an hour of non-productive time, I had a workspace that is set up properly, most of the time. What I also found helpful was to call another user who has shed the tears of setting this up in the past and who can talk you through it over the phone. It is not a simple process. In order to print to PDF, until you upgrade to 2007, you will need a third party PDF creator. There are several free ones out there, depending on your needs. I've used Acrobat Distiller (not free), CutePDF (free) and AcroPlot (free evaluation). I print large, sometimes 100mg figures and some programs are better than others at it. There is a lighting program that works as an add-on for CAD whose name escapes me at present. Everyone is so married to Vectorworks that it was not feasible to purchase for possible freelance work and I didn't want to learn another drafting program. Hope this helps! Lisa Cameron Pinnacle Consulting West Orange, New Jersey The lighting program add-on Lisa refers to is one that has been mentioned on this list before, but it's name escapes me, too. I hope I had fun killing those brain cells. I hope it helps, too... --=20 Ken Romaine Business Development Manager Barco Media & Entertainment The opinions expressed here are mine - all mine - no matter how much I want to impose them on the rest of the world. On 5/16/06, Michael Powers wrote: > I have recently upgraded to AutoCad 2006. There are definitely some > changes that have me a bit flummoxed. > > First, I like to work with tool bars instead of pull down menus. In > 2002 when you wanted a tool bar to appear you simply clicked > view;toolbars and a list appeared. You clicked on the box by the one > you wanted and it appeared. In '06 I click on view;toolbars and the > menu appears but when I try to get a tool bar to appear nothing > happens. I click on "show by default" and have tried top, bottom > sides, floating etc, clicked on "apply". All the toolbars go blank > for a couple of seconds but when they come back, everything is the > same, no new tool bar? > > Second, How can I save or convert a .dwg to a PDF and vice versa??? > > Last (for now), is there a basic shareware or verrry cheeeeap lighting > program that works with AC '06? I don't need much as the drawings I > do are submittals and "as built", not design work. It would be nice > if it would simply provide a block of instruments and count them when > they get used. Any thoughts? > > -- > Michael ------------------------------ Message-ID: <8231e7ea0605160856j3dfb1c60n5da70c7ba08ec562 [at] mail.gmail.com> Date: Tue, 16 May 2006 11:56:35 -0400 From: SS Subject: Re: Tool bars ACad '06 In-Reply-To: References: > I have recently upgraded to AutoCad 2006. There are definitely some > changes that have me a bit flummoxed. > > First, I like to work with tool bars instead of pull down menus. In > 2002 when you wanted a tool bar to appear you simply clicked > view;toolbars and a list appeared. You clicked on the box by the one > you wanted and it appeared. In '06 I click on view;toolbars and the > menu appears but when I try to get a tool bar to appear nothing > happens. I click on "show by default" and have tried top, bottom > sides, floating etc, clicked on "apply". All the toolbars go blank > for a couple of seconds but when they come back, everything is the > same, no new tool bar? > > Second, How can I save or convert a .dwg to a PDF and vice versa??? Couple of thoughts on your questions... however, mind you, they are merely thoughts for I am not a user of AutoCAD = 06'. My poor/sorry butt is still using an older version :( Plus, I'd like to avoid being mistook for questioning your intelligence!! Cause, I mean, hell, who am I right? :) Your toolbar issue...are you sure when you are clicking to view it is in fact appearing, yet just disguising itself by embedding itself somewhere randomly about your screen? I know on older versions it usually pops up, and you can then plant it where you like. But if the changes they have made are causing it to react anything like some other programs out there (gee, thanks Bill Gates!), it may be "self-inserting" itself somewhere else amongst your other toolbars. Saving as a PDF...assuming you have a PDF create-able-type program, you should be able to click on File, then Export, and then just locate it in "Save As-File Type" drop down window. However, I could be wrong. Just a suggestion/thought of something to look at. If you're anything like me (or the others who have posted similar quandaries as of late) once you become well-versed in the program functions, it doesn't take much to start missing the obvious!! Suffering from CRS, I suppose. :) HTH. (If not, feel free to make me laugh by mocking me. I'm just in that kind of mood today!) :) :) -SS TTS-EKU "Diplomacy is the art of saying "good doggie" until you find a suitable roc= k. " ------------------------------ Message-ID: <8231e7ea0605160903k6706ae71p53c7e97e972442c5 [at] mail.gmail.com> Date: Tue, 16 May 2006 12:03:38 -0400 From: SS Subject: Re: Tool bars ACad '06 In-Reply-To: References:

> In order to print to PDF, until you upgrade to 2007, you will need a > third party PDF creator. There are several free ones out there, > depending on your needs. I've used Acrobat Distiller (not free), > CutePDF (free) and AcroPlot (free evaluation). I print large, > sometimes 100mg figures and some programs are better than others at > it. Lisa, via Ken, beat me to the punch with your AutoCAD help. Sorry. However, I would like to second Lisa's nod to CutePDF. Great little program. Not bad for what it does. And it being Free is the best part!! http://www.cutepdf.com/ HTH. --SS TTS-EKU "Diplomacy is the art of saying "good doggie" until you find a suitable roc= k. " ------------------------------ Reply-To: From: "RD" Subject: RE: Impressive New Tricks of Light, All Within the Laws of Physics Date: Tue, 16 May 2006 11:03:37 -0600 Message-ID: <000f01c6790a$aca16510$c083c447 [at] doom1> In-Reply-To: Thanks for putting this on the web. I saw it too, and was step behind = you. Good article. Doom=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Herrick Goldman Sent: Tuesday, May 16, 2006 7:02 AM To: Stagecraft Subject: Impressive New Tricks of Light, All Within the Laws of Physics For info, archives & UNSUBSCRIBE, see --------------------------------------------------- He says "Nifty" I say "TIMESAVER" From today's New York times: Article Tools Sponsored By By KENNETH CHANG Published: May 16, 2006 To make light go backward, hold up a mirror. Light bounces off the = mirror and goes back. More Information From the University of Rochester Robert W. Boyd, a professor of optics at the University of Rochester, however, did not choose this easy, straightforward technique. Instead, in the latest example of logic-defying tricks that physicists = can now perform with light, Dr. Boyd and his colleagues demonstrated an = optical fiber =8B a glass strand that transmits pulses of light =8B with a = couple of odd characteristics: =B6A pulse of light shot into the fiber departs before it enters. =B6Within the fiber, the pulse travels backward =8B and faster than the = speed of light. Perhaps most amazingly, Dr. Boyd's results do not violate any law of physics. The effect is indeed predicted by the equations describing the propagation of waves. "This is a good example of something which is very counterintuitive that = the laws of nature permit," Dr. Boyd said. An article describing the experiment appears in the current issue of the journal Science. In the vacuum of space, light travels at a constant 186,171 miles per second. When it passes through a transparent material like glass or = water, it slows slightly, in effect bouncing off atoms as it moves. In 1999, physicists led by Lene Vestergaard Hau of Harvard slowed the = speed of light to a leisurely 38 miles per hour by shining it into an exotic ultracooled material known as Bose-Einstein condensate. Two years later, Dr. Hau's group, as well as a second team of scientists = at the Harvard-Smithsonian Center for Astrophysics, were able to bring = light to a standstill =8B and then release it with its original properties = intact. In other experiments, scientists have shown that it is possible to make light at least appear as if it is traveling faster than the speed of = light. Physicists hope to harness such manipulations of light to speed up = optical communications. For Dr. Boyd's trick, the scientists used an optical fiber of glass with small amounts of the metal erbium, which acts as an amplifier. In the experiment, a pulse of laser light was fired into the fiber. Even before = the peak of the pulse entered the fiber, another pulse appeared, seemingly = out of nowhere, at the far end of the fiber. This new pulse then split in two. One, a twin of the original pulse, = moved forward, while the other moved backward through the fiber. The backward pulse, which traveled faster than the speed of light, and = the original pulse met at the front end of the fiber, where they canceled = each other. Even though one pulse momentarily became three, the experiment did not violate the law mandating conservation of energy because the amplifying effect of the erbium added a temporary surge of energy. At first glance, the experiment appears to flout the usual speed limit = on the transmission of signals as the original pulse jumped to the forward-moving pulse on the other side of the fiber. However, the pulses were in a shape known as Gaussian, which is, in principle, infinite in width, though in practice not quite that wide. Thus, the outgoing pulse was actually just part of the original pulse = that was reshaped by the fiber's unusual properties. "It's really kind of showing the kind of manipulation of light we can do these days," Dr. Hau said of Dr. Boyd's experiment. Dr. Boyd said this effect might find some application in speeding up = optical communications, but it is, for now, mostly just an impressive trick of physics. "I find it neat," he said. "I find it nifty." --=20 Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and = in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-Id: <6.1.1.1.2.20060516114055.03c8f030 [at] mail.sdsu.edu> Date: Tue, 16 May 2006 11:44:36 -0700 From: Loren Schreiber Subject: Re: Reaching deep for Behind The Scenes In-Reply-To: References: On the same topic: owing to my wife's back surgery, I have a spare '97 Honda Magna 750 available for someone on the west coast to join the ride. There is still time to raise the $1000 buy-in. As you have heard: it ALL (not just most) goes to a very good cause. So, if you thought you might like to make a ride like the Long Reach Long Riders are making--but you didn't have a bike, then you no longer have an excuse! Loren "Grits" Schreiber, Technical Director School of Theatre, Television and Film San Diego State University Long Reach Long Riders announce dates for the 2006 Charity Ride. Check out www.lrlr.org for more information, and then join us! ------------------------------ Message-ID: <90d9c9980605161244l1927c447t7d6c92b19487ebf9 [at] mail.gmail.com> Date: Tue, 16 May 2006 15:44:09 -0400 From: "Scott Parker" Subject: =?WINDOWS-1252?Q?Weapons:_=93best_practice=94_procedures...?= Can anyone point me to a "best practice" kind of procedure for dealing with weapons being used as props in shows. I'm on the verge of getting the University's zero-tolerance standard modified! --=20 Thanks and take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Message-Id: <6.1.2.0.2.20060516155323.02bacd10 [at] mail.comcast.net> Date: Tue, 16 May 2006 15:58:19 -0400 From: Kate Daly Subject: =?iso-8859-1?Q?Re:_Weapons:_=93best_practice=94_procedures?= ... In-Reply-To: References: What kind of weapons? As a stage manager, I hate it when the director "has" to have foils or epees on stage. There's almost no way to neutralize them, and the temptation to play with them in the greenroom seems to be more than most actors can overcome. As for firearms, my policy is to use non-loadable, non-fireable ones, and make the bang offstage by standing on one end of a long piece of 1-by while thwapping the other end on a hollow platform. Very convincing sound and failsafe (knock wood). At 03:44 PM 5/16/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Can anyone point me to a "best practice" kind of procedure for dealing >with weapons being used as props in shows. I'm on the verge of >getting the University's zero-tolerance standard modified! > >-- >Thanks and take care, Scott > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Dyson College of Arts and Sciences [at] Pace University > Office/shipping: 41 Park Row, 1205F > Mailing: 1 Pace Plaza > New York, NY 10038 > 212-346-1423 Fax: 914-989-8425 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: =?us-ascii?Q?RE:_Weapons:_=22best_practice=22_procedures__...?= Date: Tue, 16 May 2006 16:11:19 -0400 Message-ID: <00bf01c67924$e5d23520$6501a8c0 [at] Dell> In-Reply-To: > and the temptation to play with them in the greenroom seems > to be more than > most actors can overcome. Require that as soon as they come off stage, they're handed to an ASM who either keeps them or locks them up. ------------------------------ Subject: RE: Weapons: "best practice" procedures... Date: Tue, 16 May 2006 16:12:26 -0400 Message-ID: From: "Salvatori, Jason" >Can anyone point me to a "best practice" kind of procedure for dealing >with weapons being used as props in shows. I'm on the verge of >getting the University's zero-tolerance standard modified! Things may be different in the States, but in Canada there are some = specific rules to be followed - For firearms, even if shooting blanks, someone on staff must have a Firearms license. Also, good practice anywhere is to have a secure lock-up for the weapons for all times when they are not on stage. Ammunition (if using blanks) should be stored in a separate = locked container. Only the SM or TD of the space should have keys to both. Another general rule is that the weapon should never be pointed at = anyone. Period. The blocking can be arranged so that the gun is pointed towards = a person, but aimed US or DS, so that is IF SOMEHOW it were to fire and discharge a projectile, it still would not hit anyone. For knives, swords, etc., they should be blunted. If they contact other weapons (duels) or set pieces, they should be sturdy, full-tang items to avoid the possibility of them breaking on contact (broken steel has some very sharp edges) Again, all weapons should be secured in a locked area when not on stage. All weapon use should have a fight rehearsal before every performance. Any non-combatants should be kept as far as possible from the fight choreography. Jason Salvatori Technical Director City Playhouse Work: 905-326-7469 Fax: 905-882-7949 _________________________________________________________________________= _ This e-mail, including any attachment(s), may be confidential and is = intended solely for the attention and information of the named = addressee(s). If you are not the intended recipient or have received = this message in error, please notify me immediately by return e-mail and = permanently delete the original transmission from your computer, = including any attachment(s). Any unauthorized distribution, disclosure = or copying of this message and attachment(s) by anyone other than the = recipient is strictly prohibited. ------------------------------ Message-ID: <446A390A.7010703 [at] dreampossible.ca> Date: Tue, 16 May 2006 16:41:46 -0400 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Weapons: "best practice" procedures... References: In-Reply-To: Salvatori, Jason wrote: > Things may be different in the States, but in Canada there are some specific > rules to be followed - For firearms, even if shooting blanks, someone on > staff must have a Firearms license. Also, good practice anywhere is to > have a secure lock-up for the weapons for all times when they are not on > stage. Ammunition (if using blanks) should be stored in a separate locked > container. Only the SM or TD of the space should have keys to both. Canadian Actors Equity has a useful page on firearms: http://www.caea.com/EquityWeb/Committees/StageManagement/Firearms.aspx Poking around that site may provide more information. -- Jim Hyslop ------------------------------ From: rwhitco [at] comcast.net (Randy Whitcomb) Subject: Re: Weapons: “best practice” procedures... Date: Tue, 16 May 2006 20:43:46 +0000 Message-Id: <051620062043.15923.446A3981000E8F3A00003E332200734830010C9B0708999D [at] comcast.net> I've received permission to use firearms on stage for 4 shows now at public high schools (Annie Get Your Gun, Oklahoma and Les Miserables- 2x). They key was to show the administration that I had my own zero tolerance policy in place. All members of the cast and crew would be trained in the safe use and handling of the weapons, and anyone who so much as touched the weapons without permission was out of the show, and suspended from school. The weapons were under the control of a desiginated weapons handler and crew whose only job during the production was the preparation, distribution, cleaning and stowing of the guns. There was a fight call each night of tech week and before every performance, where the fight and shooting scenes were rehearsed. A fight captain oversaw these rehearsals. The same rules would apply to edged and other weapons as well. The Society of America Fight Directors www.safd.org is an excellent resource. I own a copy of the video "Firearm Safety On Stage" it is available here: http://tinyurl.com/mt43c The video is pricey at $125 but well worth the money. We show it to the ENTIRE cast and crew. I think its important to show TPTB that you are well prepared and serious about safety. They fear injuries and lawsuits. Good Luck Randy Whitcomb Manager/TD Price Civic Aud. Loveland, CO -------------- Original message ---------------------- From: "Scott Parker" > Can anyone point me to a "best practice" kind of procedure for dealing > with weapons being used as props in shows. I'm on the verge of > getting the University's zero-tolerance standard modified! ------------------------------ From: "Joe Golden" Subject: Good mixer type Date: Tue, 16 May 2006 13:53:33 -0700 Message-ID: I have a friend that is looking for a good mixer with 16-24 inputs, 4 sends (for effects or monitors) and stereo outputs. I have been out of the HUM world too long. Any recommendations for a average/decent mixer? TIA Joe ------------------------------ Message-ID: <20060516205359.32660.qmail [at] web52201.mail.yahoo.com> Date: Tue, 16 May 2006 13:53:59 -0700 (PDT) From: Paul Marsland Subject: Cats Moon Design In-Reply-To: For what it's worth, the touring version (at least every one of the five I've seen) was a muslin drop, moon left translucent (unpainted) with opaque clouds painted across it. Backlit with an unweildy assortment of MR16 strips of various lengths, hung from trapezed (or tailed down) pipes in some kind of "arrayed" electric. Paul > > I have been asked to do the lighting design for a > production of "Cats". At = > a directors meeting last night, the stage director > asked about the moon = > and clouds which appeared in the original > production. My question, was = > this a scenic element or > a lighting element? In either instance, do you know __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Tue, 16 May 2006 17:07:14 -0400 Subject: Re: Weapons: =?UTF-8?B?4oCe?=best practice=?UTF-8?B?4oCwIA==?= procedures... From: "Ray-Pfeifer, Merel" Message-ID: In-Reply-To: I am not negotiable on "If you are not blocked to touch it you don't. If you are, you only touch it when and in the way you are blocked to touch it." That eliminates a LOT of problems. Any weapons used on stage are locked up when not in use. The only person with keys is the weapons wrangler/SM and the TD. Zero tolerance for Horseplay is a must. That's how people have wound up hurt. The Bob Chambers safety video is a good one for everyone in the cast to see. Theatre Arts Video Library has it for sale. On 5/16/06 3:44 PM, "Scott Parker" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Can anyone point me to a "best practice" kind of procedure for dealing > with weapons being used as props in shows. I'm on the verge of > getting the University's zero-tolerance standard modified! ------------------------------ Subject: RE: Good mixer type Date: Tue, 16 May 2006 14:21:20 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C268 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" budget...? -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Joe Golden Sent: Tuesday, May 16, 2006 1:54 PM To: Stagecraft Subject: Good mixer type For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have a friend that is looking for a good mixer with 16-24 inputs, 4 = sends (for effects or monitors) and stereo outputs. I have been out of the = HUM world too long. Any recommendations for a average/decent mixer? =20 TIA Joe ------------------------------ From: "Joe Golden" Subject: RE: Good mixer type Date: Tue, 16 May 2006 14:27:02 -0700 Message-ID: In-Reply-To: I don't have a budget yet, features are more important at this point in the game. -----Original Message----- budget...? -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- I have a friend that is looking for a good mixer with 16-24 inputs, 4 sends (for effects or monitors) and stereo outputs. I have been out of the HUM world too long. Any recommendations for a average/decent mixer? TIA Joe ------------------------------ Subject: RE: Good mixer type Date: Tue, 16 May 2006 17:42:12 -0400 Message-ID: From: "Salvatori, Jason" It depends on the budget. If you're looking to get something cheap I'd recommend a Mackie 1604: = 16ch, 6Aux(2 fixed, 2 selectable pair) 4 bus or a Mackie 24.8 24ch, 6Aux (2 fixed, 2 selectable pair) 8 bus, 2nd mix = with split EQ option, secondary tape inputs with selector switch. This = one probably has more to it than you need, but is a good console for the = price. The disadvantage to both these consoles is the lifespan. I have = found most Mackie boards only last 7 to 10 years. If you have more money to spend, I'd suggest a Soundcraft or Allen & = Heath. Allen & Heath have the lower-end PA20. At the mid range is the GL = series (GL2400, GL2800, GL3800) More info at http://www.glseries.com/ = Their high-end boards are the ML series - these include VCAs. Finally, there is the option of a digital board - Yamaha make a couple = of great ones, but these aren't for beginners - the Manual is 300 pages, = and it'll take you a day just to find your way around the basics if you = don't have much experience. The M7CL may be too big for what you're requesting (32ch is the smallest = offered) The DM2000 is probably more the size you are looking for... And = if features are your biggest concern, no analogue board will come close. = Each channel can be EQ'd Compressed, Gated, or have Effects applied = internally. Routing is virtually limitless, and you can set scenes and = cues to be recalled at the press of a button - the only drawback is the = extreme cost, only slightly offset by the fact you don't need any = external rack gear - it's all in the board. Info at = http://www.yamaha.com/yamahavgn/Documents/ProAudio/DM2000V2_brochure_0526= 05.pdf Jason Salvatori Technical Director City Playhouse Phone: 905-326-7469 Fax: 905-882-7949 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Joe Golden Sent: Tuesday, May 16, 2006 4:54 PM To: Stagecraft Subject: Good mixer type For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have a friend that is looking for a good mixer with 16-24 inputs, 4 = sends (for effects or monitors) and stereo outputs. I have been out of the = HUM world too long. Any recommendations for a average/decent mixer? =20 TIA Joe _________________________________________________________________________= _ This e-mail, including any attachment(s), may be confidential and is = intended solely for the attention and information of the named = addressee(s). If you are not the intended recipient or have received = this message in error, please notify me immediately by return e-mail and = permanently delete the original transmission from your computer, = including any attachment(s). Any unauthorized distribution, disclosure = or copying of this message and attachment(s) by anyone other than the = recipient is strictly prohibited. ------------------------------ Reply-To: From: "RD" Subject: =?windows-1251?Q?RE:_Weapons:_=84best_practice=89__procedures...?= Date: Tue, 16 May 2006 16:03:50 -0600 Message-ID: <004701c67934$9d515050$c083c447 [at] doom1> In-Reply-To: I DID MANAGE TO PUT A CHAPTER IN MY BOOK ON WEAPONS ... MIGHT BE USEFUL. Doom=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Ray-Pfeifer, Merel Sent: Tuesday, May 16, 2006 3:07 PM To: Stagecraft Subject: Re: Weapons: =84best practice=89 procedures... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am not negotiable on "If you are not blocked to touch it you don't. = If you are, you only touch it when and in the way you are blocked to touch = it." That eliminates a LOT of problems. Any weapons used on stage are locked up when not in use. The only = person with keys is the weapons wrangler/SM and the TD. Zero tolerance for Horseplay is a must. That's how people have wound up hurt. The Bob Chambers safety video is a good one for everyone in the cast to = see. Theatre Arts Video Library has it for sale. On 5/16/06 3:44 PM, "Scott Parker" wrote: > For info, archives & UNSUBSCRIBE, see = > --------------------------------------------------- >=20 > Can anyone point me to a "best practice" kind of procedure for dealing > with weapons being used as props in shows. I'm on the verge of > getting the University's zero-tolerance standard modified! ------------------------------ Reply-To: From: "RD" Subject: =?US-ASCII?Q?RE:_Weapons:_=22best_practice=22_procedures...?= Date: Tue, 16 May 2006 16:08:20 -0600 Message-ID: <005001c67935$3e5a2300$c083c447 [at] doom1> In-Reply-To: My partner in Salem, New Hampshire is a certified Weapons person. Jay C. Stone. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Scott Parker Sent: Tuesday, May 16, 2006 1:44 PM To: Stagecraft Subject: Weapons: "best practice" procedures... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Can anyone point me to a "best practice" kind of procedure for dealing with weapons being used as props in shows. I'm on the verge of getting the University's zero-tolerance standard modified! -- Thanks and take care, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <38b.2e02d6d.319bab80 [at] aol.com> Date: Tue, 16 May 2006 18:26:08 EDT Subject: =?UTF-8?Q?Re:=20Weapons:=20=E2=80=9Cbest=20practice=E2=80=9D=20p?= =?UTF-8?Q?rocedures...?= In a message dated 16/05/06 20:44:55 GMT Daylight Time, scparker [at] gmail.com writes: > Can anyone point me to a "best practice" kind of procedure for dealing > with weapons being used as props in shows. I'm on the verge of > getting the University's zero-tolerance standard modified! Well done! First make sure that they are as non-lethal as can be managed. There are one or two occasions when this may have to be compromised. In "Hamlet", the King's sword, with which Polonius is killed, has to be sharp enough to penetrate the arras behind which he is hiding. The one I made was fully lethal, and now hangs above my fireplace in France. As weaponsmaster, I judged it not a safe thing to leave in the props store. There are rules for firearms. Basically, the barrel must be blocked, and the blank charge must vent sideways or upwards. This makes automatic weapons hard to handle, since the back pressure is what cocks the weapon for the next shot. All weapons must be stored in a secure store, even the ones designed to be non-lethal, when not required on stage, together with their ammunition. This goes for props swords, too. I have been stabbed in the leg by one such, blunt as it was. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <36c.46f1d81.319bacdc [at] aol.com> Date: Tue, 16 May 2006 18:31:56 EDT Subject: =?UTF-8?Q?Re:=20Weapons:=20=E2=80=9Cbest=20practice=E2=80=9D=20p?= =?UTF-8?Q?rocedures=20=20...?= In a message dated 16/05/06 20:59:19 GMT Daylight Time, kdaly973 [at] comcast.net writes: > What kind of weapons? As a stage manager, I hate it when the director "has" > to have foils or epees on stage. There's almost no way to neutralize them, > and the temptation to play with them in the greenroom seems to be more than > most actors can overcome. > > As for firearms, my policy is to use non-loadable, non-fireable ones, and > make the bang offstage by standing on one end of a long piece of 1-by while > thwapping the other end on a hollow platform. Very convincing sound and > failsafe (knock wood). I think you are overdoing it. Yes, swords shoule be surrendered to the SM when the actor comes off stage. But I cannot agree with you on firearms. Especially in the US, people know what they expect to see when a gun is fired. See, not hear. Frank Wood ------------------------------ Message-ID: <446A53CB.6020606 [at] peak.org> Date: Tue, 16 May 2006 15:35:55 -0700 From: Pat Kight Subject: Re: Weapons: "best practice" procedures... References: In-Reply-To: FrankWood95 [at] aol.com wrote: > First make sure that they are as non-lethal as can be managed. There are one > or two occasions when this may have to be compromised. In "Hamlet", the King's > sword, with which Polonius is killed, has to be sharp enough to penetrate the > arras behind which he is hiding. Not necessarily. We killed Polonius nightly - and most effectively - last season with nothing more than acting, and nary a hole in the arras (which, in our production, Polonius pulled down with/over himself as he fell). There are safer ways to do almost everything, if you use your imagination. But even with "safe" weapons, securing the props, having a designated weapons master and prohibiting cast members from playing with them are all still good practices. -- Pat Kight kightp [at] peak.org ------------------------------ Message-Id: <6.1.2.0.2.20060516183452.02c38168 [at] mail.comcast.net> Date: Tue, 16 May 2006 18:38:13 -0400 From: Kate Daly Subject: =?iso-8859-1?Q?Re:_Weapons:_=93best_practice=94_procedures?= ... In-Reply-To: References: > Especially in the US, people know what >they expect to see when a gun is fired. See, not hear. What do they expect to see? In my 55 years, I've never watched a gun being fired, so I wouldn't know (except on television, of course, where all I see is the "blood".) -Kate ------------------------------ Date: Tue, 16 May 2006 18:53:34 -0400 From: "Victor W. Smith" Subject: RE: Tool bars ACad '06 In-reply-to: Message-id: <0IZD00K46RLDQU50 [at] mta6.srv.hcvlny.cv.net> Michael, Toolbars - In AutoCAD you can right click in an empty area of any open toolbar and a shortcut menu should pop-up with toolbar selection and customizing tools - save workspace, lock locations, etc. PDF - I purchased Acrobat Distiller - worth every penny when communicating via email with designers. Light plots - I use AutoBlock (which is no longer available from the original developer) for light plots in AutoCAD. Inserts blocks from which you can then export attribute data into a database (Excel) or a text file to import into Lightwright. Victor W. Smith -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Michael Powers Sent: Tuesday, May 16, 2006 10:32 AM To: Stagecraft Subject: Tool bars ACad '06 I have recently upgraded to AutoCad 2006. There are definitely some changes that have me a bit flummoxed. First, I like to work with tool bars instead of pull down menus. In 2002 when you wanted a tool bar to appear you simply clicked view;toolbars and a list appeared. You clicked on the box by the one you wanted and it appeared. In '06 I click on view;toolbars and the menu appears but when I try to get a tool bar to appear nothing happens. I click on "show by default" and have tried top, bottom sides, floating etc, clicked on "apply". All the toolbars go blank for a couple of seconds but when they come back, everything is the same, no new tool bar? Second, How can I save or convert a .dwg to a PDF and vice versa??? Last (for now), is there a basic shareware or verrry cheeeeap lighting program that works with AC '06? I don't need much as the drawings I do are submittals and "as built", not design work. It would be nice if it would simply provide a block of instruments and count them when they get used. Any thoughts? -- Michael Michael Powers ------------------------------ From: rwhitco [at] comcast.net (Randy Whitcomb) Subject: Re: Weapons: “best practice” procedures ... Date: Tue, 16 May 2006 22:58:10 +0000 Message-Id: <051620062258.3630.446A59020005411500000E2E2206424613010C9B0708999D [at] comcast.net> Flash and smoke. > What do they expect to see? In my 55 years, I've never watched a gun being > fired, so I wouldn't know (except on television, of course, where all I see > is the "blood".) > -Kate > > ------------------------------ Message-Id: <200605162310.k4GNAYBa005655 [at] ns-omrbm3.netsolmail.com> From: "Steve Jones" Subject: =?us-ascii?Q?RE:_Weapons:_=22best_practice=22_procedures__...?= Date: Tue, 16 May 2006 18:10:17 -0500 Organization: Plaza Theatre In-Reply-To: Once again, Frank is telling all of us here in the US what our expectations are and how things need to be done "in the US" while living and working in the UK. Thank god someone finally told me what a US audience member's expectations are. Wow - I wish I had such a broad and all encompassing knowledge of everybody else. 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 1964 - The Tribute Friday, May 12, 2006, 7:00 PM -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Tuesday, May 16, 2006 5:32 PM To: Stagecraft Subject: Re: Weapons: "best practice" procedures ... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I think you are overdoing it. Yes, swords shoule be surrendered to the SM when the actor comes off stage. But I cannot agree with you on firearms. Especially in the US, people know what they expect to see when a gun is fired. See, not hear. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <326.41b0104.319bc6d2 [at] aol.com> Date: Tue, 16 May 2006 20:22:42 EDT Subject: Re: Weapons: "best practice" procedures... In a message dated 16/05/06 21:13:13 GMT Daylight Time, Jason.Salvatori [at] vaughan.ca writes: > Things may be different in the States, but in Canada there are some specific > rules to be followed - For firearms, even if shooting blanks, someone on > staff must have a Firearms license. Also, good practice anywhere is to > have a secure lock-up for the weapons for all times when they are not on > stage. Ammunition (if using blanks) should be stored in a separate locked > container. I blinked, here. "If using blanks". What else can you use? Live rounds? And, locked container does not equate to secure storage.This depends on the quality of the locks. Only the SM or TD of the space should have keys to both. > Another general rule is that the weapon should never be pointed at anyone. > Period. In principle. If you are aiming for any degree of realism, this may not be possible. The best you can do is to ensure that the ejecta from the firearm are in a harmless direction. The blocking can be arranged so that the gun is pointed towards a > person, but aimed US or DS, so that is IF SOMEHOW it were to fire and > discharge a projectile, it still would not hit anyone. It is a matter for the weaponsmaster, and the SM or TD, to ensure that this is not possible. Forget your somehow. There must be NOhow. > All weapon use should have a fight rehearsal before every performance. > Any non-combatants should be kept as far as possible from the fight > choreography. The last depends on the blocking. But fight rehearsals are very important. Not, perhaps, before every performance, but certainly in the schedule. Few directors realise this. Frank Wood ------------------------------ Message-ID: Date: Wed, 17 May 2006 00:17:25 +0100 From: Clive Mitchell Subject: Re: Weapons: =?ISO-8859-1?Q?=93best?= =?ISO-8859-1?Q?_practice=94?= procedures... References: In-Reply-To: In message , Scott Parker writes >Can anyone point me to a "best practice" kind of procedure for dealing >with weapons being used as props in shows. I'm on the verge of >getting the University's zero-tolerance standard modified! I've found that simply handing out guns to everyone on the stage and having them shoot off a few rounds into the scenery and furnishings is very therapeutic, and once the novelty wears off the actors don't want to play around with them much anymore. Just make sure that there's nobody important in the auditorium before firing the guns into the seating area. I once fired an entire magazine randomly through the tabs and into the auditorium before realising that the city mayor and his large entourage were present for a dress rehearsal.. -- Davie Dimmers. Super top head theatre techie and cushion blaster. ------------------------------ Message-Id: <200605162324.k4GNOpGU022291 [at] ns-omrbm6.netsolmail.com> From: "Steve Jones" Subject: RE: Weapons: "best practice" procedures... Date: Tue, 16 May 2006 18:24:33 -0500 Organization: Plaza Theatre In-Reply-To: Ahhhhhh - and of course he knows all things Canadian as well. Why would I want to listen to anything so silly as information on Canadian firearm safety requirements from the gentleman with experience who is IN Canada, when I can listen to Frank pontificate from the UK? 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 1964 - The Tribute Friday, May 12, 2006, 7:00 PM -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Tuesday, May 16, 2006 7:23 PM To: Stagecraft Subject: Re: Weapons: "best practice" procedures... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 16/05/06 21:13:13 GMT Daylight Time, Jason.Salvatori [at] vaughan.ca writes: > Things may be different in the States, but in Canada there are some > specific rules to be followed - For firearms, even if shooting > blanks, someone on staff must have a Firearms license. Also, good > practice anywhere is to have a secure lock-up for the weapons for all > times when they are not on stage. Ammunition (if using blanks) > should be stored in a separate locked container. I blinked, here. "If using blanks". What else can you use? Live rounds? And, locked container does not equate to secure storage.This depends on the quality of the locks. Only the SM or TD of the space should have keys to both. > Another general rule is that the weapon should never be pointed at anyone. > Period. In principle. If you are aiming for any degree of realism, this may not be possible. The best you can do is to ensure that the ejecta from the firearm are in a harmless direction. The blocking can be arranged so that the gun is pointed towards a > person, but aimed US or DS, so that is IF SOMEHOW it were to fire and > discharge a projectile, it still would not hit anyone. It is a matter for the weaponsmaster, and the SM or TD, to ensure that this is not possible. Forget your somehow. There must be NOhow. > All weapon use should have a fight rehearsal before every performance. > Any non-combatants should be kept as far as possible from the fight > choreography. The last depends on the blocking. But fight rehearsals are very important. Not, perhaps, before every performance, but certainly in the schedule. Few directors realise this. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <3e9.29c79e2.319bcb2e [at] aol.com> Date: Tue, 16 May 2006 20:41:18 EDT Subject: Re: Weapons: "best practice" procedures ... In a message dated 17/05/06 00:10:57 GMT Daylight Time, steve.jones [at] glasgowplazatheatre.org writes: > Once again, Frank is telling all of us here in the US what our expectations > are and how things need to be done "in the US" while living and working in > the UK. All I am saying is that you have more experience with ffirearms. Thanks to stupid legislation, we are not. I may not own a handgun. Period. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <441.aa7dd9.319bcc30 [at] aol.com> Date: Tue, 16 May 2006 20:45:36 EDT Subject: Re: Weapons: "best practice" procedures... In a message dated 17/05/06 00:25:26 GMT Daylight Time, steve.jones [at] glasgowplazatheatre.org writes: > Why would I want to listen to anything so silly as information on Canadian > firearm safety requirements from the gentleman with experience who is IN > Canada, when I can listen to Frank pontificate from the UK? Your choice. Frank Wood ------------------------------ From: rwhitco [at] comcast.net (Randy Whitcomb) Subject: Re: Weapons: “best practice” procedures... Date: Tue, 16 May 2006 23:44:16 +0000 Message-Id: <051620062344.22836.446A63D00009B24E000059342200750330010C9B0708999D [at] comcast.net> -------------- Original message ---------------------- From: Davie Dimmers > I've found that simply handing out guns to everyone on the stage and > having them shoot off a few rounds into the scenery and furnishings is > very therapeutic, and once the novelty wears off the actors don't want > to play around with them much anymore. This is one of Davie's ideas that has a basis in reality. After we watch the Chamber's gun safety video, we allow anyone who's passed the safety quiz to fire off a couple of blanks. There's not much desire to play with them after that. ------------------------------ Message-Id: <6.1.2.0.2.20060516194739.03c1b8a0 [at] mail.comcast.net> Date: Tue, 16 May 2006 19:49:20 -0400 From: Kate Daly Subject: =?iso-8859-1?Q?Re:_Weapons:_=93best_practice=94_procedures?= ... In-Reply-To: References: At 06:58 PM 5/16/2006, Randy Whitcomb wrote: >Flash and smoke. Of course ... I'm chagrined I didn't think of this myself. -Kate ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Weapons: "best practice" procedures... Date: Tue, 16 May 2006 20:52:49 -0400 > > Ammunition (if using blanks) should be stored in a separate locked >container. > >I blinked, here. "If using blanks". What else can you use? Live rounds? The obvious choice -- not using blanks at all. You *can* have a gun on stage and just parade it around. And, while I'd be dubious of the choice myself, it's also possible to use a pre-recorded gunshot, or a noisemaker to simulate a gunshot, rather than fire the weapon. -- Matt ======== _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Weapons: "best practice" procedures... Date: Tue, 16 May 2006 20:52:51 -0400 > > Ammunition (if using blanks) should be stored in a separate locked >container. > >I blinked, here. "If using blanks". What else can you use? Live rounds? The obvious choice -- not using blanks at all. You *can* have a gun on stage and just parade it around. And, while I'd be dubious of the choice myself, it's also possible to use a pre-recorded gunshot, or a noisemaker to simulate a gunshot, rather than fire the weapon. -- Matt ======== _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-Id: <3.0.6.32.20060516180702.00d3c808 [at] pop.west.cox.net> Date: Tue, 16 May 2006 18:07:02 From: CB Subject: Re: Attending a rock concert >OK, quote me numbers. I usually shoot for 110 DB SPL (a weighted). If I'm getting more than that from the band, I tend to fail, but if the band is co-operative, I can work. 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: <446A8804.2000408 [at] cybercom.net> Date: Tue, 16 May 2006 22:18:44 -0400 From: Dale Farmer Organization: I'm working on that.... Subject: Re: Weapons: =?windows-1252?Q?=93best_practice=94_procedures?= =?windows-1252?Q?=2E=2E=2E?= References: In-Reply-To: Scott Parker wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Can anyone point me to a "best practice" kind of procedure for dealing > with weapons being used as props in shows. I'm on the verge of > getting the University's zero-tolerance standard modified! > Haven't seen a good policy offhand. Also, one has to be careful when defining weapons. Make sure you don't outlaw your pocket knife or multi tool unintentionally, or make the police when they visit automatic violators of your rules. First off, you have to comply with your local and national laws. Just finding out what laws apply to entertainment venues is something that probably requires paid lawyerly research. If you have a law school on campus, this might be a good class research project. I see you are in NYC, so you have some mighty odd ones there. I'll assume that you will have good safe practices for weapons handling. Only the weaponsmaster and the designated actors touch the weapons. firearms are nonfiring replicas only. Edged weapons are blunted, and preferably made from soft plastic. safety zones, blocking and fight choreography by someone qualified. (There is an organization of stage fight choreographers, I forget what they are called. ) Fists and feet in a fight scene also need to be addressed. --Dale ------------------------------ Message-ID: <446A8BC7.7050105 [at] cybercom.net> Date: Tue, 16 May 2006 22:34:47 -0400 From: Dale Farmer Organization: I'm working on that.... Subject: Re: Weapons: "best practice" procedures ... References:

In-Reply-To: Kate Daly wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >> Especially in the US, people know what >> they expect to see when a gun is fired. See, not hear. > > What do they expect to see? In my 55 years, I've never watched a gun > being fired, so I wouldn't know (except on television, of course, where > all I see is the "blood".) > -Kate I've done rather a lot of firing of guns. From .177 pellets up to 5 inch naval cannon. Smoke and flash are what you get, in varying proportion from actual firearms. Since most onstage calls for a gun are relatively modern pistols and rifles, they have rather little smoke, and the flash is not easily visible in daylight, unless they are shooting directly at you. I submit that non-firing replicas, coupled with actors actually acting, and the sound effect of a gunshot are more than sufficient. The thing is, after all, a stage play, and a certain amount of suspension of disbelief is normal. Not to mention that the sound pressure levels that actual firearms, and many blank firing guns generate are loud enough that you need earplugs. For the black powder, muzzle loading type firearms, you ought to generate a puff of smoke from the thing, but far less than what an actual black powder gun would generate. Kate; if you would like to try firing some guns, I'm in the Boston area and would be pleased to show you how to turn money into loud noises and holes in paper targets. --Dale ------------------------------ Message-ID: <01fc01c6795b$92a639f0$6501a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: =?iso-8859-1?Q?Re:_Weapons:_=22best_practice=22_procedures...?= Date: Tue, 16 May 2006 22:16:34 -0400 Here's the procedure I used for a gun that was only used for show and not fired. +During rehearsal periods, I introduced the actor to the weapon. (Hello. How are you? Find thank you.....) +I gave the actor a brief class in handling the weapon (and on gun safety) so that the actor would know how to check that the weapon was unloaded and would know what to do (and not do) if in the event he should find the weapon loaded. +The weapon (a revolver from which the firing pin had been removed from the hammer) stayed in my personal possession between shows in a locked box (a mini safe actually). During the time at the theatre the box was cabled to the prop table. +Just prior to the his entrance, the actor met me at the prop table where we examined the weapon together to insure it was unloaded AND that the firing pin was indeed missing. +Upon exit the actor immediately returned the gun to me. I RECHECKED the weapon to insure it was still unloaded and it was then locked back in the box. +The weapon went in my truck, in its box, every night and was examined, yet again before it was brought back into the theatre. +No one else was allowed to touch the weapon. +Everyone was appraised of the procedures. I also would keep an eye on the actor in the dressing room and behind stage to insure that he wasn't trying to sneak a substitute weapon on-stage. (Not saying that this actor would, but I felt it my duty to keep a weather eye out for that possibility.) Alf ----- Original Message ----- From: "Scott Parker" To: "Stagecraft" Sent: Tuesday, May 16, 2006 3:44 PM Subject: Weapons: "best practice" procedures... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Can anyone point me to a "best practice" kind of procedure for dealing with weapons being used as props in shows. I'm on the verge of getting the University's zero-tolerance standard modified! -- Thanks and take care, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ Message-ID: <00ab01c6796c$ee8a55b0$e28aaa43 [at] DonTaco> From: "Don Taco" References:

Subject: =?iso-8859-1?Q?Re:_Weapons:_=22best_practice=22_procedures____...?= Date: Tue, 16 May 2006 21:46:57 -0700 > > At 06:58 PM 5/16/2006, Randy Whitcomb wrote: > >>Flash and smoke. > > Of course ... I'm chagrined I didn't think of this myself. > -Kate > Be careful! It's only a small step from here to smoke and mirrors... ------------------------------ Message-ID: Date: Tue, 16 May 2006 23:12:02 -0700 From: "Jeffrey Mulvey" Subject: Re: Tool bars ACad '06 In-Reply-To: References:

Michael, For what it's worth (probably not much), I set up my tool bars in AutoCAD '06 (a not strictly legal copy) by right clicking on a blank space on any random tool bar, then checking the tool bar I so desired, and it appeared center screen for me to move about. Good luck and happy drawing. Jeff Mulvey ------------------------------ In-Reply-To: References: Message-Id: <697903D1-C31C-467D-9B79-D6F61C65E33F [at] hawaii.rr.com> From: Shell Dalzell Subject: Curved Ramp Date: Tue, 16 May 2006 20:47:39 -1000 Aloha, On the remote chance that anyone else wants to render a curved ramp, I finally figured it out. I got several suggestions from different people but they either didn't understand the issue or their solutions were "close but no cigar". I appreciated the various ideas but I came up with an elegant solution. I double clicked the "Curved Wall Tool", set the wall at 36" thickness and 24" high (delta Z) with a 60" radius. Then I went to a "Front View", chose "3D Reshape Tool", selected one side of the ramp and pulled it down 6". Done. Aloha, Shell sdalzell [at] hawaii.rr.com ------------------------------ End of Stagecraft Digest #810 *****************************