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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #825

 1. Power feed
    by <productionmanager [at] minnesotaballet.org>
 2. Re: Why am I and My ME not dead?
    by "Bruce Lehnus" <blehnus [at] earthlink.net>
 3. Re: Power feed
    by Stephen Litterst <slitterst [at] ithaca.edu>
 4. Old LMI dimmer packs
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
 5. Re: Old LMI dimmer packs
    by "Scott Parker" <scparker [at] gmail.com>
 6. Re: Lightning bolt effect
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
 7. Re: Lightning bolt effect
    by "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
 8. Re: jobs and wages or Unions
    by "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
 9. Re: jobs and wages (sort of an annual rant)
    by MissWisc [at] aol.com
10. Re: Power feed
    by "Chris Warner" <cdw.lighting [at] gmail.com>
11. Re: USB Foot Pedal/Big Button (was Re: Sound Byte)
    by "Mt. Angel Performing Arts Center" <admin [at] mtangelperformingarts.com>
12. Re: jobs and wages (sort of an annual rant)
    by Mick Alderson <alderson [at] uwosh.edu>
13. Re: Lightning bolt effect
    by "Laura McMeley" <LMcMeley [at] msn.com>
14. Re: No more show blacks required...ever
    by NODEraser <noderaser [at] gmail.com>
15. Re: jobs and wages (sort of an annual rant)
    by SS <cueonego [at] gmail.com>
16. Re: Taiko drums
    by CB <psyd [at] cox.net>
17. Re: Taiko Drums
    by CB <psyd [at] cox.net>
18. Re: Lightning bolt effect
    by CB <psyd [at] cox.net>
19. NEC
    by "C. Dopher" <brooklyn [at] dopher.com>
20. Re: No more show blacks required...ever
    by "Peter Scheu" <peter [at] scheuconsulting.com>
21. Re: No more show blacks required...ever
    by NODEraser <noderaser [at] gmail.com>
22. Re: Taiko drums
    by Jerry Durand <jdurand [at] interstellar.com>
23. Re: No more show blacks required...ever
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
24. Re: NEC
    by "Occy" <OneOccy [at] hotmail.com>
25. Re: Lightning bolt effect
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
26. Re: Lightning bolt effect
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
27. Re: Power feed
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
28. Re: Lightning bolt effect
    by "Occy" <OneOccy [at] hotmail.com>
29. Re: Lightning bolt effect
    by "Occy" <OneOccy [at] hotmail.com>
30. Re: Lightning bolt effect
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
31. Re: Lightning bolt effect
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
32. Bulldozer, was Re: Lightning bolt effect
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
33. Re: Unions
    by <productionmanager [at] minnesotaballet.org>
34. Re: jobs and wages (sort of an annual rant)
    by June Abernathy <jea00321 [at] yahoo.com>
35. Re: Lightning bolt effect
    by Jerry Durand <jdurand [at] interstellar.com>
36. Re: Lightning bolt effect
    by Jerry Durand <jdurand [at] interstellar.com>
37. Re: Bulldozer, was Re: Lightning bolt effect
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
38. Re: jobs and wages (sort of an annual rant)
    by Dale Farmer <dale [at] cybercom.net>

*** 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: <000b01c68250$92c3fc30$0600a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
Subject: Power feed
Date: Sun, 28 May 2006 07:16:38 -0500
Organization: Minnesota Ballet

I'm curious as to why a dimmer set to a non-dim status is not considered a 
good power source for some DJ type lighting equipment that is running off of 
110 - 120V.
A clip from a manual:
A fixture.s listed current rating is its average current draw under normal 
conditions. All fixtures must be powered directly off a switched circuit and 
cannot be run off a rheostat (variable resistor) or dimmer circuit, even if 
the rheostat or dimmer channel is used solely for a 0% to 100% switch.

Kenneth Pogin
Production Manager
Minnesota Ballet



------------------------------

From: "Bruce Lehnus" <blehnus [at] earthlink.net>
Subject: Re: Why am I and My ME not dead?
Date: Sun, 28 May 2006 09:11:44 -0400
Message-ID: <000301c68258$44ec5630$6500a8c0 [at] vaioRg840g>
In-Reply-To: <list-30616515 [at] prxy.net>

Warning: Tremendous Leaps to Conclusion Follow!
You mentioned that there was a newly installed feeder connection on the rack
("swapped back from cams), so I assume it's a touring/portable rack.
You mentioned that while looking *inside* the rack you noticed that the
leads were disconnected.
Assuming the cable that was *feeding* the rack ("line" side) was still
appropriately connected, the fact that the cable inside the rack ("load"
side) was disconnected, you would have zero potential.  In fact, that's the
reason you also were seeing zero photons from your fixtures.  Two of your
phases were effectively "unplugged."  The hot side was still connected to
your rack via the input side of the cams, but the other side of the
connection was sitting merrily on the bottom of the rack making nice-nice
with ground/neutral bond.
Why are you not dead?  You got lucky.  Next time, turn the rack off if you
suspect an electrical/mechanical issue (even if you only suspect it "a
little bit").  Check it thoroughly, then re-energize and begin a slow and
systematic inspection.preferably without lying on top of it at the time ;-).
Cheers,
B



------------------------------

Date: Sun, 28 May 2006 09:14:09 -0400 (EDT)
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Power feed
In-reply-to: <list-30618544 [at] prxy.net>
Message-id: <2556.172.163.128.181.1148822049.squirrel [at] icwebmail.ithaca.edu>
References: <list-30618544 [at] prxy.net>

> ---------------------------------------------------
>
> I'm curious as to why a dimmer set to a non-dim status is not considered a
> good power source for some DJ type lighting equipment that is running off
> of
> 110 - 120V.

It has always been explained to me that SCRs are still switching off at
the zero-crossing point.  No matter how quickly they switch back on, there
is still a moment where the current flow is interrupted, and sensitive
electronics can be damaged by that.

That's one of the selling points of sine-wave dimming.  Because they do
not switch off at the zero-crossing point, they can be used to power
electronic devices.

Steve L.


------------------------------

Date: Sun, 28 May 2006 09:24:05 -0400
Subject: Old LMI dimmer packs
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C09F1CB5.115FB%bpurdy [at] rochester.rr.com>

Hi all!

    I have a couple of old analogue LMI portable dimmer racks (6 - 3.6k
dimmers each) (Red boxes). Each dimmer has two trim adjustment screws.

    I naively assumed that they were simply "Low setting" and "High
setting", but apparently they are not - they interact together in some way.
Does anyone have a user manual or instruction sheet or personal experience
with these units that will help me understand how to set these adjustments?

    LMI is now handled by ETC, but unfortunately ETC's excellent technical
service was unable to help me (They are too old I guess).

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

Message-ID: <90d9c9980605280730x6b764dfcgdaa16803d2706994 [at] mail.gmail.com>
Date: Sun, 28 May 2006 10:30:38 -0400
From: "Scott Parker" <scparker [at] gmail.com>
Subject: Re: Old LMI dimmer packs
In-Reply-To: <list-30619518 [at] prxy.net>
References: <list-30619518 [at] prxy.net>

On 5/28/06, Bruce Purdy <bpurdy [at] rochester.rr.com> wrote:

>     LMI is now handled by ETC, but unfortunately ETC's excellent technica=
l
> service was unable to help me (They are too old I guess).
>
> Bruce

Me thinks that should read: (They are too --young-- I guess.)  ;-)


--=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

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Sun, 28 May 2006 14:38:06 GMT
Subject: Re: Lightning bolt effect
Message-Id: <20060528.073812.6600.12671 [at] webmail30.lax.untd.com>

Dear Bill,
I suspect that you have chosen not to singe the actors enough to provide=
 them with the motivation that some of them need to act/react on cue. Th=
is would not have been an issue with a 500kW strobe. <g>
/s/ Richard
_____________________________
I have not had the need for a "near strike" effect, so have never needed=
 more than a Diversitronics strobe.
Bill  


------------------------------

Message-ID: <000c01c68264$969167d0$0202a8c0 [at] HUNKACRAP>
From: "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
References: <list-30616515 [at] prxy.net>
Subject: Re: Lightning bolt effect
Date: Sun, 28 May 2006 04:39:54 -1000

A lighting effect on a shoestring budget, hmmm.

Some thoughts...

With your budget, I think even renting a lightning strike strobe is probably
out. How important is this gag? It's importance would probably determine how
far you would want to go in making it work.  Let's say it's pivotal and
central to the plot.

Now we can change the set design, lighting design, sound design, and
blocking.

Not knowing the show, scene, or your venue, I would maybe try something like
this: The TV is under or next to a window that has curtains. As the storm
approaches, we hear a series of thunderclaps growing in intensity and
volume, and spaced closer together as time goes on. We also see lighting
flashes (light focused on either the curtains or on something outside the
windows) timed appropriately.

After a particularly close lightning strike, we have the lights go out.

During the blackout, a lot of stuff could happen. A little fog or mist is
pumped onto the set near the TV. You don't want to hear the source of the
fog, though. If you don't have a fogger then use the fog in a can:

http://www.productionadvantageonline.com/fog.htm#FOG%20IN%20A%20CAN

For the big strike,a LOUD thunderclap is triggered, a camera strobe or a
quick series of them are flashed (a nail board would work well for this),
pointed at the audience from the TV location (along with another flash of
the exterior lighting (or not)). These strobes could be mounted on a
foundation thrust though the window by a stagehand. (A crash box could be
added at this point as well as some shards of Plexiglas sprinkled on the
floor.) I usually find used camera mount strobes at local resale shops

Lights come back on. the TV is now on the floor amid the shards, wind is
blowing the drapes. The back of the TV, which has been painted to look
burned, is facing the audience. Perhaps the original antenna has been
swapped out for a burnt and bent one, lying on the floor several feet away.
(You do have alumnum foil on the antenna, yes?)

This whole bit would require much rehearsal and good timing.

This technique may work for you, it may not. Maybe parts of it might. Let us
know how you end up doing the bit. The key to making this work is facing the
strobe at the audience... oh, and rehearsal.

Beside the point:

One of the most intriguing scene changes I have experienced was during the
show "Warp" by the Organic Theatre in Chicago. (Whatever happened to that
show?) We were in one set. A blinding light suddenly came on pointed at the
audience. (It may have been from behind a scrim.) At the back of house, a
girl wearing Rhinestone glasses with an accordion paraded down the aisle,
smiling from side to side and playing her heart out. She slowly made her way
down to, onto, and off stage. By the time she made it to the stage, the set
had been changed.

Laters,

Paul

"The Nina, the Pinta, the Santa Maria, and the Titanic" Tom said
forebodingly.




------------------------------

Message-ID: <000d01c68264$d1dd7590$0202a8c0 [at] HUNKACRAP>
From: "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
References: <list-30616515 [at] prxy.net>
Subject: Re: jobs and wages or Unions
Date: Sun, 28 May 2006 04:41:34 -1000

 <<I had a nearly carbon copy experience with the local in Boston a few
years ago.  I applied, filled out the paperwork, called the guy once a
week on the day he specified.  Nada.  Not a single gig.  after a couple
months, I stopped calling every week, but called sporadically for a few
more months.  Nope, none then either.>>

Would that make a total of six phone calls? There have been guys trying to
join the local for years. They make the call every week, they go into the
office. They show up at calls to be there in case one of the members doesn't
show (big hint). They work in non-union theatres and other venues that use
occasional Union labor.

 <<When I asked what I could do to improve my chances of getting a call,
the answer given was that I didn't have a track record with the union or
  any of their usual venues, and that I needed to get on the gigs to
establish a track record.>>

I don't know who you are and I don't know what you can do. Apparently, from
what write, your local knows who you are but not what you can do. See what I
wrote above. Get known.

 <<Catch-22.>>

It only seems that way. There are ways to let the Local know your skills.
Find work with a company that works with Union labor on installations. There
are scenic companies that use non-union overhire labor to build a show that
is to be installed in a Union house. Sometimes they work a 1 on 1.

Build your reputation. Build your experience and hone your skills. And don't
depend on the Local to come to you. If you think they NEED you, they don't.

<<So color me as anti-IA, until proved otherwise.>>

Somehow I don't think this attitude is going to be much help.

Laters,

Paul

"What a grand dam," Tom said coolly.




------------------------------

From: MissWisc [at] aol.com
Message-ID: <491.11749b9.31ab21cd [at] aol.com>
Date: Sun, 28 May 2006 11:54:53 EDT
Subject: Re: jobs and wages (sort of an annual rant)

dale [at] cybercom.net writes:
<< So color me as anti-IA, until  proved otherwise.>>
 
Honestly, Dale, sounds like your attitude is a factor keeping you  out. Did 
you dis the union and someone in it heard about it? Yes. Here it is in  black 
and white on an international forum filled with union members and those  who 
work with them. Unlike many unions, the IA doesn't have to take everyone who  
applies. They choose members based on the applicant's demonstrated ability to do 
 the job safely AND the member's willingness to be governed by the union's  
rules.

Did you send a resume' highlighting your skills? Have you sent an  updated 
one? Have you offered to demonstrate your skills (gratis)? Is your  attitude one 
of team work and safety? This business is simply too stressful to  deal with 
"know it all" newcomers. Heck I've been doing it for 20 years and I  don't 
know it all.

I worked as a volunteer for a couple of years on a  show the IA does here 
each summer - took vacation from my full-time gig to do  it. That led to being a 
permit worker on bigger shows which led to other  calls and so on. 
 
In modern terms, it would be a "job shadow". If you're serious about  getting 
in, spending a few hours/days showing that you have the knowledge  and are 
safety conscious shouldn't be difficult. Think of it as an on the job  
interview. in my local, union members who want to refresh their skills, learn  more 
about another department, or learn a different venue will come in to  job shadow. 
The attitude of "I want this enough to spend some of my free time  learning" 
goes far.

The tip to show up for big gigs in case someone who  was called doesn't show 
is an excellent one. Bring tools, wear blacks, and have  a smile on your face. 
Use your best manners. Do what you are told  cheerfully. At the end of the 
gig, shake the steward's hand, thank him/her for  the opportunity and ask about 
future work - if someone doesn't show,  the site steward usually calls for 
replacements. 
 
Kristi
 

------------------------------

From: "Chris Warner" <cdw.lighting [at] gmail.com>
Subject: RE: Power feed
Date: Sun, 28 May 2006 09:45:01 -0700
Message-ID: <001901c68276$114404e0$6801a8c0 [at] CHRISLAPTOP>
In-Reply-To: <list-30619370 [at] prxy.net>

SCR's actually turn them selves off when current flow stops, at the zero
cross it does just that, it stops.  The reason they don't work well is =
that
there is some lag between the zero cross and when the electronics fire
again.

Chris


> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of =
Stephen
Litterst
> Sent: Sunday, May 28, 2006 6:14 AM
> To: Stagecraft
> Subject: Re: Power feed
>=20
> For info, archives & UNSUBSCRIBE, see =
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> > ---------------------------------------------------
> >
> > I'm curious as to why a dimmer set to a non-dim status is not =
considered
a
> > good power source for some DJ type lighting equipment that is =
running
off
> > of
> > 110 - 120V.
>=20
> It has always been explained to me that SCRs are still switching off =
at
> the zero-crossing point.  No matter how quickly they switch back on, =
there
> is still a moment where the current flow is interrupted, and sensitive
> electronics can be damaged by that.
>=20
> That's one of the selling points of sine-wave dimming.  Because they =
do
> not switch off at the zero-crossing point, they can be used to power
> electronic devices.
>=20
> Steve L.


------------------------------

Date: Sun, 28 May 2006 10:12:58 -0700
From: "Mt. Angel Performing Arts Center" <admin [at] mtangelperformingarts.com>
Subject: Re: USB Foot Pedal/Big Button (was Re: Sound Byte)
In-reply-to: <list-30568169 [at] prxy.net>
Message-id: <4479DA1A.7020703 [at] mtangelperformingarts.com>
References: <list-30501533 [at] prxy.net> <list-30554975 [at] prxy.net>
 <list-30556605 [at] prxy.net> <list-30556668 [at] prxy.net> <list-30566233 [at] prxy.net>
 <list-30568169 [at] prxy.net>

Jerry Durand wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
> On May 26, 2006, at 6:46 AM, Mt. Angel Performing Arts Center wrote:
>
>> If it works out, that device will solve a major problem for our 
>> product...  Thanks for the heads-up!
>
> The Belkin part number is F5U301 and is called "CableFree USB Hub and 
> Dongle Set".
> Ship date change to July 2006
>
>
>
Thanks - I'll be looking for it!

Carla

------------------------------

Message-ID: <4479E878.5040304 [at] uwosh.edu>
Date: Sun, 28 May 2006 13:14:16 -0500
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: jobs and wages (sort of an annual rant)

Dale wrote:

>    I had a nearly carbon copy experience with the local in Boston a few 
> years ago.  I applied, filled out the paperwork, called the guy once a 
> week on the day he specified.  Nada.  Not a single gig.  after a couple 
> months, I stopped calling every week, but called sporadically for a few 
> more months.  Nope, none then either.
>    When I asked what I could do to improve my chances of getting a call, 
> the answer given was that I didn't have a track record with the union or 
>   any of their usual venues, and that I needed to get on the gigs to 
> establish a track record.   Catch-22.
>     So color me as anti-IA, until proved otherwise.
> 

Sorry to hear that. Without knowing the exact situation in Boston or 
elsewhere (or your own situations; I can tell from your posts you 
probably have the skills), I want to say that there are often a lot more 
people wanting work than there is work to be had. Here in N.E. Wisconsin 
(IA Local 470) it is quite common for people to cold-call the BA and ask 
for work. And sometimes they get it. But MOST of the time there are a 
lot of names on the call list already, more than we need most of the 
year. And when we DO call them, they are frequently already busy because 
they hadn't expected our call!

The protocol we follow puts availability for the job first (can't hire 
someone who can't be there ;-), then demonstrated qualifications, then 
experience. (Even as a "senior" but "part-time" Member, I lose a lot of 
work to younger members and over-hires who are more available than I 
because they are called first.)  The call list has well over 250 names 
on it, for a Local with about 100 members. The BA has a LOT of names to 
go through of people we have used previously before he gets anywhere 
near the bottom of the list. And believe me, the NLRB expects the Local 
to treat all workers as permanent hires even if they've worked with us 
just once.

We get new names all the time, about whom we know nothing. Yet they will 
be representing the Local on the job just as much as we represent them. 
They don't have to join the Local, but we ARE required to represent 
them. If we put them on a call, we are responsible for them, good or 
bad. So the BA must choose with little to go on. Naturally he gives more 
weight to someone vouched for by somebody already working under the 
Local, and yes, people recommended by Local members get called first. Is 
that any different than any other business? Don't most businesses give 
weight to personal references when thay have nothing else to go on? How 
many businesses are required by law to consider EVERYONE who applies, 
needed or not?

Do you expect any other business to hire someone just because they walk 
through the door, and immediately give that person a full-time, high 
paying job, even with little direct experience or training? Our 
employers don't have to do that, but it seems to be a regular 
expectation of our over-hires. They've bought into the myth that all 
Union people earn gobs of money and benefits for doing not much. Well, 
it ain't necessarily so. We have only a dozen-and-a-half workers who are 
even close to full time, and none of them are rich. But you can't tell 
that to new hires; they don't want to hear it.

And now, I'm bowing out of the discussion. I'm going off-list for a 
while. My son is getting married next week!

-- 
Mick Alderson

TD, Fredric March Theatre
University of Wis. Oshkosh
and
IATSE Local 470

------------------------------

Message-ID: <BAY109-DAV9C1F029D5773B8EA34502DF9C0 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: Lightning bolt effect
Date: Sun, 28 May 2006 13:37:09 -0500
Message-ID: <001601c68285$baa562e0$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-30620700 [at] prxy.net>

Thanks for all the input. I thought I'd give a few more details for those
who are interested. The show is a new play called "Raw Vision". The TV
antenna is the old roof top type, not an indoor one at the TV. The actor is
meant to be holding onto the antenna when it is struck, causing him to be
thrown of the roof, presumably to his death. The storm happens in the
evening, so it will probably be quite dark just prior to the strike, just
enough light to see the actor as he climbs up onto the roof. The grid height
is 12'6". The antenna is actually on the roof of a shed next to the house,
allowing for enough height to get the antenna on it and for the actor to
stand. 
I had expected to use some variation of strobe and acting. I like the
suggestion of prepping the area with haze to make the strobe read more.
I'll write back when I know what the final solution is.

Laura


------------------------------

Message-ID: <e91d76400605281219se4b331du57d26b3c20169a85 [at] mail.gmail.com>
Date: Sun, 28 May 2006 12:19:19 -0700
From: NODEraser <noderaser [at] gmail.com>
Reply-To: greg [at] hypersoft.zzn.com
Cc: peter [at] scheuconsulting.com
Subject: Re: No more show blacks required...ever
In-Reply-To: <list-30570870 [at] prxy.net>
References: <list-30567518 [at] prxy.net> <list-30570870 [at] prxy.net>

Wouldn't your navigator be better suiting to plotting things?

On 5/26/06, Peter Scheu <peter [at] scheuconsulting.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Stephen Litterst wrote:
>
> >Would that technology also work as defense against lasers and phasers?
>
> Lasers maybe so. But wide dispersal phasers might work against you. I'd g=
ive
> photon torpedoes a shot as well, if my helmsman could plot their anticipa=
ted
> course from their last known coordinates.  ;-)
>
> Peter Scheu
>
> Scheu Consulting Services, Inc.
> Syracuse, NY
> www.scheuconsulting.com
>
>

------------------------------

Message-ID: <8231e7ea0605281242g2954efa0lf45de64ce9780ac6 [at] mail.gmail.com>
Date: Sun, 28 May 2006 15:42:51 -0400
From: SS <cueonego [at] gmail.com>
Subject: Re: jobs and wages (sort of an annual rant)

Again, not trying to picknits with any IA members representing on this
list, for most of the local's I have worked for/with were a fantastic
group of "players" if you will, I'm just playing Devil's Advocate here
for a mini rant, because there are two sides to every coin, and I have
been on both sides...

In Dale's defense, not every situation is the same. Unfortunately,
some of them down right stink. As several folks have posted already,
they have been unsuccessful at trying to get into a local of some
sorts, myself included. While others simply have not. The cards were
in their favor.

Now, I don't know *ALL* the facts regarding Dale's particular
circumstance, nor do I know his skill set (although concurring with
Mick, I venture to say he has a fairly good one!), but everyone keeps
saying that his attitude may be what's preventing him from getting
into his Local in Boston, and he has to "prove" his skills, "make a
name" for himself, etc etc.

I don't know Dale personally, and by no means am I
agreeing/disagreeing with Dale's
comments/personality/demeanor/opinion/etc, but what I think he was
trying to say (despite his closing line--"So color me as anti-IA,
until proved otherwise.") was that he didn't feel he even got a fair
shake from his IA.

For all the moaning, and groaning we (not necessarily any of us in
particular, it's just a generalization) have done/have heard in this
industry about "pay", "working conditions", yada yada (this thread
serving as an example) that is why we established unions. That is why
we seek to join them (besides having a nifty little piece of paper and
nice resume padding :)-
And if the union exists in order to "look out" for *our* best
interests, what does it say about our systems, our representation, and
us (theatre tech/design/artisans on a whole) when some folks are not
even remotely willing to help out their fellow peers? Make sense?

I am not insinuating in the least, either, that everyone's local "owes
them". Not at all my point, or my intention. I understand that there
(in some instances) tends to be more "hands" than actual employment. I
just don't think Dale was specifically complaining about the fact that
he couldn't *join*, so much as he became frustrated with trying to get
someone to "take notice", and at least consider plopping his name on a
call list, be it the "A" crew, or even the "X, Y, or Z" crews. It may
have taken Dale "250 names" worth of people not being available for a
huge gig before Dale got a shot, if he would've gotten one at all. It
probably wouldn't have paid his rent and bills for the month, but more
than likely he just wanted recognition as a reward for his being
responsible, and trying to find honest-to-god tech work. That alone
probably would have been enough, and left him satisfied.

So...Dale, before I get any closer to possibly further inserting my
own size 10 into my mouth, and making enemies I did not wish to make
(for I am a lover, not a fighter) am I even remotely warm on this?

:)

--SS
TTS-EKU
"Diplomacy is the art of saying "good doggie" until you find a suitable rock. "

------------------------------

Message-Id: <3.0.6.32.20060528153424.00d48cd0 [at] pop.west.cox.net>
Date: Sun, 28 May 2006 15:34:24
From: CB <psyd [at] cox.net>
Subject: Re:Taiko drums

>That's kinda my point. Taiko drums are supposed to be loud. People going to
>listen to them know they are supposed to be loud.

I think you get it, Paul, except one small detail.  People are also going
to sue.  This business is NOT about great production, and it is NOT about
making huge wads of money, and it is NOT about art. For those of you who
are new, its about plausible deniability.  I know, I know, it's so sad, right?
If I want to put on Taiko drummers, I have to have something to say when
the plaintiff's attorney asks, "Were you aware of the large body of
research that says that high SPL could damage hearing?  And were you aware
of teh high levels of SPL in teh venue at the time?  Why didn't you do
something to protect this man and the other members of the class from thes
dangers?"
My answers should be truthful.  I'll say, "We had ample signage warning of
the dangers of listening to Taiko drums in an enclosed room, with the high
SPL portrayed as possibly damaging.  Next to that signage were earplugs,
free for the taking."
"Uh, I have nothing further..."
				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: <3.0.6.32.20060528154314.00d48cd0 [at] pop.west.cox.net>
Date: Sun, 28 May 2006 15:43:14
From: CB <psyd [at] cox.net>
Subject: Re: Taiko Drums

>Some speakers have lamps inside that act as PTC limiters and fuses in 
>the event of speaker overdriving.  When these are being activated you 
>can sometimes see the glow through the ports.

Ah, Community's!  They are so cute!  Another thing that'll light up the
pots is the voice coil going into thermal.  We had a guy trying to run
three seperate brickwall limiters upstream of the power amps for the subs
to keep the DJ's from popping the speakers, and they still kept blowing.
OF course, what he head created was the worlds most expensive rectified
speker destroyer,  During a test (without all the disco lighting on) you
could see the four inch voice coil on the front-mounted eighteens glowing
an ominous amber-red through the covers!
				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: <3.0.6.32.20060528154421.00d48cd0 [at] pop.west.cox.net>
Date: Sun, 28 May 2006 15:44:21
From: CB <psyd [at] cox.net>
Subject: RE: Lightning bolt effect

>As opposed to shows that use fog...strobes...helicopters....?

...or the guts of a D-9 Cat backhoe to push scenery around? Yeah, I've seen
those...
				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: <A6270486-83ED-4482-BB4C-81B0014EA395 [at] dopher.com>
From:	"C. Dopher" <brooklyn [at] dopher.com>
Subject: NEC
Date:	Sun, 28 May 2006 19:01:28 -0400

Anyone know where I can get my hands on hardcopy of the NEC for a few  
weeks in July?  I am picking up more work in the structural lighting  
design area and believe it would be an advantage to know this code a  
whole lot better.

Cris Dopher


------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: greg [at] hypersoft.zzn.com
Subject: RE: No more show blacks required...ever
Date: Sun, 28 May 2006 19:24:15 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAYdkGji+DmUKB5oJrqHbCmAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-30626528 [at] prxy.net>

>Wouldn't your navigator be better suiting to plotting things?

I THOUGHT Sulu was referred to by Kirk as a helmsman. And he laid in all =
the
ship's courses. I may be wrong...

Any Trekkers want to set the record straight?

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


------------------------------

Message-ID: <e91d76400605281709v7934447dkf3e60863e461542 [at] mail.gmail.com>
Date: Sun, 28 May 2006 17:09:16 -0700
From: NODEraser <noderaser [at] gmail.com>
Reply-To: greg [at] hypersoft.zzn.com
Subject: Re: No more show blacks required...ever
In-Reply-To: <list-30631384 [at] prxy.net>
References: <list-30626528 [at] prxy.net> <list-30631384 [at] prxy.net>

AFAIK, in the Naval sense, the helm/helmsman just steers.

On 5/28/06, Peter Scheu <peter [at] scheuconsulting.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> >Wouldn't your navigator be better suiting to plotting things?
>
> I THOUGHT Sulu was referred to by Kirk as a helmsman. And he laid in all =
the
> ship's courses. I may be wrong...
>
> Any Trekkers want to set the record straight?
>
> Peter Scheu
>
> Scheu Consulting Services, Inc.
> Syracuse, NY
> www.scheuconsulting.com
>
>

------------------------------

Date: Sun, 28 May 2006 17:22:34 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Taiko drums
In-reply-to: <list-30630469 [at] prxy.net>
Message-id: <2325946D-D498-422A-91F6-E43E53A6CF99 [at] interstellar.com>
References: <list-30630469 [at] prxy.net>


On May 28, 2006, at 3:34 PM, CB wrote:

> My answers should be truthful.  I'll say, "We had ample signage  
> warning of
> the dangers of listening to Taiko drums in an enclosed room, with  
> the high
> SPL portrayed as possibly damaging.  Next to that signage were  
> earplugs,
> free for the taking."
> "Uh, I have nothing further..."

You may also mention "Ear plugs like the ones the crew were wearing."


------------------------------

Date: Sun, 28 May 2006 20:28:02 -0400
Subject: Re: No more show blacks required...ever
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C09FB852.E863%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-30631930 [at] prxy.net>


Yes Sulu plotted courses Chekov made dumb jokes and occasionally ran over to
fire control. Then he got that weird thing in his ear and it all went
downhill from there. I never trusted the Russkies anyway.



On 5/28/06 8:09 PM, "NODEraser" <noderaser [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> AFAIK, in the Naval sense, the helm/helmsman just steers.
> 
> On 5/28/06, Peter Scheu <peter [at] scheuconsulting.com> wrote:
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>>> Wouldn't your navigator be better suiting to plotting things?
>> 
>> I THOUGHT Sulu was referred to by Kirk as a helmsman. And he laid in all the
>> ship's courses. I may be wrong...
>> 
>> Any Trekkers want to set the record straight?
>> 
>> Peter Scheu
>> 
>> Scheu Consulting Services, Inc.
>> Syracuse, NY
>> www.scheuconsulting.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: <BAY110-DAV164907A1EFCC148096178EBD9D0 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-30631050 [at] prxy.net>
Subject: Re: NEC
Date: Sun, 28 May 2006 17:25:49 -0700

Go buy it it only $72.50 for nonmember at NFPA and Amazon, it's a tax 
deduction too. It was $30 in the mid 80's humm my wages haven't gone up by 
that much! Personally I like the binder addition, you open it and it stays 
open on that page unless your outdoors.


----- Original Message ----- 
From: "C. Dopher" <brooklyn [at] dopher.com>
> Anyone know where I can get my hands on hardcopy of the NEC for a few
> weeks in July?  I am picking up more work in the structural lighting
> design area and believe it would be an advantage to know this code a
> whole lot better.
>
> Cris Dopher
>
> 

------------------------------

Message-ID: <MNTWhuEe4jeEFwrx [at] ntlworld.com>
Date: Mon, 29 May 2006 01:19:42 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Lightning bolt effect
References: <list-30602909 [at] prxy.net> <list-30605787 [at] prxy.net>
 <list-30607251 [at] prxy.net> <list-30612127 [at] prxy.net>
In-Reply-To: <list-30612127 [at] prxy.net>

In message <list-30612127 [at] prxy.net>, Bill Nelson <billn [at] peak.org> writes
>> Sure does, but imposes a violent DC load momentarily on your house
>> electrics and also strikes the shows wallet like a bolt of lightning.
>
>Why should it have that effect on the electrics? They have power packs 
>for the heads that contain a battery bank. The bank is charged by a 
>trickle charger. The whole idea is to eliminate heavy source loads.

They do have the option of large submarine style battery packs, but any 
I've used have used their current on demand directly from the mains.

There's no discharge capacitor in these things.  They just effectively 
have the tube across the mains and trigger it at an appropriate phase 
angle by applying a high voltage pulse to the strike wire along the side 
of the tube to ionise the xenon.

-- 
Clive Mitchell
http://www.bigclive.com

------------------------------

Message-ID: <W62g8jGJBkeEFw6j [at] ntlworld.com>
Date: Mon, 29 May 2006 01:28:57 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Lightning bolt effect
References: <list-30620700 [at] prxy.net> <list-30625650 [at] prxy.net>
In-Reply-To: <list-30625650 [at] prxy.net>

In message <list-30625650 [at] prxy.net>, Laura McMeley <LMcMeley [at] msn.com> 
writes
>Thanks for all the input. I thought I'd give a few more details for 
>those who are interested. The show is a new play called "Raw Vision". 
>The TV antenna is the old roof top type, not an indoor one at the TV. 
>The actor is meant to be holding onto the antenna when it is struck, 
>causing him to be thrown of the roof, presumably to his death. The 
>storm happens in the evening, so it will probably be quite dark just 
>prior to the strike, just enough light to see the actor as he climbs up 
>onto the roof. The grid height is 12'6". The antenna is actually on the 
>roof of a shed next to the house, allowing for enough height to get the 
>antenna on it and for the actor to stand. I had expected to use some 
>variation of strobe and acting. I like the suggestion of prepping the 
>area with haze to make the strobe read more. I'll write back when I 
>know what the final solution is.

For sheer effect and audience pleasing blam, you really do want to use a 
simple pyrotechnic cartridge like a silver star for this.  It'll do the 
flash, bang, sparks and smoke in an entirely pleasing manner at the 
touch of a button.

There are times when only pyro will do the job.

-- 
Clive Mitchell
http://www.bigclive.com

------------------------------

Message-ID: <cNaSx4F69jeEFwJt [at] ntlworld.com>
Date: Mon, 29 May 2006 01:25:30 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Power feed
References: <list-30618544 [at] prxy.net>
In-Reply-To: <list-30618544 [at] prxy.net>

In message <list-30618544 [at] prxy.net>, 
productionmanager [at] minnesotaballet.org writes
>I'm curious as to why a dimmer set to a non-dim status is not 
>considered a good power source for some DJ type lighting equipment that 
>is running off of 110 - 120V.
>A clip from a manual:
>A fixture.s listed current rating is its average current draw under 
>normal conditions. All fixtures must be powered directly off a switched 
>circuit and cannot be run off a rheostat (variable resistor) or dimmer 
>circuit, even if the rheostat or dimmer channel is used solely for a 0% 
>to 100% switch.

A few reasons.  Strobes can still trigger by the leakage through the 
snubber network alone when the channel is supposed to be off.

Some early dimmers reacted badly to the large transformers found in some 
disco lights and would do odd things like fire half wave causing 
excessive current flow.

No matter how much effort is made to assign channels as non-dim some 
klutz is going to meddle and return it to dimmable status.  This upsets 
some disco lights greatly.

There's a good chance the company giving the warning about not using 
their lights on dimmers has had so much trouble in the past that they 
are covering themselves with a disclaimer.

-- 
Clive Mitchell
http://www.bigclive.com

------------------------------

Message-ID: <BAY110-DAV1031CEF19D39922069800BBD9D0 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-30630667 [at] prxy.net>
Subject: Re: Lightning bolt effect
Date: Sun, 28 May 2006 17:54:34 -0700

Chris, not often I can call you on something but this time I can. D9 are 
track-type tractors most often call by the laymen Bulldozers. A company I 
worked for bought a D10 in '91 for a bit over a million dollars, in came in 
5 loads and had to be assemble but but once it was up and running I had to 
drive a million tractor! oh it weight over 145,000 pounds to, we had a D9 
too and it weight over 100,000 pounds.


----- Original Message ----- 
From: "CB" <psyd [at] cox.net>
> ...or the guts of a D-9 Cat backhoe to push scenery around? Yeah, I've 
> seen
> those...
> 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: <BAY110-DAV11D066C0B041D9DA578EAEBD9D0 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-30602909 [at] prxy.net> <list-30605787 [at] prxy.net> <list-30607251 [at] prxy.net> <list-30612127 [at] prxy.net> <list-30632330 [at] prxy.net>
Subject: Re: Lightning bolt effect
Date: Sun, 28 May 2006 19:04:12 -0700

Your right nothing big about them a small box for control and power. The 
first time they where brought in and told me the wattage I freaked and so 
did my amprobe during the testing. As it was 4 time the capacity of the 
transformer it was on and 10 times the breaker that rack was on, never blew 
the breaker and then added 6 more for a total of 8. But the key on how they 
work is its high amount of current real fast and drops real fast so fuses 
and breakers don't see it. But the 0000 rumbles and bounces some times.


----- Original Message ----- 
From: "Clive Mitchell" <bigclive1 [at] ntlworld.com>
>
> In message <list-30612127 [at] prxy.net>, Bill Nelson <billn [at] peak.org> writes
> >> Sure does, but imposes a violent DC load momentarily on your house
> >> electrics and also strikes the shows wallet like a bolt of lightning.
> >
> >Why should it have that effect on the electrics? They have power packs
> >for the heads that contain a battery bank. The bank is charged by a
> >trickle charger. The whole idea is to eliminate heavy source loads.
>
> They do have the option of large submarine style battery packs, but any
> I've used have used their current on demand directly from the mains.
>
> There's no discharge capacitor in these things.  They just effectively
> have the tube across the mains and trigger it at an appropriate phase
> angle by applying a high voltage pulse to the strike wire along the side
> of the tube to ionise the xenon.
>
> -- 
> Clive Mitchell
> http://www.bigclive.com
> 

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Mon, 29 May 2006 02:08:51 GMT
Subject: Re: Lightning bolt effect
Message-Id: <20060528.190939.8266.13259 [at] webmail37.lax.untd.com>

If you like driving D10s, try out a Cat 797B. The view from the cab is a=
s spectacular as its operating weight of 1,375,000 lbs.
/s/ Richard
_______________________________
A company I worked for bought a D10 in '91 for a bit over a million doll=
ars, in came in 5 loads and had to be assemble but but once it was up an=
d running I had to drive a million tractor! oh it weight over 145,000 po=
unds to, we had a D9 too and it weight over 100,000 pounds.
__________________________
> ...or the guts of a D-9 Cat backhoe to push scenery around? Yeah, I've=
 seen those...
> Chris "Chris" Babbie



------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Mon, 29 May 2006 02:15:15 GMT
Subject: Re: Lightning bolt effect
Message-Id: <20060528.191541.8266.13268 [at] webmail37.lax.untd.com>

If you want less rumble and bounce, use AWG 3000MCM THHN feeders.
/s/ Richard
________________________________

Your right nothing big about them a small box for control and power. The=
 first time they where brought in and told me the wattage I freaked and =
so did my amprobe during the testing. As it was 4 time the capacity of t=
he transformer it was on and 10 times the breaker that rack was on, neve=
r blew the breaker and then added 6 more for a total of 8. But the key o=
n how they work is its high amount of current real fast and drops real f=
ast so fuses and breakers don't see it. But the 0000 rumbles and bounces=
 some times.



------------------------------

Message-ID: <002401c682c7$814da510$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
References: <list-30630667 [at] prxy.net> <list-30632566 [at] prxy.net>
Subject: Bulldozer, was Re: Lightning bolt effect
Date: Sun, 28 May 2006 20:27:59 -0600

The individual talents of each person on this list never
ceases to amaze me.
To the result that nobody can never make a slip because they
will get called on it by somebody with just a little more
experience.

I have never seen a D9 backhoe.  Just Bulldozers.  but
then... in that regard,
I've only been to the corner, not around the block

I've seen one level a theater, but never push scenery
around.

Rob't


----- Original Message ----- 
From: "Occy" <OneOccy [at] hotmail.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Sunday, May 28, 2006 6:54 PM
Subject: Re: Lightning bolt effect


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Chris, not often I can call you on something but this time
I can.  we had a D9
> too and it weight over 100,000 pounds.
>
> ----- Original Message ----- 
> From: "CB" <psyd [at] cox.net>
> > ...or the guts of a D-9 Cat backhoe to push scenery
around? Yeah, I've
> > seen
> > those...
> > Chris "Chris" Babbie


------------------------------

Message-ID: <001101c682ca$c5366980$0600a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
References: <list-30616515 [at] prxy.net>
Subject: Re: Unions
Date: Sun, 28 May 2006 21:51:21 -0500
Organization: Minnesota Ballet

Paul wrote:
"Sometimes it's a matter of skill level, sometimes personality, personal
hygiene, personal equipment, attitude, etc. What's your skill level in your
craft? Does your mouth know more than your brain? Have you ever worked a
Union call? Did show up early, dressed appropriately for the work with the
right tools+. Did you work efficiently, quietly, and respectfully of all
other technicians around you... no matter what department? Did you work with
an eager yet not-too-eager attitude, and show a willingness to learn from
members who might know more than you?

Was your first question when you showed up, "When's lunch?"

How a new guy performs on the job will greatly determines future calls.

So might taking potshots at the Local in an open forum"

Now Paul, this doesn't help the union look any better.  This kind of 
response is exactly the arrogance I've seen from some unions. Right off the 
bat, you talk down to him, even insults! "When's lunch?" Really, have you 
been asked that first thing in the morning? Every local union is different. 
I've been to great ones, and some really bad ones. The exact Local he was 
talking about was not mentioned, so there was really no potshot. He was 
talking about ONE guy, not the entire Local. Lots of  places have a bad 
apple or two, but it does not reflect on the reputation of the entire group 
unless the bad apple is at the very top.

Kenneth Pogin
Production Manager / Tour Manager
Minnesota Ballet 



------------------------------

Message-ID: <20060529025400.41703.qmail [at] web35306.mail.mud.yahoo.com>
Date: Sun, 28 May 2006 19:54:00 -0700 (PDT)
From: June Abernathy <jea00321 [at] yahoo.com>
Subject: Re: jobs and wages (sort of an annual rant)

I understand how frustrating it can be to try to get
work with an IA local, as an extra or as a would-be
member, and not be able to accomplish it. You can't
impress them with your skills, work ethic, or charming
sense of humor if they won't put you on a call. This
is most common in big city locals - Boston being quite
notorious in this regard.

OTOH, as Paul says, they are under no obligation to
put you on their worklist. And they have a certain
amount of obligation not to - or at least to be
careful. Because the point of the union is to protect
the membership, and keep them working. The more extra
people they bring in, the more diluted that pool of
people is, and in theory (and often in practice), the
less work any single person gets.

In all right to work states, and in various venues and
contracts in other states, they have an actual legal
obligation to work the people that they already have
on the list. Which means, if they give you one call,
they are obligated to continue to offer you work. Now,
while I realize, that in a real world situation this
often doesn't happen, the fact is, the easiest way to
avoid this legal headache is not to create it - that
is, not to take in extra people if you don't need to.

Like any other job, you can't get the work if they
haven't got an opening - no matter how talented you
are.

Many many BAs make a practice of requiring would be
extras to call in anywhere from once a week to several
times a week before they'll consider calling them
back. The guys who call once, don't get a call, and
just write off the local forever are considered not
motivated enough.

One of the classic ways around the problem is to look
for work with a local in a smaller city, where they
are more likely to need some outside help from time to
time. It's easier to transfer into a local in a big
city with a card from a local in a smaller city than
to do it cold. And even if you haven't gotten a card
in the smaller city, you at least have a record of
working with the union that you can bring up when you
talk to the BA or call steward in the bigger city.

The other classic way to get into a big local is to
run a shop or a venue that does well enough that they
feel the need to organize it. And you can be proactive
in this regard - call the local and see if they are
interested in organizing your shop.

Not all locals are hostile to new members. OTOH, you
aren't going to shoot to the top of the list in short
order just because you are wildly talented, no matter
where you are. A little realism on both sides would go
a long way. Slamming the whole IA because of the
policies of a few big city locals is not fair.

I have met a great number of university TDs,
designers, etc., who have had bad experience with the
IA - either not being able to get called, or not
getting enough work once you are on the list, or not
getting work in your area of interest or expertise.
Maybe this is what sends them in search of university
jobs - I don't know. I *DO* know that the anti-union
bias OFTEN gets passed on to the students -
unconciously, or quite deliberately. So you graduate a
bunch of kids who will not seek work with the union -
or who seek it with a bad attitude, which is hugely
self defeating. And there becomes your new underpaid
non-union work force.

Do you have to join the union to make decent money as
a technician? No. But it helps a whole lot. You are
much more likely to make a decent living as a union
hand, IMO and In my experience. Besides the fact that
you gain the advantages of whatever the collective
bargaining in your area has been able to achieve over
the years, union membership is a short hand way of
telling potential employers that you do this for a
living, and expect a wage that reflects that. 

YMMV, of course - it obviously does. But be careful
who you hit with that big tar brush. 



June Abernathy
IATSE #321 (Tampa, FL)
FOH Electrician
The Lion King National Tour (Gazelle)

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

------------------------------

Date: Sun, 28 May 2006 19:55:45 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Lightning bolt effect
In-reply-to: <list-30633600 [at] prxy.net>
Message-id: <ADFA3366-73D1-4BB2-93E3-10FB8997670A [at] interstellar.com>
References: <list-30602909 [at] prxy.net> <list-30605787 [at] prxy.net>
 <list-30607251 [at] prxy.net> <list-30612127 [at] prxy.net> <list-30632330 [at] prxy.net>
 <list-30633600 [at] prxy.net>

On May 28, 2006, at 7:04 PM, Occy wrote:

> and breakers don't see it. But the 0000 rumbles and bounces some  
> times.

When I used to work in the test lab, one of the things I had to do  
was test very large diodes.  To test them, we put them in series of  
one of those big SCRs from the Blue Goose power supplies I mentioned  
before and a big inductor.  We trimmed the inductor by putting  
cardboard between the iron plates.  This was connected to a handy  
440VAC outlet, the diode placed in a bucket of FC48 (high-temperature  
fluorocarbon), and we'd fire the SCR for a half-cycle.  The inductor  
(about 50 pounds worth) would hop up in the air and a lot of the FC48  
would go up in steam.  We stood well back for that test.



------------------------------

Date: Sun, 28 May 2006 20:18:12 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Lightning bolt effect
In-reply-to: <list-30633721 [at] prxy.net>
Message-id: <3B59455D-57A4-4E27-86F4-AD88A1AEEB5E [at] interstellar.com>
References: <list-30633721 [at] prxy.net>


On May 29, 2006, at 2:08 AM, ladesigners [at] juno.com wrote:

> If you like driving D10s, try out a Cat 797B. The view from the cab  
> is as spectacular as its operating weight of 1,375,000 lbs.
> /s/ Richard
> _______________________________

Didn't get to drive it, but we did get the lecture on how not to get  
run over.

  http://interstellar.com/photos/Fireworks_July_3-4_2004/July_4_2004/ 
BIG_Truck.JPG
and
http://interstellar.com/photos/Fireworks_July_3-4_2004/July_4_2004/ 
Big_toys.JPG

Hard to really get the size of these from the pictures.  The tiny  
blue car is our SUV.


------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Mon, 29 May 2006 03:39:48 GMT
Subject: Re: Bulldozer, was Re: Lightning bolt effect
Message-Id: <20060528.204036.6600.13509 [at] webmail30.lax.untd.com>

I think that is the way it is supposed to be. I appreciate receiving upd=
ates regarding knowledge in areas that I may wish current data.
/s/ Richard
____________________________
The individual talents of each person on this list never ceases to amaze=
 me. To the result that nobody can never make a slip because they will g=
et called on it by somebody with just a little more
experience.
Rob't



------------------------------

Message-ID: <447AA5BF.4060904 [at] cybercom.net>
Date: Mon, 29 May 2006 03:41:51 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: jobs and wages (sort of an annual rant)
References: <list-30621979 [at] prxy.net>
In-Reply-To: <list-30621979 [at] prxy.net>

MissWisc [at] aol.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> dale [at] cybercom.net writes:
> << So color me as anti-IA, until  proved otherwise.>>
>  
> Honestly, Dale, sounds like your attitude is a factor keeping you  out. Did 
> you dis the union and someone in it heard about it? Yes. Here it is in  black 
> and white on an international forum filled with union members and those  who 
> work with them. Unlike many unions, the IA doesn't have to take everyone who  
> applies. They choose members based on the applicant's demonstrated ability to do 
>  the job safely AND the member's willingness to be governed by the union's  
> rules.
    It was right after I got out of the navy.  I had not had any email, 
and I had done theater stuff in school and on volunteer gigs while I was 
on shore duty.  I knew I didn't have the resume fodder then, and asked 
the guy for advice.  I already told you what he told me.  I was 
perfectly willing to follow the rules as given, do the shitty gigs that 
nobody else wanted, etc.  They never gave me a chance.

> 
> Did you send a resume' highlighting your skills? Have you sent an  updated 
> one? Have you offered to demonstrate your skills (gratis)? Is your  attitude one 
> of team work and safety? This business is simply too stressful to  deal with 
> "know it all" newcomers. Heck I've been doing it for 20 years and I  don't 
> know it all.
> 
> I worked as a volunteer for a couple of years on a  show the IA does here 
> each summer - took vacation from my full-time gig to do  it. That led to being a 
> permit worker on bigger shows which led to other  calls and so on. 
>  
> In modern terms, it would be a "job shadow". If you're serious about  getting 
> in, spending a few hours/days showing that you have the knowledge  and are 
> safety conscious shouldn't be difficult. Think of it as an on the job  
> interview. in my local, union members who want to refresh their skills, learn  more 
> about another department, or learn a different venue will come in to  job shadow. 
> The attitude of "I want this enough to spend some of my free time  learning" 
> goes far.
> 
> The tip to show up for big gigs in case someone who  was called doesn't show 
> is an excellent one. Bring tools, wear blacks, and have  a smile on your face. 
> Use your best manners. Do what you are told  cheerfully. At the end of the 
> gig, shake the steward's hand, thank him/her for  the opportunity and ask about 
> future work - if someone doesn't show,  the site steward usually calls for 
> replacements. 
>  
> Kristi

   I do all of the above, and I'm making a living at it without the IA. 
  I'm not getting wealthy, but not many folks on this list are either.
I am sure that in other locals that things are better.  My experience 
with the Boston local has soured me.

   --Dale

------------------------------

End of Stagecraft Digest #825
*****************************