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

Stagecraft Digest, Issue #896

 1. Re: Source for Tools
    by Kevin Lee Allen <klad [at] klad.com>
 2. Re: Source for Tools
    by "Jerry George" <gdgeorge [at] wowway.com>
 3. Re: Getting Paid When Theatre Closes
    by Charlie Fraser <charlie [at] charliefraser.com>
 4. Re: Getting Paid When Theatre Closes
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 5. Re: Source for Tools
    by "C. Dopher" <brooklyn [at] dopher.com>
 6. photogs (was re: online portfolio)
    by "C. Dopher" <brooklyn [at] dopher.com>
 7. Re: photogs (was re: online portfolio)
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 8. Re: Source 4 reflector cleaning
    by "Abby Downing" <aldowning [at] onlocationls.com>
 9. Re: Faith Healers
    by Bill Sapsis <bill [at] sapsis-rigging.com>
10. Re: Faith Healers
    by "Joe Saint" <joe [at] imcdlighting.com>
11. Re: online portfolio 
    by "Steven Haworth" <sjh [at] idm.com>
12. Personal Tool liability WAS:  Getting Paid When Theatre Closes
    by Charlie Fraser <charlie [at] charliefraser.com>
13. Re: Broken Phone
    by gregg hillmar <gregg [at] hillmardesign.com>
14. Re: Getting Paid When Theatre Closes
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
15. Re: Getting Paid When Theatre Closes
    by Charlie Fraser <charlie [at] charliefraser.com>
16. Re: Ramp dimensions
    by Greg Persinger <greg [at] vividillumination.com>
17. Re: Source 4 reflector cleaning
    by Greg Persinger <greg [at] vividillumination.com>
18. Re: Broken Phone
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
19. Re: ETCP Rigging Exam
    by "Nathan Kahn" <nathan.kahn [at] gmail.com>
20. Re: ETCP Rigging Exam
    by "Jerry George" <gdgeorge [at] wowway.com>
21. Re: ETCP Rigging Exam
    by Bill Sapsis <bill [at] sapsis-rigging.com>
22. Re: Broken Phone
    by "Jon Ares" <jonares [at] hevanet.com>
23. bad questions
    by KEITH ARSENAULT <iaeg [at] aol.com>
24. Re: Getting Paid When Theatre Closes
    by Jerry Durand <jdurand [at] interstellar.com>
25. Re: ETCP Rigging Exam
    by Bill Sapsis <bill [at] sapsis-rigging.com>
26. Re: bad questions
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
27. Re: Faith Healers
    by Bill Sapsis <bill [at] sapsis-rigging.com>
28. Re: Faith Healers
    by "Joe Saint" <joe [at] imcdlighting.com>
29. Re: Source for Tools
    by <Stephen.Rees [at] fredonia.edu>
30. Re: Source for Tools
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
31. Visio
    by "Alf Sauve" <Alf.Sauve [at] mtbethel.org>
32. Re: Ramp dimensions
    by "RD" <doomster [at] worldnet.att.net>
33. Re: ETCP Rigging Exam (long - how standardized tests are created)
    by MissWisc [at] aol.com
34. Re: Source for Tools
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
35. Stone working power tools
    by "Dre Suchoski" <DSuchoski [at] olneytheatre.org>
36. Re: Article about stolen theatre props
    by CB <psyd [at] cox.net>
37. Re: drink and the theatre and tailgating
    by CB <psyd [at] cox.net>
38. Re: Stone working power tools
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
39. Re: Getting Paid When Theatre Closes
    by CB <psyd [at] cox.net>
40. Re: Stone working power tools
    by "Nigel Worsley" <nigle [at] dsl.pipex.com>
41. Re: Article about stolen theatre props
    by "Douglas McCracken" <douglasm [at] iceshawaii.com>
42. Re: Visio
    by "Scott Casanova" <srcasano [at] syr.edu>
43. Re: Soldering XLR connectors...
    by CB <psyd [at] cox.net>
44. Re: ETCP Rigging Exam
    by "Bill Nelson" <billn [at] peak.org>
45. Re: Article about stolen theatre props
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
46. Re: Source 4 reflector cleaning
    by "Bill Nelson" <billn [at] peak.org>
47. Re: Article about stolen theatre props
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
48. Re: Stone working power tools
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
49. Re: Stone working power tools
    by <Stephen.Rees [at] fredonia.edu>
50. Re: Article about stolen theatre props
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
51. Re: ETCP Rigging Exam (long - how standardized tests are created)
    by "Jerry George" <gdgeorge [at] wowway.com>
52. Re: Source 4 reflector cleaning
    by Greg Persinger <greg [at] vividillumination.com>
53. Re: Stone working power tools
    by "Delbert Hall" <delbert.hall [at] gmail.com>
54. Re: Visio
    by Andy Ciddor <aciddor [at] kilowatt.com.au>
55. Re: drink and the theatre and tailgating
    by "RD" <doomster [at] worldnet.att.net>
56. Re: Stone working power tools
    by "RD" <doomster [at] worldnet.att.net>
57. Re: Faith Healers
    by "Ian Cunningham" <mailinglist [at] techie.f9.co.uk>
58. Re: drink and the theatre and tailgating
    by "Stephen Litterst" <litterst.stagecraft [at] gmail.com>
59. Re: Stone working power tools
    by "Delbert Hall" <delbert.hall [at] gmail.com>
60. Re: Soldering XLR connectors...
    by Tony Kambic <tony [at] focusnote.com>
61. Running with the Fireworks Bulls
    by Jerry Durand <jdurand [at] interstellar.com>
62. Re: ETCP Rigging Exam (long - how standardized tests are created)
    by "Delbert Hall" <delbert.hall [at] gmail.com>
63. Re: Visio
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
64. Re: Running with the Fireworks Bulls
    by "Delbert Hall" <delbert.hall [at] gmail.com>
65. Re: ETCP Rigging Exam
    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.

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

Date: Mon, 31 Jul 2006 06:01:38 -0400
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Source for Tools
In-reply-to: <list-32598250 [at] prxy.net>
Message-id: <D9201D95-D3FD-470A-A953-546058FCB2E8 [at] klad.com>
References: <list-32590859 [at] prxy.net> <list-32598250 [at] prxy.net>


On Jul 30, 2006, at 8:41 PM, Jerry George wrote:

> I like dealing locally when possible.  Dealing locally with  
> merchants that
> you know and trust means that when something breaks, and something  
> will, you
> can go to that merchant for support.


 From what I read on this list, everyone here is also a small  
business operator. There is a benefit in supporting others that  
considerably outweighs the short term savings from one of "The Borg."



> Having said that, what I did was to make sure that we had a set of  
> "good
> tools" including, for example, a DeWalt cordless drill.


Good tools are always important, no matter the tool and especially  
for students. It is better for a young painter to have fewer colors  
and brushed, but to buy the best they can find/afford. The same for a  
chef and knives.

When learning a skill, it is best not to be frustrated by the tools.



-----
Kevin Lee Allen
Architect of Dreams
http://www.klad.com
973.744.6352.voice
201.280.3841.mobile
klad [at] klad.com




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

From: "Jerry George" <gdgeorge [at] wowway.com>
Subject: RE: Source for Tools
Date: Mon, 31 Jul 2006 07:54:55 -0400
Message-ID: <000201c6b498$27971800$0200a8c0 [at] Chesty>
In-Reply-To: <list-32610044 [at] prxy.net>

Not everyone.  There's quite a mix of people on here, with quite a mix of
budgets, ethical beliefs, incomes, jobs, etc.  We all make plays in some
form or another.

J

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Kevin Lee
Allen
Sent: Monday, July 31, 2006 6:02 AM
To: Stagecraft
Subject: Re: Source for Tools

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


On Jul 30, 2006, at 8:41 PM, Jerry George wrote:

> I like dealing locally when possible.  Dealing locally with  
> merchants that
> you know and trust means that when something breaks, and something  
> will, you
> can go to that merchant for support.


 From what I read on this list, everyone here is also a small  
business operator. There is a benefit in supporting others that  
considerably outweighs the short term savings from one of "The Borg."



> Having said that, what I did was to make sure that we had a set of  
> "good
> tools" including, for example, a DeWalt cordless drill.


Good tools are always important, no matter the tool and especially  
for students. It is better for a young painter to have fewer colors  
and brushed, but to buy the best they can find/afford. The same for a  
chef and knives.

When learning a skill, it is best not to be frustrated by the tools.



-----
Kevin Lee Allen
Architect of Dreams
http://www.klad.com
973.744.6352.voice
201.280.3841.mobile
klad [at] klad.com






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

Message-ID: <44CDF03D.3020401 [at] charliefraser.com>
Date: Mon, 31 Jul 2006 07:57:49 -0400
From: Charlie Fraser <charlie [at] charliefraser.com>
Subject: Re: Getting Paid When Theatre Closes
References: <list-32599129 [at] prxy.net> <list-32604150 [at] prxy.net>
In-Reply-To: <list-32604150 [at] prxy.net>

Bill is right, I work at a university and many things are just purchased 
on a credit card and never make it's way to inventory.  There has been 
more than one case when an employee separated that there was such a 
dispute. The ruling from the administration has always been "show us the 
original receipt with serial number and we will be glad to return it to 
you, otherwise it is University property."

Charlie


Bill Nelson wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>   
>> "It looks just like mine.  Look, see?!?  Besides, there isn't one on the
>> company inventory.  If you can show me one on the companies assets list,
>> I'll gladly let this one stay here, but until then, at least here in the
>> US, law enforcement isn't supposed to stop a citizen from doing anything
>> that isn't unlawful or dangerous.
>>     
>
> That may have been the case, at one time.
>
> Now, however, the laws on expensing equipment have been so liberalized for
> businesses that rather expensive equipment is now simply expensed - and
> never entered on the assets list. This can be done for even multi-thousand
> dollar computer systems.
>
> Some companies track such equipment on an expensed equipment inventory,
> others don't bother.
>
> Bill
>
>
>
>   


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

Date: Mon, 31 Jul 2006 08:27:42 -0400
Subject: Re: Getting Paid When Theatre Closes
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C0F36F7E.FF62%bill [at] sapsis-rigging.com>
In-Reply-To: <list-32612691 [at] prxy.net>

While it's not a absolute rule around here, I do frown on guys bringing
their own tools.  The one concession is the rigging equipment.  Some of the
guys bring in their own rigging bag with their own climbing gear.  But the
gear stays in the bag when not being used and it's only used by its' owner.

I learned my lesson the hard way years ago when a guy brought in some fancy
schmancy tool that we didn't need but he wanted to use.  Then he lost it on
the job and billed me for it.

Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile






On 7/31/06 7:57 AM, "Charlie Fraser" <charlie [at] charliefraser.com> wrote:

> Bill is right, I work at a university and many things are just purchased
> on a credit card and never make it's way to inventory.  There has been
> more than one case when an employee separated that there was such a
> dispute. The ruling from the administration has always been "show us the
> original receipt with serial number and we will be glad to return it to
> you, otherwise it is University property."
> 
> Charlie



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

In-Reply-To: <list-32610043 [at] prxy.net>
References: <list-32610043 [at] prxy.net>
Message-Id: <1F41B183-4AEF-4305-99B4-DE5A4AAFDFE4 [at] dopher.com>
From: "C. Dopher" <brooklyn [at] dopher.com>
Subject: Re: Source for Tools
Date: Mon, 31 Jul 2006 08:57:42 -0400

> Jonathan writes:

> I am about to have the pleasure of outfitting our new high school  
> theatrical
> shop with an appropriate array of hand and power tools.  List  
> participants
> have helped to generate the shopping list in various threads.  The  
> question
> now arises: is there a preferred "one-stop-shopping" source of  
> tools where I
> can order most of what I need at good prices on line, or am I  
> better off
> heading out to Home Depot/Lowes with a truck?

Neither!

Having done major tool purchases for theatres twice in my career (25  
grand worth or more), I've found the best value for the dollar is to  
be had by negotiating a price break directly with your LOCAL hardware  
guys - the ones you go to for your screws and bolts during the year.   
They can order anything you need and some places will help you get  
tools almost at cost - significantly less than retail.  I also had  
good luck with asking the lumber company (in my case Prince Lumber)  
to help me buy tools on the remains of my blanket order with them at  
the end of the year - again, way less than regular retail.

Good luck.

Cris Dopher, LD


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

In-Reply-To: <list-32610043 [at] prxy.net>
References: <list-32610043 [at] prxy.net>
Message-Id: <7DF91A54-8D7D-489C-9CF8-39A1FADD1BC6 [at] dopher.com>
From: "C. Dopher" <brooklyn [at] dopher.com>
Subject: photogs (was re: online portfolio)
Date: Mon, 31 Jul 2006 09:04:37 -0400

Jeff Forbes wrote:

> And pictures hardly ever do the lighting real justice unless you hire
> a pro with a really good camera. But I think the photos for the most
> part represent the work pretty well.

And one is always caught between:  do we do posed pictures, which end  
up looking better lighting-wise, but with stiff, bored actors as the  
subjects?  Or do we shoot during, say, next-to-final dress rehearsal,  
where things should flow pretty smooth, but we won't be able to have  
slow shutter speeds without blur?

I document my own work, of course, and have gotten pretty good - but  
whenever I can convince the producer to hire one Chainan Yen, a  
doctoral candidate at NYU, to come take photos, I know - KNOW - that  
the results will be nothing short of spectacular and look exactly  
like what I saw on stage.  I don't know how he does it.  He's given  
me lots of pointers over the years, but I can't seem to match his  
expertise.  His equipment helps, sure....but the man has an uncanny  
sense of timing and - when processing through the RAW files later -  
an uncommon memory for what the lighting actually looked like.  He's  
managed to capture color so accurately - particular in green ranges.   
Well, enough jawing - off to load-in.

Cris Dopher, LD

PS  If anyone wants Chainan's contact info, email me privately.  He's  
well worth the money. 

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: photogs (was re: online portfolio)
Date: Mon, 31 Jul 2006 09:12:43 -0400
Message-ID: <00a901c6b4a3$0300f0a0$6501a8c0 [at] Dell>
In-Reply-To: <list-32614284 [at] prxy.net>


> And one is always caught between:  do we do posed pictures,=20
> ...with stiff, bored actors as the =20
> subjects?  Or do we shoot during, say, next-to-final dress=20
> rehearsal


Why compromise?  Do what I do -- shoot performance photos with stiff, =
bored
actors.

When possible, I try to shoot during a performance, rather than a =
rehearsal,
provided I can do so completely unobtrusively and, preferably, with a
tripod.  The down side of this, of course, is that it means I have to
actually go to a performance.


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

Subject: RE: Source 4 reflector cleaning
Date: Mon, 31 Jul 2006 09:20:22 -0400
Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA30E27D [at] jekyll-sbs.ollsi.local>
From: "Abby Downing" <aldowning [at] onlocationls.com>

I'm not sure exactly what ETC recommends, as I don't have their
documentation in front of me at the moment, but I've had very good luck
with denatured or isopropyl alcohol.  The other thing I've tried that
may work- is Dirtex(tm) ammoniated glass cleaner.  It comes in an
aerosol or a pump action bottle, but I think the aerosol can tends to
make a nice even foam that helps break down crud.  With either, I would
definitely clean reflector thoroughly with plain old water after you're
done, as not to leave residue.  Use old t-shirts or some other type of
lint-free cloth.  You mention wanting to avoid rubbing, but I'm not sure
you're going to be able to.  I would say, spray the heck out of one spot
with the foaming (aerosol) Dirtex(tm) and let it soak for a period of
time, then just wipe dry and see if this does the trick.  The only thing
I've had on reflectors that I had to work to get off is dead bugs, and
the aforementioned methods work well.  If that doesn't work, and you
find some other method that does, please keep us all posted. =20

Also- fellow stagecrafter Andrew Ritter put together a really good
"how-to" document.  I believe it also talks about using alcohol, but I
don't have that in front of me at the moment either.

Good luck,
Abby=20


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

Date: Mon, 31 Jul 2006 09:27:04 -0400
Subject: Re: Faith Healers
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C0F37D68.FF6E%bill [at] sapsis-rigging.com>
In-Reply-To: <list-32614567 [at] prxy.net>

I saw Faith Healer last week in NY. Did anyone on the list see it?  I'd be
very interested in discussing that show either privately or here.

Thanks
Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile





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

From: "Joe Saint" <joe [at] imcdlighting.com>
Subject: RE: Faith Healers
Date: Mon, 31 Jul 2006 09:38:27 -0400
Message-ID: <00fa01c6b4a6$9c3222a0$640fa8c0 [at] D3G47461>
In-Reply-To: <list-32615095 [at] prxy.net>

Bill,

I saw it back during Tony voting season.  I'd be happy to throw in my two
cents, either on list or off.

Joe Saint
President
IMCD Lighting
646-415-7588
www.imcdlighting.com


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis
Sent: Monday, July 31, 2006 9:27 AM
To: Stagecraft
Subject: Re: Faith Healers

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

I saw Faith Healer last week in NY. Did anyone on the list see it?  I'd be
very interested in discussing that show either privately or here.

Thanks
Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile






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

Subject: RE: online portfolio 
Date: Mon, 31 Jul 2006 08:39:33 -0500
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0901AAA548 [at] danube.river.idm.com>
In-Reply-To: <list-32592451 [at] prxy.net>
From: "Steven Haworth" <sjh [at] idm.com>

It's nice work!

- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

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

Message-ID: <44CE0906.8080604 [at] charliefraser.com>
Date: Mon, 31 Jul 2006 09:43:34 -0400
From: Charlie Fraser <charlie [at] charliefraser.com>
Subject: Personal Tool liability WAS:  Getting Paid When Theatre Closes
References: <list-32613490 [at] prxy.net>
In-Reply-To: <list-32613490 [at] prxy.net>

There is also a question of liability. I bring many of my own tools to 
the theater when I am working on set construction or hanging lights. 
What would the liability be if one of the tools such as a power saw or a 
nail gun mal-functioned and caused serious injury? At our theater there 
are theater owned tools which are maintained and checked but it is a 
pain to schedule signing them in and out with the facilities manager who 
is not on-site. Would the theater be responsible, the tool owner, or 
both in the event of injury?


Charlie




Bill Sapsis wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> While it's not a absolute rule around here, I do frown on guys bringing
> their own tools.  The one concession is the rigging equipment.  Some of the
> guys bring in their own rigging bag with their own climbing gear.  But the
> gear stays in the bag when not being used and it's only used by its' owner.
>
> I learned my lesson the hard way years ago when a guy brought in some fancy
> schmancy tool that we didn't need but he wanted to use.  Then he lost it on
> the job and billed me for it.
>
> Bill S.
> ETCP Certified Rigger - Theatre
> www.sapsis-rigging.com
> 800.727.7471
> 267.278.4561 mobile
>
>
>
>
>
>
> On 7/31/06 7:57 AM, "Charlie Fraser" <charlie [at] charliefraser.com> wrote:
>
>   
>> Bill is right, I work at a university and many things are just purchased
>> on a credit card and never make it's way to inventory.  There has been
>> more than one case when an employee separated that there was such a
>> dispute. The ruling from the administration has always been "show us the
>> original receipt with serial number and we will be glad to return it to
>> you, otherwise it is University property."
>>
>> Charlie
>>     
>
>
>
>
>   


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

In-Reply-To: <list-32602498 [at] prxy.net>
References: <list-32594154 [at] prxy.net> <list-32597843 [at] prxy.net> <list-32602498 [at] prxy.net>
Message-Id: <60F07BA0-FBF6-4E56-AB0B-C34E2BCAAB5B [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: Broken Phone
Date: Mon, 31 Jul 2006 09:45:21 -0400

You might try something like BitPim, which is open-source software.  
IF it supports your phone, you can easily download your address book,  
etc, to your computer. Or try something like DataPilot, which is  
commercial software, but does the same thing.

HTH
g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money.  Love like you've never been  
hurt. Dance like no one's watching."
                     Satchel Paige

On Jul 31, 2006, at 12:20 AM, NODEraser wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Anyone know where I can download the functional software? Seems
> Motorola will only let you download it if you order it from them for
> $50 or whatever rediculous price they're asking for it. Seems kind of
> silly, that they don't ship it with the phones that have USB
> capability.
>
> On 7/30/06, Richard Bakos <Rick [at] studioonesb.com> wrote:
>> For info, archives & UNSUBSCRIBE, see <http:// 
>> stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> You have a usb port on the phone.  My phone came with a program  
>> "mobile
>> phone tools" from motorola. Use it to pull all of your info off if it
>> came with the phone. I got a disk but I also had to download a newer
>> version at some point.  You phone supplier may also be able to do   
>> a one
>> time down load and recovery to your new phone.
>> I was able to recover my son's v220 which he broke the screen on.  
>> I was
>> even able to move the data base to a new razor phone when he lost the
>> replacement v220 2 weeks later.
>>
>> Rick
>>
>> Don Rowe wrote:
>>
>> >For info, archives & UNSUBSCRIBE, see <http:// 
>> stagecraft.theprices.net/>
>> >---------------------------------------------------
>> >
>> >I admit this must be the oddest request on the list but hopefully  
>> someone
>> >can help me.
>> >Last night I crushed my Motorola V551 phone (with the forklift I was
>> >driving) and the screen stopped working.  If there is anyone out  
>> there with
>> >this phone could you please email me off list and tell me the key  
>> sequence
>> >to move my phone book from the phone memory to the SIM card?   
>> That way I
>> >don't loose my phone book.  Thank you.
>> >
>> >
>> >
>> >
>>
>> --
>>
>> Richard Bakos
>>
>> President
>>
>> Studio One Inc.
>>
>> 25833 State Road 2
>>
>> South Bend, In 46619-4736
>>
>> VOICE 574-232-9084
>>
>> FAX   574-232-2220
>>
>> Rick [at] StudioOneSB.com <mailto:Rick [at] StudioOneSB.com>
>>
>> www.StudioOnesb.com
>>
>>
>>
>>
>
>
> -- 
> Greg Bennett
> Carpenter/Grip/Electrician
> Mount Washington Valley Theatre Company
> Eastern Slope Inn Playhouse
> North Conway, New Hampshire


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Mon, 31 Jul 2006 14:05:55 GMT
Subject: Re: Getting Paid When Theatre Closes
Message-Id: <20060731.070611.8266.248537 [at] webmail37.lax.untd.com>

I disturbs me when people fail to consider that the chattel that they =

receive in lieu of the payment contracted for may be the property of =

another member of the production staff. I can not suborn =

embezzlement. If things start turning south, sue in Small Claims =

court first, so you will have priority if there is a partial =

distribution of the money raised after an auction or other asset =

sale. Timing is key: try to set the court date in the week following =

the final scheduled performance. Do not be deterred by the arguments =

that "your lawsuit closed the theatre" or that "paying you will not =

leave enough money for the next production". Always get a personal =

guarantor on the contract: the last line should read something =

like "executed in the undersigned persons personal capacity, and as =

the representative of the XYZ Theatre company". That way, you can get =

a renewable judgment that may be able to collect on in the future =

from the person, even when the theatre company is long gone.
/s/ Richard   


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

Message-ID: <44CE10EA.8050806 [at] charliefraser.com>
Date: Mon, 31 Jul 2006 10:17:14 -0400
From: Charlie Fraser <charlie [at] charliefraser.com>
Subject: Re: Getting Paid When Theatre Closes
References: <list-32616045 [at] prxy.net>
In-Reply-To: <list-32616045 [at] prxy.net>

A letter of credit can also be a good way to insure payment. Letters of 
credit are being used more and more for everyday transactions even with 
companies which have long perfect credit histories. An LOC guarantees 
you will be paid once you deliver the goods or services.

ladesigners [at] juno.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I disturbs me when people fail to consider that the chattel that they 
> receive in lieu of the payment contracted for may be the property of 
> another member of the production staff. I can not suborn 
> embezzlement. If things start turning south, sue in Small Claims 
> court first, so you will have priority if there is a partial 
> distribution of the money raised after an auction or other asset 
> sale. Timing is key: try to set the court date in the week following 
> the final scheduled performance. Do not be deterred by the arguments 
> that "your lawsuit closed the theatre" or that "paying you will not 
> leave enough money for the next production". Always get a personal 
> guarantor on the contract: the last line should read something 
> like "executed in the undersigned persons personal capacity, and as 
> the representative of the XYZ Theatre company". That way, you can get 
> a renewable judgment that may be able to collect on in the future 
> from the person, even when the theatre company is long gone.
> /s/ Richard   
>
>
>
>   


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

Date: Mon, 31 Jul 2006 09:20:06 -0500
Subject: Re: Ramp dimensions
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C0F37BC6.D072%greg [at] vividillumination.com>
In-Reply-To: <list-32593683 [at] prxy.net>

Kristi,

Although building the ramp to ADA specs sounds good, the angle needed for
ramping gear onto a stage and ramping a wheelchair to stage is very
different.

If I remember correctly you need 1 foot of ramp to every 1 inch of rise in
the stage. This means a 4' stage would require 48' of ramp to be ADA
compliant. I think there also has to be landings in the ramp every so many
feet as well to provide a rest.

For a 4' stage most people use a 12 to 20 foot aluminum truck ramp to ramp
gear onto a stage. This is vastly different then the ADA requirement.

This is why most retrofits use a wheelchair lift instead of a ramp to be ADA
compliant. Saves a lot of room.

Greg Persinger


on 7/30/06 4:39 PM, MissWisc [at] aol.com at MissWisc [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> You just answered your own question!
> 
> Since you do not currently  have a ramp to stage level, whatever you build
> should meet ADA specs as this  will also provide the needed ADA access to
> stage 
> level, so use those wheelchair  specs! :)
>  
> Kristi
> 
> 
> maestro196 [at] sbcglobal.net writes:
> The space I am  working in has no ramp to stage level.  I am looking at  some
> ideas to  correct that situation.  What is a good angle for a loading ramp?
> I  have looked for OSHA standards and general specs, but the only thing I seem
> to  be able to find is for wheelchair access.
>  
> 



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

Date: Mon, 31 Jul 2006 09:28:23 -0500
Subject: Re: Source 4 reflector cleaning
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C0F37DB7.D082%greg [at] vividillumination.com>
In-Reply-To: <list-32614778 [at] prxy.net>

First don't use anything with ammonia on the reflectors. This causes the
dichroic reflector coating to break down. Ammonia is for the lenses only.

Here is what David Fox from ETC recommended in a previous discussion of
Source Four cleaning:

" Our documentation recommends the following:
Glass Lenses: Vinegar, Water, or  Household Ammonia.
Plastic Lenses: Alcohol and Water mixture (10% alcohol to water)
Reflectors: Oil Free Air, Alcohol, or Distilled Water

What I should have said was that Denatured alcohol plus Source Four
lenses does not mix. The alcohol can cause damage to the coating on the
lenses. 

My personal preference for cleaning a fixture (S4 or otherwise) has
always been as follows:
- Clean dry and never used for anything but this purpose paint brush to
dust the outside of the fixture.

- Distilled Water to dampen a lint free cloth to clean gack off of the
lenses otherwise a dry lint free cloth for dust. For fun things like
melted snow or fog juice I use white vinegar and water mixed 50/50.

- A lint free cloth dampened with Distilled water to clean the inside of
the reflector.

Ammonia mixed with water (like a 30/70 mix) works very well on the
lenses but the smell drives me insane so I tend not to use it.

You can use alcohol on the reflector and it is very effective. I tend to
go with water as after 20 or so fixtures I get easily confused looking
at 2 white cloths each with its own use and quickly learned that
sniffing them to determine which is which only confused me more :-D"


I hope this helps.

Greg Persinger




on 7/31/06 8:20 AM, Abby Downing at aldowning [at] onlocationls.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I'm not sure exactly what ETC recommends, as I don't have their
> documentation in front of me at the moment, but I've had very good luck
> with denatured or isopropyl alcohol.  The other thing I've tried that
> may work- is Dirtex(tm) ammoniated glass cleaner.  



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

Date: Mon, 31 Jul 2006 15:58:49 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Broken Phone
In-Reply-To: <list-32615586 [at] prxy.net>
Message-ID: <Pine.LNX.4.64.0607311557130.32236 [at] viscount.richmondsounddesign.com>
References: <list-32594154 [at] prxy.net> <list-32597843 [at] prxy.net> <list-32602498 [at] prxy.net>
 <list-32615586 [at] prxy.net>

On Mon, 31 Jul 2006, gregg hillmar wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> You might try something like BitPim, which is open-source software. IF it 
> supports your phone, you can easily download your address book, etc, to your 
> computer. Or try something like DataPilot, which is commercial software, but 
> does the same thing.

The software that Motorola specifically sells for this purpose is called "mobile 
PhoneTools" and it works pretty well but the version I have is a bit buggy...

Charlie

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

Message-ID: <77fad3270607310855x2ffeb149y3c454ea72e44f776 [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 11:55:13 -0400
From: "Nathan Kahn" <nathan.kahn [at] gmail.com>
Subject: Re: ETCP Rigging Exam
In-Reply-To: <list-32525582 [at] prxy.net>
References: <list-32525582 [at] prxy.net>

> Fifteen unidentified questions are unscored.

What's the point of that?  Some sort of online security or control mechanism?

Nathan

-- 
Look Solutions USA, Ltd.
Toll-Free: 1-800-426-4189
Email: usa [at] looksolutions.com
Web: www.fogspecs.com

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

From: "Jerry George" <gdgeorge [at] wowway.com>
Subject: RE: ETCP Rigging Exam
Date: Mon, 31 Jul 2006 12:06:50 -0400
Message-ID: <000001c6b4bb$5573bc10$0200a8c0 [at] Chesty>
In-Reply-To: <list-32618879 [at] prxy.net>

I would guess that it's to test the questions for validity before =
actually
using them. It's amazingly simple to write a "bad" test question.

Jerry

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nathan =
Kahn
Sent: Monday, July 31, 2006 11:55 AM
To: Stagecraft
Subject: Re: ETCP Rigging Exam

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

> Fifteen unidentified questions are unscored.

What's the point of that?  Some sort of online security or control
mechanism?

Nathan

--=20
Look Solutions USA, Ltd.
Toll-Free: 1-800-426-4189
Email: usa [at] looksolutions.com
Web: www.fogspecs.com




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

Date: Mon, 31 Jul 2006 12:09:38 -0400
Subject: Re: ETCP Rigging Exam
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C0F3A382.FF9A%bill [at] sapsis-rigging.com>
In-Reply-To: <list-32618879 [at] prxy.net>

For accurate answers to test administration questions, I would like to
suggest that you contact the ETCP Certification Manager, Katie Geraghty
<kgeraghty [at] esta.org> or 212.244.1505.

She's really very nice and loves to help with this stuff.

Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile



On 7/31/06 11:55 AM, "Nathan Kahn" <nathan.kahn [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> Fifteen unidentified questions are unscored.
> 
> What's the point of that?  Some sort of online security or control mechanism?
> 
> Nathan



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

Message-ID: <002701c6b4bc$27f5a860$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-32594154 [at] prxy.net> <list-32597843 [at] prxy.net> <list-32602498 [at] prxy.net> <list-32615586 [at] prxy.net> <list-32617210 [at] prxy.net>
Subject: Re: Broken Phone
Date: Mon, 31 Jul 2006 09:12:44 -0700

> The software that Motorola specifically sells for this purpose is called 
> "mobile PhoneTools" and it works pretty well but the version I have is a 
> bit buggy...


A bit buggy?  Yup.  Or is it a 'feature' when, after syncing phone and 
computer, it asks if you really want to ERASE the phone??  Probably a bug.

     - Jon Ares
www.hevanet.com/acreative 


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

In-Reply-To: <list-32619191 [at] prxy.net>
References: <list-32619191 [at] prxy.net>
Message-Id: <7A5A15C5-2835-4B24-B23F-E63053FEBBA4 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: bad questions
Date: Mon, 31 Jul 2006 12:17:17 -0400

I got at least four questions thrown off tests years ago in college  
when i pointed out to the professor that the poor phrasing of the  
question made none of the multiple choice answers correct.

It was fairly obvious ( to me at least ) which answer the professor  
intended to be correct but the poor use of language created a  
question that if properly read as stated on the page, made none of  
them correct.

It's amazing how often that happened in my academic career.

I also found a couple of situations where the more you knew, the more  
the test was  prejudiced against you.  i e, the test assumed that you  
knew no more about the subject than what had been presented in class  
and the correct answer was predicated on only that knowledge, where  
as if you already knew what was going to be taught say in the next  
semester you would in fact give a different answer to a question.

I had to fight on a couple of occasions that my answer was correct  
and that I should not be penalized for being ahead of the class.

Again, if the professor had thought it through the question could  
have been stated in such a way that this would never have been a  
problem.



On Jul 31, 2006, at 12:06 PM, Jerry George wrote:

I would guess that it's to test the questions for validity before  
actually
using them. It's amazingly simple to write a "bad" test question.

Jerry

Keith L Arsenault
Tampa, Florida

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Date: Mon, 31 Jul 2006 09:19:19 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Getting Paid When Theatre Closes
In-reply-to: <list-32599129 [at] prxy.net>
Message-id: <7.0.1.0.0.20060731091855.01f06e80 [at] interstellar.com>
References: <list-32599129 [at] prxy.net>

At 11:24 AM 7/30/2006, CB wrote:
>at least here in the
>US, law enforcement isn't supposed to stop a citizen from doing anything
>that isn't unlawful or dangerous.

That's Sooooooo pre-9/11 talk!


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand


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

Date: Mon, 31 Jul 2006 12:27:40 -0400
Subject: Re: ETCP Rigging Exam
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C0F3A7BC.FFA1%bill [at] sapsis-rigging.com>
In-Reply-To: <list-32619191 [at] prxy.net>

Just to be clear.  The test questions were reviewed by the SME's ad nauseum
prior to their being considered for the test.  And I do mean, ad nauseum.
Writing and reviewing the tests questions was, especially for me
(non-academic type), an extremely difficult and humbling experience.

Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile




On 7/31/06 12:06 PM, "Jerry George" <gdgeorge [at] wowway.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I would guess that it's to test the questions for validity before actually
> using them. It's amazingly simple to write a "bad" test question.
> 
> Jerry
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nathan Kahn
> Sent: Monday, July 31, 2006 11:55 AM
> To: Stagecraft
> Subject: Re: ETCP Rigging Exam
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> Fifteen unidentified questions are unscored.
> 
> What's the point of that?  Some sort of online security or control
> mechanism?
> 
> Nathan



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: bad questions
Date: Mon, 31 Jul 2006 12:30:43 -0400
Message-ID: <000201c6b4be$ab9b37a0$6501a8c0 [at] Dell>
In-Reply-To: <list-32619455 [at] prxy.net>

 
> It was fairly obvious ( to me at least ) which answer the professor  
> intended to be correct but the poor use of language created a  
> question that if properly read as stated on the page, made none of  
> them correct.
> 
> It's amazing how often that happened in my academic career.

I forget whether it was Congress or a state legislature, but a law was once
passed that -- due to a misplaced comma -- legalized slavery.


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

Date: Mon, 31 Jul 2006 12:36:47 -0400
Subject: Re: Faith Healers
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C0F3A9DF.FFA7%bill [at] sapsis-rigging.com>
In-Reply-To: <list-32615399 [at] prxy.net>

Well, let's start off with on the list and see how it goes.

For those of you who don't know it...

story about a guy, his wife and a manager.  He is a Faith Healer with a 1 in
10 record.

The characters are never onstage at one time.  It's 4 separate monologues.
First him, then her.  Intermission and then Manager and back to him.

Minimalist set that does not change.  Furniture is only what is needed.
Chair, side table.  Small fridge.

Lighting plot appears to be smaller than inventory at my high school.  Maybe
40 instruments.  Joe?


It's a show about the acting and it completely blew me away.  It ranks as
one of the top 5 shows I have ever (yes, ever) seen.  But I'm looking for
other opinions.

Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile





On 7/31/06 9:38 AM, "Joe Saint" <joe [at] imcdlighting.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Bill,
> 
> I saw it back during Tony voting season.  I'd be happy to throw in my two
> cents, either on list or off.
> 
> Joe Saint
> President
> IMCD Lighting
> 646-415-7588
> www.imcdlighting.com
> 
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis
> Sent: Monday, July 31, 2006 9:27 AM
> To: Stagecraft
> Subject: Re: Faith Healers
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I saw Faith Healer last week in NY. Did anyone on the list see it?  I'd be
> very interested in discussing that show either privately or here.
> 
> Thanks
> Bill S.
> ETCP Certified Rigger - Theatre
> www.sapsis-rigging.com
> 800.727.7471
> 267.278.4561 mobile
> 
> 
> 
> 
> 



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

From: "Joe Saint" <joe [at] imcdlighting.com>
Subject: RE: Faith Healers
Date: Mon, 31 Jul 2006 13:02:25 -0400
Message-ID: <000101c6b4c3$1e697d10$640fa8c0 [at] D3G47461>
In-Reply-To: <list-32619967 [at] prxy.net>

I agree about minimalist design approach on the set and prop level.  I think
the lighting was far more complex than it appeared.  Many VERY subtle
lighting cues including one that ever so delicately picked up a thin band of
light along the US most edge of the floor (right by the wall) and a
fireplace whose embers would ebb and flow.

Bill is dead on about the acting.  This show lives and dies on its actors.
Each monologue is about 30 minutes.  VERY difficult to pull off (i.e. keep
audience engaged) for even the best of actors (and the B'way version had 3
great ones).  

I love Friel but I don't think this is his best work.  The structure of the
story is Rashomon-esque in that each character is telling his/her version of
the same set of events, not for laughs but for insight.   I am never a big
fan of any play that involves characters talking directly to the audience to
tell the story (Show me the story, don't explain it to me.) and it bothered
me no less here, especially with the wife and the Manager (when the title
character begins the play, I wondered if we were supposed to be an audience
at one of his faith healings as the set suggested).

On a scale of 1-10, I would give the script a 7, the acting a 9, the design
an 8, but overall a 6.  Yes, the whole is LESS than the sum of the parts.

My $0.02.

Joe Saint
President
IMCD Lighting
646-415-7588
www.imcdlighting.com


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis
Sent: Monday, July 31, 2006 12:37 PM
To: Stagecraft
Subject: Re: Faith Healers

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

Well, let's start off with on the list and see how it goes.

For those of you who don't know it...

story about a guy, his wife and a manager.  He is a Faith Healer with a 1 in
10 record.

The characters are never onstage at one time.  It's 4 separate monologues.
First him, then her.  Intermission and then Manager and back to him.

Minimalist set that does not change.  Furniture is only what is needed.
Chair, side table.  Small fridge.

Lighting plot appears to be smaller than inventory at my high school.  Maybe
40 instruments.  Joe?


It's a show about the acting and it completely blew me away.  It ranks as
one of the top 5 shows I have ever (yes, ever) seen.  But I'm looking for
other opinions.

Bill S.
ETCP Certified Rigger - Theatre
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile





On 7/31/06 9:38 AM, "Joe Saint" <joe [at] imcdlighting.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Bill,
> 
> I saw it back during Tony voting season.  I'd be happy to throw in my two
> cents, either on list or off.
> 
> Joe Saint
> President
> IMCD Lighting
> 646-415-7588
> www.imcdlighting.com
> 
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill
Sapsis
> Sent: Monday, July 31, 2006 9:27 AM
> To: Stagecraft
> Subject: Re: Faith Healers
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I saw Faith Healer last week in NY. Did anyone on the list see it?  I'd be
> very interested in discussing that show either privately or here.
> 
> Thanks
> Bill S.
> ETCP Certified Rigger - Theatre
> www.sapsis-rigging.com
> 800.727.7471
> 267.278.4561 mobile
> 
> 
> 
> 
> 




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

Subject: RE: Source for Tools
Date: Mon, 31 Jul 2006 13:26:19 -0400
Message-ID: <F9E613F2DD66A645B6BD1423FA0EEC322B406C [at] exchangeb3.ad.fredonia.edu>
In-reply-to: <list-32590859 [at] prxy.net>
From: <Stephen.Rees [at] fredonia.edu>

Jonathan,
If your school has state contracts with vendors for materials and
supplies, they probably have a contract for tools as well.  That can be
a big price chopper. You might try going to a specific manufacturer like
Bosch or Milwaukee (to name two) to see if they would give you a deal on
a package of gear.

Check out the FineHomebuilding tools issues where they have done fairly
decent testing of lots of different items over the years.  I rely on
them as a primary source of information.  www.tauntonpress.com=20

I suggest you get the best you can afford and then teach the students
the value of them as they work with them.=20

HTH,
Steve Rees
SUNY-Fredonia =20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Jonathan S. Deull
Sent: Sunday, July 30, 2006 2:10 PM
To: Stagecraft
Subject: Source for Tools

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

I am about to have the pleasure of outfitting our new high school
theatrical shop with an appropriate array of hand and power tools.  List
participants have helped to generate the shopping list in various
threads.  The question now arises: is there a preferred
"one-stop-shopping" source of tools where I can order most of what I
need at good prices on line, or am I better off heading out to Home
Depot/Lowes with a truck?=20

TIA.
Jonathan

* * * * * * * * * * * * * * * *=20

Jonathan S. Deull
Edmund Burke School
Washington, DC
jdeull [at] clarktransfer.com



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Source for Tools
Date: Mon, 31 Jul 2006 13:33:12 -0400
Message-ID: <000f01c6b4c7$65ee5e90$6501a8c0 [at] Dell>
In-Reply-To: <list-32621241 [at] prxy.net>


> I suggest you get the best you can afford and then teach the 
> students the value of them as they work with them. 

One way to do that last is to also buy some cheap, crappy tools; the first
time a student abuses one of the good tools, it* goes back in the crib and
s/he has to finish the job with the crappy substitute.


* the tool, not the student.


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

Subject: Visio
Date: Mon, 31 Jul 2006 14:24:13 -0400
Message-ID: <B3D6924DCCF99C45A449AA92E8184D6150E3C9 [at] mailserver.mtbethel.local>
From: "Alf Sauve" <Alf.Sauve [at] mtbethel.org>

Visio light plots.

Okay, I'm not a sophisticated CAD user.  What I do isn't true "drafting" =
but more drawing or visualization.  And I really like all the stencils =
MS has added in the latest version.  But, I haven't be able to find =
really good stencils for a lighting plot.=20

ATTENTION ETC, Altman, Martin, L&E:   It would be so cool if you would =
provide a VISIO stencil for your instruments.  (If you already have, =
could you point me to them.)

Along that line, anybody have a good set of lighting stencils?  For =
free?

Thanks,  Alf

Alf Sauv=E9
Media Specialist
Mt Bethel UMC
Marietta, GA
770 900 2920

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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Ramp dimensions
Date: Mon, 31 Jul 2006 12:30:55 -0600
Message-ID: <00f501c6b4cf$7618e210$c083c447 [at] doom1>
In-Reply-To: <list-32616298 [at] prxy.net>

You got it right. Doom

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg
Persinger
Sent: Monday, July 31, 2006 8:20 AM
To: Stagecraft
Subject: Re: Ramp dimensions

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

Kristi,

Although building the ramp to ADA specs sounds good, the angle needed for
ramping gear onto a stage and ramping a wheelchair to stage is very
different.

If I remember correctly you need 1 foot of ramp to every 1 inch of rise in
the stage. This means a 4' stage would require 48' of ramp to be ADA
compliant. I think there also has to be landings in the ramp every so many
feet as well to provide a rest.

For a 4' stage most people use a 12 to 20 foot aluminum truck ramp to ramp
gear onto a stage. This is vastly different then the ADA requirement.

This is why most retrofits use a wheelchair lift instead of a ramp to be ADA
compliant. Saves a lot of room.

Greg Persinger


on 7/30/06 4:39 PM, MissWisc [at] aol.com at MissWisc [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> You just answered your own question!
> 
> Since you do not currently  have a ramp to stage level, whatever you build
> should meet ADA specs as this  will also provide the needed ADA access to
> stage 
> level, so use those wheelchair  specs! :)
>  
> Kristi
> 
> 
> maestro196 [at] sbcglobal.net writes:
> The space I am  working in has no ramp to stage level.  I am looking at
some
> ideas to  correct that situation.  What is a good angle for a loading
ramp?
> I  have looked for OSHA standards and general specs, but the only thing I
seem
> to  be able to find is for wheelchair access.
>  
> 



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

From: MissWisc [at] aol.com
Message-ID: <bbe.1a4d5dc.31ffa9ca [at] aol.com>
Date: Mon, 31 Jul 2006 14:45:30 EDT
Subject: Re: ETCP Rigging Exam (long - how standardized tests are created)


Ah... the birth of a standardized  exam. DISCLAIMER: I am not a SME for this 
exam nor was I involved in writing it.  The following is from my experience 
writing and scoring standardized exams for  someone else.

First.. someone decides "There should be a standardized  exam for that." The 
folks who want the exam hire a psychometrician (professional  test writer) and 
nominate some people they think know a lot about the topic.  Then those folks 
are asked to recommend others. 

From those  recommendations, a panel of people who are really smart about the 
topic is then  gathered. For this test they were called the Subject Matter 
Experts (SMEs) and  they create a list of what should be included on the test, 
compose sample  questions and review them. Often the first question pool is 
created individually  and someone from the psychometrician's office compiles 
those questions and  topics and creates an outline of what seems to be the 
consensus of things that  the SMEs think should be asked. This complied list may then 
be shared via email  for comments and critique. The results of that are then 
re-compiled with  comments considered and another round of comments/critique. 

Then the  real fun begins. At this point the SMEs,psychometrician and test 
sponsors  usually get together for a couple of days at some resort somewhere. 

The  SMEs and test sponsor decide exactly what needs to be measured, i.e. 
what makes  the test VALID. There are a certain percent of questions allotted to 
each area  to be measured. The ETCP Rigging Exam determines if the writer 
knows how to  safely rig for theatre and/or arena entertainment applications. The 
questions  all then must support that purpose. You're not going to be asked 
about which  color paint makes the best floor. It's a theatre question, but not 
something  that a rigger needs to know to do his/her job.

The questions must be free  from bias. You won't have a question like "How 
many sumo wrestlers can be  suspended from the roof of this arena?" because only 
men are sumo wrestlers - a  gender bias - and sumo wrestling is a Japanese 
sport - a cultural bias. There  are about 10 kinds of bias and each question is 
reviewed for each kind.

A  pool of about twice as many questions as needed for the test is compiled. 
If  there are 150 scored questions, there are at least 300 questions in the 
pool.  This is where the 15 "non-scored" questions Delbert wrote about comes 
from. It's  not that they weren't scored, it's just that they weren't included in 
the  questions used to calculate Delbert's score. Delbert's responses to the  
questions are used as part of the norm-referencing for those  questions.

The trick to writing is good question is not in the question,  it's in the 
potential responses. The responses (there are no "answers" on a  standardized 
exam) are reviewed for accuracy by the SMEs. There is no "right  answer"; the 
correct one is the "best response". This makes sense if you think  of the miriad 
of ways to do things in theatre. E.g. I can use a Genie lift to  focus lights 
or I can buy a focus track from Unkle Bill. Neither is "right" all  the time 
- you're looking for the best answer given the situation.

All  responses should be possibly correct. If the question is "What should be 
used to  hang a light?" the responses shouldn't be things like "Tennis balls" 
"spaghetti  sauce" and "beer".

When the SME's agree that the question is valid and  free from bias, then it 
is put into the category as to what it measures,  (safety, calculations, 
equipment, arena vs. theatre, etc.) so that when the  final test is composed, there 
is an appropriate mix of questions  included.

The Guinea Pig testers (those of you who bravely took the test  the first 
time) create the "norm" for each question. Usually ALL the questions  from the 
pool are included in that initial test offering, with each taker  getting a 
portion of them. An excellent test question is one that is answered  correctly by 
the top test takers and incorrectly by the rest. A good question is  answered 
correctly by about half the test takers. That's why they couldn't give  you a 
passing score at that time, they hadn't finished norm-referencing the  
questions to determine what the passing score could be. 

It's assumed  that the Guinea Pigs are a reasonable representation of the 
folks who would take  the test - no smarter and no dumber than typical. You 
wouldn't have high schools  students be the Guinea Pigs for a professional exam 
like this.

The test  is then compiled from an assortment of the "valid, norm-referenced" 
questions.  The responses are manipulated so there are an even number of A, 
B, C and D  correct responses. 
It's not uncommon for the psychometrician to put a few  easy questions toward 
the beginning of the test as it helps reduce test anxiety  and thus means the 
results are more reliable.
If the test is being offered  via computer, the questions are sometimes 
selected by the program based on if  the last response was correct. If so, a more 
"difficult" question is offered.  This method provides the most accurate score.

The questions offered for  each administration of the test are different, but 
they are mathmatically  equivalent (in test taker's terms "inter-reliable") 
so that if Delbert took  version A, B, or C of the test, his score should be 
the same.

Test  questions are often re-used after a period of several years or 
depending on the  number of exams administered. When I took the GRE exam, I had 
previous GRE  sample tests going back 10+ years. There were several questions taken 
verbatum  from those old exams that appeared on my computerized test. :) It 
pays to  practice!

Knowing that Delbert has been a professional rigger and teacher  of rigging 
for years, if he didn't pass, I would have questioned the validity of  the ETCP 
exam. The fact he did pass increases the validity of the exam in my  opinion. 
And the fact he said there were a few questions that he knew he didn't  know 
the response to tells me that the test is tough enough for the most  
knowledgeable riggers. 

So it appears that the ETCP rigging exam is valid  and reliable.

HTH

Kristi  


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

Message-ID: <00a401c6b4d3$79184290$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
References: <list-32621241 [at] prxy.net>
Subject: Re: Source for Tools
Date: Mon, 31 Jul 2006 12:59:38 -0600

Let me elaborate on my previous comment.

My son's high school had a drama instructor, who, albeit one great
person, was fairly limited in her technical ability, probably more
than most of her students, but her plate was always full.  The tech
class consisted of mostly looking at hand drawn plans and scrapping
things together.  There might be a student who, for two years,  knew
enough about care of tools and "trying to keep things together".  but
then he was gone... Trying to find a flat blade screwdriver without a
bent shaft was a rare thing. A new set of Wal-Mart ones was budgeted
for every show!

When our Summer Shakespeare Festival was in its weaning years it was,
maybe, just a half step above that.  When I was part,  I brought my
own tools and after the first season ALL my hand tools had a
distinctive dark blue paint mark and were used only with permission.
The carps, interns, and apprenti (sic?) brought in then, knew very
little of tool care and proper use and left with little more.   (when
I say weaning years I mean slave shop)

Now they have a TD who rules with an iron hand AND supplies the PROPER
tools and all are marked.  The ass't TD will not hesitate to stop
someone to instruct them properly.  All a good thing.  All summer
hires are encouraged to bring a selection of their personal hand and
small power tools.

Is your High School now, or planning to be, of the latter?  The
training the students receive will benefit the school both in the
short and long term. (i.e. more technical sets and longer tool life)

Tool control is important, as is proper use.

Always a pleasure outfitting a new shop,  Think where you can now
set-up the program's limits, or NOT, (know your, the schools, and the
administration's attitude) as to what it is going to be. Let that kind
of be a guide of quality you buy.

As to what Chris Dopher and Jerry George said about going to the local
hardware guy for a price break,  I whole-heartedly agree.  This guy is
the one who will be there, appreciate the business, and probably once
he knows that his store is THE store for your high school shop
supplies, be much more willing to support your program.

See if he or she or his or her significant other likes theater.  His
or her employees, too.

(My days in Memphis always included visits to Gate City Hardware on
Summer Ave, first.
Loved that place and their people.)

Rob't

"Hmm, no diamonds, no spades, no clubs," said Tom whole-heartedly.



>I am about to have the pleasure of outfitting our new high school
>theatrical shop with an appropriate array of hand and power tools.
List
>participants have helped to generate the shopping list in various
>threads.  The question now arises: is there a preferred
>"one-stop-shopping" source of tools where I can order most of what I
>need at good prices on line, or am I better off heading out to Home
>Depot/Lowes with a truck?

>TIA.
>Jonathan

* * * * * * * * * * * * * * * *

Jonathan S. Deull
Edmund Burke School
Washington, DC
jdeull [at] clarktransfer.com



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

Subject: Stone working power tools
Date: Mon, 31 Jul 2006 15:38:33 -0400
Message-ID: <071168C3EF37C34580207EB53478A0F73EFAB4 [at] stage.OTC.local>
In-Reply-To: <list-32599298 [at] prxy.net>
From: "Dre Suchoski" <DSuchoski [at] olneytheatre.org>

  Does anyone have experience with using power tools to cut into stone?
We are working on a new play, In The Mood, and the only mention in the
script is that the actress is working with "a corded saw" to carve away
at the large chunk of suspended stone (most will be foam, and the part
she is carving will be sandstone or something similar).  I have been
researching saws, grinders, and the like, and I would like to have as
much information before our production meeting on Thursday.
  And trust me, I have already tried to explain that this is theatre and
we shouldn't be using real power tools/stone/etc on stage but it's
something very integral to the story and she must be cutting away at a
real rock with a real power tool.
  Any help will be appreciated, thanks in advance!

Dre Suchoski, Properties Artisan
Olney Theatre Center

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

Message-Id: <3.0.6.32.20060731124227.00e66628 [at] pop.west.cox.net>
Date: Mon, 31 Jul 2006 12:42:27
From: CB <psyd [at] cox.net>
Subject: Re: Article about stolen theatre props

> As the theatre=20
>swordsmith, I do not believe that a sharp and fully lethal rapiier=20
>which I made for R&J should be in the general props storage.

Frank, as the theatre's swordsmith, I have to ask why you *made* a rapier
for R&J that was sharp, and fully lethal?  I own three rapiers, that would
be fully lethal but for the edge and the blunt on the tip, and I challenge
anyone to tell the difference between any of these and a sharpened rapier
at any distance greater than its non-kill radius.
				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: <3.0.6.32.20060731124529.00e66628 [at] pop.west.cox.net>
Date: Mon, 31 Jul 2006 12:45:29
From: CB <psyd [at] cox.net>
Subject: Re: drink and the theatre and tailgating

>The following car is always responsible 
>for a rear-end collision.

This just isn't true.  Welcome back, Frank.
				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...

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

Date: Mon, 31 Jul 2006 15:46:56 -0400
Subject: Re: Stone working power tools
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <C0F3D670.6725%raypf1mg [at] cmich.edu>
In-Reply-To: <list-32624906 [at] prxy.net>

Have you talked with your local art dept.?  The Sculpture people would be my
first stop in researching this.

Merel


On 7/31/06 3:38 PM, "Dre Suchoski" <DSuchoski [at] olneytheatre.org> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>   Does anyone have experience with using power tools to cut into stone?
> We are working on a new play, In The Mood, and the only mention in the
> script is that the actress is working with "a corded saw" to carve away
> at the large chunk of suspended stone (most will be foam, and the part
> she is carving will be sandstone or something similar).  I have been
> researching saws, grinders, and the like, and I would like to have as
> much information before our production meeting on Thursday.
>   And trust me, I have already tried to explain that this is theatre and
> we shouldn't be using real power tools/stone/etc on stage but it's
> something very integral to the story and she must be cutting away at a
> real rock with a real power tool.
>   Any help will be appreciated, thanks in advance!
> 
> Dre Suchoski, Properties Artisan
> Olney Theatre Center


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

Message-Id: <3.0.6.32.20060731125242.00e66628 [at] pop.west.cox.net>
Date: Mon, 31 Jul 2006 12:52:42
From: CB <psyd [at] cox.net>
Subject: Re: Getting Paid When Theatre Closes

>Some companies track such equipment on an expensed equipment inventory,
>others don't bother.

They must have some method of tracking it, even if it's just a credit card
receipt.  In any case, law enforcement can't stop you from taking something
out of your place of work unless they have a reasonable suspicion that you
are stealing it.  Suggesting that its yours, and not having any other
owner/employee suggest that it belongs to the company, should satisfy a
'reasonable' man's suspicions.  Martial law aside, that is.
				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: <040c01c6b4dc$2acde820$0e00a8c0 [at] Nogle>
From: "Nigel Worsley" <nigle [at] dsl.pipex.com>
References: <list-32624906 [at] prxy.net>
Subject: Re: Stone working power tools
Date: Mon, 31 Jul 2006 21:00:45 +0100

"Dre Suchoski" <DSuchoski [at] olneytheatre.org>
>  Does anyone have experience with using power tools to cut into stone?
> We are working on a new play, In The Mood, and the only mention in the
> script is that the actress is working with "a corded saw" to carve away
> at the large chunk of suspended stone (most will be foam, and the part
> she is carving will be sandstone or something similar). 

Soapstone would be much easier to carve than sandstone, as it is very soft.
One artist that uses it says:

"Soapstone is a common term for talc. Often, wood tools are used when 
producing carvings from soapstone, as well as handsaws, files, 
sandpaper, and acrylic finishing products."

Any tools suitable for metal would probably be overkill with such a soft
material, an angle grinder would reduce the soapstone to talc in seconds.

Nigel Worsley


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

Subject: RE: Article about stolen theatre props
Date: Mon, 31 Jul 2006 10:03:26 -1000
Message-ID: <C1BD51BC175F2446ABF92C60ACF53870EA8C02 [at] mail.islandmovers.com>
From: "Douglas McCracken" <douglasm [at] iceshawaii.com>

I said: >One wonders why anyone would use something valuable as a prop.

I didn't say: >One wonders why anyone would use something as valuable as
a prop.=20

Big difference.

>In the case of a motorcycle gag that I designed,

A motorcycle would be considered a set piece, wouldn't it. And, yes,
losing a set piece would make a scene suck. I will grant you 'bad
example status'.

A prop viewed from 40 feet, under stage lights, doesn't have to be the
actual golden scepter from King Tut's tomb. Just need a good prop
builder. And of course that prop is valuable. But, I thought the
original message was regarding REAL valuable items that are used as
props. My implication was to not use the real item, but build one.


Aloha,

Douglas McCracken
Lighting Designer
International Convention and Event Services
douglasm [at] iceshawaii.com


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

Message-Id: <s4ce2af4.099 [at] gwia202.syr.edu>
Date: Mon, 31 Jul 2006 16:07:55 -0400
From: "Scott Casanova" <srcasano [at] syr.edu>
Subject: Re: Visio

Hey gang,
We just started using Visio here for our room diagrams etc.  I'll second =
the motion for Visio stencils, and if anyone has any, please share with =
the list! :-)
Scott


Scott Casanova
Supervisor - Facilities and Technical Services
Schine Student Center
Suite 228D
315-443-1438

http://students.syr.edu/ets

>>> Alf.Sauve [at] mtbethel.org 7/31/2006 2:24 PM >>>
For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Visio light plots.

Okay, I'm not a sophisticated CAD user.  What I do isn't true "drafting" =
but more drawing or visualization.  And I really like all the stencils MS =
has added in the latest version.  But, I haven't be able to find really =
good stencils for a lighting plot.=20

ATTENTION ETC, Altman, Martin, L&E:   It would be so cool if you would =
provide a VISIO stencil for your instruments.  (If you already have, could =
you point me to them.)

Along that line, anybody have a good set of lighting stencils?  For free?

Thanks,  Alf

Alf Sauv=E9
Media Specialist
Mt Bethel UMC
Marietta, GA
770 900 2920



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

Message-Id: <3.0.6.32.20060731132140.00e66628 [at] pop.west.cox.net>
Date: Mon, 31 Jul 2006 13:21:40
From: CB <psyd [at] cox.net>
Subject: Re: Soldering XLR connectors...

>I do it a bit differently. I pre-tin the wire, then "shape" it so that it
>goes into the solder cup and stays there. I then use my iron to heat the
>wire and cup together until the solder flows to mostly fill the cup.

I guess it depends on your experience.  Thinking about it, this method
might work better for those that don't do a lot of these.  I've worked out
a method over, say, a coupla thousand experiments.  This method includes
how far back the tinning goes on the connecting wires (too far and it
becomes brittle) how far to trim, how much solder goes in the cup, how to
do it by feel in the dark (it ain't easy...) and a few other tidbits.  I
have cables that have been in service for two decades without repair, and
thy've not been hiding in the dark.  They go out on the occaisional music
gig, and get attached to mics and amps and drums and junk.  No hot-house
flowers, these!
Other than pre-tinning the cups, these methods seem remarkably similar.
I'll find an easily accesable point on the outside of the solder cup, and
tin that, and once I get a good flow, I'll bottom out the solder in the
cup.  It usually runs right in, fills the cup, and there's no bubble.  As
soon as I get the wire in place, I'll just touch that spot again to get the
solder in the cup flowing, and two shakes in the cup and the solder on the
wire is flowing too!  I get far fewer cold solder joints (as in:  not a
statistically significant number) when I pre-tin the wire *and* the cups.
				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: <1120.205.215.254.15.1154378234.squirrel [at] webmail.peak.org>
In-Reply-To: <list-32618879 [at] prxy.net>
References: <list-32525582 [at] prxy.net> <list-32618879 [at] prxy.net>
Date: Mon, 31 Jul 2006 13:37:14 -0700 (PDT)
Subject: Re: ETCP Rigging Exam
From: "Bill Nelson" <billn [at] peak.org>

>> Fifteen unidentified questions are unscored.
>
> What's the point of that?  Some sort of online security or control
> mechanism?

There are at least two reasons:

I suspect the primary reason is validation of the new questions.

As with most areas, rigging practices change. New questions need to be
developed to cover these practices.

It is desireable to expand the pool of valid questions. Again, these must
be validated.

Checking how the examinees answer the questions does this. The people who
exhibit an expert level of knowledge on the regular questions will be most
likely provide the best answers on these new questions. It is also
possible to make sure that the additional questions are not "too easy".

Bill


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

In-Reply-To: <list-32625017 [at] prxy.net>
References: <list-32625017 [at] prxy.net>
Message-Id: <0983055F-B27B-4924-85B2-272F45CF504A [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Article about stolen theatre props
Date: Mon, 31 Jul 2006 16:41:01 -0400

>> As the theatre=20
>> swordsmith, I do not believe that a sharp and fully lethal rapiier=20
>> which I made for R&J should be in the general props storage.
>
> Frank, as the theatre's swordsmith, I have to ask why you *made* a  
> rapier
> for R&J that was sharp, and fully lethal?  I own three rapiers,  
> that would
> be fully lethal but for the edge and the blunt on the tip, and I  
> challenge
> anyone to tell the difference between any of these and a sharpened  
> rapier
> at any distance greater than its non-kill radius.
> 				Chris "Chris" Babbie

	Oh no --- Here we go again!

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <1125.205.215.254.15.1154378752.squirrel [at] webmail.peak.org>
In-Reply-To: <list-32614778 [at] prxy.net>
References: <list-32614778 [at] prxy.net>
Date: Mon, 31 Jul 2006 13:45:52 -0700 (PDT)
Subject: Re: Source 4 reflector cleaning
From: "Bill Nelson" <billn [at] peak.org>

Thanks for the two responses.

Unfortunately, the alcohol/water recommendation from ETC does not work.
Ammonia is not allowed for the reflectors.

I don't know what the deposit is, it may be residue from a lamp blowing up
in the fixture. Whatever it is, the color is light gray or white.

I may just have to use an old tee shirt and gently scrub the reflector. I
was hoping for a gentler method.

Bill


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

Subject: RE: Article about stolen theatre props
Date: Mon, 31 Jul 2006 16:47:27 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A05CED64A [at] exchange.rmwc.edu>
In-Reply-To: <list-32626700 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> 	Oh no --- Here we go again!

I promise not to jump in on this thread.  Not this time.  Nope.
Nosiree.  I'm biting my tongue as we speak.

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

Message-ID: <011301c6b4e2$b175be10$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
Cc: idahoscenic [at] earthlink.net (EL Idaho Scenic)
References: <list-32624906 [at] prxy.net> <list-32625637 [at] prxy.net>
Subject: Re: Stone working power tools
Date: Mon, 31 Jul 2006 14:48:35 -0600

Which brings me to the thought of the dust...

Everywhere

Rob't

----- Original Message ----- 
> Any tools suitable for metal would probably be overkill with such a
soft
> material, an angle grinder would reduce the soapstone to talc in
seconds.
>
> Nigel Worsley
>


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

Subject: RE: Stone working power tools
Date: Mon, 31 Jul 2006 16:50:05 -0400
Message-ID: <F9E613F2DD66A645B6BD1423FA0EEC322B407C [at] exchangeb3.ad.fredonia.edu>
In-reply-to: <list-32624906 [at] prxy.net>
From: <Stephen.Rees [at] fredonia.edu>

Dre,

Whatever you use is going to produce a LOT of dust and particulate
matter if you are not careful.  I would first assure that the material
you end up cutting is not going to adversely affect your audience.  I
think the smaller the corded or cordless tool you use, the better off
you will be. So instead of a 14" masonry saw, maybe you're looking for a
3.5" or 4" variable speed grinder with a small diameter blade that you
can run slowly to give the effect without creating too much havoc.
There is still going to be dust, but at least the tool will be easier
for the actor to deal with.  Maybe you could use a real tool with a faux
blade that won't actually cut stone but gives the illusion.  Maybe an
abrasive wheel for metal that won't cut stone but will look like it is.
Or Masonite, maybe.
Hope that helps.
Say HI to Sean C.

Steve Rees
SUNY-Fredonia
=20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Dre
Suchoski
Sent: Monday, July 31, 2006 3:39 PM
To: Stagecraft
Subject: Stone working power tools

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

  Does anyone have experience with using power tools to cut into stone?
We are working on a new play, In The Mood, and the only mention in the
script is that the actress is working with "a corded saw" to carve away
at the large chunk of suspended stone (most will be foam, and the part
she is carving will be sandstone or something similar).  I have been
researching saws, grinders, and the like, and I would like to have as
much information before our production meeting on Thursday.
  And trust me, I have already tried to explain that this is theatre and
we shouldn't be using real power tools/stone/etc on stage but it's
something very integral to the story and she must be cutting away at a
real rock with a real power tool.
  Any help will be appreciated, thanks in advance!

Dre Suchoski, Properties Artisan
Olney Theatre Center

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

Message-ID: <011a01c6b4e3$2801f2b0$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
References: <list-32625017 [at] prxy.net> <list-32626700 [at] prxy.net>
Subject: Re: Article about stolen theatre props
Date: Mon, 31 Jul 2006 14:51:54 -0600

Where's a super cell when you need one?
Rob't

> Oh no --- Here we go again!

----- Original Message ----- 
From: "Bruce Purdy" <bpurdy [at] rochester.rr.com>
I
> > challenge
> > anyone to tell the difference between any of these and a sharpened
> > rapier
> > at any distance greater than its non-kill radius.
> > Chris "Chris" Babbie
>
>
> Bruce
> ____________________
> Bruce Purdy
> Technical Director
> Smith Opera House


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

From: "Jerry George" <gdgeorge [at] wowway.com>
Subject: RE: ETCP Rigging Exam (long - how standardized tests are created)
Date: Mon, 31 Jul 2006 17:06:12 -0400
Message-ID: <000201c6b4e5$27c30300$0200a8c0 [at] Chesty>
In-Reply-To: <list-32623469 [at] prxy.net>


Wow, thanks Kristi.

Jerry

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
MissWisc [at] aol.com
Sent: Monday, July 31, 2006 2:46 PM
To: Stagecraft
Subject: Re: ETCP Rigging Exam (long - how standardized tests are =
created)

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


Ah... the birth of a standardized  exam. DISCLAIMER: I am not a SME for =
this

exam nor was I involved in writing it.  The following is from my =
experience=20
writing and scoring standardized exams for  someone else.





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

Date: Mon, 31 Jul 2006 16:12:31 -0500
Subject: Re: Source 4 reflector cleaning
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C0F3DC6F.D0D3%greg [at] vividillumination.com>
In-Reply-To: <list-32626815 [at] prxy.net>

Bill,

If the residue is noticeably diminishing the light output then you either
need to get the reflector clean or replace it.

At this point I would consider using a soft bristle toothbrush and whatever
mild solvent will remove the deposit as you don't have much to lose and a
good working reflector to gain.

A new replacement reflector is around $80 list so that is what you would be
out if you destroyed the reflector trying to clean it.

Good luck.

Greg Persinger


on 7/31/06 3:45 PM, Bill Nelson at billn [at] peak.org wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Thanks for the two responses.
> 
> Unfortunately, the alcohol/water recommendation from ETC does not work.
> Ammonia is not allowed for the reflectors.
> 
> I don't know what the deposit is, it may be residue from a lamp blowing up
> in the fixture. Whatever it is, the color is light gray or white.
> 
> I may just have to use an old tee shirt and gently scrub the reflector. I
> was hoping for a gentler method.
> 
> Bill
> 
> 



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

Message-ID: <b7318c480607311417j44367efbq2649be4ce9f2eabd [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 17:17:40 -0400
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Stone working power tools
In-Reply-To: <list-32626945 [at] prxy.net>
References: <list-32624906 [at] prxy.net> <list-32626945 [at] prxy.net>

I was thinking along the same line as Steve - a grinder.  If you used
a rubber disc instead of a grinding wheel it should be a relatively
safe tool for the actor to handle onstage, and it would still be able
to "cut" and "grind" styrofoam, or something similar.

-Delbert

> So instead of a 14" masonry saw, maybe you're looking for a
> 3.5" or 4" variable speed grinder with a small diameter blade that you
> can run slowly to give the effect without creating too much havoc.
> There is still going to be dust, but at least the tool will be easier
> for the actor to deal with.  Maybe you could use a real tool with a faux
> blade that won't actually cut stone but gives the illusion.  Maybe an
> abrasive wheel for metal that won't cut stone but will look like it is.

>
> Steve Rees
> SUNY-Fredonia
-- 
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Message-Id: <7.0.1.0.2.20060801085315.035cb0a8 [at] kilowatt.com.au>
Date: Tue, 01 Aug 2006 08:54:49 +1000
From: Andy Ciddor <aciddor [at] kilowatt.com.au>
Subject: Re: Visio
In-Reply-To: <list-32622860 [at] prxy.net>
References: <list-32622860 [at] prxy.net>

At 04:24 1.08.2006, Alf Suave wrote:
>Visio light plots.
>
>Okay, I'm not a sophisticated CAD user.  What I do isn't true 
>"drafting" but more drawing or visualization.  And I really like all 
>the stencils MS has added in the latest version.  But, I haven't be 
>able to find really good stencils for a lighting plot.

Selecon have had just such a library for a few years now.

http://www.seleconlight.com/files/english/Selecon%20Visio%20Stencil.zip

Andy




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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: drink and the theatre and tailgating
Date: Mon, 31 Jul 2006 17:08:02 -0600
Message-ID: <008d01c6b4f6$2d095a60$c083c447 [at] doom1>
In-Reply-To: <list-32625127 [at] prxy.net>

And if you all folks read voraciously, you will note that two states have
now put large markers, I believe in pink, on the highways in their state in
certain places, 200 feet apart and are ticketing those who do not abide by
them ..... NYTimes article I think last week or the week before. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of CB
Sent: Monday, July 31, 2006 12:45 PM
To: Stagecraft
Subject: Re: drink and the theatre and tailgating

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

>The following car is always responsible 
>for a rear-end collision.

This just isn't true.  Welcome back, Frank.
				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...


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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Stone working power tools
Date: Mon, 31 Jul 2006 17:26:44 -0600
Message-ID: <00b101c6b4f8$c94c55b0$c083c447 [at] doom1>
In-Reply-To: <list-32625235 [at] prxy.net>

Try the local tombstone company. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Ray-Pfeifer, Merel
Sent: Monday, July 31, 2006 1:47 PM
To: Stagecraft
Subject: Re: Stone working power tools

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

Have you talked with your local art dept.?  The Sculpture people would be my
first stop in researching this.

Merel


On 7/31/06 3:38 PM, "Dre Suchoski" <DSuchoski [at] olneytheatre.org> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>   Does anyone have experience with using power tools to cut into stone?
> We are working on a new play, In The Mood, and the only mention in the
> script is that the actress is working with "a corded saw" to carve away
> at the large chunk of suspended stone (most will be foam, and the part
> she is carving will be sandstone or something similar).  I have been
> researching saws, grinders, and the like, and I would like to have as
> much information before our production meeting on Thursday.
>   And trust me, I have already tried to explain that this is theatre and
> we shouldn't be using real power tools/stone/etc on stage but it's
> something very integral to the story and she must be cutting away at a
> real rock with a real power tool.
>   Any help will be appreciated, thanks in advance!
> 
> Dre Suchoski, Properties Artisan
> Olney Theatre Center


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

Message-ID: <016801c6b501$fd2409b0$0501a8c0 [at] office1>
From: "Ian Cunningham" <mailinglist [at] techie.f9.co.uk>
References: <list-32619967 [at] prxy.net>
Subject: Re: Faith Healers
Date: Tue, 1 Aug 2006 01:32:36 +0100

----- Original Message ----- 
From: "Bill Sapsis" <bill [at] sapsis-rigging.com>

> Well, let's start off with on the list and see how it goes.
>
> For those of you who don't know it...
>
> story about a guy, his wife and a manager.  He is a Faith Healer with a 1 
> in
> 10 record.
>
> The characters are never onstage at one time.  It's 4 separate monologues.
> First him, then her.  Intermission and then Manager and back to him.
>
> Minimalist set that does not change.  Furniture is only what is needed.
> Chair, side table.  Small fridge.
>
> Lighting plot appears to be smaller than inventory at my high school. 
> Maybe
> 40 instruments.  Joe?
>
>
> It's a show about the acting and it completely blew me away.  It ranks as
> one of the top 5 shows I have ever (yes, ever) seen.  But I'm looking for
> other opinions.
>
> Bill S.

I saw the Almedia produduction in London in 2001 (?) with Ken Stott, 
Geraldine James and Ian McDairmid (who is in the Broadway cast)

I was utterly mesmerised by the production - by chance I had a front row 
seat within (quite litterally) spitting distance of the cast.
The production was purely about the acting  - staging, lighting  and sound 
played only supporting roles (important but very much in the background). 
This was a masterclass in acting from three of the UKs finest actors.

I had gone along mainly as a big fan of Ken Stott but it was Ian McDairmid's 
performance that really got me  -

It remains probably the finest piece of drama I have ever seen

Ian Cunningham



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

Message-ID: <11b83d560607311739g733383ffre2a1109108ffd8a3 [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 20:39:30 -0400
From: "Stephen Litterst" <litterst.stagecraft [at] gmail.com>
Cc: doomster [at] worldnet.att.net
Subject: Re: drink and the theatre and tailgating
In-Reply-To: <list-32630342 [at] prxy.net>
References: <list-32625127 [at] prxy.net> <list-32630342 [at] prxy.net>

> ---------------------------------------------------
>
> And if you all folks read voraciously, you will note that two states have
> now put large markers, I believe in pink, on the highways in their state in
> certain places, 200 feet apart and are ticketing those who do not abide by
> them ..... NYTimes article I think last week or the week before. Doom

I-80 in Pennsylvania just west of the Delaware Water Gap has this
system (in white, though.)   It's enlightening to think I'm following
safely and then get into the zone with the dots and find out I need to
back off.  And then get cut off by someone trying to fit into the
space I opened.

Steve L.

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

Message-ID: <b7318c480607311750y14e6e026wb1b0032516575e91 [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 20:50:39 -0400
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Cc: doomster [at] worldnet.att.net
Subject: Re: Stone working power tools
In-Reply-To: <list-32630808 [at] prxy.net>
References: <list-32625235 [at] prxy.net> <list-32630808 [at] prxy.net>

Another thought I had tonight was to use a big block of hard soap or
something similar instead of stone, so as not produce any dust as it
is "carved."

-Delbert

-- 
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Date: Mon, 31 Jul 2006 21:50:01 -0400
From: Tony Kambic <tony [at] focusnote.com>
Subject: RE: Soldering XLR connectors...
In-reply-to: <list-32546782 [at] prxy.net>
Cc: sdwheaton [at] fuse.net
Message-id: <000001c6b50c$d0bf97d0$7a88c744 [at] tony>

Greetings Stuart & list,

Sorry was out over the weekend  [at]  a wedding...

Sounds pretty much like the process, although like others have said, it
takes a few. Frank's mention of the alligator clip stand-thingy (yeah I
can't find a name for it either, Frank) helps works wonders too because it
holds the cable further back from the heat.

If it helps, a trick I use is to make sure the solder reaches the bottom of
the cup and doesn't just stick on the top.

Yeah the heatshrink is also no fun. Burned many of fingers. I use a pair of
reverse tweezers to hold it back, then immediately slide it down over the
joint (after the solder solidifies, but before the heat migrates up the
wire) so it can form over the joint as it continues to cool.

As Chris buzzed, I don't like the pliers either as it deforms the
insulation.

Hope this helps,

Tony M Kambic
Lead Electronics Technician - City Theatrical
Freelance lighting technician, NY, NY

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stuart
> Wheaton
> Sent: Saturday, July 29, 2006 9:10 AM
> To: Stagecraft
> Subject: Soldering XLR connectors...
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> OK, I've been putting XLR's on cables for years, and I certainly do a
> good enough job from a mechanical standpoint, but the aesthetics of the
> thing have always bothered me.
> 
> The technique I learned was as follows...
> 
> Strip and tin the cable, cut the exposed conductors down to about 1/4"
> 
> Put the Connector in the vise, fill the solder cups.
> 
> Grab each tinned conductor with a pair of needle nose pliers, re-melt
> the solder in the cup, once it goes wet, stuff the tinned conductor in
> and let it cool.
> 
> Other than forgetting to put the shell on the cable first, what I find
> troublesome is that the insulation on the conductors mushes under the
> pliers in the heat.   If I don't pre-tin the solder cups, I can put the
> wires in without the pliers, but then the heat of filling the cups
> distorts the insulation even worse.
> 
> I worry that stuffing the wires into the tinned cups might be cooling
> the solder pool so fast I could get bad joints, though I see no evidence
> that this happens.
> 
> On commercial cables, there is often heatshrink over the cups, and I
> can't figure out where they hide that stuff so it doesn't shrink while
> soldering the pins.
> 
> I guess I am looking for assurances I'm doing OK, or instructions to
> improve my techniques.  If it matters, most of these are either 5 pins
> for DMX or 4 pins for oddball applications.
> 
> Stuart



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

Date: Mon, 31 Jul 2006 19:14:22 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Running with the Fireworks Bulls
Message-id: <40D4F62B-B985-462F-BE07-75B58CCBDBCA [at] interstellar.com>

For anyone who thinks there is lax safety around their place...

(Dr. Doom, don't look!)

http://revver.com/video/40862/19518


--
Jerry Durand, Durand Interstellar, Inc.
Los Gatos, California, USA, www.interstellar.com
tel:  +1-408-356-3886, USA toll free: 1-866-356-3886
skype:  jerrydurand



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

Message-ID: <b7318c480607311931i59f264e9ta4ea7ae759dbe068 [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 22:31:11 -0400
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: ETCP Rigging Exam (long - how standardized tests are created)
In-Reply-To: <list-32623469 [at] prxy.net>
References: <list-32623469 [at] prxy.net>

On 7/31/06, MissWisc [at] aol.com <MissWisc [at] aol.com> wrote:
> Knowing that Delbert has been a professional rigger and teacher  of rigging
> for years, if he didn't pass, I would have questioned the validity of  the ETCP
> exam. The fact he did pass increases the validity of the exam in my  opinion.
> And the fact he said there were a few questions that he knew he didn't  know
> the response to tells me that the test is tough enough for the most
> knowledgeable riggers.
>
> So it appears that the ETCP rigging exam is valid  and reliable.

> Kristi

Great post Kristi. There are lots of different areas of rigging and
the exam does a good job testing you on nearly all of them.  To pass
you have to have knowledge about many aspects of rigging, but not all
aspects of rigging.  I felt that the exam helped me understand my
strengths and weaknesses.  After the exam I made of list of topics
that I felt weak on and I plan to study-up on them.

I write multiple-choice questions all the time and it is difficult to
write good questions.  After the students take an exam, I run software
that helps me validate my questions based on the responses by the
students to all of the questions. I throw-out questions that do not
pass the validity threshold.  I assume that AMP uses similar software
and shares the results with ESTA.

-Delbert

-- 
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Visio
Date: Mon, 31 Jul 2006 22:35:28 -0400
Message-ID: <000001c6b513$271a29f0$6501a8c0 [at] Dell>
In-Reply-To: <list-32622860 [at] prxy.net>


> Along that line, anybody have a good set of lighting 
> stencils?  For free?

I don't know Visio at all, but assuming that a "stencil" is the equivalent
of a symbol or a block, I have a fairly comprehensive set online in DWG,
DXF, and PDF formats at:

http://www.jeffsalzberg.com/articles.htm


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

Message-ID: <b7318c480607311943v3c4b33dcw81123548c9749764 [at] mail.gmail.com>
Date: Mon, 31 Jul 2006 22:43:01 -0400
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Running with the Fireworks Bulls
In-Reply-To: <list-32635314 [at] prxy.net>
References: <list-32635314 [at] prxy.net>

INSANE video.

-Delbert

On 7/31/06, Jerry Durand <jdurand [at] interstellar.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> For anyone who thinks there is lax safety around their place...
>
> (Dr. Doom, don't look!)
>
> http://revver.com/video/40862/19518
>
>
> --
> Jerry Durand, Durand Interstellar, Inc.
> Los Gatos, California, USA, www.interstellar.com
> tel:  +1-408-356-3886, USA toll free: 1-866-356-3886
> skype:  jerrydurand
>
>
>


-- 
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Message-ID: <44CEC1CF.7070706 [at] cybercom.net>
Date: Mon, 31 Jul 2006 22:51:59 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: ETCP Rigging Exam
References: <list-32619748 [at] prxy.net>
In-Reply-To: <list-32619748 [at] prxy.net>

Bill Sapsis wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Just to be clear.  The test questions were reviewed by the SME's ad nauseum
> prior to their being considered for the test.  And I do mean, ad nauseum.
> Writing and reviewing the tests questions was, especially for me
> (non-academic type), an extremely difficult and humbling experience.
> 
> Bill S.
> ETCP Certified Rigger - Theatre
> www.sapsis-rigging.com
> 800.727.7471
> 267.278.4561 mobile
> 
> 
> 
> 
> On 7/31/06 12:06 PM, "Jerry George" <gdgeorge [at] wowway.com> wrote:
> 
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> I would guess that it's to test the questions for validity before actually
>> using them. It's amazingly simple to write a "bad" test question.
>>
>> Jerry
>>
>> -----Original Message-----
>> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nathan Kahn
>> Sent: Monday, July 31, 2006 11:55 AM
>> To: Stagecraft
>> Subject: Re: ETCP Rigging Exam
>>
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>>> Fifteen unidentified questions are unscored.
>> What's the point of that?  Some sort of online security or control
>> mechanism?
>>
>> Nathan
> 

A couple of reasons.  You put in dummy questions to give you aclue that 
a test preperation company or individual has gotten ahold of the 
question and answer database.  Evaluating new questions so you can norm 
them against the current questions.  You also put in old questions so 
you can check your norm to earlier versions.

   But the big one is trial of new questions.  It is appallingly 
difficult to write good test questions.  One of my (now deceased, RIP) 
friends was a high school chemistry teacher.  He collected a little 
extra money during summer vacation by being part of a group of high 
school chemistry teachers that created questions for the SAT test.  He 
said that they would meet every week for most of the summer, and also 
put in a day or so by themselves each week writing and evaluating and 
rewriting questions.  He said that his group averaged one to two 
questions each year that made it into the database, and that the 
question was included in a non-scoring capacity the first test cycle it 
was in to check for errors.     Whole lotta work.  Simple and easy, like 
playing Go.

   --Dale


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

End of Stagecraft Digest #896
*****************************