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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 34354971; Mon, 04 Sep 2006 03:01:46 -0700 X-Spam-Status: No, score=-1.8 required=5.0 tests=ADVANCE_FEE_1,AWL, NO_RECEIVED,NO_RELAYS,TJ_EMPTY_SUBJECT autolearn=no version=3.1.5 X-Spam-Checker-Version: SpamAssassin 3.1.5 (2006-08-29) on localhost X-Spam-Level: X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #936 Date: Mon, 04 Sep 2006 03:01:11 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #936 1. dmx cue lights by Judy 2. Re: dmx cue lights by "Bill Nelson" 3. Re: dmx cue lights by David Duffy 4. Re: ESTA Electrician exam confusions by "Bill Nelson" 5. Re: Remodeling - Need Consultant/Architect by "Bill Conner" 6. Re: Cue Lights? by "ladesigners [at] juno.com" 7. Re: Big Clive at Edinburgh ??! by Clive Mitchell 8. Re: cue lights by "Paul Guncheon" 9. Re: cue lights by Charlie Richmond 10. Re: Cue lights? by Stephen Litterst 11. Re: cue lights by Bruce Purdy 12. Re: Cue lights? by Bruce Purdy 13. Re: cue lights by Charlie Richmond 14. Re: Cue lights? by Charlie Richmond 15. Re: Cue lights? by Stephen Litterst 16. Re: Cue lights? by Bruce Purdy 17. Re: cue lights by John McKernon 18. Re: Cue Lights by Brendan Quigley 19. by KEITH ARSENAULT 20. roseland, nyc , iatse $$'s by KEITH ARSENAULT 21. Re: Cue Lights? by CB 22. Re: OT: British Revoke USA Independence by Michael Millar 23. Re: Cue lights? by frankwood95 [at] aol.com 24. Re: Cue lights? by David Duffy 25. Job posting [at] Kent State by Steve Shelley 26. Re: Job posting [at] Kent State by megironda [at] att.net (Gerry G.) 27. Re: Cue Lights by June Abernathy 28. Re: Cue lights? by seanrmc [at] earthlink.net *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <44FAD155.8020401 [at] post.tau.ac.il> Date: Sun, 03 Sep 2006 14:57:57 +0200 From: Judy Subject: dmx cue lights > > >A DMX version wouldn't be able to >communicate back. > Why on earth not? I know there are dimmers that communicate back. Compulite here make them, for instance. One very useful installation is the sound-and-light show at Masada: the dimmers are out on the mountain miles away from the control, and you really want to know when they have a problem without going all the way up the mountain to check. So the dimmers send back signals to the board through the DMX line. (I think it's through the other two lines in the 5-line cable but I'm not sure.) > > ------------------------------ Message-ID: <1268.205.215.255.172.1157285786.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Sun, 3 Sep 2006 05:16:26 -0700 (PDT) Subject: Re: dmx cue lights From: "Bill Nelson" > dimmers send back signals to the board through the DMX line. (I think > it's through the other two lines in the 5-line cable but I'm not sure.) That is correct. The normal method of status signaling is through pins 4 and 5. Bill ------------------------------ Message-ID: <44FAC94B.6030701 [at] audiovisualdevices.com.au> Date: Sun, 03 Sep 2006 22:23:39 +1000 From: David Duffy Subject: Re: dmx cue lights References: In-Reply-To: Judy wrote: >> A DMX version wouldn't be able to communicate back. > Why on earth not? I know there are dimmers that communicate back. > Compulite here make them, for instance. One very useful installation > is the sound-and-light show at Masada: the dimmers are out on the > mountain miles away from the control, and you really want to know when > they have a problem without going all the way up the mountain to > check. So the dimmers send back signals to the board through the DMX > line. (I think it's through the other two lines in the 5-line cable > but I'm not sure.) Hi Judy, Standard DMX does not talk back. The new RDM standard does make provision for it though. I'm sure there are a dozen different ways that various manufacturers have gotten around it in the meantime but that's not a DMX standard stream talking back I'd guess. Even it it was, that's only good for one transmitter. A RDM style cue light could respond to requests via the controller. Perfect for the situation at hand. David... -- ___________________________________________ David Duffy Audio Visual Devices P/L Unit 8, 10 Hook St, Capalaba 4157 Australia Ph: +61 7 38235717 Fax: +61 7 38234717 New Web: www.audiovisualdevices.com.au ___________________________________________ ------------------------------ Message-ID: <1286.205.215.255.172.1157288292.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Sun, 3 Sep 2006 05:58:12 -0700 (PDT) Subject: Re: ESTA Electrician exam confusions From: "Bill Nelson" >> Second, I was confused by sample question 3, is this a specific language >> type thing, ie. Grounded vs. Grounding, or could a reasonable person not >> read the question as assuming that the equipment to be worked on is >> powered from one breaker in the panel and thus making answer b correct. >> If one assumes the equipment has a breaker, shutting down the whole >> panel strikes me as serious overkill. If the work is in the panel, then >> panel becomes equipment, and the logical shut-off is still the feed to >> that panel. The question appears to be poorly worded. I think that they are assuming the panel is dedicated to the equipment itself and that there is only one module being serviced by that panel. To me, that is the only interpretation that would make D the proper choice. But the panel could be feeding equipment consisting of an assembly of modules. In that case, locking out only the breaker(s) feeding that module MIGHT be the proper choice. It would depend on whether the other modules can operate independently and safely while the one needing service is shut down. I have a problem with tests, such as these, that say there is always a "right" choice. Sometimes, it is a matter of choosing the answer that is "best", e.g. closest to being right. An example of this is the one about the power flowing through the cable. The question assumes both that there is negligible voltage drop in the cable (and rest of the distribution system) and that the filament resistance does not rise with the increased applied voltage. I suppose one could interpret it to be, "if the 115 VAC lamp is overdriven with 120 VAC applied across it". That would take care of the cable voltage drop problem, but not the increase in filament resistance that is going to occur. We know that the current is going to increase somewhat. What we don't know is exactly how much. In this case, the answer provided is probably the "best answer". We know that the current is not going to decrease or remain the same. We also know the upper limit of the possible increase, which is the answer that is listed as being correct. The current cannot be higher than that, or the filament would have a negative temperature coefficient, which does not happen in incandescent lamps. Bill ------------------------------ Message-ID: <002001c6cf58$f3aa8c30$6401a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Cc: dupreet [at] northstate.net Subject: Re: Remodeling - Need Consultant/Architect Date: Sun, 3 Sep 2006 08:00:36 -0500 Well, I'm in that business and would be interested in being considered. That said, I do believe that someone who is involved in the planning and design of performing arts spaces full time is needed but it may be as part of a team that includes architects and possibly engineers as well. I suggest you write a request for proposal for qualifications (rfq) and be as specific as possible as to what you want in the response and what you want from this phase, and then send that to as many people as you can identify as possibly qualified. Sift through those responses and pick 3, 4 at most, or, if 2 stand out, only 2. Ask them to prepare a prepare a proposal for their services, come to your theatre, walk through, and then sit with you and other key decision makers - hopefully not more than 8 or so total - for an hour and a half or two for an interview - perhaps half presentation by the prospective team and half q & a. I suggest your group prepare some questions that you can ask each team, but don't limit yourselves to those questions. You may want to have a simple score sheet but more as a agenda or tick list of core issues that you can judge for each team. You should know which individuals from the teams' various companies will be doing the work and interacting with you. You should see evidence of work of a similar nature and scale, but don't look for "the answer" to your problems, only that the team has successfully solved similar problems. Because they have worked primarily on small projects and yours is large or vice-a-versa, that isn't a problem. You may however observe that some consultants work primarily on mega-projects and if yours is very modest, it might not be a good fit. On the other hand, if yours is a many tens of million dollar project, you may need a large firm. You should have relevant and recent references with telephone numbers and should check at least 2 or 3. If feasible, tour some of the team's work, even visit their office. And, you should select someone that the theatre staff will feel comfortable with, walking around the theatre and over the ubiquitous box lunches at the conference table. And post your questions and quandaries here or contact me or, I presume, any of us offline. Bill Conner ASTC, ETCP CR-T ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 3 Sep 2006 14:03:29 GMT Subject: Re: Cue Lights? Message-Id: <20060903.070416.15735.368609 [at] webmail30.lax.untd.com> Without diodes, or a functionally equivalent component? /s/ Richard The two colors can be produced over two wires, not three as most = people would believe. Bill ------------------------------ Message-ID: Date: Sun, 3 Sep 2006 18:24:56 +0100 From: Clive Mitchell Subject: Re: Big Clive at Edinburgh ??! References: In-Reply-To: In message , John Arrowsmith writes >Could the tiny black blob at the end of the pushpin here:- > >http://tinyurl.com/k8szh > >be Big Clive doing an earlier fryup at Edinburgh ? Alas no. That was actually a (vintage) followspot with a black cover on it. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: <078501c6cf84$bc9baef0$0202a8c0 [at] HUNKACRAP> From: "Paul Guncheon" References: Subject: Re: cue lights Date: Sun, 3 Sep 2006 08:14:02 -1000 <> I always made cue lights with 12v power and lamps. Due to the nature of new designs for every show, I could put light just about anywhere without having to concern various inspectors. There are also some fairly indestructible 12 v lamps. Laters, Paul "Another plate of seafood for me!" Tom clamored. ------------------------------ Date: Sun, 3 Sep 2006 19:17:21 +0100 (BST) From: Charlie Richmond Subject: Re: cue lights In-Reply-To: Message-ID: References:

On Sun, 3 Sep 2006, Paul Guncheon wrote: > to concern various inspectors. There are also some fairly indestructible 12 > v lamps. LEDs seem to me to be the best things to use these days for a large variety of reasons.... Including the fact that they are easily driven by solid state logic devices. Charlie ------------------------------ Message-ID: <44FB1CC3.5010105 [at] gmail.com> Date: Sun, 03 Sep 2006 14:19:47 -0400 From: Stephen Litterst Organization: University of Delaware Subject: Re: Cue lights? References: In-Reply-To: seanrmc [at] earthlink.net wrote: > --------------------------------------------------- > I can't believe that there isn't an "off the shelf" system available. I want a system that: > Is DMX, or some other similar protocol > Has "solo" or "group mastered" functions > Talks to relays backstage > Rack mountable and not too heavy I've asked several DMX wizzards about the feasibility of something like that. I want a DMX cue light console simply because in a modern theatre I've usually got a dimmer near anywhere I'll need a cue light. Several off-the-shelf products have been suggested, including the "Pocket Console." Unfortunately, most SMs don't want faders on their cue light control, they want switches. If you can talk your SM into using faders, the Pocket Console could be a quite effective Cue Light control. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ In-Reply-To: References:

Message-Id: <07A478D2-23CC-442A-A4DD-1F81110F969B [at] rochester.rr.com> From: Bruce Purdy Subject: Re: cue lights Date: Sun, 3 Sep 2006 14:21:58 -0400 On 3 Sep 2006, at 14:14, Paul Guncheon wrote: > I always made cue lights with 12v power and lamps. Due to the > nature of new > designs for every show, I could put light just about anywhere > without having > to concern various inspectors. There are also some fairly > indestructible 12 > v lamps. The portable Cue light system I mentioned the other day (For variety show MC's etc.) uses Red and green 12vdc "Clearance lights" for trucks from an auto supply store. Power is from an old wallwart from some old discarded appliance, connected to the control box. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References:

Message-Id: From: Bruce Purdy Subject: Re: Cue lights? Date: Sun, 3 Sep 2006 14:26:19 -0400 On 3 Sep 2006, at 14:19, Stephen Litterst wrote: > I want a DMX cue light console simply because in a modern theatre > I've usually got a dimmer near anywhere I'll need a cue light. > Several off-the-shelf products have been suggested, including the > "Pocket Console." Unfortunately, most SMs don't want faders on > their cue light control, they want switches. > > If you can talk your SM into using faders, the Pocket Console could > be a quite effective Cue Light control. Interesting idea, but can you run the Pocket Console for some dimmers and the lighting desk for others at the same time? Would you need some kind of DMX splitter? Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Sun, 3 Sep 2006 19:38:42 +0100 (BST) From: Charlie Richmond Subject: Re: cue lights In-Reply-To: Message-ID: References:

On Sun, 3 Sep 2006, Bruce Purdy wrote: > show MC's etc.) uses Red and green 12vdc "Clearance lights" for trucks from and these types of lights are almost exclusively LED based now. Charlie ------------------------------ Date: Sun, 3 Sep 2006 19:42:43 +0100 (BST) From: Charlie Richmond Subject: Re: Cue lights? In-Reply-To: Message-ID: References:

On Sun, 3 Sep 2006, Bruce Purdy wrote: > of DMX splitter? It's quite easy to power LEDs and their off-the-shelf control box (a MIDI Solutions Relay, for example) directly off a MIDI line, eliminating the need for any external power supply at all - just a MIDI line (which can be as simple as telcom pairs) strung anywhere you want. And wireless MIDI exists also... Charlie ------------------------------ Message-ID: <44FB22CE.3040403 [at] gmail.com> Date: Sun, 03 Sep 2006 14:45:34 -0400 From: Stephen Litterst Organization: University of Delaware Subject: Re: Cue lights? References:

In-Reply-To: Bruce Purdy wrote: > --------------------------------------------------- > > Interesting idea, but can you run the Pocket Console for some > dimmers and the lighting desk for others at the same time? Would you > need some kind of DMX splitter? You would need a primary console with a DMX input, a DMX merger, or a DMX network (ETCNet2, Strand Shownet) that can accept multiple inputs and direct them to appropriate outputs (effectively serving as a merger). Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ In-Reply-To: References:

Message-Id: From: Bruce Purdy Subject: Re: Cue lights? Date: Sun, 3 Sep 2006 14:52:09 -0400 On 3 Sep 2006, at 14:45, Stephen Litterst wrote: > You would need a primary console with a DMX input, a DMX merger, or > a DMX network (ETCNet2, Strand Shownet) that can accept multiple > inputs and direct them to appropriate outputs (effectively serving > as a merger). OK, Thanks - that makes sense. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Sun, 03 Sep 2006 15:11:35 -0400 Subject: Re: cue lights From: John McKernon Message-ID: In-Reply-To: > The portable Cue light system I mentioned the other day (For variety > show MC's etc.) uses Red and green 12vdc "Clearance lights" Just be sure that none of the actors or crew are Red/Green color blind... - John ------------------------------ Date: Sun, 03 Sep 2006 15:20:08 -0400 From: Brendan Quigley Subject: Re: Cue Lights In-reply-to: Message-id: <39C26DAA-13F8-4EE7-BA22-071A3B376000 [at] earthlink.net> References: howdy y'all ... folks have written ... >> Specifically, I'd love to see a system that had 12-18 3-position >> toggles with up >being "solo", middle being "off" and down being >> "controlled by the master". Pilot >lights above and below each >> switch. DMX, etc cable run to backstage driving a >number of >> SMALL and probably solid-state 120v relays (max 1 amp each) to >> >control the cuelights. Anyone out there make such a thing, or >> can make it >for....er.....less than a fortune? and ... > I have seen a controller that functions the way you described. It was > made by Motion Labs, custom I believe. The controller shell was the > same shell Motion labs uses for its larger chain motor controllers, > turned sideways. The Cue light circuits were still 120v 12/3 or > multi-runs, IIRC. There was a PD located at dimmer beach that the > controller trigged, and cue light cable runs branched out from there. We use this very system on WICKED First National, as well as the Chicago company (and upcoming LA company). Great system, extremely simple, and quick to set up. We had two 12-way controller boxes running cue lights, and it also controlled work lights. Worked well, as long as the local electrician let us keep power to the service truss so that the cue light system was energized. Otherwise, there were often hoops that had to be jumped thru ... > Not sure what it cost. Oh, while I don't know exact numbers, it ain't cheap ... Kind Regards, Brendan C. Quigley Head Electrician / Vari*Lite Technician WICKED - A New Broadway Musical ------------------------------ Message-Id: <9CE40E9E-07C5-43A5-AA14-414458079376 [at] aol.com> From: KEITH ARSENAULT Subject: Date: Sun, 3 Sep 2006 17:10:18 -0400 well, I finally did a show in a HOFFEND VORTEK equipped theatre. ( THE SAENGER THEATRE / MOBILE AL ) I wasn't "hands on" with it, but certainly observed it's operation closely during load ins / out on two consecutive days of concerts in the venue ( day 1 - Queensryche day 2 Robert Cray Band ) my my, , , have to say it was impressive. I can't wait to have it for a real theatrical show with ques to program etc. I am sure that the price tag is impressive as well and I have no idea of how well the system holds up over time, but my initial reaction was that I was very very impressed. Keith L Arsenault Tampa, Florida 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-Id: <1EBFD523-9A04-458A-9B67-ACA4F7039302 [at] aol.com> From: KEITH ARSENAULT Subject: roseland, nyc , iatse $$'s Date: Sun, 3 Sep 2006 17:11:12 -0400 If anyone out there has knowledge of what the IA scale is for "department heads" and "hands" for concert style gigs at ROSELAND in NYC, , I would appreciate some general info Off list will be quite fine of course. Keith L Arsenault Tampa, Florida 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-Id: <3.0.6.32.20060903141845.00c3f0b8 [at] pop.west.cox.net> Date: Sun, 03 Sep 2006 14:18:45 From: CB Subject: Re: Cue Lights? >How are they used? Many different ways. Sometimes there is a head flyman who is on cans (or near a biscuit) and tells the rest of the rope apes what is coming, and on what light. Fer instance, "The border is going to fly out on the red, the portal on the green, and the houise on the blue. White will be the rainbow in" and the guys at the rail jsut wait for their rope light to go. Usually (but, as in other things in theatre, there are many ways that a feline can be extracated from his dermis) the light will come on for a standby, and go out for a go. ASM's are used extensively to see that someone is in position for the cue when the standby comes on. >How does the person being cued know what cue is >being called? Rehearsal! Many times the operator being cued will get a standby from cans, and go stand by their post. The description of their cue and what will happen is tranferred audibly, and the go happens with the lights. Or they could be following along on a cue sheet... >Do they just have to pay attention? Well yeah! The only peopl in the theatre who have *not* paying attention as an option are those on teh otehr side of the pro. And that's *still* your fault! ; > 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: <44FB4FBE.8060106 [at] ix.netcom.com> Date: Sun, 03 Sep 2006 14:57:18 -0700 From: Michael Millar Subject: re: OT: British Revoke USA Independence From John Cleese's website, www.thejohncleese.com. Sorry. Still, it is funny. ------------------------------- Dear Franz, It has been pointed out to me that a humorous piece has been doing the rounds on the internet with my name attached. It's called "Revocation of Independence", I'd just like to make it clear that I did not write this piece, and know absolutely nothing about who did. The last time this happened was about 18 months ago, when somebody circulated a quite funny piece, again with my name attached The internet being what it is, I'm not sure what to do about it other than put a notice like this on my own website. If any of you have any better suggestions, please let me know. John --------------------------------------- ------------------------------ Date: Sun, 03 Sep 2006 18:17:37 -0400 Message-Id: <8C89DBDE5DC442E-7C4-238E [at] mblk-d15.sysops.aol.com> From: frankwood95 [at] aol.com References:

In-Reply-To: Subject: Re: Cue lights? =C2=A0 The problem with using DMX to control cuelights is that the best=20 systems allow the person receiving a standby signal to acknowledge it=20 before getting the GO indication. A DMX version wouldn't be able to=20 communicate back. On the other hand you could easily build one that=20 used ordinary DMX cable as a generic 3-core cable.=C2=A0 There is a simple solution. Activating a cue light illuminates two=20 bulbs, in series, one at the remote ststion, and one on the desk,=20 Should either fail, neither will light. At the remote station, there=20 push-to-break switch which breaks the loop. Both need to draw the same=20 current. This provides all the security you can reassonably expect. Why=20 faff around with computerised systems? ________________________________________________________________________ Check out AOL.com today. Breaking news, video search, pictures, email=20 and IM. All on demand. Always Free. ------------------------------ Message-ID: <44FB6907.5070405 [at] audiovisualdevices.com.au> Date: Mon, 04 Sep 2006 09:45:11 +1000 From: David Duffy Subject: Re: Cue lights? References:

In-Reply-To: frankwood95 [at] aol.com wrote: > > The problem with using DMX to control cuelights is that the best > systems allow the person receiving a standby signal to acknowledge > it before getting the GO indication. A DMX version wouldn't be > able to communicate back. On the other hand you could easily build > one that used ordinary DMX cable as a generic 3-core cable. > > > There is a simple solution. Activating a cue light illuminates two > bulbs, in series, one at the remote ststion, and one on the desk, > Should either fail, neither will light. At the remote station, there > push-to-break switch which breaks the loop. Both need to draw the same > current. This provides all the security you can reassonably expect. > Why faff around with computerised systems? The DMX/RDM solution proposed can loop in/out of a whole bunch of cue light units instead of having home-run wiring. Why do people continue to use lamps anyway? Is it purely for the brightness? I would have thought that high brightness diffused 10mm LED's would be enough for most situations. If the talent/crew are looking are the cue lights anyway what does it matter how bright they are? David... -- ___________________________________________ David Duffy Audio Visual Devices P/L Unit 8, 10 Hook St, Capalaba 4157 Australia Ph: +61 7 38235717 Fax: +61 7 38234717 Our Web Site: www.audiovisualdevices.com.au ___________________________________________ ------------------------------ Date: Mon, 04 Sep 2006 00:17:38 -0400 Subject: Job posting [at] Kent State From: Steve Shelley Message-ID: In-Reply-To: This posting just in; will be on artsearch Tuesday. Lighting and Sound Supervisor External Ad =20 The Kent State University School of Theatre and Dance seeks an experienced master technician to provide technical coordination/support for school productions, the classroom and Porthouse Theatre. Oversee the installation, operation, monitoring and maintenance of a variety of electrical and electronic stage equipment, including lighting, sound, video and production computers. Supervise students in design and technology program. Bachelor=B9s degree required in Theatre or related field with a concentration in design and technology. Two to three years professional experience in the installation, repair and maintenance of theatrical lighting and sound equipment. Full-time, 12 month position. Salary commensurate with experience. Screening begins October 1 until filled. For a complete description and qualifications and to apply online, visit our jobsite at http://jobs.kent.edu. Submit resume and three letters of recommendation and a list of three references with telephone numbers and e-mail addresses to: Cynthia Stillings, Interim Director, School of Theatre and Dance, B141 MSP, Kent State University, Kent, OH, 44242. All documents submitted to Kent State University for employment opportunities are public records and subjec= t to disclosure under the Ohio Public Records Law. Equal Opportunity/Affirmative Action Employer. --=20 Steve Shelley MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ From: megironda [at] att.net (Gerry G.) Subject: Re: Job posting [at] Kent State Date: Mon, 04 Sep 2006 04:32:43 +0000 Message-Id: <090420060432.13313.44FBAC6B000B046D0000340121604666480E0B02019D07090A03 [at] att.net> Does he need to be a civil engineer also? Gerry G. -------------- Original message ---------------------- From: Steve Shelley > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This posting just in; will be on artsearch Tuesday. > > Lighting and Sound Supervisor > External Ad > > The Kent State University School of Theatre and Dance seeks an experienced > master technician to provide technical coordination/support for school > productions, the classroom and Porthouse Theatre. > > Oversee the installation, > operation, monitoring and maintenance of a variety of electrical and > electronic stage equipment, including lighting, sound, video and production > computers. Supervise students in design and technology program. Bachelor�s > degree required in Theatre or related field with a concentration in design > and technology. Two to three years professional experience in the > installation, repair and maintenance of theatrical lighting and sound > equipment. Full-time, 12 month position. Salary commensurate with > experience. Screening begins October 1 until filled. For a complete > description and qualifications and to apply online, visit our jobsite at > http://jobs.kent.edu. > > Submit resume and three letters of recommendation and > a list of three references with telephone numbers and e-mail addresses to: > Cynthia Stillings, Interim Director, School of Theatre and Dance, B141 MSP, > Kent State University, Kent, OH, 44242. > > All documents submitted to Kent > State University for employment opportunities are public records and subject > to disclosure under the Ohio Public Records Law. Equal > Opportunity/Affirmative Action Employer. > > -- > Steve Shelley > MrTemplate [at] Earthlink.net > www.fieldtemplate.com > > ------------------------------ Message-ID: <20060904051134.36142.qmail [at] web34515.mail.mud.yahoo.com> Date: Sun, 3 Sep 2006 22:11:34 -0700 (PDT) From: June Abernathy Subject: Re: Cue Lights This is an interesting discussion. For the person who started it all by asking if they are still used, yes, indeed, they are. In the US, they are used extensively on Broadway and on touring shows, as well as in large regional and educational productions. Basically any time you have a need to call more than light cues and a few occasional sound effect cues or scene shifts, you should absolutely consider using them. There are cultural differences. In the US, We do not typically expect a cue light to be acknowledged or answered, at least via light. And in the US, I have never seen a two (or three!) light system used for one cue (Ready, Go; or Ready, Set, Go). In the US, we typically have Light On = Standby and Light Off = Go. Different colors are for different cues. It is fairly common for flyrail or automation cues to have several different things happening in quick succession, and having several colors available makes that possible to cue. Three or even four colors may "stand by" at the same time, but GO at staggered intervals. (So, if you are putting in a system, DON'T have one color cancel out the others! This would screw up the system!) In the UK, I understand that a two light system (Ready, Go) is the norm, and that having the light mechanically acknowledged is not unusual. In the US at least, often you have cue lights in each wing, and Right and Left work together, so you can look at the cue light across stage rather than craning your neck to look above. Alternately, they may cue separately, so that you can cue a piece or an actor or whatever on one side or the other. Some theaters put two or more colors into each wing. This can either allow stacked cues, like I mentioned above, or one color = carps, another color = props, etc. Using rope lights is more and more common, particularly on the flyrail, where craning your head around to look at a light is much more annoying than either looking up at a light running the full length of the rail, or even better, looking THROUGH the ropes to a rope light on the back side. Having a cue light at sound mix and conductor positions that you can flash for "Please pick up your headset" as well as to cue downbeat or sound effects or whatever is really nice. Ditto for a projectionist or anyone else you might want to talk to who doesn't want or need a headset. It is quite common to have onstage worklights controlled via the SM cue light panel. (Or at least, ABLE to be controlled there.) From a SM point of view, it is very handy to be able to have a cue light switch work in three positions - on (independent), off, and on subject to master switch. If it can light up or has an indicator light in it's ON position, that is great. If it can light up (bonus points for a different color) in it's "subject to master" position, super. A flat toggle switch rather than a rounded one makes grabbing a bunch at one time easier. Household light switches will do in a pinch on a light show. Best if they have a definate on and off click as opposed to the floating mercury switch. Most household switches that light up, light in the OFF position (so you can find them in a dark room), which is NOT ideal for our purposes. I've seen some beautiful custom made boxes, and some less than beautiful ones. I believe the ones we are using on The Lion King are the commercial Motion Labs switches mentioned in another post. I would HIGHLY RESIST running cue lights through the dimmer system, as I think it is a waste of capacity and an unneccessary complication, but then, I realize that my views in this area are already known and not necessarily universally shared. I've never done or seen a tour that ran cue lights through the dimmer system. What would you cue with cue lights? Flyrail, Automation, deck carp/prop/scene shift cues, actors, sound, conductor, deck winches, FOY operators, and whatever else strikes you. You can have a cue light that is ON to tell people that "the trap door is open", or "the backstage mike is live" and OFF when all is safe. They are low tech and useful. I wish more colleges would use them, because they are used alot in the professional world, and very few folks coming out of school are familiar with them. It can be quite a learning curve for a young stage manager. I would encourage schools to use them even if they aren't strictly necessary, so young SMs and stagehands can get a feel for them. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <11305824.1157352391014.JavaMail.root [at] elwamui-norfolk.atl.sa.earthlink.net> Date: Mon, 4 Sep 2006 02:46:31 -0400 (EDT) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Cue lights? As others have already mentioned, in the US the custom is "on =3D standby, = off =3D go." =20 Here, the solution is usually/often two small lamps wired in parallel on th= e stage end. At least everywhere I've worked the Electrician or SM has che= cked before each performance to see that all lamps were working preshow. = =20 The control station has pilot lights for the operator's convenience. =20 Why a digital system? Well, in _my_ particular situation: I work in a regional theatre in the US. During technical rehearsals the SM= is in the house at a tech table. During the run he/she is in a control bo= oth at the back of the house. If the actual switching is happening at the = control box, then multicable has to be run to the tech table, and then repa= tched when the table is removed. Our particular venue makes this procedure= time and labor intensive. I would like to have a system that uses _some s= ort_ of digital control driving remote, quiet relays so that the SM's box O= NLY needs a control cable and NOT two 50' runs of multicable. And June, I understand what you have to say about using the dimming system = for cue lights. I can't think of many good reasons to use the dimming syst= em in a touring situation (though I do know of a couple tours that HAVE use= d the Sensor's patchbay to distribute cuelight circuits to booms/electrics)= . But in a producing venue it does make it easier to put a cue light where= you need one without having to run lots of extra cable. We're opening a n= ew venue in about a year and we have a hybrid system planned. There are 18= dedicated, relay driven cue light circuits. I've pushed and pushed to hav= e the processor driving the cue lights be able to "snapshot" any of the per= formance dimmers as well to allow me to easily add a cue light virtually an= ywhere in the theatre. The control interface is a custom Unison control st= ation. Yes, perhaps it's financial overkill for a lowly cue light, but it = _will_ save time/money for years to come. Enough to offset the cost? We'l= l see. But it DOES mean that the SM's box on a tech table doesn't need the= damn multicable. I'll be contacting Motion Labs to see what they can tell me about this syst= em you fine folks have mentioned. Anyone else out there have something?? Surely City Theatrical and/or DFD could sell such a system. Of course it w= ould need to be pretty cheap to sell an appreciable number of them. Glad to see this discussion still going on. Love or hate them, a lot of us= deal with cue lights all the time. It's about time _somebody_ made someth= ing that was decently priced, easy to use, and "off the shelf". =20 Back to my wine.... --Sean =20 Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- >From: frankwood95 [at] aol.com >=A0 >The problem with using DMX to control cuelights is that the best=20 >systems allow the person receiving a standby signal to acknowledge it=20 >before getting the GO indication. A DMX version wouldn't be able to=20 >communicate back. On the other hand you could easily build one that=20 >used ordinary DMX cable as a generic 3-core cable.=A0 > >There is a simple solution. Activating a cue light illuminates two=20 >bulbs, in series, one at the remote ststion, and one on the desk,=20 >Should either fail, neither will light. At the remote station, there=20 >push-to-break switch which breaks the loop. Both need to draw the same=20 >current. This provides all the security you can reassonably expect. Why=20 >faff around with computerised systems? ------------------------------ End of Stagecraft Digest #936 *****************************