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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 34662607; Sun, 10 Sep 2006 03:02:37 -0700 X-Spam-Status: No, score=-2.0 required=5.0 tests=ADVANCE_FEE_1,AWL, NO_RECEIVED,NO_RELAYS,TW_TQ autolearn=ham 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 #944 Date: Sun, 10 Sep 2006 03:02:02 -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 #944 1. Re: disabled by "Tony Deeming" 2. Re: disabled by "Tony Deeming" 3. Re: hullo? by Herrick Goldman 4. Re: Herrick's Test by Rigger 5. Re: disabled by "Matthew Breton" 6. Re: Lighting question by "Paul Guncheon" 7. Re: Structural design question by "Duane" 8. Re: Side note: by "Bill Nelson" 9. Re: Soundmixer to follow cues by "Byron Lovelace" 10. ADA requirements by Philip Johnson 11. ADA and box office question by "Jon Ares" 12. Handicapped access by b Ricie 13. Re: ADA and box office question by "Jason Salvatori" 14. Re: Hullo's Quotes by NODEraser 15. Re: Hullo's Quotes by MissWisc [at] aol.com 16. Re: Hullo's Quotes by Rigger 17. Re: Hullo's Quotes by Rigger 18. Re: ADA and box office question by Pat Kight 19. RC4 Wireless Dimming? by Stephen Litterst 20. Re: [rc4] RC4 Wireless Dimming? by "Jim at TheatreWireless.com" 21. Re: Hullo's Quotes by MissWisc [at] aol.com 22. Re: Herrick's Test by Jerry Durand 23. Re: Lighting question by SS 24. Re: Structural design question by SS 25. Re: Lighting question by shifting [at] shifting.ca (Benjamin Eastep) 26. Re: Lighting question by "Jon Ares" *** 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. ---------------------------------------------------------------------- From: "Tony Deeming" Subject: RE: disabled Date: Sat, 9 Sep 2006 11:57:06 +0100 Message-ID: In-Reply-To: > >I am probably oversensitive because I've seen the > >problem at first hand, and the tendency of those who can to dismiss > >those who can't. > > I'm probably oversensitive a bit myself. My sensitivity (or lack thereof) > stems from the fact that large quantities of money are spent by facilities > (theatres included) to comply to 'ADA' in certain cases where it is one > person who won't accept the assistance of others in overcoming their > handicap, nor will they work to solve the problem themselves, but insist > that the entire world that they circulate in should cater to their every > need, Amen to that! Our venue is over 30 years old, and was a conversion from an army drill hall, so way back when, the original Arts Council made the best of what they had. And in the early 70's, there weren't so many PC regs to 'hamper' them. Now, 30 odd years later, we've had several inspections and assessments to look at how we might improve access and serve our less-abled customers better. We have done what we can, but had to discard other ideas as impractical or just plain non feasible. We had a drop-kerb put at the main entrance, added disabled toilet facilities on the ground floor, and several other measures, BUT we have been unable to entertain the installation of a lift to the first floor (meeting/dressing rooms) due lack of useable space. Our auditorium is stepped, but because of space restrictions again, we cannot install ramps or any lifting device to pick up patrons to the first step (on which the whole row of seats has been removed to accommodate wheelchairs). However, the VAST majority of wheelchair customers are happy to be lifted by FoH staff if possible or can maybe get out of the chair long enough to be helped up into a normal seat. However, this didn't stop a very vocal patron sounding off verbally and in writing to the local council about our 'appalling lack of consideration' when she couldn't get her motorised chair up onto the rake, and was told she couldn't just sit in the aisle instead. During most of my discussions with officials about disabled access/facilities, the one really sensible thing that has come out is that the UK Disability Discrimination Act, whilst aimed at preventing just that - discrimination - is very much a two way street. It is recognised that able-bodied people really do outnumber those in wheelchairs, and as such it is important not to reverse discriminate. An example - I discussed with a DDA inspector whether we could fit ramps in the auditorium. But no matter how we looked at the problem, we could not figure a way of ramping that wouldn't cause a serious obstacle to 'normal' people. So the idea was scrapped. We then looked at mini-lifts, but again, to get something useable in the space where it's needed would involve motors and outboard fixings that again would present a trip hazard to others. This doesn't mean we ignore the needs of wheelchair clients - we are still looking for options. But if the solution creates a bigger problem for a different (and much larger) user group, then it's not a real solution. TD ------------------------------ From: "Tony Deeming" Subject: RE: disabled Date: Sat, 9 Sep 2006 12:04:06 +0100 Message-ID: In-Reply-To: > MissWisc [at] aol.com I was scolded for using the > handicapped elevator to move sound gear rather than having 4-6 > stagehands muscle it up and down the stairs. "That elevator may only be used by > handicapped people." Another of my beefs! I fully accept that during times of public presence, those elevators 'reserved' for the wheelchair bound, if you were working during theatre down-time and have a lot of kit to transport, why the heck shouldn't you use the facility???! Because of the innate 'illness' that afflicts many management types - the malady of 'Jobsworthness'! Oh - and don't get me started on the differentiations between 'handicapped' and 'wheelchair bound'...........!! ------------------------------ Date: Sat, 09 Sep 2006 08:26:44 -0400 Subject: Re: hullo? From: Herrick Goldman Message-ID: In-Reply-To: U bet Brian, That's why I have terms of endearment for everyone. I'm very egalitarian that way. Actrons, Meat Puppets, Bunheads, Baby Bunheads, Assprods (associate producers), Prop-tarts, Stage Manglers, I don't have a single term for directors but generally each director earns some personal nickname like "Mad Max", Nutjob, Crazyjohn, The screamer, etc... So go on with your bad techie self and consider it lucky you haven't been singled out. I only do it 'cuz I love ya. Schnookie pie. Besides as someone asked recently, yes I love pushing the buttons on this list. -H On 9/8/06 2:26 PM, "b Ricie" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > ZACTLY! If we are techies, then the rest of them are > acties, directies, producies, dancies..... > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 9 Sep 2006 08:39:51 -0400 From: Rigger Subject: Re: Herrick's Test At 1:25 AM -0400 9/9/06, MissWisc [at] aol.com wrote: > < I'd be rich beyond the dreams of avarice.>> > > No thanks. Though if you need a make up artist, I've done body makeup before. For Herrick? That's not body makeup, that's special effects. -- Dave Vick rigger [at] tds.net Nobody's going to outlive Keith Richards, unless they either drive a stake through his heart & chop his head off, or let sunlight into his crypt while he's sleeping. ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: disabled Date: Sat, 09 Sep 2006 08:55:49 -0400 >Though using the ADA facilities to make work easier and even safer seems >like a great (logical, common sense) idea, I was scolded for using the >handicapped elevator to move sound gear rather than having 4-6 stagehands >muscle it up >and down the stairs. "That elevator may only be used by handicapped >people." It always amazes me to see handicapped elevators and doorways marked that way. I usually have one of two responses: One, that carrying a big heavy load *is* a handicap (albeit a temporary one). And, two, that in today's society, we wouldn't dream of marking an entryway "For black people only." I understand that not every handicapped elevator is meant to take freight loads; but they do have more muscles than me, and their load limit should be posted inside the elevator (is required to, actually). I don't like to put more wear and tear on things than I have to -- that's why I'll open a door rather than push the handicapped button -- but that also includes stagehands, myself included. -- Matt ======== _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://www.windowsonecare.com/trial.aspx?sc_cid=msn_hotmail ------------------------------ Message-ID: <000a01c6d416$bc0c4e90$0202a8c0 [at] HUNKACRAP> From: "Paul Guncheon" References: Subject: Re: Lighting question Date: Sat, 9 Sep 2006 03:49:12 -1000 <> <<..Or cover wood with styro, then foam-coat, then paint it to look like wood.>> Reality check: A couple of things I cthink about while designing: That which is real doesn't always look like it's real. Nothing looks as real as real. There are other things in there as well. Laters, Paul "There's the dog star," Tom said seriously. ------------------------------ Message-ID: <03b101c6d418$889975e0$0201a8c0 [at] kc.rr.com> From: "Duane" References: Subject: Re: Structural design question Date: Sat, 9 Sep 2006 09:02:05 -0500 Ah, the joys of what your education did not prepare you for. Please disregard the last statement as the sarcastic jab it is. At least you know when you have hit your limit. Diameter of hole matches the bolt that will carry the load. The bolt has to carry the total load applied plus safety factor. Total load applied is a factor of weight plus direction of loading* plus acceleration in a fly system. In flying hardware, suggest ten due to some dynamic loading plus other possibilities not always evident. Distance from edge. A bit harder. Total load plus safety factor as above then: Determine when deformation of the metal will occur which is a factor of material strength, thickness, distance from edge and direction of loading*. ie A hole in a plate that is 1/4 inch from the edge has a smallest cross section that is 1/4 inch by the thickness of the plate. A hole 3/8 inch from the edge is 3/8 inch by the thickness. *Direction of Loading: Extremely simplified: Picking up the plate via a shackle on bolt on both sides of the plate stresses the plate less then picking up with one link of a chain on one side of the plate. Material deformation will occur when the metal's smallest cross section's capacity is exceeded by the load. Use deformation characteristics of the metal used instead of breaking strengths in your calculations. A lot safer. For holes in metal tube, same as above...but... you have a sharing of the load via both sides of the tube vs the stresses occuring from loading direction and compression stresses in the metal depending upon how the metal tube is loaded. But you should already be aware of the above if you need to calculate stresses involved when attaching bolts and plates to material. But why bother with all the above. Off the shelf rigging hardware attached acording to manufacturers directions should carry anything you can construct. If in doubt, a consult with a Licensed Structural Engineer is in order if you believe you are approaching the limits of your capabilities or the standard hardware will not work. I know an engineer that I contact if needed. Data: If you are looking for simple answers, the Structural Engineer. If you know how to calculate the above, you should already have the information in your library. Duane ------------------------------ Message-ID: <1423.205.215.254.105.1157814304.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Sat, 9 Sep 2006 08:05:04 -0700 (PDT) Subject: Re: Side note: From: "Bill Nelson" > Innovations brought about by Lucas Electrics: > The first intermmittent windshield wiper motor > Self dimming headlights Were these designed to be that way or did the items just end up with those "features"? Maybe there was a good reason a part in the ignition system (I forget what, maybe the coil) was named the "Flamethrower". Bill ------------------------------ Message-ID: <001901c6d422$b6d8dcc0$a002c442 [at] Cassandra> From: "Byron Lovelace" References: Subject: Re: Soundmixer to follow cues Date: Sat, 9 Sep 2006 10:14:57 -0500 Thanks especially from Ford Sellers and Charlie Richmond for actually responding to the question with information contributing to a solution. Apologies to Frank and June and others for getting them riled about the injustice and the shorting the jobs. I do have to do both jobs most of the time and it is not ideal or the right way to run a theater. But that is the fact of the situation, so I'm looking for ways to get the job done more efficiently. I worked as an IA propmaster and SFX guy in the NYC film business for 25 years. We rarely had the need for repeatability as every take required variation and changes. I remember the day, on I think it was Law & Order, when the electricians introduced a theatrical lighting console and dimmer stack to the set. Film stock had gotten faster, they were using more, smaller lamps, and having to use the same standing sets lit the same way day in and day out. Maybe it put an electrician or two out of work, I don't know - I know several of the older guys were angry or wary - but it sure made sense and saved a lot work trying to match looks from different days that had to cut together, and made it possible to move more quickily through our shot list and get more done in a shorter day. Now the play is the thing, and scene after scene is rehearsed and slowly honed to a predictable repeatable list of changes. I would never want to go back to a board without a cuelist, or a theater that needed electricians to manually dim the lights. Now that there are mixers like Mackie TT24 with snapshot list it seems like it would be a welcome new tool even for the sound guy who has only mixing to think about. The snapshot, like a recorded cue, gets you to a moment you've already spent time getting right. What's not to like? My consoles are tee'd and I sit with my left hand on one and my right hand on the other. I have an Onyx 3280 not the TT24, so when a big change has to happen I scurry, wishing my mixer had the memory my board does. I'm trying to find others like the TT24 that can be stepped through with a midi command (so Mackie says, though the manual says the midi has not been implemented yet), I continue the search. Let me know what you know. Other approaches are welcome. Anything that makes the job better. Thanks to all. Byron Lovelace Technical Director/Facilities Manager (another hat I have to wear) Azalee Marshall Cultural Activities Center Temple, Texas technical [at] cacarts.org cell: 254-913-8558 . ------------------------------ Date: Sat, 09 Sep 2006 11:41:55 -0500 Subject: ADA requirements From: Philip Johnson Message-ID: After all the discussion regarding the ADA and handicap access and use of equipment, etc... I went to this site and read it. http://www.access-board.gov/adaag/html/adaag.htm#purpose If you have questions about the ADA codes and things you should get the national and state regs and read them over. Several interesting points about putting in facilities . Points such as: (b) Accessibility is not required to or in: (i) raised areas used primarily for purposes of security or life or fire safety, including, but not limited to, observation or lookout galleries, prison guard towers, fire towers, or fixed life guard stands; (ii) non-occupiable spaces accessed only by ladders, catwalks, crawl spaces, very narrow passageways, tunnels, or freight (non-passenger) elevators, and frequented only by service personnel for maintenance, repair, or occasional monitoring of equipment; such spaces may include, but are not limited to, elevator pits, elevator penthouses, piping or equipment catwalks, water or sewage treatment pump rooms and stations, electric substations and transformer vaults, and highway and tunnel utility facilities; (iii) single occupant structures accessed only by a passageway that is below grade or that is elevated above standard curb height, including, but not limited to, toll booths accessed from underground tunnels; (iv) raised structures used solely for refereeing, judging, or scoring a sport; And ..... (1) General. All areas of newly designed or newly constructed buildings and facilities and altered portions of existing buildings and facilities shall comply with section 4, unless otherwise provided in this section or as modified in a special application section. (2) Application Based on Building Use. Special application sections provide additional requirements based on building use. When a building or facility contains more than one use covered by a special application section, each portion shall comply with the requirements for that use. (3)* Areas Used Only by Employees as Work Areas. Areas that are used only as work areas shall be designed and constructed so that individuals with disabilities can approach, enter, and exit the areas. These guidelines do not require that any areas used only as work areas be constructed to permit maneuvering within the work area or be constructed or equipped (i.e., with racks or shelves) to be accessible. Appendix Note Whereas we need to make reasonable attempts and meeting the code the lists are specific as to where and when applications are appropriate and not. Knowing the code and being able to deal with its specifics where the public is concerned will help FOH people and the like to better address the legitimate needs of persons with disabilities. Looking over it I couldn't find any mention of facilities being used my non-handicapped persons. That doesn't mean they aren't there. In many cases people will err in the side of no.. That is if they don't know the answer the answer defaults to no. If you work for a state or other governmental entity you usually have to tqke some kind of handicap awareness training. You get to know these things after your annual retest. What fun -- Philip Johnson Professor of Theatre Texas A&M University-Corpus Christi ------------------------------ Message-ID: <000501c6d433$7576d320$0600000a [at] BRUTUS> From: "Jon Ares" Subject: ADA and box office question Date: Sat, 9 Sep 2006 10:14:50 -0700 Speaking of accomodation... As is currently the law of the land, our new theatre (and our old one as well) has wheelchair and handicap-accessible seating distributed throughout the house. There are some 'stalls' where a chair can wheel right up (and room to add a chair for a companion), but also many pairs of removable seats. There are also many aisle seats that have the arm that can lift up as well. Almost the entire front row is the removable pair type - with only about 3 stationary chairs (for companions) - prime real estate for the theatre. My question is this: how do other FOH staff (particularly box office) utilize these, with reserve seating? These removable (and arm-lifting) seats are prized, sellable seats, but you also need to have them available for patrons that require them. Do you not sell them, then do reservation/seat switching at the time of performance, or...? (Does that make sense?) Even though we've always had a recording on the BO phone, and a message on the online ticket ordering that says something to the effect of "If you have special seating requirements or preferences, please let us know, and we can easily accomodate you" (can't remember the exact wording) - rarely does anyone tell us one or more members of their party will be needing wheelchair seating. (About the only seating request we get is that they get a 'good' seat. Well... duh....) We hopefully will be switching very soon to an online service that allows the patron to choose the seats of choice... adding to the challenge of how to deal with this.... - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <20060909171553.86401.qmail [at] web50603.mail.yahoo.com> Date: Sat, 9 Sep 2006 10:15:53 -0700 (PDT) From: b Ricie Subject: Handicapped access In-Reply-To: I would say "well....the gear is very very heavy, and if dropped might fall on someone and break them, or at least ruin the backs of the 4 people that are going to have to lift it, as I said it is very heavy, SO....why don't you get down below where the gear will fall and give us a hand, or say, unlock the elevator and save 4 people from having to use it in the future because you will not let them use it now." >>I would love it. However, as Kristi documented, what do you want to bet that some bureaucrat would put a sign on any such elevator stating it was for "Handicapped use only" - with severe penalties for violating that designation?<< Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <1caebf780609091023j7f8ee838k7e2d103fbf27feaf [at] mail.gmail.com> Date: Sat, 9 Sep 2006 13:23:31 -0400 From: "Jason Salvatori" Subject: Re: ADA and box office question In-Reply-To: References: > My question is this: how do other FOH staff (particularly box office) > utilize these, with reserve seating? These removable (and arm-lifting) > seats are prized, sellable seats, but you also need to have them available > for patrons that require them. Do you not sell them, then do > reservation/seat switching at the time of performance, or...? (Does that We deal with this by not selling the wheelchair accessible seats until 5min prior to performance. We have 386 seats, 5 of which are on grade and can accept a wheelchair. We sell these if someone specifies that they need one upon ordering. The rest stay on hold until showtime, in case someone with the need shows up. Once we have reached the 5 minute call, if the show is sold out, we release these seats. The way we do this without upsetting the rental client, is they are told there are only 381 seats from the start, so the extra revenue of 5 more seats makes them happy, as opposed to telling them they have 5 seats their not allowed to sell. Jason Salvatori Technical Director Vaughan City Playhouse ------------------------------ Message-ID: Date: Sat, 9 Sep 2006 10:48:06 -0700 From: NODEraser Reply-To: greg [at] hypersoft.zzn.com Subject: Re: Hullo's Quotes In-Reply-To: References: On 9/7/06, Rigger wrote: > One of the tenants of my Masonic fraternity is that we don't discuss > politics and religion in the Lodge, as they tend to be divisive > topics. Personally, I think this is good advice for the Rest Of The > World. Aren't the masons a religious organization? -- Greg Bennett Carpenter/Grip/Electrician Mount Washington Valley Theatre Company Eastern Slope Inn Playhouse North Conway, New Hampshire ------------------------------ From: MissWisc [at] aol.com Message-ID: <3a5.3628e14.32345efd [at] aol.com> Date: Sat, 9 Sep 2006 14:16:29 EDT Subject: Re: Hullo's Quotes noderaser [at] gmail.com writes: << Aren't the masons a religious organization? >> http://religiousmovements.lib.virginia.edu/nrms/Masons.html Masons do not require member to be of any specific religion, though most are Christian. A belief in a "Supreme Being" is all that's required. Some religions (Roman Catholic for example) forbid their members from becoming Masons, but just as some Catholics ignore the Pope's directive on birth control, they sometimes ignore the Papal Bull on Masons. HTH Kristi Not a Mason, but related to and friends of many ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 9 Sep 2006 14:18:46 -0400 From: Rigger Subject: Re: Hullo's Quotes At 10:48 AM -0700 9/9/06, NODEraser wrote: >> One of the tenants of my Masonic fraternity is that we don't discuss >> politics and religion in the Lodge, as they tend to be divisive >> topics. Personally, I think this is good advice for the Rest Of The >> World. > > Aren't the masons a religious organization? Not at all; we require that you have a belief in a Supreme Deity to become a Mason, but how you identify or worship that Deity is your business, not ours. -- Dave Vick rigger [at] tds,net "Beautiful young people are acts of nature, but beautiful old people are works of art." --Unknown ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 9 Sep 2006 15:07:50 -0400 From: Rigger Subject: Re: Hullo's Quotes At 2:16 PM -0400 9/9/06, MissWisc [at] aol.com wrote: > Masons do not require member to be of any specific > religion, though most are Christian. Ummmmm... Only as a reflection of the general trend of the population. If we want to discuss this further, may I suggest we take it off-list? -- Dave Vick Past Master, Lansing Lodge #33 District Deputy Instructor, Grand Lodge of Michigan ------------------------------ Message-ID: <45031263.3070205 [at] peak.org> Date: Sat, 09 Sep 2006 12:13:39 -0700 From: Pat Kight Subject: Re: ADA and box office question References: In-Reply-To: Jon Ares wrote: > My question is this: how do other FOH staff (particularly box office) > utilize these, with reserve seating? These removable (and arm-lifting) > seats are prized, sellable seats, but you also need to have them > available for patrons that require them. Do you not sell them, then do > reservation/seat switching at the time of performance, or...? (Does > that make sense?) Even though we've always had a recording on the BO > phone, and a message on the online ticket ordering that says something > to the effect of "If you have special seating requirements or > preferences, please let us know, and we can easily accomodate you" > (can't remember the exact wording) - rarely does anyone tell us one or > more members of their party will be needing wheelchair seating. (About > the only seating request we get is that they get a 'good' seat. Well... > duh....) > > We hopefully will be switching very soon to an online service that > allows the patron to choose the seats of choice... adding to the > challenge of how to deal with this. Don't overthink the problem. Our theater uses a combination of advertising, the honor system and peer pressure. We advertise that wheelchair seating + one companion seat is available with advance reservations and *may* be available at the door. Our ticket outlets are instructed to sell the pairs "special" seats only to those who request disability access. If not presold, the seats go into the regular pool of tickets available at the door. We've not, so far, had any problem with able-bodied people pretending to be disabled to get those seats in advance, nor have we had complaints from wheelchair-using patrons that they were unable to get the special seating. -- Pat Kight kightp [at] peak.org ------------------------------ Message-ID: <450319D2.80005 [at] gmail.com> Date: Sat, 09 Sep 2006 15:45:22 -0400 From: Stephen Litterst Organization: University of Delaware Subject: RC4 Wireless Dimming? Anyone know what's up with the folks at RC4? Their domain doesn't seem to exist anymore. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: [rc4] RC4 Wireless Dimming? Date: Sat, 9 Sep 2006 15:49:38 -0400 Message-ID: <025301c6d449$1568d210$7f9bfea9 [at] p3m866> In-Reply-To: Yikes! We're alive and well. But our website sure isn't! Thanks for bringing this to my attention... Calling the hosting service now... Jim RC4 (call toll-free 866-258-4577 if it's an emergency) > Anyone know what's up with the folks at RC4? Their domain > doesn't seem to exist anymore. ------------------------------ From: MissWisc [at] aol.com Message-ID: <330.b7bfe2a.3234856e [at] aol.com> Date: Sat, 9 Sep 2006 17:00:30 EDT Subject: Re: Hullo's Quotes Dave - Did you click on the link? Forgive me for paraphrasing rather than quoting. Kristi << _rigger [at] tds.net_ (mailto:rigger [at] tds.net) writes: At 2:16 PM -0400 9/9/06, MissWisc [at] aol.com wrote: > Masons do not require member to be of any specific religion, though most are Christian. Ummmmm... Only as a reflection of the general trend of the population. If we want to discuss this further, may I suggest we take it off-list? -- Dave Vick Past Master, Lansing Lodge #33 District Deputy Instructor, Grand Lodge of Michigan >> ------------------------------ Date: Sat, 09 Sep 2006 14:54:53 -0700 From: Jerry Durand Subject: Re: Herrick's Test In-reply-to: Message-id: <7.0.1.0.0.20060909145220.01f0cd08 [at] interstellar.com> References: At 07:00 PM 9/7/2006, MissWisc [at] aol.com wrote: >Now Dave... you know I've never dated a cheerleader. ;) I was just friends with all of them, hung out with them at school (a couple of them even took the blame for some of my "stunts" since they knew they wouldn't get in nearly as much trouble as I would have). Of course, their boyfriends didn't like this, but I guess I was part of the package. :) Later I did live with a model for a while, but I moved West and she moved on. -- 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 ------------------------------ Message-ID: <8231e7ea0609091719i548b34f3v2853658347539aae [at] mail.gmail.com> Date: Sat, 9 Sep 2006 20:19:29 -0400 From: SS Subject: Re: Lighting question In-Reply-To: References: >>>>Have you mentioned to DK that 99% of her end users will see her fabrics in natural light and not runway light? Hmm.... Oh nevermind...enjoy the fashionistas. :)<<<< >>>>But fashionistas, like Blanche DuBois, don't want realism, they want magic! Beauty! Glamor! Cash!<<<< >>>>X-Zactly! He says as he's on his 17th hour of a corporate gig at a REE-dick-U-Lus day rate.<<<< Not intending to stray from the TV gag topic, but all this talk about Fashion Week has gotten me psuedo-nostalgic. And Herrick's last comment really got my mouse-in-wheel-in-brain going...... while I miss the money (depending on who is signing the checks of course) , I surely DO NOT miss the running around like a zombie while OD'ing on Mountain Dew, and having multiple "who has worked more hours" competitions with everyone else involved!! I mean, come on...while is sure feels like it sometimes, you can't possibly have worked 28 hrs in one day!! well, unless of course you were contracted on 4, 8 hr minimums or something similar :) -SS TTS-EKU "Anytime four New Yorkers get into a cab together without arguing, a bank robbery has just taken place." ------------------------------ Message-ID: <8231e7ea0609091727w27b3ab3fy4355ea53e6f5a930 [at] mail.gmail.com> Date: Sat, 9 Sep 2006 20:27:22 -0400 From: SS Subject: Re: Structural design question In-Reply-To: References: >>>> My structural experience is primarily limited to what I have learned from Structural Design for the Stage.<<<< --just an opinion--- You know, I hated that book. Multiple reasons. One including having incorrect solution answers in the appendix. -SS TTS-EKU "Anytime four New Yorkers get into a cab together without arguing, a bank robbery has just taken place." ------------------------------ Date: Sun, 10 Sep 2006 06:08:07 +0000 Subject: Re: Lighting question Message-ID: <20060910060804.GA18725 [at] shifting.ca> References: In-Reply-To: From: shifting [at] shifting.ca (Benjamin Eastep) I've actually done this effect (and been quite happy with it) using a real TV, and a looping DVD that strobed various bright colours. The first time we used it, I think the actors were convinced we were trying to hypnotize them. It worked quite well, but with some side notes. 1)we didn't like the look of any of the conventional lighting effects we tried first because they didn't look flickery enough, but then again, this is likely related to the extremely slow response time of the DIMMERS we were using... 2)The stage was VERY dim at the times the effect was used (often, it was during scene changes). If there had been much light, it wouldn't have read. Ben Eastep On Thu, Sep 07, 2006 at 03:49:36PM -0400, Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Herrick and others, > > I got roped into designing the lighting for a show that needs an > interesting effect. A character sits on a bed and uses the remote to > flip through the channels on a TV. The thing is that there no TV on > the set, it is mimed, but the director wants a realistic light from > the TV to play off the actor and the set (acting cubes and such) > anyway. The imaginary TV is on SR, near the SR wing. I had thought > of a couple of options: 1) put a VCR and video projector in the wing > to create the light from a TV, or 2) use three PARS or Parnells > (gelled RBG) on a boom and write an interesting effects cue on the > Express and run it during this scene. I would like to hear what some > of you think about these ideas, and suggest others that you think > would be better. > > -Delbert > > -- > Delbert L. Hall > 423-773-4255 > ETCP Certified Rigger - Theatre ------------------------------ Message-ID: <000301c6d4a4$542f5130$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Lighting question Date: Sat, 9 Sep 2006 23:42:47 -0700 > > I've actually done this effect (and been quite happy with it) using a real > TV, and a looping DVD that strobed various bright colours. The first time > we used it, I think the actors were convinced we were trying to hypnotize > them. One of the best effects of this I have done, due to the circumstances of the script and such, was for a touring production of "Sunshine Boys" I designed. At the very beginning of the show, Willie is asleep in front of the TV, and then is awakened when (I'm going by memory) a phone or doorbell on the TV ("Storm Warning" - a soap opera, IIRC) wakes him. We had an old black and white TV, which had a very precise warm-up time - so as the house faded out, the preshow muzak faded out, and the curtain rose in black, the TV would warm up/fade up just perfectly to illuminate Willie asleep in the chair. As we had enough blackout beforehand, the dim light of the TV (tuned to nothing but snow) was bright enough, and not only was realistic, but motivated. (Once the stage lights came up, the effect was washed out - and someone backstage cut the power to the TV. High tech stuff.) - Jon Ares www.hevanet.com/acreative ------------------------------ End of Stagecraft Digest #944 *****************************