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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 34820138; Wed, 13 Sep 2006 22:58:44 -0700 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.5 (2006-08-29) on localhost X-Spam-Status: No, score=-1.9 required=5.0 tests=ADVANCE_FEE_1,AWL, NO_RECEIVED,NO_RELAYS,TW_SQ autolearn=unavailable version=3.1.5 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 #948 Date: Wed, 13 Sep 2006 22:57:09 -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 #948 1. CadJet (was Re: HP455CA print driver source?) by "Jon Ares" 2. Re: Cue Lights by "Jim and Dave Productions" 3. Re: cue lights by James Feinberg 4. Re: Cue Lights by "Bill Nelson" 5. Re: CadJet (was Re: HP455CA print driver source?) by "Tony Deeming" 6. Re: Cue Lights by "Jim at TheatreWireless.com" 7. Re: Cue Lights by Jerry Durand 8. Re: Cue Lights by "Jeffrey E. Salzberg" 9. Re: cue lights by John McKernon 10. Re: Cue Lights by Jerry Durand 11. Re: Cue Lights by "Jeffrey E. Salzberg" 12. Re: Cue Lights by Jerry Durand 13. Re: Cue Lights by "Jeffrey E. Salzberg" 14. Re: cue lights by "ladesigners [at] juno.com" 15. Re: Cue Lights by "ladesigners [at] juno.com" 16. Re: Cue Lights by Bruce Purdy 17. Re: Cue Lights by Bruce Purdy 18. Re: Cue Lights by "Jeffrey E. Salzberg" 19. Re: Cue Lights by Rigger 20. How big should the new theatre be? by "Curtis L. Mortimore" 21. Re: How big should the new theatre be? by "ladesigners [at] juno.com" 22. Re: How big should the new theatre be? by Rigger 23. Re: How big should the new theatre be? by Ford Sellers 24. Re: How big should the new theatre be? by 25. Re: How big should the new theatre be? by "Jeffrey E. Salzberg" 26. Re: How big should the new theatre be? by "Paul Schreiner" 27. Re: How big should the new theatre be? by KEITH ARSENAULT 28. Re: How big should the new theatre be? by Ford Sellers 29. Re: How big should the new theatre be? by "ladesigners [at] juno.com" 30. Re: How big should the new theatre be? by "Gerald George" 31. Re: Cue Lights by FrankWood95 [at] aol.com 32. Re: Cue Lights by "Jeffrey E. Salzberg" 33. Re: How big should the new theatre be? by "Idaho Scenic & Rigging" 34. Re: How big should the new theatre be? by "ladesigners [at] juno.com" 35. Re: How big should the new theatre be? by Stephen Litterst 36. Re: cue lights by FrankWood95 [at] aol.com 37. Re: How big should the new theatre be? by KEITH ARSENAULT 38. Re: Cue Lights by FrankWood95 [at] aol.com 39. Re: Cue Lights by FrankWood95 [at] aol.com 40. Re: How big should the new theatre be? by "ladesigners [at] juno.com" 41. Re: How big should the new theatre be? by 42. Re: How big should the new theatre be? by "ladesigners [at] juno.com" 43. Cleaning Theater Curtains by 44. Re: How big should the new theatre be? by MissWisc [at] aol.com 45. Re: How big should the new theatre be? by FrankWood95 [at] aol.com 46. How Big should a facility be? by Philip Johnson 47. Re: Lighting question by Chip Wood 48. Re: Lighting question by Jerry Durand 49. Oh Crap... by 50. Re: Text Books by "RD" 51. Re: Oh Crap... by "ladesigners [at] juno.com" 52. The results are in...(long post) by "Curtis L. Mortimore" 53. Re: Cleaning Theater Curtains by "Curtis L. Mortimore" 54. Payment Rates by AMPeveto [at] tlu.edu 55. Re: Lighting question by Chip Wood 56. Re: The results are in...(long post) by Philip Johnson 57. Re: cue lights by Chip Wood 58. Re: Payment Rates by "Joe Saint" 59. Re: disabled by shifting [at] shifting.ca (Benjamin Eastep) 60. Re: Cue Lights by Chip Wood 61. Re: Cue Lights by "Jeffrey E. Salzberg" 62. Re: Payment Rates by "Jeffrey E. Salzberg" 63. Re: The results are in...(long post) by Rigger 64. Re: The results are in...(long post) by "ladesigners [at] juno.com" 65. Re: Payment Rates by Rigger 66. Re: Payment Rates by "Jon Ares" 67. Re: Payment Rates by Rigger 68. Catalyst and Expression 3 by "Laura McMeley" 69. Re: Payment Rates by Bruce Purdy 70. Television or Video Display rental in Las Vegas? by "Mt. Angel Performing Arts Center" *** 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: <000b01c6d732$5b264850$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: CadJet (was Re: HP455CA print driver source?) Date: Wed, 13 Sep 2006 05:44:30 -0700 > > Ummm.... > Don't want to appear rude, but you could try asking in a more pertinent > newsgroup! > This, whilst full of very knowledgeable and helpful types, is really a > group > for STAGE questions. We do indeed go off-topic occasionally, but this one > is > really best served by an NG dedicated to PC queries. Well, flying in the face of Tony's admonishment, I *will* ask here.... related to ink cartridges... Is anyone here using/familiar with the CadJet line of printers? (Now out of manufacture - and Kodak bought the company.) I have a CadJet 2 series wide format printer (plotter, but not really a pen plotter) - ink cartridges are a question, but also some setup and alignment issues to ask about - if anyone has any experience. Can reply on or off-list - I use it for printing light plots, construction drawings, etc (just so Tony knows it's on topic). :) - Jon Ares www.hevanet.com/acreative ------------------------------ From: "Jim and Dave Productions" Subject: re: Cue Lights Date: Wed, 13 Sep 2006 09:52:30 -0400 Message-ID: <000701c6d73b$dc7d9da0$6801a8c0 [at] Pokey> Just my 2 cents on the Traffic Light/Cue Light idea: If you are going as far as using a design similar to a traffic light (I am assuming that this means some sort of PAR type lamp for each color) why not use some sort of transparency film and print the words of what each light means in a large block font (i.e. Standby, Go, etc). Is it the perfect solution, no of course not, but might it make the show run a little smoother, maybe. Have a great day!! Jim and Dave Productions Jim Pritchard (716) 465-3784 jimdaveprod [at] gmail.com ------------------------------ In-Reply-To: References: Message-Id: <58efbf96fa81042155a6e7dd8ca6f583 [at] jamesf.com> From: James Feinberg Subject: Re: cue lights Date: Wed, 13 Sep 2006 07:02:49 -0700 Those of you using 12V cue light systems have at your disposal a wide variety of shapes and colors of automotive lights. I've seen at least round and rectangular, and I'm sure there are more... --James Feinberg San Diego, CA On Sep 12, 2006, at 6:26 PM, Jim at TheatreWireless.com wrote: >> Both lit all the time, active one flashes until acknowledged, >> goes out for some period on GO? > > Although more difficult to construct, perhaps shapes? Some of the > traffic > lights in Quebec are not only red/amber/green, they are also > square/triangle/circle (I can't recall which color is which shape). ------------------------------ Message-ID: <2264.205.215.253.62.1158156499.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 13 Sep 2006 07:08:19 -0700 (PDT) Subject: Re: Cue Lights From: "Bill Nelson" > If you are going as far as using a design similar to a traffic light (I am > assuming that this means some sort of PAR type lamp for each color) why not > use some sort of transparency film and print the words of what each light > means in a large block font (i.e. Standby, Go, etc). Is it the perfect > solution, no of course not, but might it make the show run a little > smoother, maybe. I think we were discussing using different color lights for different cues, but may be wrong. I would not use something as large as even the smallest PAR can for cue lights, at least in most instances. Far too much light output. I would choose something more on the order of the low voltage indicator lights available for electronic equipment - which are about 1/2" square. They are large enough that a person could even put a black decal on the face, with a number or any other chosen identifying symbol. That way, there wouldn't be any need to worry about a color blind operator. Bill ------------------------------ From: "Tony Deeming" Subject: RE: CadJet (was Re: HP455CA print driver source?) Date: Wed, 13 Sep 2006 15:10:40 +0100 Message-ID: In-Reply-To: Sticks tongue out at Jon.................... 8-p > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jon Ares > Can reply on or off-list - I use it for printing light plots, > construction drawings, etc (just so Tony knows it's on topic). :) > > - Jon Ares ------------------------------ From: "Jim at TheatreWireless.com" Subject: Re: Cue Lights Date: Wed, 13 Sep 2006 10:19:15 -0400 Message-ID: <005a01c6d73f$97b30080$7f9bfea9 [at] p3m866> In-Reply-To: How 'bout a largish 5 x 7-dot led character matrix that can indicate a letter, number, or symbol (even a symbol you design yourself), in a range of colors? If each dot is a red/green or red/green/blue led, the range is wide. Basically, it's a little single-character multi-color LED sign-board. This could be a great Zigbee wireless mesh network application. Each cue display unit is battery-powered, about the size of a cigarette package, completely portable. The radio data protocol includes confirmation, checking to see that every box is online and displaying the correct message. Each unit also acts as a network repeater, allowing the overall system size to be much larger than the radio range between single units. Jim RC4 > If you are going as far as using a design similar to a > traffic light (I am assuming that this means some sort of PAR > type lamp for each color) why not use some sort of > transparency film and print the words of what each light > means in a large block font (i.e. Standby, Go, etc). ------------------------------ Date: Wed, 13 Sep 2006 07:49:21 -0700 From: Jerry Durand Subject: Re: Cue Lights In-reply-to: Message-id: References: On Sep 13, 2006, at 7:08 AM, Bill Nelson wrote: > I would choose something more on the order of the low voltage > indicator > lights available for electronic equipment - which are about 1/2" > square. > They are large enough that a person could even put a black decal on > the > face, with a number or any other chosen identifying symbol. That way, > there wouldn't be any need to worry about a color blind operator. There are illuminated push-button switches that have pop-off clear covers specifically so you can insert lettering. The last ones I bought were from Mouser Electronics, about 1/2" square, LED, SPDT. You can also get these without the switch (just a light). ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 10:52:27 -0400 Message-ID: <000d01c6d744$4106caf0$6701a8c0 [at] Dell> In-Reply-To: > about 1/2" square, LED, Guys, remember that in many cases, these must be seen (and their meaning discerned) by fly operators and actors who may be several feet away and -- in the case of actors, at least -- may not be wearing their much-needed glasses. ------------------------------ Date: Wed, 13 Sep 2006 10:53:30 -0400 Subject: Re: cue lights From: John McKernon Message-ID: In-Reply-To: > Yes, I am aware of Tipperary Hill (and a few other places) where the Irish > invert the signals faster than the city can correct them. Which is why train systems long ago switched from relying on specific colors to using position (including those angled arrangements you see), as trains tended to run into each other when the red lenses broke, revealing white which meant "all clear ahead". Another reason why most cue light systems have two bulbs at each location, so that if one burns out the other will hopefully still work. - John ------------------------------ Date: Wed, 13 Sep 2006 07:56:31 -0700 From: Jerry Durand Subject: Re: Cue Lights In-reply-to: Message-id: References: On Sep 13, 2006, at 7:52 AM, Jeffrey E. Salzberg wrote: > Guys, remember that in many cases, these must be seen (and their > meaning > discerned) by fly operators and actors who may be several feet away > and -- > in the case of actors, at least -- may not be wearing their much- > needed > glasses. Back to Clive's 1K PAR? ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 11:08:37 -0400 Message-ID: <000e01c6d746$7db4c7c0$6701a8c0 [at] Dell> In-Reply-To: > > Guys, remember that in many cases, these must be seen (and their > > meaning > > discerned) by fly operators and actors who may be several > feet away > > and -- > > in the case of actors, at least -- may not be wearing their much- > > needed > > glasses. > > Back to Clive's 1K PAR? The cue light doesn't need to be bright, but it does need to be big. Anyone got some old Ollivettes around? ------------------------------ Date: Wed, 13 Sep 2006 08:10:58 -0700 From: Jerry Durand Subject: Re: Cue Lights In-reply-to: Message-id: <702AD779-CE69-4233-AED1-EB077904615A [at] interstellar.com> References: On Sep 13, 2006, at 8:08 AM, Jeffrey E. Salzberg wrote: > > The cue light doesn't need to be bright, but it does need to be big. Well, to keep with big and in the order of a traffic light, how about an old traffic light with 15W lamps in it? ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 11:14:33 -0400 Message-ID: <000f01c6d747$55406050$6701a8c0 [at] Dell> In-Reply-To: > Well, to keep with big and in the order of a traffic light, > how about > an old traffic light with 15W lamps in it? Actually, that would be great. ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 15:14:00 GMT Subject: Re: cue lights Message-Id: <20060913.081447.15735.422316 [at] webmail30.lax.untd.com> Except when a newbie electrician doesn't understand the purpose of = redundancy and wires the 2 bulbs in series so they're not as bright = backstage and when one bulb fails, they both are extinguished. /s/ Richard ____________________________________ Another reason why most cue light systems have two bulbs at each = location, so that if one burns out the other will hopefully still = work. - John ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 15:23:22 GMT Subject: Re: Cue Lights Message-Id: <20060913.082408.15735.422395 [at] webmail30.lax.untd.com> No Olivettes on the light rack? How about an old Linnebach projector? /s/ Richard _________________________ The cue light doesn't need to be bright, but it does need to be big. _________________ Anyone got some old Ollivettes around? ------------------------------ In-Reply-To: References: Message-Id: <499518FE-1FAE-444B-92FC-88AF0F7006C3 [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Cue Lights Date: Wed, 13 Sep 2006 11:29:20 -0400 On 13 Sep 2006, at 10:08, Bill Nelson wrote: > I think we were discussing using different color lights for different > cues, but may be wrong. Actually it's amazing how threads drift and morph! The discussion has been on dealing with colour blind people and cue lights, but started with a quote from me about my setup for cueing the MC that the next act is ready to go on! I did mention that it has red and green lights, so that I can also signal acts to wrap it up if they are running long. I built the setup for group performances by my fellow Magicians - many having no sense of time when they are on stage. Green light comes on= "Wrap it up", Red light comes on = "Enough already - get the heck off the stage!". Colour blindness hasn't been a problem so far. Also, on the topic of cue lights, On 13 Sep 2006, at 10:52, Jeffrey E. Salzberg wrote: > Guys, remember that in many cases, these must be seen (and their > meaning > discerned) by fly operators and actors who may be several feet away > and -- > in the case of actors, at least -- may not be wearing their much- > needed > glasses. Depends on the intended use I would think! On the ropes, you'd want something big and visible, for sound cues a small LED should do. For actors, likely something in between. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References: Message-Id: <46A071AC-2748-46DC-A9A7-7316DF25F263 [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Cue Lights Date: Wed, 13 Sep 2006 11:31:25 -0400 On 13 Sep 2006, at 11:10, Jerry Durand wrote: > On Sep 13, 2006, at 8:08 AM, Jeffrey E. Salzberg wrote: > >> The cue light doesn't need to be bright, but it does need to be big. > > Well, to keep with big and in the order of a traffic light, how > about an old traffic light with 15W lamps in it? > I believe that you can buy these at Spencer Gifts! Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 11:33:48 -0400 Message-ID: <000601c6d74a$04345c90$6701a8c0 [at] Dell> In-Reply-To: > How about an old Linnebach > projector? A perfect example of technology that need not be abandoned merely because it's old. A Linnebach projector with a modern compact filament lamp would be quite lovely. ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 13 Sep 2006 11:39:09 -0400 From: Rigger Subject: Re: Cue Lights I've always been a fan of rope-light for cue lights. Run 3-4 different colors along the wall behind the flyrail T-track the length of the rail, on is "standby", off is "the G-Word." Just a data point. As you were. -- Dave Vick rigger [at] tds.net Non Impediti Ratione Cogitationis ------------------------------ Date: Wed, 13 Sep 2006 11:58:17 -0400 Subject: How big should the new theatre be? From: "Curtis L. Mortimore" Message-ID: All, I know this is a larger question that is possible to answer simply. That being said. I have been asked to define what spatial needs our theatre department might need in a new facility. We are and undergraduate only program which incorporates Theatre and Dance with 375 majors and approximately 30 faculty and staff. We currently use three theatres and one dance studio as performance spaces for 18 productions annually. The areas I have been asked describe are performance spaces, scene shops, scenery storage, and dock access. Of course the boss needs this by 5:00pm today. I am getting ready to make up a bunch of numbers and spout off a bunch of needs like, "Loading Dock must be able to facilitate a semi with a 53' trailer." and "Scene shop should be at ground level, have large windows for natural light, have substantial sound isolation from rehearsal/performance spaces and be the size of a football field" So the question is... does anyone out there have any hard and fast guidelines and/or rules for how big the scene shop should be? How big the stagehouse should be for a theatre with a 40ish foot proscenium and 500-600 seats. How many linesets? Etc. etc. Remember I need this fast and I am only concerned about theatres, scene shops, scenery storage and dock access. The design folks, costumers, acting people, dancers, and all those other people are doing their own research for other areas of the building. What do you think? Thank you all in advance. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 16:21:46 GMT Subject: Re: How big should the new theatre be? Message-Id: <20060913.092228.15735.422870 [at] webmail30.lax.untd.com> I assume that you are referring to your departments spacial needs. = The Powers That Be are most often insensitive to our spatial needs. /s/ Richard _____________________________ All, I know this is a larger question that is possible to answer simply. = That being said. I have been asked to define what spatial needs our = theatre department might need in a new facility. = Curtis L. Mortimore ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 13 Sep 2006 12:35:29 -0400 From: Rigger Subject: Re: How big should the new theatre be? At 11:58 AM -0400 9/13/06, Curtis L. Mortimore wrote: > "Loading Dock must be able to facilitate a semi with a 53' > trailer." [*ahem*] *Two* semis w/53' trailers. (that way it might actually be large enough for one truck to get into. if you'd seen some of the docks I've jockeyed a 53-footer into in the past 16 months...) > So the question is... does >anyone out there have any hard and fast guidelines and/or rules for how big >the scene shop should be? How big the stagehouse should be for a theatre >with a 40ish foot proscenium and 500-600 seats. How many linesets? Etc. etc. >Remember I need this fast and I am only concerned about theatres, scene >shops, scenery storage and dock access. The design folks, costumers, acting >people, dancers, and all those other people are doing their own research for >other areas of the building. What do you think? I have no hard-n-fast data to support these assertions, but here's what I've seen on tour around North America in spaces that worked really well: Shop should be as big as can be in the space allowed, and physically connected to the stage, as opposed to being across campus. Grid should be at least double the pro height. Wings should be at least half the pro width in depth. Stage depth? As deep as you can get away with. NO MORE 19'-FROM-PLASTERLINE-TO-BACK-WALL STAGES!!! Linesets? You never have enough. Start at your first obstruction downstage and put one in every X" until you reach your last obstruction upstage. 6" and 8" centers both have advantages & disadvantages. I like 8", your mileage may vary. Save a couple of T-tracks for side tab pipes. ...But this is just how I think. -- Dave Vick rigger [at] tds.net "Beautiful young people are acts of nature, but beautiful old people are works of art." --Unknown ------------------------------ Message-Id: <6.2.5.6.2.20060913122944.032f7958 [at] cornell.edu> Date: Wed, 13 Sep 2006 12:46:31 -0400 From: Ford Sellers Subject: Re: How big should the new theatre be? In-Reply-To: References: Curtis, Speaking for myself only (and I profess to limited knowledge..this is OPINION), 1000sq ft min. for the scene shop (as long as scenery can be built/assembled in whichever theatre is also not in use). And an additional small lockable room for hand tools (10x12 or so) Prop storage is going to want a warehouse (for furniture and large items, ie, streelights, "artwork", etc.), as well as 400 sq ft or more in the facility for a lockable room for handprop storage. Lighting will want another 500 sq. ft or more, with piperacks (ie kee-klamp pipes 2 feet deep at 3,6, and 9') along 3 walls and a workbench on the other, rolling carts, and a rolling cable cart or two. Remember a paint storage room (1x12, with a slop sink). Linesets on 6" centers (as we have here) are very useful, just remember that with Sidetabs, you'll need to take up a few slots somewhere. Try not to do it where you'll be wanting to hang your Cyc, Bounce, and Cyc elxs. A fly house wants to be a 10' or so more than twice your Proscenium height at a minimum. -my $.02 (that's like $.02324 Canadian) -ford At 11:58 AM 9/13/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >All, > >I know this is a larger question that is possible to answer simply. That >being said. I have been asked to define what spatial needs our theatre >department might need in a new facility. We are and undergraduate only >program which incorporates Theatre and Dance with 375 majors and >approximately 30 faculty and staff. We currently use three theatres and one >dance studio as performance spaces for 18 productions annually. The areas I >have been asked describe are performance spaces, scene shops, scenery >storage, and dock access. Of course the boss needs this by 5:00pm today. I >am getting ready to make up a bunch of numbers and spout off a bunch of >needs like, "Loading Dock must be able to facilitate a semi with a 53' >trailer." and "Scene shop should be at ground level, have large windows for >natural light, have substantial sound isolation from rehearsal/performance >spaces and be the size of a football field" So the question is... does >anyone out there have any hard and fast guidelines and/or rules for how big >the scene shop should be? How big the stagehouse should be for a theatre >with a 40ish foot proscenium and 500-600 seats. How many linesets? Etc. etc. >Remember I need this fast and I am only concerned about theatres, scene >shops, scenery storage and dock access. The design folks, costumers, acting >people, dancers, and all those other people are doing their own research for >other areas of the building. What do you think? > >Thank you all in advance. > >-- >Curtis L. Mortimore >Technical Director >Ball State University >Department of Theatre and Dance >Muncie, IN 47306 >765-285-8750 > ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Subject: RE: How big should the new theatre be? Date: Wed, 13 Sep 2006 12:50:48 -0400 Message-ID: In-Reply-To: From: Linesets on 6" centers if possible. If not, do not exceed 9" centers. Mind the total fly tower height to proscenium opening height ratio. 3:1 min to 4:1 would be ideal. Insist that shop, dock, and stage be all on the same level. That level is actually trailer bed height. Seems to me that the whole building should be referenced to the height of the trucks that will be making deliveries. Sound isolation or physical separation between shops and performance spaces. Onstage electrics raceways should be moveable from pipe to pipe with extra length umbilicals and easily demountable hanging brackets if you are using those. Drop boxes are a different story. Doors to the shop and stage should be as large as reasonably possible. 10-15' wide and 12-16' high. Roll up or sliding preferred to preserve the door swing real estate.=20 So much to suggest. So little time. Sorry for the brevity. Best, Steve Rees -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Curtis L. Mortimore Sent: Wednesday, September 13, 2006 11:58 AM To: Stagecraft Subject: How big should the new theatre be? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- All, I know this is a larger question that is possible to answer simply. That being said. I have been asked to define what spatial needs our theatre department might need in a new facility. We are and undergraduate only program which incorporates Theatre and Dance with 375 majors and approximately 30 faculty and staff. We currently use three theatres and one dance studio as performance spaces for 18 productions annually. The areas I have been asked describe are performance spaces, scene shops, scenery storage, and dock access. Of course the boss needs this by 5:00pm today. I am getting ready to make up a bunch of numbers and spout off a bunch of needs like, "Loading Dock must be able to facilitate a semi with a 53' trailer." and "Scene shop should be at ground level, have large windows for natural light, have substantial sound isolation from rehearsal/performance spaces and be the size of a football field" So the question is... does anyone out there have any hard and fast guidelines and/or rules for how big the scene shop should be? How big the stagehouse should be for a theatre with a 40ish foot proscenium and 500-600 seats. How many linesets? Etc. etc. Remember I need this fast and I am only concerned about theatres, scene shops, scenery storage and dock access. The design folks, costumers, acting people, dancers, and all those other people are doing their own research for other areas of the building. What do you think? Thank you all in advance. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: How big should the new theatre be? Date: Wed, 13 Sep 2006 13:02:21 -0400 Message-ID: <000d01c6d756$6695a400$6701a8c0 [at] Dell> In-Reply-To: > Linesets on 6" centers if possible. If not, do not exceed 9" centers. >Except, perhaps, in the case of dedicated electrics. ------------------------------ Subject: RE: How big should the new theatre be? Date: Wed, 13 Sep 2006 13:03:36 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0636C655 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" I'd suggest shop space at least equivalent to the stage's square footage, plus whatever you need to fit tools. Remember that deeper stages allow for rear projection that actually works. And, to pre-empt a certain sqweek out in MON, don't enclose the (sound) booth. Put your mixing station as close to mid-house as possible so your sound op can hear what the audience is hearing. There's so much more... :) ------------------------------ In-Reply-To: References: Message-Id: From: KEITH ARSENAULT Subject: Re: How big should the new theatre be? Date: Wed, 13 Sep 2006 13:08:32 -0400 i have seen workable floor plans where the shop was immediately upstage of the back wall of the theatre, , and there was a large center door into the shop and the shop was rigged with a couple of line sets for perspective wing and drop sets or for use as rear projection space, , , On Sep 13, 2006, at 1:03 PM, Paul Schreiner wrote: I'd suggest shop space at least equivalent to the stage's square footage, plus whatever you need to fit tools. Keith L Arsenault Tampa, Florida 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-Id: <6.2.5.6.2.20060913125750.033bfbd0 [at] cornell.edu> Date: Wed, 13 Sep 2006 13:10:42 -0400 From: Ford Sellers Subject: Re: How big should the new theatre be? In-Reply-To: References: At 12:46 PM 9/13/2006, I wrote: > Lighting will want another 500 sq. ft or more, with piperacks (ie > kee-klamp pipes 2 feet deep at 3,6, and 9') along 3 walls and a > workbench on the other, rolling carts, and a rolling cable cart or two. I should have said Kee-Klamp pipes 2 deep 2' apart at 3', 6', 9' and 12' high. This is assuming that this room is adjacent to the shop, and 2 stories high. THE SHOP REALLY WANTS TO BE 2 stories tall. The cart's that I'm referring to should be Just shorter/narrower than a standard door, and built to look like rectangles stacked on top of each other (about 8' long), so that you can hang/store/move your instruments 2 wide, and several long. Also, you'll need a place to store the carts when not in use. Storage typically becomes an issue shortly after a new facility opens, and everybody starts to get their gear into it. So ask for another Storage space to be used for overflow. As to the Lighting/Elx umbilicals... Use Socopex, or some facsimile thereof. Being industry standard has HUGE advantages. Also consider a DMX/Data node in the house, at your Boxboom positions, on the FOH Catwalks, Near the LoadRail, and of course on either side of the stage & back wall. And of course a 400amp Disconnect at the Stage floor level. ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 17:16:07 GMT Subject: Re: How big should the new theatre be? Message-Id: <20060913.101624.15735.423290 [at] webmail30.lax.untd.com> Try to get as much clear acreage under the stage and shop that is = column-free and 16+' clear to the underside of the supports above. = (Huge operahouse-style traproom with one 8'x8' trap) With aftermarket = removable steel decking 8'high, you end up with lots of prop storage. ____________________________ All, I have been asked to define what spatial needs our theatre department = might need in a new facility. What do you think? Thank you all in advance. Curtis L. Mortimore ------------------------------ Message-Id: Date: Wed, 13 Sep 2006 13:32:01 -0400 From: "Gerald George" Subject: Re: How big should the new theatre be? Hi Folks Greetings from the eastern shore of Maryland! Anyway, don't forget some amount of planning for expansion for new porcesses, faculty office space, additional designers, guests, visiting artists, etc. This could be either real space within the new plan, or a "second phase" consturction plan. Cheers! Jerry G. D. George Technical Director and Lighting Designer Department of Communcation and Theatre Arts Salisbury University Salisbury, MD 21801 gdgeorge(at)salisbury(dot)edu >>> ladesigners [at] juno.com 9/13/2006 1:16 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Try to get as much clear acreage under the stage and shop that is column-free and 16+' clear to the underside of the supports above. (Huge operahouse-style traproom with one 8'x8' trap) With aftermarket removable steel decking 8'high, you end up with lots of prop storage. ____________________________ All, I have been asked to define what spatial needs our theatre department might need in a new facility. What do you think? Thank you all in advance. Curtis L. Mortimore ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <42b.911c4f5.32399ab8 [at] aol.com> Date: Wed, 13 Sep 2006 13:32:40 EDT Subject: Re: Cue Lights In a message dated 13/09/06 15:09:05 GMT Daylight Time, billn [at] peak.org writes: > I think we were discussing using different color lights for different > cues, but may be wrong. I hope you are wrong. Standard UK practice is to use red for 'standby', and green for 'go'. It is up to the prson receiving the cue to know what to do. > > I would not use something as large as even the smallest PAR can for cue > lights, at least in most instances. Far too much light output. Nor should I, for the same reason. Personally, I should use LEDs, for several reasons, the prime one being that they are nearly immortal. I failed to get this through to the dinks who supplied our new system, and they used low-voltage incandescent lamps. Who knows where the spare lamps are stored, and who maintains the stock? Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 13:36:05 -0400 Message-ID: <001b01c6d75b$1bd2e680$6701a8c0 [at] Dell> In-Reply-To: > I hope you are wrong. Standard UK practice is to use red for > 'standby', and > green for 'go'. That's the usual practice here, too, but one of the beautiful things about theatre is that there is no one "right" way to do something; we're free to select the solution that best fits our needs. > low-voltage incandescent lamps. Who knows where the spare > lamps are stored, and who > maintains the stock? The stage manager. ------------------------------ Message-ID: <004d01c6d75b$32bc6100$6401a8c0 [at] amd2200> From: "Idaho Scenic & Rigging" References: Subject: Re: How big should the new theatre be? Date: Wed, 13 Sep 2006 11:36:51 -0600 Subject: Re: How big should the new theatre be? > Dave Vick (wrote) >two 53' trucks with maneuvering space in the parking lot for the trucks to be able to utilize the two docks. and space for stuff to come off a truck (or the stage) and be maneuvered for loading (in or out) Trailers should be at level with dock (the entire trailer!) > Wings should be at least half the pro width in depth. per each side, not incuding rail working area. > Shop should be as big as can be in the space allowed, and physically > connected to the stage, as opposed to being across campus. with large doors / hallways to facilitate scenery moving to different spaces. Especially if the shop serves other spaces in same complex! > Grid should be at least double the pro height. if overhung then, working space (6'-7') for riggers between grid and roof. > Stage depth? As deep as you can get away with. Crossover space? behind stage?(hallway) onstage: extreme upstage > Linesets? You never have enough. Start at your first obstruction > downstage and put one in every X" until you reach your last > obstruction upstage. 6" and 8" centers both have advantages & > disadvantages. I like 8", your mileage may vary. > Save a couple of T-tracks for side tab pipes. From a riggers viewpoint, I concur -> 8" spacing. Storage: Scenery / props/ lights If you can get storage on site, great. More the better Storage: Shop supplies. This eats a lot of shop space. Shop: paint, woodworking , isolated welding area. If your constructing shows for different spaces at the same time then a place for finished pieces to go until load in. Power: (isolated) each wing 200A 3phase, 600A 3phase. If you're supporting touring concerts or shows. My $.02 Rob't > NO MORE 19'-FROM-PLASTERLINE-TO-BACK-WALL STAGES!!! > ...But this is just how I think. > > Dave Vick > rigger [at] tds.net ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 17:38:11 GMT Subject: Re: How big should the new theatre be? Message-Id: <20060913.103812.15735.423457 [at] webmail30.lax.untd.com> AND integrate your wheelchair spaces on either side of the FOH mid- audience sound position, so the entire row is 68" deep if your seats = are 34" back-to-back, and drops 14" in the sound area if the rest of = your rows drop 7", for example, so your side aisles to not vary in = slope. Access for wheelchairs and the sound equipment movement can be = straight out through the sides of the theatre under the box-booms, if = necessary, and directly behind the cross-aisle, if any. The temporary = director's and tech tables can sit in the wheelchair area or in front = of the Sound position during rehearsals, if that is your tradition. = /s/ Richard _______________________________ And, to pre-empt a certain sqweek out in MON, don't enclose the = (sound)booth. Put your mixing station as close to mid-house as = possible so your sound op can hear what the audience is hearing. There's so much more... :) ------------------------------ Message-ID: <45084343.2030004 [at] gmail.com> Date: Wed, 13 Sep 2006 13:43:31 -0400 From: Stephen Litterst Organization: University of Delaware Subject: Re: How big should the new theatre be? References: In-Reply-To: ladesigners [at] juno.com wrote: > --------------------------------------------------- > > Try to get as much clear acreage under the stage and shop that is > column-free and 16+' clear to the underside of the supports above. > (Huge operahouse-style traproom with one 8'x8' trap) With aftermarket > removable steel decking 8'high, you end up with lots of prop storage. If you do that, make sure that the traproom is considered a storage space from the beginning and is sprinklered appropriately. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <4fd.5beb195.32399e07 [at] aol.com> Date: Wed, 13 Sep 2006 13:46:47 EDT Subject: Re: cue lights In a message dated 13/09/06 15:55:20 GMT Daylight Time, stagecraft2006 [at] mckernon.com writes: > Which is why train systems long ago switched from relying on specific colors > to using position (including those angled arrangements you see), as trains > tended to run into each other when the red lenses broke, revealing white > which meant "all clear ahead". Not for many years has a railway company used white as an 'all clear' signal, although it was the original custom. Red, yellow, and green are the usual colours, yellow usually signifying that the next signal ahead is red, and suggesting that the driver slow down, and prepare to stop at the next signal. The angled arrangements warn that the train is to be diverted from the line on which it is running. There may well be a speed limit for the junction, but it is up to the driver to know it, and to observe it. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: From: KEITH ARSENAULT Subject: Re: How big should the new theatre be? Date: Wed, 13 Sep 2006 13:46:32 -0400 don;t know about there, , but here in Florida, I am fairly certain that space would have to be sprinklered even if not used for storage, , On Sep 13, 2006, at 1:43 PM, Stephen Litterst wrote: ladesigners [at] juno.com wrote: > --------------------------------------------------- > Try to get as much clear acreage under the stage and shop that is > column-free and 16+' clear to the underside of the supports above. > (Huge operahouse-style traproom with one 8'x8' trap) With > aftermarket removable steel decking 8'high, you end up with lots of > prop storage. If you do that, make sure that the traproom is considered a storage space from the beginning and is sprinklered appropriately. Steve L. Keith L Arsenault Tampa, Florida 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <366.3532af79.32399ee2 [at] aol.com> Date: Wed, 13 Sep 2006 13:50:26 EDT Subject: Re: Cue Lights In a message dated 13/09/06 16:09:12 GMT Daylight Time, stagecraft [at] jeffsalzberg.com writes: > The cue light doesn't need to be bright, but it does need to be big. Why? We have used 1/2" cue lights for 40 years, with no problems. I should advocate going to 1/8" LEDs, myself. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Wed, 13 Sep 2006 13:58:02 EDT Subject: Re: Cue Lights In a message dated 13/09/06 16:34:16 GMT Daylight Time, stagecraft [at] jeffsalzberg.com writes: > A perfect example of technology that need not be abandoned merely because > it's old. A Linnebach projector with a modern compact filament lamp would > be quite lovely. They are. I have used them, at need, and have always been happy with the result. Just because it's old doesn't mean it doesn't work. Frank Wood ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 18:00:57 GMT Subject: Re: How big should the new theatre be? Message-Id: <20060913.110059.15735.423623 [at] webmail30.lax.untd.com> Please specify a 400 amp 3 phase 120v per phase "Y" company switch on = each side of the stage fed by its own stepdown transformer and = emergency generator in a soundproof vault 50+' away from the closest = door to the theatre, and that each transformer is fed from a = different sector of the power grid that serves your campus. Please = specify that there are to be NO shared neutrals in the building, not = just for the circuits used for what are now planned to be performance = areas. Shows in courtyards and 'found' spaces in buildings are = sometimes scheduled many years after the theatre building was built. /s/ Richard ------------------------------ Subject: RE: How big should the new theatre be? Date: Wed, 13 Sep 2006 14:02:31 -0400 Message-ID: In-Reply-To: From: Cc: stagecraft [at] jeffsalzberg.com Except that I personally like the concept of not having dedicated electrics but rather electrics that can be moved up and down stage at will even it might mean that one or two adjacent pipes might become dead for an event. Perfect solution - probably not, but better than the alternative of not having much flexibility in dedicated electrics. We have five onstage electrics each of which can move up or down stage about 10 feet if required.=20 Steve Rees -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E. Salzberg Sent: Wednesday, September 13, 2006 1:02 PM To: Stagecraft Subject: Re: How big should the new theatre be? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Linesets on 6" centers if possible. If not, do not exceed 9" centers. >Except, perhaps, in the case of dedicated electrics. ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 18:06:36 GMT Subject: Re: How big should the new theatre be? Message-Id: <20060913.110712.15735.423674 [at] webmail30.lax.untd.com> I assume that the whole space will have to be fully sprinklered. /s/ Richard ________________________________ > Try to get as much clear acreage under the stage and shop that is = > column-free and 16+' clear to the underside of the supports above. = > (Huge operahouse-style traproom with one 8'x8' trap) With = > aftermarket removable steel decking 8'high, you end up with lots of = > prop storage. If you do that, make sure that the traproom is considered a storage = space from the beginning and is sprinklered appropriately. Steve L. ------------------------------ From: Subject: Cleaning Theater Curtains Message-Id: <20060913152412.CFO15240 [at] mail.uisd.net> Date: Wed, 13 Sep 2006 15:24:12 -0500 (CDT) Hey everybody...hope you all are having a great week. I was wondering if anybody in the Texas area knows of any company that cleans the curtains for the theater. And would you all happen to know if there is anything that can clean the Cyc? I hate to say it, but there are a few spots hear and there, and they look like a light brownish, light yellowish color. Just wonderin... -Michael Carrillo Laredo, Tx. UISD Student Activity Complex ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Wed, 13 Sep 2006 17:41:04 EDT Subject: Re: How big should the new theatre be? rigger [at] tds.net writes: < < *Two* semis w/53' trailers. (that way it might actually be large enough for one truck to get into. if you'd seen some of the docks I've jockeyed a 53-footer into in the past 16 months...) >> SO true! The long term savings on labor costs because you can un/load two trucks at a time should offset the cost of the additional dock. I'd suggest a third dock that ramps from ground up to loading dock level for the bands and educational shows that travel via van or trailer. Kristi R-C ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <31c.a5373af.3239daff [at] aol.com> Date: Wed, 13 Sep 2006 18:06:55 EDT Subject: Re: How big should the new theatre be? In a message dated 13/09/06 22:41:52 GMT Daylight Time, MissWisc [at] aol.com writes: > rigger [at] tds.net writes: > < < *Two* semis w/53' trailers. > (that way it might actually be large enough for one truck to get into. if > you'd seen some of the docks I've jockeyed a 53-footer into in the past 16 > months...) >> > > SO true! The long term savings on labor costs because you can un/load two > trucks at a time should offset the cost of the additional dock. > > I'd suggest a third dock that ramps from ground up to loading dock level > for > the bands and educational shows that travel via van or trailer. How to design the perfect theatre? I am sure we should all love to try. The first thing is to decide what it is for. Is it a recieving house, a staging house or what? If it is to be a staging house, consider the theatres the productions may visit, and their facilities. These place constraints on the stage design. If a receiving house, much good advice has already been posted, about load-in access and so forth. But much depends on what shows you propose to stage. Ideally, you should have a stage depth equal to or greater than the proscenium opening, and wing space that will allow you to truck off a whole stage worth of set, at both sides of the stage. Power supplies should be over-estimated. This is both easier and cheaper than adding in extras, not to mention less trouble. Frank Wood ------------------------------ Date: Wed, 13 Sep 2006 17:09:29 -0500 Subject: How Big should a facility be? From: Philip Johnson Message-ID: Curtis There are a number of books out there which give guidelines for facility planning. They will give you specs for rehearsal spaces, performance spaces, support spaces, etc. When we planned our PAC this was one of the books which enabled us to talk to the designers and administration as it gives figures the bean counters can understand. Ball State has one of the best colleges of architecture in the country, I am sure some of the profs over there could help you out with resources. They should have planning books in their library. Some of the ones I have in our library University space planning; translating the educational program of a university into a physical facility requirements, by Harlan D. Bareither and Jerry L. Schillinger Publisher Urbana, University of Illinois Press, 1968 A guide to facilities planning / Robert W. James, Paul A. Alcorn Publisher Englewood Cliffs, N.J. : Prentice Hall, c1991 Just to name a few. The wisdom of the list is worth noting as many years ago I asked these same questions and used the info to help shape our new building. Everyone is right on target with space and size. Other things to take into account are acoustic isolation between spaces- Most sound doesn't transfer from space to space through air but rather through architectural elements. Also there are lots of references to isolating power runs so sound and lighting are not on the same circuits, phase or sub. As you get closer to needing more info and have more questions I am sure folks will step up. As a side note and alumnus of BSU what you are doing is exciting, Good luck -- Philip Johnson Professor of Theatre Texas A&M University-Corpus Christi ------------------------------ Message-ID: <45088751.2050101 [at] gmail.com> Date: Wed, 13 Sep 2006 15:33:53 -0700 From: Chip Wood Subject: Re: Lighting question References: In-Reply-To: Jerry Durand wrote: >> >> Chip Wood > > What, you're not a chip off the old block? :) > > Laughing politely, for the 8th million time, I have met Chip Block and Chip Glass. The latter played for the Florida State football team and is very large. Do not get us mad. Chip ------------------------------ Date: Wed, 13 Sep 2006 15:54:19 -0700 From: Jerry Durand Subject: Re: Lighting question In-reply-to: Message-id: <7.0.1.0.0.20060913155358.01f13cb8 [at] interstellar.com> References: At 03:33 PM 9/13/2006, Chip Wood wrote: >Laughing politely, for the 8th million time, I have met Chip Block >and Chip Glass. The latter played for the Florida State football >team and is very large. Do not get us mad. >Chip I was referring to the other block, Frank Wood. :) -- 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 ------------------------------ From: Subject: Oh Crap... Message-Id: <20060913181840.CFO18276 [at] mail.uisd.net> Date: Wed, 13 Sep 2006 18:18:40 -0500 (CDT) Well, it looks like I found a roof leak.... There is a huge white stripe going down the Cyc (luckily it is off stage right in the wings)...It looks like the dirt got shifted to the ends of the white strip on both sides... (Sigh) At least it isn't coming out of our budget...Oh Facilities Dept.... -Michael ------------------------------ Reply-To: From: "RD" Subject: RE: Text Books Date: Wed, 13 Sep 2006 17:42:05 -0600 Message-ID: <186901c6d78e$38711220$c801a8c0 [at] doom1> In-Reply-To: You might look in on Dr. Doom's new book for secondary schools, he said, proudly, humbly, et al. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Rigger Sent: Friday, September 08, 2006 9:33 AM To: Stagecraft Subject: Re: Text Books For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 8:58 AM -0500 9/8/06, Steven Haworth wrote: >>I'm looking for text book(s) for my stagecraft class, any suggestions? >> >>Joel Harari >>Western High School > >I've got some listed on my website; depends what you're looking for. >Gillette's DESIGNING WITH LIGHT... >Parker/Wolf's SCENE DESIGN AND STAGE LIGHTING... >Reid's STAGE LIGHTING HANDBOOK... >Finally, Cunningham's STAGE LIGHTING REVEALED... Hmm. I sense a theme here... I would second Merel Ray-Pfeifer's endorsement of Lord's "Stagecraft 1," and add "The Backstage Handbook" to the list of must-haves for general reference and education... If you want more specialized fare, in addition to Steve's copious lighting library I would lobby hard for a copy of Jay Glerum's "Stage Rigging Handbook" (2nd edition). -- Dave Vick IATSE #274 Carpe Per Diem ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 13 Sep 2006 23:42:56 GMT Subject: Re: Oh Crap... Message-Id: <20060913.164355.833.437777 [at] webmail34.lax.untd.com> Sounds like cyclorama chromatography to me... /s/ Richard ____________________________ There is a huge white stripe going down the Cyc (luckily it is off = stage right in the wings)...It looks like the dirt got shifted to the = ends of the white strip on both sides... -Michael ------------------------------ Date: Wed, 13 Sep 2006 20:15:45 -0400 Subject: The results are in...(long post) From: "Curtis L. Mortimore" Message-ID: All, Thank you so much for all the replies and suggestions. As I am to understand things... The University is in the very beginning stages of planning the next campus expansion/upgrade. The students of The College of Architecture and Planning here on campus have been tasked with developing a plan for the new expansion. Our department was identified as a growing department that had outgrown its present facilities and might be included in the new plan. Our department was asked for our recommendations on what a new facility might include. "Oh, and by the way I need that by five" So we put our heads together gleaned some great advice from the list and here is what we came up with. I tried to deal primarily with spaces and specific requirements and not focus on internal systems which could or woul= d be developed in and around architecture. Bear in mind this is a wild dream at this point and some of the sizes may sound a little ludicrous. And my part of the task was only theatre spaces, scene shop, and storage. Please feel free to critique it and offer any feed back. Again thank you all! My submission the the Department chair was as follows... The new theatre: =20 The difficulty is there are no hard and fast rules about =B3you need a shop X big if you have a theatre Y big=B2 Specific building needs vary widely from one organization to the next. Here is compilation of thoughts from myself and colleagues from around the country. =20 Big theatre: * 500 to 600 seat auditorium * 40 foot wide X 23 ft tall Proscenium * Continental seating * Wing area to be at least 20=B9 on each side of the proscenium. * Stage at least 40=B9 deep, plaster-line to furthest US line set. * Stage floor to high trim on scenery battens at least 75=B9. * 60 line sets on 8=B2 centers, 12=B2 US of plaster-line. * Under hung rigging system with a full grid 7=B9 below cables. * Single purchase system with mid-rail for operators. Access from mid-rail to FOH catwalks. (Possibly delete counterweight system and use a Hoffend Vortek=81 or similar system?) * Spiral staircase to mid-rail, loading bridge and grid. * Freight elevator to provide access to ALL levels including lighting catwalks, booths and grid levels. * Battens should be at least 70=B9. * At least one =B3tab=B2 batten perpendicular to proscenium on each side of the stage for masking or electrics. * At least two flown battens DS of proscenium. * No dedicated electrics. All lighting circuits terminate to 19pin Grid Junction Boxes to be distributed as needed for individual productions via multi cable.=20 * Stage fully trapped. Trap room at least 15=B9 tall to facilitate stage machinery, trap doors, lifts etc. * At least one if not two Spiralift =81, Serapid=81 or similar orchestra pit lifts, must descend to trap room floor level. Possibly have additional seating which could be placed on orchestra lifts to be used for productions which are not using the lift. * Hallway IMMEDIATELY Behind US wall of theatre to facilitate US crosses during a show. Hall must be wide enough to facilitate wardrobe cases/racks and prop tables while still providing access during a show. * Dressing rooms should be at stage level. Green room, kitchenette, laundry facilities, and costume repair area very close by. * Powered, insulated (for sound), roll-up doors from stage to hall and hall to Scene Shop at least 15=B9 wide and 25=B9 tall. * =B3Walk-around=B2 or wide isle, parallel to proscenium near mid-house with area at center for live sound mixing station. Isle must be wide enough to facilitate temporary tech-tables during technical rehearsals. Appropriate power data and communication ports must be at this position. These areas ca= n double as handicapped seating areas during shows. * 600A company switch for portable machinery or touring productions. * Control booth at mid-rail level with access to FOH catwalks and accessibl= e by elevator for moving equipment to and fro. Sliding =B3sound proof=B2 windows from booth to house. * Dedicated soft-good storage area. Climate controlled. * All personnel doors 36=B2 minimum. * Box office/Concession area, min 600 sq. ft. * At least two offices 275 sq. ft or larger for Box Office Manager and Student Assistants. * Men=B9s restroom should have 100% more urinals than recommended for occupancy.=20 * Woman=B9s restroom should have as many sinks/mirrors as toilets. This numbe= r should be at least 50% more than recommended for occupancy. =20 =20 =20 =20 Studio Theatre: * 60=B9 X 60=B9 Black box. * Trapped, wood, stage floor. * 24=B9 floor to Wire tension grid. * 31=B9 floor to bottom of lighting pipe grid. * 34=B9 floor to structural steel to allow for lighting circuits, mechanical, sprinklers and HVAC above lighting grid. * Elevator access to grid levels * Dedicated, lockable, control booth accessible from hallway, stairwell or other means outside of theatre. Sliding =B3sound proof=B2 windows from booth to house.=20 * Separate storage room dedicated to seating and riser storage. * Dedicated lighting, sound, and communication systems. * Prefer dedicated dressing rooms. Could possibly be shared with experimental space. * Multiple fire exits. * Lighting storage/maintenance space accessible from grid level, min 400 sq= . ft.=20 * At least one office 275 sq ft or larger for Technical Director. * Box office/Concession area, min 400 sq ft * Restrooms shared with experimental theatre. NOT shared with main-stage. * Powered, insulated (for sound), roll-up door from theatre to hallway at least 15=B9 wide and 20=B9 tall. =20 =20 Experimental/lab theatre: * 35=B9 X 35=B9 Black box. * Wood floor.=20 * 18=B9 floor to Wire tension grid. * 25=B9 floor to bottom of lighting pipe grid. * 28=B9 floor to structural steel to allow for lighting circuits, mechanical, sprinklers and HVAC above lighting grid. * Elevator access to grid levels * Dedicated lockable, control booth accessible from hallway, stairwell or other means outside of theatre. Sliding =B3sound proof=B2 windows from booth to house.=20 * Separate storage room dedicated to seating and riser storage. * Dedicated lighting, sound, and communication systems. * Prefer dedicated dressing rooms. Could possibly be shared with experimental space. * Multiple fire exits * Lighting storage/ maintenance space accessible from grid level, min 400 sq. ft.=20 * At least one office 275 sq ft or larger for Technical Director. * Box office/Concession area, min 300 sq ft * Powered, insulated (for sound), roll-up doors from theatre to hallway at least 15=B9 wide and 15=B9 tall. =20 Scene Shop: * Must be at least twice as big as stage space to facilitate full-scale mockups of scenery, 3600 sq. ft. minimum. * Separate paint area, Preferably isolated from dust 30=B9 X 50=B9(to facilitat= e drop painting). Adjacent to scene shop with minimum door size of 15=B9 wide X 25=B9=20 * Powered, paint frame, at least 45=B9 X 27=B9. Frame =B3pit=B2 must have drains, water, and lighting. * Adjacent =B3paint kitchen=B2 for mixing and storing of paint. Sinks with tras= h traps, Hot and cold water and mop sink. * Sound isolation from performance and rehearsal spaces.(Remember the big hallway? It should run between the stage and theatres) * Large windows in paint area to provide natural light. Blackout shutters and a handful of dedicated electrical circuits to replicate =B3show lighting=B2 on painted scenery. * Shop Ceiling must be clear to at least 29'. * Wood floor is mandatory. Schools of thought vary, my preference would be 3=8E4=B2 T&G SYP over 2X4 sleepers. * HVAC separate from rest of building to control dust. * Dedicated dust collection system for scene shop. Machinery and containmen= t outdoors to remove noise and dust from inside. * Walk-in spray-booth ventilated to outside. * Powered, insulated (for sound), roll-up doors to stage at least 15=B9 wide and 25=B9 tall.=20 * Separate Welding area with outdoor access and concrete floor. * Outdoor =B3patio=B2 at least 20=B9 X 30=B9, (can be part of loading dock area) should have decorative wall to enclose area and separate operations from public access.=20 * Dedicated restrooms. At least one shower. * One separate room for hand-tool storage, min 300 sq. ft. * One separate room for hardware storage, min 300 sq. ft.. * At least four offices 275 sq ft or bigger for Technical Director, Assistant Technical Director, Scene Shop Foreman and student Assistants. * Direct access to loading dock. * Loading dock must have direct access to street and be able to facilitate two 53=B9 semi trucks at the same time. * Dock should have at least one (preferably 2) =B3dock height=B2 space with adjustable dock plate there should also be a ground level area with access to a =B3garage=B2 door. * At least one =B3parking space=B2 for a =B3shop truck=B2 or =B3department vehicle=B2 This space should be large enough to accommodate a small box truck and/or a pick-up and small trailer. * Separate prop construction area, 300sq.ft. Minimum, common to the scene shop dust collection and HVAC systems, preferably very close to scene shop with access to outdoor patio, "clean room" and spray booth. * Separate =B3clean room=B2 for construction of soft goods and stage draperies minimum 400 sq. ft. =20 Storage: Props and furniture=8A * Minimum 3200 sq.ft.. * Minimum ceiling height of 10=B9 * Minimum door 6=B9 W X 7=B9 T. * Elevator access.=20 * Climate controlled. Platforms, Flats and Scenery=8A * Minimum 2500 sq. ft. * Minimum ceiling height of 15=B9 * Minimum door 10=B9 W X 12=B9 T. * Elevator access.=20 * Climate controlled. --=20 Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 ------------------------------ Date: Wed, 13 Sep 2006 20:32:00 -0400 Subject: Re: Cleaning Theater Curtains From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Michael, The only place I know of isn't exactly close to you and you should talk directly to them about your needs. Reynolds Drapery Service, Newport, NY, (315) 845-8645 HTH! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 > From: > Reply-To: Stagecraft > Date: Wed, 13 Sep 2006 15:24:12 -0500 (CDT) > To: Stagecraft > Subject: Cleaning Theater Curtains > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey everybody...hope you all are having a great week. > > I was wondering if anybody in the Texas area knows of any company that cleans > the curtains for the theater. > > And would you all happen to know if there is anything that can clean the Cyc? > > I hate to say it, but there are a few spots hear and there, and they look like > a light brownish, light yellowish color. > > Just wonderin... > > -Michael Carrillo > Laredo, Tx. > UISD Student Activity Complex ------------------------------ Message-ID: <1213.10.30.165.65.1158194948.squirrel [at] tlustdfs.tlu.edu> In-Reply-To: References: Date: Wed, 13 Sep 2006 19:49:08 -0500 (CDT) Subject: Payment Rates From: AMPeveto [at] tlu.edu Hello. I'm an undergrad at university, and as part of an assignment in my theatre technology class, I've been asked to find out the payment scales for all those people that help put a show up: crew, light and sound techs, costume and set designers, etc. Is it minimum wage, a sliding scale based on hours, do different unions have different rules, etc. Thanks! -AP ------------------------------ Message-ID: <4508AC03.2090109 [at] gmail.com> Date: Wed, 13 Sep 2006 18:10:27 -0700 From: Chip Wood Subject: Re: Lighting question References: In-Reply-To: FrankWood95 [at] aol.com wrote: Frank and I aren't related, I don't think. >> >> Chip Wood > > Not that I am aware. In the 19th century, we were prosperous cutlers in > Sheffield. > According to a genealogical buff cousin on my father's side, we came over on the Mayflower. But there are no family stories or traditions that back that up. I have no prosperous ancestors, damn. Chip ------------------------------ Date: Wed, 13 Sep 2006 20:17:16 -0500 Subject: Re: The results are in...(long post) From: Philip Johnson Message-ID: In-Reply-To: Great list Curtis. Now what you have to do is convince the architects, designers and administrators not to over design the audience area and start hacking into your tech spaces. We have a beautiful PAC but no back stage space. They felt since it was a concert hall they didn't need to store anything. Dee dee dee... Increasing the facilities for restrooms is good too. Why are mensroom facilities increased 100 % and women on 50% . This was the biggest concern for front of house and we increased the women's restroom toilets by doubling them. Men's facilities seem to be okay at the normal spec. Also, drain to paint rack may have some environmental concerns as proper disposal for paint is to let it dry and then dispose it in the landfill. I realize you came up with this list on short notice. It is an excellent wish list. If you want to check out the pac here's the link http://pac.tamucc.edu/ -- Philip Johnson Professor of Theatre Texas A&M University-Corpus Christi ------------------------------ Message-ID: <4508ADDF.7010401 [at] gmail.com> Date: Wed, 13 Sep 2006 18:18:23 -0700 From: Chip Wood Subject: Re: cue lights References: In-Reply-To: Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> As one who is, may I suggest blue and green. Much easier on us as red >> is often quite dim and hard or impossible to distinguish from green. > > Red/green cue lights can be handled the same way that traffic lights are > handled. Always mount red on top. > > Just make sure that the lights are intense enough that a colorblind person > can tell when they are on. > > Bill > > Yep, that's exactly the way I handle traffic lights- the dim dark color is on top (stop) and the bright light color is on the ------------------------------ From: "Joe Saint" Subject: RE: Payment Rates Date: Wed, 13 Sep 2006 21:52:41 -0400 Message-ID: <00a601c6d7a0$773132d0$640fa8c0 [at] D3G47461> In-Reply-To: Simple answer: A sliding scale. That scale slides from "Nothin'" to thousands of dollar fees. In general, designers are paid on a fee basis, technicians are paid hourly, unless it is a staff position where technicians might be paid a weekly salary. Unions do a great job of rising wage standards for both union and non-union laborers (both designers and electricians) in an area. Rates for all of the above vary wildly depending on venue, location, type of performance, and other factors. Joe Saint President IMCD Lighting 646-415-7588 www.imcdlighting.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of AMPeveto [at] tlu.edu Sent: Wednesday, September 13, 2006 8:49 PM To: Stagecraft Subject: Payment Rates For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello. I'm an undergrad at university, and as part of an assignment in my theatre technology class, I've been asked to find out the payment scales for all those people that help put a show up: crew, light and sound techs, costume and set designers, etc. Is it minimum wage, a sliding scale based on hours, do different unions have different rules, etc. Thanks! -AP ------------------------------ Date: Thu, 14 Sep 2006 02:00:03 +0000 Subject: Re: disabled Message-ID: <20060914020002.GA7389 [at] shifting.ca> References: In-Reply-To: From: shifting [at] shifting.ca (Benjamin Eastep) On Tue, Sep 12, 2006 at 05:04:54PM -0700, Chip Wood wrote: > > We recently went on a cruise with my 87 year old mother-in-law who just > started using a wheelchair. The staff directed us to the head of every > line and I started to wonder why. We didn't pay or tip more, we > certainly weren't more handsome or famous. When we got there, we > invariably slowed and pushed back the whole line so everybody suffered. > Why were we entitled? Must handicapped always have "immediate" > access? The ADA requires providing access, not about the timing of that > access. I'll give you a hint. it's not for the benifit of the disabled folk. Its for the benifit of the FOH staff. The only time I ever deal with this issue is at the Edmonton Fringe Festival, but let me tell you, trying to get wheel chairs in before you let anyone else in VS ALL THESE FRICKIN IDIOTS elbowing through to get the best seat while we're trying to get some poor old lady with a wheel chair backed into position.... I'll take holding up the line for 5 minutes until the wheel chairs & such are in any day. Its MUCH less painful for the FOH staff, and everyone else involved... > > Chip ------------------------------ Message-ID: <4508BB9C.70007 [at] gmail.com> Date: Wed, 13 Sep 2006 19:17:00 -0700 From: Chip Wood Subject: Re: Cue Lights References: In-Reply-To: Bruce Purdy wrote: I built the setup > for group performances by my fellow Magicians - many having no sense of > time when they are on stage. Green light comes on= "Wrap it up", Red > light comes on = "Enough already - get the heck off the stage!". Colour > blindness hasn't been a problem so far. > > Wouldn't work in theater but the most effective "hook" I ever met was when I was giving a paper at a conference in Madrid Spain. When it was two minutes to your deadline a red (I think) light came on. One minute, it stared flashing at 1sec intervals, zero hour a trumpet flourish, one minute past soft music, two minutes past continuous bull-fight music complete with "Ole's" growing louder with each second. Some guys ended up shouting into the killed mic. Chip ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cue Lights Date: Wed, 13 Sep 2006 22:18:09 -0400 Message-ID: <004a01c6d7a4$06d5a170$6701a8c0 [at] Dell> In-Reply-To: > > The cue light doesn't need to be bright, but it does need to be big. > > Why? We have used 1/2" cue lights for 40 years Surprising as this may be, Frank, there are theatres in the world with different needs than yours. In many cases, a cue light may need to be seen by a fly operator or actor standing many feet away. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Payment Rates Date: Wed, 13 Sep 2006 22:26:44 -0400 Message-ID: <004d01c6d7a5$398aa100$6701a8c0 [at] Dell> In-Reply-To: > I've been asked to=20 > find out the payment scales for all those people that help=20 > put a show up: I'm always amused when performers thank me for "helping" put the show = up; as the lighting designer, I am in every scene, which few of them are. It's = my show as much as -- maybe more than -- it is theirs. ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 13 Sep 2006 22:36:51 -0400 From: Rigger Subject: Re: The results are in...(long post) At 8:15 PM -0400 9/13/06, Curtis L. Mortimore wrote: >* 60 line sets on 8" centers, 12" US of plaster-line. Given that 12" gap between the first line and the plaster, how do you envision a grand drape and/or fire curtain? Will you go "in-irons" or do you envision plumbing for a deluge system? I know you said you were concentrating on spaces right now, but you'll want to suss out the fire system plumbing as far in advance as you can, especially if you're going with deluge. -- Dave Vick IATSE #274 Cogito, Ergo Zoom ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 14 Sep 2006 02:40:06 GMT Subject: Re: The results are in...(long post) Message-Id: <20060913.194103.15672.427192 [at] webmail31.lax.untd.com> Women already get more fixtures than men in new facilities, as the = result of the adoption of new guidelines several years ago after the = publication of a study. Today's wish list may be merely an attempt to = achieve parity in numbers of fixtures actually provided to the public. /s/ Richard _____________________________ Increasing the facilities for restrooms is good too. Why are mensroom facilities increased 100 % and women on 50% . This was the biggest = concern for front of house and we increased the women's restroom = toilets by doubling them. Men's facilities seem to be okay at the = normal spec. -- = Philip Johnson ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 13 Sep 2006 22:54:07 -0400 From: Rigger Subject: Re: Payment Rates At 7:49 PM -0500 9/13/06, AMPeveto [at] tlu.edu wrote: >I'm an undergrad at university, and as part of an assignment in my >theatre technology class, I've been asked to find out the payment scales >for all those people that help put a show up: crew, light and sound techs, >costume and set designers, etc. Is it minimum wage, a sliding scale based >on hours, do different unions have different rules, etc. My Union contracts specify a base hourly rate, which is paid for general stagehand work in all departments. Various specialty jobs, e.g. board ops, flymen, tie-in electrician, department heads, &c., earn a bonus percentage on top of the base rate. Riggers have a higher hourly base rate (*much* higher). Car-loaders are paid a flat-rate, per-truck-per-direction[1] rate, depending on the size of the truck. If it takes forever to unload or load a truck, and the flat rate would drop lower than the actual hourly rate on a 4-hr minimum call, our car-loaders are paid the hourly base rate. We have a 4-hour minimum rate per call. After 4 hours worked, the scale is hourly. OT is paid after 8 hours in the day, except for show calls, which are also a 4-hr minimum beginning at 1/2-hour and including up to 3.5 hrs actual performance time. If you start your show call at hour before or hour before half, we pay an additional hour on top of the flat rate show call. If the performance runs longer than 3.5 hours, we pay hourly on top of the flat rate. Complicated? You bet. Wouldn't have it any other way. This is the Reader's Digest version. [1] Meaning a flat charge for unloading the truck, and another flat charge for reloading it. -- Dave Vick rigger [at] tds.net "Those who do not learn from Usenet will be doomed to reimplement it... Poorly." -- Timothy Larson, alt.games.marathon ------------------------------ Message-ID: <001701c6d7ae$2c59c5c0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Payment Rates Date: Wed, 13 Sep 2006 20:30:49 -0700 > I'm always amused when performers thank me for "helping" put the show up; > as > the lighting designer, I am in every scene, which few of them are. It's > my > show as much as -- maybe more than -- it is theirs. > I fear it's not amusement I'm feeling any more when I hear that. Even though I've been a Resident Designer for 12 years (and for the last 5 years, TD) at my school, the actrons still write on the closing night card, "Thanks for helping us!" Sheesh. I still design elsewhere in the country, and in the region, but to this high school, I'm just 'helping' them (the kids -- the administration still has NO idea what I, or anyone else does, or how it could possibly take so long to do it). - Jon Ares www.hevanet.com/acreative ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 13 Sep 2006 23:37:10 -0400 From: Rigger Subject: Re: Payment Rates At 8:30 PM -0700 9/13/06, Jon Ares wrote: > Even though I've been a Resident Designer for 12 years (and > for the last 5 years, TD) at my school, the actrons still > write on the closing night card, "Thanks for helping us!" Sheesh. Hey, at least you get a card... -- Dave Vick rigger [at] tds.net What exactly is "viewer discretion"? If viewers had any discretion, most TV shows wouldn't be on the air. ------------------------------ Message-ID: From: "Laura McMeley" Subject: Catalyst and Expression 3 Date: Wed, 13 Sep 2006 20:18:03 -0500 Message-ID: <000001c6d7b1$1d8e3500$6600a8c0 [at] tdolighting01> Has anyone out there every tried to run Catalyst Media Server with an Expression 3? Got a profile? Any tips or things to avoid? Thanks, Laura McMeley Dallas, TX 972-333-5016 http://www.geocities.com/lmcmeley/ ------------------------------ In-Reply-To: References: Message-Id: <7CA700AC-E903-4197-B2C1-6CF1300A75EF [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Payment Rates Date: Wed, 13 Sep 2006 23:52:25 -0400 >> I'm always amused when performers thank me for "helping" put the >> show up; as >> the lighting designer, I am in every scene, which few of them >> are. It's my >> show as much as -- maybe more than -- it is theirs. > > I fear it's not amusement I'm feeling any more when I hear that. > Even though I've been a Resident Designer for 12 years (and for the > last 5 years, TD) at my school, the actrons still write on the > closing night card, "Thanks for helping us!" Sheesh. I still > design elsewhere in the country, and in the region, but to this > high school, I'm just 'helping' them (the kids -- the > administration still has NO idea what I, or anyone else does, or > how it could possibly take so long to do it). I get the same kind of thanks from Community Theatre folks, but I take no offence, nor even amusement. Their gratitude is sincere, and I understand what they mean. What would you rather hear them say? I'm sure none of us expect them to say something like "Thanks for single handedly making this show possible"! You are, and should be, "Helping" in that you are not hindering nor disconnected from the show. I suggest as a reply: "You're welcome, and thank YOU for helping us put the show up by acting in it." It's not "Us Vs. Them" - we are all on the same team, and we should be thanking each other. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 13 Sep 2006 21:50:27 -0700 From: "Mt. Angel Performing Arts Center" Subject: Television or Video Display rental in Las Vegas? Message-id: <4508DF93.9010803 [at] mtangelperformingarts.com> Hi all - the company I work for when I'm not doing theatrical stuff is exhibiting at a trade show in Las Vegas at the end of the month. We need to rent/buy a television display (we need something in the 25 inch or slightly larger range) and it must have a S-video input. A rental house (Rentex) has a 25 inch RCA TV/VCR for $225 for the run of the show, but that's only about $25 less than buying one and throwing it away after we're done. Any leads on a rental firm in LV that can deliver/pick up to the convention center? Alternatively, we can pick it up and return it, but that's more of a hassle in an already congested move-in/out cycle. Thanks in advance Carla ------------------------------ End of Stagecraft Digest #948 *****************************