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Subject: Stagecraft Digest #949
Date: Thu, 14 Sep 2006 03:00:24 -0700
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #949

 1. Wireless Microphone Rentals in Miami, Fl
    by "Eric Lin" <ericclin [at] gmail.com>
 2. Re: Lighting question
    by Dale farmer <dale [at] cybercom.net>
 3. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
 4. Re: Payment Rates
    by "Bill Nelson" <billn [at] peak.org>
 5. Re: cue lights
    by "Bill Nelson" <billn [at] peak.org>
 6. Re: Cue Lights
    by "Bill Nelson" <billn [at] peak.org>

*** 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: <914532060609132217s1d981c3dha60b0445b2a8cc10 [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 01:17:08 -0400
From: "Eric Lin" <ericclin [at] gmail.com>
Subject: Wireless Microphone Rentals in Miami, Fl

Quantum Entertainment, a student organization at the University of
Miami is running a musical from Oct 28 to Nov 4th, and we are looking
to rent about 15 wireless microphones (headset or lavaliers) and 20+
Ch. soundboard from Oct 20th to Nov 6th.

Cost is the main concern since we are a student run organization.
Based on the quotes we have received; for the cost of rental, we could
purchase around 10 "lower end" UHF systems (the Audio-Technica 2000
series) with subminiatures, but that is beyond our budget. Does anyone
have any leads on rental companies (preferably the Miami area) able to
help us out?

Best Regards
Eric Lin
A student that has been (for the most part) silently reading the list

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

Message-ID: <4508EF12.7090203 [at] cybercom.net>
Date: Thu, 14 Sep 2006 01:56:34 -0400
From: Dale farmer <dale [at] cybercom.net>
Subject: Re: Lighting question
References: <list-34555849 [at] prxy.net> <list-34757921 [at] prxy.net> <list-34759804 [at] prxy.net> <list-34810360 [at] prxy.net>
In-Reply-To: <list-34810360 [at] prxy.net>

Chip Wood wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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
> 
> 
> 
It could be worse.  Many years ago I was working a volunteer gig with a 
fellow named Chip.  We were the two people running the AV gear. ( In 
those days it was overheads, 35mm slides, and 16mm film.) By the end of 
the weekend, I resolved to never work on the same particular sub-crew at 
an event again.  I suspect that he made a similar resolution, since we 
have not.

   --Dale


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

Message-ID: <1430.205.215.255.194.1158218838.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34812536 [at] prxy.net>
References: <list-34812536 [at] prxy.net>
Date: Thu, 14 Sep 2006 00:27:18 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

> * 40 foot wide X 23 ft tall Proscenium
> * Wing area to be at least 20¹ on each side of the proscenium.

If the acting area is 40 ft wide, then it would be nice if the wings
combined were greater than 20 feet each. This would allow a two piece
setpiece to be split in the middle and one half rolled into each wing,
hopefully far enough to get it out of the audience sight lines.

> * 60 line sets on 8² centers, 12² US of plaster-line.

Where is the plaster line - upstage side of the wall or upstage side of
the fire pockets (if you will be using a fire curtain)? Will the grand
drape be flown or will it be a traveler? If the latter, than 12" clearance
you are allowing may not be enough. Also, 8" upstage of the grand to the
first lineset may not be sufficient for a grand traveler.

> * Battens should be at least 70¹.

On a 40 foot wide stage? Note that, if you do that and only have 20 foot
wide wings, there will only be 5 feet of clearance between the ends of the
battens and the wing walls. Hang some tabs offstage of those and, all of a
sudden, all that nice wing space starts to disappear.

> * 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.

Make sure the local fire marshal will not have a problem with this. In
some areas, it doesn't matter how wide the hall is, no obstructions of any
kind are allowed.

> *Dressing rooms should be at stage level. Green room, kitchenette, laundry
> facilities, and costume repair area very close by.

I believe it is more important to have the Green room at stage level - the
kitchenette and laundry can be elsewhere. Costume repair could be put in
the Green room, or adjacent to it.

Restrooms and cast showers with access from the dressing rooms and Green
room only. If necessary by code, have crash doors for the second exit.

> * Powered, insulated (for sound), roll-up doors from stage to hall and
> hall to Scene Shop at least 15¹ wide and 25¹ tall.

Whatever height you make them - there is probably a corollary to Murphy's
Law that states that the clearance will not be enough.

> * Box office/Concession area, min 600 sq. ft.

Separate the two areas. Make sure there is plenty of room in front of the
box office for a line of people. If you have box office ticket sales
before the show, it would be nice to have a separate "Will Call" window.

Bill




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

Message-ID: <1539.205.215.255.194.1158220332.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34815913 [at] prxy.net>
References: <list-34813172 [at] prxy.net> <list-34815913 [at] prxy.net>
Date: Thu, 14 Sep 2006 00:52:12 -0700 (PDT)
Subject: Re: Payment Rates
From: "Bill Nelson" <billn [at] peak.org>

> 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.

That could be argued. The cast could just as easily perform under work
lights, or even a few lamps spaced around the stage. They would probably
prefer it, as it would be a lot cooler. It just wouldn't look nearly as
good to the audience.

On the other hand, no actors, nothing to light. An audience is not going
to pay just to see a prettily lit set.

Yes, I have problems with the lack of recognition. When pictures and bios
are put on display in the lobby, often AD, Stage Manager, ASM are included
- but the set/costume/lighting/sound/makeup designers are not.

Bill


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

Message-ID: <1563.205.215.255.194.1158221757.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34813922 [at] prxy.net>
References: <list-34310396 [at] prxy.net> <list-34731730 [at] prxy.net>
    <list-34772856 [at] prxy.net> <list-34813922 [at] prxy.net>
Date: Thu, 14 Sep 2006 01:15:57 -0700 (PDT)
Subject: Re: cue lights
From: "Bill Nelson" <billn [at] peak.org>

> 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

Heh, heh! The red and green seem to be about equal intensity around here.
They have gone to the LED arrays and they are visible even with the
setting sun shining directly on them.

Bill




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

Message-ID: <1610.205.215.255.194.1158224401.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34801147 [at] prxy.net>
References: <list-34801147 [at] prxy.net>
Date: Thu, 14 Sep 2006 02:00:01 -0700 (PDT)
Subject: Re: Cue Lights
From: "Bill Nelson" <billn [at] peak.org>

>> 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.

If you start using bi-color LEDs, then you may need to change that practice.
For example, a red and green bi-color. To use your system, you would flick
a switch to turn on the red ready light. To get the green go light you
would have to turn off the red and turn on the green - two switch
operations (unless using a ganged rotary switch.

Mix red and green in a bi-color and you get an approximation of yellow. So
a better system would be switch the red on for ready. Flick the green on
for go, leaving the red on. The resulting yellow would be the go
indication.

Even better is the crew knowing approximately when their cue or cues will
occur. The light illuminating is the go signal. I always require my crews
to be ready at all times, in case the unexpected happens - such as the
cast skipping 5 pages of their lines. Yes, I have my light/sound board
operators follow the script, even if the SM is calling cues. Contrary to
popular belief, SMs do occasionally make mistakes.

Bill



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

End of Stagecraft Digest #949
*****************************