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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 34866920; Fri, 15 Sep 2006 03:02:12 -0700 X-Spam-Status: No, score=-1.9 required=5.0 tests=AWL,NO_RECEIVED,NO_RELAYS, TW_AZ,TW_GN,TW_SQ autolearn=no version=3.1.5 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.5 (2006-08-29) on localhost 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 #951 Date: Fri, 15 Sep 2006 03:01:12 -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 #951 1. Re: opera australia by Clive Mitchell 2. Re: Catwalk/working at height safety by "Peter Scheu" 3. Re: disabled by "Ian Cunningham" 4. Re: disabled by "Nigel Worsley" 5. Re: Handicapped access by "Ian Cunningham" 6. the magic flute and snakes by Daniel Nazworth 7. CD80 Supervisor software by "Edwin Toy" 8. Re: Gearbox search by Chris Fretts 9. Re: Gearbox search by "Erik Nelson" 10. Re: CD80 Supervisor software by Ian Schmidt 11. Re: the magic flute and snakes by "Ray-Pfeifer, Merel" 12. Re: the magic flute and snakes by "Jeffrey E. Salzberg" 13. Re: Payment Rates by Jason Tollefson 14. Re: Hanging in Air Pump by Rigger 15. Theatre Magic Fog Master by "Gerald George" 16. Re: Cue Lights by FrankWood95 [at] aol.com 17. Re: Cue Lights by Charlie Richmond 18. Re: The results are in...(long post) by FrankWood95 [at] aol.com 19. Re: Theater Planning (was RE: The results are in...(long post)) by FrankWood95 [at] aol.com 20. Re: Cue Lights by Andy Ciddor 21. Re: disabled by FrankWood95 [at] aol.com 22. Re: The results are in...(long post) by "Occy" 23. Re: disabled by "Occy" 24. Re: Hanging in Air Pump by "Delbert Hall" 25. Re: Payment Rates by "Occy" 26. Re: Cue Lights by "Laura McMeley" 27. HP DesignJet 70-Opinions? by Kim Hartshorn 28. PLASA 06. by Clive Mitchell 29. Re: Theatre Magic Fog Master by Clive Mitchell 30. Re: opera australia by Dale farmer 31. Catwalk/working at height safety by b Ricie 32. Re: Theatre Magic Fog Master by Steve Larson 33. Re: HP DesignJet 70-Opinions? by "ladesigners [at] juno.com" 34. Re: How big should the new theatre be? by CB 35. The results are in...(long post) by CB 36. Re: Payment Rates by CB 37. Re: Cue Lights by CB 38. pay rates by Judy *** 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: Date: Thu, 14 Sep 2006 19:44:37 +0100 From: Clive Mitchell Subject: Re: opera australia References: In-Reply-To: In message , Scott Price writes >I am also researching elevator brake systems if anyone knows a good >source of material for that. Are you talking the latching overspeed governor that pulls the wedge brakes onto the guide rails? -- Clive Mitchell http://www.bigclive.com ------------------------------ Reply-To: From: "Peter Scheu" Subject: RE: Catwalk/working at height safety Date: Thu, 14 Sep 2006 14:25:23 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: In-reply-to: If your catwalks/galleries are equipped with standard 42" railings, and = your access ladders have cages, etc., you may not need fall protection, but = it all depends on the exact arrangements. HOWEVER... If students regularly lean over, climb above, or reach = through those railings, or use any sort of scaffolding or ladders that get them = more than 6 feet off the floor, fall protection is required. I know I may get flamed for this, but the best thing to do IMHO (and = this may have to be done with the consent of your superiors) is to ask your = local OSHA inspector for a "consultation". Or get Mr. Sapsis to check out your spaces if the thought of OSHA inspecting your space scares you (if it = does, then you may already have serious problems). What they will do is point out to you where improvements can or should = be made WITHOUT fining you if there is anything not in compliance. You = will, however, have to follow their recommendations or you may be fined by = OSHA later. Given that you've had an accident with injuries, I'm surprised = OSHA hasn't come by already. In many jurisdictions, theatrical catwalks and galleries are considered "limited access" areas and can be made exempt by the local OSHA = inspector. But that doesn't mean you shouldn't follow "best practices" and install = fall protection wherever a fall from above 6 feet may occur. Peter Scheu =20 Scheu Consulting Services, Inc. Syracuse, NY www.scheuconsulting.com ------------------------------ Message-ID: <004c01c6d831$095faca0$0501a8c0 [at] office1> From: "Ian Cunningham" References:

Subject: Re: disabled Date: Thu, 14 Sep 2006 20:07:32 +0100 From: "Nigel Worsley" To: "Stagecraft" > >> A 'panic' evacuation is a different story. Lifts are out, and the FOH >> staff have other things to do. We found an answer. 'EvacChairs' are >> folding skeleton wheelchairs, which can be wheeled down stairs, and >> designed for this very purpose. > > Those got thrown out a while back. The current procedure is to call the > fire brigade > and let them remove the disabled people if necessary. This doesn't sound > like a good > plan to me, but it was acceptable to the licensing inspector. > > Nigel Worsley One of our local theatres has just been refurbished and disabled access put in. They have extended the upper landing on the exterior steel fire escape to give a refuge for wheelchair users who are then left outsided until the fire-brigade arrive. (I'm not sure how clever this will be in January in the freezing Edinburgh wind and rain). There is an intercom provided but this runs to the fire panel in the hallkeepers office which will have been evacuated..... Having said that: for the first time in its 40 year life wheelchair & walker-frame users can see shows at that theatre, something that was well overdue and is a huge step forward. It also makes life a lot easier for older, less mobile, people who comprise a large part of the regular patrons. Ian Cunningham ------------------------------ Message-ID: <0c3b01c6d835$03731da0$0e00a8c0 [at] Nogle> From: "Nigel Worsley" References:

Subject: Re: disabled Date: Thu, 14 Sep 2006 20:35:57 +0100 "Clive Mitchell" > In message , Nigel Worsley > writes >>Those got thrown out a while back. The current procedure is to call the fire brigade >>and let them remove the disabled people if necessary. > > "OK darling you just sit there in your wheelchair and watch the flames. > The fire brigade are on their way to lift you out.... See ya later if > ya make it." No, of course not. One of the FOH stewards is designated to stay with them. This area is right next to a fire exit, so presumably their job is to open it and let in some fresh air when the smoke gets too thick. THEN they burn - but everything was done according to the agreed evacuation plan so that is OK. Nigel Worsley ------------------------------ Message-ID: <01ed01c6d835$2476f580$0501a8c0 [at] office1> From: "Ian Cunningham" References: Subject: Re: Handicapped access Date: Thu, 14 Sep 2006 20:36:56 +0100 ----- Original Message ----- From: > The point I am always pressing is emergency evacuation. Maybe ADA does not > consider this. But elevators are contra-indicated in emergencies, and > often > expressly forbidden. OK, you have loaded your disabled patrons into the > auditorium: how do you get them out in an emergency? > > Frank Wood IIRC the only building in the UK that is allowed to be evacuated solely by lift is BT Tower (there aren't any escape stairs...) New legislation had to be passed by parliament to allow lift-only evacuation. Its an amazing building & the views from the top are magnificent Ian Cunningham ------------------------------ Message-ID: <4509B254.50309 [at] kwu.edu> Date: Thu, 14 Sep 2006 14:49:40 -0500 From: Daniel Nazworth Reply-To: dnaz [at] kwu.edu Organization: Kansas Wesleyan Theatre Subject: the magic flute and snakes References: In-Reply-To: Seeking the wisdom of the list. I am designing and building the magic flute and With the snake I would like to have it blow smoke out of its nose, one way I thought of was a CO2 fire extinguisher, hooked up to some plumbing, Is this a way that I will regret? Any other ideas that are (1) cheap) and (2) easy to build with a small (next to nothing) budget. I am planning on building a chinese dragon puppet as the body. Ideas? Thanks Dan Nazworth Kansas Wesleyan University ------------------------------ From: "Edwin Toy" Subject: CD80 Supervisor software Date: Thu, 14 Sep 2006 15:45:19 -0400 Message-ID: Does anyone out there know where I can find the "Reporter PC Software" for Strand CD80 Supervisor racks? I have searched the Strand site but couldn't find anything. Thanks Edwin LD The Pierre S. du Pont Arts Center Wilmington, DE ------------------------------ Message-ID: From: Chris Fretts Subject: RE: Gearbox search Date: Thu, 14 Sep 2006 15:56:58 -0400 >Scott Price wrote: >I am looking for a hollow shaft gear box with a ration of 20:1 for a >2hp motor. The frame of the motor is 145T. Where are some good places >to look? Scott - There is a wide variety of options for looking for the gearbox. Most complete in terms of stock and selection (and possibly highest in price) would be the big catalog industrial suppliers Grainger www.grainger.com and McMaster Carr www.mcmaster.com . Additionally, manufacturers websites such as www.baldor.com and www.bostongear.com would provide you with product information and suppliers in your area. All of these websites and catalogs provide a large selection and lots of useful information to help you select the correct gearbox. You might want to check these sites out first to give you more information to take to the other sites I list below. Places like the Surplus Center www.surpluscenter.com will likely have less selection but the price will be considerably less than from the suppliers above. And of course, don't forget e-bay www.ebay.com . You may need to sift through a lot of posted items to find what you really want and it may take some time and research on your part, but you may find exactly what you want for a fraction of the price anywhere else. I've have been pretty successful finding a wide range of stuff for a series of mechanical and automation projects recently. If you are in a hurry and you need it yesterday, pay the price and go with Grainger or McMaster. It's fast and easy. Grainger has branches across the country and you might even be able to go pick up the gearbox today from you local branch. And of course, we are all always looking for a good deal so if you find one somewhere else, let us know. Good Luck, Chris Fretts Technical Director Indiana Repertory Theatre ------------------------------ Message-ID: Date: Thu, 14 Sep 2006 16:08:33 -0400 From: "Erik Nelson" Subject: Re: Gearbox search In-Reply-To: References: If the frame is 145TC (rather than 145T), you'll be able to bolt a standard C-face speed reducer on to the motor. If it is 145T you'll need some sort of chain transmission from the motor to the reducer. Boston Gear http://bostongear.com Loook at the 700 series for right angle drives and the 800 series for parallel drives. Baldor http://www.baldor.com There are other companies as well that make dimensionally-interchangable reducers whose web addresses escape me. Two are Morse and Nord. It may just be a case of availability. SEW-Eurodrive http://www.seweurodrive.com also makes high quality drives,but you'll need a special adapter to go from your C face to the reducer, increasing the cost. All of these sites can put you in touch with a local distributor. Make sure that the drive you select can handle the overhung load you will be applying, since hollow shaft drives have a lower OHL capacity than solid shaft outputs. Erik On 9/14/06, Scott Price wrote: >I am looking for a hollow shaft gear box with a ration of 20:1 for a > 2hp motor. The frame of the motor is 145T. Where are some good places > to look? > > Scott ------------------------------ Date: Thu, 14 Sep 2006 16:44:02 -0400 From: Ian Schmidt Subject: Re: CD80 Supervisor software In-reply-to: Message-id: <4509BF12.3000508 [at] gmu.edu> Organization: George Mason University References: Edwin Toy wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Does anyone out there know where I can find the "Reporter PC Software" for > Strand CD80 Supervisor racks? I have searched the Strand site but couldn't > find anything. > > Thanks > Edwin > LD > The Pierre S. du Pont Arts Center > Wilmington, DE > > > > > Edwin, I have it installed and may have the CD's here somewhere if you'd like a copy. Ping me off list with Contact info. -- Ian Schmidt Master Electrician Center for the Arts George Mason University ------------------------------ Date: Thu, 14 Sep 2006 17:17:10 -0400 Subject: Re: the magic flute and snakes From: "Ray-Pfeifer, Merel" Message-ID: In-Reply-To: Check out USITT's Tech Expo catalogue from 2001. I had an article on a fire breathing dragon marionette (Pippin's Dragon) that may give you some useful ideas. Merel Ray-Pfeifer Technical Director Cent. Mich. Univ. Mt Pleasant, MI On 9/14/06 3:49 PM, "Daniel Nazworth" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Seeking the wisdom of the list. > I am designing and building the magic flute and With the snake I would > like to have it blow smoke out of its nose, one way I thought of was a > CO2 fire extinguisher, hooked up to some plumbing, Is this a way that I > will regret? Any other ideas that are (1) cheap) and (2) easy to build > with a small (next to nothing) budget. I am planning on building a > chinese dragon puppet as the body. Ideas? > Thanks > Dan Nazworth > Kansas Wesleyan University > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: dnaz [at] kwu.edu Subject: RE: the magic flute and snakes Date: Thu, 14 Sep 2006 17:26:36 -0400 Message-ID: <006d01c6d844$79a0b9b0$6701a8c0 [at] Dell> In-Reply-To: > I am designing and building the magic flute and With the > snake I would > like to have it blow smoke out of its nose, one way I thought > of was a > CO2 fire extinguisher, Your local AHJ may disapprove of this; they tend to frown on fire extinguishers' being used for anything other than extinguishing fires. ------------------------------ Message-ID: <20060914213808.76889.qmail [at] web51002.mail.yahoo.com> Date: Thu, 14 Sep 2006 14:38:08 -0700 (PDT) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: Payment Rates In-Reply-To: > No, but there is an "m" and an "e". > > ;) Other words that you can make from "TEAM" (NOTE: I am a lighting designer, not a linguist. All of the following were confirmed as words in one language or another by dictionary.com. This list may not be exhaustive (though this disclaimer is)). Mate Meat Tame Tema Meta Mat Met Mae Tea Tam Tae Ate Aet Eat Ma Me Ta Te Ae At Am Et em Jason Tollefson (NOTE: My name is not intended to be included in the above list. It cannot be spelled using only the letters in the word "TEAM). ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 14 Sep 2006 17:48:10 -0400 From: Rigger Subject: Re: Hanging in Air Pump At 9:53 AM -0500 9/14/06, tech1 wrote: >Any suggestions on hanging an actor. Yep... CALL A PROFESSIONAL!!! (hi Bill Sapsis!) -- Dave Vick rigger [at] tds.net "No comment" is a comment. ------------------------------ Message-Id: Date: Thu, 14 Sep 2006 17:58:45 -0400 From: "Gerald George" Subject: Theatre Magic Fog Master Hi Gang! I found one of these things in a cabinet. No directions, but it looks pretty neat, if it works. I've seen similar devices (used in the film world) but never played with one myself. Does anyone know if there is still a supplier for the aerosol based "aquafog -- water based fog effect" that the unit requires? Is there a way to tell if the unit is even functional. I have a can of the fluid, but I think it has long sinced de-pressurized. (Is that a word? Well, I guess it is now...) I suspect that the device needs cleaned as well... Any help appreciated! 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 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <58a.48d97f1.323b2bb8 [at] aol.com> Date: Thu, 14 Sep 2006 18:03:36 EDT Subject: Re: Cue Lights In a message dated 14/09/06 17:16:24 GMT Daylight Time, chip.a.wood [at] gmail.com writes: > > As for color blindness, solve that problem when you get to it. In over 30 > > years in the business, I don't know that I've ever worked with a color > blind > > stagehand. Nor I. Colour-blind directors, yes. And, oddly enough, a colour-blind TV engineer. This came about in an odd way. It was normal BBC practice that TV engineers had to have certifiably normal colour vision. This seems reasonable, to me. But then, when I was in training, we had a bevy of sound engineers doing conversion courses, and one was colour-blind. I knew the guy well, having shared an office with him for a couple of years when I was on the sound side. I did what I could for him. He was a fair engineer, in the theory. But TV engineers have to look at colour monitors,,and pass judgements on the picture quality, including the colour rendering, and then fix defects. No way! Frank Wood ------------------------------ Date: Thu, 14 Sep 2006 23:13:39 +0100 (BST) From: Charlie Richmond Subject: Re: Cue Lights In-Reply-To: Message-ID: References:

On Thu, 14 Sep 2006, Paul Guncheon wrote: > years in the business, I don't know that I've ever worked with a color blind > stagehand. At least I have never worked with a stagehand who's color > blindness was an issue. I've worked with a deaf sound operator - it was an issue but we worked around it ;-) Charlie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2e1.5fab9000.323b2f7e [at] aol.com> Date: Thu, 14 Sep 2006 18:19:42 EDT Subject: Re: The results are in...(long post) In a message dated 14/09/06 17:29:39 GMT Daylight Time, billn [at] peak.org writes: > As someone else suggested, it might be wise to obtain the services of some > professionals. If nothing else, management is more likely to accept their > word over how much space is needed than that of your school staff. That is the big trouble. Managements are prone to accept professional advice, yes. But how many of these professionals know anything about theatre? I've been there, done that, and got the tee-shirt. I could bore your ears off with their failings, but I shan't, unless asked. Accurate and exact specifications are neded, for the contractors. How many of us can write them? I can, to some extent, but I have been doing it, in other fields, for quite a while, and around in theatre for forty years. Even then, there are things I miss. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <270.479f8680.323b309a [at] aol.com> Date: Thu, 14 Sep 2006 18:24:26 EDT Subject: Re: Theater Planning (was RE: The results are in...(long post)) In a message dated 14/09/06 17:46:49 GMT Daylight Time, peter [at] scheuconsulting.com writes: > Yes, be careful. If a consultant is certain that "they know what is best for > you" without having sat down and talked with you (the end user), they are > doing the project a terrible disservice. They may know what new and > wonderful (or tried and true) systems meet your needs, but they better > understand what those needs are to start with (duh!). > > Without an open and free flowing dialogue between Owner/End User and the > consultant, the project is doomed from the start. If the consultant is part > of the architect's design team, you MUST be able to talk with them directly. > Some architects and/or construction managers won't let you do this. If this > is the case on your project, you have to find a way to do so, even if you > end up being perceived as a royal PIA. Any consultant worth their salt wants > your input. To want otherwise is pure arrogance. I couldn't have put it better. Frank Wood ------------------------------ Message-Id: <7.0.1.0.2.20060915082526.0358a008 [at] kilowatt.com.au> Date: Fri, 15 Sep 2006 08:38:02 +1000 From: Andy Ciddor Subject: Re: Cue Lights In-Reply-To: References:

At 08:13 15.09.2006, Charlie Richmond wrote: >I've worked with a deaf sound operator - it was an issue but we >worked around it ;-) One of Australia's most talented television Audio Directors (now retired from broadcast) was hearing impaired for the last 20+ years of his career. Many of you will have heard his work as he was the Television Audio Director for the Sydney Olympics opening and closing ceremonies. The SPL that he required to monitor his mix was so intense that whoever was in the control room with him, wore ear protection, and the soundproof door to audio control was required to be closed so as not to overwhelm the production teams in adjacent control areas. His monitors were effectively a compact FOH system. His deafness was acquired - from running his monitors too hard in the first 20 years of his career. Andy ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <51b.742ab6b.323b3408 [at] aol.com> Date: Thu, 14 Sep 2006 18:39:04 EDT Subject: Re: disabled In a message dated 14/09/06 20:35:21 GMT Daylight Time, nigle [at] dsl.pipex.com writes: > > "OK darling you just sit there in your wheelchair and watch the flames. > > The fire brigade are on their way to lift you out.... See ya later if > > ya make it." > > No, of course not. > > One of the FOH stewards is designated to stay with them. This area is right > next to > a fire exit, so presumably their job is to open it and let in some fresh air > when the > smoke gets too thick. THEN they burn - but everything was done according to > the > agreed evacuation plan so that is OK. I know you well, and can read behind the lines. WHAT agreed evacuation plan? Agreed by whom? This sounds like a CYA situation. Frank Wood ------------------------------ Message-ID: From: "Occy" References: Subject: Re: The results are in...(long post) Date: Thu, 14 Sep 2006 16:36:14 -0700 Well Frank must be back in the UK, as I can understand them again.... ----- Original Message ----- From: > > That is the big trouble. Managements are prone to accept professional > advice, > yes. But how many of these professionals know anything about theatre? I've > been there, done that, and got the tee-shirt. I could bore your ears off > with > their failings, but I shan't, unless asked. > > Accurate and exact specifications are neded, for the contractors. How many > of > us can write them? I can, to some extent, but I have been doing it, in > other > fields, for quite a while, and around in theatre for forty years. Even > then, > there are things I miss. > > > Frank Wood > ------------------------------ Message-ID: From: "Occy" References:

Subject: Re: disabled Date: Thu, 14 Sep 2006 16:47:01 -0700 That's the way it is in the nanny world we live in. Don't do anything until told too, don't think that's some one else's thing to do. Everything you read on the internet true. ----- Original Message ----- From: "Clive Mitchell" > --------------------------------------------------- > > "OK darling you just sit there in your wheelchair and watch the flames. > The fire brigade are on their way to lift you out.... See ya later if > ya make it." > > -- > Clive Mitchell > http://www.bigclive.com > ------------------------------ Message-ID: Date: Thu, 14 Sep 2006 19:50:29 -0400 From: "Delbert Hall" Subject: Re: Hanging in Air Pump In-Reply-To: References: I have rigged quite a few few hanging effects through the years. In fact, I rigged three hanging effects this summer, including one for an opera where we hung Metropolitan Opera star Denyce Graves. I guess saying "you really need to know what you are doing or you can get in trouble quickly" is an understatement. Before I can offer much advise, I need to know exactly how the character get hanged, how she gets down, and the structure above the stage. Email me privately and we can discuss this. -Delbert -- Delbert L. Hall 423-773-4255 ETCP Certified Rigger - Theatre ------------------------------ Message-ID: From: "Occy" References:

Subject: Re: Payment Rates Date: Thu, 14 Sep 2006 16:56:36 -0700 Then explain this one then? Laguna Beach's Pageant of the Masters has lost none of its appeal over the years. Every summer, audiences pack the Irvine Bowl to watch real people posing to look exactly like their counterparts in recreations of original art pieces. Over the 90-minute performance, about 20 different art works go on display accompanied by a professional orchestra playing an original score. ----- Original Message ----- From: "Bill Nelson" --------------------------------------------------- > 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: From: "Laura McMeley" Subject: RE: Cue Lights Date: Thu, 14 Sep 2006 19:50:46 -0500 Message-ID: <008b01c6d860$faf99b00$6600a8c0 [at] tdolighting01> In-Reply-To: When I was in school we once had a blind light board op with a two-scene preset board. As long as someone called the visual cues for her, she was better than many of the sighted ops. Laura > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Charlie > Richmond > Sent: Thursday, September 14, 2006 5:14 PM > To: Stagecraft > Subject: Re: Cue Lights > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Thu, 14 Sep 2006, Paul Guncheon wrote: > > > years in the business, I don't know that I've ever worked with a color > blind > > stagehand. At least I have never worked with a stagehand who's color > > blindness was an issue. > > I've worked with a deaf sound operator - it was an issue but we worked > around it > ;-) > > Charlie ------------------------------ Message-ID: <20060914221151.12wba56wowgw8oo8 [at] webmail.plattsburgh.edu> Date: Thu, 14 Sep 2006 22:11:51 -0400 From: Kim Hartshorn Subject: HP DesignJet 70-Opinions? References: In-Reply-To: Heyall Havent been by the list lately so I apologize if this has topic has been covered recently. We are wanting to get a small large format printer, 18x24 would be fine, and we are looking at the HP Designjet 70. I havent been able to find any reviews or ratings of it on the web (although there are plenty of 'not rated yet' and 'write a review for this item') So, anyone out there in Stagecraft have an opinion about this printer? HP products are on NY state contract, but I would be interested in other suggestions also. Thanks Kim Hartshorn Plattsburgh State ------------------------------ Message-ID: Date: Fri, 15 Sep 2006 03:13:54 +0100 From: Clive Mitchell Subject: PLASA 06. Just back from PLASA 2006 (Professional Light And Sound Association) the UK's main show for performance gear. A few observations. LeMaitre. Still going strong with a few effects in their range I hadn't seen before. They did their pyro demonstration synched with a SMPTE sound track and unlike outdoor fireworks shows, the close proximity of the FX and audio source meant that the sounds and FX were absolutely spot on. I've never seen stage pyro synchronised to music in quite that style before and it certainly took a trick with the large crowds that gathered to see it and applauded loudly at the end. They seem to be streamlining their pyro manufacturing with the new "pro" range. Instead of the traditional bi-pin cartridge they are moving to the very "Chinese" cardboard tube approach. This certainly makes things cheaper to manufacture (or import), but to be honest, the tubes have a much narrower port that tend to fire a tighter burst of stars than the much wider cartridges which have a much wider dispersion of stars, which I kinda prefer. I guess each effect has it's own merits. One thing that surprised me on the LeMaitre stand was that their fog and haze machines seem to be using the pipe as the heating element now. They all had the pipe extending into the exit port then folding round with a hole for the vapour to exit, then the pipe was firmly connected to a high current terminal. I guess this gives very efficient heating and quick warm up time. I wonder if they're using a conventional transformer inside or a switch mode unit to supply the low voltage high current required for this technique. Very interesting. LED colour changing walls, tiles, dots, washes, uplighters, low output parcans, movers, curtains and anything else the LEDs could be crammed into. The only thing that was really apparent other than the steady march of LED technology is that there's a major element of standardisation going on with many products seeming to share similar modules. Perhaps a generic Chinese source? On a plus note there were very few LEDs out on the displays. Color Kinetics were there, but to be quite honest their stuff was just "another LED panel" in a sea of LEDs. They did however have packets of red, green and blue M&M's which they may or may not have patented. :P Barco put up a rather dubious display with a modular video wall with panels missing randomly that to anybody dealing with this technology on a regular basis looked like a very dead video wall. It was only when you got closer that you saw the panels were missing completely. Maybe this was a demonstration of how modular it is, but everyone I talked to mentioned the negative effect it gave. This was slightly reinforced by a hanging strip system above the stand which had a very prominent duffer at one end that was doing the "random data" thing that ill video wall modules do so well. Barco's little faux pas was nothing compared to that anonymous suspended video wall thing in the vicinity of the LEE Filters stand that just flickered continually with random nonsense. It was either defective or just a really bad idea. I'm inclined to say defective, but why nobody seemed to be doing anything about it I don't know. It would have been better OFF. Strangest product was an illuminated floor that had a layer of dark liquid sandwiched above it like a squishable oil wheel. No active electronics or anything... Just a trail of light wherever you walked and displaced the dark liquid letting the light shine through. Very novel, and refreshingly low tech. DPSS (Diode Pumped Solid State) LASERs everywhere. The intensities are getting higher, but these things are ending up in the hands of individuals who don't seem to care about people's eyesight. The lasers on display were being used in a safe manner, but you just don't know what an end users going to do with these seriously powerful (and dangerously affordable) toys these days. Lots of high speed lifting and positioning systems in evidence too. Short stroke drives with multi purchase rope systems were busy whisking banners up and down on quite a few stands. Unfortunately one of the more noticeable features was the high pitched whistle from the variable frequency drives being used to control them. Chinese kit everywhere, but quite frankly their stuff is getting better and better to the point that their moving yoke fixtures must be starting to pose a threat to the bigger brands now. One of the more intriguing ones seemed well engineered internally, and seemed to have a pile of little fans scattered about inside to provide local cooling where it was needed. Chain hoists. The biggest change is the compliance with the German standard that encourages quite sophisticated load sensing and warning/shut-down if a hoist is overloaded. A good idea, but you can't help feeling that the extra complication of the internal and in some instances external circuitry is going to give issues. The Lodestars had small PLC's inside them (the smart relay type that program in boolean logic), while the Hall Stage units had a PCB which had a pleasing number of diagnostic LEDs on it. The Hall Stage D8++ hoist was particularly interesting with it's use of a worm drive to negate the need for a brake, since the device inherently locks when the motor stops. One of the most impressive bits was the way the worm drive coupled to the main drive wheel. The main drive wheel was contoured to make a high area contact with the worm drive, but also had a secondary sliding plate so that if anything ever went wrong and the worm drive somehow jumped or skipped threads, then the plate would rotate and two steel locking pins would snap out and lock the entire hoist to prevent a runaway chain. Very clever arrangement and judging by the amount of thought that has gone into the overall design I'd guess that it's unlikely this safety feature is ever going to have to engage. Add the near silent operation and the complete lack of a brake clacking in and out and it opens up new applications that might not have been considered for a traditional chain hoist before. A very nice bit of engineering, but then... It is Halls.... http://www.hallstage.com/ Most memorable incident of the show is unfortunately reserved for Artistic Licence. I've used one of their Micro-Scope DMX test units while working with Northern Light and have long been tempted to buy one, although I'm not sure the high cost is justifiable for the amount of personal use I'd get out of it. Occasionally though some exhibitors at PLASA do special offers on selected items and I thought it might be worth asking if they had it on special offer during the show. About 15 minutes before the end of the show I strolled up to a plump salesman at their stand and said... "Hi. I've been thinking of buying a DMX tester and was wondering if you had special pricing on the Micro-Scope during the show." Now I did ask politely and I wasn't expecting there to be a "special" price, but neither was I expecting such a blunt and quite frankly rude response. He angrily snapped that it wasn't on special offer and that if I wanted one I could go to the website and buy one. Not content with stopping there he looked at my pass and demanded to know whether I actually bought anything from them. As I mumbled that I was freelance and tended to just install gear supplied by my employers (including Artistic Licence products) he seemed satisfied that I was a non viable customer and I duly left their stand with absolutely no desire to own a Micro-Scope at all. At the central bar there was a museum of Vari-Lites including some very early models. It was fascinating to observe the way their technology had changed and refined with time. Most of the units were working and did an occasional move to prove it. Even the first model was way advanced for it's time and employed three rotating fins of dichroic glass in the beam path for an early colour mixing technique. Good show. But quite frankly, one day was enough. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: Date: Thu, 14 Sep 2006 23:27:38 +0100 From: Clive Mitchell Subject: Re: Theatre Magic Fog Master References: In-Reply-To: In message , Gerald George writes >I found one of these things in a cabinet. No directions, but it looks >pretty neat, if it works. I've seen similar devices (used in the film >world) but never played with one myself. Does anyone know if there is >still a supplier for the aerosol based "aquafog -- water based fog >effect" that the unit requires? Is there a way to tell if the unit is >even functional. I have a can of the fluid, but I think it has long >sinced de-pressurized. (Is that a word? Well, I guess it is now...) I >suspect that the device needs cleaned as well... Any help appreciated! Just a wild guess..... This isn't a rebadged Mini-mist is it? http://www.lemaitreltd.com/ProductDescription.asp?idxProduct=12&idxCatego ry=8 LeMaitre have always done a neat little fog machine that takes aerosol cans of fog fluid that screw down vertically into a base which then feeds the fluid into the machine when a valve button is pressed. The real beauty of these machines is that you plug them into the mains and once they have heated up you can unplug them and walk about squirting smoke where it's required for a surprising amount of time before the thing needs plugged in again. It's very popular in the TV and film industry and is still sold and supported with aerosol fluid. LeMaitres main website is:- http://www.lemaitreltd.com/ -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: <450A0E7E.9030105 [at] cybercom.net> Date: Thu, 14 Sep 2006 22:22:54 -0400 From: Dale farmer Subject: Re: opera australia References:

In-Reply-To: Ford Sellers wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I don't know anyone at Opera AU, but for the Elevator Breaks...Contact > Otis Elevator www.otis.com > Unless I'm remembering wrong (entirely likely)...Mr otis invented the > break, and did quite a publicity stunt to prove their effectiveness. > > -Ford > At 11:06 PM 9/11/2006, you wrote: >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> Greetings, >> >> I am a graduate student at San Diego State University looking to >> contact the Technical Director of Opera Australia. Does anyone know >> who that would be or how to contact them? >> >> I am also researching elevator brake systems if anyone knows a good >> source of material for that. >> >> Thank you, >> >> Scott Price >> >> -- >> Scott Price >> Theatrical Technician >> >> 3560 6th Ave Unit 8 >> San Diego, CA 92103 >> >> 860-670-7815 > > ************************ > 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 > > > > The Otis Device is simply a set of brakes that are spring loaded such that they are applied with great force. The operating lever to release the brakes is this large arm above the elevator car that needs to be pulled up to release the brakes. The pulling up is supplied by the cables that are holding the elevator car up. If the cables break, the brakes are immediately applied, bringing the elevator car to a halt after having fallen a foot or three. You are then advised to call for service before attempting to use the elevator again. Mr. Otis, in an attempt to convince the public that using his device, elevators were no longer a death trap, setup an elevator at IIRC, a worlds fair, and would enter his elevator, cause it to elevate, then he would have an assistant with an axe cut the hoist rope, with Mr. Otis in the suspended elevator car. In those days, elevators used natural fiber rope, which broke unacceptably often under use, dropping the occupants of the elevator frequently to their deaths. --Dale ------------------------------ Message-ID: <20060915030807.54665.qmail [at] web50615.mail.yahoo.com> Date: Thu, 14 Sep 2006 20:08:07 -0700 (PDT) From: b Ricie Subject: Catwalk/working at height safety In-Reply-To: >>And if you felt insecure without the fall arrest system, then consider the power linemen who regularly climb wooden poles up to 200' (transmission over valleys) with nothing more than two scarily small metal spikes hooked under their boots, and a leather belt that goes round the pole and attaches to their waist belt (except when they have to take it off and pass it over obstacles)<< Same with Tree Jockeys. Just swap rubber gloves for running chainsaw. 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 ------------------------------ Date: Thu, 14 Sep 2006 23:08:28 -0400 Subject: Re: Theatre Magic Fog Master From: Steve Larson Message-ID: In-Reply-To: I have one and haven't used it in 16 years. Guess I need to dig it out and fire it up. steve > From: Clive Mitchell > Reply-To: "Stagecraft" > Date: Thu, 14 Sep 2006 23:27:38 +0100 > To: "Stagecraft" > Subject: Re: Theatre Magic Fog Master > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In message , Gerald George > writes >> I found one of these things in a cabinet. No directions, but it looks >> pretty neat, if it works. I've seen similar devices (used in the film >> world) but never played with one myself. Does anyone know if there is >> still a supplier for the aerosol based "aquafog -- water based fog >> effect" that the unit requires? Is there a way to tell if the unit is >> even functional. I have a can of the fluid, but I think it has long >> sinced de-pressurized. (Is that a word? Well, I guess it is now...) I >> suspect that the device needs cleaned as well... Any help appreciated! > > Just a wild guess..... This isn't a rebadged Mini-mist is it? > > http://www.lemaitreltd.com/ProductDescription.asp?idxProduct=12&idxCatego > ry=8 > > LeMaitre have always done a neat little fog machine that takes aerosol > cans of fog fluid that screw down vertically into a base which then > feeds the fluid into the machine when a valve button is pressed. The > real beauty of these machines is that you plug them into the mains and > once they have heated up you can unplug them and walk about squirting > smoke where it's required for a surprising amount of time before the > thing needs plugged in again. It's very popular in the TV and film > industry and is still sold and supported with aerosol fluid. > > LeMaitres main website is:- > http://www.lemaitreltd.com/ > > -- > Clive Mitchell > http://www.bigclive.com ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 15 Sep 2006 04:00:49 GMT Subject: Re: HP DesignJet 70-Opinions? Message-Id: <20060914.210055.15672.433972 [at] webmail31.lax.untd.com> Dear Kim, I am very happy with my DesignJet 100 (24"x36" sheetfeed, plus a tray = for 11"x18", 13"x19" and other sizes). It cost $800 direct from HP. = It plays very nicely with AutoCad 2D and 3D, and does good color work. If you get to try out a DesignJet 70, please give us a report. Thanks /s/ Richard __________________________________ Heyall Havent been by the list lately so I apologize if this has topic has = been covered recently. We are wanting to get a small large format = printer, 18x24 would be fine, and we are looking at the HP Designjet = 70. I havent been able to find any reviews or ratings of it on the = web (although there are plenty of 'not rated yet' and 'write a review = for this item') So, anyone out there in Stagecraft have an opinion = about this printer? HP products are on NY state contract, but I would = be interested in other suggestions also. Thanks Kim Hartshorn Plattsburgh State ------------------------------ Message-Id: <3.0.6.32.20060901221429.00bac8b8 [at] pop.west.cox.net> Date: Fri, 01 Sep 2006 22:14:29 From: CB Subject: RE: How big should the new theatre be? >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... :) You like me! You really like me! Yeah, and room on SL and SR that's DS of the pro opening so that carps don't have to step around ampracks/radio beach and dimmer beach all day. Of course, tehre should be power for same at both locations... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060901222846.00bac8b8 [at] pop.west.cox.net> Date: Fri, 01 Sep 2006 22:28:46 From: CB Subject: The results are in...(long post) >* Powered, insulated (for sound), roll-up doors Never met such a beas myself, but YMMV, I haven't been everywhere yet. Everytime and outside door is opened, and unintended thunder cue weems to go off.... Check out the Hollywood movie studio type doors... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060901223910.00bac8b8 [at] pop.west.cox.net> Date: Fri, 01 Sep 2006 22:39:10 From: CB Subject: Re: Payment Rates >> 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. And we do what in sound? Nothing? Theatre is a collaborative effort (or should be) and we are all helping to put a show together. When I get these I usually think that they are thanking me for doing it at the small fee that I usually get for design. When I design for a larger fee, I usually get a credit, and no note. And, those of you that get a chance at a Tony should quit whinging! ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060901224834.00bac8b8 [at] pop.west.cox.net> Date: Fri, 01 Sep 2006 22:48:34 From: CB Subject: Re: Cue Lights >In over 30 >years in the business, I don't know that I've ever worked with a color blind >stagehand. At least I have never worked with a stagehand who's color >blindness was an issue. How'd the Ground and Neutral get turned around, then? I thought it was because one out of ten electricians are colorblind or something... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <450A529D.2040805 [at] post.tau.ac.il> Date: Fri, 15 Sep 2006 09:13:33 +0200 From: Judy Subject: pay rates > > > No one aspect of >the show is so great that it overrides all the others, and if any >one of those aspects were missing it would be significantly >detrimental. > While I agree with the second half of this sentence, I've seen plenty of shows (unfortunately) with lousy lighting and wonderful acting which worked beautifully, and I've never ever seen the reverse. Can anybody out there say differently? ------------------------------ End of Stagecraft Digest #951 *****************************