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Subject: Stagecraft Digest #976
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #976

 1. Re: General stage policy
    by "RD" <doomster [at] worldnet.att.net>
 2. Fiber Optic Parts
    by <sschepker [at] charter.net>
 3. Re: Arbor line numbering
    by "Bill Nelson" <billn [at] peak.org>
 4. Re: Fiber Optic Parts
    by Charlie Fraser <charlie [at] charliefraser.com>
 5. Re: Question to roadhouses
    by "Jason Salvatori" <theatretd [at] gmail.com>
 6. Long reach Long riders
    by b Ricie <b_ricie [at] yahoo.com>
 7. Re: Long reach Long riders
    by Jerry Durand <jdurand [at] interstellar.com>
 8. Re: Fiber Optic Parts
    by gregg hillmar <gregg [at] hillmardesign.com>
 9. Re: Long reach Long riders
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
10. Re: USITT Electrical PDW
    by Theatre Safety Programs <theatresafe [at] jgorrell.com>
11. Re: Arbor line numbering
    by CB <psyd [at] cox.net>
12. Re: General stage policy
    by CB <psyd [at] cox.net>
13. Re: Long reach Long riders
    by "Jon Ares" <jonares [at] hevanet.com>
14. Re: General stage policy
    by "Jon Ares" <jonares [at] hevanet.com>
15. Re: Long reach Long riders
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
16. Re: Fiber Optic Parts
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
17. Re: "Photo" flash
    by Brian Aldous <brian [at] tany.com>
18. Re: General stage policy
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
19. Help needed understanding ETCNet/pathport stuff.
    by Stuart Wheaton <sdwheaton [at] fuse.net>
20. Re: "Photo" flash
    by "Laura McMeley" <lmcmeley [at] msn.com>
21. Re: "Photo" flash
    by Stuart Wheaton <sdwheaton [at] fuse.net>
22. Re: [user_group] Re: "Photo" flash
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
23. Re: Question to roadhouses
    by "Tom Heemskerk" <tom_heemskerk [at] hotmail.com>
24. Re: Help needed understanding ETCNet/pathport stuff.
    by "Don Rowe" <TechDir [at] comcast.net>
25. Re: Question to roadhouses
    by "Brooke Carlson" <bcarlson1 [at] gmail.com>
26. Help finding a particular lamp
    by Robert Ingram <RI1470 [at] aol.com>
27. Re: Help finding a particular lamp
    by "Bill Brinsley" <bill [at] lightfx.co.nz>
28. Re: Arbor line numbering
    by Rigger <rigger [at] tds.net>
29. Re: Arbor line numbering
    by Stuart Wheaton <sdwheaton [at] fuse.net>
30. Re: Question to roadhouses
    by "Occy" <OneOccy [at] hotmail.com>
31. Re: Help finding a particular lamp
    by Stuart Wheaton <sdwheaton [at] fuse.net>
32. Re: Arbor line numbering
    by Rigger <rigger [at] tds.net>
33. Music Stand Lights
    by Heather Carter <heatherc [at] marlboro.edu>
34. Re: Arbor line numbering
    by "Occy" <OneOccy [at] hotmail.com>
35. Re: Arbor line numbering
    by Stuart Wheaton <sdwheaton [at] fuse.net>
36. Re: Music Stand Lights
    by "Jeff Mabray" <mabray.stagecraft [at] verizon.net>
37. Re: Arbor line numbering
    by Rigger <rigger [at] tds.net>
38. Question to roadhouses
    by Paul Marsland <paulbmarsland [at] yahoo.com>
39. Re: Arbor line numbering
    by <productionmanager [at] minnesotaballet.org>
40. Re: Vectorworks quick question....
    by <brooklyn [at] dopher.com>
41. Re: Arbor line numbering
    by "Brian Munroe" <bpmunroe [at] gmail.com>
42. Re: "Photo" flash
    by "Bill Nelson" <billn [at] peak.org>
43. Re: "Photo" flash
    by "Bill Nelson" <billn [at] peak.org>
44. Re: General stage policy
    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.

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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: General stage policy
Date: Sun, 8 Oct 2006 05:35:50 -0600
Message-ID: <008201c6eacd$e821c3c0$6501a8c0 [at] doom1>
In-Reply-To: <list-36006830 [at] prxy.net>

Sunday, October 08, 2006
Anyone who is on the stage, or whoever is in you work environment, if you
are in charge of the stage, and that is what your job description, which you
should have, says, are under your direction, and thus the obligation, Due
Diligence, etc. liability, etc. is yours. There are massive law suits and
case studies to speak to that directive, believe me. 

Absolutely, if you are not there, and someone else in authority is there,
watching and supervising students is responsible for their welfare, safety,
etc. 

Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares
Sent: Saturday, October 07, 2006 9:20 PM
To: Stagecraft
Subject: Re: General stage policy

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> As for board members/adults, they are not your students  and they are over

> 18
> so you have a lesser "duty" to insuring their safety.  Teachers who 
> supervise
> students there while you're not present need to  demonstrate that they 
> know
> how to be safe in the space.


Ok, your previous post implied all people of all sorts needed training and a

test.  You're speaking of students in the functions of their education.

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <1838401452.1160311731345.JavaMail.root [at] fepweb10>
Date: Sun, 8 Oct 2006 5:48:51 -0700
From: <sschepker [at] charter.net>
Subject: Fiber Optic Parts

Greetings,
Friday afternoon, right before load-in, our production team decided we need fiber optics.
I need two things:
1.  Raw fiber optic cable (no jacket required)
2.  Light box (color wheel would be nice)
I want to have it on Tuesday.
I made a few calls to my usual vendors, but didn't have much luck.
Suggestions.... Ideas.....  Bueller...... Bueller....
Back to load-in.
Thanks,
Steve Schepker
Southeastern Louisiana University

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

Message-ID: <2244.205.215.253.249.1160312997.squirrel [at] webmail.peak.org>
In-Reply-To: <list-36001563 [at] prxy.net>
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net> 
    <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net>
Date: Sun, 8 Oct 2006 06:09:57 -0700 (PDT)
Subject: Re: Arbor line numbering
From: "Bill Nelson" <billn [at] peak.org>

> Yes, the _lock rail_ should be labeled by function, perhaps even color
> coded by working/non working set or type of pipe (Electric, Drop,
> Masking, etc).  But the sets should have some sort of numbering.  Your
> rail cards should have a set number and a description on them.

I guess I misunderstood what people where describing. I meant that the
positions at the lock rail and loading bridge should be labeled by
function, not just by number.

Bill


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

Date: Sun, 08 Oct 2006 06:41:39 -0700
From: Charlie Fraser <charlie [at] charliefraser.com>
Subject: RE: Fiber Optic Parts
Message-ID: <20061008064139.90ac6e739a02edcbbf0ef1514f024755.ad0519357c.wbe [at] email.secureserver.net>

<div>Have you tried Shadowstone in NJ? If they don't have it I am sure
they can tell you where to get it, ask for Phil. </div>
<div>201-883-9400</div>
<div><FONT color=#ffffff size=2>140 Porter Street<BR></FONT><FONT
face="Verdana, Arial, Helvetica, sans-serif" color=#ffffff
size=2>Hackensack, NJ 07601<BR></FONT><FONT size=2><FONT face="Verdana,
Arial, Helvetica, sans-serif" color=white>Tel: (201)
883-9400<BR></FONT><FONT face="Verdana, Arial, Helvetica, sans-serif"
color=white>Fax:(201) 883-0044</FONT></FONT> <BR><BR>Charlie<BR></div>
<DIV id=wmMessageComp name="wmMessageComp"><BR><BR>
<BLOCKQUOTE style="PADDING-LEFT: 8px; MARGIN-LEFT: 8px; BORDER-LEFT:
blue 2px solid">-------- Original Message --------<BR>Subject: Fiber
Optic Parts<BR>From: sschepker [at] charter.net<BR>Date: Sun, October 08,
2006 8:48 am<BR>To: "Stagecraft"
&lt;stagecraft [at] theatrical.net&gt;<BR><BR>For info, archives &amp;
UNSUBSCRIBE, see
&lt;http://stagecraft.theprices.net/&gt;<BR>---------------------------------------------------<BR><BR>Greetings,<BR>Friday
afternoon, right before load-in, our production team decided we need
fiber optics.<BR>I need two things:<BR>1. &nbsp;Raw fiber optic cable
(no jacket required)<BR>2. &nbsp;Light box (color wheel would be
nice)<BR>I want to have it on Tuesday.<BR>I made a few calls to my
usual vendors, but didn't have much luck.<BR>Suggestions.... Ideas.....
&nbsp;Bueller...... Bueller....<BR>Back to load-in.<BR>Thanks,<BR>Steve
Schepker<BR>Southeastern Louisiana University </BLOCKQUOTE></DIV>


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

Message-ID: <1caebf780610080731h2690f22bu5c47f1fb51769fd5 [at] mail.gmail.com>
Date: Sun, 8 Oct 2006 10:31:40 -0400
From: "Jason Salvatori" <theatretd [at] gmail.com>
Subject: Re: Question to roadhouses
In-Reply-To: <list-36003629 [at] prxy.net>
References: <list-35998904 [at] prxy.net> <list-36003528 [at] prxy.net>
	 <list-36003629 [at] prxy.net>

We also shut down all power overnight.  We do not require this between
shows, but yes for overnight.

Jason Salvatori
Technical Director
Vaughan City Playhouse

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

Message-ID: <20061008145921.63502.qmail [at] web50606.mail.yahoo.com>
Date: Sun, 8 Oct 2006 07:59:21 -0700 (PDT)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Long reach Long riders
In-Reply-To: <list-36018439 [at] prxy.net>


>>I've gotten plenty of work by being small.  "Hey
Sapsis.  Crawl under 
this
deck and fish out that cable, will ya?"  Or.."You want
me to climb 
where???
I can't fit there but Sapsis can."<<


I have always been of the opinion that every crew
should have on it a TALL guy and a SMALL guy. If one
has "monkey ability" that is a bonus.


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: Sun, 08 Oct 2006 08:13:57 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Long reach Long riders
In-reply-to: <list-36030221 [at] prxy.net>
Message-id: <A65C22B6-F2AB-4522-B711-2ADDD5B37B3D [at] interstellar.com>
References: <list-36030221 [at] prxy.net>


On Oct 8, 2006, at 7:59 AM, b Ricie wrote:

> I have always been of the opinion that every crew
> should have on it a TALL guy and a SMALL guy. If one
> has "monkey ability" that is a bonus.

Ah yes, I'm not overly tall or short, but did get blessed with monkey  
ability.  Years ago (before people realized that heights are  
dangerous, when dirt was young), I found myself fishing wires around  
a theater by crawling through the roof trusses (LONG way down from  
there!).  I did have two boards to crawl on, the one I was on and one  
to slide across to the next truss.   I hear we're now supposed to  
have some sort of harness on, like an organ grinder's monkey?


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

In-Reply-To: <list-36025171 [at] prxy.net>
References: <list-36025171 [at] prxy.net>
Message-Id: <81F07E61-A468-4F62-9998-A1826BF3E32A [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: Fiber Optic Parts
Date: Sun, 8 Oct 2006 11:47:43 -0400

Steve, I've had good experiences with Main Light in Delaware  
(www.mainlight.com). They rent a Martin fiber optic source that is  
dmx controllable so is very easy to use, and does have colour control.

Timing and shipping may be an issue...

good luck!

g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money.  Love like you've never been  
hurt. Dance like no one's watching."
                     Satchel Paige

On Oct 8, 2006, at 8:48 AM, <sschepker [at] charter.net>  
<sschepker [at] charter.net> wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Greetings,
> Friday afternoon, right before load-in, our production team decided  
> we need fiber optics.
> I need two things:
> 1.  Raw fiber optic cable (no jacket required)
> 2.  Light box (color wheel would be nice)
> I want to have it on Tuesday.
> I made a few calls to my usual vendors, but didn't have much luck.
> Suggestions.... Ideas.....  Bueller...... Bueller....
> Back to load-in.
> Thanks,
> Steve Schepker
> Southeastern Louisiana University


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

Message-ID: <LNuXxhC5cSKFFweK [at] ntlworld.com>
Date: Sun, 8 Oct 2006 17:28:41 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Long reach Long riders
References: <list-36018439 [at] prxy.net> <list-36030221 [at] prxy.net>
In-Reply-To: <list-36030221 [at] prxy.net>

In message <list-36030221 [at] prxy.net>, b Ricie <b_ricie [at] yahoo.com> writes
>I have always been of the opinion that every crew should have on it a 
>TALL guy and a SMALL guy. If one has "monkey ability" that is a bonus.

Strangely enough NL's Glasgow installation crew had a tall guy (me) and 
a small guy (Gordon.)  It was a very useful combination.  I got all the 
high/heavy stuff and he did all the nooks and crannies.

-- 
Clive Mitchell
http://www.bigclive.com

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

Message-Id: <7.0.1.0.2.20061008092053.022c7e38 [at] earthlink.net>
Date: Sun, 08 Oct 2006 09:41:01 -0700
From: Theatre Safety Programs <theatresafe [at] jgorrell.com>
Subject: Re: USITT Electrical PDW

Cosmo asked:
Is the PDW Electrical Workshop for Phoenix geared towards information
that will be helpful for ETCP Electrician certification?  I'm sure it
couldn't hurt to take it, but is moving participants towards
qualification for certification testing  one of the goals?

Answer:

The PDW Electrical Workshop is not specifically geared toward the 
ETCP electrical certification. However the content is being been 
adjusted or modified to address many of the items in the candidate 
handbook. However the presenters expertise does not necessarily cover 
all the material on the exam. Lastly, the exam questions are known 
only to the ETCP.

Jerry Gorrell
Mitch Hefter
Ken Vannice

co- chairs USITT ESW Committee




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

Message-Id: <3.0.6.32.20061008091901.00c56cd0 [at] pop.west.cox.net>
Date: Sun, 08 Oct 2006 09:19:01
From: CB <psyd [at] cox.net>
Subject: Re: Arbor line numbering

>I also
>intentionally omit space number 13 if for no other reason than to
>reinforce the notion that theatre people march to their own drummer.

Frank!  This is *why* we have a lineset thirteen.  Stagehands don't believe
in superstions. We think that they are bad juju.
				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: <3.0.6.32.20061008092415.00c56cd0 [at] pop.west.cox.net>
Date: Sun, 08 Oct 2006 09:24:15
From: CB <psyd [at] cox.net>
Subject: Re: General stage policy

> with my principal and the District Director 
>of Operations

Sounds like the Blonde leading the Blind...
I can't tell you how many times I've been called on the carpet for being
smarter than my superiors.  They tend to call it insubordination when they
realize that they haven't a portion of the skillset you do...
And you can show them this if you need to.
				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: <001401c6eafc$5c6ddd80$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-36030221 [at] prxy.net> <list-36030802 [at] prxy.net>
Subject: Re: Long reach Long riders
Date: Sun, 8 Oct 2006 10:08:22 -0700

>   I hear we're now supposed to  have some sort of harness on, like an 
> organ grinder's monkey?



Hmm... I never realized the organ grinder's monkey's harness was a fall 
arrest harness!  Wow... you learn something new every day!   ;)  Is that so 
he won't fall in the gutter?

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <002001c6eafd$907dd930$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-36035314 [at] prxy.net>
Subject: Re: General stage policy
Date: Sun, 8 Oct 2006 10:16:59 -0700

> Sounds like the Blonde leading the Blind...
> I can't tell you how many times I've been called on the carpet for being
> smarter than my superiors.  They tend to call it insubordination when they
> realize that they haven't a portion of the skillset you do...


Chris, you're right on - this is a part of the problem, rearing its ugly 
head again.  Not to disparage the PhDs on this list, but so often the PhDs 
in the upstairs office get itchy when one of the commoners tries to organize 
a semblance of order and protocol.  There have been times I've tried to 
reason or make my point clear by speaking in their language - by citing 
studies, research, other professionals, Standard of Practice, references, 
etc (all in an effort to make sure they don't interpret my actions as an 
emotional rant or personal opinion) - and this too has been met with the 
suspicion that I'm demeaning them.

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <000c01c6eb05$52957c10$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
References: <list-36030221 [at] prxy.net>
Subject: Re: Long reach Long riders
Date: Sun, 8 Oct 2006 12:12:30 -0600


----- Original Message ----- 
From: "b Ricie" <b_ricie [at] yahoo.com>

> I can't fit there but Sapsis can."<<
>
>
> I have always been of the opinion that every crew
> should have on it a TALL guy and a SMALL guy. If one
> has "monkey ability" that is a bonus.
>
>
Maximum two truss monkeys per crew.
Otherwise we'll get typewriters and try to do the collective works of
Doom.
Rob't.


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

Message-ID: <452943BF.2040406 [at] gmail.com>
Date: Sun, 08 Oct 2006 14:30:23 -0400
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: Fiber Optic Parts
References: <list-36025171 [at] prxy.net>
In-Reply-To: <list-36025171 [at] prxy.net>

fiberopticproducts.com

I've ordered from them and they have good pricing and selection and will 
probably be willing to overnight the items for the right price.

Steve L.

sschepker [at] charter.net wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Greetings,
> Friday afternoon, right before load-in, our production team decided we need fiber optics.
> I need two things:
> 1.  Raw fiber optic cable (no jacket required)
> 2.  Light box (color wheel would be nice)
> I want to have it on Tuesday.
> I made a few calls to my usual vendors, but didn't have much luck.
> Suggestions.... Ideas.....  Bueller...... Bueller....
> Back to load-in.
> Thanks,
> Steve Schepker
> Southeastern Louisiana University
> 

-- 
Stephen Litterst			Technical Operations Supervisor
litterst [at] udel.edu			Center for the Arts
302/831-0601				University of Delaware

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

In-Reply-To: <list-36018439 [at] prxy.net>
References: <list-36018439 [at] prxy.net>
Message-Id: <AC3F06C5-10A8-48E6-B803-D59F4928B997 [at] tany.com>
From: Brian Aldous <brian [at] tany.com>
Subject: Re: "Photo" flash
Date: Sun, 8 Oct 2006 15:02:10 -0400

Looking for suggestions here on a common lighting problem that I have  
never found a satisfactory "Low Budget" solution for: a staged  
"photo" shot.

Many plays call for it.  Using an ordinary camera electronic flash is  
never bright enough - only useful if it as an actor-controlled prop,  
in which case i can dodge responsibility  for it ("Props!") No Dimmer  
controlled incandescent is fast enough - even if I try a photoflood  
lamp (like an EBR), if it is run through a computer board & dimmer  
(or non-dim card, in the rare case that is available) the response  
time is just too slow.  I have tried a Dataflash in the past, but DMX  
programming it is a black art and even after wasting a lot of tech  
time on them they are still unsatisfactory: too dim & the refresh  
time is unpredictably slow if 2 or 3 separately cued flashes are needed.

Anyone got any suggestions that won't eat my entire 5 & dime budget  
on the new Gurney play I'm showcasing next week?

Thanks.

BA

Brian Aldous
Lighting Design

brian [at] tany.com


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Sun, 8 Oct 2006 19:13:43 GMT
Subject: Re: General stage policy
Message-Id: <20061008.121408.18186.622510 [at] webmail36.lax.untd.com>

I have been on both sides of the table during these discussions. Real =

progress is rarely made. The most efficient way to make safety a way =

of life is often met with the funding source telling the desk-bound =

administrator that it is 'Their way or the Highway', whether that =

funding source is government or a Major Donor who wants a certain =

look for a lobby, audience, or a performing space. I've met certain =

donors who always demand Foy for flying sequences when Sapsis or =

Hall, along with their subcontractors, are better equipped to accept =

a certain job, particularly when there is a potential surcharge on =

parts of a theatre's structure that must be calculated, and, if =

necessary, reinforced, before it is safe to fly ANYBODY, including a =

rigger, to do reinforcement prior to flying the actor/dancer/whomever.
/s/ Richard
__________________________________
> I can't tell you how many times I've been called on the carpet for =

being smarter than my superiors.  They tend to call it =

insubordination when they realize that they haven't a portion of the =

skillset you do...


Chris, you're right on - this is a part of the problem, rearing its =

ugly head again.  Not to disparage the PhDs on this list, but so =

often the PhDs in the upstairs office get itchy when one of the =

commoners tries to organize a semblance of order and protocol.  There =

have been times I've tried to reason or make my point clear by =

speaking in their language - by citing studies, research, other =

professionals, Standard of Practice, references, etc (all in an =

effort to make sure they don't interpret my actions as an emotional =

rant or personal opinion) - and this too has been met with the =

suspicion that I'm demeaning them.
     - Jon Ares
  


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

Message-ID: <452959F7.7060706 [at] fuse.net>
Date: Sun, 08 Oct 2006 16:05:11 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Help needed understanding ETCNet/pathport stuff.


I went on a service call last week, it turned out the problem was not in 
my equipment but ended up being traced to a bad node from an ETCNet system.

Here's what I know for sure...

This is a two outlet node, fed from ethernet.

If I unplug the Ethernet from the back of the node, wait 10-20 secs, 
plug it back in, I get three lines of text, last 2 referring to IP 
addresses, but it never progresses from there.

On a working unit, the three lines of text fly past, and then the Node 
ID shows up, listing the node number and what the ports are mapped to.

Sadly, the guy who runs the system day-to-day didn't have any 
involvement in setting up the system.  And I don't know either, when I 
plugged in initially, I just said, "this gizmo is plugged into Node x, 
port y" and the guy who set things up made it work.

My questions are:

Where does the node get it's IP info from?
Does the info come down the cable, or is it resident in the node?
If I moved a working unused node into the place of the bad one will it 
become a working version of the bad node or the other node in a new place.
Is there some sort of secret, hidden reset button somewhere on the node?

If the actual solution gets into programming stuff, it is WAY beyond my 
pay grade, all I need or want to know is the downstream user interface 
mechanical type stuff.  But I DO need to know whether it is stuff I can 
fix or stuff I can't.

Stuart


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

Message-ID: <BAY109-DAV97ABB55E300470BCD520BDF110 [at] phx.gbl>
From: "Laura McMeley" <lmcmeley [at] msn.com>
Subject: RE: "Photo" flash
Date: Sun, 8 Oct 2006 15:09:25 -0500
Message-ID: <01c901c6eb15$a7757090$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-36038957 [at] prxy.net>

Use a photoflood lamp, but put a switch inline that can be reached by stage
management or the board op. Either plug it directly to power or if you have
to use a circuit in your dimming system, set it to always be on.

Laura
972-333-5016


> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Brian
> Aldous
> Sent: Sunday, October 08, 2006 2:02 PM
> To: Stagecraft
> Subject: Re: "Photo" flash
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Looking for suggestions here on a common lighting problem that I have
> never found a satisfactory "Low Budget" solution for: a staged
> "photo" shot.
> 
> Many plays call for it.  Using an ordinary camera electronic flash is
> never bright enough - only useful if it as an actor-controlled prop,
> in which case i can dodge responsibility  for it ("Props!") No Dimmer
> controlled incandescent is fast enough - even if I try a photoflood
> lamp (like an EBR), if it is run through a computer board & dimmer
> (or non-dim card, in the rare case that is available) the response
> time is just too slow.  I have tried a Dataflash in the past, but DMX
> programming it is a black art and even after wasting a lot of tech
> time on them they are still unsatisfactory: too dim & the refresh
> time is unpredictably slow if 2 or 3 separately cued flashes are needed.
> 
> Anyone got any suggestions that won't eat my entire 5 & dime budget
> on the new Gurney play I'm showcasing next week?
> 
> Thanks.
> 
> BA
> 
> Brian Aldous
> Lighting Design
> 
> brian [at] tany.com



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

Message-ID: <45295D8A.7080602 [at] fuse.net>
Date: Sun, 08 Oct 2006 16:20:26 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: "Photo" flash
References: <list-36018439 [at] prxy.net> <list-36038957 [at] prxy.net>
In-Reply-To: <list-36038957 [at] prxy.net>

Brian Aldous wrote:

> Many plays call for it.  Using an ordinary camera electronic flash is 
> never bright enough - only useful if it as an actor-controlled prop, in 
> which case i can dodge responsibility  for it ("Props!") No Dimmer 
> controlled incandescent is fast enough - even if I try a photoflood lamp 
> (like an EBR), if it is run through a computer board & dimmer (or 
> non-dim card, in the rare case that is available) the response time is 
> just too slow.

If you mean the non-dim is too slow to look like a flash, then use the 
non-dim to trigger a timed relay for a 1/4 or 1/2 second on time.  The 
relays are about 50 dollars or so, but last forever, and you could use 
them for other effects later.

If the problem is with cuing the flash to match the action on stage, you 
might need to use a radio controlled flash that professional photogs 
use.  If you called local photographic studios somebody might lend you a 
flash unit and a radio trigger device.  Especially if there is program 
credit or a free ad available for the studio.


Stuart

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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Subject: RE: [user_group] Re: "Photo" flash
Date: Sun, 8 Oct 2006 16:35:12 -0400
Message-ID: <01fc01c6eb19$41380d20$7f9bfea9 [at] p3m866>
In-Reply-To: <list-36038957 [at] prxy.net>

> Looking for suggestions here on a common lighting problem 
> that I have never found a satisfactory "Low Budget" solution 
> for: a staged "photo" shot.

Hi Brian.

Have you tried one of the larger "outboard" photo flashes, like pro
photographers use?  They come in a range of brightnesses and some are VERY
high intensity.  Opus is one manufacturer.  Consider buying something used.

These units usually have a test button to make them flash, and hold a charge
for quite a while after they are unplugged.  You might be able to unplug it
and give it to an actor shortly before they take it on stage.

Alternatively, it would be simple to make it trigger from a DMX relay, and
it should go off instantaneously (as fast as the relay device reacts).
Photography, after all, requires immediate triggering.

You could use several together for a brighter effect.  In that case,
consider using one DMX trigger, and a collection of slave flashes.  The
slaves trigger when they see the first flash go off.  Should be fine if they
are fairly close together, though you should test for other lighting effects
in your show causing false triggers.

Finally, (sorry for the self-promo) it would also be easy to trigger one of
these flashes from an RC4 receiver if you need wireless control.

Jim
RC4


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

Message-ID: <BAY109-F1467AF1628B7429C3724F587110 [at] phx.gbl>
In-Reply-To: <list-36000177 [at] prxy.net>
From: "Tom Heemskerk" <tom_heemskerk [at] hotmail.com>
Subject: Re: Question to roadhouses
Date: Sun, 08 Oct 2006 13:49:28 -0700

Ditto to the responses in favour of shutting down, unless there is something 
especially important that wants to be left powered up. I've yet to get any 
serious grief from a touring company over this.

If possible get your management to formally give the house electrician the 
discretion to shut off or leave on, for those (hopefully) rare occasions 
when someone doesn't want to take your word on it late on a Sunday night. I 
gather this is a new venue, so this could be the start of a little policy 
book...

tom



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

Message-ID: <00f701c6eb1c$d3fd43c0$6401a8c0 [at] dondesk>
From: "Don Rowe" <TechDir [at] comcast.net>
Cc: sdwheaton [at] fuse.net
References: <list-36040395 [at] prxy.net>
Subject: Re: Help needed understanding ETCNet/pathport stuff.
Date: Sun, 8 Oct 2006 17:00:46 -0400

The mystery reset button is normally a small pin hole in the back or bottom.
Oddly enough I have seen some models with the reset on the front.  A mid
size paperclip unfolded will reach the inner button.  Now the tricky part,
unplug everything but the power supply and then hit the reset button and
hold it.  The lights will flash on and off then back on, repeat this 2 more
times.  This is the same process I use on standard routers to get the router
back to the original BIOS.
    Now the warning, if any updates or firmware updates have been made and
were necessary to make the system work they will be lost!!
    If for some reason there is no reset button you can accomplish this same
task the following way,  unplug everything but the power cord, unplug the
power cord and wait 15 minutes.  Plug the cord back in but when the lights
turn on unplug it again.  Do this several times.  It's like stalling your
computer in mid startup.  Eventually the internal memory will fail and go
back to it's original programming.
    Now if the node truly just went bad well then this will all be good for
nothing and you need a new node.
Good luck
----- Original Message ----- 
From: "Stuart Wheaton" <sdwheaton [at] fuse.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Sunday, October 08, 2006 4:05 PM
Subject: Help needed understanding ETCNet/pathport stuff.


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
> I went on a service call last week, it turned out the problem was not in
> my equipment but ended up being traced to a bad node from an ETCNet
system.
>
> Here's what I know for sure...
>
> This is a two outlet node, fed from ethernet.
>
> If I unplug the Ethernet from the back of the node, wait 10-20 secs,
> plug it back in, I get three lines of text, last 2 referring to IP
> addresses, but it never progresses from there.
>
> On a working unit, the three lines of text fly past, and then the Node
> ID shows up, listing the node number and what the ports are mapped to.
>
> Sadly, the guy who runs the system day-to-day didn't have any
> involvement in setting up the system.  And I don't know either, when I
> plugged in initially, I just said, "this gizmo is plugged into Node x,
> port y" and the guy who set things up made it work.
>
> My questions are:
>
> Where does the node get it's IP info from?
> Does the info come down the cable, or is it resident in the node?
> If I moved a working unused node into the place of the bad one will it
> become a working version of the bad node or the other node in a new place.
> Is there some sort of secret, hidden reset button somewhere on the node?
>
> If the actual solution gets into programming stuff, it is WAY beyond my
> pay grade, all I need or want to know is the downstream user interface
> mechanical type stuff.  But I DO need to know whether it is stuff I can
> fix or stuff I can't.
>
> Stuart
>


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

Message-ID: <1449f50a0610081433t5446b891ic29263fe793e1ce4 [at] mail.gmail.com>
Date: Sun, 8 Oct 2006 14:33:16 -0700
From: "Brooke Carlson" <bcarlson1 [at] gmail.com>
Cc: wuz [at] epix.net
Subject: Re: Question to roadhouses
In-Reply-To: <list-35998904 [at] prxy.net>
References: <list-35998904 [at] prxy.net>

On 10/7/06, David Farrier <wuz [at] epix.net> wrote:

> I wanted to ask out in the vapours how many houses require show power
> be turned off while unattended? (like overnight)
> We always get the reply that "we are the only house that does this"
> although I know other houses in nearby towns do the same.


I'm an end user, not a house guy, however...

We ask that everything be powered down, or do it ourselves, except for
the service that includes the automation service truss.  The system
will hold its numbers just fine, but I run an AC line down to charge
the batteries on one of the scenic units (Pride Rock) overnight and
between shows.  Prior to doing it this way we would use a wall outlet,
but we had periodic issues with soft house breakers, house breakers
being turned off, the extension cord being 'borrowed' to use for
something else, etc.  As this is a fairly important element of the
show, I decided to use my own, dependable, power source.

In most houses, the Head Electrician for the building will ask the
show what, if anything, should receive 24 hour power; I have never had
a problem with, or a fee charged for, leaving on power.

For those who would refuse to allow this, or charge for the privilege,
do you regulate yourselves in the same manner?  Kill all power going
to racks and dimmer rooms, unplug everything from all wall outlets
each night, eschew the use of ghost lights (well known to
spontaneously combust <g>), and that sort of thing.

Just curious...

-- 
Brooke Carlson
Automation Carpenter
Lion King - Cheetah Tour

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

Message-ID: <45298603.1090907 [at] AOL.COM>
Date: Sun, 08 Oct 2006 19:13:07 -0400
From: Robert Ingram <RI1470 [at] aol.com>
Subject: Help finding a particular lamp

Good Day all,

I've been trying to find a single lamp for some time now with no luck, 
so I'm turning to the wisdom of the list for some assistance.

I need a replacement lamp for a wall cabinet that uses a 35w, 110v MR-16 
lamp with a twin post.  I'm pretty sure that the reason I can't find it 
is because I've got the wrong lamp code (there isn't one listed in the 
manual or on the dead lamp) and because MR-16's are typically only 12V 
or  24V, and these are some closely related lamp.

Any assistance would be greatly appreciated either on or off the list. 

Enjoy the holiday tomorrow everyone.

Rob Ingram
IATSE Local 22



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

From: "Bill Brinsley" <bill [at] lightfx.co.nz>
Subject: RE: Help finding a particular lamp
Date: Mon, 9 Oct 2006 12:17:30 +1300
Organization: Light FX Limited
Message-ID: <!&!AAAAAAAAAAAYAAAAAAAAAMMlFt8fBWtMg6gTDY8HEiPCgAAAEAAAAE0gNHFwM9VHmneXJ5mpQEoBAAAAAA== [at] lightfx.co.nz>
In-Reply-To: <list-36047459 [at] prxy.net>

 I think what you are looking for is a "GU10" based lamp.

HTH,
Bill.

-----Original Message-----

I've been trying to find a single lamp for some time now with no luck, 
so I'm turning to the wisdom of the list for some assistance.

I need a replacement lamp for a wall cabinet that uses a 35w, 110v MR-16 
lamp with a twin post.  I'm pretty sure that the reason I can't find it 
is because I've got the wrong lamp code (there isn't one listed in the 
manual or on the dead lamp) and because MR-16's are typically only 12V 
or  24V, and these are some closely related lamp.

Any assistance would be greatly appreciated either on or off the list. 

Enjoy the holiday tomorrow everyone.

Rob Ingram
IATSE Local 22


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

Message-Id: <p06230900c14f36ec73df [at] [192.168.0.4]>
In-Reply-To: <list-36026023 [at] prxy.net>
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>    
 <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net> <list-36026023 [at] prxy.net>
Date: Sun, 8 Oct 2006 19:28:35 -0400
From: Rigger <rigger [at] tds.net>
Subject: Re: Arbor line numbering

At 6:09 AM -0700 10/8/06, Bill Nelson wrote:

>>  Yes, the _lock rail_ should be labeled by function, perhaps even color
>>  coded by working/non working set or type of pipe (Electric, Drop,
>>  Masking, etc).  But the sets should have some sort of numbering.  Your
>>  rail cards should have a set number and a description on them.
>
>  I guess I misunderstood what people where describing. I meant that the
>  positions at the lock rail and loading bridge should be labeled by
>  function, not just by number.


At the Wharton Center, we labeled each position at both locking rails 
and both load floors with the lineset number.  We further had the 
little cards we could move around at the locking rail with the 
particular pipe's number and description. When we stripped the house 
for an incoming roadshow, the railcards moved along with the shifted 
goods, leaving the bare pipes available and numbered.

The pipe numbers, measurements upstage-of-plasterline, and house 
goods all appeared on my house-hang plot in the venue's tech package, 
so that the carpenter advancing the show could see what possible 
obstructions we had and/or what house goods could be used for masking 
and the like.

I don't see the need for function labeling at the laoding bridge; 
your flyman can tell the pig-slingers how much weight to move, right? 
"Upstairs! Give me six and a half bricks on lineset three!" They 
don't really need to know that this pipe with seventeen bricks is a 
traveler, while *this* pipe with seventeen bricks is the #6LX, do 
they?

-- 
Dave Vick
20/20 Design
rigger [at] tds.net

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

Message-ID: <45299055.1030104 [at] fuse.net>
Date: Sun, 08 Oct 2006 19:57:09 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: Arbor line numbering
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>     <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net> <list-36026023 [at] prxy.net> <list-36047861 [at] prxy.net>
In-Reply-To: <list-36047861 [at] prxy.net>

Rigger wrote:
> 
> I don't see the need for function labeling at the laoding bridge; your 
> flyman can tell the pig-slingers how much weight to move, right? 
> "Upstairs! Give me six and a half bricks on lineset three!" They don't 
> really need to know that this pipe with seventeen bricks is a traveler, 
> while *this* pipe with seventeen bricks is the #6LX, do they?
> 

The only reason for wanting to know in this example would be that the 
whole weight of #6LX is on the arbor, whereas the traveler will very 
quickly put a strain on the lock and snub.  I think if the loaders are 
working a pipe where they have to go very far from balance it is nice 
for them to be aware.   If the pipe creeps slightly as the second to 
last brick goes on the LX, it will be easily held from the gallery.  If 
the traveller starts to creep after the second to last brick, the shit 
is getting ready to hit the fan!

Stuart

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

Message-ID: <BAY110-DAV9A942D93893E21AB55E0DBD110 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
Cc: wuz [at] epix.net
References: <list-35998904 [at] prxy.net>
Subject: Re: Question to roadhouses
Date: Sun, 8 Oct 2006 16:55:12 -0700

All big power off, anything under 60 amps would normally not be a problem to 
be left on unattended. The biggest problem children seem to be recording 
trucks first they want no ground after 15-20 mins explaining that they will 
have a house ground to chassis or no power then comes end night of all temp 
power users and probably the least that needs 24/7 power that's wants it is 
the recording truck, another 15-20 as why they can't have power without an 
electrician on duty and no security does not count as an electrician either, 
finally came down that I would let them have 24 hour power if they parked in 
the tour bus parking. The power went down on the recording truck each night 
too.


----- Original Message ----- 
From: "David Ferrier" <wuz [at] epix.net>
> ---------------------------------------------------
> I wanted to ask out in the vapours how many houses require show power
> be turned off while unattended? (like overnight)
> We always get the reply that "we are the only house that does this"
> although I know other houses in nearby towns do the same.
>
> We have had a fire start during an overnight that could have been a
> big problem if it had gotten any bigger. But I can imagine many more
> things that could go wrong.
>
> --
> David Farrier - 'The Wuz'
> IATSE Local 97 - Reading, PA
>
> 

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

Message-ID: <4529930A.6090001 [at] fuse.net>
Date: Sun, 08 Oct 2006 20:08:42 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: Help finding a particular lamp
References: <list-36047459 [at] prxy.net>
In-Reply-To: <list-36047459 [at] prxy.net>

Robert Ingram wrote:

> Good Day all,
> 
> I've been trying to find a single lamp for some time now with no luck, 
> so I'm turning to the wisdom of the list for some assistance.
> 
> I need a replacement lamp for a wall cabinet that uses a 35w, 110v MR-16 
> lamp with a twin post.  I'm pretty sure that the reason I can't find it 
> is because I've got the wrong lamp code (there isn't one listed in the 
> manual or on the dead lamp) and because MR-16's are typically only 12V 
> or  24V, and these are some closely related lamp.


Do the posts look like the small smooth pins in a 12 volt MR type?   Or 
are they fatter and notched like a fluorescent starter has(GU-10)?  Or 
more like an FEL has?

Is the lamp set down in an open faced reflector, or is there a glass 
face on the reflector?

Are you sure the supplied voltage is 110?  was it supposed to be?

Is there a name on anything associated with the lamp, or socket?

What is the exact diameter of the lamp.

How does it mount in the fixture?

Here's a link to GU-10 stuff.

http://www.unitedhalogenbulb.com/GU10.html

Otherwise it might be some exotic AV type lamp.


Stuart





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

Message-Id: <p06230905c14f423a1a22 [at] [192.168.0.4]>
In-Reply-To: <list-36048826 [at] prxy.net>
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>    
 <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net>
 <list-36026023 [at] prxy.net> <list-36047861 [at] prxy.net> <list-36048826 [at] prxy.net>
Date: Sun, 8 Oct 2006 20:07:49 -0400
From: Rigger <rigger [at] tds.net>
Subject: Re: Arbor line numbering

At 7:57 PM -0400 10/8/06, Stuart Wheaton wrote:

>  Rigger wrote:
>>  I don't see the need for function labeling at the laoding bridge;
>>  your flyman can tell the pig-slingers how much weight to move, right?
>>  "Upstairs! Give me six and a half bricks on lineset three!" They
>>  don't really need to know that this pipe with seventeen bricks is
>>  a traveler, while *this* pipe with seventeen bricks is the #6LX, do they?
>
>
>The only reason for wanting to know in this example would be that the
>  whole weight of #6LX is on the arbor, whereas the traveler will very
>  quickly put a strain on the lock and snub.  I think if the loaders
>  are working a pipe where they have to go very far from balance it is
>  nice for them to be aware.   If the pipe creeps slightly as the second
>  to last brick goes on the LX, it will be easily held from the gallery.
>  If the traveller starts to creep after the second to last brick, the
>  shit is getting ready to hit the fan!


I'm not saying I disagree with you, Stuart, but wouldn't this be more 
of an endorsement of a competent flyman running the load-in and 
communicating with his loading-bridge crew, rather than one for 
labeling the bridge?

-- 
Dave Vick
20/20 Design
rigger [at] tds.net

Playing Devil's Advocate in a theatre near you...
("But how does the theatre know where I am?")

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

Message-Id: <DF46DFF3-7999-4163-B556-0A29FB820E10 [at] marlboro.edu>
From: Heather Carter <heatherc [at] marlboro.edu>
Subject: Music Stand Lights
Date: Sun, 8 Oct 2006 20:14:37 -0400

Hi, all- I'm needing the list to act as archive, if you would. I  
can't seem to get the archive function to help me out...Keeps coming  
up with 2 lemons and a cherry...

I'm remembering a mention of some rockin' music stand lights  sans  
cord tangle, facilitated by a nice plug-in strip that could be run  
from row to row of chairs. This ringing a bell for anyone?  
Alternately, does anyone have a music stand light solution that makes  
their toes tingle (as opposed to pulling out hair, which is kind of  
what's going on now...)

Appreciate any points in the right direction!

--Heather Carter.

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

Message-ID: <BAY110-DAV174A08D8BDC6AC86B5339FBD160 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>     <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net> <list-36026023 [at] prxy.net> <list-36047861 [at] prxy.net>
Subject: Re: Arbor line numbering
Date: Sun, 8 Oct 2006 17:34:38 -0700

As Dave wrote that is the best way with one exception I use and told others 
with new system that I installed to use white gaffers' tape at locking rail 
galleries that where going to be used for show operations. This way the 
cards didn't slide, fall out, vanished or became an instant portable 
notepad... If you have to move an item up or down a lineset use a fresh 
piece of tape over the old and new placement. Gaffer's tape even at $15 a 
roll can be very
cheap sometimes.

For numbering, number it conceptivly from the plaster line including all 
arbored, motorized and muled linesets. Any blank spots are blank so no 
number just note that x feet is blank and therefore no lineset available for 
use to the docs of the rigging for the space.


----- Original Message ----- 
From: "Rigger" <rigger [at] tds.net>
> ---------------------------------------------------
>
> At the Wharton Center, we labeled each position at both locking rails
> and both load floors with the lineset number.  We further had the
> little cards we could move around at the locking rail with the
> particular pipe's number and description. When we stripped the house
> for an incoming roadshow, the railcards moved along with the shifted
> goods, leaving the bare pipes available and numbered.
>
> The pipe numbers, measurements upstage-of-plasterline, and house
> goods all appeared on my house-hang plot in the venue's tech package,
> so that the carpenter advancing the show could see what possible
> obstructions we had and/or what house goods could be used for masking
> and the like.
>
> I don't see the need for function labeling at the laoding bridge;
> your flyman can tell the pig-slingers how much weight to move, right?
> "Upstairs! Give me six and a half bricks on lineset three!" They
> don't really need to know that this pipe with seventeen bricks is a
> traveler, while *this* pipe with seventeen bricks is the #6LX, do
> they?
>
> -- 
> Dave Vick
> 20/20 Design
> rigger [at] tds.net
> 

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

Message-ID: <45299D18.1080803 [at] fuse.net>
Date: Sun, 08 Oct 2006 20:51:36 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: Arbor line numbering
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>     <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net> <list-36026023 [at] prxy.net> <list-36047861 [at] prxy.net> <list-36048826 [at] prxy.net> <list-36049792 [at] prxy.net>
In-Reply-To: <list-36049792 [at] prxy.net>

Rigger wrote:

> I'm not saying I disagree with you, Stuart, but wouldn't this be more of 
> an endorsement of a competent flyman running the load-in and 
> communicating with his loading-bridge crew, rather than one for labeling 
> the bridge?

Mais Oui! Certainment!

I was reacting solely to your assertion that they don't need to know 
what's on the pipe.

I say they sometimes do, and it is certainly easier to yell up,"Hey 
Lumpy, this here is a Traveler, so it's gonna be way out of weight at 
the end"  Or "load Pipe 22, 6th electric 'till it floats, then I'll lock 
it and you'll dd two more for the cable swag!" Than it is to put labels 
and cards up there and hope somebody is literate and alert up there.

Stuart

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

Date: Sun, 08 Oct 2006 19:46:18 -0500
From: "Jeff Mabray" <mabray.stagecraft [at] verizon.net>
Subject: RE: Music Stand Lights
In-reply-to: <list-36050300 [at] prxy.net>
Message-id: <PPEPLMPPDJDPKKGBPFHAGEPCDGAA.mabray.stagecraft [at] verizon.net>

Lex products has a product called E-String or Orchestra string that is an
extension cord with several outlets along it's length.  This may be what you
are looking for.

Go here:  http://www.lexproducts.com/catalog/PowerFLEX.htm

and then talk to your local Lex Products dealer.

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Heather
Carter
Sent: Sunday, October 08, 2006 7:15 PM
To: Stagecraft
Subject: Music Stand Lights


For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Hi, all- I'm needing the list to act as archive, if you would. I
can't seem to get the archive function to help me out...Keeps coming
up with 2 lemons and a cherry...

I'm remembering a mention of some rockin' music stand lights  sans
cord tangle, facilitated by a nice plug-in strip that could be run
from row to row of chairs. This ringing a bell for anyone?
Alternately, does anyone have a music stand light solution that makes
their toes tingle (as opposed to pulling out hair, which is kind of
what's going on now...)

Appreciate any points in the right direction!

--Heather Carter.



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

Message-Id: <p06230901c14f5c90abfa [at] [192.168.0.4]>
In-Reply-To: <list-36051392 [at] prxy.net>
References: <list-35907792 [at] prxy.net> <list-35967201 [at] prxy.net>    
 <list-35993579 [at] prxy.net> <list-36001563 [at] prxy.net>
 <list-36026023 [at] prxy.net> <list-36047861 [at] prxy.net> <list-36051392 [at] prxy.net>
Date: Sun, 8 Oct 2006 21:56:39 -0400
From: Rigger <rigger [at] tds.net>
Subject: Re: Arbor line numbering

At 5:34 PM -0700 10/8/06, Occy wrote:

>As Dave wrote that is the best way with one exception I use and told others
>with new system that I installed to use white gaffers' tape at locking rail
>galleries that where going to be used for show operations. This way the
>cards didn't slide, fall out, vanished or became an instant portable
>notepad...


Agreed...  We used the rail cards for the "normal" house-hang plot 
items.  For a roadshow coming in, I used gaff tape labels.

-- 
Dave Vick
20/20 Design
rigger [at] tds.net

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

Message-ID: <20061009020958.58851.qmail [at] web52201.mail.yahoo.com>
Date: Sun, 8 Oct 2006 19:09:58 -0700 (PDT)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: Question to roadhouses
In-Reply-To: <list-36018439 [at] prxy.net>

We as the house have no requirement one way or the
other - most travelling lighting folks turn off their
own gear at their racks; I have never seen a sound
person power down once they were installed.
 
> I wanted to ask out in the vapours how many houses
> require show power 
> be turned off while unattended? (like overnight) 
> We always get the reply that "we are the only house
> that does this" 
> although I know other houses in nearby towns do the
> same.


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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

Message-ID: <000401c6eb4a$7e4b7720$0700a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
References: <list-36018439 [at] prxy.net>
Subject: Re: Arbor line numbering
Date: Sun, 8 Oct 2006 21:27:40 -0500
Organization: Minnesota Ballet

Bruce wrote:
I number them according to batten position, so the locking rail (&
loading rail) read like 2,3,1,4,5,... due to a muled batten.

The first time I came across a fly line like that was 6 years ago and I'm so 
lucky that I get to tour back to that theater in a few weeks. It confused 
the hell out of me that rope number 5 pulled batten number 1. At least this 
time I know better going in.

Ken
MN Ballet 


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

In-Reply-To: <list-36018439 [at] prxy.net>
References: <list-36018439 [at] prxy.net>
Message-Id: <AF0F0266-F2D9-4C54-AEB6-F6AE27F004EE [at] dopher.com>
Subject: Re: Vectorworks quick question....
Date:	Sun, 8 Oct 2006 23:19:07 -0400
From:	<brooklyn [at] dopher.com>

Sam Jones wrote:

> The breakdown works like this:
> If you are using the text tool, use "ESC"  "X"
> If you are in (editing) the OI palette, use "ESC"  "X"
> All other times use "X"

Additionally, if you're on a full-sized keyboard, the alphanumeric  
paid gives additional control.  The Enter key over there will get you  
out of text and into select immediately.  It will also accept what  
you've typed and exit certain dialogue boxes, such as the Callout  
tool when you're typing in what the callout is.  (By contrast, the  
Return key merely adds a carriage return to your text.)
And did you know... when modeling, the numeric keypad will give you  
all 10 isometric views?

Cris Dopher

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

Message-ID: <b7aa28010610082034g36c327c8i1f05260486375863 [at] mail.gmail.com>
Date: Sun, 8 Oct 2006 23:34:32 -0400
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: Arbor line numbering
In-Reply-To: <list-36055192 [at] prxy.net>
References: <list-36018439 [at] prxy.net> <list-36055192 [at] prxy.net>

> The first time I came across a fly line like that was 6 years ago and I'm so
> lucky that I get to tour back to that theater in a few weeks. It confused
> the hell out of me that rope number 5 pulled batten number 1. At least this
> time I know better going in.

I have been to houses where you stand on the OTHER side of the ropes
to operate lines.  No more front line in, back line out there.

Brian Munroe
bpmunroe [at] gmail.com

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

Message-ID: <1248.205.215.253.113.1160365310.squirrel [at] webmail.peak.org>
In-Reply-To: <list-36038957 [at] prxy.net>
References: <list-36018439 [at] prxy.net> <list-36038957 [at] prxy.net>
Date: Sun, 8 Oct 2006 20:41:50 -0700 (PDT)
Subject: Re: "Photo" flash
From: "Bill Nelson" <billn [at] peak.org>

> time is just too slow.  I have tried a Dataflash in the past, but DMX
> programming it is a black art and even after wasting a lot of tech
> time on them they are still unsatisfactory: too dim & the refresh
> time is unpredictably slow if 2 or 3 separately cued flashes are needed.

I have used the Dataflash AF1000, and found that it is bright enough to
give a realistic lightning flash, even under bright stage lighting. Use
the HO-1 flashtube and set the strobe to the Special Effects mode. You
will need 190-255 VAC - the strobe will autoset for the input voltage
used. You will only be able to have one AF1000 on a 20 amp breaker.

Write if you want help with switch settings. You want to set it to use 3
DMX channels. The first is intensity, the second is duration and the last
is rate. The channels are sequential.

To get a single flash, I set all cues so that the three channels are zero.
I  also park the second and third channels at zero. This means that you
will get an approximate 4 ms flash (controlled by the second channel) and
it will be a single flash (controlled by the third channel being at zero).
To trigger a flash, have a single pass effect that bumps the first channel
to full, then returns to zero. Put the effect in a submaster and when you
bump that submaster, you will get one bright flash.

I have never done so, but it should be possible to park the first channel
at full and bump the second channel to 1 instead. But that increases the
flash rate.

At full intensity, you can have about a 25% duty cycle without the strobe
shutting down for a cooling sequence. It would take some fast work to bump
the submaster quickly enough to cause overheating.

I used three of them for "Into the Woods", for various "magic spell"
effects. One NC, one gelled Primary Green and the other Primary Red. All
three were plenty bright, even under bright stage lighting.

This does not allow the actor to control exactly when the flash occurs,
but it worked fine with the light board operator using visual cues based
on stage actions.

Bill


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

Message-ID: <1250.205.215.253.113.1160365569.squirrel [at] webmail.peak.org>
In-Reply-To: <list-36038957 [at] prxy.net>
References: <list-36018439 [at] prxy.net> <list-36038957 [at] prxy.net>
Date: Sun, 8 Oct 2006 20:46:09 -0700 (PDT)
Subject: Re: "Photo" flash
From: "Bill Nelson" <billn [at] peak.org>

If you don't want to bother programming an effect, there is even an easier
way to get a single flash. Park the second and third strobe DMX channels
at zero. Then program a submaster to be the first DMX strobe channel at
100%.

To get a flash, just bump the submaster.

I usually use more complex flash sequences, so don't go this route.

Keep in mind that the personality switches must be set properly for either
of these methods to work as described.

Bill


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

Message-ID: <1355.205.215.253.113.1160369094.squirrel [at] webmail.peak.org>
In-Reply-To: <list-36035314 [at] prxy.net>
References: <list-36035314 [at] prxy.net>
Date: Sun, 8 Oct 2006 21:44:54 -0700 (PDT)
Subject: Re: General stage policy
From: "Bill Nelson" <billn [at] peak.org>

>> with my principal and the District Director
>>of Operations
>
> Sounds like the Blonde leading the Blind...
> I can't tell you how many times I've been called on the carpet for being
> smarter than my superiors.  They tend to call it insubordination when they
> realize that they haven't a portion of the skillset you do...
> And you can show them this if you need to.
> 				Chris "Chris" Babbie
> 				Location Sound
> 				MON AZ

Administrators do not belong dabbling in the operation of a theatre, any
more than they would tell their football coach how to teach the football
players or  what plays to call during a game. They should administer -
which means setting budgets and general school policies.

It is then up to the people with the practical skills to do the best they
can with the budgeted funds and specified policies.

A good administrator appreciates an outstanding instructor. He/she does
not feel intimidated by a person simply because that person has superior
knowledge in a given skill set. Unfortunately, such administrators appear
to be rare.

Bill


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

End of Stagecraft Digest #976
*****************************