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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 36417509; Sun, 15 Oct 2006 03:01:00 -0700 X-Spam-Checker-Version: SpamAssassin 3.1.5 (2006-08-29) on localhost X-Spam-Status: No, score=-0.7 required=5.0 tests=AWL,EMPTY_MESSAGE, NO_RECEIVED,NO_RELAYS autolearn=no version=3.1.5 X-Spam-Level: X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #983 Date: Sun, 15 Oct 2006 03:00:21 -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 #983 1. Re: ETC RFU by "Alf Sauve" 2. Re: Dress Parades by seanrmc [at] earthlink.net 3. Re: Dress Parades by FrankWood95 [at] aol.com 4. Re: Mini-Mag Tailcap Switch by "Andy Leviss" 5. Sound Checks in Dinner Theatre by "Jeffrey Mulvey" 6. Stage Lighting Super Saturday: Jan. 13th 2007 by "Scott Parker" 7. Re: Sound Checks in Dinner Theatre by "Daryl Redmon" *** 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: <037a01c6ef98$132ef5f0$0300a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" Subject: Re: ETC RFU Date: Sat, 14 Oct 2006 09:53:04 -0400 On the other hand, I've had not problem at 115' with my RRFU. Even standing behind the set. Of course the light booth is 12' above the floor and there are no obstructions, glass or walls between it and the stage. Alf ------------------------------ Message-ID: <2401057.1160839999697.JavaMail.root [at] elwamui-royal.atl.sa.earthlink.net> Date: Sat, 14 Oct 2006 11:33:19 -0400 (EDT) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Dress Parades Delbert, Shakespeare Theatre Company, Washington DC. LORT B+ I've been here almost 7 years, never done this. Ever. To put it in context, we tech Tuesday through Sunday afternoon, with Sunday night being a "friends/family" invitation only Dress Rehearsal. All elements are added on the first day of tech--costumes, automation, props, etc. If something truly needs to be worked on it might not show up until Wednesday, but you get the picture. So essentially costumes are on just about all of tech, and we start doing run throughs with everything possible by Friday of that week. Incidently, usually the LD's attend only one or two run-throughs before focus/tech. My $.02 --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- >From: Delbert Hall > >I just had a conversation with a costume designer who said that she >despises dress parades and does not want to see the costumes on stage >under stage light until dress rehearsals (two days before opening). >She said that professional theatres do not have dress parade. This >seemed stange to me so I am curious as to how many professional and >university theatres have dress parades for their productions and when >in relation to "dress rehearsals" do you have them? Thanks. > >-Delbert ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 14 Oct 2006 12:51:57 EDT Subject: Re: Dress Parades In a message dated 14/10/06 16:33:45 GMT Daylight Time, seanrmc [at] earthlink.net writes: > To put it in context, we tech Tuesday through Sunday afternoon, with Sunday > night being a "friends/family" invitation only Dress Rehearsal. All elements > are added on the first day of tech--costumes, automation, props, etc. If > something truly needs to be worked on it might not show up until Wednesday, > but you get the picture. > So essentially costumes are on just about all of tech, and we start doing > run throughs with everything possible by Friday of that week. > > Incidently, usually the LD's attend only one or two run-throughs before > focus/tech. We have an even more leisurely schedule. Get-in on Sunday afternoon and evening, including the lighting hang. As we are an 'adaptable' theatre, witth variable stage forms, all the lighting apart from the cyc top and bottom is struck out by the previous company. Monday, and Tuesday ara available for finishing the set, painting the floor, and so on. Being an amateur house, we work only in the evenings and weekends. Wednesday, Thursday, and Friday have on-stage rehearsals, and these are also used for lighting focus. There is little conflict, since we light from easily accessible bridges, and we have found it difficult to focus until the set is substantially complete. Tentative lighting 'looks' will also be set. Saturday is the lighting and sound tech, when the looks are confirmed and the actual cues plotted. Sunday afternoon starts with a costume parade, under lights, and is followed by a tech with cast. If there is time, this will be followed by a full run. Monday to Thursday are occupied by rehearsal, in costume and make up from Wednesday. There is a final dress on Friday, with a scratch audience, and we open on Saturday. The show runs to the following Saturday, and gets out on Sunday morning. Frank Wood ------------------------------ Message-ID: <1863.69.203.219.34.1160846391.squirrel [at] webmail.ducksechosound.com> Date: Sat, 14 Oct 2006 13:19:51 -0400 (EDT) Subject: Re: Mini-Mag Tailcap Switch From: "Andy Leviss" Regarding my brief review of the TerraLux switch at http://www.onefromtheroad.com/index.php?p=114 Bill Nelso wrote: > I don't understand the review completely. Is it Click On, Click Off? > > Please explain the action a bit more precisely. Sorry for any confusion, Bill. It is click on, click off. Most of these switches also advertise a momentary mode, which takes advantage of the fact that in one of the positions, the switch will still activate when only pressed to the point just before it actually clicks. While for the click action the distinction between a switch that is normally open or normally closed is mostly semantical, the momentary action only works in one switch position. In this particular switch, it can be used as a momentary when the switch is closed, with the momentary action turning the light off. In the Kroll tailcap switch, and in the NiteIze one (which may be the same as newer Ram switches, since the build is otherwise identical to the Ram I tested forever ago), the momentary action turns the light on. In other words, with this switch, if the light is on, half-pressing the tailcap will flash the light off until you release the switch. On the others, half-pressing the switch while the light is off will flash the light on until you release it, which I find more useful. That make more sense? --Andy http://OneFromTheRoad.com Tools, Toys, and Tales for Theatrical Technicians ------------------------------ Message-ID: Date: Sat, 14 Oct 2006 19:14:13 -0700 From: "Jeffrey Mulvey" Subject: Sound Checks in Dinner Theatre Can it be done? I'm working for a dinner theatre in Folsom, Ca and we've never had a full soundcheck before a show. We've been fighting for one for a long time, however it is just not feasible to pay the actors to be here and mic-ed up two and a half hours before the show while their audience eats dinner. Right now we use preshow music to check speakers and monitors (and the cd player). If the musicians show up early we encourage them to play for the audience (and their tips), effectively sound checking parts of the orchastra. We also have mic call (ten to fifteen minutes before curtain) where actor are supposed to have their mics on and secured to their person. I then PFL each wireless mic. There are lots of spots for this system to fail. For example, last night when the show went up, one of the busses was not sending to the master. I was able to fix it once I knew the problem, however it took me a few numbers to figure out what was wrong and even out the mix again. Had there been a soundcheck before the house opened, the 1st act would have gone a whole lot better. So I turn to the list and it's wisdom...any other dinner theatres out there with the same problem? Solutions? Thank you in advance. Jeff Mulvey ------------------------------ Message-ID: <90d9c9980610141949q196adf27ga75d8d6a543b5d6c [at] mail.gmail.com> Date: Sat, 14 Oct 2006 22:49:04 -0400 From: "Scott Parker" Cc: hstech [at] googlegroups.com (hstech group) Subject: Stage Lighting Super Saturday: Jan. 13th 2007 hello everyone, I hope you'll forgive the bandwidth of this rather commercial post... But, it is lighting and training related. Discounts are available for both repeat attendees and usitt ny section student members. Thanks, Scott Stage Lighting Super Saturday and StageSeminars.com is proud to announce the addition of Beverly Emmons to its round up of esteemed presenters for the Stage Lighting Super Saturday. LD Beverly Emmons has designed for Broadway, Off-B'way and Regional Theater, Dance, and Opera both in the USA and abroad. Her Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Chronicle of a Death Foretold, Stephen Sondheim's Passion, Abe Lincoln in Illinois, High Rollers, Stepping Out, The Elephant Man, A Day In Hollywood A Night in the Ukraine, The Dresser, Piaf and Doonesbury. "Stage Lighting Super Saturday," a full-day of seminars, workshops, and "inspiration" for stage lighting designers and technicians, will take place in New York City on January 13, 2007 at Pace University's downtown New York campus, now the home of the Bravo Network's acclaimed Inside the Actor's Studio. The seminar is being produced by Sonny Sonnenfeld, a major player in the stage lighting field from his base at Creative Studio Designs, and Scott Parker, Professor and Technical Director in Pace University's department of Performing Arts, who is also the Chair of the New York Area Section of USITT (United States Institute of Theater Technology.) Several veteran Broadway professionals will speak, along with professionals in a number of stage lighting disciplines. Said Sonny Sonnenfeld, "It will be 10 hours of hard work, but it will also be fun and a great learning experience. We will start at 8 a.m. and finish at 6 p.m. The faculty will consist of professionals who understand the needs of lighting designers in a wide range of career levels and respond to them." The tentative program includes Stage Lighting 101, fixtures, color and scrollers, gobos and rotators, projections, consoles, moving lights, visualization and pre-lighting, programming, troubleshooting and maintenance, paperwork, managing your crew, and relationships with others. There will be a manufacturer's showcase with technical personnel on hand to show participants their latest equipment. Says Sonnenfeld, "The program will not be too advanced or too basic. Everyone attending will benefit. Attending the seminar will help you be a better lighting designer, a better technician, and a better person." Tuition is $150 per person, with breakfast, coffee breaks and a box lunch included. The program is receiving additional support from: The New York Area Section of United States Institute of Theater Technology. www.stageseminars.com www.usittny.org ------------------------------ Message-ID: <000601c6f006$b14818c0$6600a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" References: Subject: Re: Sound Checks in Dinner Theatre Date: Sat, 14 Oct 2006 20:04:54 -0700 A suggestion that you might try as similar problems occur in churches is the lack of sound checks as the "house is always open" is to set the sends to the mains to min. then pfl the mains to hear your mix. Of course if you want to have music playing during this time the deck will need to be post faders. Just a thought Daryl Redmon Resounding Light ----- Original Message ----- From: "Jeffrey Mulvey" To: "Stagecraft" Sent: Saturday, October 14, 2006 7:14 PM Subject: Sound Checks in Dinner Theatre > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Can it be done? > > I'm working for a dinner theatre in Folsom, Ca and we've never had a > full soundcheck before a show. We've been fighting for one for a long > time, however it is just not feasible to pay the actors to be here and > mic-ed up two and a half hours before the show while their audience > eats dinner. > > Right now we use preshow music to check speakers and monitors (and the > cd player). If the musicians show up early we encourage them to play > for the audience (and their tips), effectively sound checking parts of > the orchastra. We also have mic call (ten to fifteen minutes before > curtain) where actor are supposed to have their mics on and secured to > their person. I then PFL each wireless mic. > > There are lots of spots for this system to fail. For example, last > night when the show went up, one of the busses was not sending to the > master. I was able to fix it once I knew the problem, however it took > me a few numbers to figure out what was wrong and even out the mix > again. Had there been a soundcheck before the house opened, the 1st > act would have gone a whole lot better. > > So I turn to the list and it's wisdom...any other dinner theatres out > there with the same problem? Solutions? > > Thank you in advance. > > Jeff Mulvey ------------------------------ End of Stagecraft Digest #983 *****************************