Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: List-Archive: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #1152 Date: Thu, 22 Feb 2007 03:02:10 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #1152 1. Re: More AutoCAD Questions by Robert Johnson 2. Re: Hedda Techie? by 3. Re: Hedda Techie? by CB 4. Re: Hedda Techie? by CB 5. Re: Fluorescent sources by Charlie Richmond 6. Infrared monitor suggestions? by CB 7. Re: First gig by CB 8. Re: real thing vs. "prop" thing by CB 9. Re: Infrared monitor suggestions? by 10. Re: First Gig by Risa Strobel 11. Re: touring with a tv camera and monitor for showcalling purposes by CB 12. Re: Australia banning incandescents by 13. Re: First Gig by CB 14. Re: Metamorphoses Pool heating by "Carolyn Tsutsui" 15. Re: Hedda Techie? by Risa Strobel 16. Re: First gig by 17. Re: foil, epee or sabre by 18. Cheap solar power poised to undercut oil and gas by half (fwd) by Charlie Richmond 19. Re: Hedda Techie? by "ladesigners [at] juno.com" 20. Re: Metamorphoses Pool heating by "Schuyler Silva" 21. Re: More AutoCAD Questions by Mitch Hefter 22. First Gig by Shell Dalzell 23. Re: Hedda Techie? by "ladesigners [at] juno.com" 24. Re: First Gig by June Abernathy 25. Re: First Gig by joreth [at] techie.com 26. Re: Hedda Techie? by "Paul Schreiner" 27. Re: Hedda Techie? by "Stuart Baulch" 28. Re: First Gig by "Benjamin G. Stickels" 29. Re: First Gig by Mike Brubaker 30. Re: Hedda Techie? by Al Fitch 31. first gig and paperwork by b Ricie 32. Re: ACad vs. VW? by "C. Dopher" 33. Re: real thing vs. "prop" thing by Jim Hyslop 34. Re: First Gig by Jim Hyslop 35. Re: First Gig by Jim Hyslop 36. Re: First gig by Jim Hyslop 37. ACad on a MAC (was Re: ACad vs. VW?) by "Michael Powers" 38. Re: ACad on a MAC (was Re: ACad vs. VW?) by KEITH ARSENAULT 39. Re: First Gig by "Michael Powers" 40. Question about Strand 520i by Edward Hunter 41. Re: First Gig by "Brian Munroe" 42. Re: Infrared monitor suggestions? by "Bill Nelson" *** 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. ---------------------------------------------------------------------- Date: Wed, 21 Feb 2007 17:08:07 -0600 From: Robert Johnson Subject: RE: More AutoCAD Questions In-reply-to: Reply-to: rojohnso [at] cord.edu Message-id: <001201c7560d$25b65b60$6b79818a [at] THE6266> Organization: Concordia College -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Warren Stiles Sent: Wednesday, February 21, 2007 12:14 PM To: Stagecraft Subject: More AutoCAD Questions For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have two viewport questions for AutoCAD 2005 users: 1) Is there an easy way to rotate my view within a viewport? For example, if I am looking at a drawing of a coffee mug through 3 viewports set up for front, right and top views, and the top view shows the mug handle pointing down on my screen, can I rotate that view of the object so that the handle is pointing to the right without altering the image in my other viewports? Yes you can. It involves changing the User Coordinate System (UCS). There is a system variable called UCSfollow. It can be set to be on (1) or off (0)(defalt is off). If you have it turned off when you rotate the UCS the model stays in place if you have the variable turned on the model will rotate with the UCS. If you do this in a paperspace viewport it will only affect the active viewport. In paper space double click in the viewport you want to change. This will affectively put you into model space in that viewport. Then type UCSfollow. Change the variable to so it is set to 1. The type UCS. This start the UCS command. Type the letter of the axis you want to rotate on and then enter the degrees you want the drawing to rotate. Robert Johnson Technical Director Concordia College (218) 299-3821 rojohnso [at] cord.edu ------------------------------ From: Subject: Re: Re: Hedda Techie? Date: Wed, 21 Feb 2007 23:21:58 +0000 Message-Id: <20070221232158.TKBD29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Bill Schaffner" > Date: 2007/02/21 Wed PM 03:21:51 GMT > To: "Stagecraft" > Subject: Re: Hedda Techie? > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I must concur. I have never liked the term "techie". Stagehand is my > preferred. My own preference is to be called for by my job title, or something close to it, or even by my name. This saves time, and is polite, and is also more likely to get your problem dealt with by someone who can deal with it. If you are so unlucky as to have a director who knows neither who you are or what the various jobs are, it is probable that you have a bad show on your hands. Frank Wood ----------------------------------------- Email sent from www.virginmedia.com/email Virus-checked using McAfee(R) Software and scanned for spam ------------------------------ Message-Id: <3.0.6.32.20070221160909.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:09:09 From: CB Subject: Re: Re: Hedda Techie? >I just closed "Hedda". The production director said to my students,"Which >one of you "Techies" are working back stage?" Most of my students were >offended by the term. 'Techie' is just a word, and far too much energy is being spent internationally over words. It's time we started to focus onother things. Attitudes, now those are important. If the guy pays you, appreciates you, and listens to you. Let him call you a 'techie' if he's using it as a term of endearment. If he doesn't, concentrating on the language will just pull the wind out of your sails when it comes to the bigger issues. 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: <3.0.6.32.20070221161430.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:14:30 From: CB Subject: RE: RE: Hedda Techie? >The problem is the people INSIDE the business that see it as an acceptable >endearing term. There are very few men that can get away with calling me 'Honey'. On one tour, I worked with the 'Gay Mafia', i.e., the Hair Hag, the Stitch Bitch, and the Props Tart. When either of those men called me 'Honey', I knew that it was with the best of intentions. This is how, and why, I hae received my honorary Pink Card. It isn't the arrangement of letters, folks. 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... ------------------------------ Date: Wed, 21 Feb 2007 15:38:21 -0800 (PST) From: Charlie Richmond Subject: Re: Fluorescent sources In-Reply-To: Message-ID: References: On Wed, 21 Feb 2007, CB wrote: > Ya feel better now, Charlie? It doesn't matter to me - I'm color blind ;-) C ------------------------------ Message-Id: <3.0.6.32.20070221161956.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:19:56 From: CB Subject: Infrared monitor suggestions? >Also, any suggestions for something better than the baby monitor? Whatever >it is, it does need to be wireless. Among other things, it will likely be >moved between theaters occasionally. I'd suggest that you wire up both theatres and move teh kit back and forth. Shoot, leave a monitor at both, and just move teh camera if you can't get two. It's a safety thing. Spend the money. A wireless baby monitor set-up will curse you for the rest of your days, until you realize that having it get accidentally crushed on an out is far preferable to seeing it on your next in. Get something nice that'll do decent low light, and a coupla mirrors posted outside the line-of-sight for your IR assistive listening devices will illuminate a stage for IR camera... 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: <3.0.6.32.20070221162336.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:23:36 From: CB Subject: Re: Re: First gig > I am still puzzled by the question of why you >want to attract the flies in the first place. On top of that, while the >comparison with vinegar may be valid, I am confident that you can attract as >many flies with fresh dung as you can with honey. Perhaps more, as it is >much more aromatic. The analogy seems to fall apart if inspected at all >closely If you put them all in one place, you can swat them all at once. It's easier than chasing them all over the house. And taking a full swing at a pile of dung is never a good idea. Thre analogy holds if you inspect it closely enough. 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: <3.0.6.32.20070221162812.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:28:12 From: CB Subject: Re: Re: real thing vs. "prop" thing >In the heat of performance, the actor put his hand on her chin. Instead of pulling away and letting her fall to the >ground, he actually pushed, wrenching her jaw. I might take a step back from my earlier assesment with this clarification. What I got from your earlier post was, "The actor was angry with the other actor, so he took it out on her with a weapon while taking advantage of the context of the play." This sound a bit different, now. 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... ------------------------------ From: Subject: Re: Infrared monitor suggestions? Date: Wed, 21 Feb 2007 23:53:58 +0000 Message-Id: <20070221235358.LVDC219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: John McKernon > Date: 2007/02/21 Wed PM 04:33:35 GMT > To: "Stagecraft" > Subject: Infrared monitor suggestions? > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Oh wise and wonderful list folks - > > A small university theatre I've been working with needs an infrared monitor > so the stage manager can see when the stage is clear or scene changes are > complete during blackouts. The only real place for the camera is in the FOH > ceiling cove, and that makes it a 50' throw to the stage, where the > proscenium is about 30' wide. This is a matter of selecting a suitable lens for the camera. Also, many cameras have an IR filter built in. Take this out, and you are in business. IR lamps are not hard to come by. Many theatres have a pair of IR floods on the balcony front. You could try horticultural suppliers, as they are often used in greenhouses. > > I looked into wireless baby monitors, which would be great from a price > standpoint, but they advertise as only working up to 20' or so. I assume > that's because their LED IR emitters aren't bright enough to go any further? Maybe that, or their transmitters are very weak. Theatres are unfriendly environments for wireless gear, as any sound designer will testify. Nonetheless, it is the easiest option. That said, I should prefer a cable feed. > > Obviously for this purpose, the resolution doesn't need to be breathtaking. Perhaps not, but it needs to be quite good to pick up small actions which may initiate cues. The operators' bare eyeball hooks up may well be best. You call the warning, and the operator times the cue. > > Also, any suggestions for something better than the baby monitor? Whatever > it is, it does need to be wireless. Among other things, it will likely be > moved between theaters occasionally. If you say so. But how often is 'occasionally'? For reliability and consistency, I should prefer cable. Many theatres have co-axial cable lines run in, for this very purpose. I am posting this message through a wireless broad band connection, in a house built of brick, reinforced concrete beams, and wood. A certain amount of fiddling was needed to establish a secure connection. This may be less than running a cable. Frank Wood ----------------------------------------- Email sent from www.virginmedia.com/email Virus-checked using McAfee(R) Software and scanned for spam ------------------------------ In-Reply-To: References:

Message-Id: <683def6a7b5d7a448818f47fe780f655 [at] mac.com> From: Risa Strobel Subject: Re: First Gig Date: Wed, 21 Feb 2007 15:55:46 -0800 On Feb 21, 2007, at 2:04 PM, Clive Mitchell wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > In message , Risa Strobel > writes >> All else aside, you're going to piss off a lot of women (stagehands >> or otherwise) by continually referring to us as girls. > > Do the men have an issue with being called "the boys"? (No.) Are men raised hearing "You throw/hit like a boy" as an insult? Do they see groups of women referred to with "You're all a bunch of boys" as an insult? Like it or not, these days the term "girl" implies weakness and is used all to frequently to put men down. Risa ------------------------------ Message-Id: <3.0.6.32.20070221163821.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:38:21 From: CB Subject: Re: Re: touring with a tv camera and monitor for showcalling purposes >Hey, this squint has been doing video for most of his career. It seems as if I have never, ever, on any occasion, been to the in or the out on any production where you ore your big-electron brethren have decided that you are taking responsibility for any of the cameras, lines, or monitors that are assigned to make any show go. I'm not saying that it can't happen, I'm saying that I've never seen it. >And as long as you're considered part of the electricians on the call, >we'll delegate as we see fit. :) This is a particular can of worms you want to wait to open. Like, maybe afther they've designated sound as a Tony-able offense. You really, really don't want to hear any responses to that from me. Let's just say that mine would be much similar to yours if you had to ask to borrow the car from the A1 every night. It's wrong. You know it, I know it, and everyone else knows it. It needs to be fixed before something goes horribly and accidentally awry. 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... ------------------------------ From: Subject: Re: Re: Australia banning incandescents Date: Thu, 22 Feb 2007 0:04:27 +0000 Message-Id: <20070222000427.KWZM26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Clive Mitchell > Date: 2007/02/21 Wed PM 05:05:11 GMT > To: "Stagecraft" > Subject: Re: Australia banning incandescents > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In message , Andy Ciddor > writes > > That's the worst thing about CFL fresnels. They take about 5 minutes to > reach full intensity. :) And also that they are undimmable by eletrical means. This means venetian blind shutters. While they control the light on stage, they create an awful lot of spill light, from what I have seen. A really non-reflective surface is hard to create, and hard to maintain. But that's what you need. I say nothing about their hot strike properties. Frank Wood ----------------------------------------- Email sent from www.virginmedia.com/email Virus-checked using McAfee(R) Software and scanned for spam ------------------------------ Message-Id: <3.0.6.32.20070221164227.00caaf58 [at] pop.west.cox.net> Date: Wed, 21 Feb 2007 16:42:27 From: CB Subject: Re: Re: First Gig >>All else aside, you're going to piss off a lot of women (stagehands or >>otherwise) by continually referring to us as girls. > >Do the men have an issue with being called "the boys"? (No.) Half of 'em give me crap if I refer to them as 'girls', the other half if I refer to them as 'guys'. (For the record, 'the guys' is gender neutral). 'Kids' is one I tend to use regardless of chronological age, as well. And the ones that insist that they aren't, well, you can be sure that they aren't. It seems to me that the ones that get all fussy about titles are the ones that are the least comfortable in their skins. It's just words. If the intention is to make you feel bad, or to demean you, deal with those intentions. Don't blame the poor innocent words. 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: <200702220006.l1M063Gf021304 [at] ms-smtp-04.socal.rr.com> Reply-To: From: "Carolyn Tsutsui" Subject: RE: Metamorphoses Pool heating Date: Wed, 21 Feb 2007 14:06:04 -1000 In-reply-to: As an alum of UIUC - what theatre space are you doing this in and who is directing this bright idea. Carolyn Tsutsui, Stage Manager Hawaii Theatre 1130 Bethel Street Honolulu, HI 96813 (808) 791- 1326 (Direct) (808) 791-1340 Fax www.hawaiitheatre.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Schuyler Silva Sent: Tuesday, February 20, 2007 2:02 PM To: Stagecraft Cc: sdwheaton [at] fuse.net Subject: Re: Metamorphoses Pool heating For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The weight has been evaluated and is not an issue. Thank you for your other suggestions, they have been noted. On 2/20/07, Stuart Wheaton wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Schuyler Silva wrote: > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > My name is Schuyler Silva and I am currently the Technical Director > > for Metamorphoses at the University of Illinois at Urbana-Champaign. > > I am writing because I am trying to find a solution to the pool > > heating issue within the play. The pool within the design is roughly > > 25'x20' for a surface area of about 500 and will hold 4000-5000 > > gallons of water. The pool needs to be heated as actors play in and > > around the water. I have looked into different ways to heat the pool > > including heat pumps (electrically ran rather than with natural gas or > > propane). There are two inherent problems with this. The first is > > the cost. The cheapest one I have found to meet my needs > > (100,000BTUs) is $2000. The second problem is that they are loud. It > > is essentially a large air conditioning unit working in reverse. This > > problem can be averted by running it during the downtime. > > > > If anyone has done Metamorphoses in the past, or for that matter, any > > show with a sizable pool that has been heated, I would love to know > > what your solution was. If anyone has any ideas on how they might > > approach the situation, please feel free to comment. Also, if by > > chance you have a 100,000BTU heat pump for a pool you would like to > > loan out, I would love to hear from you. > > > > Thank you for your time and input. > > > > Schuyler Silva > > SchuylerSilva2 [at] gmail.com > > > > Are you aware that you are talking about 37,000 pounds of water here? > What is under this pool? > > As far as heating it goes, INSULATE, Insulate, insulate!! between the > box and the liner put 4-6 Inches of styrofoam board insulation. Put a > cover over the pool as soon as you can after the show and leave it on as > long as you can. Perhaps just a gang of regular 40-60 gallon electrical > water heaters? If you do not want to run the pool water through the > water heaters, run a loop of heated water through a hose in the bottom > of the pool or under the liner? > > Stuart > > ------------------------------ In-Reply-To: References: Message-Id: <6029dcb66354b8b97842d4a8cbc6a92a [at] mac.com> From: Risa Strobel Subject: Re: Hedda Techie? Date: Wed, 21 Feb 2007 16:07:07 -0800 > > 'Techie' is just a word, and far too much energy is being spent > internationally over words. It's time we started to focus onother > things. > Attitudes, now those are important. If the guy pays you, appreciates > you, > and listens to you. Let him call you a 'techie' if he's using it as a > term > of endearment. If he doesn't, concentrating on the language will just > pull > the wind out of your sails when it comes to the bigger issues. > > Chris "Chris" Babbie Words have power. Being aware of the words you choose to use and the effect they have on the people around you is (IMHO) extremely important. Risa ------------------------------ From: Subject: Re: Re: First gig Date: Thu, 22 Feb 2007 0:09:12 +0000 Message-Id: <20070222000912.LZPM219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Greg Williams > Date: 2007/02/21 Wed PM 05:20:53 GMT > To: "Stagecraft" > Subject: Re: First gig > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > Anybody know how to clean vegetarian Mexican casserole off a laptop > monitor and keyboard? Wet water, and wiser conduct. Scotch and cigar ash are easier. > -=Greg Williams=- > www.LRLR.org > Frank Wood ----------------------------------------- Email sent from www.virginmedia.com/email Virus-checked using McAfee(R) Software and scanned for spam ------------------------------ From: Subject: Re: Re: foil, epee or sabre Date: Thu, 22 Feb 2007 0:24:36 +0000 Message-Id: <20070222002436.MDHO219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: CB > Date: 2007/02/21 Wed AM 11:45:57 GMT > To: "Stagecraft" > Subject: Re: foil, epee or sabre > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I just returned from an event where I carried a rapier in anger the whole > time. In melee, too. I know, I know, "Why melee?". Because it's fun, and > no real other reson. > Anyhoo, there were quite a few weapons, and no epees. Wanna know why? > Epees, and other Olympic styled fencing swords, Frank's opinion > notwithstanding, are not "as strong as you will find", and while they are > safe while whole, are remarkably dangerouse when not whole. I said that, and any blade that you can bend so that the tip touches the hilt, and then recover elastically will do for me. Any broken blade is dangerous, period. I have deleted the rest of your post. I think it contains bad advice, and bafd information. Frank Wood ----------------------------------------- Email sent from www.virginmedia.com/email Virus-checked using McAfee(R) Software and scanned for spam ------------------------------ Date: Wed, 21 Feb 2007 16:53:52 -0800 (PST) From: Charlie Richmond Cc: show-control [at] yahoogroups.com (List - Show Control Mailing List) Subject: Cheap solar power poised to undercut oil and gas by half (fwd) Message-ID: ---------- Forwarded message ---------- Date: Wed, 21 Feb 2007 18:07:54 -0600 From: IGGY & Svetlana Subject: [Hybrid-Cars] Cheap solar power poised to undercut oil and gas by half http://www.telegraph.co.uk/money/main.jhtml?xml=/money/2007/02/19/ccview19.xml Monday view: Cheap solar power poised to undercut oil and gas by half By Ambrose Evans-Pritchard Last Updated: 11:31pm GMT 18/02/2007 Within five years, solar power will be cheap enough to compete with carbon-generated electricity, even in Britain, Scandinavia or upper Siberia. In a decade, the cost may have fallen so dramatically that solar cells could undercut oil, gas, coal and nuclear power by up to half. Technology is leaping ahead of a stale political debate about fossil fuels. Anil Sethi, the chief executive of the Swiss start-up company Flisom, says he looks forward to the day - not so far off - when entire cities in America and Europe generate their heating, lighting and air-conditioning needs from solar films on buildings with enough left over to feed a surplus back into the grid. The secret? Mr Sethi lovingly cradles a piece of dark polymer foil, as thin a sheet of paper. It is 200 times lighter than the normal glass-based solar materials, which require expensive substrates and roof support. Indeed, it is so light it can be stuck to the sides of buildings. Rather than being manufactured laboriously piece by piece, it can be mass-produced in cheap rolls like packaging - in any colour. The "tipping point" will arrive when the capital cost of solar power falls below $1 (51p) per watt, roughly the cost of carbon power. We are not there yet. The best options today vary from $3 to $4 per watt - down from $100 in the late 1970s. Mr Sethi believes his product will cut the cost to 80 cents per watt within five years, and 50 cents in a decade. It is based on a CIGS (CuInGaSe2) semiconductor compound that absorbs light by freeing electrons. This is then embedded on the polymer base. It will be ready commercially in late 2009. "It'll even work on a cold, grey, cloudy day in England, which still produces 25pc to 30pc of the optimal light level. That is enough, if you cover half the roof," he said. "We don't need subsidies, we just need governments to get out of the way and do no harm. They've spent $170bn subsidising nuclear power over the last thirty years," he said. His ultra-light technology, based on a copper indium compound, can power mobile phones and laptop computers with a sliver of foil. "You won't have to get down on your knees ever again to hunt for plug socket," he said Michael Rogol, a solar expert at Credit Lyonnais, expects the solar industry to grow from $7bn in 2004 to nearer $40bn by 2010, with operating earnings of $3bn. The sector is poised to outstrip wind power. It is a remarkable boom for a technology long dismissed by experts as hopelessly unviable. Mr Rogol said he was struck by the way solar use had increased dramatically in Japan and above all Germany, where Berlin's green energy law passed in 2004 forces the grid to buy surplus electricity from households at a fat premium. (In Britain, utilities may refuse to buy the surplus. They typically pay half the customer price of electricity.) The change in Germany's law catapulted the share price of the German flagship company SolarWorld from ?1.38 (67p) in February 2004 to over ?60 by early 2006. The tipping point in Germany and Japan came once households twigged that they could undercut their unloved utilities. Credit Lyonnais believes the rest of the world will soon join the stampede. Mike Splinter, chief executive of the US semiconductor group Applied Materials, told me his company is two years away from a solar product that reaches the magic level of $1 a watt. Cell conversion efficiency and economies of scale are galloping ahead so fast that the cost will be down to 70 US cents by 2010, with a target of 30 or 40 cents in a decade. "We think solar power can provide 20pc of all the incremental energy needed worldwide by 2040," he said. "This is a very powerful technology and we're seeing dramatic improvements all the time. It can be used across the entire range from small houses to big buildings and power plants," he said. "The beauty of this is that you can use it in rural areas of India without having to lay down power lines or truck in fuel." Villages across Asia and Africa that have never seen electricity may soon leapfrog directly into the solar age, replicating the jump to mobile phones seen in countries that never had a network of fixed lines. As a by-product, India's rural poor will stop blanketing the subcontinent with soot from tens of millions of open stoves. Applied Materials is betting on both of the two rival solar technologies: thin film panels best used where there is plenty of room and the traditional crystalline (c-Si) wafer-based cells, which are not as cheap but produce a higher yield - better for tight spaces. Needless to say, electricity utilities are watching the solar revolution with horror. Companies in Japan and Germany have already seen an erosion of profits because of an effect known "peak shaving". In essence, the peak wattage of solar cells overlaps with hours of peak demand and peak prices for electricity in the middle of the day, crunching margins. As for the oil companies, they are still treating solar power as a fringe curiosity. "There is no silver bullet," said Jeroen Van der Veer, Shell's chief executive. "We have invested a bit in all forms of renewable energy ourselves and maybe we'll find a winner one day. But the reality is that in twenty years time we'll still be using more oil than now," he said. Might he be wrong? ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 22 Feb 2007 01:12:12 GMT Subject: Re: Hedda Techie? Message-Id: <20070221.171302.833.1233143 [at] webmail34.lax.untd.com> Dear Risa, This is very true. I spend my court days selecting IN REAL TIME the = exact right word(s) to use that are politically correct, non- prejudicial, and have no secondary meaning, while acting as a judge. = I cannot afford to be appealed if someone thinks that they found some = sort of prejudice in one of my rulings. It is enough to give one a = headache, I assure you. I am not begrudging playwrights their pain = when trying to select just the right words in just the right order. /s/ Richard __________________________________ > 'Techie' is just a word, and far too much energy is being spent > internationally over words. It's time we started to focus onother = > things. Words have power. Being aware of the words you choose to use and the = effect they have on the people around you is (IMHO) extremely = important. Risa ------------------------------ Message-ID: <285ca8df0702211719x2d6d6911ic92302050f8fbc2a [at] mail.gmail.com> Date: Wed, 21 Feb 2007 19:19:37 -0600 From: "Schuyler Silva" Cc: carolyntsutsui [at] hawaii.rr.com Subject: Re: Metamorphoses Pool heating In-Reply-To: References:

It is within the Playhouse. We brought in an outside director, but I was actually the one who turned in the proposal. Apparently TD's don't generally care what shows they do, so I was the first TD in a long time to suggest a show. Who knows why they actually chose it... On 2/21/07, Carolyn Tsutsui wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > As an alum of UIUC - what theatre space are you doing this in and who is > directing this bright idea. > > Carolyn Tsutsui, Stage Manager > Hawaii Theatre > 1130 Bethel Street > Honolulu, HI 96813 > (808) 791- 1326 (Direct) > (808) 791-1340 Fax > www.hawaiitheatre.com > > > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Schuyler > Silva > Sent: Tuesday, February 20, 2007 2:02 PM > To: Stagecraft > Cc: sdwheaton [at] fuse.net > Subject: Re: Metamorphoses Pool heating > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The weight has been evaluated and is not an issue. > > Thank you for your other suggestions, they have been noted. > > On 2/20/07, Stuart Wheaton wrote: > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Schuyler Silva wrote: > > > For info, archives & UNSUBSCRIBE, see > > > --------------------------------------------------- > > > > > > My name is Schuyler Silva and I am currently the Technical Director > > > for Metamorphoses at the University of Illinois at Urbana-Champaign. > > > I am writing because I am trying to find a solution to the pool > > > heating issue within the play. The pool within the design is roughly > > > 25'x20' for a surface area of about 500 and will hold 4000-5000 > > > gallons of water. The pool needs to be heated as actors play in and > > > around the water. I have looked into different ways to heat the pool > > > including heat pumps (electrically ran rather than with natural gas or > > > propane). There are two inherent problems with this. The first is > > > the cost. The cheapest one I have found to meet my needs > > > (100,000BTUs) is $2000. The second problem is that they are loud. It > > > is essentially a large air conditioning unit working in reverse. This > > > problem can be averted by running it during the downtime. > > > > > > If anyone has done Metamorphoses in the past, or for that matter, any > > > show with a sizable pool that has been heated, I would love to know > > > what your solution was. If anyone has any ideas on how they might > > > approach the situation, please feel free to comment. Also, if by > > > chance you have a 100,000BTU heat pump for a pool you would like to > > > loan out, I would love to hear from you. > > > > > > Thank you for your time and input. > > > > > > Schuyler Silva > > > SchuylerSilva2 [at] gmail.com > > > > > > > Are you aware that you are talking about 37,000 pounds of water here? > > What is under this pool? > > > > As far as heating it goes, INSULATE, Insulate, insulate!! between the > > box and the liner put 4-6 Inches of styrofoam board insulation. Put a > > cover over the pool as soon as you can after the show and leave it on as > > long as you can. Perhaps just a gang of regular 40-60 gallon electrical > > water heaters? If you do not want to run the pool water through the > > water heaters, run a loop of heated water through a hose in the bottom > > of the pool or under the liner? > > > > Stuart > > > > > > > ------------------------------ Message-Id: <6.1.0.6.2.20070221193010.02405568 [at] mail.DesignRelief.com> Date: Wed, 21 Feb 2007 19:49:47 -0600 From: Mitch Hefter Subject: Re: More AutoCAD Questions In-Reply-To: References: Warren Stiles wrote: >I have two viewport questions for AutoCAD 2005 users: > >1) Is there an easy way to rotate my view within a viewport? For >example, if I am looking at a drawing of a coffee mug through 3 >viewports set up for front, right and top views, and the top view >shows the mug handle pointing down on my screen, can I rotate that >view of the object so that the handle is pointing to the right without >altering the image in my other viewports? While in the viewport, type dview (Dynamic View). Select the object. Type TW (for twist), enter. Type the number of degrees to rotate the object, enter Press 'enter' again. >2) I recently used the vplayer command to freeze/thaw various >dimension layers, which did exactly what I wanted. Later, when I >reopened the file, none of the effected layers were visible. They do >still appear when I plot the file, and they layers are definitely on, >but objects in those layers are not visible (either in model or paper >space) unless selected. Any ideas as to how I can restore them? Check the value of the MAXACTVP (maximum active viewports) variable. This limits the number you can view, but not the number you can plot. If your system has limited video resources, don't set it higher than you need to. . . . ------------------------------------------------------------------ Mitch Hefter Office: Entertainment Technology, a Genlyte Company mhefter [at] genlytecontrols.com +1-214/ 647-7880 x 7967 http://www.etdimming.com :: http://www.vari-lite.com ------------------------------ In-Reply-To: References: Message-Id: <31E121F3-567C-4FC1-8715-0B9FDA0589ED [at] hawaii.rr.com> Cc: sdalzell [at] hawaii.rr.com (Shell Dalzell) From: Shell Dalzell Subject: First Gig Date: Wed, 21 Feb 2007 15:58:48 -1000 I think you did an excellent job on this summary. The only odd thing I found was on your stage/house layout. I have always referred to FOH as meaning the side of the house closest to the stage as opposed to the lobby side. I am willing to be wrong but I have been doing it that way for about 40 years. Aloha, Shell sdalzell [at] hawaii.rr.com ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 22 Feb 2007 01:59:00 GMT Subject: Re: Hedda Techie? Message-Id: <20070221.175931.833.1233334 [at] webmail34.lax.untd.com> One of my past staff members, who emulated Betty Boop in voice and = makeup, chose to be referred to as THE 'PropTart' (no plural, she = thought that she was the only one). She kept her own butane (or mapp = gas?) hot glue gun in her holster at all times and knew how to use = it! She was also exceptionally proficient AND SAFE with her specially = modified paint gun that she used for delivering 'blood hits' to = simulate gun shots extremely accurately. The concept of using paint = guns on stage initially caused me some consternation, but her double = MS in Mechanical Engineering and Physics, along with her carrying a = lot of E&O insurance to go with her state Engineering license, = convinced me that my exposure would not be as high as I anticipated. Yes, folks, she actually stamped/embossed her license indicia on, and = signed, every drawing, CAD, or D/E size sheet that she handed to me. Apparently she was quite willing to take a pay cut and work in my = theatre rather than stay in her former strait-laced environment. /s/ Richard _______________________________ >The problem is the people INSIDE the business that see it as an = >acceptable endearing term. There are very few men that can get away with calling me 'Honey'. On = one tour, I worked with the 'Gay Mafia', i.e., the Hair Hag, the = Stitch Bitch, and the Props Tart. = ------------------------------ Date: Wed, 21 Feb 2007 18:22:07 -0800 (PST) From: June Abernathy Subject: Re: First Gig Message-ID: <74806.94536.qm [at] web34512.mail.mud.yahoo.com> Want some feedback? Sure. I realize I've written a lot here, and I apologize for that - I am unable to write a short post. Lest I seem too critical, let me say that I think you have a good idea here, and an overall good site. But I had some thoughts while reading: First, I have to agree with the other person who mentioned that the the Foul language on the site is a bit too much for my taste. I'm not a particularly girly shrinking violet or anything, and I use as much bad language as the next person on calls, but it's very jarring on the website. Required/recommended tools vary by location. I like your succinct "required" list, but I have problems with your recommended list (a cordless drill? a box cutter? A pen, a pencil, AND a sharpie? For EVERY call?). Better to ask the Call steward what tools are required/recommended for that call, or just bring the basic tool "requirements" from your list (and whatever the person who sets the call recommends) and figure out from watching others and on the job experience what else would make sense to carry for any given type of call. This required and/or recommended tool list is an ongoing hot button topic on the list. Hope I haven't opened THAT can of worms again. You are a little strict on the dress code. Yes, it is safest, until you know the drill, to wear black pants, shoes, socks and shirt. But long sleeve black shirts are not absolutely required for all show calls everywhere. In my experience, you can usually get by with a short sleeve shirt, particularly in a warmer climate. Can't hurt to have a long sleeve shirt black shirt in the car though. The first thing you need to do when you arrive is sign in. Then find your lead. Signing/clocking in makes sure that there is record that you are there, so you can get paid. It's important. You spend a lot of time on the female stagehands thing. Telling the women to come prepared to dive in and do some physical work and not faint every time someone uses a cuss word, and telling the men not to be so chauvanist that they start grabbing things out of the hands of the women or shoving them away from heavy cases is all well and good. That's all well and good, but between "A word about female stagehands" and "Language on the Jobsite" I think you kind of beat it to death. You might be able to tighten that up. Theater safety additions? Watch for the edge of the stage/pit. Sometimes there is a rope stretched across to remind you, often, particularly during a load in or out, there is not. Be aware of your surroundings - holes in the floor, stuff coming in overhead, people pushing a large unwieldy object toward where you are, cables or stuff in the way of some large object that you are pushing. Not in spite of, but because of all the "Politically Correct regulations and Sexual Harassment issues floating around our society", I take serious issue with your advice regarding language on the jobsite. I think it is best to be very very careful about using cuss words, telling dirty jokes, and flirting with other hands. Different venues and different people have different levels of tolerance about such issues, and while it is obviously the norm in your area to be pretty free about such things, it is not the same everywhere. For a newbie, I'd say watch your language and wade in slowly, and be very careful about your sense of humor. What you intend as a joke may not come across that way to someone who doesn't know you well. I agree that if you are easily offended this may not be the job for you, but disagree that it is perfectly OK in any situation to just let fly with whatever you want. A lot of foul language and crude humor right off the bat can make you seem inexperienced and unprofessional. It can also land you and/or the people you work for in an expensive lawsuit. Tread lightly here until you have worked several calls and gotten a feeling for how the language goes. In the basic skills section: I disagree that "most cable" should be coiled over/under. This is a very specific technique that can be beneficial for small cables like Mike cables and data cables, keeping them from retaining the "memory" of a coil, and enabling them to feed out easier and lie flat once they do. But on larger stuff, it can actually be detriment, working against the natural spin of the cable and torquing the copper. Many supervisors prefer that all cable be coiled clockwise, with the occasional loop "thrown under"to keep the coil neat, working with the natural curve of the cable, with the end loose so kinks can work their way out as you coil. My recommendation is that with small cables, you should ask if they like to over under their cable, and with larger stuff, you should not do it unless someone specifically instructs you to. I would also add that you should never, ever coil a cable, even an extension cord, around your elbow. It's bad for the cord and it screams "newbie". You should pull shutters out on a leko or source 4 unit if it came out of a box with it's shutters all pushed in before you hung it. Units that come off a meat rack already attached to unistrut or some other kind of bar, or that come in attached to a truss, should not be messed with. Nor should you change their tilt angle unless you are specifically instructed to. Very often, they are already focused, and if you pull the shutters or move the lamp, you will screw the focus and cause extra work for the road crew, who will not appreciate it. The reverse for load out. If the unit is going in a box, it should get shutters pushed in, the barrel pushed in short, and the lamp tail and safety wrapped around the unit. For lights on bars or trusses, leave them alone unless you are specifically instructed to do otherwise. I'm not sure your "In lighting, females hold the power and there are a lot of females in lighting, and in audio, males hold the power and there are many more men in audio" thing is really the best way to understand and remember signal direction. That proportion varies quite a bit from place to place. The way I generally explain it is that theater lighting, for the most part, works like lighting in your house. The lighting instrument has a male plug - just like any lamp in your house does. And you plug it into a female that either is or leads to the power source, just like in your house. Females have the power, males are seeking the power. :) "Pin to power" is a phrase we often use to help remind people. For the most part, data cables work the same way, with the pin (male) end leading toward the source. But, this can vary so pay attention to specific instructions. As far as sound, I don't know that males "usually" run away from the source. But it's good to know that outside of lighting, the "pin to power" rule doesn't necessarily apply, so it makes sense to pay attention and ask if unsure before running a cable. Your "Folding Drape" section is great for smaller pieces, but for large, full stage theatrical drops, the procedure is a little different, and generally involves more than two people. 4, at minimum, one on each corner of the drape. The drape is spread good side up, then the two people on the bottom corners pull against each other to keep tension, and run the bottom edge up to the top edge, holding the corners up to catch air in the drape and help spread it. Then the drop is straightened out, the two people move to the new bottom corners at the fold, and repeat this procedure until the goods are about 18" wide. Then, two people take one end, lift, and walk it to about 6" shy of center. The other people take the other end, lift and walk it to center. Both sides repeat until you have about a square, then the side that left a gap folds their half over on top of the other half. The whole thing gets lifted or rolled into a bag or a hamper. Anyway, my thoughts, and way too many of them - ____________________________________________________________________________________ Don't get soaked. Take a quick peak at the forecast with the Yahoo! Search weather shortcut. http://tools.search.yahoo.com/shortcuts/#loc_weather ------------------------------ From: joreth [at] techie.com Date: Wed, 21 Feb 2007 21:23:21 -0500 Subject: RE: First Gig Message-Id: <20070222022321.87B4A1F50B1 [at] ws1-2.us4.outblaze.com> > All the I-9 requires is that someone *LOOKS* at your > drivers license and social security card. You *DO NOT* > have to let them copy them. In today's word of > identity theft it is not recommended to let anyone > copy that info. If your employer wants to make a > photocopy of that info, simply point out that the > instructions on the form say review, not photocopy. While that may be true (and I don't know, since I try to avoid the paperwor= k part of the job), some jobs use W-2s, not I-9, even for "freelancers". W= hether it's "legal" or not, standing at the sign-in table on your first day= is not the time or the place to argue the legalities of I.D. card usage. = I'm going to leave that argument out of this particular page and let those = who know their legal rights and are concerned about identity theft fight it= out with their employers on their own time. In the meantime, those stageh= ands whose company policies require a photocopy can save themselves time an= d trouble by being prepared and will get their paycheck delivered on time. > Oh, and that cable coiling video is a joke. That should be updated to at > least reflect that loony skweeks new haircut! I have nothing to do with the video, except that guy already had it and I h= aven't taken the time to record my own. Eventually I'll record my own and = replace it. Describing an over-under with no visual aids is difficult, and= I'd rather have this video than none at all. > All else aside, you're going to piss off a lot of women (stagehands or > otherwise) by continually referring to us as girls. The reader doesn't > know you're female until you mention it, which I don't recall you doing > in the original document. (It's not in front of me at the moment; I'm > answering e-mail from offline.) I am not referring to female stagehands as girls, I refer to a particular t= ype of female as "girl", and those are the very females I am cautioning aga= inst being. In fact, I don't believe I used the term "girl" very often at = all, most notably in the phrase "stupid girl routine". > and genders. Calling it "Male dominated industry" implies that women in = this > industry have to subjugate themselves to the men. That's simply not true= . I I apologize if you have an emotional reaction to an pragmatic statement ind= icating nothing more than numbers of participants. Any implication of male= s actually dominating females was entirely unintended, however, that does n= ot change the fact that there are more men in this industry then women. > I should have included more of the original posting in my reply. Having > someone who is new to the business told that "girls" are to be treated > differently in any way because of their gender is setting up the new pers= on for a fall. I believe the entire point of the section on female stagehands is to say th= at there should NOT be a difference in how females are treated on the job.= =20=20 > people try to fit others into. I've also seen BOYS let cases roll down th= e ramp - > usually because no one has taken the initiative to tell the newbie what t= o do > and how to do it. It's not about gender, or even strength, it's about > knowing what to do. This part is briefly touched upon in the education section, where I talk ab= out no one being "too good" to unload a truck, and in the part where I say = to jump in and help, and the part where I say there shouldn't be any standi= ng around, and in the part where I say "when in doubt, ask". Etiquette for= experienced stagehands, such as how and when to teach the newbies, is for = another lesson ;-) Having a newbie not know what to do or how to do it is = sort of the point of this entire document. In this sense *I* am taking the= initiative to tell the newbie what to do and how to do it, just as I do on= the jobsite. "Joreth" http://www.stagehandtees.com http://www.theinnbetween.net =3D ------------------------------ Subject: RE: Hedda Techie? Date: Wed, 21 Feb 2007 21:28:01 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A07861697 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > Words have power. Being aware of the words you choose to use=20 > and the effect they have on the people around you is (IMHO)=20 > extremely important. Words, just like people, only have the power on you that you allow them to have. Can't remember if it was Ann Landers or Abigail Van Buren, but one of them had a very very sound piece of advice to keep in mind at all times: nobody can take advantage of you without your permission. ------------------------------ Message-ID: <650b0e8b0702211904x1cec899ey9fe6bf3b6ce1913c [at] mail.gmail.com> Date: Wed, 21 Feb 2007 22:04:32 -0500 From: "Stuart Baulch" Subject: Re: Hedda Techie? My good friend and mentor David Morrison referred to dancers as "MLR"s or "Mobile Light Reflectors" Stuart B ------------------------------ Date: Wed, 21 Feb 2007 22:09:25 -0500 Subject: Re: First Gig Message-ID: In-Reply-To: From: "Benjamin G. Stickels" >> Oh, and that cable coiling video is a joke. That should be updated to at >> least reflect that loony skweeks new haircut! > > I have nothing to do with the video, except that guy already had it and I > haven't taken the time to record my own. Eventually I'll record my own and > replace it. Describing an over-under with no visual aids is difficult, and > I'd rather have this video than none at all. You do realize that the guy who said the video should be updated is the guy IN the video, right? -BGS- -- Benjamin G. Stickels Digital Media Production Assistant Multi-Media Room Technician Western Michigan University ------------------------------ From: Mike Brubaker Subject: RE: First Gig Date: Wed, 21 Feb 2007 22:15:22 -0500 Message-ID: CB wrote: "'Kids' is one I tend to use regardless of chronological age, as well. And the ones that insist that they aren't, well, you can be sure that they aren= 't. It seems to me that the ones that get all fussy about titles are the ones that are the least comfortable in their skins." I tend to agree on your last thought, there. =20 Call me a "kid", though, and be ready to be called an "old man". Mike Brubaker Associated Controls + Design = ------------------------------ Date: Wed, 21 Feb 2007 19:37:23 -0800 (PST) From: Al Fitch Subject: Re: Hedda Techie? In-Reply-To: Message-ID: <903406.92434.qm [at] web84004.mail.mud.yahoo.com> I'd say "Watch this, they're Sound Activated" > My good friend and mentor David Morrison referred to > dancers as "MLR"s > or "Mobile Light Reflectors" > > Stuart B > Be Kind, Smile and Have Fun. ------------------------------ Date: Wed, 21 Feb 2007 19:39:35 -0800 (PST) From: b Ricie Subject: first gig and paperwork In-Reply-To: Message-ID: <376930.23904.qm [at] web50601.mail.yahoo.com> >>While true, my payroll department requires copies of each for background checks and SS validation. Having been fined by the SSA for having incorrect names and numbers to match them with, they just don't bother with options anymore. If I can't copy your info, then I can't hire you.<< Someone correct me if I am wrong here, but,...Me thinks the problem is with the person that checks the numbers with the paperwork. I even believe that the I-9 require the person checking to sign off. I also believe that it can be Illegal to not hire someone because they will not let you *copy* that paperwork. Give your payroll dept. a heads up, they might be headed for another fine. 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!? Everyone is raving about the all-new Yahoo! Mail beta. http://new.mail.yahoo.com ------------------------------ In-Reply-To: References: Message-Id: From: "C. Dopher" Subject: Re: ACad vs. VW? Date: Wed, 21 Feb 2007 22:40:47 -0500 Dave Vick wrote: > At 9:23 AM -0500 2/20/07, SS wrote: > >> Dave, not sure what you're running, but, since Macs have the >> capability of running XP, or Vista, in parallel with OS X would you >> not then be able to try ACAD, assuming of course you are braving the >> PC waters on your Mac? > > > I've got a MacBook Pro with the 2.16GHhz Intel Core Duo chipset and > am running the newest version of Tiger, which, as you correctly point > out, can indeed run XP in BootCamp (the jury's still out whether > Vista will coexist with any other OS). I'm running Vista on it's own partition on the same machine you've got. Because BootCamp is a beta and now actually built for Vista, it took a little hunting for and manual installing of drivers for the machine's hardware, and I still haven't getting my printers going, but Vista runs just fine. It's certainly visually beautiful and there are some things I like about it. I'll be installing and testing various PC-only software on it in March, such as Horizon, LPS, Hog PC, and AutoSketch. I'm already running VW and LW, no problem. I also had Vista running through Parallels newest beta, but there's some kind of a glitch and after the first few VM startups, it began locking up during startup. I may attempt a re-install. But I sure wouldn't be trying to run processor intensive software in Vista via Parallels. Let's see what capabilities Leopard gives us. Cris Dopher ------------------------------ Message-ID: <45DD1428.4060605 [at] dreampossible.ca> Date: Wed, 21 Feb 2007 22:55:20 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: real thing vs. "prop" thing References: In-Reply-To: CB wrote: >>In the heat of performance, the actor put his hand on her chin. Instead of > pulling away and letting her fall to the >>ground, he actually pushed, wrenching her jaw. > > > I might take a step back from my earlier assesment with this clarification. > What I got from your earlier post was, "The actor was angry with the other > actor, so he took it out on her with a weapon while taking advantage of the > context of the play." > This sound a bit different, now. Sorry about the confusion. I'm glad I clarified the situation! I think your statement about anything that's not part of the choreography being assault may still be appropriate, though. The actor should have kept part of his brain in control. To his credit, when he realized what he had done he was quite sorry about it. Hopefully he, and everyone else involved, learned to keep part of their mind in control of the situation. -- Jim Hyslop ------------------------------ Message-ID: <45DD15FB.8020303 [at] dreampossible.ca> Date: Wed, 21 Feb 2007 23:03:07 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: First Gig References: In-Reply-To: MissWisc [at] aol.com wrote: > Call it "*traditionally* > male-dominated industry" and I'll totally agree with you. To me "male dominated" does imply that men are more dominant (in the sense of being more aggressive than passive). Adding the word "traditionally" doesn't really reflect the reality that men outnumber women in this field. How about "predominantly male industry"? It's a fine semantic difference. -- Jim Hyslop ------------------------------ Message-ID: <45DD17A7.7000309 [at] dreampossible.ca> Date: Wed, 21 Feb 2007 23:10:15 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: First Gig References: In-Reply-To: June Abernathy wrote: > I would also add that > you should never, ever coil a cable, even an extension > cord, around your elbow. It's bad for the cord and it > screams "newbie". I recently worked with a small team of students from a local college television arts program. They wound their cables around their elbows because that was the one and only way the tech director wanted it done. They didn't even know there were other ways of winding cable. -- Jim Hyslop ------------------------------ Message-ID: <45DD1BE1.1090803 [at] dreampossible.ca> Date: Wed, 21 Feb 2007 23:28:17 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: First gig References: In-Reply-To: frank.wood95 [at] ntlworld.com wrote: > Wet water, and wiser conduct. Try saying that three times fast! Wet water - haven't heard that term outside the model railroading community (in model RRs, "wet water" is water mixed with a little bit of dish soap to reduce the surface tension of the water. First, you spread out the ballast [scale gravel or rocks] on the track, get it to exactly where you want it to be. Then you apply wet water, which soaks into the ballast. Without the soap, the water would remain in nice, big, very out-of-scale drops on top of the ballast, due to its surface tension. Once the ballast is thoroughly moist, you apply a few drops of matte medium to fix it in place. Since the ballast is moist, the matte medium very quickly spreads throughout the ballast. Once dry, it looks like you could blow or brush the ballast away, but it is held firmly in place. Except for those spots where you missed putting the matte medium :-) -- Jim Hyslop ------------------------------ Message-ID: <58f67b0f0702212121g4f4a1fcby6d4e183b023599c4 [at] mail.gmail.com> Date: Wed, 21 Feb 2007 23:21:56 -0600 From: "Michael Powers" Subject: ACad on a MAC (was Re: ACad vs. VW?) SS writes: << .........capability of running XP, or Vista, in parallel with OS X would you not then be able to try ACAD, ...............Any listers out there doing this?............... may ditch one of my PC machines for a Mac.) ..............>> I too am interested in hearing from anyone running AUTODESK AutoCad from a MAC. Does it really work, is there any added cost, is there any hastle staring up each session, is drawing and re-generating speed an issue? Would there be any issues saving my XP-Pro ACad files to a MAC? Along the same lines, the company server is PC based, how would a MAC handle "OFFICE" programs like acess, X-cel, Word, et al???? Any info will be welcome. TIA. -- Michael Michael Powers Director of Operations Central Lighting & Equipment 1720 Fuller Rd. Suite 150 West Des Moines Iowa 50265 515-277-4190 877-977-4190 Fax 515-277-2295 515-557-0178 cell michael [at] clelights.com ------------------------------ In-Reply-To: References: Message-Id: <343DFBD8-A154-46F7-9FED-83BFE1C9ACB2 [at] aol.com> From: KEITH ARSENAULT Subject: Re: ACad on a MAC (was Re: ACad vs. VW?) Date: Thu, 22 Feb 2007 00:36:24 -0500 can't really speak to your CADD issues, , , but if you buy MS OFFICE for Mac OSX, , it's great, , and sharing files with MS OFFICE for Windows is an ease, , really no cross platform issues there at all , i do files back and forth between OFFICE for MAC and OFFICE for WINDOWS with no problems at all, , and having used both, , I think MS OFFICE for OSX is probably better than OFFICE for Windows, , but maybe that's my imagination,, Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com On Feb 22, 2007, at 12:21 AM, Michael Powers wrote: Along the same lines, the company server is PC based, how would a MAC handle "OFFICE" programs like acess, X-cel, Word, et al???? Any info will be welcome. TIA. ------------------------------ Message-ID: <58f67b0f0702212254l60cb6e4asb4fc834f44c25a2d [at] mail.gmail.com> Date: Thu, 22 Feb 2007 00:54:56 -0600 From: "Michael Powers" Subject: Re: First Gig Rigger Wrote: >> ......The only piece of advice/criticism would be to lose the foul language. Agreed.-- Dave Vick.........)<< Agreed, as an old Marine, I know how to use the F-word as a verb, adverb, adjative, noun etc. and anyny tense you chose In this context it is ill appropreate. Michael Michael Powers Director of Operations Central Lighting & Equipment 1720 Fuller Rd. Suite 150 West Des Moines Iowa 50265 515-277-4190 877-977-4190 Fax 515-277-2295 515-557-0178 cell michael [at] clelights.com ------------------------------ Date: Thu, 22 Feb 2007 00:26:14 -0800 From: Edward Hunter Subject: Question about Strand 520i Reply-to: Ed.Hunter [at] Sun.COM Message-id: <45DD53A6.1000502 [at] Sun.COM> I'm using a Strand 520i in my current show. For some reason when I changed the time on some cues I get a notation next to the cue saying "AttTime 8". Eight was part of the orginal time of the cue so I suspect that's where it came from. As far as I can tell the cues follow the new timing but I can't find any documentation as to what "AttTime" means. I'm assuming it's attribute time but I didn't set it. Any 520i experts out there who can help me out? Thanks. -edh -- ------------------------------ Message-ID: Date: Thu, 22 Feb 2007 05:22:31 -0500 From: "Brian Munroe" Subject: Re: First Gig In-Reply-To: References: On 2/21/07, June Abernathy wrote: > The lighting instrument has a male plug - > just like any lamp in your house does. And you plug it > into a female that either is or leads to the power > source, just like in your house. Females have the > power, males are seeking the power. :) "Pin to power" > is a phrase we often use to help remind people. I like the "pin to power" phrase, makes perfect sense. > As far as sound, I don't know that males "usually" run > away from the source. It's a little crude, but I have heard the phrase "males f*** the truck" when referring to audio cable direction. When about feeder cable and cam-locks? For a newbie it can be hard to tell which end is male and female, and then to have the possibility of reversed neutral and ground. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: <2605.205.215.253.2.1172141022.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 22 Feb 2007 02:43:42 -0800 (PST) Subject: Re: Infrared monitor suggestions? From: "Bill Nelson" The first thing to try would be to set some dimmers for over stage lights to a preheat profile. That should provide plenty of IR for your IR camera. > The trick of gelling a theatrical instrument is to use a few layers of > contrasting colours like green and red. Theatrical gel is designed to > be almost transparent to infra red to keep heat damage down. In theory, using any two subtractive primary colors is a stacked arrangement will remove all visible light. However, "primary red" passes some blue and green. If you use Rosco gels, it looks like R80 and R27 might be the best combination. You probably could get away with one layer of each. > Obviously with all the visible spectrum being absorbed it's worth using a lower powered instrument. These cameras are pretty sensitive, so do not need a lot of IR wattage. It would be an interesting experiment to see if hot instruments over the stage would provide enough IR, all by themselves - without need of preheat profiles. Bill ------------------------------ End of Stagecraft Digest #1152 ******************************