Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net X-ListServer: CommuniGate Pro LIST 4.1.8 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #76 Date: Tue, 20 Jul 2004 03:01:20 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #76 1. Re: High school musical lighting by David Duffy 2. Re: Colors (was Introduction) by "Alf Sauve" 3. Re: Perhaps we can ALL agree to protest this one! by "Paul Guncheon" 4. steel floors by "Fred Schoening, Jr." 5. Re: Perhaps we can ALL agree to protest this one! by "CATHERINE BRUMM" 6. Re: steel floors by usctd [at] columbia.sc 7. Re: OT: Demountable Hinges by doran [at] bard.edu 8. Re: steel floors by Dorian Kelly 9. Re: steel floors by doran [at] bard.edu 10. Re: steel floors by Chris Purpura 11. Drapery Needs by ken [at] kenholyoak.com (Ken Holyoak) 12. Lighting Elements Textbooks by Matthew Kopans 13. Re: Drapery Needs by Boyd Ostroff 14. Re: steel floors by Steve Larson 15. Re: Introduction by Boyd Ostroff 16. Re: Introduction by "MARK OBRIEN" 17. Re: steel floors by "MARK OBRIEN" 18. Re: HS theatre facility manager queries by "Randy Whitcomb" 19. Re: Introduction by Ron Cargile 20. Warning: Commercial type post by "Kacey Fisher" 21. Re: Introduction by Boyd Ostroff 22. Re: HS theatre facility manager queries by Shawn Palmer 23. Re: Introduction and ("big time") by Shawn Palmer 24. Re: Drapery Needs by Barney Simon 25. Re: High school musical lighting by CB 26. Re: HS theatre facility manager queries by CB 27. Re: HS theatre facility manager queries by CB 28. Re: steel floors by 29. ETC Express 2 software Upgradablility by "Chris Warner" 30. Re: Drapery Needs by "Dr. Randall W.A. Davidson" 31. Re: Introduction by Patrick McCreary 32. test by shifting [at] shifting.ca (Benjamin Eastep) 33. test by shifting [at] shifting.ca (Benjamin Eastep) *** 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: <40FBA96A.4000705 [at] audiovisualdevices.com.au> Date: Mon, 19 Jul 2004 20:58:50 +1000 From: David Duffy Subject: Re: High school musical lighting References:

In-Reply-To: Mike Rock wrote: >As far as the warehouse goes I would throw a hint of blue on it and try to >get a fan gobo and rotate it becasue nothing screams abandon warehouse like >the fan spinning slowly. > Thanks Mike. I tried some Lee "steel blue" on the warehouse background and floor area this afternoon and you're right, it looks colder already! I don't have any gobos or a rotator just yet. I do have an old Optikinetics Solar 250 that I bought cheap and resurrected but I only have a 5 RPM rotator (too fast for this anyway) but that is for driving the old 6" wheels. I gelled the fixture for the crim's hideout background flat with a light straw and that made it look a little more dimmer/dingy than it looked before. The office background is a window frame piece with the city skyline behind it. I now have the window lit seperately with the skyline a nice contrasting blue. It really gives depth to that part of the background. I'm sure glad I have a lighting desk that can record states for all the various scenes. I would have gone nuts doing it on a preset desk. So, the last 24 hours or so has certainly been a learning experience! Now only radio mics, some sound FX and the cryponite light FX to finish up. We needed two followspots to follow actors on each side isle up onto the stage, but with no real budget I've used two of my 500W variable angle PC spots on a T-bar stand behind the back seating row so two students can track them. For a couple of 30 sec segments it really didn't warrant the expense of a real followspot. That's even more money saved towards buying some equipment. :-) David... ------------------------------ Message-ID: <105001c46d91$5be58330$0600a8c0 [at] alf> From: "Alf Sauve" References:

Subject: Re: Colors (was Introduction) Date: Mon, 19 Jul 2004 08:54:05 -0400 One of the best things to do, it really helped me, was to find time to experiment. I happened to find myself installing some color changers and some spotlights in a theatre with an hour to kill. There was a set on stage and I played with the different colors. Really gave me some practical feel for the interplay between the lights and the paints. Not a lot of time, I admit, nor a really wide set of colors, but it certainly made me feel more comfortable with choosing/recommending colors. See if you can't borrow or rent some color changers and play with them for an afternoon, even just one, though 4 would be better. If you can get some "actors", in makeup to stand around for you, even the better. Alf ----- Original Message ----- From: "Chris Warner" To: "Stagecraft" Sent: Sunday, July 18, 2004 23:44 PM Subject: Re: Introduction > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Why Thank you.... > > Actually my biggest challenge is getting over my fear of saturated > colors.... I tend to light everything wtih R60, R61, R05, R03. I am really > afraid of moving away from my comfort zone! > > LOL... > Chris > ------------------------------ Message-ID: <001e01c46d95$7d698ac0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Perhaps we can ALL agree to protest this one! Date: Mon, 19 Jul 2004 03:37:08 -1000 <> True... true. Once again the pragmatist among us our paltry hopes of fairness onto the rocks. Sigh... Come to think of it, if Julia Roberts was in two car auto accident, do you think the paper would mention the name of the other driver? Laters, Paul "We need more people like Ronald Reagan and Ronald McDonald," said Tom moronically. ------------------------------ Message-ID: <25978659.1090244446439.JavaMail.root [at] wamui01.slb.atl.earthlink.net> Date: Mon, 19 Jul 2004 08:40:46 -0500 (GMT-05:00) From: "Fred Schoening, Jr." Subject: steel floors Hey Gang! I've a designer who, for an upcoming show, wants a steel surface on the deck. Has anyone out there done this before? How thin a sheet were you able to get away with? What sort of fastening technique(s) did you use? I'm concerned that drilling and countersinking will take far too long, but I may have to do it. If I use a cutting torch or plasma cutter to punch the holes, will that mess up my ability to countersink them? We will be having barefoot actors and rolling scenery onstage, so having a relatively smooth fastening system is important. Also, noise is a big concern in this space. I was thinking of putting a layer of Homasote underneath the steel. Any arguments for or against this? Thanks in advance, "Big Fred" Schoening Technical Director Dallas Theater Center Dallas, Texas, USA ------------------------------ Message-Id: Date: Mon, 19 Jul 2004 09:54:34 -0400 From: "CATHERINE BRUMM" Subject: Re: Perhaps we can ALL agree to protest this one! After the initial post about the coverage by UPI I emailed my father, a recently retired correspondant who worked for Reuters for as long as I can remember and he is still doing free lance reporting in the NJ tri state area. the first thing he mentioned is that UPI is no longer a true news service and hasn't been in several years. That he checked the coverage by the NY times and it was about the same and the coverage on the emmy award noms was about the same space as given to the British Open (Golf for any non-sports people) . This is cut and pasted from his email: "I also tried a search on MSN's new search engine using the headline from the UPI article and got 49 hits. And that is part of the problem. There are so many versions of any story out there in the ether that no one feels the need to give the whole story, believing anyone who wants that complete report can find it with little effort. So each editor tried to guess what his/her readers want and give it to them. Their success is measured by the circulation department." So pretty much what needs to happen is we have to buy more papers and get in good with a few high rankling editors or start our own paper for the technically inclined. where coverage is run of the technical awards and not the main event and have pictures of those nominees not the stars ...a completely different angle on the awards. I know I am not up for that task but anyone else can run with the idea. Catherine >>> paul.guncheon [at] verizon.net 07/19/04 09:37AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- <> True... true. Once again the pragmatist among us our paltry hopes of fairness onto the rocks. Sigh... Come to think of it, if Julia Roberts was in two car auto accident, do you think the paper would mention the name of the other driver? Laters, Paul "We need more people like Ronald Reagan and Ronald McDonald," said Tom moronically. ------------------------------ Message-ID: <4641.129.252.241.105.1090248447.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Mon, 19 Jul 2004 10:47:27 -0400 (EDT) Subject: Re: steel floors From: usctd [at] columbia.sc The only place I have seen this was in the Sigfried and Roy showroom, but that was 4x10 sheets of 3/8" thick steel plate(or something like that). I have a feeling you won't be doing that. What quality of the steel floor does the designer want? The shiny look? The gray look? The sound? Is it imperative that you use steel? I wouldn't use a torch to do the holes. If the holes are not perfect and you have edges around the screw head, those bare feet will find them. I think it would be just as easy to drill the holes to the correct size. I would also consider sheet metal screws depending on the look the designer wants. The argument, for me, against homasote would depend on how thick/thin a guage of steel sheet you use. I would be afraid that when you fastened the sheet down that you would get some ugly dips due to the compresability of the homasote. You probably won't notice how bad it looks until it gets lit. You might also get screw heads popping out as the material around the screw compresses under use. It may be overkill, but you may want to lay 1/4" maso on top of the homasote before you lay the sheeting down, so the screw head has something solid to sit on. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey Gang! > > I've a designer who, for an upcoming show, wants a steel surface on the > deck. > Has anyone out there done this before? How thin a sheet were you able to > get > away with? What sort of fastening technique(s) did you use? I'm concerned > that drilling and countersinking will take far too long, but I may have to > do it. > If I use a cutting torch or plasma cutter to punch the holes, will that > mess up my > ability to countersink them? > We will be having barefoot actors and rolling scenery onstage, so having a > relatively smooth fastening system is important. > Also, noise is a big concern in this space. I was thinking of putting a > layer of > Homasote underneath the steel. Any arguments for or against this? > > Thanks in advance, > > "Big Fred" Schoening > Technical Director > Dallas Theater Center > Dallas, Texas, USA > > > ------------------------------ Message-ID: <1090246051.40fbd5a3b2bc3 [at] webmail.bard.edu> Date: Mon, 19 Jul 2004 10:07:31 -0400 From: doran [at] bard.edu Subject: Re: OT: Demountable Hinges References: In-Reply-To: James, You might try Rockler Woodworking and Hardware, at www.rockler.com. Good Luck. Andy Champ-Doran Quoting James Feinberg : > I'm updating my kitchen, and would like to replace the cabinet > hinges. When I took them off, I discovered a new (to me) kind of > hinge: demountable. ------------------------------ Message-Id: In-Reply-To: References:

Date: Mon, 19 Jul 2004 15:15:12 +0100 From: Dorian Kelly Subject: Re: steel floors rchives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> Hey Gang! >> >> I've a designer who, for an upcoming show, wants a steel surface on the >> deck. >> Has anyone out there done this before? How thin a sheet were you able to In deference to our colonial cousins all measurements are in imperial feet and inches I might be inclined to use 4 x 4 by one eighth steel sheet on a frame of 2 x 2 wooden joists at 4 foot intervals laid on a plastic sheet membrane and all the cavities filled to the top with sand or even FP foam laid flat. Then you could screw down lengths of 1 inch x 1inch a x one eighth tee iron to the joists and lay the steel sheet right into it nice and tight. They wont bounce or deflect and the sand dadens the noise. Mind you, you will be picking sand out of the electrics pockets for the rest of your lives .... You could probably return /sell the sheets afterwards at a good price as they will be undrilled. Noise will still be an issue, but good shoes help, and also rubber tyres on the trucks if any ------------------------------ Message-ID: <1090246978.40fbd9425ee22 [at] webmail.bard.edu> Date: Mon, 19 Jul 2004 10:22:58 -0400 From: doran [at] bard.edu Subject: Re: steel floors References:

In-Reply-To: Big Fred, We did this once on the floor and walls. On the walls, we got pretty good results painting Gypsum Board sheets with Rosco Aluminum metallic paint. The floor was 1/2" MDF with sheet metal stuck to it with contact cement. A small area (12'x16') and not real heavy loads. Pretty icky, but it got the job done. You might try sticking it on one sheet at a time, or lay it out like tiling the kitchen floor, establihing the center course in the two directions, and building out from there. Good Luck, Andy Champ-Doran > > Hey Gang! > > > > I've a designer who, for an upcoming show, wants a steel surface on the > > deck. > > Has anyone out there done this before? How thin a sheet were you able to > > get > > away with? What sort of fastening technique(s) did you use? I'm concerned > > that drilling and countersinking will take far too long, but I may have to > > do it. > > If I use a cutting torch or plasma cutter to punch the holes, will that > > mess up my > > ability to countersink them? > > We will be having barefoot actors and rolling scenery onstage, so having a > > relatively smooth fastening system is important. > > Also, noise is a big concern in this space. I was thinking of putting a > > layer of > > Homasote underneath the steel. Any arguments for or against this? > > > > Thanks in advance, > > > > "Big Fred" Schoening > > Technical Director > > Dallas Theater Center > > Dallas, Texas, USA > > > > > > > ------------------------------ Message-ID: <40FBDCB8.6090103 [at] jonesphillips.com> Date: Mon, 19 Jul 2004 09:37:44 -0500 From: Chris Purpura Subject: Re: steel floors References: Do you want the floor to shine? To look grey? Is the deck suppost to have an even look to it? How quiet or loud is this show suppost to be? I've sorta done this two ways before and neither worked as well as I hoped. So this might or might not help. On one show we countersunk and screwed corrugated steel sheets down to the deck and walls. Took a long time We then knocked down the shine with hammers and spray paint of all colors. It looked cool but noise was always an issue. We put padding and anything else we had underneath the deck. I eventually pulled up some sheets in the downstage area for the quieter scenes. Did not think of homasote, seems like it would help. No one on this show was barefoot. Another time we laid down galvanized steel flat sheets and glued them down. They were not as loud, depending on how the actors moved and what shoes they were wearing. We only could get 24x48 sheets, so the look was more checkered than what I desired. I think we used liquid nail or some of that serious 3M adhesive. Can't remember exactly what we used. Kept having to patch-up parts here and there. No dancing was done on this deck and strike was a mess. The sound might be less of a problem depending on which space you are doing your show in. Hope this helps, Chris Purpura Fred Schoening, Jr. wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Hey Gang! > >I've a designer who, for an upcoming show, wants a steel surface on the deck. >Has anyone out there done this before? How thin a sheet were you able to get >away with? What sort of fastening technique(s) did you use? I'm concerned >that drilling and countersinking will take far too long, but I may have to do it. >If I use a cutting torch or plasma cutter to punch the holes, will that mess up my >ability to countersink them? >We will be having barefoot actors and rolling scenery onstage, so having a >relatively smooth fastening system is important. >Also, noise is a big concern in this space. I was thinking of putting a layer of >Homasote underneath the steel. Any arguments for or against this? > >Thanks in advance, > >"Big Fred" Schoening >Technical Director >Dallas Theater Center >Dallas, Texas, USA > > > > > -- --- Jones & Phillips Associates, Inc. 301 North 5th Street Lafayette, Indiana 47901 http://www.jonesphillips.com T: 765-423-1123 F: 765-742-4013 ------------------------------ From: ken [at] kenholyoak.com (Ken Holyoak) Subject: Drapery Needs Date: Mon, 19 Jul 2004 09:48:02 -0500 In-Reply-To: Message-ID: <20040719144936579.AAA452 [at] image.theimagefactory.com [at] compaq> I am rehabbing a stage in 75 year old church I have the lights and dimmers but am badly in need of drapery. Main Drape, Legs (4) Borders, and something to cover the back wall. Opening is 26x12 and stage is 16' deep. Black is preferred for the legs and I the gym is a light blue. I have someone who can do make/modify them. If anyone has surpless fabric or completed drapes I would be appreciative. I have been getting a lot of donations but do have some $$ available. The church is in the near east side of Indianapolis and has a summer youth program for 300 plus kids everyday and then provides after school programs during the year. These are great kids who need to be exposed to the right elements so they have a chance to see that there is a better life available if they want it. email me off list at ken [at] kenholyoak.com Kenneth H. Holyoak Information + Insight = Profit 317-253-7000 POB 68633 Indianapolis IN 46268-0633 ------------------------------ Message-ID: <20040719150639.43441.qmail [at] web42301.mail.yahoo.com> Date: Mon, 19 Jul 2004 08:06:39 -0700 (PDT) From: Matthew Kopans Subject: Lighting Elements Textbooks In-Reply-To: So here's the thing... In my opinion most lighting textbooks either cover too much and are too pricey for the begining level tech course (e.g. Parker and Wolf, Gillette), to simplistic for anyone going on to really design lighting (e.g. _Light on the Subject_), or are personal histories which can help a designer on their career path but don't deal with current technologies. When I teach my Stagecraft class (a begining tech class with a lighting segment) I use the Backstage Handbook to handle the basic definition of technical terms. Then I lecture and do some practical work with the students. I also use Monona Rossol's new book to teach theatre safety (Health and Safety Guide for Film, TV, and Theater). That said, I think Pilbrow's book is excellent. You can pick and choose what the non-LD students need to look at, and those going on have an excellent resource. Albeit a pricey one. Matt Kopans University of Pittsburgh __________________________________ Do you Yahoo!? Vote for the stars of Yahoo!'s next ad campaign! http://advision.webevents.yahoo.com/yahoo/votelifeengine/ ------------------------------ Date: Mon, 19 Jul 2004 11:10:01 -0400 (EDT) From: Boyd Ostroff Subject: Re: Drapery Needs In-Reply-To: Message-ID: Whatever you do in your quest for a low cost solution, make sure that you get soft goods that are properly flame retarded. It's not worth taking a chance with this to save a couple bucks... Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Date: Mon, 19 Jul 2004 11:16:25 -0400 Subject: Re: steel floors From: Steve Larson Message-ID: In-Reply-To: You might find that thin, large sheets of aluminum contact cemented to plywood (3/8" or 1/2") might work. I did two shows in rep years ago. One side was a parquet floor and the other side was covered with aluminum sheets (4x8). A quick flip of all flooring units (24' x 36') and you changed for the other show. We built guide boxes to properly align the aluminum with the plywood. Followed direction for the contact cement and rolled the pieces with a heavy roller. Laying in the parquet floor actually was more precise and time-consuming. Pretty slick. Steve re: >>> Hey Gang! >>> >>> I've a designer who, for an upcoming show, wants a steel surface on the >>> deck. >>> Has anyone out there done this before? How thin a sheet were you able to ------------------------------ Date: Mon, 19 Jul 2004 11:30:01 -0400 (EDT) From: Boyd Ostroff Subject: Re: Introduction In-Reply-To: Message-ID: On Sun, 18 Jul 2004, Chris Warner wrote: > I am a pretty prolific lighting designer for the community theatre > groups in San Diego county, and hoping to one day make it to the big > time. Welcome Chris, many of us (including myself at age 12) started out just like you. When you make it to the "big time" be sure to write and let us know what it's like, since few - if any - of us on this list have ever done that! ;-) Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ From: "MARK OBRIEN" Subject: Re: Introduction Date: Mon, 19 Jul 2004 08:59:30 -0700 Message-ID: There is no big time Mark O'Brien >From: Boyd Ostroff >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Introduction >Date: Mon, 19 Jul 2004 11:30:01 -0400 (EDT) > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >On Sun, 18 Jul 2004, Chris Warner wrote: > > > I am a pretty prolific lighting designer for the community theatre > > groups in San Diego county, and hoping to one day make it to the big > > time. > >Welcome Chris, many of us (including myself at age 12) started out just >like you. When you make it to the "big time" be sure to write and let us >know what it's like, since few - if any - of us on this list have ever >done that! ;-) > >Boyd Ostroff ooo Opera Company of >Philadelphia >Director of Design & Technology ooooooo 1420 Locust St, Suite >210 >ostroff [at] operaphilly.com ooooooo Philadelphia, PA >19102 >http://tech.operaphilly.com ooo (215) 893-3600 >x225 > _________________________________________________________________ MSN Toolbar provides one-click access to Hotmail from any Web page � FREE download! http://toolbar.msn.click-url.com/go/onm00200413ave/direct/01/ ------------------------------ From: "MARK OBRIEN" Subject: Re: steel floors Date: Mon, 19 Jul 2004 09:07:39 -0700 Message-ID: I worked on a production of Ajax for La Jolla Playhouse a few years ago, and the deck was a raked deck w 4x8 "tiles of sheet metal. 18 GA, I believe. We chanfered the platforms, with about a 1/2" 45 degree rout, then had the sheetmetal Braked on the edges to roll over the chanfer. We then contact cemented metal to wood, and hammered the edges down nice. When the deck was assembled, it was as smooth as can be, but most of the carpenters (myself included) had scratches up and down our forearms... We caulked the seams, and ran water down the rake, for what that is worth. Mark O'Brien >From: "Fred Schoening, Jr." >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: steel floors >Date: Mon, 19 Jul 2004 08:40:46 -0500 (GMT-05:00) > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Hey Gang! > >I've a designer who, for an upcoming show, wants a steel surface on the >deck. >Has anyone out there done this before? How thin a sheet were you able to >get >away with? What sort of fastening technique(s) did you use? I'm concerned >that drilling and countersinking will take far too long, but I may have to >do it. >If I use a cutting torch or plasma cutter to punch the holes, will that >mess up my >ability to countersink them? >We will be having barefoot actors and rolling scenery onstage, so having a >relatively smooth fastening system is important. >Also, noise is a big concern in this space. I was thinking of putting a >layer of >Homasote underneath the steel. Any arguments for or against this? > >Thanks in advance, > >"Big Fred" Schoening >Technical Director >Dallas Theater Center >Dallas, Texas, USA > > _________________________________________________________________ Don�t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Message-ID: <000901c46dac$8b8ea380$3bfaa543 [at] attbi.com> From: "Randy Whitcomb" References: Subject: Re: HS theatre facility manager queries Date: Mon, 19 Jul 2004 10:22:10 -0600 Jon My facility was built with city funds donated to the school district with the requirement that the district operate and maintain the facility as a civic auditorium for 30 years. We just started year 30 this July 1st. As of yet we don't know what the district plans are regarding the future of the facility, but this is how we've been operating. We have 3 regular part-time staffers plus assorted techs. The Auditorium Manager (my boss), The Technical Director (me) and a custodian. The manager takes care of booking, staffing, purchasing and coordinating with user groups both district and renters. He recieves a stipend, I believe it is considered a half-time position. The custodian and I are hourly. The custodian gets $15/ hr. the techs range from $7.50 to $15 and get $20/ hr. if they're subbing for me. I get $30/ hr. I don't know the manager's salalry. The manager is also a full-time teacher, but the management position is considered seperate. The district gives us an annual budget of $32,000. This includes the manager's salary, maintence and equipment and and staff hours that aren't paid for by rentals. ie. school and district functions. Rental income goes into the aud. account, but there is no carry over to the next year. Every July 1 we start over. I manage $5 -6K per year in equipment and supplies. Our regular community rental groups include: Concert Band (4 concerts), Civic Music Association (They book 6 different touring groups a year) Optimist Travelogue Series (4 films), 4 dance studios, Youth Orchestra (2 concerts), Kiwanis and 4-H talent shows, summer musical group, and others. We put up 5 school productions a year (I get a seperate stidend for those), in addition to assemblies One way or another your facility will be managed. The question is whether or not that management will be competent and if the place will be trashed after a couple of years. They have an investment they need to protect. Without competent staff, the incompetent will move in. I've rushed this in order to get it to you before tomorrow night's meeting. I'd be happy to discuss further if you'd like. Randy Whitcomb, TD Price Civic Aud. Loveland, CO. ------------------------------ Message-Id: <6.0.0.22.2.20040719093747.01b44700 [at] pop.uci.edu> Date: Mon, 19 Jul 2004 09:39:41 -0700 From: Ron Cargile Subject: Re: Introduction "Chris Warner" encoded: >Actually my biggest challenge is getting over my fear of saturated >colors.... I tend to light everything wtih R60, R61, R05, R03. I am really >afraid of moving away from my comfort zone! I know what you mean. I'm especially fond of Lee 280. I find it solves a multitude of problems. ;) Welcome aboard. ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ From: "Kacey Fisher" Subject: Warning: Commercial type post Date: Mon, 19 Jul 2004 12:14:07 -0400 Message-ID: Hello all, We've ended up with 2 New CM Lodestar 1 Ton Hoists that we would really like to sell. If anyone is interested in purchasing them please e-mail me directly. Thanks! Sincerely, Kacey Fisher Fisher Theatrical 410-455-9641 410-455-9643-Fax www.FisherTheatrical.com ------------------------------ Date: Mon, 19 Jul 2004 13:01:02 -0400 (EDT) From: Boyd Ostroff Subject: Re: Introduction In-Reply-To: Message-ID: On Mon, 19 Jul 2004, MARK OBRIEN wrote: > There is no big time Failure to find it does not mean that it doesn't exist. But it's really a question of goals and priorities. I decided early in my career that if "big time" meant working in New York City or Los Angeles then it just didn't interest me. Not that there's anything wrong with it, not my style though. Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <40FC0784.8010003 [at] northnet.net> Date: Mon, 19 Jul 2004 12:40:21 -0500 From: Shawn Palmer Subject: Re: HS theatre facility manager queries References: In-Reply-To: > I have yet one more presentation to make on this subject of Facility Manager > this coming Tuesday evening, and with it being summer, it's been hard for me > to get ahold of other schools and personnel in this area (Portland, OR USA) > that have FMs, so I'm casting my net wider. If you have experience as a > Facility Manager (as a separate paid job from say, classroom teaching), > please give me some info, on or offlist. > > How is the position paid for? Outside rentals? Stipend that's attached to > something else, such as a department TD? Is the job full-time? What is the > salary of the FM? (You can reply offlist, if you'd like.) Here is my bit to contribute to your proposal: If there is a title, I have it here. I guess I should say if there is a responsibility, I have it. I do not write dates on a master calendar, but I approve them. I design lighting and sound for a good bit of the things in my space. I function as the FM, production manager, stage manager, floor swabber, etc. I have about twelve HS students as my "production assistants." They are great, and I cull the best I can find from drama club and stagecraft classes. I assist (read: teach) the teacher "of record" in one or two stagecraft classes each trimester. I occasionally use IATSE when warranted. The job is full time, plus. I am paid hourly. I am also lucky enough to be paid overtime at time and a half, and work from 800 to 1000 hours of overtime a year. I am unfortunate to work quite as much as I do, but I realize I am lucky to be paid for the hours I do work. It is realistically two jobs, though. The position is "under" our district's Operations and Maintenance office. My pay is just part of Op's yearly budget. My student assistants come out of a different budget. With the utilities, consumables, my pay, and equipment repair the budget is about $200,000. > How many outside 'clients' do you have, annually on average? How much does > the facility make annually from these non-inschool activities? Does that > money go into a special fund, or does it go to the school or district > General Fund? I had seventy seperate shows in here during the last year (June through May.) Twenty five of them were outside groups. It was a bit more, but a nice PAC opened in Appleton a while ago... and we lost a bit of those outside groups to them. Outside rental fees are a bit screwy, in my estimation. The money from rentals goes into the school's general fund. The rental structure here makes a non-profit pay about $550 per day for the space. Lighting is $50 per performance. Sound is $100 per performance. They are charged $30 per hour for me, and $10 per hour for my students. For profits are charged the same, plus an additional $1000 per show. There is also a staggered cleaning fee tacked on, depending on the amount of shows and whether or not the balcony was used. This fee ranges from about $150 to about $550. A good example is a non-profit childrens dance company was charged a total of about $1500 for a day of rehearsals and one performance. A local promoter was charged about $8,000 for two days of the space for two Kenny Rogers performances each day. > Does anyone's facility have an endowment? Is this endowment specifically > for operations and maintenance of the facility? How much is your endowment? > (I was going to write, "How well are you endowed?" but I really don't think > we need to get personal.) We do not have an endowment. We do have a fund established by a family that is under the control of the school district. The entire district had access to it. It is not used often, and usually just the interest is spent. I used it last year to replace our toasted Mackie 32/8 with a Soundcraft Series II. This summer I will likely use it to replace our failing Expression I with an Express. I am lucky in that my bosses in operations love the production values here. They do often tell me to clean my desk off :-) The Director of OPs and Maintenance often visits conferences in other schools, and frequently comes back reporting how lucky we are to have this (my) position. Not because he wants me to feel greatful or lucky, but because he sees many districts with a teacher in charge of the space part time when drama is in, or a member of custodial staff in charge without proper training. (That is not in any way, shape or form meant to disparage any member of any custodial staff, or any custodial staff member that is in such a position.) That scenario (rightly) scares him :-) > That's about it. Specifically, our pitch is being made to establish an > endowment for the facilities, and that all facility rental monies be > directed back into the facilities, not into the General Fund. These monies > would help pay for a Facility Manager, and also go towards upgrades and > maintenance. (Custodians don't really know too much about cleaning and > flameproofing drapes, and inspecting counterweight systems -- go figure.) > If you have any info to share with me, I'd be mighty grateful. > > -- Jon Ares > www.hevanet.com/acreative I think if you can have a full time person, have the monies generated by the rental of the space return to the space and have an endowment you will very lucky. Of course, that is what any sane group of people would do :-) FWIW Shawn Palmer Pickard Civic Auditorium Neenah, WI USA ------------------------------ Message-ID: <40FC0904.3040108 [at] northnet.net> Date: Mon, 19 Jul 2004 12:46:44 -0500 From: Shawn Palmer Subject: Re: Introduction and ("big time") References: In-Reply-To: >>There is no big time > > > Failure to find it does not mean that it doesn't exist. But it's really a > question of goals and priorities. I decided early in my career that if > "big time" meant working in New York City or Los Angeles then it just > didn't interest me. Not that there's anything wrong with it, not my style > though. > > Boyd Ostroff I've had the chance to work in various locals, in a few different industries. I'm with Boyd- I love where I am, and wouldn't consider going to NYC or LA anymore. I consider myself lucky to work in a job I love in a location I love, raising my family. As far as the big time goes, I recently had two different patrons (artists) buy two different light plots of mine after seeing shows here. Even though I work in Neenah, WI and live in Appleton that made me feel pretty big time :-) I don't do much free lance stuff (including design) anymore. Shawn Palmer Neenah, WI USA ------------------------------ Message-ID: <40FC12F0.5000501 [at] JosephCHansen.com> Date: Mon, 19 Jul 2004 14:29:04 -0400 From: Barney Simon Subject: Re: Drapery Needs References: In-Reply-To: I strongly second the FR note Boyd posted. My mind wonders which chance he is talking about... The chance of fire, or the chance of the fire department shutting you down opening night? I'm sure you know lister Frank Merrill there in Indianapolis, you could not ask for a more generous soul.... but I'm not making any promises for him :)\ Barney Simon J C Hansen Drapes, Drops, and Dance Floors NYC ------------------------------ Message-Id: <3.0.6.32.20040719123714.01831e08 [at] pop.west.cox.net> Date: Mon, 19 Jul 2004 12:37:14 From: CB Subject: Re: High school musical lighting >But first- why should anyone not having at least the >basics of McCandless be lighting a show. To provide >a bright light on the actors so all the parents can >videotape the show? Sometimes you don't have the luxury of getting experienced crew. Sometimes they just point to a pile of lighting gear in the corner and sy, "Have at it, Chris!" and you get lightrs designed by a soundman who doesn't even know who McCandless is. Sometimes you have the choice of a volunteer that knows very little, but is very enthusiastic and willing to go to the internet and ask what the proper procedure is, or nothing at all. Which would you choose? 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: <3.0.6.32.20040719125719.01831e08 [at] pop.west.cox.net> Date: Mon, 19 Jul 2004 12:57:19 From: CB Subject: Re: HS theatre facility manager queries >the very >provincial district administration has been unwilling to hire, or even >address, the importance of having a paid Facility Manager (or Production >Manager, if you prefer), even though there's been much rumbling and >grumbling at the school level, as well as the community/parent/taxpayer >level. You can explain it in the same way my dentist used to explain it to me: "You don't have to brush all your teeth, only the ones you want to keep!" You don't *need* a facilities manager, but it's far more valuable to have one to keep things from getting 'lost' and broken. Look at the entire budget for the new facility. Divide by two. This is the amount of money being wasted if there isn't someone hired to oversee the baby. 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: <3.0.6.32.20040719130039.01831e08 [at] pop.west.cox.net> Date: Mon, 19 Jul 2004 13:00:39 From: CB Subject: Re: HS theatre facility manager queries Oh, yeah. While the facility is going to need janitors (maintenance engineers, custodial artists, whatever), they will NOT be qualified to care for a facility of that quality. They will be less familiar with the gear and the facility than the users that are coming in, and they have other concerns and duties. Get someone that will save the facility money, not cost it. 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: steel floors Date: Mon, 19 Jul 2004 15:58:27 -0400 Message-Id: <20040719195827.KWU1402.de-fe02.dejazzd.com [at] de-fe02> I just worked a load in and out this January at F&M college for a performance of:Richard III by the Acting Company Directed by Eve Shapiro. They were carrying a steel deck in 4'x4' and 2'x4' panels that I believe they used clear marley tape for the seams and gaff tape for the edges. It went directly on the stage floor and the plates could easily have been recycled at the end of the tour. I don't remember the thickness but they were hefty. They used the noise to their advantage with swords play and such. I am sure someone here has contact info for the Acting Company if you need further info. Feel free to contact me on or off list if you would like me to inquire further. Greg Bierly Hempfield HS ------------------------------ Message-ID: <048f01c46ddd$77f40fa0$6501a8c0 [at] chris> From: "Chris Warner" Subject: ETC Express 2 software Upgradablility Date: Mon, 19 Jul 2004 15:12:23 -0700 Question - Is the Expression 2x console software upgradable to version 3.0.1 of the expression OS? Thanks in advance Chris Warner ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: Re: Drapery Needs Date: Mon, 19 Jul 2004 15:40:46 -0700 Message-ID: <023b01c46de1$701eea80$726dfea9 [at] DrDoomsComputer> In-Reply-To: I can only echo this wise saying ... having found too many curtains that are not flame retarded, even when ordered new or sent. Sad situation, but it is true. Doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. August 9, 10, 11, 2004 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Boyd Ostroff Sent: Monday, July 19, 2004 8:10 AM To: Stagecraft Subject: Re: Drapery Needs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Whatever you do in your quest for a low cost solution, make sure that you get soft goods that are properly flame retarded. It's not worth taking a chance with this to save a couple bucks... Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-Id: <6.1.2.0.1.20040719204252.01b58fe0 [at] incoming.verizon.net> Date: Mon, 19 Jul 2004 20:44:53 -0400 From: Patrick McCreary Subject: Re: Introduction In-Reply-To: References:

At 01:01 PM 7/19/2004, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >On Mon, 19 Jul 2004, Boyd Ostroff wrote: > >Failure to find it does not mean that it doesn't exist. But it's really a >question of goals and priorities. I decided early in my career that if >"big time" meant working in New York City or Los Angeles then it just >didn't interest me. Not that there's anything wrong with it, not my style >though. Yeah - what he said - emphatically. Did that - got the t-shirt. (and the scars.) Patrick G. Patrick McCreary Ass't. Professor - Technical Director Department of Theater and Dance Indiana University of Pennsylvania Indiana, PA 15701 (Office) 724-357-2644 (Home) 724-349-4309 ------------------------------ Date: Tue, 20 Jul 2004 02:08:42 -0600 Cc: shifting [at] shifting.ca Subject: test Message-ID: <20040720080842.GA3473 [at] shifting.ca> From: shifting [at] shifting.ca (Benjamin Eastep) test ------------------------------ Date: Tue, 20 Jul 2004 02:09:34 -0600 Cc: shifting [at] shifting.ca (Benjamin Eastep) Subject: test Message-ID: <20040720080934.GA3563 [at] shifting.ca> From: shifting [at] shifting.ca (Benjamin Eastep) test ------------------------------ End of Stagecraft Digest #76 ****************************