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 #77 Date: Wed, 21 Jul 2004 03:00:35 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #77 1. Re: ETC Express 2 software Upgradablility by "Sarah Clausen" 2. Sheet Lumber Dimensions by "Steve" 3. Re: steel floors by "richard j. archer" 4. Re: Steel floor by "Paul Guncheon" 5. Re: Sheet Lumber Dimensions by "Fred Schoening, Jr." 6. Lego dance floor by Steve Larson 7. Gobo storage holders by Steve Larson 8. Re: ETC Express 2 software Upgradablility by "Chris Warner" 9. Re: Steel floor by "Fred Schoening, Jr." 10. Re: Steel floor by MissWisc [at] aol.com 11. Re: Lego dance floor by MissWisc [at] aol.com 12. Re: Sheet Lumber Dimensions by "Ann Warren" 13. Re: Sheet Lumber Dimensions by "Jon Ares" 14. Re: Lego dance floor by "Paul Schreiner" 15. Re: Sheet Lumber Dimensions by "Michael Banvard" 16. Re: Sheet Lumber Dimensions by doran [at] bard.edu 17. the "please help NPR" hoax by Kate Daly 18. Re[2]: Drapery Needs by "Frank E. Merrill" 19. When you have trouble receiving Stagecraft... (was Re: test) by Noah Price 20. Re: Lego dance floor by "Sandra Hunter" 21. Lighting Crew by CB 22. Re: Introduction by CB 23. Re: HS theatre facility manager queries by CB 24. Re: Introduction and ("big time") by CB 25. Re: Introduction and ("big time") by Pat Kight 26. List of steps for using a counterweight system. by "Fitch, Tracy" 27. Re: List of steps for using a counterweight system. by "Chris Warner" 28. Re: Lego dance floor by "richard j. archer" 29. Re: Lego dance floor by Steve Larson 30. Re: List of steps for using a counterweight system. by Patrick McCreary 31. Re: Lego dance floor by "Kevin Patrick" 32. Re: Sheet Lumber Dimensions by "Alf Sauve" 33. Re: List of steps for using a counterweight system. by Bsapsis [at] aol.com 34. Re: Sheet Lumber Dimensions by "Mike Rock" 35. Re: List of steps for using a counterweight system. by "Mike Rock" 36. Re: big time by Steven Hood 37. Re: HS theatre facility manager queries by StevevETTrn [at] aol.com 38. Re: high school musical lighting by Jeff Forbes 39. Re: big time by "Chris Warner" 40. Re: HS theatre facility manager queries by "Chris Warner" 41. Job posting by Sunil Rajan 42. Introduction oops... by Sunil Rajan 43. Re: High school musical lighting by Sunil Rajan 44. Re: high school musical lighting by jonares [at] hevanet.com *** 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. ---------------------------------------------------------------------- Subject: Re: ETC Express 2 software Upgradablility Date: Tue, 20 Jul 2004 07:20:08 -0500 Message-ID: <0B70E9798A3B4E4080E46327FA359F2129578A [at] MIDL-MAILV.etcconnect.com> From: "Sarah Clausen" Chris - The short answer is yes. Visit http://www.etcconnect.com/service/service_console_software.asp with the Serial Number of your console. Sarah Clausen Product Manager Electronic Theatre Controls, Inc. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Chris Warner Sent: Monday, July 19, 2004 5:12 PM To: Stagecraft Subject: ETC Express 2 software Upgradablility For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Question - Is the Expression 2x console software upgradable to version 3.0.1 of the expression OS? Thanks in advance Chris Warner ------------------------------ Message-ID: <00bf01c46e55$311df960$396b7244 [at] D78YGH41> From: "Steve" Subject: Sheet Lumber Dimensions Date: Tue, 20 Jul 2004 07:29:08 -0500 Has anyone purchased sheet goods that weren't actually 4 X 8? I just bought a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into this problem and wondered if it was common. Wish I wouldn't have precut all the framing... Thanks, Steve Schepker Southeastern Louisiana University ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 20 Jul 2004 08:47:09 -0400 From: "richard j. archer" Subject: Re: steel floors >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >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? > >> >>Hey Gang! >> >>I've a designer who, for an upcoming show, wants a steel surface on the deck. > Fred; Ditto, Shiny you could try Gerriets Vario Met floor. It's sliver and shiny dance floor. Grey, you could paint mdf or mdo as suggested by others. Checked, you could try display floors like those from Snap Lock Industries "racetrack" floors. Dick A TD, Cornell U ------------------------------ Message-ID: <003001c46e58$55a6f900$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Steel floor Date: Tue, 20 Jul 2004 02:51:53 -1000 > > I've a designer who, for an upcoming show, wants a steel surface on the > > deck. At the risk of sounding naive... why? Looks? Sound? Magnetic shoes? Laters, Paul "Phew! I've just finished learning all Shakespeare's works," said Tom willfully. ------------------------------ Message-ID: <20051968.1090329074101.JavaMail.root [at] wamui04.slb.atl.earthlink.net> Date: Tue, 20 Jul 2004 08:11:14 -0500 (GMT-05:00) From: "Fred Schoening, Jr." Subject: Re: Sheet Lumber Dimensions I'll let others answer the size issue, but as for the framing: Build the frames 8'-0" anyway, skin 'em as planned, and then introduce the flats to your friend the router! You'll be happier with 8' flats anyway. That way, you can put one sideways on top of two others to get a 12' x 8' flat if needed. "Big Fred" Schoening Technical Director Dalas Theater Center Dallas, Texas, USA -----Original Message----- Has anyone purchased sheet goods that weren't actually 4 X 8? I just bought a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into this problem and wondered if it was common. Wish I wouldn't have precut all the framing... Thanks, Steve Schepker Southeastern Louisiana University ------------------------------ Date: Tue, 20 Jul 2004 09:11:17 -0400 Subject: Lego dance floor From: Steve Larson Message-ID: In-Reply-To: Ran into something I hadn't seen before this past weekend. A dance floor that comes in 1 foot squares and locks together like Lego's. They had red and gray squares. Anyone use anything like that before? No brand name molded into either. Steve ------------------------------ Date: Tue, 20 Jul 2004 09:14:09 -0400 Subject: Gobo storage holders From: Steve Larson Message-ID: In-Reply-To: Purchased some CD/DVD storage devices this weekend from my local Office Depot that look like hanging folders with slots for four CD's with a large pocket behind. Am using them to store my gobo patterns. Makes an easy, accessible filing system. Pockets are see-through and folders have slots in the back at the top for the standard hanging file ID tabs. Steve ------------------------------ Message-ID: <051c01c46e5d$1a27db10$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: ETC Express 2 software Upgradablility Date: Tue, 20 Jul 2004 06:26:02 -0700 Awesome, an ETC person on the list.... Can I sing your company a few praises!!!! Thanks for the answer. Chris ------------------------------ Message-ID: <17932734.1090330216611.JavaMail.root [at] wamui04.slb.atl.earthlink.net> Date: Tue, 20 Jul 2004 08:30:16 -0500 (GMT-05:00) From: "Fred Schoening, Jr." Subject: Re: Steel floor Hmmm, let me see if I can answer a few of the questions that have popped up so far: The designer wants the regular, dark gray, straight-from-the-steel-yard look, with rust. It's mainly going to be the floor of a cigar factory (the play is Anna in the Tropics.) He said he likes the way light bounces from it. So far he hasn't said anything about the sound, so I might still be able to make painted MDF or something work instead. However, I'm starting to get the feeling that he's got his heart set on real steel and that he's going to take some convincing if I want to go another route. I might be able to, though: I called for prices on steel yesterday, and "today's prices" (not next week's prices, TODAY's) indicate that 16 gauge would cost me about $2000 and 11 gauge (about 1/8") would be about $4000 in materials alone. Thanks for all the input so far, everybody! "Big Fred" Schoening Technical Director Dallas Theater Center Dallas, Texas, USA -----Original Message----- At the risk of sounding naive... why? Looks? Sound? Magnetic shoes? ------------------------------ From: MissWisc [at] aol.com Message-ID: <81.10faee84.2e2e86ae [at] aol.com> Date: Tue, 20 Jul 2004 10:31:10 EDT Subject: Re: Steel floor Cc: bigfred [at] mindspring.com Gamfloor has an adhesive grey surface that might work. If he insists on sheet metal, try a junkyard since he wants it to be rusty. (Add updated tetnus shots for the entire cast and crew!) I underestand your difficulty getting price quotes, Fred. Friend of mine in construction here is getting quotes on I beams good for 4 hours max - price changes at 8AM and 12 noon. Makes their ability to bid on projects a nightmare. Kristi ------------------------------ From: MissWisc [at] aol.com Message-ID: <1d1.2641fee7.2e2e8884 [at] aol.com> Date: Tue, 20 Jul 2004 10:39:00 EDT Subject: Re: Lego dance floor Cc: tiptd [at] theatreinthepark.com Legos or jiggsaw puzzle pieces? I've seen the latter in 3' squares for portable parquet dance floors in hotel ballrooms. Kristi ------------------------------ Message-Id: Date: Tue, 20 Jul 2004 09:42:25 -0500 From: "Ann Warren" Subject: Re: Sheet Lumber Dimensions Be Thankfull that they were over-sized. We have been getting a fair amount of 4x8 that is 1/8" short in both directions. The folks at the lumber yard just look at us blankly and mumble something about nominal sizes. I guess that they don't realize what the word means. It happens mostly in CDX. I have also noticed that the luaun in my area of the midwest is often only available in a 3/16" thickness though it is still sold as 1/4" . While I realize that we are talking metric thicknesses when it comes to sheet goods the difference between the two is very noticeable. Though I will say that the thinner stuff has a better surface which helps to make up for its wavyness when painted. Ann Warren Indiana State University "Has anyone purchased sheet goods that weren't actually 4 X 8? I just bought a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into this problem and wondered if it was common. Wish I wouldn't have precut all the framing..." ------------------------------ Message-ID: <001001c46e68$353ed1a0$0201a8c0 [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Sheet Lumber Dimensions Date: Tue, 20 Jul 2004 07:45:29 -0700 > Has anyone purchased sheet goods that weren't actually 4 X 8? I just bought > a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into this > problem and wondered if it was common. Wish I wouldn't have precut all the > framing... Go ahead and frame up and attach the lauan... let it run long on the offending end, and take a router or laminate trimmer and trim flush to the edge. It will come out "poifect." I never trust the dimensions of sheet goods anyway. One bad day at the mill shouldn't turn into a bad day for me. :) -- Jon Ares www.hevanet.com/acreative ------------------------------ Message-Id: <200407201452.i6KEqpr2022999 [at] webmail.longwood.edu> From: "Paul Schreiner" Subject: Re: Lego dance floor Date: Tue, 20 Jul 2004 10:52:48 -0400 In-Reply-To: > Legos or jiggsaw puzzle pieces? I've seen the latter in 3' > squares for portable parquet dance floors in hotel ballrooms. They also have them out now for children's playrooms. Some friends of ours bought a couple sets for their kids, I think they said that a set of four 2'x2' squares was about $18-20. ------------------------------ From: "Michael Banvard" Subject: Re: Sheet Lumber Dimensions Date: Tue, 20 Jul 2004 09:57:57 -0500 Organization: Sapsis Rigging Midwest Message-ID: <001001c46e69$f1d84340$6501a8c0 [at] Gelert> In-Reply-To: > Be Thankfull that they were over-sized. We have been getting a fair > amount of 4x8 that is 1/8" short in both directions. The folks at the > lumber yard just look at us blankly and mumble something about nominal > sizes. I guess that they don't realize what the word means. > It happens > mostly in CDX. Undersized pieces may be floor underlayment. For floors that are meant to last the life of new construction, however short that may be, undersizing sheets allows for expansion and contraction of the sheets (yes, they actually do change size, especially when wet). Underlayment need not be perfect, since there is another layer coming down on top of it. CDX is also used for sheathing, and again undersizing makes for easier installation and stability. A test would be to go to the lumberyard, check the full title of each style of sheet product, and take measurements. I would hope that BC would always be at least 4'x8'. As fast as the lumber industry changes (and it will change faster day by day as reserves are depleted), predictability is the one thing that you can't build in. - Michael. Michael J. Banvard SRI Midwest Saint Louis, Missouri (866) 773-1174 (314) 629-3644 (314) 773-1174 fax http://www.sapsis-rigging.com ------------------------------ Message-ID: <1090335929.40fd34b907a97 [at] webmail.bard.edu> Date: Tue, 20 Jul 2004 11:05:29 -0400 From: doran [at] bard.edu Subject: Re: Sheet Lumber Dimensions References: In-Reply-To: Ann, I think that you'll find that some manufacturers makethe cdx a little small to allow for spacing in expansion and contraction scenarios for sheathing on, say, the roof of your house. Also, we buy MDF that is manufactured at 49" X 97". I'm told that the maker does that to allow for saw kerfs when cutting it to smaller dimensions for cabinet making, etc. Works well for us, and leaves us with the a piece big enough to use for something else that is 4'x4'. Just my $.02, Andy Champ-Doran Quoting Ann Warren : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Be Thankfull that they were over-sized. We have been getting a fair > amount of 4x8 that is 1/8" short in both directions. The folks at the > lumber yard just look at us blankly and mumble something about nominal > sizes. I guess that they don't realize what the word means. It happens > mostly in CDX. I have also noticed that the luaun in my area of the > midwest is often only available in a 3/16" thickness though it is still > sold as 1/4" . While I realize that we are talking metric thicknesses > when it comes to sheet goods the difference between the two is very > noticeable. Though I will say that the thinner stuff has a better > surface which helps to make up for its wavyness when painted. > > Ann Warren > Indiana State University > > > "Has anyone purchased sheet goods that weren't actually 4 X 8? I just > bought > a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into > this > problem and wondered if it was common. Wish I wouldn't have precut all > the > framing..." > > ------------------------------ Message-Id: <6.0.0.22.2.20040720123004.01d81b68 [at] popd.ix.netcom.com> Date: Tue, 20 Jul 2004 12:36:52 -0400 From: Kate Daly Subject: the "please help NPR" hoax In-Reply-To: References: In the last week, I've received three different copies of the "please help NPR" petition. Most likely everyone here already knows this, but just in case ... the petition is a hoax. This link will take you to the NPR website with a discussion of the hoax: www.npr.org/about/urbanmyth.html Each time I received it this week, the subject line said "Read, Sign, and Pass It on" (sic). So if you see this in your email box, be advised -- it's just an urban legend. -Kate ------------------------------ Date: Tue, 20 Jul 2004 12:05:00 -0500 From: "Frank E. Merrill" Message-ID: <1379938336.20040720120500 [at] TCON.net> Subject: Re[2]: Drapery Needs In-Reply-To: References: Howdy! Monday, July 19, 2004, Barney Simon wrote about my getting involved in Ken Holyoak's curtain project for a truly deserving church here in Indianapolis: BS> I'm sure you know lister Frank Merrill there in Indianapolis, you BS> could not ask for a more generous soul.... but I'm not making any BS> promises for him :) Ken invited me into the project some time ago and I had pledged to see if I might drum up some donations of track and fabric or finished goods, and for which I'd donate supervision for the installation. Unfortunately, since most theatres are not-for-profit either by design or happenstance, I've found very little by way of donation; hence Ken's post to which Barney replied. The church needs a main curtain in two pieces approximately 15 feet wide x 13 feet high and ADC 280 or 170 manually operated track or similar. A valance 27' wide x 3' high would complete the front group. The stage set would be a backdrop and track the same size as the main, two pairs of leg drops 6' wide x 13' high dead hung on pipe battens, and two border curtains 30' wide x 3' high dead hung on pipe battens. I haven't asked Ken about the church's 501(c)(3) tax exempt status, but inasmuch it is a bona fide mainstream church in Indianapolios I am confident that donations you might be able to provide can be sufficioently documented to satisfy your tax needs. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Eastablished 1946 Indianapolis 317: 255 4666 Running The Bat! Natural e-mail system v2.10.1 mailto:Lamplighter [at] TCON.net ------------------------------ In-Reply-To: References: Message-Id: From: Noah Price Subject: When you have trouble receiving Stagecraft... (was Re: test) Date: Tue, 20 Jul 2004 10:40:58 -0700 On Jul 20, 2004, at 1:09 AM, Benjamin Eastep wrote: > test Welcome back :-) shifting.ca was not responding to mail server connections from 7/13 to 7/19. Mail appears to be flowing properly now. Not related to shifting.ca, but I'll take this as an opportunity to comment for others who may some day have trouble receiving Stagecraft. A number of servers are having trouble with connections from the list server. Many magically come back to life on Mondays (go figure!). While some are just connectivity problems or temporary downtime, I've traced others back to spam-related blacklisting or content filtering. If you get a "WARNING" message back from the list server, your domain's mail server has rejected something -- perhaps your account was full, or your server had temporary problems, or a message was rejected by spam filtering either rejecting the list server itself or the content of a particular message. The list server will normally try to deliver messages for 5 days before removing an address from the list. If you have spam "whitelist" capabilities, please whitelist the Stagecraft list from your account. If your ISP can whitelist at the server level, all the better. Since every message is "From" the message, you can't whitelist based on "From." Some key characteristics useful for whitelisting: * Sender (header): stagecraft [at] theatrical.net * Mail server reverse DNS domain: prxy.net Mail server reverse DNS host name: mail.prxy.net For example, in a SpamAssassin config file, this would be used: whitelist_from_rcvd * [at] theatrical.net prxy.net * Return-path (the envelope sender or "MAIL FROM" address): stagecraft-report [at] theatrical.net * Server IP address: 209.237.15.7 (better yet, please whitelist 209.237.15.0/24 or 209.237.15.* in case I move the server within my network block) You're welcome to contact me at stagecraft-web [at] theprices.net to help diagnose delivery problems. Your mail administrator or ISP can also contact me directly at that address, or at postmaster [at] prxy.com if they want something more official. For what it's worth, at least three servers that receive the list rejected this test message simply due to its subject line. Simple content rules are prone to "false positives" when used for filtering spam or viruses :-) (and now I see that ithaca.edu's "relaying denied" error is really a content filtering rejection... that makes more sense!) Thanks, Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | Web issues: stagecraft-web [at] theprices.net | | Web site administrator | Personal: noah [at] theprices.net | ------------------------------ From: "Sandra Hunter" Subject: Re: Lego dance floor Date: Tue, 20 Jul 2004 13:05:42 -0500 Organization: Sandra Message-ID: <0BBE1CD9BA96CA45B034A0963BB494F707EDA8 [at] server.Ghosheh.local> In-reply-to: I saw something like that at Lowes -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve Larson Sent: Tuesday, July 20, 2004 8:11 AM To: Stagecraft Subject: Lego dance floor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ran into something I hadn't seen before this past weekend. A dance floor that comes in 1 foot squares and locks together like Lego's. They had red and gray squares. Anyone use anything like that before? No brand name molded into either. Steve ------------------------------ Message-Id: <3.0.6.32.20040720131251.0182ac38 [at] pop.west.cox.net> Date: Tue, 20 Jul 2004 13:12:51 From: CB Subject: Lighting Crew Fwd:ed from FWd in France: I'm sorry that this is personal, but the list just doesn't listen to AOL 7.0, which I use when I'm in France. Re-post it if you like. As you know, we're an amateur house. We get a good few would-be lighting designers, and we try to train them. If they claim experience, we allocate them to a show in our studio, and a simple one, with an experienced designer in the background. Not there full-time, but always available for advice. If they can cut the mustard, we give them another, without the back-up. Then they move to the main theatre, probably as LX operator/associate designer. If they seem competent, we turn them loose. Even so, we keep an eye open, and if it all goes horribly wrong, we muster a rescue team. 'Visiting companies', if they haven't been before, get a minder, and some of them may ask their minder lo light the show for them. The theatre is no part of any financial arrangement they may come to. But if they choose to ignore his advice, that is their problem. All the minder is really for is to show them how to turn things on and off, and where the gear is stored. And, of course, to protect the theatre's equipment and installations, and to point out safety issues. After that, they're on their own. I certainly see the problems you face with a horde of untrained bodies, and enthusiasm is an unreliable guide. I remember four lines from a poem I learnt at school: He who knows not, and knows he knows not, He is a child, teach him. He who knows not, and knows not he knows not, He is a fool, shun him. Sententious, but true. "The show must go on!" Sometimes, I wonder why. FrankWood95 [at] aol.com To which I add: Yup, a similar phrase is one I use to explain the difference between ignorance (which is excusable) and stupidity (which is punishable). CB ------------------------------ Message-Id: <3.0.6.32.20040720140329.01835d70 [at] pop.west.cox.net> Date: Tue, 20 Jul 2004 14:03:29 From: CB Subject: Re: Introduction >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. He's right. I've worked both coasts (and both cities) and there ain't no big-time. There are gigs that pay more, and gigs that are more fun, but there are rarely both (they exist, but they are rare). 'Big-time' is for folk that need the attention. Folks that are in the 'big-time' wouldn't consider chattingwith us 'small-timers' here on the list. The fact that there are folk here that you would recognise from other places doesn't mean that they are big-time, it means that they are real. 'Big-time' and 'real' are usually mutually exclusive... 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: <3.0.6.32.20040720141824.01835d70 [at] pop.west.cox.net> Date: Tue, 20 Jul 2004 14:18:24 From: CB Subject: Re: HS theatre facility manager queries >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. This is just about enough money to pay for a half-time employee with some benefits. If you're digging the OT, shudup and take it. IF it shows in the work or your safety, show the numbers to the bean-counters. The week prior to getting smacked by a drunk driver on my bike I had logged more hours of OT than RT. They could have had another fulltimer on and saved money. And, I could have ended up mixing the show instead of the guy that walked in cold to replace me. 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: <3.0.6.32.20040720142033.01835d70 [at] pop.west.cox.net> Date: Tue, 20 Jul 2004 14:20:33 From: CB Subject: Re: Introduction and ("big time") > I consider myself lucky to work in a job I >love in a location I love Ooooohh! I HATE being corrected this fast! Boyd has obviously come up with the actual definition of 'big-time'. 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: <40FD8C58.3020804 [at] peak.org> Date: Tue, 20 Jul 2004 14:19:20 -0700 From: Pat Kight Subject: Re: Introduction and ("big time") References: In-Reply-To: CB wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > > >> I consider myself lucky to work in a job I >>love in a location I love >> >> > >Ooooohh! I HATE being corrected this fast! Boyd has obviously come up >with the actual definition of 'big-time'. > Damn. I'm in the big-time and I didn't even know it. (Of course, the job isn't in theater ... so - medium-large time?) -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org http://albanycivic.org ------------------------------ Subject: List of steps for using a counterweight system. Date: Tue, 20 Jul 2004 19:43:48 -0400 Message-ID: From: "Fitch, Tracy" Hey-o fellow list members. Long-suffering citizens of the stagecraft list may recall with gastrointestinal distress the discussions about my upcoming facility in Charlotte. =20 Believe it or not, it's mostly here now. (We have possession of 1/2 of the building and expect the other half some time between now and two months after Beelzebub wins the men's solo ice dance competition at the Sydney Summer Olympics.) So I walk into the soon-to-be-mine proscenium and marvel at the single purchase linesets that my students have never before witnessed. And then I realize -- none of them have ever touched an arbor. It falls to me and mine to impart unto them all there is to be learned about safe and proper counterweight operation. Any error they make will verily be burned unto my soul for all eternity. And I fall to my knees before the stagecraft gods whimpering and begging for mercy. And I say unto the deities, "Oh great, powerful (and hopefully knowledgeable) gods of all things rigging; if you were to write a step-by-step instruction listing for loading and unloading an arbor, what would be its contents?" "Further, what safety guidelines do ye enforce during the operation? Are all rails beneath the load rail cleared? Is the quarter of the stage beneath and adjacent to the rail cleared? What rope do you recommend for snub lines and what knot? How do you snub off a lineset when the arbor is all you can reach on the offstage side (i.e. there's an arbor pit)? What is this humble supplicant forgetting?" ------------------------------------------------------------------------ In other words, I know I can use linesets and I've taught people how to use them, but only in the context of an embedded cultural methodology. Since leaving graduate school, I haven't had linesets to work with so I could be rusty, as well as out of touch with any recent "standard practice" guidance. What do you say guys and gals? Can you help me make a nice list that could quickly develop into a class handout? ------------------------------------------------------------------------ --Tracy Fitch;=20 Faculty TD, UNC Charlotte; LD, Everywhere Else ------------------------------ Message-ID: <066401c46eba$22bb9e30$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: List of steps for using a counterweight system. Date: Tue, 20 Jul 2004 17:31:59 -0700 ------------------------------------------------------------------------ In other words, I know I can use linesets and I've taught people how to use them, but only in the context of an embedded cultural methodology. Since leaving graduate school, I haven't had linesets to work with so I could be rusty, as well as out of touch with any recent "standard practice" guidance. What do you say guys and gals? Can you help me make a nice list that could quickly develop into a class handout? ------------------------------------------------------------------------ --Tracy Fitch; Faculty TD, UNC Charlotte; LD, Everywhere Else First off get yourself some snub lines. Have the local stage supply house come out and do a rigging systems 101 with you and your kids, in my area San Deigo, San Diego STage and Lighting did the one at my highschool for free. Although it took someone who didn't know what he was doing and got hurt with a runaway to get them to do it.... Don't let this happen to you. Always tell your students about loading linesets, and make sure to keep the area from the arbor to about mid stage clear of heads lest a piece of pig irons falls and clobbers someone. The trick we used in highschool was to bring the line rope of the line set we were using to load together, and wrap the sub line around it 2-3 times and then use a half hitch to secure. Load the pipe, and the lineset, then release the snubline after it has been loaded. Remember when loading an arbor the weight will be up, and the pipe will be on teh stage. That is my .02 in arbor loading, haven't loaded an arbor in about 9 years, but I still believe I could do it safely. But, you might suggest talking to the company supplying your stage equipment, they may have some suggestions for you. Thanks Chris ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 20 Jul 2004 20:40:12 -0400 From: "richard j. archer" Subject: Re: Lego dance floor >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Ran into something I hadn't seen before this past weekend. >A dance floor that comes in 1 foot squares and locks together >like Lego's. They had red and gray squares. > >Anyone use anything like that before? No brand name >molded into either. > >Steve Snap lock Industries...Hey, didn't I just say this in my last post about metal floors? Dick A TD, Cornell U ------------------------------ Date: Tue, 20 Jul 2004 20:55:25 -0400 Subject: Re: Lego dance floor From: Steve Larson Message-ID: In-Reply-To: Don't know. Stopped following that thread. Thanks, though. Steve on 7/20/04 8:40 PM, richard j. archer at rja10 [at] cornell.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> Ran into something I hadn't seen before this past weekend. >> A dance floor that comes in 1 foot squares and locks together >> like Lego's. They had red and gray squares. >> >> Anyone use anything like that before? No brand name >> molded into either. >> >> Steve > > Snap lock Industries...Hey, didn't I just say this in my last post > about metal floors? > > Dick A > TD, Cornell U > > ------------------------------ Message-Id: <6.1.2.0.1.20040720212728.01b26158 [at] incoming.verizon.net> Date: Tue, 20 Jul 2004 21:31:03 -0400 From: Patrick McCreary Subject: Re: List of steps for using a counterweight system. In-Reply-To: References: At 07:43 PM 7/20/2004, you wrote: >What do you say guys and gals? Can you help me make a nice list that >could quickly develop into a class handout? > >------------------------------------------------------------------------ >--Tracy Fitch; >Faculty TD, UNC Charlotte; LD, Everywhere Else J. R. Clancy has some nice PDF files on their website - http://www.jrclancy.com/Literature/catlitpage.htm I asked them via e-mail this summer if I could print multiple copies for my class, and their response was immediate and positive. Tom Young was the individual that responded. <> 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 ------------------------------ From: "Kevin Patrick" Subject: Re: Lego dance floor Date: Tue, 20 Jul 2004 21:50:55 -0400 In-Reply-To: Message-ID: Yep, that's where I purchased it. When my family moved into our current house, we loved the 16x16 sunroom that we used as a gameroom. Lovely carpet. Until it rained, and flooded. Rather than replace the carpet, we purchased the 'snap together' foam squares from Lowes. It's laid over concrete, and works great for the kids. If a piece gets torn up, chewed up, or marked all over, it gets replaced. They have two sides, one smooth and one knobby. Note, however, that they do grab, and can cause some serious carpet burn on bare skin. I know that you can purchase variations online, and some seem to be 2" thick wrestling mats. But I bet they are all about the same. They do lock together pretty well. \< Theatre.colstate.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sandra Hunter Sent: Tuesday, July 20, 2004 2:06 PM To: Stagecraft Subject: Re: Lego dance floor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I saw something like that at Lowes -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve Larson Sent: Tuesday, July 20, 2004 8:11 AM To: Stagecraft Subject: Lego dance floor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ran into something I hadn't seen before this past weekend. A dance floor that comes in 1 foot squares and locks together like Lego's. They had red and gray squares. Anyone use anything like that before? No brand name molded into either. Steve -- This message has been scanned for viruses and dangerous content by the CSU Email Gateway, and is believed to be clean. --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.720 / Virus Database: 476 - Release Date: 7/14/2004 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.720 / Virus Database: 476 - Release Date: 7/14/2004 ------------------------------ Message-ID: <14b901c46ec5$2f669080$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Sheet Lumber Dimensions Date: Tue, 20 Jul 2004 21:41:46 -0400 Generally, things used for lamination should be a little oversized to allow you to apply it and then trim to fit. We've purchased counter top laminate recently and they've all been a little longer than advertised. I'm wondering if Luan is actually "lumber" or if one might categorize it as different, say "paneling" or "trim." And if that makes a difference in the standard for dimensioning. BTB, I've also, in a traveling show, built the flats 7'9" instead of the 8' called for by the director. First they fit in the truck standing up. Secondly, they were just that much easier to carry through doors and down hallways (most roadies seem to tend to carry 4x8 flats standing up). And lastly, the material used to cover the flats was exactly 8' which didn't leave any room to fold over the edges and staple. The slightly smaller dimension didn't affect anything else in the show and no-one ever noticed. (I even pointedly asked the director on several occasions if the flats looked okay.) So while Fred has a good point about using the 8' dimension to make 12' tall scenes, there are also other good reasons to make them slightly smaller. Depending on application, your mileage will vary. Alf Mt Bethel UMC ----- Original Message ----- From: "Steve" To: "Stagecraft" Sent: Tuesday, July 20, 2004 8:29 AM Subject: Sheet Lumber Dimensions > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has anyone purchased sheet goods that weren't actually 4 X 8? I just bought > a large pile of 3/4" luan that is 4' X 8'-3/16". I have never run into this > problem and wondered if it was common. Wish I wouldn't have precut all the > framing... > Thanks, > Steve Schepker > Southeastern Louisiana University > ------------------------------ From: Bsapsis [at] aol.com Message-ID: <159.3a5c2d66.2e2f2724 [at] aol.com> Date: Tue, 20 Jul 2004 21:55:48 EDT Subject: Re: List of steps for using a counterweight system. In a message dated 7/20/04 7:45:22 PM, tfitch [at] email.uncc.edu writes: << What do you say guys and gals? Can you help me make a nice list that could quickly develop into a class handout? >> First, get the stage equipment company that installed the system to do a one day training session with your kids. If they won't do it, call me. Second, talk to the manufacturer of the rigging company. Most have a poster or instruction sheet of some sort that will assist you in working with your kids. If they don't have anything, call me. Zat help? Bill S. Sapsis Rigging, Inc. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <001601c46ec8$847485c0$80fea8c0 [at] Mikesmadmachine> From: "Mike Rock" References: Subject: Re: Sheet Lumber Dimensions Date: Tue, 20 Jul 2004 21:14:55 -0500 As a matter of fact I ran into some today, it was was 8 feet and 3/4 of an inch by 4 feet. I guess it makes up for all the 2*4s with chunks missing. Mike Rock ------------------------------ Message-ID: <008901c46ecd$4b32ada0$80fea8c0 [at] Mikesmadmachine> From: "Mike Rock" References: Subject: Re: List of steps for using a counterweight system. Date: Tue, 20 Jul 2004 21:49:06 -0500 >>"Further, what safety guidelines do ye enforce during the operation? Once you move into the new theater I would find a bucket or basket possibly more than one so that the students have a place to put the contents of their pockets before they get out on the rail. I still rember a fellow student who had a box of gum balls in his pocket. It rained pink that day. >>Are all rails beneath the load rail cleared? Is the quarter of the >>stage beneath and adjacent to the rail cleared? It is my schools pratice to clear the stage right wing space when iron is being tossed. >>What is this humble supplicant forgetting? Before sending people up to toss wieght I would make sure they could lift a brick and a half with out to much of a struggle and work in pairs one takes the weights of the arbor the other puts it away and when the 1st one tires they switch. Thanks for the link I learned a lot but also came up with some more questions. ------------------------------ Message-ID: <20040721032318.39210.qmail [at] web20821.mail.yahoo.com> Date: Tue, 20 Jul 2004 20:23:18 -0700 (PDT) From: Steven Hood Subject: Re: big time In-Reply-To: You want the big time, you gotta define it... Where do you think is big time? I've got people older 'n me here who are pretty amazed at the splinters we come up with... Seems pretty big time to those folks. I'm not gonna tell 'em otherwise. I know I'd like to see what it's like to work in lots of different places, and this is one of the ones I thought I didn't want to work... But, I'm here, and I'm still able to learn new things and try new stuff. I'll move on when it's time... If you get an opportunity to work in the "big time", and you've got the energy to do it, you could go for it, but you should always weigh your options with the benefits as well as the costs... Some things, no matter how cool they may seem, may come with price tags for you or your family that are just too great... That said, welcome to the list, and we'll answer just about any question you can come up with... Try it: we're experts on all sorts of things, from rigging barbecues to making lights quieter... Slainte, y'all, Steven TD/PM, Regent Uni __________________________________ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail ------------------------------ From: StevevETTrn [at] aol.com Message-ID: Date: Tue, 20 Jul 2004 23:30:05 EDT Subject: Re: HS theatre facility manager queries >That school had a Media Technician/Technical Director that dealt with all >things related to the technical aspects of the theatre. Sounds familiar. Was this in Illinois, perhaps? Steve Vanciel Orlando, FL ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 20 Jul 2004 21:46:57 -0700 From: Jeff Forbes Subject: Re: high school musical lighting > 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... After 5 years of doing summer stock in a High School outside of Portland, this year I decided to forego using the schools two Lycian arc spots from the booth at the back of the auditorium and instead put a couple of 19 degree Source 4s with iris kits in the FOH catwalk. Running anywhere from 50 - 65 per cent, they they just kick ass over the Lycians. I'll probably never use the real followspots again, at least in this venue. The color temperature matches the rest of the lighting, rather than the cold blue look of the arc spots, and they are really clean and bright. City Theatrical makes makes a color boomerang for them, if desired, and I can run them from the console, making the fade ins and outs as fast or slow as I want. Don't buy a followspot if you don't need one. J -- Jeff A Forbes PMB 124 6820 SE Foster Rd Portland, OR 97206 (503) 888-5619 ------------------------------ Message-ID: <06a601c46ee0$ffd70db0$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: big time Date: Tue, 20 Jul 2004 22:10:11 -0700 ----- Original Message ----- From: "Steven Hood" To: "Stagecraft" Sent: Tuesday, July 20, 2004 8:23 PM Subject: Re: big time > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > You want the big time, you gotta define it... Where do > you think is big time? Steven to Me big time is getting more than 200 dollars for a design, and being less concerned with having the equipment to complete your design but time being the constraining limit. I design now at a community theatre level, and although a lot of fun and a challenge, it's beginning to become not so rewarding anymore. There is only so much one can do with 27 ellipses, 30 some odd fresnels, and 30 dimmers. I want to experience moving lights, color scrollers, animated effects, and other such devices as they are found in modern Broadway productions. These are all VERY big dreams for me, the biggest goal I have is to become a paid designer, and make a living at it. I have heard that light designers are becoming as numerous as actors, so I am toying with the idea of moving towards Audio design and engineering (something that I have had some experience with both in the studio and in live theatre but not for SEVERAL years now). So WHAT is big time? Well like I said to me it's getting paid to experience all the toys that ones heart can imagine. Maybe it would mean that I get a Masters Degree and teach lighting design, or maybe, I make it to broadway. I don't know. I know that personally I have a goal of designing in 2 houses here in San Diego area. First being the San Diego CIVIC theatre, the other being The Old Globe. Both are well equipped, but as goals they are probably a lot more achievable then designing on broadway or even off broadway. Thanks for listening to me ramble. Chris ------------------------------ Message-ID: <06ac01c46ee1$630d27c0$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: HS theatre facility manager queries Date: Tue, 20 Jul 2004 22:12:57 -0700 ----- Original Message ----- From: To: "Stagecraft" Sent: Tuesday, July 20, 2004 8:30 PM Subject: Re: HS theatre facility manager queries > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >That school had a Media Technician/Technical Director that dealt with all > >things related to the technical aspects of the theatre. > > Sounds familiar. Was this in Illinois, perhaps? > > Steve Vanciel > Orlando, FL No actually, Santee CA. Theatre is located at West Hills High School my Alma Mater. The space is now called the Bob Guess Memorial theatre (the name of the principle that pushed the space through the politcal hoops). The space is a 473 seat proscenium theatre. It has a high bay, and 4 stage electrics with 96 dimmers to feed stage and house lights, and a Strand Mantrix MX light board. Sorry more detail that required to answer the question, but for me, that is where my dream of becoming a lighting designer began. ------------------------------ Message-Id: <46C58984-DA76-11D8-9E79-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Job posting Date: Tue, 20 Jul 2004 13:57:33 -0400 Hello all! I was offered a job at as the TD for my alma mater, and while it would be a GREAT job, I'm committed to staying in NYC for a while longer, and have no real desire to go back to the midwest and work at a university. If anyone is interested, email me offlist and I'll forward the posting. Cheers, Sunil Rajan Freelance Audio Mercenary ------------------------------ In-Reply-To: References: Message-Id: <9741450E-DA70-11D8-9E79-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Introduction oops... Date: Tue, 20 Jul 2004 13:16:51 -0400 Hello all! Sorry I didn't introduce myself earlier, when I was lurking. Most of you already know me from either working with me, knowing someone who has worked with me, or my various incoherent ramblings on the other theatre/production listservs! For those that don't; My name is Sunil Rajan, Freelance Audio Mercenary. I've been actively working in the entertainment industry for 15 years, starting in middle/high school, and working my way up (or down, depending on who you ask). I'm constantly learning, and am glad to be part of our community in our specific wacky industry ("We work for YOUR entertainment dollar!"). Cheers, Sunil Rajan Freelance Audio Mercenary Sound Design, Engineering, Consulting for Stage, Screen, Studio I.A.T.S.E. #395 (but based out of NYC) ------------------------------ In-Reply-To: References: Message-Id: <9EAE24D4-DA66-11D8-9E79-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Re: High school musical lighting Date: Tue, 20 Jul 2004 12:05:29 -0400 On Jul 19, 2004, at 6:01 AM, Stagecraft wrote: > I'm sure someone will learn something. I occasionally worry that what > they > learned is not common, safe practice. I take the time to make sure > they learn not only > how to do something, but also why to do it that way. > As experience taught me, > incoming college students were best taught to forget just about > everything > they learned in high school theatre. Most of it was not common > practice > it was what worked at the time. Most did not have teachers who had > much > experience at tech. What a shame. This also holds true for a lot of regional and off-Broadway theatre (at least in my experience). I was VERY fortunate to have excellent teachers in college and beginning professional life. It does seem that this is becoming much rarer though, which is a shame. It seems here in NYC, that there are a lot of technicians without the basic skills (running cable, flying, rigging, etc.) who have been working for a long time. A lot of the theatres are more than willing to hire these folks, than pay a living wage for folks that actually KNOW what they're doing. Of course, what governs these decisions? MONEY! Why spend money on doing things right the first time, when you can do it for cheap, and if it holds up... leave it be, for years to come. sigh... (back into lurking) Sunil Rajan Freelance Audio Mercenary ------------------------------ Message-Id: <200407210557.i6L5vao35428 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Re: high school musical lighting Date: Wed, 21 Jul 2004 05:57:36 GMT > After 5 years of doing summer stock in a High School outside of > Portland, this year I decided to forego > using the schools two Lycian arc spots from the booth at the back of > the auditorium and instead put a couple of 19 degree Source 4s with > iris kits in the FOH catwalk. Wow Jeff... I love success stories like this, but knowing that space, how do the ops work in that beam position? There's only the one FOH, and you practically have to lie on your belly just to focus the lights... how do they operate FSs out of that narrow slot in the ceiling that's below the (wooden) catwalk? Do they operate like we used to at Portland Civic Theatre (with the FS between our legs)? -- Jon Ares www.hevanet.com/acreative ------------------------------ End of Stagecraft Digest #77 ****************************