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 #84 Date: Wed, 28 Jul 2004 03:00:08 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #84 1. Stagehands by Tony Miller 2. Re: Jumping through flaming hoops by "MARK OBRIEN" 3. Osram HPLs with Ceramic Bases by StevevETTrn [at] aol.com 4. Political Conventions by "RICHARD FINKELSTEIN" 5. Re: 4X8 by "Paul Guncheon" 6. Re: Political Conventions by "Andrew Vance" 7. Re: 4X8 by Kåre Olai Lindbach 8. Re: Political Conventions by "Jon Ares" 9. Re: Political Conventions by Colin Koffel 10. Re: Political Conventions by "Jon Ares" 11. Re: Political Conventions by Herrick 12. Re: Jumping through flaming hoops by Mark O'Brien 13. Re: Osram HPLs with Ceramic Bases by seanrmc [at] earthlink.net 14. Re: Does anyone recognize this Theater? by davin pickell 15. Re: Does anyone recognize this Theater? by Fred Fisher 16. Re: basic skill levels - was:High school musical lighting by CB 17. Re: 4X8 by "Booth, Dennis" 18. Soon to be Band-with waste was Re: basic skill levels by Eddie Kramer 19. Prop Cabinets by "Fitch, Tracy" 20. Re: Prop Cabinets by "Jon Ares" 21. Re: Looking for somewhere by Bsapsis [at] aol.com 22. Re: Jumping through flaming hoops by usctd [at] columbia.sc 23. Re: Prop Cabinets by usctd [at] columbia.sc 24. Re: Jumping through flaming hoops by Noah Price 25. Noah's troubleshooting (was Re: Jumping through flaming hoops) by "Jon Ares" 26. Re: basic skill levels - what next (long essay) by StevevETTrn [at] aol.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. ---------------------------------------------------------------------- Date: Tue, 27 Jul 2004 11:08:12 +0100 Subject: Stagehands From: Tony Miller Message-ID: Mark O'Brien wrote > In 1989, I took Steppenwolf's production of Grapes O' Wrath to the NT. We > played > the Lyttleton theatre, and I must say the stagehads were outstanding. Load in > in NYC = 30 days,l La Jolla, CA, 10 days, and London was 2 days (of course we > only had 2) And Keith Arsenault wrote > I just finished a week on a corporate show in Chicago, , , > some of the Local 2 crew might not test positive for DNA, , , I have just finished a corporate show working with an American crew and they kept going on about how good the Brits were, about how we really cared about the show. The obvious question is what are we doing right and you doing wrong? How do you still get work if you don't care about what you are doing? Not many of us here have theatre degrees and we haven't completed really complicated entrance tests but we really enjoy the job and our crews do seem to do it quite well. Even in the big theatre factories like the National Theatre. Just wondering Tony Miller. ------------------------------ From: "MARK OBRIEN" Subject: Re: Jumping through flaming hoops Date: Thu, 08 Jul 2004 12:54:57 -0700 Message-ID: I have found that in most towns, the difference is in the details, I used intumesent paint to backpaint all the wood, and Dekadex to treat any foam. When I ordered the fabric for the cover, and or the rags, I got certs from the supplier. In addition, I would compse a notorized letter, stating what had been treated, and how, in case I was not on site when the AHJ came around, All of these were posted on the back of the most visable portal or screen surround, for all to see. It seemed, if I made the first move, everyone, including the local hands, knew fire safety had been addressed, >The regulations tend not to change too much from one town to another. the >interpretation of those regulations is another matter. If the set is going >to >only one place I strongly suggest you talk to the people at that theatre >first. > >Here are some general suggestions however (Fred, you probably already know >these but some of the other folks on the list might not. > >1) No raw wood. Everything gets painted. >2) Have a certificate of flame retardancy for all of the scenery. If you >have different types of material (wood, plastic, metal, etc.) then you >should >have a cert. for each type. >3) No foam. Many places won't let you use a foam product, at least in >serious quantities, that gives off a toxic smoke when it burns. >4) Separate flame retardancy for the soft goods. If you have different >types of fabric then you should have a cert. for each type. > >Part of the idea is to impress the fire marshal that you know what you are >doing. Having a hand written note on the back of a drink coaster won't do >it, >but lots of official certificates will help smooth the way. > >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. > > _________________________________________________________________ MSN Life Events gives you the tips and tools to handle the turning points in your life. http://lifeevents.msn.com ------------------------------ From: StevevETTrn [at] aol.com Message-ID: Date: Tue, 27 Jul 2004 07:40:50 EDT Subject: Osram HPLs with Ceramic Bases We've been experiencing some issues with the new Osram HPL lamps with ceramic bases not fitting well into Source 4 ellipsoidals. Part of the problem seems to be the size of the ceramic base and its friction against the metal sides of the socket. It also appears that the pins are slightly oversized. Once these lamps are forced into the socket contacts, then metal base lamps might not sit tightly enough to maintain a good electrical connection. Has anyone else run across this problem or did we just get a bad shipment of lamps? Steve Vanciel Orlando, FL ------------------------------ From: "RICHARD FINKELSTEIN" Subject: Political Conventions Date: Tue, 27 Jul 2004 07:59:17 -0400 Message-ID: There are ample means for learning more about design and technical credits and information for those designing in film or Broadway, but at the moment two of the biggest theatrical projects are of course the major party conventions in the US, both of whom use an astonishing array of theatre pro expertise. I would like to learn more about the teams who have been working on these and statistics and other useful information. I would be happy to coalate any off-list responses and upload the compilation. Who are the designers? Who are the stage managers or floor managers? Scripting? Who is that announcer at the Dem convention? Set budget? Miles of lighting cable? It's all game. If articles have been published recently on this do share that info too. Thank you in advance for any respondants. Richard Finkelstein http://www.rfdesigns.org ------------------------------ Message-ID: <004701c473e1$e20dfd60$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: 4X8 Date: Tue, 27 Jul 2004 03:59:05 -1000 I went the local lumber yard the other day and while I didn't take notes (maybe someone on the list with more time on their hands can do some more detailed research and a better report), I measured a variety of sheet goods. I found it interesting that the only 4x8 material that actually measured 4'x8' exactly was particle board. None of the ply materials measured "exactly" in either metric or Imperial measurements with a few exceptions. Certainly none of them measured exactly in both dimensions. AC ply was a different size that cdx or treated. No two materials were of the same thickness either... i.e "1/2" " material varied from 3/8" - 1/2". It seems to me that many materials are said to be metric, 1220 x 2440 for instance, apparently because the measurement number ends in zero. Wouldn't a true "metric" size be 1m x 2m? We could have switched to the metric system in a matter of days if the government hadn't kept imperial measurements next to the metric ones. Rather that "switching", we then focused on "comparing". The biggest problem I have in using metric is the scale on the table saw is in ft/in. Laters, Paul "Henry the Eighth!" said Tom unthinkingly. ------------------------------ Message-ID: <008e01c473e1$dafe9610$0500000a [at] anneb> From: "Andrew Vance" References: Subject: Re: Political Conventions Date: Tue, 27 Jul 2004 08:58:53 -0500 Richard =3D> Its interesting you should ask this, because I was thinking the same = thing as I watched last night. The sheer spectacle of the event is = amazing, and I often found myself wanting to find out what lights they = were using for what, what kind of movers I saw from a distance, why the = podium was so jerky, etc. NBC news did a story on the DNC convention this weekend [go figure] = where they talked about all that went into transforming the Fleet Center = and its surrounding area for the convention. In it they mentioned how = many and what size video monitors were installed, the dimensions of the = flag over the stage, the size of the stage, how many lights were hung, = how many miles of cable were laid [which I think was 4000, but don't = quote me if I'm wrong], and several other interesting tidbits. Now, if = I was thinking I would have wrote some of that information down or at = least retained it a little better. Perhaps msnbc.com has it their = archive somewhere. The official DNC Convention website also has some information on the = technical side of the convention. Visit the following URL and it'll = give you some information. http://www.dems2004.org/site/pp.asp?c=3DluI2LaPYG&b=3D100388 -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Theatre Ballet ------------------------------ From: =?ISO-8859-1?Q?K=E5re_Olai_Lindbach?= Subject: Re: 4X8 Date: Tue, 27 Jul 2004 16:31:16 +0200 Organization: LLP Message-ID: References:

In-Reply-To: On Tue, 27 Jul 2004 03:59:05 -1000, you ("Paul Guncheon" ) wrote: >It seems to me that many materials are said to be metric, 1220 x 2440 for >instance, apparently because the measurement number ends in zero. Wouldn't >a true "metric" size be 1m x 2m? Ply sheet are measured 1200 because the interval between the vertical plank (I donot what you call them in English) when building should be 600 mm (aka 60 cm aka 0.6 m). The "standard" height of a room is 2400 mm, I believe, so that's probably the reason for that. The rest is overlap, spare or something like that. It seems you get 10 mm ekstra per 600 mm "unit-length". -- mvh/Regards Kåre Olai Lindbach (News: Remove '_delete_' and '.invalid') (HTML-written email from unknown will be discarded) ------------------------------ Message-ID: <000e01c473e6$8092e780$0201a8c0 [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Political Conventions Date: Tue, 27 Jul 2004 07:32:09 -0700 > why the podium was so jerky, etc. Y'know, I was wondering the same thing last night. During Clinton's speech, every time his hand(s) went down, the camera bumped up. As soon as the hand(s) went up, the camera came back down. Was the camera being operated by a computer that was tracking the body mass, or was the lectern and backdrop moving?? I was getting nauseous (from the picture, not the content). -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ Date: Tue, 27 Jul 2004 11:26:44 -0500 Subject: Re: Political Conventions From: Colin Koffel Message-ID: In-Reply-To: RICHARD FINKELSTEIN wrote: > There are ample means for learning more about design and technical credits > and information for those designing in film or Broadway, but at the moment > two of the biggest theatrical projects are of course the major party > conventions in the US, both of whom use an astonishing array of theatre pro > expertise. I would like to learn more about the teams who have been working > on these and statistics and other useful information. And to keep this more on topic, Pattie LaBelle sang last night after Clinton. According to another article on the DNC website http://tinyurl.com/7yv45 : - The giant screen is 90' by 17', lit by 5 projectors - The American flag hanging above is 55' wide - Construction took 6 weeks - 24 42" and 10 50" plasma screens that can be raised and lowered - 600' of electrical lights illuminate scenic panels - Stage and arena lit by 1000 fixtures - Set is 60' tall and 170' wide and can accommodate 200 people The Boston Globe http://tinyurl.com/4c2p5 had an interesting article with a few nice tidbits: - "Construction workers cut through the concrete ceilings of the passageways to the Boston Bruins locker rooms, so that the 6-foot-4-inch nominee can pass through" - "The stage originally featured a wood finish, but was then painted silver to appear metallic. Yesterday, Cheryl Jeffries had the job of painting the stage again to look like wood. The paint flip-flop has kept Jeffries and fellow set workers busy. ''I thought this would never end; they just kept building," said Jeffries. ''I thought to myself, 'Bigger brushes for everyone!' It's quite a feat. I hope Mr. Kerry likes it."" From that Globe article, it seems that Mystic Scenic Studios led the design and construction of the set. Unfortunately, There isn't anything on their website http://www.mysticscenic.com. Hope this helped, Colin Koffel ------------------------------ Message-ID: <001d01c473f7$a8433670$0201a8c0 [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Political Conventions Date: Tue, 27 Jul 2004 09:34:57 -0700 > ''I thought this would never end; they just kept building," said > Jeffries. ''I thought to myself, 'Bigger brushes for everyone!' It's > quite a feat. I hope Mr. Kerry likes it."" > Yeah, I'm sure that Mr. Kerry will be walking onto the stage and marveling at the nice wood floor and lovely set. He'll turn to his wife, Mrs. Teresa "Shove It" Heinz Kerry and whisper, "We should do this to our floors!" -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ Date: Tue, 27 Jul 2004 13:08:50 -0400 Subject: Re: Political Conventions From: Herrick In-Reply-To: Message-Id: As an amusing aside. I was shopping in Cambridge (see: People's Republic Of) a few weeks ago and the Heinz Ketchup bottles had been re-labeled "Kerry for President" has anyone else run into these? Mystic Scenic does a large amount of the scenic work in Boston. They are a small company and I'm pleased to see they are working on this giant project. On Tuesday, Jul 27, 2004, at 12:34 America/New_York, Jon Ares wrote: > > , Mrs. Teresa > "Shove It" Heinz Kerry > Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <1090948225.5f25668347861 [at] www.email.arizona.edu> Date: Tue, 27 Jul 2004 10:10:25 -0700 From: Mark O'Brien Subject: Re: Jumping through flaming hoops References: In-Reply-To: This is odd... I sent this message 7/08/04, and got it today (7/26)on my new e-mail address. Whats up with that? Another issue, is that I never do get the posts that I send. The only way I can tell that I sent it, is the comments, and flames I get afterward. Is that normal? -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting MARK OBRIEN : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > I have found that in most towns, the difference is in the details, I used > intumesent paint to backpaint all the wood, and Dekadex to treat any foam. > SNIP ------------------------------ Message-ID: <24423755.1090952406956.JavaMail.root [at] scooter.psp.pas.earthlink.net> Date: Tue, 27 Jul 2004 14:20:06 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Subject: Re: Osram HPLs with Ceramic Bases You're not alone Steve... Though they've been all from the same case, not one yet has fit "right". Usually it's, like you said, too much friction/slightly greater width. I've ended up cracking pieces of the ears of the ceramic off trying to get the retaining clip down over the lamp base. I'm wondering how well they really work, as it would seem the ceramic wouldn't be as good of a heat sink. --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: StevevETTrn [at] aol.com We've been experiencing some issues with the new Osram HPL lamps with ceramic bases not fitting well into Source 4 ellipsoidals. Part of the problem seems to be the size of the ceramic base and its friction against the metal sides of the socket. Has anyone else run across this problem or did we just get a bad shipment of lamps? Steve Vanciel Orlando, FL ------------------------------ Message-ID: <20040727191128.47436.qmail [at] web52608.mail.yahoo.com> Date: Tue, 27 Jul 2004 12:11:28 -0700 (PDT) From: davin pickell Subject: Re: Does anyone recognize this Theater? In-Reply-To: Why can't I see the video? All I get are gyrating patterns, which I can change to a different type of gyration. Is my media player doing this? Is the link goofy? Is my employer preventing me from watching human gyrations? Anyone out there geeky enough to help? I mean that in a good way. Thanks, Davin Pickell Caught somewhere between the former Oscar Mayer Theatre, and the soon to open Overture Hall ------------------------------ Date: Tue, 27 Jul 2004 14:12:51 -0500 From: Fred Fisher Subject: Re: Does anyone recognize this Theater? In-reply-to: Message-id: <5.2.1.1.2.20040727141039.00ba78d8 [at] wiscmail.wisc.edu> References: Davin, Shouldn't you be collecting Jay's squished dimes and pennies from the Pleasant T. Roland Organ track instead of looking at tawdry videos? Fred At 12:11 PM 7/27/2004 -0700, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Why can't I see the video? All I get are gyrating >patterns, which I can change to a different type of >gyration. Is my media player doing this? Is the link >goofy? Is my employer preventing me from watching >human gyrations? > >Anyone out there geeky enough to help? I mean that in >a good way. > >Thanks, > >Davin Pickell >Caught somewhere between the former Oscar Mayer >Theatre, and the soon to open Overture Hall ----------------------------------------------------- Click here for Free Video!! http://www.gohip.com/freevideo/ ------------------------------ Message-Id: <3.0.6.32.20040727125431.0182b178 [at] pop.west.cox.net> Date: Tue, 27 Jul 2004 12:54:31 From: CB Subject: Re: basic skill levels - was:High school musical lighting >You left the smiley :-) off your post. >(We only take Humans in our apprentices program). Maybe its because the first 'jumping in ceremony' I went to (I was transporting another friend who was also petitioning to join the local), two of the potential initiates, (brothers in the traditional definition) were being reminded of their ace-in-the-hole. "Third generation. Just keep telling them third generation, and you're a shoe-in." Fortunately, all three of the guys there are exceptional at what they do, and I'd be happy to have them on any crew I worked on. My fear comes from thinking about how many third generation brothers haven't got anything more than their genes to qualify them for the gig, and still get in. But maybe that ain't a big problem in Local 1... ; > 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... ------------------------------ Subject: Re: 4X8 Date: Tue, 27 Jul 2004 15:42:51 -0400 Message-ID: From: "Booth, Dennis" If the lumberyard you visited was Lowe's or Home Depot, it's likely that what you're looking at is not "plywood" but "underlayment" or sub-flooring plywood. Sadly, most of the people in those stores don't seem to know or understand the difference. =20 The thickness variation that you are seeing is either due to the fact that underlayments are sanded to 1/32nd inch specs, ie. what they are referring to as "1/2 inch ply" is actually 15/32" underlayment, and "3/4 inch ply" is actually 23/32" underlayment, etc. In my area, the local yards don't even stock full thickness ply, as the builders don't seem to care. Greater variation than that might be VERY substandard material, or just sheet goods that are racked in the wrong racks. I can't tell you how many times I've set back deliveries of sheet goods that measured 5/8" when I ordered 3/4" material.=20 The same goes for the issue of "4x8" dimension. Underlayments and subflooring plys are often sized 1/16" less in both dimensions to allow for expansion and contraction when the sheets are installed for floors and roofs. This prevents buckling of the finish floor or roof. I'm sure a fair amount of what you're finding is just poor quality control, ignorance, and a general lack of concern on the part of your supplier. DGB=20 Dennis Gill Booth, Technical Director North Carolina School of the Arts=20 School of Design and Production=20 1553 South Main Street=20 PO Box 12189=20 Winston-Salem, NC 27117-2189=20 * Voice: (336)770-3232 x127=20 * FAX: (336)770-3213=20 * Email: boothd [at] ncarts.edu=20 * D&P URL: http://www.ncarts.edu/ncsaprod/designandproduction/=20 * Faculty URL: http://faculty.ncarts.edu/dandp/booth/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul Guncheon Sent: Tuesday, July 27, 2004 9:59 AM To: Stagecraft Subject: Re: 4X8 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I went the local lumber yard the other day and while I didn't take notes (maybe someone on the list with more time on their hands can do some more detailed research and a better report), I measured a variety of sheet goods. I found it interesting that the only 4x8 material that actually measured 4'x8' exactly was particle board. None of the ply materials measured "exactly" in either metric or Imperial measurements with a few exceptions. Certainly none of them measured exactly in both dimensions. AC ply was a different size that cdx or treated. No two materials were of the same thickness either... i.e "1/2" " material varied from 3/8" - 1/2". Paul "Henry the Eighth!" said Tom unthinkingly. ----------------------------------------------=20 This message has been scanned for viruses and dangerous content and is believed to be clean. ---------------------------------------------- ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 27 Jul 2004 17:07:03 -0400 From: Eddie Kramer Subject: Soon to be Band-with waste was Re: basic skill levels On 7/27/04 CB sent: >Maybe its because the first 'jumping in ceremony' I went to I do not know what your talking about, "jumping in" is not a term I know. >But maybe that ain't a big problem in Local 1... ; > Not a problem here. Eddie PS Can we take this off list, before we waste lots of band-with? EK -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Subject: Prop Cabinets Date: Tue, 27 Jul 2004 20:53:04 -0400 Message-ID: From: "Fitch, Tracy" As the clock winds down and we accelerate toward opening our first show while I still await being allowed to work in my shop or go onto my stage, I am suspecting that I don't have enough time to get everything done. (perhaps "suspecting" is a mild word -- maybe I should say "certain") One item I had planned to build was prop cabinets. Since I won't have time to build'em -- I might want to buy them. Does anyone know a company that builds a good prop cabinet?=20 I remember a discussion about these a few years ago, but the archives aren't willing to take my calls at the moment. Any help would be greatly appreciated. --Tracy Fitch TD, UNC Charlotte; LD, Everywhere Else ------------------------------ Message-ID: <000601c4743e$936b1780$0201a8c0 [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Prop Cabinets Date: Tue, 27 Jul 2004 18:02:37 -0700 > One item I had planned to build was prop cabinets. Since I won't have > time to build'em -- I might want to buy them. Does anyone know a > company that builds a good prop cabinet? http://www.showfab.com/roadboxes/index.html These look terrific... I'm sure I'd wince at the price, though. I once worked in a theatre that had several marvelous portable cabinets - basically they were "Home Depot" type 'custom' cabinets, on wheels. There's several cabinet and weird lumber liquidation places around here - every time I walk in there, I'm tempted to make some of these rolling things. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ From: Bsapsis [at] aol.com Message-ID: <1c1.1c398271.2e385e11 [at] aol.com> Date: Tue, 27 Jul 2004 21:40:33 EDT Subject: Re: Looking for somewhere Does anyone know if Steve Machlin is still at SUNY/Binghampton? And does anyone know his e-mail address? Please respond off list. Thanks 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: <3083.69.38.68.213.1090986135.squirrel [at] webmail.columbia.sc> In-Reply-To: References:

Date: Tue, 27 Jul 2004 23:42:15 -0400 (EDT) Subject: Re: Jumping through flaming hoops From: usctd [at] columbia.sc That happened to me when the old list. I assume it was a spam issue. If you have control of it, you may want to check your settings and set the list as a non-spam entity. If you have done this, try re-enlisting. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This is odd... > > I sent this message 7/08/04, and got it today (7/26)on my new e-mail > address. > Whats up with that? > > Another issue, is that I never do get the posts that I send. The only way > I can > tell that I sent it, is the comments, and flames I get afterward. Is that > normal? > -- > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > > > Quoting MARK OBRIEN : > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> >> >> I have found that in most towns, the difference is in the details, I >> used >> intumesent paint to backpaint all the wood, and Dekadex to treat any >> foam. >> > > SNIP > > ------------------------------ Message-ID: <3091.69.38.68.213.1090986344.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Tue, 27 Jul 2004 23:45:44 -0400 (EDT) Subject: Re: Prop Cabinets From: usctd [at] columbia.sc This may sound stupid, but what is a "prop cabinet"? What makes a good prop cabinet? What makes a bad prop cabinet? Sorry if this is rehash to old listers, but..... -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > As the clock winds down and we accelerate toward opening our first show > while I still await being allowed to work in my shop or go onto my > stage, I am suspecting that I don't have enough time to get everything > done. (perhaps "suspecting" is a mild word -- maybe I should say > "certain") > > One item I had planned to build was prop cabinets. Since I won't have > time to build'em -- I might want to buy them. Does anyone know a > company that builds a good prop cabinet? > > I remember a discussion about these a few years ago, but the archives > aren't willing to take my calls at the moment. > > Any help would be greatly appreciated. > --Tracy Fitch > TD, UNC Charlotte; LD, Everywhere Else > ------------------------------ In-Reply-To: References:

Message-Id: <66254DDC-E04A-11D8-B0BD-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Re: Jumping through flaming hoops Date: Tue, 27 Jul 2004 20:58:35 -0700 On Jul 27, 2004, at 10:10 AM, Mark O'Brien wrote: > This is odd... > > I sent this message 7/08/04, and got it today (7/26)on my new e-mail > address. > Whats up with that? MSN has been sitting on it. Here are the headers from your original message (read up from the bottom), showing they got it from you on 7/8 but didn't propagate it through their system until 7/27. >> Received: from [65.54.241.208] (HELO BAY0-HMR09.phx.gbl) >> by prxy.net (CommuniGate Pro SMTP 4.1.8) >> with ESMTP id 3989471 for stagecraft [at] theatrical.net; Tue, 27 Jul >> 2004 04:07:47 -0700 >> Received: from hotmail.com ([65.54.169.7]) by BAY0-HMR09.phx.gbl with >> Microsoft SMTPSVC(5.0.2195.6713); >> Tue, 27 Jul 2004 04:07:46 -0700 >> Received: from mail pickup service by hotmail.com with Microsoft >> SMTPSVC; >> Tue, 27 Jul 2004 04:07:46 -0700 >> Received: from (Mark's IP address) by by3fd.bay3.hotmail.msn.com with >> HTTP; >> Thu, 08 Jul 2004 19:54:57 GMT > Another issue, is that I never do get the posts that I send. The only > way I can > tell that I sent it, is the comments, and flames I get afterward. Is > that > normal? You should get your own posts in single message mode. I see your 7/25 post being sent back to you in the mail logs, and I don't see any delivery problems to your address. Could it be getting filed as spam? Perhaps your filters don't like seeing messages "forged" from you? 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 | ------------------------------ Message-ID: <001301c47458$4d4b2190$0201a8c0 [at] BRUTUS> From: "Jon Ares" References:

Subject: Noah's troubleshooting (was Re: Jumping through flaming hoops) Date: Tue, 27 Jul 2004 21:06:45 -0700 Noah, I just want to thank you for keeping an eye on the techno-geek-krappe that running a listserv comes with. Thanks so much for helping us get to the bottom of the technical glitches we endure. (And sometimes create.) Is it possible for us to collectively buy Noah a drink at this virtual stagehand's bar? :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ----- Original Message ----- From: "Noah Price" > > MSN has been sitting on it. > > Here are the headers from your original message (read up from the > bottom), showing they got it from you on 7/8 but didn't propagate it > through their system until 7/27. > ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <42.53fb2210.2e38862a [at] aol.com> Date: Wed, 28 Jul 2004 00:31:38 EDT Subject: Re: basic skill levels - what next (long essay) Scott writes: >hmmm. I'm told the Local 1 IA entry test has nothing to do with stagecraft. >I have both scene shops and colleges actively recruiting my high school >students, but have had no luck with getting any kind of direct training >link to the local unions. I suspect that there are as many different reasons for the breakdown in training links as there are different locations. While there are many challenges most distill down to economic and tradition issues. For example: The academic world has one set of "traditions" as to what qualifies as scholarly content while employers typically operate on a completely different set of priorities that are focused on the bottom line. Union locals live with the swings of feast-or-famine in the demand for labor. A freelancer may spend more time and energy looking for the next job than is spent working on the present job. Added to this mix is the pace of technological change that has accelerated to the point where some skills can be out of date before they are even mastered. Some people may grasp the concepts but have limited experience with practical application. Others may have a wealth of hands-on time but have not been exposed to the underlying principles that can enable them to connect the dots in an unfamiliar setting. And, in order to pursue a living in this business, one may need to move around (geographically) and reinvent themselves (occupationally) on a regular basis. In my current place of employment I have observed, over several years, that in a pool of 700+ entertainment technicians, there is NO set of skills nor core fundamental knowledge that can be assumed as common among all. Everyone has followed a unique career path. Most are very capable at something but all have gaps in their cognitive matrix. Some gaps are seamlessly covered by other team members; some gaps are, by chance, never exposed; some gaps result in serious consequences to a reputation (personal or corporate), to the economics of the production (good, fast or cheap), or to health and safety (self or others). What I find most encouraging about the present movement toward technical certification is that we have representatives from all the stakeholders: academic, labor, manufacturers, dealers, producers and independents. A broad cross section of the entertainment industry recognizes that we all need to establish a common ground that transcends the parochial concerns of the past. Right now the effort is centered on the two jobs with the highest risk: rigging and electrics. The initial focus is on the top 1/3 of the practitioners. We hope that other levels and skill sets will follow in time. A complementary effort is underway to define what a minimal, entry level, skill set should be. In other words, what do we expect that EVERYONE working backstage should have as a common core of knowledge? This is where the Essential Skills group is starting. The goal here is not a high level certification, but rather some form of certificate indicating satisfactory completion of a course of study. As these programs are rolled out, there will be a corresponding need to have instructional providers. Schools, employers and union locals will be able to train to a standard which can be validated at a national level. Already, there are local partnerships being forged to deliver training. For example, in So. Cal. the various IA film unions and the producers association have joined forces to create the Passport Safety training program. In the Baltimore/DC area, Local 22 and Prince George's Community College have a joint training program. Other high tech industries have already taken steps toward certification. One of the most recent to launch is in the field of permanent installations of "low voltage" systems like sound and media. The ICIA and NSCA groups have partnered to create the EST program to train and certify Electronics System Technicians. Eventually their program will expand up to include systems designers. Since the ESTA / ETCP development process is an open one, any and all concerned parties or individuals are welcome to participate. Steve Vanciel Orlando, FL ------------------------------ End of Stagecraft Digest #84 ****************************