Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2) with PIPE id 4141293; Sun, 15 Aug 2004 03:00:40 -0700 X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #102 Date: Sun, 15 Aug 2004 03:00:30 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.0-pre4 (2004-08-04) on prxy.net X-Spam-Status: No, score=-2.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, URIBL_SBL autolearn=ham version=3.0.0-pre4 X-Spam-Level: X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #102 1. Re: evacuation by usctd [at] columbia.sc 2. CAD VS HAND by "H-High-S (Ferreira, Jr.)" 3. Re: evacuation by Kevin Lee Allen 4. cad vs hand by "RICHARD FINKELSTEIN" 5. Re: cad vs hand by Howie 6. Olympics Opening by "RICHARD FINKELSTEIN" 7. evacuation by IAEG [at] aol.com 8. Re: evacuation by Steve Larson 9. Re: CAD by "Paul Guncheon" 10. Re: Olympics Opening by Brad Spachman 11. Re: Olympics Opening by "Paul" 12. Re: Olympics Opening by "Joe Meils" 13. Re: evacuation by "Sandra Hunter" 14. Re: Lion King by William McLachlan 15. Re: Olympics Opening by William McLachlan 16. Re: Olympics Opening by Charlie Richmond 17. New audio system for a theatre by Chris Warner 18. Re: New audio system for a theatre by Charlie Richmond 19. New festival in NYC (positions open) by Herrick 20. Re: OTR Again by 21. How do I make it daylight? by 22. Re: CAD vs HAND by "Tracy Nunnally" 23. Re: Olympics Opening by Simon Shuker 24. Re: Olympics Opening by Greg Persinger *** 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: <1606.207.201.197.39.1092488139.squirrel [at] webmail.columbia.sc> In-Reply-To: References:

Date: Sat, 14 Aug 2004 08:55:39 -0400 (EDT) Subject: Re: evacuation From: usctd [at] columbia.sc More like plastered our bodies against it. We had nailed plywood around the outside, but that came off pretty quickly. We were desperate. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "held" the glass door during the hurricane > > > On Aug 13, 2004, at 5:22 PM, usctd [at] columbia.sc wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> ------------------------------ Message-Id: <6.1.2.0.0.20040814081758.0244e3a0 [at] mail.kingphilip.org> Date: Sat, 14 Aug 2004 08:41:17 -0400 From: "H-High-S (Ferreira, Jr.)" Subject: CAD VS HAND Hello all: It is interesting that this issue about CAD vs hand drafting has arisen now. This past spring, a business and marketing professor at Rhode Island College offered a class in AutoCAD for students looking to better understand production for business. More than half of those who enrolled in the course were students in the undergraduate tech theatre program (I also enrolled since I have been doing scenic design by hand and am looking to enroll in RIC's new MFA in technical theatre/design program next fall). Due to over-subscription of the course, he split the class into two sections, one for the business students and another for the theatre techs. The theatre tech section was taught using both AutocAD and Parker & Wolf so lessons were geared specifically to theatrical design, not manufacturing. It was so successful, the professor is now officially offering an AutoCAD course in the fall for technical theatre students only. This is becoming a good foundation course for students who learned hand drafting in high school (though students from my school study AutoCAD with the textbook author, Paul Riley) and who will be taking upper-level scenic and lighting design courses with the technical theatre faculty to learn Vectorworks later in their degree program. As an educator, I can appreciate the value of students learning as much about ALL possible methods of designing before limiting one's self to just one method for the bulk of their career. Such a foundation can expand their ability to design as well as help make them more marketable in the profession. While it can be learned by students (and even their teachers!) on their own, perhaps the structure of a classroom can make the process more organized, something not to be disregarded in this age of limited time and overwhelming demands thereon. Now to return to perusing the architect's AutoCAD files and blueprints for our new theatre... Cordially, Joe Ferreira **************************** Joseph J. Ferreira, Jr. Department of Social Studies & Director, KP Drama & Grady Auditorium Production Staff (GAPS) King Philip Regional High School 201 Franklin Street Wrentham, MA 02093 E-Mail: ferreiraj [at] kingphilip.org http://www.kingphilip.org/kphigh/drama/ ------------------------------ In-Reply-To: References:

Message-Id: From: Kevin Lee Allen Subject: Re: evacuation Date: Sat, 14 Aug 2004 08:59:42 -0400 my wife was once caught in a hurricane, very scary. Hope you and yours=20= are OK. On Aug 14, 2004, at 8:55 AM, usctd [at] columbia.sc wrote: > More like plastered our bodies against it. We had nailed plywood=20 > around > the outside, but that came off pretty quickly. We were desperate. > ----- Kevin Lee Allen Production Designer http://www.klad.com 973.744.6352.voice 201.280.3841.cell klad [at] klad.com =F0 ------------------------------ From: "RICHARD FINKELSTEIN" Subject: cad vs hand Date: Sat, 14 Aug 2004 09:32:56 -0400 Message-ID: Quoting Matthew (quoting me) . . . >> When I last taught set design, the students got pretty vocal in their >>insistance that I just give them full-scale printouts of the (simple) >>theatre floorplan .... I thought it a shame how the students didn't want >>to >do >one second more drafting than they had to. >I can understand their frustration. If you were to have a visiting designer >work in the space, you'd provide them with a ground plan and sectional of >the theater, no? So why not afford your students the same luxury? Answer: Matthew, what an easy question you have given me to answer... "Why not give students the same luxury?".... could it be at that as a teacher my job is not....to make the lives of students 'luxurious', but to help them in their education? You have though hit the nail squarely on the head! These are the same students (or others) that would ask "Why should a student write a paper when they can just download one off the internet?" Quite frankly all the instruction in the world in either cad or hand drafting pales in effectiveness to simple numbers of hours spent DOING it!!! THAT'S where the learning comes in. And for a student just starting out, it's the drafting of the theatre groundplan and the titleblocks where the basics are easiest to exercise with real-world content. In this I am always struck by the paradox of how students train for their skateboarding. In that they do understand how the world of education works. Constant repetition of the mundain, and constant failure and the constant need to pick oneself up and try again as tiny bit by tiny bit the body and mind absorbs what it needs to leading, eventually, to mastery. For some reason students (and others) get this ancient process when it comes to educating them towards mastery of the skateboard! I am amazed that the same folk, in their academic education, would look instead for the quick path to "luxury" (especially as there ain't no such path). To me all life is like that skateboard. You learn drafting by Drafting, doing LOTS of drafting, and building skills and concentrating on making every line better than the last, and doing this day in and day out until mastery is approached. Now to complete my answering of the initial question. No, if I had a visiting designer I would not necessarily expect them to work without my supplying them with a CAD of my theatre. But then again I would expect that designer to already HAVE a mastery of CAD. I would just wish that my students would someday reach such a level of mastery that they too might be hired as that "visiting designer"! There's a little grey area too. If students are working already at an advanced level and have mastered the mundain and are in a design class, other than a drafting class, indeed supplying the basic drawing to spring from might then be quite appropriate. Last, to make my answer nuanced, so very often _I_ am that visiting designer and often I am given the drafting of the theatre, and alas, OFTEN I have thus been burned to hear later "your set won't fit" "drawing? Oh that measurement was never correct". RF ------------------------------ Message-ID: <411E2B30.3020901 [at] hillinteractive.net> Date: Sat, 14 Aug 2004 11:09:36 -0400 From: Howie Organization: Hill Interactive Subject: Re: cad vs hand References: In-Reply-To: b Ricie wrote: > All > over the good ole USA I see antiseptic, homogenized, > and featureless buildings. It seems that aesthetics > have gone by the way of quick and easy, and I blame > cad for this. nope. this can be traced back to the invention of foamcore for model-making. ;-) --------------howie ------------------------------ From: "RICHARD FINKELSTEIN" Subject: Olympics Opening Date: Sat, 14 Aug 2004 11:15:50 -0400 Message-ID: Hi Listers. I hope that many of you got to see the opening ceremonies of the Olympics. Magnificent as always but this one featured some absolutely astonishing technology (although to me that cauldron mechanism looked like those childhood toys that would bob and dip their beak into a glass of water). Here's my plea though that as you find statistics, namds, articles, and other design/tech info to let me know (off-list is best). I am placing what I learn online still at http://www.artslynx.org/theatre/techstats.htm I just saw an interview with the Pres of the production company so that made it possible for me to trace initial basic info from the web (2000 lighting units, for instance) but the details I have so far are pretty sketchy) I'd especially like to know if there are any articles about the texh/design out there. Online I have supplied a link to the page where the show's producer gives a dice scenario of the production so those of you who missed it can at least read about it. Interesting, to me is that while the tech was so "state of the art" it follows wonderfully on the shoulders of the ancient stagecrafters. These ancient to modern techniques that I spotted included: * Live water scenes (pioneered more by the Romans than the Greeks. The use here was spectacular) * Flying of performers - lots of it here and done magnificently, especially in the choreography. Some of the best mastery of hip harnesses by a performer that I have ever seen. * Fire coming out of water - This too goes way back. even in the modern era, I have an original set of Oenslager's plans to do the same kind of thing at the 1964 world's fair. * 3-D projection onto water mist - Again similar things do go back. The Oenslager world's fair designs include renderings specifying smoke streaming through the water with projections onto the smoke. In the case of this olympics the projections were on a mist cloud of water and done with a very well designed dynamic laser depiction of the formation of the double helix DNA molicule, whose rotation then created an astonishing holographic 3-D feeling. RF ------------------------------ From: IAEG [at] aol.com Message-ID: <1cf.288d2ae2.2e4f86aa [at] aol.com> Date: Sat, 14 Aug 2004 11:15:54 EDT Subject: evacuation thanks for everyone's good wishes, , as I am sure you know CHARLEY took a right hand turn and has devestated Punta Gorda and Arcadia in particular. my heart and best wishes go out to those folks, from what I have seen on television it looks pretty bad, a classic case of "there but for the grace of god go I" thanks again, , , my question is now, , do I leave the tape and boards on my windows ? there looks like another storm coming on the same path ! ! very best, Keith Arsenault President IAEG - International Arts & Entertainment Group Tampa, Florida 813 831 3465 Mr. Arsenault's Office 813 205 0893 Mr. Arsenault's Cellular www.iaeginc.com ------------------------------ Date: Sat, 14 Aug 2004 11:25:10 -0400 Subject: Re: evacuation From: Steve Larson Message-ID: In-Reply-To: Leave it on, it will turn. Take it off, it will come. Steve on 8/14/04 11:15 AM, IAEG [at] aol.com at IAEG [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > thanks for everyone's good wishes, , > > as I am sure you know CHARLEY took a right hand turn and has devestated Punta > Gorda and Arcadia in particular. > > my heart and best wishes go out to those folks, from what I have seen on > television it looks pretty bad, a classic case of "there but for the grace of > god > go I" > > thanks again, , , > > my question is now, , do I leave the tape and boards on my windows ? there > looks like another storm coming on the same path ! ! > > very best, > > Keith Arsenault > President > IAEG - International Arts & Entertainment Group > Tampa, Florida > > 813 831 3465 Mr. Arsenault's Office > 813 205 0893 Mr. Arsenault's Cellular > > www.iaeginc.com > > ------------------------------ Message-ID: <003601c48215$37d18aa0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: CAD Date: Sat, 14 Aug 2004 05:41:49 -1000 >All over the good ole USA I see antiseptic, homogenized, > and featureless buildings. It seems that aesthetics > have gone by the way of quick and easy, and I blame > cad for this. Way wrong thinking. Don't blame the pencil for the line. Crappy buildings were being designed and built long before CAD. However one could start by laying the blame at the doors of the Bauhaus (my school) which developed the international style of architecture... paving the way for the stripping of joy from architecture. Laters, Paul "The yolk" Tom said eccentrically. ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 14 Aug 2004 13:49:04 -0400 From: Brad Spachman Subject: Re: Olympics Opening >Interesting, to me is that while the tech was so "state of the art" >it follows wonderfully on the shoulders of the ancient >stagecrafters. These ancient to modern techniques that I spotted >included: I loved the advanced stuff. The breakaway sculpture whose pieces flew through the air blew me away. Some serious rigging-ography involved there. Also, major props to the "cube guy", whose balance was impeccable, and whose safety harness was still evident to the viewers (at least on TV). The makeup effects on all the float cast members were also pretty neat.... Best, Brad -- Brad Spachman bspachman [at] att.net ------------------------------ Message-ID: <001501c48235$076566a0$0100a8c0 [at] yourwbhlv195ih> From: "Paul" References: Subject: Re: Olympics Opening Date: Sat, 14 Aug 2004 20:29:31 +0100 > Interesting, to me is that while the tech was so "state of the art" it > follows wonderfully on the shoulders of the ancient stagecrafters. These > ancient to modern techniques that I spotted included: > I to would be interested to see just who designed, rigged and ran such a wonderful spectacle all the better for excellent television coverage. Paul Lunnon ------------------------------ Message-ID: <000c01c48243$3a1cc440$b0ecbed0 [at] hppav> From: "Joe Meils" References:

Subject: Re: Olympics Opening Date: Sat, 14 Aug 2004 16:11:11 -0500 They were saying last night that the designer was someone named "Dimitri"... a one word name, rather like Cher, or Sting. Haven't tried to look anything up on him yet, but I'm sure a Google search would yeild a few hits. Joe ----- Original Message ----- From: "Paul" To: "Stagecraft" Sent: Saturday, August 14, 2004 2:29 PM Subject: Re: Olympics Opening > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > Interesting, to me is that while the tech was so "state of the art" it > > follows wonderfully on the shoulders of the ancient stagecrafters. These > > ancient to modern techniques that I spotted included: > > > > I to would be interested to see just who designed, rigged and ran such a wonderful > spectacle all the better for excellent television coverage. > > Paul Lunnon > > ------------------------------ From: "Sandra Hunter" Subject: RE: evacuation Date: Sat, 14 Aug 2004 16:13:21 -0500 Organization: Sandra Message-ID: <0BBE1CD9BA96CA45B034A0963BB494F70825CE [at] server.Ghosheh.local> In-reply-to: To Keith and all in the path of the storm Living in the "Tornado Belt", I have spent many a night in the = basement with frightened animals and teens, I know how it feels to wonder if you = will walk out intact. So far, the worst we have endured is a flooded basement = and the loss of our lovely 65' walnut tree. The tree loved us, so it fell = away from the house into the greenspace. It didn't even break the fence = posts, just moved them out of the rails without even bending the nails!=20 Our prayers are with you and I for one, am preparing to head down there = to help as needed. If anyone wishes to join me, contact your local Red = Cross and sign up.=20 God bless Sandra Ghosheh -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Boyd Ostroff Sent: Friday, August 13, 2004 10:12 AM To: Stagecraft Subject: Re: evacuation For info, archives & UNSUBSCRIBE, see --------------------------------------------------- My thoughts are with you and others down there Keith. About a month ago = we=20 had a storm of "Biblical" proportions here in Medford NJ where I live - = 11=20 inches of rain in less than 12 hours. I was fortunate enough not to have = any real damage beyond a wet spot on my rug and a messy garden. But many = others suffered terrible losses when multiple dams broke and released a=20 torrent. It really made me think about how I have often seen tragedies=20 like this on the news and thought it could never happen here... 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 ------------------------------ In-Reply-To: References: Message-Id: <63D9A0A3-EE39-11D8-ABBE-000393B61EC2 [at] wmld.com> From: William McLachlan Subject: Re: Lion King Date: Sat, 14 Aug 2004 14:32:06 -0700 On Aug 10, 2004, at 7:03 PM, mat goebel wrote: > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- > > Who's seen the lion king? I'm going on my birthday (20 August), and=20 > want to know if there's any specific absolutely amazing thing to look=20= > out for? So far I've hear mentions of the sunrise and stampede scenes.=20= > Being a sound guy, I'm especially excited to experience Tony Meola's=20= > sound design. Is anyone on the list working the show? Not to nitpick but after Broadway and London, Steve Kennedy took over=20 the sound design and subsequently did the rest of the shows. Steve=20 Kennedy also has sound designs going these days on (among others) "The=20= Producers", "Aida", "Hairspray". Put those with Lion King and that's=20 not a bad resum=E9 :) Write back and tell us what you thought of the show. WM -- William McLachlan willy [at] wmld.com, http://www.wmld.com "a) faster b) cheaper c) better. Choose any two." --= ------------------------------ In-Reply-To: References: Message-Id: From: William McLachlan Subject: Re: Olympics Opening Date: Sat, 14 Aug 2004 14:49:29 -0700 The crew in Greece doing the Vari-Lite system sent an email around to friends and associates about a month ago with a photo of the first VL they managed to hang with the subject line "1 down, 1,571 to go" so I'm assuming the final count on active moving lights was 1,572. ;) Bob Dickenson designed lighting for the opening and as yet to be seen closing, and Andy O'Reilly is his automated lighting associate designer. Andy often programs on a Virtuoso for Bob, but on this one was overseeing a team of other programmers on multiple Virtuoso front ends. Andy filled the same role for Bob when he designed this past Winter Olympics opening and closing. I'm told that Bob felt he needed a large compliment of shuttering units with serious zoom (obviously...the throws were awfully far). I'm told the Mac2000 spot wasn't his first choice, and the VL3000 isn't shuttering, so Vari-lite...um, I mean VLPS...um, I mean PRG put money into refurbishing 300 VL7b units to ship to Greece for the job. Vari-Lite/Genlyte apparently wasn't quite able to get the VL3500 ready in time for the job, and even if they had, Vari-lite...um, I mean VLPS...um, I mean PRG would have had to buy them new...a HUGE cost as opposed to rehab'ing VL7b's. I've put this on list instead of off as requested because I thought others may be interested. I didn't work on the show, just heard from friends who did and suppliers who did the rental. Cheers, Willy On Aug 14, 2004, at 8:15 AM, RICHARD FINKELSTEIN wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hi Listers. I hope that many of you got to see the opening ceremonies > of the Olympics. Magnificent as always but this one featured some > absolutely astonishing technology (although to me that cauldron > mechanism looked like those childhood toys that would bob and dip > their beak into a glass of water). > > Here's my plea though that as you find statistics, namds, articles, > and other design/tech info to let me know (off-list is best). > > I am placing what I learn online still at > http://www.artslynx.org/theatre/techstats.htm > > I just saw an interview with the Pres of the production company so > that made it possible for me to trace initial basic info from the web > (2000 lighting units, for instance) but the details I have so far are > pretty sketchy) I'd especially like to know if there are any articles > about the texh/design out there. Online I have supplied a link to the > page where the show's producer gives a dice scenario of the production > so those of you who missed it can at least read about it. > > Interesting, to me is that while the tech was so "state of the art" it > follows wonderfully on the shoulders of the ancient stagecrafters. > These ancient to modern techniques that I spotted included: > > * Live water scenes (pioneered more by the Romans than the Greeks. The > use here was spectacular) > > * Flying of performers - lots of it here and done magnificently, > especially in the choreography. Some of the best mastery of hip > harnesses by a performer that I have ever seen. > > * Fire coming out of water - This too goes way back. even in the > modern era, I have an original set of Oenslager's plans to do the same > kind of thing at the 1964 world's fair. > > * 3-D projection onto water mist - Again similar things do go back. > The Oenslager world's fair designs include renderings specifying smoke > streaming through the water with projections onto the smoke. In the > case of this olympics the projections were on a mist cloud of water > and done with a very well designed dynamic laser depiction of the > formation of the double helix DNA molicule, whose rotation then > created an astonishing holographic 3-D feeling. > > RF > > > > > > -- William McLachlan willy [at] wmld.com, http://www.wmld.com "a) faster b) cheaper c) better. Choose any two." -- ------------------------------ Date: Sat, 14 Aug 2004 23:10:24 +0100 (BST) From: Charlie Richmond Subject: Re: Olympics Opening In-Reply-To: Message-ID: References: On Sat, 14 Aug 2004, RICHARD FINKELSTEIN wrote: > Interesting, to me is that while the tech was so "state of the art" it > follows wonderfully on the shoulders of the ancient stagecrafters. It did indeed include lots of technology but no Show Control. We were in discussions with the producers for many months as a result of people on the inside wanting to include show control but late in the process, the producers decided to call the cues the 'old way' ;-) It was, as you note, an old-fashioned show in many respects... Charlie + Charlie Richmond - Richmond Sound Design Ltd - Aura Show Control Ltd + + http://www.RichmondSoundDesign.com -- http://www.AuraShowControl.com + +---- "Performance for the Long Run" ----- "Creativity in Control" ----+ ------------------------------ Message-Id: <5.2.0.9.0.20040814150952.009f56f0 [at] pop.west.cox.net> Date: Sat, 14 Aug 2004 15:16:38 -0700 From: Chris Warner Subject: New audio system for a theatre I have been working on a proposal for a community theatre I work with. The need they have is to limit the operator count required to run a show, currently it can be done with 1 technician; however, with CD players and an analog mixer to send the output out it's a bit crazy. So the plan I have right know is to take a Yamaha 01V96 with the 16 channel ADAT interface. I am looking out stage researches SFX software with ProAudio/Show control, that will be sending audio through a hammerfall DIGI9652. The hope is that we can use the SFX software to control our Strand GSX w/ communique. The ohter ADAT interfaces is to use Behinger ADA8000 interfaces to a matrix mixer. Probably more info than many will need, but what I am looking for is to ignite a bit of conversation about using the Stage Research software, and the audio interfaces. Thanks Guys Chris ------------------------------ Date: Sat, 14 Aug 2004 23:35:28 +0100 (BST) From: Charlie Richmond Subject: Re: New audio system for a theatre In-Reply-To: Message-ID: References: On Sat, 14 Aug 2004, Chris Warner wrote: > of conversation about using the Stage Research software, and the audio > interfaces. I recommend you join the theatre-sound and the sfx_users mailing lists: http://www.brooklyn.com/theatre-sound/index.html http://groups.yahoo.com/group/SFX_Users/?yguid=118311196 I also recommend you look at our AudioBox as a possibility for what you want to do (see sig for RSD web site and mailing list) Good luck! Charlie + Charlie Richmond - Richmond Sound Design Ltd - Aura Show Control Ltd + + http://www.RichmondSoundDesign.com -- http://www.AuraShowControl.com + +---- "Performance for the Long Run" ----- "Creativity in Control" ----+ +---------------- AudioBox user group discussion list: ----------------+ +----------- http://www.RichmondSoundDesign.com/ablist.html -----------+ ------------------------------ Date: Sat, 14 Aug 2004 19:04:29 -0400 Subject: New festival in NYC (positions open) From: Herrick In-Reply-To: Message-Id: <4C0408D8-EE46-11D8-A029-0003934521EC [at] hglightingdesign.com> Hey folks, I'm designing 3 shows and House LD'ing a venue for a new Musical Theater festival in NYC. www.NYMF.org a few of my friends created the festival and it is going to be a lot of fun. THEY NEED PEOPLE!!! I ,specifically, need people. I need a head electrician to oversee and facilitate shows coming into my space. (I will have designed a rep plot and gotten the 6 shows thru their 4 hour tech) after that the Head LX will take over. there is money involved (some). This person should have a modest amount of ME experience and be able to troubleshoot simple theatrical systems as well as focus specials and just pitch in. I also need a few good hands to help hang my house rig and possibly the rigs in the other 6 venues. This would be a great opportunity for well trained High School Students or your average college LD/ME type. This festival has dozens of shows and anyone working on it will get to see some new things as well as work with a variety of designers and staff. In my venue alone I have 3 LD's: myself, an assistant of Don Holder's and, the Tony Nominated Marcia Madeira. The load in date is 9/13 for all venues (i'm hoping this gets staggered) I don't know if there is $$ for the load in LX but if they can do more than one venue or really make themselves handy I'm certain we can find some compensation. Possibly just festival passes (which should be really great!) Please have anyone interested contact me via e-mail (also warn them about my spamarrest filter and that they'll need to verify themselves...yeah I know don't even start..it trapped 70,000 last year) Educators feel free to contact me too for more info..maybe we can make this into a class or seminar or something. Thanks, _Herrick Goldman 917-797-3624 www.hglightingdesign.com ------------------------------ From: Subject: Re: OTR Again Date: Sat, 14 Aug 2004 20:16:00 -0400 Message-Id: <20040815001558.EAGB16771.lakermmtao09.cox.net [at] smtp.east.cox.net> >And you're not stopping in Indy this weekend for the NASCAR Brickyard >400 or the United States National girls-under-18 Fast Pitch Softball >Tournament? It's a money making trip, not a money spending trip. P.S. If I'm at Indy, it's an F-1 weekend. No interest in folks who don't turn right. Ya know, I DO owe you a visit. Unfortunately, I'm getting treated to german food and golf in Peoria, IL this week. Back to Memphis on Thursday, and driving back to Tucson over the weekend. Big Fred, thanks for the visit! I'm not sure when I'm back through Dallas, but I'll be in touch. Probably sometime Sunday. And your space is pretty nice. Great mix position and that back wall isn't that bad. Thank Emmanuael for me! CB MON IL OTR ------------------------------ From: Subject: How do I make it daylight? Date: Sat, 14 Aug 2004 23:35:53 -0400 Message-Id: <20040815033557.OPVG2559.fed1rmmtao09.cox.net [at] smtp.west.cox.net> >I've been doing lighting for 20 years and still haven't really found a good >sunlight design. > >Any suggestions? When I was beating the architect and the subs on the Television station I was moving into, we had specced daylight corrected flouros in the conference room. They weren't having it. Well, after I was through, it was "Let there be light. Coming down the stairs from the studios (glass block exterior walls) I was alway a bit shocked when it was dark outside and there was bright sunlight streaming into the conference room. I fell for it every time, night or day. Buy a couple, try them out, and if it doesn't work out they will be a wonderful addition to the shop. CB MON TX OTR ------------------------------ Message-Id: <200408150404.i7F44v8l001091 [at] corn.cso.niu.edu> From: "Tracy Nunnally" Subject: RE: CAD vs HAND Date: Sat, 14 Aug 2004 23:04:40 -0500 In-Reply-To: Hi all My $0.02 worth: I feel that students should be equipped with as many tools as an institution can possibly give them to function well in their trade. I think that even the proponents of a CAD-only curriculum would agree that a TD or Designer who has no hand drafting ability will certainly face a situation at some point where they would have benefited from having that skill. Likewise, the ACAD/V-works, PC/Mac, wood/steel, hydraulics/pneumatics/motors, and nail/screw arguments all seem to blur when one considers that the student should be as well armed as possible for what they may face when they leave. Consequently, I feel that the biggest handicap for a student is a mentor who teaches them that one way is bad simply because THEY don't like it. At NIU, we try to give the student the knowledge they need to choose the tools that are best for them in their chosen field of endeavor and make them the best they can be at using those tools. Now, I am off to draft a complex 3D rigging system in CAD and work on my syllabus for the hand drafting course I am teaching this fall tee hee. Tracy Nunnally Technical Director Northern Illinois University School of Theatre and Dance ------------------------------ Date: Sun, 15 Aug 2004 08:38:28 +0400 From: Simon Shuker Subject: RE: Olympics Opening In-reply-to: Message-id: <0I2H00C6W0W88T [at] dpmail1.emirates.net.ae> A British guy called Nick Brown was head of rigging -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of William McLachlan Sent: Sunday, August 15, 2004 1:49 AM To: Stagecraft Subject: Re: Olympics Opening For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The crew in Greece doing the Vari-Lite system sent an email around to friends and associates about a month ago with a photo of the first VL they managed to hang with the subject line "1 down, 1,571 to go" so I'm assuming the final count on active moving lights was 1,572. ;) Bob Dickenson designed lighting for the opening and as yet to be seen closing, and Andy O'Reilly is his automated lighting associate designer. Andy often programs on a Virtuoso for Bob, but on this one was overseeing a team of other programmers on multiple Virtuoso front ends. Andy filled the same role for Bob when he designed this past Winter Olympics opening and closing. I'm told that Bob felt he needed a large compliment of shuttering units with serious zoom (obviously...the throws were awfully far). I'm told the Mac2000 spot wasn't his first choice, and the VL3000 isn't shuttering, so Vari-lite...um, I mean VLPS...um, I mean PRG put money into refurbishing 300 VL7b units to ship to Greece for the job. Vari-Lite/Genlyte apparently wasn't quite able to get the VL3500 ready in time for the job, and even if they had, Vari-lite...um, I mean VLPS...um, I mean PRG would have had to buy them new...a HUGE cost as opposed to rehab'ing VL7b's. I've put this on list instead of off as requested because I thought others may be interested. I didn't work on the show, just heard from friends who did and suppliers who did the rental. Cheers, Willy On Aug 14, 2004, at 8:15 AM, RICHARD FINKELSTEIN wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hi Listers. I hope that many of you got to see the opening ceremonies > of the Olympics. Magnificent as always but this one featured some > absolutely astonishing technology (although to me that cauldron > mechanism looked like those childhood toys that would bob and dip > their beak into a glass of water). > > Here's my plea though that as you find statistics, namds, articles, > and other design/tech info to let me know (off-list is best). > > I am placing what I learn online still at > http://www.artslynx.org/theatre/techstats.htm > > I just saw an interview with the Pres of the production company so > that made it possible for me to trace initial basic info from the web > (2000 lighting units, for instance) but the details I have so far are > pretty sketchy) I'd especially like to know if there are any articles > about the texh/design out there. Online I have supplied a link to the > page where the show's producer gives a dice scenario of the production > so those of you who missed it can at least read about it. > > Interesting, to me is that while the tech was so "state of the art" it > follows wonderfully on the shoulders of the ancient stagecrafters. > These ancient to modern techniques that I spotted included: > > * Live water scenes (pioneered more by the Romans than the Greeks. The > use here was spectacular) > > * Flying of performers - lots of it here and done magnificently, > especially in the choreography. Some of the best mastery of hip > harnesses by a performer that I have ever seen. > > * Fire coming out of water - This too goes way back. even in the > modern era, I have an original set of Oenslager's plans to do the same > kind of thing at the 1964 world's fair. > > * 3-D projection onto water mist - Again similar things do go back. > The Oenslager world's fair designs include renderings specifying smoke > streaming through the water with projections onto the smoke. In the > case of this olympics the projections were on a mist cloud of water > and done with a very well designed dynamic laser depiction of the > formation of the double helix DNA molicule, whose rotation then > created an astonishing holographic 3-D feeling. > > RF > > > > > > -- William McLachlan willy [at] wmld.com, http://www.wmld.com "a) faster b) cheaper c) better. Choose any two." -- ------------------------------ Date: Sun, 15 Aug 2004 00:34:34 -0500 Subject: Re: Olympics Opening From: Greg Persinger Message-ID: In-Reply-To: Jack Morton Worldwide is the producer. Check out the press release at this link http://www.jackmorton.com/releases/04_08_13.asp as it gives the name of the designer. Stage One Creative Services did all the flying work. http://www.socs.co.uk/ I was most impressed with the costuming and makeup. Wow! Also someone cleaned up with all of the inear monitoring systems. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ End of Stagecraft Digest #102 *****************************