Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.4) with PIPE id 4672560; Tue, 12 Oct 2004 03:01:07 -0700 X-ListServer: CommuniGate Pro LIST 4.2.4 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #160 Date: Tue, 12 Oct 2004 03:00:47 -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=-2.3 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, BIZ_TLD,FREE_TRIAL,MAILTO_TO_SPAM_ADDR 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 #160 1. Re: LDI - TMB by "Ken Romaine" 2. Re: spike tape on operating lines by "Paul Schreiner" 3. My sepia drops to recycle (Was rental item disappointed) by Barney Simon 4. Re: spike tape on operating lines by Greg Bierly 5. Re: spike tape on operating lines/ Dave by Shawn Palmer 6. Re: spike tape on operating lines by Bsapsis [at] aol.com 7. Looking for Steve Nelson by Bsapsis [at] aol.com 8. Re: Looking for Steve Nelson by IAEG [at] aol.com 9. Re: Looking for Steve Nelson by Bsapsis [at] aol.com 10. Re: spike tape on operating lines by doran [at] bard.edu 11. Re: Looking for Steve Nelson by "Paul H. Sullivan" 12. Re: spike tape on operating lines by "Stephen E. Rees" 13. Re: spike tape on operating lines by "Jeffrey E. Salzberg" 14. Re: Knuckle Busters by "Stephen E. Rees" 15. Re: Looking for Steve Nelson by "Stephen E. Rees" 16. Re: Knuckle Busters by "Delbert Hall" 17. Re: spike tape on operating lines by "Waxler, Steve (waxlers)" 18. Re: My sepia drops to recycle (Was rental item disappointed) by Stanley Lu 19. Re: State of the art for drop folding? by "richard j. archer" 20. Re: spike tape on operating lines by Bsapsis [at] aol.com 21. Re: Knuckle Busters by doran [at] bard.edu 22. Basics of film lighting by "Owen Collins" 23. Re: Looking for Steve Nelson by Richard Niederberg 24. Re: Knuckle Busters by "Delbert Hall" 25. Re: Basics of film lighting by Boyd Ostroff 26. Re: spike tape on operating lines by "Waxler, Steve (waxlers)" 27. Re: State of the art for drop folding? by "Waxler, Steve (waxlers)" 28. Re: What rental item disappointed you most? by FrankWood95 [at] aol.com 29. Re: What rental item disappointed you most? whoops by FrankWood95 [at] aol.com 30. Re: Basics of film lighting by FrankWood95 [at] aol.com 31. Re: Basics of film lighting by David Marks 32. Re: Basics of film lighting by FrankWood95 [at] aol.com 33. Re: Looking for Steve Nelson by IAEG [at] aol.com 34. Re: Looking for Steve Nelson by IAEG [at] aol.com 35. Re: State of the art for drop folding? by IAEG [at] aol.com 36. Re: What rental item disappointed you most? by IAEG [at] aol.com 37. Re: An academic question by Wood Chip-P26398 38. Re: An academic question by Mark O'Brien 39. Wireless batteries by CB 40. Dracula FX by Timothy Francis 41. New software available for our DMX Converters/Controllers by Jerry Durand 42. Period style by Philip Johnson 43. Re: Dracula FX by Dale Farmer 44. Re: Period style by FrankWood95 [at] aol.com 45. Re: Period style by "Scott Boyle" 46. Re: Dracula FX by "Joe Meils" 47. Venetian Music by Anthony 48. Re: Venetian Music by John Bracewell 49. Re: Venetian Music by IAEG [at] aol.com 50. Re: Dracula FX by "Stephen E. Rees" 51. Re: Dracula FX by IAEG [at] aol.com 52. West Coasting by "John D. Palmer" 53. Re: Dracula FX by Paul Puppo 54. Stage craft class UPDATE by "Mike Rock" 55. Re: Venetian Music by Richard Niederberg 56. Re: Dry Ice Storage by CB 57. Re: An academic question by CB 58. Re: need production staff still? ? ? ? ? ? ? by CB 59. Re: Venetian Music by Richard Niederberg 60. Re: Venetian Music by Richard Niederberg 61. Lightwright survey by John McKernon *** 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: LDI - TMB Date: Mon, 11 Oct 2004 06:30:02 -0700 Message-ID: <35418D398577A34FB3A059F99B9F370202E13803 [at] nigel.tmbworldwide.tmb.com> From: "Ken Romaine" TMB's booth numbers are 452 & 456. Back of the hall, on the left, from the main entrance. Ken Romaine Sales TMB New York P: +1-201-541-9292 F: +1-201-541-8448 kr [at] tmb.com=20 ------------------------------ Subject: RE: spike tape on operating lines Date: Mon, 11 Oct 2004 09:35:27 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ACF9 [at] exchange.rmwc.edu> From: "Paul Schreiner" > That's how we do it, but the tape still has to run through the brake=20 > when we bring the pipe in/down. > >=20 > > We use spike tape and have not had any problems with the brake=20 > > jamming. Where do you place the tape? For us when the pipe=20 > is in the=20 > > right position the tape should be right above the brake. Y'know, I was just thinkin'...where's Dave Vick? ------------------------------ Message-ID: <416A8C9A.6000204 [at] JosephCHansen.com> Date: Mon, 11 Oct 2004 09:37:30 -0400 From: Barney Simon Subject: My sepia drops to recycle (Was rental item disappointed) References:

In-Reply-To: It came to pass that someone suggested that I post photos of my sepia drops I'm looking to pass on to a good home. http://www.josephchansen.com/freedrops.html Barney Joseph C Hansen Company Drapes, Drops and Dance Floors ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Bierly Subject: Re: spike tape on operating lines Date: Mon, 11 Oct 2004 10:05:22 -0500 >>> This topic got me thinking "Does anyone still make knuckle busters?" >>> I >>> have not seen these in use for several years. > > Knuckle busters? I haven't heard that one, what is one and what is it > used > for? Production Advantage, Inc (proadv.com) sells them under stage hardware. In fact I think they had that as their "What Widget is this?" postcard in the spring. I am not sure where to find a picture but I am sure I have seen it in either the backstage handbook, or the theatrical rigging hadbook. I also don't know who makes them. I just know I have a pile that were in a closet when I started here. Greg Bierly Technical Director Hempfield HS Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <416A92BE.6010708 [at] northnet.net> Date: Mon, 11 Oct 2004 09:03:42 -0500 From: Shawn Palmer Subject: Re: spike tape on operating lines/ Dave References: In-Reply-To: Paul Schreiner wrote: > Y'know, I was just thinkin'...where's Dave Vick? I've been wondering that for about two months. Anyone? Shawn Palmer Neenah, WI USA ------------------------------ From: Bsapsis [at] aol.com Message-ID: <13c.342860a.2e9bf0b3 [at] aol.com> Date: Mon, 11 Oct 2004 10:20:35 EDT Subject: Re: spike tape on operating lines In a message dated 10/11/04 9:36:11 AM, pschreiner [at] rmwc.edu writes: << > That's how we do it, but the tape still has to run through the brake > when we bring the pipe in/down. > > > > We use spike tape and have not had any problems with the brake > > jamming. Where do you place the tape? For us when the pipe > is in the > > right position the tape should be right above the brake. >> Uh, guys. Not to be nit picking or anything. But it isn't a brake. It's a lock. 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. ------------------------------ From: Bsapsis [at] aol.com Message-ID: <15a.4086d92b.2e9bf1a7 [at] aol.com> Date: Mon, 11 Oct 2004 10:24:39 EDT Subject: Looking for Steve Nelson Sorry for the bandwidth, folks, but I've lost Steve Nelson's address. Anyone have it? Steve, are you listening? Thanks Bill 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. ------------------------------ From: IAEG [at] aol.com Message-ID: <53.18445b18.2e9bf9c9 [at] aol.com> Date: Mon, 11 Oct 2004 10:59:21 EDT Subject: Re: Looking for Steve Nelson In a message dated 10/11/04 10:25:47 AM, Bsapsis [at] aol.com writes: << Sorry for the bandwidth, folks, but I've lost Steve Nelson's address. Anyone have it? Steve, are you listening? Thanks Bill >> I am sitting here thinking SEA HUNT, , , , , very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: Bsapsis [at] aol.com Message-ID: <1da.2d5067ca.2e9bfc96 [at] aol.com> Date: Mon, 11 Oct 2004 11:11:18 EDT Subject: Re: Looking for Steve Nelson In a message dated 10/11/04 11:00:38 AM, IAEG [at] aol.com writes: << I am sitting here thinking SEA HUNT, , , , , >> OK Keith. Ya lost me on this one. Was that the Lloyd bridges character's name? 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: <1097507875.416aa423527df [at] webmail.bard.edu> Date: Mon, 11 Oct 2004 11:17:55 -0400 From: doran [at] bard.edu Subject: Re: spike tape on operating lines References:

In-Reply-To: Mike, Knuckle Busters are clamps, about 1 1/2" high, that clamp onto the control line of your lineset via a thumbscrew and dog on this cast body. They're supposed to act as a spike mark, warning, and stop for your control line while you fly the set to your pre-determined trim. Mostly, they act as, well, knuckle-busters. That's because, in the dim light of running a show, they're hard to see coming, and they often jam the operator's hand between the kb and the rope lock. Hope that helps, Andy Champ-Doran Quoting Mike Rock : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > > This topic got me thinking "Does anyone still make knuckle busters?" I > > > have not seen these in use for several years. > > Knuckle busters? I haven't heard that one, what is one and what is it used > for? > ------------------------------ Message-Id: <5.2.1.1.0.20041011111558.00b537b0 [at] pop.mail.yahoo.com> Date: Mon, 11 Oct 2004 11:20:30 -0400 From: "Paul H. Sullivan" Subject: Re: Looking for Steve Nelson In-Reply-To: Sorry, that was Mike hunt and his ship the Argonaut. Another valueless factoid, dredged from the vast swamp of useless information aquired and retained for no real reason. Paul >In a message dated 10/11/04 11:00:38 AM, IAEG [at] aol.com writes: > ><< I am sitting here thinking SEA HUNT, , , , , >> > >OK Keith. Ya lost me on this one. Was that the Lloyd bridges character's >name? > >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. > Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ Message-ID: <416AA676.7070207 [at] fredonia.edu> Date: Mon, 11 Oct 2004 11:27:50 -0400 From: "Stephen E. Rees" Subject: Re: spike tape on operating lines References: Bill, nitnitnitnitnitpickpickpickpick! Steve Bsapsis [at] aol.com wrote: > Not to be nit picking or anything. But it isn't a brake. It's a > lock. > > Bill S. ------------------------------ From: "Jeffrey E. Salzberg" Subject: RE: spike tape on operating lines Date: Mon, 11 Oct 2004 11:31:10 -0400 Message-ID: In-Reply-To: > > Not to be nit picking or anything. But it isn't a brake. It's a > > lock. So if it ain't a brake, don't flex it? ------------------------------ Message-ID: <416AAAA7.6020104 [at] fredonia.edu> Date: Mon, 11 Oct 2004 11:45:43 -0400 From: "Stephen E. Rees" Subject: Re: Knuckle Busters References:

Hi, My favorite catalog, JH Channon #57 from 1941 refers to these as an Endless Lime Trim Clamp, Model #325. You could have one back them for $1.30. Nice photograph as well. The neat thing about this catalog is that it has telegraph names for all items so that you could place an order via telegraph w/o using lots of words. The Trim Clamp was coded LAME Ah, those bygone days. Best, Steve Rees, TD SUNY-Fredonia > >>>> This topic got me thinking "Does anyone still make knuckle busters?" ------------------------------ Message-ID: <416AAB3A.6010604 [at] fredonia.edu> Date: Mon, 11 Oct 2004 11:48:10 -0400 From: "Stephen E. Rees" Subject: Re: Looking for Steve Nelson References: yes Bsapsis [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > In a message dated 10/11/04 11:00:38 AM, IAEG [at] aol.com writes: > > << I am sitting here thinking SEA HUNT, , , , , >> > > OK Keith. Ya lost me on this one. Was that the Lloyd bridges character's > name? > > 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. > ------------------------------ From: "Delbert Hall" Subject: RE: Knuckle Busters Date: Mon, 11 Oct 2004 11:54:06 -0400 Organization: ETSU Message-ID: <000001c4afaa$8a78cc10$6400a8c0 [at] delbert> In-Reply-To: Channon made some GREAT blocks. One of the theatres that I inspected last month used Channon blocks. I think Channon went out of business in the mid-ninety's. Somebody correct me if I am wrong (and send me their contact info.). -Delbert -----Original Message----- Hi, My favorite catalog, JH Channon #57 from 1941 refers to these as an Endless Lime Trim Clamp, Model #325. You could have one back them for $1.30. Nice photograph as well. The neat thing about this catalog is that it has telegraph names for all items so that you could place an order via telegraph w/o using lots of words. The Trim Clamp was coded LAME Ah, those bygone days. Best, Steve Rees, TD SUNY-Fredonia > >>>> This topic got me thinking "Does anyone still make knuckle busters?" ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF095A5149 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: spike tape on operating lines Date: Mon, 11 Oct 2004 11:54:37 -0400 I know it is a small semantic item, but we should not refer to them as brakes. Brakes are made to slow things down. We should not be using that device to slow or stop the lines. Rope lock, like in locking rail works fine for me. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Mike Rock [mailto:rockm [at] new.rr.com] Sent: Sunday, October 10, 2004 7:58 PM To: Stagecraft Subject: Re: spike tape on operating lines For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We use spike tape and have not had any problems with the brake jamming. Where do you place the tape? For us when the pipe is in the right position the tape should be right above the brake. ------------------------------ Message-ID: Date: Mon, 11 Oct 2004 17:55:01 +0200 From: Stanley Lu Subject: Re: My sepia drops to recycle (Was rental item disappointed) In-Reply-To: References:

great collections! On Mon, 11 Oct 2004 09:37:30 -0400, Barney Simon wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > It came to pass that someone suggested that I post photos of my sepia > drops I'm looking to pass on to a good home. > > http://www.josephchansen.com/freedrops.html > > Barney > Joseph C Hansen Company > Drapes, Drops and Dance Floors > ------------------------------ Message-Id: In-Reply-To: References:

Date: Mon, 11 Oct 2004 11:50:58 -0400 From: "richard j. archer" Subject: Re: State of the art for drop folding? Loren Schreiber wrote:.... > >There are a couple of reasons to "reef" a drop--... . Secondly, the drop can be folded as the batten is lowered, allowing one to fold the drop before the rest of the stage is clear. ....... Way back in the dark ages when I was in Boston and would rent drops from Charles Stewart (back when Charlie was in the old theatre just outside of Cambridge) he had us "reef" his drops then accordion fold them to the center. Dump them out of the bag at center, walk them out left and right, tie them on the batten, fly them out, add bottom weight. Reverse to fold. As Loren said, uses little space, keeps it clean. These drops were painted with dyes. Dick A TD, Cornell Univ ------------------------------ From: Bsapsis [at] aol.com Message-ID: <154.40fd3a49.2e9c0a3b [at] aol.com> Date: Mon, 11 Oct 2004 12:09:31 EDT Subject: Re: spike tape on operating lines In a message dated 10/11/04 11:55:33 AM, WAXLERS [at] UCMAIL.UC.EDU writes: << I know it is a small semantic item, but we should not refer to them as brakes. Brakes are made to slow things down. We should not be using that device to slow or stop the lines. Rope lock, like in locking rail works fine for me. >> Beat ya! (can you tell it's a slow day today?) 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: <1097512350.416ab59e44796 [at] webmail.bard.edu> Date: Mon, 11 Oct 2004 12:32:30 -0400 From: doran [at] bard.edu Subject: Re: Knuckle Busters References: In-Reply-To: Quoting Delbert Hall : I think Channon went out of business in > the mid-ninety's. Somebody correct me if I am wrong (> -Delbert O.K., Delbert, I will. That's spelled "nineties". Glad I could help. Andy C-D ------------------------------ Message-Id: Date: Mon, 11 Oct 2004 12:40:22 -0400 From: "Owen Collins" Subject: Basics of film lighting Hi, I'm looking for some advice. In January my department will be filming a DV movie(instead of a normal theatre production) this will be the first movie I will work on. I am in charge of the lighting. He's gettign me a DVD about lighting for DV. But I need to find out more. What advice could you give or books you could point me to to find out more. I'll be using a crew unfamiliar film, film in locations indoors(day and night) and outdoors (morning, afternoon and dawn). Also, does anyone know of some filming happening near me(Near Roanoke VA) that I could go to observe and ask questions? Thanks, Owen Collins ------------------------------ Date: Mon, 11 Oct 2004 09:18:40 -0700 Subject: Re: Looking for Steve Nelson Message-ID: <20041011.092319.2184.1.ladesigners [at] juno.com> From: Richard Niederberg 'Mike Nelson' was the name selected by Ivan Tors for the television series, IIRC. /s/ Richard > In a message dated 10/11/04 11:00:38 AM, IAEG [at] aol.com writes: > > << I am sitting here thinking SEA HUNT, , , , , >> > > OK Keith. Ya lost me on this one. Was that the Lloyd > bridges character's > name? > > Bill S. ________________________________________________________________ Speed up your surfing with Juno SpeedBand. Now includes pop-up blocker! Only $14.95/ month - visit http://www.juno.com/surf to sign up today! ------------------------------ From: "Delbert Hall" Subject: RE: Knuckle Busters Date: Mon, 11 Oct 2004 12:58:04 -0400 Organization: ETSU Message-ID: <000001c4afb3$79ae0130$6400a8c0 [at] delbert> In-Reply-To: Thanks Andy - I need all the help I can get. -Delbert -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Quoting Delbert Hall : I think Channon went out of business in > the mid-ninety's. Somebody correct me if I am wrong (> -Delbert O.K., Delbert, I will. That's spelled "nineties". Glad I could help. Andy C-D ------------------------------ Date: Mon, 11 Oct 2004 13:03:04 -0400 (EDT) From: Boyd Ostroff Subject: Re: Basics of film lighting In-Reply-To: Message-ID: You might want to hang around the lighting forum at DVinfo.net to pickup a few ideas and ask questions (disclaimer: I moderate one of their camera forums :-) http://www.dvinfo.net/conf/forumdisplay.php?s=&forumid=41 Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF095A520A [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: spike tape on operating lines Date: Mon, 11 Oct 2004 13:11:59 -0400 I waited through a coupla posts to see if you would get there. When I didn't see a response, I jumped in. I should have known. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Bsapsis [at] aol.com [mailto:Bsapsis [at] aol.com] Sent: Monday, October 11, 2004 12:10 PM To: Stagecraft Subject: Re: spike tape on operating lines For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 10/11/04 11:55:33 AM, WAXLERS [at] UCMAIL.UC.EDU writes: << I know it is a small semantic item, but we should not refer to them as brakes. Brakes are made to slow things down. We should not be using that device to slow or stop the lines. Rope lock, like in locking rail works fine for me. >> Beat ya! (can you tell it's a slow day today?) 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: <886EF25AF8BEF64EB89A820EF84064FF095A5223 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: State of the art for drop folding? Date: Mon, 11 Oct 2004 13:23:01 -0400 I always understood west coasting to be gathering the bottom of the leg or drop and starting it into a bag or hamper and then lowering the pipe so it deposited the soft good directly into the receptacle. Actually, I just looked up west coasting in "Theatre Backstage from A to Z" (Warren C. Lounsbury copyright 1959 revised edition 1972, which tells you how long I have been around) and it say, "Lowering flown draperies or legs directly from the pipe batten into a drapery bag". Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Greg Persinger [mailto:gregpersin [at] comcast.net] Sent: Saturday, October 09, 2004 1:56 PM To: Stagecraft Subject: Re: State of the art for drop folding? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Keith Arsenault wrote: > nope , , i what everyone is refering to as "accordian" fold or "shop" fold > the "folds" are vertical, , what you are refering to as "reefing" the folds / > creases would be horizontal. Reefing is what we also call "west coasting" > correct ? ? In the rock and roll circles that I used to run in we had a different definition for the term "west coasting" . To do a "west coast" you let the drop pile up in a straight line underneath the pipe or truss as the hang position was lowered in. You then untied the drop and let the ties fall on top of the pile. You then went through and tied every fourth tie or so to make a drape "tube" which then got coiled into a hamper, or better yet a hard road case, like a piece of cable. Although this is horrible for long term storage, when you are playing a new town almost every night it's not that bad as the wrinkles hang out before showtime. I was told the idea came from the way they did sails in California. Anybody else want to weigh in? Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19c.2a415467.2e9c1ba2 [at] aol.com> Date: Mon, 11 Oct 2004 13:23:46 EDT Subject: Re: What rental item disappointed you most? In a message dated 11/10/04 00:45:33 GMT Daylight Time, IAEG [at] aol.com writes: > well I have to be honest being an East Coast US guy, , I am not familiar with > > the Patt 223/743 Fresnels > > BUT, , I do recall while doing a production at the one and only theatre in > Curacao in the Netherlands Antilles 25 years ago (+/-) being VERY impressed > > with the Euro Strand Fresnels there, which I would have given my eye teeth > for on > any number of shows here stateside, the field, the efficiency the ease of > focus were all to be greatly admired. > > I know that gear gets cross labeled frequently ( Ianerio / Strand ) could > these wonderful fresnels I recall from Curacao be the same as the Patt > instruments you are talking about ? Very possibly. We had them 40 years ago. About a 10" cube, with an 8" diameter lens and a screw focussing mechanism. Initially fitted with a 1KW grid filament lamp (Patt 223), and later with a 1KW halogen lamp (Patt 743). Finished in grey-brown hammer-finish enamel, and later in dark green crackle finish. Provided that you keep the focus mechanism and tray runners lubricated, they seem to go on for ever. Myself, I use a copper-based compound designer for stopping soldering iron bits seizing in their holders. It's rated for 350C. We have carried out a few modifications, such as throwing away the original asbestos cables, retro-fitting the halogen lamps, and fitting proper cable glands. But the basic instruments are unchanged, and give good service still. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 11 Oct 2004 13:36:01 EDT Subject: Re: What rental item disappointed you most? whoops In a message dated 11/10/04 01:33:37 GMT Daylight Time, IAEG [at] aol.com writes: > , ignore my previous post, , now that I have looked at the site I realize > that PATT is a Strand ID, , , It's actually an abbreviation for PATTERN. > > and I was right, , the PATT 223 / 243 is exactly what I was refering to from > > my show in Curacao > > interestingly enough, , I see the nic name of the PATT 264 ( a lamp base up, > > step lens, ERS ) in Dutch is Elleboogje (Dutch for "Elbow") You have met an oddity, here. The Patt 264 was designed as a profile lantern, the first varifocal one I ever met. A version was available with a fresnel lens, and was one of the most useless lanterns I have ever met. The real ones had one of Strand's most useful inventions fitted. There was one set of straight-edged shutters at the gate, and another set of jagged-edged shutters forward of this. This allowed you to focus any one edge of the beam hard, and the others soft, or any combination. I don't know why they abandoned it. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 11 Oct 2004 13:55:13 EDT Subject: Re: Basics of film lighting In a message dated 11/10/04 17:41:36 GMT Daylight Time, collinso [at] wlu.edu writes: > Hi, I'm looking for some advice. In January my department will be > filming a DV movie(instead of a normal theatre production) this will be > the first movie I will work on. I am in charge of the lighting. He's > gettign me a DVD about lighting for DV. But I need to find out more. > What advice could you give or books you could point me to to find out > more. I'll be using a crew unfamiliar film, film in locations > indoors(day and night) and outdoors (morning, afternoon and dawn). Two things. First, contrast control. Film cannot handle high contrast ratios between light and dark. The lighting neds to be much flatter than you would use on stage. Second, colour temperature. All the light sources must have the same colour temperature. If you're using all artificial light, or all daylight, there is no problem. It's whn you mix the two that you get trouble. There is only one answer: make them match. Either cover the windows with an orangey gel, or fit all the artificial lights with a blueish one. Tables will tell you which one, if you look in the 'colour correction' area. Frank Wood ------------------------------ Message-ID: <416ACB57.1080909 [at] davidmarks.cc> Date: Mon, 11 Oct 2004 14:05:11 -0400 From: David Marks Subject: Re: Basics of film lighting References: FrankWood95 [at] aol.com wrote: >Second, colour temperature. All the light sources must have the same colour >temperature. If you're using all artificial light, or all daylight, there is no >problem. It's whn you mix the two that you get trouble. There is only one >answer: make them match. Either cover the windows with an orangey gel, or fit all >the artificial lights with a blueish one. > Or there's a nifty invention called an HMI which most of us have been using for the past 20 years. Daylight color balanced instruments. We don't need no stinkin' blue gell. Dave Marks ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f4.a24860.2e9c276c [at] aol.com> Date: Mon, 11 Oct 2004 14:14:04 EDT Subject: Re: Basics of film lighting In a message dated 11/10/04 19:03:08 GMT Daylight Time, dave [at] davidmarks.cc writes: > Or there's a nifty invention called an HMI which most of us have been > using for the > past 20 years. Daylight color balanced instruments. We don't need no > stinkin' blue gell. HMI is no more daylight balanced than my Maglite. That it's less far away is the best that can be said. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Mon, 11 Oct 2004 14:53:06 EDT Subject: Re: Looking for Steve Nelson In a message dated 10/11/04 11:12:04 AM, Bsapsis [at] aol.com writes: << OK Keith. Ya lost me on this one. Was that the Lloyd bridges character's name? >> yeppppp, , , very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: IAEG [at] aol.com Message-ID: <192.308ce7be.2e9c30e7 [at] aol.com> Date: Mon, 11 Oct 2004 14:54:31 EDT Subject: Re: Looking for Steve Nelson In a message dated 10/11/04 12:44:46 PM, ladesigners [at] juno.com writes: << 'Mike Nelson' was the name selected by Ivan Tors for the television series, IIRC. /s/ Richard >> hummmmm, , , now you have me second guessing myself, , , ya might be right on that very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: IAEG [at] aol.com Message-ID: <79.361ff832.2e9c3177 [at] aol.com> Date: Mon, 11 Oct 2004 14:56:55 EDT Subject: Re: State of the art for drop folding? In a message dated 10/11/04 1:23:46 PM, WAXLERS [at] UCMAIL.UC.EDU writes: << I always understood west coasting to be gathering the bottom of the leg or drop and starting it into a bag or hamper and then lowering the pipe so it deposited the soft good directly into the receptacle. Actually, I just looked up west coasting in "Theatre Backstage from A to Z" (Warren C. Lounsbury copyright 1959 revised edition 1972, which tells you how long I have been around) and it say, "Lowering flown draperies or legs directly from the pipe batten into a drapery bag". Steve Waxler Technical Director College Conservatory of Music University of Cincinnati >> i've also used the term when I have to "bundle" a drop to a batten when there are more than one drop on a pipe, , with "un bundling" etc done at intermission ( i've done some pretty big operas and ballets in theatres with very few line sets ) very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: IAEG [at] aol.com Message-ID: <7f.4ebb25bb.2e9c31b2 [at] aol.com> Date: Mon, 11 Oct 2004 14:57:54 EDT Subject: Re: What rental item disappointed you most? In a message dated 10/11/04 1:24:41 PM, FrankWood95 [at] aol.com writes: << In a message dated 11/10/04 00:45:33 GMT Daylight Time, IAEG [at] aol.com writes: > well I have to be honest being an East Coast US guy, , I am not familiar with > > the Patt 223/743 Fresnels > > BUT, , I do recall while doing a production at the one and only theatre in > Curacao in the Netherlands Antilles 25 years ago (+/-) being VERY impressed > > with the Euro Strand Fresnels there, which I would have given my eye teeth > for on > any number of shows here stateside, the field, the efficiency the ease of > focus were all to be greatly admired. > > I know that gear gets cross labeled frequently ( Ianerio / Strand ) could > these wonderful fresnels I recall from Curacao be the same as the Patt > instruments you are talking about ? Very possibly. We had them 40 years ago. About a 10" cube, with an 8" diameter lens and a screw focussing mechanism. Initially fitted with a 1KW grid filament lamp (Patt 223), and later with a 1KW halogen lamp (Patt 743). Finished in grey-brown hammer-finish enamel, and later in dark green crackle finish. Provided that you keep the focus mechanism and tray runners lubricated, they seem to go on for ever. Myself, I use a copper-based compound designer for stopping soldering iron bits seizing in their holders. It's rated for 350C. We have carried out a few modifications, such as throwing away the original asbestos cables, retro-fitting the halogen lamps, and fitting proper cable glands. But the basic instruments are unchanged, and give good service still. Frank Wood >> yep, , that's them Frank! very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: An academic question Date: Mon, 11 Oct 2004 12:05:42 -0700 Now that sounds like a concept for the next Broadway smash hit. If they can do it for hairspray and urine (paying for pissing), why not spitting? Anybody want to back this? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mark O'Brien They even did a whole production number about spitting tobacco. ------------------------------ In-Reply-To: References: Message-Id: <9E381546-1BBA-11D9-BA21-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: An academic question Date: Mon, 11 Oct 2004 12:20:31 -0700 I had a video of the number, but when I looked I could not find it. It was a nice country ditty. Perhaps that is for the best Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Oct 11, 2004, at 12:05 PM, Wood Chip-P26398 wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Now that sounds like a concept for the next Broadway smash hit. If > they can do it for hairspray and urine (paying for pissing), why not > spitting? Anybody want to back this? > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mark > O'Brien > > They even did a whole production number about spitting tobacco. ------------------------------ Message-Id: <3.0.6.32.20041011132802.0197fa68 [at] pop.west.cox.net> Date: Mon, 11 Oct 2004 13:28:02 From: CB Subject: Wireless batteries s, The reply from a friend that has the chops: >The MAHA POWEREX 2300 mAh batteries and smart chargers from http://www.thomas-distributing.com/ is the way to go. > >We use 4 batteries per wireless clear com pack for a weeks worth of tech rehearsals (note: the electricians use them for their focus calls during the day in this period, too) without ever getting a low battery indicator light. We put fresh ones in before opening, run all our shows, pack up our gear, tour to the next venue, load in and tech again with the new local crew, and don't replace again until opening night. > >They have a very high life curve. I can expect 500-1000 charges out of each battery. So in effect, when I purchased our batteries, I really bought a minimum of 500 times the AA's. Our expenditures on Duracell Procell AA batteries each season alone was more than all the rechargeable batteries and chargers we ordered to cover our needs. > > >I have double the total # of batteries that we ever need at any given time. A complete set in the gear we are using and a complete back-up set topped off in the smart chargers (for a quick swap if needed). If Jonathan has battery monitoring software with his wireless mic package, then rechargeable are the way to go! If not, I wouldn't take the chance personally. RF mics are too important to chance a failure otherwise. > ------------------------------ Message-ID: <20041011211928.14954.qmail [at] web61305.mail.yahoo.com> Date: Mon, 11 Oct 2004 14:19:28 -0700 (PDT) From: Timothy Francis Subject: Dracula FX Has anyone on the list done the Steven Dietz version of Dracula? If so, I'd be curious to know how you did the following effects: The blood transfusion. For those unfamiliar, it is scripted that two transfusions occur onstage. For both, we would like to see the blood moving through the tube from one person to the other. On the second occasion, Dracula cuts the tube and sucks blood from it. The Rats. Any good ideas on how to make a rat that looks alive and can be put into an actors mouth? We are also considering trying to fly a raven out over the audience. Short of a trained bird, does anyone have ideas about this. I'll have more questions about this fun, yet complicated, show in the future. Thanks, ===== Tim Francis Trinity University San Antonio, TX _______________________________ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com ------------------------------ Message-Id: <6.1.2.0.0.20041011143620.0333cb00 [at] localhost> Date: Mon, 11 Oct 2004 14:42:48 -0700 From: Jerry Durand Subject: New software available for our DMX Converters/Controllers SmartLight lighting control software for our Model 4201 is now available. Details here: http://interstellar.com/products/SmartLight_Offer.pdf A free trial of the SmartLight software is available here (you will need our Model 4201 to use this): http://smartlight.edgeviewsoftware.com/trial.htm We're offering an upgrade for owners of our Model 4200 so that they may also use the SmartLight software as well as our free two scene software and future Mac software. Contact us for details. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com pgp: 45A2 0A52 1D56 70C2 B865 9D5C 83F2 2112 04CE 2B54 ------------------------------ In-Reply-To: References: Message-Id: <61C4D55B-1BD2-11D9-8D1D-003065DFDD2E [at] mail.tamucc.edu> From: Philip Johnson Subject: Period style Date: Mon, 11 Oct 2004 17:10:38 -0500 I am looking for texts to use to teach Period style for the Theatre. The latest info I can find on the Russell text is a 1987 publish date. I know there are others out there ( i hope there are others out there) When I googled period style I got a bunch of hits for this type of course. What text are you all using? I would like to use something current. thanks in advance PHil Johnson Texas A&M - Corpus Christi ------------------------------ Message-ID: <416B06E0.F0BD88 [at] cybercom.net> Date: Mon, 11 Oct 2004 18:19:12 -0400 From: Dale Farmer Subject: Re: Dracula FX References: Timothy Francis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has anyone on the list done the Steven Dietz version > of Dracula? If so, I'd be curious to know how you did > the following effects: > > The blood transfusion. > For those unfamiliar, it is scripted that two > transfusions occur onstage. For both, we would like to > see the blood moving through the tube from one person > to the other. On the second occasion, Dracula cuts > the tube and sucks blood from it. > Colored yarn inside the tube, pulled by some monofiliment fishing line. Use a large tube so it reads from a distance, and a very dark red yarn. Or fill it with edible stage blood and a squeeze bulb to pump it through. ( Will have to replace the tube as it becomes stained. ) > The Rats. > Any good ideas on how to make a rat that looks alive > and can be put into an actors mouth? > Joke shops sell a battery powered back end of a rat. The battery runs a motor that wriggles its tail. It is on sale about this time of year. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f8.a6b8c5.2e9c6182 [at] aol.com> Date: Mon, 11 Oct 2004 18:21:54 EDT Subject: Re: Period style In a message dated 11/10/04 23:11:29 GMT Daylight Time, Phil.Johnson [at] mail.tamucc.edu writes: > I am looking for texts to use to teach Period style for the Theatre. > The latest info I can find on the Russell text is a 1987 publish date. > I know there are others out there ( i hope there are others out there) > When I googled period style I got a bunch of hits for this type of > course. What text are you all using? I would like to use something > current. What period style? Lighting design has changed over the last hundred years, With more information, a more helpful response is possible. Frank Wood ------------------------------ From: "Scott Boyle" Subject: RE: Period style Date: Mon, 11 Oct 2004 17:43:52 -0500 Organization: Carroll College Message-ID: <002501c4afe3$c8bec900$73db688c [at] cc.edu> In-Reply-To: The thing I like about the Russell text is how it gives little snippets about basic historical happenings, art movements, etc. along with the info about architecture, ornamentation and period dress. When I started teaching the "Elements of design" course at my school I was saddened when the bookstore couldn't secure copies of it. They said it was out of print. If there is something else like I'd be interested in it too. Scott M. Boyle Technical Director Department of Theatre Arts Carroll College Phil wrote: I am looking for texts to use to teach Period style for the Theatre. The latest info I can find on the Russell text is a 1987 publish date. I know there are others out there ( i hope there are others out there) What text are you all using? I would like to use something current. ------------------------------ Message-ID: <003501c4afea$87d04d40$2aecbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: Dracula FX Date: Mon, 11 Oct 2004 18:32:09 -0500 ----- Original Message ----- From: "Timothy Francis" To: "Stagecraft" Sent: Monday, October 11, 2004 4:19 PM Subject: Dracula FX > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has anyone on the list done the Steven Dietz version > of Dracula? If so, I'd be curious to know how you did > the following effects: I haven't done this particular show, but I'll be happy to give you my thoughts on how to achive some of the effects... > > The blood transfusion. > For those unfamiliar, it is scripted that two > transfusions occur onstage. For both, we would like to > see the blood moving through the tube from one person > to the other. On the second occasion, Dracula cuts > the tube and sucks blood from it. Pretty simple, really. I imagine the actors are either sitting or lying down. I'd just rig a hidden bladder filled with stage blood out of sight under the actor's arm. The needle/tube appears to go into the arm, but the blood feed comes from the hidden bag. Simple Kayro surup, thinned and colored red with a smdge of blue for the blood, so it can be sucked out of the hose by Dracula. Do yourself a favor, make sure you have a hose clamp in the feed, so you don't end up painting the stage by accident. Another possible source for the blood might be a pump sprayer (about $8 at Home Depot) as the source. > > The Rats. > Any good ideas on how to make a rat that looks alive > and can be put into an actors mouth? Buy fake rubber rat. Cut in half, so you have front, and back halves. Place rat back half, into actors mouth. Have them place their tounge into rat's body. By moving tounge in a Gene Simmons "Kiss" fashion, rat will appear to be writhing in actors' mouth. Ick. > > We are also considering trying to fly a raven out over > the audience. Short of a trained bird, does anyone > have ideas about this. Your best bet is to "fly" your bird across the audiance via a single wire. This is what is known as the "Lydecker" method. Simple really: you have two lines running right next to each other, and running through a pair of eyelets, or a tube, running through the prop's body. Pull the two strings apart, and the raven will glide to the other end of the lines. Also, it helps to have the raven running "downhill" slightly. I did this for a production that needed a "ghost" to fly over the audiance during a blackout.... We uses one of those Halloween ghost puppets, with a bit of phosphorecent paint. Looked great! > > I'll have more questions about this fun, yet > complicated, show in the future. > > Thanks, > > > ===== > Tim Francis > Trinity University > San Antonio, TX > > > > _______________________________ > Do you Yahoo!? > Declare Yourself - Register online to vote today! > http://vote.yahoo.com ------------------------------ Message-Id: <5.1.1.6.2.20041012123434.00bb1320 [at] firework.co.nz.b9> Date: Tue, 12 Oct 2004 12:35:43 +1300 From: Anthony Subject: Venetian Music We have a 10 minute choreographed show coming up which is themed to "An Evening in Venice". Pyro is being extensively used. When I go looking for Venetian Composers and music there is Vivaldi and Monteverdi Cavalli Grandi Banchi Albioni..........it goes on and on. But none I have found really appeal in the way an 1812 might. The hunt seems endless, and tracking CD's down very time consuming. I would really appreciate any ones suggestions of a suitable bombastic symphonic work that has either a Venetian Theme or is by a Venetian Composer. Anthony Lealand ------------------------------ Message-Id: <5.2.0.9.0.20041011195819.03dfca78 [at] pop.lightlink.com> Date: Mon, 11 Oct 2004 20:00:09 -0400 From: John Bracewell Subject: Re: Venetian Music In-Reply-To: Well, it's not precisely pure Venice, but it sounds as if you're looking for something more from the Romantic period (mid 19th century) than from the Italian Baroque; so why not use something like the Tchaikowsky Capriccio Italien? Parts of that should work well with pyro. -- JLB ------------------------------ From: IAEG [at] aol.com Message-ID: <13e.33fc75c.2e9c7c3a [at] aol.com> Date: Mon, 11 Oct 2004 20:15:54 EDT Subject: Re: Venetian Music In a message dated 10/11/04 8:01:45 PM, jbrace [at] lightlink.com writes: << Well, it's not precisely pure Venice, but it sounds as if you're looking for something more from the Romantic period (mid 19th century) than from the Italian Baroque; so why not use something like the Tchaikowsky Capriccio Italien? Parts of that should work well with pyro. -- JLB >> i would agree, , Venice isn't really known as a specific recognizable "school" of music, , the songs that the godolier's sing are really what most people would think of as Neopolitan ( Naples ) think of the Tchaikovskyt Capriccio Italiean, , ( the russians did great ethic "takes" on Italy and Spain ) also look at VERDI, , , maybe the Overture to La Forza del Destino ? that might work for ya very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <416B227A.4060602 [at] fredonia.edu> Date: Mon, 11 Oct 2004 20:16:58 -0400 From: "Stephen E. Rees" Subject: Re: Dracula FX References: Hi Tim, How 'ya doin'. Can't remember the transfusion although I just got back in touch with the prop/FX guy from this show after three years and I'll chat him up. The rat was formed in a two-part mold that we made around a plastic rat that we got at Halloween. Good timing now. Once we had the negative mold made, we cast the critter with Blackberry Jello shy of water to make it set harder. The recipe for "wigglers" will do. We layered red licorice strings in the body for sinews and vessels. I think there was some angel hair pasta as well. The whole mess was edible. We established the reality of the rat with one of those battery powered writhing, squeeking ones just before the cover was lifted from the tray. I'll look for the information on the silicone casting materials. We did a couple of floppy bat things from the stage to the projection booth using slack Fireline 8# test and a pull line of the same stuff hauled with a bicycle wheel and crank. This was a lot of fun and creeped the bejesus out of the audience. Be Well, Steve Timothy Francis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has anyone on the list done the Steven Dietz version > of Dracula? If so, I'd be curious to know how you did > the following effects: > > The blood transfusion. > For those unfamiliar, it is scripted that two > transfusions occur onstage. For both, we would like to > see the blood moving through the tube from one person > to the other. On the second occasion, Dracula cuts > the tube and sucks blood from it. > > The Rats. > Any good ideas on how to make a rat that looks alive > and can be put into an actors mouth? > > We are also considering trying to fly a raven out over > the audience. Short of a trained bird, does anyone > have ideas about this. > > I'll have more questions about this fun, yet > complicated, show in the future. > > Thanks, > > > ===== > Tim Francis > Trinity University > San Antonio, TX > > > > _______________________________ > Do you Yahoo!? > Declare Yourself - Register online to vote today! > http://vote.yahoo.com ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Mon, 11 Oct 2004 20:23:31 EDT Subject: Re: Dracula FX In a message dated 10/11/04 5:20:25 PM, tfrancistd [at] yahoo.com writes: << We are also considering trying to fly a raven out over the audience. Short of a trained bird, does anyone have ideas about this. >> first of all, , it helps ( as in the production I can relate ) to have a Balcony in the theatre, , and to have that balcony closed, , we had a tray, hidden at the top (off stage ) of a set of French doors, , when these doors were opened, a BAT( powered by a lantern battery ) with flapping wings (wing span about 20") and red glowing eyes swooped down over the heads of the audience and then up and dissappeared into the balcony, there were two technicians in the balcony for this, , one to quickly wind in a large, approx 5' diameter real that the bat "pull" line was on, , another with a pole with an eyelet on the end that manipulated the support line the determined altitude, , , he was responsible for making it come down over the heads of the audience and then up into the balcony the large diameter size of the real allows it to move QUICKLY, , with only a few turns of the reel, , worked pretty good, , , now ya just gotta make a Raven, , , , there seem to be a lot of Raven'esque halloween props around, , very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <002301c4aff8$98196d90$6501a8c0 [at] Toshiba2> From: "John D. Palmer" Subject: West Coasting Date: Mon, 11 Oct 2004 18:12:50 -0700 Hi Folks, I have heard that the term west coasting came from how the old touring shows would wrap up their drops at the end of their cross-country tours. They would bring in the drop and tie it just as described and put it in a hamper. The drops weren't usually shipped back to the East coast. Why "west coasting"? The tours ended on the West coast of the US. Its as good as any explanation that I have heard. Cheers, John D. Palmer Palmer & Company Design & Production (213) 453-1547 ------------------------------ In-Reply-To: References: Message-Id: From: Paul Puppo Subject: Re: Dracula FX Date: Mon, 11 Oct 2004 19:52:57 -0700 On Oct 11, 2004, at 2:19 PM, Timothy Francis wrote: > We are also considering trying to fly a raven out over > the audience. Short of a trained bird, does anyone > have ideas about this. When I saw Diana Rigg in Mother Courage at the National Theatre in London, in between scenes (acts?) there was a huge (6'?) featureless black bird flown in (lowered) on the end of an upright with a bend (like an elbow). There was a pin spot at the bend in the pipe that shown on the bird. The whole device rotated (around the upright) so the bird "flew" in a circle. This caused a huge black shadow to circle over the audience (house lights were brought up to see the shadow). Very Ominous! As was Miss Rigg, from my seat in the third row... Paul Puppo ILLUMINEERING 547 Green Street San Francisco, CA 94133-3905 (415) 397-8776 phone/fax http://www.Nifty-Gadgets.com mailto:Paul [at] Nifty-Gadgets.com ------------------------------ Message-ID: <000501c4b007$12716ee0$80fea8c0 [at] Fred> From: "Mike Rock" References:

Subject: Stage craft class UPDATE Date: Mon, 11 Oct 2004 21:56:27 -0500 First I would like to thank every one for there help while I was constructiong my lesson plan. Too bad for reason beyond my control I will not be able to do the independent study as discussed about a month ago. Some good did come of it. I have the majority of my Christmas list done and I have a rough plan to follow for my own purposes. Chances are I will still spend the majority of the study hall in the theater now I just won't get credit for it. Mike Rock ------------------------------ Date: Mon, 11 Oct 2004 19:53:53 -0700 Subject: Re: Venetian Music Message-ID: <20041011.195357.2184.6.ladesigners [at] juno.com> From: Richard Niederberg 'Blue Danube' in 8/4 time by the elder Strauss and 'Also Sprach Zarathustra' by the younger Strauss come to mind. There are many interesting things that a DAW can do to appear to change the time signature, speed up the music, and make it appear 'bombastic'. Renown tango composer Lalo Schifrin created the 'Mission: Impossible' theme by rearranging and speeding up one of his own tangos that was laying in a drawer of his desk, it is rumored. Many people claim that they hate waltz music until they hear 'Over the Waves' by Strauss or 'Carousel' by Richard Rodgers. /s/ Richard > But none I have found really appeal in the way an > 1812 might. The hunt seems endless, and tracking > CD's down very time consuming. > I would really appreciate any ones suggestions of > a suitable bombastic symphonic work that has either > a Venetian Theme or is by a Venetian Composer. > Anthony Lealand ________________________________________________________________ Speed up your surfing with Juno SpeedBand. Now includes pop-up blocker! Only $14.95/ month - visit http://www.juno.com/surf to sign up today! ------------------------------ Message-Id: <3.0.6.32.20041011195504.01961418 [at] pop.west.cox.net> Date: Mon, 11 Oct 2004 19:55:04 From: CB Subject: Re: Dry Ice Storage >Freezers are contra-indicated, given that dry ice is at -40 degrees. Only if you turn the thing on. Freezers are designed to be great insulators, and work just great. Fill the space that isn't being filled with ice, and its like a cooler, only better. 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: <3.0.6.32.20041011195855.01961418 [at] pop.west.cox.net> Date: Mon, 11 Oct 2004 19:58:55 From: CB Subject: Re: An academic question >You learn your trade by doing it. Whether in an amateur or professional >environment, good work is good work, and you will know what you >have done, good or bad. I dunno, if you show the student how to do it for four years, he learns that that is the way to do it. He leaves with that attitude whether he has been taught well OR poorly. I was suggesting that he be taught correctly before I meet him. Some things learned in an ameteur environment will translate to a pro environment, some will hinder that segue. 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: <3.0.6.32.20041011200224.01961418 [at] pop.west.cox.net> Date: Mon, 11 Oct 2004 20:02:24 From: CB Subject: Re: need production staff still? ? ? ? ? ? ? >who / what / how did this thread start ? ? ? ? Mea Culpa. Laura obviously sent her mail to us instead of some producer, and I took the opportunity to poke fun at her. I'd thought it was more obvious thatn that, but you must have missed the evil grin on my puss when I wrote the reply... My bad. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Mon, 11 Oct 2004 20:06:56 -0700 Subject: Re: Venetian Music Message-ID: <20041011.204713.2184.7.ladesigners [at] juno.com> From: Richard Niederberg If you can stretch as far as Verdi, the 'Grand March' (sans elephants) from 'Aida' may fill the bill. It definitely could be considered 'bombastic'. /s/ Richard > also look at VERDI, , , maybe the Overture to > La Forza del Destino ? that might work for ya > very best, > Keith Arsenault ________________________________________________________________ Speed up your surfing with Juno SpeedBand. Now includes pop-up blocker! Only $14.95/ month - visit http://www.juno.com/surf to sign up today! ------------------------------ Date: Mon, 11 Oct 2004 20:47:06 -0700 Subject: Re: Venetian Music Message-ID: <20041011.204713.2184.8.ladesigners [at] juno.com> From: Richard Niederberg The Hollywood Bowl has been precisely synchronizing pyro to classical music for a dozen or more shows a year for decades. The key is to fire the mortars an exact number of hundredths of a second ahead of time so the shell explodes exactly on the musical beat at 150' or so above the shell. They can afford to hire the very best fire inspectors and other safety personnel since they have up to 17,500 people buying tickets for up to 70 performances per year in a facility that was made of concrete and other incombustible materials for its walls and floors. PS: The SoCal Section of USITT is doing a technical walk-though and session at the Bowl this Saturday at 10am, if anyone is in the area. It is one of the MANY events that are FREE (including free parking) to anybody who has paid their $15 yearly dues to the Section. RSVP to Sue Brandt at (213) 740-1247. /s/ Richard > We have a 10 minute choreographed show coming up > which is themed to "An Evening in Venice". Pyro is > being extensively used. > Anthony Lealand ________________________________________________________________ Speed up your surfing with Juno SpeedBand. Now includes pop-up blocker! Only $14.95/ month - visit http://www.juno.com/surf to sign up today! ------------------------------ Date: Tue, 12 Oct 2004 00:22:42 -0400 Subject: Lightwright survey From: John McKernon Message-ID: In-Reply-To: Dear friends, I've started thinking about Lightwright 5, and anyone has a few minutes I'd appreciate their a few minutes to fill out a survey I've posted at www.mckernon.com (it's on the first web page). Although it's mostly about Lightwright, there are also some general questions about how people do their work that will be very helpful to me - and eventually, to everyone else. Also, I sent email to everyone in my Lightwright database telling them about the survey, but over 250 of them kicked back... So if you have Lightwright and didn't get my email, please go to the Contacts area of my web site and fill out the form there to give me your current email address. And please do come visit me at LDI (in the City Theatrical booth) - without much of anything new for me to show this year, there should be plenty of time to talk. Thanks! - John ------------------------------ End of Stagecraft Digest #160 *****************************