Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.5) with PIPE id 4749977; Wed, 20 Oct 2004 03:01:31 -0700 X-ListServer: CommuniGate Pro LIST 4.2.5 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #168 Date: Wed, 20 Oct 2004 03:01:04 -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=-2.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, LINES_OF_YELLING,MAILTO_TO_SPAM_ADDR,NO_FEE 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 #168 1. Re: Prop authenticity question by Stephen Litterst 2. Re: Amateur/professional/academic by "Sean Culligan" 3. Re: Mac 2k reset, was coffee pot library by "C. Andrew Dunning" 4. Re: Prop authenticity question by James Ream 5. Re: Prop authenticity question by Michael Powers 6. Re: Prop authenticity question by Michael Feinberg 7. Re: Prop authenticity question by Mark O'Brien 8. Re: Multiple LED Source by " joe" 9. Re: Multiple LED Source by "Dr. Randall W.A. Davidson" 10. Re: Prop authenticity question by "Alf Sauve" 11. Re: Prop authenticity question by Pat Kight 12. Re: Le Maitre G300 Error: F-PU & F-LO by FrankWood95 [at] aol.com 13. Re: Prop authenticity question by FrankWood95 [at] aol.com 14. Re: Prop authenticity question by FrankWood95 [at] aol.com 15. Re: Outlook plain text by "Kacey Fisher" 16. Re: Le Maitre G300 Error: F-PU & F-LO by "Scott C. Parker" 17. Re: Prop authenticity question by Richard Niederberg 18. Gel Cutting by "Hofmann, Christopher" 19. Re: Electricity (was Prop authenticity question) by Stephen Litterst 20. Re: Gel Cutting by Stephen Litterst 21. Re: Gel Cutting by Shawn Palmer 22. Re: spike tape on operating lines by FrankWood95 [at] aol.com 23. Re: Gel Cutting by "Jeffrey E. Salzberg" 24. Re: Gel Cutting by "Tony Deeming" 25. Re: spike tape on operating lines by "Jeffrey E. Salzberg" 26. Re: Gel Cutting by "Robert G. Anderson" 27. Re: spike tape on operating lines by "Tony Deeming" 28. Re: Gel Cutting by Greg Bierly 29. Re: Gel Cutting by Jacqueline Haney Kidwell 30. Re: Color Filter Cutting by "Stephen E. Rees" 31. snow by usctd [at] columbia.sc 32. Re: Gel Cutting by "Haagen Trey P Civ 34 TRW/SDAT" 33. Re: Gel Cutting by "Clare Adams" 34. Re: snow by Greg Bierly 35. U of Mich? by "Storms, Randy" 36. Standard Voltages (was Prop Authenticity) by James Feinberg 37. Over the top computing power? by "Scott C. Parker" 38. Re: Gel Cutting by "Mike Rock" 39. Re: Over the top computing power? by Herrick Goldman 40. Re: Standard Voltages Sensor Dimmers by "Michael S. Eddy" 41. Re: Prop authenticity question by Jerry Durand 42. Re: Gel Cutting by FrankWood95 [at] aol.com 43. Re: Electricity (was Prop authenticity question) by FrankWood95 [at] aol.com 44. LDI Gathering the final time by Herrick Goldman 45. Re: Prop authenticity question by MissWisc [at] aol.com 46. Re: Standard Voltages Sensor Dimmers by Stephen Litterst 47. Re: Standard Voltages Sensor Dimmers by "Steve B." 48. DMX back channel question by Jerry Durand 49. Re: Standard Voltages Sensor Dimmers by "Michael S. Eddy" 50. Re: DMX back channel question by "Harold Hallikainen" 51. Re: Gel Cutting by MissWisc [at] aol.com 52. Re: Gel Cutting by "Alf Sauve" 53. Re: Standard Voltages Sensor Dimmers by "Steve B." 54. Metropolitan Opera Job Posting by Paul Masck 55. Re: USITT 10th Biennial Tech Expo, Toronto by Loren Schreiber 56. lots to read - LDI by StevevETTrn [at] aol.com 57. Select paint area on drop by Chris Wych 58. Re: Over the top computing power? by shifting [at] shifting.ca (Benjamin Eastep) *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Mon, 18 Oct 2004 23:16:43 -0400 From: Stephen Litterst Subject: Re: Prop authenticity question Message-id: <4174871B.20C9F182 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Michael Feinberg wrote: > >--------------------------------------------------- > If your mains are metering at 130V your electrical company is out of > spec and in some jurisdictions could be subject to fines. ANSI C81.1 > calls for +/- 5% at the service entrance and +6/-13% at the point of > termination, but it's up to the local utility commission to regulate > that. I believe that to be UL listed a product has to accept +/- 10% > voltage fluctuation, but since you have to purchase UL standards, I'm > not positive on that. Our system is stepped up to 130v at the isolation transformer so that the voltage drop between the dimmers and the raceways brings it back down to 120v. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <019601c4b5ab$d1781740$916efea9 [at] culliganf4gxvn> From: "Sean Culligan" References: Subject: Re: Amateur/professional/academic Date: Tue, 19 Oct 2004 03:18:21 -0400 Perhaps the distinction is not about the quality of work, but rather the motivation/effort of each individual on a production. Is someone occasionally doing a show because they simply enjoy it while holding a day job that they are concentrating their skills on? Or is someone holding a job to support themselves as they develop their skills and try to make a name for themselves, hoping to one day make their living in theatre? Amateur vs. Professional? Is a design that pays less going to get the same attention/effort from a designer as one that pays more/has more resources? What does the designer perceive the relative quality requirement level of each need to be? How much effort are they going to put into each? Amateur effort vs. professional effort? As for academia, I would hope that faculty members are trying to broaden their own skills and horizons, while they are teaching, to bring that knowledge to the classroom. I would think that the students are there to learn/develop their *professional* skills in a controlled environment. If they went straight into the industry out of high school, then they would be considered professional artists and craftsmen. Academia is not amateur in general. It is a controlled environment for the development of professionals by professionals. If you have a theatre student supervising music ed students who are getting a credit for running an opera at a school that had the design hired out, then one might say that an academic deck chief is supervising amateur stagehands who are executing a professional design at an academic institution. A band teacher isn't concentrating on advancing their skills as a stagehand. A theatre student will be concentrating on honing their leadership/management skills as a deck chief. I would hope a hired designer would put effort into their work, at least to set an example for the design students or build their own portfolio. And this is all happening on a single show. Is the production amateur, academic, or professional? There are so many permutations. A friend of a star trying to design even though they never have before. An intern doing professional work for academic credit rather than pay. Etc. The lights can look professional while the costumes look amateur. I have seen high quality theatre at various schools and community theatres, and low quality theatre at "professional" venues. I don't think that it is a distinction that should be made per production, venue, or venue type. Rather, the effort put in by each person that determines the quality of each aspect of each production. Of course this is all just opinion and everyone has their own. Just my $.02. Okay, so I went a little long. Maybe $.02 and a half. Back to lurking. Sean Culligan TD&P MFA Candidate '06 Yale School of Drama ------------------------------ From: "C. Andrew Dunning" Subject: RE: Mac 2k reset, was coffee pot library Date: Tue, 19 Oct 2004 05:35:02 -0500 Organization: Landru Design In-Reply-To: Message-ID: Thinking of a past thread, how about "You know, Andy, there just MIGHT be other color brands than GAM..." >I don't need that book..that's what my programmers and >assistants are for. > > "don't you know there are like 12 faster ways to do that?" , > > "What no coffee for the crew?", > >"I just push the buttons" > >"I don't know why Martin puts gobos on the color wheel but it >sure looks purty when you spin thru them" > >"this is some rescue! When you came in here did you have a >plan for getting out!?" oh wait that wasn't an assistant....hmmm > >-See you all at LDI ------------------------------ In-Reply-To: References: Message-Id: From: James Ream Subject: Re: Prop authenticity question Date: Tue, 19 Oct 2004 09:55:20 -0500 Chris, In 1968 I was a college student, owned my second cassette recorder/player. I bought the first from an Amaco motor club promotion. I don't recall where I got the second. It worked on AC and batteries. Only lasted about 2 hours on batteries which wasn't nearly enough for the bus on choir tour, so I bought a rechargeable lantern battery and rigged that as a portable-long lasting power supply. As I recall I even destroyed the input transformer on the Greyhound bus trying to patch it into the bus sound system. Oh well. Even in 1967 it was available and being used by teenagers just as you have described. Jim > The piece I'm looking for that I don't seem to find > easily is whether or not a cassette recorder would have been common > enough and inexpensive enough in 1968 such that a teenager might have > saved some paper route money and purchased one. ------------------------------ Date: Tue, 19 Oct 2004 11:35:52 -0400 From: Michael Powers Subject: RE: Prop authenticity question Cc: chofmann [at] capecod.edu Message-id: <41753458.9060409 [at] theater.umass.edu> "Hofmann, Christopher" wrote: <<........... The piece I'm looking for that I don't seem to find easily is whether or not a cassette recorder would have been common enough and inexpensive enough in 1968 such that a teenager might have saved some paper route money and purchased one. >> Chris, In 1967 I was a young, married college student, just back from Nam, going to school on the G.I. bill, (read dirt poor and scraping to make ends meet). I had one of the Sony TC-100 units that I used for taking notes in class. A few other students had them also. I don't remember what the cost was, but it couldn't have been too bad. HTH. Michael Michael Powers, Technical Director UMass Amherst 112 FAC West Amherst, Ma. 01003 413-545-6821 Voice 413-577-0025 Fax mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Message-Id: In-Reply-To: References:

Date: Tue, 19 Oct 2004 11:42:37 -0400 From: Michael Feinberg Subject: Re: Prop authenticity question >You personally remember the switch to 115V back in the 30's ? >Maybe you just feel that old today! :-) Nope. not that old. Though sometimes it may feel that way.... I was 'remembering' from something I had read or heard at one point, not experienced. If that were the case you'd be hearing about how 'In my day, all we got 110V and we we're grateful. We had to walk up hill both ways in the snow to carry it back one electron at a time....' -Michael Feinberg, CTS ------------------------------ In-Reply-To: References:

Message-Id: <593997B4-21E5-11D9-AAB7-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Prop authenticity question Date: Tue, 19 Oct 2004 08:41:31 -0700 Exactly the one I had as a child. Funny, I too remember the remote switch that came off the mic. And the DIN connector. I remember receiving it as a gift from a rich uncle, so I don't know how much it cost. I do remember it getting confiscated from me by my mother, because I had a got caught taping my sisters' conversations. That remote switch WAS very handy. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Oct 18, 2004, at 6:33 PM, Noah Price wrote: > First I used was a Norelco in 1960. Large brick size case with leather > cover. I remember that it had a mic with a remote on off that could be > removed from the mic. > > It was also my first experience with the "din" connector. I was next > to impossible to find adaptors. > > I believe that the cassette was developed by Phillips in Europe and > distributed by Norelco. > ------------------------------ Date: Tue, 19 Oct 2004 11:41:10 -0400 Message-Id: <200410191141.AA425132658 [at] paonline.com> From: " joe" Subject: Re: Multiple LED Source >Is anyone aware of a panel of individually controlled > LEDs? I'm looking for a way to connect 36 individual > light sources to fiber optics to light 1/2" scale scenic I've looked at this a bit myself. I suspect that using a LED for each light is better than trying to use fiber optics. A Jumbo LED is approximately the size of a Short PAR 64 at that scale. LED's are nice in that they are light sources with built-in lenses. The drawback is that the ones I've tested don't give a very even field. Are you really trying to make a detailed, accurate representation of the lighting? I imagine that is going to be difficult at this scale. Joe Dunfee ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Multiple LED Source Date: Tue, 19 Oct 2004 08:50:16 -0700 Message-ID: <006801c4b5f3$55282070$726dfea9 [at] DrDoomsComputer> In-Reply-To: Look in the NY Times of yesterday. Major article will answer all and I mean all your questions. Heck of an article. Doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of joe Sent: Tuesday, October 19, 2004 8:41 AM To: Stagecraft Subject: Re: Multiple LED Source For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >Is anyone aware of a panel of individually controlled > LEDs? I'm looking for a way to connect 36 individual > light sources to fiber optics to light 1/2" scale scenic I've looked at this a bit myself. I suspect that using a LED for each light is better than trying to use fiber optics. A Jumbo LED is approximately the size of a Short PAR 64 at that scale. LED's are nice in that they are light sources with built-in lenses. The drawback is that the ones I've tested don't give a very even field. Are you really trying to make a detailed, accurate representation of the lighting? I imagine that is going to be difficult at this scale. Joe Dunfee ------------------------------ Message-ID: <055301c4b5fc$a3711620$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Prop authenticity question Date: Tue, 19 Oct 2004 12:50:40 -0400 Here's another angle on this. While cassettes may have been readily available. My wife had a one made by Standard Radio Corp. The state of the art for recording and for hi-fi at that time was reel to reel (and records). Any band trying to record would probably have tried to use or at least would want to use a R-R. But, thinking from an audience perspective, since this fits the time period for R-R, then a standup R-R would make a more visible prop than a little cassette recorder. I'd vote for R-R even going into the 70s time frame, just for the "stage appeal". Alf ----- Original Message ----- From: "Michael Powers" To: "Stagecraft" Cc: Sent: Tuesday, October 19, 2004 11:35 AM Subject: Re: Prop authenticity question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Hofmann, Christopher" wrote: > <<........... The piece I'm looking for that I don't seem to find > easily is whether or not a cassette recorder would have been common > enough and inexpensive enough in 1968 such that a teenager might have > saved some paper route money and purchased one. >> > > Chris, > > In 1967 I was a young, married college student, just back from Nam, going > to school on the G.I. bill, (read dirt poor and scraping to make ends > meet). I had one of the Sony TC-100 units that I used for taking notes in > class. A few other students had them also. I don't remember what the > cost was, but it couldn't have been too bad. HTH. > Michael > > Michael Powers, Technical Director > UMass Amherst > 112 FAC West > Amherst, Ma. 01003 > > 413-545-6821 Voice > 413-577-0025 Fax > > mfpowers [at] theater.umass.edu > mptecdir [at] aol.com > > ------------------------------ Message-ID: <41754B59.80805 [at] peak.org> Date: Tue, 19 Oct 2004 10:14:01 -0700 From: Pat Kight Subject: Re: Prop authenticity question References:

In-Reply-To: Alf Sauve wrote: > Here's another angle on this. While cassettes may have been readily > available. My wife had a one made by Standard Radio Corp. The state > of the art for recording and for hi-fi at that time was reel to reel > (and records). Any band trying to record would probably have tried to > use or at least would want to use a R-R. *grin* You didn't hang around with 1960s garage bands, right? The guys who practiced with my brother in our garage weren't after hi-fidelity, they wanted immediacy. Which is why my brother kept swiping my little casette recorder to tape them (and running down those short-lived batteries, and never replacing them, so I'd have to thump him ... ahhhh, siblings!) The funny thing was that none of them owned casette players at the time, and they weren't standard equipment in cars or home stereo sets, so I have no idea how they actually *listened* to their awful little tapes ... -- Pat Kight kightp [at] peak.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 19 Oct 2004 13:14:53 EDT Subject: Re: Le Maitre G300 Error: F-PU & F-LO In a message dated 19/10/04 02:05:45 GMT Daylight Time, Kacey [at] FisherTheatrical.com writes: > Ahh yes, that wouldn't have helped you then! Which is why we keep telling > our rep there to put the codes in the manual! Maybe they'll have them in > there soon! Always useful. But, at the same time, it's scarcely rocket science to guess that F-PU means a pump fault, and that F-LO means a fluid level fault. It's the best you can do with seven segment indicators. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <199.31ba8e06.2ea6a803 [at] aol.com> Date: Tue, 19 Oct 2004 13:25:23 EDT Subject: Re: Prop authenticity question In a message dated 19/10/04 02:18:12 GMT Daylight Time, alf [at] sauve.org writes: > I caught that. 110VAC. Which has creeped to 115, to 120, and now my Main > Panels commonly read 130VAC on all three phases. We only buy 130V > incandescent, now. And most of our fluorescent ballasts are intelligent > electronic types which handle a wide range, including 277. > > Is that the target? 277? (Obviously, a US question.) A European answer. The UK used to be on 240V; the continental area on 220V. Harmonisation has led us to a 230V standard. Even so, quite wide variations are allowed. 230V can go up to 255V, and down to 210V, if I remember right. It all depends on the current draw, and the length of the cables. I have met as few as 190V, on the end of a long, thin cable. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <103.527687d6.2ea6aa33 [at] aol.com> Date: Tue, 19 Oct 2004 13:34:43 EDT Subject: Re: Prop authenticity question In a message dated 19/10/04 04:17:25 GMT Daylight Time, slitterst [at] ithaca.edu writes: > Our system is stepped up to 130v at the isolation transformer so that > the voltage drop between the dimmers and the raceways brings it back > down to 120v. If "raceways" mean the same as "busbars", and you are losing 10V down the cables, you need thicker cables. And, possibly, an improved heating system. A 10V drop with a 100A load is 1KW of heat. Pro rata for higher loads. Frank Wood ------------------------------ From: "Kacey Fisher" Subject: RE: Outlook plain text Date: Tue, 19 Oct 2004 13:35:34 -0400 In-Reply-To: Message-ID: You can also do it from the individual message itself. Format-Plain Text. You also need to make sure you don't have an HTML type signature automatically inserted because then it will always default to HTML. ~Kacey Fisher > In the version I have (Outlook 2003): > Tools, Options, Mail format, Message Format, Plain Text > > Jonathan > ------------------------------ Message-Id: <6.1.2.0.2.20041019133958.03936ec0 [at] mail.hstech.org> Date: Tue, 19 Oct 2004 13:42:10 -0400 From: "Scott C. Parker" Subject: Re: Le Maitre G300 Error: F-PU & F-LO In-Reply-To: References: At 01:14 PM 10/19/2004, you wrote: >Always useful. But, at the same time, it's scarcely rocket science to guess >that F-PU means a pump fault, and that F-LO means a fluid level fault. >It's the >best you can do with seven segment indicators. > > >Frank Wood Easy to say after I posted that I took the unit apart and blew out the pumps and the lines.... ;-) Then again saying that F-LO means a fluid level fault while I'm swimming in fluid.... Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ Date: Tue, 19 Oct 2004 11:01:34 -0700 Subject: Re: Prop authenticity question Message-ID: <20041019.110140.772.3.ladesigners [at] juno.com> From: Richard Niederberg At least you don't have to encounter 347 and 480, as we do occasionally. And I am glad that 400hz and 600vdc is normally marked very clearly!. /s/ Richard > I caught that. 110VAC. Which has creeped to 115, to 120, and > now my Main Panels commonly read 130VAC on all three phases. > We only buy 130V incandescent, now. And most of our fluorescent > ballasts are intelligent electronic types which handle a wide range, > including 277. Is that the target? 277? (Obviously, a US question.) ________________________________________________________________ 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! ------------------------------ Subject: Gel Cutting Date: Tue, 19 Oct 2004 14:03:49 -0400 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C1750A [at] ex1.capecod.edu> From: "Hofmann, Christopher" I'm conducting an informal poll. By a show of hands, how many of you have a paper cutter or other such implement dedicated to cutting gel? You may reply directly unless you think the list is interested. - Chris =20 Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Date: Tue, 19 Oct 2004 14:30:38 -0400 From: Stephen Litterst Subject: Re: Electricity (was Prop authenticity question) Message-id: <41755D4E.264D43C1 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 19/10/04 04:17:25 GMT Daylight Time, slitterst [at] ithaca.edu > writes: > > > Our system is stepped up to 130v at the isolation transformer so that > > the voltage drop between the dimmers and the raceways brings it back > > down to 120v. > > If "raceways" mean the same as "busbars", and you are losing 10V down the > cables, you need thicker cables. And, possibly, an improved heating system. A 10V > drop with a 100A load is 1KW of heat. Pro rata for higher loads. To me a "busbar" is inside the dimmer rack where each dimmer connects to its appropriate phase. The "raceways" are the connector strips in the theatre where each fixture connects to the circuit. 'Zat help? I'd have to physically check the wire size of our circuits, but the math works out to a 10v drop over 200' with 10ga wire (and a 20A load). In much of our theatre there's easily 150' to the raceway/circuit, and often an additional amount of cabling to the fixture itself. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Tue, 19 Oct 2004 14:32:07 -0400 From: Stephen Litterst Subject: Re: Gel Cutting Message-id: <41755DA7.8514EA38 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Hofmann, Christopher" wrote: > --------------------------------------------------- > I'm conducting an informal poll. > > By a show of hands, how many of you have a paper cutter or other such > implement dedicated to cutting gel? We do. It's a 26" wide cutter with a rotary blade. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <41755EFB.90201 [at] northnet.net> Date: Tue, 19 Oct 2004 13:37:47 -0500 From: Shawn Palmer Subject: Re: Gel Cutting References: In-Reply-To: > I'm conducting an informal poll. > > By a show of hands, how many of you have a paper cutter or other such > implement dedicated to cutting gel? > > You may reply directly unless you think the list is interested. > > - Chris Chris, We use a paper cutter. It is only used for gel. Saves much time and fingers. Shawn Palmer Neenah, WI USA ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <96.17bd033f.2ea6b93d [at] aol.com> Date: Tue, 19 Oct 2004 14:38:53 EDT Subject: Re: spike tape on operating lines In a message dated 19/10/04 00:37:29 GMT Daylight Time, halld [at] etsu.edu writes: > Yes, I know that it is a "rope lock" but after > years of telling people that it is a "batten" not a "bar" I now often > relent and call a lot of things whatever the person I am talking to > calls it. I guess it is lazy of me to do this, and I will try to be > better in the future. Terminology is a minefield, especially when you add in a transatlantic mix. Look at lighting. "Luminaire", "insrrument", "lantern", or "lamp" for the gadget you buy from Strand or whoever: "lamp" or "bulb" for the thing that goes inside it and emits the light. So with battens or bars. The UK usage is that a batten is a long, thin piece of wood. In the old days, these sometimes had lampholders screwed to them for basic illumination. A bar, apart from being a place of refreshment, is a long piece of 2" OD steel tube on which lighting equipment is hung. Frank Wood ------------------------------ From: "Jeffrey E. Salzberg" Subject: RE: Gel Cutting Date: Tue, 19 Oct 2004 14:41:47 -0400 Message-ID: <001301c4b60b$4a2b3e60$6701a8c0 [at] Dell> In-Reply-To: > > By a show of hands, how many of you have a paper cutter or > other such > > implement dedicated to cutting gel? > > We do. It's a 26" wide cutter with a rotary blade. I have a small 10" cutter that I use when working in theaters that have none. ------------------------------ Message-ID: <005601c4b60b$df15f470$0a01a8c0 [at] Tony> From: "Tony Deeming" References: Subject: Re: Gel Cutting Date: Tue, 19 Oct 2004 19:45:54 +0100 I certainly use one on occasion - not all the time, but it was darned useful when I was making scroller strings....! Ynot ----- Original Message ----- From: "Hofmann, Christopher" To: "Stagecraft" Sent: Tuesday, October 19, 2004 7:03 PM Subject: Gel Cutting For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm conducting an informal poll. By a show of hands, how many of you have a paper cutter or other such implement dedicated to cutting gel? You may reply directly unless you think the list is interested. - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ From: "Jeffrey E. Salzberg" Subject: RE: spike tape on operating lines Date: Tue, 19 Oct 2004 14:46:21 -0400 Message-ID: <001401c4b60b$edae5fe0$6701a8c0 [at] Dell> In-Reply-To: > So with battens or bars. The UK usage is that a batten is a > long, thin piece > of wood. In the old days, these sometimes had lampholders I'm sure you meant "sockets". ------------------------------ Message-ID: <009001c4b60d$5f95cf20$fce18b40 [at] 0016599365> From: "Robert G. Anderson" References: Subject: Re: Gel Cutting Date: Tue, 19 Oct 2004 13:56:38 -0500 We use a standard paper cutter that was donated many years ago. Still sharp and does very well. Bob ----- Original Message ----- From: "Hofmann, Christopher" To: "Stagecraft" Sent: Tuesday, October 19, 2004 1:03 PM Subject: Gel Cutting For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm conducting an informal poll. By a show of hands, how many of you have a paper cutter or other such implement dedicated to cutting gel? You may reply directly unless you think the list is interested. - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Message-ID: <007b01c4b60d$f398e450$0a01a8c0 [at] Tony> From: "Tony Deeming" References: Subject: Re: spike tape on operating lines Date: Tue, 19 Oct 2004 20:00:48 +0100 ----- Original Message ----- From: "Jeffrey E. Salzberg" To: "Stagecraft" Sent: Tuesday, October 19, 2004 7:46 PM Subject: Re: spike tape on operating lines > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > > So with battens or bars. The UK usage is that a batten is a > > long, thin piece > > of wood. In the old days, these sometimes had lampholders > > I'm sure you meant "sockets". > > Nope - I know exactly what FW means (for once) and we had this out a while back on rats. In the UK a batten can be a length of timber, as Frank says, or a similar bit of wood with lamp-holders, or even a set of multiple (usually floods) lanterns in a single enclosure - see the Strand Archive for their S33 and S34 batten/groundrows - they came in 4, 8, 12, 16, 20 or 24 compartment sets, usually wired in 3 or 4 circuits per batten. I seem to recall some Furse units at 7 or 9 compartments, too. These were a pretty common standard on the UK stage for some time in the 60's & 70's. Ynot ------------------------------ In-Reply-To: References: Message-Id: <8BE90E2F-2209-11D9-A66F-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Gel Cutting Date: Tue, 19 Oct 2004 15:00:38 -0500 We use a dedicated long arm papercutter I mounted to a rolling work table that has a file cabinet for the cut gel and drawers for the gel frames. It is used for cutting gel, gobos, most recently fan filter media, and any other show related materials ( I haven't caught anyone trying to cut plywood with it yet) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <20041019191311.32178.qmail [at] web52006.mail.yahoo.com> Date: Tue, 19 Oct 2004 12:13:11 -0700 (PDT) From: Jacqueline Haney Kidwell Subject: Re: Gel Cutting In-Reply-To: I work with several community theater groups. No one I know uses a paper cutter, but one guy has taken a big square of plywood and routered out squares of the appropriate sizes as guides for cutting gels with a box knife. Jacki __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <41756A35.7050104 [at] fredonia.edu> Date: Tue, 19 Oct 2004 15:25:41 -0400 From: "Stephen E. Rees" Subject: Re: Color Filter Cutting References: We do have such a device - in fact two of them. They have been lined out as to correct size of cut for each of our color frames. It depends on the maker of the color filter as to whether they do a good job of cutting or only mediocre. It is not uncommon to find matte knives on the masonite cutting board for certain filters. There have been some near misses with finger tips. Steve Rees, TD SUNY-Fredonia Hofmann, Christopher wrote: > > I'm conducting an informal poll.[snipped] ------------------------------ Message-ID: <2648.129.252.241.105.1098214880.squirrel [at] webmail.columbia.sc> Date: Tue, 19 Oct 2004 15:41:20 -0400 (EDT) Subject: snow From: usctd [at] columbia.sc Anybody out there used the Chauvet SM 75 mini snow machine? We are doing Bus Stop and I found the unit for $120.00 new. Is it a good way to go for snow outside an 8'x4' window? We want it to snow for about 30 minutes total. Thanks y'all. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy ------------------------------ Subject: RE: Gel Cutting Date: Tue, 19 Oct 2004 13:43:07 -0600 Message-ID: <67CADCB91D266042A8DAB3B981DCFD1404127D [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" The question posed: By a show of hands, how many of you have a paper cutter or other such implement dedicated to cutting gel? One large. One small. One wheel. Lots of matt knifes and some scissors. Trey Haagen USAF Academy - ------------------------------ From: "Clare Adams" Subject: RE: Gel Cutting Date: Tue, 19 Oct 2004 14:02:22 -0600 Message-ID: In-Reply-To: We have a 26" paper cutter here, too. Only for gels. Clare Adams Lighting Designer/Technical Director Performing Arts Department College of Santa Fe 1600 St. Michael's Drive Santa Fe, NM 87505 505-473-6155 cadams [at] csf.edu ------------------------------ In-Reply-To: References: Message-Id: <0B7CDFF2-2214-11D9-A66F-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: snow Date: Tue, 19 Oct 2004 16:15:47 -0500 I have not used the Chauvet but I have the old series Le Matre. The biggest thing I have found with any snow machine is the noise. I am sure for $120 you are looking at the noise of a moderately loud shop vac. Other than noise it should be fine for "window" snow. 30 min. you might have to put in a larger fluid tank. It WILL make the snow landing zone slick. On Oct 19, 2004, at 2:41 PM, usctd [at] columbia.sc wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Anybody out there used the Chauvet SM 75 mini snow machine? We are > doing > Bus Stop and I found the unit for $120.00 new. Is it a good way to go > for > snow outside an 8'x4' window? We want it to snow for about 30 minutes > total. > > Thanks y'all. > -- > Eric Rouse > TD-University of SC, Columbia > Freelance Foyboy > > > Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: U of Mich? Date: Tue, 19 Oct 2004 13:26:47 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B732396C [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Anyone on the list familiar with the Sound Design program at the = University of Michigan? I have a student who is interested, but is = concerned that he doesn't have a background in music... -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-Id: <200410192046.i9JKkTeG010948 [at] gryphon.auspice.net> Subject: Standard Voltages (was Prop Authenticity) Date: Tue, 19 Oct 2004 16:46:29 -0400 (EDT) In-Reply-To: from "FrankWood95 [at] aol.com" at Oct 19, 2004 01:25:23 PM From: James Feinberg All of this talk of voltages has brought up another question for me. After years in the dark ages, I've finally got some Source Fours. My dimmer rack is receiving something in the neighborhood of 120V. The dimmers (ETC Sensors) are programmed to output 118V. The EHG lamps I use in most of my instruments are rated for 120V. But the Source Four lamps are rated for 115V. Should I reprogram my dimmers to output 115V? --James Feinberg University of San Diego ------------------------------ Message-Id: <6.1.2.0.2.20041019172837.04524148 [at] mail.hstech.org> Date: Tue, 19 Oct 2004 17:32:48 -0400 From: "Scott C. Parker" Subject: Over the top computing power? In-Reply-To: References:

I'm trying to get the most computer for the money out of my IT dept. The hungriest programs I'm running are AutoCAD and Adobe Premiere. The standard machine my IT dept. offers is just barely over the minimums for both. So, I need to get some software titles that I can tell them I'm going to be "researching" and, therefore, need more machine under the hood. Of course, programs like WYSIWYG and others only list the minimum requirements on their web sites, so they don't help. Any suggestions? Thanks, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Office: 41 Park Row, 1205F Dyson College of Arts and Sciences [at] Pace University 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 212-346-1681 ------------------------------ Message-ID: <001101c4b624$707721b0$80fea8c0 [at] Fred> From: "Mike Rock" References:

Subject: Re: Gel Cutting Date: Tue, 19 Oct 2004 16:41:46 -0500 > > By a show of hands, how many of you have a paper cutter or other such > > implement dedicated to cutting gel? > What about the new person and a pair of sissors? ------------------------------ Date: Tue, 19 Oct 2004 17:34:00 -0400 Subject: Re: Over the top computing power? From: Herrick Goldman Message-ID: In-Reply-To: World of Warcraft will be coming out soon and it is sure to require the best hardware possible. After that you could download Vari*lite's Virtuoso software that lets you do WYSYWIG on your computer and that chews up quite a bit. Try to find a computer review magazine with benchmark testing information. HTH a bit. On 10/19/04 17:32, "Scott C. Parker" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm trying to get the most computer for the money out of my IT dept. The > hungriest programs I'm running are AutoCAD and Adobe Premiere. The standard > machine my IT dept. offers is just barely over the minimums for both. So, I > need to get some software titles that I can tell them I'm going to be > "researching" and, therefore, need more machine under the hood. > > Of course, programs like WYSIWYG and others only list the minimum > requirements on their web sites, so they don't help. > > Any suggestions? > Thanks, Scott > > > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Office: 41 Park Row, 1205F > Dyson College of Arts and Sciences [at] Pace University > 1 Pace Plaza New York, NY 10038 > 212-346-1423 Fax: 212-346-1681 > > > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "Michael S. Eddy" Subject: RE: Standard Voltages Sensor Dimmers Date: Tue, 19 Oct 2004 17:44:28 -0400 In-Reply-To: Message-ID: >All of this talk of voltages has brought up another question for me. >After years in the dark ages, I've finally got some Source Fours. >My dimmer rack is receiving something in the neighborhood of 120V. >The dimmers (ETC Sensors) are programmed to output 118V. >The EHG lamps I use in most of my instruments are rated for 120V. >But the Source Four lamps are rated for 115V. >Should I reprogram my dimmers to output 115V? >--James Feinberg >University of San Diego James, Yes, you should trim your Sensor dimmers, your lamps will last longer. Running 115V lamps at a higher voltage will cut down on the average rated lamp life. I would recommend that you measure the output at the circuit and lamp to allow for the voltage drop from the dimmer rack to that circuit. With Sensor dimmers you can trim each output, so you can set an optimal output for not only the 115V lamps, but the 120V ones as well. You cannot make power, but you can set the dimmers to try to compensate for some of the line loss. This is why some applications overfeed the racks and trim to the correct output to compensate for the loss at the dimmer choke and for the loss over the cable run to the circuit. The higher the rise time choke will cause more voltage drop. AFAIK, an 800ms rise time choke looses 13V. I hope this helps. Michael Eddy ------------------------------ Message-Id: <6.1.2.0.0.20041019143900.06f11630 [at] localhost> Date: Tue, 19 Oct 2004 14:46:31 -0700 From: Jerry Durand Subject: Re: Prop authenticity question In-Reply-To: References:

At 06:06 PM 10/18/2004, you wrote: >I caught that. 110VAC. Which has creeped to 115, to 120, and now my >Main Panels commonly read 130VAC on all three phases. We only buy 130V >incandescent, now. And most of our fluorescent ballasts are intelligent >electronic types which handle a wide range, including 277. > >Is that the target? 277? (Obviously, a US question.) Depends. Our line voltage jumped up when they added a substation near here (and our power failures went way down, haven't used the generator in a long time). There ARE problems with that, I just noticed that my 10-year old lead-acid charger overcharges 6V batteries because it's voltage "regulation" is based on line voltage. Have to remember to only use this on 12V batteries when its solid-state regulator kicks in. Higher line voltage (to a point) makes switching power supplies (computers, "universal" AC adapters, etc.) happier. They tend to draw constant wattage so if the voltage dips as in a brown-out, they just draw more current to compensate. Not what the power company had in mind with the brown-out (more current = greater I2R losses so switching power supplies actually draw MORE wattage at lower voltages). ---------- 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 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 19 Oct 2004 17:54:14 EDT Subject: Re: Gel Cutting In a message dated 19/10/04 19:06:37 GMT Daylight Time, chofmann [at] capecod.edu writes: > I'm conducting an informal poll. > > By a show of hands, how many of you have a paper cutter or other such > implement dedicated to cutting gel? Well, I do. I curse the people who have used it as a flat surface on which to cut gel with a knife, to the detriment of the surface. But it works. The standard measurements for the gels for all of our lanterns are posted. And all the cuts are straight, and at right angles to the edge. I wouldn't be without it. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f8.12e5703.2ea6e9fe [at] aol.com> Date: Tue, 19 Oct 2004 18:06:54 EDT Subject: Re: Electricity (was Prop authenticity question) In a message dated 19/10/04 19:31:31 GMT Daylight Time, slitterst [at] ithaca.edu writes: > To me a "busbar" is inside the dimmer rack where each dimmer connects > to its appropriate phase. The "raceways" are the connector strips in > the theatre where each fixture connects to the circuit. 'Zat help? > Not a lot. The main power from the sub-station transformer lands up on bus-bars. Heavy cables connect these to the distribution isolstors. These, in turn, feed other isolators, perhaps several. These control the more local supplies, includind the stage lighting.. The internal wiring of dimmer racks is, to a large extent, up to the manufacturer. Not entirely, but they impose constraints. Frank Wood ------------------------------ Date: Tue, 19 Oct 2004 17:59:43 -0400 Subject: LDI Gathering the final time From: Herrick Goldman Message-ID: In-Reply-To: Hey Folks, So I spoke with Joe Golden yesterday. He has made 100 stickers for us for our badges (we're geeks). He won't actually be there on Saturday. He's around the booth or the floor on Friday so stop by then to meet him. I'll have a few (20) stickers on me as well. On Saturday stop by the ELS booth to "patronize" them and get a sticker but since Joe won't even be around just head over to the TMB booth around 3:45 or so and we'll look at their toys and their staff and drink their booze. If you don't already have my cell # but know you are attending LDI e-mail me privately and I'll get it to you. Looking forward to meeting you all. _Herrick -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: MissWisc [at] aol.com Message-ID: <1e2.2c853520.2ea6f5cf [at] aol.com> Date: Tue, 19 Oct 2004 18:57:19 EDT Subject: Re: Re: Prop authenticity question Cc: chofmann [at] capecod.edu Some thoughts... I was just a wee one in the 1960s, but a big thing was the Sears and Robuck catalog (catalogue, for our British friends). The winter edition (in the northern hemisphere, for our "southern" friends) was affectionately known as the "Wish Book" and I think there may be versions of it available online, at your local library, or antique places. If it was in there, it would have been available to the middle class. The "Montgomery Wards" and "J.C. Penny" catalogs were often used also. You might also look at back issues of Popular Electronics to see what's in the ads. Whether someone can afford something is more a matter of priority than economics. Even now a poor teenager who wants $200 athletic shoes will find the cash for it eventually. Barter works too. You mention paper route... always a staple. Here are some other ideas: In the 1960s, soda and beer came in glass returnable bottles - you paid a penny, nickel, or dime a bottle then had that money returned to you when you returned the bottles to the store. I remember many things my uncle earned by wheeling a red Radio Flyer wagon around the neighborhood offering to return people's bottles. A case of 24 bottles at a nickel a piece times 4 cases in a wagon load times two loads an hour is more than today's minimum wage! Kids also earned money doing "odd jobs" (gardening, raking, shoveling snow, taking out the trash, dog walking, etc.) and there's always the corner lemonade stand. He could have set up an advice booth like Lucy in the "Peanuts" comic strip - a big hit at that time. Kissing booths featuring beautiful women were popular ways to raise funds for charity - perhaps your guy ran one and got a take of the profits. If you want your character to be a real trend setter, he could have babysat for the $$. My dad had a Bell and Howell portable reel-to-reel tape player that took the 3" and 7" reels and recorded in quarter track stereo. He'd bought it at an army PX in the late 1950s. If your character is a musician, he probably would have preferred the better quality of a R-R player over a cassette player. HTH Kristi ------------------------------ Date: Tue, 19 Oct 2004 18:01:02 -0400 From: Stephen Litterst Subject: Re: Standard Voltages Sensor Dimmers Message-id: <41758E9E.543DA74C [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Michael S. Eddy" wrote: > --------------------------------------------------- "James Feiberg queried:" > >My dimmer rack is receiving something in the neighborhood of 120V. > >The dimmers (ETC Sensors) are programmed to output 118V. > >The EHG lamps I use in most of my instruments are rated for 120V. > >But the Source Four lamps are rated for 115V. > >Should I reprogram my dimmers to output 115V? "Michael Eddy offered:" > Yes, you should trim your Sensor dimmers, your lamps will last longer. > Running 115V lamps at a higher voltage will cut down on the average rated > lamp life. I would recommend that you measure the output at the circuit and > lamp to allow for the voltage drop from the dimmer rack to that circuit. > With Sensor dimmers you can trim each output, so you can set an optimal > output for not only the 115V lamps, but the 120V ones as well. You cannot > make power, but you can set the dimmers to try to compensate for some of the > line loss. This is why some applications overfeed the racks and trim to the > correct output to compensate for the loss at the dimmer choke and for the > loss over the cable run to the circuit. The higher the rise time choke will > cause more voltage drop. AFAIK, an 800ms rise time choke looses 13V. And I say, Your other option is to get 120v lamps for your Source 4s, then you can trim all the dimmers to the same level and not have to worry about the two different voltages. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Tue, 19 Oct 2004 19:27:04 -0400 From: "Steve B." Subject: Re: Standard Voltages Sensor Dimmers Message-id: <007d01c4b633$24894620$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Stephen Litterst" > > Your other option is to get 120v lamps for your Source 4s, then you > can trim all the dimmers to the same level and not have to worry about > the two different voltages. Steve's is the best option long term, Till then, easier to patch the dimmers at a lower level at the console then to mess around at the dimmer CEM. Faster too as you can actually go measure the voltage at the assorted circuits and dial it down just so off the RFU. Steve Bailey Brooklyn College ------------------------------ Message-Id: <6.1.2.0.0.20041019164728.00afb618 [at] localhost> Date: Tue, 19 Oct 2004 16:56:09 -0700 From: Jerry Durand Subject: DMX back channel question The second pair of wires (if they exist at all) in a DMX512 line are defined to be a data channel for sending data back to the controller. I know some manufacturers send power over this, others may use it for other things not in the spec. The question is about the possibility of strange uses of this pair. Assuming the second pair is there and NOT being used for some undefined power, is it safe to assume then that it's being used for data? Also, is the data always RS-485 and is it always flowing only towards the controller (no bi-directional communications)? For that matter, if it IS used for power, what's the max voltage anyone sends over the second pair? ---------- 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 ------------------------------ From: "Michael S. Eddy" Subject: RE: Standard Voltages Sensor Dimmers Date: Tue, 19 Oct 2004 19:57:44 -0500 In-Reply-To: Message-ID: >>Steve Litterst said: >>Your other option is to get 120v lamps for your Source 4s, then you >>can trim all the dimmers to the same level and not have to worry about >>the two different voltages. Steve Bailey said: >Steve's is the best option long term, >Till then, easier to patch the dimmers at a lower level at the console then >to mess around at the dimmer CEM. Faster too as you can actually go >measure the voltage at the assorted circuits and dial it down just so off the RFU. Okay, so Steve L. thought of something that I didn't and with which I agree. It depends on how many Source 4s that you have versus other fixtures at 120V. If the system is mostly S4 ERS and PARs, then I would stay in the 115V world. I respectfully disagree with Steve B and the console patch fix. While you can dial it down with the console and RFU, those settings can just as easily be reset and then you are over-voltaging the lamps. I think that the CEM settings are easy to deal with, not that much of a hassle, and is set and saved. But then again, YMMV and everyone has the right to their opinion. Michael Eddy ------------------------------ Message-ID: <1987.192.168.1.1.1098230454.squirrel [at] kauko.hallikainen.org> In-Reply-To: References: Date: Tue, 19 Oct 2004 17:00:54 -0700 (PDT) Subject: Re: DMX back channel question From: "Harold Hallikainen" As I recall, because of the wide variety of things that might appear on pins 4 and 5, RDM sends return data on pins 2 and 3, leaving 4 and 5 free to be unused or used in non-standard ways. Harold > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The second pair of wires (if they exist at all) in a DMX512 line are > defined to be a data channel for sending data back to the controller. I > know some manufacturers send power over this, others may use it for other > things not in the spec. > > The question is about the possibility of strange uses of this > pair. Assuming the second pair is there and NOT being used for some > undefined power, is it safe to assume then that it's being used for data? > > Also, is the data always RS-485 and is it always flowing only towards the > controller (no bi-directional communications)? > > For that matter, if it IS used for power, what's the max voltage anyone > sends over the second pair? > > ---------- > 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 > > -- FCC Rules Online at http://www.hallikainen.com ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Tue, 19 Oct 2004 20:06:00 EDT Subject: Re: Gel Cutting I use a rotary cutter that's intended for quilting. Set the gel on the cutting surface which has measurements printed on it, lay a ruler to act as guide if I need a really straight edge, and cut. Far cheaper than a paper cutter. Kristi ------------------------------ Message-ID: <068b01c4b644$58835590$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Gel Cutting Date: Tue, 19 Oct 2004 21:17:37 -0400 I live dangerously. And we don't change gels often in this environment, so a dedicated cutter would be a waste. I put the gel in the frame and cut it with a single-edge razor (double edge ones being hard to find these days). Zip across the top and down the side, voila, perfect fit. ----- Original Message ----- From: "Hofmann, Christopher" To: "Stagecraft" Sent: Tuesday, October 19, 2004 14:03 PM Subject: Gel Cutting For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm conducting an informal poll. By a show of hands, how many of you have a paper cutter or other such implement dedicated to cutting gel? You may reply directly unless you think the list is interested. - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Date: Tue, 19 Oct 2004 21:37:53 -0400 From: "Steve B." Subject: Re: Standard Voltages Sensor Dimmers Message-id: <005101c4b645$6abc9900$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Michael S. Eddy" > > I respectfully disagree with Steve B and the console patch fix. While you > can dial it down with the console and RFU, those settings can just as > easily > be reset and then you are over-voltaging the lamps. I think that the CEM > settings are easy to deal with, not that much of a hassle, and is set and > saved. But then again, YMMV and everyone has the right to their opinion. I should have elaborated and made note that for fixtures that are always on the same circuit/dimmer, such as my soon to be installed S4's on my spanking new Sensors, I'll adjust at the CEM. For stuff that moves around and might swap regularly from 120v PAR64's, to rental stock S4's at 115v, as example, I found it easier to do once at the console patch. Yes it clears with the show, but so do the fixtures. In general, we found that in the Dept. of Theater space the students don't usually (haven't to date) mess with the patch at level info., thus have yet to have a problem, though we gradually have moved to 120v lamps. Steve B. ------------------------------ In-Reply-To: References: Message-Id: From: Paul Masck Subject: Metropolitan Opera Job Posting Date: Tue, 19 Oct 2004 23:10:44 -0400 Fellow Stagecrafters- This job posting is from the my department at the Met. The job includes the fringe benefit (!?) of sharing an office with me. Please pass it on to anyone you know that might be interested. I am willing to answer any questions (either privately or on-list) regarding the job. Technical Assistant: The Metropolitan Opera, one of the world's premier performing arts organizations, seeks a highly motivated individual to join our team as the Technical Assistant. A successful candidate will be comfortable in a fast-paced environment and possess the ability to work well under pressure. This position provides direct support to the Technical Director and Assistant Technical Director by helping oversee all technical details, including CAD drafting and preparation of technical documents for the repertory and Presentation events. A thorough practical knowledge of scenery construction and rigging is required. Computer literacy a must, database and computer aided solid modeling experience helpful. Send resume and cover letter to: The Metropolitan Opera, Lincoln Center, New York, NY 10023 Attn: John Sellars. Fax 212 870-4511. E mail jsellars [at] mail.metopera.org ---------------------------------------------------------------------- Paul Masck paul [at] masck.com www.masck.com slave to the misshapen chaos of well-seeming forms ----------------------------------------------------------------------- ------------------------------ Message-Id: <6.1.1.1.2.20041019191454.020d6858 [at] mail.sdsu.edu> Date: Tue, 19 Oct 2004 20:25:34 -0700 From: Loren Schreiber Subject: Re: USITT 10th Biennial Tech Expo, Toronto In-Reply-To: References: Greetings one and all. You are probably on this list because you have good ideas to share about technical theatre, or you have found this list to be a good resource for solutions to problems in technical theatre. The quality and quantity of technical theatre expertise on this list is phenomenal. I have found it to be an extraordinary source for information and I hope I have provided some helpful hints over the last ten years as well. NOW I NEED YOUR HELP! Next March, in Toronto, USITT will host the 10th Biennial Tech Expo. Tech Expo, for those who may not know, is a juried exhibition of solutions to problems in technical theatre. Tech Expo has a space set aside on the main floor of the USITT Stage Expo to display the devices, new materials, new uses of old materials, techniques and tricks we technicians have come up with, whether in scenery, costumes, lighting, sound or technical production. In addition, the brief articles describing each entry are compiled in a catalog, which is sold at the conference. Each year, several exhibits are selected for special recognition and awarded with a modest cash prize (around $250!). Those exhibits singled out for this special award are also published in TD & T. This is a very cool thing and a great way for we unsung heros of backstage to receive some well deserved recognition. For academic technical directors on the tenure track, this is a good way to publish rather than perish! So, how do you enter? It's simple: first you must be a member of USITT or its international affiliates. Second, you must have a good idea. Third, you write a brief article, make up some drawings or take some pictures, fill out the entry form (available on line at usitt.org) and send them to me with a check for $35. Then, a little before the actual event, you send the device, material, etc. to Steve Reese at Fredonia (address on the entry form), for transport to Canada. You needn't be present in Toronto--and we will handle returning your exhibit to you at our expense. It's really that simple. The deadline for entry is November 19th. Beat the rush--send your entry in NOW! "Gee, I dunno . . . 35 bucks! Seems like a lot." No, it is not! If you have used the resources of this list, then you owe it to your fellow technicians to give a little back. All we are looking for is a few good ideas--the money is incidental. OK all you Richards, Herricks, CBs, Pauls, Randalls, Bills, Jons, Boyds, Frank Woods, Stephens, Nigels, Patricks, Johns, Kristis, Clares, Charlies--yes you too!--Marks, Gregs and all the rest of you. Lean on your colleagues, put your ideas on paper. You academics--lean on your students. You work in regional? Then show us "little guys" how it's done. Work on Broadway? Then show us something we can aspire to. Help me make this the best Tech Expo ever, and show the founders, Ben Sammler, Rick Stevens, Dennis Dorn and Bob Scales, that we are carrying on the tradition. This is what I am entering: 2-axis, self-contained, pneumatically powered articulating angel wings for "Angels in America"; Cheap and easy rear projection screens; a compact, two-speed manual stage winch. You got something better? Show me! Thank you in advance, Loren Schreiber Chair, USITT Tech Expo Committee http://www.usitt.org ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <191.30e5fc40.2ea7378c [at] aol.com> Date: Tue, 19 Oct 2004 23:37:48 EDT Subject: lots to read - LDI Wow. A lot of messages over the past few days. Thanks, Now, I'll have plenty to read while waiting in airports getting to LDI. SteveV Orl, FL ------------------------------ Message-ID: <20041020055503.13929.qmail [at] web40724.mail.yahoo.com> Date: Tue, 19 Oct 2004 22:55:03 -0700 (PDT) From: Chris Wych Subject: Select paint area on drop Im working on a production where the set designer is using a drop but also wants to light threw part of it. Basicly she wants the muslin to be bare where the moon is in the drop so that she can light threw it. The problem comes in masking the moon (there are some other small areas too) so that when I paint the rest of the drop with thin supersat that it doesnt blead into the area of the moon. The cheap the solution the better but any ideas are better then what I currently have. We cant cut the moon out and then replace the muslin because of how it will be lit. I hope this all makes sense, its been a long week. Quicker responces will help since I have to paint this drop in about a week and a half and need time to get supplies. Thanks for your help. Chris Wych ===== IL State U. Theatre Student a_small_idiot [at] yahoo.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ My Theatre Techie Sites: Links- http://www.theatretechie.com Webpage- http://members.aol.com/CPWTCH007/tech.html ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ _______________________________ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com ------------------------------ Date: Wed, 20 Oct 2004 03:04:11 -0600 From: shifting [at] shifting.ca (Benjamin Eastep) Subject: Re: Over the top computing power? In-reply-to: Message-id: <20041020090411.GA21234 [at] shifting.ca> References:

Take a look at discreet 3d studio max. Admittedly, its required system isn't that crazy, but the recommended system... might be of some use (dual Athlon XP or p4, 256meg Video card, 1gig ram...) What about the simple "why this doesn't cut it" demonstration? Run some colour correction in Premiere and show them the 5000 hour render time... Load up a complex 3d drawing in AutoCad and show them the half frame a second as you try to rotate it... Seems to me that coming up with a semi-realistic demonstration of why the computers they are offering won't cut it might be better than faking some software selections. Most IT people I know are familiar with the way Minimum requirements are often sufficient to start the program...and not much else. Ben Eastep On Tue, Oct 19, 2004 at 05:32:48PM -0400, Scott C. Parker wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm trying to get the most computer for the money out of my IT dept. The > hungriest programs I'm running are AutoCAD and Adobe Premiere. The standard > machine my IT dept. offers is just barely over the minimums for both. So, I > need to get some software titles that I can tell them I'm going to be > "researching" and, therefore, need more machine under the hood. > > Of course, programs like WYSIWYG and others only list the minimum > requirements on their web sites, so they don't help. > > Any suggestions? > Thanks, Scott > > > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Office: 41 Park Row, 1205F > Dyson College of Arts and Sciences [at] Pace University > 1 Pace Plaza New York, NY 10038 > 212-346-1423 Fax: 212-346-1681 > > ------------------------------ End of Stagecraft Digest #168 *****************************