Return-Path: <stagecraft-report [at] theatrical.net>
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 4759991; Thu, 21 Oct 2004 03:01:18 -0700
X-ListServer: CommuniGate Pro LIST 4.2.5
List-Unsubscribe: <mailto:stagecraft-off [at] theatrical.net>
List-ID: <stagecraft.theatrical.net>
Message-ID: <list-4759989 [at] prxy.net>
From: "Stagecraft" <stagecraft [at] theatrical.net>
Sender: "Stagecraft" <stagecraft [at] theatrical.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Precedence: list
Subject: Stagecraft Digest #169
Date: Thu, 21 Oct 2004 03:00:58 -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=-2.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, MAILTO_TO_SPAM_ADDR,US_DOLLARS_2 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 <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #169

 1. Prop Authenticity Question
    by SMANKO [at] aol.com
 2. Re: spike tape on operating lines
    by "Delbert Hall" <halld [at] etsu.edu>
 3. Re: USITT 10th Biennial Tech Expo, Toronto
    by "Delbert Hall" <halld [at] etsu.edu>
 4. Re: Standard Voltages Sensor Dimmers
    by "Lin Wheeler" <LWheeler [at] etcconnect.com>
 5. Re: Select paint area on drop
    by Richard Niederberg <ladesigners [at] juno.com>
 6. Re: Select paint area on drop
    by Kevin Lee Allen <klad [at] klad.com>
 7. Re: Gel Cutting
    by Kyle Dugger <kmdugger [at] earthlink.net>
 8. Re: Amateur/professional/academic
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 9. Autocad Draftspeople
    by Stan Pressner <pressner [at] verizon.net>
10. Select paint area on drop
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
11. Re: Select paint area on drop
    by Kevin Lee Allen <klad [at] klad.com>
12. USITT Session 
    by "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
13. Re: Multiple LED Source
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
14. Grants for Lighting Equipment
    by "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
15. Fire on Stage
    by Ron Owens <owensron [at] mac.com>
16. Re: Campfire Ideas
    by "Fritz Schwentker" <fritz.td [at] mindspring.com>
17. Re: Fire on Stage
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
18. Re: Fire on Stage
    by "Tony Deeming" <deeming.tony [at] btinternet.com>
19. Re: Multiple LED Source
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
20. Re: Multiple LED Source
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
21. Re: Multiple LED Source
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
22. Re: Grants for Lighting Equipment
    by Stephen Litterst <slitterst [at] ithaca.edu>
23. Re: Grants for Lighting Equipment
    by "Tony Deeming" <deeming.tony [at] btinternet.com>
24. Re: Multiple LED Source
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
25. Re: Select paint area on drop
    by Mick Alderson <alderson [at] uwosh.edu>
26. Re: Fire on Stage
    by "richard j. archer" <rja10 [at] cornell.edu>
27. Re: Fire on Stage
    by "Delbert Hall" <halld [at] etsu.edu>
28. Re: Gel Cutting
    by "Carson Koz Noel at LSFX Co." <LSFXCo [at] cox.net>
29. Re: Fire on Stage
    by Pat Kight <kightp [at] peak.org>
30. Grants for public school theatre arts
    by "CATHERINE BRUMM" <cbrumm [at] nhcs.k12.nc.us>
31. Re: Grants for Lighting Equipment
    by Stephen Litterst <slitterst [at] ithaca.edu>
32. Re: USITT Session
    by "Phil Johnson" <Phil.Johnson [at] mail.tamucc.edu>
33. Re: Grants for Lighting Equipment
    by "Hofmann, Christopher" <chofmann [at] capecod.edu>
34. Re: Standard Voltages Sensor Dimmers
    by FrankWood95 [at] aol.com
35. A cautionary tale
    by Fred Fisher <fwfisher [at] wisc.edu>
36. Re: Gel Cutting
    by "Fritz, Barry" <fritzbl [at] etown.edu>
37. Re: Grants for public school theatre arts
    by "Jon Ares" <jonares [at] hevanet.com>
38. Re: Grants for Lighting Equipment
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
39. Re: Fire on Stage
    by FrankWood95 [at] aol.com
40. Re: Multiple LED Source
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
41. Re: Multiple LED Source
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
42. Re: Multiple LED Source
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
43. Re: Select paint area on drop
    by "Janice Pohl" <janicep [at] elmhurst.edu>
44. Re: Fire on Stage
    by "Tony Deeming" <deeming.tony [at] btinternet.com>
45. Re: Fire on Stage
    by MissWisc [at] aol.com
46. Re: Fire on Stage
    by Mark O'Brien <marko [at] email.arizona.edu>
47. Re: Fire on Stage
    by Steve Larson <tiptd [at] theatreinthepark.com>
48. Re: Fire on Stage
    by Stephen Litterst <slitterst [at] ithaca.edu>
49. Re: Fire on Stage
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
50. Re: Fire on Stage
    by "Delbert Hall" <halld [at] etsu.edu>
51. Re: Fire on Stage
    by FrankWood95 [at] aol.com
52. Re: Fire on Stage
    by FrankWood95 [at] aol.com
53. Re: Fire on Stage
    by FrankWood95 [at] aol.com
54. Re: Fire on Stage
    by FrankWood95 [at] aol.com
55. Re: Fire on Stage
    by Mark O'Brien <marko [at] email.arizona.edu>
56. Re: Fire on Stage
    by Stuart Wheaton <sdwheaton [at] fuse.net>
57. Re: Gel Cutting
    by "Don Taco" <taco [at] peak.org>
58. Re: Gel Cutting
    by IAEG [at] aol.com
59. Re: Mac 2k reset, was coffee pot library
    by Kyle Dugger <kmdugger [at] earthlink.net>
60. Re: Fire on Stage
    by Dale Farmer <dale [at] cybercom.net>
61. Re: Gel Cutting
    by "Occy Occy" <oneoccy [at] hotmail.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

----------------------------------------------------------------------

From: SMANKO [at] aol.com
Message-ID: <1e5.2cd90f0f.2ea7a49f [at] aol.com>
Date: Wed, 20 Oct 2004 07:23:11 EDT
Subject: Prop Authenticity Question

Christopher Hofmann 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.''

The Philips Model 150 Carry-corder was invented in '63 and marketed first in 
'64. (source:The Look of the Century- New York,1996, Houghton Mifflin).  The 
real question for the director is: Is the actor using this recorder for 
personal recording or using pre recorded media (music)?  The predominant prerecorded 
media of the mid-late '60s would have been 8-track cassettes that you could 
use at home and in a car. A mid-60s teen would probably have a small 3'' reel to 
reel and make awful mono copies from the phonograph with a hand held mic.

John McK is correct in his assessment: The trick is to read minds is to 
figure out what people
*want*, as opposed to what they *ask for*.  Half of solving a prop question 
is reading minds.

Michael Smanko
B'way Prop Guy
smanko [at] aol.com

------------------------------

From: "Delbert Hall" <halld [at] etsu.edu>
Subject: RE: spike tape on operating lines
Date: Wed, 20 Oct 2004 08:06:31 -0400
Organization: ETSU
Message-ID: <000301c4b69d$3e366750$6400a8c0 [at] delbert>
In-Reply-To: <list-4743162 [at] prxy.net>

 
Frank said,
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.

Delbert's reply:
In the US, a (generic) batten can be either wood or metal.  Wooden
battens have several uses.  Some wooden battens (aka stiffeners) are
often used to brace several flats that are on the same plane, while
others are horizontal beams to which a curtains or drops are attached
(some UK folks refer to these wooden battens as "timbers." Pipe battens
(mostly used in mechanical counterweight systems or "dead-hung" are
typically 1.5" ID steel pipe.  Aluminum tubing or an extrusion can also
be used for this purpose.  I was not clear in my post, but since I have
referenced this in the past I thought most people on the list would
realize that I was referring to the (pipe) "batten" used on mechanical
counterweight systems.  Wood, steel pipe, and aluminum tubing can all be
used as the "batten" on a mechanical counterweight system, but steel
pipe (not tubing) is by far the most common material (both in the US and
the UK) for this purpose.  I know that folks in the UK use the term
"bar" for what we in the US refer to as a "batten." I should have
realized that my post would be read non-Americans and been more
specific. 

-Delbert


------------------------------

From: "Delbert Hall" <halld [at] etsu.edu>
Subject: RE: USITT 10th Biennial Tech Expo, Toronto
Date: Wed, 20 Oct 2004 08:15:26 -0400
Organization: ETSU
Message-ID: <000601c4b69e$7b9c5ef0$6400a8c0 [at] delbert>
In-Reply-To: <list-4747719 [at] prxy.net>



-----Original Message-----

This is what I am entering: 2-axis, self-contained, pneumatically
powered 
articulating angel wings for "Angels in America"; 
________________________________________________________


Delbert:
These are nice wings - you will definitely want to see them. 

Loren - will you be coming to Saddleback on Saturday or just sending the
wings?  I hope to see you there.  I am installing one of our new
DAT-4112 systems and you might be interested in seeing it.

-Delbert









------------------------------

Subject: RE: Standard Voltages Sensor Dimmers
Date: Wed, 20 Oct 2004 07:16:56 -0500
Message-ID: <0B70E9798A3B4E4080E46327FA359F2102D42F [at] MIDL-MAILV.etclink.net>
From: "Lin Wheeler" <LWheeler [at] etcconnect.com>

James wrote,

<<My dimmer rack is receiving something in the neighborhood of 120V.
The dimmers (ETC Sensors) are programmed to output 118V. =20
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 I can't make the decision for you but here is some information
that may help.

You should first determine what voltage your fixtures are really seeing.
To do this you need to meter a circuit that is nearest the dimmer rack
and one that is furthest from the dimmer rack. This must be done with a
load and you must use a True RMS meter to get a correct reading.

You've probably noticed that most lamp manufactures offer a variety of
lamp types in a 115v version. The reason for this is to account for line
loss between the dimmer and the lamp.=20

From the voltages you stated my guess is that you probably have in the
neighborhood of 115v at the lamp so you may not need to change anything.
Moving the scale voltage up will probably not gain you anything due to
insertion loss thru the dimmer and line loss to the fixture.

After metering power at the fixture that's closest to the dimmer, if its
above 115v, than you can adjust the scale voltage. But keep in mind what
you have at the circuits farthest from the dimmers and you may want to
do this selectively.

If the number of S4 fixtures you have is relatively small you may want
to move towards 120v lamps over time just to keep things consistent. =20

Lin Wheeler
Senior Field Service Engineer
Electronic Theatre Controls, Inc.
lwheeler [at] etcconnect.com =20

------------------------------

Date: Wed, 20 Oct 2004 06:14:34 -0700
Subject: Re: Select paint area on drop
Message-ID: <20041020.061441.2076.0.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

Dear Chris,
        Painting the 'moon' area with linseed oil, paraffin, or some
other nonflammable petroleum distillate or food-grade oil-based product
should produce a translucent area that can be backlit, but future reuse
of the drop could be impaired. Obtain and check the MSDSs first, of
course.
/s/ Richard

> 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

________________________________________________________________
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: Wed, 20 Oct 2004 09:23:15 -0400
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Select paint area on drop
In-reply-to: <list-4748778 [at] prxy.net>
Message-id: <32C7535F-229B-11D9-AADC-003065D2C502 [at] klad.com>
References: <list-4748778 [at] prxy.net>


When you lay out the drop for priming, size the drop first, then layout=20=

those areas that you wish to mask off and leave translucent. Mask them=20=

with paper and masking tape.

Prime coat the drop and complete your cartoon and paint. Be sure to ink=20=

around the translucencies, but not so close that the dye bleeds into=20
the translucent area.

After the drop is painted and dry, you will need to flip it over and=20
opaque out the back of the drop with prime coat. If you want to go=20
black, prime first, then apply back over. It will be one thing for your=20=

prime color to belled through tot he front into the prime on the font,=20=

another if black bleeds through.

Due to the heavy application of paint, you will probably need to roll=20
this drop, rather than fold.

BTW (an I hope I haven't done this anywhere here) by" threw," I think=20
and have asssumed you mean "through?"




On Oct 20, 2004, at 1:55 AM, Chris Wych wrote:

> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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.

-----
Kevin Lee Allen
Production Designer
http://www.klad.com
973.744.6352.voice
201.280.3841.cell
klad [at] klad.com
=F0



------------------------------

Message-ID: <419F531E.4030908 [at] earthlink.net>
Date: Sat, 20 Nov 2004 08:22:22 -0600
From: Kyle Dugger <kmdugger [at] earthlink.net>
Subject: Re: Gel Cutting
References: <list-4746311 [at] prxy.net>

>
>
>
>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
>
>  
>
I agree.  This is what we use.  Our cutting surface is a self-healing 
cutting mat.  All of our gel measurements are written on it and since it 
is gridded it very easy to quickly cut gels for a show.

kyle dugger


------------------------------

Message-ID: <002a01c4b6a9$2a510ea0$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4749975 [at] prxy.net>
Subject: Re: Amateur/professional/academic
Date: Wed, 20 Oct 2004 03:31:53 -1000

<<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?>>

I can only speak for myself but it truly depends on the project.  Most of
the higher ticket items I have designed are industrials and simply don't
require the attention to detail and layering that is possible when doing a
design for drama.  I certainly hope that the quality of my work does not
depend on the amount I am getting paid... perhaps the quantity might though.
As I have said before, I design for myself and am my own harshest critic.

My experience in academia has lead me to believe that designing there is an
entirely different beast.  The goal there is to teach.

Laters,

Paul

"I collect fairy tales," said Tom grimly.


------------------------------

In-Reply-To: <list-4625167 [at] prxy.net>
References: <list-4625167 [at] prxy.net>
Message-Id: <C747B9C0-229F-11D9-B124-000A9571A8CA [at] verizon.net>
From: Stan Pressner <pressner [at] verizon.net>
Subject: Autocad Draftspeople
Date: Wed, 20 Oct 2004 09:56:02 -0400

I am also seeking autocad draftspeople in NYC for a rapidly approaching 
project. Those of you who know me know that this is sacrilege in my 
mac/Vectorworks studio, but circumstances demand it.
If anyone is available, please email: StanP [at] aol.com

Best,

Stan Pressner


------------------------------

Message-ID: <001601c4b6ae$62075930$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4749975 [at] prxy.net>
Subject: Select paint area on drop
Date: Wed, 20 Oct 2004 04:09:14 -1000

<<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.  >>

Honestly never tried it but my first thought would be to checkout batiking
techniques, i.e. outlining the blank spaces with hot wax using a tjanting.

http://www.dharmatrading.com/html/eng/1631-AA.shtml

Please let the list know how you finally do it... what worked and what
didn't.

Laters,

Paul

"I know all the wherefores," said Tom wisely.


------------------------------

Date: Wed, 20 Oct 2004 10:17:10 -0400
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Select paint area on drop
In-reply-to: <list-4751100 [at] prxy.net>
Message-id: <BB24EF28-22A2-11D9-AADC-003065D2C502 [at] klad.com>
References: <list-4748778 [at] prxy.net> <list-4751100 [at] prxy.net>

BTW, either the drop needs to be built to accommodate the design, or=20
the design needs to work with the stitching of the drop, or you will=20
need a seamless.







-----
Kevin Lee Allen
Production Designer
http://www.klad.com
973.744.6352.voice
201.280.3841.cell
klad [at] klad.com
=F0



------------------------------

Message-ID: <147CF8DFB9C5D41187300001FA7EE3902277C409 [at] mail.nwmissouri.edu>
From: "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
Subject: USITT Session 
Date: Wed, 20 Oct 2004 09:25:40 -0500

 Hey All,

I am chairing a session at USITT, this spring in Toronto entitled, "Forum on
Teaching Introductory
Stagecraft: Techniques & Tips".  I am still on the hunt for panelists.
So...if you have any interesting ideas or tips for teaching stagecraft,
College or High School, contact me!  I can tell from experience that school
administrators LOVE IT when their faculty present at big conferences like
this!

Thanks,

********************************************************
Patrick Immel
Lighting & Scenic Designer
Northwest Missouri State University

------------------------------

Message-ID: <000501c4b6b0$c93e0200$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4749975 [at] prxy.net>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 04:26:26 -1000

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

Historically, Doom's postings have been somewhat brief and often obscure...
but this one.

When is "yesterday" and what is he talking about?  A "major article" on
multiple LED sources?  There's nothing on the NY Times website.

Maybe just a few more words?

Paul

"I forgot what to buy," Tom said listlessly.


------------------------------

Message-ID: <147CF8DFB9C5D41187300001FA7EE3902277C40A [at] mail.nwmissouri.edu>
From: "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
Subject: Grants for Lighting Equipment
Date: Wed, 20 Oct 2004 09:26:54 -0500

Its me again,

The Technical Director and myself are beginning the process of finding
grants / money to buy new conventional (and hopefully wiggle lights)
lighting fixtures.  I know some of the obvious advantages to switching to
the new type of fixture (ie, source four and shakespeare), one lamp, energy
savings, etc.  What I want to know if anybody has found any successful grant
sources / ideas / tips that they would be willing to share.  


Thanks in advance,
 
 
********************************************************
Patrick Immel
Lighting & Scenic Designer
Northwest Missouri State University

------------------------------

Date: Wed, 20 Oct 2004 07:32:13 -0700
Subject: Fire on Stage
From: Ron Owens <owensron [at] mac.com>
Message-ID: <BD9BC4FD.14D55%owensron [at] mac.com>

I have a director wanting to start a fire in a small trashcan on stage; this
is for the play Getting Out by Marsha Norman.  I'm thinking this is not a
great idea.  

Would anyone out there who has faced this question before be willing to
share some advice?

Thanks!


------------------------------

From: "Fritz Schwentker" <fritz.td [at] mindspring.com>
Subject: RE: Campfire Ideas
Date: Wed, 20 Oct 2004 09:52:42 -0500
Message-Id: <E1CKHtK-0005PK-00 [at] tisch.mail.mindspring.net>

Chris:

I have noticed that all of the posts on this topic mention ways to create
the flame...but in my experience, if verisimilitude is desired, it is the
smoke that makes the effect work. All of the campfires I have ever made were
pretty smoky affairs and adding just a bit to your stage effect will help a
great deal.

The last time I did this we were able to mount a small Rosco-fogger directly
under the stage in the trap room and pipe it up through a small hole in the
stage. The campfire unit itself had an open base so that the smoke/fog would
drift through. It worked great.

Best wishes,

Fritz



=====================================================

Fritz Schwentker
--Stage Automation/Technical Management/Technical Design

www.schwentker.com

512 585 5184

=====================================================

> -----Original Message-----
> 18. Campfire Ideas
>     by Chris Fretts <cfretts [at] indianarep.com>
> From: Chris Fretts <cfretts [at] indianarep.com>
> Subject: Campfire Ideas
> Date: Mon, 18 Oct 2004 12:19:10 -0500
> 
> I am looking for thoughts and suggestions about creating campfires 
> onstage for a production of The Grapes of Wrath.



------------------------------

From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Fire on Stage
Date: Wed, 20 Oct 2004 10:58:14 -0400
Message-ID: <000601c4b6b5$3a004ad0$6701a8c0 [at] Dell>
In-reply-to: <list-4751605 [at] prxy.net>


> I have a director wanting to start a fire in a small trashcan 
> on stage; this is for the play Getting Out by Marsha Norman.  
> I'm thinking this is not a great idea.  
> 
> Would anyone out there who has faced this question before be 
> willing to share some advice?

Arguing on the basis of common sense probably won't work, since if s/he
had any, this wouldn't even be an issue.

It's almost a mortal lock that it's illegal in your jurisdiction; do the
research and argue it on those grounds.


------------------------------

Message-ID: <01f501c4b6b5$6e66c060$0a01a8c0 [at] Tony>
From: "Tony Deeming" <deeming.tony [at] btinternet.com>
References: <list-4751605 [at] prxy.net>
Subject: Re: Fire on Stage
Date: Wed, 20 Oct 2004 15:59:39 +0100


----- Original Message ----- 
From: "Ron Owens" <owensron [at] mac.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, October 20, 2004 3:32 PM
Subject: Fire on Stage


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I have a director wanting to start a fire in a small trashcan on stage;
this
> is for the play Getting Out by Marsha Norman.  I'm thinking this is not a
> great idea.
>
> Would anyone out there who has faced this question before be willing to
> share some advice?
>
> Thanks!
>
>
First comment - ask the question "Can I do this effectively without using
real fire?"
To all intents and purposes, I'd have to say that as far as audience
perception will go, the answer to that would be YES and so should it be.

Open flames in something like a trash can is tantamount to catastrophe.
I'm not saying it CAN'T be done, just that it's going to be 1000% safer NOT
to.

There are numerous ways, which will include various tricks that have been
discussed under a regular 'campfire' topic on here, but you might want to
investigate hiring a miniature fog machine to simulate the smoke to add that
bit extra realism.

Ynot



------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 08:10:41 -0700
Message-ID: <012901c4b6b6$f768f350$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4751540 [at] prxy.net>

When you posted the inquiry about LED's did seem rather specific, he
said being very unobscurious. A major article the same day or the day
before, about LED's and theatrical lighting. Large article. I shall try
to find the reference so that you do not have to do all of the footwork
and simple research to find it. Be patient ..................... Dr.
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 Paul
Guncheon
Sent: Wednesday, October 20, 2004 7:26 AM
To: Stagecraft
Subject: Re: Multiple LED Source

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

Historically, Doom's postings have been somewhat brief and often
obscure...
but this one.

When is "yesterday" and what is he talking about?  A "major article" on
multiple LED sources?  There's nothing on the NY Times website.

Maybe just a few more words?

Paul

"I forgot what to buy," Tom said listlessly.


------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 08:12:28 -0700
Message-ID: <015f01c4b6b7$3728aee0$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4751540 [at] prxy.net>

One has to search with intrepid and meticulous care for the article. I
have already deleted it from my screen, otherwise I would have sent it
to you. But do send me your address and I will look through my NY Times
archives. An excellent article and one which might enlighten the ensuing
masses c'est possible. 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 Paul
Guncheon
Sent: Wednesday, October 20, 2004 7:26 AM
To: Stagecraft
Subject: Re: Multiple LED Source

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

Historically, Doom's postings have been somewhat brief and often
obscure...
but this one.

When is "yesterday" and what is he talking about?  A "major article" on
multiple LED sources?  There's nothing on the NY Times website.

Maybe just a few more words?

Paul

"I forgot what to buy," Tom said listlessly.


------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 08:13:27 -0700
Message-ID: <016901c4b6b7$5b4b52f0$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4751540 [at] prxy.net>

Yes, and it IS on the NY Times WEB site for all those who wish to find
it. I will however send it to you via snail mail if there is continued
professional interest. Dr. 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 Paul
Guncheon
Sent: Wednesday, October 20, 2004 7:26 AM
To: Stagecraft
Subject: Re: Multiple LED Source

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

Historically, Doom's postings have been somewhat brief and often
obscure...
but this one.

When is "yesterday" and what is he talking about?  A "major article" on
multiple LED sources?  There's nothing on the NY Times website.

Maybe just a few more words?

Paul

"I forgot what to buy," Tom said listlessly.


------------------------------

Date: Wed, 20 Oct 2004 10:46:46 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Grants for Lighting Equipment
Message-id: <41767A56.BF345CB3 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4751556 [at] prxy.net>

"Immel,Patrick" wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Its me again,
> 
> The Technical Director and myself are beginning the process of finding
> grants / money to buy new conventional (and hopefully wiggle lights)
> lighting fixtures.  I know some of the obvious advantages to switching to
> the new type of fixture (ie, source four and shakespeare), one lamp, energy
> savings, etc.  What I want to know if anybody has found any successful grant
> sources / ideas / tips that they would be willing to share.

Well, the secret's out on the Martin grant, so it can't hurt to talk
about it here.  Martin Professional offers a $50k grant each year to
an academic institution with a strong lighting technology program. 
The schools who have received it (CMU, UNLV, UConn, and Northwestern)
have generally raved about the boost to their program.  Applications
are accepted between Jan 1 and June 30 and more information is
available from Ben Dickmann, Marketing Coordinator at Martin, US.

The field of applicants grows exponentially every year.  The first
year I wrote for this grant there were 9 of us, and it's caught on
like wildfire.

Steve L.
(I can't believe I'm increasing competition for this grant...)


-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-ID: <021d01c4b6b8$7f0331d0$0a01a8c0 [at] Tony>
From: "Tony Deeming" <deeming.tony [at] btinternet.com>
References: <list-4751556 [at] prxy.net> <list-4751961 [at] prxy.net>
Subject: Re: Grants for Lighting Equipment
Date: Wed, 20 Oct 2004 16:21:35 +0100


----- Original Message ----- 
From: "Stephen Litterst" <slitterst [at] ithaca.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, October 20, 2004 3:46 PM
Subject: Re: Grants for Lighting Equipment


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> "Immel,Patrick" wrote:
> >
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > Its me again,
> >
> > The Technical Director and myself are beginning the process of finding
> > grants / money to buy new conventional (and hopefully wiggle lights)
> > lighting fixtures.  I know some of the obvious advantages to switching
to
> > the new type of fixture (ie, source four and shakespeare), one lamp,
energy
> > savings, etc.  What I want to know if anybody has found any successful
grant
> > sources / ideas / tips that they would be willing to share.
>
> Well, the secret's out on the Martin grant, so it can't hurt to talk
> about it here.  Martin Professional offers a $50k grant each year to
> an academic institution with a strong lighting technology program.
> The schools who have received it (CMU, UNLV, UConn, and Northwestern)
> have generally raved about the boost to their program.  Applications
> are accepted between Jan 1 and June 30 and more information is
> available from Ben Dickmann, Marketing Coordinator at Martin, US.
>
> The field of applicants grows exponentially every year.  The first
> year I wrote for this grant there were 9 of us, and it's caught on
> like wildfire.
>
> Steve L.
> (I can't believe I'm increasing competition for this grant...)
>
>
> -- 
> Stephen C. Litterst
>

Hmm....
Not that I'm an academician, but do they extend that to the right side of
the pond.....?

Ynot



------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 08:29:03 -0700
Message-ID: <017101c4b6b9$8a7d02b0$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4751540 [at] prxy.net>

The New York Times, Section C, October 18, 2004, page 4. Tiny L.E.D's
Grow into mighty Theatrical Lights. Three fourths of a page article. 
Your are welcome. Dr. 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 Paul
Guncheon
Sent: Wednesday, October 20, 2004 7:26 AM
To: Stagecraft
Subject: Re: Multiple LED Source

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

Historically, Doom's postings have been somewhat brief and often
obscure...
but this one.

When is "yesterday" and what is he talking about?  A "major article" on
multiple LED sources?  There's nothing on the NY Times website.

Maybe just a few more words?

Paul

"I forgot what to buy," Tom said listlessly.


------------------------------

Date: Wed, 20 Oct 2004 10:39:50 -0500
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: Select paint area on drop
Message-id: <v04020a01bd9c34881636 [at] [141.233.131.246]>

Chris Wych <a_small_idiot [at] yahoo.com> wrote:
>
>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.

One idea that comes to mind (I haven't done it myself) would be to "paint"
a thin outline around the moon with melted wax before painting the
surrounding area. Make the wax line no wider than what a watercolor brush
can apply in a stroke. That should block the capillary flow of paint into
the raw muslin area you are trying to maintain, and a thin line of "white"
wax  shouldn't show from a distance.  Sort of like in batique where the wax
coat is applied to resist the next dye bath.

If the wax isn't applied too heavily, it shouldn't be any stiffer than the
paint coat, so wouldn't need removal.

Just a though.

By the way, what is petroleum wax (called "paraffin" in the States) known
as elsewhere?

Mick Alderson

TD, Fredric March Theatre
University of Wisconsin Oshkosh

alderson [at] uwosh.edu

------------------------------

Message-Id: <p05210600bd9c2fd491b2 [at] [132.236.252.58]>
In-Reply-To: <list-4751605 [at] prxy.net>
References: <list-4751605 [at] prxy.net>
Date: Wed, 20 Oct 2004 11:29:22 -0400
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Fire on Stage

Ron and for Chris Fretts who asked the other day:

Last spring we did Grapes of Wrath and had campfires.   Fuel was GAM 
torch pellets (usually two at a time).  .   These "pellets" were 
first place into chaffing dish sterno holders (those little metal 
tuna fish sized cans with sliding lids).  These were then placed in 
the "scenic" steel drums or in a cement board lined box sunk into the 
stage.  Actors slid the lid(s) and used a match to light the pellets. 
Yes actors were able to do this.   We had people manning fire 
extinguishers on both sides of the stage. The fire marshal gave us 
his okay.  Of course, maybe he just thought this was safer than the 
remotely lighted propane fires we did the semester before for 
Antigone.  Either that or he might have thought the rain we had to do 
for Grapes could be used to put out the fire.

Dick A
TD, Cornell U

------------------------------

From: "Delbert Hall" <halld [at] etsu.edu>
Subject: RE: Fire on Stage
Date: Wed, 20 Oct 2004 11:34:34 -0400
Organization: ETSU
Message-ID: <000001c4b6ba$4d4ed200$6400a8c0 [at] delbert>
In-reply-to: <list-4751823 [at] prxy.net>

About 15 years ago I had the same problem.  I put a small trap into the
stage floor (where the trash can would sit) and drilled about 30 1/4"
dia. hole in the trap so that light and smoke could come up from below.
I cut most of the bottom out of the trash can, and put in screen wire so
that anything that went into the can stayed in.  

The effect was simple and safe (no fire).  Maybe something lit this
would work for you.

-Delbert 

-----Original Message-----

> I have a director wanting to start a fire in a small trashcan on
stage;
this
> is for the play Getting Out by Marsha Norman.  I'm thinking this is
not a
> great idea.
>
> Would anyone out there who has faced this question before be willing
to
> share some advice?
>
> Thanks!



------------------------------

Message-ID: <007301c4b6bb$04435e40$0301a8c0 [at] Kozmain1>
From: "Carson Koz Noel at LSFX Co." <LSFXCo [at] cox.net>
References: <list-4749975 [at] prxy.net>
Subject: Re: Gel Cutting
Date: Wed, 20 Oct 2004 08:39:41 -0700
Organization: LSFX Co.

For the first 30 minutes: New kid...  Dull scissors.  After much cursing and
pleading, we upgrade to the roller cutters.

Carson "Koz" Noel, III
Light and Sound FX Company / LSFX
Tucson, AZ

Koz [at] LSFXCo.com
LSFXCo [at] cox.net

520.419.4529 - Phone
520.296.9751 - Fax


------------------------------

Message-ID: <41768814.7050408 [at] peak.org>
Date: Wed, 20 Oct 2004 08:45:24 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Fire on Stage
References: <list-4752145 [at] prxy.net>
In-Reply-To: <list-4752145 [at] prxy.net>

Delbert Hall wrote:

> About 15 years ago I had the same problem.  I put a small trap into the
> stage floor (where the trash can would sit) and drilled about 30 1/4"
> dia. hole in the trap so that light and smoke could come up from below.
> I cut most of the bottom out of the trash can, and put in screen wire so
> that anything that went into the can stayed in.  
> 
> The effect was simple and safe (no fire).  Maybe something lit this
> would work for you.

Exactly what we did for "Of Mice and Men" a few years back, sans 
trashcan. It was one occasion when the fact that our stage floor is 
right about at audience eye-level, and thus barely visible, actually 
worked in our favor; we pulled a trap, replaced it with one that had a 
few holes drilled in it, and sent up light and smoke from below when 
Lenny and George were huddled around their "campfire." The rest of the 
time, it was just another section of floor.

-- 
Pat Kight
Albany (Ore.) Civic Theater
kightp [at] peak.org




------------------------------

Message-Id: <s1765076.053 [at] mail.nhcs.k12.nc.us>
Date: Wed, 20 Oct 2004 11:47:43 -0400
From: "CATHERINE BRUMM" <cbrumm [at] nhcs.k12.nc.us>
Subject: Grants for public school theatre arts


While Grants for lighting will work because god knows there are
lighting systems in the school system that need repair. If anyone knows
of any grants out there that apply to theatre arts education for primary
and secondary schools or for public schools systems in general for
renovations of spaces. The school system I work in has several spaces
that were nice in thier day but have fallen to disrepair in need of new
drapes, updated rigging and lighting etc.  Anyone who works within a
public school system knows that these repairs are put at the bottom of
the needs list by the individual schools and are not really taken care
of because there is never enough money in the school system. 

Thank you in advance for any help/advice you can give either on or off
list.



Catherine K. Brumm, General Manager
Minnie Evans Arts Center
Wilmington, NC
P910-)790-2360 x821
F)910-790-2356
cbrumm [at] nhcs.k12.nc.us
www.geocities.com/nhcscbrumm/index.html

------------------------------

Date: Wed, 20 Oct 2004 11:58:15 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Grants for Lighting Equipment
Message-id: <41768B17.D2745BA8 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4751556 [at] prxy.net> <list-4751961 [at] prxy.net>
 <list-4752010 [at] prxy.net>

Tony Deeming wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> ----- Original Message -----
> From: "Stephen Litterst" <slitterst [at] ithaca.edu>
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Sent: Wednesday, October 20, 2004 3:46 PM
> Subject: Re: Grants for Lighting Equipment
> 
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > "Immel,Patrick" wrote:
> > >
> > > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > > ---------------------------------------------------
> > >
> > > Its me again,
> > >
> > > The Technical Director and myself are beginning the process of finding
> > > grants / money to buy new conventional (and hopefully wiggle lights)
> > > lighting fixtures.  I know some of the obvious advantages to switching
> to
> > > the new type of fixture (ie, source four and shakespeare), one lamp,
> energy
> > > savings, etc.  What I want to know if anybody has found any successful
> grant
> > > sources / ideas / tips that they would be willing to share.
> >
> > Well, the secret's out on the Martin grant, so it can't hurt to talk
> > about it here.  Martin Professional offers a $50k grant each year to
> > an academic institution with a strong lighting technology program.
> > The schools who have received it (CMU, UNLV, UConn, and Northwestern)
> > have generally raved about the boost to their program.  Applications
> > are accepted between Jan 1 and June 30 and more information is
> > available from Ben Dickmann, Marketing Coordinator at Martin, US.
> >
> > The field of applicants grows exponentially every year.  The first
> > year I wrote for this grant there were 9 of us, and it's caught on
> > like wildfire.
> >
> > Steve L.
> > (I can't believe I'm increasing competition for this grant...)
> >
> >
> > --
> > Stephen C. Litterst
> >
> 
> Hmm....
> Not that I'm an academician, but do they extend that to the right side of
> the pond.....?

To the best of my knowledge it's offered soley through Martin's US
company.

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-Id: <s1764520.071 [at] mail.tamucc.edu>
Date: Wed, 20 Oct 2004 10:59:32 -0500
From: "Phil Johnson" <Phil.Johnson [at] mail.tamucc.edu>
Subject: Re: USITT Session

Pat 

I have been trying to email you this morning.  If you need a panelist, I
would like to volunteer.  Let me know if you can use me.


Phil Johnson
Designer/TD
Texas A& M - Corpus Christi 



------------------------------

Subject: RE: Grants for Lighting Equipment
Date: Wed, 20 Oct 2004 12:49:21 -0400
Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C17510 [at] ex1.capecod.edu>
From: "Hofmann, Christopher" <chofmann [at] capecod.edu>

>The Technical Director and myself are beginning the
>process of finding grants / money to buy new...lighting fixtures.

Interestingly enough I'm doing the same thing.  I heard a rumor that the
Huntington in Boston received a grant from ComElectric to replace old
fixtures with new energy efficient ones.  Anybody know if this is true?
Might be worth checking with your local power company - many of them
distribute low-wattage lamps and such to residential customers.  Perhaps
they also have a corporate/educational program.

Chris=20

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <148.365c4935.2ea7f714 [at] aol.com>
Date: Wed, 20 Oct 2004 13:15:00 EDT
Subject: Re: Standard Voltages Sensor Dimmers

In a message dated 20/10/04 00:28:09 GMT Daylight Time, 
sbmtbike [at] optonline.net writes:

> > 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.

Bear in mind, too, that most AC meters are set to give an RMS measurement 
when reading a sine wave. With non-sinusoidal waveforms such as dimmers produce, 
there will be a reading error. How much and which way, I don't know, as it 
will depend on the meter. 


Frank Wood

------------------------------

Date: Wed, 20 Oct 2004 12:19:50 -0500
From: Fred Fisher <fwfisher [at] wisc.edu>
Subject: A cautionary tale
Message-id: <5.2.1.1.2.20041020120620.01aa2ad8 [at] wiscmail.wisc.edu>

One of the users of a $200 million +  performing arts center
(that recently opened down the street from us) borrowed one
of our A frame ladders because this new facility doesn't have
  enough to do basic production.  Needless to say, we are
  having a lot of fun with this.
On the down side of this.   So that the floor in the performance
space didn't get scratched, they put towels under the legs
which would also let them slide it along the floor.  Anyone care
to speculate what happened next?  With someone 18' in the air,
the ladder spotter walked away, the worker leaned out too far on
the ladder and it tipped over.  She hung onto the pipe as long as
she could before falling to the deck and chipping a tooth and slicing
open her lip.
Sigh,,,,
Fred Fisher
(hope to see some of you in Lost Wages this weekend)
     


------------------------------

Message-ID: <4176A3A6.5020607 [at] etown.edu>
Date: Wed, 20 Oct 2004 13:43:02 -0400
From: "Fritz, Barry" <fritzbl [at] etown.edu>
Organization: Elizabethtown College
Subject: Re: Gel Cutting
References: <list-4742822 [at] prxy.net> <list-4743418 [at] prxy.net>
In-Reply-To: <list-4743418 [at] prxy.net>

When I was still with the Theatre Department, we used a paper cutter.  I 
found that I had to be very careful when sending a newer student to get 
a "6 inch cut" from a sheet of gel.  More often than not, they returned 
with a nicely cut 6"x6" piece of gel.

Now that I no longer have the department's fancy cutting board;  I use a 
gel frame as a template, trace it with a grease pencil, and cut with a 
pair of nice sharp fabric scissors  (The cheaper ones with the bright 
colorful plastic handles).   Seems to be a bit faster if I'm making 
multiple cuts from a sheet.

The scissors are also great for trimming gobos to fit the pattern 
holders.  Just don't tell the costumer.

Barry Fritz,
Technical Operation Director
Elizabethtown College









------------------------------

Message-ID: <001101c4b6cc$32e35780$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-4752268 [at] prxy.net>
Subject: Re: Grants for public school theatre arts
Date: Wed, 20 Oct 2004 10:42:41 -0700

> renovations of spaces. The school system I work in has several spaces
> that were nice in thier day but have fallen to disrepair in need of new
> drapes, updated rigging and lighting etc.  Anyone who works within a
> public school system knows that these repairs are put at the bottom of
> the needs list by the individual schools and are not really taken care
> of because there is never enough money in the school system.


I'm interested in this thread as well.  So often, grants and other funding 
sources aren't interested in giving funds for capital expenses.  This is 
something I've been dealing with for some time.  The funding sources 
(groups) that have given a little here and a little there, are more 
interested in buying us 'something' (so they can brag) but they balk when we 
say what we really need is stuff to get repaired or replaced, or we need 
production supplies.  Not too glamourous.  Or, funding groups and 
foundations are interested in funding some sort of program - such as an 
outreach aspect of a specific show.

    -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm 


------------------------------

From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Subject: RE: Grants for Lighting Equipment
Date: Wed, 20 Oct 2004 13:43:50 -0500
In-reply-to: <list-4752834 [at] prxy.net>
Message-ID: <BAY8-DAV21LqN33HFnw00004421 [at] hotmail.com>

>>The Technical Director and myself are beginning the
>>process of finding grants / money to buy new...lighting fixtures.

>Interestingly enough I'm doing the same thing.  I heard a rumor that the
>Huntington in Boston received a grant from ComElectric to replace old
>fixtures with new energy efficient ones.  Anybody know if this is true?
>Might be worth checking with your local power company - many of them
>distribute low-wattage lamps and such to residential customers.  Perhaps
>they also have a corporate/educational program.

I don't know about the ComElectric deal, but you can check with ETC (or the
manufacturer of your choice), but Con Edison in NY did this with the NY
State Theatre at Lincoln Center for a huge wack of Source Fours. The energy
savings off-sets a large part of the cost of the new fixtures. The
theatrical manufacturers may be able to point you in the right direction, as
well as your local power company.

Michael Eddy

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <30.63478b95.2ea800c3 [at] aol.com>
Date: Wed, 20 Oct 2004 13:56:19 EDT
Subject: Re: Fire on Stage

In a message dated 20/10/04 16:00:59 GMT Daylight Time, 
deeming.tony [at] btinternet.com writes:

> First comment - ask the question "Can I do this effectively without using
>  real fire?"
>  To all intents and purposes, I'd have to say that as far as audience
>  perception will go, the answer to that would be YES and so should it be.
>  
>  Open flames in something like a trash can is tantamount to catastrophe.
>  I'm not saying it CAN'T be done, just that it's going to be 1000% safer NOT
>  to.

Why is the whole of the US so violently against naked flames? I appreciate 
that your AHJ may have set rules, with which you have to comply.

But most major houses, on our side of the pond, use them as needed. With 
suitable precautions in place, to be sure.

I can't see any problems about setting a fire in a trash can. They are 
inherently fire resistant, and easily doused with a fire blanket. A CO2 extinguisher 
runs the risk of blowing burning material out of it, and water will not deal 
with the gas flame. Dry powder might be best.


Frank Wood

------------------------------

From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 13:55:50 -0500
In-reply-to: <list-4751540 [at] prxy.net>
Message-ID: <BAY8-DAV10Rf3sllNY30001ad5f [at] hotmail.com>

<<Look in the NY Times of yesterday. Major article will answer all and I
mean all your questions. Heck of an article. Doom>>

>Historically, Doom's postings have been somewhat brief and often obscure...
>but this one.

>When is "yesterday" and what is he talking about?  A "major article" on
>multiple LED sources?  There's nothing on the NY Times website.

>Maybe just a few more words?

>Paul

The article appeared Monday, October 15th. Here is the link to it, but you
may need to sign up for a free account with the NY times first to read it
http://www.nytimes.com/2004/10/18/technology/18led.html?th

The title is misleading, as the article does not deal with theatrical
lighting at all, mighty or otherwise. The technology is fascinating, but
real-world applications are a ways off. I wonder if Color Kinetics will be
suing them for patent infringement?! Enquiring minds...

Michael Eddy


------------------------------

From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 13:59:46 -0500
In-reply-to: <list-4753385 [at] prxy.net>
Message-ID: <BAY8-DAV66ZbLAX3cf3000293df [at] hotmail.com>

>The article appeared Monday, October 15th. Here is the link to it, but you
>may need to sign up for a free account with the NY times first to read it
>http://www.nytimes.com/2004/10/18/technology/18led.html?th

That would be Monday, October 18th. Sorry, still using my old Gregorian
calendar.

Michael Eddy


------------------------------

From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Subject: RE: Multiple LED Source
Date: Wed, 20 Oct 2004 14:13:20 -0500
In-reply-to: <list-4753385 [at] prxy.net>
Message-ID: <BAY8-DAV27dcx3Vp20N00009302 [at] hotmail.com>

Here is a link to a story on the LSA website about the same company, Lamina
Ceramics, that was covered in the NY Times this past Monday, and its super
bright LEDs with a theatrical spin on it. The story is on the front page of
the LSA website, today, October 20, 2004 in case the link does not work.

http://www.lightingandsoundamerica.com/news/story.asp?ID=-512HHW

Here is a link to Lamina's website: www.laminaceramics.com

Michael Eddy


------------------------------

Message-ID: <002f01c4b6d4$aeeb1360$6d7444ce [at] OTC1375516>
From: "Janice Pohl" <janicep [at] elmhurst.edu>
References: <list-4749975 [at] prxy.net> <list-4751401 [at] prxy.net>
Subject: Re: Select paint area on drop
Date: Wed, 20 Oct 2004 13:43:25 -0500

When I read the statement about the thin paint, I was reminded of silk
painting techniques.  Gutta, which comes clear and tinted, is applied to
outline edges so that silk paint (thin) can be absorbed as it runs along the
long fibres of silk and similar synthetics but be stopped at the Gutta.
Gutta doesn't have to be heated and in my limited experience flows more
smoothly than wax.  Then again, I'm not that skilled.

Whether or not you wish to paint the areas you protected with the Gutta
border, you wouldn't need to protect the whole area.

Some gutta is water based, and some is not - you'll want to do more
research.

I have exhausted all I know.

Janice Pohl


------------------------------

Message-ID: <025e01c4b6dc$c559e600$0a01a8c0 [at] Tony>
From: "Tony Deeming" <deeming.tony [at] btinternet.com>
References: <list-4753375 [at] prxy.net>
Subject: Re: Fire on Stage
Date: Wed, 20 Oct 2004 20:41:15 +0100


----- Original Message ----- 
From: <FrankWood95 [at] aol.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, October 20, 2004 6:56 PM
Subject: Re: Fire on Stage


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> In a message dated 20/10/04 16:00:59 GMT Daylight Time,
> deeming.tony [at] btinternet.com writes:
>
> > First comment - ask the question "Can I do this effectively without
using
> >  real fire?"
> >  To all intents and purposes, I'd have to say that as far as audience
> >  perception will go, the answer to that would be YES and so should it
be.
> >
> >  Open flames in something like a trash can is tantamount to catastrophe.
> >  I'm not saying it CAN'T be done, just that it's going to be 1000% safer
NOT
> >  to.
>
> Why is the whole of the US so violently against naked flames? I appreciate
> that your AHJ may have set rules, with which you have to comply.
>
> But most major houses, on our side of the pond, use them as needed. With
> suitable precautions in place, to be sure.
>
> I can't see any problems about setting a fire in a trash can. They are
> inherently fire resistant, and easily doused with a fire blanket. A CO2
extinguisher
> runs the risk of blowing burning material out of it, and water will not
deal
> with the gas flame. Dry powder might be best.
>
>
> Frank Wood

I'm nowhere near the US, Frank, as well you know.
My caution in this case is not specific to flame on stage, though that HAS
to be treated at all times with proper care, but something as volatile as a
fire in the can has inherent dangers of it's own.

Depending upon the circumstances, the can could be left smouldering on stage
at foot level, easily kicked over. As with all live fire circumstances
(including pyro) the idea is to guarantee as far as possible that you don't
NEED to wander on in stage crew blacks to douse the fire.

And if the fire requested is one that is big enough to get over the top of a
trash can, then it's FAR too big in my opinion to use on stage!

The effect of a small paper fire in a bin is smoke - and that's something we
can all produce cheaply, safely and controllably.

Ynot



------------------------------

Date: Wed, 20 Oct 2004 15:48:42 -0400
From: MissWisc [at] aol.com
Subject: Re: Fire on Stage
Message-ID: <26607B77.777CE595.007B9F2A [at] aol.com>

Frank asked: <Why is the whole of the US so violently against naked flames?>

It has to do with the Iriquois Theatre fire where 600+ people died and subesquent regulations. Don't know if GB has anything comparable. Certain someone on the list will educate me.

Kristi

------------------------------

In-Reply-To: <list-4754276 [at] prxy.net>
References: <list-4753375 [at] prxy.net> <list-4754276 [at] prxy.net>
Message-Id: <BEBDFD64-22D2-11D9-B65C-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Fire on Stage
Date: Wed, 20 Oct 2004 13:00:52 -0700

>> Why is the whole of the US so violently against naked flames? I 
>> appreciate
>> that your AHJ may have set rules, with which you have to comply.
>>
>> But most major houses, on our side of the pond, use them as needed. 
>> With
>> suitable precautions in place, to be sure.
>>
>> I can't see any problems about setting a fire in a trash can. They are
>> inherently fire resistant, and easily doused with a fire blanket. A 
>> CO2
> extinguisher
>> runs the risk of blowing burning material out of it, and water will 
>> not
> deal
>> with the gas flame. Dry powder might be best.
>>
>>
>> Frank Wood

A few years ago, when I did Grapes of Wrath,  We used real fire for the 
production in La Jolla. It was a fire box with propane, and an electric 
match.  What a PITA. When we played in London, at the NT, In pre 
production,  the mere suggestion of fire about got us knocked out on 
our ass. Last time I checked, London was on the same side of the pond 
as you. And that was about 15 years ago.

  We made up a system with PAR 16's and silk, with a fan, and it 
actually read better than the  (gasp) propane.  When we got to NY, they 
went for real fire again, and Some guy in Ohio  (Theatre Magic, I 
think)  made some boxes, with the propane, but they also had built in 
CO-2 suppression systems in them.  A few years later, I helped the 
university here, make a set of propane boxes.

That said,  I would not even consider that as a feasible solution, 
unless it was for an outdoor venue.   I drive a CNG truck, and have 
developed a healthy respect for both CNG, and Propane, and I gotta say. 
  Fire on stage = BAD


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


------------------------------

Date: Wed, 20 Oct 2004 16:07:18 -0400
Subject: Re: Fire on Stage
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BD9C3DB6.19A6%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-4754350 [at] prxy.net>

Didn't London have a great fire in it's history.

Didn't London theatre have a relatively historical
fire a few hundred years back.  Can't recall for
sure, but wasn't it "Henry the 8th" and an incident
with some cannon fire.

Curious minds would like to know.

Steve

on 10/20/04 3:48 PM, MissWisc [at] aol.com at MissWisc [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Frank asked: <Why is the whole of the US so violently against naked flames?>
> 
> It has to do with the Iriquois Theatre fire where 600+ people died and
> subesquent regulations. Don't know if GB has anything comparable. Certain
> someone on the list will educate me.
> 
> Kristi
> 
> 


------------------------------

Date: Wed, 20 Oct 2004 17:02:11 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Fire on Stage
Message-id: <4176D253.E09F5905 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4754350 [at] prxy.net>

MissWisc [at] aol.com wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Frank asked: <Why is the whole of the US so violently against naked flames?>
> 
> It has to do with the Iriquois Theatre fire where 600+ people died and subesquent regulations. Don't know if GB has anything comparable. Certain someone on the list will educate me.

Well, there would be the Great Fire of 1666.  Destroyed most of
London.  Originally considered a Papist plot, I suspect that it was
set by Christopher Wren to increase his prominence as an architect. 
:)

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Fire on Stage
Date: Wed, 20 Oct 2004 17:12:33 -0400
Message-ID: <000201c4b6e9$84d037d0$6701a8c0 [at] Dell>
In-Reply-To: <list-4755002 [at] prxy.net>

> Well, there would be the Great Fire of 1666.  Destroyed most 
> of London.  Originally considered a Papist plot, I suspect 
> that it was set by Christopher Wren to increase his 
> prominence as an architect. 

Oh, I figure there's some way we can blame it on Frank.


------------------------------

From: "Delbert Hall" <halld [at] etsu.edu>
Subject: RE: Fire on Stage
Date: Wed, 20 Oct 2004 18:15:34 -0400
Organization: ETSU
Message-ID: <000001c4b6f2$52709fb0$6400a8c0 [at] delbert>
In-Reply-To: <list-4755111 [at] prxy.net>

I have seen several productions of "Getting Out" and none of them have
used what I would call "realistic" scenery, so why would the fire have
to be real?

I agree totally with Mark, a live fire on stage can be a very bad thing.
In most cases (especially with this show) there are other (safer)
options.  Why would anyone choose a less safe option?

-Delbert


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <1e0.2cdf77fc.2ea84185 [at] aol.com>
Date: Wed, 20 Oct 2004 18:32:37 EDT
Subject: Re: Fire on Stage

In a message dated 20/10/04 20:42:01 GMT Daylight Time, 
deeming.tony [at] btinternet.com writes:

>  Depending upon the circumstances, the can could be left smouldering on 
stage
>  at foot level, easily kicked over. As with all live fire circumstances
>  (including pyro) the idea is to guarantee as far as possible that you don't
>  NEED to wander on in stage crew blacks to douse the fire.

I did mention proper precautions. Plainly, these include making sure that the 
fire is out before you close down.
>  
>  And if the fire requested is one that is big enough to get over the top of 
a
>  trash can, then it's FAR too big in my opinion to use on stage!

Terminology again. I had in mind a steel waste paper basket. If you are 
thinking of a 3' high by 2' diameter dustbin, I will agree with you.
>  
>  The effect of a small paper fire in a bin is smoke - and that's something 
we
>  can all produce cheaply, safely and controllably.

Yes, but it's black smoke. That's harder to do.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <1f1.2d60ece4.2ea84331 [at] aol.com>
Date: Wed, 20 Oct 2004 18:39:45 EDT
Subject: Re: Fire on Stage

In a message dated 20/10/04 20:49:46 GMT Daylight Time, MissWisc [at] aol.com 
writes:

> Frank asked: <Why is the whole of the US so violently against naked flames?>
>  
>  It has to do with the Iriquois Theatre fire where 600+ people died and 
> subesquent regulations. Don't know if GB has anything comparable. Certain 
> someone on the list will educate me.

If I remember right, this was back in the early forties, or was that the 
Coconut Grove. I agree that it was a major disaster, and I think that it had to do 
with blocked or locked fire exits.

It's now 2004. 

Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <143.361c8b4a.2ea8455c [at] aol.com>
Date: Wed, 20 Oct 2004 18:49:00 EDT
Subject: Re: Fire on Stage

In a message dated 20/10/04 21:02:57 GMT Daylight Time, 
marko [at] email.arizona.edu writes:

> A few years ago, when I did Grapes of Wrath,  We used real fire for the 
>  production in La Jolla. It was a fire box with propane, and an electric 
>  match.  What a PITA. When we played in London, at the NT, In pre 
>  production,  the mere suggestion of fire about got us knocked out on 
>  our ass. Last time I checked, London was on the same side of the pond 
>  as you. And that was about 15 years ago.

You surprise me greatly. Perhaps your procedures were wrong. Real fire on 
stage is hedged about with safety procedures, and yours may not have conformed to 
the rules. Perhaps the rules have changed.

15 years ago, the LCC rules applied, and they were very restrictive. 
Nowadays, th rules are looser.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <db.176ce396.2ea846f8 [at] aol.com>
Date: Wed, 20 Oct 2004 18:55:52 EDT
Subject: Re: Fire on Stage

In a message dated 20/10/04 21:21:20 GMT Daylight Time, 
tiptd [at] theatreinthepark.com writes:

> Didn't London have a great fire in it's history.

Yes. In 1666, half the city was burned to the ground.
>  
>  Didn't London theatre have a relatively historical
>  fire a few hundred years back.  Can't recall for
>  sure, but wasn't it "Henry the 8th" and an incident
>  with some cannon fire.

Shakespeare and Burbage's theatre was burnt to the ground, thanks to cannon 
fire. More recently, so was the Royal Opera House.

Until the advent of electric lighting, theatrical fires were not unusual.



>  
>  Curious minds would like to know.
>  
>  Steve


Frank Wood

------------------------------

In-Reply-To: <list-4755879 [at] prxy.net>
References: <list-4755879 [at] prxy.net>
Message-Id: <EDC6FED2-22EC-11D9-99A5-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Fire on Stage
Date: Wed, 20 Oct 2004 16:08:18 -0700




On Oct 20, 2004, at 3:49 PM, FrankWood95 [at] aol.com wrote:

>> A few years ago, when I did Grapes of Wrath,  We used real fire for 
>> the
>>  production in La Jolla. It was a fire box with propane, and an 
>> electric
>>  match.  What a PITA. When we played in London, at the NT, In pre
>>  production,  the mere suggestion of fire about got us knocked out on
>>  our ass. Last time I checked, London was on the same side of the pond
>>  as you. And that was about 15 years ago.
>
> You surprise me greatly. Perhaps your procedures were wrong. Real fire 
> on
> stage is hedged about with safety procedures, and yours may not have 
> conformed to
> the rules. Perhaps the rules have changed.
>
> 15 years ago, the LCC rules applied, and they were very restrictive.
> Nowadays, th rules are looser.

Actually, what I was getting at was....


Fire-  done that, took precautions, got away with it several times.

If the rules have gotten looser, that is irrelevant.  Fake fire anymore 
is allot more convincing, so why go to the trouble, or  _potential_ 
harm,  when it is just plain easier to do it otherwise?

>
Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


------------------------------

Message-ID: <4176FDA4.8000704 [at] fuse.net>
Date: Wed, 20 Oct 2004 20:07:00 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Fire on Stage
References: <list-4751605 [at] prxy.net>
In-Reply-To: <list-4751605 [at] prxy.net>

Ron Owens wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I have a director wanting to start a fire in a small trashcan on stage; this
> is for the play Getting Out by Marsha Norman.  I'm thinking this is not a
> great idea.  
> 
> Would anyone out there who has faced this question before be willing to
> share some advice?
> 
> Thanks!
> 
> 

I just built this effect for a 55 gallon drum fire...

An MR-16 lamp set about 18" deep in the barrel, set at right 
angles and above the lamp was a small muffin fan, and strips 
of mylar were attached to the top of the fan.  All parts 
were 12 volt with a battery buried in the barrel.

The fan flutters the mylar strips in the beam of the light 
and causes a random flicker in the light on the edges of the 
barrel and the people around it.

Gel strips could also be substituted for the mylar to create 
flickering colors instead of just intensities.

Stuart


------------------------------

Message-ID: <016601c4b70a$b2415ac0$d39e1518 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-4743191 [at] prxy.net>
Subject: Re: Gel Cutting
Date: Wed, 20 Oct 2004 18:10:03 -0700

>
>> > 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.
>
>

   We tear the gel by hand against the edge of a handy table or doorframe, 
usually after starting the cut with our teeth.
It's much faster than puzzling out where the previous group of volunteers 
might have left the utility knives. 



------------------------------

From: IAEG [at] aol.com
Message-ID: <149.36373d9d.2ea8709a [at] aol.com>
Date: Wed, 20 Oct 2004 21:53:30 EDT
Subject: Re: Gel Cutting


In a message dated 10/20/04 9:10:59 PM, taco [at] peak.org writes:

<<    We tear the gel by hand against the edge of a handy table or doorframe, 

usually after starting the cut with our teeth.

It's much faster than puzzling out where the previous group of volunteers 

might have left the utility knives.  >>

back in the Roscolene days, , I could often get a clean cut by sliping the 
corner of a full sheet into a 7 .5" or 10" frame, , hopefully one with a bit of 
a "point" on the corner and get a good clear tear by holding down the metal 
frame and pulling against it, , 

when we went to  ROSCOLAR that became more difficult, , , with ROSCO LUX, , 
impossible

very best,

Keith Arsenault
President
IAEG -  International Arts & Entertainment Group 
Tampa, Florida

------------------------------

Message-ID: <41A01644.4040304 [at] earthlink.net>
Date: Sat, 20 Nov 2004 22:15:00 -0600
From: Kyle Dugger <kmdugger [at] earthlink.net>
Subject: Re: Mac 2k reset, was coffee pot library
References: <list-4730298 [at] prxy.net>

>
>
>
>Found (by my wife, actually) in a recent catalog...a sign that reads
>"Sarcasm.  Just another service we provide."
>
>Sound like a list motto, anyone?
>
>  
>
Sharpie - $2
rosco gel sheet - $5
clear com pack - $300

backstage sarcasm - priceless


------------------------------

Message-ID: <417744CE.CCDADB46 [at] cybercom.net>
Date: Thu, 21 Oct 2004 01:10:38 -0400
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Fire on Stage
References: <list-4755800 [at] prxy.net>



FrankWood95 [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> In a message dated 20/10/04 20:49:46 GMT Daylight Time, MissWisc [at] aol.com
> writes:
>
> > Frank asked: <Why is the whole of the US so violently against naked flames?>
> >
> >  It has to do with the Iriquois Theatre fire where 600+ people died and
> > subesquent regulations. Don't know if GB has anything comparable. Certain
> > someone on the list will educate me.
>
> If I remember right, this was back in the early forties, or was that the
> Coconut Grove. I agree that it was a major disaster, and I think that it had to do
> with blocked or locked fire exits.
>
> It's now 2004.
>
> Frank Wood

Here in the Boston area, with the Coconut Grove nightclub fire back in the
forties.  ( The culprits were a combination of locked and unmarked fire
escapes, and flammable decorations tacked to the walls and ceiling. ) Now
the Station Nightclub fire just last year ( Where the culprits were poorly
marked fire escapes and flammable materials stapled to the walls. ) less
than a hundred miles away.  Anything involving a live fire on stage would
be looked upon with grave disapproval by the fire marshals and the
insurance companies.
    Boston has a very strict fire code, and the fire marshals have the
authority to close the show, and are not at all reluctant to do so.


    --Dale


------------------------------

From: "Occy Occy" <oneoccy [at] hotmail.com>
Subject: Re: Gel Cutting
Date: Wed, 20 Oct 2004 23:24:57 -0700
Message-ID: <BAY24-F27xwNVBw0f0g00017b7d [at] hotmail.com>

Why do that just tape the sheet to the yoke and just move it up or down when 
it burns a hole in it.





>   We tear the gel by hand against the edge of a handy table or doorframe, 
>usually after starting the cut with our teeth.
>It's much faster than puzzling out where the previous group of volunteers 
>might have left the utility knives.
>
>

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/


------------------------------

End of Stagecraft Digest #169
*****************************