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 4903226; Fri, 05 Nov 2004 03:01:11 -0800 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 #186 Date: Fri, 05 Nov 2004 03:00:47 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-4.9 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #186 1. Re: Building Flats by "Alf Sauve" 2. Re: Building Flats by "Joker7" 3. Re: Building Flats by Dorian Kelly 4. Re: Building Flats by mconn [at] cumberlandcollege.edu 5. Re: Lifting problem by "Hall, Delbert L." 6. Moon on drop by Steve Larson 7. Re: Select paint area on drop- UPDATE by Mark O'Brien 8. Re: Building a flat by "Paul Guncheon" 9. Re: Lifting problem by Bill Sapsis 10. Re: Lifting problem by Bill Sapsis 11. Re: Building Flats by "Scott Boyle" 12. Re: Building Flats by "Jon Ares" 13. Re: Building Flats by "Waxler, Steve (waxlers)" 14. Re: Lifting problem by Richard Niederberg 15. Re: Lifting problem by Samuel Jones 16. Re: Building Flats by Bob Frame 17. Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... by "Cyr, Dale" 18. Re: Building Flats by Boyd Ostroff 19. Re: Ground Terminology: was cold water ground by FrankWood95 [at] aol.com 20. Re: A renewed interest in cable wrapping! by CB 21. Re: Ground Terminology: was cold water ground by Jerry Durand 22. Re: Ground Terminology: was cold water ground by Jerry Durand 23. Re: Lifting problem by "Hall, Delbert L." 24. Re: Lifting problem by "Hall, Delbert L." 25. Slightly OT, Housing available in NYC by Herrick Goldman 26. Electricians needed by Herrick Goldman 27. Treb challange by Mark O'Brien 28. Re: Way off-topic, but ... by "Dr. Randall W.A. Davidson" 29. Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... by "Dr. Randall W.A. Davidson" 30. Re: Lifting problem by MissWisc [at] aol.com 31. Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... by "Cyr, Dale" 32. Re: Ground Terminology: was cold water ground by FrankWood95 [at] aol.com 33. Re: Ground Terminology: was cold water ground by FrankWood95 [at] aol.com 34. Re: Colorado Springs by "Dr. Randall W.A. Davidson" 35. NASA: Sound Filters Light by "Bryan H. Ackler" 36. Re: Ground Terminology: was cold water ground by Richard Niederberg 37. Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... by Noah Price *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <089c01c4c262$67f50170$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Building Flats Date: Thu, 4 Nov 2004 06:20:53 -0500 3'x4'........maybe it's for a puppetry arts stage? And I never cut luan or any other covering to size. I always leave it generously too big then use a router to make perfect edges and a perfect fit. Alf ------------------------------ Message-ID: <004d01c4c270$8b14fa30$0100a8c0 [at] tricia> From: "Joker7" References:

Subject: Re: Building Flats Date: Thu, 4 Nov 2004 13:16:49 -0000 ----- Original Message ----- From: "Stuart Wheaton" To: "Stagecraft" Sent: Thursday, November 04, 2004 12:33 AM Subject: Re: Building Flats Sometimes flats are fractionally larger than the hallway between the loading doors and the stage, but that's a whole other story! No, I have NO IDEA why (or how) that phone was removed from that wall. ;-) Stuart ............ Whoops sorry about the door being of it's hinge just can't see how that happened :-) Chris ------------------------------ Message-Id: In-Reply-To: Date: Thu, 4 Nov 2004 13:21:14 +0000 From: Dorian Kelly Subject: Re: Building Flats >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I am building a flat for a Technical Fundamentals class, and I was curious >on how to go about it. The only specifications are that it has to be 3'by >4'. It also has to be able to be rigged on a fly system. I need >suggestions because before this class I could not work a power drill. >Thanks! > Wooden frame made from 3 x 1 PAR softwood kiln mpregnated with Fire resistance to class 0 (UK, I dont now what your terms are). Join the corners with glued and screwed halving joints, and then reinforce and stiffen the corners with triangular plates made from ply or with inset timber braces cut at 45 degrees glued and screwed. If the flat is anything over 4 x 4 add a crossrail or two half way down, even a diagonal for very large flats. Take the best quality scenic canvas you can afford and stretch is a tightly as you can over the frame. Start with on short edge, glueing onto the face of the frame, taking it over the edge and tacking or stapling the canvas to the back of the flat and then work your way round clockwise stretching, glueing and tacking as you go.Two people are needed to do this very well, one to stretch tight using their knuckles as a fulcrum, the other to tack hammer. Dont get too much bulk on the corners, so cut away as much surplus as you can, impreganting the corners with PVA and pressing the fabric in as hard as possible. When the glue is completely dry, spray wet the whole surface to help tighten up the canvass and let that dry. Prime the canvas with Unibond ( diluted PVA) which will help tighten up some more. Then you can trim off all the surplus canvass at the back. Then decorate as required, either with paint orwith a 3D finish Alternatively use a piece of ply to face it up with. The flying irons go on the bottom rail, passing the steel wires through guides halfway up and at the top. For a very small flat, you could just use a top hanger iron, but make sure you use the type with a hook to go under the top timber rail. Usual caveats about timber cutting machinary, goggles, etc apply.... Dorian Kelly ------------------------------ Message-ID: <1099574735.418a2dcf2bbb7 [at] mail.cumberlandcollege.edu> Date: Thu, 4 Nov 2004 08:25:35 -0500 From: mconn [at] cumberlandcollege.edu Subject: RE: Building Flats OK I think I am a little scared at the original post on building flats. We have a student in a Technical Fundamentals class coming to this list asking how to build a flat. I would think this would be covered in both lecture and in practice. Is someone Telling students to go and figure it out with little or no direction. Then to top that off it has to fly. Are safe rigging practices being followed or explained? Hhhhmmm! I am building a flat for a , and I was curious on how to go about it. I would need more info... Is it soft cover or hard cover? Stage or Hollywood Flat? Is your material precut lumber or are you using 1X12 and ripping your own styles, rails and toggles? Same goes for Corner blocks, Keystones or straps out of 1/4" plywood. Are you using screws, nails or pneumatics for fasteners? Do you have the rigging hardware for flying the flat? I agree with other posts. You need to ask your instructor multiple questions about the project. Last- 3'x4' Flat- If I need to Build flats to rebuild my stock I build 4' x 10' or 12' flats. If I am Building flats for teaching purposes only I build small and allow the students to take them with them. I have them do at least three different paint techniques after the flats are built, and many times the students are so excited about being able to accomplish the technique they want to take them. Maurice "Moe" Conn Designer/Technical Director Kohn Theatre Cumberland College 606-539-4520 mconn [at] cumberlandcollege.edu Thank You Everyone for Supporting the Long Beach Long Riders efforts to Raise money for Broadway Cares/Equity Fights Aids. Check Out: www.sapsis-rigging.com/LBLR.html ------------------------------ Subject: RE: Lifting problem Date: Thu, 4 Nov 2004 08:38:09 -0500 Message-ID: From: "Hall, Delbert L." -----Original Message----- I would think that a mechanical device, probably rentable, might work well. Scissors jacks, linear actuators, possible a chain = hoist all come to mind. I would caution against using a counterweight system however as the load shift of the actor getting on and off the platform will cause some = problems. Hope that helps Bill S. -------------------------------------------- A chain hoist should NEVER be used for lifting people. CM is VERY clear = on this in the operation manuals for their chain hoist. I quickly found = three references to (NOT) lifting people on the first few pages of the = manual. =20 Rigging for an unbalanced load is considerably trickier than when the = load is balanced. However, it can be done very safely. Nearly all = performer flying systems deal with unbalanced loads in one way or = another. Counterweight assisted systems are common when the load is = extremely heavy or the performer must be in the air a long time. I have = four counterweight assisted systems in three different theatres at this = moment. I suggested a combination of mechanical advantage and = counterweight because it is the safest and easiest way to rig the effect = that Peter described (although more information was definitely needed). = Let's say that we want to lift a 210 lb. person. By first rigging a 3:1 = MA, the operator only has to lift 70 lbs of load (if we don't account = for friction). This is still a lot to lift if you need to hold the = performer in the air for very long. But, if you add 35lbs. of = counterweight assist, then the system is NEVER more than 35 lbs out of = weight at any time. And 35 lbs. is very easy to manage. This list is = definitely not the correct venue for going into the specifics of how = this is rigged, but it is not terribly difficult. I currently have a = 275 lb performer flying on such a system in a production of Disney's = BEAUTY AND THE BEAST, so this type of system can be rigged to handle a = pretty good sized load. -Delbert Delbert L. Hall, President Hall Associates, Inc. Phone: 423-773-HALL Web: www.flyingfx.com=20 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004 =20 ------------------------------ Date: Thu, 04 Nov 2004 09:10:33 -0500 Subject: Moon on drop From: Steve Larson Message-ID: In-Reply-To: on 11/4/04 1:11 AM, Chris Wych at a_small_idiot [at] yahoo.com wrote: Actually a production of Carousel that I saw in the '80's at Kennedy Center used a similar trick with a super large fresnel (movie light) hung behind the moon. Unfortunately the night we saw the production, they forgot to fly in the drop and we got a wonderful view of the light and the back wall of the theatre. Of course the actors couldn't cross behind the drop and were trapped in their respective wings. Steve > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Well, just yo update you on what we did. The set > designer decided that the super sharp line wasnt what > she wanted we ended up just cutting the moon space out > of luan and laying it ontop of the drop with some > stage weights on it while we painted with the supersat > on top of it and around it. It seemed to work for > what we wanted. > http://theatretechie.com/gallery/view_photo.php?set_albumName=Misc&id=DSCF1040 > <--- shows a picture of the drop during the drying > period. (its the one at the top.) Once the show opens > and we get the drop hung in the space (actually the > shop since were using that for part of the set/show) > Ill add pics of it with the lights and such. > > Thanks for all the suggestions > > Chris Wych > --- Paul Guncheon wrote: ------------------------------ In-Reply-To: References: Message-Id: <7AEE3841-2E6B-11D9-977E-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Select paint area on drop- UPDATE Date: Thu, 4 Nov 2004 07:11:54 -0700 Do you always store the painters in the trunk? Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Nov 3, 2004, at 11:11 PM, Chris Wych wrote: > http://theatretechie.com/gallery/view_photo.php? > set_albumName=Misc&id=DSCF1040 > <--- shows a picture of the drop during the drying > period. (its the one at the top.) Once the show opens > and we get the drop hung in the space (actually the > shop since were using that for part of the set/show) > Ill add pics of it with the lights and such. > ------------------------------ Message-ID: <005c01c4c27b$67bd9460$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Building a flat Date: Thu, 4 Nov 2004 04:34:33 -1000 So to answer your question on how to build a 3' x 4' flat. If you are building a "hard flat" (see below... from a book I'm working on): Let's assume the 4' dimension is the vertical one. As this piece is going to fly, you'll want the bottom framing member to be underneath the vertical ones. We'll put a middle framing member horizontally on a 24" center. We could opt to put one vertically instead. on a flat this size it doesn't really matter. In fact, depending on what one is going to do with the flat and what the skin is, a brace may not be needed. Let's assume you are using 1 x 3 (3/4" x 2-1/2" nom.) lumber Cut your framing pieces as follows: Top and bottom pieces: 2 [at] 36" Verticals: 2 [at] 46-1/2" Central brace: 1 [at] 34-1/2 Skin: 3' x 4' Layout Put the two vertical pieces together and flush the ends. Put a piece of ž" material at one end and measure 24" from that end. Subtract or add 3/8" from 24" mark and make a tick mark on your lumber where the two pieces touch. Put an "x" on the 24" mark. (The tick shows where one side of the framing member goes, the "x" show on which side.) Make sure there is a tick mark on both pieces of lumber. You may wish to use a speed square or similar measuring tool to transfer the mark. Lay out the top and bottom pieces and the center brace and drill aligned holes for what ever cable material you are going to use for rigging. I usually fly flats by picking them up though and from the bottom frame member. I'll use eyebolts bolted through the frame or there exists flying hardware made specifically for this as well. I'll usually get a turnbuckle somewhere in the mix to help with leveling. Assemble the flat using whatever fastening system your instructor gives you. Do not worry about build the frame square. The skin will square it up. In theatre, I generally used a pneumatic finish nailer, which allowed the flats to be recycled with a minimum of damage when dismantling. On larger flats I will often use 2 finish nails and a screw at each joint. Attach the skin flush along one of the short edges, again with whatever system your instructor gives you. (As this flies, glue the skin on.) Working from one corner of the attached edge, work along the 4' side pulling the frame flush with skin and attaching it as you go. Finish attaching the skin to the outer frame. Measure and strike a line at 24" from the top of the flat and attach the skin to the Center support. Install your flying hardware and. viola! >> Building a flat The scenery pieces generally used for walls in architectural sets are called "flats" or "panels" (depending on where you live). There are several other terms for these "walls" but for our discussion we will refer to them as " flats". simply because it's less letters to type. There are basically two types of flats. The difference is essentially in the way they are framed. Hard flats ("Hollywood flats", "TV panels") are built with their framing members set on edge, connected directly to each other with nails, staples, or screws. They are referred to as hard flats as they are usually covered in a hard material such as plywood. Soft flats ("flat flats", "theatrical style flats") are built with the framing pieces lying, .um, "flat", usually attached to each other with pieces of plywood (called "corner blocks" (used at the corners) and "keystones" (used at the "toggles" or middle framing members) which bridge the seam between to adjacent pieces. These corner blocks and keystones are usually glued and stapled or nailed in place. Soft flats are usually covered with fabric. In this book I use the term "hard" and "soft" when talking about flats to describe the framing techniques, not the covering material. I have built hard flat frames and covered them with fabric and vice versa. >> All flats are NOT 4' x 8' unless you come from a really lazy backgound. I stored flats of heights of even numbered feet and widths in 6" increments. I know the door and window plug system but do not use it. I saved no custom, door, or window flats. Laters, Paul "Have you seen our new baby?" asked Tom, apparently ------------------------------ Date: Thu, 04 Nov 2004 09:50:04 -0500 Subject: Re: Lifting problem From: Bill Sapsis Message-ID: In-Reply-To: on 11/4/04 8:38 AM, Hall, Delbert L. at HALLD [at] mail.etsu.edu wrote: > A chain hoist should NEVER be used for lifting people. CM is VERY clear on > this in the operation manuals for their chain hoist. I quickly found three > references to (NOT) lifting people on the first few pages of the manual If you look further in the manual you will also nolte that 1) We are NOT ALLOWED to lift loads over peoples heads. 2) We are NOT ALLOWED to hold the load once it has been lifted into position. 3) We are NOT ALLOWED to lift loads at an angle. these references are also within the first few pages of the manual. Do we do these things with a chain hoist? You betcha. Every day. Do we lift people with hoists? You betcha. maybe not every day but it happens all the time. CM is well aware of what our industry does with their hoists (I work very closely with the CM management on a regular basis on a variety of issues) and they go out of their way to make it easier for us to do what we do. So. What should we do?. Ban the use of chain hoists entirely because we break the rules every time we use one? I think not. Not unless there is an alternative. Does anyone have an alternative? The use of a chain hoist in our industry is "fluid" at best. A clear understanding of the abilities and limitations is required before using one in any application. In this case, with a 3 meter lift (app 10'), and considering that the hoist would be lifting the platform and that the actor would have the appropriate safety equipment, I see no problem with using a hoist. However, that may all change once the physical limitations of the building become known. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Thu, 04 Nov 2004 10:02:28 -0500 Subject: Re: Lifting problem From: Bill Sapsis Message-ID: In-Reply-To: on 11/4/04 8:38 AM, Hall, Delbert L. at HALLD [at] mail.etsu.edu wrote: > Rigging for an unbalanced load is considerably trickier than when the load is > balanced. However, it can be done very safely. Nearly all performer flying > systems deal with unbalanced loads in one way or another. Counterweight > assisted systems are common when the load is extremely heavy or the performer > must be in the air a long time. I have four counterweight assisted systems in > three different theatres at this moment. I suggested a combination of > mechanical advantage and counterweight because it is the safest and easiest > way to rig the effect that Peter described (although more information was > definitely needed). Let's say that we want to lift a 210 lb. person. By > first rigging a 3:1 MA, the operator only has to lift 70 lbs of load (if we > don't account for friction). This is still a lot to lift if you need to hold > the performer in the air for very long. But, if you add 35lbs. of > counterweight assist, then the system is NEVER more than 35 lbs out of weight > at any time. And 35 lbs. is very easy to manage. This list is definitely not > the correct venue for going into the specifics of how this is rigged, but it > is not terribly difficult. I currently have a 275 lb performer flying on such > a system in a production of Disney's BEAUTY AND THE BEAST, so this type of > system can be rigged to handle a pretty good sized load. what is not known is if the performer is going to get on and off the platform If he or she does exit the platform at any time, then there is an unbalanced load. In the example above there might be a 35 pound imbalance. In a professional setting Delbert is right, this is no big deal. In an amateur setting, as I think this one is, it could be a problem. 35 pounds dropped from the top of a step ladder would do a fair amount of damage. (Go ahead, try it) What i am looking for is complete control of the entire system at all times. In an amateur setting like this, and I might add, in a non-Peter Pan type situation, I would rather not balance the load at all. If I am out of weight by a known figure, and i design the system to be able to control that weight at all times, then I am in control at all times. For example. if the combined weight of the actor and the platform is 350 pounds, then I design a rigging system capable of holding 350pounds PLUS a design factor of 7. So the minimum breaking strength of the system is 2,450 pounds. Now, when the actor is on the system, I am able to control the weight. When the actor is no longer on the system i am still in control of the system without having to compensate for an out of balance load. Hopefully I'm being clear, but today has been one of those days. And it's only 10 am. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "Scott Boyle" Subject: RE: Building Flats Date: Thu, 4 Nov 2004 09:16:14 -0600 Organization: Carroll College Message-ID: <000001c4c281$39a1c7d0$73db688c [at] cc.edu> In-Reply-To: >>OK I think I am a little scared at the original post on building flats. We have a student in a Technical Fundamentals class coming to this list asking how to build a flat. I would think this would be covered in both lecture and in practice. << I'd have to agree that it seems a little irresponsible of the instructor to just tell a student to go off and figure this out for themselves. But even more the fact that apparently the class must not be working with any number of stagecraft texts which would describe the process in some detail is a little disturbing. >>If I am Building flats for teaching purposes only I build small and allow the students to take them with them. I have them do at least three different paint techniques after the flats are built, and many times the students are so excited about being able to accomplish the technique they want to take them.<< I teach a stagecraft class every year and have a detailed section on flat construction - both Hollywood and conventional styles. With our main space being a black box, I don't always need flats for a show. So on the years we are in our arena arrangement I have the student build 2x8 flats (in both flavors) so the get the experience without consuming a lot of materials. Scott Boyle Technical Director Carroll College ------------------------------ Message-ID: <001101c4c281$5bde6dd0$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Building Flats Date: Thu, 4 Nov 2004 07:17:11 -0800 > 3'x4'........maybe it's for a puppetry arts stage? > > Has anyone figured out it's probably spec'd at 3x4' for demonstration purposes only? In my Stagecraft classes, I had the students start with 1x2' and 2x4' flats, just to demonstrate they understood the terminology and concepts. These mini-flats were then saved so they had something to do their painting technique unit on. Some of the best pieces would then be saved and put on display at school. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09FA8027 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Building Flats Date: Thu, 4 Nov 2004 10:20:42 -0500 I would guess that we build more flats that are not 4x8 than we do that are. And yes, we are in an educational institution. The sizes and shape vary from production to production. Often for portals the flats are 6'x18' or 20'. It leaves the wrong impression to state that 4x8 is the standard flat. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Matthew Breton [mailto:theatricalmatt [at] hotmail.com] Sent: Thursday, November 04, 2004 3:33 AM To: Stagecraft Subject: Re: Building Flats For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Since the original poster mentioned the flat was being built for an academic program, I found the size he gave quite unusual. Many instructors start with a standard 4 x 8 flat, because building it addresses some issues (basic screwgun technique, making joints, attaching facing), while not getting into some of the complications (cutting luaun to size, lining up grains, seaming joints). You gotta crawl before you can walk, sometimes. Matthew Breton Stage Manager Shakespeare Now! _________________________________________________________________ Check out Election 2004 for up-to-date election news, plus voter tools and more! http://special.msn.com/msn/election2004.armx ------------------------------ Date: Thu, 4 Nov 2004 08:13:48 -0800 Subject: Re: Lifting problem Message-ID: <20041104.081523.3136.2.ladesigners [at] juno.com> From: Richard Niederberg I don't have the exact figures, but I have heard that show business hoist sales constitute less than 1% of the total CM (including Coffing) revenues. /s/ Richard > Delbert wrote: > A chain hoist should NEVER be used for lifting people. > CM is VERY clear on this in the operation manuals for > their chain hoist. I quickly found three references to > (NOT) lifting people on the first few pages of the manual ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ Date: Thu, 4 Nov 2004 08:52:21 -0800 Subject: Re: Lifting problem From: Samuel Jones In-Reply-To: Message-Id: On Thursday, November 4, 2004, at 05:38 AM, Hall, Delbert L. wrote: > A chain hoist should NEVER be used for lifting people. CM is VERY > clear on this in the operation manuals for their chain hoist. I > quickly found three references to (NOT) lifting people on the first > few pages of the manual. > First the caveats. 1: I understand that flying people should be done by people trained to do it. 2: I have the utmost respect for Delbert with his knowledge and experience. 3: I have never intentionally flown some one except for a statically hung rope that was climbed. (I rock climb, so the unintentional flying occasionally happens) However, _why_ should a 1/2 ton chain hoist never be used to fly a person. I'm afraid that I consider CM's warnings and attempt at limiting liability for idiotic shenanagans of their performers. There are many issues that need to be considered to avoid failure and injury: 1) anchoring of the hoist including hardware and architecture. 2) attaching the performer both the hardware rating and the design of the harness(if used). Speed of descent and how it affects the increase in load. Perhaps others, but all of these issues must be considered in _any_ lifting/flying scenario. What is it that makes a chain hoist a no no and a counterweighted pulley system ok? Sam Samuel L. Jones Theater Production Supervisor Dance Program, Dept. of World Arts and Cultures, UCLA sjones [at] arts.ucla.edu ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B99C319E [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: RE: Building Flats Date: Thu, 4 Nov 2004 12:06:02 -0500 I would be willing to bet this is simply a project to learn how to build a flat. Much simpler (and cheaper!) to have the 30 or so students in "Technical Fundamentals" (aka Stagecraft?) build small flats that can be trashed rather than big flats that need storage and are expensive. Better to have the student "screw up" project flats rather than full sized. This was the techniques used back when I took stagecraft, we also were able to use these flats for practice in scene painting (yes we cooked the animal glue and made size water to mix the dry pigments...I swear it was only yesterday!) Bob Frame -----Original Message----- ------------------------------ From: "Matthew Breton" Subject: RE: Building Flats Date: Wed, 03 Nov 2004 18:08:13 -0500 Message-ID: >I am building a flat for a Technical Fundamentals class, and I was curious >on how to go about it. The only specifications are that it has to be 3'by >4'. It also has to be able to be rigged on a fly system. I need >suggestions because before this class I could not work a power drill. Three feet by four feet ... your instructor must be trying to save on lumber costs ... most flats are four by eight :) Matthew Breton Stage Manager Shakespeare Now! ------------------------------ Subject: RE: Bizarre Multiple Catastrophic Truss Failure - it turns out that... Date: Thu, 4 Nov 2004 09:08:40 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E263 [at] excuswa100.americas.unity> From: "Cyr, Dale" to all: the "final report" can be found at: if this single url gets broken into two parts, as is likely for one this long, just paste it back together before clicking on it. the title, as can be inferred from the url, is: Unofficial Analysis and Conjecture of Truss Failure Incident. the limited permission to reproduce is extended to this report. note the addition of the final paragraph. I'd like to thank the members of this list that responded to the=20 request for comments in the original post. your comments, suggestions, and advice to consult others, were critical to the analysis of this incident. LIMITED PERMISSION TO REPRODUCE permission is granted specifically to, and only to, the members of this list, to reproduce the photos of the truss failure that have been placed on the website with the url of: PROVIDED that they are used for educational purposes only; that no money or other item of value is exchanged, in any form,=20 for transmission, receipt or use of these photos; that the words "Copyright dalecyr [at] hotmail.com" are included as part and parcel of the photos, of which being a part of a caption is acceptable; that this list server, the administrator of this list server, the members of this list, and the opinions of the members of this list are held harmless in regards to=20 any and all litigation which may directly or indirectly result from this incident. any commercial use is expressly prohibited, but may be negotiated at a later time between the photographer (myself) and interested parties. any use by those who are not members of this list,=20 or use of the photos other than covered above, must be specifically granted by me. the final report, which has been added to the above website, shall not be used for litigation by anyone, no exceptions. the final report shall remain in the possesion of members of this list only. ACCESSING THIS REPORT, IN ANY MANNER, INDICATES YOUR AGREEMENT TO THE CONDITIONS STATED IN THIS EMAIL. dale cyr Training Supervisor IATSE Local 93 Spokane Wa ------------------------------ Date: Thu, 4 Nov 2004 13:02:00 -0500 (EST) From: Boyd Ostroff Subject: Re: Building Flats In-Reply-To: Message-ID: References: On Thu, 4 Nov 2004, Bob Frame wrote: > Much simpler (and cheaper!) to have the 30 or so students in "Technical > Fundamentals" (aka Stagecraft?) build small flats that can be trashed > This was the techniques used back when I took stagecraft Yeah Bob,.. and I was the one who ended up throwing away all those little flats that had accumulated in the shop ;-) Those were the "good old days" and I had many a student build a little flat like that for me. Sorry, I have not read the other postings in this thread, but it strikes me that building little muslin-covered flats might be an interesting excercise in theatre history but of little practical value. During the past 12 years (since I left academia where we built little flats) there has only been one time that I've built soft covered flats. Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <13e.56c8ed6.2ebbc907 [at] aol.com> Date: Thu, 4 Nov 2004 13:03:51 EST Subject: Re: Ground Terminology: was cold water ground In a message dated 04/11/04 02:58:07 GMT Standard Time, StevevETTrn [at] aol.com writes: > The area I'm trying to move forward is Electricity. Be it audio, video, > power feeders, > or branch circuits the electrons all follow the same basic laws. > Once we figure out how to talk about them, in a common language, > and develop uniform standards based on them, > and establish a personnel certification baseline for our industry, > I think the voodoo may diminish. A part of the problem is the many differences between US and UK custom and usage. UK mains is at 230V; Us mains at 120V. Our UK safety earth comes in with the main feeder, usually via the steel wire armouring. In the US there is often a local ground spike, and in France, too. Note the term 'safety earth'. This is what all equipment enclosures are connected to, unless double insulated. While the neutral is supposed to be at earth potential, and is normally earthed from the star point of the three-phase transformer in the sub-station, this isn't always true. On a long run, with a heavy load, I have met neutrals 90V above earth. The earth connections can sometimes carry quite large currents. Much equipment is fitted with interference supression capacitors, from line and from neutral to earth. These can accumulate. In big audio installations, such as TV studios, there is a second earth incoming, called 'clean earth'. This is used for cable screens, and internally in equipment. In a really big one, it goes to a big copper plate buried under the car park. At no point do the two meet. This avoids earth loops, better called 'multiple earth connections'. In temporary installations, great care is needed. A friend tells me of a video cable, the screen of which was trying to carry the total out-of-balance current on a big lighting rig. It failed. There is room for a textbook, here. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20041104110920.01979068 [at] pop.west.cox.net> Date: Thu, 04 Nov 2004 11:09:20 From: CB Subject: Re: A renewed interest in cable wrapping! >Turns out Chris' world famous cable coiling drew attention from >Slashdot: Uh, sorry guys? Slashdot is the same as stagecraft for a different kind of nerd. Kinda like what their server did when our guys saw the cool IDE cable folding technique... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <6.1.2.0.0.20041104102115.00aafaf0 [at] localhost> Date: Thu, 04 Nov 2004 10:27:19 -0800 From: Jerry Durand Subject: Re: Ground Terminology: was cold water ground In-Reply-To: References: At 10:03 AM 11/4/2004, you wrote: >In temporary installations, great care is needed. A friend tells me of a >video cable, the screen of which was trying to carry the total out-of-balance >current on a big lighting rig. It failed. A testing lab I worked at drew so much power that we blew the transformers off the poles behind the building several times. We once had a ground loop so bad a 3" conduit melted. Oh, and a room full of 3-phase motors (mostly running Blue-M ovens) sounds REALLY bad when a transformer blows and you lose one phase. >There is room for a textbook, here. Several, and they wouldn't agree with each other. There was a company trying to sell us power "conditioning" for our computer rooms. Their equipment worked by cutting off your connection to the mains the instant a disturbance was detected. They didn't have heavy filtering, just depended on the disconnect. They also didn't have battery backup, they didn't see why we'd care about losing power as long as nothing was fried. This was in Florida, we'd have been rebooting several times a day (unless there was a storm). ---------- 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 ------------------------------ Message-Id: <6.1.2.0.0.20041104103907.00aba610 [at] localhost> Date: Thu, 04 Nov 2004 10:46:20 -0800 From: Jerry Durand Subject: Re: Ground Terminology: was cold water ground In-Reply-To: References:

A comment about the US "cold water" grounds. It's in our National Electrical Code (almost all areas adopt this as local law) that cold water pipes, when metal, must have a path to earth ground. So, if you have a transition from iron to copper with a dielectric union, you have to jump across that with a heavy wire. I think the union still prevents most of the corrosion since there's no connection right at the joint (and the resistance of even a little wire at millivolts will stop the current flow). It is now approved in most areas to connect copper pipe with a special epoxy instead of solder or brazing. It's listed as safe for drinking water and is copper filled so it conducts through the joint. Our electrical inspector has an easy way of testing grounds, he has a standard home blow dryer (hand held hot air hair dryer, about 1500W) with large clips replacing the power plug. He'd clip one to the pipe in question and the other to a handy hot wire (without a ground fault breaker). If the dryer ran at full speed, you had a good ground. ---------- 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 ------------------------------ Subject: RE: Lifting problem Date: Thu, 4 Nov 2004 14:01:48 -0500 Message-ID: From: "Hall, Delbert L." -----Original Message----- However, _why_ should a 1/2 ton chain hoist never be used to fly a=20 person. I'm afraid that I consider CM's warnings and attempt at=20 limiting liability for idiotic shenanagans of their performers. There=20 are many issues that need to be considered to avoid failure and injury:=20 1) anchoring of the hoist including hardware and architecture. 2)=20 attaching the performer both the hardware rating and the design of the=20 harness(if used). Speed of descent and how it affects the increase in=20 load. Perhaps others, but all of these issues must be considered in=20 _any_ lifting/flying scenario. What is it that makes a chain hoist a=20 no no and a counterweighted pulley system ok? Sam Samuel L. Jones=20 ____________________________________=20 Sam - You raise a good point. Here is want CM says about this: "The = safety laws for elevators, lifting of people and for dumbwaiters specify = construction details that are not incorporated in CM industrial hoists." Are chain hoists still used to lift people? Yes Are 12v boat winches used to lift people? Yes Is one better than the other for this task? Yes Are either approved by the manufacturer for this task? No People in the entertainment industry do a lot of things that the = manufacturers do not approve of (take A-frame ladders on wheels, for = example). We do it and for the most part get away with it without = accidents. But eventually, something will happen and someone will get = hurt or worse. We have had a lot of discussions on this list about = using the proper equipment for a job and using that equipment properly. = I feel that it would be totally inappropriate for me to tell you that it = is OK to use a piece of equipment in a way that I know is SPECIFICALLY = prohibited by the manufacturer. That does not mean that the hoist will = not will not lift the load, it just means that IF you use it in a way = that the manufacturer says NOT to use it, you are taking TOTAL = responsibility for this decision. =20 Besides, for Peter's application I feel that most chain hoists are too = slow and probably too noisy. -Delbert Delbert L. Hall, President Hall Associates, Inc. Phone: 423-773-HALL Web: www.flyingfx.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004 =20 ------------------------------ Subject: RE: Lifting problem Date: Thu, 4 Nov 2004 15:42:46 -0500 Message-ID: From: "Hall, Delbert L." -----Original Message----- CM is well aware of what our industry does with their hoists (I work = very closely with the CM management on a regular basis on a variety of = issues) and they go out of their way to make it easier for us to do what we do. ________________________ CM is probably aware of how "professionals" in our industry use their = hoists and also how "amateurs" might try to use them. This may be one = of the reasons that CM includes these warnings. Very few amateurs have = experience with chain hoists, so the potential for misuse is great. Chain hoists can be very powerful and if Peter's platform got jammed = while trying to penetrate the trap, you could end up with a terrible = accident before the operator knew what was happening. I remember a = discussion on this list a few months back where the dangers of automated = rigging was argued. It seems to me that putting the control of a = powerful chain hoist in the hands of an inexperienced operator is asking = for the same type of trouble. As far as a motorized alternative to using a chain hoists for lifting a = person, I might recommend a Gerriets International steel band point = hoist (VGB70). This hoist IS rated for lifting people. And, of course, = there are winches that are specifically designed for this purpose. =20 -Delbert Delbert L. Hall, President Hall Associates, Inc. Phone: 423-773-HALL Web: www.flyingfx.com =20 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004 =20 ------------------------------ Date: Thu, 04 Nov 2004 16:27:26 -0500 Subject: Slightly OT, Housing available in NYC From: Herrick Goldman Message-ID: In-Reply-To: Hey folks, Some friends of mine are renting 3 bedrooms in their 4 bedroom apartment in NYC. Many amenities $900 a month. You'd have to be able to live with theater types but hey.... Contact me off list or use the URL above for more info. -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 ------------------------------ Date: Thu, 04 Nov 2004 16:33:37 -0500 Subject: Electricians needed From: Herrick Goldman Message-ID: In-Reply-To: Hey gang, I'm posting this for Joe Saint. Contact him with any questions. jkld incorporated is seeking two different electricians to focus tracklights in two new Calvin Klein stores. The first one is on Tuesday, November 9th in Niagara Falls, NY. The second one is in Sevierville, TN on Wednesday November 10th. Each job will take about 3 hours. The pay is $20 per hour and will cover travel time in addition to focus time. No equipment needed, although gloves are useful, and the only skill you need is the ability/willingess to carry and climb a 10 ladder. If you are interested/available, please call Joe Saint at 917-597-7632. Joe Saint Vice-President jkld incorporated www.jkld.com 212-226-2075 -- 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 ------------------------------ In-Reply-To: References: Message-Id: <53715FCE-2EAE-11D9-977E-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Treb challange Date: Thu, 4 Nov 2004 15:10:24 -0700 One of my supplier sent me to an interesting game. Possibly we could build one in the scene shop, no? http://www.globalspec.com/trebuchet/ Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Way off-topic, but ... Date: Thu, 4 Nov 2004 14:17:46 -0800 Message-ID: <037001c4c2bc$20df6cd0$726dfea9 [at] DrDoomsComputer> In-Reply-To: And in my day it was ..... and lead us not into Penn Station, but that was when trains were my mode of travel. Doomster ==================================================== 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 John Arrowsmith Sent: Thursday, November 04, 2004 12:14 AM To: Stagecraft Subject: Way off-topic, but ... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Sorry, but couldn't resist this - just spotted it in my local Church of England church's monthly magazine ... A child, who'd misheard the Lord's Prayer, prayed "... and lead us not into temptation, but deliver us from emails ..." John -- www.rockchallenge.co.uk, THE adrenaline-laden anti-smoking / anti- drunkenness anti-drugs-abuse performing-arts explosion that's got around 14,000 UK 11-to-18s hooked - they'll be on-stage / back-stage in 2005. ________________________________________________________________________ ____ This email and all attachments have been electronically scanned by Kingston Communications' email Anti-Virus service and no known viruses were detected. ________________________________________________________________________ ____ ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Bizarre Multiple Catastrophic Truss Failure - it turns out that... Date: Thu, 4 Nov 2004 14:27:02 -0800 Message-ID: <03d401c4c2bd$691e08c0$726dfea9 [at] DrDoomsComputer> In-Reply-To: Could not open this file. I would like to get the final report. 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 Cyr, Dale Sent: Thursday, November 04, 2004 9:09 AM To: Stagecraft Subject: Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- to all: the "final report" can be found at: if this single url gets broken into two parts, as is likely for one this long, just paste it back together before clicking on it. the title, as can be inferred from the url, is: Unofficial Analysis and Conjecture of Truss Failure Incident. the limited permission to reproduce is extended to this report. note the addition of the final paragraph. I'd like to thank the members of this list that responded to the request for comments in the original post. your comments, suggestions, and advice to consult others, were critical to the analysis of this incident. LIMITED PERMISSION TO REPRODUCE permission is granted specifically to, and only to, the members of this list, to reproduce the photos of the truss failure that have been placed on the website with the url of: PROVIDED that they are used for educational purposes only; that no money or other item of value is exchanged, in any form, for transmission, receipt or use of these photos; that the words "Copyright dalecyr [at] hotmail.com" are included as part and parcel of the photos, of which being a part of a caption is acceptable; that this list server, the administrator of this list server, the members of this list, and the opinions of the members of this list are held harmless in regards to any and all litigation which may directly or indirectly result from this incident. any commercial use is expressly prohibited, but may be negotiated at a later time between the photographer (myself) and interested parties. any use by those who are not members of this list, or use of the photos other than covered above, must be specifically granted by me. the final report, which has been added to the above website, shall not be used for litigation by anyone, no exceptions. the final report shall remain in the possesion of members of this list only. ACCESSING THIS REPORT, IN ANY MANNER, INDICATES YOUR AGREEMENT TO THE CONDITIONS STATED IN THIS EMAIL. dale cyr Training Supervisor IATSE Local 93 Spokane Wa ------------------------------ Date: Thu, 04 Nov 2004 17:45:46 -0500 From: MissWisc [at] aol.com Subject: Re: Lifting problem Message-ID: <3F6F1377.5F439D95.007B9F2A [at] aol.com> I look at the disclaimer as a legal CYA. The motor is designed to lift stuff in industrial situations, it wasn't intended for stagecraft -- even if we protest that OSHA thinks of us as a construction zone. Joe Worker gets hurt because something hanging from a chain motor falls from overhead and the company can say "we told him not to do that!" CM's Disclaimer listing is like the line on my son's field trip release forms that says I won't hold the school responsible if he gets hurt on the trip. You can bet that if he's hurt due to negligence of school staff or chaperones (that ol' "prudent person" test again!), I'll sue and win - even with that line in place. There are safer ways to lift a person - use them whenever possible. Best option when you want to fly someone - call Delbert, Unkle Bill, Foy, etc. You wouldn't let your hair dresser do cardiac surgury. Let the pros do it. Kristi ------------------------------ Subject: RE: Bizarre Multiple Catastrophic Truss Failure - it turns out that... Date: Thu, 4 Nov 2004 14:51:35 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E269 [at] excuswa100.americas.unity> From: "Cyr, Dale" interesting... did you click on the link as it is displayed below? or did you paste it back together first? dale cyr Training Supervisor IATSE Local 93 Spokane Wa -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Dr. Randall W.A. Davidson Could not open this file. I would like to get the final report. doom the "final report" can be found at: if this single url gets broken into two parts, as is likely for one this long, just paste it back together before clicking on it. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1df.2e1c62b3.2ebc1a44 [at] aol.com> Date: Thu, 4 Nov 2004 18:50:28 EST Subject: Re: Ground Terminology: was cold water ground In a message dated 04/11/04 18:28:20 GMT Standard Time, jdurand [at] interstellar.com writes: > >There is room for a textbook, here. > > Several, and they wouldn't agree with each other. I don't know. Some of us are experienced practicioners in this field, backed up by the experience of our predecessors. But, as I said, there are different practices on the two sides of the pond. > > There was a company trying to sell us power "conditioning" for our computer > rooms. Their equipment worked by cutting off your connection to the mains > the instant a disturbance was detected. They didn't have heavy filtering, > just depended on the disconnect. They also didn't have battery backup, > they didn't see why we'd care about losing power as long as nothing was > fried. This was in Florida, we'd have been rebooting several times a day > (unless there was a storm). You do get them! As you know, the only answer is one or more UPSs, which drop back onto a battery maintained supply. At least they provide time for computer systems to shut down in a more or less orderly fashion. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <78.65469807.2ebc1d88 [at] aol.com> Date: Thu, 4 Nov 2004 19:04:24 EST Subject: Re: Ground Terminology: was cold water ground In a message dated 04/11/04 18:47:11 GMT Standard Time, jdurand [at] interstellar.com writes: > A comment about the US "cold water" grounds. It's in our National > Electrical Code (almost all areas adopt this as local law) that cold water > pipes, when metal, must have a path to earth ground. And in the UK. But, if you turn it around, this doesn't make a cold water pipe into a safety earth. > > Our electrical inspector has an easy way of testing grounds, he has a > standard home blow dryer (hand held hot air hair dryer, about 1500W) with > large clips replacing the power plug. He'd clip one to the pipe in > question and the other to a handy hot wire (without a ground fault > breaker). If the dryer ran at full speed, you had a good ground. Practical, but unsafe. Our UK portable apparatus testing rules test the earth connection at 25A. Given your US currents and voltages, that would be 50A. When you consider the potential currents involved, you need to consider your measurement techniques. A single strand of .0076 wire will measure a perfectly sound earth connection to most test meters. It will also serve as a 4A fuse. Frank Wood ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Colorado Springs Date: Thu, 4 Nov 2004 18:55:24 -0800 Message-ID: <019401c4c2e2$e6221fd0$726dfea9 [at] DrDoomsComputer> In-Reply-To: Being a Denver lad, I have found over a period of many years, that the cold there is not the dense, frigid cold that one experiences when living in PA., Montana, etc. I have lived in 29 states and the coldest I experienced was PA. and Illinois. 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 John McKernon Sent: Sunday, October 31, 2004 11:25 AM To: Stagecraft Subject: Re: Colorado Springs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > you're gonna die from the cold. My sister and her family live in Colorado Springs, and I was born in Denver. My advice: get a really good sub-zero winter jacket for the cold days, and be sure to carry a space blanket, flashlight, and some food in the car with you - in addition to a small shovel and your cell phone. However, it's good to know that CS also gets more sunshine per year than most places in the country. The temperature swings can be extreme, 70 degrees one day, 20 the next. So when it's not snowing, the sun is out and *very* bright. A good thing indeed in the middle of the winter. - John McKernon ------------------------------ Message-ID: <418B054B.5000902 [at] ix.netcom.com> Date: Thu, 04 Nov 2004 20:44:59 -0800 From: "Bryan H. Ackler" Organization: Va. Tech - Vassar - USITT - NTHP Subject: NASA: Sound Filters Light References: In-Reply-To: Just thought this would interest everyone. Bryan H. Ackler Portland, Oregon (no longer Dallas :-) =================== SOUND FILTERS LIGHT Russian researchers from the Scientific & Technical Center for Unique Instrument-Making have developed a small, smart, and vibration-tolerant spectrometer, which is equally reliable in outer space as it is in the depths of the ocean. The development was performed with financial support from the Russian Foundation for Basic Research (RFBR) and the Foundation for Assistance to Small Innovative Enterprises (FASIE). The device is based on a new principle: the phenomenon of light diffraction on acoustic waves in crystals. The crystal refraction index is a constant value for each specific transparent medium. However, if a sound wave acts upon such transparent medium, then the refraction index will change slightly. Diffraction efficiency depends on the sound-wave amplitude. If a sound wave diffuses in the crystal, then the space-periodic structure of the medium refraction index alteration occurs, and the fireballs incident from the outside will diffract on the structure. This new principle results in the spectrometer not having to spend precious seconds switching over from, for example, one wavelength to another. Due to its compactness and high sensitivity, the device can be applied in multiple areas, from industrial process control to biomedical applications. For more information, visit: http://link.abpi.net/l.php?20041104A6 ------------------------------ Date: Thu, 4 Nov 2004 21:03:52 -0800 Subject: Re: Ground Terminology: was cold water ground Message-ID: <20041104.210356.204.0.ladesigners [at] juno.com> From: Richard Niederberg No, 1500 watts is approximately 12.5 amps. /s/ Richard > a standard home blow dryer (hand held hot air hair dryer, > about 1500W) . Given your US currents and voltages, that would > be 50A. > Frank Wood ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ In-Reply-To: References: Message-Id: <9CC822C0-2F01-11D9-AD73-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Re: Bizarre Multiple Catastrophic Truss Failure - it turns out that... Date: Fri, 5 Nov 2004 00:06:35 -0800 On Nov 4, 2004, at 2:27 PM, Dr. Randall W.A. Davidson wrote: > Could not open this file. I would like to get the final report. doom Try going to this part of the site, then click the link for the report in the description of the gallery (labeled "Final Report"). Let me know if you're still having difficulty viewing the report. Thanks, Noah ------------------------------ End of Stagecraft Digest #186 *****************************