Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 5361655; Wed, 24 Nov 2004 03:00:40 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #205 Date: Wed, 24 Nov 2004 03:00:15 -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-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #205 1. hypothetically speaking by JDruc3737 [at] aol.com 2. Re: hypothetically speaking by Steve Larson 3. Re: hypothetically speaking by "Paul Sanow" 4. Re: hypothetically speaking by Richard Niederberg 5. Re: hypothetically speaking by Stephen Litterst 6. Re: USITT Workshop: Let's Get the Show on the Road by "richard j. archer" 7. cue lights by b Ricie 8. Re: cue lights by "Chris Warner" 9. Re: cue lights by "Tony" 10. Re: cue lights by JDruc3737 [at] aol.com 11. Re: cue lights by John McKernon 12. Re: References by "Stephen E. Rees" 13. Re: Dimmer and transformer question by Ron Cargile 14. Re: hypothetically speaking by FrankWood95 [at] aol.com 15. Re: cue lights by FrankWood95 [at] aol.com 16. Re: Electric Cooler Suitable for Touring by Jerry Durand 17. Re: was trucking in Vancouver (Herrick drags it OT) by "Storms, Randy" 18. Re: hypothetically speaking by Jerry Durand 19. Re: FW: References by "Michael Finney" 20. Electricians needed (from Joe Saint) by Herrick Goldman 21. Re: cue lights by "Sean Culligan" 22. Re: cue lights by Greg Bierly 23. Re: Surtitles,,, again by CB 24. Beautiful Downtown Pittsburgh by MissWisc [at] aol.com 25. Rotodrapers by "Wayne Rasmussen" 26. Re: Rotodrapers by Greg Bierly 27. Re: cue lights by FrankWood95 [at] aol.com 28. Re: cue lights by FrankWood95 [at] aol.com 29. Re: Surtitles,,, again by FrankWood95 [at] aol.com 30. Giant Props by "Tony" 31. Re: cue lights by Stephen Litterst 32. Re: Rotodrapers by jonares [at] hevanet.com 33. Re: Surtitles,,, again by jonares [at] hevanet.com 34. Re: cue lights by seanrmc [at] earthlink.net 35. Re: cue lights by Greg Persinger 36. Re: cue lights by seanrmc [at] earthlink.net 37. Re: cue lights by Greg Persinger 38. Re: Autocad question - Printout of Layers by Joe 39. CAD Programs by "James, Brian" 40. Re: cue lights by "Andy Leviss" 41. Re: References by June Abernathy 42. Re: References by "James, Brian" 43. Re: Electricians needed (from Joe Saint) by "Daniel O'Donnell" 44. Re: FW: References by Richard Niederberg 45. NSI DSS9600, Followrup by "Daryl Redmon" 46. Re: NSI DSS9600, Followrup by "James, Brian" 47. Re: NSI DSS9600, Followrup by "James, Brian" 48. Re: NSI DSS9600, Followrup by "Daryl Redmon" 49. Re: NSI DSS9600, Followrup by "James, Brian" 50. Re: hypothetically speaking by Andy Ciddor *** 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: JDruc3737 [at] aol.com Message-ID: <1e2.2f6e995b.2ed4994d [at] aol.com> Date: Tue, 23 Nov 2004 08:46:53 EST Subject: hypothetically speaking A hypothetical question from a hypothetical friend who wishes to remain anonymous. Imagine, if you will, a hypothetical warehouse with a range of hypothetical lighting equipment. Some new, but mostly older (15, 20, even 30 years) luminaires, dimmers, control and cables. Now, imagine that the hypothetical sprinkler system lets go, soaking everything. What would you expect to be the extent of the damage and potential repairs? Is it okay to just let everything dry out or would there be more extensive work to be done? Would electronics equipment be expected to survive? All thoughts are appreciated, hypothetically speaking. Jeff Jeffrey Drucker Production Manager Bard College Theater & Dance Depts. 845-758-7956 drucker [at] bard.edu ------------------------------ Date: Tue, 23 Nov 2004 09:03:07 -0500 Subject: Re: hypothetically speaking From: Steve Larson Message-ID: In-Reply-To: Hypothetically, you could donate all of the instruments and cable to my not-for-profit employer, get a huge tax break, and make me a happy man. I'd pass on any electronics. Thanks, Steve on 11/23/04 8:46 AM, JDruc3737 [at] aol.com at JDruc3737 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > A hypothetical question from a hypothetical friend who wishes to remain > anonymous. Imagine, if you will, a hypothetical warehouse with a range of > hypothetical lighting equipment. Some new, but mostly older (15, 20, even 30 > years) > luminaires, dimmers, control and cables. Now, imagine that the hypothetical > sprinkler system lets go, soaking everything. > > What would you expect to be the extent of the damage and potential repairs? > Is it okay to just let everything dry out or would there be more extensive > work to be done? Would electronics equipment be expected to survive? > > All thoughts are appreciated, hypothetically speaking. > > Jeff > > Jeffrey Drucker > Production Manager > Bard College Theater & Dance Depts. > 845-758-7956 > drucker [at] bard.edu > > ------------------------------ Subject: RE: hypothetically speaking Date: Tue, 23 Nov 2004 09:06:02 -0500 Message-ID: From: "Paul Sanow" I sure hope their insurance is not hypothetical. *********************************************************** Paul Sanow psanow [at] vls.com Technical Sales www.vincentlighting.com Vincent Lighting Systems 1420 Jamike Ln. #2 Erlanger, KY 41018 (859) 525-2000 x211 FAX (859) 525-2050 *********************************************************** > -----Original Message----- > From: JDruc3737 [at] aol.com [mailto:JDruc3737 [at] aol.com] > Sent: Tuesday, November 23, 2004 8:47 AM > To: Stagecraft > Subject: hypothetically speaking > Importance: Low >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > A hypothetical question from a hypothetical friend who wishes=20 > to remain=20 > anonymous. Imagine, if you will, a hypothetical warehouse=20 > with a range of=20 > hypothetical lighting equipment. Some new, but mostly older=20 > (15, 20, even 30 years)=20 > luminaires, dimmers, control and cables. Now, imagine that=20 > the hypothetical=20 > sprinkler system lets go, soaking everything. > =20 > What would you expect to be the extent of the damage and=20 > potential repairs? =20 > Is it okay to just let everything dry out or would there be=20 > more extensive=20 > work to be done? Would electronics equipment be expected to survive? > =20 > All thoughts are appreciated, hypothetically speaking. > =20 > Jeff >=20 > Jeffrey Drucker > Production Manager > Bard College Theater & Dance Depts. > 845-758-7956 > drucker [at] bard.edu >=20 ------------------------------ Date: Tue, 23 Nov 2004 06:29:45 -0800 Subject: Re: hypothetically speaking Message-ID: <20041123.063036.3920.0.ladesigners [at] juno.com> From: Richard Niederberg Was the hypothetical system energized at the time? Were the instruments thermally hot at the time? Just Curious... /s/ Richard > Imagine, if you will, a hypothetical warehouse with a > range of hypothetical lighting equipment. Now, imagine > that the hypothetical sprinkler system lets go, soaking > everything. What would you expect to be the extent of > the damage and potential repairs? > Jeff ________________________________________________________________ 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: Tue, 23 Nov 2004 10:18:27 -0500 (EST) From: Stephen Litterst Subject: Re: hypothetically speaking In-reply-to: Message-id: <1866.172.147.198.4.1101223107.squirrel [at] 172.147.198.4> References: > --------------------------------------------------- > What would you expect to be the extent of the damage and potential > repairs? > Is it okay to just let everything dry out or would there be more extensive > work to be done? Would electronics equipment be expected to survive? Theoretically the luminaires and cable should still work once they dry out. Some cleaning will be called for, as the water had probably been in the sprinklers for quite some time. The electronics *might* work. If they were in pretty good condition before the incident it would be worth opening them up and cleaning off the circuit boards before powering them up. Steve Litterst ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 23 Nov 2004 10:39:03 -0500 From: "richard j. archer" Subject: Re: USITT Workshop: Let's Get the Show on the Road >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Is that possible? > >On Behalf Of William McLachlan >...weaving a tapestry of invective the likes of which even >stagehands haven't seen. Not in my experience. I worked on and off in Cleveland for over a dozen years. Dick A TD, Cornell Univ ------------------------------ Message-ID: <20041123154851.69755.qmail [at] web50604.mail.yahoo.com> Date: Tue, 23 Nov 2004 07:48:51 -0800 (PST) From: b Ricie Subject: cue lights In-Reply-To: Hello wise list... I am looking to solve a debate over what department is responsible for running cue lights. One side of the debate is "it plugs in and lights up, therefore it is electrics." the flip side says " it is communication (light goes on = stand by, light goes off = GO), therefore it is the responsibility of the sound department." What say you all? Thanks ===== Brian Rice b_ricie [at] yahoo.com __________________________________ Do you Yahoo!? Meet the all-new My Yahoo! - Try it today! http://my.yahoo.com ------------------------------ Message-ID: <047201c4d174$e5124d90$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: cue lights Date: Tue, 23 Nov 2004 07:55:46 -0800 Lights since the best control over the light is the lighting console. Chris ----- Original Message ----- From: "b Ricie" To: "Stagecraft" Sent: Tuesday, November 23, 2004 7:48 AM Subject: cue lights > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello wise list... I am looking to solve a debate over > what department is responsible for running cue lights. > One side of the debate is "it plugs in and lights up, > therefore it is electrics." the flip side says " it is > communication (light goes on = stand by, light goes > off = GO), therefore it is the responsibility of the > sound department." What say you all? > Thanks > > > > ===== > Brian Rice > b_ricie [at] yahoo.com > > > > __________________________________ > Do you Yahoo!? > Meet the all-new My Yahoo! - Try it today! > http://my.yahoo.com > > > ------------------------------ Message-ID: <0b2b01c4d175$43465c80$0800000a [at] Tony> From: "Tony" References: Subject: Re: cue lights Date: Tue, 23 Nov 2004 15:58:21 -0000 ----- Original Message ----- From: "b Ricie" To: "Stagecraft" Sent: Tuesday, November 23, 2004 3:48 PM Subject: cue lights > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello wise list... I am looking to solve a debate over > what department is responsible for running cue lights. > One side of the debate is "it plugs in and lights up, > therefore it is electrics." the flip side says " it is > communication (light goes on = stand by, light goes > off = GO), therefore it is the responsibility of the > sound department." What say you all? > Thanks > > > > ===== > Brian Rice I would say neither - the person with responsibility over the cue lights should be the SM and/or his/her nominated rep. That they are 'lights' has nothing to do with the LX op, and I can think of no reason why the sound op might 'want' control....! No - I'd say quite confidently that the SM is the controlling dept over cue lights. Ynot ------------------------------ From: JDruc3737 [at] aol.com Message-ID: <1e6.2f1bd388.2ed4bae2 [at] aol.com> Date: Tue, 23 Nov 2004 11:10:10 EST Subject: Re: cue lights Brian, If you mean setting them up, then it's the sound departments responsibility since it is part of the communication system. If you're talking about operation of the cue lights, then the SM takes care of that. HTH Jeff what department is responsible for running cue lights. Brian Rice Jeffrey Drucker Production Manager Bard College phone 845-758-7956 fax 845-758-7925 email drucker [at] bard.edu ------------------------------ Date: Tue, 23 Nov 2004 11:14:36 -0500 Subject: Re: cue lights From: John McKernon Message-ID: In-Reply-To: Everywhere I've been, they're always handled by the electricians, since they're (at least on road tours and B'way) nothing more than a lot of cable, some sockets and light bulbs, and a bunch of switches on the stage manager's console. When we did "Chicago" in London we had more elaborate setup, but as I recall they were still something electrics dealt with. And even the fancier systems still boil down to light bulbs and switches, in whatever guise. As far as *running* them goes, of course that's the stage manager's department. Only SM's actually flip the switches. I will also say that a lot of electricians and sound folks wish there were a "Communications & IT" department that would handle things like headsets and computer networking... - John ------------------------------ Message-ID: <41A3660D.1070501 [at] fredonia.edu> Date: Tue, 23 Nov 2004 11:32:13 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: References References: With our undergraduates, we encourage placing the referees with their contact information at the bottom of the one-page resume. This facilitates rapid contact by any PMs or others who might wish a rapid response from a reference for a person they are considering offering employment. We do not include letters of reference in the portfolio itself. Those are considered to be privileged communication between the employer and the referee - even if the referee is saying wonderful things about the student. We also have a Career Development office here on campus that puts together basic dossiers of students who wish to create such a file. Generic TWIMC letters of rec go in this file along with most anything else the graduating student wants to put there. That saves writing dozens of letters to individuals. I still do write individualized letters when asked. Our recent (5 year) experience has been a sharp rise in telephone references to potential employers who are using the contact info on the resume. We are pretty careful about emailing anything until we are certain of the actual recipient. HTH, Steve Rees, TD SUNY-Fredonia Luis Ramirez wrote: >> We teach a portfolio preparation class[snipped] ------------------------------ Message-Id: <6.0.0.22.2.20041123092647.01b21218 [at] pop.uci.edu> Date: Tue, 23 Nov 2004 09:28:20 -0800 From: Ron Cargile Subject: Re: Dimmer and transformer question Thanks to all who responded. I had my question thoroughly (and simply!) answered. ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <30.66466cd3.2ed4d538 [at] aol.com> Date: Tue, 23 Nov 2004 13:02:32 EST Subject: Re: hypothetically speaking In a message dated 23/11/04 13:48:00 GMT Standard Time, JDruc3737 [at] aol.com writes: > A hypothetical question from a hypothetical friend who wishes to remain > anonymous. Imagine, if you will, a hypothetical warehouse with a range of > hypothetical lighting equipment. Some new, but mostly older (15, 20, even > 30 years) > luminaires, dimmers, control and cables. Now, imagine that the hypothetical > > sprinkler system lets go, soaking everything. > > What would you expect to be the extent of the damage and potential repairs? > > Is it okay to just let everything dry out or would there be more extensive > work to be done? Would electronics equipment be expected to survive? > > All thoughts are appreciated, hypothetically speaking. I should hypothesise that the gear would come by little harm, provided that it was clean water. Obviously, everything would need to be thoroughly dried out, cleaned, and serviced. The cables would be tiresome to dry out, if there has been water penetration to any great extent. It would be wise to sacrifice a few to judge the degree of penetration. The electronics will probably have survived. Again, thorough drying and cleaning would be in order. But we used 24 channels of Strand LC dimmers (antique saturable reactors with electronic controls) for many years after they had been dropped, cased, into Lisbon harbour. One of our members ran the electronics through an ultrasonic cleaner, and we had no problems that weren't designed in. When we finally got slightly modern, we sold it on to another amateur theatre, where it gave several more years of service. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 23 Nov 2004 13:13:25 EST Subject: Re: cue lights In a message dated 23/11/04 15:49:47 GMT Standard Time, b_ricie [at] yahoo.com writes: > Hello wise list... I am looking to solve a debate over > what department is responsible for running cue lights. > One side of the debate is "it plugs in and lights up, > therefore it is electrics." the flip side says " it is > communication (light goes on = stand by, light goes > off = GO), therefore it is the responsibility of the > sound department." What say you all? I don't want to get involved in another discussion about operational methods. That said, since the SM originates the cues, I should have thought that it patently falls in their domain. It's really a question of who has relevant expertise. Given the US custom of using mains voltage cue lights, I should say that the lighting side would be preferred, If you want to delegate. And, since when has the sound side been responsible for communications? Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20041123100643.03bbf1f8 [at] localhost> Date: Tue, 23 Nov 2004 10:13:59 -0800 From: Jerry Durand Subject: Re: Electric Cooler Suitable for Touring In-Reply-To: References: At 04:51 PM 11/22/2004, you wrote: >Hey gang, >So, I bought myself a cheap little $30 electric cooler/warmer at a >Walgreens to keep drinks and snacks (some three-show days I've sustained >myself primarily on "pudding in a tube"!) cool out at FOH while I'm on >tour. After a month or so, the power supply has up and died (it's >definitely not built for anywhere near the amount of use I put on it--it >warms up pretty fast, and finally burnt through one of the components on >the circuit board; then again, running 24-7 for four days out of the >week (five on split-weeks) will do that to an el-cheepo AC-DC adapter). >I'm debating whether to get a beefier power supply for it, or to search >for a new cooler/mini-fridge built to work harder than this one was. Or >to find a Walgreens and just replace the whole thing, since that'll cost >less than a power supply. We've used a couple of different brands of the DC coolers. The first one (Koolatron) lasted maybe 5 years of constant use and still works (probably 10 years old now). I did replace the cheap fan on it with a standard 4" square DC fan which is quieter and more reliable. We've since bought a newer, bigger Koolatron one (Costco has them in the summer) that can be used on end (side opening door) or as a chest. We power them with a standard 12V, 8.5A AC adapter that I had left over from a project many years ago (just add a cigarette lighter socket). This one's adjustable so it's set to 13.8V to simulate a automobile power system. We have found with the new one that if we leave it running for several days straight the fins inside tend to ice up and need to be manually defrosted. Other than that, they work great. ---------- 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: was trucking in Vancouver (Herrick drags it OT) Date: Tue, 23 Nov 2004 10:14:37 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B732399F [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I live about an hour from Vancouver, and I can assure you it's a = beautiful city - but you take your life in your hands trying to drive = there, and parking is a blood sport.=20 Whenever I visit I make use of their outstanding public transit system, = which was originally constructed for the world's fair. For around $5.00 = Canadian, you can purchase a day pass that allows you to ride the = Skytrain (monorail connecting major sections of the city and suburbs - = quiet, clean, and a new train every 3-5 minutes), the city busses, and = the Seabus: a catamaran ferry connecting the downtown area with the = Lonsdale Quay public market in North Vancouver. =20 If the weather's nice, check out Stanley Park - pleasant to walk around, = or I understand they are renting Segways by the half-hour down there = now. For shopping there's the Metrotown Mall or Granville Island (a = sort of artist colony with hundreds of little studios and shops - you = can reach it on foot or by bus or taxi, but it's more fun to take a = little 20-passenger False Creek Ferry and get a quick tour of the city = by water while you're at it.) If you want to be a real tourista check = out the Capilano Suspension Bridge - a nice day trip if you like that = kind of thing. For the authentic Vancouver experience, don't miss Gastown (take the = trolley!) and Chinatown. For restaurants try the Robson Street = (robsonstrasse) district - every type of ethnic food you can imagine. = For a dinner with a spectacular view try the Harbor Centre Tower - the = tallest building in B.C., with a rotating restaurant. Have fun, and if I can help you with any details let me know. -- r. Randy Storms rstorms [at] bham.wednet.edu _______________________________ And speaking of Vancouver..... My wife and I will be skiing up there in December (Whistler/Blackomb) But we may actually need to take a day off to rest. Do any listers live = in Vancouver? Any suggestions of things not to miss? Restaurants, Museums, Shows? ------------------------------ Message-Id: <6.2.0.14.0.20041123103352.03bc1150 [at] localhost> Date: Tue, 23 Nov 2004 10:38:42 -0800 From: Jerry Durand Subject: Re: hypothetically speaking In-Reply-To: References: At 05:46 AM 11/23/2004, you wrote: >A hypothetical question from a hypothetical friend who wishes to remain >anonymous. Imagine, if you will, a hypothetical warehouse with a range of >hypothetical lighting equipment. Some new, but mostly older (15, 20, even >30 years) >luminaires, dimmers, control and cables. Now, imagine that the hypothetical >sprinkler system lets go, soaking everything. That sounds like a hypothetical mess. >What would you expect to be the extent of the damage and potential repairs? >Is it okay to just let everything dry out or would there be more extensive >work to be done? Would electronics equipment be expected to survive? Unknown to most people, PC boards are washed (normally with water) after soldering to clean off all the residue. CLEAN water (not sugared soft drinks) getting on PC boards that are not powered up will generally not do much damage. You'll want to dry things off as quickly as possible, PC boards are typically baked at low temperatures (80 C) to dry them off. Check connectors. Potentiometers might be problems. Paper speaker cones ARE a problem. As for other parts, lens coatings may not like water. Water spots may be hard to remove. Metal rusts/corrodes. > >All thoughts are appreciated, hypothetically speaking. Hypothetical best of luck to the hypothetical person who may or may not need to hear this. ---------- 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: FW: References Date: Tue, 23 Nov 2004 10:56:27 -0800 Message-ID: From: "Michael Finney" On Mon, 22 Nov 2004 Luis Ramirez wrote: <> A divergence of opinion has come up re: letters of recommendation and references for our students.>> <> <> I usually see "references on request" for resumes of experienced folks, and a list of 2-4 references (with contacts) for more "entry level" applicants. Purely personal opinion here, but I don't object to a letter of recommendation with the resume. Of course, it doesn't really gain the person much...I'll still be contacting their references if I'm interested in hiring them. The big problem is that I have yet to see anybody include a letter of recommendation that actually tells me the sort of things I want to know...they're generally so generic (and effusive) that they're useless as actual sources of information. I have this dream of someday seeing a letter of recommendation that says "Bobby is a brilliant rigger, but he's a walking disaster as a carpenter and we've all agreed to never let him near strong drink again". (on the other hand, I actually did get a recommendation from somebody that was very, very close to that when I talked to them in person!). Soooo - personal observation from the resumes that I see and the way I like to see them would be: no letters of recommendation in the portfolio (I'm really only looking at final product when I'm reviewing a portfolio). A letter of recommendation with the resume is just filler (for me), but I wouldn't take points off. Contact info for references in the resume for entry level folks or in cases where the applicant has a good reason to believe that the references are directly relevant to the particular situation they're applying for. Otherwise (and in most cases for people with significant experience)- "references on request" on the resume and a possible "Sigmund Mugwump at BigTheatre Productions can speak to my particular experience in welding plywood" statement in the cover letter if you think the person you're writing to might know Mr. Mugwump and the experience is relevant. And I agree with Herrick - listing known directors and designers with any credits is usually a help. Especially if you worked with them more than once! And they'll speak well of you...or at least not *too* badly! Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 PS - I just recalled *one* example of a good letter of recommendation included with a resume. A friend of mine had been this person's professor, and he'd included a hand written letter that basically said that this person didn't have the most impressive resume but that they were an absolute joy to work with and that my friend felt that the person would benefit from spending some time working on a particular project that I had coming up. It was wonderfully honest, and I thought it showed (pretty clearly) how committed my friend was to developing this person....and that's a pretty darned good recommendation (for both of them!). ------------------------------ Date: Tue, 23 Nov 2004 14:58:17 -0500 Subject: Electricians needed (from Joe Saint) From: Herrick Goldman Cc: joe [at] jkld.com (Joe Saint) Message-ID: In-Reply-To: jkld incorporated is seeking three different electricians to do some in-store lighting work at three Calvin Klein outlet mall stores. In each store, we will be removing some existing tracklights, refocussing the remaining ones, and packing up the removed ones for shipping. The first store is on Tuesday, November 30th in Leesburg, VA. The second one is on Tuesday, December 7th in Aurora, OH. The last one is on Wednesday, December 8th in Michigan City, IN. (Note: These last two stores may reverse their dates if schedules require.) Each job will begin at 7:00am and take about 6-7 hours. The pay is $20 per hour and will cover travel time in addition to focus time. No equipment needed, although gloves are useful, and the only skill you need is the ability/willingess to carry and climb a 10 ladder many, many times. If you are interested/available, please call Joe Saint at 917-597-7632 or send him an e-mail at joe [at] jkld.com. Joe Saint Vice-President jkld incorporated www.jkld.com 212-226-2075 Posted by: -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <009101c4d199$d2085760$916efea9 [at] culliganf4gxvn> From: "Sean Culligan" References: Subject: Re: cue lights Date: Tue, 23 Nov 2004 15:20:04 -0500 It probably depends a lot on your organization. How many staff workers do you have? How much over hire do you do? How many shows does your space(s) do per year? These questions (and more) will point/lead to whatever method is used at a theatre. That being said, here is a quick run down on how it is done on most shows here at Yale (over 20 per year). This is an example of a more beuracratic system. SM - Sends out a tech request before focus, specifying locations of needed headsets, who needs a wireless, cue light locations and (sometimes) run light estimates, etc. Electrics - Hangs and circuits cue lights, sets up cue light board at SM table. Sound - Provides and circuits all headsets and god Mic. Sets up intercom at SM table. Stage Carpenter - Place run lights as needed. The basic philosophy this exemplifies is that SM is there to deal with the actors/performance. Sound deals with anything that its primary purpose is auditory communication. Electrics: anything that it's primary purpose is visual communication. Of course, there are exceptions to every rule/practice: Any video monitoring (standard, infrared, whatever) also falls to sound. Also, on smaller shows, the ME may handle run lights in addition to cue lights. All that being said, this method is used because we are such a large organization and can afford that kind of delegation on our larger shows. Smaller venues would most likely need to mix and match responsibilities to some extent. Again, this is just an example. It is not the right way, it's not the wrong way, it is just the Yale way. Methods (more improtantly the NEEDS) will vary from space to space and production to production. Sean Culligan TD&P MFA Candidate Yale School of Drama 203-500-6132 ------------------------------ In-Reply-To: References: Message-Id: <04E754FC-3D8D-11D9-ADB5-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: cue lights Date: Tue, 23 Nov 2004 15:19:46 -0500 > If you mean setting them up, then it's the sound departments > responsibility > since it is part of the communication system. Unless of course the cue lights come run on 2P&G and through the lighting mults like most of the tours I have seen lately then it is electrics. ------------------------------ Message-Id: <3.0.6.32.20041123135130.0181db88 [at] pop.west.cox.net> Date: Tue, 23 Nov 2004 13:51:30 From: CB Subject: Re: Surtitles,,, again >Just because you have >found a partial solution to a problem does not mean that you should stop >looking for a better one. OK, time to put an end to this. Frank, knowing projection like you do, you are obviously aware of the special properties that a mirror for projection is required to have. It must rflect of the front surface, not the surface behind the glass, as then you would have two images, one from the glass and one from the 'silvered' mirror surface. It would also have to be twice as tall as the image you propose to show to the audience if mounted at a forty-five, and just as wide as the proposed image. If I were to want my supratitles to be eighteen feet wide, and eighteen inches tall (a minimum in some of the houses you suggest) how large a mirror would I need? How would that mirror be suspended, much less hauled into place, without bending or breaking it? How much would such a mirror cost? What about shipping? What about the AZ Opera here, which travels between Tucson and Phoenix, and sometimes Flagstaff? Would it be more reasonable to buyt three, or perhaps trucking and re-rigging is cheaper? Can I find eighteen inches of clearance between the pro and the first rag or border in most houses, with a clear shot to where the projector will be mounted? Most projectors won't like to be mounted lens down because they need to evacuate so much heat, so I'll likely need a second mirror, albiet smaller. Solve for X, show your work, and no talking till the test is over. I'm just a skweek that's done a bit of projection, and I can forsee all these problems and more. Yes, it was an intuitive bit of spit-balling, but unless you can come up with answers for the above questions, you really shouldn't be pointing that thing at anyone. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Tue, 23 Nov 2004 15:53:05 -0500 From: MissWisc [at] aol.com Subject: Beautiful Downtown Pittsburgh Message-ID: <0918F25C.5B6BB64D.007B9F2A [at] aol.com> I'm looking for assitance with info on Pittsburgh/ Heintz Hall ... looking for hotel recommendations, parking info, good place to eat/drink, etc. If I get a hotel 10 miles out of town, is there a cheap place for stagehands to park near the theatre? (Any IA local #3 folks here?) Kristi ------------------------------ Message-ID: <006e01c4d1ac$25edad50$0617000a [at] blair.edu> From: "Wayne Rasmussen" Subject: Rotodrapers Date: Tue, 23 Nov 2004 17:31:17 -0500 I posted a few days ago to find out if any listers had 6-8 #28 Rotodrapers (track to pipe) for loan or rent. I could also use 4-6 #6 units (pipe to pipe). For our current show, I'd like to adapt these units for use with some Hollywood flats, and have a scheme how I can make them work. Have any of you used Rotodrapers for this purpose? Do you have ideas of a better system? Thanks, Wayne Rasmussen Blair Academy ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Rotodrapers Date: Tue, 23 Nov 2004 17:35:12 -0500 They do make hardware for that. I got mine from BMI or Production Advantage. On Nov 23, 2004, at 5:31 PM, Wayne Rasmussen wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I posted a few days ago to find out if any listers had 6-8 #28 > Rotodrapers > (track to pipe) for loan or rent. I could also use 4-6 #6 units (pipe > to > pipe). > > For our current show, I'd like to adapt these units for use with some > Hollywood flats, and have a scheme how I can make them work. Have any > of > you used Rotodrapers for this purpose? Do you have ideas of a better > system? > > Thanks, > Wayne Rasmussen > Blair Academy > > Greg Bierly Technical Director Hempfield HS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12c.5195817f.2ed52d34 [at] aol.com> Date: Tue, 23 Nov 2004 19:17:56 EST Subject: Re: cue lights In a message dated 23/11/04 20:21:04 GMT Standard Time, slc193 [at] email.com writes: > That being said, here is a quick run down on how it is done on most shows > here at Yale (over 20 per year). This is an example of a more beuracratic > system. > > SM - Sends out a tech request before focus, specifying locations of needed > headsets, who needs a wireless, cue light locations and (sometimes) run > light estimates, etc. > > Electrics - Hangs and circuits cue lights, sets up cue light board at SM > table. > > Sound - Provides and circuits all headsets and god Mic. Sets up intercom at > SM table. > > Stage Carpenter - Place run lights as needed. Here is a completely different method. The cue lights are permantly wired to the places where they are usually needed. There are portable boxes for use in odd situations, and connection points. Each box has an outlet for the communications system. That and the cue light controls are built into the SM desk. If I understand correctly, run lights are specified by the SM, and rigged and operated by the lighting team, so as to interfere as little as possible with the stage lighting. Nonetheless, they may have to be turned off in some lighting cues. If I interpret the term 'God Mic' correctly, as the main stage sound monitor, this is derived from the deaf-aid system. This, again, is a permanent installation. If you have control over your premises, which we do, this seems a much tidier way of working. If not, you do what you can. But personally, I am against the approach which says "that's your job, and that's mine". Surely, we all have one aim, to get the show on the stage. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 23 Nov 2004 19:33:58 EST Subject: Re: cue lights In a message dated 23/11/04 20:21:23 GMT Standard Time, gbierly [at] dejazzd.com writes: > > If you mean setting them up, then it's the sound departments > > responsibility > > since it is part of the communication system. > > Unless of course the cue lights come run on 2P&G and through the > lighting mults like most of the tours I have seen lately then it is > electrics. Sometimes, I despair of US customs and practices. While you claim to be the most technically advanced country in the world, little of this seems to have penetrated into some aspects of theatre. I don't want to get too involved with this: e-mail me privately, and I shall be more loquacious. But, I just say that these working methods had, I thought, died 70 years ago. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 23 Nov 2004 19:46:16 EST Subject: Re: Surtitles,,, again In a message dated 23/11/04 20:51:24 GMT Standard Time, psyd [at] cox.net writes: > OK, time to put an end to this. Frank, knowing projection like you do, you > are obviously aware of the special properties that a mirror for projection > is required to have. It must rflect of the front surface, not the surface > behind the glass, as then you would have two images, one from the glass and > one from the 'silvered' mirror surface. It would also have to be twice as > tall as the image you propose to show to the audience if mounted at a > forty-five, and just as wide as the proposed image. If I were to want my > supratitles to be eighteen feet wide, and eighteen inches tall (a minimum > in some of the houses you suggest) how large a mirror would I need? How > would that mirror be suspended, much less hauled into place, without > bending or breaking it? How much would such a mirror cost? Rosco do a very good mirror film. It needs care to ensure that it is evenly stretched. What about > shipping? What about the AZ Opera here, which travels between Tucson and > Phoenix, and sometimes Flagstaff? Would it be more reasonable to buyt > three, or perhaps trucking and re-rigging is cheaper? Can I find eighteen > inches of clearance between the pro and the first rag or border in most > houses, with a clear shot to where the projector will be mounted? Most > projectors won't like to be mounted lens down because they need to evacuate > so much heat, so I'll likely need a second mirror, albiet smaller. > Solve for X, show your work, and no talking till the test is over. > I'm just a skweek that's done a bit of projection, and I can forsee all > these problems and more. Yes, it was an intuitive bit of spit-balling, but > unless you can come up with answers for the above questions, you really > shouldn't be pointing that thing at anyone. All these numbers come out of your head. If you can receive a .DXF file, tell me so, and I will do a drawing. This may take a day or two. Frank Wood ------------------------------ Message-ID: <2ccc01c4d1be$e7b61dc0$0800000a [at] Tony> From: "Tony" References: Subject: Giant Props Date: Wed, 24 Nov 2004 00:45:30 -0000 I've been searching the archives but as yet haven't managed to find the post where someone had some giant props (ie for use in the giant's kitchen for Jack & the Beanstalk) for hire in the UK. Anyone know where this was??? Ynot ------------------------------ Date: Tue, 23 Nov 2004 20:47:22 -0500 (EST) From: Stephen Litterst Subject: Re: cue lights In-reply-to: Message-id: <2422.172.132.230.247.1101260842.squirrel [at] 172.132.230.247> References: > --------------------------------------------------- > > Hello wise list... I am looking to solve a debate over > what department is responsible for running cue lights. > One side of the debate is "it plugs in and lights up, > therefore it is electrics." the flip side says " it is > communication (light goes on = stand by, light goes > off = GO), therefore it is the responsibility of the > sound department." What say you all? Cue lights 'round here are a lighting responsibility. The SM tells us where cue lights are needed after the paper tech and the electricians have them ready for first tech. I dream of a DMX switchbox so I can use the 300 extra dimmers I have as cue lights and just address the SM's switches to the appropriate dimmer. I'm liking the people who suggest they're a sound dept responsibility, though. I wonder if I could sell that to John... Steve Litterst ------------------------------ Message-Id: <200411240222.iAO2MKU51277 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Re: Rotodrapers Date: Wed, 24 Nov 2004 02:22:20 GMT > For our current show, I'd like to adapt these units for use with some > Hollywood flats, and have a scheme how I can make them work. Have any of > you used Rotodrapers for this purpose? Do you have ideas of a better > system? Wayne -- I don't know about a rental house with exactly what I'm about to describe, but there's a theatre in this town that, before their remodel, used a lot of track (permanent) and had roto-like things for scenery - they had brackets or tabs that came down from a piece of square stock (rather than drape pipe) that a 'standard' or 'Broadway' flat could be through-bolted. These had pretty healthy rotos on them, and were pretty durable. Unfortunately, no one there now was there when the things were installed 'way back when' so no one knows who made them. The theatre no longer has them now. -- Jon Ares ------------------------------ Message-Id: <200411240226.iAO2QCU53265 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Re: Surtitles,,, again Date: Wed, 24 Nov 2004 02:26:12 GMT > All these numbers come out of your head. If you can receive a .DXF file, tell > me so, and I will do a drawing. This may take a day or two. Ooh, maybe Noah can post this file to the website? I would love to see the Frank Woods Patented Rear Projection Surtitle System (TM) myself. All these years of parking a projector in FOH - what HAVE I been doing? -- Jon Ares ------------------------------ Message-ID: <6175936.1101263471170.JavaMail.root [at] gonzo.psp.pas.earthlink.net> Date: Tue, 23 Nov 2004 21:31:11 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: cue lights Does anyone else use something like Steve's dream system? A little history: When I started here (The Shakespeare Theatre in DC) about 5 years ago, our cue light system was an 18 switch Colortran DMX device driving install dimmers. As the device started failing, it was replaced by a 12 switch switch-box, with a 6 circuit mult run to each side of the stage. This "new" system does NOT use house dimmers (a good thing). The problem is that during tech two mults must be dropped to the house from the booth. It's a pain, and not the easiest/safest process to patch and unpatch the "extension" mults. I'd like to replace this with relays (either backstage or in the booth), with a remote control (the SM's interface) in a rack. That way only a control cabe or two would have to drop to the house for the tech table. It doesn't have to be DMX, but what exists "off the shelf" for this? I prefer the lights to be line-voltage. Thoughts? Thanks all! --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- I dream of a DMX switchbox so I can use the 300 extra dimmers I have as cue lights and just address the SM's switches to the appropriate dimmer. Steve Litterst ------------------------------ Date: Tue, 23 Nov 2004 20:47:52 -0600 Subject: Re: cue lights From: Greg Persinger Message-ID: In-Reply-To: Steve Litterst wrote: > I dream of a DMX switchbox so I can use the 300 extra dimmers I have as > cue lights and just address the SM's switches to the appropriate dimmer. Get a Doug Fleenor preset 10 portable and you are in business. Around $450 or so. http://www.dfd.com/p10p.html If your dimmer racks are ETC sensor racks put the DMX into the B input and set your start and end addresses so that the console and preset 10 don't conflict. Presto instant DMX controlled cue system. OR If you want to use your existing switches Pathway makes an analog to DMX converter. A little wire, solder and a power supply and your SM can fire dimmers all day long. OK it might not be that easy but once you set it up and wired the DMX inputs where you need them it would be pretty simple to use. If you needed additional control stations you could use the architectural version of the preset 10 in a master slave configuration. Just a thought. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <12956988.1101265431758.JavaMail.root [at] gonzo.psp.pas.earthlink.net> Date: Tue, 23 Nov 2004 22:03:51 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: cue lights Frank: With the exception of DSR and DSL (and maybe the rail), it wouldn't be practical to have anything like a "permantly" wired box, at least in my space. Large shows are often complex enough that cue lights are hidden in/attached to scenery. Cue lights often end up on booms, and share cable runs with lighting mults. It's easier to run them IN the mult cable drop to said booms. A "God Mic" is used by the SM and/or the Director during tech rehearsals so as to be heard on stage. It has nothing to do with assisted listening OR monitoring. --Sean -----Original Message----- From: FrankWood95 [at] aol.com The cue lights are permantly wired to the places where they are usually needed. There are portable boxes for use in odd situations, and connection points. Each box has an outlet for the communications system. That and the cue light controls are built into the SM desk. If I interpret the term 'God Mic' correctly, as the main stage sound monitor, this is derived from the deaf-aid system. This, again, is a permanent installation. ------------------------------ Date: Tue, 23 Nov 2004 21:34:55 -0600 Subject: Re: cue lights From: Greg Persinger Message-ID: In-Reply-To: Sean, A google search led me to : ASL located in Holland http://www.asl-inter.com/theater_products.aspx And Stonewood Audio in the UK http://www.stonewood.co.uk/audio/products/index.html For off the shelf products. Doug Fleenor has listed custom built cue light systems. Depending on your requirements a simple system could be built with off the shelf parts but these systems seemed very versatile. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <1.5.4.32.20041124034444.01542224 [at] pop.paonline.com> Date: Tue, 23 Nov 2004 22:44:44 -0500 From: Joe Subject: Re: Autocad question - Printout of Layers I don't know of a direct way (though I am only current through version 2002). However, I have printed out a list of layers using the following process; Type -layer to get the command prompt version of the layer command. Then L to list all the layers (I think the next prompt is for what layers to list, and you just accept the default * wildcard character to list all of them). Hit return, and a window will pop up listing all the layers. The list is longer than one screen, it will pause and prompt you to hit the space bar to continue You can copy and paste this text into a word processor. However, you may want to edit out the "hit spacebar to contiue" text which will appear every 20 layers or so. A second method is the old LOG command. ..or was it LOGFILE or LOGFILEON At least I think that is the command, I haven't used it in years. You will have to look it up on your own. Anyway, this command will create an external text file of everying that appears on the command prompt line. If you list the layers like I did in the first method, that list will be in the text file. Joe Dunfee joe [at] dunfee.com Gordonville, Pennsylvania, U.S.A. ------------------------------ Subject: CAD Programs Date: Tue, 23 Nov 2004 22:53:02 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9AF48 [at] fangorn.cc.vt.edu> From: "James, Brian" We are looking to upgrade our current lighting design software. In = addition to lighting plots, I am having an increasing need to do sound = plots, stage lay outs etc. The program we use is very nice for plots, = however the "back end" drawing portion is week. This make scaled = drawings, and complete show drawings rather awkward, and time consuming. = Other than cost factor, which program do people here prefer and why? I = have seen demos of Vector Works, attempted Auto Cad (briefly) but have = not had time to form an opinion of either. The cheapest option we have, = due to site licenses, is VISIO, which I have but I am rarely able to = successfully import drawing supplied by off campus suppliers (tours, = etc). Are there other options I should research? Any input would be greatly appreciated! ------------------------------ From: "Andy Leviss" Subject: RE: cue lights Date: Tue, 23 Nov 2004 21:59:20 -0500 Organization: Duck's Echo Sound Message-ID: <002801c4d1d1$996a7f40$a19afea9 [at] AndyLeviss> In-Reply-To: Brian Rice inquired: > Hello wise list... I am looking to solve a debate over > what department is responsible for running cue lights. > One side of the debate is "it plugs in and lights up, > therefore it is electrics." the flip side says " it is > communication (light goes on = stand by, light goes off = > GO), therefore it is the responsibility of the sound > department." I've done both small-to-medium-sized regional theatre and national Broadway tours, and in all of my experience it's always been the electrics department's responsibility. In the regional I worked in that had cue lights, it was a small two-conductor twist connector with patch panels all over the place and cables run to the scenic pieces as necessary, run from a purpose-built controller that was quite sexy; on the tour, it was a panel of standard light switches with stage-pin tails coming off the back of the SM console. Semantically, it may be a system of communications, but it's lights and 120V power, it's definitely not sound! I don't like it, but I can buy arguments for video being our responsibility, but cue lights is going beyond stretching it, IMHO. --Andy Leviss Sound engineer, Sesame Street Live: Elmo's Coloring Book This week: Dubuque, IA and Milwaukee, WI --- 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 ------------------------------ Message-ID: <20041124042428.77262.qmail [at] web14124.mail.yahoo.com> Date: Tue, 23 Nov 2004 20:24:28 -0800 (PST) From: June Abernathy Subject: Re: References I would usually recommend "references available upon request" line on the resume itself, and a separate sheet for them. For a couple of reasons - one, to buy yourself space on the one page resume. Two, because what references you use may vary depending on the position sought. Three, because changing or updating references does not require you to change and reprint resumes, and vice versa. Make SURE your references include a phone number (with area code!), and an e-mail address if possible. In my experience, most people use one of these methods to check a reference. The address should be included, but I think it is mainly used as a way to tell who the person is and where you may have encountered them. I could see including references on the resume itself if your credits were very few, and you need to fill out the page. I agree with Herrick, that including names of people you've worked with as well as places that you have worked in the resume is important. It gives you "built in" references, and can be an important link, if the person scanning resumes recognizes a name or a place that they are familiar with. On a related note, there is a big debate over whether you should include YOUR address and/or even phone on a resume. The thinking is that they get passed around, left unattended, tossed in the trash, etc., and your personal information is all over the place. Some instructors recommend just listing an answering service phone and an e-mail address, and only including your physical address if it's a P.O. Box or the like. Or, only including contact information on your cover letter. I'm not sure this is really a big deal, but there are some people who do. I'm of the opinion that you should make it as easy as possible for potential employers to reach you. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo ------------------------------ Subject: RE: References Date: Tue, 23 Nov 2004 23:32:32 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9AF4A [at] fangorn.cc.vt.edu> From: "James, Brian" On a small note, you should ensure whoever you use for a reference not = only has correct information, but furthers the image you want. I have a = hard time not trashing applications and resumes when I call a reference = and get a stupid/tacky or off color answering machine message (may be = surprised how often that happens). -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of June Abernathy Sent: Tuesday, November 23, 2004 11:24 PM To: Stagecraft Subject: Re: References For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Make SURE your references include a phone number (with area code!), and an e-mail address if possible. In my experience, most people use one of these methods to check a reference. The address should be included, but I think it is mainly used as a way to tell who the person is and where you may have encountered them. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) =09 __________________________________=20 Do you Yahoo!?=20 Take Yahoo! Mail with you! Get it on your mobile phone.=20 http://mobile.yahoo.com/maildemo=20 ------------------------------ In-Reply-To: References: Message-Id: <6409ACAE-3DD2-11D9-BB62-000D9329F45E [at] mystykworks.com> From: "Daniel O'Donnell" Subject: Re: Electricians needed (from Joe Saint) Date: Tue, 23 Nov 2004 23:36:21 -0500 On Nov 23, 2004, at 2:58 PM, Herrick Goldman wrote: > jkld incorporated is seeking three different electricians to do some > in-store lighting work at three Calvin Klein outlet mall stores. In > each > store, we will be removing some existing tracklights, refocussing the > remaining ones, and packing up the removed ones for shipping. Having just completed doing a similar job with Mr. Saint let me say that it is a lot of ladder moves and climbs, but it's not a tough day, and he's a good guy to work with. The job went smooth and was all in all quite nice. --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ Date: Tue, 23 Nov 2004 21:10:38 -0800 Subject: Re: FW: References Message-ID: <20041123.211748.1936.0.ladesigners [at] juno.com> From: Richard Niederberg Dear Michael, In today's litigious environment, this shouldn't surprise you. Unfortunately, I must advise my clients to write recommendation letters this way for their own legal protection. Furthermore, sometimes the only 'legally safe' way to get rid of a troublesome employee is to write them a glowing recommendation letter. This also works in the case of 'bad' tenants that you wish would move to someone else's building located far away from the 'good' tenants that you wish to retain in your own building, whether it be a residential, commercial, industrial, or performing arts building. /s/ Richard > The big problem is that I have yet to see anybody include > a letter of recommendation that actually tells me the sort > of things I want to know...they're generally so generic (and > effusive) that they're useless as actual sources of information. > Michael Finney ________________________________________________________________ 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. ------------------------------ Message-ID: <005701c4d1e9$824f3270$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" Subject: NSI DSS9600, Followrup Date: Tue, 23 Nov 2004 21:50:31 -0800 First I want to thank all who sent feedback to me to help me isolate the problem I was having with our dimmer. As I only have access to the dimmer on Sunday Morning it has taken longer to isolate the problem. As I can best tell the uncontrolled blackout of my house lights is due to the slower processer in the DSS9600. I am not able to slow down the output of our light board Leprecon XP-24 so currently I am running the Dimmer with a seperate NSI controller until we either change the dimmer with another type or get a adaptor such as pathway ultimate converter. Does any one of the list have experence with the different converters which will allow me to convert from DMX to MPX? Daryl Redmon Resounding Light ------------------------------ Subject: RE: NSI DSS9600, Followrup Date: Wed, 24 Nov 2004 00:54:48 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9AF4D [at] fangorn.cc.vt.edu> From: "James, Brian" We have used the NSI 301 protocol converter for a similar situation, For = the price, it is not a bad converter. It can be configured for a few = different translations.=20 Lighttronics also makes an economically priced converter that we have a = good luck with. Not as flexible, but it has been as solid unit. For a better unit, I am sure Doug Fleenor makes something. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl Redmon Sent: Wednesday, November 24, 2004 12:51 AM To: Stagecraft Subject: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- First I want to thank all who sent feedback to me to help me isolate the = problem I was having with our dimmer. As I only have access to the = dimmer on=20 Sunday Morning it has taken longer to isolate the problem. As I can best = tell the uncontrolled blackout of my house lights is due to the slower=20 processer in the DSS9600. I am not able to slow down the output of our = light=20 board Leprecon XP-24 so currently I am running the Dimmer with a = seperate=20 NSI controller until we either change the dimmer with another type or = get a=20 adaptor such as pathway ultimate converter. Does any one of the list have experence with the different converters = which=20 will allow me to convert from DMX to MPX? Daryl Redmon Resounding Light=20 ------------------------------ Subject: RE: NSI DSS9600, Followrup Date: Wed, 24 Nov 2004 01:03:15 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9AF4E [at] fangorn.cc.vt.edu> From: "James, Brian" The URL for previous email are here. http://www.nsicorp.com/NSI-Interactive/Content/aif501.html http://www.lightronics.com/index24.htm -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl Redmon Sent: Wednesday, November 24, 2004 12:51 AM To: Stagecraft Subject: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- First I want to thank all who sent feedback to me to help me isolate the = problem I was having with our dimmer. As I only have access to the = dimmer on=20 Sunday Morning it has taken longer to isolate the problem. As I can best = tell the uncontrolled blackout of my house lights is due to the slower=20 processer in the DSS9600. I am not able to slow down the output of our = light=20 board Leprecon XP-24 so currently I am running the Dimmer with a = seperate=20 NSI controller until we either change the dimmer with another type or = get a=20 adaptor such as pathway ultimate converter. Does any one of the list have experence with the different converters = which=20 will allow me to convert from DMX to MPX? Daryl Redmon Resounding Light=20 ------------------------------ Message-ID: <000601c4d1eb$fd5e6c40$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" References: Subject: Re: NSI DSS9600, Followrup Date: Tue, 23 Nov 2004 22:08:16 -0800 Thanks Brian, I was just looking them up Daryl ----- Original Message ----- From: "James, Brian" To: "Stagecraft" Sent: Tuesday, November 23, 2004 10:03 PM Subject: Re: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The URL for previous email are here. http://www.nsicorp.com/NSI-Interactive/Content/aif501.html http://www.lightronics.com/index24.htm -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl Redmon Sent: Wednesday, November 24, 2004 12:51 AM To: Stagecraft Subject: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- First I want to thank all who sent feedback to me to help me isolate the problem I was having with our dimmer. As I only have access to the dimmer on Sunday Morning it has taken longer to isolate the problem. As I can best tell the uncontrolled blackout of my house lights is due to the slower processer in the DSS9600. I am not able to slow down the output of our light board Leprecon XP-24 so currently I am running the Dimmer with a seperate NSI controller until we either change the dimmer with another type or get a adaptor such as pathway ultimate converter. Does any one of the list have experence with the different converters which will allow me to convert from DMX to MPX? Daryl Redmon Resounding Light ------------------------------ Subject: RE: NSI DSS9600, Followrup Date: Wed, 24 Nov 2004 01:10:54 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9AF4F [at] fangorn.cc.vt.edu> From: "James, Brian" You may have better luick with the NSI, the Lightronics pack is actually = translating into LMX (or something like that) which is extremely = similar, but I have had one or two funkiness things with that unit on = newer systems. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl Redmon Sent: Wednesday, November 24, 2004 1:08 AM To: Stagecraft Subject: Re: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks Brian, I was just looking them up Daryl ----- Original Message -----=20 From: "James, Brian" To: "Stagecraft" Sent: Tuesday, November 23, 2004 10:03 PM Subject: Re: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The URL for previous email are here. http://www.nsicorp.com/NSI-Interactive/Content/aif501.html http://www.lightronics.com/index24.htm -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl Redmon Sent: Wednesday, November 24, 2004 12:51 AM To: Stagecraft Subject: NSI DSS9600, Followrup For info, archives & UNSUBSCRIBE, see --------------------------------------------------- First I want to thank all who sent feedback to me to help me isolate the problem I was having with our dimmer. As I only have access to the = dimmer on Sunday Morning it has taken longer to isolate the problem. As I can best tell the uncontrolled blackout of my house lights is due to the slower processer in the DSS9600. I am not able to slow down the output of our = light board Leprecon XP-24 so currently I am running the Dimmer with a = seperate NSI controller until we either change the dimmer with another type or = get a adaptor such as pathway ultimate converter. Does any one of the list have experence with the different converters = which will allow me to convert from DMX to MPX? Daryl Redmon Resounding Light ------------------------------ Message-Id: <4.3.2.7.2.20041124192300.03cbeda0 [at] pop3.kilowatt.com.au> Date: Wed, 24 Nov 2004 19:29:53 +1100 From: Andy Ciddor Subject: Re: hypothetically speaking In-Reply-To: At 05:02 24.11.2004, Frank Wood wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- >The electronics will probably have survived. Again, thorough drying and >cleaning would be in order. But we used 24 channels of Strand LC dimmers >(antique >saturable reactors with electronic controls) for many years after they had >been >dropped, cased, into Lisbon harbour. IMNSHO the bottom of the harbour is the perfect place for LCs. Boat anchors are the ideal function for saturable reactors - Elsies in particular. (Can you tell that I have worked with and maintained quite a few LC systems?) >One of our members ran the electronics >through an ultrasonic cleaner, and we had no problems that weren't >designed in. And there were PLENTY of faults designed in. >When we finally got slightly modern, we sold it on to another amateur >theatre, where it gave several more years of service. That's a cruel thing to do. I would only give an LC dimmer to my worst enemy. Andy ------------------------------ End of Stagecraft Digest #205 *****************************