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 5467084; Thu, 25 Nov 2004 03:00:33 -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 #206 Date: Thu, 25 Nov 2004 03:00:06 -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 #206 1. Re: CAD Programs by "Brown, Doug" 2. Re: Rotodrapers by Bill Sapsis 3. Re: NSI DSS9600, Followrup by "Paul Sanow" 4. wireless belts by "Gerry G" 5. Re: CAD Programs by "Chris Warner" 6. Re: wireless belts by "LES LIND" 7. Re: wireless belts by "Nick Blower" 8. Some outdoor "rigging" by "Alf Sauve" 9. Re: wireless belts by John Bracewell 10. My job, your job... by "Paul Guncheon" 11. Re: Rotodrapers by Greg Bierly 12. Thankgiving by "Daryl Redmon" 13. Re: RP System by "Paul Guncheon" 14. Re: cue lights by "Paul Guncheon" 15. Re: cue lights by jdeull [at] clarktransfer.com 16. Re: CAD Programs by "C. Andrew Dunning" 17. Re: NSI DSS9600, Followrup by jdeull [at] clarktransfer.com 18. Re: Surtitles,,, again by Mark O'Brien 19. Re: Thankgiving by Jared Johnson 20. Re: CAD Programs by Samuel Jones 21. Re: Autocad question - Printout of Layers by " joe" 22. Re: References by "Waxler, Steve (waxlers)" 23. Re: wireless belts by "Kacey Fisher" 24. Re: FW: References by "Waxler, Steve (waxlers)" 25. Re: FW: References by Dale Farmer 26. Re: cue lights by Jerry Durand 27. Re: CAD Programs by John McKernon 28. short term laser rental by Shawn Palmer 29. Re: CAD Programs by Greg Persinger 30. Re: CAD Programs by "Waxler, Steve (waxlers)" 31. Re: cue lights by FrankWood95 [at] aol.com 32. Re: NSI DSS9600, Followrup by Greg Persinger 33. cue lights by CB 34. Re: cue lights by CB 35. Re: cue lights by FrankWood95 [at] aol.com 36. Re: Surtitles,,, again by CB 37. Obsession II Programming Help.... by "David Bowman" 38. Re: hypothetically speaking by FrankWood95 [at] aol.com 39. Re: References by Mick Alderson 40. Re: RP System by FrankWood95 [at] aol.com 41. Re: Obsession II Programming Help.... by "Steven Haworth" 42. Re: Surtitles,,, again by FrankWood95 [at] aol.com 43. Re: References by Bill Sapsis 44. VOG (was Re: cue lights) by CB 45. Re: AutoCAD question by "Ken Romaine" 46. Re: short term laser rental by "Joe Meils" 47. Re: cue lights by "Waxler, Steve (waxlers)" 48. Re: cue lights by Charlie Richmond 49. Re: cue lights by Marty_Petlock [at] sarasotagov.com 50. Re: short term laser rental by Shawn Palmer 51. Re: Obsession II Programming Help.... by "Andrew Vance" 52. Re: Cue Lights by June Abernathy 53. Re: cue lights by Jerry Durand 54. Re: cue lights by Wood Chip-P26398 55. Re: cue lights by "Steve B." 56. Re: cue lights by FrankWood95 [at] aol.com 57. Re: CAD Programs by "Steve B." 58. Re: Cue Lights by FrankWood95 [at] aol.com 59. Re: hypothetically speaking by "Michael Eddy" 60. Re: cue lights by FrankWood95 [at] aol.com 61. Re: References by gregg hillmar 62. Re: Obsession II Programming Help.... by Stephen Litterst 63. Re: RP System by Stephen Litterst 64. Re: cue lights by Dale Farmer 65. Re: short term laser rental by MissWisc [at] aol.com 66. Acoustics - a chance for the sound guys to show off! by MissWisc [at] aol.com 67. Re: cue lights by seanrmc [at] earthlink.net 68. Re: FW: References by Richard Niederberg 69. Re: Obsession II Programming Help.... by seanrmc [at] earthlink.net *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Subject: RE: CAD Programs Date: Wed, 24 Nov 2004 08:17:09 -0500 Message-ID: From: "Brown, Doug" When it comes to lighting and stage use it is hard to beat Vectorworks = Spotlight - they are interested in our industry and have come up with = software specifically for us - easy learning curve and in my opinion ( = and all of this is just my opinion) it functions the way I like to draw. Our lighting folks are making the move to Vectorworks from AutoCAD my 2 cents worth Doug Brown Technical Faculty=20 North Carolina School of the Arts School of Design & Production -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of James, Brian Sent: Tuesday, November 23, 2004 10:53 PM To: Stagecraft Subject: CAD Programs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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! ----------------------------------------------=20 This message has been scanned for viruses and dangerous content and is believed to be clean. ---------------------------------------------- ------------------------------ Date: Wed, 24 Nov 2004 08:33:31 -0500 Subject: Re: Rotodrapers From: Bill Sapsis Message-ID: In-Reply-To: on 11/23/04 5:35 PM, Greg Bierly at gbierly [at] dejazzd.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > They do make hardware for that. I got mine from BMI or Production > Advantage. > Greg Bierly > Technical Director > Hempfield HS And, for the record, they're available from your friendly neighborhood listmember... Me. Thanks Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. > ------------------------------ Subject: RE: NSI DSS9600, Followrup Date: Wed, 24 Nov 2004 08:34:56 -0500 Message-ID: From: "Paul Sanow" Daryl: One way to lengthen (slow down) the DMX refresh rate of some consoles is = to patch very high dimmer addresses that are not in use. For example, = if your system uses DMX 1 - DMX 100, the refresh rate would be much = shorter than if you use the entire universe of 512 channels. I don't = know if this applies to this particular Lep console, but it might be = worth a try. Some consoles send the entire packet regardless, while = some only send the highest DMX address patched. I've found playing with = this to be successful when dealing with timing problems. Some = manufacturer's equipment is more effected by this than others- I know it = has been a concern with some NSI products in our shop. Of course some sort of converter would likely fix your problem as well. = Good Luck. Paul *********************************************************** 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: Daryl Redmon [mailto:jonathand01 [at] sbcglobal.net] > Sent: Wednesday, November 24, 2004 12:51 AM > To: Stagecraft > Subject: NSI DSS9600, Followrup > Importance: Low snip > tell the uncontrolled blackout of my house lights is due to=20 > the slower=20 > processer in the DSS9600. I am not able to slow down the=20 > output of our light=20 > board Leprecon XP-24 so currently I am running the Dimmer=20 > with a seperate=20 > NSI controller until we either change the dimmer with another=20 > type or get a=20 > adaptor such as pathway ultimate converter. ------------------------------ From: "Gerry G" Subject: wireless belts Date: Wed, 24 Nov 2004 09:23:37 -0500 Message-ID: In-Reply-To: I just found out I have a seamstress that can put together belts for wireless. I know there are numerous ways, anyone have a recommended procedure or checklist? This kind woman is very senior and probably has never seen wireless xsmitters. Lycra or spandex folded to make a pouch, velcro; I'm guessing. Is there a pattern to use? Checked the archives but only saw 1 mention with a terrycloth pocket. TIA Gerry G ------------------------------ Message-ID: <00fd01c4d234$908e3e30$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: CAD Programs Date: Wed, 24 Nov 2004 06:47:47 -0800 WYSIWYG (for the PC world at least) Chris >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! ------------------------------ Message-Id: Date: Wed, 24 Nov 2004 09:47:57 -0500 From: "LES LIND" Subject: Re: wireless belts We make belts from "ACE" bandages with the pouch made with a piece of Ace bandage and sewn on to the piece that wraps around the user. The pouch is made slightly small so the pouch "holds" the transmitter. We use Shure LX series so they leave a little unsewn area at the bottom for the antenna. Velcro sewn on the belt and front of pouch secures the pack in the pouch and velcro on the ends of the belt to secure it around the user. We have various sizes but can make a custom one if need be. Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> megironda [at] worldnet.att.net 11/24/04 9:23:37 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I just found out I have a seamstress that can put together belts for wireless. I know there are numerous ways, anyone have a recommended procedure or checklist? This kind woman is very senior and probably has never seen wireless xsmitters. Lycra or spandex folded to make a pouch, velcro; I'm guessing. Is there a pattern to use? Checked the archives but only saw 1 mention with a terrycloth pocket. TIA Gerry G ------------------------------ Reply-To: From: "Nick Blower" Subject: RE: wireless belts Date: Wed, 24 Nov 2004 14:53:33 -0000 Message-ID: <000e01c4d235$5f61c880$0400a8c0 [at] silvertoe> In-Reply-To: I assume you are talking about beltpacks for lapel mics. If so there = isn't really a secret to it! A tight fitting pouch that matches the costume = would do fine. Obviously you would need holes where wires come out of your = packs and the top flap would want to be velcro'ed down to allow access. Probably the easiest thing to do would be to make a little wood box = slightly smaller than your packs and ask her to produce a pouch for that. Obviously a stretchy material would be best as it will hold the pack = better. Also remember you need to attach the pouch to the person. Long term = costumes sometimes have it built in, temporary ones could attach to a belt or = such. HTH Nick =20 --=20 ______________________________________ Nick Blower (nick [at] redeggs.co.uk) Technical Manager and Chief Engineer UKC Radio, UKC Dramatics, Musical Theatre Society http://www.ukcradio.co.uk/ http://www.ukcdramatics.co.uk/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Gerry G Sent: 24 November 2004 14:24 To: Stagecraft Subject: wireless belts For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I just found out I have a seamstress that can put together belts for wireless. I know there are numerous ways, anyone have a recommended procedure or checklist? This kind woman is very senior and probably has never seen wireless xsmitters. Lycra or spandex folded to make a pouch, velcro; I'm guessing. Is there a pattern to use? Checked the archives = but only saw 1 mention with a terrycloth pocket. TIA Gerry G ------------------------------ Message-ID: <00f701c4d235$f864ed00$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Some outdoor "rigging" Date: Wed, 24 Nov 2004 09:46:29 -0500 Okay, so I don't do a lot of traditional rigging, but I had to remove an extra steeple from one of the older buildings. http://sauve.org/steeple01.jpg http://sauve.org/steeple02.jpg The spire part (about 25') was cut and removed first. Then this part was taken down. Co-workers shown in second picture for size comparison. That section was 2,800pounds. Right at the limit for the crane at that boom length and angle. Anybody want to buy a slighty used steeple? Or rather tall playhouse with a pointy roof? Some assembly required. Available for pickup in Marietta, GA, USA Alf ------------------------------ Message-Id: <5.2.0.9.0.20041124094143.02c9a110 [at] pop.lightlink.com> Date: Wed, 24 Nov 2004 09:59:56 -0500 From: John Bracewell Subject: Re: wireless belts In-Reply-To: References: Gerry, I'd suggest spandex. I'd suggest making the pouch a little bit loose on the xmtr. Tight enough so that the elastic grips the xmtr body but loose enough so that a harried mic dresser has no trouble getting the xmtr out of the pouch quickly to make a repair. Tight pouches make getting to the xmtr difficult for quick problem solving. I like wide belt loops on the rear of the pouch and wide belts to minimize bouncing and also make possible using the rear side of a bra if appropriate, or loops both top and bottom which also work in case you need to use the pouch on the thigh. (However, I think thigh pouches really should be a bit larger than a normal pouch, and should be able to completely enclose the xmtr with room to spare, though the elastic should hold the xmtr tightly once secured to the thight to prevent excess motion.) I also like the idea of an elastic strap across the front outside of the pouch to secure a small loop of excess mic cable. I like a strong top closure, but sometimes, with some xmtrs, you are better with a centered strap with velcro than with a full top flap with velcro. As for patterns, ???? I can check to find out if the costume shop supervisor at my institution is willing to talk about the way she makes mic pouches. We've had a fair bit of experienced developing the ones we use and she may have a few tips on how to put them together best. -- JLB ------------------------------ Message-ID: <003401c4d236$67dc6320$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: My job, your job... Date: Wed, 24 Nov 2004 05:00:57 -1000 <> Well... Depends on the scope of the project, the size of the theatre group, union, non-union, how many people are working, and a bunch of other factors. The reality is that division of the work into separate disciplines preserves order. Carps don't mess with sound gack, elecs. don't play with the wardrobe, although sound guys usually do makeup. A joke. Okay, not a very good one. Laters, Paul "I just won 1000 dollars," Tom said grandly. ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Rotodrapers Date: Wed, 24 Nov 2004 10:03:20 -0500 > And, for the record, they're available from your friendly neighborhood > listmember... Leave it to me to forget the obvious, as usual. I can't tell you how many hours I spend online looking for a local supplier. That thing called the yellow pages sitting under the phone is usually the last place I think to look but where I find the info I need. Sorry Bill Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <000b01c4d237$0a1b44d0$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" Subject: Thankgiving Date: Wed, 24 Nov 2004 07:05:30 -0800 Want to wish everyone on the list that their belly's might be full and the company that they keep may be fine. Everyone have a happy and safe thankgiving, I know that we will have a full house this year. Daryl Redmon Resounding Light ------------------------------ Message-ID: <003801c4d237$e7c2e400$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: RP System Date: Wed, 24 Nov 2004 05:11:41 -1000 I am confused (not that rare of a condition for me lately) about the RP surtitles thread. The opera company with which I have worked uses a front projection system which is computer operated. It is extremely simple and does not visually "interfere" with the opera from the audience's perspective. It's there and so be it. I can't see how a projector mounted from a pipe, shooting into one or two front surface mirrors, onto a specially constructed RP screen which now probably has to hang into the proscenium opening will be a "better" system. Laters, Paul "How come my clock only makes 'toc's?" Tom asked mystically. ------------------------------ Message-ID: <003c01c4d239$ab205c10$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: cue lights Date: Wed, 24 Nov 2004 05:24:18 -1000 I changed the cue lights at the theatre I worked at to run on 12v. As they were now low voltage, I could run wire anywhere anyhow without any problems from the fire/insurance people. I got some hard plastic covered running lights from an auto parts store. No more lamp breakage. Side note... I often wondered why so many electrical devices use "wall warts" (those transformers with plugs on them that usually block all the outlets and generally annoy). Most of the devices that use them have enough space internally to house the transformer... so why? I found out that it's mostly all about liability. Using a wall wart puts the high voltage (and the liability associated with it) outside the device and with a different manufacturer. That's not the only reason, but it's one of the more significant ones. Laters, Paul "What comes before cocious?" Tom asked precociously. ------------------------------ Message-ID: <1101310418.41a4a9d20f184 [at] mail.clarktransfer.com> Date: Wed, 24 Nov 2004 10:33:38 -0500 From: jdeull [at] clarktransfer.com Subject: Re: cue lights References:

In-Reply-To: In our yet-to-be-built studio theatre we have specified 12 numbered non-dim circuits at strategic locations around the theatre, with a switch panel at the SM station. In most cases we should be able to run cue lights this way, but without a dedicated system. Jonathan Deull Edmund Burke School Quoting Stephen Litterst : > 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? > > 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 > > ------------------------------ Reply-To: From: "C. Andrew Dunning" Subject: RE: CAD Programs Date: Wed, 24 Nov 2004 09:34:53 -0600 Organization: Landru Design In-Reply-To: Message-ID: Brian - After being dragged there kicking and screaming, I've had pretty good luck with VectorWorks. The learning curve isn't too bad and it is fairly reasonably priced. I have a few sample plots and renders at http://www.landrudesign.com/CAD_Main.htm. IMO, WYSIWYG is good pre-vis software but not so hot as CAD. AutoCAD is obviously one of the industry standards, but is considerably more expensive (than VW) and has a fairly steep learning curve. C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com ------------------------------ Message-ID: <1101310870.41a4ab96262bc [at] mail.clarktransfer.com> Date: Wed, 24 Nov 2004 10:41:10 -0500 From: jdeull [at] clarktransfer.com Subject: Re: NSI DSS9600, Followrup References: In-Reply-To: We've been using the lightronics unit for several years now and it has been bulletproof, although not particularly flexible in addressing. Jonathan Deull Edmund Burke School Quoting "James, Brian" : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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. > > > 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 > 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 > > ------------------------------ In-Reply-To: References: Message-Id: <8C60293C-3E2F-11D9-82AB-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Surtitles,,, again Date: Wed, 24 Nov 2004 08:43:12 -0700 Perhaps a .DXF of a dead horse Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Nov 23, 2004, at 5:46 PM, FrankWood95 [at] aol.com wrote: > 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. > ------------------------------ Message-ID: <55eb33be041124081846885487 [at] mail.gmail.com> Date: Wed, 24 Nov 2004 09:18:04 -0700 From: Jared Johnson Reply-To: Jared Johnson Subject: Re: Thankgiving In-Reply-To: References: To Quote Dave Barry ( http://www.miami.com/mld/miamiherald/living/columnists/dave_barry/10230851.htm ) "Thanksgiving is that very special holiday when we take a break from our hectic everyday lives to spend quality time with our loved ones, rediscovering all the reasons why we don't actually live with them." Happy Turkey Day ------------------------------ Date: Wed, 24 Nov 2004 08:30:54 -0800 Subject: Re: CAD Programs From: Samuel Jones In-Reply-To: Message-Id: <368205FE-3E36-11D9-A2D9-000393BB489C [at] ucla.edu> On Wednesday, November 24, 2004, at 06:47 AM, Chris Warner wrote: > WYSIWYG (for the PC world at least) > No, no, no. WYSIWYG is a fabulous program for moving light visualization and pre programming; possibly worth getting for those functions alone. It is a lousy drawing environment when compared to other CAD programs. It seems to work like AutoCAD with the steep learning curve and difficult drawing commands, but lacks the drawing power of even AutoCAD lite. For me, VectorWorks is the best bang for buck, powerful CAD tools, much more intuitive learning path, and it is easier to get to 3D and rendering than other powerful CAD programs. Samuel L. Jones Theater Production Supervisor Dance Program, Dept. of World Arts and Cultures, UCLA sjones [at] arts.ucla.edu ========================================================== ------------------------------ Date: Wed, 24 Nov 2004 11:35:07 -0500 Message-Id: <200411241135.AA1108083356 [at] paonline.com> From: " joe" Reply-To: Subject: Re: Autocad question - Printout of Layers Oops, I made a mistake by typing the commands from memory. To list the layers on the command line, type -layers, then "?" to list the actual layers. Joe Dunfee ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0A8CED16 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: References Date: Wed, 24 Nov 2004 11:43:25 -0500 Personally, I like a list of three or so references on the resume. This gives me the chance to do a little research before contacting the applicant. Sometimes there are things in a resume that spur interest in the candidate but also present questions and it is nice to be able to talk to someone who knows the person applying. It only takes a few lines. These days with computer created resumes I don't think the desire to change references for different positions creates a problem. One theory is that you should tailor your resume to the specific job, anyway. I also agree with June, make it as easy for the person to contact the references as possible. Although it should not have to be said, let me remind you all, make sure you have talked to the folks that you listed as references. There is little as off putting than to make a call and say to the person answering that John Doe has listed you as a reference and I was wondering if I can ask you a few questions and to have the other person say something to the effect of, "He did now? I did not know that. I haven't seen him in many years....." That ends that inquiry. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: June Abernathy [mailto:jea00321 [at] yahoo.com] Sent: Tuesday, November 23, 2004 11:24 PM ------------------------------ From: "Kacey Fisher" Subject: RE: wireless belts Date: Wed, 24 Nov 2004 11:41:46 -0500 In-Reply-To: Message-ID: I'd recommend putting extra Velcro (sorry-not sure if it's the male or female side of the velcro, but the softer side) on the one side to make them more adjustable for the smaller or larger waisted actor. This makes them much more user friendly. Sincerely, Kacey Fisher Fisher Theatrical > I just found out I have a seamstress that can put together > belts for wireless. I know there are numerous ways, anyone > have a recommended procedure or checklist? This kind woman is > very senior and probably has never seen wireless xsmitters. > Lycra or spandex folded to make a pouch, velcro; I'm > guessing. Is there a pattern to use? Checked the archives but > only saw 1 mention with a terrycloth pocket. > TIA > > Gerry G > > > > ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0A8CED29 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: FW: References Date: Wed, 24 Nov 2004 11:50:45 -0500 We have ended up with employees due to this theory and I must say that it is very disheartening. We have not "passed the on" in this manner, we have terminated their employment. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Richard Niederberg [mailto:ladesigners [at] juno.com] Sent: Wednesday, November 24, 2004 12:11 AM To: Stagecraft Subject: Re: FW: References For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 ------------------------------ Message-ID: <41A4BE1F.554FF37E [at] cybercom.net> Date: Wed, 24 Nov 2004 12:00:15 -0500 From: Dale Farmer Subject: Re: FW: References References: Richard Niederberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 Unfortunately true. A friend of mine who does headhunting in the IT world was telling me that there have been a number of cases where a former employer giving a bad reference, even though completely true, was successfully sued by the failed job applicant. Now most large corporations as a policy don't give references, just verify dates of employment. Sad. --Dale ------------------------------ Message-Id: <6.2.0.14.0.20041124093640.029705a8 [at] localhost> Date: Wed, 24 Nov 2004 09:38:58 -0800 From: Jerry Durand Subject: Re: cue lights In-Reply-To: References: At 06:31 PM 11/23/2004, you wrote: >Does anyone else use something like Steve's dream system? The best we have is our contact-closures to DMX (in our standard box). There's only 4 inputs which would give you 16 selections with a rotary switch (if you only need one selection at a time). If there is interest, we could whip up a board with any number of contact closures (up to 512) that would drive our standard box. Pretty simple really. ---------- 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 ------------------------------ Date: Wed, 24 Nov 2004 12:44:00 -0500 Subject: Re: CAD Programs From: John McKernon Message-ID: In-Reply-To: > After being dragged there kicking and screaming, I've had pretty good luck > with VectorWorks. The learning curve isn't too bad and it is fairly > reasonably priced. > IMO, WYSIWYG is good pre-vis software but not so hot as CAD. AutoCAD is > obviously one of the industry standards, but is considerably more expensive > (than VW) and has a fairly steep learning curve. Keep the $$ in mind - WYSIWYG can get pricey very quickly, as those DMX universe $$ do add up. And AutoCAD is just plain expensive, unless you can live with AutoCAD LT, which costs the same for 2D-only as VW costs for 3D capability. If you want to do paperwork in addition to just drafting, you'll find the paperwork aspects of WYSIWYG to be pretty clunky, and the theatrical options in the AutoCAD world are very limited. VW has always had theater people on their staff and have always been supportive of our admittedly small market. Of the three (WYG, AC, and VW), only the folks at VW have made any kind of meaningful efforts to exchange data with Lightwright. I did a survey of Lightwright users recently, and the overwhelming majority used VW. Keep in mind those are *theatrical* users. In the architectural world, AutoCAD is still very much the standard. HTH - - John ------------------------------ Message-ID: <41A4CAAC.9080602 [at] northnet.net> Date: Wed, 24 Nov 2004 11:53:48 -0600 From: Shawn Palmer Subject: short term laser rental References:

In-Reply-To: Hello all... I am looking for a 50 mW green laser for a short term rental. I am located in east central Wisconsin. I do realize this would require a varience. The use of this laser would not be for a public performance. Any leads or ideas would be appreciated. One local source has unfortunately dried up. Thanks much, Shawn Palmer Neenah, WI USA ------------------------------ Date: Wed, 24 Nov 2004 12:09:50 -0600 Subject: Re: CAD Programs From: Greg Persinger Message-ID: In-Reply-To: Vectorworks spotlight is the way to go. Both PC and Mac compatible, free viewer available for download, easy to learn, good cost to features, fairly Auto CAD compatible with it's import features, does 3D, has paperwork functions and integrates with Lightwrite, I do all of my drawing in VW and import it into WYG because WYG is so clunky. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0A8CEDD0 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: CAD Programs Date: Wed, 24 Nov 2004 13:10:20 -0500 So many people speak of the steep learning curve with AutoCad. Yes, there is a lot available and to learn to use it to its fullest will take time, but it can also be used on a need to use basis. We have students up and drafting with AutoCad very quickly. And, while it is pricey, if you are at a university there are many educational packages and license arrangements available. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: C. Andrew Dunning [mailto:cad [at] landrudesign.com] Sent: Wednesday, November 24, 2004 10:35 AM To: Stagecraft Subject: Re: CAD Programs For info, archives & UNSUBSCRIBE, see ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1dd.3157e68a.2ed62b1a [at] aol.com> Date: Wed, 24 Nov 2004 13:21:14 EST Subject: Re: cue lights In a message dated 24/11/04 02:32:00 GMT Standard Time, seanrmc [at] earthlink.net writes: > It doesn't have to be DMX, but what exists "off the shelf" for this? I > prefer the lights to be line-voltage. Thoughts? For curiosity, why? Admittedly, the UK methods are very different, but we have used low voltage cue lights for forty years with no problems. The age of the switches on the SM desk eventually made us have a new desk, but they are still low voltage incandescent lamps. Myself, had I had to do with the project, I should have specified LEDs, which have very long lives. But the company who installed the new system seems to be short of electronic know-how. Frank Wood ------------------------------ Date: Wed, 24 Nov 2004 12:21:27 -0600 Subject: Re: NSI DSS9600, Followrup From: Greg Persinger Message-ID: In-Reply-To: I think Pathway makes the best converters as I have used them for the last 12 years with no problems and I like the feature set but I'm sure the Fleenor stuff would be good as well. I have used the Lightronics unit with no issues as well as the NSI unit. What has NSI said about the dimmer? You might want to look at the I/F 501 made by NSI if you are worried about compatibility. It is going to cost you more than the Lightronics but it will be compatible. My advice would be to call Lightronics and talk to them about their unit. I think they would let you purchase one and try it and if it didn't work they would refund your money. The reason I say this is that I have found Lightronics to be much more responsive than NSI in the area of technical support and if it worked you would save some money. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <3.0.6.32.20041124112350.017f4130 [at] pop.west.cox.net> Date: Wed, 24 Nov 2004 11:23:50 From: CB Subject: 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? Same as with Video. It, too, plugs in and lights up, but is too complicated for an elecrician. Therefore, anything we don't want to deal with, we throw at the new kid. It should be LX but SX'll get the gig more often than not. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041124112903.017f4130 [at] pop.west.cox.net> Date: Wed, 24 Nov 2004 11:29:03 From: CB Subject: Re: cue lights >And, since when has the sound side been responsible for communications? In the real world, Frank, just after God. Before God, not so much, but I think when he was a small child, or at least high school, sound has been used for comm. 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... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <142.3988dc75.2ed62e94 [at] aol.com> Date: Wed, 24 Nov 2004 13:36:04 EST Subject: Re: cue lights In a message dated 24/11/04 03:04:38 GMT Standard Time, seanrmc [at] earthlink.net writes: > 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. My space is different. Think of a Greek or Roman amphitheatre. There are three entrances from under the audience seating. Each of these has a permanent cue box, as well as DSR and lights and sound. DSL is where the SM desk lives, and cueing is direct. There are portable boxes for use elsewhere, such as orchestra conductors, or whatever. Being a low voltage system, the cables are thinner, and the connectors smaller. We use XLR-4. There are a number of outlets around the theatre, and even a patch system. > > 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. Thanks for this information. We are small enough that a well-projected voice serves. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20041124114353.017f4130 [at] pop.west.cox.net> Date: Wed, 24 Nov 2004 11:43:53 From: CB Subject: Re: Surtitles,,, again Uhm, Frank, there were seven questions and you answered half of one. At best this gives you a seven out of a hundred. Given that 50% is the LEAST of passing grades (and that's being extraordinarily generous), you'd have failed miserably. Because I'm going to play golf today, and I feel magnanamous, I'll give you another try. Review the questions and try to answer all of them. Remember, you get credit for answers that are wrong if they're especially creative. Go! 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: Date: Wed, 24 Nov 2004 13:45:13 -0500 From: "David Bowman" Subject: Obsession II Programming Help.... Good Afternoon Gang, A quick question regarding programming an ETC Obsession II: Is there a way to copy a range of channels from one cue to another? I'm going to further complicate this by saying that the channels in mind are ML fixtures AND in the cue to copy from most are assigned to a focus group (with minor modifications to a few attributes). Will be here all weekend (tech for "Big River").... TIA for any/all responses.... dave B. David M. Bowman Syracuse Stage / SU Drama Master Electrician / Adj. Professor dmbowman [at] syr.edu Dolor Temporarius... Gloria Aeterna.... Cicatrices Virgines Placent! ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e3.2f5063bd.2ed631c0 [at] aol.com> Date: Wed, 24 Nov 2004 13:49:36 EST Subject: Re: hypothetically speaking In a message dated 24/11/04 08:30:54 GMT Standard Time, aciddor [at] kilowatt.com.au writes: > 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?) True, but they served us well for many years. > > And there were PLENTY of faults designed in. Fewer after I re-designed the electronics. > > >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. Oddly enough, I worked with this theatre for three years. It was simpler and better than their previous installation, which I remember well. > Frank Wood ------------------------------ Date: Wed, 24 Nov 2004 13:04:33 -0600 From: Mick Alderson Subject: Re: References Message-id: June Abernathy wrote: > >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. Oh, and make sure the contact info you give for your references is CURRENT! Seems obvious, but I happen to be serving on a seach committee at the moment (for a director), and one candidate we are considering included three references from the same university. The phone numbers given were all wrong! Seems they had changed both area code AND all office phone numbers at that particular institution recently. I had to go on the website for the university in question and find the current numbers myself. Given the developing mania over privacy, it was not that easy to do. The school buried the faculty directory page deep inside the server without an obvious link to find it. If I'd been less diligent, I'd have just told the rest of my committee that the contact info was no good. You wouldn't want that to happen to YOUR resume! ;-) Mick Alderson TD, Fredric March Theatre University of Wisconsin Oshkosh alderson [at] uwosh.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Wed, 24 Nov 2004 13:56:18 EST Subject: Re: RP System In a message dated 24/11/04 15:12:28 GMT Standard Time, paul.guncheon [at] verizon.net writes: > I can't see how a projector mounted from a pipe, shooting into one or two > front surface mirrors, onto a specially constructed RP screen which now > probably has to hang into the proscenium opening will be a "better" system. Well, where else do you put a surtitle screen? I've never seen one anywhere else. Frank Wood ------------------------------ Subject: RE: Obsession II Programming Help.... Date: Wed, 24 Nov 2004 12:57:31 -0600 Message-ID: <721DC9EE550F834A92EC08BDC332B0EE016083F9 [at] trader.river.idm.com> From: "Steven Haworth" Hi Dave. Not sure on Obsession, but on Expression / Express consoles I believe = you can select a number of channels, then use 'update cue' to copy just = the selected channels & levels to another cue. Seems like that would do = what you're looking for. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <77.393c9ff0.2ed635ff [at] aol.com> Date: Wed, 24 Nov 2004 14:07:43 EST Subject: Re: Surtitles,,, again In a message dated 24/11/04 18:43:30 GMT Standard Time, psyd [at] cox.net writes: > Uhm, Frank, there were seven questions and you answered half of one. At > best this gives you a seven out of a hundred. Given that 50% is the LEAST > of passing grades (and that's being extraordinarily generous), you'd have > failed miserably. Because I'm going to play golf today, and I feel > magnanamous, I'll give you another try. Review the questions and try to > answer all of them. Remember, you get credit for answers that are wrong if > they're especially creative. Go! > Chris "Chris" Babbie > Location Sound > MON AZ Due to a spasm of my e-mail server, I haven't seen the questions. Send them to me, and I shall answer them. Frank Wood ------------------------------ Date: Wed, 24 Nov 2004 14:12:51 -0500 Subject: Re: References From: Bill Sapsis Message-ID: In-Reply-To: on 11/24/04 2:04 PM, Mick Alderson at alderson [at] uwosh.edu wrote: > For info, archives & UNSUBSCRIBE, see > > Oh, and make sure the contact info you give for your references is CURRENT! > > Seems obvious, but I happen to be serving on a seach committee at the > moment (for a director), and one candidate we are considering included > three references from the same university. The phone numbers given were all > wrong! Seems they had changed both area code AND all office phone numbers > at that particular institution recently. I had to go on the website for the > university in question and find the current numbers myself. Given the > developing mania over privacy, it was not that easy to do. The school > buried the faculty directory page deep inside the server without an obvious > link to find it. If I'd been less diligent, I'd have just told the rest of > my committee that the contact info was no good. > > You wouldn't want that to happen to YOUR resume! ;-) > > Mick Alderson > OK. I'm getting into this thread late, I know, but I thought I'd add my 2 cents in here anyway. (I've a bit of free time this afternoon) My apologies if I'm duplicating someone else's post(s) First and most important...You must ask the person you are listing as a reference if it's OK. I've had several people list me and not ask me. When the prospective employer calls to check up on him/her I usually say..."Don't know that person." My father's opinion on references was that they aren't a good barometer of the prospective employee. As he used to say, he never heard a fish monger walking through the town square shouting "Rotten Fish! Get your rotten fish here!" Yeah, I might call a reference or two but I prefer to check in with someone at one of the places where they have previously worked. With a little digging I can usually find someone I know to informally ask about so and so. OK. Time's up. Back to the salt mines. Have a safe holiday, y'all. Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-Id: <3.0.6.32.20041124121853.017f4130 [at] pop.west.cox.net> Date: Wed, 24 Nov 2004 12:18:53 From: CB Subject: VOG (was Re: cue lights) >A "God Mic" is used by the SM and/or the Director during tech rehearsals so as to be heard on stage. 'God' mic, 'Voice of God', adn 'VOG' all refer to a mic that addresses the venue from a place that is NOT apparent to the audience and usually from some technical position (FOH, SM Desk, Tech Table, etc) thus implying some measure of responsibility and, accordingly, some authority. 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... ------------------------------ Subject: Re: AutoCAD question Date: Wed, 24 Nov 2004 11:21:49 -0800 Message-ID: <35418D398577A34FB3A059F99B9F370202E1384C [at] nigel.tmbworldwide.tmb.com> From: "Ken Romaine" Cc: mheinicke [at] sbcglobal.net Mike asked: Ok, I have an AutoCAD question (probably only the first of several over the next month or so). Is there any way to easily print out the layer information chart? I know I can do a screen capture through Windows and print that, but I didn't know if there might be a more elegant way to print out the information I would like. BTW, I'm working with 2004, full version. +++++++++ To which my wife, the AutoCAD goddess for hire, answers: "There are two ways - One is to export a file through express tools' layer manager=20 drop-down and reopen it in notepad, but I wasn't able to=20 get it to open very elegantly and it doesn't lay out the=20 information very well. Another way is to go to www.dotsoft.com and download a=20 free LAYERHTM tool. We (the company my wife works for) use a third-party tool=20 that costs a bit of money but has some great tools bundled with it." +++++++++++++ There you have it. Happy Thanksgiving, to those that celebrate it. Happy Thursday, to those that don't. Ken Romaine Sales TMB New York P: +1-201-541-9292 F: +1-201-541-8448 kr [at] tmb.com=20 ------------------------------ Message-ID: <000901c4d25a$bd9a1d60$43ecbed0 [at] hppav> From: "Joe Meils" References:

Subject: Re: short term laser rental Date: Wed, 24 Nov 2004 13:21:03 -0600 Wow! 50mW?! What are you doing on stage? Cutting open a bank vault made of titanium? Shooting down an enemy satillite? Lighting up the dark side of the moon? (I think you mean 5mW?) Joe ----- Original Message ----- From: "Shawn Palmer" To: "Stagecraft" Sent: Wednesday, November 24, 2004 11:53 AM Subject: short term laser rental > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello all... > > I am looking for a 50 mW green laser for a short term rental. I am > located in east central Wisconsin. > > I do realize this would require a varience. The use of this laser would > not be for a public performance. > > Any leads or ideas would be appreciated. One local source has > unfortunately dried up. > > Thanks much, > > Shawn Palmer > Neenah, WI > USA > ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0A8CEE6A [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: cue lights Date: Wed, 24 Nov 2004 14:26:44 -0500 We have created a system using LEDS and a 12V supply. Both the switch end and the light end have short leads with appropriate plugs that we then can plug into unused lines in the house snakes. This makes it fast and easy to move them around since the house snake system show up in most locations. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati ------------------------------ Date: Wed, 24 Nov 2004 19:37:54 +0000 (GMT) From: Charlie Richmond Subject: Re: cue lights In-Reply-To: Message-ID: References: FYI, Cue Lights have always been a category under 'Lighting' in the MIDI Show control specification. But that might actually change since there is now a working group coming up with new proposals to change that spec ;-) Charlie + Charlie Richmond - Richmond Sound Design Ltd - Aura Show Control Ltd + + http://www.RichmondSoundDesign.com -- http://www.AuraShowControl.com + +---- "Performance for the Long Run" ----- "Creativity in Control" ----+ +------ To get info or join the Show Control Mailing List go to: ------+ +----------- http://www.RichmondSoundDesign.com/sclist.html -----------+ ------------------------------ Subject: Re: cue lights Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Wed, 24 Nov 2004 15:27:44 -0500 in SD 205 B Ricie wrote: 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 Gee, would you really let humheads rig something that absolutely has to work during a performance? putting on Kevlar vest, Happy Holidays Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-ID: <41A4ED5C.8010800 [at] northnet.net> Date: Wed, 24 Nov 2004 14:21:48 -0600 From: Shawn Palmer Subject: Re: short term laser rental References:

In-Reply-To: > > Wow! 50mW?! What are you doing on stage? Cutting open a bank vault made of > titanium? Shooting down an enemy satillite? Lighting up the dark side of the > moon? > > (I think you mean 5mW?) > > Joe No, for this one I actually mean 50 mW. The 4.95 mW doesn't do jack in here. Even green. I wanted to see a 5W one, but the $27,999 price tag for the 3W one made me think better of it... And if it could open my safe, I'd use it... darn combination :-) Shawn ------------------------------ Message-ID: <099101c4d267$09686ec0$0500000a [at] anneb> From: "Andrew Vance" Cc: dmbowman [at] syr.edu References: Subject: Re: Obsession II Programming Help.... Date: Wed, 24 Nov 2004 14:49:04 -0600 > Is there a way to copy a range of channels from one cue to another?=20 > I'm going to further complicate this by saying that the channels in = mind > are ML fixtures AND in the cue to copy from most are assigned to a = focus > group (with minor modifications to a few attributes). I only deal with OBS 2s once a year and I can't run OBS offline on my = computer, otherwise I'd test this before I mail it off for those more = versed in Obsessions to scoff at. That being said, you should be able = to do something like: CHAN 1 Thru 24 [at] GROUP CUE XX * Not sure how it will work with movers and focus groups. Should take the = selected channel levels from cue XX and capture them at that level in = the current cue. Of course, you'll update/record/whatever. Works in = Blind as well, IIRC. I haven't used an Obsession for years, but it = worked on the OBS 600s I last programmed on. It crudely works on my = Expression, which makes me think it should work on the OBS 2. I can't recall exactly how OBS 2 deals with movers, but my Expression = will still allow me to select individual channels in Live/Blind [not ML = Live/Blind]. In that case, could you put the fixtures in the = appropriate focus groups, and alter the modified attributes as described = above? Just a thought. -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Ballet ------------------------------ Message-ID: <20041124205005.75273.qmail [at] web14126.mail.yahoo.com> Date: Wed, 24 Nov 2004 12:50:05 -0800 (PST) From: June Abernathy Subject: Re: Cue Lights In my experience, as an SM and an electrician in a variety of regional theaters and for a variety of tours, the cue lights have always been handled by the electrics department. I've never seen an SM set up a cue light. In union situations, SMs may not plug in anything, and in non-union situations, they still generally don't, unless they are also the building TD or something. I've also never seen the sound guys do it, but if they were inspired, I sure wouldn't stop them. There are some venues that have a built in cue light system, with lights and/or receptacles for remote lights built around the theater, all wired back to a dedicated panel for the SM. Most tours and a lot of regional theaters simply run cable from the back of an SM console to the individual cue lights. Most cue light panels have tails in the back - commonly stagepin (2P&G), but sometimes other connectors. I have never seen cue light power run in with a mult feeding other lighting equipment. (Maybe taped alongside one in a bundle, but not using one of the circuits of the mult.) Power is generally supplied by plugging the SM box directly to a hot patch, either in the system, or just directly into a wall outlet in the house. I have never seen SM cue light power run through a dimmer. Which is not to say you couldn't, but sacrificing a dimmer only to set it to a non-dim for a constant power supply seems foolish when you would never need to (or want to) control it from the light board. And, you'd have to boot your system in order to use the cue lights, which is often not desireable. Many shows also have work light control on the SM panel - often with a separate power supply from the other cue switches, although still usually not through a dimmer or a circuit dependent on dimmer rack power. Again, you wouldn't want to have to boot your system to supply work lights, or lose them when you shut down. June Abernathy IATSE #321 FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ------------------------------ Message-Id: <6.2.0.14.0.20041124130654.029758a8 [at] localhost> Date: Wed, 24 Nov 2004 13:11:27 -0800 From: Jerry Durand Subject: Re: cue lights In-Reply-To: References:

At 07:24 AM 11/24/2004, you wrote: >I found out that it's mostly all about liability. Using a wall wart puts >the high voltage (and the liability associated with it) outside the device >and with a different manufacturer. > >That's not the only reason, but it's one of the more significant ones. Yes, as someone who's had to get devices approved in the USA, Japan, UK, Mexico, Egypt, Israel, Canada, etc. I can tell you that an external wall wort is wonderful. It's not just getting your power supply design approved, the approval includes the package so you'd have to get every version/model of your product individually approved. And then you have to HiPot Test (high voltage withstand) 100% of the devices. Another thing is for different countries you just ship a different adapter (and we're starting to switch to the 100-240V, 50/60Hz units so if the plug fits you can use the same one) instead of a different model for each country. ---------- 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: From: Wood Chip-P26398 Subject: RE: cue lights Date: Wed, 24 Nov 2004 15:26:14 -0700 I know it is in good clean joshing mode, but twice today this list has dissed sound- once with the make-up crack and now this. I realize that we get no Tony recognition, but we are being, finally, respected as a design equal to lights, scenic, and costume in some playbills. We are fighting every inch of the way to be respected and this looking down the nose from other stagecrafters doesn't help. -----Original Message----- From: Marty_Petlock [at] sarasotagov.com Gee, would you really let humheads rig something that absolutely has to work during a performance? ------------------------------ Date: Wed, 24 Nov 2004 17:41:13 -0500 From: "Steve B." Subject: Re: cue lights Message-id: <005e01c4d276$b5c72e40$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: To: "Stagecraft" > In our yet-to-be-built studio theatre we have specified 12 numbered > non-dim > circuits at strategic locations around the theatre, with a switch panel at > the > SM station. In most cases we should be able to run cue lights this way, > but > without a dedicated system. In our just opened renovation, with new Sensor and Unison systems, we too put in a dozen Sensor relay's 'round the deck that, along with any dimmer, can be used to activate a cue light. The relay's are on their own LCD page at the SM desk, as well as the 2 portable LCD's and/or can be activated from the lighting console, as it's all DMX universe 1. Steve Bailey Brooklyn College ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ea.30690341.2ed668e1 [at] aol.com> Date: Wed, 24 Nov 2004 17:44:49 EST Subject: Re: cue lights In a message dated 24/11/04 19:27:24 GMT Standard Time, WAXLERS [at] UCMAIL.UC.EDU writes: > We have created a system using LEDS and a 12V supply. Both the switch end > and the light end have short leads with appropriate plugs that we then can > plug into unused lines in the house snakes. This makes it fast and easy to > move them around since the house snake system show up in most locations. This sounds very sensible. Except, what is carried by the 'house snakes'? I see potential trouble here. Frank Wood ------------------------------ Date: Wed, 24 Nov 2004 17:53:41 -0500 From: "Steve B." Subject: Re: CAD Programs Message-id: <007f01c4d278$71c215f0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "John McKernon" To: "Stagecraft" > I did a survey of Lightwright users recently, and the overwhelming > majority used VW. Keep in mind those are *theatrical* >users. In the > architectural world, AutoCAD is still very much the standard. Ditto John's comments. Nearly every CAD plot sent to us (from touring shows) either as paper or as an e-mail attachment has been in Vectorworks (and Lightwright, of course). I have yet to see an AutoCAD plot used by a theatrical designer. Now that's not to say there aren't designers out there using A-CAD, they just seem to be more in the industrial and R&R world, not as much the theatrical tours. FWIW, Vectorworks 11 has terrific import/export capabilities with .dwg files and AutoCAD. VW saved my ass this summer during a renovation as I was able to get e-mailed drawings done in AutoCAD from ETC, make corrections and e-mail back. Same with the electrical risers from the electrical engineer. Seamless. Steve Bailey Brooklyn College ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <15d.44a8f4cb.2ed66ba3 [at] aol.com> Date: Wed, 24 Nov 2004 17:56:35 EST Subject: Re: Cue Lights In a message dated 24/11/04 20:51:05 GMT Standard Time, jea00321 [at] yahoo.com writes: > Many shows also have work light control on the SM > panel - often with a separate power supply from the > other cue switches, although still usually not through > a dimmer or a circuit dependent on dimmer rack power. > Again, you wouldn't want to have to boot your system > to supply work lights, or lose them when you shut > down. Normal, in the UK. With the proviso that the LX OP can kill the working lights. This is indispensible when trying to set levels. Frank Wood ------------------------------ Message-ID: In-Reply-To: From: "Michael Eddy" Cc: JDruc3737 [at] aol.com Subject: RE: hypothetically speaking Date: Wed, 24 Nov 2004 17:56:03 -0500 Jeff Drucker 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. > >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, Drying out the fixtures and cables should be fine. You may have to check for rust and water damage. At an outdoor theatre that I worked at many years ago, we had to clean and thoroughly WD40 the units that had been stored in less than an ideal situation. As for the dimmers, I would recommend calling the manufacturer and/or having a dimmer service technician take a look at and test out the equipment. I highly recommend Horst Emmert who knows a lot about dimmers and maintenance thereof. Also, Steve Short of Lite-Trol has forgotten more about dimmers than I have ever known. Dimmer Performance Electronics, Inc. 326 Sherwood Drive Paramus, NJ 07652 201-262-7299 201-262-0444 Fax 800-631-5056 Contact: Horst Emmert A field service company. Authorized service for Macro Electronics, Electronics Diversified, Inc., and Microlite Corporation. Specialist in Kliegl product, with large inventory in spare parts. Lite-Trol Service Company 485 West John Street Hicksville, NY 11801 516-681-5288 516-681-7288 Fax Email: LITETROL [at] aol.com WWW: http://www.litetrol.com Stephen Short Service, repair, modification of any lighting control system or component. Shop or on-site repairs. Obsolete dimmers our specialty. Colortran, ETC, LMI, Strand, Century, Kliegl, Ward Leonard, Skirpan, TTI, Luxtrol, Superior, Electro-Controls, StageBrite, to name a few. ESTA member discounts. When I was at ETC, I got a call from a traffic light repair company who had gotten the FEMA contract to clean and re-certify all of the electronics in an Illinois town along the Mississippi that had gotten flood ravaged back in 93. They got the contract to handle a theatre dimming system, which was an LMI/ETC L86 system. He wanted to buy the parts and re-build the system. It was actually cheaper to sell them a new Sensor rack (and move it to higher ground in the theatre) but FEMA would not pay for it unless it was restored exactly as it wasd before. Ah, our tax dollars at work! Hypothetically speakiing that is. Good luck, Michael Eddy ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1eb.2eae29fb.2ed66e0c [at] aol.com> Date: Wed, 24 Nov 2004 18:06:52 EST Subject: Re: cue lights In a message dated 24/11/04 21:12:08 GMT Standard Time, jdurand [at] interstellar.com writes: > Another thing is for different countries you just ship a different adapter > (and we're starting to switch to the 100-240V, 50/60Hz units so if the plug > fits you can use the same one) instead of a different model for each country. > But the plugs don't fit.. I have a house in France. I also have a 4-way English adaptor, with a French plug on the end. This caters for my scrwedriver, telephone, and camera. Not to mention the CD player. All of these need UK sockets, because the power supplies are built into UK plugs. Frank Wood ------------------------------ In-Reply-To: References:

Message-Id: <87ACD0C3-3E72-11D9-80CF-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: References Date: Wed, 24 Nov 2004 18:42:40 -0500 And in fact I have heard similar tales from the academic world- student who receive not-so-glowing recommendations have successfully sued their former professors... So the catchphrase certainly is "yes s/he was here..." Too bad. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige On Nov 24, 2004, at 12:00 PM, Dale Farmer wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Richard Niederberg wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >> 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 > > Unfortunately true. A friend of mine who does headhunting in the > IT world was telling me that there have been a number of cases where > a former employer giving a bad reference, even though completely > true, was successfully sued by the failed job applicant. Now most > large corporations as a policy don't give references, just verify dates > of employment. Sad. > > --Dale > ------------------------------ Date: Wed, 24 Nov 2004 20:04:21 -0500 From: Stephen Litterst Subject: Re: Obsession II Programming Help.... Message-id: <6efe56fda6.6fda66efe5 [at] ithaca.edu> ----- Original Message ----- From: David Bowman Date: Wednesday, November 24, 2004 1:45 pm Subject: Obsession II Programming Help.... />----------------------- > ---------------------------- > Is there a way to copy a range of channels from one cue to > another? > I'm going to further complicate this by saying that the channels > in mind > are ML fixtures AND in the cue to copy from most are assigned to a > focusgroup (with minor modifications to a few attributes). Ooh! Ooh! Just learned this trick on our last show. CH # [at] Cue # Or in ML Live you can use FIXTURE ## beam/color/image/position [at] CUE ## I used it quite often to preset the MLs. Hope that's clear enough. Give me a call (on the cell, I'm in MD) if you have any problems) Oh, and shoot the guy who wrote the Big River TV spots for you. Steve L. Stephen Litterst Technical Supervisor Ithaca College, Dept of Theatre Arts 607.274.34947 slitterst [at] ithaca.edu ------------------------------ Date: Wed, 24 Nov 2004 20:07:03 -0500 From: Stephen Litterst Subject: Re: RP System Message-id: <7230b7198d.7198d7230b [at] ithaca.edu> ----- Original Message ----- From: FrankWood95 [at] aol.com Date: Wednesday, November 24, 2004 1:56 pm Subject: Re: RP System > For info, archives & UNSUBSCRIBE, see <" > target="l">http://stagecraft.theprices.net/>----------------------- > ---------------------------- > > In a message dated 24/11/04 15:12:28 GMT Standard Time, > paul.guncheon [at] verizon.net writes: > > > I can't see how a projector mounted from a pipe, shooting into > one or two > > front surface mirrors, onto a specially constructed RP screen > which now > > probably has to hang into the proscenium opening will be a > "better" system. > > Well, where else do you put a surtitle screen? I've never seen one > anywhere > else. Well, ours hangs above the proscenium opening, as designed. The design team wanted the titles to be visually accesible, but not to intrude upon the stage picture. It worked quite well for that production. Steve L. Stephen Litterst Technical Supervisor Ithaca College, Dept of Theatre Arts 607.274.34947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <41A55631.FF70D782 [at] cybercom.net> Date: Wed, 24 Nov 2004 22:49:06 -0500 From: Dale Farmer Subject: Re: cue lights References: FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 24/11/04 21:12:08 GMT Standard Time, > jdurand [at] interstellar.com writes: > > > Another thing is for different countries you just ship a different adapter > > (and we're starting to switch to the 100-240V, 50/60Hz units so if the > plug > > fits you can use the same one) instead of a different model for each > country. > > > But the plugs don't fit.. I have a house in France. I also have a 4-way > English adaptor, with a French plug on the end. This caters for my scrwedriver, > telephone, and camera. Not to mention the CD player. All of these need UK > sockets, because the power supplies are built into UK plugs. > > Frank Wood You just get a different wall wart ( That is already approved by the relevant authorities for that country) and ship that. Makes designing gear for the international market far easier. --Dale ------------------------------ From: MissWisc [at] aol.com Message-ID: <74.478c5673.2ed6b9b7 [at] aol.com> Date: Wed, 24 Nov 2004 23:29:43 EST Subject: Re: short term laser rental Cc: shawnp [at] northnet.net Shawn... Call the physics department at Lawrence University. They have a whole laser lab (various kinds) and I'm reasonably certain would be glad to supply/demo as needed. They do a summer program for HS kids and could possibly tie that in with whatever you're doing. I think your best choice to talk with is Professor John Brandenburger... 832-6719 John.R.Brandenberger [at] lawrence.edu Kristi R-C ------------------------------ From: MissWisc [at] aol.com Message-ID: <142.39940828.2ed6d08d [at] aol.com> Date: Thu, 25 Nov 2004 01:07:09 EST Subject: Acoustics - a chance for the sound guys to show off! Was talking with a colleague today about room acoustics. He said theaters shouldn't have wall dimensions that are even numbers, e.g. 20' x 60', because that increases the number of standing waves. Instead they should have odd numbered lengths, e.g. 21' x 63'. This idea came from a book on home theatre - "Home Theatre Design" by Rushing. My acoustics class was 20 years ago so I'm a bit rusty when it comes to room design but this doesn't make sense to me. IIRC, standing waves are caused when the direct sound waves are cancelled out by reflected sound waves. (Not a very technical definition and you could also have two reflected sound waves cancel each other.) Because there is no vibration where the two waves cancel each other out, they are places of no sound for that specific pitch. It seems to make sense that different wall lengths could change which frequencies (pitches) create the standing waves - as that would change where the standing part of the wavelength happens. Also seems to make sense that changing frequencies with the original wall dimensions would change where the standing waves happen. I'd even agree that pieces in the key of C (wavelength of Middle C being approximately 2') might sound more "dead" if both dimensions of the room are evenly divisible by 2', but that's only one key out of 12 possible and it's not the key most often used by bands (F, Bb, Eb) or orchestras (G, D, A). I thought was that it was more important to have walls that are not exactly parallel (e.g. most theaters have side walls that fan out slightly and/or use acoustical shells/panels/curtains to reflect or absorb sound) so that fewer standing waves from any frequency occur. Thoughts??? Do acoustical consultants consider if more concerts in a hall will be orchestras versus bands when designing? Kristi ------------------------------ Message-ID: <26837096.1101365890779.JavaMail.root [at] kermit.psp.pas.earthlink.net> Date: Thu, 25 Nov 2004 01:58:10 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: cue lights Why? A couple reasons. All of our cable inventory is 12/3 stage lighting cable. I'd prefer to not have to add another cable type just to support cue lights. Occasionally cue lights are run as one circuit in a six-circuit mult. Bad idea to mix line and low voltage due to the possibility of plugging the low voltage load into a line voltage outlet. Oh, and all the other parts are set up already to be line-voltage (plug boxs on stage, the cable runs to them, the large supply of 7.5w lamps, and the cage-protected sockets. I just want an interface and a remote rack of relays to add to the system. That make sense? --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: FrankWood95 [at] aol.com > It doesn't have to be DMX, but what exists "off the shelf" for this? I > prefer the lights to be line-voltage. Thoughts? For curiosity, why? Admittedly, the UK methods are very different, but we have used low voltage cue lights for forty years with no problems. ------------------------------ Date: Wed, 24 Nov 2004 22:44:32 -0800 Subject: Re: FW: References Message-ID: <20041124.233723.3864.0.ladesigners [at] juno.com> From: Richard Niederberg Dear Steve, I applaud you for not "Passing the Trash". I wish that this was always possible without worrying about the cost to WIN the resulting lawsuit. /s/ Richard > We have ended up with employees due to this theory and I must > say that it is very disheartening. We have not "passed the on" in > this manner, we have terminated their employment. > Steve Waxler ________________________________________________________________ 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: <21502991.1101369233249.JavaMail.root [at] kermit.psp.pas.earthlink.net> Date: Thu, 25 Nov 2004 02:53:53 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Obsession II Programming Help.... Dave: Remember, just about anything can be treated as a group. Do you want the "copy to" cues values to be FG's, or hard values? If you want hard values for the FG channels, you'll have to take several steps to do it, otherwise: FIXTURE 1 ATTRIBUTE ALL [at] GROUP CUE XXX This will put all of Fixture 1 at the values present in cue XXX. You don't need to type "GROUP", as it comes up as "group cue" when you hit the cue button in this context. Make sense? --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: David Bowman A quick question regarding programming an ETC Obsession II: Is there a way to copy a range of channels from one cue to another? I'm going to further complicate this by saying that the channels in mind are ML fixtures AND in the cue to copy from most are assigned to a focus group (with minor modifications to a few attributes). ------------------------------ End of Stagecraft Digest #206 *****************************