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 5724442; Sat, 27 Nov 2004 03:01:03 -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 #208 Date: Sat, 27 Nov 2004 03:00:40 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-4.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, URIBL_SBL autolearn=ham version=3.0.1 X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #208 1. Re: Thanksgiving Baby by jdeull [at] clarktransfer.com 2. Re: Thanksgiving Baby by FREDERICK W FISHER 3. Re: cue lights by "Randy B." 4. Anyone on the list in Australia (Sydney to be exact) by LoftLight [at] aol.com 5. Re: Thanksgiving Baby by gregg hillmar 6. Re: Some outdoor "rigging" by "Alf Sauve" 7. DAC'ed dimmers Vs. their younger cousin by Heather Carter 8. Re: Thanksgiving Baby by Stuart Wheaton 9. Re: References by Richard Niederberg 10. Re: Surtitiles, bleah! by CB 11. Re: Annoying occupations and back to Surtitiles by CB 12. Re: Acoustics - a chance for the sound guys to show off! by CB 13. Re: Surtitles,,, again by CB 14. Re: Annoying occupations and back to Surtitiles by Boyd Ostroff 15. Re: Surtitles,,, again by Boyd Ostroff 16. Re: Chris B & cue lights by Marty_Petlock [at] sarasotagov.com 17. Re: Surtitiles by Wood Chip-P26398 18. Re: Annoying occupations and back to Surtitiles by Wood Chip-P26398 19. Re: Acoustics - a chance for the sound guys to show off! by FrankWood95 [at] aol.com 20. Re: References by "sboone [at] bgnet.bgsu.edu" 21. Re: Annoying occupations and back to Surtitiles by IAEG [at] aol.com 22. Re: cue lights by FrankWood95 [at] aol.com 23. Re: cue lights by FrankWood95 [at] aol.com 24. Re: Surtitles,,, again by FrankWood95 [at] aol.com 25. Re: Surtitiles by FrankWood95 [at] aol.com 26. Re: cue lights by seanrmc [at] earthlink.net 27. Re: Theater Internship by Peter Simmel 28. Re: DAC'ed dimmers Vs. their younger cousin by "Nigel Worsley" 29. Re: Surtitles,,, again by "Andy Leviss" 30. Re: Surtitles,,, again by Boyd Ostroff 31. Re: Thanksgiving Baby by Mark O'Brien 32. Re: Annoying occupations and back to Surtitiles by jdeull [at] clarktransfer.com 33. Re: cue lights by Mark O'Brien 34. Re: cue lights by IAEG [at] aol.com 35. Re: Surtitles,,, again by Mark O'Brien 36. Re: Surtitles,,, again by IAEG [at] aol.com 37. Re: Wall wart-Mart by Mark O'Brien 38. Re: Surtitles,,, again by "John Vink" 39. Re: cue lights by FrankWood95 [at] aol.com 40. Re: Surtitles,,, again by FrankWood95 [at] aol.com 41. Re: Surtitles,,, again, and again... by Richard Niederberg 42. Re: FW: References by "Waxler, Steve (waxlers)" 43. Re: Some outdoor "rigging" by "Waxler, Steve (waxlers)" 44. Re: Anyone on the list in Australia (Sydney to be exact) by Andy Ciddor 45. Re: Surtitles,,, again by "Jon Ares" 46. Re: cue lights by Dale Farmer 47. Re: Some outdoor "rigging" by Dale Farmer 48. Re: Theater Internship by Dale Farmer 49. Re: Theater Internship by MissWisc [at] aol.com 50. Re: USITT Workshop: Let's Get the Show on the Road by William McLachlan 51. Re: Theater Internship by Steve Larson 52. Re: Listmembers in the L.A. area by MissWisc [at] aol.com 53. Cell Phones on Tour by "Andy Leviss" 54. Re: Cell Phones on Tour by Greg Persinger 55. Re: cue lights by Michael Heinicke 56. Learning AutoCAD by Mat Goebel 57. Re: Learning AutoCAD by "Jon Ares" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <1101472725.41a723d5e9962 [at] mail.clarktransfer.com> Date: Fri, 26 Nov 2004 07:38:45 -0500 From: jdeull [at] clarktransfer.com Subject: Re: Thanksgiving Baby References: In-Reply-To: Sam: Congrats! I too have a thanksgiving baby; 15 years old now. Something about the turkey... Jonathan ------------------------------ Date: Fri, 26 Nov 2004 07:44:43 -0600 From: FREDERICK W FISHER Subject: Re: Thanksgiving Baby Message-id: <77d0a777cf31.77cf3177d0a7 [at] wiscmail.wisc.edu> > David Thomas Fisher > Born > 11/25/04 at 9:34am, 7 pounds, 19.75" Congrats to you and your family. My almost Thanksgiving baby will be 14 on Monday. Maybe its not so much the turkey as the arrival of a beautiful spring day in March. Fred ------------------------------ Message-ID: <002501c4d3c2$28c790a0$640aa8c0 [at] global.scj.loc> From: "Randy B." References: Subject: Re: cue lights Date: Fri, 26 Nov 2004 08:13:52 -0600 Cost and ease of UL certification in the US, The manufacturer just has to pick the appropriate transformer from a stock list. Randy ----- Original Message ----- From: "Dorian Kelly" To: "Stagecraft" Sent: Friday, November 26, 2004 3:16 AM Subject: Re: cue lights > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > > > >>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? > > > > Do you buy these from Wall-Wart Mart? > > DK > > ------------------------------ Date: Fri, 26 Nov 2004 09:36:06 -0500 From: LoftLight [at] aol.com Subject: Anyone on the list in Australia (Sydney to be exact) Message-ID: <2D104F3D.3725F4E3.02682445 [at] aol.com> Coming out of lurk mode. Hello and a Happy Thanks Giving to all, and congrats to Sam and your family on the new arrival. In about a week and a half I'll be flying into Sydney for vacation. I plan to visit the Opera house, but I was wondering if there was anybody down under that could give me a tour, or suggestions about the the entertainment life, and what some of the best pubs might be? You can reply on or off list to save band width if you'd like. Thanks and Happy Holidays to all(present holiday and the one's coming up), AAron AAron Meadow Lighting Designer, NYC LoftLight [at] aol.com www.meadowlight.com ------------------------------ In-Reply-To: References: Message-Id: From: gregg hillmar Subject: Re: Thanksgiving Baby Date: Fri, 26 Nov 2004 09:39:34 -0500 Good Work! Both my kids were born in late August, which if you do the math, makes them also "thanksgiving babies," in a way... 'course we're thankful for them always. Best of luck, Sam & Kacey! g. _____________________ 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 25, 2004, at 11:29 PM, Sam Fisher wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > David Thomas Fisher > Born > 11/25/04 at 9:34am, 7 pounds, 19.75" > > Mom, Dad, and brother very happy. > > Sam Fisher > VP - Fisher Theatrical, LLC. > ------------------------------ Message-ID: <063501c4d3cf$38e6d740$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: Some outdoor "rigging" Date: Fri, 26 Nov 2004 10:32:41 -0500 I've added another picture showing the spire being removed. This picture taken from the roof of the adjoining building. http://sauve.org/steeple03.jpg Here's how it's suppose to work. This was an aluminum structure with a sheetmetal skin, plastic siding (yellow to match the building) and Plexiglas windows. No wood except for the 2x6s used to attach it to the roof. Total weight about 3,000 pounds. Structurally very sound. This steeple was on an older building and was located in the middle of the building. This requires the crane reach horizontally about 50'. So normally one would hire a 150' crane. Hoist a rigger to the top of the steeple and lift the cross out. (It's made of 4"x4" aluminum box beams and has a 3' section that telescopes into the top of the spire. Only weights 30#s) Then the rigger would drop a cable down the center of the spire. Once attached inside, to the base frame, and the roof bolts remove the crane would just lift the whole thing in one piece up and away. NOW HERE'S WHAT REALLY HAPPENED. We advertised for somebody to come get the steeple free. No takers. Then since we're having the whole main complex (5 connected buildings) re-roofed, we paid the roofing company to take it down. Basically done on a cost basis. They brought in a 100' crane which was a little short for the job. Rather than spend the money (over twice the cost) for the next larger crane, that management decided to take it down in pieces. (We're basically going to scrape it if nobody comes and gets it by the new year, anyway.) You can see from the third picture they cut holes in the spire, cut it away from the inside and hoisted it out. Then hoisted the main structure separately. The whole process only took about 5 hours from crane arrival to crane departure. My job was to keep the building and surrounding area evacuated and to document it. I didn't like the risks the contractor took, but it wasn't my call. I gave my input and it was 'taken under advisement'. Just another day, in the world of ad hoc building engineering. Next month, I oversee a retro-fit elevator installation. They built the shaft, 7 years ago, when they built the building, but didn't have money for the elevator. We've had fun, "finding" the shaft, like a secret passage. They had covered the openings with sheetrock, and finished the walls so that no-body even knew it was there. Alf ----- Original Message ----- From: "Bill Sapsis" > > > > Gee. That looks like fun. I'm curious though. Was the steeple originally > built with the idea of picking the whole thing up and placing it on the > roof. I can imagine that it was a bit tricky finding the right hanging > points so that it didn't self destruct on the way down. > > Nicely done. > > I'd take it off your hands in a heartbeat if you were closer (a lot closer) > to me. It would really piss off the neighbors if I put it in my front yard! > > Bill S. > www.sapsis-rigging.com > 800.727.7471 > 800.292.3851 fax > 267.278.4561 mobile > > We stand behind, and under, our work. > ------------------------------ Date: Fri, 26 Nov 2004 10:56:48 -0500 Subject: DAC'ed dimmers Vs. their younger cousin From: Heather Carter Message-Id: Here's a little spin-off question from the dimmer responses time one (sorry, I don't remember who posted it): I am bringing in a Porta-pack of dimmers (12) to supplement the dimmers we have for a travelling show. The dimmers we have were purchased when God was a boy, and are consequently analog. The DAC they run through gives us an additional (almost) second of response time (more depending on the load of the cue). The 12-pack does not need to run through the DAC, obviously. But it does need to match the time of the DAC'ed dimmers (approximately-- I mean, we're talking a second of reponse time here; I'm thinking "precision" is not the venue's focus!). Is it as simple as running it into the second universe? Or am I missing the obvious, like something in the dimmer profile? And is the only way I will find out how much time this buys me by plugging and playing? Thanks. Happy turkey sandwich (and turkey tetrazzini and turkey pot pie and turkey salads and turkey "surprise" loaf...) day. --Heather. ------------------------------ Message-ID: <41A7601E.1020502 [at] fuse.net> Date: Fri, 26 Nov 2004 11:55:58 -0500 From: Stuart Wheaton Subject: Re: Thanksgiving Baby References: In-Reply-To: FREDERICK W FISHER wrote: > Congrats to you and your family. My almost Thanksgiving baby will be 14 > on Monday. Maybe its not so much the turkey as the arrival of a > beautiful spring day in March. > Fred > If you were on tour for all of February, you just keep right on believing this... Maybe it was an early spring day? Or an early baby? Stuart ;-) ------------------------------ Date: Fri, 26 Nov 2004 08:35:21 -0800 Subject: Re: References Message-ID: <20041126.090057.3232.2.ladesigners [at] juno.com> From: Richard Niederberg Actually, I teach these Masters Classes upon request at universities, and less formal versions at other schools. /s/ Richard > I have always thought that there should be a required > class (or at least, section of a class) in every college > curriculum to talk to students about how the business > works! > June Abernathy ________________________________________________________________ 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: <3.0.6.32.20041126103057.017f9970 [at] pop.west.cox.net> Date: Fri, 26 Nov 2004 10:30:57 From: CB Subject: Re: Surtitiles, bleah! >Speaking of opera, anyone watch A Night >at the Opera last night on TV? Yes. At first I thought it was Koz doing a Rhino rigger training (Hi, Koz) with Mark, but then I remembered that neither Mark nor Koz have an italian accent. >Was that really Kitty Carlisle's voice? Sorry, dunno... 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: <3.0.6.32.20041126104043.017f9970 [at] pop.west.cox.net> Date: Fri, 26 Nov 2004 10:40:43 From: CB Subject: Re: Annoying occupations and back to Surtitiles >As for surtitles... it's OPERA not foreign film. Remember, Kristi, more people have been brought to the opera house in the last ten years by supratitles than by almost ANY soprano. I feel the same way (not so much in Italian and French as I do in German, but whatever) but as long as supratitles put butts in seats you can bet you'll see them at the opera. I betcha that supratitles would bring a coupla people to the ballet as well. Be careful what you wish for and all that! Don't forget 'h. Corprates'. These are people that are used to being in charge and having folks jump whjen they say jump. They don't understand that you need to eat to make the show go for ten or twelve hours, they don't understand that you might need to occasionally sleep, they don't have a clue when it comes to physics, they can talk about millions of dollars for hours on end while not understanding the few bucks you want to charge for overtime or meal penalty, and can out-whine any middle school parent at ten paces. Their only saving grace is that they are the fattest sheep in the field. 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: <3.0.6.32.20041126105234.017f9970 [at] pop.west.cox.net> Date: Fri, 26 Nov 2004 10:52:34 From: CB Subject: Re: Acoustics - a chance for the sound guys to show off! >I will just point out that the Greek theatre at Ephesos allows you to hear, >clearly, a normal conversational voice in the back row. It's made of stone, and >I don't know how they did it. They ignored the architect and the acoustic consultant and just did it the way that the sound guy told them it'd work. For once... 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: <3.0.6.32.20041126110829.017f9970 [at] pop.west.cox.net> Date: Fri, 26 Nov 2004 11:08:29 From: CB Subject: Re: Surtitles,,, again >> "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? > >About the same size. While this answer is correct, technically, 'about' is not a spec that most suppliers would be comfortable with. No credit. > 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? >Rosco do a good line in mirror film. While less prefect than a surface >silvered mirror, I think that it will serve. No answer to the second question, no answer to the third, and 'I think' doesn't inspire much confidence. I'll give half credit for the Rosco bit. Five six and seven werecompletely ignored, no credit. >> The last sentence implies the question, "Is it preferable to abuse the >> projector by pointing it down or use a second mirror?" This will be >> considered extra credit. >Well, I don't know the projectors. You seem to. But an additional small >mirror is no great problem. No effort, relly into this one, Frank. The admission that you really don't know the material doesn't excuse you from the test. In the end, you've contributed a mere 14 points (if I include your previous posts answer) to the conversation, not even meriting a 'D'. Thank you for playing, we have some nice parting gifties for you there in the back! 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: Fri, 26 Nov 2004 13:11:19 -0500 (EST) From: Boyd Ostroff Subject: Re: Annoying occupations and back to Surtitiles In-Reply-To: Message-ID: References: On Fri, 26 Nov 2004, CB wrote: > Remember, Kristi, more people have been brought to the opera house in the > last ten years by supratitles than by almost ANY soprano. I think you're right about this (unfortunately). There is now a new system that symphony orchestras are trying out for concerts when you take a PDA into the theatre and it gives you context-sensitive background info about the composer and work as it's performed. It's getting mixed reviews from what I gather (haven't seen it myself). It's amazing the goofy ideas that marketing people can come up with (Supertitles for Ballets?? ;-) My favorite one was an idea that somebody had here a few years ago. We have a bunch of obstructed view seats due to columns in our 19th century opera house. So they had the brilliant idea that we could sell these seats to groups of blind people. We did a test of this during a dress rehearsal. The results surprised everyone: the blind people didn't like the sound from the obstructed view seats.... evidently they could actually "hear" the post in front of them! So much for that concept... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Fri, 26 Nov 2004 13:15:11 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitles,,, again In-Reply-To: Message-ID: References: Regarding mylar stretch mirror for rear projection (if that's what you're thinking of)... I've read that people have success with this, and have seen it used only once. It was pretty unacceptable because changes in temperature and air currents made the mylar move which created a very annoying jitter in the image. With white text on a black background this would probably drive you nuts... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Subject: Re: Chris B & cue lights Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Fri, 26 Nov 2004 13:18:08 -0500 Hi Chris, Wondered if I'd hear from you. If you're at the next LDI the first one's on me. 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: From: Wood Chip-P26398 Subject: RE: Surtitiles Date: Fri, 26 Nov 2004 11:17:04 -0700 Is there any house using seatback LED displays for surtitles? That could solve the sight lines and design problems. Chip Wood ----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Boyd Ostroff Placing the screen too high creates surtitle obstructions for those seats. Unfortunately this does intrude into the stage picture, and as a designer I'm not all that happy about this, but I just have to accept it. ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Annoying occupations and back to Surtitiles Date: Fri, 26 Nov 2004 11:26:08 -0700 That is a good idea and ties in with my LED seatback question. Why not have language selectable seatback displays? Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com Next thing they'll want the surtitles in English and Spanish just like DVDs. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8a.1ab14fdb.2ed8cf6b [at] aol.com> Date: Fri, 26 Nov 2004 13:26:51 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 26/11/04 04:11:51 GMT Standard Time, psyd [at] cox.net writes: > >Thoughts??? Do acoustical consultants consider if more concerts in a hall > >will be orchestras versus bands when designing? > > More often than not, no. Good ones will consider all options and make > adjustments / alternatives, bad ones will build a box from a book theory, > cash the check, and walk away. I'm afraid that this is so. You do need the book theory to give you a starting point, though. For instance, the gross reverberation times are known for different uses. For instance, an orchestral concert hall needs quite a long one, about 2.5 seconds, if I remember rightly. Theatres where straight plays are staged need about 1.5 seconds. This is the trouble with multi-usage spaces. Changing this is difficult and expensive, and you can bet that most solutions will be frequency dependent. Electronic answers have been tried, but I haven't heard of a successful one. After that, you have to start worrying about the aesthetics, and in more detail about the acoustics, not to mention all the building and safety codes. A good acoustician will have a computer modelling package, on which various solutions can be tried. Even so, you still need experience and talent to get it right. Frank Wood ------------------------------ Date: Fri, 26 Nov 2004 13:37:36 -0500 From: "sboone [at] bgnet.bgsu.edu" Message-Id: <1101494256-4211.018.241-smmsdV2.1.2 [at] smtp.bgsu.edu> Subject: Re: References In-Reply-To: June Abernathy wrote: -------------------------------- >On the other other hand, just to be perverse, how do >all these people who got bad references, didn't get >hired, and subsequently brought lawsuits KNOW that >they got bad references, and from whom? Well, anybody who applies for a job at a US public institution (state, county or municipal) in a "Sunshine Law" state can request to see their entire application file. Many states in the US have sunshine laws, so, it's relatively easy for somebody who's willing to deal with the red tape involved in making the request to ferret out a bad letter of recommendation. Before sunshine laws, I used to hear all kinds of sleezy ways for people applying for jobs to get ahold of confidential recommendations. The ones that kill me are when you are sent a good letter of rec but then hear a whole different story on the phone. Boy, the poop you have to go through then! Steve Boone Bowling Green State University ------------------------------ From: IAEG [at] aol.com Message-ID: <45.1c2ad8f2.2ed8d424 [at] aol.com> Date: Fri, 26 Nov 2004 13:47:00 EST Subject: Re: Annoying occupations and back to Surtitiles In a message dated 11/26/04 1:27:04 PM, Chip.Wood [at] motorola.com writes: >That is a good idea and ties in with my LED seatback question. Why not >have language selectable seatback displays? >Chip Wood as I think Boyd mentioned, , the MET system is set up to do this, although he isn't certain that they are currently actually utilizing it in that manner, not certain, but my old friend Anne Johnston of Production Arts in NYC was "representing" that system for additional installs, , don't know if the LaScala installation is that same system or a clone very best, Keith Arsenault ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <128.50c33431.2ed8d45a [at] aol.com> Date: Fri, 26 Nov 2004 13:47:54 EST Subject: Re: cue lights In a message dated 26/11/04 05:40:17 GMT Standard Time, seanrmc [at] earthlink.net writes: > What's nice about using the 7.5w lamps (they're about the same size as a golf > or ping-pong ball) is that they're a decent size and there really isn't much > of a viewing angle limitation. Also, using line voltage also allows the use > of other things (rope light, fans, etc). These last belong either to the Lighting or SM departments, according to their purpose. I certainly don't think that they should mix with cue lights. > > Large supply? Because we tend to use different colors for different thing-- > green or blue for actor entrances, etc, orange and red for crew cues (fly > cues, automation, etc). Each cue light uses two lamps, and a large show will > have 10-14 cue lights. Our permanent installation uses seven, in a small theatre. Plus floating boxes. > > Also, something that hasn't really been touched on yet. Nobody really seems > to want to spend any money or time on things like cue lights. I'd sure > prefer to use my budget to buy more Source-Fours than to buy high-tech cue > lights. I'm pretty sure it's the same most places. I know our sound guys > usually aren't drooling over buying new headsets for the deck crew, they're > all ga-ga over a new console or amp. It's the way of our world. I'm afraid that it is. Particularly the modern custom of looking for commercial equipment. I come from a world that built its own gear. We had a lot of good engineers around, then, who were capable of designing and building anything from a cue-light system to a complete sound desk, truly quadraphonic, yet! The fires burn lower, these days. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1c3.21133539.2ed8d5d0 [at] aol.com> Date: Fri, 26 Nov 2004 13:54:08 EST Subject: Re: cue lights In a message dated 26/11/04 09:17:26 GMT Standard Time, dorian [at] essex.ac.uk writes: > >>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? Because of the worldwide variations in connector standards and line voltages, and because of worldwide marketing. It is much less trouble and cost to include an appropriate power supply for the area you are selling in than to have to make a different model. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9b.536b4e9d.2ed8d865 [at] aol.com> Date: Fri, 26 Nov 2004 14:05:09 EST Subject: Re: Surtitles,,, again In a message dated 26/11/04 18:13:45 GMT Standard Time, ostroff [at] operaphilly.com writes: > Regarding mylar stretch mirror for rear projection (if that's what you're > thinking of)... I've read that people have success with this, and have > seen it used only once. It was pretty unacceptable because changes in > temperature and air currents made the mylar move which created a very > annoying jitter in the image. With white text on a black background this > would probably drive you nuts... I agree that I should prefer a surface silvered glass mirror. But they are not cheap. A big opera house, performing daily, might be able to afford one. A smaller house, preformong occasionally, would prefer a cheaper solution. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.1b157817.2ed8d8f5 [at] aol.com> Date: Fri, 26 Nov 2004 14:07:33 EST Subject: Re: Surtitiles In a message dated 26/11/04 18:18:02 GMT Standard Time, Chip.Wood [at] motorola.com writes: > Is there any house using seatback LED displays for surtitles? That could > solve the sight lines and design problems. I think the Met, and the ROH is thinking about it. Frank Wood ------------------------------ Message-ID: <15276988.1101496694000.JavaMail.root [at] waldorf.psp.pas.earthlink.net> Date: Fri, 26 Nov 2004 11:18:13 -0800 (PST) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: cue lights -----Original Message----- From: FrankWood95 [at] aol.com >> Also, using line voltage also allows the use of other things (rope light, fans, etc). > >These last belong either to the Lighting or SM departments, according to >their purpose. I certainly don't think that they should mix with cue lights. Well..... Seeing as the cue lights are set up by the LX and run by SM departents..... Rope light is sometimes used as a cue light (see discussion about this a couple months ago). Also, on a couple occasions, small fans were run through the system for an effect--it was cheaper and easier to do that than to rig switches on the deck for the crew, and we (lighting) did not have enough relays to run the effect via DMX. >I'm afraid that it is. Particularly the modern custom of looking for >commercial equipment. I come from a world that built its own gear. We had a lot of >good engineers around, then, who were capable of designing and building anything >from a cue-light system to a complete sound desk, truly quadraphonic, yet! The >fires burn lower, these days. I understand what you're saying, but look at it the other way. We're working in a fast paced, modular world. If I have a unit fail, I don't want to have the only one like it that exists in the world, I want to know that I can call XYZ and have a replacement overnighted to me. This applies to everything from fixtures, to consoles and dimmers, to effects. The less that is custom for that show, the easier in general it is to support that equipment. We're very transient in this industry. If I build something custom, then when I move on someone new has to deal with my frankenstein creation. _I_ would hate to walk into that sort of job. Also, when something DOES break, if someone else built it then it's often that party's problem. And, as much as I'd like to toot my own horn, I don't think I could engineer a better fixture than what's out there, a better dimmer than what exists. The root of my question about "off the shelf" cue lights is my trying to avoid recreating the wheel. --Sean Sean R. McCarthy searnmc [at] earthlink.net ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 26 Nov 2004 14:34:11 -0500 From: Peter Simmel Subject: Re: Theater Internship I have not been on this Listserv for awhile so I'm not sure if this has been discussed before. Anyone who has some experience with this you can reply to me directly. The University is in the last stages of implementing a 4 credit model curriculum which means some major changes in the Theatre Dept. Coupled with a new Performing Arts Center a few years away, we are looking to several new positions in Technical Theatre. However, we are not to that stage yet. Because of financial considerations, we are looking to start with an Internship position. I will be discussing with the Dean (the possibility) of creating this Internship position to start next Fall and need to have information before we meet. (Could be within the next couple of days) First, this position would not have any instructional duties. The position would include: the design and supervision of scenic construction, lighting design and implementation and TD for one major production in the Fall. The Spring semester would include the same responsibilities for one major production, a student One-Act Festival (very limited technical demands- directors have to select shows with "no windows, no walls and no doors"-set pieces mostly. Simple light plot)- Spring also includes a Dance Recital with minimal technical support. This person would have 6 or so workstudy students with varying degrees of experience. I'm anticipating the likely candidate would be an undergraduate with a degree in Tech Theatre, recently graduated. Here is the question. What would be the compensation package for this level of Internship? I need to be creative: a set salary and nothing else, less salary and room, salary and a meal plan in the cafeteria? I'm interested in anyone who has had Interns in their Theatre program and what "packages" they have provided. If implemented, hopefully it will be at least a three year position. If the economic climate changes for the better, the Arts Center will get finished sooner than three years and new positions will be created-No guarantee. Thanks for your assistance with this matter. Peter Simmel Professor-Theatre U of M ------------------------------ Message-ID: <015f01c4d3f0$bf8cbd20$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: DAC'ed dimmers Vs. their younger cousin Date: Fri, 26 Nov 2004 19:47:22 -0000 Heather Carter wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Here's a little spin-off question from the dimmer responses time one > (sorry, I don't remember who posted it): > > I am bringing in a Porta-pack of dimmers (12) to supplement the dimmers > we have for a travelling show. The dimmers we have were purchased when > God was a boy, and are consequently analog. The DAC they run through > gives us an additional (almost) second of response time (more depending > on the load of the cue). Sounds like they don't have preheat and the Porta-pack does. It can probably be turned off, alternatively have the other channels on a submaster set at a few percent. Nigel Worsley ------------------------------ From: "Andy Leviss" Subject: RE: Surtitles,,, again Date: Fri, 26 Nov 2004 14:36:39 -0500 Organization: Duck's Echo Sound Message-ID: <001501c4d3ef$3fc33a20$a19afea9 [at] AndyLeviss> In-Reply-To: Frank Wood wrote: > I agree that I should prefer a surface silvered glass mirror. > But they are > not cheap. A big opera house, performing daily, might be able > to afford one. A > smaller house, preformong occasionally, would prefer a > cheaper solution. Like, I dunno, front projection? --Andy (yeah, I quoted more than I posted, sue me) --- 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 ------------------------------ Date: Fri, 26 Nov 2004 15:44:20 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitles,,, again In-Reply-To: Message-ID: References: On Fri, 26 Nov 2004, Andy Leviss wrote: > Like, I dunno, front projection? Geez, Frank has already explained over and over why that's no good. Pay attention! | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <1101505393.8a6d81bd1bd1a [at] www.email.arizona.edu> Date: Fri, 26 Nov 2004 14:43:13 -0700 From: Mark O'Brien Subject: Re: Thanksgiving Baby References:

In-Reply-To: Hey, I could be that turkey... Being a thanksgiving baby, one misses out on chores [at] thanksgivivng, every few years. It worked for me. -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting jdeull [at] clarktransfer.com: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Sam: > > Congrats! I too have a thanksgiving baby; 15 years old now. Something about > the turkey... > > Jonathan > ------------------------------ Message-ID: <1101505801.41a7a509bacb4 [at] mail.clarktransfer.com> Date: Fri, 26 Nov 2004 16:50:01 -0500 From: jdeull [at] clarktransfer.com Subject: Re: Annoying occupations and back to Surtitiles References: In-Reply-To: The roving reporter reports, for any who care: Volksoper in Vienna Austria tonght used FP surtitles inside the main proscenium, screen looks to be a hung flat painted gray, approximately 12'x2'. Unfortunately they either misfocused lights or had other problems so that there was frequently substantial spill on the screen along with a beautiful clear shadow of a FOH truss. I saw no reason that should have had to be the case. Jonathan, on location ------------------------------ Message-ID: <1101505909.424c1df9bb026 [at] www.email.arizona.edu> Date: Fri, 26 Nov 2004 14:51:49 -0700 From: Mark O'Brien Subject: Re: cue lights References: In-Reply-To: What's wrong with rope light FOR cue lights? Or for running lights for that matter. If the whole damn T track lights up, it's kinda hard to miss! As for running light, white ropelight REAL dim is great for footpaths, backstage. -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting FrankWood95 [at] aol.com: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 26/11/04 05:40:17 GMT Standard Time, seanrmc [at] earthlink.net > writes: > > > What's nice about using the 7.5w lamps (they're about the same size as a > golf > > or ping-pong ball) is that they're a decent size and there really isn't > much > > of a viewing angle limitation. Also, using line voltage also allows the > use > > of other things (rope light, fans, etc). > > These last belong either to the Lighting or SM departments, according to > their purpose. I certainly don't think that they should mix with cue lights. > > > > Large supply? Because we tend to use different colors for different > thing-- > > green or blue for actor entrances, etc, orange and red for crew cues (fly > > cues, automation, etc). Each cue light uses two lamps, and a large show > will > > have 10-14 cue lights. > > Our permanent installation uses seven, in a small theatre. Plus floating > boxes. > > > > Also, something that hasn't really been touched on yet. Nobody really > seems > > to want to spend any money or time on things like cue lights. I'd sure > > prefer to use my budget to buy more Source-Fours than to buy high-tech cue > > lights. I'm pretty sure it's the same most places. I know our sound guys > > usually aren't drooling over buying new headsets for the deck crew, they're > > all ga-ga over a new console or amp. It's the way of our world. > > I'm afraid that it is. Particularly the modern custom of looking for > commercial equipment. I come from a world that built its own gear. We had a > lot of > good engineers around, then, who were capable of designing and building > anything > from a cue-light system to a complete sound desk, truly quadraphonic, yet! > The > fires burn lower, these days. > > > > > Frank Wood > ------------------------------ From: IAEG [at] aol.com Message-ID: <159.450c9d02.2ed90155 [at] aol.com> Date: Fri, 26 Nov 2004 16:59:49 EST Subject: Re: cue lights In a message dated 11/26/04 4:52:35 PM, marko [at] email.arizona.edu writes: >What's wrong with rope light FOR cue lights? Or for running lights for >that > >matter. If the whole damn T track lights up, it's kinda hard to miss! > As for > >running light, white ropelight REAL dim is great for footpaths, backstage. having seen Marty Petlocks rope light cue system behind the fly rail at Van Wezel in Sarasota, , , I can endorse it wholeheartedly and would recommend that system to most everyone very best, Keith Arsenault ------------------------------ Message-ID: <1101506831.12eaac1f02601 [at] www.email.arizona.edu> Date: Fri, 26 Nov 2004 15:07:11 -0700 From: Mark O'Brien Subject: Re: Surtitles,,, again References: In-Reply-To: Now that this thread has lasted longer than the Opera, and it was resolved that RP was superior, even though it would make the audience seasick, and cost a jillion dollers, and the fact that the original poster (me) used a simple FP setup with little fanfare, and much sucsess, and given the fact that this said Opera closed last Sunday. Perhaps we can make a surtitle screen, with Rosco mylar, AND use ropelight, around said screen to cue the Powerpoint operator to change the surtitles! We could even use a 3,000 dollar custom made relay box instead of an off the shelf DMX box. -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting FrankWood95 [at] aol.com: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 26/11/04 18:13:45 GMT Standard Time, > ostroff [at] operaphilly.com writes: > > > Regarding mylar stretch mirror for rear projection (if that's what you're > > thinking of)... I've read that people have success with this, and have > > seen it used only once. It was pretty unacceptable because changes in > > temperature and air currents made the mylar move which created a very > > annoying jitter in the image. With white text on a black background this > > would probably drive you nuts... > > I agree that I should prefer a surface silvered glass mirror. But they are > not cheap. A big opera house, performing daily, might be able to afford one. > A > smaller house, preformong occasionally, would prefer a cheaper solution. > > > > Frank Wood > ------------------------------ From: IAEG [at] aol.com Message-ID: <12e.51e98af5.2ed906da [at] aol.com> Date: Fri, 26 Nov 2004 17:23:22 EST Subject: Re: Surtitles,,, again In a message dated 11/26/04 5:08:02 PM, marko [at] email.arizona.edu writes: > > >Perhaps we can make a surtitle screen, with Rosco mylar, AND use ropelight, > >around said screen to cue the Powerpoint operator to change the surtitles! >We > >could even use a 3,000 dollar custom made relay box instead of an off the >shelf > >DMX box. nawwww,,, I say we give everyone a translated Libretto and a Mini Mag light as a souvenir, , , would cost less in the long run, , very best, Keith Arsenault ------------------------------ Message-ID: <1101511166.1a682e065748e [at] www.email.arizona.edu> Date: Fri, 26 Nov 2004 16:19:26 -0700 From: Mark O'Brien Subject: Re: Wall wart-Mart References: In-Reply-To: Grrrrrrrrrr - Quoting Dorian Kelly : > > > Do you buy these from Wall-Wart Mart? > > DK > Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ From: "John Vink" Subject: RE: Surtitles,,, again Date: Fri, 26 Nov 2004 16:27:16 -0700 Message-ID: <000201c4d40f$777c9db0$6501a8c0 [at] canadiansales> In-Reply-To: There is a company out of New York that produce glassless mirrors for a number of purposes. They were at USITT last year. Their largest market segment is rear projection TV's. They have also produced mirrors for Cirque du Soleil. They put these huge frames in an oven to shrink the film all at the same time so there are no wrinkles. Their website is www.hudsonphotographic.com/rearprojection/index.htm As I recall the cost was similar to a glass mirror, but had a huge advantage in weight. John Vink > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On > Behalf Of Boyd > Ostroff > Sent: November 26, 2004 11:15 AM > To: Stagecraft > Subject: Re: Surtitles,,, again > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Regarding mylar stretch mirror for rear projection (if > that's what you're > thinking of)... I've read that people have success > with this, and have > seen it used only once. It was pretty unacceptable > because changes in > temperature and air currents made the mylar move which > created a very > annoying jitter in the image. With white text on a > black background this > would probably drive you nuts... > > | Boyd Ostroff > | Director of Design and Technology > | Opera Company of Philadelphia > | http://tech.operaphilly.com > | ostroff [at] operaphilly.com > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <14.39643b2f.2ed91698 [at] aol.com> Date: Fri, 26 Nov 2004 18:30:32 EST Subject: Re: cue lights In a message dated 26/11/04 19:18:58 GMT Standard Time, seanrmc [at] earthlink.net writes: > Also, on a couple occasions, small fans were run through the system for an > effect--it was cheaper and easier to do that than to rig switches on the deck > for the crew, and we (lighting) did not have enough relays to run the effect > via DMX. We thought about this, when we did a refit a few years ago, and installed 12 switch-only circuits, with a separate control box. Six were solid-state relays, for lightning and such, and the other six contactors, for loads too small for SSRs to be reliable. Projector motors, mirror ball rotators, and so forth. > > >I'm afraid that it is. Particularly the modern custom of looking for > >commercial equipment. I come from a world that built its own gear. We had a > lot of > >good engineers around, then, who were capable of designing and building > anything > >from a cue-light system to a complete sound desk, truly quadraphonic, yet! > The > >fires burn lower, these days. > I understand what you're saying, but look at it the other way. We're > working in a fast paced, modular world. If I have a unit fail, I don't want > to have the only one like it that exists in the world, I want to know that I > can call XYZ and have a replacement overnighted to me. This applies to > everything from fixtures, to consoles and dimmers, to effects. The less that > is custom for that show, the easier in general it is to support that > equipment. Not custom for the show, custom for the theatre. And the builders and designers were always around, and there were proper drawings. This is no longer true, with us. Becoming more professional has disadvantages. If the guy who designed and built the gear is in the bar, or no more than a mile away, service is easier. When we get older, and move out to the country, there are more problems. Plus having to support elderly relatives. There does not seem to be a new generation of enthusiastic experts following on. > > And, as much as I'd like to toot my own horn, I don't think I could engineer > a better fixture than what's out there, a better dimmer than what exists. > The root of my question about "off the shelf" cue lights is my trying to > avoid recreating the wheel. Dimmers, no. They are well out of my field. Cue lights, I think so. We installed a lot of modifications to the original system, for good reasons, and at small cost. Making the 'answer' button work the SM red, to attract their attention; making it, when enabled by the SM to activate the 'go' master to do cues when the SM could not see the cue action are just two. All these were lost in the re-fit. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25.5358760a.2ed919f6 [at] aol.com> Date: Fri, 26 Nov 2004 18:44:54 EST Subject: Re: Surtitles,,, again In a message dated 26/11/04 20:43:04 GMT Standard Time, ostroff [at] operaphilly.com writes: > > Like, I dunno, front projection? > > Geez, Frank has already explained over and over why that's no good. Pay > attention! I don't know. I can only report what I have seen. In the ROH, the Coliseum, the opera houses in Glyndebourne, Bordeaux, Toulouse, Chatelet, and Bastille, I have seen no evidence of front projection. It's very hard to miss the beams. So, I conclude that they are using some sort of BP system. The one I proposed took no more than five minutes of cogitation. Perhaps there are better ones around, and I should like to know how they work. Frank Wood ------------------------------ Date: Fri, 26 Nov 2004 15:58:35 -0800 Subject: Re: Surtitles,,, again, and again... Message-ID: <20041126.161327.1408.1.ladesigners [at] juno.com> From: Richard Niederberg Dear Respected Delegates, Whew! OK, the Public Comment period has now passed. So, what will be the OFFICIAL Stagecraft List Standard for supertitles? Getting a consensus as to the wording of a new ANSI code almost takes less verbiage than we have expended on this subject [NOT]. /s/ Richard > Now that this thread has lasted longer than the Opera, and it > was resolved that RP was superior, even though it would > make the audience seasick, and cost a jillion dollers, and the > fact that the original poster (me) used a simple FP setup with > little fanfare, and much sucsess, and given the fact that this > said Opera closed last Sunday. > Mark O'Brien ________________________________________________________________ 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: <886EF25AF8BEF64EB89A820EF84064FF069E0C74 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: FW: References Date: Fri, 26 Nov 2004 19:28:17 -0500 I guess we have just been lucky so far. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Richard Niederberg [mailto:ladesigners [at] juno.com] Sent: Thursday, November 25, 2004 1:45 AM To: Stagecraft Subject: Re: FW: References For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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: <886EF25AF8BEF64EB89A820EF84064FF069E0C75 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Some outdoor "rigging" Date: Fri, 26 Nov 2004 19:35:11 -0500 There is a picture in the latest Smithsonian Magazine showing the last little pyramid being placed on top of the Washington Monument. A bunch of old pharts are standing around on a platformed scaffold and placing the last little piece by hand. Neat. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 ! Most any church steeple built in the last 50 or so years was made to be built on the ground and lifted into place. Costs of putting up scaffolding to build it in place, plus worker liability insurance costs made that an easy call. ------------------------------ Message-Id: <4.3.2.7.2.20041127113959.03b31248 [at] pop3.kilowatt.com.au> Date: Sat, 27 Nov 2004 11:45:50 +1100 From: Andy Ciddor Subject: Re: Anyone on the list in Australia (Sydney to be exact) In-Reply-To: At 01:36 27.11.2004, Aaron Meadow wrote: >In about a week and a half I'll be flying into Sydney for vacation. I >plan to visit the Opera house, but I was wondering if there was anybody >down under that could give me a tour, or suggestions about the the >entertainment life, and what some of the best pubs might be? I would suggest that you post this question on the ALIA Forum site . The Australasian Lighting Industry Association has members in most venues in Sydney. BTW the Opera House runs formal backstage tours most days, but I'm sure that you can organize a real technical tour, if you haven't already done so. Andy Andy Ciddor aciddor [at] alia.com.au Australasian Lighting Industry Association (Incorporated) http://www.alia.com.au ------------------------------ Message-ID: <001f01c4d41b$42d61b70$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Surtitles,,, again Date: Fri, 26 Nov 2004 16:51:41 -0800 > Perhaps we can make a surtitle screen, with Rosco mylar, AND use > ropelight, > around said screen to cue the Powerpoint operator to change the surtitles! > We > could even use a 3,000 dollar custom made relay box instead of an off the > shelf > DMX box. Nahh... it will cost you a LOT more than three grand when you're done - got to fly Frank across the pond (on a jet that allows barefoot smoking) so he can build his theoretical box, and shame all us Yanks who've been doing it wrong all these years (like all the European houses have been doing it wrong). I will say one thing about our local opera company - they most definitely are using front projection (and the screen is above the proscenium) but the air in the Keller Auditorium must be particularly clean, because you can rarely see the beams of light illuminating the screen. (This is to say Frank, it might very well be possible that you've seen front-projected, but could not see the beams of light.) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Message-ID: <41A7D8BE.4CADB2CA [at] cybercom.net> Date: Fri, 26 Nov 2004 20:30:38 -0500 From: Dale Farmer Subject: Re: cue lights References:

Mark O'Brien wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > What's wrong with rope light FOR cue lights? Or for running lights for that > matter. If the whole damn T track lights up, it's kinda hard to miss! As for > running light, white ropelight REAL dim is great for footpaths, backstage. Speaking of rope lights. I found a company recently that makes them with LEDs instead of incandescent bulbs. Available in 12 and 24 VDC, and 110VAC versions, and several different colors. They sent me a one foot sample of the white, and I'm very impressed. Cool to the touch, and plenty bright. They claim they are dimmable with regular architectural dimmers, so they ought to work ( Cross fingers) with theatrical dimmers. --Dale ------------------------------ Message-ID: <41A7D980.F29B9A2C [at] cybercom.net> Date: Fri, 26 Nov 2004 20:33:52 -0500 From: Dale Farmer Subject: Re: Some outdoor "rigging" References: "Waxler, Steve (waxlers)" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > There is a picture in the latest Smithsonian Magazine showing the last > little pyramid being placed on top of the Washington Monument. A bunch of > old pharts are standing around on a platformed scaffold and placing the last > little piece by hand. Neat. > > Steve Waxler Yup. IT was aluminum, back when aluminum was more expensive than gold. --Dale ------------------------------ Message-ID: <41A7DD53.ED1220B3 [at] cybercom.net> Date: Fri, 26 Nov 2004 20:50:11 -0500 From: Dale Farmer Subject: Re: Theater Internship References:

Peter Simmel wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I have not been on this Listserv for awhile so I'm not sure if this > has been discussed before. Anyone who has some experience with this > you can reply to me directly. > > The University is in the last stages of implementing a 4 credit model > curriculum which means some major changes in the Theatre Dept. > Coupled with a new Performing Arts Center a few years away, we are > looking to several new positions in Technical Theatre. However, we > are not to that stage yet. Because of financial considerations, we > are looking to start with an Internship position. I will be > discussing with the Dean (the possibility) of creating this > Internship position to start next Fall and need to have information > before we meet. (Could be within the next couple of days) > > First, this position would not have any instructional duties. The > position would include: the design and supervision of scenic > construction, lighting design and implementation and TD for one major > production in the Fall. The Spring semester would include the same > responsibilities for one major production, a student One-Act Festival > (very limited technical demands- directors have to select shows with > "no windows, no walls and no doors"-set pieces mostly. Simple light > plot)- Spring also includes a Dance Recital with minimal technical > support. This person would have 6 or so workstudy students with > varying degrees of experience. I'm anticipating the likely candidate > would be an undergraduate with a degree in Tech Theatre, recently > graduated. > > Here is the question. What would be the compensation package for this > level of Internship? I need to be creative: a set salary and nothing > else, less salary and room, salary and a meal plan in the cafeteria? > I'm interested in anyone who has had Interns in their Theatre program > and what "packages" they have provided. If implemented, hopefully it > will be at least a three year position. > If the economic climate changes for the better, the Arts Center will > get finished sooner than three years and new positions will be > created-No guarantee. > > Thanks for your assistance with this matter. > > Peter Simmel > Professor-Theatre > U of M IF this is a internship, then the compensation package is not so important, they are doing it for the resume and experience building, and will move on after a year. Peg it to the pay scale of your graduate students working for the university. If you are looking for a ongoing position for a technical director for the performing arts center, which is what your job description reads like to me, then I'd peg it to the same pay scale your non-tenured instructors get. If there is in your pay schedule something for skilled professionals, such as electricians, carpenters, draftsmen, and so on, then that is the better place to put it. While you say there is no teaching duties, it is, more than likely, a partial teaching position that doesn't have any classroom sessions. Which is a can of worms that needs to be opened up sooner or later. You also notice I haven't used any numbers. That's because I have no idea what the cost of living is at your campus. The job that pays 75K in NYC gets 35K in Arizona. Mostly because of cost of living differences. --Dale ------------------------------ From: MissWisc [at] aol.com Message-ID: <1a7.2bea8b5e.2ed939cb [at] aol.com> Date: Fri, 26 Nov 2004 21:00:43 EST Subject: Re: Re: Theater Internship Cc: simmel [at] maine.edu Peter - some thoughts I hope you'll find helpful... First, don't kid yourself that Intern doesn't have "instructional duties". If Intern is supervising 6 student workers, Intern WILL be teaching them at some point - even if Intern doesn't give a grade. If Intern is supervising students for a lab/class hours situation, then Intern should work with the professor in collecting data for student evaluations. Intern needs a way to verify that student workers have been taught safe operating procedures for each piece of equipment, else Intern will need to design (borrow from members of this list perhaps) and use those instructional and measurement tools. If your campus provides apartment housing where Intern can get a studio or one bedroom apartment within walking distance of the theatre, IMHO that's the best option. I do NOT suggest Intern move into the dorms nor be forced to have a roommate. If Intern can walk, that cuts down on expenses plus Intern is close by when something goes to heck. As for compensation... I'd say minimum pay would be $10 an hour plus housing and benefits and I'd hope for more. If food service is available near the theatre and at times other than "normal" mealtimes, that would be a good thing to offer also. A board package that's only available from 7-9AM, 11-1PM, and 4-6 PM doesn't work with most theatre lives. Some campuses have a meal card that can be used anywhere on campus. A $1,000 balance on the card each semester and/or "faculty discount" can be a nice perq. Talk with your human resources department on campus... most teachers get a salary regardless of number of hours worked. This may be a better option for budgeting as you'd know in advance what the cost will be, but federal laws may classify him as "non-exempt" so you'd have to pay hourly wage plus time and a half overtime and so on. Your local HR people can guide you on that. Do provide health and disability insurance. This alone will get people knocking on your door. If other staff get dental, vision and prescription drug cove rage, make certain Intern does too. Do treat Intern equally to other university staff in regards to university wide things. E.g., if other staff have an orientation to the campus, work out privledges in the gym, schmooze with the alumni time, dinner with the dean, and so on... Intern should be able to participate too. If university staff have personal development time/funds or can take a university course tuition free, Intern should be able to do that also. Do treat Intern equally to other teachers/staff within the department... e.g., if you have a department meeting, make certain Intern is invited and Intern's ideas are treated with the same respect as your other colleagues. If faculty go to USITT, Intern should get to go too. If a vendor comes in to demonstrate something, Intern should be able to see that too. Will Intern have any edge in getting a position at the new PAC? If you like Intern a lot, can you re-hire for another year or two? If Intern this year is a lighting specialist, will you look for a scenic design specialist next year so your students get that variety? Can you work with USA/IA to help Intern qualify for their card(s)? What opportunities are available when college is not in session? Can Intern stay in university housing when college is not in session? Food? Health care? If Intern has a family, what can you offer them? (campus job for spouse/discount on tuition, day care, family insurance bennies, etc.) Who on staff will be responsible for supervising Intern? How will that person be compensated? How/who will evaluate Intern? Have you thought about having a completion bonus e.g., Intern gets $X at the end of the year? How/where will you advertize? What will your hiring criteria be? I know I probably raised more questions than I answered and I certainly don't expect you to answer these to the list, but what you offer will need to be unique to your area and your institution. Hope this helped!!! Kristi ------------------------------ In-Reply-To: References:

Message-Id: <7EDA7F3F-401B-11D9-987A-000393B61EC2 [at] wmld.com> From: William McLachlan Subject: Re: USITT Workshop: Let's Get the Show on the Road Date: Fri, 26 Nov 2004 18:24:42 -0800 Well, okay. Except for stagehands in cleveland :) WM On Nov 23, 2004, at 7:39 AM, richard j. archer wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> 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 > > > > -- William McLachlan willy [at] wmld.com, http://www.wmld.com "a) faster b) cheaper c) better. Choose any two." -- ------------------------------ Date: Fri, 26 Nov 2004 21:41:08 -0500 Subject: Re: Theater Internship From: Steve Larson Message-ID: In-Reply-To: A board package that's only available from 7-9AM, 11-1PM, and 4-6 > PM doesn't work with most theatre lives. Some campuses have a meal card that > can be used anywhere on campus. A $1,000 balance on the card each semester > and/or "faculty discount" can be a nice perq. Many campuses have a meal card that is honored at local restaurants AND/OR the campus cafeterias. Steve ------------------------------ From: MissWisc [at] aol.com Message-ID: <15b.44fff5bf.2ed94bca [at] aol.com> Date: Fri, 26 Nov 2004 22:17:30 EST Subject: Re: Re: Listmembers in the L.A. area In a message dated 11/25/4 5:02:56 PM, Herrick [at] HGLightingDesign.com wrote: <> Is this a stage version of "Prince of Egypt"? He was Moses in that too... voice only of course as it was an animated film. Kristi ------------------------------ From: "Andy Leviss" Subject: Cell Phones on Tour Date: Fri, 26 Nov 2004 23:04:37 -0500 Organization: Duck's Echo Sound Message-ID: <000e01c4d436$36061fb0$a19afea9 [at] AndyLeviss> Hey Everybody, I'm pretty sure that this has been discussed in the past, but since it's something that's constantly evolving, I don't feel bad bringing it up again. It's better than the useless recurring threads we have all the time, anyway, right? So, my current contract for my cellphone is about to expire with Verizon, and I'm pondering whether to stick with them or look at other options (the geek in me wants to sell my Palm Tungsten T3 and get a new Treo 650, LOL, but the modified pink contract sound guy in me says not to :o) Can any of the other road guys/gals on the list weigh in with your experience with whatever cell carriers you've used? I've been happy with Verizon's reception and mostly with their customer service, but their selection of phones isn't quite as good as some of the other companies (yeah, I'm a gadget slut, whaddya want?), and I don't like some of their practices/attitudes towards customers. Of course, on the upside, if I do stick with them and sign for another two years, I get $100 towards a new phone (although, with competition being what it is now that numbers are portable, I wouldn't be surprised if I managed to pull off a, "Well, Verizon will give me $100 towards a phone to stay with them, what will you give me to get me to change to you?"...hmm). So, any thoughts--obviously reception/call quality over a wide area of the country is of primary importance since I'm touring, with good rate plans, customer service, cool phones, etc. coming down the line. Thanks in advance, Andy --- 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 ------------------------------ Date: Fri, 26 Nov 2004 23:14:40 -0600 Subject: Re: Cell Phones on Tour From: Greg Persinger Message-ID: In-Reply-To: Andy, Out of me and all my touring friends we have decided Verizon has the best nationwide coverage, especially if you play odd places. If you only play big cities all carriers are about equal. I own the Kyocera 7135 Palm phone and love it although the Treo looks very cool. I also have friends with Nextel Blackberry's and those are really cool for email. Good Luck. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <41A81670.2030708 [at] sbcglobal.net> Date: Fri, 26 Nov 2004 23:53:52 -0600 From: Michael Heinicke Reply-To: mheinicke [at] sbcglobal.net Subject: Re: cue lights References:

In-Reply-To: Dale Farmer wrote: > Speaking of rope lights. I found a company recently that makes them with > LEDs instead of incandescent bulbs. So quit holding out what's the company?? Inquiring minds want to know... Mike H ------------------------------ Message-ID: Date: Fri, 26 Nov 2004 22:04:25 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Learning AutoCAD Hey All Despite the recent discussing that vectorworks is a better package for theatre, I think autocad is much more widely in use -- and its cheaper to purchase on a student discount (~US$150 for ACad vs. ~$250 for Vectorworks). Are there any book out there that you reccomend for learning? Right now I'm looking at: Mastering AutoCAD 2005 and AutoCAD LT 2005 AutoCAD 2005 and AutoCAD LT 2005: No Experience Required AutoCAD 2005 For Dummies quick replies appreciated for subsequent addition to my christmas list =) -- Mat Goebel Cell: 510.693.1448 ------------------------------ Message-ID: <000b01c4d46f$7853c230$0600000a [at] BRUTUS> From: "Jon Ares" Cc: mgoebel [at] gmail.com (Mat Goebel) References: Subject: Re: Learning AutoCAD Date: Sat, 27 Nov 2004 02:54:29 -0800 > Despite the recent discussing that vectorworks is a better package for > theatre, I think autocad is much more widely in use -- and its cheaper > to purchase on a student discount (~US$150 for ACad vs. ~$250 for > Vectorworks). But isn't this the Academic version of AutoCad that craps out after 3 years? You'd have to upgrade - they 'time bomb' the academic versions now. (And it prints "Academic Version" on all reports, printouts, etc.) Forearmed is forewarned, or however that goes. :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ End of Stagecraft Digest #208 *****************************