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 5937805; Sun, 28 Nov 2004 03:00:56 -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 #209 Date: Sun, 28 Nov 2004 03:00:35 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 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 #209 1. Re: Cell Phones on Tour by "Steve B." 2. High density plastic glides by "Immel,Patrick" 3. Re: High density plastic glides by Mark O'Brien 4. Re: High density plastic glides by "holyoak1" 5. Re: Cell Phones on Tour by "holyoak1" 6. Re: High density plastic glides by "Jon Lagerquist" 7. Re: Surtitles,,, again by Stuart Wheaton 8. Re: Cell Phones on Tour by Stuart Wheaton 9. Re: cue lights by Dale Farmer 10. Re: High density plastic glides by FREDERICK W FISHER 11. Re: High density plastic glides by "Immel,Patrick" 12. Re: Surtitles,,, again by FrankWood95 [at] aol.com 13. Re: Surtitles,,, again by "Jon Ares" 14. Re: High density plastic glides by "Jon Lagerquist" 15. Re: Surtitles,,, again by "Tom Heemskerk" 16. Re: Surtitles,,, again by Boyd Ostroff 17. Re: Surtitles,,, again by FrankWood95 [at] aol.com 18. Re: Surtitles,,, again by FrankWood95 [at] aol.com 19. Re: Surtitles,,, again by FrankWood95 [at] aol.com 20. Re: Surtitles,,, again by "Jon Ares" 21. Re: High density plastic glides by FREDERICK W FISHER 22. Re: Surtitles,,, again by FrankWood95 [at] aol.com 23. Re: Chris B & cue lights by CB 24. Re: Acoustics - a chance for the sound guys to show off! by CB 25. Re: Rope lights by Marty_Petlock [at] sarasotagov.com 26. Re: Surtitles,,, again by "Tom Heemskerk" 27. Re: Surtitles,,, again by "Tom Heemskerk" 28. Re: cue lights by John Bracewell 29. Re: Cell Phones on Tour by "Andy Leviss" 30. Re: References by June Abernathy 31. Re: References by Bill Sapsis 32. Re: Surtitles,,, again by Bruce Purdy *** 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. ---------------------------------------------------------------------- Date: Sat, 27 Nov 2004 06:36:11 -0500 From: "Steve B." Subject: Re: Cell Phones on Tour Message-id: <001b01c4d475$4b648ec0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Andy Leviss" ? > > 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, Some thoughts: - Verizon has about the best nationwide service, especially out of the cities and away from interstate corridors. They are also about the priciest. - The Treo 650 is not yet available for Verizon (I've heard a year), though the 600 is a good choice and is Verizon capable, just not Bluetooth and they've changed/improved the button sizing and layout a bit on the 650. - None of the Treo's are analog capable (dual band digital), thus in theory the service wouldn't be as good in marginal area's, though I've yet to find this the case. My Treo actually gets better service then my wife's LG triband, also with Verizon. - I upgraded with a $100 discount for renewing the plan, plus another $100 on the "New phone every 2 year" program, thus the Treo was $350. - It's the best Palm and the best phone I've ever used. Worth the $, especially as I was in need of a new Palm anyway. It's MUCH easier to program. add numbers, call numbers, change ring styles, etc.... just easier to do about anything. If you already have a Palm with all the addresses and numbers, then the Treo is a terrific choice. Steve Bailey Brooklyn College ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39011EDC6E1 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: High density plastic glides Date: Sat, 27 Nov 2004 08:06:51 -0600 I need to create a couple of low profile wagons for a production. I am wondering if anybody has ever used the high density plastic glides. I am not sure of of the acronym for this product or its name! If anybody has used this before or at least remembers its name, I would appreciate the help. Thanks in advance, Pat Immel Northwest Missouri State University ------------------------------ Message-ID: <1101566040.ec505a4094ed0 [at] www.email.arizona.edu> Date: Sat, 27 Nov 2004 07:34:00 -0700 From: Mark O'Brien Subject: Re: High density plastic glides References: In-Reply-To: I have used UHMW (Ultra High Molecular Weight?) Plastic to make these glides, available at your friendly plastics store. BEWARE this stuff is REALLY NASTY in the table saw, it is so soft, it like to kick back, and I think you would look silly wearing some. Bandsaw, or router preffered. Try looking at your better caster store. There are glides, with many bearings, that are low profile, with high capacity. I would like to try them sometime, as UHMW never quite seems to work "just right" I have also used caster by the ft. that is a low profile polyurethane pallet caster. It rolls real nice, and does not take up too much space. Frank, could you tell us the correct way to do this? -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting "Immel,Patrick" : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to create a couple of low profile wagons for a production. I am > wondering if anybody has ever used the high density plastic glides. I am > not sure of of the acronym for this product or its name! If anybody has > used this before or at least remembers its name, I would appreciate the > help. > > Thanks in advance, > > Pat Immel > Northwest Missouri State University > ------------------------------ From: "holyoak1" Subject: RE: High density plastic glides Date: Sat, 27 Nov 2004 09:48:37 -0500 In-Reply-To: Message-ID: http://www.mcmaster.com/ I used the Hypolon from McMaster Carr Part # 8752k115 to make our church alter table glide out across the stage platform. AS I recall it was a Dave Vick suggestion a few years ago. I made 3" circles with a 1" indent to accommodate the foot of the 700 lbs table out of a 12x12 sheet. I boiled them briefly in dark dye so no one notices them. Sure was better than the $5000 set that the alter maker wanted to custom build. Ken Holyoak St. Luke's United Methodist Church Indianapolis IN -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mark O'Brien Sent: Saturday, November 27, 2004 9:34 AM To: Stagecraft Subject: Re: High density plastic glides For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have used UHMW (Ultra High Molecular Weight?) Plastic to make these glides, available at your friendly plastics store. BEWARE this stuff is REALLY NASTY in the table saw, it is so soft, it like to kick back, and I think you would look silly wearing some. Bandsaw, or router preffered. Try looking at your better caster store. There are glides, with many bearings, that are low profile, with high capacity. I would like to try them sometime, as UHMW never quite seems to work "just right" I have also used caster by the ft. that is a low profile polyurethane pallet caster. It rolls real nice, and does not take up too much space. Frank, could you tell us the correct way to do this? -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting "Immel,Patrick" : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to create a couple of low profile wagons for a production. I am > wondering if anybody has ever used the high density plastic glides. I am > not sure of of the acronym for this product or its name! If anybody has > used this before or at least remembers its name, I would appreciate the > help. > > Thanks in advance, > > Pat Immel > Northwest Missouri State University > ------------------------------ From: "holyoak1" Subject: RE: Cell Phones on Tour Date: Sat, 27 Nov 2004 09:55:09 -0500 In-Reply-To: Message-ID: I use the Trio 600 on Sprint and they are set to have the 650 in December - It should eliminate the minor bugs from the 600 and is the best cell phone I have used yet. It is the first time I have actually been able to carry only one gadget and it sync with Outlook and has a great screen for those times I need to get on the net. Ken Holyoak -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve B. Sent: Saturday, November 27, 2004 6:36 AM To: Stagecraft Subject: Re: Cell Phones on Tour For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ----- Original Message ----- From: "Andy Leviss" ? > > 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, Some thoughts: - Verizon has about the best nationwide service, especially out of the cities and away from interstate corridors. They are also about the priciest. - The Treo 650 is not yet available for Verizon (I've heard a year), though the 600 is a good choice and is Verizon capable, just not Bluetooth and they've changed/improved the button sizing and layout a bit on the 650. - None of the Treo's are analog capable (dual band digital), thus in theory the service wouldn't be as good in marginal area's, though I've yet to find this the case. My Treo actually gets better service then my wife's LG triband, also with Verizon. - I upgraded with a $100 discount for renewing the plan, plus another $100 on the "New phone every 2 year" program, thus the Treo was $350. - It's the best Palm and the best phone I've ever used. Worth the $, especially as I was in need of a new Palm anyway. It's MUCH easier to program. add numbers, call numbers, change ring styles, etc.... just easier to do about anything. If you already have a Palm with all the addresses and numbers, then the Treo is a terrific choice. Steve Bailey Brooklyn College ------------------------------ From: "Jon Lagerquist" Date: Sat, 27 Nov 2004 07:02:33 -0800 Subject: Re: High density plastic glides Reply-to: jon [at] lagerquist.com Message-ID: <41A82689.31557.290DE255 [at] localhost> In-reply-to: We make use of 1/4" strips of UHMW (Ultra High Molecular Weight Polyethylene) on pallets quite often. We also use carpet. It depends on the floor, weight, noise, winch and time of day that I detail the unit. > I am wondering if anybody has ever used the high density plastic glides Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ Message-ID: <41A89EB1.6080103 [at] fuse.net> Date: Sat, 27 Nov 2004 10:35:13 -0500 From: Stuart Wheaton Subject: Re: Surtitles,,, again References: In-Reply-To: FrankWood95 [at] aol.com wrote: > 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. Gee whiz, I'd conclude that they are not using haze, and from what I know of opera, that's a damn certainty. Since they do not use hazers and they use water misting to try to pull the dust out of the air to help the singers, and since Franks seats in the nosebleed section are most likely giving him a view down the beams instead of across them. I'm gonna guess they use front projection, and have clean air. And to add to the growing list... Cincinnati Opera projects it's surtitles from the FRONT too! Stuart ------------------------------ Message-ID: <41A8A286.7080404 [at] fuse.net> Date: Sat, 27 Nov 2004 10:51:34 -0500 From: Stuart Wheaton Subject: Re: Cell Phones on Tour References: In-Reply-To: Andy Leviss wrote: > 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. > If you ever tour internationally, T-mobile has the best rates and service I could find... Except at my Dad's cabin in the middle of nowhere on the NY/Pa border, I have always had service when I tried to use it. Stuart ------------------------------ Message-ID: <41A8A739.FF91CFF9 [at] cybercom.net> Date: Sat, 27 Nov 2004 11:11:38 -0500 From: Dale Farmer Subject: Re: cue lights References:

Michael Heinicke wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 Sorry, I was not someplace with the info when I typed that. www.solico.com. They are in Hartford, CT. Red, green, amber, blue and white, Square and round shapes. You can cut to near custom lengths at scissors marks. Scissors marks are closer together in the low voltage ones. Max. lengths are different depending on voltage and colors. There is a note that exceeding the max. length results in dimmer light. --Dale ------------------------------ Date: Sat, 27 Nov 2004 12:46:33 -0600 From: FREDERICK W FISHER Subject: Re: High density plastic glides Cc: jon [at] lagerquist.com Message-id: <72a1ae723f0d.723f0d72a1ae [at] wiscmail.wisc.edu> I first used 1/4" Teflon slides over 30 years ago and have used UHMW plastic often with great success since. There are a number of self lubricating plastics, consult with your supplier about what is available. Fred Fisher ----- Original Message ----- From: Jon Lagerquist Date: Saturday, November 27, 2004 9:02 am Subject: Re: High density plastic glides > For info, archives & UNSUBSCRIBE, see > ---------------------------------- > ----------------- > > We make use of 1/4" strips of UHMW (Ultra High Molecular Weight > Polyethylene) on pallets quite often. We also use carpet. It > depends > on the floor, weight, noise, winch and time of day that I detail > the > unit. > > > I am wondering if anybody has ever used the high density plastic > glides > > Jon Lagerquist > Technical Director [at] South Coast Repertory > Costa Mesa, CA > > ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39011EDC6E2 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: High density plastic glides Date: Sat, 27 Nov 2004 12:59:57 -0600 > We make use of 1/4" strips of UHMW (Ultra High Molecular Weight > Polyethylene) on pallets quite often. We also use carpet. It > depends > > Jon Lagerquist Is there any suggestion as to thickness of this material? My deck is painted plyron. There are little or no seam "bumps" between the sheets. Does this stuff wear out? Well of course it wears out, how FAST does it wear? I plan on using this on a 5'x9' platform carrying no more than 1000#. Thanks, Pat Immel ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 27 Nov 2004 14:00:19 EST Subject: Re: Surtitles,,, again In a message dated 27/11/04 00:52:07 GMT Standard Time, jonares [at] hevanet.com writes: > 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.) You may be that lucky. I am always amazed at the amount of dust that accumulates in our house. Another point to consider, though, is that the projector needs to be square-on to the screen, whether from the front or the rear. Otherwise, the characters will be more or less distorted. Maybe Power Point is clever enough to deal with this. But I have never detected any projector in a suitable place in any theatre, and, believe you me, I always study the lighting rigs. Since I think that straightforward BP would be very difficult, given the amount of stray light that comes out of the best of lanterns, I thought of a way to do it with mirrors. A suitable frame of 1" square steel tube, clad in 1/8" ply or masonite; the screen; and a mirror the same size as the screen. Possibly in Mylar, better in surface silvered glass. Someone suggested that the projector would not be happy facing straight down, in which case another much smaller mirror would allow for a horizontal mounting. It doesn't sound either difficult or costly, apart from the projector, and that's a constant. Given the shape of opera houses, it might well be a cheaper solution, when you consider the cost of really long throw projection lenses of good quality. For a one-off, I might well make the frame out of 2" x 2" timber. Even 2" x 1". Frank Wood ------------------------------ Message-ID: <001901c4d4b4$fd5f0080$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Surtitles,,, again Date: Sat, 27 Nov 2004 11:12:07 -0800 > Another point to consider, though, is that the projector needs to be > square-on to the screen, whether from the front or the rear. Otherwise, > the characters > will be more or less distorted. Maybe Power Point is clever enough to deal > with this. I've never met a professional projector worth its weight that didn't have keystone correction built in. Whether it's a digital 'fix,' or through the optical use of shift/tilt lenses, this 'issue' was conquered decades ago - long before I was born. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ From: "Jon Lagerquist" Date: Sat, 27 Nov 2004 13:48:46 -0800 Subject: Re: High density plastic glides Reply-to: jon [at] lagerquist.com Message-ID: <41A885BE.5185.2A81C9CB [at] localhost> In-reply-to: We find that when it is less than 1/4" the mechanics of attaching it are more challenging. There is no wear to speak of to worry about, although the softer plastics like teflon could be an issue. > Is there any suggestion as to thickness of this material? My deck is > painted plyron. There are little or no seam "bumps" between the sheets. > > Does this stuff wear out? Well of course it wears out, how FAST does it > wear? I plan on using this on a 5'x9' platform carrying no more than > 1000#. Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ Message-ID: <047f01c4d4d2$8a0ac9c0$42e2f4cc [at] oemcomputer> From: "Tom Heemskerk" References: Subject: Re: Surtitles,,, again Date: Sat, 27 Nov 2004 14:43:33 -0800 Okay, time to throw in my two bits. Our local opera company has been using front-projection Surtitles for over eighteen years, first with 35mm slides (using lithographic film, which gives an unbeatable contrast ratio) and currently with Powerpoint displayed simultaneously on three FP screens by three projectors. Two of the screens are needed to cover the rear of the main floor, which is underneath a substantial balcony overhang. The main screen (which is an 8:1 luan edge flat, hung downstage of the house Grand Valance) has been medium grey for quite some time, but it's been covered and uncovered and painted and repainted many times so as to make some sense to various designs. The smaller secondary screens have grey FP surfaces. Keystoning is not an issue. With but two lines of text and the projectors not severely off-axis, there is no need to compensate. Projector flare is not an issue, thanks to the judicious use of black wrap (to keep flare off the underside of the balcony in particular). Projector beams are not visible to the audience. My guess is that there just aren't enough photons present in the projection of two lines of text to cause the airborne particulate in the auditorium to flouresce to the point of noticably stimulating the retinas of the patrons' eyes. The primary projector itself isn't visible to the audience, as it's cleverly out of sightlines in the spot booth. The secondary projectors are in a covered rack (which raises them above the audience's heads) and can't be seen either, except for a bit of the lenses visible through slits in their black-wrap blinds. It all works very well. Any questions? Tom ------------------------------ Date: Sat, 27 Nov 2004 18:36:21 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitles,,, again In-Reply-To: Message-ID: References:

> It all works very well. Any questions? Why don't you use rear projection, like Frank has seen in Europe's finest opera houses? | 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: <7b.392da0fb.2eda6e04 [at] aol.com> Date: Sat, 27 Nov 2004 18:55:48 EST Subject: Re: Surtitles,,, again In a message dated 27/11/04 19:12:45 GMT Standard Time, jonares [at] hevanet.com writes: > I've never met a professional projector worth its weight that didn't have > keystone correction built in. Whether it's a digital 'fix,' or through the > optical use of shift/tilt lenses, this 'issue' was conquered decades ago - > long before I was born. I have been faced with this problem. It has two aspects: keystone and focus. I know how to deal with both, but the available range of correction is limited, and the lenses are far from cheap. This problem is mitigated by the shallow height of surtitles, but exacerbated by the very long focal length lenses that would be needed in an opera house, where the possible points to locate a projector are a very long way from the screen. 150' or 200' are not unlikely. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 27 Nov 2004 19:08:05 EST Subject: Re: Surtitles,,, again In a message dated 27/11/04 22:45:38 GMT Standard Time, tommy [at] etainternet.com writes: > Keystoning is not an issue. With but two lines of text and the projectors > not severely off-axis, there is no need to compensate. Already said. > > Projector beams are not visible to the audience. My guess is that there just > aren't enough photons present in the projection of two lines of text to > cause the airborne particulate in the auditorium to flouresce to the point > of noticably stimulating the retinas of the patrons' eyes. It's nothing to do with fluorescence. It's just due to the dust motes in the air catching the light. This is most noticeable when the screen goes to or comes back from black. You may not be able to detect the beams, just their presence or their absence. > > The primary projector itself isn't visible to the audience, as it's cleverly > out of sightlines in the spot booth. The secondary projectors are in a > covered rack (which raises them above the audience's heads) and can't be > seen either, except for a bit of the lenses visible through slits in their > black-wrap blinds. Sightlines again. To work well, follow spots need to come down at about 45 degrees, or steeper. Otherwise, they are very obtrusive. Surtitles coming down from this angle would be difficult. > > It all works very well. Any questions? I Think that I have posed them all. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 27 Nov 2004 19:21:37 EST Subject: Re: Surtitles,,, again In a message dated 27/11/04 23:35:17 GMT Standard Time, ostroff [at] operaphilly.com writes: > Why don't you use rear projection, like Frank has seen in Europe's finest > opera houses? I shouldn't say all the finest. The ROH, the Coliseum, and Glyndebourne in the UK; La Bastille, Chatelet, Toulouse and Bordeaux in France. La Scala. Vienna, Berlin, and La Fenice, now rebuilt, and probably many others have escaped me, so far. And Bayreuth. Many of the operas presented need no titles, as they are presented in the language of most of their patrons, or at least in one that most of them understand. Such understanding of German and Italian as I have stems mostly from operas. Frank Wood ------------------------------ Message-ID: <001501c4d4e0$79e37890$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Surtitles,,, again Date: Sat, 27 Nov 2004 16:23:25 -0800 > Sightlines again. To work well, follow spots need to come down at about 45 > degrees, or steeper. Otherwise, they are very obtrusive. Surtitles coming > down > from this angle would be difficult. Using that fine art form known as ASCII, here's a somewhat typical (if not too steep) demonstration of angles used by FP title projection and followspot angle (assuming Frank's adamance of 45 degree). Hope it turns out..... *---------------------------------------------| FP screen ' ' ' ' ' ' ' ' ' ' ' ' ' Now, many times, the projection will actually at a downward angle, but not nearly as steep as the followspot. Remember the discussion that the FP screen is frequently a couple of dozen feet (or more) above the diva's head. (With exceptions to Boyd's house, and others.) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Date: Sat, 27 Nov 2004 18:42:42 -0600 From: FREDERICK W FISHER Subject: Re: High density plastic glides Cc: jon [at] lagerquist.com Message-id: <73201a732261.73226173201a [at] wiscmail.wisc.edu> They don't wear out easily. When I used the Teflon, many years ago I contacted DuPont plastics and spoke to one of their Teflon people and was told that the self lubrication of these plastics comes from them leaving a thin coat of their constituent plastic on the surface it comes in contact with. Think of all the food you ate from Teflon coated frying pans. HMW plastics are used on wear surfaces in machinery and lasts for a long time. I wouldn't be concerned about it wearing out over the run of a typical show. I've always used it in strips about 100-150cm x 25cm x 6cm with about the same spacing as I would use with casters. The amount you use will vary of course, but that would be a place to start. Fred javascript:parent.send('smtp') Send Message Send ----- Original Message ----- From: Jon Lagerquist Date: Saturday, November 27, 2004 3:48 pm Subject: Re: High density plastic glides > For info, archives & UNSUBSCRIBE, see > ---------------------------------- > ----------------- > > We find that when it is less than 1/4" the mechanics of attaching > it > are more challenging. There is no wear to speak of to worry about, > although the softer plastics like teflon could be an issue. > > > Is there any suggestion as to thickness of this material? My > deck is > > painted plyron. There are little or no seam "bumps" between the > sheets.> > > Does this stuff wear out? Well of course it wears out, how FAST > does it > > wear? I plan on using this on a 5'x9' platform carrying no more > than> 1000#. > > > Jon Lagerquist > Technical Director [at] South Coast Repertory > Costa Mesa, CA > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.1b27fa89.2eda7ae3 [at] aol.com> Date: Sat, 27 Nov 2004 19:50:43 EST Subject: Re: Surtitles,,, again In a message dated 28/11/04 00:24:00 GMT Standard Time, jonares [at] hevanet.com writes: > Now, many times, the projection will actually at a downward angle, but not > nearly as steep as the followspot. Remember the discussion that the FP > screen is frequently a couple of dozen feet (or more) above the diva's head. > > (With exceptions to Boyd's house, and others.) It did. It would have been helpful If it had included the various balconies in the house, but I realise the limitations of ASCII art. You Americans are as stubborn as I am. You think that you have found an answer to a problem, and totally refuse to consider any alternative. I suppose that I am much the same. Both of us are conditioned by the environments in which we work, and by our training.Both of these lead us in different directions. Both of us need to relax our stubbornness. I try to, but I see little evidence that you do. American custom and practise are tablets of stone. If I suggest some other practise, many of you jump on me with both feet. Sometimes, I snap back. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20041127175306.017f6c48 [at] pop.west.cox.net> Date: Sat, 27 Nov 2004 17:53:06 From: CB Subject: Re: Chris B & cue lights >Wondered if I'd hear from you. If you're at the next LDI the first one's on >me. OK, guys, stand down! This ones a no-go. Abort, I repeat, abort. Although LDI has more interesting sound stuff lately (reportedly) than AES, I'll robably be gigging in the are before I go to conventions. Something about out-of-pocket expenses. Thanks for the invite, though! 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: <3.0.6.32.20041127175707.017f6c48 [at] pop.west.cox.net> Date: Sat, 27 Nov 2004 17:57:07 From: CB Subject: Re: Acoustics - a chance for the sound guys to show off! >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 Friends of mine designed a series of motorized austiran drapes for the walls of the organ recital room here to make it more 'multi-purpose'. I wired the motor control. As I recall, the RT 60 went from somewhere in the 2.5 sec range to about .6 sec, and anywhere in between. These figures were thumbnails, so I wouldn't swear to them. 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: Rope lights Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sat, 27 Nov 2004 20:41:55 -0500 on 11/26 Keith Arsenault wrote: "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" Deja vu all over again. I think we ran this thread last spring, thanks Keith. The rope lights have proved very popular. We've also been using ropelights to mark the path from Dressing Rooms through OSR for the last 3 seasons as Mark O'Brien suggested. Everyone really likes that, I can't describe what Howie Mandel did with them but he had us all in stitches. Anyone who's been through my hall will understand why we were happy to locate strings in purple. 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: <63747.142.179.101.174.1101608224.squirrel [at] 142.179.101.174> In-Reply-To: References:

Date: Sat, 27 Nov 2004 18:17:04 -0800 (PST) Subject: Re: Surtitles,,, again From: "Tom Heemskerk" > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> It all works very well. Any questions? > > Why don't you use rear projection, like Frank has seen in Europe's finest > opera houses? > That's a very good question. Bravo. We don't use rear projection because it would be needlessly complex and expensive compared to front projection, even under ideal circumstances (to say nothing of being physically impossibly in our venue), and the popular method involving front projection has been found to be entirely satisfactory to the audience while being very cost-effective and convenient for the company to set up and operate. Thank you! Are you saying there are opera houses in Europe, too? Magnifique, wunderbar and jolly good! th ------------------------------ Message-ID: <60478.142.179.101.174.1101609010.squirrel [at] 142.179.101.174> In-Reply-To: References: Date: Sat, 27 Nov 2004 18:30:10 -0800 (PST) Subject: Re: Surtitles,,, again From: "Tom Heemskerk" > > You Americans are as stubborn as I am. You think that you have found an > answer to a problem.... It's now time to point out that "Surtitles" is a trade name for the system created by the Canadian Opera Company. More information can be found at surtitles.com for those of you who are interested in these things. th ------------------------------ Message-Id: <5.2.0.9.0.20041127213948.029d5320 [at] pop.lightlink.com> Date: Sat, 27 Nov 2004 21:40:17 -0500 From: John Bracewell Subject: Re: cue lights In-Reply-To: References:

>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 Only if it runs under Show Control. -- JLB ------------------------------ From: "Andy Leviss" Subject: RE: Cell Phones on Tour Date: Sat, 27 Nov 2004 20:47:52 -0500 Organization: Duck's Echo Sound Message-ID: <001d01c4d4ec$46295220$a19afea9 [at] AndyLeviss> In-Reply-To: > - The Treo 650 is not yet available for Verizon (I've heard a > year), though > the 600 is a good choice and is Verizon capable, just not > Bluetooth and > they've changed/improved the button sizing and layout a bit > on the 650. Well, that, and the screen. I'm on a Tungsten T5, so even the 650's square hi-res screen is a downgrade for me, I won't touch the 600 with it only being 160 x 160! Good to hear about the Treo reception, though, for when/if I do go to one. Of course, by the time PalmOne comes out with a 320x480 Treo and then a year for Verizon to approve it, it could be a good 5 years, lol! --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 ------------------------------ Message-ID: <20041128045541.4473.qmail [at] web14124.mail.yahoo.com> Date: Sat, 27 Nov 2004 20:55:41 -0800 (PST) From: June Abernathy Subject: Re: References >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. >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 I can't understand people who write a bad letter of recommendation. What is the thinking there? If someone whose work you don't care for asks you for a letter of recommendation, you decline, right? If it's your bosses' kid or something, and you cannot find any possible way to weasel out of writing a letter, then you write one which is bland and leaves a lot of questions unanswered, but is not actually saying anything bad. How hard is that? Particularly after this thread, I totally understand people who write a good (or at least not bad) letter of recommendation, and then give you the bad news on the phone. In theory, using that method, you won't have the "Sunshine Law" records search bite you in the future, but you avoid "passing the trash" to an unsuspecting colleague. What "poop" do you have to go through when this happens? I would think that if someone was honest enough to give me the real skinny on a potentially bad employee over the phone, that I could find a way to avoid writing down in a document that might be pulled later what they said and the fact that I didn't hire the person because of it. June Abernathy IATSE #321 FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Meet the all-new My Yahoo! - Try it today! http://my.yahoo.com ------------------------------ Date: Sun, 28 Nov 2004 00:16:52 -0500 Subject: Re: References From: Bill Sapsis Message-ID: In-Reply-To: on 11/27/04 11:55 PM, June Abernathy at jea00321 [at] yahoo.com wrote: > I would think that if someone was honest enough to > give me the real skinny on a potentially bad employee > over the phone, that I could find a way to avoid > writing down in a document that might be pulled later > what they said and the fact that I didn't hire the > person because of it. While I understand the need to feel this way, and I suspect I might even agree with it, I am truly saddened that we have sunk this far. 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: Sun, 28 Nov 2004 01:04:07 -0500 Subject: Re: Surtitles,,, again From: Bruce Purdy Message-ID: In-Reply-To: Frank wrote: > 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 OK, we have a list of venues. Is there ANYONE on this list that either works at or has ever worked at any of these venues? Does anyone here have any contacts there? It seems that someone might at least contact them and ask "How do you project your titles?" I'd love to see a definitive answer rather than the speculations of someone who has been in the audience! (If only to put an end to this "Controversy".) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ End of Stagecraft Digest #209 *****************************