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 6180891; Mon, 29 Nov 2004 03:00:49 -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 #210 Date: Mon, 29 Nov 2004 03:00:37 -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, DRUGS_SLEEP 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 #210 1. Re: References by FREDERICK W FISHER 2. Re: Acoustics - a chance for the sound guys to show off! by ken frederickson 3. Re: wireless belts by ken frederickson 4. audrey 2 by ken frederickson 5. Re: High density plastic glides by "Rufus" 6. Re: Surtitles,,, again by Tony Miller 7. Re: audrey 2 by "Mike Rock" 8. Re: References by Richard Niederberg 9. Re: References by Stuart Wheaton 10. Re: Various by Marty_Petlock [at] sarasotagov.com 11. Re: Acoustics - a chance for the sound guys to show off! by FrankWood95 [at] aol.com 12. Re: Surtitles,,, again by FrankWood95 [at] aol.com 13. Re: Surtitles,,, again by FrankWood95 [at] aol.com 14. Re: CAD Programs by "Rufus" 15. Re: Acoustics - a chance for the sound guys to show off! by FrankWood95 [at] aol.com 16. Re: CAD Programs by "Immel,Patrick" 17. New Thread? by Marty_Petlock [at] sarasotagov.com 18. Re: New Thread? by "Don Taco" 19. Re: Surtitles,,, again by "Tom Heemskerk" 20. ideas for bums in seats by "Riter, Andrew (Head Ltg)" 21. Re: New Thread? by MissWisc [at] aol.com 22. Re: Surtitles,,, again by FrankWood95 [at] aol.com 23. Re: ideas for bums in seats by FrankWood95 [at] aol.com 24. Re: ideas for bums in seats by John Bracewell 25. Re: ideas for bums in seats by "Tom Heemskerk" 26. Re: Cadd Drawing by Mark O'Brien 27. Standards & RPs in Public Review by Mitch Hefter 28. Re: ideas for bums in seats by MissWisc [at] aol.com 29. Re: ideas for bums in seats by John Bracewell 30. Re: References by "sboone [at] bgnet.bgsu.edu" 31. Re: ideas for bums in seats by MissWisc [at] aol.com 32. Re: References by Richard Niederberg 33. Re: CAD Programs by "Andy Leviss" *** 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: Sun, 28 Nov 2004 08:02:07 -0600 From: FREDERICK W FISHER Subject: Re: References Message-id: <7a6a567a1869.7a18697a6a56 [at] wiscmail.wisc.edu> > 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 > evenagree with it, I am truly saddened that we have sunk this far. > > > Bill S. > I give anyone who who has worked for me and who asks a reference and I am honest in my assessment of the person's work and interpersonal relations with co-workers and customers. People who have had a bad experience working for me are not going to ask me for a reference. I also don't write totally glowing references. I will point out areas in which the person does really well in and where they could use more experience or training. Those of us in the public sector also have to be able to justify who we hire and why we chose one person over another. That's why we carefully define what we are looking for in an employee, use rating forms and assign points to interview responses. Fred ------------------------------ Message-ID: <20041128141740.95267.qmail [at] web50806.mail.yahoo.com> Date: Sun, 28 Nov 2004 06:17:40 -0800 (PST) From: ken frederickson Subject: Re: Acoustics - a chance for the sound guys to show off! In-Reply-To: is the there a meter for measuring reverb times in a space? or do you just do the math? are they very expensive? is the measurement taken from an output source, or from a listeners POV? in a very large hall would every area be a little different? I know I have read this in allot of different places, but now that I am having these issues directly I like having it explained to me by experienced techs, it helps me to decipher the the textbook explanations. thanks. ===== Live long and prosper. Ken Frederickson, Technical Director Tallahassee Community College __________________________________ Do you Yahoo!? The all-new My Yahoo! - Get yours free! http://my.yahoo.com ------------------------------ Message-ID: <20041128144734.89986.qmail [at] web50801.mail.yahoo.com> Date: Sun, 28 Nov 2004 06:47:34 -0800 (PST) From: ken frederickson Subject: Re: wireless belts In-Reply-To: we just used elastic belts with velcro closers and a baby booty sock sewn to the belt. worked great....the sock got sweaty though, we slid the mic packs into sandwich bags.the alternative to the condom wrap. worked great. --- Kacey Fisher wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I'd recommend putting extra Velcro (sorry-not sure > if it's the male or > female side of the velcro, but the softer side) on > the one side to make them > more adjustable for the smaller or larger waisted > actor. This makes them > much more user friendly. > > Sincerely, > Kacey Fisher > Fisher Theatrical > > > > > I just found out I have a seamstress that can put > together > > belts for wireless. I know there are numerous > ways, anyone > > have a recommended procedure or checklist? This > kind woman is > > very senior and probably has never seen wireless > xsmitters. > > Lycra or spandex folded to make a pouch, velcro; > I'm > > guessing. Is there a pattern to use? Checked the > archives but > > only saw 1 mention with a terrycloth pocket. > > TIA > > > > Gerry G > > > > > > > > > > > __________________________________ Do you Yahoo!? The all-new My Yahoo! - Get yours free! http://my.yahoo.com ------------------------------ Message-ID: <20041128150847.5253.qmail [at] web50806.mail.yahoo.com> Date: Sun, 28 Nov 2004 07:08:47 -0800 (PST) From: ken frederickson Subject: audrey 2 In-Reply-To: Hi all. I know that this has probablly come up a million times, but for some reason I am unable to access the archives section at the moment. My stagecraft class wants to tackle the construction project. does anyone have a set of plans for the plant? any suggestions on where to look? the outside seems easy enogh, but I know that there is some special construction inside. thanks. __________________________________ Do you Yahoo!? Meet the all-new My Yahoo! - Try it today! http://my.yahoo.com ------------------------------ Reply-To: From: "Rufus" Subject: RE: High density plastic glides Date: Sun, 28 Nov 2004 09:13:11 -0600 Message-ID: <002401c4d55c$c9999690$6400a8c0 [at] PC123093183111> In-reply-to: James, Take a look at LD Assistant at www.ldassistant.com I use it and like it. The program has more features that Vector Works or WYSIWYG and I think it is easier to use. Has high-end render, volume light,smoke in the beam of light and fog. Lens effects include Glow, Ring, Noise, Secondary, Star and Streak . LD Assistant 04 has 6 Univ of DMX control (both in and out) for pre-programming the console/show It's all in one easy to use program. LD Assistant has AutoCAD2004 built-in making it 100% DWG. Program only cost $1,895.00, with some models start as low as $995.00. The Edu is a full version and will not go die after a few years. Edu version sales as low as $300.00. Rufus Warren -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of James, Brian Sent: Tuesday, November 23, 2004 10:53 PM To: Stagecraft Subject: CAD Programs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We are looking to upgrade our current lighting design software. In addition to lighting plots, I am having an increasing need to do sound plots, stage lay outs etc. The program we use is very nice for plots, however the "back end" drawing portion is week. This make scaled drawings, and complete show drawings rather awkward, and time consuming. Other than cost factor, which program do people here prefer and why? I have seen demos of Vector Works, attempted Auto Cad (briefly) but have not had time to form an opinion of either. The cheapest option we have, due to site licenses, is VISIO, which I have but I am rarely able to successfully import drawing supplied by off campus suppliers (tours, etc). Are there other options I should research? Any input would be greatly appreciated! ------------------------------ Date: Sun, 28 Nov 2004 15:17:32 +0000 Subject: Re: Surtitles,,, again From: Tony Miller Message-ID: >> 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? I'm not going to enter the surtitles thread because it is boring me to death but I have worked at Glyndebourne (before the refurb) and the Chatelet. The Chatelet has the most beautiful crew room I have ever seen. It overlooks the Seine with a view of the river in both directions. As the bateau mouche pass with their floodlights lighting up the riverside buildings they illuminate the room beautifully. How about changing the thread to exotic crew rooms or something because if ever anything was done to death surtitles have been. Wake me up when things get interesting. Tony Miller. ------------------------------ Message-ID: <002001c4d563$d230f940$80fea8c0 [at] Fred> From: "Mike Rock" References: Subject: Re: audrey 2 Date: Sun, 28 Nov 2004 10:03:37 -0600 I don't have plans but I did take some pictures while we were building it and if you have questions I can answer them. The covering was a product called fosshape and is sold by mainstage. Pictures http://soundman.onfinite.com/album/130084/ Mike Rock ------------------------------ Date: Sun, 28 Nov 2004 09:00:21 -0800 Subject: Re: References Message-ID: <20041128.090321.2544.0.ladesigners [at] juno.com> From: Richard Niederberg That is not the policy for many risk-adverse entities. When there is an unsuccessful job applicant who might sue for employment discrimination, the prudent thing would be to document everything that could be used to defend the potential employer's position in court, by showing that the refusal to hire the applicant was based upon a good-faith belief that the choice of this potential employee would be suboptimal compared to the selection of the potential employee that was hired, and therefore that the decision was not based upon race, gender, national origin, disability, or the unsuccessful job applicant being a member of any other 'protected class'. 'CYA' is what it is all about, unfortunately. /s/ Richard > June Abernathy 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. ________________________________________________________________ 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: <41AA10B7.1020805 [at] fuse.net> Date: Sun, 28 Nov 2004 12:53:59 -0500 From: Stuart Wheaton Subject: Re: References References: In-Reply-To: Richard Niederberg wrote: > > That is not the policy for many risk-adverse entities. When there > is an unsuccessful job applicant who might sue for employment > discrimination, So.... If you don't hire me, I can sue you for discrimination. If you give me a bad rec, I can sue you for... (being honest?) If you foist a lousy guy on me with an undeserved rec, I can sue you for...False representation? No wonder some people give dates of employment only... But that isn't much use when sorting out the best candidate for your organisation. I like the idea of detailed recs that give a fair assesment of both the individual's strengths and weaknesses. Because a weakness to your organisation may be a non-issue to mine. Even if you terminate a designer because he just can't keep his shows on budget, I might want him for his design skills, and assign somebody else to keep him on budget. We gotta work to prevent real discrimination against people for non-legitimate reasons, while encouraging discrimination against BOZOS. The best thing about this business is that there is a lot of networking and sufficient interconnectedness that getting an unofficial sense of a person from somebody you have reason to trust is often possible. People going for higher level jobs will likely have a trail of contacts sufficient to make this possible. Low level jobs should probably have a 'no-fault' probation period built in so that the seperation of BOZOS and people who just don't fit, can happen without risk. Perhaps a series of 3 month jobs will clue future employers in to the nature of the person. Trying to make things safe and fair to everybody is a tough order, but we need to get as close as we can. Stuart ------------------------------ Subject: RE: Various Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sun, 28 Nov 2004 13:16:20 -0500 Andy: Someone mentioned T-Mobile and you should be aware that many US cell ph= ones will not work most of the other parts of the world. Say you're in Engla= nd and want to take Frank out for dinner and a show, you could use your T-Mobile (if it's the right one) but not your Verizon. Having said that the only phones that work in my dungeon office in the bowels of Van Wezel are Nextel. Patrick: I see a lot of touring shows using very low profile wagons with push &= pull sticks or tracked with winches and 'knives'. They are very low, ma= ybe 1" X 2" or steel sides. They move easily on 'teflon=A9' rollers usually= cut about 12" long, just a cylinder with a hole down the center for an axle= . Especially when the show puts a floor down it's 4' X 8' sections so the= re are seams to roll over but it's never a problem. 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 Recor= ds Act. ********** = ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 13:19:11 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 28/11/04 00:56:16 GMT Standard Time, psyd [at] cox.net writes: > 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. At what frequency? Heavy drapes can be used for the HF end. Hung some six inches from a wall, they will work from about 1KHz up, that being about the half-wavelength. To work at 100Hz, you would need five feet. Resonant panel absorbers are probably the easiest to implement, but they would be hard to vary. I have seen loose sheets of heavy roofing felt suggested, which could perhaps be flown out. Some concert halls use slotted boards, with absorbent material behind them. The length of the slots determines the frequency at which they work. The Royal Festival Hall is one such. It allows a reasonable decorative finish. Our theatre is a lulu. At the back of the stage is a curved cyclorama, plaster on brick, with a radius of 70'. Some 70' away from this is the back wall of the auditorium, with a curve of about 60'. If you stand in the right place facing the cyc, the audience can hear every every single single word word twice twice! One of our more imaginative directors actually used this deliberately in one show. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 13:38:27 EST Subject: Re: Surtitles,,, again In a message dated 28/11/04 02:17:40 GMT Standard Time, tommy [at] etainternet.com writes: > 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! Break this down. To start off with, how often do you need it? If the answer is "once in a while", I agree, go for front projection. If the answer is seven times a week during a three month and more season, and if you are quality-conscious, you might find the BP approach more economical and satisfactory. It's not very complex, involving a box containing the screen and a mirror of the same size. If the projector you are using demands to be horizontal, maybe another smaller mirror. I see no great expense involved, and it is always there when you need it. It takes up little room, as a flown piece. I should like to know how large you think they need to be. My own observations suggest about 12' x 12". This gives you two lines of readable text, I think, but it's hard to judge dimensions from a long distsnce. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 13:58:05 EST Subject: Re: Surtitles,,, again In a message dated 28/11/04 06:04:55 GMT Standard Time, bpurdy [at] rochester.rr.com writes: > 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".) Unhappily, no. Most of those who contribute to the list work in the US, few in the UK. So, naturally, US methods and customs are usually accepted as the norms. I am probably the only member who questions this. UK opera houses are not very good at their websites. My wife constantly complains, and all she is trying to do is to book tickets. Trying to get in touch with the technical departments would, I think, be even harder. I'll try, but I can put it no higher than that. Frank Wood ------------------------------ Reply-To: From: "Rufus" Subject: RE: CAD Programs Date: Sun, 28 Nov 2004 13:02:46 -0600 Message-ID: <000001c4d57c$dc04ce60$6400a8c0 [at] PC123093183111> In-Reply-To: James, Take a look at LD Assistant at www.ldassistant.com I use it and like it. The program has more features that Vector Works or WYSIWYG and I think it is easier to use. Has high-end render, volume light,smoke in the beam of light and fog. Lens effects include Glow, Ring, Noise, Secondary, Star and Streak . LD Assistant 04 has 6 Univ of DMX control (both in and out) for pre-programming the console/show It's all in one easy to use program. LD Assistant has AutoCAD2004 built-in making it 100% DWG. Program only cost $1,895.00, with some models start as low as $995.00. The Edu is a full version and will not go die after a few years. Edu version sales as low as $300.00. Rufus Warren For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We are looking to upgrade our current lighting design software. In addition to lighting plots, I am having an increasing need to do sound plots, stage lay outs etc. The program we use is very nice for plots, however the "back end" drawing portion is week. This make scaled drawings, and complete show drawings rather awkward, and time consuming. Other than cost factor, which program do people here prefer and why? I have seen demos of Vector Works, attempted Auto Cad (briefly) but have not had time to form an opinion of either. The cheapest option we have, due to site licenses, is VISIO, which I have but I am rarely able to successfully import drawing supplied by off campus suppliers (tours, etc). Are there other options I should research? Any input would be greatly appreciated! ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 14:10:26 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 28/11/04 14:18:10 GMT Standard Time, kenfrederickson [at] yahoo.com writes: > is the there a meter for measuring reverb times in a > space? or do you just do the math? > are they very expensive? Yes, and no. Bruel and Kjaer make all sorts of acoustic test gear. None of it is cheap. But they know what they are about. Acoustic professionals can afford it. I happen to own some. But it involves playing with pen recorders, third-octave filter sets, calibrated microphones, and so on. Try their website. The technology has advanced since my time. Frank Wood ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39011EDC6E9 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: CAD Programs Date: Sun, 28 Nov 2004 13:30:16 -0600 >From: Rufus >Sent: 11/28/2004 1:02 PM >Subject: Re: CAD Programs > >Take a look at LD Assistant at www.ldassistant.com >I use it and like it. The program has more features that Vector Works or >WYSIWYG and I think it is easier to use. "I use it and like it"? Just say you make it and sell it! jeeesh! Pat Immel Lighting and Scenic Designer Northwest Missouri State University ------------------------------ Subject: New Thread? Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sun, 28 Nov 2004 14:47:58 -0500 Read something interesting yesterday. We're all aware if you have more than 2 theories as to why it's called a Green Room you need a vacation but........ Where did the term "Ham" come from? So what I read was this: Starting in the 19th Century the better or at least more successful actors were able to afford various creams and oils to remove their greasepaint makeup. The less successful performers, unable to buy nicer amenities used the cheapest grease available - the trimmed off fat from hams. These less fortunate ones began to be referred to as: " Hamfat actors" eventually shortened to our current term of endearment: "Ham". Seemed logical. anyone got a better idea? 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: <038201c4d586$2f2822f0$d39e1518 [at] DonTaco> From: "Don Taco" References: Subject: Re: New Thread? Date: Sun, 28 Nov 2004 12:09:36 -0800 > Where did the term "Ham" come from? > > So what I read was this: Starting in the 19th Century the better or at > least more successful actors were able to afford various creams and oils > to > remove their greasepaint makeup. The less successful performers, unable to > buy nicer amenities used the cheapest grease available - the trimmed off > fat from hams. These less fortunate ones began to be referred to as: " > Hamfat actors" eventually shortened to our current term of endearment: > "Ham". Seemed logical. anyone got a better idea? > > Marty Petlock The New Century Dictionary of the English Language D. Appleton-Century Company, New York, London Copyright 1946 ham (2) n. [Short for hamfatter.] A theatrical performer of low grade; an inferior actor. [Slang.] hamfatter n. [Said to be from an old negro-minstrel song called "The Ham-Fat Man."] A theatrical performer of low grade; a ham. [Slang]. ------------------------------ Message-ID: <60444.142.179.101.174.1101673620.squirrel [at] 142.179.101.174> In-Reply-To: References: Date: Sun, 28 Nov 2004 12:27:00 -0800 (PST) Subject: Re: Surtitles,,, again From: "Tom Heemskerk" > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Break this down. > Hey, Frank.... Please do take a moment to consider that lots of us make a living trying to get things to work well. Some of us have succeeded with FP Surtitles. Come over sometime and watch an opera here - you might enjoy it, and I'll bet you the Guiness afterward that the FP Surtitles won't bother you. Cheers. ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F1601FF8F [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: ideas for bums in seats Date: Sun, 28 Nov 2004 12:37:40 -0800 Our symphony orchestra in town has installed to FP screens and 3(?) camera around the stage and house, to project video images of the conductor (his front), soloist, piano keys etc. No camera operators (I think), just someone running a switcher. Audience seems to like looking at the conductor make funny faces during the show, rather than the jumpy shoulders. Good close up of soloists hands on the keys or frets can also be stunning. Is it worth it? Dunno. Andrew M. Riter Head Lighting Technician Chan Centre for the Performing Arts University of British Columbia 6265 Crescent Road Vancouver, BC V6T 1Z1 604-822-2372 604-822-1606 fax chanlights [at] exchange.ubc.ca ------------------------------ Date: Sun, 28 Nov 2004 16:03:25 -0500 From: MissWisc [at] aol.com Subject: Re: New Thread? Message-ID: <486DBB1A.5207E333.007B9F2A [at] aol.com> I'd always been taught that it's a shortened form of "amateur" just as "Ham radio operator" is. :) More fat for the fire! Krisit ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <144.39ce0744.2edbb9a9 [at] aol.com> Date: Sun, 28 Nov 2004 18:30:49 EST Subject: Re: Surtitles,,, again In a message dated 28/11/04 20:27:57 GMT Standard Time, tommy [at] etainternet.com writes: > Hey, Frank.... Please do take a moment to consider that lots of us make a > living trying to get things to work well. Some of us have succeeded with > FP Surtitles. Come over sometime and watch an opera here - you might enjoy > it, and I'll bet you the Guiness afterward that the FP Surtitles won't > bother you. Maybe not, and I might well enjoy the opera. But, alas, I am also a fairly heavy smoker. This is beginning to limit the number of countries that I am prepared to visit. Ireland and much of the USA seem to be out: Scotland will soon join them, and there are rumblings about England and Wales. I may soon have to emigrate to France, where I also have a house. But about 50M of books present problems. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 18:34:27 EST Subject: Re: ideas for bums in seats In a message dated 28/11/04 20:38:37 GMT Standard Time, chanlights [at] exchange.ubc.ca writes: > Our symphony orchestra in town has installed to FP screens and 3(?) camera > around the stage and house, to project video images of the conductor (his > front), soloist, piano keys etc. No camera operators (I think), just someone > running a switcher. > > Audience seems to like looking at the conductor make funny faces during the > show, rather than the jumpy shoulders. Good close up of soloists hands on > the keys or frets can also be stunning. > > Is it worth it? Dunno. Emphatically, no! I, at least, go to concerts to listen to the music, rather than to watch the conductor or the soloists. Frank Wood ------------------------------ Message-Id: <5.2.0.9.0.20041128191221.029d3640 [at] pop.lightlink.com> Date: Sun, 28 Nov 2004 19:28:58 -0500 From: John Bracewell Subject: Re: ideas for bums in seats In-Reply-To: > > Is it worth it? Dunno. >Frank Wood wrote: >Emphatically, no! I, at least, go to concerts to listen to the music, rather >than to watch the conductor or the soloists. Oh, some of the members of the orchestra can be highly amusing at times. From a front row seat last summer, I watched the second chair in the cello section pull an incredibly wild array of facial antics, presumably expressing his extreme sensitivity to the slightest nuance of the music. A good, tight shot might have given the rest of the audience the same chuckles that those of us near the stage were able to see. Really, Frank, I go to hear the music also, but I do have to say that SEEING the performers is, for me, a major difference between going to a concert and hearing the music on even the best audio system. Sometimes that seeing includes body and facial language of the performers, so I can see some point in use of visual aids. I have found some of the televised broadcasts of the NY Phil to be quite interesting in that the director could show different parts of the orchestra in close-up--for example, picking up the first horn player in the fourth movement of the Brahms first, or the concertmaster in a performance of Heldenleben. That said, I'm not sure that I'd really want big-screen images of conductor and soloists as a steady diet. That really starts to put a symphony concert on the same level as a hockey game. Now, don't get me wrong. I love hockey (not as fussy about football or basketball) but I think that in sports there's a point to getting frequent close ups and replays. But can you imagine a time when we get narrators for concerts and things like, "Hey, that did that violinist really hit that harmonic in tune? Let's run that again, shall we, folks. NOO-oo-oo! She missed it. The refs should have caught that one. Clearly out of tune!" AA-a-a-rrgh! Speaking of narrating a concert, didn't Bob and Ray once do a play-by-play of the Beethoven fifth? Or was is some other pair of comedians? -- JLB ------------------------------ Message-ID: <61171.142.179.101.174.1101688955.squirrel [at] 142.179.101.174> In-Reply-To: References:

Date: Sun, 28 Nov 2004 16:42:35 -0800 (PST) Subject: Re: ideas for bums in seats From: "Tom Heemskerk" > > Speaking of narrating a concert, didn't Bob and Ray once do a play-by-play > of the Beethoven fifth? Or was is some other pair of comedians? > Didn't PDQ Bach do a hockey-style play-by-play of an orchestra performance? There was also a funny bit by Danny Kaye where he faced the audience while conducting, which foreshadowed video enhancement by several decades. ------------------------------ Message-ID: <1101690510.0d753efd9e8f4 [at] www.email.arizona.edu> Date: Sun, 28 Nov 2004 18:08:30 -0700 From: Mark O'Brien Subject: Re: Cadd Drawing References:

In-Reply-To: On Nov 28, 2004, at 12:30 PM, Immel,Patrick wrote: For info, archives & UNSUBSCRIBE, see ; --------------------------------------------------- From: Rufus Sent: 11/28/2004 1:02 PM Subject: Re: CAD Programs Take a look at LD Assistant at www.ldassistant.com I use it and like it. The program has more features that Vector Works or WYSIWYG and I think it is easier to use. "I use it and like it"? Just say you make it and sell it! jeeesh! Pat Immel Lighting and Scenic Designer Northwest Missouri State University From the website... "LD Assistant 04 and AutoCAD LD Assistant 04 users can now, for the first time ever, control their lighting systems and easily create advanced lighting plots, high-end photo-realistic images and animations with professional lighting effects," says Rufus Warren, President of Design & Drafting. With an AutoCAD-native interface, users can leverage their knowledge of AutoCAD and be productive from the start. With that said, I would hope that he uses it, and likes it. ;-) This kind of reminds me of the junk mail that one receives with a post it note "attached" to it. The post it usually says something like "Hey Mark, I saw this, take a look" As for the software, if it works as it says it should, there might even be a plug in to bring doughnuts, and make coffee. I currently use Visual Cadd, and Bobcad/Cam, however, I have purchased a seat of Vector-works Spotlight, and will be learning that. The reason for this, is to be compatible with the software that my colleagues are using. Because of cost, the Cad/Cam programs will remain in DOS for the time being. I am spiffing up a P 233 for the shop to replace the 486-33. When I ran out of hard drive on that machine, I discovered that my keychain had more HD space. It is kind of fun, I often forget what a joy DOS is for certain applications. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-Id: <6.1.0.6.2.20041128160151.02040958 [at] mail.DesignRelief.com> Date: Sun, 28 Nov 2004 20:12:36 -0600 From: Mitch Hefter Subject: Standards & RPs in Public Review Reminder: The Public Review period for USITT's "RP-2: Recommended Practice for Theatrical Lighting Design Graphics" closes Tuesday, November 30, 5:00 pm Eastern Standard Time. Info at: http://www.usitt.org/standards/UsittRP-2.html ESTA Technical Standards Program Activity, includes the following draft standards in Public Review until December 7, 2004: -BSR E1.20 -- Remote Device Management over USITT DMX512 -BSR E1.23 -- Design and Execution of Theatrical Fog Effects -BSR E1.27-1 -- Portable Control Cables for Use with USITT DMX512/1990 and E1.11 (DMX512-A) Products Info at: http://www.esta.org/tsp/ . . . ------------------------------------------------------------------------ Mitch Hefter mitch.hefter [at] DesignRelief.com Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com +1-214/ 647-7880 x 7967 (Direct Line 214/ 647-7967) +1-214/ 647-4738 Fax http://www.etdimming.com http://www.lolcontrols.com http://www.vari-lite.com http://www.genlyte.com ------------------------------ From: MissWisc [at] aol.com Message-ID: <42.5d5513d5.2edbe15b [at] aol.com> Date: Sun, 28 Nov 2004 21:20:11 EST Subject: Re: Re: ideas for bums in seats In a message dated 11/28/4 6:43:05 PM, tommy [at] etainternet.com wrote: <> Yes! It's the first movement of Beethoven's Fifth symphony (the one with the theme that goes dit-dit-dit DAH) done as if it is a football game being announced. Amazing thing is it's correct as far as it's use of music theory terms and sonata allegro form. I have the LP. My students don't get the jokes and that's exactly WHY I play it - to demonstrate that if you know something esoteric, you can "get" jokes that others won't. Gives them another reason to study music. I also use "Bach, Beethoven, and the Boys" as a text. They'll remember the arcane humor from there longer than Beethoven's birth and death dates. Plus it'll score more points for them during cocktail party chat when they are adults. :) P.S. Frank... ever think of QUITTING smoking? Then you'd be welcome everywhere! Kristi ------------------------------ Message-Id: <5.2.0.9.0.20041128232611.00b49bb8 [at] pop.lightlink.com> Date: Sun, 28 Nov 2004 23:29:54 -0500 From: John Bracewell Subject: Re: ideas for bums in seats In-Reply-To: References:

>Didn't PDQ Bach do a hockey-style play-by-play of an orchestra performance? You're right. It was Peter Schickele. Thanks for the memory-jog. Except Kristi was also right, because it was in the style of a football game, not a hockey game. Kristi, one piece I've used in trying to get some of my sound design students to be more sensitive to orchestral color and timbre is Garrison Keillor's "Young Lutheran's Guide to the Orchestra." Like you, I'm frequently amazed at how little of the humor they actually get. -- JLB ------------------------------ Date: Sun, 28 Nov 2004 23:39:49 -0500 From: "sboone [at] bgnet.bgsu.edu" Message-Id: <1101703189-12712.026.215-smmsdV2.1.2 [at] smtp.bgsu.edu> Subject: Re: References In-Reply-To: June Abernathy 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. ============== You're right. And like you say earlier, if you know you're not going to write a good letter, why agree to write it at all? There's another side of the liability issue though. In a way don't you have to report documented unsafe or illegal stuff when asked by a bona fide employer? Otherwise, if Joe Schmoe has a documented history of building stuff that fails and causes accidents at your place, and you intentionally don't report the facts when asked, and then Joe does the same thing again somewhere else and gets into worse trouble--wouldn't you then be included in the chain of liability. But it's just the facts, no imbelishment, inference, or anything else. And most big institutions have HR departments who are the ones to deal with this legal stuff. (Sorry, here comes a long story) Once we got an application that was stellar. I mean really superior. On paper, the person was easily number one on the rank ordered list. Our Human Resources department was following the search closely, and after expressing astonishment when I told them that we wanted to call all of the references and recommenders (duh, what century do they live in?), they required that if we did this we had to ask them all the exact same list of questions for each applicant. So, we looked really closely at the top five on the list, and crafted our uniform list of questions. I was the one who called everyone. Anyway, ol' number one on the list got the very worst recommendations over the phone from the people who wrote these glowing letters that I've ever heard. And it wasn't subtle--they were really bad. I think one person said something like "if you really want to kill your department, hire this person." Unsafe practices, and other strong negatives surfaced as well. And I even told everybody at the start of the conversation that I was asking the same questions and taking notes. They understood that their statements would be "taken down and used in evidence"--well, something like that. And I was stuck. Without the damning conversations, I would have been forced by HR to offer the job to this person, so I felt like I had no choice except to report everything. After the phone conversations, I did my job and wrote a four+ page letter to the department chair summarizing the conversations and explaining my conclusions. Since things were obviously odd by this point, he had to write a cover letter to HR and the Dean's office, explaining how and why he supported my conclusions. Then the Dean had to write to HR (the file was pretty thick by this point). And then, since the file was red flagged, it took a couple of weeks for HR to actually sift through it all and offer the job to the new #1. There was enough paper in the file by the end of it all to literally cover everyone's butt quite well. "Big wheels turn slowly and inefficiently!" Tom creaked. Steve Boone Bowling Green State University ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Sun, 28 Nov 2004 23:49:03 EST Subject: Re: Re: ideas for bums in seats Cc: jbrace [at] lightlink.com In a message dated 11/28/4 10:31:52 PM, jbrace [at] lightlink.com wrote: <> LOVE IT!! I'd probably have a very difficult time using that as I teach at a Catholic school! I got yelled at by one mom last year because I taught the origin of "Deck the Hall". It's a pagan Yule song not a Christmas carol! ;) Truth is painful to ignorant, bigoted people. Kristi ------------------------------ Date: Sun, 28 Nov 2004 21:59:00 -0800 Subject: Re: References Message-ID: <20041128.222810.2012.1.ladesigners [at] juno.com> From: Richard Niederberg Not only that, you can be sued for NOT firing someone, if that person later hurts someone. /s/ Richard > If you don't hire me, I can sue you for discrimination. > Stuart ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ From: "Andy Leviss" Subject: RE: CAD Programs Date: Mon, 29 Nov 2004 01:21:25 -0500 Organization: Duck's Echo Sound Message-ID: <002501c4d5db$a7575890$a19afea9 [at] AndyLeviss> In-Reply-To: Pat Immel, in reply to Rufus Warren, wrote: > >Take a look at LD Assistant at www.ldassistant.com > >I use it and like it. The program has more features that > Vector Works or > >WYSIWYG and I think it is easier to use. > > "I use it and like it"? Just say you make it and sell it! jeeesh! Yeah, Rufus, come on! I mean, if you're going to try to pull one over and basically spam the list pretending to be an end user, at least use an e-mail domain OTHER than LDASSISTANT.COM. We're not stupid. Well, most of us... --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: 10/30/2004 ------------------------------ End of Stagecraft Digest #210 *****************************