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 6902669; Fri, 03 Dec 2004 03:01:53 -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 #214 Date: Fri, 03 Dec 2004 03:01:23 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.2 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 #214 1. Re: Color Coding Fixtures by "Rob Carovillano" 2. Re: Marley was Dead... by Richard Niederberg 3. Re: car on stage by "Dr. Randall W.A. Davidson" 4. Re: Color Coding Fixtures by "Steve B." 5. Ethnic roles: was RE: Marley was Dead... by "Hall, Delbert L." 6. Re: Color Coding Fixtures by "Paul Schreiner" 7. Re: Color Coding Fixtures by Steve Larson 8. Re: Color Coding Fixtures by "Jon Ares" 9. Racism? by Bruce Purdy 10. Re: Ethnic Actors by "Paul Guncheon" 11. Re: Color Coding Fixtures by "Paul Schreiner" 12. Re: Tom Swifty by "Paul Guncheon" 13. Car on stage by "Dougherty, Jim" 14. Re: Color Coding Fixtures by Steve Larson 15. Re: Color Coding Fixtures by "Paul Schreiner" 16. Re: Color Coding Fixtures by "Jeffrey E. Salzberg" 17. Re: Obsession II Programming Help.... by "David Bowman" 18. The Newest Stagehand.... (OT) by "David Bowman" 19. Re: The Newest Stagehand.... (OT) by "Steven Haworth" 20. Re: The Newest Stagehand.... (OT) by "Delbert Hall" 21. Re: The Newest Stagehand.... (OT) by "Stephen E. Rees" 22. Re: Color Coding Fixtures by Steve Larson 23. Re: Color Coding Fixtures by "Jeffrey E. Salzberg" 24. S4 PAR Melt down by "Chris Summers" 25. Re: Fixtures & Luminaires by Mitch Hefter 26. Re: Color Coding Fixtures by "Steve B." 27. Re: The Newest Stagehand.... (OT) by Fred Fisher 28. Re: Color Coding Fixtures by Fred Fisher 29. Re: Color Coding Fixtures by Sean Evans 30. Re: Lighting Graphics / Standards by Mitch Hefter 31. Re: Fixtures & Luminaires by "Rob Carovillano" 32. Re: Color Coding Fixtures by seanrmc [at] earthlink.net 33. car onstage by Judy 34. Re: car onstage by "Dr. Randall W.A. Davidson" *** 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: <001001c4d82e$5c801690$6401a8c0 [at] desktop> From: "Rob Carovillano" References: Subject: Re: Color Coding Fixtures Date: Thu, 2 Dec 2004 00:18:29 -0500 Some people seem to not have read the question. I did specifically say the lens tube. It would be pretty pointless to color code the yoke. Rob Carovillano ----- Original Message ----- From: "Marc Palmer" To: "Stagecraft" Sent: Wednesday, December 01, 2004 6:00 PM Subject: Re: Color Coding Fixtures For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ETC uses paint dots to color code the glass that goes into the Source 4 lens tubes: 19deg Red 26deg Black 36deg (no dots) 50deg Yellow That's the closest to "standard" I'm aware of, though the black and lack of color don't translate well to the outside of the fixture. The most helpful code is probably whatever your local rental shop or neighboring theatres use. If you change lens tubes a lot, color coding on the yoke will only drive you mad - so you may want to keep the color on the tube. Grease pencil on the yoke works nicely to identify which lamp is in the fixture. The PRG color code for the lens tubes, painted on the casting inside the color-clip (sort of like a fingernail), is as follows, keeping the red and yellow from ETC's coding: 19deg Red 26deg Blue 36deg White 50deg Yellow Oh, if you're talking about PRG cable boxes that are about 36x36 with plywood in heavy steel framing, those are BASH boxes - and a huge pain if you've got a ramp or a short lift-gate. Marc --- Rob Carovillano wrote: > I might have asked this before but I forget. > Is there a documented standard for color coding the barrels on S4 or > similiar Lekos? I want to see before I just come up with my own. --- ------------------------------ Date: Wed, 1 Dec 2004 20:14:43 -0800 Subject: Re: Marley was Dead... Message-ID: <20041201.213352.2080.3.ladesigners [at] juno.com> From: Richard Niederberg This does not appear to be the given in most professional theatre. 'Stars' appear to be preferred for commercial reasons, and the status of 'Star' is conferred based not upon the quality of the acting, but rather upon the quantity of the box office revenues generated by that individual. Also, Reliability will beat out Raw Talent almost always, if all the other attributes of both actors are equally beneficial to the production company. /s/ Richard > I believe Tony's point was that placing *anything* above acting > ability when casting would lead to an inferior show. Financial > status, relationship to the director, etc... > Steve L. ________________________________________________________________ Juno Gift Certificates Give the gift of Internet access this holiday season. http://www.juno.com/give ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: car on stage Date: Thu, 2 Dec 2004 00:32:13 -0800 Message-ID: <006701c4d849$6f258a80$726dfea9 [at] DrDoomsComputer> In-Reply-To: Having seen stage floors that have deflected, broken through and split, the load factor is a priority in my opinion, as well. As to the fire protection, i.e. gas tank, oil, other lubricants, illumination from headlights, electrical circuitry, all the elements that might concur to create some hazard, they must be addressed one by one in a very specific application to the production and what truly is going to occur with the vehicle and the mix of scenery and personnel on stage. Keep in mind any emergency plan that must also be in the mix. Dr. doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Sent: Wednesday, December 01, 2004 7:49 AM To: Stagecraft Subject: Re: car on stage For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 12/1/04 10:17 AM, jknipple at jknipple [at] howardcc.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I work at a professional theater in residence at a community college. > The theater is also the home of church on Sundays. This year, for the > Christmas show, the church wants to bring an actual car on stage. I'm > checking on whether the stage floor can handle the weight (I don't > actually know what kind of car yet), but our loading doors are big > enough to fit a car through. Other than that, does anyone know what > issues this raises with the actual car? Does it need to be drained of > gas and oil? Other fluids? Other issues? > > Thanks! > > Jim > > James Knipple > Technical Director > REP Stage - www.howardcc.edu/repstage > Student-Alumni Arts - Howard Community College > - www.howardcc.edu/studentarts > jknipple [at] howardcc.edu > 410-772-4451 > > Jim. You have to check with your fire marshal on this one. Find out what their requirements are for this sort of thing and then do what they say. Do not cheat. gas fires onstage are not fun. 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: Thu, 02 Dec 2004 07:46:21 -0500 From: "Steve B." Subject: Re: Color Coding Fixtures Message-id: <002d01c4d86c$ecc222f0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Rob Carovillano" > Some people seem to not have read the question. I did specifically say > the lens tube. It would be pretty pointless to color code the yoke. Actually it's a good idea to do both It's useful to see what lens is in the unit when the units are standing around in a large group, just prior to hanging on a pipe ?, after being distributed to a postion ?. When you cannot easily see the lens tube. Somebody prior to me painted all my Altman 360, 360Q and Strand 2000 series ellipsoidals with color coding on the gel frame holder. It's very easy to see from the deck as well as when they are sitting on the floor. Steve Bailey Brooklyn College ------------------------------ Subject: Ethnic roles: was RE: Marley was Dead... Date: Thu, 2 Dec 2004 07:57:34 -0500 Message-ID: From: "Hall, Delbert L." I believe that Americans have a different perspective on white = performers playing roles of people from other ethnic backgrounds, than = the folks in most other countries. Remember the stink that Actors = Equity made when Jonathan Pryce came to the US to play the role of "The = Engineer" in MISS SAIGON? I am not saying that we are correct in our = attitude as much as I am saying that it IS our general attitude toward = this subject, probably based on the guilt that many people feel for our = past racist behaviors. =20 Just my 2 cents worth on this subject. -Delbert Delbert L. Hall, Ph.D. Professor Phone: 423-439-7912 =20 =20 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.802 / Virus Database: 545 - Release Date: 11/26/2004 =20 ------------------------------ Subject: RE: Color Coding Fixtures Date: Thu, 2 Dec 2004 08:59:46 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AD9E [at] exchange.rmwc.edu> From: "Paul Schreiner" > > It would be pretty pointless to color code the yoke. >=20 > Actually it's a good idea to do both >=20 > It's useful to see what lens is in the unit when the units=20 > are standing around in a large group Agreed that it's very convenient to be able to tell the type of instrument from a distance when it's standing on the floor. But color-coding the yoke on a Source4 (or any other instrument designed with interchangeable lens barrels) isn't just pointless, but a recipe for confusion. If I've got a 26-deg leftover from one show in the same spot on a pipe that I need a 19 in the next, I'm gonna swap barrels rather than whole instruments (especially if it's in a less-than-ideal hanging position). Do that a few times, and I've got a whole lotta mismatched yokes and lenses, and a lotta confusion waiting to happen on the next big hang (or strike). ------------------------------ Date: Thu, 02 Dec 2004 09:13:42 -0500 Subject: Re: Color Coding Fixtures From: Steve Larson Message-ID: In-Reply-To: Only in your mind. If the yoke stays with the tube, mark it in a position that is visible from the top and sides. Duh! Steve on 12/2/04 12:18 AM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Some people seem to not have read the question. I did specifically say the > lens tube. It would be pretty pointless to color code the yoke. > ------------------------------ Message-ID: <000e01c4d87a$fff62e30$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Color Coding Fixtures Date: Thu, 2 Dec 2004 06:27:06 -0800 > color-coding the yoke on a Source4 (or any other instrument designed > with interchangeable lens barrels) isn't just pointless, but a recipe > for confusion. Agreed. Here's a solution I saw at one venue I had one of my shows load in to: they would mark their extensive collection of S4s with a wide piece of coloured ribbon on the yoke - up at the clamp, not along the body of the fixture. I can see this is useful when an electric is flown in, or as one is walking along a catwalk. Seeing the ribbon from the deck would be problematic, I suspect, but the point is, the ribbon is removable. -- 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: Thu, 02 Dec 2004 09:31:45 -0500 Subject: Racism? From: Bruce Purdy Message-ID: > Mucho gracias I believe that that should be "Muchas Gracias" Interesting how using / abusing other languages is overlooked (and sometimes even done intentionally as a joke) whilst dark makeup to make an actor more believable is "Racist"! Ah the ironies of every day life! FWIW, I agree 100% with Tony. And I see a huge difference between the "Blackface" of the old minstrel shows and good realistic character makeup. I believe *most* audiences would agree. Some "PC" activists will always find something to complain about, but you have to cast from within the available pool of talent. When you are forced to cast "cross racial", and the race is important to the plot, I'd rather see someone on stage that looks the part at least. I agree with you Kristi, that as a teacher you shouldn't say "Racism is OK"! I don't think that using character makeup is racist though. The interpretation of the character by the actor and director might be though. That's where ignorance comes into play. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <007a01c4d87c$0fe867d0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Ethnic Actors Date: Thu, 2 Dec 2004 04:34:41 -1000 <> The worst use of non-traditional casting I have ever had the occasion to witness, school production of "Suddenly Last Summer". Hawaii is a truly mixed cultural state... Japanese, Chinese, Filipino, Korean, Portuguese, Samoan, Tongan, Hawaiian, (and other Polynesian cultures), Caucasian, African American, and more. I'm trying to remember but it seemed that African American daughter was older than the Caucasian mother and the Polish (scripted) doctor was Chinese with a heavy accent. His character's name was Dr. Kukrowicz which was Polish for "sugar" hence the mother called him Dr. Sugar. Personally I would have sought to change his name to the Chinese word for sugar. It would have helped. I do remember giving one of the actors a huge spike mark (think 10" "X" in glow tape) on which to kneel for her final monolog. She still missed it by around a foot every time. With her delivery though it was perhaps not a bad thing, Laters, Paul "Who was Clinton's vice president?" Tom asked allegorically. ------------------------------ Subject: RE: Color Coding Fixtures Date: Thu, 2 Dec 2004 09:51:02 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADA0 [at] exchange.rmwc.edu> From: "Paul Schreiner" > > Some people seem to not have read the question. I did specifically=20 > > say the lens tube. It would be pretty pointless to color code the=20 > > yoke. > >=20 > Only in your mind. If the yoke stays with the tube Then what's the point of buying a selection of instruments with interchangeable lens tubes? You say "If the yoke stays with the tube...", but that's a very big if. Without having some consideration in the coding system for when the tubes are switched, you're going to end up with issues in the long run. ------------------------------ Message-ID: <008001c4d87e$712b7990$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Tom Swifty Date: Thu, 2 Dec 2004 04:51:43 -1000 <> Actually, I think it's pretty good. Here's a real bad one: "Possibly because you're more forthcoming than me, Medallion Man" replied the tan gent, darkly. Maybe it's just me but I can't figure it out. another: "This In and OUT is boring." Tom said dully. Laters, Paul "There's the dog star," Tom said seriously. ------------------------------ Date: Thu, 02 Dec 2004 10:27:00 -0500 Subject: Car on stage From: "Dougherty, Jim" Message-ID: Another possibility for a car on stage depends on your financial resources and the final use of the car, but helps with the fire marshall, the engineer for the loads on the stage and the physics of moving it around - pull the engine, transmission and fuel system. It makes the car lighter, leaves lots of room for effects, and gets rid of many of the bits that can make fires much bigger. You can leave in the electrical system to keep the wipers and lights working if you want. I've worked on a show where we did this with an old VW Beetle. We also put it onto heavy duty steel dollies with zero-throw casters, placed just inside the wheels. They helped tremendously with moving it about onstage as we weren't limited to the turning radius of the car's steering. The dollies work even if you don't pull the engine, of course. Naturally, if you're getting a car loaned for the production they might not want the guts yanked out, especially if it's a new Volvo. On the other hand, this may give someone the opportunity of a lifetime to drop in that 350 cubic inch V8 they've always wanted. On to the anecdote. We did a show that required a small red farm tractor onstage, preferably new looking but in the antique style. Although we are in an area where such tractors are available (rural Vermont, although that's a bit redundant), the weight issues were still there. We built one out of wood and other scraps, with a few real parts thrown in to help authenticity including the tires. When we were done with the show, the college kept it in storage as a prop for large events - we replaced the brand name on the side with the college's name. The best compliment we got was when we were asked by one of the people moving it why we didn't just drive it over. He was about fifteen feet away from it at the time. - Jim Dougherty ATD, Middlebury College Theatre Department ------------------------------ Date: Thu, 02 Dec 2004 12:05:19 -0500 Subject: Re: Color Coding Fixtures From: Steve Larson Message-ID: In-Reply-To: I bought Source 4s for their performance. I work in a space that uses primarily 36 degree instruments. We have 3 50 degree instruments. We don't need to change. That is why I said "if". Steve on 12/2/04 9:51 AM, Paul Schreiner at pschreiner [at] rmwc.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> Some people seem to not have read the question. I did specifically >>> say the lens tube. It would be pretty pointless to color code the >>> yoke. >>> >> Only in your mind. If the yoke stays with the tube > > Then what's the point of buying a selection of instruments with > interchangeable lens tubes? > > You say "If the yoke stays with the tube...", but that's a very big if. > Without having some consideration in the coding system for when the > tubes are switched, you're going to end up with issues in the long run. > > ------------------------------ Subject: RE: Color Coding Fixtures Date: Thu, 2 Dec 2004 12:19:30 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADAA [at] exchange.rmwc.edu> From: "Paul Schreiner" > I bought Source 4s for their performance. I work in > a space that uses primarily 36 degree instruments. > We have 3 50 degree instruments. We don't need to > change. That is why I said "if". In your circumstance, I understand now the coding of the yokes. FWIW, I'd still only do it with some sort of reservations (or just do the three 50s), since there's always room for inventory expansion... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Color Coding Fixtures Date: Thu, 2 Dec 2004 12:27:04 -0500 Message-ID: <000a01c4d894$24c4c050$6501a8c0 [at] Dell> In-Reply-To: > In your circumstance, I understand now the coding of the > yokes. FWIW, I'd still only do it with some sort of > reservations (or just do the three 50s), since there's always > room for inventory expansion... Even in that case, I'd code the tubes rather than the yokes. Occasionally, one might want to replace an existing 50-degree with a 36 (or vice versa); in that case it's much easier to swap a barrel than an entire fixture. ------------------------------ Message-Id: Date: Thu, 02 Dec 2004 12:40:04 -0500 From: "David Bowman" Subject: Re: Obsession II Programming Help.... Hey everyone, Thanks for your help with my programming question. Your suggestions did the trick. Once again, this list comes through.... I'd have thanked you all earlier, but things have been busy here (post to follow...) Thanks again! dave B. David M. Bowman Syracuse Stage / SU Drama Master Electrician / Adj. Professor dmbowman [at] syr.edu Dolor Temporarius... Gloria Aeterna.... Cicatrices Virgines Placent! ------------------------------ Message-Id: Date: Thu, 02 Dec 2004 12:43:33 -0500 From: "David Bowman" Subject: The Newest Stagehand.... (OT) Good Morning Gang, Ashleigh Noelle Bowman Born 11/29/04 at 6:04PM 6 lbs.-11 oz. 19.75" Mom and baby are home and doing well. Big brother Andrew is excited and adjusting..... Like a good girl, she waited until after tech..... ;-) dave B. David M. Bowman Syracuse Stage / SU Drama Master Electrician / Adj. Professor dmbowman [at] syr.edu Dolor Temporarius... Gloria Aeterna.... Cicatrices Virgines Placent! ------------------------------ Subject: RE: The Newest Stagehand.... (OT) Date: Thu, 2 Dec 2004 11:55:08 -0600 Message-ID: <721DC9EE550F834A92EC08BDC332B0EE0160843E [at] trader.river.idm.com> From: "Steven Haworth" Congratulations!!!! That's wonderful news. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-ID: Reply-To: hall [at] flyingfx.com In-Reply-To: From: "Delbert Hall" Subject: RE: The Newest Stagehand.... (OT) Date: Thu, 02 Dec 2004 13:27:14 -0500 Congratulations to everyone involved in this production - especially the tech staff. -Delbert Delbert L. Hall 423-773-HALL (4255) >--------------------------------------------------- > >Good Morning Gang, > >Ashleigh Noelle Bowman > >Born 11/29/04 at 6:04PM 6 lbs.-11 oz. 19.75" > >Mom and baby are home and doing well. Big brother Andrew is excited >and adjusting..... > >Like a good girl, she waited until after tech..... ;-) > >dave B. > >David M. Bowman >Syracuse Stage / SU Drama >Master Electrician / Adj. Professor >dmbowman [at] syr.edu > >Dolor Temporarius... Gloria Aeterna.... >Cicatrices Virgines Placent! ------------------------------ Message-ID: <41AF647A.3000809 [at] fredonia.edu> Date: Thu, 02 Dec 2004 13:52:42 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: The Newest Stagehand.... (OT) References: Dear Dave and Family. One of the best reasons to be up at that hour of the morning! Congratulations to all! Best, Steve Rees David Bowman wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Good Morning Gang, > > Ashleigh Noelle Bowman > > Born 11/29/04 at 6:04PM 6 lbs.-11 oz. 19.75" > > Mom and baby are home and doing well. Big brother Andrew is excited > and adjusting..... > > Like a good girl, she waited until after tech..... ;-) > > dave B. > > David M. Bowman > Syracuse Stage / SU Drama > Master Electrician / Adj. Professor > dmbowman [at] syr.edu > > Dolor Temporarius... Gloria Aeterna.... > Cicatrices Virgines Placent! ------------------------------ Date: Thu, 02 Dec 2004 14:01:22 -0500 Subject: Re: Color Coding Fixtures From: Steve Larson Message-ID: In-Reply-To: I use stick on color dots from the office supply store. Change a tube, change a dot. No problema. Steve on 12/2/04 12:27 PM, Jeffrey E. Salzberg at stagecraft [at] jeffsalzberg.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > >> In your circumstance, I understand now the coding of the >> yokes. FWIW, I'd still only do it with some sort of >> reservations (or just do the three 50s), since there's always >> room for inventory expansion... > > Even in that case, I'd code the tubes rather than the yokes. > Occasionally, one might want to replace an existing 50-degree with a 36 > (or vice versa); in that case it's much easier to swap a barrel than an > entire fixture. > > > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Color Coding Fixtures Date: Thu, 2 Dec 2004 14:09:05 -0500 Message-ID: <006301c4d8a2$65516070$6501a8c0 [at] Dell> In-Reply-To: > I use stick on color dots from the office supply > store. Change a tube, change a dot. No problema. Well, I absolutely support each theatre's following whichever procedure works best for them. The procedures that work best for me are the ones that eliminate unneccesary steps. ------------------------------ Message-ID: From: "Chris Summers" Subject: S4 PAR Melt down Date: Thu, 02 Dec 2004 16:37:31 -0500 Has anyone out there had a problem with the two plastic stops (keeps the lens in place) on the lens ring melting. The units are only 4 years old max, and they are lamped with the HPL 750. What could be causing this? Any information would be helpful Thanks in advance Chris Summers _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-Id: <6.1.0.6.2.20041202162643.020653d8 [at] mail.DesignRelief.com> Date: Thu, 02 Dec 2004 16:36:08 -0600 From: Mitch Hefter Subject: Re: Fixtures & Luminaires In-Reply-To: References: Karl Ruling wrote: > > >By the way, these "fixtures" are all portable. Things that are >fastened in place are fixtures; things that are portable aren't. They >beat this truth into your head with the first IESNA lighting class. >Appliances, whether portable or fixed, that light things are >luminaires. And the National Electrical Code changed all instances of fixtures to luminaires in the 2002 edition. It so upset the apple cart (it seems that may of the users didn't even know the internationally used term luminaire) that "lighting fixture" was inserted parenthetically after each occurrence of luminaire. Of course, there are some instances where the word fixture wasn't a luminaire, so we had to set them straight. This still exists in the 2005 edition - it will be interesting to see if there is a proposal for the 2008 cycle to drop "lighting fixtures" altogether. . . . ------------------------------------------------------------------------ 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 ------------------------------ Date: Thu, 02 Dec 2004 20:20:48 -0500 From: "Steve B." Subject: Re: Color Coding Fixtures Message-id: <006901c4d8d6$5239d7e0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Paul Schreiner" > Agreed that it's very convenient to be able to tell the type of > instrument from a distance when it's standing on the floor. But > color-coding the yoke on a Source4 (or any other instrument designed > with interchangeable lens barrels) isn't just pointless, but a recipe > for confusion. What's a Source 4 ? (Grin) But in reality, it indicates how long I've been in the business that I haven't spent a huge amount of time with fixtures that you could swap lens tubes. 360Q's have been the mainstay for so long.... In reality, we don't swap tubes on the 48 Shakespeare 30 and 40's we do own. Don't even own xtra tubes, as most of my floating fixtures are zooms anyway. We do put white gaff tape on the yokes of our Strand 2000 series though as the x12's and x9's do swap. Tape moves when the lens moves. SB ------------------------------ Date: Thu, 02 Dec 2004 19:41:19 -0600 From: Fred Fisher Subject: Re: The Newest Stagehand.... (OT) In-reply-to: Message-id: <5.2.1.1.2.20041202193845.01939640 [at] wiscmail.wisc.edu> > >Ashleigh Noelle Bowman > >Born 11/29/04 at 6:04PM 6 lbs.-11 oz. 19.75" > > >dave B. Congratulations to you and your growing family. My 14 year old daughter shares a birthdate with Ashleigh. Fred ------------------------------ Date: Thu, 02 Dec 2004 19:50:28 -0600 From: Fred Fisher Subject: Re: Color Coding Fixtures In-reply-to: Message-id: <5.2.1.1.2.20041202194638.01907130 [at] wiscmail.wisc.edu> References: > > In your circumstance, I understand now the coding of the > > yokes. FWIW, I'd still only do it with some sort of > > reservations (or just do the three 50s), since there's always > > room for inventory expansion... > >Even in that case, I'd code the tubes rather than the yokes. >Occasionally, one might want to replace an existing 50-degree with a 36 >(or vice versa); in that case it's much easier to swap a barrel than an >entire fixture. We paint one of the gel frame holder brackets so they can be easily ID'd from the deck. We use three colors for our basic units, leaving the 26 � black since we have the most of those. Fred Fisher ------------------------------ Message-ID: <35e1805a0412021821a615390 [at] mail.gmail.com> Date: Thu, 2 Dec 2004 20:21:13 -0600 From: Sean Evans Reply-To: Sean Evans Subject: Re: Color Coding Fixtures In-Reply-To: References: On Thu, 02 Dec 2004 19:50:28 -0600, Fred Fisher wrote: > We paint one of the gel frame holder brackets so they can be easily ID'd = from > the deck. We use three colors for our basic units, leaving the 26 =B0 bl= ack > since > we have the most of those. > Fred Fisher >=20 A theater I've worked at has small magnets that they stick on the yoke for pars to indicate what they're lamped with. They stay on as long as you want, but are very easy to swap when you swap lamps. It would seem to be a good way to indicate lamp wattage, or lens tubes as well. The theater in question paints the sides of the gel holders of the source 4 lens tubes. ------------------------------ Message-Id: <6.1.0.6.2.20041202163620.0206c640 [at] mail.DesignRelief.com> Date: Thu, 02 Dec 2004 20:24:54 -0600 From: Mitch Hefter Subject: Re: Lighting Graphics / Standards In-Reply-To: References: FYI - the USITT RP-2 isn't just about "paper" graphics. For those of you who didn't download it, RP-2 states at the beginning: The purpose of this document is to establish a standardized language among lighting designers and anyone else who needs to understand or execute the design. In practical terms, this document is intended to provide guidelines so that anyone, ranging from technicians who hang the luminaires to other members of the production team, can clearly understand the intent of the lighting designer. Where's the "paper specific" slant to this? This document is about layouts and conventions that apply to both paper and computer. ........ And remember, you don't have to follow Standards and Recommended Practices (unless there is a legal requirement to do so), it just is better to do so. From ANSI's FAQs page: "They [standards] also can define terms so that there is no misunderstanding among those using the standard." From ESTA's Technical Standards Program Vision Statement: standards and recommended practices ". . . will facilitate the use of new and existing equipment, improve communications and promote safe working conditions." I hope that all who commented on list about Lighting Graphics also reviewed and commented to USITT. If enough people said don't bother, the document would not move forward. And don't forget to become involved with the ESTA standards program as well. All comments are reviewed and acted on. These are consensus documents - the more involved, the better. Thank you, . . . ------------------------------------------------------------------------ Mitch Hefter mitch.hefter [at] DesignRelief.com Member ESTA Technical Standards Committee & USITT Standards Committee 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 ------------------------------ Message-ID: <000501c4d8e6$11450470$6401a8c0 [at] desktop> From: "Rob Carovillano" References: Subject: Re: Fixtures & Luminaires Date: Thu, 2 Dec 2004 22:13:30 -0500 "Things that are >fastened in place are fixtures; things that are portable aren't" So therefore since stage lighting instruments are all portable what would they be called? Or because they are temporarily attached to a structure by a tee or c-clamp are they considered fastened in place? Rob Carovillano ------------------------------ Message-ID: <19189268.1102044098994.JavaMail.root [at] bigbird.psp.pas.earthlink.net> Date: Thu, 2 Dec 2004 22:21:38 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Color Coding Fixtures My inventory is similar. All the Source-Fours are painted inside the gel c= lip (ala PRG, albeit different colors), and ALSO along just the edge of the= color frame holder--just a 1/8" line made with the side of a paint marker = on the corner right and left. We ALSO use corresponding electrical tape to label the yokes. Standing pol= icy is that if a tube is swapped, you pull off the old tape. During the ne= xt hang, if a unit doesn't have tape on it, it's relabeled. Yes, you do ha= ve to double check units as you're sorting them, but that takes but a momen= t. It speeds things up a lot, especially when you have ~200-300 units on the d= eck to deal with. Oh, and the color system in place when I started (and that we still use) is= : 50=B0--red 36=B0--orange 26=B0--gray/silver 19=B0--blue --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: "Steve B." It's useful to see what lens is in the unit when the units are standing=20 around in a large group, just prior to hanging on a pipe ?, after being=20 distributed to a postion ?. When you cannot easily see the lens tube. Somebody prior to me painted all my Altman 360, 360Q and Strand 2000 series= =20 ellipsoidals with color coding on the gel frame holder. It's very easy to= =20 see from the deck as well as when they are sitting on the floor. Steve Bailey Brooklyn College ------------------------------ Message-ID: <41B00F2A.8080206 [at] post.tau.ac.il> Date: Fri, 03 Dec 2004 09:00:58 +0200 From: Judy Subject: car onstage I did a show once where a car was driven onstage. The TD took care of all the safety issues but forgot to check with the insurance agent. Turned out it had to be insured differently and that involved a lot of last minute hassle. Judy ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: car onstage Date: Thu, 2 Dec 2004 23:51:09 -0800 Message-ID: <00b001c4d90c$db1cf700$726dfea9 [at] DrDoomsComputer> In-Reply-To: Incredibly important. And one has to educate the agent as well. Doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Judy Sent: Thursday, December 02, 2004 11:01 PM To: Stagecraft Subject: car onstage For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I did a show once where a car was driven onstage. The TD took care of all the safety issues but forgot to check with the insurance agent. Turned out it had to be insured differently and that involved a lot of last minute hassle. Judy ------------------------------ End of Stagecraft Digest #214 *****************************