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 8744732; Tue, 14 Dec 2004 03:00:46 -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 #227 Date: Tue, 14 Dec 2004 03:00:24 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-4.8 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, URIBL_SBL autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #227 1. Re: Holidays threads by "Paul Schreiner" 2. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Ehrenberg, Steven" 3. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Waxler, Steve (waxlers)" 4. Re: Folding and storing an RP screen. by Bruce Purdy 5. Re: The New Red Skelton Theatre in Vincennes, Indiana by Dale Farmer 6. Re: Folding and storing an RP screen. by Mark O'Brien 7. Re: Fire in Tucson Convention Center Arena by Mark O'Brien 8. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Dr. Randall W.A. Davidson" 9. Re: Write only memory by Greg Bierly 10. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Waxler, Steve (waxlers)" 11. Stage Combat Choreographers... by "CATHERINE BRUMM" 12. Re: Stage Combat Choreographers... by "Stephen E. Rees" 13. Re: the ethos of sound (and light?) by CB 14. Rocks/Boulders by "Victor W. Smith" 15. Re: Rocks/Boulders by Dale Farmer 16. The saw stop by "Paul H. Sullivan" 17. Re: The saw stop by "Dr. Randall W.A. Davidson" 18. Re: The New Red Skelton Theatre in Vincennes, Indiana by "Dr. Randall W.A. Davidson" 19. Re: The saw stop by Mike Katz 20. Re: The saw stop by Shawn Palmer 21. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 22. Re: Stage Combat Choreographers... by FrankWood95 [at] aol.com 23. Re: SawStop, redux by "Paul Schreiner" 24. Re: Stage Combat Choreographers... by "Matthew Breton" 25. Re: Stage Combat Choreographers... by Jacqueline Haney Kidwell 26. Re: SawStop, redux by John McKernon 27. Re: Stage Combat Choreographers... 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. ---------------------------------------------------------------------- Subject: RE: Holidays threads Date: Mon, 13 Dec 2004 10:02:10 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADDA [at] exchange.rmwc.edu> From: "Paul Schreiner" > Hey gang we could do our own list Nativity Scene, we have=20 > lots of Wise Men and Shepherds ...................oh wait,=20 > what are we missing? I'd wager...virgins? ------------------------------ Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Mon, 13 Dec 2004 09:59:12 -0600 Message-ID: <95E1F758C14A0248B42D6FC9D67C7C32FF6CCA [at] CCUMAIL14.usa.ccu.clearchannel.com> From: "Ehrenberg, Steven" Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana Message-ID: From: RHolen [at] vinu.edu Date: Fri, 10 Dec 2004 07:18:20 -0600 I did a walk through at the construction site of our new theatre yesterday. It is going to be wonderful. Great sight lines in the main theatre, wonderful scene shop, black box theatre, great costume shop. Thanks to Jones and Phillips we are getting what we wanted. Thanks to Ted Padget, Van Phillips and the Jones and Phillips design team. Richard D. Holen Professor Dept. of Theatre Vincennes University Richard - Congratulations, it sounds like it is shaping up into a wonderful building. As much as you love your Architects and Consultants, and as happy as you are with the current progress, after working on five new building projects this year, and I love the Architects and consultants - I have only two words of advice - STAY INVOLVED!!. Do more walk-through trips - regularly. Be sure all changes and new drawings come by your eyes. Keep a hawk eye on the HVAC people and an eagle eye on the sprinkler installers. I cannot stress these things enough. Grid Wells look like great places for sprinkler runs even when they have been told not to do it, repeatedly. HVAC hangers in the fly system ropes will cause future problems. Once it's done they will yell dollars and time at you if you insist on the changes. It is a great idea to sit and go over their working drawings with the contractors. If you do not control the $$$ directly, and like everyone else are working under some type of budget constraint, insist that you be involved in all value engineering decisions. You would be amazed at what can happen in the course of construction. Stay with them, badger them, ask questions, and you will be much happier at the dedication. I speak from a long year of hard-earned experience.=20 Congratulations & Good Luck, Steven Steven Ehrenberg Director of Technical Supervision Clear Channel entertainment - Theatrical Office - 917 421 5461 Mobile - 917 331 0207 ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0AE98EA4 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Mon, 13 Dec 2004 11:18:36 -0500 Richard, I am including the entirety of Steven Ehrenberg's note for emphasis. What he says is so important. At the risk of repeating... Walk the job site a few times a day and look for details. Where are they putting that piece of conduit? Is it going to get in the way of something else? Yes, HVAC and sprinkler installers put their equipment wherever is easiest, or so it seems. I had to have sprinkler main feeds moved twice during construction of our shop. Review the drawings, carefully and in detail. You can alleviate many problems if you catch them on the drawings. Review the revised drawings to make sure the changes have been included. Keep copious notes about the requested changes. And good luck, it sound like it will be a wonderful facility. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Ehrenberg, Steven [mailto:StevenEhrenberg [at] clearchannel.com] Sent: Monday, December 13, 2004 10:59 AM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana Message-ID: From: RHolen [at] vinu.edu Date: Fri, 10 Dec 2004 07:18:20 -0600 I did a walk through at the construction site of our new theatre yesterday. It is going to be wonderful. Great sight lines in the main theatre, wonderful scene shop, black box theatre, great costume shop. Thanks to Jones and Phillips we are getting what we wanted. Thanks to Ted Padget, Van Phillips and the Jones and Phillips design team. Richard D. Holen Professor Dept. of Theatre Vincennes University Richard - Congratulations, it sounds like it is shaping up into a wonderful building. As much as you love your Architects and Consultants, and as happy as you are with the current progress, after working on five new building projects this year, and I love the Architects and consultants - I have only two words of advice - STAY INVOLVED!!. Do more walk-through trips - regularly. Be sure all changes and new drawings come by your eyes. Keep a hawk eye on the HVAC people and an eagle eye on the sprinkler installers. I cannot stress these things enough. Grid Wells look like great places for sprinkler runs even when they have been told not to do it, repeatedly. HVAC hangers in the fly system ropes will cause future problems. Once it's done they will yell dollars and time at you if you insist on the changes. It is a great idea to sit and go over their working drawings with the contractors. If you do not control the $$$ directly, and like everyone else are working under some type of budget constraint, insist that you be involved in all value engineering decisions. You would be amazed at what can happen in the course of construction. Stay with them, badger them, ask questions, and you will be much happier at the dedication. I speak from a long year of hard-earned experience. Congratulations & Good Luck, Steven Steven Ehrenberg Director of Technical Supervision Clear Channel entertainment - Theatrical Office - 917 421 5461 Mobile - 917 331 0207 ------------------------------ Date: Mon, 13 Dec 2004 11:54:44 -0500 Subject: Re: Folding and storing an RP screen. From: Bruce Purdy Message-ID: In-Reply-To: CB wrote: > Fold it top to bottom, pleather to pleather. > Fold it top to bottom again, screen material to screen material (i.e., > don't fold it all the way up, just to where the pleather starts. Pleather > and RP material shouldn't meet, and that goes double for the snaps!) > Wash, rinse, repeat until you have a strip that is as wide as the bag it > came in. If there is no bag, get one, make one, whatever. > Fold the left over to the right, pleather to pleather. > Fold the left over to the right again, RP mterial to RP material (again, > just short of the pleather) > Bag it.] I don't recall the original post saying that it was a Fast Fold screen, but if it is, then Chris' directions are spot on. My only quibble is with the "Wash, rinse" part. I don't do that part - I only wash it whilst it is stretched on the frame, and make sure it is completely dry before taking it down. If you do wash it as part of the folding process, be sure it is *completely* dry before making the next fold! (Seems that would take a loooong time.) My old screen (I bought used) had been stored for a long time, and the folds of rubber screen surface had bonded to each other. When I bought a replacement surface (Front projection but I'd assume the same for RP) it came with tissue folded into it. If the screen is to be stored for an extended period, I'd suggest doing the same to keep the folds of screen from sticking together. Randy asked: > A better question is, how do you fold an rp screen without getting it all > dusty... Lay out a clean tarp, or perhaps a bed sheet or two (Depending on size) on the floor and then lay the screen down and fold it on top. Avoid letting the screen surface actually touch the floor. Works for me! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <41BDCC9A.AFB91303 [at] cybercom.net> Date: Mon, 13 Dec 2004 12:08:42 -0500 From: Dale Farmer Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana References: "Waxler, Steve (waxlers)" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Richard, > I am including the entirety of Steven Ehrenberg's note for emphasis. What > he says is so important. At the risk of repeating... Walk the job site a > few times a day and look for details. Where are they putting that piece of > conduit? Is it going to get in the way of something else? Yes, HVAC and > sprinkler installers put their equipment wherever is easiest, or so it > seems. I had to have sprinkler main feeds moved twice during construction > of our shop. Review the drawings, carefully and in detail. You can > alleviate many problems if you catch them on the drawings. Review the > revised drawings to make sure the changes have been included. Keep copious > notes about the requested changes. And good luck, it sound like it will be > a wonderful facility. The other thing to keep an eye out is that previously agreed on changes falling back out of the current drawing. THis happens when you have a careless draftsperson grab an older version of the drawing to make the current set of changes on, and all those changes in-between those two versions unexpectedly disappear. Unfortunately, it happens a lot. This bit me on the ass on a computer room rebuild. Changes to make the doorways taller between the freight elevator and the computer room fell out later on, and the move ended up costing us an extra 50K in labor charges when we had to transport all the racks of gear on their side, emptied of their equipment. --Dale ------------------------------ In-Reply-To: References: Message-Id: <7227D9F4-4D29-11D9-B336-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Folding and storing an RP screen. Date: Mon, 13 Dec 2004 10:07:18 -0700 On Dec 13, 2004, at 9:54 AM, Bruce Purdy wrote: > CB wrote: > >> Fold it top to bottom, pleather to pleather. >> Fold it top to bottom again, screen material to screen material (i.e., >> don't fold it all the way up, just to where the pleather starts. >> Pleather >> and RP material shouldn't meet, and that goes double for the snaps!) >> Wash, rinse, repeat until you have a strip that is as wide as the bag >> it >> came in. If there is no bag, get one, make one, whatever. >> Fold the left over to the right, pleather to pleather. >> Fold the left over to the right again, RP mterial to RP material >> (again, >> just short of the pleather) >> Bag it.] > > I don't recall the original post saying that it was a Fast Fold > screen, > but if it is, then Chris' directions are spot on. My only quibble is > with > the "Wash, rinse" part. I don't do that part - I only wash it whilst > it is > stretched on the frame, and make sure it is completely dry before > taking it > down. If you do wash it as part of the folding process, be sure it is > *completely* dry before making the next fold! (Seems that would take a > loooong time.) > Somehow, I cannot imagine CB out on stage hosing down the RP screen.... I think "figure of speech" comes to mind. Anyway, it depends on the screen. Most get folded, taking care not to match the snaps to screen surface, but some, like a Stewart Screen NEED to be rolled, with the protective paper between layers. Otherwise one will find a very expensive mass of goo on a tube. Like someone said, check with who you bought it from. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ In-Reply-To: References: Message-Id: <71D7F303-4D2A-11D9-B336-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Fire in Tucson Convention Center Arena Date: Mon, 13 Dec 2004 10:14:27 -0700 I was not there either... What I heard was that they were blowing a dust mixture, and using squibs to simulate a mine collapse. The set looked like it was A/B foam on a wood armature. Previous experience has it that A/B foam is VERY flammable unless coated & encapsulated with a FR coating. The dust mixture was said to be a mixture of ground walnuts. Basically, it appears as though they built a grain elevator in a exposition hall. We shall see how it shakes out. The snakes, they were just a bonus for the firefighters. \ On Dec 12, 2004, at 4:57 PM, CB wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> Being a former Stagehand Supervisor at this facility, > Chris B... I wasn't even near the building this time!!! > > I ain't providing no alibis for now one. I know a bunch of the art > crew, > I'm betting it was a roach dropped behind scenery. Just kidding, I'm > sure > that his re-hab went just fine... > > My favorites: > "then had to contend with six live rattlesnakes loose on the set" and > All > six snakes were accounted for" Only in Tucson. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Mon, 13 Dec 2004 09:36:34 -0800 Message-ID: <00ab01c4e13a$4adfcbf0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Sounds really good. When I am doing a workshop in Elkart, a seminar at Notre Dame, visiting my daughter in Muncie, touring the old family homestead in Vincennes, looking up Dennis Andres at the convention center, looking in on Ball State and the rigging system, and trolling the countryside, I would like to see the theater. Hope that is possible. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Ehrenberg, Steven Sent: Monday, December 13, 2004 7:59 AM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana Message-ID: From: RHolen [at] vinu.edu Date: Fri, 10 Dec 2004 07:18:20 -0600 I did a walk through at the construction site of our new theatre yesterday. It is going to be wonderful. Great sight lines in the main theatre, wonderful scene shop, black box theatre, great costume shop. Thanks to Jones and Phillips we are getting what we wanted. Thanks to Ted Padget, Van Phillips and the Jones and Phillips design team. Richard D. Holen Professor Dept. of Theatre Vincennes University Richard - Congratulations, it sounds like it is shaping up into a wonderful building. As much as you love your Architects and Consultants, and as happy as you are with the current progress, after working on five new building projects this year, and I love the Architects and consultants - I have only two words of advice - STAY INVOLVED!!. Do more walk-through trips - regularly. Be sure all changes and new drawings come by your eyes. Keep a hawk eye on the HVAC people and an eagle eye on the sprinkler installers. I cannot stress these things enough. Grid Wells look like great places for sprinkler runs even when they have been told not to do it, repeatedly. HVAC hangers in the fly system ropes will cause future problems. Once it's done they will yell dollars and time at you if you insist on the changes. It is a great idea to sit and go over their working drawings with the contractors. If you do not control the $$$ directly, and like everyone else are working under some type of budget constraint, insist that you be involved in all value engineering decisions. You would be amazed at what can happen in the course of construction. Stay with them, badger them, ask questions, and you will be much happier at the dedication. I speak from a long year of hard-earned experience. Congratulations & Good Luck, Steven Steven Ehrenberg Director of Technical Supervision Clear Channel entertainment - Theatrical Office - 917 421 5461 Mobile - 917 331 0207 ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Write only memory Date: Mon, 13 Dec 2004 13:08:26 -0500 Check out the rockwell video. You are going to probably appreciate it=20= more than me. I am sure you are going to want to pass it around. This=20= is a continuation of the old Write-Only-Memory thing I sent you a while=20= back. (I don't think I sent this already) Greg > > > I worked for a company that inadvertently (we were told it was=20 > inadvertent....), made write-only tape drives for system backups. =20 > This was discovered the first time a customer had a major crash and=20 > tried to recover their data. > > Then there's the ever famous NEVER-NAND gate. Used in a matrix, it=20 > might have been a TTL precursor to the WOM. > > Lastly, there's this video pitch from Rockwell.=20 > http://media.ebaumsworld.com/retro.wmv Total bs. (but there is a=20 > reason) > > Alf > > > > I would like to find the original data sheet for this If anyone has = it. > > The obvious antonym to read-only memory. Out of frustration with the > long and seemingly useless chain of approvals required of component > specifications, during which no actual checking seemed to occur, an > engineer at Signetics once created a specification for a write-only > memory and included it with a bunch of other specifications to be > approved. This inclusion came to the attention of Signetics = management > only when regular customers started calling and asking for pricing > information. Signetics published a corrected edition of the data book > and requested the return of the =91erroneous=92 ones. Later, in 1972, > Signetics bought a double-page spread in Electronics magazine's April > issue and used the spec as an April Fools' Day joke. Instead of the > more conventional characteristic curves, the 25120 =93fully encoded, > 9046 x N, Random Access, write-only-memory=94 data sheet included > diagrams of =93bit capacity vs.: Temp.=94, =93Iff vs. Vff=94, =93Number= of pins > remaining vs.: number of socket insertions=94, and =93AQL vs.: = selling > price=94. The 25120 required a 6.3 VAC VFF supply, a +10V VCC, and = VDD > of 0V, =B12%. > > > Mark O'Brien >> >> >> At 11:16 AM 11/1/2004, you wrote: >>> I'd make a joke about "Smoke Emitting Diodes" but overdriven LEDs >>> aren't that entertaining. Overdrive them and they just make a little >>> crack noise and then go dark, and, if they're wired in series, they >>> all go dark. Boring. >> >> Back in the days when Sygnetics published a data sheet for the Write=20= >> Only Memory (WOM) as a joke in their data book they (or someone else)=20= >> also published a data sheet for the Darkness Emitting Arsinide Diode=20= >> (DEAD). They said between those and LEDs they got 100% yield. The=20 >> DEADs were intended for uses such as "detonated indicators on nuclear=20= >> weapons". >> >> BTW, my wife's CAD teacher (back when she was learning CAD on an=20 >> Apple ][) taught the WOM as a real product. When he wouldn't listen=20= >> to reason, we found the guy that had written the original data sheet=20= >> and had HIM tell the instructor. Some people will believe anything=20= >> if it's written. >> >> >> ---------- >> Jerry Durand >> Durand Interstellar, Inc. >> 219 Oak Wood Way >> Los Gatos, California 95032-2523 USA >> tel: +1 408 356-3886 >> fax: +1 408 356-4659 >> web: www.interstellar.com Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0AE98FCA [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Mon, 13 Dec 2004 13:14:32 -0500 Doom, Any time you find yourself in the Cincinnati area you are welcome here. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] Sent: Monday, December 13, 2004 12:37 PM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Sounds really good. When I am doing a workshop in Elkart, a seminar at Notre Dame, visiting my daughter in Muncie, touring the old family homestead in Vincennes, looking up Dennis Andres at the convention center, looking in on Ball State and the rigging system, and trolling the countryside, I would like to see the theater. Hope that is possible. Doom Mobile - 917 331 0207 ------------------------------ Message-Id: Date: Mon, 13 Dec 2004 13:49:42 -0500 From: "CATHERINE BRUMM" Subject: Stage Combat Choreographers... I am preparing to embark on a HS production of Pirates of Penzance in the spring, officially I am the TD/designer but I am also the voice of reason at times when the director begins to dream beyond her means. I am currently located in Wilmington, NC and I am looking for people expierienced in stage combat and weapons handling to get a list of names I can give hereas to who to call to come 1) choreograph the fights, 2) talk to the cast about the proper way to work with stage weapons, and 3) speak to our "weapons handlers" about the proper care and maintenance of the weapons. If anyone know of anyone in the area I can talk to about the prospect of this project I would appreciate the information greatly. I have some contact in NYC but I think they would be a bit beyond our means. Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html ------------------------------ Message-ID: <41BDE5D1.4090009 [at] fredonia.edu> Date: Mon, 13 Dec 2004 13:56:17 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stage Combat Choreographers... References: Catherine, I have forwarded this to my colleague who is a member of the ASFD. I hope he can help you. Regards, Steve Rees, TD SUNY-Fredonia CATHERINE BRUMM wrote: > > I am preparing to embark on a HS production of Pirates of Penzance [snip] ------------------------------ Message-Id: <3.0.6.32.20041213120358.0181cfe8 [at] pop.west.cox.net> Date: Mon, 13 Dec 2004 12:03:58 From: CB Subject: Re: the ethos of sound (and light?) >I'd have to agree with you, Chris. Based on the ones I know, skweeks who > follow directions well and are polite ARE pretty rare! :-P And humble. You forgot to mention just how wonderfully humble we are! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: "Victor W. Smith" Subject: Rocks/Boulders Date: Mon, 13 Dec 2004 17:28:37 -0500 Message-ID: Hello ladies and gents: We are looking for ideas on large (5'x3'x3.5') "fake" rocks. Boulders shall be sat on/stood on. Trying to avoid the tell-tale hollow sound of foam/urethane coated. Has anyone had particularly good luck with any other procedure? We will be mixing and matching with the real thing and dirt. Victor W. Smith ATD - Long Wharf Theatre ------------------------------ Message-ID: <41BE1A17.59C6A02E [at] cybercom.net> Date: Mon, 13 Dec 2004 17:39:19 -0500 From: Dale Farmer Subject: Re: Rocks/Boulders References: "Victor W. Smith" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello ladies and gents: > > We are looking for ideas on large (5'x3'x3.5') "fake" rocks. Boulders shall > be sat on/stood on. Trying to avoid the tell-tale hollow sound of > foam/urethane coated. Has anyone had particularly good luck with any other > procedure? We will be mixing and matching with the real thing and dirt. > > Victor W. Smith > ATD - Long Wharf Theatre Rubber decking on the parts that are being trod upon. Thick stuff, usually sold in the catalogs as anti fatigue mats. Muffles the footsteps quite nicely. Lay some matching color indoor/outdoor carpeting on top of it for appearance matching. --Dale ------------------------------ Message-Id: <5.2.1.1.0.20041213173111.00b54b18 [at] pop.mail.yahoo.com> Date: Mon, 13 Dec 2004 17:36:22 -0500 From: "Paul H. Sullivan" Subject: The saw stop In-Reply-To: References: I saw a demo of this item last week. It is truly amazing and should be considered by everyone that runs a scene shop. This is a link to an article and video on the saw stop on NPR. I have never been this impressed by a safety item before, it is truly amazing. http://www.npr.org/templates/story/story.php?storyId=4182602 I'm looking further into this item and I'll keep you all informed. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: The saw stop Date: Mon, 13 Dec 2004 14:56:14 -0800 Message-ID: <011f01c4e166$f32f3e90$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Not entirely old hat, it is all it seems to be from a product safety point of view. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul H. Sullivan Sent: Monday, December 13, 2004 2:36 PM To: Stagecraft Subject: The saw stop For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I saw a demo of this item last week. It is truly amazing and should be considered by everyone that runs a scene shop. This is a link to an article and video on the saw stop on NPR. I have never been this impressed by a safety item before, it is truly amazing. http://www.npr.org/templates/story/story.php?storyId=4182602 I'm looking further into this item and I'll keep you all informed. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: The New Red Skelton Theatre in Vincennes, Indiana Date: Mon, 13 Dec 2004 15:00:24 -0800 Message-ID: <012201c4e167$8ac90f10$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Steve: thank you very much for the kind invitation. I fear, maybe that is not the word, but as a rule, pretty constant, I am persona non grata et al. I shall be very pleased when I ma in that territory to drop by. Thank you again. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Monday, December 13, 2004 10:15 AM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Doom, Any time you find yourself in the Cincinnati area you are welcome here. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] Sent: Monday, December 13, 2004 12:37 PM To: Stagecraft Subject: Re: The New Red Skelton Theatre in Vincennes, Indiana For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Sounds really good. When I am doing a workshop in Elkart, a seminar at Notre Dame, visiting my daughter in Muncie, touring the old family homestead in Vincennes, looking up Dennis Andres at the convention center, looking in on Ball State and the rigging system, and trolling the countryside, I would like to see the theater. Hope that is possible. Doom Mobile - 917 331 0207 ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 13 Dec 2004 18:04:47 -0500 From: Mike Katz Subject: Re: The saw stop It is a great idea both for the table saw and for the band saw, However it disables the saw until a new part can be installed, and that module is not cheap IIRC , so you need to buy the saw and several of the modules. Also it will stop if it hits wet wood (I certainly have had water spraying at me from the saw) again requiring replacement of the module. It seems like a great idea that must have a few kinks ironed out before it is ready for all table saws. Mike >I saw a demo of this item last week. It is truly amazing and should >be considered by everyone that runs a scene shop. This is a link to >an article and video on the saw stop on NPR. I have never been this >impressed by a safety item before, it is truly amazing. > >http://www.npr.org/templates/story/story.php?storyId=4182602 > -- Mike Katz Technical Director MIT Theater Arts Rinaldi Tile Building 77 Mass Ave E33-101 Cambridge MA 02139 617.253.0824 mkatz [at] mit.edu "Lunacy Abounds" ------------------------------ Message-ID: <41BE2197.8000304 [at] northnet.net> Date: Mon, 13 Dec 2004 17:11:19 -0600 From: Shawn Palmer Subject: Re: The saw stop References: In-Reply-To: I was impressed with this unit when I heard of it about a year and a half ago. I am on the company's mailing list. This is a quote from one of their mailings to me: 'The saws include our award-winning SawStop technology to stop the blade if you ever have an accident. We have improved the technology so that it works better with wet and green wood and in extreme environments. We have also moved our electronics into the brake cartridge so that if you ever need to replace the cartridge, you can be sure you are getting the most up-to-date electronics and software.' I don't know how much improved the saw is as far as cutting wet wood... I also had a mailing detailing cost of new cartridges. I can't find it now :-( I do remember thinking it wasn't as much as I thought, and that it would be worth the cost for not severing my kids' fingers :-) They initally planned on the stop devices to be installed on other manufacturers' saws. They had no luck with others adopting the technology, so they started having their 'own' saws made. I'd like one. Perhaps when my old Delta dies I can get one. FWIW Shawn Palmer Neenah, WI USA > It is a great idea both for the table saw and for the band saw, However > it disables the saw until a new part can be installed, and that module > is not cheap IIRC , so you need to buy the saw and several of the > modules. Also it will stop if it hits wet wood (I certainly have had > water spraying at me from the saw) again requiring replacement of the > module. It seems like a great idea that must have a few kinks ironed out > before it is ready for all table saws. > Mike > >> I saw a demo of this item last week. It is truly amazing and should >> be considered by everyone that runs a scene shop. This is a link to >> an article and video on the saw stop on NPR. I have never been this >> impressed by a safety item before, it is truly amazing. >> >> http://www.npr.org/templates/story/story.php?storyId=4182602 >> > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <30.67bad874.2eef987b [at] aol.com> Date: Mon, 13 Dec 2004 20:14:35 EST Subject: Re: the ethos of sound (and light?) In a message dated 13/12/04 00:00:40 GMT Standard Time, psyd [at] cox.net writes: > Still doesn't explain where you get a 30-1 contrast ratio for TV yet, > though. Odd how we've strayed from that point once specs were available > for those aren't familiar with TV technology to peruse at will. Explain > the 30-1 ceiling for television to me again, Frank? It's what I was myself taught, back in the days of monochrome TV, and a wholly analogue chain from camera to tube. In any system such as this, including analogue sound recording, there is a maximum signal level defined by the system parameters, and a minimum defined by the noise floor. As you know, lining up an analogue tape recorder can be a pain. In a big organisation, limits for distortion have to be defined externally. You want as high a signal level as is possible on the tape within these limits. Then it all went digital. This gives you a wider window into which to fit your programme material. Even so, there are still parts of the chain which are analogue. I am not aware of a digital microphone or loudspeaker, yet. I dug out a TV enginering text, which is more modern. It's all about PAL, and so of little interest to you in the US, but the general principles are true. Here's a paraphrase. The maximum contrast MIGHT be of the order of 600:1, under ideal conditions. Although the contrast, measured with a photometer at the tube face, may be very high, it is considered that, under normal viewing conditions, 50:1 is usually what is percieved by the viewer. If you start off with 100:1, just 2% of peak white level being reflected from the screen will knock it back to 34:1. A neutral density filter, non reflective, in front of the screen can improve this, since the ambient light has to pass through this twice, as against only once for the picture. You are trading brightness for contrast. These are usually built into the face of the tube, these days. Back when film was the usual TV recording medium, prints for TV were made on dyed base stock, with an 0,3ND filter built in. You can't do much about the blacks, all you can to is to boost the whites. The ultimate in this is probably old-fashioned CRT projectors, where you need every last lumen you can get. But they have their problems. 50KV EHT supplies; very precise electron optics; wide aperture projection lenses of high quality, and shortened tube life come to mind. And getting them registered is a big pain. Plasma and LCD are probably the way forward, but their cost is beyond most of us. Besides, grandma with her old TV set is entitled to a good picture, too. Really, it's all down to the Vision Control Engineer, and to the lighting designer. The VCE has, under his hands, control of the brightness, contrast, gamma, and colour rendering, of all the cameras, and with Grade 1 monitors to judge the results on. He it is who determines the technical quality of the pictures, and the shot-to-shot consistency. But, it used to be the custom to have, in a corner of the control room, a cheap, primitive display, so that you couls see what grandma was getting. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.3ac18d39.2eef9ba5 [at] aol.com> Date: Mon, 13 Dec 2004 20:28:05 EST Subject: Re: Stage Combat Choreographers... In a message dated 13/12/04 18:47:24 GMT Standard Time, cbrumm [at] nhcs.k12.nc.us writes: > expierienced in stage combat and weapons handling to get a list of names > I can give hereas to who to call to come 1) choreograph the fights, 2) > talk to the cast about the proper way to work with stage weapons, and 3) > speak to our "weapons handlers" about the proper care and maintenance of > the weapons. If anyone know of anyone in the area I can talk to about > the prospect of this project I would appreciate the information greatly. > I have some contact in NYC but I think they would be a bit beyond our > means. I'm on the wrong side of the Pond for you, and I imagine your AHJ might have views. But there's one piece of advice I have to offer. Rehearsal time. This involves the Fight Arranger being involved early, allowed time for his choreography, and then rehearsal time until the actors are move perfect. This includes how to get out of it if it has gone wrong. A broken blade, a missed move: both can wreak havoc. Both can happen. Frank Wood ------------------------------ Subject: RE: SawStop, redux Date: Mon, 13 Dec 2004 20:31:57 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADDD [at] exchange.rmwc.edu> From: "Paul Schreiner" I think there've been at least two cycles of this thread on the list...last one would have been 18-24 months ago or so. > I also had a mailing detailing cost of new cartridges. I=20 > can't find it=20 > now :-( I do remember thinking it wasn't as much as I=20 > thought, and that=20 > it would be worth the cost for not severing my kids' fingers :-) IIRC, the cartridges were at last quote running about $70 each. > They initally planned on the stop devices to be installed on other=20 > manufacturers' saws. They had no luck with others adopting the=20 > technology, so they started having their 'own' saws made. The major issue is that the addition of this technology to an existing saw would have required complete retooling of the entire arbor assembly and motor mount. Well, that and the fact that current saw manufacturers would be opening themselves up to serious liability issues by only including this on selected models. Check the archives, though, cuz I think all the details were posted in that thread... > I'd like one. Perhaps when my old Delta dies I can get one. FWIW, when I actually checked on real live prices the table saw was running somewhere near $3K. It's not just the SawStop technology that's causing the markup; I seem to recall them touting some seriously nice engineering and ergonomics in the whole design. Don't recall what the band saw was going for. ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Stage Combat Choreographers... Date: Mon, 13 Dec 2004 21:21:56 -0500 >I'm on the wrong side of the Pond for you, and I imagine your AHJ might >have >views. But there's one piece of advice I have to offer. Rehearsal time. >This >involves the Fight Arranger being involved early, allowed time for his >choreography, and then rehearsal time until the actors are move perfect. >This includes >how to get out of it if it has gone wrong. A broken blade, a missed move: >both can wreak havoc. Both can happen. I'll second that. Too little rehearsal time, and you might as well not have a fight in the show at all. (Well ... there could always be more rehearsal time.) If you were in New England, I could point you to some very good fight choreographers. Make certain you appoint a responsible fight captain. Get a good rehearsal process going early -- make certain everyone takes part in warm-ups, and maintenance of the weapons (if you don't have a separate weapon handler). Um, Frank, if a blade breaks, something's gone horribly, horribly wrong; the actors aren't sending their energy correctly. Establish an order for the fight call early (generally, in descending order of actors needed), and stick to it. Make certain anyone late to a fight call, even early on, knows how badly they've screwed up. Don't compromise the fight rehearsals. If your rehearsal space isn't large enough, find a larger space. If something infringes on the time you have, don't try and cram an hour-long fight call into twenty-five minutes. Choose what's important, work it well, and move on. Make certain any non-fighting cast and crew are well clear of the stage when you rehearse. When you're in the venue, make certain stage access is limited. For one show I SM'd, two students unrelated to the show tried to cross the stage during a fight call. While they didn't come close enough to the actors to be eviscerated, I gave them a verbal gutting to make certain they wouldn't take the opportunity to die on my show ever again. Lock up the weapons when they're not in use. Make certain not too many other people know where they're locked up. Oddly, people think when they're not rehearsing they can just fool around with the pointy stuff. They're also tempting targets for theft. Don't find that out the hard way. And lastly ... enjoy the fights. People will get stressed about them, and lesser experienced actors will sometimes get emotional over them. The more people know and enjoy that they're putting on a good show, the better off it all comes. -- Matt ====== _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfeeŽ Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Message-ID: <20041214031536.86825.qmail [at] web52001.mail.yahoo.com> Date: Mon, 13 Dec 2004 19:15:36 -0800 (PST) From: Jacqueline Haney Kidwell Subject: Re: Stage Combat Choreographers... In-Reply-To: --- CATHERINE BRUMM wrote: > I am preparing to embark on a HS production of > Pirates of Penzance in > the spring, officially I am the TD/designer but I am > also the voice of > reason at times when the director begins to dream > beyond her means. I hope you're also pointing out to her that there is no NEED for choreographed fighting in Gilbert & Sullivan---anything that could cause the audience to worry for even a moment is really contrary to the spirit of their works. Jacqueline Haney Kidwell (Valley Light Opera) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Mon, 13 Dec 2004 23:40:13 -0500 Subject: Re: SawStop, redux From: John McKernon Message-ID: In-Reply-To: > FWIW, when I actually checked on real live prices the table saw was > running somewhere near $3K. Current price on their contractor's table saw is $800. Definitely in the right ballpark for this level of saw. - John ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Stage Combat Choreographers... Date: Mon, 13 Dec 2004 22:45:41 -0800 Message-ID: <002901c4e1a8$88682b20$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Yes. Having directed Gilbert and Sullivan productions, numerous times, I never used any weapons, and had some successful productions, but that is just me. I reckon choreographed combat can be directed in, and that is the choice of the director. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jacqueline Haney Kidwell Sent: Monday, December 13, 2004 7:16 PM To: Stagecraft Subject: Re: Stage Combat Choreographers... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- --- CATHERINE BRUMM wrote: > I am preparing to embark on a HS production of > Pirates of Penzance in > the spring, officially I am the TD/designer but I am > also the voice of > reason at times when the director begins to dream > beyond her means. I hope you're also pointing out to her that there is no NEED for choreographed fighting in Gilbert & Sullivan---anything that could cause the audience to worry for even a moment is really contrary to the spirit of their works. Jacqueline Haney Kidwell (Valley Light Opera) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ End of Stagecraft Digest #227 *****************************