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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #266

 1. Re: Seating Help!
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
 2. Re: Seating Help!
    by "Kevin Hardy" <kevinhardy [at] earthlink.net>
 3. Re: On-line Portfolios
    by Jason Tollefson <jason [at] tollefsondesigns.com>
 4. Re: USITT Housing
    by Jason Tollefson <jason [at] tollefsondesigns.com>
 5. Re: On-line Portfolios
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 6. Re: On-line Portfolios
    by "Kevin Hardy" <kevinhardy [at] earthlink.net>
 7. Re: Sect 11 vs 16
    by Michael Powers <mfpowers [at] theater.umass.edu>
 8. Re: On-line Portfolios (What do you use for hosting?)
    by "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
 9. Re: On-line Portfolios
    by "Jon Ares" <jonares [at] hevanet.com>
10. Re: Seating Help!
    by "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>
11. Re: Seating Help!
    by "Jon Ares" <jonares [at] hevanet.com>
12. ladders and Lifts general practice
    by Al Fitch <fitchal [at] yahoo.com>
13. plexiglass static
    by "David R. Krajec" <drkrajec [at] stritch.edu>
14. Judging theatre tech innovation.
    by "James Smith, Soundsculpture Incorporated" <jsmith [at] theatrewireless.com>
15. forklifting a 9' grand piano
    by "Byron Lovelace" <bklovelace [at] vvm.com>
16. Anyone in Tokyo in Late February?
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
17. Re: On-line Portfolios
    by "Nigel Worsley" <nigle [at] dsl.pipex.com>
18. Re: Seating Help!
    by "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>
19. Re: forklifting a 9' grand piano
    by IAEG [at] aol.com
20. Re: On-line Portfolios (What do you use for hosting?)
    by gregg hillmar <gregg [at] hillmardesign.com>
21. Re: Judging theatre tech innovation.
    by "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>
22. Re: On-line Portfolios
    by gregg hillmar <gregg [at] hillmardesign.com>
23. Re: forklifting a 9' grand piano
    by Mark O'Brien <marko [at] email.arizona.edu>
24. Re: Two-Scene Operation of Lighting Consoles
    by CB <psyd [at] cox.net>
25. Re: Seating Help!
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
26. Re: forklifting a 9' grand piano
    by Stephen Litterst <slitterst [at] ithaca.edu>
27. Re: On-line Portfolios (What do you use for hosting?)
    by Adam Fitchett <adam [at] fitchtech.net>
28. Re: On-line Portfolios (What do you use for hosting?)
    by Mark O'Brien <marko [at] email.arizona.edu>
29. Re: On-line Portfolios (What do you use for hosting?)
    by Noah Price <stagecraft-web [at] theprices.net>
30. Re: forklifting a 9' grand piano
    by IAEG [at] aol.com
31. Re: forklifting a 9' grand piano
    by "Randy Whitcomb" <rwhitco [at] comcast.net>
32. Re: forklifting a 9' grand piano
    by Stephen Litterst <slitterst [at] ithaca.edu>
33. Re: forklifting a 9' grand piano
    by "Curt Mortimore" <cmortimo [at] graceland.edu>
34. Re: On-line Portfolios (What do you use for hosting?)
    by "Jon Ares" <jonares [at] hevanet.com>
35. Re: Sect 11 vs 16
    by "Bryan H. Ackler" <backler [at] ix.netcom.com>
36. Metamorphoses pool
    by "Erik Nelson" <eanelson [at] purdue.edu>
37. Re: Metamorphoses pool
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
38. Re: Sect 11 vs 16
    by "Delbert Hall" <flyingfx [at] hotmail.com>
39. Re: Metamorphoses pool
    by John McKernon <stagecraft2004 [at] mckernon.com>
40. Stagecraft Reception at USITT
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
41. Re: Metamorphoses pool
    by "Scott Boyle" <smboyle [at] cc.edu>
42. Re: Metamorphoses pool
    by IAEG [at] aol.com
43. Re: Metamorphoses pool
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
44. Re: Stagecraft Reception at USITT
    by "Scott C. Parker" <stagecraftlist [at] hstech.org>
45. Re: Stagecraft Reception at USITT
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
46. Re: Anyone in Tokyo in Late February?
    by "Michael Denison" <mdenison [at] cottey.edu>
47. Re: Anyone in Tokyo in Late February?
    by IAEG [at] aol.com
48. Canada power safety requirements clarification
    by Jerry Durand <jdurand [at] interstellar.com>
49. Re: Seating Help!
    by Greg Bierly <gbierly [at] dejazzd.com>
50. Re: On-line Portfolios
    by roguerpj [at] mn.rr.com
51. Re: On-line Portfolios
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
52. Re: On-line Portfolios
    by Boyd Ostroff <ostroff [at] operaphilly.com>
53. Re: On-line Portfolios
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
54. Re: Canada power safety requirements clarification
    by Richard Wolpert <richw [at] unionconnector.com>
55. Re: On-line Portfolios
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
56. Re: Canada power safety requirements clarification
    by "Tom Heemskerk" <tommy [at] etainternet.com>
57. Re: On-line Portfolios
    by "Sarah Clausen" <sclausen [at] etcconnect.com>
58. Re: On-line Portfolios
    by "Sarah Clausen" <sclausen [at] etcconnect.com>
59. Re: On-line Portfolios
    by Boyd Ostroff <ostroff [at] operaphilly.com>
60. Re: Canada power safety requirements clarification
    by Jerry Durand <jdurand [at] interstellar.com>
61. Re: Caribeners (was quick links)
    by FrankWood95 [at] aol.com
62. Re: ladders and Lifts general practice
    by FrankWood95 [at] aol.com
63. Re: ladders and Lifts general practice
    by FrankWood95 [at] aol.com
64. Dock Opinions
    by Greg Persinger <gregpersin [at] comcast.net>
65. Re: Dock Opinions
    by IAEG [at] aol.com
66. Argentina in February
    by Paul Puppo <paul [at] Nifty-Gadgets.com>
67. Re: 2 scene Presets
    by FrankWood95 [at] aol.com
68. Re: Argentina in February
    by Boyd Ostroff <ostroff [at] operaphilly.com>
69. Re: ladders and Lifts general practice
    by FrankWood95 [at] aol.com
70. Re: Argentina in February
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
71. Re: static and plexi
    by FrankWood95 [at] aol.com

*** 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: <6.1.2.0.0.20050120072133.01c847f0 [at] mail.insightbb.com>
Date: Thu, 20 Jan 2005 07:36:58 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Seating Help!
In-Reply-To: <list-15133314 [at] prxy.net>
References: <list-15133314 [at] prxy.net>

Consider the following six companies:

Ducharme Seating (out of Quebec)--Roch Demers is a good contact

Series Seating (Series USA)--their representation is out of Warsaw, 
Indiana.  Tom Boyd is a good contact.

American Seating--look at their Spirit chair

Hussey Seating--Quattro

KI--Concerto (don't look at their Lancaster product)

TSI (Theatre Solutions, Inc)--Teatro or Acclaim, both are nice

All of these seats use gravity to return the seat to an upright 
position.  I'd suggest staying away from Seating Concepts, although they 
have a gravity-rise seat.  Irwin Seating and Track Seating both do only 
spring return seats.

Some other thoughts:
1.  Make sure that you will be up to date with the code.  Generally, once 
you replace the seats, you have to bring the system up to the current code, 
not the one in effect in 1974.  The seating companies will not do 
this--they leave the responsibility for that on you and your 
architect/consultant.
2.  Request samples of each seat.  Sit in them.
3.  Code again.  Make sure that the seat has the correct envelope (front to 
back dimension).  Current code requires a certain amount of clear width 
from the back of the seat in front of you to the front of your seat in its 
upright position.  In 1974, that did not matter.
4.  Make sure you get spare parts.
5.  You have quite a few choices for finishes.  Wood, plastic laminate, 
plastic, or fabric outer back and seat bottoms.  Wood, plastic, or plastic 
laminate arms.  Same on the end panels.  Not all manufacturers have all of 
the options available.

Do you have an architect or consultant working with you on this?

There are many more things to consider, but this is a good set to start with.

Mike

At 01:24 AM 1/20/2005, you wrote:
>Alright folks I just got the approval to replace the seating (413 total) 
>in my space that was built in 1974 (bad harvest gold color).  I need any 
>and all saga advice about seating, vendors, and process.  My timeline is 
>very short and we need everything in place for the contractor in 
>mid-June.   Thanks in advance!
>
>Robert Medley
>Director of Theater
>The Catlin Gabel School
>8825 SW Barnes Rd.
>Portland, OR 97225
>503 297-1894 ext 362
>medleyr [at] catlin.edu <mailto:medleyr [at] catlin.edu>


------------------------------

Reply-To: <kevinhardy [at] earthlink.net>
From: "Kevin Hardy" <kevinhardy [at] earthlink.net>
Subject: RE: Seating Help!
Date: Thu, 20 Jan 2005 07:59:01 -0500
Organization: CBI Lighting
In-Reply-To: <list-15133314 [at] prxy.net>
Message-Id: <E1Crbtr-00002v-00 [at] pop-a065d10.pas.sa.earthlink.net>

Here is a links, we put the "Springfield" in a small 98 seat theatre I
designed and they look and feel great.

http://www.irwin-seat.com/market_pages/main.htm


Kevin Hardy  
CBI Lighting

309 East 108th St, #5C
New York, New York, 10029
(917) 287-4220 Cellular
(212) 369-7510 Studio


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Medley,
Robert
Sent: Thursday, January 20, 2005 1:24 AM
To: Stagecraft
Subject: Seating Help!

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Alright folks I just got the approval to replace the seating (413 total) in
my space that was built in 1974 (bad harvest gold color).  I need any and
all saga advice about seating, vendors, and process.  My timeline is very
short and we need everything in place for the contractor in mid-June.
Thanks in advance!
 
Robert Medley
Director of Theater
The Catlin Gabel School
8825 SW Barnes Rd.
Portland, OR 97225
503 297-1894 ext 362
medleyr [at] catlin.edu <mailto:medleyr [at] catlin.edu> 


------------------------------

Message-ID: <20050120130644.24403.qmail [at] web51008.mail.yahoo.com>
Date: Thu, 20 Jan 2005 05:06:44 -0800 (PST)
From: Jason Tollefson <jason [at] tollefsondesigns.com>
Reply-To: jason [at] tollefsondesigns.com
Subject: Re: On-line Portfolios
In-Reply-To: <list-15165102 [at] prxy.net>

I'll throw my site out there as well.  

www.tollefsondesigns.com

I use yahoo for web hosting and created the site using Photoshop and a simple word processor.  If
you're interested, and planning on attending USITT Toronto, you might want to come to a session
I'm conducting on web portfolios.  It's going to be an introductory primer in site creation using
affordable tools and simple techniques.  I'm putting the session together now and might be
contacting some of you for permission to use your site as examples.

Jason Tollefson
www.tollefsondesigns.com

------------------------------

Message-ID: <20050120131329.56779.qmail [at] web51004.mail.yahoo.com>
Date: Thu, 20 Jan 2005 05:13:29 -0800 (PST)
From: Jason Tollefson <jason [at] tollefsondesigns.com>
Reply-To: jason [at] tollefsondesigns.com
Subject: Re:USITT Housing
In-Reply-To: <list-15165102 [at] prxy.net>

My wife and I are staying at the The Strathcona Hotel:  http://www.thestrathconahotel.com/

At $129 Canadian a night, it was much more affordable than the options that USITT was suggesting. 
It's also much closer than some of the hotels on USITT's list.  The place looks good on the
website but I've never stayed there so I can't vouch for its quality.

Jason Tollefson
www.tollefsondesigns.com

------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 08:26:55 -0500
Message-ID: <000701c4fef3$b917f6c0$6401a8c0 [at] Dell>
In-Reply-To: <list-15179582 [at] prxy.net>

> I use yahoo for web hosting

I was with Yahoo for about three years.  After repeated instances of
email sent to accounts at my domain and tech support that most consisted
of repeated requests for the same long list of information (and requests
such as, "Can you send us the email that bounced?"), I switched to a
host that provides better service and more features for half the price.



------------------------------

Reply-To: <kevinhardy [at] earthlink.net>
From: "Kevin Hardy" <kevinhardy [at] earthlink.net>
Cc: jason [at] tollefsondesigns.com
Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 08:42:55 -0500
Organization: CBI Lighting
In-Reply-To: <list-15179582 [at] prxy.net>
Message-Id: <E1CrcaL-00021y-00 [at] pop-a065c28.pas.sa.earthlink.net>

It's funny that you all are taking about on-line Portfolios, that is exactly
what I have been doing for the last week. http://cbilighting.com/
Jason, I really like your site.  The question I have is how you did your
photo page is it flash? Also the way that Kristina has her portfolio is
great. I built mine on dream weaver and granted I am no WEBMASTER
(oooooooooooo) by a long shot but it gets the info out there. Please take a
look at mine and any pointers would be eagerly accepted. My fear is that my
enlarged images are to large?

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jason
Tollefson
Sent: Thursday, January 20, 2005 8:07 AM
To: Stagecraft
Subject: Re: On-line Portfolios

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

I'll throw my site out there as well.  

www.tollefsondesigns.com

I use yahoo for web hosting and created the site using Photoshop and a
simple word processor.  If
you're interested, and planning on attending USITT Toronto, you might want
to come to a session
I'm conducting on web portfolios.  It's going to be an introductory primer
in site creation using
affordable tools and simple techniques.  I'm putting the session together
now and might be
contacting some of you for permission to use your site as examples.

Jason Tollefson
www.tollefsondesigns.com


------------------------------

Date: Thu, 20 Jan 2005 09:19:05 -0500
From: Michael Powers <mfpowers [at] theater.umass.edu>
Subject: Re:  Sect 11 vs 16
Message-id: <41EFBDD9.1070806 [at] theater.umass.edu>

Mike Brubaker <mdbrubaker [at] insightbb.com> writes:

<<.......... Section 11, then, is "Equipment."  Theatre=20
equipment generally starts around 11060.  Section 16 is Electrical.

A dimming system specified in Section 11 is supplied as equipment and,=20
generally, installation is "assigned" to the electrical=20
contractor.  Generally, however, the electrical contractor does not have =

anything invested in that equipment other than installation. ..........>>=


Mike,

A prime example of this was a theatre that was built at my undergraduate =
school many years ago.  There was no consultant, the architect was "less =
than knowledgeable" about theatre and the department was between TD's at =
the time.  The dimming system must have been section 11 and no one paid a=
ny attention to the note on the prints, "Wiring By Others." If they did n=
otice it, it was obviously a case of "Not my job" to point it out. The di=
mmer bank was installed and powered up, the patch bay was installed and b=
olted down, the consoles were in place in the respective light booths of =
the existing stage and the new theatre.  If you haven't already figured i=
t out, there was not even conduit run between the dimmers and the patch b=
ay, from the dimmers to the booths and the new theatre had no runs for a =
single circuit on the stage or FOH.  The old theatre did have connections=
 from the existing circuits to the patch bay as they had already been the=
re, just had to be re-connected when the new patch bay was installed. All=
 the conduit and wiring had to be added after the we moved in and were do=
ing shows.  The entire first year the new theatre had 4 snakes of 25 cord=
s each running from the old theatre through the shop to the new stage.  I=
 think they were about 200' each IIRC. When the electrical work was finis=
hed we cut all the snakes into a variety of short cables.  At least we ha=
d all the jumpers and cable runs that you could want, paid for by the arc=
hitect. We had to plan productions very carefully so that both houses did=
n't want to use the same circuit at the same time. As we discovered later=
 that planning was to continue after all the wiring was done

To add to the insanity, the dimmer bay and patch bay were shared between =
the two stages.  Why pay for two expensive installations when one could b=
e shared, right?  So circuits 001 through 200 were in the new theatre and=
 201-400 were in the old house.  This was when dimmers were still expensi=
ve and the 100 dimmer rack was 6' tall and 14' wide.  Slots 1-20 were per=
manently assigned to the new theatre, 81-100 to the old house and 21-79 w=
ere shared with a toggle selector, and they only purchased 60 dimmers up =
front.  "you can pull and plug them into the dimmer slots you want and ge=
t additional dimmers a little at a time".  Anyone who has ever experience=
d a "We'll get that ________ later" (Fill in the blank with pit lift, mor=
e dimmers, additional line sets etc.) knows full well that "later" =3D "n=
ever".

Michael

<>Michael Powers, Technical Director
UMass Amherst   413-545-6821  =20
mfpowers (at) theater.umass.edu
mptecdir  (at) aol.com




------------------------------

Message-ID: <147CF8DFB9C5D41187300001FA7EE39024F9FC91 [at] mail.nwmissouri.edu>
From: "Immel,Patrick" <PIMMEL [at] mail.nwmissouri.edu>
Subject: RE: On-line Portfolios (What do you use for hosting?)
Date: Thu, 20 Jan 2005 08:25:13 -0600

 

> > I use yahoo for web hosting
> 


I have a digital portfolio that I would like to put online.  The choices for
hosting are quite daunting in regards to price and services.  After looking
at some of the portfolios posted, there seems to be quite a few of you with
your own sites and domains, which is the direction I would like to head.
Are there any good options out there?  Horror stories!?

Thanks,

Pat Immel
Northwest Missouri State University

------------------------------

Message-ID: <001101c4fefe$cd232f80$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
Cc: kevinhardy [at] earthlink.net
References: <list-15183682 [at] prxy.net>
Subject: Re: On-line Portfolios
Date: Thu, 20 Jan 2005 06:46:18 -0800

> It's funny that you all are taking about on-line Portfolios, that is 
> exactly
> what I have been doing for the last week. http://cbilighting.com/


I can't get past your first page.  I assume those are nav links and images 
at the bottom of the page, but the images are dead, or don't download, so I 
can't click on them.  Good web design says you should have a plain text nav 
bar somewhere on the page, in case images don't load, or someone has 
Javascript turned off, or no Flash, etc.

A word to folks about Flash:  don't.

Or at least, don't without warning.  Big splashy Flash 'commercials' as a 
splash page annoy the heck out of people - me included.  If you were 
advertising your skill as a Flash designer, or an editor of commercials, 
that's something else.  I keep Flash turned off (I used TurnFlash - turn it 
on only when I need to).  Wasted bandwidth.  Please don't make Flash the 
only way to navigate a site, or to find content.  Please don't put 'basic 
content' (such as text, or even images if possible) in Flash.  If you want 
to put a dancing baby in the corner of your site in Flash, that's your 
choice, but also remember: animated, looping graphics are also poor design.

Ok, I'm done.

         -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Subject: RE: Seating Help!
Date: Thu, 20 Jan 2005 07:48:23 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041341 [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
From: "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>

Seating costs can really run the gamut.

First, are you really replacing the seats or are you having them
reupholstered?  They can also be remanufactured.

If your theatre and seats are old, you may want to have them
remanufactured.  Pick your fabric and the company will strip, repaint
and replace all the working parts.  If you know the original
manufacturer, they probably still have the pattern in stock or in
blanks.  Just getting the pan and seat back reupholstered is the least
expensive.  Remanufactured is about two/thirds the price of new ones.
New ones, decent to good quality, cost the most.  Then there is the
removal, transportation, remanufacturing, transportation and reinstall.
The process is not quick.  We had the seats in our 3000 seat house
remanufactured and the process was about five weeks.

I would get the money allocated then plan to have them done off season.


Trey Haagen
Arnold Hall Theatre
USAF Academy

------------------------------

Message-ID: <000301c4ff00$a3983280$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-15190948 [at] prxy.net>
Subject: Re: Seating Help!
Date: Thu, 20 Jan 2005 06:59:28 -0800

> The process is not quick.  We had the seats in our 3000 seat house
> remanufactured and the process was about five weeks.


FIVE WEEKS?  Heck, that's nothing.  I can't even get the local 
rigging/drapery company to clean a drape in less than 3 months!!!  I would 
have anticipated 3000 seats taking more like 12 or 16 weeks.

     -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Message-ID: <20050120150057.54137.qmail [at] web51404.mail.yahoo.com>
Date: Thu, 20 Jan 2005 07:00:56 -0800 (PST)
From: Al Fitch <fitchal [at] yahoo.com>
Subject: ladders and Lifts general practice
In-Reply-To: <list-15165102 [at] prxy.net>

<<RIP>> But the risk of falling is 
already assumed when you climb up a ladder, scaffold,
or genie, whether 
it's 
being pushed around, or not. The real difference --
the increased risk 
of 
accident -- is probably incalculable.>>>

Disclaimer:  I'm not a genius when it comes to math,
statistics and such but....


Is the risk 50%?  When you climb up a ladder you can
either come down safely or fall (Hanging on to the
grid or a batten is not considered safely in my list
of possibilities)

Al Fitch




=====
Be Kind, Smile and Have Fun.


		
__________________________________ 
Do you Yahoo!? 
Take Yahoo! Mail with you! Get it on your mobile phone. 
http://mobile.yahoo.com/maildemo 

------------------------------

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: plexiglass static
Date: Thu, 20 Jan 2005 09:03:36 -0600
Message-ID: <FFEKLPMABANLAIDPOAKBKEJGCHAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-15165102 [at] prxy.net>

Static cling mucking up your day.  Try using old dryer sheets.  They work
fairly well on safety glasses, too!

David Krajec
Cardinal Stritch University
Milwaukee, WI



------------------------------

From: "James Smith, Soundsculpture Incorporated" <jsmith [at] theatrewireless.com>
Subject: Judging theatre tech innovation.
Date: Thu, 20 Jan 2005 10:08:40 -0500
Message-Id: <20050120150843.SBIR19622.tomts10-srv.bellnexxia.net [at] p3m866>

I'm one of numerous lucky people who will be judging finalists in this
year's USITT Tech Expo in Toronto.  If all the preliminary selections make
it to the show in March, it will be a display of over 40 of "the best and
brightest ideas from technicians from all facets of performing arts:
costume, lighting, sound, scenery, props, etc."
	 
It is very important to me to judge fairly and appropriately.  So I'm
seeking your advice:
	 
What is truly innovative?
	 
Contest entries span a huge range... techniques for applying paint,
electronic things, software, even somewhat abstract methodologies can make
the grade.  It's kind of like deciding which fruit or vegetable is "the
best"... the luxury of comparing apples to apples is not afforded.
	 
Over the past 20 years I've been solving problems with electronics and
motors -- that's my personal background.  My remote controlled Phantom of
the Opera gondola was, I believe, the quietest, most controllable, most
robust and reliable ever made.  My Phantom Monkey was pretty good to -- I
transmitted live audio from a keyboard in the orchestra pit to a receiver,
amp, and speaker in the prop itself.  It was the only Monkey that could
accommodate variations in singing style by the lead performer; others put
audio cassette players inside the monkey -- not great for some of the most
intimate vocal performances in the show.  (I do a lot of other stuff too,
more at www.jamesdavidsmith.com.)
	 
Anyway... I think I'm a pretty good choice as a judge in Tech Expo.  But
your opinions about how to evaluate the entries in an event like this are
very much appreciated.
	 
Sincerely,
James (Jim) Smith
Soundsculpture Incorporated
jsmith [at] NOSPAMtheatrewireless.com (remove NOSPAM)
	 
www.theatrewireless.com



------------------------------

Message-ID: <003f01c4ff02$e9586b80$6601c442 [at] Cassandra>
From: "Byron Lovelace" <bklovelace [at] vvm.com>
References: <list-15165102 [at] prxy.net>
Subject: forklifting a 9' grand piano
Date: Thu, 20 Jan 2005 09:15:42 -0600

I have an interesting problem. I need to lift and place a 9' grand piano 
onto a 2' riser. I have no budget for movers, and no manpower to muscle it. 
But I do have a forklift. Assuming I must use it, do you have a suggestion 
of approach (pick it from the keyboard or a side), and/or any procedural 
precautions (blocking, padding, anything else)? Part of me says THis is 
Nuts, and part of me says What's the Big Deal. So  I respectfully turn to my 
peer group. What do you think?

Byron Lovelace
Tech Director/Facilities Manager
Cultural Activities Center
Temple, Texas
lovelace [at] hot.rr.com 


------------------------------

Date: Thu, 20 Jan 2005 10:21:23 -0500
Subject: Anyone in Tokyo in Late February?
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE1536A3.1BE0%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-15193223 [at] prxy.net>

Hey folks,

I'm doing a concert in Manila in Mid February and I fly back via Tokyo on
2/24. I'm considering Staying a day or two in Tokyo, never having been there
before. Anyone around?  Any suggestions on where to stay or what to do if I
only have 24 hours to sightsee?

Contact me off list if you wish. Or just start another "the best place to
eat/drink (your city here) thread"

-Herrick




-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com

"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS


------------------------------

Message-ID: <021001c4ff03$e5d6c960$0c00a8c0 [at] Nigellaptop>
From: "Nigel Worsley" <nigle [at] dsl.pipex.com>
References: <list-15183682 [at] prxy.net> <list-15190650 [at] prxy.net>
Subject: Re: On-line Portfolios
Date: Thu, 20 Jan 2005 15:22:46 -0000

Jon Ares wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> It's funny that you all are taking about on-line Portfolios, that is
>> exactly
>> what I have been doing for the last week. http://cbilighting.com/
> 
> 
> I can't get past your first page.  I assume those are nav links and images
> at the bottom of the page, but the images are dead, or don't download, so I
> can't click on them.  Good web design says you should have a plain text nav
> bar somewhere on the page, in case images don't load, or someone has
> Javascript turned off, or no Flash, etc.

The navigation buttons are in Flash - god knows why!
 
> A word to folks about Flash:  don't.

Especially when an image with a link will do EXACTLY the same job!

Also, an uncompressed 586KByte image on the front page won't earn
you much Kudos with anyone on dialup - that will take well over a minute
to download!

Nigel Worsley


------------------------------

Subject: RE: Seating Help!
Date: Thu, 20 Jan 2005 08:25:55 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041342 [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
From: "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>

Well, the process started a year in advance.  Picking upholstery, arm
rest style and stain.  Handicapped seating. =20

Internally, we had to cuss and discuss if we wanted to keep the hat
racks attached to the bottom of the pans.  ( "Excuse me. Ouch. Damn.
Pardon m...Damn. I'm very sorry.  Uhhh")  And we had the bidding and
picking process.  We went with the manufacturer from 45 years ago.  A
lot of folks said that they could do it.  Do it well.  Less expensive.
And locally.  (in Colorado )  Our choice was a good one.  A crew came in
from Kansas.  Seats were pulled and loaded into trucks and off to
Michigan they went.  A few weeks later the first truck was back with a
crew.  And they went in.

From dismounting to patrons seated  about 5 weeks.  Off season.  Lots of
coordination.
=20

Trey Haagen
Arnold Hall Theatre
USFA Academy


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon
Ares
Sent: Thursday, January 20, 2005 07:59
To: Stagecraft
Subject: Re: Seating Help!


For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> The process is not quick.  We had the seats in our 3000 seat house=20
> remanufactured and the process was about five weeks.


FIVE WEEKS?  Heck, that's nothing.  I can't even get the local=20
rigging/drapery company to clean a drape in less than 3 months!!!  I
would=20
have anticipated 3000 seats taking more like 12 or 16 weeks.

     -- Jon Ares
Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative
www.wlhstheatre.org=20


------------------------------

From: IAEG [at] aol.com
Message-ID: <ea.613e1916.2f2128e6 [at] aol.com>
Date: Thu, 20 Jan 2005 10:31:50 EST
Subject: Re: forklifting a 9' grand piano


In a message dated 1/20/05 10:16:33 AM, bklovelace [at] vvm.com writes:

>I have an interesting problem. I need to lift and place a 9' grand piano
>
>
>onto a 2' riser. I have no budget for movers, and no manpower to muscle
>it. 
>
>But I do have a forklift. Assuming I must use it, do you have a suggestion
>
>
>of approach (pick it from the keyboard or a side), and/or any procedural
>
>
>precautions (blocking, padding, anything else)? Part of me says THis is
>
>
>Nuts, and part of me says What's the Big Deal. So  I respectfully turn
>to my 
>
>peer group. What do you think?


pro piano movers turn the piano on it's side ( the long flat "bass" side ) on 
a special dolly,    remove the legs and pedals ( DON'T DO THIS IF YOU DON'T 
KNOW HOW! )  etc etc

you could carefully lift the piano with a fork lift, , i'd pad the tines, , 
and spread them wide, , approach from the "bass" side, , with the right hand 
tine close, , but not too close to the supports for the pedal mechanism, , 
should be balanced there, 

of course different manufacturers of concert grands are of different design, 
, not all present a perfectly even bottom to lift, , you might need some 
custom modifications to the fork lift tines to lift properly, 

then

CALL A TUNER ! ! ! 

very best,

Keith Arsenault

------------------------------

In-Reply-To: <list-15188256 [at] prxy.net>
References: <list-15188256 [at] prxy.net>
Message-Id: <E584C878-6AF8-11D9-8822-000A95D99210 [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: On-line Portfolios (What do you use for hosting?)
Date: Thu, 20 Jan 2005 10:35:21 -0500

Having worked as a codesmith writing HTML, (nice left brain/right brain 
change from design work), I can highly reccomend HOSTWAYS as a host. I 
use them
(www.hillmardesign.com), and have put three or four clients on them, 
including www.usittchesapeake.org and have never had ANY trouble at 
all. Good service, no down time in over five years, and good support. 
Cost seems par for the course.

I would not touch yahoo with the proverbial ten foot pole. I moderate 
several lists on yahoo and the amount of spam coming FROM yahoo often 
means that yahoo is on everyone's spam provider lists, which then means 
so are you.

HTH
g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money.  Love like you've never been hurt. 
Dance like no one's watching."
                                    Satchel Paige

On Jan 20, 2005, at 9:25 AM, Immel,Patrick wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
>
>>> I use yahoo for web hosting
>>
>
>
> I have a digital portfolio that I would like to put online.  The 
> choices for
> hosting are quite daunting in regards to price and services.  After 
> looking
> at some of the portfolios posted, there seems to be quite a few of you 
> with
> your own sites and domains, which is the direction I would like to 
> head.
> Are there any good options out there?  Horror stories!?
>
> Thanks,
>
> Pat Immel
> Northwest Missouri State University
>


------------------------------

Subject: RE: Judging theatre tech innovation.
Date: Thu, 20 Jan 2005 09:36:24 -0600
Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383455F [at] PEPSI.uwec.edu>
From: "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>

I personally think that if someone has invented an aerosol product
called either light-be-gone or sound-be-gone which removes all ambient
light and sound from an area with a simple spray, they should win.  They
should not only win the Tech expo but the Nobel peace prize for bringing
lighting and sound people together by ending the feud of the "noisy
moving lights" (or the bright moving speakers that were brought up a few
weeks ago).
But that is just my thought.

Ryan J. Zirngibl
University of Wisconsin - Eau Claire
Student - Theatre Arts
Scenic Design and Technical Direction

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of James
Smith, Soundsculpture Incorporated
Sent: Thursday, January 20, 2005 9:09 AM
To: Stagecraft
Subject: Judging theatre tech innovation.

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

I'm one of numerous lucky people who will be judging finalists in this
year's USITT Tech Expo in Toronto.  If all the preliminary selections
make it to the show in March, it will be a display of over 40 of "the
best and brightest ideas from technicians from all facets of performing
arts:
costume, lighting, sound, scenery, props, etc."
	=20
It is very important to me to judge fairly and appropriately.  So I'm
seeking your advice:
	=20
What is truly innovative?
	=20
Contest entries span a huge range... techniques for applying paint,
electronic things, software, even somewhat abstract methodologies can
make the grade.  It's kind of like deciding which fruit or vegetable is
"the best"... the luxury of comparing apples to apples is not afforded.
	=20
Over the past 20 years I've been solving problems with electronics and
motors -- that's my personal background.  My remote controlled Phantom
of the Opera gondola was, I believe, the quietest, most controllable,
most robust and reliable ever made.  My Phantom Monkey was pretty good
to -- I transmitted live audio from a keyboard in the orchestra pit to a
receiver, amp, and speaker in the prop itself.  It was the only Monkey
that could accommodate variations in singing style by the lead
performer; others put audio cassette players inside the monkey -- not
great for some of the most intimate vocal performances in the show.  (I
do a lot of other stuff too, more at www.jamesdavidsmith.com.)
	=20
Anyway... I think I'm a pretty good choice as a judge in Tech Expo.  But
your opinions about how to evaluate the entries in an event like this
are very much appreciated.
	=20
Sincerely,
James (Jim) Smith
Soundsculpture Incorporated
jsmith [at] NOSPAMtheatrewireless.com (remove NOSPAM)
	=20
www.theatrewireless.com



------------------------------

In-Reply-To: <list-15190650 [at] prxy.net>
References: <list-15183682 [at] prxy.net> <list-15190650 [at] prxy.net>
Message-Id: <256BAC9A-6AF9-11D9-8822-000A95D99210 [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: On-line Portfolios
Date: Thu, 20 Jan 2005 10:37:09 -0500

On Jan 20, 2005, at 9:46 AM, Jon Ares wrote:

snip

> A word to folks about Flash:  don't.
>
> Or at least, don't without warning.  Big splashy Flash 'commercials' 
> as a splash page annoy the heck out of people - me included.  If you 
> were advertising your skill as a Flash designer, or an editor of 
> commercials, that's something else.  I keep Flash turned off (I used 
> TurnFlash - turn it on only when I need to).  Wasted bandwidth.  
> Please don't make Flash the only way to navigate a site, or to find 
> content.  Please don't put 'basic content' (such as text, or even 
> images if possible) in Flash.  If you want to put a dancing baby in 
> the corner of your site in Flash, that's your choice, but also 
> remember: animated, looping graphics are also poor design.
>

Again, from a recovering HTML coder. WHAT HE SAID.
g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money.  Love like you've never been hurt. 
Dance like no one's watching."
                                    Satchel Paige


------------------------------

In-Reply-To: <list-15194006 [at] prxy.net>
References: <list-15165102 [at] prxy.net> <list-15194006 [at] prxy.net>
Message-Id: <07087DAC-6AFA-11D9-8AF7-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: forklifting a 9' grand piano
Date: Thu, 20 Jan 2005 08:43:27 -0700

Not as Nuts as one might think.  I did a show where the piano was on a 
platform, about 10' High,  and about 20' from the edge of the deck.   
We used a Petty-bone forklift, and we forked it from the keyboard side. 
Keith suggested the bass side, and that makes sense also. The important 
thing is to make sure that the contact points have a direct line of 
compression to the soundboard. Otherwise you  need more than a tuner to 
make it sound good.

Funny, than whenever I do something like this, client like to come into 
the room.

Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Jan 20, 2005, at 8:15 AM, Byron Lovelace wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I have an interesting problem. I need to lift and place a 9' grand 
> piano onto a 2' riser. I have no budget for movers, and no manpower to 
> muscle it. But I do have a forklift. Assuming I must use it, do you 
> have a suggestion of approach (pick it from the keyboard or a side), 
> and/or any procedural precautions (blocking, padding, anything else)? 
> Part of me says THis is Nuts, and part of me says What's the Big Deal. 
> So  I respectfully turn to my peer group. What do you think?
>
> Byron Lovelace
> Tech Director/Facilities Manager
> Cultural Activities Center
> Temple, Texas
> lovelace [at] hot.rr.com


------------------------------

Date: Thu, 20 Jan 2005 08:45:31 +0000
From: CB <psyd [at] cox.net>
Subject: Re: Two-Scene Operation of Lighting Consoles
Message-id: <3.0.6.32.20050120084531.009cc548 [at] pop.west.cox.net>

>Oh, no.  I disagree completely.  Many consultants get paid a percentage of
the 
>contract so there is little incentive to keep the contract cost low.

Sorry, shoulda had a smiley on that one...  Listen to Charlie, I always
do...
				Chris "Chris" Babbie
				Location Sound
				OTR

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 20 Jan 2005 15:48:43 GMT
Subject: Re: Seating Help!
Message-Id: <20050120.074851.29549.13436 [at] webmail25.lax.untd.com>


I assume that you have been made aware of the 1990 Americans with Disabilities Act (ADA). Since you will have to allow extra depth where wheelchairs will be accommodated, consider providing more spaces than are legally required, and then use that space as all or part of your FOH sound control position. If you comply with ADA by having quick-release removable seats, just be sure that there are at least four additional nonrequired adjacent 'wheelchair' spaces that can cleared of seats for FOH sound. A 'wheelchair space' is 30" wide and 60" deep. 
/s/ Richard

Alright folks I just got the approval to replace the seating (413 total) in my space that was built in 1974 (bad harvest gold color).  I need any and all saga advice about seating, vendors, and process.  My timeline is very short and we need everything in place for the contractor in mid-June.   Thanks in advance!
 
Robert Medley


------------------------------

Date: Thu, 20 Jan 2005 10:50:48 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: forklifting a 9' grand piano
Message-id: <41EFD358.5389CC40 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-15165102 [at] prxy.net> <list-15194006 [at] prxy.net>

Byron Lovelace wrote:
> ---------------------------------------------------
>I need to lift and place a 9' grand piano
> onto a 2' riser. I have no budget for movers, and no manpower to muscle it.
> But I do have a forklift. 

I agree with the part of you that thinks it's nuts.  

Can you think about it in a different way?  Perhaps muscle it onto a
6" platform that has notches for the forks of the lift?  Strap it down
well to that platform and lift the whole thing onto the riser?

As Keith said, grands are generally moved and shipped on their side,
but if you have no manpower or budget I guess that's not an option.

Honestly, 'twere it me, I'd go to the people making the request and
spell out the problem -- they want you to move a $10,000, 1/2 ton
piano without any help.  Have some numbers on what it would cost to
get some strong backs in to help you.  

Steve Litterst

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-ID: <41EFD461.2060100 [at] fitchtech.net>
Date: Thu, 20 Jan 2005 10:55:13 -0500
From: Adam Fitchett <adam [at] fitchtech.net>
Subject: Re: On-line Portfolios (What do you use for hosting?)
References: <list-15188256 [at] prxy.net>
In-Reply-To: <list-15188256 [at] prxy.net>

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
  <meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type">
</head>
<body bgcolor="#ffffff" text="#000000">
As a former "web master" I've been very happy with 1and1.com lately.
Huge amount of space and very little money as well as good service.
Even includes a software package that I found very good and fairly easy
to use. (Net Objects Fusion) Granted I don't use mine as an online
portfolio but as a personal site primarily for photos, etc. (and not to
mention the fact that I never have to change my email address again),
unfortunately though it hasn't been updated in almost a year. And there
you have my $.02.<br>
<br>
-Adam<br>
<br>
Immel,Patrick wrote:
<blockquote cite="midlist-15188256 [at] prxy.net" type="cite">
  <pre wrap="">For info, archives &amp; UNSUBSCRIBE, see <a class="moz-txt-link-rfc2396E" href="http://stagecraft.theprices.net/">&lt;http://stagecraft.theprices.net/&gt;</a>
---------------------------------------------------

 

  </pre>
  <blockquote type="cite">
    <blockquote type="cite">
      <pre wrap="">I use yahoo for web hosting
      </pre>
    </blockquote>
  </blockquote>
  <pre wrap=""><!---->

I have a digital portfolio that I would like to put online.  The choices for
hosting are quite daunting in regards to price and services.  After looking
at some of the portfolios posted, there seems to be quite a few of you with
your own sites and domains, which is the direction I would like to head.
Are there any good options out there?  Horror stories!?

Thanks,

Pat Immel
Northwest Missouri State University

  </pre>
</blockquote>
<br>
</body>
</html>

------------------------------

In-Reply-To: <list-15188256 [at] prxy.net>
References: <list-15188256 [at] prxy.net>
Message-Id: <22A3A35E-6AFD-11D9-8AF7-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: On-line Portfolios (What do you use for hosting?)
Date: Thu, 20 Jan 2005 09:05:42 -0700

This is how our school deals with e-portfolios.

  http://eportfolio.cfa.arizona.edu/browse.php

Once set up, the site is for us to use, even after one would leave the 
school.  Of course mine is incomplete, however there plenty of room, 
provided that one keeps it concise, and to the point.




Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile



------------------------------

In-Reply-To: <list-15188256 [at] prxy.net>
References: <list-15188256 [at] prxy.net>
Message-Id: <BBBF865A-6AFD-11D9-90D8-000A958ABBF8 [at] theprices.net>
From: Noah Price <stagecraft-web [at] theprices.net>
Subject: Re: On-line Portfolios (What do you use for hosting?)
Date: Thu, 20 Jan 2005 08:09:59 -0800


On Jan 20, 2005, at 6:25 AM, Immel,Patrick wrote:

>>> I use yahoo for web hosting
>
> I have a digital portfolio that I would like to put online.  The 
> choices for
> hosting are quite daunting in regards to price and services.  After 
> looking
> at some of the portfolios posted, there seems to be quite a few of you 
> with
> your own sites and domains, which is the direction I would like to 
> head.
> Are there any good options out there?  Horror stories!?

If anyone wants a quick-n-easy way to put up photos, the Stagecraft 
gallery is available for free. I'm moving it to a more automated 
system, which will allow you to update photos yourself rather than 
sending everything through me as with the prior gallery. Many of you 
have seen it already at <http://www.theatrical.net/stagecraft/gallery/>

I also offer hosting and domain registration, and host web sites and 
email for several list members. I host some "public service" theatrical 
sites for free, and have reduced pricing available for volunteer and 
non-profit theatre groups. Contact me off-list if you'd like more info.

List member references available :-)

Thanks,

Noah


------------------------------

From: IAEG [at] aol.com
Message-ID: <143.3d4b881b.2f2132a6 [at] aol.com>
Date: Thu, 20 Jan 2005 11:13:26 EST
Subject: Re: forklifting a 9' grand piano


In a message dated 1/20/05 10:51:27 AM, slitterst [at] ithaca.edu writes:

> they want you to move a $10,000, 1/2 ton
>piano without any help.


he said it's a 9 footer, , , have you priced a Steinway Model D lately? 

you need to add a zero

very best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

------------------------------

Message-ID: <000601c4ff0b$ca7e6260$0300a8c0 [at] D4D3R151>
From: "Randy Whitcomb" <rwhitco [at] comcast.net>
References: <list-15165102 [at] prxy.net> <list-15194006 [at] prxy.net> <list-15197855 [at] prxy.net>
Subject: Re: forklifting a 9' grand piano
Date: Thu, 20 Jan 2005 09:19:15 -0700


From: "Stephen Litterst" <slitterst [at] ithaca.edu>
> Honestly, 'twere it me, I'd go to the people making the request and
> spell out the problem -- they want you to move a $10,000, 1/2 ton
> piano without any help.

Steve,
I think you left out a zero.  The last estimate I heard about the value of 
our Steinway was $90,000.
If it were me I'd go back to the people making the request and tell them 
they need to come up with the money to hire piano movers to lift it onto the 
platform and to come back and take it down.
If something goes wrong with the forklift idea who will be held responsible? 
Movers carry liability as well as knowledge.  You might be able to get the 
moving company to come in and advise you on using the fork lift at a cost 
less than what they'd charge to do it all themselves.  Maybe one guy to 
supervise rather than a whole crew.

Randy Whitcomb, TD
Price Civic Aud.
Loveland, CO. 


------------------------------

Date: Thu, 20 Jan 2005 11:26:30 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: forklifting a 9' grand piano
Message-id: <41EFDBB6.EA5435E6 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-15165102 [at] prxy.net> <list-15194006 [at] prxy.net>
 <list-15197855 [at] prxy.net> <list-15201010 [at] prxy.net>

Randy Whitcomb wrote:
> --------------------------------------------------- 
> From: "Stephen Litterst" <slitterst [at] ithaca.edu>
 
> Steve,
> I think you left out a zero.  The last estimate I heard about the value of
> our Steinway was $90,000.

Yeah, I was dumb and looked up the weight, but not the price.  My bad.

Steve Litterst

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Subject: RE: forklifting a 9' grand piano
Date: Thu, 20 Jan 2005 11:05:13 -0600
Message-ID: <EA9B1801BA3A584887D7D4AB70DC30B003154C1F [at] athena.graceland.edu>
From: "Curt Mortimore" <cmortimo [at] graceland.edu>

Byron,

Visit the following website and view the list of photos.

http://safetycenter.navy.mil/photo/archive/default.htm

My favorite which may apply to your application is:

http://safetycenter.navy.mil/photo/archive/photo84.htm

Whatever you do be safe.

Curtis L. Mortimore

Graceland University

1 University Place

Lamoni, IA 50140

(641) 784-5265

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Byron
Lovelace
Sent: Thursday, January 20, 2005 9:16 AM
To: Stagecraft
Subject: forklifting a 9' grand piano

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

I have an interesting problem. I need to lift and place a 9' grand piano

onto a 2' riser. I have no budget for movers, and no manpower to muscle
it.=20
But I do have a forklift. Assuming I must use it, do you have a
suggestion=20
of approach (pick it from the keyboard or a side), and/or any procedural

precautions (blocking, padding, anything else)? Part of me says THis is=20
Nuts, and part of me says What's the Big Deal. So  I respectfully turn
to my=20
peer group. What do you think?

Byron Lovelace
Tech Director/Facilities Manager
Cultural Activities Center
Temple, Texas
lovelace [at] hot.rr.com=20


------------------------------

Message-ID: <002801c4ff16$99e98d40$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-15188256 [at] prxy.net> <list-15199593 [at] prxy.net>
Subject: Re: On-line Portfolios (What do you use for hosting?)
Date: Thu, 20 Jan 2005 09:36:40 -0800

>  http://eportfolio.cfa.arizona.edu/browse.php
>


That's a snazzy, simple, elegant setup your school uses!  Very nice.   PHP 
is so kewl.  At our school, we're hounding the District IT to get the 
'broken' PHP and CGI on the servers working.  The Advanced Web Design 
classes are clamoring, and I'm trying to set up ticket reservation stuff and 
photo display, but waiting for PHP to make it work.

       -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Message-ID: <41EFF1AF.2030102 [at] ix.netcom.com>
Date: Thu, 20 Jan 2005 10:00:15 -0800
From: "Bryan H. Ackler" <backler [at] ix.netcom.com>
Organization: Va. Tech - Vassar - USITT - NTHP
Subject: Re: Sect 11 vs 16
References: <list-15165102 [at] prxy.net>
In-Reply-To: <list-15165102 [at] prxy.net>

What this means to the End User is that the Electrical Contractor
gets to "recover" his costs of purchasing, handling, and making a
reasonable profit on the actual equipment itself (Division 11), in 
addition to the installation (Division 16).

Now some "Owners" purchase the equipment directly under Division 11 and
only provide in the Division 16 for the "installation of equipment as
provided under Division 11064.  Division 11064 being the Sub-Section 
nominally assigned to Theatrical Lighting Equipment.

The Construction Specifications Institute (CSI) is in the process of
revising the MasterFormat for specifications and while Division 11 
remains for Equipment, Electrical is now moved to Division 26.

They have also changed from a five (5) digit Division system (11064) to 
a six-dot system (26 55 61.00) which makes the Section 11 vs 16 a moot
discussion because under the new system Theatrical Lighting has moved
from Division 11064 Equipment to Division 26 55 61 Electrical Lighting.

http://www.csinet.org/s_csi/index.asp

Bryan H. Ackler

-------------------------------------------------------
7881 S.W. Capitol Hwy. #1     Portland, Oregon  97219
503.246.2165 home office            503.313.6620 cell
=======================================================

------------------------------
Date: Wed, 19 Jan 2005 12:28:54 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Sect 11 vs 16 (was: Re: Two-Scene Operation of Lighting
          Consoles..... but not really)

Generally speaking, construction specifications are broken down into
discreet sections that deal with general trades.  Division 5, for 
example, is Miscellaneous Metals.  Section 11, then, is "Equipment." 
Theatre equipment generally starts around 11060.  Section 16 is Electrical.

A dimming system specified in Section 11 is supplied as equipment and,
generally, installation is "assigned" to the electrical contractor. 
Generally, however, the electrical contractor does not have anything 
invested in that equipment other than installation.  A dimming system 
specified in Section 16, on the other hand, is purchased through the
electrical contractor.  The E.C. is then responsible for both 
acquisition of the specified equipment and for its installation.

Mike

At 12:01 PM 1/19/2005, Greg Bierly wrote:

 >>>>watch out for the Section 11 vs. Section 16 dance.
 >>
 >>Can you educate me on Section 11 and 16?

------------------------------


------------------------------

Message-Id: <200501201801.j0KI1u3v009415 [at] mailhub246.itcs.purdue.edu>
From: "Erik Nelson" <eanelson [at] purdue.edu>
Subject: Metamorphoses pool
Date: Thu, 20 Jan 2005 13:01:49 -0500

Hello all-

I'm the TD for a production of Metamorphoses at Purdue University. We're
planning on using a ~2500 gal. pool and I'm interested in safe, effective,
cheap methods, in that order, for heating it. We're in a relatively small
space with mediocre ventilation, so electric heat is the only option. My
research so far has led me to spa type heaters from Raypack or Hayward. I
think the 11kW models will heat the water to around 72 degrees in about 8
hours.

Does anyone have any experience with this technology or know of other
avenues I might explore?

Any information is greatly appreciated.

Erik Nelson
eanelson [at] purdue.edu


------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Metamorphoses pool
Date: Thu, 20 Jan 2005 13:05:58 -0500
Message-ID: <001101c4ff1a$b4b3eea0$6401a8c0 [at] Dell>
In-Reply-To: <list-15211321 [at] prxy.net>


Erik, I know that Florida Studio Theatre in Sarasota recently mounted
that show (I think it's still running, actually).  You might give them a
call.


> I'm the TD for a production of Metamorphoses at Purdue 
> University. We're planning on using a ~2500 gal. pool and I'm 
> interested in safe, effective, cheap methods, in that order, 
> for heating it. We're in a relatively small space with 
> mediocre ventilation, so electric heat is the only option. My 
> research so far has led me to spa type heaters from Raypack 
> or Hayward. I think the 11kW models will heat the water to 
> around 72 degrees in about 8 hours.
> 
> Does anyone have any experience with this technology or know 
> of other avenues I might explore?



------------------------------

Message-ID: <BAY16-F4232942EB15BBD78C5290EC2810 [at] phx.gbl>
In-Reply-To: <list-15187595 [at] prxy.net>
From: "Delbert Hall" <flyingfx [at] hotmail.com>
Subject: Re: Sect 11 vs 16
Date: Thu, 20 Jan 2005 13:16:46 -0500

Let me explain for people who have no idea what this thread is about, that 
it is in reference to MasterFormat, a publication by the Construction 
Specifications Institute. " MasterFormat is the most widely used standard 
for organizing specifications and other written information for commercial 
and institutional building projects in the U.S. and Canada. It provides a 
master list of divisions, and section numbers and titles within each 
division, to follow in organizing information about a facility’s 
construction requirements and associated activities. Standardizing the 
presentation of such information improves communication among all parties 
involved in construction projects. That helps the project team deliver 
structures to owners according to their requirements, timelines, and 
budgets. MasterFormat is a product of the Construction Specifications 
Institute (CSI) and Construction Specifications Canada."

Although the subject of this thread is "Sect. 11 vs 16"  it would have been 
more correct if it had been  "Division 11 vs 16"
and
Division 16 is a 1995 edition of MasterFormat number.  In the  2004 edition 
of MasterFormat, Electrical is now "Division 26".  You can find out more 
about the 2004 ed. at http://www.csinet.org/s_csi/docs/9400/9361.pdf

I am not an expert on MasterFormat, but my brother, who was chair of the 
2004 ed. committee, certainly is.  If you have question about it, I can pass 
it along to him.

-Delbert

Delbert L. Hall
423-773-HALL (4255)



------------------------------

Date: Thu, 20 Jan 2005 13:23:15 -0500
Subject: Re: Metamorphoses pool
From: John McKernon <stagecraft2004 [at] mckernon.com>
Message-ID: <BE156143.10412%stagecraft2004 [at] mckernon.com>
In-Reply-To: <list-15211321 [at] prxy.net>


> I think the 11kW models will heat the water to around 72 degrees in about 8
> hours.

That temperature seems cool to me - the indoor pool at our "Y" here keeps
their pool at 82. There was an article in Entertainment Design a couple of
years ago, and I seem to recall there was some discussion in it about the
water temperature and other water control issues (such as having wet people
backstage and keeping the water clean and bacteria-free).

- John McKernon


------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 20 Jan 2005 18:27:01 GMT
Subject: Stagecraft Reception at USITT
Message-Id: <20050120.102718.9617.16956 [at] webmail24.lax.untd.com>


Dear World:
As it about time to discuss the Stagecraft List reception at the USITT Conference, may I humbly request that it not be scheduled in conflict with the Tech Olympics on Friday night? I have judged every Tech Olympics held in my 30 years of USITT Conferences, and this has precluded me from ever attending the Stagecraft List reception that is counter-programmed in the same timeslot. I would really like to meet face-to-face with other Stagecraft List members. Thank You in advance for considering this scheduling request. I hope that this request is not considered presumptuous, as I am not the Sponsor of the reception.
/s/ Richard 

------------------------------

Reply-To: <smboyle [at] cc.edu>
From: "Scott Boyle" <smboyle [at] cc.edu>
Subject: RE: Metamorphoses pool
Date: Thu, 20 Jan 2005 12:31:02 -0600
Organization: Carroll College
Message-ID: <000001c4ff1e$32351d60$73db688c [at] cc.edu>
In-Reply-To: <list-15213348 [at] prxy.net>




Erik wrote:

> I think the 11kW models will heat the water to around 72 degrees in
about 8
> hours.

John wrote:

>That temperature seems cool to me - the indoor pool at our "Y" here
keeps
their pool at 82. There was an article in Entertainment Design a couple
of
years ago, and I seem to recall there was some discussion in it about
the
water temperature and other water control issues (such as having wet
people
backstage and keeping the water clean and bacteria-free).<

IIRC, Equity has standards about water temperature both for rain effects
and pools.  That might be a good source to look at.

Scott


------------------------------

From: IAEG [at] aol.com
Message-ID: <1f1.3371d05c.2f215546 [at] aol.com>
Date: Thu, 20 Jan 2005 13:41:10 EST
Subject: Re: Metamorphoses pool


In a message dated 1/20/05 1:25:26 PM, stagecraft2004 [at] mckernon.com writes:

>> I think the 11kW models will heat the water to around 72 degrees in about
>8
>> hours.
>
>That temperature seems cool to me - the indoor pool at our "Y" here keeps
>their pool at 82. There was an article in Entertainment Design a couple
>of
>years ago, and I seem to recall there was some discussion in it about the
>water temperature and other water control issues (such as having wet people
>backstage and keeping the water clean and bacteria-free).
>
>- John McKernon


I would think that someone from "O" would have some good comments on this 
thread

very best,

Keith Arsenault

------------------------------

Message-ID: <BAY12-DAV17EF7F78D902CAEAFBFBEEC6810 [at] phx.gbl>
Reply-To: <mseddy2900 [at] hotmail.com>
From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Subject: RE: Metamorphoses pool
Date: Wed, 20 Apr 2005 13:45:48 -0400
In-Reply-To: <list-15213348 [at] prxy.net>


>> I think the 11kW models will heat the water to around 72 degrees in =
about
8
>> hours.

>That temperature seems cool to me - the indoor pool at our "Y" here =
keeps
>their pool at 82. There was an article in Entertainment Design a couple =
of
>years ago, and I seem to recall there was some discussion in it about =
the
>water temperature and other water control issues (such as having wet =
people
>backstage and keeping the water clean and bacteria-free).

>- John McKernon

Here is the link to the Entertainment Design article that was in the =
April
2002 issue:
http://entertainmentdesignmag.com/mag/show_business_metamorphosing_metamo=
rph
oses/index.html

In case the link breaks, you can go the Entertainment Design website
http://entertainmentdesignmag.com/ and search Metamorphoses.

Here is the section on the water temp:

At Second Stage, Davis learned from the other productions. =93We bought =
and
rented parts of the scenery from the Center Theatre Group, the producers =
of
the Mark Taper Forum production, to make sure that the scenery was the =
same
or better than before,=94 he says. The doorway and cloud panel from the =
Los
Angeles production were re-used. =93We added chlorination units, =
filters, a
pool heater, and a cover to keep accumulated crud out of the water as =
well
as heater units and changing rooms for the actors. We added a second =
washer
and dryer set and would have added a third if the space was there. You
cannot imagine how it adds up, but we go through at least 50 towels in a
performance,=94 laughs Davis. The pool is heated to 104=B0 and the cover =
is
removed approximately 45 minutes before the curtain. =93It cools =
quickly, but
we need to hit the right temperature for the actors,=94 says Davis. =
=93I've had
very little trouble with the water in this production =97 I've had worse
problems in supposed non-water shows.=94

There is more on the other aspects of the show as well, draining, =
filling,
care of pool, actors, etc.

It is a very cool show and I wish you well with it.

Michael Eddy
Mseddy2900 [at] hotmail.com

------------------------------

Message-Id: <6.2.0.14.2.20050120135525.027e0b20 [at] mail.usittny.org>
Date: Thu, 20 Jan 2005 13:55:37 -0500
From: "Scott C. Parker" <stagecraftlist [at] hstech.org>
Subject: Re: Stagecraft Reception at USITT

How about having the reception in the same room as the Olympics? We could 
all kibitz!

I can see it now, shouting 27 different ways to accomplish the same thing.
OR.
A few young student technicians being told by their mentor that; one day 
you, with much practice, can be one of those old pharts in the corner.

Hmmmm, as I sit back imagining this scenario, perhaps this is not such a 
good idea.
I'm with Richard: let's hope that the Olympics and the stagecraft reception 
are scheduled at different times.

See you in Toronto,
Scott

At 01:27 PM 1/20/2005, you wrote:
>Dear World:
>As it about time to discuss the Stagecraft List reception at the USITT 
>Conference, may I humbly request that it not be scheduled in conflict with 
>the Tech Olympics on Friday night? onsor of the reception.
>/s/ Richard

         Scott C. Parker
         Vice Chair
         NY Area Section of
         The United States Institute of Theatre Technology
         www.usittny.org
         scott [at] usittny.org
         718-757-6661

         Professor/Technical Director
         Dept. of Performing Arts
         Office: 41 Park Row, 1205F
         Dyson College of Arts and Sciences  [at]  Pace University
         1 Pace Plaza  New York, NY 10038
         212-346-1423  Fax: 212-346-1681
         Scott C. Parker


------------------------------

Message-ID: <41F0051F.1010104 [at] fredonia.edu>
Date: Thu, 20 Jan 2005 14:23:11 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Stagecraft Reception at USITT
References: <list-15213667 [at] prxy.net>

Richard,
Boy, some folks ask for the world!  Could we not just bring you a plate 
of shrimp and some cheese curds? :)
I think you need to get in touch with somebody in Syracuse post-haste. 
I'm sorry but I don't know who arranges this.  And by the way, your 
efforts on behalf of this event are truly appreciated.
Steve Rees, TD
SUNY-Fredonia
ladesigners [at] juno.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> Dear World:
> As it about time to discuss the Stagecraft List reception at the USITT Conference, may I humbly request that it not be scheduled in conflict with the Tech Olympics on Friday night? I have judged every Tech Olympics held in my 30 years of USITT Conferences, and this has precluded me from ever attending the Stagecraft List reception that is counter-programmed in the same timeslot. I would really like to meet face-to-face with other Stagecraft List members. Thank You in advance for considering this scheduling request. I hope that this request is not considered presumptuous, as I am not the Sponsor of the reception.
> /s/ Richard 



------------------------------

Message-ID: <41EFB21A.32309.242BAA9C [at] localhost>
From: "Michael Denison" <mdenison [at] cottey.edu>
Date: Thu, 20 Jan 2005 13:28:58 -0600
Subject: Re: Anyone in Tokyo in Late February?
Reply-To: <mdenison [at] cottey.edu>
In-reply-to: <list-15194387 [at] prxy.net>
References: <list-15193223 [at] prxy.net>

Definitely check out the Kabukiza, the national Kabuki theatre. 
Performances typically last four hours, but for short attention span 
impaired gaijin (foreigners) you can buy special tickets for one-hour 
viewing only and sit in a special section with translation earphones. 
Check it out at 
http://www.shochiku.co.jp/play/kabukiza/theater/index.html

Also, check out the Takarazuka Ruvue, an all female company that 
does stage revues and all-female productions of stuff like Gone 
With the Wind and Moby Dick. 
See:  http://kageki.hankyu.co.jp/english/

Staying a day or two in Tokyo, never having been there before. Anyone around?  Any suggestions on where to stay or what to do if I
only have 24 hours to sightsee?

Michael A. Denison 
Technical Director 
Cottey College 
1000 West Austin 
Nevada, MO 64772

(417) 667-8181 x 2265
FAX: (417) 667-8103
mdenison [at] cottey.edu
www.cottey.edu



------------------------------

From: IAEG [at] aol.com
Message-ID: <1d4.342e4250.2f2161db [at] aol.com>
Date: Thu, 20 Jan 2005 14:34:51 EST
Subject: Re: Anyone in Tokyo in Late February?


In a message dated 1/20/05 2:29:50 PM, mdenison [at] cottey.edu writes:

>Also, check out the Takarazuka Ruvue, an all female company that 
>does stage revues and all-female productions of stuff like Gone 
>With the Wind and Moby Dick. 
>See:  http://kageki.hankyu.co.jp/english/


they played RADIO CITY about ten years ago ? 

very best,

Keith Arsenault

------------------------------

Message-Id: <6.2.0.14.0.20050120113636.03ecb410 [at] localhost>
Date: Thu, 20 Jan 2005 11:51:29 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Canada power safety requirements clarification

The company we're sharing a booth with at the USITT Expo received the 
normal notes about having approved electrical equipment, but it had this 
note added:

>Note: Electrical equipment must be approved as an assembly unit. 
>Electrical equipment that consists of an assembly or combination of other 
>individually approved electrical equipment or devices is not considered to 
>be approved.

By "assembly or combination" that could easily be interpreted to mean the 
AC adapter and anything plugged into it and anything plugged into 
that.  I've had this problem with emissions testing in the past, how do you 
check a telephone without the entire "assembly" which includes every other 
phone in the world?  I always have to get a judgement from the person doing 
the test that day as to how much has to be attached to the phone (and it 
does vary from person to person).

I've asked the person who received the note to check with the sender, but 
thought I'd also check here.  Anyone know what they mean by that (as it 
applies to the USITT Expo)?  Do they really care what's plugged into an 
approved AC adapter?

My normal assumption for any country is:  "If the AC adapter is approved 
for that country and the devices attached are low voltage, low power, with 
no batteries, then any possible combination of those devices is approved."

ALL of the AC adapters we use are cUL, CSA, CE.  I've shipped our products 
to Canada (and other countries), Customs has never had a problem with them.


----------
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




------------------------------

In-Reply-To: <list-15178766 [at] prxy.net>
References: <list-15178766 [at] prxy.net>
Message-Id: <512DAC23-6B1F-11D9-A6F3-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Seating Help!
Date: Thu, 20 Jan 2005 15:10:23 -0500

I believe ours are the irwin seating Marquee 51 in our 1300 seat PAC.  
Very comfortable and not too difficult to service.  Get lots of spare 
parts.

> Here is a links, we put the "Springfield" in a small 98 seat theatre I
> designed and they look and feel great.
>
> http://www.irwin-seat.com/market_pages/main.htm


Greg Bierly
Technical Director
Hempfield HS


------------------------------

From: roguerpj [at] mn.rr.com
Subject: Re: On-line Portfolios
Date: Thu, 20 Jan 2005 14:32:02 -0600
Message-ID: <hlvvu09c95tdu4f2u4v40k4eu5e0e2qs73 [at] 4ax.com>
References: <list-14995951 [at] prxy.net> <list-15016933 [at] prxy.net> <list-15070672 [at] prxy.net> <list-15075645 [at] prxy.net>
In-Reply-To: <list-15075645 [at] prxy.net>

I have gotten a lot of ideas from looking at what you all have posted
here.=20

I do, however have some questions. What soft ware do you use to put
these together. I have put some web sights up using an old copy of
Netscape's Browser suite but it was time consuming and is now vary
much out of date. I know of Frontpage but I always start out leery of
Microsoft.

Also, I noticed some have there resume's available for down load as
pdf files, as word documents, or not at all. Has anyone run in to
troubles with Mac users and said Documents? Or does the above seem to
cover all bases?

Rob Johnson
=46reelance Set and Lighting Designer

------------------------------

Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 15:37:16 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6B1 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I do, however have some questions. What soft ware do you use=20
> to put these together. I have put some web sights up using an=20
> old copy of Netscape's Browser suite but it was time=20
> consuming and is now vary much out of date. I know of=20
> Frontpage but I always start out leery of Microsoft.

Likewise...s'why when I have to do HTML programming I tend to lean
towards Chami's (sp?) HTML-Kit freeware.  And then I preview the work in
Opera to make sure it functions well cross-platform...

> Also, I noticed some have there resume's available for down=20
> load as pdf files, as word documents, or not at all. Has=20
> anyone run in to troubles with Mac users and said Documents?=20
> Or does the above seem to cover all bases?

IIRC, pdf files were designed to work equally well cross-platform, so
going that way is your safest bet.

------------------------------

Date: Thu, 20 Jan 2005 15:41:14 -0500 (EST)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Subject: Re: On-line Portfolios
In-Reply-To: <list-15225083 [at] prxy.net>
Message-ID: <Pine.LNX.4.61.0501201539180.16815 [at] maestro.operaphilly.com>
References: <list-14995951 [at] prxy.net> <list-15016933 [at] prxy.net> <list-15070672 [at] prxy.net>
 <list-15075645 [at] prxy.net> <list-15225083 [at] prxy.net>

On Thu, 20 Jan 2005 roguerpj [at] mn.rr.com wrote:

> Also, I noticed some have there resume's available for down load as
> pdf files, as word documents, or not at all. Has anyone run in to
> troubles with Mac users and said Documents?

Windows MS Word files open fine on the Mac... as long as you have MS 
Office installed. AppleWorks includes a fairly good translator for Word 
files.

PDF is actually the native file format for MacOS X, so that's always a 
safe bet.

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com

------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 15:43:02 -0500
Message-ID: <000501c4ff30$a5931750$6401a8c0 [at] Dell>
In-reply-to: <list-15225083 [at] prxy.net>


> I have gotten a lot of ideas from looking at what you all 
> have posted here. 
> 
> I do, however have some questions. What soft ware do you use 
> to put these together. I have put some web sights up using an 
> old copy of Netscape's Browser suite but it was time 
> consuming and is now vary much out of date. I know of 
> Frontpage but I always start out leery of Microsoft.
> 
> Also, I noticed some have there resume's available for down 
> load as pdf files, as word documents, or not at all. Has 
> anyone run in to troubles with Mac users and said Documents? 
> Or does the above seem to cover all bases?
> 
> Rob Johnson
> Freelance Set and Lighting Designer



Bob, there are a gazillion shareware and freeware HTML editors.  Look at
www.tucows.com or www.downloads.com or, for that matter, you can use any
text editor.

The biggest selling point of PDF is its cross-platform portability, so
there shouldn't be any compatibility problem.



------------------------------

Date: Thu, 20 Jan 2005 15:42:35 -0500
From: Richard Wolpert <richw [at] unionconnector.com>
Subject: RE: Canada power safety requirements clarification
In-reply-to: <list-15221805 [at] prxy.net>
Message-id: <KIEIJNECPAAGNDKNCFBHMECLDIAA.richw [at] unionconnector.com>

I think the "approved as an assembly unit" qualifier means that the item
using electricity must have some sort of approval ( cUL Listing, Hydro
approval, etc.) acceptable to the Authority Having Jurisdiction (inspector),
and is being used in a manner consistent with that approval.... OK, now in
English....

Let's say you want to distribute power to several lights in your booth. The
extension cord that plugs into the facility outlet must be approved. The
distribution box or splitter must be approved, and the lights must be
approved. As long as they are being used in a manner consistent with their
approval, there shouldn't be a problem. So using an approved AC adapter that
then powers an approved device designed to accept power from that type of
adapter should be acceptable.

Going back to my original example of distributing power... using a shop made
extension cord of 12/3SJ and a couple of Edison connectors would probably
not be approved, unless you take the trouble to get it Listed. If the distro
unit it plugs into is a junction box with an inlet and some outlets you put
together in your shop, it would probably not be approved. If the devices you
are powering ( motor controllers, lights, fog machines, etc. ) ARE approved,
that's great. But the items that bring the power to these devices are not
approved, so the inspector is going to red-tag you.

There is a pattern in the approval process here. Building one-off pieces of
equipment, even if that equipment is built from approved components, does
not grant you approval of the assembly ( power cord, distro, etc. ). The
assembly must be evaluated as a complete assembly, and be used with other
approved assemblies in a manner consistent with the approval of the
assemblies. This is done to keep someone from nailing a load center to a
piece of plywood, mounting some gang-boxes to the can, wiring duplexes to
the breakers in the load center and proclaiming it's an approved distro
because all the components are approved.

My advice... make sure everything you bring has either a CSA or cUL label.
Don't save a nickel by making up your own "temporary power" equipment and
expecting the inspector to approve it. And be careful of cheap hardware
store items made in China. There has been a lot of electrical equipment
brough in within the past few years with bogus Listing labels. A good
inspector will spot it. It's not something you'll be able to talk your way
out of. They're quite insistent about the approval requirements. Even though
we build cable assemblies here all the time, I go to the local Home Depot to
buy UL Listed cord-sets when I'm going to be exhibiting in jurisdictions
like this. Saves a lot of headaches.

Good luck, and see you in Toronto

Richard A.Wolpert
President
Union Connector Co., Inc.
40 Dale Street
West Babylon, NY  11704
Ph: 631-753-9550 ext. 204
Fx: 631-753-9560
richw [at] unionconnector.com

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jerry Durand
Sent: Thursday, January 20, 2005 2:51 PM
To: Stagecraft
Subject: Canada power safety requirements clarification

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

The company we're sharing a booth with at the USITT Expo received the
normal notes about having approved electrical equipment, but it had this
note added:

>Note: Electrical equipment must be approved as an assembly unit.
>Electrical equipment that consists of an assembly or combination of other
>individually approved electrical equipment or devices is not considered to
>be approved.

By "assembly or combination" that could easily be interpreted to mean the
AC adapter and anything plugged into it and anything plugged into
that.  I've had this problem with emissions testing in the past, how do you
check a telephone without the entire "assembly" which includes every other
phone in the world?  I always have to get a judgement from the person doing
the test that day as to how much has to be attached to the phone (and it
does vary from person to person).

I've asked the person who received the note to check with the sender, but
thought I'd also check here.  Anyone know what they mean by that (as it
applies to the USITT Expo)?  Do they really care what's plugged into an
approved AC adapter?

My normal assumption for any country is:  "If the AC adapter is approved
for that country and the devices attached are low voltage, low power, with
no batteries, then any possible combination of those devices is approved."

ALL of the AC adapters we use are cUL, CSA, CE.  I've shipped our products
to Canada (and other countries), Customs has never had a problem with them.


----------
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





------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 15:46:10 -0500
Message-ID: <000601c4ff31$15c7c2f0$6401a8c0 [at] Dell>
In-reply-to: <list-15225736 [at] prxy.net>



> Windows MS Word files open fine on the Mac... as long as you have MS 
> Office installed. AppleWorks includes a fairly good 
> translator for Word 
> files.

I'd point out that MS Word isn't necessarily a safe bet even for PC
users; many of us prefer WordPerfect.  PDF is safer, and it's not
dependent on the end user's having the same fonts installed as you do.



------------------------------

Message-ID: <61393.66.183.177.34.1106254092.squirrel [at] 66.183.177.34>
In-Reply-To: <list-15221805 [at] prxy.net>
References: <list-15221805 [at] prxy.net>
Date: Thu, 20 Jan 2005 12:48:12 -0800 (PST)
Subject: Re: Canada power safety requirements clarification
From: "Tom Heemskerk" <tommy [at] etainternet.com>

>
> By "assembly or combination" that could easily be interpreted to mean the
> AC adapter and anything plugged into it and anything plugged into
> that.  I've had this problem with emissions testing in the past, how do
> you
> check a telephone without the entire "assembly" which includes every other
> phone in the world?  I always have to get a judgement from the person
> doing
> the test that day as to how much has to be attached to the phone (and it
> does vary from person to person).
>
> I've asked the person who received the note to check with the sender, but
> thought I'd also check here.  Anyone know what they mean by that (as it
> applies to the USITT Expo)?  Do they really care what's plugged into an
> approved AC adapter?
>
>

The term 'assembly' will get interpreted diffferently from place to place,
but in my inspector-tough western Canada city this is what's been
happening, fwiw:

Such things cam-lok cables (made from approved conductors plus approved
connectors) and distribution panels (likewise made up from approved parts)
are considered assemblies and so must also be "stickered" in their final,
assembled form. What gets plugged into these is subject to far less
scrutiny, but obviously-fabricated items (such as practicals on scenery)
are usually an issue. Occasionally the inspector will look for stickers on
unusual stand-alone items like a newly-imported lighting console or LED
controller....

th





------------------------------

Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 14:49:27 -0600
Message-ID: <0B70E9798A3B4E4080E46327FA359F2194BC7E [at] MIDL-MAILV.etclink.net>
From: "Sarah Clausen" <sclausen [at] etcconnect.com>

I always prefer that documents intended to look a certain way be
distributed as a PDF for a lot of reasons. The Acrobat reader is free,
so you don't have to worry that the intended recipient has the word
processor you used to create the document. Also, a PDF will not be
reformatted by the reader - whereas the opportunity for the recipient's
word processor to totally mess up your resume always exists. Lastly,
PDFs do not open and then highlight any spelling or grammar mistakes you
might have made (or the word processor THINKS you made because the
recipient's spell check dictionary doesn't have the names of all your
shows, venues and directors in it already). There's nothing worse than
opening a document intended to impress someone and then seeing all those
red and green squigley lines under big chunks of the text. Or equally
bad, they have text symbols turned on and your resume shows up with all
those tab and paragraph symbols all over it.

Trust me - if you want to control the presentation of your meticulously
formatted resume, make it a PDF.

My $0.02...

Sarah


On Thu, 20 Jan 2005 roguerpj [at] mn.rr.com wrote:

> Also, I noticed some have there resume's available for down load as=20
> pdf files, as word documents, or not at all. Has anyone run in to=20
> troubles with Mac users and said Documents?


------------------------------

Subject: RE: On-line Portfolios
Date: Thu, 20 Jan 2005 14:50:54 -0600
Message-ID: <0B70E9798A3B4E4080E46327FA359F2154C6F9 [at] MIDL-MAILV.etclink.net>
From: "Sarah Clausen" <sclausen [at] etcconnect.com>
Cc: stagecraft [at] jeffsalzberg.com

Oh yeah, and EMBED YOUR FONTS IN THE PDF (sorry to yell).

-Sarah

>I'd point out that MS Word isn't necessarily a safe bet even for PC
users; many of us prefer WordPerfect.  PDF is safer, >and it's not
dependent on the end user's having the same fonts installed as you do.



------------------------------

Date: Thu, 20 Jan 2005 15:58:17 -0500 (EST)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Cc: stagecraft [at] jeffsalzberg.com
Subject: Re: On-line Portfolios
In-Reply-To: <list-15226274 [at] prxy.net>
Message-ID: <Pine.LNX.4.61.0501201548190.16815 [at] maestro.operaphilly.com>
References: <list-15226274 [at] prxy.net>

On Thu, 20 Jan 2005, Jeffrey E. Salzberg wrote:

>  many of us prefer WordPerfect.  PDF is safer, and it's not dependent on 
> the end user's having the same fonts installed as you do.

Well if you're using WordPerfect then you should definitely convert your 
resume to a PDF. I have a friend whose brother gave her a new Windows 
laptop with WordPerfect as the only word processor. I had to jump through 
some hoops to exchange files with her on my Mac. Fortunately I had an old 
copy of MacLink that runs under Classic and will do the translation. You 
could buy a new copy of MacLink, but it isn't all that cheap. I gather 
that the Windows versions of Word will translate WordPerfect files, but 
neither Office X or Office 2004 on the Mac have WordPerfect Translators, 
nor does AppleWorks.

As you may know, WordPerfect stopped development of their Mac version a 
number of years ago. At that point they offered the current version as a 
free Mac download. Then a couple years later Micro$oft made a big 
investment in Corel. After that, the free Mac version vanished (as did 
Corel's version of Linux). I searched around the net just recently and 
couldn't come up with any free way to open WordPerfect files under MacOS.

Regarding fonts... "it depends." PDF files can be created either with or 
without special fonts, they can get a lot larger if the fonts are 
included. Depends on what software you use to create the PDF file.

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com

------------------------------

Message-Id: <6.2.0.14.0.20050120124009.03f26c38 [at] localhost>
Date: Thu, 20 Jan 2005 12:59:40 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Canada power safety requirements clarification
In-Reply-To: <list-15221805 [at] prxy.net>
References: <list-15221805 [at] prxy.net>

I just talked to the Electrical Safety Authority of Canada at 
1-877-372-7233 and they need EVERY electrical device in our booth certified 
regardless if it uses AC main power or not.  That's every wire, lamp, 
calculator, (battery powered watch?, pacemaker?), etc., no matter if it 
runs on 1V or the AC mains.

I specifically asked them about an approved 6V AC adapter powering, for 
example, a clock.  Nope, the clock/adapter combo needs it's own 
approval.  I asked about a PC which has plugs for keyboard, mouse, 
etc.  Again, the entire combo must be approved as a unit, changing mice 
voids the approval.

And, their $49/booth exemption form allows you to SHOW unapproved devices, 
but you may not power them.

Going by this you couldn't plug an approved device into an approved 
extension cord without getting that combo approved.  This is a bit much, 
any comments from people who have "been there, done that"?

----------
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




------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <24.68dab4cb.2f21990a [at] aol.com>
Date: Thu, 20 Jan 2005 18:30:18 EST
Subject: Re: Caribeners (was quick links)

In a message dated 19/01/05 01:40:40 GMT Standard Time, 
mfinney [at] thinkwelldesign.com writes:

> The biggest issue is that climbing hardware is a compromise between
>  durability and weight - in other words, they're designed and fabricated
>  to weigh as little as possible while still maintaining the ability to
>  protect against a limited number of extreme shock loads (you know, like
>  falls and such).  As a personal piece of climbing hardware, the
>  assumption is that you know how many falls that carabiner has seen, how
>  severe the falls were, how long the piece has been in service, etc.
>  etc...and that you'll retire the piece after the appropriate period of
>  time.  Some pieces are designed and fabricated for longer and more
>  rigorous use (witness the rack of rescue hardware in my truck...which
>  weighs at least double what my sport climbing rack weighs), but none of
>  it is really designed and fabricated for industrial use where it's going
>  to see more abuse and will have an unknown history of use.

I made this point earlier. If it's my own climbing hardware, on which I bet 
my own life every time I use it, you can be very sure that I know that it has 
been properly used, or, if not, I discard it or at least relegate it to non 
life-threatening uses. Not that I can think of many.

But if Karabiners are around for general use, you have no idea what has 
happened to them. They may have been overloaded, bent, corroded, or twisted. How 
can you tell, when you don't know who has used them, and for what? And, this 
time, it's not your own life you are betting, it may well be that of somebody 
else. Law suits apart, do want that on your conscience?

When I gave up climbing, my Karabiners were relegated to tow lines. With wire 
strops to attach them to the car, and a Karabiner to attach the strops to a 
triple plait of Nylon webbing, you have an excellent tow line. And if it parts, 
it is unlikely to cause much trouble.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <147.3db442e1.2f219c41 [at] aol.com>
Date: Thu, 20 Jan 2005 18:44:01 EST
Subject: Re: ladders and Lifts general practice

In a message dated 19/01/05 02:27:37 GMT Standard Time, 
theatricalmatt [at] hotmail.com writes:

> It's not so much against the law as it is bad practice. You could probably 
>  ask for anecdotes about injuries while on castered A-frames and the list 
>  would come up with a few.

I have never met one, and would neither countenance one nor climb it. Towers 
and tallescopes, maybe, if the outriggers are only slightly retracted to 
provide floor clearance.
>  
>  I know of a few places where they use castered A-frames, and continue to 
do 
>  so, for one simple reason: the convenience outweighs the risk.

I don't see that last statement as a guide to working practices. Certainly 
not good ones, barely acceptable ones. No, strike that. Read unacceptable ones. 
I'm sure that we've all done such things in the past, when we were younger and 
braver than we are now. But times have changed, and so have we. If ever I had 
an A-frame topple under me, I know to jump to the high side, and how to break 
my fall. It's better than having the whole thing fall on me, but these are 
skills I never want to exercise.



Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <ea.61461cdf.2f219e48 [at] aol.com>
Date: Thu, 20 Jan 2005 18:52:40 EST
Subject: Re: ladders and Lifts general practice

In a message dated 19/01/05 03:02:20 GMT Standard Time, 
bill [at] sapsis-rigging.com writes:

> Ands, yes, it's done all the time because there is no alternative.  At the
>  moment.

But, Bill, there is an alternative. DON'T DO IT! Let the bean counters worry 
about rigging times and overtime rates. Do a risk assessment, and say to them: 
"The chances of an incident are so; the extra costs are so; the damages may 
well be so".  Then, with luck, they will retire into their shells. That is the 
way the sums come out, usually. And all they understand is arithmetic.


Frank Wood

------------------------------

Date: Thu, 20 Jan 2005 18:07:05 -0600
Subject: Dock Opinions
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE15A3C9.9420%gregpersin [at] comcast.net>
In-Reply-To: <list-15227463 [at] prxy.net>

Greetings all,

I have a church project that  I am currently working on that has the truck
loading dock placed dead center of the stage with a roll up door leading
into a staging/shop area before hitting another roll up door that is in the
upstage center wall. This opens directly onto stage.

I am tempted to try to get them to offset the dock to one side of the stage
or the other. I think I might be able to get it to come into the wing more
than on stage.

Any thoughts or preferences?

I am coming onto the job late so I am not sure it can be changed at this
point and I want to make sure the outcome will outweigh the effort that it
will take to make the change.

I do know that the way the parking lot is currently designed you can't get a
truck to this dock but I know this can be changed.

I look forward to hearing your remarks.

Sincerely,

Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



------------------------------

From: IAEG [at] aol.com
Message-ID: <d9.1e4b555a.2f21a295 [at] aol.com>
Date: Thu, 20 Jan 2005 19:11:01 EST
Subject: Re: Dock Opinions


In a message dated 1/20/05 7:07:38 PM, gregpersin [at] comcast.net writes:

>I am tempted to try to get them to offset the dock to one side of the stage
>or the other. I think I might be able to get it to come into the wing more
>than on stage.


dead center into the shop gives you rear projection opportunities.

very best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

------------------------------

In-Reply-To: <list-15219275 [at] prxy.net>
References: <list-15193223 [at] prxy.net> <list-15219275 [at] prxy.net>
Message-Id: <8319A0A3-6B42-11D9-B07F-000A95823EDA [at] Nifty-Gadgets.com>
From: Paul Puppo <paul [at] Nifty-Gadgets.com>
Subject: Argentina in February
Date: Thu, 20 Jan 2005 16:22:19 -0800

Hi List,

I'm planning a trip to Argentina next month, and I was wondering if the 
collected wisdom of the list had any suggestions/contacts.

I am already planning a visit, both tour and event, to the Teatro Colon 
in BA.

Any other ideas?

Thanks,

Paul Puppo

ILLUMINEERING

547 Green Street
San Francisco, CA
94133-3905

(415) 397-8776 phone/fax
http://www.Nifty-Gadgets.com

mailto:Paul [at] Nifty-Gadgets.com


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <104.590be900.2f21a581 [at] aol.com>
Date: Thu, 20 Jan 2005 19:23:29 EST
Subject: Re: 2 scene Presets

In a message dated 19/01/05 03:21:19 GMT Standard Time, 
Marty_Petlock [at] sarasotagov.com writes:

> I am curious how many of you that have Express-style consoles with
>  Two-Scene operation actually use the two-scene mode during shows.
>  Specifically, are you running your shows with manual crossfades between
>  the two banks of channel faders? Or do you mainly use the channel faders
>  (or keypad) to set your looks, then record them to the cue list using
>  the keypad for playback?
>  
>  If you are using the two-scene operation for playback, how many channels
>  do you typically run in that way?
>  
>  Enquiring minds would like to know -=20

 A bit of history. There was a time when that was all you could do, which was 
when I learnt LX OP. Then they got cleverer, and allowed you groups within a 
two- preset. Then there were three-presets, and then it all got complicated, 
even before the advent of computers, even at a primitive level. I think Izenour 
went a far as a ten-preset. Ingenious engineers, of whom I was one, modified 
an old Strand board to allow 12 independent groups on each preset.

But still, the level of each lantern depended, ultimately, on the channel 
faders. Multiplied by the groups, and again by the preset masters. The trouble 
was, that the lighting script turned into a nightmare. By the lighting script, I 
mean the exact instructions to the Operator to move this fader from HERE to 
THERE, at this time. It could be done, and I have written many such scripts. 
But it took a lot of skull sweat, to write an exact and accurate script, and as 
much to excute it. In those days, reams of paper.

That is what the computer saved us from. When the director was happy, and the 
LD calld up: "OK, Plot it", this wasn't the end of the story. In those days, 
the LX OP had to write down on pieces of paper, the position of every single 
fader. This took time. Then the LXD took over. His job was to translate this 
into a set of:"Move this fader from HERE to THERE, NOW. Never mind if the NOW 
was not a formal LX cue, with an effect on the stage; it still had an effect on 
what would come next. Nowadays, life is simpler, and much of the paperwork has 
been eliminated.

Computers, simple or elaborate, store states. In the old days, there were 
many internal lighting cues which had to be executed to make those states 
available. At bottom, I suppose that that is why am against having the SM call the 
lighting. They just don't know what needs to be done to prepare the next visible 
cue.


Frank Wood

------------------------------

Date: Thu, 20 Jan 2005 19:29:21 -0500 (EST)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Subject: Re: Argentina in February
In-Reply-To: <list-15244761 [at] prxy.net>
Message-ID: <Pine.LNX.4.44.0501201927010.19390-100000 [at] aria.operaphilly.com>

On Thu, 20 Jan 2005, Paul Puppo wrote:

> I am already planning a visit, both tour and event, to the Teatro Colon 
> in BA.

Am also very interested in this topic. Next summer I'll be doing video and
projection design for DIE WALKURE at Teatro Colon.

Please feel free to contact me privately if you like...

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <1e3.335374a3.2f21a810 [at] aol.com>
Date: Thu, 20 Jan 2005 19:34:24 EST
Subject: Re: ladders and Lifts general practice

In a message dated 19/01/05 13:43:29 GMT Standard Time, 
jdeull [at] clarktransfer.com writes:

> I very recently did a show at a small rep theatre and watched the young TD,
>  who was used to working ALONE, climb up on his 18' castered A-frame, wrap
>  his legs around the top rung of the extension, and scoot around the theatre
>  faster than you could say... well, use your imagination.

What is the betting that he makes old age?


Frank Wood

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Fri, 21 Jan 2005 00:43:24 GMT
Subject: Re: Argentina in February
Message-Id: <20050120.164332.25772.24368 [at] webmail17.lax.untd.com>


Note: After visiting arguably the most beautiful theatre in the world, be prepared for some let-down when returning to a city which considers the architecture of the War Memorial Opera House, the Curran, and the Geary to be high art. Suggestion: View the Casa Rosada from >250' away.
PS: Check out boots and similar leather goods. Better than Italy, IMHO!
/s/ Richard

Hi List,
I am already planning a visit, both tour and event, to the Teatro Colon in BA.
Paul Puppo



------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <8e.1f1d0acc.2f21aacb [at] aol.com>
Date: Thu, 20 Jan 2005 19:46:03 EST
Subject: Re: static and plexi

In a message dated 19/01/05 19:07:38 GMT Standard Time, jknipple [at] howardcc.edu 
writes:

> We're having an issue with static on the plexi. Every piece of dust near 
the 
> plexi wants to cling to it, and we need it clean to lightly dust it with 
> spray paint. Does anyone know of a way to uncharged the plexi? I know that 
> time will do this exentually, but I don't really have time at the moment.
>  
>  Any ideas, anyone?

AquaDag, and an earth clamp. Perspex (plexi) is a very good insulator, and 
allows the surfaces to build up high static charges. AquaDag is a 
water-suspension of graphite, which is a fair conductor.

OilDag will also work, which is an oil-suspension. Which is best for your 
particular purposes, I cannot say.



Frank Wood

------------------------------

End of Stagecraft Digest #266
*****************************