Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 16036976; Wed, 26 Jan 2005 03:00:56 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #273 Date: Wed, 26 Jan 2005 03:00:45 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, DRUGS_PAIN autolearn=ham version=3.0.2 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #273 1. Re: list form ("anyone else") by "Alf Sauve" 2. Re: Scholarships (Shameless Plug) by "Tom Hackman" 3. Re: Stucco Texture by "Stephen E. Rees" 4. Re: Stucco Texture by "Victor W. Smith" 5. Re: USITT Housing by "Scheu Consulting Services" 6. Re: On-line Portfolios by "Immel,Patrick" 7. Re: list form ("anyone else") by Greg Bierly 8. Galvanic reaction by "Dougherty, Jim" 9. Re: fake neon by Marty_Petlock [at] sarasotagov.com 10. Re: Stucco by "Paul Guncheon" 11. Re: Stucco Texture by Mark O'Brien 12. Re: fake neon by "Jeffrey E. Salzberg" 13. Re: Stucco by "Stephen E. Rees" 14. Haze with Singers by Brian Hatfield 15. Re: Haze with Singers by "Tony" 16. Re: Haze with Singers by Boyd Ostroff 17. Re: Haze with Singers by Boyd Ostroff 18. Re: Haze with Singers by IAEG [at] aol.com 19. Re: Wood quality vs. distortion by doran [at] bard.edu 20. Lighting for dance by "Jonathan S. Deull" 21. Re: Lighting for dance by "Jeffrey E. Salzberg" 22. Re: 3 ph 1 transformer by Jerry Durand 23. Re: Lighting for dance by IAEG [at] aol.com 24. Re: Lighting for dance by FrankWood95 [at] aol.com 25. Re: Haze with Singers by MissWisc [at] aol.com 26. Re: list form ("anyone else") by CB 27. my $.02 on forum format by kim.hartshorn [at] plattsburgh.edu 28. Re: Dance Floor Roll Diameter by CB 29. right justified message & digest by CB 30. Re: my $.02 on forum format by "Jon Ares" 31. Re: 3 ph 1 transformer by "Jason" 32. Thanks you - re:lightline or fake neon by "John Hauer" 33. Falling sheaves of paper by jonares [at] hevanet.com 34. Re: Falling sheaves of paper by Boyd Ostroff 35. Re: Falling sheaves of paper by Greg Bierly 36. Wire Lamp Guards by "Michael Wade" 37. Re: Falling sheaves of paper by "Shakespeare & Company Production Department" 38. Re: Haze with Singers by Michael Beyer 39. Re: Falling sheaves of paper by "Jonathan S. Deull" 40. Re: Falling sheaves of paper by "Alf Sauve" 41. Source for twistlock and edison extension cords by Mat Goebel 42. Re: Source for twistlock and edison extension cords by Mark O'Brien 43. Re: Source for twistlock and edison extension cords by Mat Goebel 44. Re: Source for twistlock and edison extension cords by Stephen Litterst 45. Re: Carabiners by Bill Sapsis 46. Re: Carabiners by Bill Sapsis 47. Tree bark by "Sherman, Roger" 48. Re: Dance Floor Roll Diameter by Stuart Wheaton 49. Re: Tree bark by "Storms, Randy" 50. Re: Source for twistlock and edison extension cords by Mike Brubaker 51. Re: right justified message & digest by Stuart Wheaton 52. Re: Falling sheaves of paper by Stuart Wheaton 53. Re: Tree bark by "Adam Berns" 54. Re: Dance Floor Roll Diameter by "Samuel T. Fisher" 55. Re: Tree bark by Stuart Wheaton 56. forklifting the 9' grand by "Byron Lovelace" 57. Re: Tree bark by "jknipple" 58. Re: Falling sheaves of paper by "richard j. archer" 59. Re: Source for twistlock and edison extension cords by Dale Farmer 60. Re: ANSI E1.11 -- USITT DMX512-A by Mitch Hefter 61. Re: Tree bark by roguerpj [at] mn.rr.com 62. Re: Tree bark by Jerry Durand 63. USITT Reception by "Roy Harline" 64. Re: Falling sheaves of paper by "Matthew Breton" 65. Flame retardant and velours by "Roy Harline" 66. Re: USITT Housing by "Dr. Randall W.A. Davidson" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <00a501c502d3$8935da10$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References:

Subject: Re: list form ("anyone else") Date: Tue, 25 Jan 2005 06:37:13 -0500 No, actually. It was only left justified, both in viewing it as text only and as HTML. Using Outlook Express here. Alf ----- Original Message ----- From: "Greg Bierly" To: "Stagecraft" Sent: Monday, January 24, 2005 7:32 PM Subject: Re: list form ("anyone else") > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > On Jan 23, 2005, at 10:44 AM, kupfer [at] post.tau.ac.il wrote: > > Did anyone else get kupfer's message right justified? How did that get > through to the list? I have never seen that happen before either on or > off list. Just curious. > ------------------------------ Message-ID: <005601c502e1$6a205c50$87d11ed8 [at] Hackman1> From: "Tom Hackman" References: Subject: Re: Scholarships (Shameless Plug) Date: Tue, 25 Jan 2005 08:25:56 -0500 >> I am a high school senior and am appling for scholarships. >> Instead of writing long winded eassys about concrete or how >> my degree in technical theater will save monkeys I was >> woundering if there are any scholarships directed towards >> techs. A lot of schools are offering scholarships for theatre design and tech majors. Mine included. You probably are not looking at a full ride (certainly not here), but every little bit helps. You should also be looking at programs for student assistantships. It is more work, but it is also more money. If I can be of any assistance, please contact me offlist. Tom Hackman TD/Scene Designer Davis & Elkins College Elkins, WV 304-637-1353 ------------------------------ Message-ID: <41F64907.6040806 [at] fredonia.edu> Date: Tue, 25 Jan 2005 08:26:31 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stucco Texture References:

Rob, In lieu of all that mess, might I suggest you try Jaxsan 600 in either trowel grade or brush grade applied evenly to the surface and then stippled with a sponge. This product is water-based acrylic latex elastomeric roofing material and sealant. No reportable hazardous materials incorporated in it. Dries quickly and is flexible and non-cracking like the joint compound process. Also very cost effective. Plastic Coatings Corporation 4904 Teays Valley Rd. (manufacturing address) Scott Depot, WV 25560 P.O. Box 1068 (mailing address) St. Albans, WV 25177 (304) 755-9151 Limelight Productions in Lee, MA is a stocking vendor. (800) 243-4950. HTH. Steve Rees, TD SUNY-Fredonia Fredonia, NY 14063 Rob Carovillano wrote: > What formula do you use to make stucco texture?[snipped] > ------------------------------ Message-Id: <200501251350.j0PDoRWx005037 [at] relay12-159.bu.edu> From: "Victor W. Smith" Subject: RE: Stucco Texture Date: Tue, 25 Jan 2005 08:50:04 -0500 In-Reply-To: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Rob Carovillano Sent: Tuesday, January 25, 2005 1:42 AM Subject: Stucco Texture What formula do you use to make stucco texture? I have done it before with a combination of paint, joint compound, and sawdust but forget the ratios. Rob Carovillano Rob, We use a product called Jaxsan 600. We just ordered 60 gallons, in a custom color. Send them a paint color card and it takes less than a week. Victor W. Smith ATD - Long Wharf Theatre 203-772-8263 ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: USITT Housing Date: Tue, 25 Jan 2005 09:07:21 -0500 Organization: Scheu Consulting Services, Inc. Message-ID: In-Reply-To: Richard at ladesigners [at] juno.com wrote: >Yes, but please note that staying at one of the 'official' hotels subsidizes the Institute, normally in the form of free meeting rooms. >/s/ Richard I understand and greatly appreciate your point. Within the industry, we "subsidize" not-for-profit and industry trade = groups in other ways by volunteering a lot of our time (as well as substantial costs of travel & hotels) by serving on committees, in groups writing standards, and the like. The direct costs can exceed of $5,000 a year. = And this doesn't include salaries while traveling and/or our "time lost". = For small businesses (such as mine), that's a lot of money. So please don't begrudge us cost saving opportunities when we come upon them. Folks who = have large institutions (such as colleges and/or manufacturers/suppliers) to cover these costs are lucky. The costs of attending USITT, ESTA, ETCP, = etc. conferences and gatherings come right out of my relatively shallow = pocket. No argument. Just a different approach to "subsidizing". Thanks. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39024F9FFF9 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: On-line Portfolios Date: Tue, 25 Jan 2005 08:39:03 -0600 Hello, I too have been working on an online portfolio. This is it's third iteration over the past four years. Take a look at: www.patrickimmel.com Comments and questions are welcome! I would like to make a public thank you to Noah Price for helping me setup and host my site. He has great prices and service that can't be beat! Thanks, Patrick Immel Northwest Missouri State University ------------------------------ In-Reply-To: References:

Message-Id: <086F1ED6-6EE3-11D9-84A4-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: list form ("anyone else") Date: Tue, 25 Jan 2005 10:08:56 -0500 On Jan 25, 2005, at 3:02 AM, Noah Price wrote: > > Content-Type: text/plain; charset=CP1255 Thanks, Inquiring minds wanted to know. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Tue, 25 Jan 2005 10:10:18 -0500 Subject: Galvanic reaction From: "Dougherty, Jim" Message-ID: I had always thought that the further apart metals were on the periodic table, the greater the galvanic reaction. And as someone else mentioned, a sacrificial anode like a zinc fish from a boating supply works well. Are they rated for rigging applications? ------------------------------ Subject: Re: fake neon Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 25 Jan 2005 10:17:53 -0500 on 1/24/05 Nathan wrote: Message-Id: <5.0.0.25.2.20050124141752.01dcf430 [at] 212.86.129.164> Date: Mon, 24 Jan 2005 14:26:26 -0500 From: Nathan Kahn/Look Solutions Subject: Re: lightline or fake neon In-Reply-To: References:

>Hello, >I am wondering what is being use now to fake neon on stage. It has been >some time since I've done this. I remember the words "light line." Does >that still exist? Is there a good product now for purchase? >Thanks, >John NORCOSTCO sells a product called CooLight that works well, you may have to braid it for thickness. There were several others neon "emulators" shown at LDI. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-ID: <000c01c502f0$cc3f3c30$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Stucco Date: Tue, 25 Jan 2005 05:16:07 -1000 <> Straight drywall compound works fine. Can be thinned a bit. Color can be added to help hide chips when the surface gets banged. (Don't try to "paint" the surface with the tinted mud. Very difficult to get an even color.) One can also add sawdust to get additional texture. A handful or two to a 5 gallon pail. Even if nothing is added to the mud, be sure to stir it with a mixing paddle in a drill... maybe adding a littler water. Get it creamy. Makes a huge difference in the ease of application Adding white glue will make the mud much tougher. Laters, Paul "What lake did Champlain discover?" asked Tom eerily. ------------------------------ In-Reply-To: References:

Message-Id: <4AF681C9-6EE6-11D9-9D4A-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Stucco Texture Date: Tue, 25 Jan 2005 08:32:16 -0700 I use elastomeric (sp?) coatings meant for roofing, or even sand-fine texture coating by Parex http://www.parex.com/syscomp.html that is meant as stucco. Really tough stuff, and not to expensive ( at least in the Southwest, "where stucco is king") Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jan 24, 2005, at 11:41 PM, Rob Carovillano wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > What formula do you use to make stucco texture? > > I have done it before with a combination of paint, joint compound, and > sawdust but forget the ratios. > > Rob Carovillano > Technical Director - Bluett Theatre > Saint Joseph's University > (610) 660-1044 > rcarovillano [at] verizon.net ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: fake neon Date: Tue, 25 Jan 2005 10:50:09 -0500 Message-ID: <001801c502f5$8f63e9a0$6701a8c0 [at] Dell> In-Reply-To: Here's the URL for a product called "Light Tape": http://www.lightingbyaurora.com/ I've never used it, but I'd love to hear from anyone who has. ------------------------------ Message-ID: <41F66B6D.60503 [at] fredonia.edu> Date: Tue, 25 Jan 2005 10:53:17 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stucco References:

Paul, Ohhhh! This hits close to home! About 3 blocks away. Steve Paul Guncheon wrote: >> "What lake did Champlain discover?" asked Tom eerily. ------------------------------ Message-ID: <20050125160551.524.qmail [at] web81004.mail.yahoo.com> Date: Tue, 25 Jan 2005 08:05:51 -0800 (PST) From: Brian Hatfield Subject: Haze with Singers In-Reply-To: Hi, I am having a problem with the using haze during an opera production I have singers complaining that they can't breathe and it hurts their throughts. Does anyone have a solution to this problem or any advice on what to tell these people? We have a LeMaitre hazer model H175. Thanks for the help Brian Hatfield ===== I took the road less traveled now where the heck am I? ------------------------------ Message-ID: <23fc01c502fa$30dda9c0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Haze with Singers Date: Tue, 25 Jan 2005 16:23:16 -0000 Here we go! 8-))) Do a Google groups search for 'haze' and you'll likely find reams! However, the short-stop is this: Modern hazer fluids are extremely unlikely to induce coughs or sore throats or any irritation in singers (or crew for that matter) as they've been designed not to - for that very reason. Many of the complaints are psycho-somatic (sp) - because they can SEE the mist, they ASSUME that it's smoke (like wood smoke or cigarette smoke) and that it's bad for them. I would say, (from personal experience over 20 years as well as taking the considered opinion over the last few from this NG and others) that the VAST majority of your cast will NOT have a poor reaction at all from haze. The most they MAY get is a little dryness, but even that's not usual these days. That being said, there MAY be an outside chance that there's an odd one (possibly 2 in a large cast) that MIGHT be susceptible, but it's unlikely. What I'd suggest is what's been suggested here before - try the psychological approach. Gather them all on stage and tell them all that you've got some new fluid that's JUST come out that's supposed to be wonderful - no allergic reactions, no sore throats - you've brought it in specially because you want to look after your performers. Tell 'em you want to test it whilst they're not actually rehearsing. Hit the haze machine (which is filled of course with regular haze fluid) and see what the reactions are. Stick a willing guinea pig/crew member/squeek in front of the machine, breathing normally and ask if he/she feels any ill effects. But I'm sure this will resurrect the age-old ping-pong about good & bad haze fluid....!! 8-))) Ynot ----- Original Message ----- From: "Brian Hatfield" To: "Stagecraft" Sent: Tuesday, January 25, 2005 4:05 PM Subject: Haze with Singers > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi, > I am having a problem with the using haze during an > opera production I have singers complaining that they > can't breathe and it hurts their throughts. Does > anyone have a solution to this problem or any advice > on what to tell these people? We have a LeMaitre > hazer model H175. > Thanks for the help > Brian Hatfield > > > > ===== > I took the road less traveled now where the heck am I? > ------------------------------ Date: Tue, 25 Jan 2005 11:39:57 -0500 (EST) From: Boyd Ostroff Subject: Re: Haze with Singers In-Reply-To: Message-ID: Welcome to the wonderful world of opera. Yes, this is a hot button with singers and it may be that you will simply have to stop using the haze. Here, after numerous negotiations with AGMA (the singers union) they have agreed to let us use the LeMaitre with their water based haze fluid. If possible you might try using an MDG Atmosphere hazer. They use a very fine oil solution which might be less noticeable. We are not able to use these in Philadelphia, but I've used them elsewhere without complaint. Try using less haze if you can't do that. I hate to be the bearer of bad news, but if you have someone who is violently opposed to the use of haze you may end up having to cut the effect completely. This has happened to us more than once unfortunately... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Tue, 25 Jan 2005 11:46:27 -0500 (EST) From: Boyd Ostroff Subject: Re: Haze with Singers In-Reply-To: Message-ID: On Tue, 25 Jan 2005, Tony wrote: > Many of the complaints are psycho-somatic (sp) While this is probably true, in the end it really doesn't matter. If a singer is convinced that the haze is affecting their performance, and if they are essential to the show, then there's little you can do aside from cutting the effect. It comes down to a battle of wills, and your producer or director will eventually cave in for the simple reason that the show can still go on without the haze, but it can't without the soprano. Next season we hope to try out a system like this, which would actually be something the singers might LIKE :-) http://www.citcfx.com/manuals/Jungle%20Mist%20System%20Op%20Instr%20Booklet%20031001.pdf | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: IAEG [at] aol.com Message-ID: <8e.1f738a5d.2f27d26e [at] aol.com> Date: Tue, 25 Jan 2005 11:48:46 EST Subject: Re: Haze with Singers In a message dated 1/25/05 11:47:07 AM, ostroff [at] operaphilly.com writes: << > Many of the complaints are psycho-somatic (sp) While this is probably true, in the end it really doesn't matter. >> it's just like dancers with a floor, , if it looks slippery and they think it's slippery then it doesn't matter if it really is or not, you have to treat it as if it as slick as ice. very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <1106671868.41f678fcc68d8 [at] webmail> Date: Tue, 25 Jan 2005 11:51:08 -0500 From: doran [at] bard.edu Cc: mheinicke [at] sbcglobal.net Subject: Re: Wood quality vs. distortion References: In-Reply-To: Mike, The short answer: #2 or better, just as you get it from the local lumber yard, should be fine. Put all bows and bends to the "inside" so that the tension in the wood doesn't work to pull the flat apart. The extra cost isn't often worth getting clear pine or clear poplar. Next comes the long answer. There are many ways to work with wood movement, but you must remember that all wood moves and reacts to its environment. Changes in humidity, temperature, tension, and use will all have an effect on the wood. That being said, try the standard theatrical flat you've described (your first option). If you want to double your cost and time, try building a Hollywood- style frame onto the back of your standard flat frame, making what you might think of as a flat box frame. If you did that, you could rip your pieces from a sheet of plywood and save money. Plywood also moves and distorts less than dimensional lumber. In general, quarter-sawn woods will move less than flat-sawn. Quarter- sawn will be distinguished by looking at the growth rings from the end of the boards. you'll see that the board, if put back into the tree, will line up more or less radially to the center of the tree. A flat-sawn board will line up parallel to the diameter line, if you think of it like that. Quarter-sawn is also much more expensive than flat-sawn because it takes more time to mill, and because you get less from a tree. R. Bruce Hoadley has a great book, _Understanding Wood_, on Taunton Press. If you really want to get into it, that's a book that will answer a lot of your questions about wood. Hope this helps, Andy Champ-Doran Technical Director Bard College Depatments of Dance and Theater Annandale-on-Hudson, NY Quoting Michael Heinicke : > The project: I want to build a frame for a 6'x6' painting to hang for > display. Originally the muslin was attached to a standard flat frame for > painting but was removed for storage and for others to use the frame. > > The questions: By using clear white pine or poplar instead of standard > No.2 or better 1x4, will the possibility of wood distortion be reduced? > Which would be less likely to distort: a standard flat frame, or a > hollywood frame with supplemental toggles running through the center in > each direction? I am inclined to think the 2nd option would be less > likely to bow, cup, bend or distort in any other way. Or does someone > have a suggestion that I haven't thought of? > > Thanks, > Mike H > ------------------------------ From: "Jonathan S. Deull" Subject: Lighting for dance Date: Tue, 25 Jan 2005 12:13:26 -0500 Message-ID: What are your favorite teaching and reference books/materials on the subject of lighting design for dance? Jonathan Deull Edmund Burke School ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Lighting for dance Date: Tue, 25 Jan 2005 12:18:52 -0500 Message-ID: <001d01c50301$f4d0ea70$6701a8c0 [at] Dell> In-Reply-To: In the mid-1950s, Tom Skelton wrote a series of articles for Dance Magazine. Except for the chapters on equipment and gel, it's still relevant. > What are your favorite teaching and reference books/materials > on the subject of lighting design for dance? ------------------------------ Message-Id: <6.2.0.14.0.20050125092925.029fd350 [at] localhost> Date: Tue, 25 Jan 2005 09:36:11 -0800 From: Jerry Durand Subject: Re: 3 ph 1 transformer In-Reply-To: References: At 09:32 AM 1/24/2005, you wrote: >Are the ETC racks, while wired with 5 wire, internally set for 3 phase? I >remember the portable CD80 strand racks that are convertible from 1 phase >to 3 phase. Even if you have 3 hot wires, 2 may not wired internally. While setting up a test floor at a semiconductor manufacturer, some of the computer systems required 3-phase (per their data sheet) which we didn't have on that floor (there were a lot of electrical problems there). After a lot of expense to pull in the 3-phase, the computers arrived. Packed with them was a transformer/breakout box to convert the 3-phase to three 120V single phase power strips. The screams were heard far and wide. Another thing to watch out for, there are single phase to 3-phase converter boxes used with motors. Look up "phase converter" on McMaster (page 785). These are either combinations of capacitors and inductors, or a motor-generator set. There may even be solid-state ones now. These would NOT be recommended for dimmers. ---------- 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: IAEG [at] aol.com Message-ID: Date: Tue, 25 Jan 2005 12:36:09 EST Subject: Re: Lighting for dance In a message dated 1/25/05 12:20:00 PM, stagecraft [at] jeffsalzberg.com writes: >In the mid-1950s, Tom Skelton wrote a series of articles for Dance >Magazine. Except for the chapters on equipment and gel, it's still >relevant. > > > >> What are your favorite teaching and reference books/materials >> on the subject of lighting design for dance? I learned more being on staff at The Joffrey at the old City Center, , with the Skelton repertory plot being manipulated and re worked by Jennifer Tipton and Penny Curry than I think all the book study I could do for the rest of my life. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <103.597ee12d.2f27dff0 [at] aol.com> Date: Tue, 25 Jan 2005 12:46:24 EST Subject: Re: Lighting for dance In a message dated 25/01/05 17:14:26 GMT Standard Time, jdeull [at] clarktransfer.com writes: > What are your favorite teaching and reference books/materials on the subject > of lighting design for dance? The best I can suggest is "British Theatre Design - The Modern Age", by many authors. ISBN 0-297-83070-8, published by Weidenfeld and Nicholson. The general principle seems to be strong, low angle crosslight, plus whatever you need to make the set work. What are called 'shinbusters' are favourites. Frank Wood ------------------------------ Date: Tue, 25 Jan 2005 12:55:32 -0500 From: MissWisc [at] aol.com Subject: Re: Haze with Singers Message-ID: <4532A5B0.437415DA.007B9F2A [at] aol.com> Try hazing far downstage or upstage of where the singers are. Kristi ------------------------------ Date: Tue, 25 Jan 2005 11:03:04 +0000 From: CB Subject: Re: list form ("anyone else") Message-id: <3.0.6.32.20050125110304.00b71410 [at] pop.west.cox.net> >I find web-based >discussion forums much, much more effective (vBulletin, phpBB, etc). They >let everyone participate and catch up at their own speed. They also break >things into categories so you can limit the amount of stuff to scan. There are many times when I have to get up early and dash out the door in very little time because I was working until the wee's. I know that I am the only one in this business that does that, but still, I'd like the 'dinosaur' ability to open my mail program and then dash, as it will DL any mail I have and allow me to read it at any time, connected or not. This way I can get all my mail and peruse it at whatever leisure time I may have during the day, compose my replies, and send them when I get back home, to the hotel, whatever. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <1106675660.41f687cc49532 [at] webmail.plattsburgh.edu> Date: Tue, 25 Jan 2005 12:54:20 -0500 From: kim.hartshorn [at] plattsburgh.edu Subject: my $.02 on forum format References: In-Reply-To: After all of these years I no longer need an email thrill several times a day, I also would prefer a web-based forum site. I get plenty of email thrills from the Viagara adds and those nice people in Nigeria who want to share their fortune with me if they could only borrow my bank account for a quick money transfer. One thing it would do is cut down on the ammount of 'i just said that' replies as well as endless multiple quotes. (Both of which are major reasons I find the list a bit burdensome to keep following these days) Kim Hartshorn ------------------------------ Date: Tue, 25 Jan 2005 11:14:24 +0000 From: CB Subject: Re: Dance Floor Roll Diameter Message-id: <3.0.6.32.20050125111424.00b71410 [at] pop.west.cox.net> >So I sent it to the girlfriend (who happens to be a PhD >physics and does math (& calculus) for fun)! She sounds hot! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Tue, 25 Jan 2005 11:16:06 +0000 From: CB Subject: right justified message & digest Message-id: <3.0.6.32.20050125111606.00b71410 [at] pop.west.cox.net> >and amen >to whoever said it's like dropping in for a beer after work! I Aw, shucks, ma'am, 'twernt nuthin'! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <005601c5030a$8f5ed400$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: my $.02 on forum format Date: Tue, 25 Jan 2005 10:20:33 -0800 > and those nice people in Nigeria who want to share their > fortune with me if they could only borrow my bank account for a quick > money > transfer. A colleague the other day read one of the new ones of those the other day - from a woman that's (as I recall) of Ethiopian nationality, but in an Iraqi prison camp, where the conditions are intolerable... and yet, her written English skills seemed superb, and this 'intolerable' prison camp seems to have internet access..... she even said the reader should reply to this same email address and she would get the paperwork in motion, blah blah.... -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: From: "Jason" References:

Subject: Re: 3 ph 1 transformer Date: Tue, 25 Jan 2005 10:36:58 -0800 The ETC 12 way portable rack is strapable to run single or 3 phase too > >Are the ETC racks, while wired with 5 wire, internally set for 3 phase? > >I > >remember the portable CD80 strand racks that are convertible from 1 phase > >to 3 phase. Even if you have 3 hot wires, 2 may not wired internally. I have an old 8 way portable rack that a UL label on it that says input 80 amp 3 phase 208/120 VAC third phase not use. I have a chuckle every time I read it. > While setting up a test floor at a semiconductor manufacturer, some of the > computer systems required 3-phase (per their data sheet) which we didn't > have on that floor (there were a lot of electrical problems there). After > a lot of expense to pull in the 3-phase, the computers arrived. Packed > with them was a transformer/breakout box to convert the 3-phase to three > 120V single phase power strips. The screams were heard far and wide. > ------------------------------ Message-id: Date: Tue, 25 Jan 2005 12:44:40 -0800 Subject: Thanks you - re:lightline or fake neon From: "John Hauer" References: In-Reply-To: "Stagecraft" writes: >lightline or fake neon Thanks for all the input. I now begin to look for live wire (or the like). I really do appreciate the speed of the replies on this list. John ------------------------------ Message-Id: <200501252101.j0PL1BM66961 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Falling sheaves of paper Date: Tue, 25 Jan 2005 21:01:11 GMT Running across an ad for Jauchem & Meeh (showing a bunch of papers blowing around) reminded me I am designing a show that needs to have reams of paper falling from the heavens ("Dear Charlotte" - about Charlotte Bronte). I have planned on just outsourcing this 'challenge' to those who are building my set (how's that for passing the buck?) but I would love to hear if anyone's done such a thing. The papers should come fluttering down, not a 'dump' of papers ("THUD!"). Should be like snow, but obviously full sheets of paper are larger than what one would do with a snow cradle or tube. I also want to avoid something that sounds like a solenoid going off, dumping the paper. Any thoughts? -- Jon Ares ------------------------------ Date: Tue, 25 Jan 2005 16:12:08 -0500 (EST) From: Boyd Ostroff Subject: Re: Falling sheaves of paper In-Reply-To: Message-ID: I did something like this for an opera a couple years ago. I just used our stock snow bag with papers spread out in the area where we wanted them to fall. Worked really well. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Falling sheaves of paper Date: Tue, 25 Jan 2005 16:13:42 -0500 I needed books to fall for Far. 951. I drilled a 3/8" hole along the spine of a bunch of old one act scripts and ran a captive rod through them. Using trick line slowly pulling the rod out of the books allowed us to adjust the amount of books dropping at one time. A smooth rod would give you better control on single sheets I would imagine. Unless the hole is objectionable I don't see why a variation of this wouldn't work. IIRC somewhere I saw a leaf drop that might work (tech briefs maybe) > The papers should > come fluttering down, not a 'dump' of papers ("THUD!"). Should be like > snow, ------------------------------ Reply-To: From: "Michael Wade" Subject: Wire Lamp Guards Date: Tue, 25 Jan 2005 16:14:59 -0500 Message-ID: <000f01c50322$f1fa95f0$6600a8c0 [at] Mike> Hello all. I am looking for wire lamp guards, similar to the ones you would find on dressing room mirror lights and I am stumped. I have found a few, but they are $10+ per guard, I really want to find them for $2 +/- each. If anyone has any ideas feel free to email me off list. Thanks for the help. Mike Wade ------------------------------ Reply-To: From: "Shakespeare & Company Production Department" Subject: RE: Falling sheaves of paper Date: Tue, 25 Jan 2005 16:21:03 -0500 Message-ID: In-reply-to: We did something like this for a show a few years ago. I wasn't closely involved with the design, but I believe it was done with a series of spring clips rigged so that you could pull a string and a few sheets of paper would fall. I believe we did 2 or 3 of them over the stage. Nathan Towne-Smith Production Manager Shakespeare & Company 70 Kemble St. Lenox, MA 01240 (413) 637-3169 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of jonares [at] hevanet.com Sent: Tuesday, January 25, 2005 4:01 PM To: Stagecraft Subject: Falling sheaves of paper For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Running across an ad for Jauchem & Meeh (showing a bunch of papers blowing around) reminded me I am designing a show that needs to have reams of paper falling from the heavens ("Dear Charlotte" - about Charlotte Bronte). I have planned on just outsourcing this 'challenge' to those who are building my set (how's that for passing the buck?) but I would love to hear if anyone's done such a thing. The papers should come fluttering down, not a 'dump' of papers ("THUD!"). Should be like snow, but obviously full sheets of paper are larger than what one would do with a snow cradle or tube. I also want to avoid something that sounds like a solenoid going off, dumping the paper. Any thoughts? -- Jon Ares ------------------------------ Message-ID: <468d2282050125134567ca13b2 [at] mail.gmail.com> Date: Tue, 25 Jan 2005 16:45:36 -0500 From: Michael Beyer Reply-To: Michael Beyer Subject: Re: Haze with Singers In-Reply-To: References: just wait til your audience starts caughing because they see smoke in the air... I have gone so far as to say that it is merely water in the air, and it is actually better for them than no haze (however true it may be, it keeps them feeling healthy). On Tue, 25 Jan 2005 12:55:32 -0500, MissWisc [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Try hazing far downstage or upstage of where the singers are. > > Kristi > -- www.mjblightdesign.com ------------------------------ From: "Jonathan S. Deull" Subject: RE: Falling sheaves of paper Date: Tue, 25 Jan 2005 17:05:05 -0500 In-Reply-To: Message-ID: Michael Frayn's newest show, Democracy, now on Broadway, has thousands of pieces of paper falling from bookshelves at the end of the show. The stage ends up completely covered. Bookcase shelves containing file folders filled with papers collapse, resulting in a blizzard of documents. Jonathan ------------------------------ Message-ID: <02ae01c5032b$0ef32520$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" Cc: production [at] shakespeare.org References: Subject: Re: Falling sheaves of paper Date: Tue, 25 Jan 2005 17:03:14 -0500 A fresh stack of paper in front of a fan? Always seem to work just when you don't want it to. Alf ------------------------------ Message-ID: Date: Tue, 25 Jan 2005 14:44:35 -0800 From: Mat Goebel Reply-To: Mat Goebel Cc: theatre-sound [at] listserv.aol.com (theatre sound) Subject: Source for twistlock and edison extension cords Hey all, Does anyone have a preferred vendor for affordable extension cords in twistlock and edison varieties? I can't find anyone local to me that can get them at a reasonable price - hardware stores have to special order and the local mega-theatre-rental company wants my first born child. Please email me off list, I don't want this to turn into a commercialised thread. Thanks again for your continued help. -- Mat Goebel Cell: 510.693.1448 ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Source for twistlock and edison extension cords Date: Tue, 25 Jan 2005 15:52:58 -0700 On Jan 25, 2005, at 3:44 PM, Mat Goebel wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hey all, > > Does anyone have a preferred vendor for affordable extension cords in > twistlock and edison varieties? I can't find anyone local to me that > can get them at a reasonable price - hardware stores have to special > order and the local mega-theatre-rental company wants my first born > child. > > Please email me off list, I don't want this to turn into a > commercialised thread. > > Thanks again for your continued help. > -- > Mat Goebel > Cell: 510.693.1448 > Oh, why not. Myself, I would like to hear about some place to by these. I just wish some places I work for would buy some, instead of going with Home Depot Orange colored ones. I want mine in purple, myself. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: Date: Tue, 25 Jan 2005 14:58:48 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Source for twistlock and edison extension cords In-Reply-To: References:

If everyone else wants to hear it, then by all means. I just don't want to get flamed for inciting vendor wars and brining commercial natured posts to the list. > > Oh, why not. > > Myself, I would like to hear about some place to by these. -- Mat Goebel Cell: 510.693.1448 ------------------------------ Date: Tue, 25 Jan 2005 18:04:31 -0500 From: Stephen Litterst Subject: Re: Source for twistlock and edison extension cords Message-id: <41F6D07F.E73A251 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Mat Goebel wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey all, > > Does anyone have a preferred vendor for affordable extension cords in > twistlock and edison varieties? I can't find anyone local to me that > can get them at a reasonable price - hardware stores have to special > order and the local mega-theatre-rental company wants my first born > child. Buy? You mean I've been making them all these years when I could have bought them pre-made? Seriously, if you need a significant quantity, it's often cheaper (since you've expressed that cost is an issue) to buy the raw cable and connectors and do the assembly yourself. If you're looking to buy new - I'd point you to www.proadv.com for Production Advantage's website. You can also buy the raw materials there if you choose to go that route. For used equipment, try lightbroker.com or prg.com. I've been pretty happy with the used fixtures I've purchased from PRG so I'd imagine their cables are in pretty good condition as well. I don't work for any of the above companies. I don't get any kickback from customer referrals (although that would be nice...) I've simply used their services and find them worthy of recomending. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Tue, 25 Jan 2005 18:20:44 -0500 Subject: Re: Carabiners From: Bill Sapsis Message-ID: In-Reply-To: on 1/24/05 10:46 PM, Michael Heinicke at mheinicke [at] sbcglobal.net wrote: > One is using a steel 'biner (usually autolocking) to haul up motor > points instead of of tying a loop every time. Every time I do something different because it's "easier' or "faster" i try to stop and take a very serious look at all the things that could possible go wrong with the new method and their ramifications. Most of the time I usually go back to the old way. Most, not all the time though. I would not use a biner in this application. Nor have I said that anyone else should not use a biner. (at least I don't think I've said that) What FWIW, I have said is that I won't use them. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Tue, 25 Jan 2005 18:30:56 -0500 Subject: Re: Carabiners From: Bill Sapsis Message-ID: In-Reply-To: on 1/25/05 6:20 PM, Bill Sapsis at bill [at] sapsis-rigging.com wrote: > I would not use a biner in this application. Nor have I said that anyone > else should not use a biner. (at least I don't think I've said that) What > FWIW, I have said is that I won't use them. OK. Let me try that one more time. What i was trying to say was that I am not telling other people what to do or not do. I am telling people what I won't do (use biners) and, hopefully, explainging why in a clear way. (as opposed to that garbled paragraph above) Thanks Bill (can you tell it's been a long day?) www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Subject: Tree bark Date: Tue, 25 Jan 2005 17:04:04 -0700 Message-ID: <0E33A2A50690F14E89579A428DA592471B66B8 [at] itex04.unco.edu> From: "Sherman, Roger" What suggestions might anybody have for creating realistic tree bark?=A0 = Designer's concept is the sort of hobbit universe type trees from the = art of James Christensen.=A0 This tree is for Merry Wives - the opera = and will be about 4" diameter and 18' tall with long gnarly roots = spreading out over the stage.=A0 It must be practical in that Falstaff = gets stuck about halfway up in a large hole in the trunk.=A0 Current thinking has a plywood base for the roots, wooden armatures, = steel frame for the large trunk, chickenwire over everthing, muslin over = that and then layers of cut industrial felt which will be gooped and = painted.=A0 But we are very open to other ideas!=A0 I'm sure we have all = tried to make a tree at one time (as we are all gods!), so I and my = students would like a lot of things to experiment with.=A0 Help! Roger Sherman TD UNC/LTR ------------------------------ Message-ID: <41F6E10F.4070100 [at] fuse.net> Date: Tue, 25 Jan 2005 19:15:11 -0500 From: Stuart Wheaton Subject: Re: Dance Floor Roll Diameter References: In-Reply-To: CB wrote: >>So I sent it to the girlfriend (who happens to be a PhD >>physics and does math (& calculus) for fun)! > > > She sounds hot! > Chris "Chris" Babbie Damn right! ------------------------------ Subject: RE: Tree bark Date: Tue, 25 Jan 2005 16:09:38 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239ED [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I've sculpted drywall mud for this effect before. Turned out ok... -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Sherman, Roger Sent: Tuesday, January 25, 2005 4:04 PM To: Stagecraft Subject: Tree bark For info, archives & UNSUBSCRIBE, see --------------------------------------------------- What suggestions might anybody have for creating realistic tree bark?=A0 = Designer's concept is the sort of hobbit universe type trees from the = art of James Christensen.=A0 This tree is for Merry Wives - the opera = and will be about 4" diameter and 18' tall with long gnarly roots = spreading out over the stage.=A0 It must be practical in that Falstaff = gets stuck about halfway up in a large hole in the trunk.=A0 Current thinking has a plywood base for the roots, wooden armatures, = steel frame for the large trunk, chickenwire over everthing, muslin over = that and then layers of cut industrial felt which will be gooped and = painted.=A0 But we are very open to other ideas!=A0 I'm sure we have all = tried to make a tree at one time (as we are all gods!), so I and my = students would like a lot of things to experiment with.=A0 Help! Roger Sherman TD UNC/LTR ------------------------------ Message-Id: <6.1.2.0.0.20050125191426.01b39a50 [at] mail.insightbb.com> Date: Tue, 25 Jan 2005 19:17:36 -0500 From: Mike Brubaker Subject: Re: Source for twistlock and edison extension cords In-Reply-To: References:

I have to second the recommendation for Production Advantage. Nice people, easy to work with, and very nice prices. Take two-fers, for example. I can build them for about $18 each (not including time), buy them from Production Advantage for about $27 each (not including shipping), or from a local theatrical dealer for $48 each (I don't think they really wanted to sell them). I don't work for Production Advantage, either. Mike At 06:04 PM 1/25/2005, Stephen Litterst wrote: >Seriously, if you need a significant quantity, it's often cheaper >(since you've expressed that cost is an issue) to buy the raw cable >and connectors and do the assembly yourself. > >If you're looking to buy new - I'd point you to www.proadv.com for >Production Advantage's website. You can also buy the raw materials >there if you choose to go that route. ------------------------------ Message-ID: <41F6E6E3.70703 [at] fuse.net> Date: Tue, 25 Jan 2005 19:40:03 -0500 From: Stuart Wheaton Subject: Re: right justified message & digest References: In-Reply-To: Judy wrote: >> Did anyone else get kupfer's message right justified? How did that >> get through to the list? I have never seen that happen before either >> on or off list. Just curious. >> > If anybody has a clue I'd like to hear it > too! > Judy, at home now! > Well... Judy is posting from Isreal, and Hebrew reads right to left, so if your text editor was last used to send a message in Hebrew, it might have still been set to right justify? ------------------------------ Message-ID: <41F6E997.1010008 [at] fuse.net> Date: Tue, 25 Jan 2005 19:51:35 -0500 From: Stuart Wheaton Subject: Re: Falling sheaves of paper References: In-Reply-To: jonares [at] hevanet.com wrote: > Running across an ad for Jauchem & Meeh (showing a bunch of papers > blowing around) reminded me I am designing a show that needs to have > reams of paper falling from the heavens ("Dear Charlotte" - about > Charlotte Bronte). I have planned on just outsourcing this 'challenge' > to those who are building my set (how's that for passing the buck?) but > I would love to hear if anyone's done such a thing. The papers should > come fluttering down, I saw a device that had a tray of papers, and a small motor that rode on a rod with a rubber wheel pressing down on the papers. Turn on the motor (make sure it is spinning in the proper direction) and the wheel spits the papers off the top of the stack, and rides down as the stack thins. Stuart ------------------------------ Date: Tue, 25 Jan 2005 20:00:52 -0500 Message-Id: <200501252000.AA247005478 [at] adamb.com> From: "Adam Berns" Reply-To: Subject: Re: Tree bark In the past (and this works really well in educational systems), wrap the s= trucutre in some 2" think foam, or more. Get some scrapers, carves, whatev= er, and go to down. For some reason students love playing with foam, don't= know why, then they run around shocking themselves. Kids must be kids. W= ell anyways, then we cover it with sculptrcuoat or phlexglue and joint comp= ound (dope) ---------- Original Message ---------------------------------- From: "Sherman, Roger" Reply-To: "Stagecraft" Date: Tue, 25 Jan 2005 17:04:04 -0700 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- What suggestions might anybody have for creating realistic tree bark?=A0 De= signer's concept is the sort of hobbit universe type trees from the art of = James Christensen.=A0 This tree is for Merry Wives - the opera and will be = about 4" diameter and 18' tall with long gnarly roots spreading out over th= e stage.=A0 It must be practical in that Falstaff gets stuck about halfway = up in a large hole in the trunk.=A0 Current thinking has a plywood base for the roots, wooden armatures, steel = frame for the large trunk, chickenwire over everthing, muslin over that and= then layers of cut industrial felt which will be gooped and painted.=A0 Bu= t we are very open to other ideas!=A0 I'm sure we have all tried to make a = tree at one time (as we are all gods!), so I and my students would like a l= ot of things to experiment with.=A0 Help! Roger Sherman TD UNC/LTR ------------------------------ Message-ID: <28551.70.88.129.74.1106701305.squirrel [at] 70.88.129.74> In-Reply-To: References:

Date: Tue, 25 Jan 2005 20:01:45 -0500 (EST) Subject: Re: Dance Floor Roll Diameter From: "Samuel T. Fisher" So, maybe when I get some free time I'll try to convert my page of math into simple estimating equations but for now: 574 feet of .06 inch floor, starting on an 8" drum will take about 270 wraps and be about 40 inches in diameter when finished. Are you planning on moving and rolling this up with a fork lift? Sam Fisher VP - Fisher Theatrical, LLC 410-455-9641 410-455-9643 fax www.FisherTheatrical.com ------------------------------ Message-ID: <41F6EE5A.10004 [at] fuse.net> Date: Tue, 25 Jan 2005 20:11:54 -0500 From: Stuart Wheaton Subject: Re: Tree bark References: In-Reply-To: Sherman, Roger wrote: > What suggestions might anybody have for creating > realistic tree bark? Designer's concept is the sort of > hobbit universe type trees from the art of James > Christensen. This tree is for Merry Wives - the opera > and will be about 4" diameter and 18' tall with long > gnarly roots spreading out over the stage. Stonehenge? I used rough burlap and a zillion staples to change a cardboard tube into a tree trunk. It kind of depends on the kind of bark you want to simulate, birch might be best done with brown paper, Bamboo with twine and masking tape, Elm, ash or oak. with burlap or muslin stapled or sewn into valleys. Stuart ------------------------------ Message-ID: <005801c50344$d7856430$6701c442 [at] Cassandra> From: "Byron Lovelace" References: Subject: forklifting the 9' grand Date: Tue, 25 Jan 2005 19:17:44 -0600 I want to thank everyone for the great response to my request for advice about forklifting the 9 foot grand piano. After mulling all of it for several days this is what I did: put the padded cover on and strapped it to it's "Y" dolly, put a piece of ply up against the lift risers and forked under the Y between the casters on the bass side as close to the keys as possible, lifted slowly 2 feet, rolled forward then set it gently down on the platform. Easy as pie. No torquing, no problems at all. Still in tune. Glad I didn't have to travel far. But for a simple lift and set on a level smooth floor it was fine. I also learned how to take the legs and pedal mechanism off and on! But no need this time. Thanks again. Byron Lovelace Tech Director/Facilities Manager Cultural Activities Center Temple Texas lovelace [at] hot.rr.com ------------------------------ Subject: RE: Tree bark Date: Tue, 25 Jan 2005 20:37:33 -0500 Message-ID: From: "jknipple" We had really good luck making realistic trees by using 20' sonotube, = stapling strips of cardboard onto it, wrapping it in muslin (glued and = stapled around the ridges) around it, texturing it with Gaxxon and a = comb, and then painting it. You end up (depending on how you do the = cardboard and muslin), with something that looks like a really straight = maple tree. I could probably send pictures, if you want. We supported it = by inserting plywood disks with a 2" hold in the center into the trees, = then running a 2" pipe up it and flanging it to the floor. We hung a = hammock between 2 of them, and those we had to support at the top as = well as the bottom. Oh, and if anyone is interested in buying a bunch of trees from us = (something like 15, I think, of various diameters), please contact me = off list. They're just sitting backstage right now, and I'm pretty sure = we're not going to use them anytime soon. Jim Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 >What suggestions might anybody have for creating realistic tree = bark?=A0=20 ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 25 Jan 2005 20:44:09 -0500 From: "richard j. archer" Subject: Re: Falling sheaves of paper >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >We did something like this for a show a few years ago. I wasn't closely >involved with the design, but I believe it was done with a series of spring >clips rigged so that you could pull a string and a few sheets of paper would >fall. I believe we did 2 or 3 of them over the stage. > >Nathan Towne-Smith Same idea but use spring clothes pins (wooden). Cheap Dick A TD, Cornell Univ. ------------------------------ Message-ID: <41F6FFB3.FE80D55 [at] cybercom.net> Date: Tue, 25 Jan 2005 21:25:55 -0500 From: Dale Farmer Subject: Re: Source for twistlock and edison extension cords References:

Stephen Litterst wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Mat Goebel wrote: > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Hey all, > > > > Does anyone have a preferred vendor for affordable extension cords in > > twistlock and edison varieties? I can't find anyone local to me that > > can get them at a reasonable price - hardware stores have to special > > order and the local mega-theatre-rental company wants my first born > > child. > > Buy? You mean I've been making them all these years when I could have > bought them pre-made? > For edison cords of 12/3 SO grade, if you don't mind them coming in various bright colors, getting them when the orange place has them on sale will often beat just the cost of parts. For 10 gauge or twistlock connectors, your labor is the biggest variable, and for small quantities of cords it is easier and probably cheaper to do it yourself during a down time. For large quantities of cable, going to one of the places that specializes in making cables is generally going to be more cost effective. If you are in a university environment with a theater program, you could arrange for one of the technical theater classes to have a practitum of making various electrical cables useful for theater. Cost now comes out of academic funds too, and those now useless leftover cables can go to a good home in the theater. --Dale ------------------------------ Message-Id: <6.1.0.6.2.20050125205223.0208bf18 [at] mail.DesignRelief.com> Date: Tue, 25 Jan 2005 20:55:08 -0600 From: Mitch Hefter Subject: Re: ANSI E1.11 -- USITT DMX512-A In-Reply-To: References: On 1/25/2005, Jerry Durand wrote: >At 08:06 PM 1/24/2005, Mitch Hefter wrote: > >A hard copy version is now available from USITT (see the ESTA Publications > >section): > >https://secure.ffa.ucalgary.ca/cgi-bin/usitt/store/enter.pl > >I might mention I had to look, I had missed your ESTA note above. Might be >good to put a note in the USITT section to point people to it. Thanks for the heads up. I forwarded your comment on and they are working on it. . . . ------------------------------------------------------------------------ Mitch Hefter mitch.hefter [at] DesignRelief.com ESTA / USITT DMX512 Revision (ANSI E1.11) Task Group Chair USITT Engineering Vice-Commissioner, DMX512 Subcommittee Chair Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Tree bark Date: Tue, 25 Jan 2005 22:31:01 -0600 Message-ID: References: In-Reply-To: It really depends on what kind of bark you are looking for. =46or really deep gnarly bark some variation on foam carved, by hand or with lacquer thinner, works best for me. Sometimes I'll cover this with cheese cloth for strength.=20 I did something once with sona tub covered in cheese cloth. I just bunched it at random spacing and glued down with flex glue. This worked out well but it stood out less then the above because the paint tended to glue down some of the cloth. I have also had good luck with burlap covering chicken wire. I have covered this with various forms of texture. My favorite is a mix of paint, flex glue, and powered clay. This fill the pours of the burlap nicely and the chicken wire tends not the show. rob johnson freelance designer Rogue Productions 629 Kenwood Parkway Minneapolis, MN 55403 612-702-4274 On Tue, 25 Jan 2005 17:04:04 -0700, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >What suggestions might anybody have for creating realistic tree bark?=A0= Designer's concept is the sort of hobbit universe type trees from the = art of James Christensen.=A0 This tree is for Merry Wives - the opera and= will be about 4" diameter and 18' tall with long gnarly roots spreading = out over the stage.=A0 It must be practical in that Falstaff gets stuck = about halfway up in a large hole in the trunk.=A0 > >Current thinking has a plywood base for the roots, wooden armatures, = steel frame for the large trunk, chickenwire over everthing, muslin over = that and then layers of cut industrial felt which will be gooped and = painted.=A0 But we are very open to other ideas!=A0 I'm sure we have all = tried to make a tree at one time (as we are all gods!), so I and my = students would like a lot of things to experiment with.=A0 Help! > >Roger Sherman >TD UNC/LTR ------------------------------ Message-Id: <6.2.0.14.0.20050125210509.029ed8f0 [at] localhost> Date: Tue, 25 Jan 2005 21:06:10 -0800 From: Jerry Durand Subject: Re: Tree bark In-Reply-To: References:

At 08:31 PM 1/25/2005, you wrote: >I have also had good luck with burlap covering chicken wire. I have >covered this with various forms of texture. My favorite is a mix of >paint, flex glue, and powered clay. This fill the pours of the burlap >nicely and the chicken wire tends not the show. We've used chicken wire covered with muslin stiffened with starch. Keep it crinkly and spray-paint. ---------- 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 ------------------------------ Subject: USITT Reception Date: Wed, 26 Jan 2005 00:03:09 -0600 Message-ID: <113B53270F9381408A36C24443A9127F01158A2B [at] TSSBS.TSC.LOCAL> From: "Roy Harline" List members,=20 Texas Scenic Company has graciously hosted the reception at USITT for a = couple of years. That will not be possible this year. I have two possible solutions... 1. We can find a place off site with a room and a bar. We hold the = reception at the time and place of our choosing. Everybody gets there = and buys their own thing and we have a good time. 2. Somebody else graciously steps up and takes on the role of host. We = hold the reception at the regular time (even though it conflicts with = Tech olympics, USITT has pointed out that Friday night is pretty much = the only night for this kind of sponsored activity.) We all get there = and eat drink and be merry together.... I will do the best I can to support the voice of the list... Roy Harline Sales and Design Texas Scenic Company=20 ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Falling sheaves of paper Date: Wed, 26 Jan 2005 00:54:44 -0500 >>Running across an ad for Jauchem & Meeh (showing a bunch of papers >>blowing around) reminded me I am designing a show that needs to have reams >>of paper falling from the heavens ("Dear Charlotte" - about >>Charlotte Bronte). I have planned on just outsourcing this 'challenge' to >>those who are building my set (how's that for passing the buck?) but I >>would love to hear if anyone's done such a thing. The papers should come >>fluttering down, >I saw a device that had a tray of papers, and a small motor that rode on a >rod with a rubber wheel pressing down on the papers. Turn on the motor >(make sure it is spinning in the proper direction) and the wheel spits the >papers off the top of the stack, and rides down as the stack thins. Here's a hint: Use a remote-controlled vehicle. You can get them for $20 or so at Kay-Bee or Toys R Us, and it even gives you the proper means for activating the effect. (You'll want to check it during tech to make certain it doesn't interfere with headsets or assisted-listening devices, but iirc they're all on widely-separated frequencies.) Check batteries in the RV before each performance. Did this awhile back for a dance concert, works great. -- Matt ====== _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Subject: Flame retardant and velours Date: Wed, 26 Jan 2005 00:18:35 -0600 Message-ID: <113B53270F9381408A36C24443A9127F01158A2C [at] TSSBS.TSC.LOCAL> From: "Roy Harline" I have not had a lot of time to jump in and contribute to the list = lately, and being a Digest member, by the time I read the messages, = somebody else has answered the questions well enough without me sticking = my sorry nose into it. However some discussion has been made about = velour curtains and flame retardant.=20 The last time I spoke with KM fabrics about the duration of the flame = retardant treatment (and that was about 6 months ago) they stated that = they warranty the flame retardant on the chemically treated velours for = the life time of the fabric, or up to 10 dry clean cycles. The flame = retardant certificate from the manufacturer confirms this. In other words, if you keep the fabric free of accumulated dust, keep it = in consistent climate controlled conditions, and don't throw paint, = water, dirt, mud, pies, or other such staining products at the curtains, = they should last in a flame retardant state until the fabric starts = deteriorating.=20 I have found that generally speaking cleaning and re-treating with flame = retardant tends to shorten the life of the fabric rather than extend it. = The harsh sodium chemicals in flame retardant tend to have an effect on = such things as grommets, chain weight, and other metal parts of a = curtain. This deteriorating effect also spreads to the webbing, and = cotton velour fabric around them. Eventually the fabric tears easier, = and becomes another rag to be replaced. =20 Now let me end with this disclaimer. I am in the business of selling = curtains, rigging and other theatrical equipment, not cleaning and = re-treating curtains. So take my statements with that in mind, but I = would recommend that before you go about to clean and re-treat your = cotton velour curtains, you might contact the manufacturer of the fabric = to determine how they suggest you deal with their fabric. My opinions are my own...I am speaking for myself, and not my employer, = or anybody else for that matter... Roy Harline Sales and Design Texas Scenic Company=20 ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: peter [at] scheuconsulting.com Subject: RE: USITT Housing Date: Tue, 25 Jan 2005 23:36:09 -0800 Message-ID: <014101c50379$b51cd920$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Amen. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Scheu Consulting Services Sent: Tuesday, January 25, 2005 6:07 AM To: Stagecraft Subject: Re: USITT Housing For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Richard at ladesigners [at] juno.com wrote: >Yes, but please note that staying at one of the 'official' hotels subsidizes the Institute, normally in the form of free meeting rooms. >/s/ Richard I understand and greatly appreciate your point. Within the industry, we "subsidize" not-for-profit and industry trade groups in other ways by volunteering a lot of our time (as well as substantial costs of travel & hotels) by serving on committees, in groups writing standards, and the like. The direct costs can exceed of $5,000 a year. And this doesn't include salaries while traveling and/or our "time lost". For small businesses (such as mine), that's a lot of money. So please don't begrudge us cost saving opportunities when we come upon them. Folks who have large institutions (such as colleges and/or manufacturers/suppliers) to cover these costs are lucky. The costs of attending USITT, ESTA, ETCP, etc. conferences and gatherings come right out of my relatively shallow pocket. No argument. Just a different approach to "subsidizing". Thanks. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ End of Stagecraft Digest #273 *****************************