Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 18293169; Sat, 12 Feb 2005 03:01:27 -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 #293 Date: Sat, 12 Feb 2005 03:01:04 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #293 1. Re: Light gel by Jason Tollefson 2. Re: Sound Digest? by "Nigel Worsley" 3. Re: another bad day at the theatre by Bruce Purdy 4. Re: another bad day at the theatre by Steve Larson 5. Re: Light gel by "Marc Palmer" 6. Re: another bad day at the theatre by IAEG [at] aol.com 7. new lighting system by Roger Harrison 8. Re: new lighting system by Stephen Litterst 9. Painting/Printing Dance Floor by "Michael Wade" 10. Re: new lighting system by "Waxler, Steve (waxlers)" 11. Rest in Peace - Arthur Miller by James Kosmatka 12. Re: Painting/Printing Dance Floor by Mark O'Brien 13. Re: Rest in Peace - Arthur Miller by "Dr. Randall W.A. Davidson" 14. Re: another bad day at the theatre by Dale Farmer 15. Re: new lighting system by Dale Farmer 16. Re: another bad day at the theatre by Shawn Palmer 17. Re: Teaching Introduction to Theatre by Mark Harvey 18. Re: Painting/Printing Dance Floor by Barney Simon 19. Re: new lighting system by "Dr. Randall W.A. Davidson" 20. Re: Smoke effect for "House of Blue Leaves" by Peter Simmel 21. Re: new lighting system by Greg Bierly 22. Re: new lighting system by Shawn Palmer 23. Re: another bad day at the theatre by "ladesigners [at] juno.com" 24. Re: Painting/Printing Dance Floor by Steve Larson 25. Re: Smoke effect for "House of Blue Leaves" by Michael Beyer 26. Re: another bad day at the theatre by Howard Ires 27. Re: another bad day at the theatre by "Paul Schreiner" 28. Lighting Heat Load by Greg Persinger 29. Recall: Stagecraft Digest #292 by "Jeff Childs" 30. Re: another bad day at the theatre by Wood Chip-P26398 31. Re: another bad day at the theatre by anna labykina 32. Re: Lighting Heat Load by "Steven Haworth" 33. Re: Smoke effect for "House of Blue Leaves" by Peter Simmel 34. Re: Lighting Heat Load by FrankWood95 [at] aol.com 35. Re: Lighting Heat Load by Greg Persinger 36. Re: new lighting system by Greg Bierly 37. Re: another bad day at the theatre by Jerry Durand 38. Re: Smoke effect for "House of Blue Leaves" by Nathan Kahn/Look Solutions 39. Re: new lighting system by Jerry Durand 40. Re: Censorship by "Ehrenberg, Steven" 41. Re: Smoke effect for "House of Blue Leaves" by Dale Farmer 42. Re: Lighting Heat Load by Dale Farmer 43. Re: Lighting Heat Load by Jerry Durand 44. Re: new lighting system by Charlie Richmond 45. New lighting board by Bruce Purdy 46. Re: New lighting board by Greg Persinger 47. Re: Lighting Heat Load by "Dr. Randall W.A. Davidson" 48. Re: New lighting board by Mike Brubaker 49. Venue information sheets by "James, Brian" 50. Re: New lighting board by "Joshua Webb" 51. Re: Lighting Heat Load by FrankWood95 [at] aol.com 52. Re: Censorship/Urintown by MissWisc [at] aol.com 53. Re: Lighting Heat Load by Jerry Durand 54. Re: Censorship by John McKernon 55. Re: Seussical Tub by Daryl Duell 56. Re: New lighting board by Dale Farmer 57. Re: Venue information sheets by Dale Farmer 58. Re: Venue information sheets by "James, Brian" 59. Re: Venue information sheets by "Dr. Randall W.A. Davidson" 60. Re: Venue information sheets by "RODOK!!!" 61. Re: New lighting board by "Andrew Vance" 62. Re: Venue information sheets by Dale Farmer 63. Re: Censorship/Urintown by Bill Sapsis 64. Piano Keys by Chris Wych 65. Re: Piano Keys by Dale Farmer 66. Re: Piano Keys by "Joe Meils" 67. Re: Sound Digest? by Noah Price 68. Re: Venue information sheets by Noah Price *** 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: <20050211113910.69656.qmail [at] web51001.mail.yahoo.com> Date: Fri, 11 Feb 2005 03:39:10 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: Light gel In-Reply-To: > I was wondering if anyone knows a good way to gel a practical or work light > that doesnt have a gel frame or slots? It seems like i always end up using > gaffers tape, with is terrible and has to be re-done every performance. Have you explored Lamp Dip? For low voltage lamps you could apply directly to the lamp. On higher wattage Flood lamps you can dip the glass shade. Jason Tollefson LD-at-Large Orlando, FL ------------------------------ Message-ID: <462501c51039$a6660010$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: Sound Digest? Date: Fri, 11 Feb 2005 13:00:23 -0000 Al Fitch wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Can someone tell me how to subscribe to the sound > digest mailing list that I believe exists? Try this: Send 'subscribe theatre-sound' to listserv [at] listserv.aol.com and then send 'digest' after getting the subscription confirmation. Nigel Worsley ------------------------------ Date: Fri, 11 Feb 2005 09:25:11 -0500 Subject: Re: another bad day at the theatre From: Bruce Purdy Message-ID: In-Reply-To: > I remember seeing that in the 1964 World's Fair, so I'd say that was the > first installation of it. You were there? I was there too! maybe we passed each other in the crowd. it really is a Small world after all! :-) > Of course, the boat through "It's a small world" got stuck so we had to sit > in there for a while, maybe that's what's wrong with me. :) That tune haunts me still. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Fri, 11 Feb 2005 09:38:26 -0500 Subject: Re: another bad day at the theatre From: Steve Larson Message-ID: In-Reply-To: That ride scared the hell out of my wife as a child. She still can't go on the ride or be anywhere near it. Steve > From: Bruce Purdy > Reply-To: "Stagecraft" > Date: Fri, 11 Feb 2005 09:25:11 -0500 > To: "Stagecraft" > Subject: Re: another bad day at the theatre > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> I remember seeing that in the 1964 World's Fair, so I'd say that was the >> first installation of it. > > You were there? I was there too! maybe we passed each other in the crowd. it > really is a Small world after all! :-) > >> Of course, the boat through "It's a small world" got stuck so we had to sit >> in there for a while, maybe that's what's wrong with me. :) > > That tune haunts me still. > > Bruce > -- > Bruce Purdy > Technical Director > Smith Opera House > > > > ------------------------------ Subject: RE: Light gel Date: Fri, 11 Feb 2005 09:46:50 -0500 Message-ID: <35F89F34F3823843AC908D726CB64F2735A3D9 [at] EXCHANGE2.prg.com> From: "Marc Palmer" I've had success using Par 64 10" gel frames with "regular" sized clip lights. If you bend open the frame enough to get the reflector into it, then you've got one side of the gel frame flapping loose in front of the light and one holding the frame on to the light, with the rolled lip of the reflector inside the frame. Slide in the gel, binder clip the frame back to itself at the open corners, and you're done. It looks very neat, and there's no tape goo. Of course, you could use blue bulbs in the clip lights, and lamp-dip for specific colors in practicals. For just about everything else it's been about binder clips, clothes pins, and Blacktak/Blackwrap - if you can use the Blacktak/Blackwrap to help support the gel rather than actually sticking the gel on with it, you can avoid the goo. In my regional theatre life we had left-over radial lekos and a stock of lamps for them, but were no longer using them for stagelighting. I hung a few over the prop tables/ costume racks backstage, dimmed them way down, added some blue gel, and got shutterable worklights that could be blacked out from the board when necessary. It also stopped the clutter of extension cords and cliplights backstage. Marc ------------------------------ From: "Alex Curry" Subject: Light gel Date: Thu, 10 Feb 2005 14:52:23 -0500 I was wondering if anyone knows a good way to gel a practical or work light=20 that doesnt have a gel frame or slots? It seems like i always end up using=20 gaffers tape, with is terrible and has to be re-done every performance. ------------------------------ ------------------------------ From: IAEG [at] aol.com Message-ID: <1ad.3133ce0a.2f3e22cd [at] aol.com> Date: Fri, 11 Feb 2005 10:01:33 EST Subject: Re: another bad day at the theatre In a message dated 2/11/05 9:41:10 AM, tiptd [at] theatreinthepark.com writes: << That ride scared the hell out of my wife as a child. She still can't go on the ride or be anywhere near it. Steve >> I think that the CHUCKY movies were written by someone who experienced IT'S A SMALL WORLD at the 64-65 NY World's Fair. very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <20050211152237.93145.qmail [at] web41207.mail.yahoo.com> Date: Fri, 11 Feb 2005 07:22:37 -0800 (PST) From: Roger Harrison Subject: new lighting system In-Reply-To: Hello everyone, well it finally happened, they replaced our per 1980's lighting system with a new ETC 24/48 ( wanted a 48/96) guess you can't have everything. My question is, is there a tutorial or video tutorial available on how to program the ETC board? I have download the offline editor and the quick notes and I have the manual. I figured out the basics enough to program a simple show but, I would like to know how this board really works. Any help would be great. Thanks Roger Harrison T.D. Aztec High School __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ------------------------------ Date: Fri, 11 Feb 2005 10:32:20 -0500 From: Stephen Litterst Subject: Re: new lighting system Message-id: <420CD004.D89B5935 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Roger Harrison wrote: > --------------------------------------------------- My question is, is there a tutorial or > video tutorial available on how to program the ETC > board? I would > like to know how this board really works. Get in touch with Nancy Moeur, the AME at Syracuse Stage. I remember her and Dave Bowman writing a tutorial a year or so ago. Dave sometimes monitors the list, but he's busy with a newborn, so I don't know how much time he has to be online these days. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Reply-To: From: "Michael Wade" Subject: Painting/Printing Dance Floor Date: Fri, 11 Feb 2005 10:49:58 -0500 Message-ID: <000301c51051$5b0644a0$6600a8c0 [at] Mike> I am looking at a project that will require us to paint white dance floor with black borders and colored squares. I have painted dance floor before with limited success, but never for a touring production. I would hate to unroll the floor to find out the paint has come off. I am also concerned about changing the surface texture. Has anyone had any experience with painted or printed floors? Thanks for the help. Mike Wade ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: new lighting system Date: Fri, 11 Feb 2005 10:57:53 -0500 The contract to replace the board should have called for a training period. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Roger Harrison [mailto:rocky082259 [at] yahoo.com] Sent: Friday, February 11, 2005 10:23 AM To: Stagecraft Subject: new lighting system For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello everyone, well it finally happened, they replaced our per 1980's lighting system with a new ETC 24/48 ( wanted a 48/96) guess you can't have everything. My question is, is there a tutorial or video tutorial available on how to program the ETC board? I have download the offline editor and the quick notes and I have the manual. I figured out the basics enough to program a simple show but, I would like to know how this board really works. Any help would be great. Thanks Roger Harrison T.D. Aztec High School __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ------------------------------ Message-ID: <20050211155813.62070.qmail [at] web50505.mail.yahoo.com> Date: Fri, 11 Feb 2005 07:58:13 -0800 (PST) From: James Kosmatka Subject: Rest in Peace - Arthur Miller In-Reply-To: Thursday night, Arthur Miller, 89, died of heart failure. Story available on Yahoo news at: http://tinyurl.com/3hqvw :( ------------------------------ In-Reply-To: References: Message-Id: <2f58ca2afc3712ad06adb773df4129a7 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Painting/Printing Dance Floor Date: Fri, 11 Feb 2005 09:11:35 -0700 I would skip the paint, and use vinyl that is used for making signs. You can buy it at any sign shop, and they can even cut out the shapes for you. You can either leave them on, or remove them (if not left on too long) Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Feb 11, 2005, at 8:49 AM, Michael Wade wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I am looking at a project that will require us to paint white dance > floor with black borders and colored squares. I have painted dance > floor before with limited success, but never for a touring production. > I would hate to unroll the floor to find out the paint has come off. I > am also concerned about changing the surface texture. > > Has anyone had any experience with painted or printed floors? > > Thanks for the help. > > Mike Wade > > > ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Rest in Peace - Arthur Miller Date: Fri, 11 Feb 2005 08:34:23 -0800 Message-ID: <005b01c51057$8bf7d000$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Amen. A great playwright. An American icon. 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 James Kosmatka Sent: Friday, February 11, 2005 7:58 AM To: Stagecraft Subject: Rest in Peace - Arthur Miller For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thursday night, Arthur Miller, 89, died of heart failure. Story available on Yahoo news at: http://tinyurl.com/3hqvw :( ------------------------------ Message-ID: <420CE031.A07FF88D [at] cybercom.net> Date: Fri, 11 Feb 2005 11:41:22 -0500 From: Dale Farmer Subject: Re: another bad day at the theatre References:

Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 04:35 PM 2/9/2005, you wrote: > >A Disneyland employee was killed in a similar accident at the 'Carosel of > >Tomorrow'. The revolve was divided into 3 equal wedges, and the employee > >broke the rules, defied common sense, and took a chance by going from one > >audience area to another while the ride was in motion; she was caught > >between the fixed and moving walls and was killed. I do not recall whether > >the Disney of Expo accident occurred first, but you would think that > >whichever ride was placed in service second would be designed by someone > >who would have heard about the previous accident. > > I remember seeing that in the 1964 World's Fair, so I'd say that was the > first installation of it. > > I also remember using the video phone AT&T was showing there, "we'll all > soon have one". Only used 12 parallel phone lines for the data. :) > > Of course, the boat through "It's a small world" got stuck so we had to sit > in there for a while, maybe that's what's wrong with me. :) An acquaintance of mine was stuck on that boat for an hour or so when he was a teenager. To this day he will react, um, poorly... Whenever someone starts singing that song at him. He has forbidden his kids to listen to radio disney as well. --Dale ------------------------------ Message-ID: <420CE216.E203B223 [at] cybercom.net> Date: Fri, 11 Feb 2005 11:49:27 -0500 From: Dale Farmer Subject: Re: new lighting system References: Roger Harrison wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello everyone, well it finally happened, they > replaced our per 1980's lighting system with a new ETC > 24/48 ( wanted a 48/96) guess you can't have > everything. My question is, is there a tutorial or > video tutorial available on how to program the ETC > board? I have download the offline editor and the > quick notes and I have the manual. I figured out the > basics enough to program a simple show but, I would > like to know how this board really works. Any help > would be great. Everything is in the manual, unless they have changed it in the last couple of years. Put up some lights, plug them in and start playing with it. --Dale ------------------------------ Message-ID: <420CE300.10409 [at] northnet.net> Date: Fri, 11 Feb 2005 10:53:20 -0600 From: Shawn Palmer Subject: Re: another bad day at the theatre References: In-Reply-To: I have been enjoying these bad days :-) My worst day was getting a gun pulled on me during a show. What I did was stupid. After a 10 minute diatribe about me hassling him, the gentleman lapsed into silence for a second. Not knowing what else to do, I said "Are you DONE now?" He said "WHAT?" "Are you DONE know?" He said "Yes" and walked out the door. The best though was last night. Our preview performance of Mansfield Park. We composed some harpsicord music for a bit with some dancing. Do you know what happens when your sound op doesn't do a real sound check? Velvet Revolver plays instead of harpsicord music. I was sooooo mad but exaustion helped the swelling anger diffuse to hysterical laughter. I am confident this unintentional lesson has taught my sound op to check and double check EVERYTHING. Shawn Palmer Neenah, WI USA ------------------------------ Date: Fri, 11 Feb 2005 11:37:00 -0600 From: Mark Harvey Cc: cmortimo [at] graceland.edu Subject: Re: Teaching Introduction to Theatre Message-ID: <2147483647.1108121820 [at] umd52-36.d.umn.edu> In-Reply-To: References: I think this is a great idea. I'd be more inclined to develop a web page with links to several virtual tours. There are plenty of virtual tours of theatre spaces on-line. One of my favorites is the Birmingham Symphony Hall in Birmingham, England. The tour requires iPix and the site is Good luck! ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey --On Friday, February 11, 2005 "Curt Mortimore" wrote: > The wild idea > that has crept into my head is to develop a power point presentation > to take students on a virtual tour of performance spaces. I have a > few photos of various spaces but I feel like I need more material. ------------------------------ Message-ID: <420CEE46.9050400 [at] josephchansen.com> Date: Fri, 11 Feb 2005 12:41:26 -0500 From: Barney Simon Subject: Re: Painting/Printing Dance Floor References:

In-Reply-To: I have to agree with Mark: Sign Vinyl is the way to go. I've had album covers cut out of the vinyl and the flooring used for rock and roll tours. I cannot talk to how it will come up after your use, but it is the right way to go. Banrey Simon Joseph C Hansen Co. Drapes, Drops, and Dance Floors ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: new lighting system Date: Fri, 11 Feb 2005 09:55:58 -0800 Message-ID: <000301c51062$f3aedd50$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Indeed it should. Protocol. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Friday, February 11, 2005 7:58 AM To: Stagecraft Subject: Re: new lighting system For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The contract to replace the board should have called for a training period. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Roger Harrison [mailto:rocky082259 [at] yahoo.com] Sent: Friday, February 11, 2005 10:23 AM To: Stagecraft Subject: new lighting system For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello everyone, well it finally happened, they replaced our per 1980's lighting system with a new ETC 24/48 ( wanted a 48/96) guess you can't have everything. My question is, is there a tutorial or video tutorial available on how to program the ETC board? I have download the offline editor and the quick notes and I have the manual. I figured out the basics enough to program a simple show but, I would like to know how this board really works. Any help would be great. Thanks Roger Harrison T.D. Aztec High School __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 11 Feb 2005 13:07:55 -0500 From: Peter Simmel Subject: Re: Smoke effect for "House of Blue Leaves" > I'm seeking some advise on how to produce the "explosion/smoke" >effect in "House of Blue Leaves." I'm looking for something "low >tech." This is not my area of expertise but am trying to oversee and insure it's done safely. I'd prefer something that didn't involve "fire" just the smoke. The explosion we can cover through sound-they smoke is the challenge >A few of the Theatre House companies that use to offer simple pyro >devices no longer do. If anyone has done the show in the recent past and would be willing to share how they accomplished this please respond off list. Thanks Peter Simmel U of M > ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: new lighting system Date: Fri, 11 Feb 2005 13:02:05 -0500 > Indeed it should. Protocol. doom Unless of course they strictly placed an order for the console and didn't include training in the bid. IMHO ------------------------------ Message-ID: <420CF414.8080200 [at] northnet.net> Date: Fri, 11 Feb 2005 12:06:12 -0600 From: Shawn Palmer Subject: Re: new lighting system References:

In-Reply-To: >> Indeed it should. Protocol. doom > > > Unless of course they strictly placed an order for the console and > didn't include training in the bid. IMHO Exactly. I couldn't get the powers that be to buy air if it wasn't free. It was miraculous we got a new console. It was not a surprise that nothing else was included- training, littlites, etc... It's only included if specified, right? Shawn Palmer ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 11 Feb 2005 18:08:47 GMT Subject: Re: another bad day at the theatre Message-Id: <20050211.100932.12571.67086 [at] webmail05.lax.untd.com> Now that we are nearing the end of the thread of "another bad day at the theatre", perhaps we can transition to "another embarrassing day at the theatre", to add some more 'hysterical laughter' to the list. /s/ Richard I was sooooo mad but exaustion helped the swelling anger diffuse to hysterical laughter. Shawn Palmer ------------------------------ Date: Fri, 11 Feb 2005 13:15:55 -0500 Subject: Re: Painting/Printing Dance Floor From: Steve Larson Message-ID: In-Reply-To: Talk to your supplier. They will tell you how to remove it. We have signs that tell passers-by what show we are doing. The sign company removes the old letters, cleans it and puts the new show on. Much cheaper and doesn't fill up the landfill with vinyl. steve > From: Barney Simon > Reply-To: "Stagecraft" > Date: Fri, 11 Feb 2005 12:41:26 -0500 > To: "Stagecraft" > Subject: Re: Painting/Printing Dance Floor > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I have to agree with Mark: Sign Vinyl is the way to go. I've had album > covers cut out of the vinyl and the flooring used for rock and roll > tours. I cannot talk to how it will come up after your use, but it is > the right way to go. > > Banrey Simon > Joseph C Hansen Co. > Drapes, Drops, and Dance Floors > > > ------------------------------ Message-ID: <468d228205021110192e74528e [at] mail.gmail.com> Date: Fri, 11 Feb 2005 13:19:43 -0500 From: Michael Beyer Reply-To: Michael Beyer Subject: Re: Smoke effect for "House of Blue Leaves" In-Reply-To: References:

when i did the show, we just pumped fog from off stage and wrote an effect with red and yellow and orange gelled lights chasing behind the fog. But that is for an off stage explosion. It seems you want yours to happen on stage? Michael On Fri, 11 Feb 2005 13:07:55 -0500, Peter Simmel wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > I'm seeking some advise on how to produce the "explosion/smoke" > >effect in "House of Blue Leaves." I'm looking for something "low > >tech." This is not my area of expertise but am trying to > oversee and insure it's done safely. I'd prefer something that didn't > involve "fire" just the smoke. > The explosion we can cover through sound-they smoke is the challenge > > >A few of the Theatre House companies that use to offer simple pyro > >devices no longer do. If > anyone has done the show in the recent past and would be willing to > share how they accomplished > this please respond off list. > > Thanks > > Peter Simmel > U of M > > > > -- www.mjblightdesign.com ------------------------------ Message-ID: <420CF74D.8070703 [at] hillinteractive.net> Date: Fri, 11 Feb 2005 13:19:57 -0500 From: Howard Ires Subject: Re: another bad day at the theatre References: In-Reply-To: ladesigners [at] juno.com wrote: > Now that we are nearing the end of the thread of "another bad day at > the theatre", perhaps we can transition to "another embarrassing day > at the theatre", to add some more 'hysterical laughter' to the list. > /s/ Richard > > I was sooooo mad but exaustion helped the swelling anger diffuse to > hysterical laughter. Shawn Palmer I was the winch man on a national tour with a lot of computer automation, and opening night in some town I was so tired I was sleeping between my cues, only opening my eyes when my cue light came on to hit the go button and watch the cues execute. suddenly I noticed the star of the show was standing behind me watching this in amazement. lucky for me I never missed a cue... -------------h ------------------------------ Subject: RE: another bad day at the theatre Date: Fri, 11 Feb 2005 13:26:03 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C710 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Now that we are nearing the end of the thread of "another bad=20 > day at the theatre", perhaps we can transition to "another=20 > embarrassing day at the theatre", to add some more=20 > 'hysterical laughter' to the list.=20 I was raised a euchre player, and taught to always lead with my highest card first...so without further ado, I'll skip the umpteen gazillion "built X backwards/upside down/2 inches too tall" stories I could mention and head straight to my own coup de grace: We (not here) were doing a godsawful production of a godsawful script--the stage version of M*A*S*H. This was at a summer theatre, and we were doing it in rep; and to say everyone in the cast loathed the show (especially considering we were also doing such better fare as Mister Roberts and JCS) would be an understatement. I played Frank Burns and did the Act II announcer voiceover for the football game. The "action" during the game (female cast members acting as cheerleaders on the sidelines) was done in front of the closed grand drape; I was on a mic backstage with the rest of the cast getting set for the final scene. One day, the actor playing Col. Blake (who was something of a joker) decided to see just how good my concentration was. During the voiceover, while I'm in the middle of speaking live, he snuck up behind me and pantsed me, leaving me in naught but boxers. No reaction on my part (cuz, like, I'm one of them there perfeshunals, even when actifying). That wasn't good enough for him. So he finished the job. The last 45 seconds of me on mic, unbeknownst to the audience, was done au natural from the waist down. Lucky for me (and frustrating for him), I'm comfortable enough in my own skin to control the instinctive vocal reactions... ------------------------------ Date: Fri, 11 Feb 2005 12:44:08 -0600 Subject: Lighting Heat Load From: Greg Persinger Message-ID: In-Reply-To: Greetings all, Does anyone have a good rule of thumb for calculating lighting system heat loads. Yes I have all of the BTU specs from the manufacturer and know how to do the calculations this isn't my question. Since theatrical lighting is so "fluid" as many shows the hang is average yet once in a while there is a larger hang. Also I have a lot of dimming for flexibility but most of these dimmers will have one fixture in them. It seems as though designing the HVAC to the full capacity of the dimmer racks is a huge waste as this venue will never max the racks out. I'm looking for a good compromise. Any suggestions? Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Subject: Recall: Stagecraft Digest #292 Date: Fri, 11 Feb 2005 12:48:01 -0600 Message-ID: From: "Jeff Childs" Jeff Childs would like to recall the message, "Stagecraft Digest #292". ------------------------------ Message-ID: <014D202957F6D8118924000F20D7342B0267E4FC [at] az33exm01.corp.mot.com> From: Wood Chip-P26398 Subject: RE: another bad day at the theatre Date: Fri, 11 Feb 2005 11:50:25 -0700 Truly that is one of the lamest scripts ever written. Everytime I am even remotely connected to it, I back off as far as possible. Even good production values and acting can't rescue it. Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul Schreiner We (not here) were doing a godsawful production of a godsawful script--the stage version of M*A*S*H. to say everyone in the cast loathed the show would be an understatement. ------------------------------ Message-ID: <20050211185650.82345.qmail [at] web50102.mail.yahoo.com> Date: Fri, 11 Feb 2005 10:56:50 -0800 (PST) From: anna labykina Subject: Re: another bad day at the theatre In-Reply-To: A small college production of a musical. Wed night, last dress before the Thursday matinee opening. The LD is moving the light board to the booth, having tech�d the whole show in the house. The booth is a loft some ten feet above the back of the house, reachable by a ladder on the wall. Not the ideal location, but then again, the auditorium was built with no thought of theatrical needs whatsoever, as most HS-type auditoriums are. The light board op takes one look at the ladder and declares that she is deathly afraid of heights, enclosed small spaces and wide-open spaces at once, as well as large groups of people (of course, she�s had a whole week to tell us this, but it must have slipped her mind.) In short, she gives out a long list of phobias, but says she is determined to overcome any and all of them, and that�s why she wants to be a theatre major. The LD gets her up the ladder ten feet in the loft, and the run-through commences. Twenty minutes into Act I, the SM holds the show and screams out for the TD over the Voice of God. I was back-stage with the run crew. I run out into the house, go up to the loft to find the Light Board Op in a full panic attack mode complete with rigor of all limbs and hyperventilation. Between attempts at breathing, the Light Board Op explains that she�s stopped taking her anti-phobia and anti-anxiety medications for some time now in order to train herself to live like a normal individual, which of course, was the only logical thing to do for an 18-yr-old girl who has been living away from home, her parents, her shrink, and everything familiar for a total of two months now. It takes me a half-hour to talk the board-op into calmness, and to try to get feeling in her limbs, because there is no way to get her down to the ground if she can�t at least grasp things. We move the light board back to the house (the director is super pissed, she doesn�t want a table in the way of the audience) and get an A-frame next to the SM loft. I basically hand the girl (who still can�t really feel her legs) to the LD, and we shimmy her down to the ground. Once on the ground, she refuses any medical attention, and wants to go on with the show. We let her. Fast forward two weeks, next to last performance. Towards the end of Act I I get on a head-set, and find out that the Light Board-op is having an anxiety attack and could I talk to her? In-between pressing GO (there was a cue every 40 seconds or so) she tells me she HAS to leave the theatre Right NOW. I take over. She comes back at intermission and declares that for the last two weeks she�s been having flash-backs to her panic attack that trigger other anxiety attacks, and she simply cannot remain in the theatre auditorium any longer. When asked if she is receiving medical attention for this, she reminds me she is still off of her meds, and could we not tell her parents about any of this, and walks out the door never to be seen again. Same college, different show. It�s a religiously affiliated school, and the campus is dry. The kid playing Sir Toby in 12th Night gets expelled from school for having a six-pack in his room that was found during a thorough search due to his roommate having stolen a butt-load of electronic equipment from the Student Center. It�s the second time he was suspected of drinking. The show opens in a week. We currently have a friend of the director come in and learn the part during tech. We�ll see what happens. Anna __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Subject: RE: Lighting Heat Load Date: Fri, 11 Feb 2005 12:58:32 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB090932E9 [at] danube.river.idm.com> From: "Steven Haworth" Interesting - I just did this for a new space I'm helping design. I = took an average event, estimated the number of fixtures hung for it, = then the number of fixtures 'on' for a typical cue. Then (at the = architect's suggestion) subtracted the house lighting heat load, since = those would be off. This gave us, we hope, a reasonably accurate estimate. MUCH lower than = estimating full load, which will likely never happen, at least not for = longer than a couple minutes on an end-of-show bump or something like = that. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info >Does anyone have a good rule of thumb for calculating lighting=20 >system heat loads. ------------------------------ Message-Id: In-Reply-To: References:

Date: Fri, 11 Feb 2005 14:14:37 -0500 From: Peter Simmel Subject: Re: Smoke effect for "House of Blue Leaves" Michael : We're keeping to the script and having the explosion happen "offstage" in the hallway. The door is open from when Corrina exits, so the "smoke" has to filter in from the hall. Getting the right smoke effect is the trick. Peter > >when i did the show, we just pumped fog from off stage and wrote an >effect with red and yellow and orange gelled lights chasing behind the >fog. > >But that is for an off stage explosion. It seems you want yours to >happen on stage? > >Michael > > > > > >> > > >-- >www.mjblightdesign.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25.58ef2390.2f3e6963 [at] aol.com> Date: Fri, 11 Feb 2005 15:02:43 EST Subject: Re: Lighting Heat Load In a message dated 11/02/05 18:45:16 GMT Standard Time, gregpersin [at] comcast.net writes: > Also I have a lot of dimming for flexibility but most of these dimmers will > have one fixture in them. It seems as though designing the HVAC to the full > capacity of the dimmer racks is a huge waste as this venue will never max > the racks out. First, let me say that I am not an expert in HVACS, and so my comments must be considered in that light. Theatres are funny. Most of the heat is generated at hiigh levels, by the stage lighting. Of the 1KW which is fed to a 1KWuminaire, about 80% comes out as heat. HVAcs engineers don't understand this. Frank Wood ------------------------------ Date: Fri, 11 Feb 2005 14:09:32 -0600 Subject: Re: Lighting Heat Load From: Greg Persinger Message-ID: In-Reply-To: Frank Wood wrote: > Theatres are funny. Most of the heat is generated at hiigh levels, by the > stage lighting. Of the 1KW which is fed to a 1KWuminaire, about 80% comes out > as > heat. HVAcs engineers don't understand this. You are correct Frank. They also don't understand that every fixture in the place doesn't burn at the same time. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ In-Reply-To: References:

Message-Id: <19970cdc4cf3ab116b65c9764921700f [at] dejazzd.com> From: Greg Bierly Subject: Re: new lighting system Date: Fri, 11 Feb 2005 15:19:14 -0500 > It's only included if specified, right? If you get it from a local supplier you can sometime luck out and they'll throw it in. If you had it shipped to you from more than 20 miles away you probably won't get it for free. If you have a service call for something else they might piggy back it on for a minimal charge. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.0.14.0.20050211123622.0428ab80 [at] localhost> Date: Fri, 11 Feb 2005 12:38:42 -0800 From: Jerry Durand Subject: Re: another bad day at the theatre In-Reply-To: References:

At 06:25 AM 2/11/2005, you wrote: > > Of course, the boat through "It's a small world" got stuck so we had to sit > > in there for a while, maybe that's what's wrong with me. :) > > That tune haunts me still. That tune will make my wife scream. :( One thing, being stuck in there let me look around and note how things worked. I remember seeing Molex connectors, etc. and also noting the tracks the boat was supposed to be following. I think that may have been the beginning of my interest in theatre animation. ---------- 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 ------------------------------ Message-Id: <5.0.0.25.2.20050211154305.01ca8740 [at] 212.86.129.164> Date: Fri, 11 Feb 2005 15:45:15 -0500 From: Nathan Kahn/Look Solutions Subject: Re: Smoke effect for "House of Blue Leaves" In-Reply-To: References:

At 02:14 PM 2/11/2005 -0500, you wrote: >Michael : We're keeping to the script and having the explosion happen >"offstage" in the hallway. >The door is open from when Corrina exits, so the "smoke" has to filter in >from the hall. Getting the right smoke effect is the trick. If there's been an explosion, wouldn't the smoke enter with some force, rather than "filtering in"? How about using a fog machine to make a large cloud offstage, and then turn on a fan w/ the sound cue, so it appears that the force of the explosion is blowing the smoke onto the stage? Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Message-Id: <6.2.0.14.0.20050211124806.029e1c30 [at] localhost> Date: Fri, 11 Feb 2005 12:51:10 -0800 From: Jerry Durand Subject: Re: new lighting system In-Reply-To: References:

At 10:06 AM 2/11/2005, you wrote: >Exactly. I couldn't get the powers that be to buy air if it wasn't >free. It was miraculous we got a new console. It was not a surprise that >nothing else was included- training, littlites, etc... > >It's only included if specified, right? Back in my university days, our department got a brand new mini-computer ($$$$$). Only thing, the operating system was cut from the PO to save money. So, we had hardware and a maintenance contract, but couldn't do anything with it. The service tech made a monthly visit to make sure it still passed the diagnostics. The next school year we got the OS, but the maintenance contract was let go. Oh well, at least we could turn it on and use it. ---------- 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: RE: Censorship Date: Fri, 11 Feb 2005 14:54:43 -0600 Message-ID: <95E1F758C14A0248B42D6FC9D67C7C32018B31D2 [at] CCUMAIL14.usa.ccu.clearchannel.com> From: "Ehrenberg, Steven" Ask why the 'URINETOWN' tour was cancelled. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. Urinetown did not fail on the Road because of Censorship. The President of the university did not object to the content, the local church goers were not out picketing it's immorality, the government wasn't fearful of the play's subversive message, any of the above constitute censorship. Possibly audiences, ignorant of the shows content, censored it with their wallets, but that, my friends and collogues, is not censorship - just bad marketing. Local presenters did not ask to delete or change the "U" word; but rather they looked for a plan to educate the local audiences beyond the objectionable title, informing them about the show. Yes, the title offended many Broadway theatergoers in the red states, but the presenters brought it to them regardless of the title, and hoped to convince them to see it. It got excellent reviews in many places. The content of the play, once past the title, is innocuous, it is funny, quirky and a fun musical - the title was the issue. People reacting to such an objectionable title decided not to risk spending their hard-earned Dollars only to be offended. Overall, it was a failed marketing challenge rather then censorship. It's commercial theater folks, if the butts are not in the seats, it is going to close. That's not censorship, it's economics and the reality of commercial theater. Broadway does a certain amount of self-censoring, particularly in our current, least common denominator moral climate in which you can't afford to offend anyone. Edgy work is not something that you expect to make money touring, titillating work is OK (nudity in the graduate for instance, lots of people came out to see Mrs. Robinson's naked butt). Some producers look for the projects that they can tour all over the US, but it doesn't stop millions being spent to produce La Cage, with all that drag, which will be a difficult sell in the middle part of the country. Steven Steven Ehrenberg Director of Technical Supervision Clear Channel Entertainment - Theatrical Office 917 421 5461 Mobile 917 331 0207 ------------------------------ Message-ID: <420D2467.B786C298 [at] cybercom.net> Date: Fri, 11 Feb 2005 16:32:23 -0500 From: Dale Farmer Subject: Re: Smoke effect for "House of Blue Leaves" References:

Peter Simmel wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Michael : We're keeping to the script and having the explosion happen > "offstage" in the hallway. > The door is open from when Corrina exits, so the "smoke" has to > filter in from the hall. Getting the right smoke effect is the trick. > > Peter Manufacture a large bag out of a tight weave cloth. The bag wants to have a couple of grommets and a frame at the top to hold it open, a sleeve for the smoke machine pipe, and a big flap that is held shut by just enough velcro or refrigerator door magnet material to hold it against gravity. Before the cue, fill bag with smoke. To execute cue, drop the rope holding up the top frame, and pull it down hard. Smoke blows open the flap and it is expelled out onto the stage. Make the gag easier to to by making the top frame piece made out of heavy iron pipe, well wrapped in foam. Gravity works for you to push smoke out with fewer operators, and the foam muffles the almighty clang of the pipe hitting the floor or someone's head. The bag will need to be laundered to remove smoke juice residue. --Dale ------------------------------ Message-ID: <420D26B1.64C99397 [at] cybercom.net> Date: Fri, 11 Feb 2005 16:42:09 -0500 From: Dale Farmer Subject: Re: Lighting Heat Load References: Greg Persinger wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Greetings all, > > Does anyone have a good rule of thumb for calculating lighting system heat > loads. > > Yes I have all of the BTU specs from the manufacturer and know how to do the > calculations this isn't my question. > > Since theatrical lighting is so "fluid" as many shows the hang is average > yet once in a while there is a larger hang. > > Also I have a lot of dimming for flexibility but most of these dimmers will > have one fixture in them. It seems as though designing the HVAC to the full > capacity of the dimmer racks is a huge waste as this venue will never max > the racks out. > > I'm looking for a good compromise. Also you have to account for the heat generated by the audience. Each person is the rough equivalent of a 100 watt bulb burning for each occupied seat. You can also reduce the peak amount of cooling needed by increasing your thermal mass in the space. Some sort of ice storage system would probably be worth looking into. For a dimmer per circuit house, I'd guess at 75% of the circuits are used for an average show. ( Adjust this for the kind of shows you expect in the space. ) For a patched house, closer to 100% will be in use. Beware of averages too. IF you have a bunch of school assemblies with only a lectern special turned on, this will drag down your averages. Then look at average levels. I really don't have a good handle on this, but if you have a bunch of shows on disk, perhaps the data can be extracted from that. Or if the space is already built. go get a year's worth of electric bills and figure from there. --Dale ------------------------------ Message-Id: <6.2.0.14.0.20050211144420.029f80a8 [at] localhost> Date: Fri, 11 Feb 2005 14:45:30 -0800 From: Jerry Durand Subject: Re: Lighting Heat Load In-Reply-To: References: At 12:02 PM 2/11/2005, you wrote: >Theatres are funny. Most of the heat is generated at hiigh levels, by the >stage lighting. Of the 1KW which is fed to a 1KWuminaire, about 80% comes >out as >heat. HVAcs engineers don't understand this. 80% as heat at the fixture, the other 20% as heat on whatever the light is shining on. ie: 100% of the power going INTO any box that isn't storing it gets turned into heat inside the room. This goes for sound systems, too. ---------- 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 ------------------------------ Date: Fri, 11 Feb 2005 22:54:16 +0000 (GMT) From: Charlie Richmond Subject: Re: new lighting system In-Reply-To: Message-ID: References:

On Fri, 11 Feb 2005, Greg Bierly wrote: > Unless of course they strictly placed an order for the console and didn't > include training in the bid. IMHO This happens way more than including training... We almost always get ground on the price of the equipment and are rarely asked to provide training. We are looking at creating an online interactive training programme that costs far less (or is included with the equipment) than sending someone to the site or the ops to the factory. The other problem of course is that much of the time, the ops who get trained move on in a year or so.... then you have to start all over again.... Charlie + ----- Charlie Richmond - Richmond Sound Design Ltd ----- + + ---------- http://www.RichmondSoundDesign.com ---------- + + ------------ "Performance for the Long Run" ------------ + ------------------------------ Date: Fri, 11 Feb 2005 18:25:15 -0500 Subject: New lighting board From: Bruce Purdy Message-ID: Great news! my lighting board just died the other day. A circuit board burned up inside it and it has gone to the great theatre in the sky. Well, maybe not so great news in so far as I had to drive at well over the posted limit for over two hours to pick up a rental and get back in time for a concert, but I consider it great news nonetheless. Why? Because this has forced the issue, and I think I'll finally get a new - good - board! I've been struggling with essentially a two scene pre-set board for far too long, and now it looks like I can move up. I have my heart set on an ETC Express 48-96. Besides being what I believe to be an "Industry standard", occasionally even having tours come with express cues on disk, it seems to be versatile enough for our needs. I'll finally be able to program cues in, but it can still serve as a manual board for the many simpler one-off shows that make up the bulk of our schedule. So now, whilst I shop for the best price - and my boss tries to come up with the money, this is your chance: Does anyone think that the Express 48/96 that I have my heart set on would NOT be the best choice - and why? (i.e. Since I have Colortran ENR dimmers I should get a Colortran board) Thanks in advance for your input. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Fri, 11 Feb 2005 17:33:09 -0600 Subject: Re: New lighting board From: Greg Persinger Message-ID: In-Reply-To: Bruce Wrote: > (i.e. Since I have Colortran ENR dimmers I should get a Colortran board) Bruce, Sit down and breathe, get someone to get you a stiff drink. Your console dying has obviously affected your thinking. A Colortran console? Buy the Express 48/96 great choice. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Lighting Heat Load Date: Fri, 11 Feb 2005 15:50:40 -0800 Message-ID: <005201c51094$842d4250$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Thanks for that info. 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 Jerry Durand Sent: Friday, February 11, 2005 2:46 PM To: Stagecraft Subject: Re: Lighting Heat Load For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 12:02 PM 2/11/2005, you wrote: >Theatres are funny. Most of the heat is generated at hiigh levels, by the >stage lighting. Of the 1KW which is fed to a 1KWuminaire, about 80% comes >out as >heat. HVAcs engineers don't understand this. 80% as heat at the fixture, the other 20% as heat on whatever the light is shining on. ie: 100% of the power going INTO any box that isn't storing it gets turned into heat inside the room. This goes for sound systems, too. ---------- 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 ------------------------------ Message-Id: <6.2.1.2.0.20050211184551.01e7efe0 [at] mail.insightbb.com> Date: Fri, 11 Feb 2005 18:52:38 -0500 From: Mike Brubaker Subject: Re: New lighting board In-Reply-To: References: I've been using a Strand 300 series console. But I learned on an ETC Expression. And I've spend time with and EDI Bijou and some of the Colortran boards. See if you can convince your local dealer(s) to let you try a board out--ON A SHOW. There's no better way to really discover the quirks of a console, good and bad. And they all have good and bad quirks. I've really gotten to like the 300 series--it does a lot that I NOW find very intuitive. I used an Express on one show of mine and found it very versatile, but it had some significant differences in logic from the Expression that I had spent the most time on. I've not gotten to use a Bijou in a show, but I have found it reasonably easy to program and very flexible. I would strongly suggest a test drive before you commit yourself to a console. And do it in a show situation. Mike At 06:25 PM 2/11/2005, Bruce Purdy wrote: > I have my heart set on an ETC Express 48-96. Besides being what I >believe to be an "Industry standard", occasionally even having tours come >with express cues on disk, it seems to be versatile enough for our needs. > > I'll finally be able to program cues in, but it can still serve as a >manual board for the many simpler one-off shows that make up the bulk of our >schedule. ------------------------------ Subject: Venue information sheets Date: Fri, 11 Feb 2005 19:04:46 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B11A [at] fangorn.cc.vt.edu> From: "James, Brian" I was curious if there is anybody here that would not mind reading over = our updated tech packet, and let me know from a tour's perspective if = there is information that needs to be added, clarified and etc? This would be a HUGE favor, and if some one has the time and = willingness, I will email the packet to you. ------------------------------ Message-id: Date: Fri, 11 Feb 2005 19:16:45 -0500 Subject: Re: New lighting board From: "Joshua Webb" References: In-Reply-To: "Stagecraft" writes: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > Great news! my lighting board just died the other day. A circuit board >burned up inside it and it has gone to the great theatre in the sky. > > Well, maybe not so great news in so far as I had to drive at well over >the posted limit for over two hours to pick up a rental and get back in >time >for a concert, but I consider it great news nonetheless. > > Why? Because this has forced the issue, and I think I'll finally get a >new - good - board! I've been struggling with essentially a two scene >pre-set board for far too long, and now it looks like I can move up. > > I have my heart set on an ETC Express 48-96. Besides being what I >believe to be an "Industry standard", occasionally even having tours come >with express cues on disk, it seems to be versatile enough for our needs. > > I'll finally be able to program cues in, but it can still serve as a >manual board for the many simpler one-off shows that make up the bulk of >our >schedule. > > So now, whilst I shop for the best price - and my boss tries to come >up >with the money, this is your chance: Does anyone think that the Express >48/96 that I have my heart set on would NOT be the best choice - and why? >(i.e. Since I have Colortran ENR dimmers I should get a Colortran board) > > Thanks in advance for your input. > >Bruce >-- >Bruce Purdy >Technical Director >Smith Opera House > > I've always had good luck with the Express line, I recently purchased an Express 125 for my school. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <197.38644d91.2f3ea504 [at] aol.com> Date: Fri, 11 Feb 2005 19:17:08 EST Subject: Re: Lighting Heat Load In a message dated 11/02/05 20:10:22 GMT Standard Time, gregpersin [at] comcast.net writes: > > Theatres are funny. Most of the heat is generated at hiigh levels, by the > > stage lighting. Of the 1KW which is fed to a 1KWuminaire, about 80% comes > out > > as > > heat. HVAcs engineers don't understand this. > > You are correct Frank. They also don't understand that every fixture in the > place doesn't burn at the same time. I know. We have a warm air system in our theatre, with the thermostat in the extract duct, which is at high level. Not sensible, since this gets all the thermal gain from the luminaires. By telling the thermostat lies, we have made the system work tolerably, but no more than that. Some of us have studied how to make it work better, with environmental considerations in mind. To start with, the fan uses 8KW., and that's before you burn any gas. But, nobody in the management structure thinks that this is of importance. We have a problem, here. Our membership includes many versatile Engineers. But, they are seldom consulted. This seems wrong, but it is a policy decision. And I am too old to get involved wqith policies. Frank Wood ------------------------------ From: MissWisc [at] aol.com Message-ID: <13e.cbf8540.2f3ea72d [at] aol.com> Date: Fri, 11 Feb 2005 19:26:21 EST Subject: Re: Censorship/Urintown Hmm... I though it was because the show had so many jokes you'd never "get" if you didn't know NYC well. La Cage touring??? If Best Little Whorehouse can get through the Bible Belt, guys in drag will play OK in the heartland. A little controversy tends to sell tix, no? And unlike Urintown, you can rent the video of La Cage and have a good idea of what you're going to be seeing. One of the most amazing things I ever saw on a stage was a guy in drag do a strip tease wearing a flesh colored and anatomically correct for females body stocking. Kristi ------------------------------ Message-Id: <6.2.0.14.0.20050211162236.0297d0f8 [at] localhost> Date: Fri, 11 Feb 2005 16:31:25 -0800 From: Jerry Durand Subject: Re: Lighting Heat Load In-Reply-To: References:

At 03:50 PM 2/11/2005, you wrote: >Thanks for that info. doom I should mention for anyone who wants to be completely accurate...any light that spills out a window or sound that vibrates an outside wall does move some heat out of the room. For a theatre, that's probably a few watts to a hundred or so (assuming really bass sound system turned way up). Some light/sound energy will also be used in chemical changes (bleaching of colors, etc.). Considering the thousands of watts going into the room, having your calculation off by a hundred watts or so doesn't matter at all. If you have nothing but classical performances or lectures where the audience is quiet, they'll generate less heat and will tend to feel cold faster. If you do nothing but comedies or sing-alongs, everyone will be generating more heat and will need a cooler room. Of course a large room with a small audience will mean you won't notice the difference. A small room filled with people can get pretty uncomfortable without a lot of air flow and cooling. For figuring cooling loads, remember that you don't want the average use of the building, you need to figure the max heat load on the hottest day of the year. Many buildings in San Francisco don't do well on really hot days, they were designed for the average day. Also allow some extra since after a short while you'll have less than perfectly clean air filters and coils, so as the car people say...your mileage may vary. ---------- 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 ------------------------------ Date: Fri, 11 Feb 2005 20:36:44 -0500 Subject: Re: Censorship From: John McKernon Message-ID: In-Reply-To: > it doesn't stop millions being spent to produce La Cage, with all > that drag, which will be a difficult sell in the middle part of the > country Didn't the original production of "La Cage" do national tours? If so, how did they do? "La Cage" is a pretty tame show - very warm-hearted Jerry Herman kind of thing, and I don't imagine there's a person in the world who hasn't seen some kind of drag, on TV if nowhere else. I think you should be able to see a "La Cage" tour pretty easily - big splashy production numbers, hummmable tunes - many of the things people will plunk down their $$ for. Just my .02, of course...;) - John ------------------------------ Message-ID: Date: Fri, 11 Feb 2005 20:52:29 -0500 From: Daryl Duell Reply-To: Daryl Duell Subject: RE: Seussical Tub In-Reply-To: References: >Date: Thu, 10 Feb 2005 14:58:01 -0500 (EST) >Subject: Seusical Tub >From: "Samuel T. Fisher" >Anyone have a Seusical or Clawfoot tub available for rental 3/7-3/21? >Sam Fisher If you want the battery powered tricycle tub from the Rigby tour, I can give you some phone numbers. It's in one of two warehouses. It's either at the McCoy-Rigby warehouse in LA, or the Networks Tours warehouse in North Carolina. I would try Networks first. It's back from their one nighter tour by now. Networks Tours : 301.926.3401 McCoy-Rigby: 714.525.8388 At Networks, ask for Jon Harrington, at McCoy-Rigby, try Tom McCoy. Any problems give me a yell off list. Daryl Duell Asst. LX/Frontlite Oliver Tour ------------------------------ Message-ID: <420D63A7.F58D97D2 [at] cybercom.net> Date: Fri, 11 Feb 2005 21:02:15 -0500 From: Dale Farmer Subject: Re: New lighting board References: Bruce Purdy wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Great news! my lighting board just died the other day. A circuit board > burned up inside it and it has gone to the great theatre in the sky. > > Well, maybe not so great news in so far as I had to drive at well over > the posted limit for over two hours to pick up a rental and get back in time > for a concert, but I consider it great news nonetheless. > > Why? Because this has forced the issue, and I think I'll finally get a > new - good - board! I've been struggling with essentially a two scene > pre-set board for far too long, and now it looks like I can move up. > > I have my heart set on an ETC Express 48-96. Besides being what I > believe to be an "Industry standard", occasionally even having tours come > with express cues on disk, it seems to be versatile enough for our needs. > > I'll finally be able to program cues in, but it can still serve as a > manual board for the many simpler one-off shows that make up the bulk of our > schedule. > > So now, whilst I shop for the best price - and my boss tries to come up > with the money, this is your chance: Does anyone think that the Express > 48/96 that I have my heart set on would NOT be the best choice - and why? > (i.e. Since I have Colortran ENR dimmers I should get a Colortran board) Got any moving lights? Plan on getting any moving lights? If yes, go for a hog or something that does moving lights well. Otherwise the ETC boards will serve you well. Ask for the next board up than the board you really want, that gives your boss something to trade away to the money people when they start whinging about how expensive it is. But be very reluctant to make that concession, if you give in too easily, they will go for the next bite. ALso ask for the top drawer service plan, most expensive training option, installation, etc... --Dale ------------------------------ Message-ID: <420D63CC.4D9C7238 [at] cybercom.net> Date: Fri, 11 Feb 2005 21:02:52 -0500 From: Dale Farmer Subject: Re: Venue information sheets References: "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I was curious if there is anybody here that would not mind reading over our updated tech packet, and let me know from a tour's perspective if there is information that needs to be added, clarified and etc? > > This would be a HUGE favor, and if some one has the time and willingness, I will email the packet to you. Why not just put it on your site's web site? --Dale ------------------------------ Subject: RE: Venue information sheets Date: Fri, 11 Feb 2005 21:13:06 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B11E [at] fangorn.cc.vt.edu> From: "James, Brian" That would be the logical answer, however, our web guy is refusing to = post anything that is not a finished product. We have some up now, but = due to a sound and electrical renovation, I need to update them. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Dale Farmer Sent: Friday, February 11, 2005 9:03 PM To: Stagecraft Subject: Re: Venue information sheets For info, archives & UNSUBSCRIBE, see --------------------------------------------------- "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see = > --------------------------------------------------- > > I was curious if there is anybody here that would not mind reading = over our updated tech packet, and let me know from a tour's perspective = if there is information that needs to be added, clarified and etc? > > This would be a HUGE favor, and if some one has the time and = willingness, I will email the packet to you. Why not just put it on your site's web site? --Dale ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Venue information sheets Date: Fri, 11 Feb 2005 18:42:02 -0800 Message-ID: <000a01c510ac$76a03f80$8d90fea9 [at] DrDoomsComputer> In-Reply-To: I would be interested. Dr. Doom rdavidson [at] riskit.com -- 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 James, Brian Sent: Friday, February 11, 2005 4:05 PM To: Stagecraft Subject: Venue information sheets For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I was curious if there is anybody here that would not mind reading over our updated tech packet, and let me know from a tour's perspective if there is information that needs to be added, clarified and etc? This would be a HUGE favor, and if some one has the time and willingness, I will email the packet to you. ------------------------------ Message-ID: <420D6EAB.6060406 [at] telus.net> Date: Fri, 11 Feb 2005 19:49:15 -0700 From: "RODOK!!!" Subject: Re: Venue information sheets References: In-Reply-To: Is there an on-line registry of theatre specs for venues in North America and beyond? I recall discussion of this a few years ago. Individual theatres seem to post their information, but nothing seems standardized. also: We do lots of model building for shows where students design their concept using foam core, found materials etc.. If there are folks out there willing to share photos of their models it would add much inspiration to our young designers. Rod Osiowy Wild Theatre Cranbrook, BC ------------------------------ Message-ID: <023601c510b3$739b38b0$0600000a [at] anneb> From: "Andrew Vance" References: Subject: Re: New lighting board Date: Fri, 11 Feb 2005 21:32:16 -0600 ----- Original Message -----=20 > So now, whilst I shop for the best price - and my boss tries to = come up > with the money, this is your chance: Does anyone think that the = Express > 48/96 that I have my heart set on would NOT be the best choice - and = why? > (i.e. Since I have Colortran ENR dimmers I should get a Colortran = board) Speaking as someone who sends tours to your venue, I'd definitely go = with an Express to make my TDs happy. :) I've been happy with both my = ETC boards for both full run shows and the few one offs we get = throughout the year. Easy to program, easy to run. Half the time I've = got high school kids running them with no problems. I've got a Colortran board in my booth that's been collecting dust for = years. I hear it was a happy day when we got the Expression for the = mainstage to replace that boat anchor. -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Theatre Ballet ------------------------------ Message-ID: <420D85DA.7ABD314D [at] cybercom.net> Date: Fri, 11 Feb 2005 23:28:11 -0500 From: Dale Farmer Subject: Re: Venue information sheets References: "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > That would be the logical answer, however, our web guy is refusing to post anything that is not a finished product. We have some up now, but due to a sound and electrical renovation, I need to update them. Send me a set. I'll make any comments and send them back. As for the web guy being obstinate, that sounds like a management problem. Unless he is doing it for free, management needs to knock him with a clue-by-four. You are one of his customers, and he is not giving you good customer service. It's not like putting up a draft document in an unlinked page is that difficult. --Dale ------------------------------ Date: Fri, 11 Feb 2005 23:54:29 -0500 Subject: Re: Censorship/Urintown From: Bill Sapsis Message-ID: In-Reply-To: on 2/11/05 7:26 PM, MissWisc [at] aol.com at MissWisc [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > One of the most amazing things I ever saw on a stage was a guy in drag do a > strip tease wearing a flesh colored and anatomically correct for females body > stocking. > > Kristi Back in the 70's I did a production of Equus with Tony Perkins. It was summer stock. The place was full of blue hairs and then the nude scene came up. All hell broke loose. Old ladies covering their faces with the programs. Old men walking out. other old folks trying to get a better look. It was hysterical. And it was SRO for the rest of the run. The sad part is they only came for the nude scene. They never really noticed that the show was, and no pun intended, exquisite. Tony was brilliant and the kid, a newbie, was awesome. But, by and large, I think Stephen is right. it ain't censorship. it's marketing. Or lack thereof. Ah well Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <20050212060155.20316.qmail [at] web40723.mail.yahoo.com> Date: Fri, 11 Feb 2005 22:01:55 -0800 (PST) From: Chris Wych Subject: Piano Keys We have a piano that no longer stays in tune so its being used as a prop piano. Problem is that someone lost the hammer to the keys so all the keys fall down. Im trying to think of a way to get the keys to stay up but also be able to bue pushed down. Originaly someone put in egg creat packing foam but the problem is that when one key is press some of the keys around it also move. My thought it to put a spring that has a board on top of where the hammers would attch to so that the keys get pushed up but still respond to key pressing. Problem comes in what kinda of springs should I get? Or does someone have a better solution? Thanks Chris Wych ===== IL State U. Theatre Design Student a_small_idiot [at] yahoo.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ http://www.theatretechie.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo ------------------------------ Message-ID: <420D9F49.55AEBF56 [at] cybercom.net> Date: Sat, 12 Feb 2005 01:16:42 -0500 From: Dale Farmer Subject: Re: Piano Keys References: Chris Wych wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We have a piano that no longer stays in tune so its > being used as a prop piano. Problem is that someone > lost the hammer to the keys so all the keys fall down. > Im trying to think of a way to get the keys to stay > up but also be able to bue pushed down. Originaly > someone put in egg creat packing foam but the problem > is that when one key is press some of the keys around > it also move. My thought it to put a spring that has > a board on top of where the hammers would attch to so > that the keys get pushed up but still respond to key > pressing. Problem comes in what kinda of springs > should I get? Or does someone have a better solution? It's a standard repair, consult with your local tuner on having it done. --Dale ------------------------------ Message-ID: <000701c510cd$65e56640$2eecbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: Piano Keys Date: Sat, 12 Feb 2005 00:38:00 -0600 Rubber bands. ----- Original Message ----- From: "Chris Wych" To: "Stagecraft" Sent: Saturday, February 12, 2005 12:01 AM Subject: Piano Keys > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We have a piano that no longer stays in tune so its > being used as a prop piano. Problem is that someone > lost the hammer to the keys so all the keys fall down. > Im trying to think of a way to get the keys to stay > up but also be able to bue pushed down. Originaly > someone put in egg creat packing foam but the problem > is that when one key is press some of the keys around > it also move. My thought it to put a spring that has > a board on top of where the hammers would attch to so > that the keys get pushed up but still respond to key > pressing. Problem comes in what kinda of springs > should I get? Or does someone have a better solution? > > Thanks > Chris Wych > > ===== > IL State U. Theatre Design Student > a_small_idiot [at] yahoo.com > ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ > http://www.theatretechie.com > ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ > > > > > __________________________________ > Do you Yahoo!? > Take Yahoo! Mail with you! Get it on your mobile phone. > http://mobile.yahoo.com/maildemo ------------------------------ In-Reply-To: References: Message-Id: <431442f42199f1d354706bc2acded27f [at] theprices.net> From: Noah Price Subject: Re: Sound Digest? Date: Sat, 12 Feb 2005 00:09:19 -0800 On Feb 10, 2005, at 2:40 PM, Al Fitch wrote: > Can someone tell me how to subscribe to the sound > digest mailing list that I believe exists? See: Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ In-Reply-To: References:

Message-Id: <3af9fae511c247ae12e0ca48661f4abf [at] theprices.net> From: Noah Price Subject: Re: Venue information sheets Date: Sat, 12 Feb 2005 00:09:21 -0800 On Feb 11, 2005, at 6:49 PM, RODOK!!! wrote: > Is there an on-line registry of theatre specs for venues in North > America and beyond? I recall discussion of this a few years ago. > Individual theatres seem to post their information, but nothing seems > standardized. See Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ End of Stagecraft Digest #293 *****************************