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 18807316; Thu, 17 Feb 2005 03:00:48 -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 #298 Date: Thu, 17 Feb 2005 03:00:08 -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=unavailable 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 #298 1. Fire Retardation Info Needed. by "Duane" 2. Re: Fire Retardation Info Needed. by Bill Sapsis 3. Thrid appendage (slightly OT) by "Tony Kambic" 4. Upstate New York Job Fair by Johan Godwaldt 5. Re: Thrid appendage (slightly OT) by Bill Sapsis 6. Re: Thrid appendage (slightly OT) by "Delbert Hall" 7. Re: Speia Tone by Stan Jensen 8. Re: Speia Tone by "jknipple" 9. Re: Speia Tone by "Joshua Webb" 10. Re: Speia Tone by Steve Larson 11. Re: Thrid appendage (slightly OT) by Gregg Carville 12. Re: Thrid appendage (slightly OT) by "Haagen Trey P Civ 34 TRW/SDAT" 13. Re: Thrid appendage (slightly OT) by "Stephen E. Rees" 14. Re: Curtain pipe safety cable by Tom Grabowski 15. Re: Speia Tone by Jason Romney 16. Sepia Tone by "David R. Krajec" 17. Re: Haze with Singers by "Tony" 18. Re: Speia Tone by "Chris Warner" 19. Re: Sepia Tone by "Tony" 20. Re: Sepia Tone by "Chris Warner" 21. Re: Speia Tone by "Steven Haworth" 22. Chocolate/Green combo (was Sepia Tone) by "Steven Haworth" 23. Re: Sepia Tone by "Tony" 24. Creating Effects ETC 48/96 by "Edwin R. Toy" 25. ETC Board by "David Fox" 26. Re: Thrid appendage (slightly OT) by "Paul Schreiner" 27. Re: Speia Tone by FrankWood95 [at] aol.com 28. Re: Speia Tone by Stephen Litterst 29. Re: Sepia Tone (was speia tone) by Bob Frame 30. Re: Thrid appendage (slightly OT) by FrankWood95 [at] aol.com 31. Re: Thrid appendage (slightly OT) by Greg Bierly 32. Re: Creating Effects ETC 48/96 by "Nigel Worsley" 33. Re: Creating Effects ETC 48/96 by Stephen Litterst 34. Re: Speia Tone by FrankWood95 [at] aol.com 35. Re: Haze with Singers by Boyd Ostroff 36. Re: Thrid appendage (slightly OT) by Stephen Litterst 37. Re: Thrid appendage (slightly OT) by "Frank E. Merrill" 38. Re: Thrid appendage (slightly OT) by "Joshua Webb" 39. Re: Chocolate/Green combo (was Sepia Tone) by FrankWood95 [at] aol.com 40. Re: Curtain pipe safety cable by "Frank E. Merrill" 41. Re: Thrid appendage (slightly OT) by Stephen Litterst 42. anyone know who is out on the Queensryche tour? by CB 43. Re: Thrid appendage (slightly OT) by "Paul Schreiner" 44. Re: Creating Effects ETC 48/96 by "Edwin R. Toy" 45. Re: Herrick's photo by CB 46. Re: Haze with Singers by "Tom Heemskerk" 47. Re: Costumer Postion and Costume shop info requested by Mark Harvey 48. Projector search by CB 49. Re: Haze with Singers by Richard Wright 50. Re: Sepia Tone by "Jon Ares" 51. Re: Haze with Singers by "Klyph Stanford" 52. westcoasting by Judy 53. Sony Video Cubes by Jason Tollefson 54. Re: Sony Video Cubes by "Klyph Stanford" 55. Re: Sony Video Cubes by Jason Tollefson 56. Re: westcoasting by Stephen Litterst 57. Re: westcoasting by "Paul Schreiner" 58. Re: Thrid appendage (slightly OT) by Stuart Wheaton 59. Re: Costumer Postion and Costume shop info requested by "Curt Mortimore" 60. Re: Haze with Singers by "Paul H. Sullivan" 61. Impact Wrenches by "James, Brian" 62. Re: Haze with Singers by "Don Taco" 63. Re: Impact Wrenches by Bill Sapsis 64. Re: Impact Wrenches by "James, Brian" 65. Re: Impact Wrenches/Ignore last Post by "James, Brian" 66. Re: Impact Wrenches by Bill Sapsis 67. Re: Impact Wrenches by Dale Farmer 68. Re: Sepia Tone by "Chris Warner" 69. Re: Speia Tone by "Chris Warner" 70. Re: Smoke effect for "House of Blue Leaves" by Dorian Kelly *** 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: <0e6f01c51425$c78a4400$0201a8c0 [at] kc.rr.com> From: "Duane" References: Subject: Fire Retardation Info Needed. Date: Wed, 16 Feb 2005 06:48:13 -0600 Group, My theatre is beginning production of a show that has an option of being moved to the New York City area. If the production does travel to that theatrical Meca, I want to be sure that it is not delayed by any hazardous conditions that is locally allowed by our local Fire Authority. Does anyone in the group have the information available or a link to the appropriate sites in New York that would give me a heads up on Fire regulations and requirements that are different than here in the midwest? Any information pertaining to labor restrictions or crossover that stage hands and stage electricians are allowed during load in to the theatre would also be appreciated. The set involves integrated electrics and mechanics so it would require interlacing the labor during the load into the theatre. I would not want to step on any toes. We open here in eight weeks so the info would need to be available like yesterday since the build has started. Typical theatre! Please direct any info or links to dhoberg [at] newtheatre.com. Thanks in advance to any that reply. Duane Technical Director New Theatre Restaurant dhoberg [at] newtheatre.com ------------------------------ Date: Wed, 16 Feb 2005 07:56:03 -0500 Subject: Re: Fire Retardation Info Needed. From: Bill Sapsis Message-ID: In-Reply-To: Duane. the questions you asked can best be answered only by knowing what theatre you are going into. Maybe not the name, if you don't want to give that out, but type of space and location. (garage, off-broadway house, Lincoln Center...Midtown, Downtwon, SOHO, NOHO, etc.) NYC is complex but not necessarily daunting. And the rules, or at least the interpretation and enforcement of them, tends to change depending on where you are. As far as scenery is concerned, you must have a flame retardancy cert. for just about everything. No raw wood of course. Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. on 2/16/05 7:48 AM, Duane at dhoberg [at] kc.rr.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Group, > > My theatre is beginning production of a show that has an option of being > moved to the New York City area. If the production does travel to that > theatrical Meca, I want to be sure that it is not delayed by any hazardous > conditions that is locally allowed by our local Fire Authority. > > Does anyone in the group have the information available or a link to the > appropriate sites in New York that would give me a heads up on Fire > regulations and requirements that are different than here in the midwest? > > Any information pertaining to labor restrictions or crossover that stage > hands and stage electricians are allowed during load in to the theatre would > also be appreciated. The set involves integrated electrics and mechanics so > it would require interlacing the labor during the load into the theatre. I > would not want to step on any toes. > > We open here in eight weeks so the info would need to be available like > yesterday since the build has started. Typical theatre! > > Please direct any info or links to dhoberg [at] newtheatre.com. > > Thanks in advance to any that reply. > > Duane > Technical Director > New Theatre Restaurant > dhoberg [at] newtheatre.com > > ------------------------------ Subject: Thrid appendage (slightly OT) Reply-To: Eagle_194 [at] excite.com From: "Tony Kambic" Message-Id: <20050216133217.7B4753DF2 [at] xprdmailfe12.nwk.excite.com> Date: Wed, 16 Feb 2005 08:32:17 -0500 (EST) Greetings everybody. A buddy of mine and myself have been debating about something which I could use a few more professional opinions on. Which would be better for a electrician/stagehand to have: a third arm & hand OR a prehensile tail (one that can support your weight)? The tail would be more useful, allowing one to hang from just about anything, but would be real ugly & long. The third hand would be nice but not as great as the tail. Can anyone see any other pros/cons about this? Tony Kambic Assistant Master Electrician Riverside Theatre Inc. Hail to Pitt!! _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ------------------------------ Message-Id: From: Johan Godwaldt Subject: Upstate New York Job Fair Date: Wed, 16 Feb 2005 08:41:19 -0500 On Feb. 26 there will be a job fair for theatre technicians. It will start at 12 noon and go until 4pm. Some of the companies that will be represented will be Glimmerglass Opera, Hangar Theatre, Geva Theatre, Syracuse Stage, Cortland Rep., Downstairs Cabaret, Capital Rep. If interested please contact me directly for a flyer with all necessary information. godwaldt [at] oswego.edu Johan Godwaldt Technical Director SUNY Oswego Theatre 47 Tyler Hall Ph# 315 312 2987 Fax 315 312 3394 ------------------------------ Date: Wed, 16 Feb 2005 08:44:31 -0500 Subject: Re: Thrid appendage (slightly OT) From: Bill Sapsis Message-ID: In-Reply-To: on 2/16/05 8:32 AM, Tony Kambic at eagle_194 [at] excite.com wrote: > Which would be better for a electrician/stagehand to have: a third arm & hand > OR a prehensile tail (one that can support your weight)? The tail would be > more useful, allowing one to hang from just about anything, but would be real > ugly & long. The third hand would be nice but not as great as the tail. Can > anyone see any other pros/cons about this? Depends on where each is growing from..... 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: In-Reply-To: From: "Delbert Hall" Subject: Re: Thrid appendage (slightly OT) Date: Wed, 16 Feb 2005 09:00:40 -0500 I vote a second brain in order to be able to figure things like this out better. You guys got WAY to much time on your hands. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ In-Reply-To: References: Message-Id: <87745b9924461e3eb62527f3cc4fc585 [at] cmich.edu> From: Stan Jensen Subject: Re: Speia Tone Date: Wed, 16 Feb 2005 09:15:14 -0500 On Feb 16, 2005, at 1:04 AM, Chris Warner wrote: > I am looking to wash a set with a similar color tone that is seen with > a > sepia tone photograph or a speia tone film. I am considering R05, R16 Any deep color used alone will push your setting towards a monochromatic world. Sepia photographs actually have a deep purplish cast. The old faded silver prints tend to be more yellowed or caramel in color. What works for me is R99, and tell your set and costume designers to stay away from reds. Stan Jensen Central Michigan University ------------------------------ Subject: RE: Speia Tone Date: Wed, 16 Feb 2005 09:38:13 -0500 Message-ID: From: "jknipple" If you're into non-conventional lighting, spend $70 at you local hardware store on a sodium vapor light. I think we used a 100w version and looks just like sepia. Depending on the size of your stage, you might need 2.=20 Keep in mind that it doesn't dim, and it takes a few minutes to fully come up, but with some creativity, those issues might not matter. James Knipple =20 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 ______________________________________________ >I am looking to wash a set with a similar color tone that is seen with a >sepia tone photograph or a speia tone film ------------------------------ Message-id: Date: Wed, 16 Feb 2005 09:42:34 -0500 Subject: Re: Speia Tone From: "Joshua Webb" References:

In-Reply-To: "Stagecraft" writes: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >On Feb 16, 2005, at 1:04 AM, Chris Warner wrote: > >> I am looking to wash a set with a similar color tone that is seen with >> a >> sepia tone photograph or a speia tone film. I am considering R05, R16 > > >Any deep color used alone will push your setting towards a >monochromatic world. Sepia photographs actually have a deep purplish >cast. The old faded silver prints tend to be more yellowed or caramel >in color. What works for me is R99, and tell your set and costume >designers to stay away from reds. > >Stan Jensen > >Central Michigan University > I'd tend to agree with my old friend Stan, though I might be inclined to use R09 or R12 as it would give you a bit more room to play with intensity. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ Date: Wed, 16 Feb 2005 09:45:46 -0500 Subject: Re: Speia Tone From: Steve Larson Message-ID: In-Reply-To: You might also try Roscolux Chocolate. It's a very interesting color. steve > From: "Joshua Webb" > Reply-To: "Stagecraft" > Date: Wed, 16 Feb 2005 09:42:34 -0500 > To: "Stagecraft" > Subject: Re: Speia Tone > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Stagecraft" writes: >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> On Feb 16, 2005, at 1:04 AM, Chris Warner wrote: >> >>> I am looking to wash a set with a similar color tone that is seen with >>> a >>> sepia tone photograph or a speia tone film. I am considering R05, R16 >> >> >> Any deep color used alone will push your setting towards a >> monochromatic world. Sepia photographs actually have a deep purplish >> cast. The old faded silver prints tend to be more yellowed or caramel >> in color. What works for me is R99, and tell your set and costume >> designers to stay away from reds. >> >> Stan Jensen >> >> Central Michigan University >> > > I'd tend to agree with my old friend Stan, though I might be inclined to > use R09 or R12 as it would give you a bit more room to play with intensity. > > Joshua G. Webb > Designer/Technical Director > Worcester Academy > 81 Providence St. > Worcester, MA 01604 > 508.754.5302 x174 > > > ------------------------------ Message-ID: <42135F69.9050101 [at] portlandstage.com> Date: Wed, 16 Feb 2005 09:57:45 -0500 From: Gregg Carville Subject: Re: Thrid appendage (slightly OT) References: In-Reply-To: I vote for the tail. -Gregg Tony Kambic wrote: > Which would be better for a electrician/stagehand to have: a third arm & hand OR a prehensile tail (one that can support your weight)? The tail would be more useful, allowing one to hang from just about anything, but would be real ugly & long. The third hand would be nice but not as great as the tail. Can anyone see any other pros/cons about this? > ------------------------------ Subject: RE: Thrid appendage (slightly OT) Date: Wed, 16 Feb 2005 08:42:55 -0700 Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041386 [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" I vote for the tail. Assuming it was 2/3 or longer than your height. Trey Haagen Tony Kambic wrote: > Which would be better for a electrician/stagehand to have: a third arm > & hand OR a prehensile tail (one that can support your weight)? The=20 > tail would be more useful, allowing one to hang from just about=20 > anything, but would be real ugly & long. The third hand would be nice=20 > but not as great as the tail.=20 ------------------------------ Message-ID: <42136C4B.2040103 [at] fredonia.edu> Date: Wed, 16 Feb 2005 10:52:43 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Thrid appendage (slightly OT) References: Tail definitely. Preferably with little sucker pads to enhance the gripping capabilities, particularly for shiny, cold cylindrical objects. Steve Haagen Trey P Civ 34 TRW/SDAT wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > I vote for the tail. Assuming it was 2/3 or longer than your height. > > Trey Haagen > ------------------------------ From: Tom Grabowski Reply-To: tomgrab [at] utpa.edu Subject: Re: Curtain pipe safety cable Date: Wed, 16 Feb 2005 09:28:32 -0600 Organization: UTPA Message-ID: <20050216092832453.00000003884 [at] TGRABOWSKI> From Bill Conner: And the fact that half the drop fell makes me wonder if it = was a bottom hem failure. From Bill Sapsis: I think that the hem started to rot away and could not support the weight o= f the pipe. Chain, I believe, is also lighter than pipe. I haven't read a= ll the posts on this thread but I believe there was some discussion on the = pipe _vs_ emt issue. IMHO, emt is too light to do the job adequately and p= ipe is heavy enough to cause a hem failure. From Stuart Wheaton: So I would guess that something snagged the cyc, and being a wrap-around cyc that's no challenge really, maybe even lifted the cyc a ways before it slipped off the outgoing pipe and shock-loaded the 15 year old fabric, which then split and the lower part came down with the bottom pipe still in the pocket. I was able to go over to the theatre yesterday to see what happened. It a= ppears that it happened as Stuart figured. About 5' of the 100' wide cyc a= nd the curved 1" EMT bottom pipe are on the stage. Some how that dance fol= k must have gotten the scenic drop pipe moving sideways and it caught the c= yc and started it ripping. = If the pipe were out of the cyc and the bottom free to flutter up there in= the stored position, there would probably be more problems with it getting= caught on adjacent pipes as they move than if that bottom were in a more f= ixed stable position. The EMT did have enough weight to keep the cyc stretc= hed in the "U" configuration. = Since the auditorium is not under my control, I can only recommend how thi= ngs get done in the space. As the other department is now frantically tryi= ng to replace this cyc as they need it for an event in 9 days, I hope that = I can finally get them to realize that it is more complicated that just pul= ling the ropes to make things go up and down. = *** Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ In-Reply-To: References: Message-Id: <7e9d57b9f7d0507c01a4b7319a9ff91d [at] cd-romney.com> From: Jason Romney Subject: Re: Speia Tone Date: Wed, 16 Feb 2005 11:13:30 -0500 I'm not a lighting designer but I worked on a show years ago where the lighting designer was trying to accomplish this effect. The chocolate colors seemed the obvious choice but the results were disappointing. What he ended up doing was using green gels with the lights burning at a very low intensity. Worked pretty good as I recall. The real trick was providing something for the audience to compare it to. The first few scenes were bright and colorful, once that look had been established, the sepia effect worked much better. I seem to remember something in a lighting design class I took as an undergraduate where I was told that green gels were taboo. Maybe that's the point, though. Not being a lighting designer I'm afraid that's the most detail I can give you. Maybe others can comment further or tell me I'm full of it ;) Jason Romney Sound Design Instructor North Carolina School of the Arts jason [at] cd-romney.com romneyj [at] ncarts.edu http://www.ncarts.edu/ncsaprod/designandproduction/ http://www.cd-romney.com ------------------------------ Reply-To: From: "David R. Krajec" Subject: Sepia Tone Date: Wed, 16 Feb 2005 10:14:12 -0600 Message-ID: In-Reply-To: Chris, To get a sepia tone on stage, R05-Rose tint will be too pink for what you are trying to achieve. R16-Light Amber will be too orange (and will wash out any natural color in African-American actors). Try R99-Chocolate - If you have any actors of color in your show, their skin tones may shift slightly, but not as bad if you use the amber. BTW, I love R05-Rose Tint. Everybody looks good under it and the color shift when you dim isn't too profound. Hey, Roscoe. Bring back Hamburg Rose! Color is great and the frost helps with blending. OK, back to work! ------------------------------ Message-ID: <037b01c51443$30cfb450$0800000a [at] Tony> From: "Tony" References: Subject: Re: Haze with Singers Date: Wed, 16 Feb 2005 16:18:41 -0000 ----- Original Message ----- From: "Boyd Ostroff" To: "Stagecraft" Sent: Tuesday, January 25, 2005 4:46 PM Subject: Re: Haze with Singers > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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. > I see where you're coming from with this, but have to disagree to a point. In the pro world, (I would imagine), these singers will have contracts. Unless they're big enough to have riders written in that haze must NOT be used then I'd expect them to be in breach of said contract if they tried to be a prima-donna about it. OK - they may well make out they're being made ill by the haze and who knows - they might actually be right. I'd expect that contract to say "No sing, no pay". (Or at least LESS pay). But experience and observation over many years coupled with the fact that I'd say the haze machine part of the industry is bending over backwards to make the stuff non-allergenic, would say that MOST of those who try that approach would be faking it! In the am-dram world (where I admit lies most of my direct experience) the majority of singers are there not because they have to be to get paid, but because the WANT to be and they've chosen the show that they wish to participate in. I have certainly known many over the years who've tried to make out that they simply cannot sing in haze or smoke (one even said the UV was affecting her breath!) but after a bit of quiet coaxing virtually all have come around and accepted the fact that it doesn't do any harm to lungs, throats or vocal chords. The more people who pander to the crap from would-be anti-haze nuts, whether in pro or am-dram, the more will try to inflict their tantrums on those of us who are just trying to make THEM look better by making their surroundings look better! It's all a matter of education. Some people just won't be persuaded, but I've always found that it's certainly worth the effort to try to do so, and oh so much better when you succeed! Ynot ------------------------------ Message-ID: <055d01c51443$f95356c0$6501a8c0 [at] chris> From: "Chris Warner" References:

Subject: Re: Speia Tone Date: Wed, 16 Feb 2005 08:24:22 -0800 This is in an evening of one acts. There will also be an author on stage typing at a typewriter, he will be in a NC spot by himself. So the contrast will be striking. Thanks for the suggestions. I think what I am looking for is the carmel color, which to me reads more like an amber or even a CTO filter. Any other suggestions? Thanks in advance Chris Warner ----- Original Message ----- From: "Jason Romney" To: "Stagecraft" Sent: Wednesday, February 16, 2005 8:13 AM Subject: Re: Speia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm not a lighting designer but I worked on a show years ago where the > lighting designer was trying to accomplish this effect. The chocolate > colors seemed the obvious choice but the results were disappointing. > What he ended up doing was using green gels with the lights burning at > a very low intensity. Worked pretty good as I recall. The real trick > was providing something for the audience to compare it to. The first > few scenes were bright and colorful, once that look had been > established, the sepia effect worked much better. I seem to remember > something in a lighting design class I took as an undergraduate where I > was told that green gels were taboo. Maybe that's the point, though. > Not being a lighting designer I'm afraid that's the most detail I can > give you. Maybe others can comment further or tell me I'm full of it ;) > > Jason Romney > Sound Design Instructor > North Carolina School of the Arts > jason [at] cd-romney.com > romneyj [at] ncarts.edu > http://www.ncarts.edu/ncsaprod/designandproduction/ > http://www.cd-romney.com > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Message-ID: <038101c51443$837e8b40$0800000a [at] Tony> From: "Tony" Cc: drkrajec [at] stritch.edu References: Subject: Re: Sepia Tone Date: Wed, 16 Feb 2005 16:21:00 -0000 ----- Original Message ----- From: "David R. Krajec" To: "Stagecraft" Sent: Wednesday, February 16, 2005 4:14 PM Subject: Sepia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Chris, > To get a sepia tone on stage, R05-Rose tint will be too pink for what you > are trying to achieve. R16-Light Amber will be too orange (and will wash > out any natural color in African-American actors). > Try R99-Chocolate - If you have any actors of color in your show, their skin > tones may shift slightly, but not as bad if you use the amber. > > BTW, I love R05-Rose Tint. Everybody looks good under it and the color > shift when you dim isn't too profound. > > Hey, Roscoe. Bring back Hamburg Rose! Color is great and the frost helps > with blending. > > OK, back to work! > Last time I did this, I used several chocolate wash lights from front and sides/top, with a touch of open backlight to pick out the details. That gives you the brown tint for the sepia without losing the definition. I believe I also used something else from each side to help with the detail, but this was some years ago and I can't recall what it was, but I do recall spending some time experimenting with that to achieve the result..... Ynot ------------------------------ Message-ID: <056301c51444$87935ac0$6501a8c0 [at] chris> From: "Chris Warner" Cc: drkrajec [at] stritch.edu References: Subject: Re: Sepia Tone Date: Wed, 16 Feb 2005 08:28:21 -0800 Thanks for the info David. The issue I am facing is that this is part of a night of 3 one acts, so I have to make all 3 look good under the same light rig. I have some limitations, but I think I can work around them. My current though is to use a straight with front light with R99, and a straight backlight with Lee 201 to pull the cast away from the walls. I'll have to experiment a bit. Thanks again for the input. Chris ----- Original Message ----- From: "David R. Krajec" To: "Stagecraft" Sent: Wednesday, February 16, 2005 8:14 AM Subject: Sepia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Chris, > To get a sepia tone on stage, R05-Rose tint will be too pink for what you > are trying to achieve. R16-Light Amber will be too orange (and will wash > out any natural color in African-American actors). > Try R99-Chocolate - If you have any actors of color in your show, their skin > tones may shift slightly, but not as bad if you use the amber. > > BTW, I love R05-Rose Tint. Everybody looks good under it and the color > shift when you dim isn't too profound. > > Hey, Roscoe. Bring back Hamburg Rose! Color is great and the frost helps > with blending. > > OK, back to work! > > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Subject: RE: Speia Tone Date: Wed, 16 Feb 2005 10:28:02 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB09093313 [at] danube.river.idm.com> From: "Steven Haworth" What about something like GAM 430 or 433. GAM calls them ivory, but = they look brownish to me. GAM's also got a pale sepia (327) that is a = brownish-rose color, a touch more brown than a pale CTO. And GAM 365 = (warm straw) might work too, althought it's got a tad more yellow in it. = Never used any of these, but they seem like they might work well for = sepia tones. GAM's line in this range seems to have a lot more options than the Rosco = colors I typically use. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Subject: Chocolate/Green combo (was Sepia Tone) Date: Wed, 16 Feb 2005 10:30:35 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB09093314 [at] danube.river.idm.com> From: "Steven Haworth" There was an article in Lighting Dimensions some years ago, a brief = design review I think, that featured a show lit entirely with chocolate = and green. R99 from the front and the green from the sides, maybe? = It's been a long while, but I thought the design was fascinating for = using such unusual colors. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-ID: <039601c51444$d91830a0$0800000a [at] Tony> From: "Tony" References:

Subject: Re: Sepia Tone Date: Wed, 16 Feb 2005 16:30:33 -0000 ----- Original Message ----- From: "Chris Warner" To: "Stagecraft" Cc: Sent: Wednesday, February 16, 2005 4:28 PM Subject: Re: Sepia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Thanks for the info David. The issue I am facing is that this is part of a > night of 3 one acts, so I have to make all 3 look good under the same light > rig. I have some limitations, but I think I can work around them. My > current though is to use a straight with front light with R99, and a > straight backlight with Lee 201 to pull the cast away from the walls. I'll > have to experiment a bit. > > Thanks again for the input. > Chris > Ooooh! You're running the whole night under sepia tint? You sure you want to do that?? Gotta say that this sounds a little unusual - might also make some of the audience feel a little queasy! (Think it would me!!) Whenever I've used sepia style (not that often) it's always been for a set piece, or as a scene-starter to set the pace. I've then brought up a more general rig for the majority of the scene, then maybe back to a sepia set at the end to close the scene. Ynot ------------------------------ Message-Id: <200502161701.j1GH1mC31349 [at] mail.medequipinc.com> From: "Edwin R. Toy" Subject: Creating Effects ETC 48/96 Date: Wed, 16 Feb 2005 12:01:37 -0500 I am trying to create the effect of a flashing neon sign for an upcoming production of "Stage Door" I have two S4 to provide the "neon". I am having one hell of a time trying to create the "flashing" effect. Here is what I would like the effect to look like: Start of scene: "Normal" stage lights come up After a 10 count "flashing" Starts Step 1: 1st "neon" unit comes up on a 1 count Pause 3 counts Step 2: 2nd "neon" unit comes up on a 1 count Pause 5 counts Step 3: Both "neon" units go out on a 3 count. Then loops/Links back to step 1. End of scene: "Normal" stage light and "flashing" fade out I have read the manual, I have played around with loops, links, sub-cues, but still nothing seems to work. Thanks for the help Edwin ------------------------------ Subject: ETC Board Date: Wed, 16 Feb 2005 11:16:23 -0600 Message-ID: <34CB2A959285064382C1BBFCC7141E40607156 [at] MIDL-MAILV.etclink.net> From: "David Fox" [uncloaking] Roger and All; We have looked at creating training videos and online tutorials in the past and will continue to investigate them. I know many of our customers choose to video tape their system and product training so that they can keep a record of how their equipment operates. I highly recommend this solution as many training sessions are performed specific to the facility and user base.=20 While the manual and quick guides can be a big help, talking to a live person can be invaluable in providing the immediate answers you need to get your production running. =20 If you ever have any questions on ETC products, please do call me or any member of ETC's Support Department. We are here and ready to assist you with any of your questions. Our Support Line is 800-775-4382 and is staffed M-F 8am-5pm CST. We are also available for emergency support 24/7/365. We return after-hour calls within 15 min. David Fox ETC Technical Support Supervisor Direct 608-824-5056 Toll Free Direct 888-908-2193 Message-ID: <20050215181709.78437.qmail [at] web41208.mail.yahoo.com>. Date: Tue, 15 Feb 2005 10:17:09 -0800 (PST) From: Roger Harrison Subject: ETC board In-Reply-To: Would you just hand a student a manual and tell them to go program a show? I don't think so! Someone has to coach them along. Explain what some terms are and how to access some features.=20 All I was asking is if anyone had a better tutorial than the one ETC has. Something we could show the kids and learn together. Again thank you to the people that sent files. [Cloaking] ------------------------------ Subject: RE: Thrid appendage (slightly OT) Date: Wed, 16 Feb 2005 12:26:47 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C71E [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: Eagle_194 [at] excite.com > Which would be better for a electrician/stagehand to have: a=20 > third arm & hand OR a prehensile tail (one that can support=20 > your weight)?=20 I'd vote tail, too. I think it'd actually be more aesthetically-pleasing, since it wouldn't mess with the symmetry. > Can anyone see any other pros/cons about this? Would pants be made that surrounded the base of the tail, or end below it? Option A would be tough to remove quickly, option B could create callouses... If you do decide to go the third-arm route, why not go all the way and have a spare head attached and call yourself Zaphod? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9e.203f045f.2f44deef [at] aol.com> Date: Wed, 16 Feb 2005 12:37:51 EST Subject: Re: Speia Tone In a message dated 16/02/05 06:02:33 GMT Standard Time, bearz2 [at] cox.net writes: > I am looking to wash a set with a similar color tone that is seen with a > sepia tone photograph or a speia tone film. I am considering R05, R16 any > suggestions would be greatly appreciated. This is hard. If you look at such a photograph, you will see that the whites are still white, but that darker tones, instead if going through grey to black, go through shades of brown to a dark brown. My eye and a Lee swatch book suggest L232 as the closest guess, together with open white cross lighting to catch the whites, if possible. A lot will depend on the set and costume colours. Frank Wood ------------------------------ Date: Wed, 16 Feb 2005 12:40:52 -0500 From: Stephen Litterst Subject: Re: Speia Tone Message-id: <421385A4.BB97C50B [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Chris Warner wrote: > --------------------------------------------------- > > This is in an evening of one acts. There will also be an author on stage > typing at a typewriter, he will be in a NC spot by himself. So the contrast > will be striking. To make the contrast a bit more striking, consider using a L201 or similar color correction to add the slightest bit of blue to the light. The audience will still see it as white, but in contrast to the amber qualities of your sepia wash it will enhance the contrast Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B99C339B [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: RE: Sepia Tone (was speia tone) Date: Wed, 16 Feb 2005 12:49:49 -0500 Chris- Try R9 Chocolate- wonderful gel. BTW- I assume you are talking a front wash? Don't forget that washing the set also washes the actors. If you just want to wash the set try a fairly steep overhead angle(commonly known as a "wall wash") to tone the walls yet still allow separate control of the light on the actors. Or you could also try from a side light position. Be aware though that lighting from either of these angles may not endear you to the scenics, as light from those angles (especially side) will tend to show off every imperfection of the set! Bob Frame -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] Sent: Wednesday, February 16, 2005 6:00 AM To: Stagecraft Subject: Stagecraft Digest #297 Message-ID: <04cc01c513ed$56ccdad0$6501a8c0 [at] chris> From: "Chris Warner" Subject: Speia Tone Date: Tue, 15 Feb 2005 22:04:13 -0800 To those lighting designers that have probably a bit more experience with this than I do. I am looking to wash a set with a similar color tone that is seen with a sepia tone photograph or a speia tone film. I am considering R05, R16 any suggestions would be greatly appreciated. Thanks in advance Chris Warner Working - '05 West Hills High School, Santee, Ca. Evening of One Acts - '05 Grossmont Community College, El Cajon, Ca. Godspell - '05 OnStage Playhouse, Chula Vista, Ca ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Wed, 16 Feb 2005 12:44:00 EST Subject: Re: Thrid appendage (slightly OT) In a message dated 16/02/05 13:32:53 GMT Standard Time, eagle_194 [at] excite.com writes: > Which would be better for a electrician/stagehand to have: a third arm & hand > OR a prehensile tail (one that can support your weight)? The tail would be > more useful, allowing one to hang from just about anything, but would be real > ugly & long. The third hand would be nice but not as great as the tail. Can > anyone see any other pros/cons about this? A third arm and hand sounds more generally useful, although basic anatomy makes it difficult to fit in. And, would you make the extra one a right hand, or a left? Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <8bf101998ac72a97f7930cff20dafe63 [at] dejazzd.com> From: Greg Bierly Subject: Re: Thrid appendage (slightly OT) Date: Wed, 16 Feb 2005 12:46:52 -0500 > I'd vote tail, too. I think it'd actually be more > aesthetically-pleasing, since it wouldn't mess with the symmetry. While we are genetic engineering, how about a tail with a hand on the end (with three fingers and two opposable thumbs to keep the symmetry) ------------------------------ Message-ID: <22f901c5144f$c9181de0$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: Creating Effects ETC 48/96 Date: Wed, 16 Feb 2005 17:48:54 -0000 Edwin R. Toy wrote: > I am trying to create the effect of a flashing neon sign for an upcoming > production of "Stage Door" I have two S4 to provide the "neon". I am having > one hell of a time trying to create the "flashing" effect. Here is what I > would like the effect to look like: > > Start of scene: "Normal" stage lights come up > > After a 10 count "flashing" Starts > > Step 1: 1st "neon" unit comes up on a 1 count > Pause 3 counts > Step 2: 2nd "neon" unit comes up on a 1 count > Pause 5 counts > Step 3: Both "neon" units go out on a 3 count. > Then loops/Links back to step 1. > > End of scene: "Normal" stage light and "flashing" fade out > > I have read the manual, I have played around with loops, links, sub-cues, > but still nothing seems to work. Look in chapter 16, 'Effects'. What you are after is a very simple 3 state chase. Nigel Worsley ------------------------------ Date: Wed, 16 Feb 2005 13:05:22 -0500 From: Stephen Litterst Subject: Re: Creating Effects ETC 48/96 Message-id: <42138B62.113249B8 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Edwin R. Toy" wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am trying to create the effect of a flashing neon sign for an upcoming > production of "Stage Door" I have two S4 to provide the "neon". I am having > one hell of a time trying to create the "flashing" effect. Here is what I > would like the effect to look like: > > Start of scene: "Normal" stage lights come up > > After a 10 count "flashing" Starts > > Step 1: 1st "neon" unit comes up on a 1 count > Pause 3 counts > Step 2: 2nd "neon" unit comes up on a 1 count > Pause 5 counts > Step 3: Both "neon" units go out on a 3 count. > Then loops/Links back to step 1. > > End of scene: "Normal" stage light and "flashing" fade out Record your "Normal" stage light cue. In blind. Select the cue # you wish this effect to be. Press "Type." Select type 3 "Effect." Step 1 - Channel of your first neon unit. Step time-4 In-1 Dwell-4 Out-0 Step 2 - Channel of the second neon unit. Step time-5 In-3 Dwell-5 Out-0 Step 3 - Blank step. No channels Step Time-3 In-3 Dwell-1 Out-0 Hit "more Softkeys," select S8 "Attributes" Select "Build". Record a blackout as the next cue and your "Normal" and "Flashing light" will fade together. Hope this helps. Feel free to play around with the step times to get the effect you desire. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25.5949bb3b.2f44e5b6 [at] aol.com> Date: Wed, 16 Feb 2005 13:06:46 EST Subject: Re: Speia Tone In a message dated 16/02/05 16:23:11 GMT Standard Time, bearz2 [at] cox.net writes: > Thanks for the suggestions. I think what I am looking for is the carmel > color, which to me reads more like an amber or even a CTO filter. Any other > suggestions? Myself, I should go for CTY. The oranges put in a reddish hint, which I believe to be wrong. Sepia is brown, which is essentially a dark yellow. Frank Wood ------------------------------ Date: Wed, 16 Feb 2005 13:06:04 -0500 (EST) From: Boyd Ostroff Subject: Re: Haze with Singers In-Reply-To: Message-ID: References:

On Wed, 16 Feb 2005, Tony wrote: > In the pro world, (I would imagine), these singers will have contracts. Well you can "imagine" and and theorize all you want, but you're just not right about the way things work in the real world of opera. I have been involved in a number of situations like this. There will be lots of discussion, but in the end you're gonna lose if the singer wants to press the issue. I don't like it, but that's reality. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Wed, 16 Feb 2005 13:07:51 -0500 From: Stephen Litterst Subject: Re: Thrid appendage (slightly OT) Message-id: <42138BF7.B1496E24 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > --------------------------------------------------- > A third arm and hand sounds more generally useful, although basic anatomy > makes it difficult to fit in. And, would you make the extra one a right hand, or > a left? It depends on your dominant hand. Being right-handed, I'd want an additional left hand. The last thing I need in a stressful situtation is the distraction of decided which dominant hand to use. Steve LItterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Wed, 16 Feb 2005 13:08:36 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1965118257.20050216130836 [at] tcon.net> Cc: Eagle_194 [at] excite.com Subject: Re: Thrid appendage (slightly OT) In-Reply-To: References: Howdy! Wednesday, February 16, 2005, 8:32:17 AM, Tony Kambic wrote: > Which would be better for a electrician/stagehand to have: a > third arm & hand OR a prehensile tail...? I don't recall that God has ever asked my opinion concerning the design of the human body, but I DO have some suggestions: First, I'd have arms detachable and relocatable into variouis sockets located on both sides of the thoracic region of the body, rather like sticking the legs into the body in the old COOTIE game. That way, you could have both arms on the same side of the body when working in a cramped space to get a hang just right. That would also lend new meaning to the term "Hey Joe! Lend me a hand, willya?" because you could add Joe's hand and associated armature to yours when more capability is needed without adding the bulk of another body. The other thing I'd do is remove the pinky finger of each hand and replace it with a reversible 1/4" square drive on one side and 3/8" drive on the other. With such capability it would be a small matter to attach a socket or screw tip to be able to run nuts in remote places. Quite naturally, excess torque could easily lead to hemorrhage so final tightening would still require conventional tools. -- Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Message-id: Date: Wed, 16 Feb 2005 13:10:07 -0500 Subject: Re: Thrid appendage (slightly OT) From: "Joshua Webb" References:

In-Reply-To: I'd go for a third arm, how could I pass up the opportunity to have a third middle finger? 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: <1a6.31c7623c.2f44e6a4 [at] aol.com> Date: Wed, 16 Feb 2005 13:10:44 EST Subject: Re: Chocolate/Green combo (was Sepia Tone) In a message dated 16/02/05 16:31:17 GMT Standard Time, sjh [at] idm.com writes: > There was an article in Lighting Dimensions some years ago, a brief design > review I think, that featured a show lit entirely with chocolate and green. > R99 from the front and the green from the sides, maybe? It's been a long > while, but I thought the design was fascinating for using such unusual colors. > Fascinating, and horrible, like a cobra poised to strike. Frank Wood ------------------------------ Date: Wed, 16 Feb 2005 13:12:33 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <117696500.20050216131233 [at] tcon.net> Cc: tomgrab [at] utpa.edu Subject: Re: Curtain pipe safety cable In-Reply-To: References: Howdy! Monday, February 14, 2005, 6:44:32 PM, Tom Grabowski wrote: > there was an incident with a cyc ripping and dropping the bottom > pipe to the floor.... I'm hard pressed to imagine the fabric disintegrating without the application of outside force, but I believe Tom's description. That is merely one more reason why I put a pocket inside the bottom hem. I suppose if the pocket failed, the resultant "funny" appearance of the drop would alert even the least observant person to the potential problem. -- Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Date: Wed, 16 Feb 2005 13:15:49 -0500 From: Stephen Litterst Subject: Re: Thrid appendage (slightly OT) Message-id: <42138DD5.C9D026E5 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Paul Schreiner wrote: > --------------------------------------------------- > If you do decide to go the third-arm route, why not go all the way and > have a spare head attached and call yourself Zaphod? But only if you're doing it to improve your ski-boxing. I'd vote for the tail for its counterbalancing qualities. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: <3.0.6.32.20050216113032.016d6340 [at] pop.west.cox.net> Date: Wed, 16 Feb 2005 11:30:32 From: CB Subject: anyone know who is out on the Queensryche tour? >Anyone here know who the production company/crew is >out on the Queensryche tour? I have a number of >questions about the show I saw last night here in >Tucson. HMMMmm... I didn't even hear that they were here. Where did they play? I know a few people that know a few people, and I could ask a few questions. I would need to know what I was asking, of course, and who... This would be the local crew, and may or may not be more forthcoming. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Subject: RE: Thrid appendage (slightly OT) Date: Wed, 16 Feb 2005 13:27:38 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C71F [at] exchange.rmwc.edu> From: "Paul Schreiner" > It depends on your dominant hand. Being right-handed, I'd=20 > want an additional left hand. The last thing I need in a=20 > stressful situtation is the distraction of decided which=20 > dominant hand to use. Ah, but for that reason I'd want an extra right (if I had to pick a hand). That way, if I'm using a tool in my (original) right hand, I could be supporting the workpiece on each side with the other hands. Two lefts would still leave me with an unbalanced load... But I'd still vote tail. You get the option of which side you could use it on, without limiting yourself. And they're so much more...sensuous. Sexy, even. And on that note... ------------------------------ Message-Id: <200502161829.j1GITUC04535 [at] mail.medequipinc.com> From: "Edwin R. Toy" Subject: RE: Creating Effects ETC 48/96 Date: Wed, 16 Feb 2005 13:29:19 -0500 In-Reply-To: My problem has been solved!!!! Thanks to Steve!! ____________________________________________________________________________ Record your "Normal" stage light cue. In blind. Select the cue # you wish this effect to be. Press "Type." Select type 3 "Effect." Step 1 - Channel of your first neon unit. Step time-4 In-1 Dwell-4 Out-0 Step 2 - Channel of the second neon unit. Step time-5 In-3 Dwell-5 Out-0 Step 3 - Blank step. No channels Step Time-3 In-3 Dwell-1 Out-0 Hit "more Softkeys," select S8 "Attributes" Select "Build". Record a blackout as the next cue and your "Normal" and "Flashing light" will fade together. Hope this helps. Feel free to play around with the step times to get the effect you desire. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: <3.0.6.32.20050216114026.016d6340 [at] pop.west.cox.net> Date: Wed, 16 Feb 2005 11:40:26 From: CB Subject: Re: Herrick's photo >I'm getting a T-shirt made that says: > "Firedance (the name of the show) SERENITY NOW!!!" Mine will read, "AIDA 2005 Sound crew, Screw this waiting, I'm going to go out and kill something" on the back (every time someone dies in the show, I get a mic pack or some other cue, and not many people die, for an opera). You'll have to see the front in person, I'm not sure that its appropriate for gen pop. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Message-ID: <1894.204.244.226.37.1108579783.squirrel [at] 204.244.226.37> In-Reply-To: References:

Date: Wed, 16 Feb 2005 10:49:43 -0800 (PST) Subject: Re: Haze with Singers From: "Tom Heemskerk" > > The more people who pander to the crap from would-be anti-haze nuts > Um.... it can be frustrating to us when an atmospheric effect gets cut, but that's what happens sometimes. And, it rarely happens because of tantrums (or name-calling), at least not by the opera singers I've been around. ------------------------------ Date: Wed, 16 Feb 2005 12:47:30 -0600 From: Mark Harvey Subject: Re: Costumer Postion and Costume shop info requested Message-ID: <2147483647.1108558050 [at] umd52-36.d.umn.edu> In-Reply-To: References: >> We are making a new costume shop. Here is what we are looking at. >> >> 4 new machines >> 2 sergers >> 1 industiral iron >> cutting tables (what size?) Costume designers on this list will give you a much more extensive list to consider, but my first thought was that you'll need space for fittings with adequate mirrors, etc. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ Message-Id: <3.0.6.32.20050216120428.016d6340 [at] pop.west.cox.net> Date: Wed, 16 Feb 2005 12:04:28 From: CB Subject: Projector search >> > We're shooting from a distance of 33-88' away to create an image of >> > approx 400" diagonally. > >That's a hell of a range in your throw distance. That's what I was thinking. Are you trying to find a projector that will do both, or do you have choices as to where to plug the thing in? Doing both will probably require another lens, and good glass ain't cheap, cheap glass ain't good. If you can go with the shorter throw, you can probably get away with a zoom lens, one that most projectors will come with. Knowing what will be going on behind the projections, in front of it, and around it will help decide how much light you need out of the projector. D'ya have the room to rear project? What are you projecting on? What are you projecting for? The more you tell us about what you want to do, the more we can tell you about how you can do it. A rough in for the lens you need is the throw distance and the bottom length of the image. If you are filling a 9x12 screen, and you have a 1.2-to-1 lens, you'll need about 18 feet of clearence (14.4 feet from the front of the lens, and three feet for the projector.) Remember, these are ROUGH guesstimates to get you in the ballpark. 26' 8" (27) bottom width (400"diagonal) at 33' can be done with a 1.2-to-1 lens, or get you close enough to make it pretty. At 88', you'd need a 3.25-to-1 lens. I'm guessing that you won't find a zoom that includes both in yor budget, and having two lenses will probably be almost as much cash. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ In-Reply-To: References:

Message-Id: From: Richard Wright Subject: Re: Haze with Singers Date: Wed, 16 Feb 2005 11:35:08 -0800 I have to weigh in here. I am a "pro-haze" producer. We used it in two summer-long shows last year. In one show I was also a singer. (We are a small company. ;-))) While I have no fear that it was toxic it did affect my breathing and singing- no doubt. Granted, I once had "Farmer's Lung", a mould infection, but it did shorten my breath. I learned how to deal with it by taking a good lung full of air when out of the fog. That said none of the other 9 singers complained. Point is we should not dismiss complaints but find out why it bothers a singer. Richard Wright > >> >> The more people who pander to the crap from would-be anti-haze nuts > Richard Wright, producer Newman & Wright Theatre Company Theatre Royal, Barkerville B.C. 250-994-3225 ------------------------------ Message-ID: <001901c51461$880f8970$0600000a [at] BRUTUS> From: "Jon Ares" Cc: drkrajec [at] stritch.edu References: Subject: Re: Sepia Tone Date: Wed, 16 Feb 2005 11:55:57 -0800 > > BTW, I love R05-Rose Tint. Everybody looks good under it and the color > shift when you dim isn't too profound. R05=My favorite colour for caucasian skin. Use it all the time. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "Klyph Stanford" Subject: RE: Haze with Singers Date: Wed, 16 Feb 2005 15:24:20 -0500 In-Reply-To: Message-ID: Boyd wrote: > > 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. > Tony wrote >The more people who pander to the crap from would-be anti-haze nuts, >whether >in pro or am-dram, the more will try to inflict their tantrums on those of >us who are just trying to make THEM look better by making their >surroundings look better! A few thoughts on this. Whether or not the effects of haze/ fog are psychosomatic or not, if the performer believes it is affecting their performance, then it is. (see the film Bull Durham for a great summing up of this) And like it or not, the audience has paid to see the performer, not the atmospheric effect. We have responsibility to make the performer as comfortable on stage as is reasonably possible. They have the hardest job. I have yet to attend a performance where the audience walked out saying "Well, the singers sucked, but wasn't that great haze?" I also think haze is has started to be used just because we can, and not with an eye to its appropriateness. Atmospheric effects have their place, but that is not everywhere. Klyph Stanford 336.575.7235 "Let's go get drunk on the light once more." Georges Seurat ------------------------------ Message-ID: <4213AE20.1060305 [at] post.tau.ac.il> Date: Wed, 16 Feb 2005 22:33:36 +0200 From: Judy Subject: westcoasting WHY is it called west coasting?? ------------------------------ Message-ID: <20050216204822.36275.qmail [at] web51006.mail.yahoo.com> Date: Wed, 16 Feb 2005 12:48:21 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Sony Video Cubes In-Reply-To: Does anyone on the lost have experience with Sony Video Wall Cubes? My dept at work has been offered some units from another area of the company and we're very excited but I want to make sure we have as much info as we need before making any decisions. They were described as: "Sony RVP 411D video engines and Sony CMP 411D modules." I've found literature on the RVP411D but it's a sales brochure and is missing answers to some technical questions. If anyone has any advice I'd really appreciate it. I'm going to the warehouse tomorrow to take a look at their condition. Thanks, Jason Tollefson Event Planner, Disney/MGM Studios Walt Disney World, FL ------------------------------ From: "Klyph Stanford" Cc: jason [at] tollefsondesigns.com Subject: RE: Sony Video Cubes Date: Wed, 16 Feb 2005 15:52:04 -0500 In-Reply-To: Message-ID: Jason wrote: Date: Wed, 16 Feb 2005 12:59:57 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: Sony Video Cubes In-Reply-To: Subject: Re: westcoasting Message-id: <4213B466.31FD3E5F [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Judy wrote: > --------------------------------------------------- > WHY is it called west coasting?? What I tell my students (because it's what I learned) is that in the early days of movie filming, it was always cheaper to build a big open warehousey sound stage than one equipped with standard theatrical rigging. To store drops on the sound stage, they would be bundled up to the batten and tied off. Touring theatrical productions would pick up this practice as they passed through town, and adopted it, naming it after the region in which they learned it. In recent years I've heard the term "Mid-westing" applied to the technique of tripping a drop (halfway between West Coasting and East Coasting). I have no research to back any of this up. So it's pretty urban-legendary. Steve LItterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: westcoasting Date: Wed, 16 Feb 2005 16:07:53 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C722 [at] exchange.rmwc.edu> From: "Paul Schreiner" > What I tell my students (because it's what I learned) is that=20 > in the early days of movie filming, it was always cheaper to=20 > build a big open warehousey sound stage than one equipped=20 > with standard theatrical rigging. To store drops on the=20 > sound stage, they would be bundled up to the batten and tied=20 > off. Touring theatrical productions would pick up this=20 > practice as they passed through town, and adopted it, naming=20 > it after the region in which they learned it. IIRC, this topic went through the list about a year or so ago...but I can't seem to get at the list home page to search the archives (and they were down last time I was there), so my hazy recollection will have to suffice. When the story was told here last time, the author posited that the phrase came from touring in the mid-1800s. Shows would travel west, and the drops would be neatly bundled (folded standardly?) between shows on the outgoing leg to minimize wrinkles. The return trip back east was direct...the tours would end on the west coast. Instead of taking the time to fold the drops at this point, they'd instead be bundled up in the fashion we now term "west-coasting" and loaded into hampers. At the end of the tour, no one cared about wrinkles, apparently. And as always, take a few grains of salt with this. > In recent years I've heard the term "Mid-westing" applied to=20 > the technique of tripping a drop (halfway between West=20 > Coasting and East Coasting). Love the term! ------------------------------ Message-ID: <4213D24E.70806 [at] fuse.net> Date: Wed, 16 Feb 2005 18:07:58 -0500 From: Stuart Wheaton Subject: Re: Thrid appendage (slightly OT) References: In-Reply-To: Paul Schreiner wrote: > > If you do decide to go the third-arm route, why not go all the way and > have a spare head attached and call yourself Zaphod? > On the gripping hand, without the extra head you could just go "Motie Engineer", and add a few 'watchmakers' to really make life easy! Stuart ------------------------------ Subject: RE: Costumer Postion and Costume shop info requested Date: Wed, 16 Feb 2005 17:29:52 -0600 Message-ID: From: "Curt Mortimore" For what it's worth. I am not a costume person but I am married to one. It really depends on how you plan to use a costume shop but the loudest complaints I have heard concern the following: NPO Ventilation, or lack thereof. No windows. For the love of God give them a window! Lack of storage space. Shortage of dress forms and/or storage space for them. Adequate dying equipment and/or space. Finally, I would suggest posting this question to the costumeinfo list. I would bet that you will get some very good advice from them.=20 http://groups.yahoo.com/group/costumeinfo/ Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 ------------------------------ Message-Id: <5.2.1.1.0.20050216182755.0240b2b8 [at] pop.mail.yahoo.com> Date: Wed, 16 Feb 2005 18:49:44 -0500 From: "Paul H. Sullivan" Subject: Re: Haze with Singers In-Reply-To: References: The issue with haze and smoke is not really the contents of the virgin haze, but what it picks up and transports into your throat and lungs. Now I know that everyone's theatre is absolutely sterile and free of dust, saw dust, stray asbestos particles, Mold, overdry flame retardant, etc. But if it weren't this medium is a perfect way to carry those airborne particles into your respiratory system in a more coherent form. I first became aware of this when a volunteer in a theatre I was working in came in and was looking rather puzzled at one of the fog/smoke machines. He told me he used these all the time and didn't know they were used around "people". Now it was my turn to be confused. He was a full time pest control technician and they used virtually identical units to disperse pesticide when they tented a house. The difference was they mixed their own brew in a base solution, depending upon the type of bug problem. Simple reality is that smoke/fog/haze is the best way to carry your poison to every nook and cranny of a building. The technology has come a long way, but the simple issue is that this stuff picks up any airborne drek and carries it into the gasping vocalists lungs.. Basically the haze is as clean as your theatre, if it is sterile and dust free than your haze is the same, if not then ......... And it is critical that the proper fluid be used on any machine. I attended a session last year where the question came up of what to use in a fogger that doesn't specify the brand of fluid. When he was asked what the machine was labeled or who manufactured it, he responded there was no manufacturer label, the only label was "INSERT PESTICIDE HERE" . Pax >Tony wrote > >The more people who pander to the crap from would-be anti-haze nuts, > >whether > >in pro or am-dram, the more will try to inflict their tantrums on those of > >us who are just trying to make THEM look better by making their > >surroundings look better! Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ Subject: Impact Wrenches Date: Wed, 16 Feb 2005 19:28:22 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B173 [at] fangorn.cc.vt.edu> From: "James, Brian" Has any one used a cordless impact wrench for tightening cable clamps on = counter weight lift lines? Do they deliver the right amount of torque, or is the old fashioned = torque wrench the way to go? ------------------------------ Message-ID: <012501c51491$8d550560$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: Haze with Singers Date: Wed, 16 Feb 2005 17:39:41 -0800 > I have yet to attend a performance where the audience walked out saying > "Well, the singers sucked, but wasn't that great haze?" We must not have attended the same rock concerts... ------------------------------ Date: Wed, 16 Feb 2005 21:25:11 -0500 Subject: Re: Impact Wrenches From: Bill Sapsis Message-ID: In-Reply-To: on 2/16/05 7:28 PM, James, Brian at bej [at] vt.edu wrote: > Has any one used a cordless impact wrench for tightening cable clamps on > counter weight lift lines? > Do they deliver the right amount of torque, or is the old fashioned torque > wrench the way to go? Boys with toys. An impact wrench on a 1/4' wire rope clip? Give me a good old fashioned torque wrench any day. Bill S www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Subject: RE: Impact Wrenches Date: Wed, 16 Feb 2005 21:26:57 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B177 [at] fangorn.cc.vt.edu> From: "James, Brian" To follow up with that. A venue I am assisting (not my full time gig) = just had a system revamped. The installers user a Makita 14volt impact = driver.......... Do you know if this event delivers the right torque? I looked at the specs and it does not appear to have adjustable torque = settings. Should I be double checking all of the terminations? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill Sapsis Sent: Wednesday, February 16, 2005 9:25 PM To: Stagecraft Subject: Re: Impact Wrenches =08 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 2/16/05 7:28 PM, James, Brian at bej [at] vt.edu wrote: > Has any one used a cordless impact wrench for tightening cable clamps = on > counter weight lift lines? > Do they deliver the right amount of torque, or is the old fashioned = torque > wrench the way to go? Boys with toys. An impact wrench on a 1/4' wire rope clip? Give me a = good old fashioned torque wrench any day. Bill S www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Subject: RE: Impact Wrenches/Ignore last Post Date: Wed, 16 Feb 2005 21:36:31 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B178 [at] fangorn.cc.vt.edu> From: "James, Brian" Please ignore my last post, I stumbled across the info I need. Just had to understand the gizmo in question better. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of James, Brian Sent: Wednesday, February 16, 2005 9:27 PM To: Stagecraft Subject: Re: Impact Wrenches For info, archives & UNSUBSCRIBE, see --------------------------------------------------- To follow up with that. A venue I am assisting (not my full time gig) = just had a system revamped. The installers user a Makita 14volt impact = driver.......... Do you know if this event delivers the right torque? I looked at the specs and it does not appear to have adjustable torque = settings. Should I be double checking all of the terminations? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill Sapsis Sent: Wednesday, February 16, 2005 9:25 PM To: Stagecraft Subject: Re: Impact Wrenches =08 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 2/16/05 7:28 PM, James, Brian at bej [at] vt.edu wrote: > Has any one used a cordless impact wrench for tightening cable clamps = on > counter weight lift lines? > Do they deliver the right amount of torque, or is the old fashioned = torque > wrench the way to go? Boys with toys. An impact wrench on a 1/4' wire rope clip? Give me a = good old fashioned torque wrench any day. 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: Wed, 16 Feb 2005 21:41:07 -0500 Subject: Re: Impact Wrenches From: Bill Sapsis Message-ID: In-Reply-To: on 2/16/05 9:26 PM, James, Brian at bej [at] vt.edu wrote: > Do you know if this event delivers the right torque? > I looked at the specs and it does not appear to have adjustable torque > settings. Should I be double checking all of the terminations? Uh...yeah. 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: <42141EDC.7E396E27 [at] cybercom.net> Date: Wed, 16 Feb 2005 23:34:36 -0500 From: Dale Farmer Subject: Re: Impact Wrenches References: "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Has any one used a cordless impact wrench for tightening cable clamps on counter weight lift lines? > Do they deliver the right amount of torque, or is the old fashioned torque wrench the way to go? What is the right amount of torque for the application? Are they adjustable to give that level of torque? Is the adjustment calibrated to a traceable standard? --Dale Who served some time in a metrology shop, and was glad to escape. ------------------------------ Message-ID: <062f01c514b0$ea75b770$6501a8c0 [at] chris> From: "Chris Warner" References:

Subject: Re: Sepia Tone Date: Wed, 16 Feb 2005 21:24:12 -0800 No not the whole night. I have a few more dimmers/instruments as that. I have from front stage right R05, R01(instead of R99) for the sepia tone straight on, R08 from side stage right, L201 from behind, R51 from Stage Left, and R362 from front stage left. The platform is quite small, 10' x 12', 6 area rig. Got to put some fixtures up today in one of the lab spaces, decided that Chocolate just 'DIDN'T' do it for me. I wanted more of a carmely/honey look, and honestly I liked the 01 looked. Thanks again for the input. Chris ----- Original Message ----- From: "Tony" To: "Stagecraft" Sent: Wednesday, February 16, 2005 8:30 AM Subject: Re: Sepia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > ----- Original Message ----- > From: "Chris Warner" > To: "Stagecraft" > Cc: > Sent: Wednesday, February 16, 2005 4:28 PM > Subject: Re: Sepia Tone > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Thanks for the info David. The issue I am facing is that this is part of > a > > night of 3 one acts, so I have to make all 3 look good under the same > light > > rig. I have some limitations, but I think I can work around them. My > > current though is to use a straight with front light with R99, and a > > straight backlight with Lee 201 to pull the cast away from the walls. > I'll > > have to experiment a bit. > > > > Thanks again for the input. > > Chris > > > > Ooooh! > You're running the whole night under sepia tint? You sure you want to do > that?? > Gotta say that this sounds a little unusual - might also make some of the > audience feel a little queasy! (Think it would me!!) > Whenever I've used sepia style (not that often) it's always been for a set > piece, or as a scene-starter to set the pace. I've then brought up a more > general rig for the majority of the scene, then maybe back to a sepia set at > the end to close the scene. > > Ynot > > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Message-ID: <064301c514b1$b05da060$6501a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: Speia Tone Date: Wed, 16 Feb 2005 21:29:44 -0800 I would tend to agree with you there, however; I don't REALLY like the brown look (played with that today YUCKY!) I think I am gonna just go for flattening out the characters, with a somewhat saturated Amber wash, probably 01, but might keep searching. The instruments are Source 4's, however, one thing that seems a bit odd to me is that for some reason R59 looks different to my eye, than it 10 years ago, has anyone ever noticed this? Thanks again chris ----- Original Message ----- From: To: "Stagecraft" Sent: Wednesday, February 16, 2005 10:06 AM Subject: Re: Speia Tone > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 16/02/05 16:23:11 GMT Standard Time, bearz2 [at] cox.net writes: > > > Thanks for the suggestions. I think what I am looking for is the carmel > > color, which to me reads more like an amber or even a CTO filter. Any > other > > suggestions? > > Myself, I should go for CTY. The oranges put in a reddish hint, which I > believe to be wrong. Sepia is brown, which is essentially a dark yellow. > > Frank Wood > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 ------------------------------ Message-Id: In-Reply-To: References:

Date: Thu, 17 Feb 2005 09:35:23 +0000 From: Dorian Kelly Subject: Re: Smoke effect for "House of Blue Leaves" >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 You can get an amazing smoke explosion using the smoke ring technique: effectively you make a box out of wood or anything really, fix a drum-like membrane over one side, a bit of saran wrap stretched tight, or even some kind of shrink plastic does the trick and a make small round hole, maybe four inches in the opposite side. Introduce some fog into it through a tube. Then give the membrane a wallop. Get the sizes right and you have a smoke ring, get the size wrong and its just a great sudden burst of smoke. Its great fun to play with. Dorian Illuminati ------------------------------ End of Stagecraft Digest #298 *****************************