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 19791807; Sat, 26 Feb 2005 03:01:28 -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 #308 Date: Sat, 26 Feb 2005 03:01:18 -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 #308 1. Re: Shop Lightiing by "Duane" 2. Re: Bad! Bad, Electrician! No doughnuts! by "C. Dopher" 3. Re: Gerbers by Loren Schreiber 4. Re: Shop Lighting Questions by "Paul Guncheon" 5. Re: Gerber Multitool by "Paul Guncheon" 6. Re: Gerber Multitool by Stephen Litterst 7. Designer/Stage Manager Relationship by Mark Harvey 8. Re: Designer/Stage Manager Relationship by "Immel,Patrick" 9. Shop Lightiing, emergency lighting by Chuck Mitchell 10. Re: Designer/Stage Manager Relationship by "Scott C. Parker" 11. Re: Designer/Stage Manager Relationship by "Jon Ares" 12. Re: Designer/Stage Manager Relationship by "Pitchford,Barton" 13. Re: Designer/Stage Manager Relationship by Shawn Palmer 14. Re: Shop lights by "Karl G. Ruling" 15. Re: Stage pin connectors by "Karl G. Ruling" 16. Re: Designer/Stage Manager Relationship by "Delbert Hall" 17. Re: Shop Lighting Questions by Kyle Schoenfeld 18. Jane Hanson Show WNBC by MissWisc [at] aol.com 19. Re: Jane Hanson Show WNBC by IAEG [at] aol.com 20. Friday funny - for all you Strindberg fans by "David R. Krajec" 21. Re: Friday funny - for all you Strindberg fans by "Jeremiah Minh Greenblatt" 22. Re: Bad! Bad, Electrician! No doughnuts! by FrankWood95 [at] aol.com 23. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 24. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 25. Re: Shop Lighting Questions by "Stephen E. Rees" 26. Re: Designer/Stage Manager Relationship by roguerpj [at] mn.rr.com 27. Question for those working with high schools by Mat Goebel 28. Re: Question for those working with high schools by Stephen Litterst 29. Re: cell phone on stage? by CB 30. Re: Super Bowl Intermission by "Paul H. Sullivan" 31. Re: Super Bowl Intermission by IAEG [at] aol.com 32. Re: Question for those working with high schools by FrankWood95 [at] aol.com 33. Raked Stage Covering by "Rob Carovillano" 34. Re: Raked Stage Covering by IAEG [at] aol.com 35. Workbox Decorations and Politics by "Andy Leviss" 36. New to Vectorworks by "Rob Carovillano" 37. Re: Raked Stage Covering by "Rob Carovillano" 38. Re: Question for those working with high schools by "Jon Ares" 39. Re: New to Vectorworks by Boyd Ostroff 40. Re: Question for those working with high schools by "Laurie Swigart" 41. Re: New to Vectorworks by John McKernon 42. Re: Question for those working with high schools by "Chris Warner" 43. Shop lighting by "Keith Fleschner" 44. Re: Workbox Decorations and Politics by Howard Ires 45. Re: Workbox Decorations and Politics by "Andy Leviss" 46. Re: Question for those working with high schools by "Joshua Webb" *** 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: <044801c51b3b$0332abc0$0201a8c0 [at] kc.rr.com> From: "Duane" References: Subject: Re: Shop Lightiing Date: Fri, 25 Feb 2005 07:07:51 -0600 For safety in the work area, there should be a FEW fixtures, if not all, that will come back on within a few seconds after you lose power. Nothing worse than having someone working on a ladder, in the process of lifting something, or in the middle of some other potentially hazardous situation and having to wait for what seems a couple of minutes for the lights to come back on to be able to see what they are doing. HID fixtures provide a lot of light for the buck in the work area, but if they all go off at the same time, your in the dark until they restart. And that dark seems to drag on forever. I'd hate to have a piece of lumber in a saw when the power goes out, then have the saw starts up again in the dark. Or in the middle of drilling a hole in metal on the drill press without using a vise. Oh! I forgot, nobody does that, do they! Note! the above does not apply if you have a source of electricity that does not depend upon any other supplier, is delivered by a wireless transmission method, does not use a mechanical means of generation, or does not use switches and circuit breakers for control and safety. If your paint area is separate, Halogen flood lights are 3200K as are most stage lighting lamps. If combined with the work area, at least provide them on a separate circuit. You can then switch between the lights as necessary. Radiant heat from these must be taken into account for cooling load so being able to turn them on and off is worth the extra dollars spent upon install. Having the ability to turn themm off will save a lot over the life of the shop in what it costs to cool the shop. At the least, for the painters sanity, the mixing area around the sink should be 3200 K Halogen fixtures. After that, they will need to trust their painting skills unless directors and designers need to see the work in progress. Then the paint area needs to be lit with Halogen lamps as well. Duane Hoberg Technical Director New Theatre Restaurant Overland Park, KS ------------------------------ Date: Fri, 25 Feb 2005 08:17:35 -0500 Subject: Re: Bad! Bad, Electrician! No doughnuts! From: "C. Dopher" Message-ID: In-Reply-To: On the 2P&G thread... Whatever you have, stage pin or twistlock or even Edison (yes!), the one thing you can do to prolong the life of your connectors is to NEVER drop the cable. NEVER drop your cable! Not during hang, not during strike, not throwing it around in storage, not EVER. Lower it gently to the ground hand over hand. (Two-fers, of course, you carry; never throw, never drop.) If you must let one end of a cable fall to the ground, it should be the female end. The time you ultimately save in not having to replace or repair connectors or track down loose, arcing, shorting, or non-working connections later... Well, you get the picture. Cris Dopher ------------------------------ Message-Id: <6.1.1.1.2.20050225055200.03872188 [at] mail.sdsu.edu> Date: Fri, 25 Feb 2005 05:53:18 -0800 From: Loren Schreiber Subject: Re: Gerbers In-Reply-To: References: As one of the riders in this year's event, I think Kristi's idea is brilliant! At 03:00 AM 2/25/2005, you wrote: >My thought was to put on my best business suit with appropriate >dress-for-success accessories, garner a sample list of theatres, >businesses, and colleges >represented by this list and meet with the CEO giving a brief estimate of the >$$ the company stands to lose with such international bad publicity and >asking >not only for Paul's Gerber to be replaced ASAP, but also for the donation of >several others to be given to the Long Beach Riders for them to auction >off or >use as they deem fit as part of their quest to raise funds for BC/EFA and >thus >gain some goodwill for Fiskars/Gerber. Loren "Grits" Schreiber, Technical Director and Long Reach Long Rider School of Theatre, Television and Film San Diego State University http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Fri, 25 Feb 2005 04:39:48 -1000 From: "Paul Guncheon" Subject: Re: Shop Lighting Questions Message-id: <008201c51b47$dc9caad0$0202a8c0 [at] yourxhtr8hvc4p> References: <> Actually, I used a tungsten/fluorescent combination in the shop only where I mixed my colors. The rest of the shop was illuminated some sort of metal vapor lamps. The color shift from the mixing area to the paint floor was sometimes amazing. Laters, Paul "Not tonight, dear...I'm too tired," Tom said, petering out. ------------------------------ Date: Fri, 25 Feb 2005 04:46:45 -1000 From: "Paul Guncheon" Subject: Re: Gerber Multitool Message-id: <008601c51b48$d49384c0$0202a8c0 [at] yourxhtr8hvc4p> References: Gerber reponded to my e-mail with a "form response"and requested that I send the tool in. to them. I will send it in tomorrow, return receipt requested, and see what happens. It is comforting to know that the Dreaded Minions of the Stagecraft List stand poised for action. Gerber realizes not how close it stands to peril. Laters, Paul "Get me some tissues to wipe up this syrup" whispered Tom, surreptitiously. ------------------------------ Date: Fri, 25 Feb 2005 09:48:57 -0500 From: Stephen Litterst Subject: Re: Gerber Multitool Message-id: <421F3AD9.4E4B9BF0 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Paul Guncheon wrote: > --------------------------------------------------- > > Gerber reponded to my e-mail with a "form response"and requested that I send > the tool in. to them. I will send it in tomorrow, return receipt requested, > and see what happens. One lesson I learned from sending a tool into Gerber. If you have any sentimental attachment to your tool, include a note instructing them NOT to dispose of it for any reason. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Fri, 25 Feb 2005 09:17:56 -0600 From: Mark Harvey Cc: meist030 [at] d.umn.edu Subject: Designer/Stage Manager Relationship Message-ID: <2147483647.1109323076 [at] umd52-36.d.umn.edu> In-Reply-To: References: I'm using a new textbook for the stage management class I teach and wanted to get some thoughts from designers on this list. The textbook, The Back Stage Guide to Stage Management by Thomas A. Kelly, comes highly recommended by professional stage managers, so I was a little surprised by the comments made on pages 28-35 about how Mr. Kelly recommends stage managers prepare a production analysis before meeting with the production team. His recommendation is for the stage manager to create a spread sheet with script expectations for costumes, scenery, props, lighting, sound and special effects, and distribute them to the designers at the first production meeting. My question concerns whether you, as designers, would welcome that kind of information at this early stage of the design process. My inclination is to prefer to do my own analysis and then compare notes with the stage manager to be sure we've addressed all issues concerning the play, but perhaps I'm being too protective and such information would actually be welcomed by other designers. Your thoughts? The students in the class look forward to your viewpoint concerning this issue. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39025943603 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: Designer/Stage Manager Relationship Date: Fri, 25 Feb 2005 09:33:25 -0600 That is a good question to bring up. I personally, as a designer would rather (as you do), do my own research and analysis before I speak with the director and the rest of the design team. I don't think that it would hurt to have the stage manager do the "production analysis" just as a check to make sure nothing was overlooked. Once, many moons ago, I was doing lighting design for a local community theatre group. It was tech day and I had spent the previous night writing light cues for Saturday's rehearsal. Well, Saturday morning rolls around and I ask the SM if we can sit down and get the cues into her prompt script. She replies, "I have all the cues in my script already"..."really"..."yes, they were all there in the back of the script". It turns out that she had 15 cues for the entire show...I had written close to 60. We put my cues in her script! Hope this helps, Patrick Immel Northwest Missouri State University > -----Original Message----- > From: Mark Harvey [mailto:mharvey [at] d.umn.edu] > Sent: Friday, February 25, 2005 9:18 AM > To: Stagecraft > Cc: meist030 [at] d.umn.edu > Subject: Designer/Stage Manager Relationship > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I'm using a new textbook for the stage management class I > teach and wanted to get some thoughts from designers on this list. > > The textbook, The Back Stage Guide to Stage Management by Thomas A. > Kelly, comes highly recommended by professional stage > managers, so I was a little surprised by the comments made on > pages 28-35 about how Mr. Kelly recommends stage managers > prepare a production analysis before meeting with the production team. > > His recommendation is for the stage manager to create a > spread sheet with script expectations for costumes, scenery, > props, lighting, sound and special effects, and distribute > them to the designers at the first production meeting. My > question concerns whether you, as designers, would welcome > that kind of information at this early stage of the design > process. My inclination is to prefer to do my own analysis > and then compare notes with the stage manager to be sure > we've addressed all issues concerning the play, but perhaps > I'm being too protective and such information would actually > be welcomed by other designers. > > Your thoughts? The students in the class look forward to > your viewpoint concerning this issue. > > ____________________________________ > Mark Harvey > Associate Professor, Theatrical Lighting and Sound Design > University of Minnesota Duluth http://www.d.umn.edu/~mharvey > ------------------------------ Date: Fri, 25 Feb 2005 09:38:14 -0600 From: Chuck Mitchell Subject: Shop Lightiing, emergency lighting In-reply-to: Message-id: <000c01c51b50$051f05e0$1fe25c90 [at] Chuck> We have had HMI fixtures for a couple decades, but recently the campus electric shop has decided to replace them with 6-tube florescent fixtures that use much less electricity and are brighter. On a related note, recently we lost power in the building for about 90 minutes. This was a good opportunity to find out where we did NOT have emergency lighting, as well as to confirm how well the emergency lighting system worked. It also tested our procedures for evacuating people, and showed where revisions are needed. I will tell you that being 20 some feet in the air well all lights unexpectedly go out was an eerie experience. Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 ------------------------------ Message-Id: <6.2.0.14.2.20050225102848.05f87440 [at] mail.hstech.org> Date: Fri, 25 Feb 2005 10:39:27 -0500 From: "Scott C. Parker" Subject: Re: Designer/Stage Manager Relationship In-Reply-To: References:

I would welcome all the info I can get. However, I would hope that I would have already read the script and have a bunch of my own thoughts before the meeting. The spreadsheet based on the script, from the SM point of view, shouldn't necessarily include "artistic" opinions but actual facts. ie: "gee Bob, it's pouring outside: here, take my umbrella" would be a helpful note to include in the spreadsheet. In this case, the author is stating that s/he wants an umbrella, but has left out the info as to the color and size. Therefore, the design of the umbrella is still left up to the creative team. I have to admit that 20+ years ago when I started, I was very protective about my position and took this kind of task in the wrong way. Now, give me all you've got. The SM is the leader of my running crew and having him/her on my team is a very good thing. This doesn't mean that we're going to agree on the artistic vision of the work however...... hth, Scott At 10:17 AM 2/25/2005, you wrote: >My question concerns whether you, as designers, would welcome that kind of >information at this early stage of the design process. My inclination is >to prefer to do my own analysis and then compare notes with the stage manager Scott C. Parker Scott Parker Associates Designers of Light & Shadow scp~AT~hstech.org New York City http://hstech.org/scptw ------------------------------ Message-ID: <001101c51b50$649299b0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Designer/Stage Manager Relationship Date: Fri, 25 Feb 2005 07:40:54 -0800 > and I ask the SM if we can sit down and get the cues into her prompt > script. > She replies, "I have all the cues in my script already"..."really"..."yes, > they were all there in the back of the script". Yeah, those Dramatist's Play Service scripts are a boon to community theatre! In the back, they give you a set design (well, floor plan, anyway), a costume plot (Mary: Act I, brown dress), a prop list (teacups, food for table), and a list of sound and lighting cues. If only all scripts came this way.... ;) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE390236563FD [at] mail.nwmissouri.edu> From: "Pitchford,Barton" Subject: RE: Designer/Stage Manager Relationship Date: Fri, 25 Feb 2005 09:54:46 -0600 This seems to be a somewhat preemptive measure anyway since this type of information is usually included in the Stage Manager's Rehearsal reports. The only difference is that instead of realizing it through the rehearsal process they are writing it up ahead of time. I would say as long as they are sticking with motivated technical elements and not trying to usurp the design positions then there shouldn't be any issues. Just make sure that you teach them where the line is and that crossing it could lead to fisticuffs. Barton Pitchford Technical Director Northwest Missouri State University 660-562-1320 -----Original Message----- From: Scott C. Parker [mailto:stagecraftlist [at] hstech.org] Sent: Friday, February 25, 2005 9:39 AM To: Stagecraft Subject: Re: Designer/Stage Manager Relationship For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I would welcome all the info I can get. However, I would hope that I would have already read the script and have a bunch of my own thoughts before the meeting. The spreadsheet based on the script, from the SM point of view, shouldn't necessarily include "artistic" opinions but actual facts. ie: "gee Bob, it's pouring outside: here, take my umbrella" would be a helpful note to include in the spreadsheet. In this case, the author is stating that s/he wants an umbrella, but has left out the info as to the color and size. Therefore, the design of the umbrella is still left up to the creative team. I have to admit that 20+ years ago when I started, I was very protective about my position and took this kind of task in the wrong way. Now, give me all you've got. The SM is the leader of my running crew and having him/her on my team is a very good thing. This doesn't mean that we're going to agree on the artistic vision of the work however...... hth, Scott At 10:17 AM 2/25/2005, you wrote: >My question concerns whether you, as designers, would welcome that kind of >information at this early stage of the design process. My inclination is >to prefer to do my own analysis and then compare notes with the stage manager Scott C. Parker Scott Parker Associates Designers of Light & Shadow scp~AT~hstech.org New York City http://hstech.org/scptw ------------------------------ Message-ID: <421F4DA5.80703 [at] northnet.net> Date: Fri, 25 Feb 2005 10:09:09 -0600 From: Shawn Palmer Subject: Re: Designer/Stage Manager Relationship References: In-Reply-To: > Once, many moons ago, I was doing lighting design for a local community > theatre group. It was tech day and I had spent the previous night writing > light cues for Saturday's rehearsal. Well, Saturday morning rolls around > and I ask the SM if we can sit down and get the cues into her prompt script. > She replies, "I have all the cues in my script already"..."really"..."yes, > they were all there in the back of the script". It turns out that she had > 15 cues for the entire show...I had written close to 60. > > We put my cues in her script! Pat, Yikes. Katie or Adora? Adora should have known better... Shawn Palmer Neenah, WI USA ------------------------------ From: "Karl G. Ruling" Date: Fri, 25 Feb 2005 11:13:57 -0500 Subject: Re: Shop lights Reply-to: kruling [at] esta.org Message-ID: <421F0875.22886.6EC0C8 [at] localhost> In-reply-to: > When you're in scene shop mode, high pressure mercury vapour is > efficient, as are many others. Avoid high pressure mercury vapor. It's ancient technology, on its way out. We're trying to get rid of it in the United States because it uses a lot of mercury, which has to go somewhere other than a landfill when the lamp finally dies, and because it doesn't give as much light as metal-halide. Metal-halide also uses mercury, but this is compensated by its extreme efficacy (lots of light for not a lot of electricity) and the color rendering of metal-halide can be really good -- much, much better than mercury vapor. (HMI lamps are metal- halide.) Incandescent light has a nice quality, but it sucks power. Power consumption is generally four to five times higher than it is with metal-halide or fluorescent. Lamp replacement is also about ten times more frequent with incandescent. That's a problem if the lamps are 18' above the floor. ------------------------------ From: "Karl G. Ruling" Date: Fri, 25 Feb 2005 11:13:58 -0500 Subject: Re: Stage pin connectors Reply-to: kruling [at] esta.org Message-ID: <421F0876.25440.6EC1C2 [at] localhost> In-reply-to: > > Yes, that's the consensus. 2P&G stage pin's have a number of > benefits: > > 1) Pretty much a complete compatability with rental stock and touring > events. Depends on where you are. In some parts of the USA, the local rental stock uses parallel-blade U-ground. Not all venues have touring shows, or if they do, the shows travel with all the necessary lighting and distribution equipment so intermateability with house equipment is not an issue. I worked for five years in such a place. The theatre consultant on a new venue for us wanted to install stage pin connectors because they are the most common connector for this application in the USA (and in the metropolitan area where his office was, which was 400 miles away), but that would have made the new theatre's lighting system incompatible with all our existing portable equipment and there was nothing in the budget for changing the connectors on all our luminaires and cables. If we came up with that money and changed all our connectors, our equipment would have been incompatible with all the equipment available to rent or borrow within a 100-mile radius. So, the theatre had parallel-blade U-ground connectors installed, even though that continued our incompatiblity with the equipment available 400 miles away. My free advice is that you look at what you need, rather than what most people need. By the way, a draft standard for stage pin connectors is now available for public review on the ESTA website at http://www.esta.org/tsp/documents/public_review_docs.php. At the present time, there is no American National Standard that assures that the male stage pin connector from manufacturer A will plug into the female from manufacturer B. As it works out, the 20-amp connectors from all the existing manufacturers do intermate, so this lack of a standard isn't a problem for most people, although there is nothing to stop it from becoming a problem in the future if a manufacturer changes its product just slightly. With larger stage pin connectors, particularly 100-amp ones, there is a problem. The products from different manufacturers look pretty much the same, but when you try to take the 100-amp connector from Company A and plug it into the connector from Company B, they will sometimes just fall apart, or sometimes you can't get them to fit at all. This is not a problem for theatres, because they use few 100-amp stage pin connectors, but it is a big problem for movie studios, where these big connectors are common. USITT published a configuration standard in 1997 for stage pin connectors. Unfortunately, UL and other testing laboratories don't use it, so they conduct no test that would indicate if a connector will mate properly with a connector from another manufacturer. USITT has transferred the maintenance of its USITT S3-1997 Standard for Stage Pin Connectors to ESTA so it can be processed to become an American National Standard. This should give it the status it needs to get testing labs to use it. The ESTA version of that standard is BSR E1.24, and it can be reviewed by visiting http://www.esta.org/tsp/documents/public_review_docs.php. You will find four other draft standards available for review there, too. Check them out, but remember that they are DRAFT documents and have not been approved. ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Designer/Stage Manager Relationship Date: Fri, 25 Feb 2005 11:39:07 -0500 I also use Kelly's book for teaching Stage Management. I tell my students that the SM should do an analysis so that he/she knows the obvious lighting and sound cues (many are called during the rehearsals), but they should understand that the lighting and sound designers may include MANY cues that are not obvious in the scropt and therefore it is critical to discuss the cues with these designers. Directors and designers are not limited by the "notes" in the script. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ Message-ID: <20050225165735.23459.qmail [at] web51308.mail.yahoo.com> Date: Fri, 25 Feb 2005 08:57:35 -0800 (PST) From: Kyle Schoenfeld Subject: Re: Shop Lighting Questions The shop I'm in now has some form of discharge lighting (I haven't gotten up to look at them yet), so warmup and restrike times is an issue. As a convience, out of the 24 lights, maybe 3 or 4 of them are lamped with conventional incandescents, with a switch to them by each door. It might be something you want to consider, since it gives you a bit of light to navigate around the scene shop while the discharge lamps are coming up to speed. Its not enough light to work by, but it keeps you from tripping your way through the shop on your way through. --Kyle Schoenfeld Technical Director Dept of Performing and Fine Arts CUNY York College __________________________________ Do you Yahoo!? Yahoo! Mail - 250MB free storage. Do more. Manage less. http://info.mail.yahoo.com/mail_250 ------------------------------ Date: Fri, 25 Feb 2005 12:15:59 -0500 From: MissWisc [at] aol.com Subject: Jane Hanson Show WNBC Message-ID: <03DF8BBF.510DF774.007B9F2A [at] aol.com> Could one of the NYC area list members please tape this show tomorrow night Saturday Feb 26th, 7-8 PM EST? They are doing a behind the scenes of the final 48 hours before the opening of "Good Vibrations". I'd be glad to reimburse for postage and VHS/DVD cost. I will use excerpts in my classroom, so this taping is covered under the "educational fair use" provisions of copyright. Heath Calvert is in the cast and is the son of a good friend of mine who is a Mary Kay director. I've been watching this production evolve since day 1. THANKS! Kristi ------------------------------ From: IAEG [at] aol.com Message-ID: <1ee.3644e402.2f50b7bf [at] aol.com> Date: Fri, 25 Feb 2005 12:17:51 EST Subject: Re: Jane Hanson Show WNBC In a message dated 2/25/05 12:17:05 PM, MissWisc [at] aol.com writes: << Could one of the NYC area list members please tape this show tomorrow night Saturday Feb 26th, 7-8 PM EST? They are doing a behind the scenes of the final 48 hours before the opening of "Good Vibrations". I'd be glad to reimburse for postage and VHS/DVD cost. I will use excerpts in my classroom, so this taping is covered under the "educational fair use" provisions of copyright. Heath Calvert is in the cast and is the son of a good friend of mine who is a Mary Kay director. I've been watching this production evolve since day 1. >> shame it hasn't gotten better reviews, , , keith ------------------------------ Reply-To: From: "David R. Krajec" Subject: Friday funny - for all you Strindberg fans Date: Fri, 25 Feb 2005 11:43:10 -0600 Message-ID: In-Reply-To: OK, so this is a really twisted website. But for a Friday, it is appropriate. Enjoy! http://www.strindbergandhelium.com/ ------------------------------ From: "Jeremiah Minh Greenblatt" Cc: drkrajec [at] stritch.edu Subject: RE: Friday funny - for all you Strindberg fans Date: Fri, 25 Feb 2005 13:01:19 -0500 Message-ID: <000901c51b64$05810bf0$0300a8c0 [at] Roadbox> In-Reply-To: If you like this, check-out other work (stage and film) by the sketch group Killing My Lobster (one of the producers of the Strindberg site). They are based in San Francisco, can be quite funny, and are generally very good friends of mine. - J.Minh http://killingmylobster.com/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R. Krajec Sent: Friday, February 25, 2005 12:43 PM To: Stagecraft Subject: Friday funny - for all you Strindberg fans For info, archives & UNSUBSCRIBE, see --------------------------------------------------- OK, so this is a really twisted website. But for a Friday, it is appropriate. Enjoy! http://www.strindbergandhelium.com/ ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1b9.e00ecb4.2f50ca50 [at] aol.com> Date: Fri, 25 Feb 2005 13:37:04 EST Subject: Re: Bad! Bad, Electrician! No doughnuts! In a message dated 25/02/05 01:42:48 GMT Standard Time, ladesigners [at] juno.com writes: > I STILL think that Camlocks (and their functionally equivalent competitors > that also lock through their pins) are a safer way for terminating single > conductor 4/0 cable than Sista lugs attached to 1/4" x 1 1/4" copper busbars, > and are a sensible alternative to them. > /s/ Richard > > ...having connectors depend for their locking on their pins does not > strike me as sensible, as an engineer. Fair enough. We have different opinions, as engineers. No doubt thay are due to our different training and experience, not to mention the different codes within which we operate. For permanent installations, we use lugs bolted to bus-bars. For temporary ones, suitably rated connectors. Bear in mind that, with our higher voltages, the currents are lower. The CEE-form connectors come from 16A to 128A, in single and three-phase versions. The shells are colour-coded for the voltage, and there are polarising lugs and different pin arrangements. The shells latch together, and the strain relief is attached to the shell, and grips the outer sheath of the cable. Before them, there were all sorts of connectors loose for this sort of thing. You never quite knew what you would find. While the European Union gets a lot of stick for its attempts at 'harmonisation', in this area it has made the world a safer place. If, of course, you conform to the standards. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <99.58f1bb5b.2f50ce9d [at] aol.com> Date: Fri, 25 Feb 2005 13:55:25 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 25/02/05 15:20:12 GMT Standard Time, mharvey [at] d.umn.edu writes: > His recommendation is for the stage manager to create a spread sheet > with script expectations for costumes, scenery, props, lighting, sound > and special effects, and distribute them to the designers at the first > production meeting. My question concerns whether you, as designers, > would welcome that kind of information at this early stage of the > design process. My inclination is to prefer to do my own analysis and > then compare notes with the stage manager to be sure we've addressed > all issues concerning the play, but perhaps I'm being too protective > and such information would actually be welcomed by other designers. I'm only an LD, but I think this wrong. Before any production meetings, the director and designer should have decided where they are going. Expectations from the script are of no value, until the director has had his way with it. Then, and only then, can the detail work start. And, again as an LD, I cannot accept the SM telling me what to do. I imagine that all the other designers would hold similar views. In spite of a prevalent opinion, the SM is NOT God. He does what the director needs, within the technical limitations. Certainly, any SM who presumes to tell me how to light a show is going to get a dusty response. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <96.21e5af06.2f50d258 [at] aol.com> Date: Fri, 25 Feb 2005 14:11:20 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 25/02/05 15:40:36 GMT Standard Time, stagecraftlist [at] hstech.org writes: > I have to admit that 20+ years ago when I started, I was very protective > about my position and took this kind of task in the wrong way. Now, give me > all you've got. The SM is the leader of my running crew and having him/her > on my team is a very good thing. This doesn't mean that we're going to > agree on the artistic vision of the work however...... I don't see this. The artistic vision of the work is decided by the director, and by nobody else. To you and me, it may be wrong. That doesn't matter. We all have to do what we can to help to realise this, or resign. There is no alternative. Quit. If you think it so wrong, and cannot convince the director, you must resign. To those of us in salaried positions, this is a hard decision. No blame to anyone who sacrifices his artistic integrity to his family life. Frank Wood ------------------------------ Message-ID: <421F7ABA.4050900 [at] fredonia.edu> Date: Fri, 25 Feb 2005 14:21:30 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Shop Lighting Questions References: HI, In my install that I wrote about several days ago, two of the old fixtures were left in, one at the front of the shop and one at the back that are controlled from a standard wall switch just inside the door. Keeps one from walking into stuff unnecessarily. Steve Rees Kyle Schoenfeld wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The shop I'm in now has some form of discharge > lighting (I haven't gotten up to look at them yet), so > warmup and restrike times is an issue. As a > convience, out of the 24 lights, maybe 3 or 4 of them > are lamped with conventional incandescents, with a > switch to them by each door. It might be something > you want to consider, since it gives you a bit of > light to navigate around the scene shop while the > discharge lamps are coming up to speed. Its not enough > light to work by, but it keeps you from tripping your > way through the shop on your way through. > > --Kyle Schoenfeld > Technical Director > Dept of Performing and Fine Arts > CUNY York College > > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Mail - 250MB free storage. Do more. Manage less. > http://info.mail.yahoo.com/mail_250 ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Designer/Stage Manager Relationship Date: Fri, 25 Feb 2005 13:58:18 -0600 Message-ID: References:

In-Reply-To: As long as the information is presented as a starting point.=20 I try to have read the script 3 times prior to the 1st production meeting. The first time I just read it. I don't take notes or mark the script.=20 The second time I note all references to set information in the dialogue. Note I said dialogue and not stage directions. I personally think that all is negotiable between a set designer and the director as long as it is not contradicted by the script. And then I think it can be changed as long as you are not pushing the limits of the script. The third time I am look more closely to my references and I may look at stage directions. I then make a spread sheet based on set/location changes and what is called for in each scene. This vary frequently have no link to the actual scenes in the script. If a stage manager wanted to something similar as a basis for that first production meeting I would not mind it so long as he or she understood that all of it was negotiable. And that it is the set designer and the director that need to come up with the final choices. Rob Johnson =46reelance Designer ------------------------------ Message-ID: Date: Fri, 25 Feb 2005 12:28:30 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Question for those working with high schools Hey all, A quick question for those out there who are also working with high schools. Who owns whatever sound equipment the drama department uses? If the drama department doesn't own it, and is "borrowing" from another department within the school, is there any sort of rental agreement? The question comes up because in the high school I'm working with, the Associated Students (A.S.) owns the sound systems (they have all the money from yearbook sales, etc), and the drama department has to borrow the equipment from them for shows. Normally not an issue. I've spent the last week getting everything hum/buzz free, patching up the rack, etc, and today A.S. "forgets" that they're having a rally and rapes the system while I'm not there. Now I have to waste several hours of my own time setting it up again tomorrow, as well as a lot of other people's time because it's supposed to be full tech. So how does this work in the rest of the world? Thanks. -- Mat Goebel Cell: 510.693.1448 ------------------------------ Date: Fri, 25 Feb 2005 15:56:45 -0500 From: Stephen Litterst Subject: Re: Question for those working with high schools Message-id: <421F910D.613E28A6 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Mat Goebel wrote: > --------------------------------------------------- > A quick question for those out there who are also working with high schools. > > Who owns whatever sound equipment the drama department uses? If the > drama department doesn't own it, and is "borrowing" from another > department within the school, is there any sort of rental agreement? > So how does this work in the rest of the world? Whoever owns the gear is different in every high school I've been in. In some places the school board owns the gear and will shuffle it from school to school as necessary. In others the school owns it, and then there's your case. It's not uncommon for booster organizations (AS, PTA, etc) to raise money to buy the school nice equipment. Unfortunately, if they bought it, they'll usually retain the right to use it when and how they wish. Whether there is a rental/borrowing agreement depends from school to school. In your case you would certainly have benefitted from a pre-agreed arrangement so you knew they were going to take the equipment back, or they knew not to disturb your setup. The real answer is that there's not usually a "standard practice" for such things at the high school level. Professionally, you're paying for the rental and you have a negotiated contract for cost and schedule with the vendor. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: <3.0.6.32.20050225143537.016daec0 [at] pop.west.cox.net> Date: Fri, 25 Feb 2005 14:35:37 From: CB Subject: Re: cell phone on stage? >So I was watching TV last night and I was wondering if anyone knows >what the standard for this is in TV production. "Fix it in post", the standard for the film and television industry. The actor acts like he hears a ring, then picks up his cell while tape (or film) is rolling. Later, in the editing bay, the sound editor cues up the sound and inserts it just before the actor "hears" it. Then he abruptly ends the cue when the actor "picks up" his phone. Film and television have a few options that we can employ. 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... ------------------------------ Message-Id: <5.2.1.1.0.20050225173145.021b4be0 [at] pop.mail.yahoo.com> Date: Fri, 25 Feb 2005 17:49:04 -0500 From: "Paul H. Sullivan" Subject: Re: Super Bowl Intermission In-Reply-To: I didn't ever see an answer to the question of how the piano was moved into place, and I just was talking to one of the hands that worked the half time show this year. Apparently, it was a steel framed platform that had a center column for tracking. The lift and drop mechanism was basically a series of springs resembling garage door springs tensioned so that 2 hands just lifted it into place, pinned the column, and when done reversed the process. The top platform split and slid out of the way until they were done. No air or hydraulic power was used on any of the units. Even the lighting trees on the side were lifted by manpower(4) and springs. Sweet... At 02:02 PM 2/7/2005 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >So, I have to confess I wasn't paying close enough attention. Did >anyone see how they got that piano in place so quickly? I didn't see >a forklift nearby. :) My wife pointed out what looked like a large >steel piston underneath the piano (just behind the action). > >Steve Litterst >-- >Stephen C. Litterst >Technical Supervisor >Ithaca College >Dept. of Theatre Arts >607/274-3947 >slitterst [at] ithaca.edu Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ From: IAEG [at] aol.com Message-ID: <59.222519c7.2f51079b [at] aol.com> Date: Fri, 25 Feb 2005 17:58:35 EST Subject: Re: Super Bowl Intermission In a message dated 2/25/05 5:49:54 PM, phsullivan [at] yahoo.com writes: << I didn't ever see an answer to the question of how the piano was moved into place, and I just was talking to one of the hands that worked the half time show this year. Apparently, it was a steel framed platform that had a center column for tracking. The lift and drop mechanism was basically a series of springs resembling garage door springs tensioned so that 2 hands just lifted it into place, pinned the column, and when done reversed the process. The top platform split and slid out of the way until they were done. No air or hydraulic power was used on any of the units. Even the lighting trees on the side were lifted by manpower(4) and springs. Sweet.. >> if I am not mistaken it was all a TAIT TOWERS producton, , very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ea.3755d348.2f510fb0 [at] aol.com> Date: Fri, 25 Feb 2005 18:33:04 EST Subject: Re: Question for those working with high schools In a message dated 25/02/05 20:29:49 GMT Standard Time, mgoebel [at] gmail.com writes: > A quick question for those out there who are also working with high schools. > > Who owns whatever sound equipment the drama department uses? If the > drama department doesn't own it, and is "borrowing" from another > department within the school, is there any sort of rental agreement? > > The question comes up because in the high school I'm working with, the > Associated Students (A.S.) owns the sound systems (they have all the > money from yearbook sales, etc), and the drama department has to > borrow the equipment from them for shows. Normally not an issue. I've > spent the last week getting everything hum/buzz free, patching up the > rack, etc, and today A.S. "forgets" that they're having a rally and > rapes the system while I'm not there. Now I have to waste several > hours of my own time setting it up again tomorrow, as well as a lot of > other people's time because it's supposed to be full tech. > > So how does this work in the rest of the world? Well, it seems a very unsatisfactory arrangement to me. In our main playhouse, the equipment is screwed down, and not moveable. In our studio theatre, this is not possible, but the equipment still belongs there, it's just that its location is variable. The situation you describe is not, to me viable. I think that a more formal contract with the AS might be negotiated, stating who has what rights. Then, at leasst you would know where you were. But, with an organisation which is prone to act arbitrarily and inconsidrately, I don't really know where to go. Frank Wood ------------------------------ Date: Fri, 25 Feb 2005 18:58:06 -0500 From: "Rob Carovillano" Subject: Raked Stage Covering Message-id: <000201c51b95$dad86920$a8a44481 [at] rcarovil> References: Ok, another question about the rake im working on. I want to cover the rake with some type of large material to hide the seams of the 24 4x8 platforms we are using. I have a black vinyl dance floor, but we would really like to paint the surface. Any ideas? Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: FrankWood95 [at] aol.com To: Stagecraft Sent: Friday, February 25, 2005 6:33 PM Subject: Re: Question for those working with high schools For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 25/02/05 20:29:49 GMT Standard Time, mgoebel [at] gmail.com writes: > A quick question for those out there who are also working with high > schools. > > Who owns whatever sound equipment the drama department uses? If the > drama department doesn't own it, and is "borrowing" from another > department within the school, is there any sort of rental agreement? > > The question comes up because in the high school I'm working with, the > Associated Students (A.S.) owns the sound systems (they have all the > money from yearbook sales, etc), and the drama department has to > borrow the equipment from them for shows. Normally not an issue. I've > spent the last week getting everything hum/buzz free, patching up the > rack, etc, and today A.S. "forgets" that they're having a rally and > rapes the system while I'm not there. Now I have to waste several > hours of my own time setting it up again tomorrow, as well as a lot of > other people's time because it's supposed to be full tech. > > So how does this work in the rest of the world? Well, it seems a very unsatisfactory arrangement to me. In our main playhouse, the equipment is screwed down, and not moveable. In our studio theatre, this is not possible, but the equipment still belongs there, it's just that its location is variable. The situation you describe is not, to me viable. I think that a more formal contract with the AS might be negotiated, stating who has what rights. Then, at leasst you would know where you were. But, with an organisation which is prone to act arbitrarily and inconsidrately, I don't really know where to go. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <1b9.e072e91.2f511bc4 [at] aol.com> Date: Fri, 25 Feb 2005 19:24:36 EST Subject: Re: Raked Stage Covering In a message dated 2/25/05 6:59:16 PM, rcarovillano [at] verizon.net writes: << I have a black vinyl dance floor, but we would really like to paint the surface. Any ideas? >> in the early days of PBS's DANCE IN AMERICA, when it was shot at the then new Opryland Studios in Nashville, the temporary suspended dance floor in the studio was covered with cheap kitchen linoleum, , laid FACE DOWN, with the porous felt like side up, that was then painted and sealed to suit the ballet being shot just a thought, very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: "Andy Leviss" Subject: Workbox Decorations and Politics Date: Fri, 25 Feb 2005 18:33:16 -0500 Organization: Duck's Echo Sound Message-ID: <000f01c51b92$61bf9d90$a19afea9 [at] AndyLeviss> An odd, bordering but not-quite (particularly on this list, LOL) OT question for everybody. It's something that I'm guessing few may have thought about (I tend to overanalyze things), but what are general feelings about decals on toolboxes/workboxes, specifically about political ones. As a general rule, I've always avoided anything distinctly political on my toolbox (for example, SorryEverybody.com's "Dear World, Sorry. We Tried Our Best--Half of America" sticker, or InternetBumperStickers.com's "He Won. Get Over It."*). My theory, of course, is that there's no need to risk rubbing anybody the wrong way, especially when out touring to the many varied parts of our country and working with people of all sorts of beliefs, shapes, sizes, etc.. Am I being overly cautious? --Andy, currently pondering how best to fill some blank spots on ye olde new toolbox ;o) Blogger-in-Chief http://OneFromTheRoad.com Tools, Toys, and Tales for the Theatrical Technician -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.4.0 - Release Date: 2/22/2005 ------------------------------ Date: Fri, 25 Feb 2005 20:35:44 -0500 From: "Rob Carovillano" Subject: New to Vectorworks Message-id: <000d01c51ba3$7dbd8a00$a8a44481 [at] rcarovil> References: Alright here is the first of what I am sure will be many questions. I am a new user to vectorworks so describe things as you would to a child. I have a file already with the structure of the theatre from a previous design. I want to draw my set design on top of that and add more info to a layer. The layer I am adding to is called Linesets. I am adding a text box with the name of a lineset, the text box object is set to the same class and layer and the font and size are the same. Yet this text box shows up in gray instead of black. Why? How do I fix it? The layer visibilities are all set to visible so I am not sure what is going on. The layer I am drawing the set on is a new layer called "Set". The lines I draw on this layer are also showing up in gray. The visibility is set to visible so again I'm baffled. Any help? Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ------------------------------ Date: Fri, 25 Feb 2005 20:36:40 -0500 From: "Rob Carovillano" Subject: Re: Raked Stage Covering Message-id: <001501c51ba3$9f043740$a8a44481 [at] rcarovil> References: Ok, another question about the rake im working on. I want to cover the rake with some type of large material to hide the seams of the 24 4x8 platforms we are using. I have a black vinyl dance floor, but we would really like to paint the surface. Any ideas? Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ------------------------------ Message-ID: <000d01c51baa$72704dc0$0600000a [at] BRUTUS> From: "Jon Ares" Cc: mgoebel [at] gmail.com (Mat Goebel) References: Subject: Re: Question for those working with high schools Date: Fri, 25 Feb 2005 18:25:32 -0800 > Who owns whatever sound equipment the drama department uses? If the > drama department doesn't own it, and is "borrowing" from another > department within the school, is there any sort of rental agreement? At my school, we own our own goods, and we do NOT loan it out. We're kinda butts about that. :) But then again, our equipment lasts a good long time -- theirs doesn't. We won't let the ASB borrow our mics, headsets, followspots, mixers, etc, even though they ask every year. Administration supports this policy. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Fri, 25 Feb 2005 21:44:38 -0500 (EST) From: Boyd Ostroff Subject: Re: New to Vectorworks In-Reply-To: Message-ID: References:

I think it has to do with the Layer options. Go to the Organize menu and select the drop-down Layer Options item. Select either "show others" or "show snap and modify others." I suspect you'll find that it is currently set to "gray others." | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Reply-To: From: "Laurie Swigart" Cc: mgoebel [at] gmail.com ('Mat Goebel') Subject: RE: Question for those working with high schools Date: Fri, 25 Feb 2005 20:46:17 -0600 Organization: Upstage Review Theatre Company Message-ID: <001401c51bad$5a33bf00$0987fea9 [at] SWIGART> In-Reply-To: Our auditorium has its own system which stays in place. We do have to = share and have our own degree of "raping", but when the aud is scheduled for = our use, we are technically to have control of the board. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mat = Goebel Sent: Friday, February 25, 2005 2:29 PM To: Stagecraft Subject: Question for those working with high schools For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hey all, A quick question for those out there who are also working with high = schools. Who owns whatever sound equipment the drama department uses? If the = drama department doesn't own it, and is "borrowing" from another department = within the school, is there any sort of rental agreement? The question comes up because in the high school I'm working with, the Associated Students (A.S.) owns the sound systems (they have all the = money from yearbook sales, etc), and the drama department has to borrow the equipment from them for shows. Normally not an issue. I've spent the = last week getting everything hum/buzz free, patching up the rack, etc, and = today A.S. "forgets" that they're having a rally and rapes the system while = I'm not there. Now I have to waste several hours of my own time setting it = up again tomorrow, as well as a lot of other people's time because it's supposed to be full tech. So how does this work in the rest of the world? Thanks. --=20 Mat Goebel Cell: 510.693.1448 ------------------------------ Date: Fri, 25 Feb 2005 22:40:06 -0500 Subject: Re: New to Vectorworks From: John McKernon Message-ID: In-Reply-To: > The layer I am drawing the set on is a new layer called "Set". The lines I > draw on this layer are also showing up in gray. The visibility is set to > visible so again I'm baffled. Any help? It sounds like you might have gray selected as the foreground color in the Attributes Palette. The attributes palette has a little paint bucket on the left, with a color swatch on the right slightly below the bucket. Below that is a sort of "pen" icon, with a color swatch below and to the right of the pen. At the bottom of the palette is a horizontal line with a number to the right of it. You make the palette visible by choosing "Attributes" from the Windows/Palettes menu. The color to the right of the "pen" icon is the line color. Click on the color swatch below and to the right of the pen icon to choose a new color. For complete info, enter "Attribute Palette" in the Search field within the VW help system, reachable through the VW Help menu. Good luck! - John ------------------------------ Message-ID: <008401c51bb7$dc373d60$6401a8c0 [at] chris> From: "Chris Warner" References:

Subject: Re: Question for those working with high schools Date: Fri, 25 Feb 2005 20:01:33 -0800 The school I work in, it would be kinda hard for the equipment to be borrowed, however, the department that controls ALL the uninstalled A/V equipment is the media services department, and then the theatre equipment stays in the theatre. Any of you ever find stage wieght on the other side of the campus as the theatre? Chris ----- Original Message ----- From: "Jon Ares" To: "Stagecraft" Cc: "Mat Goebel" Sent: Friday, February 25, 2005 6:25 PM Subject: Re: Question for those working with high schools > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Who owns whatever sound equipment the drama department uses? If the > > drama department doesn't own it, and is "borrowing" from another > > department within the school, is there any sort of rental agreement? > > > At my school, we own our own goods, and we do NOT loan it out. We're kinda > butts about that. :) But then again, our equipment lasts a good long > time -- theirs doesn't. We won't let the ASB borrow our mics, headsets, > followspots, mixers, etc, even though they ask every year. Administration > supports this policy. > > -- Jon Ares > Program Director, West Linn HS Theatre Arts > www.hevanet.com/acreative > www.wlhstheatre.org > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.300 / Virus Database: 266.4.0 - Release Date: 2/22/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.4.0 - Release Date: 2/22/2005 ------------------------------ Message-ID: From: "Keith Fleschner" Subject: Shop lighting Date: Fri, 25 Feb 2005 20:07:45 -0800 Shop lighting Much depends on you situation hang height etc., but working for a electrical contractor as a day job I'd second T-5 HO fluorescents they are available in several styles with different lamp temps. and lamp layouts. The ballast and lamps are becoming a very available commodity item. Several large chain stores are using them. I've seen no installations using the multiple compact high bays and would worry about being stuck with a product with no available parts. On big question is do you directly pay the light bill and can you get rebates. If you have cord connected High bays you can just unplug and go. A Commercial lighting rep should be willing to do a layout with foot candles at no charge. Keith keithfleschner [at] msn.com ------------------------------ Message-ID: <421FF987.6060606 [at] hillinteractive.net> Date: Fri, 25 Feb 2005 23:22:31 -0500 From: Howard Ires Subject: Re: Workbox Decorations and Politics References: In-Reply-To: Andy Leviss wrote: >but what are general > feelings about decals on toolboxes/workboxes, since my road box generally contains a LOT of my valuable stuff I like it to look as anonymous as possible. if painting all the boxes before a tour I'd paint mine with the same paint. maybe this is because I grew up in a high crime neighborhood, or I'm just paranoid, i don't know. --------------H ------------------------------ From: "Andy Leviss" Subject: RE: Workbox Decorations and Politics Date: Fri, 25 Feb 2005 22:36:06 -0500 Organization: Duck's Echo Sound Message-ID: <000001c51bb4$60946b90$a19afea9 [at] AndyLeviss> In-Reply-To: Howard wrote: > since my road box generally contains a LOT of my valuable > stuff I like > it to look as anonymous as possible. if painting all the > boxes before a > tour I'd paint mine with the same paint. maybe this is > because I grew up > in a high crime neighborhood, or I'm just paranoid, i don't > know. Hmm...I went with the exact opposite approach. Mine is laminated with bright black and yellow alternating panels (not to mention all the decals), so it stands out like a sore thumb. Primary reason is so that it can be easily found in a venue--"Hey, I need that bright black and yellow box over there!", and a secondary one is that there's no mistaking if somebody is walking off with it. There are dozens of people I've never met before who have all the reason in the world to be pushing all the big anonymous looking boxes around; if somebody other than myself is moving my box without my direction (or that of the person calling the truck pack), it's a lot more obvious, and people are a lot more likely to notice and stop the person when my very distinctive and fairly large toolbox starts going towards the door! Whenever I'm not in the immediate vicinity, the box is locked with its built-in combo lock, so nobody's going to be grabbing single tools out of it. If somebody's going to jack it, they've got to take the whole box and then pop the lock, in which case, see above. That's my theory, anyway! --Andy, off to purchase a "Josiah Bartlett for President" sticker for said box! Webmaster, http://OneFromTheRoad.com Tools, Toys, and Tales for the Theatrical Technician -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.4.0 - Release Date: 2/22/2005 ------------------------------ Message-id: Date: Sat, 26 Feb 2005 00:38:48 -0500 Subject: Re: Question for those working with high schools From: "Joshua Webb" References: In-Reply-To: I work in a High School setting and find it unlikely that a cantract situation would really work all that well. These are kids we are talking about so they'll do the first thing that comes into their heads. They may sign a contract regarding the use of equipment, but they will quickly forget about it when they realize the pep rally is coming up and they need a couple of speakers and an amp. So regardless of what contract you might have you'll be in the same boat and what is your ultimate recourse? Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ End of Stagecraft Digest #308 *****************************