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

Stagecraft Digest, Issue #309

 1. Re: USITT Stage Expo Passes
    by "Brian Jeffrey" <b.jeffrey [at] comcast.net>
 2. Re: Designer/Stage Manager Relationship
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 3. Re: USITT Stage Expo Passes
    by "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
 4. Workbox Decorations and Politics
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 5. Re: Designer/Stage Manager Relationship
    by Reid G Johnson <reidlite [at] earthlink.net>
 6. Re: New to Vectorworks
    by Reid G Johnson <reidlite [at] earthlink.net>
 7. Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!   No d
    by Noah Price <stagecraft-web [at] theprices.net>
 8. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!    Bad,Electrician!  
    by rkt [at] ronniethevenot.com
 9. Articles concerning fly (OT)
    by rkt [at] ronniethevenot.com
10. Wireless dimmers
    by MPTecDir [at] aol.com
11. Re: Articles concerning fly (OT)
    by Bill Sapsis <bill [at] sapsis-rigging.com>
12. Fire Certificates
    by b Ricie <b_ricie [at] yahoo.com>
13. Re: Fire Certificates
    by Bill Sapsis <bill [at] sapsis-rigging.com>
14. Re: Workbox Decorations and Politics
    by "Jon Ares" <jonares [at] hevanet.com>
15. Re: Articles concerning fly (OT)
    by "Sam Fisher" <Sam [at] FisherTheatrical.com>
16. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!   
    by "Jon Ares" <jonares [at] hevanet.com>
17. Re: Designer/Stage Manager Relationship
    by FrankWood95 [at] aol.com
18. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! ...
    by FrankWood95 [at] aol.com
19. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!   Bad, Electrician!  
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
20. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!   Bad, Electrician!  
    by Richard Wolpert <richw [at] unionconnector.com>
21. Re: Designer/Stage Manager Relationship
    by "John D. Palmer" <john [at] palmerandcompany.biz>
22. Designer/Stage Manager Relationship
    by CB <psyd [at] cox.net>
23. Re: Stage pin connectors
    by CB <psyd [at] cox.net>
24. Re: Designer/Stage Manager Relationship
    by CB <psyd [at] cox.net>
25. Duck's Echo Sound
    by CB <psyd [at] cox.net>
26. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!...
    by FrankWood95 [at] aol.com
27. Re: Designer/Stage Manager Relationship
    by FrankWood95 [at] aol.com
28. raked stage covering
    by <productionmanager [at] minnesotaballet.org>
29. Re: Stage Pin v. Twist in Educational Spaces (OT)
    by jdeull [at] clarktransfer.com
30. Re: Stage Pin v. Twist in Educational Spaces (OT)
    by Stephen Litterst <slitterst [at] ithaca.edu>
31. Re: Shop Lighting Questions
    by Dale Farmer <dale [at] cybercom.net>
32. Re: Wireless dimmers
    by "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
33. Re: Falling sheaves of paper
    by "Jon Ares" <jonares [at] hevanet.com>
34. Re: Wireless dimmers
    by John McKernon <stagecraft2004 [at] mckernon.com>
35. Re: Stage Pin v. Twist in Educational Spaces (OT)
    by "Jon Ares" <jonares [at] hevanet.com>
36. Re: Workbox Decorations and Politics
    by Dale Farmer <dale [at] cybercom.net>
37. Re: Stage Pin v. Twist in Educational Spaces (OT)
    by Dale Farmer <dale [at] cybercom.net>
38. Re: Falling sheaves of paper
    by Dale Farmer <dale [at] cybercom.net>
39. Re: Falling sheaves of paper
    by "Jon Ares" <jonares [at] hevanet.com>
40. USITT Schedule in Excel
    by "Jon Lagerquist" <jon [at] lagerquist.com>
41. Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad,Electrician!   No
    by Mike Benonis <mbenonis_lists [at] mac.com>
42. Designer/Stage Manager Relationship
    by June Abernathy <jea00321 [at] yahoo.com>
43. Re: Wireless dimmers
    by Greg Persinger <gregpersin [at] comcast.net>
44. Re: Flush Mount or Pigtail (was Stage Pin v. Twist in Educational	Spaces)
    by Greg Persinger <gregpersin [at] comcast.net>
45. Re: Flush Mount or Pigtail (was Stage Pin v. Twist in EducationalSpaces)
    by "Christopher K. Nimm" <nimmck [at] charter.net>
46. Re: Wireless dimmers
    by Andrew Vance <andrew [at] andrewvance.com>
47. Re: Stage Pin vs. Twist in Educational Spaces (OT)
    by Greg Persinger <gregpersin [at] comcast.net>
48. Re: Designer/Stage Manager Relationship
    by roguerpj [at] mn.rr.com
49. Re: Raked Stage Covering
    by roguerpj [at] mn.rr.com

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

Message-ID: <003101c51c1b$5955ff30$0300a8c0 [at] DESKTOP>
From: "Brian Jeffrey" <b.jeffrey [at] comcast.net>
References: <list-19443231 [at] prxy.net>
Subject: Re: USITT Stage Expo Passes
Date: Sat, 26 Feb 2005 10:53:43 -0500

Fortunately I was able to come up with enough Expo passes for next months 
USITT in Toronto to the dozen plus of you that emailed me back with a 
mailing address.  Sorry, but I don't have any passes left.  Should anyone 
still have a need, I suggest you just go to www.usitt.org and check out the 
list of show exhibitors and give one of them a phone call.  Since the 
vendors usually all get a stack of passes, expect someome should be able to 
accomodate.
Regards,
The Thermoman of Dazian
Brian Jeffrey
www.dazian.com



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

Date: Sat, 26 Feb 2005 05:59:17 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Designer/Stage Manager Relationship
Message-id: <002d01c51c1c$21160380$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-19791794 [at] prxy.net>

<<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. >>

The stage manager can do this if he/she wishes.  It would be desirable if
this information is provided as in "The script calls for this and now we all
know we need this" than as any kind of control issue.  At this first
meeting, I will already know what is needed.  I have initial creative
meetings with the director alone... I do not design "by committee", finding
the suggestions of others to be "noise" until I want them.  I have walked
out of meetings in which the production stage manager has asked me to
present my first design to the entire cast and crew for discussion.  I told
her that I didn't want or need anyone's input at that point except for the
director.

<<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 realize 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.>>

Unless the director has no vision.  Some that I have worked with cannot
visualize anything technical and focus completely on the actors, leaving the
material "vision" to the designers.

Unfortunately, I have also worked with directors who have no vision and
don't know it.

That can get real ugly... it was one of these dolts that caused me to quit
one of the only two shows I left in my career.  The other show I left
because the director doing an extremely low budget production in a miniscule
space demanded various elaborate set pieces, scene changes, etc. based on
information he received from a cultural group that was providing 3 costumes
for the show.  He was very specific of what the set should look like and was
not open to suggestion.

The final straw came when I asked to have the theatre for 1 day to install
the major set pieces and the director told me that they had to rehearse on
that day.  He emailed me a schedule showing that they were rehearsing every
day until opening, allowing no time for technical operations except after
10:00 p.m.  I was working 12 hour days 6-7 days per week and could only
squeeze in a couple of days to work an this set.  I certainly was not going
in after 10.  I told him that I couldn't help him out... he was stunned.

Laters,

Paul

"There will be no further developments" Tom said negatively.


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

From: "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
Subject: RE: USITT Stage Expo Passes
Date: Sat, 26 Feb 2005 11:11:32 -0500
In-Reply-To: <list-19808132 [at] prxy.net>
Message-Id: <20050226161133.YTKY1899.tomts13-srv.bellnexxia.net [at] p3m866>

I have a stack of passes as well, and would be happy to send a few to those
in need.  It's the same deal -- entry onto the tradeshow floor, but not the
conferences.  Email me your address off-list and I'll get 'em out.

Jim 
jsmith [at] theatrewireless.com

www.theatrewireless.com

 

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf 
> Of Brian Jeffrey
> Sent: February 26, 2005 10:54 AM
> To: Stagecraft
> Subject: Re: USITT Stage Expo Passes
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Fortunately I was able to come up with enough Expo passes for 
> next months USITT in Toronto to the dozen plus of you that 
> emailed me back with a mailing address.  Sorry, but I don't 
> have any passes left.  Should anyone still have a need, I 
> suggest you just go to www.usitt.org and check out the list 
> of show exhibitors and give one of them a phone call.  Since 
> the vendors usually all get a stack of passes, expect someome 
> should be able to accomodate.
> Regards,
> The Thermoman of Dazian
> Brian Jeffrey
> www.dazian.com
> 
> 
> 
> 


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

Date: Sat, 26 Feb 2005 06:27:55 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Workbox Decorations and Politics
Message-id: <004001c51c20$210760b0$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-19791794 [at] prxy.net>

 <<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? >>

Most of the personal road boxes I have seen have not had much in the way of
what might be considered offensive or trolling stickers on the exterior.
the interior, which is a rather "personal space" is another matter.  It
seems there are no rules per se, but rather limits you yourself set on the
type of feedback you are wiling to accept.

Laters,

Paul

"You are now entering the US of A." Tom stated.


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

Message-Id: <a06002008be4649649c2a [at] [4.229.102.43]>
Date: Sat, 26 Feb 2005 11:44:38 -0500
From: Reid G Johnson <reidlite [at] earthlink.net>
Subject: RE: Designer/Stage Manager Relationship

I'll admit a SM produced spreadsheet used to bother me as 
presumptive, but I now welcome the information. It is an info tool 
much more than an imposition on my territory.

In my experience, such a spreadsheet doesn't mean something HAS to be 
done a certain way. It can, and should, be a useful basis for 
discussion w/ the Director and other designers concerning 
expectations. This is a collaboration after all. Too many lose sight 
of that. If we buck this attempt at collating show needs we are not 
helping the whole to come together.

Also, it can be partially a reality check against my own analysis, 
which usually (and always should) predate getting this from an SM. Do 
your homework!

That said, I take such a spreadsheet with a grain of salt. Some of 
the interp may be off base. It may be minimal. A production's 
direction may be diverging from the assumptions drawn from a reading 
of the script. Fine. I'm the specialist who will cover all of those 
bases.

Beyond that I'm the specialist who has the vision to create what's 
appropriate to the production being done NOW. That may or may not 
relate closely with whatever notes are in a script. In the end, I'll 
surely have more to contribute. Further, or different, interp of: 
mood, time of day, more/different cueing than the Samuel French 
'lights up and lights down' indications. In fact, those are so 
useless and minimal that I rarely consult the back of the script.

Best of luck with your class,

Reid



Mark Harvey wrote:

>I'm using a new textbook for the stage management class I teach and
>wanted to get some thoughts from designers on this list.
>
><snip>
>
>Your thoughts?  The students in the class look forward to your
>viewpoint concerning this issue.




-- 

Reid G Johnson
Resident Lighting Designer/Master Electrician
Meadow Brook Theatre Ensemble
Rochester, Michigan



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

Message-Id: <a06002009be4658d83b4b [at] [4.229.102.43]>
Date: Sat, 26 Feb 2005 12:05:29 -0500
From: Reid G Johnson <reidlite [at] earthlink.net>
Subject: Re: New to Vectorworks
Cc: rcarovillano [at] verizon.net (Rob Carovillano)

>  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?

What John and Boyd said...

In addition, you can set, or change the defaults of what color the 
background is and the color of the letters by setting the colors in 
the attribute palette while having nothing selected in any other 
palette. Adjust the line and the bucket color choices. THEN, when you 
select the alpha icon to insert text, it will pick up what you set.

Restated: In order to change the default, you should do it with 
nothing selected from the 2d Tools palette.

Sometimes I will end up with text that enters with strange color 
combos. Deselect the text icon, reset those choices, and reselect 
text and enter your text.

You can play with lines or shapes the same way. Make settings with 
nothing selected, then select 'line' or whatever and draw. This comes 
into play for me when drawing a bunch of lines that I want to be red, 
with a certain line weight. Instead of selecting them all after the 
fact and changing things, I'll do the above.

Mild disclaimer: I still use Version 8.5.2. I am assuming this still 
applies to the newer versions.

Good luck,

reid

-- 
-------------------------------------------
Reid G Johnson                Utica, MI

               Team Pterodactyl
              Logistics and Stats

'93 BMW K1100GS              .....o~'o
-------------------------------------------

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

In-Reply-To: <list-19371838 [at] prxy.net>
References: <list-19367958 [at] prxy.net> <list-19371838 [at] prxy.net>
Message-Id: <857da3be69256c6fce77c208d49debe5 [at] theprices.net>
From: Noah Price <stagecraft-web [at] theprices.net>
Subject: Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!   No doughnuts!)
Date: Sat, 26 Feb 2005 09:14:43 -0800


On Feb 21, 2005, at 4:52 AM, Chris Warner wrote:

> On twist vs. Stage Pin, in educational spaces (ie Junior High and
> Highschool) twist lock is the only allowable plug on stage something 
> about
> needing to be able to lock them.

Very timely... I'm designing the lighting portion of a theater 
renovation for a school (a private K-12, or so), and just ran into 
this. Is it true? Do I need to stick with twist lock in a school space? 
Anyone have reference to the appropriate regulations if this is or 
isn't true? (Sunnyvale, California, USA, if it's a regional thing)

All of the pros/cons presented over the past few days aside, my reason 
for moving to stage pin is entirely practical -- my local rentals are 
all stage pin, and they have a limited number of stage-pin to twist 
lock adapters. This is important since I'm likely to rent a large 
portion of the bigger shows for the next couple years.

Noah

-- 
|   Noah Price                |   http://stagecraft.theprices.net/     |
|   Stagecraft Mailing List   |   stagecraft-web [at] theprices.net         |


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

From: rkt [at] ronniethevenot.com
Date: Sat, 26 Feb 2005 10:28:34 -0700
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!
    Bad,Electrician!   No doughnuts!)
Message-Id: <20050226172834.C77194F46A [at] ws6-5.us4.outblaze.com>

Do I need to stick with twist lock in a school=20
space? (snip)

I am a high school student in Arizona and I know that our theatre does not =
use Twistlock adapters, we use stage pin on all of instruments and even use=
 edison for our portable system (used for outdoor shows and black box shows=
). Our systems was installed in the theatre just a few years ago when our o=
ld system died. We have had no problems with instruments coming unplugged t=
hat I know of. However, our director has say our almost everything that goe=
s into the building but I am almost certain that he did not know the advant=
ages and disadvantages of the connectors because he has a very limited know=
ledge of lighting, or technical theatre for that matter.

Although, this may be a regional restriction. You may want to investigate w=
hat other schools in your area are using especially those is your district.

Ronald Thevenot

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

From: rkt [at] ronniethevenot.com
Date: Sat, 26 Feb 2005 10:30:53 -0700
Subject: Articles concerning fly (OT)
Message-Id: <20050226173053.D3C6EEDE0C [at] ws6-1.us4.outblaze.com>

Hello,

I am writing a paper comparing articles, and later a presuasive essay, on d=
ifferent types of fly systems. I was wonder if anyone on the list could giv=
e me some sources of articles concerning counter-weighted fly systems and m=
otorized dead-lift or other non-counter weighted systems.

Thank you for your help,

Ronald Thevenot

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

Date: Sat, 26 Feb 2005 12:41:58 -0500
From: MPTecDir [at] aol.com
Cc: mfpowers [at] theater.umass.edu
Subject: Wireless dimmers
Message-ID: <771B8665.5A5A60EB.00740ECC [at] aol.com>

Hey gang,

UMass is considering getting some wireless dimmers.  Anybody have any info on brands that are great?  Ones that suck? Ones that are easy to install and hook up?  DMX control of course.  etc.???

Also any tips on what to expect in terms of reliability and such?

Brooke,  what kind of units did you guys use on "Beauty"??

Any info is welcome.

-- 
Michael

Michael Powers, Technical Director
U Mass Amherst, Dept of Theatre
112 Fine Arts Center West
151 Presidents Drive Ofc 2
Amherst, MA 01003-9331
 
Phone:  413-545-6821
Fax:    413-577-0025
http://www.umass.edu/theater/ 
mfpowers [at] theater.umass.edu
mptecdir [at] aol.com


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

Date: Sat, 26 Feb 2005 12:47:45 -0500
Subject: Re: Articles concerning fly (OT)
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE462070.4AD4%bill [at] sapsis-rigging.com>
In-Reply-To: <list-19812161 [at] prxy.net>

on 2/26/05 12:30 PM, rkt [at] ronniethevenot.com at rkt [at] ronniethevenot.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hello,
> 
> I am writing a paper comparing articles, and later a presuasive essay, on
> different types of fly systems. I was wonder if anyone on the list could give
> me some sources of articles concerning counter-weighted fly systems and
> motorized dead-lift or other non-counter weighted systems.
> 
> Thank you for your help,
> 
> Ronald Thevenot


Hmmmmmm.  Articles on fly systems.  let me see.  I used to know a guy who
wrote articles on fly systems.  Oh yeah, I remember now.  Me.  Check out the
website    http://sapsis-rigging.com/UB.ArticleIndex.html  and see if any of
those help.

Dana Taylor just wrote one for PLSN.  TD & T (the USITT magazine) has had
articles in the past as have Stage Directions magazine and Entertainment
Design. I'm sure you could find some old Theatre Crafts magazine articles
floating around the web somewhere.

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.


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

Message-ID: <20050226175213.2256.qmail [at] web50603.mail.yahoo.com>
Date: Sat, 26 Feb 2005 09:52:13 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Fire Certificates
In-Reply-To: <list-19791794 [at] prxy.net>

Hello o wise list, how I have missed thee.
I am currently on the road with a Broadway style show.
We will be playing the Kodak Theatre in LA soon and
they need flame certs. before any of our goods can go
in the air. My Question is Can anyone tell me what the
goods have to do in order to get the okee-dokey from
the State? If answers could be sent to my e-mail
address it would be greatly appreciated.
Thanks in advance.


=====
Brian Rice 
Technical Director
"The Best Little Whorehouse in Texas"
508-287-8207
b_ricie [at] yahoo.com

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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

Date: Sat, 26 Feb 2005 13:02:41 -0500
Subject: Re: Fire Certificates
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE4623F0.4ADB%bill [at] sapsis-rigging.com>
In-Reply-To: <list-19813108 [at] prxy.net>

on 2/26/05 12:52 PM, b Ricie at b_ricie [at] yahoo.com wrote:

> Hello o wise list, how I have missed thee.
> I am currently on the road with a Broadway style show.
> We will be playing the Kodak Theatre in LA soon and
> they need flame certs. before any of our goods can go
> in the air. My Question is Can anyone tell me what the
> goods have to do in order to get the okee-dokey from
> the State? If answers could be sent to my e-mail
> address it would be greatly appreciated.
> Thanks in advance.


You should check with the theatre to see what type of certs are needed.
Normally (and I use that word cautiously) a flame retardant certificate on
goods (curtains, scenery...whatever) used in a theatre in California must
reference the California codes.  You should have received certificates on
all your goods from the supplying vendors when the tour first got made up.
Those certs may not have been generated in California and as such, may not
meet the California requirements.

The Kodak Theatre should be able to supply you with sample certs.  even if
they have to block out the name of the vendor or something due to privacy
issues.

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.


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

Message-ID: <000901c51c2d$a8e80090$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-19791794 [at] prxy.net> <list-19809720 [at] prxy.net>
Subject: Re: Workbox Decorations and Politics
Date: Sat, 26 Feb 2005 10:04:48 -0800

> Most of the personal road boxes I have seen have not had much in the way 
> of
> what might be considered offensive or trolling stickers on the exterior.
> the interior, which is a rather "personal space" is another matter.

I carry a small ammo box of hand tools and testers... only one sticker on 
it:  "Runs with scissors."  A gift from a student long ago, but I use it to 
demark the ammo box of tools so I don't grab my ammo box of electrical 
parts, my ammo box of pyro stuff, etc.

If only the lid wouldn't keep falling off after opening it, though.  Wish it 
had a captive hinge.

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


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

From: "Sam Fisher" <Sam [at] FisherTheatrical.com>
Subject: RE: Articles concerning fly (OT)
Date: Sat, 26 Feb 2005 13:07:30 -0500
In-Reply-To: <list-19812719 [at] prxy.net>
Message-ID: <auto-000019813662 [at] prxy.net>

Bill Sapsis wrote,

" I'm sure you could find some old Theatre Crafts magazine articles
floating around the web somewhere."

Most college university libraries have the entire Theatre Crafts magazine on
micro film.

Sam Fisher



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

Message-ID: <001701c51c2e$bf19f570$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-19367958 [at] prxy.net> <list-19371838 [at] prxy.net> <list-19811520 [at] prxy.net>
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!   No doughnuts!)
Date: Sat, 26 Feb 2005 10:12:34 -0800

> Very timely... I'm designing the lighting portion of a theater renovation 
> for a school (a private K-12, or so), and just ran into this. Is it true? 
> Do I need to stick with twist lock in a school space? Anyone have 
> reference to the appropriate regulations if this is or isn't true? 
> (Sunnyvale, California, USA, if it's a regional thing)


Yes, do what you can to find out if there is some regulation in the region 
in question.  This generalization that schools must be twist-lock is an 
urban legend.  I know for a fact in my region, this is NOT a requirement at 
all, but over the last 20 years I have heard many a 'consultant' claim that 
it is.  The truth is, someone at the school or district office has made the 
decision, but more commonly it was just whatever the consultant put in the 
spec, and no one looked twice at it.

So often, particularly in grade schools and middle schools (where it's rare 
to hire a consultant) the PTB assume lights will go up, plugged in, and 
never moved.  They're only unplugged for replacing the lamp (hopefully).

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


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

From: FrankWood95 [at] aol.com
Message-ID: <1f9.57b0e2a.2f521ce1 [at] aol.com>
Date: Sat, 26 Feb 2005 13:41:37 EST
Subject: Re: Designer/Stage Manager Relationship

In a message dated 26/02/05 16:45:47 GMT Standard Time, 
reidlite [at] earthlink.net writes:

> I'll admit a SM produced spreadsheet used to bother me as 
>  presumptive, but I now welcome the information. It is an info tool 
>  much more than an imposition on my territory.
>  
>  In my experience, such a spreadsheet doesn't mean something HAS to be 
>  done a certain way. It can, and should, be a useful basis for 
>  discussion w/ the Director and other designers concerning 
>  expectations. This is a collaboration after all. Too many lose sight 
>  of that. If we buck this attempt at collating show needs we are not 
>  helping the whole to come together.

It all depends on the show. Shakespeare provides little or no information, 
and you may use or ignore it as you choose. "A room in the castle; another room 
in the castle; a rocky seashore" and that is all the guidance. Shaw often 
writes very elaborate stage directions, which, again, the director and designer 
may choose to ignore. 
>  
>  Beyond that I'm the specialist who has the vision to create what's 
>  appropriate to the production being done NOW. That may or may not 
>  relate closely with whatever notes are in a script. In the end, I'll 
>  surely have more to contribute. Further, or different, interp of: 
>  mood, time of day, more/different cueing than the Samuel French 
>  'lights up and lights down' indications. In fact, those are so 
>  useless and minimal that I rarely consult the back of the script.

I was intending to say that, too. These are merely instructions for 
re-creating a particular production, which neither the director nor designer may have 
in mind.

When the general design is firm, and has been agreed to be technically 
feasible and within budget, only then may the SM produce the lists of props, 
furniture, and so on: the LD the hire list (if he doesn't work within the inventory): 
the construction and wardrobe teams their lists. It is useful that these 
exist, but there is no way that they can be created without a firm design.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <79.4006d523.2f522180 [at] aol.com>
Date: Sat, 26 Feb 2005 14:01:20 EST
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! Bad, Electrician! ...

In a message dated 26/02/05 18:13:36 GMT Standard Time, jonares [at] hevanet.com 
writes:

> Yes, do what you can to find out if there is some regulation in the region 
>  in question.  This generalization that schools must be twist-lock is an 
>  urban legend.  I know for a fact in my region, this is NOT a requirement 
at 
>  all, but over the last 20 years I have heard many a 'consultant' claim 
that 
>  it is.  The truth is, someone at the school or district office has made 
the 
>  decision, but more commonly it was just whatever the consultant put in the 
>  spec, and no one looked twice at it.
>  
>  So often, particularly in grade schools and middle schools (where it's 
rare 
>  to hire a consultant) the PTB assume lights will go up, plugged in, and 
>  never moved.  They're only unplugged for replacing the lamp (hopefully).

 Cynical, but true. 

We have an advantage in the UK, that the rules are uniform, in general, so 
local legislatures and administrations can't interfere.

When we opened our new playhouse, in 1964, we had three good Engineers 
involved, who were quick to tread on technical sillies. Now, we still have good 
Engineers around, but they are beset by administrators and bean-counters. Sic 
transit gloria mundi.


Frank Wood

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

Message-Id: <6.2.0.14.0.20050226142502.0422b418 [at] mail.insightbb.com>
Date: Sat, 26 Feb 2005 14:33:30 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad! 
  Bad, Electrician!   No doughnuts!)
In-Reply-To: <list-19811520 [at] prxy.net>
References: <list-19367958 [at] prxy.net>
 <list-19371838 [at] prxy.net>
 <list-19811520 [at] prxy.net>

I have not encountered this as a requirement for high schools in the 
midwest--Michigan, Ohio, Indiana, Illinois, Nebraska, Missouri, and 
Kansas--but that certainly does not mean that there aren't 
states/jurisdictions with the requirement.

Noah, regarding your specific question:
http://www.bsc.ca.gov/title_24/t24_2001tried.html.  The California Electric 
code is, according to this, the 1999 edition of the National Electric 
Code.  I don't have access to a copy here, but I expect that there are some 
on the list with a copy that could find out whether schools are required to 
have locking connectors.

Mike

At 12:14 PM 2/26/2005, Noah Price wrote:

>>On twist vs. Stage Pin, in educational spaces (ie Junior High and
>>Highschool) twist lock is the only allowable plug on stage something about
>>needing to be able to lock them.
>
>Very timely... I'm designing the lighting portion of a theater renovation 
>for a school (a private K-12, or so), and just ran into this. Is it true? 
>Do I need to stick with twist lock in a school space? Anyone have 
>reference to the appropriate regulations if this is or isn't true? 
>(Sunnyvale, California, USA, if it's a regional thing)


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

Date: Sat, 26 Feb 2005 15:01:46 -0500
From: Richard Wolpert <richw [at] unionconnector.com>
Subject: RE: Stage Pin v. Twist in Educational Spaces (was Re: Bad!   Bad,
 Electrician!   No doughnuts!)
In-reply-to: <list-19816951 [at] prxy.net>
Message-id: <KIEIJNECPAAGNDKNCFBHCEAODLAA.richw [at] unionconnector.com>

We build a lot of distribution for schools and educational spaces, and I've
also heard that stage pin type devices are not allowed because a "locking"
type connector is required. I'm not sure it's an urban legend, but I
wouldn't be surprised if that's the case. However, I think there was
probably some "locking connector" requirement at some time in the past. We
developed a locking stage pin connector back in the 70's. That was at the
request of several consultants, and consequently had sales of the plugs
(male) was about 6,000 units a year. The locking style was discontinued
several years ago because sales fell to only a few hundred units a year. We
continue to build distribution for schools with standard pin connectors, and
usually only get requests for locking devices on projects in the Midwest.

Does anyone know of a specific jurisdiction or local code requirement that
mandates the use "locking" devices? I'm curious to know as are a number of
folks I've chatted with.

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




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

Message-ID: <000901c51c43$deaf3ca0$6501a8c0 [at] Toshiba2>
From: "John D. Palmer" <john [at] palmerandcompany.biz>
References: <list-19791794 [at] prxy.net>
Subject: Re:  Designer/Stage Manager Relationship
Date: Sat, 26 Feb 2005 12:43:46 -0800

I think really it is about the relationship.
Unfortunately, this approach might seem condescending or 
intrusive.  If the Stage Manager and the Designer are 
working together for the first time, it might be taken that 
the SM doesn't think very much of the designer.  I have had 
a just out of school SM do this once.  I seem to remember 
being very put off by it.  Also, at the first production 
meeting who is worried about cues.  Now, an idea of the 
given circumstances of the play that might require planning 
from the start of production is valid.  I just don't think 
that the first production meeting is the time to discuss 
"House to half".
Two other side thoughts:  one, most of the SM's I have 
worked with have enough work to do covering their own 
paperwork, they shouldn't have to do mine.  Two, I am going 
to start over again anyway, so please don't feel that you 
need to take the time to do it on my account.
On the subject of cue lists, I don't have a complete list of 
cues until opening night.  Up until then, any list of cues 
is strictly in preliminary form and subject to change. 
(Hopefully not after opening, but I am sure many of us have 
been there.)
TTFN,
John

>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.
------------------------------ 


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

Message-Id: <3.0.6.32.20050226135059.01909b98 [at] pop.west.cox.net>
Date: Sat, 26 Feb 2005 13:50:59
From: CB <psyd [at] cox.net>
Subject: Designer/Stage Manager Relationship

>Your thoughts?  The students in the class look forward to your 
>viewpoint concerning this issue.

I agree with you, but the stage manager has handed you a list of what he is
expecting to happen, from his point of view.  I.e., "this is what I think
that I am expecting".  Any SM that handed that to you with the expectation
that you would use it as your job-list, never to stray, is insane, and
should be poisoned or pushed down a well.
As a list of possibilities, as the first step in a collaboration, I don'w
think that it is out of line.  As long as all parties involved know that it
WILL change. I'm used to getting (actually, squeezing) this information
from a director, but as long as the director knows what is happening and is
cool with it, I have no problem using it as a jumping off point.  The SM
has to agree with the director's choices, and vice versa, or all bets are
off.
				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: <3.0.6.32.20050226135814.01909b98 [at] pop.west.cox.net>
Date: Sat, 26 Feb 2005 13:58:14
From: CB <psyd [at] cox.net>
Subject: Re: Stage pin connectors

>My free advice is that you look at what you need, rather than what 
>most people need.

The undpoken truth in this advice is, "Try early on to make the two the
same thing, so that everyone plays nice with everyone else".  This is the
basic concept behind 'industry standards' in a nutshell.  Now if we could
just buy one manufacturer a nutcracker, we'd all be golden.  
Yeah, if you are retro-fitting something existing, you want to try to match
what you have if you can't afford 'industry standardization', but if you
can affords it, or are starting from scratch, go with waht's already out
there being used.
				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: <3.0.6.32.20050226141000.01909b98 [at] pop.west.cox.net>
Date: Sat, 26 Feb 2005 14:10:00
From: CB <psyd [at] cox.net>
Subject: Re: Designer/Stage Manager Relationship

> Certainly, any 
>SM who presumes to tell me how to light a show is going to get a dusty
response.

SM's tell me what to do all the time.  As the master clock of the show, we
in the entertainment industry tend to use them to our full advantage.  I'm
thinking that the SM is presenting a bare-bones outline , as in, "Here in
the script, it says that the scene changes from afternoon to late evening.
I'm thinking that this is going to be a lighting cue, yes?  Will there be a
sound cue there as well?  Like maybe trafic noises diminish a bit and oh,
say, maybe crickets?"  While these may not be design choices, if the
designers are on the same page, it allows the SM to begin to get an idea of
his workload, and the rythm of the show as well.  Remember (with Frank as
the obvious exception, of course) the SM will be taking the disgn elements
that we create and making them happen in time and on cue for the rest of
the run.  The better that he is prepared and familiar with the better he
will be able to pull off the design you hand him.
				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: <3.0.6.32.20050226141510.01909b98 [at] pop.west.cox.net>
Date: Sat, 26 Feb 2005 14:15:10
From: CB <psyd [at] cox.net>
Subject: Duck's Echo Sound

>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? 

Some bumper stickers are there to see who is the guy with no particular
senxe of humor or ability to realize the rights of others to have differing
opinions.  Its better to havehim identified early, even if he hates you,
than to have him slowly and covertly decide that he hates you.  The devil
you know, and all that.
				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...

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

From: FrankWood95 [at] aol.com
Message-ID: <89.2198278d.2f52602d [at] aol.com>
Date: Sat, 26 Feb 2005 18:28:45 EST
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!  Bad, Electrician!...

In a message dated 26/02/05 20:01:54 GMT Standard Time, 
richw [at] unionconnector.com writes:

> Does anyone know of a specific jurisdiction or local code requirement that
>  mandates the use "locking" devices? I'm curious to know as are a number of
>  folks I've chatted with.

 It's really a matter of doing a proper, informed, risk assessment. Those who 
write local codes, and, for that matter, AHJs, often don't have the 
engineering skills. They don't ask the right questions, let alone provide the right 
answers.

First, exactly what is the risk? Is it of the connector pair pulling apart, 
which is no higher than nuisance level? Is it of the wires pulling out of the 
female connector, which potentially leaves live conductors waving in the 
breeze? Is there a fire risk, due to high resistance connections? I'm not an expert, 
and there may be others that I haven't considered. Ask Dr. Doom.

When you have answered this one, consider the probabilities, and how  
dangerous faults may be caused. Disconnecting a luminaire is no more than a nuisance, 
whatever the LD may think. Having loose cables waving from a power source is 
another question: a dangling plug is not.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <2b.6dc2661b.2f526305 [at] aol.com>
Date: Sat, 26 Feb 2005 18:40:53 EST
Subject: Re: Designer/Stage Manager Relationship

In a message dated 26/02/05 21:05:39 GMT Standard Time, psyd [at] cox.net writes:

> 
>  SM's tell me what to do all the time.  As the master clock of the show, we
>  in the entertainment industry tend to use them to our full advantage.  I'm
>  thinking that the SM is presenting a bare-bones outline , as in, "Here in
>  the script, it says that the scene changes from afternoon to late evening.
>  I'm thinking that this is going to be a lighting cue, yes?  Will there be a
>  sound cue there as well?  Like maybe trafic noises diminish a bit and oh,
>  say, maybe crickets?"  While these may not be design choices, if the
>  designers are on the same page, it allows the SM to begin to get an idea of
>  his workload, and the rythm of the show as well.  Remember (with Frank as
>  the obvious exception, of course) the SM will be taking the disgn elements
>  that we create and making them happen in time and on cue for the rest of
>  the run.  The better that he is prepared and familiar with the better he
>  will be able to pull off the design you hand him.

Contradictions.

If you operate this archaic system, the SM may be able to dictate the timing 
of cues. What then happens is up to the LD, and the SD. And. of course the 
Director.

Frank Wood

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

Message-ID: <000f01c51c5e$f5cddca0$0500a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
References: <list-19791794 [at] prxy.net>
Subject: raked stage covering
Date: Sat, 26 Feb 2005 17:57:40 -0600
Organization: Minnesota Ballet

Rolling your black dance floor over your raked stage still gives you seams. 
It'll give you four or five seams that run the full length of the stage. Is 
the marley floor the same length as your raked stage? If it's not, I don't 
recommend cutting it unless you don't plan on using the marley again. I use 
black gaff to tape the seams of my marley. But why not just tape the seams 
of the 4x8 plywood and just paint? Try a small section and see if you still 
see the tape. It's a quicker version of a dutchman, and easier to remove at 
strike. A ground cloth the full size of the stage might be cost 
prohibitive.However, if you can make it happen, why not size it like a drop 
to fit? I have painted my black marley floor with spray painted dots to mark 
center and quarter stage for the dancers and they don't complain about 
dancing on it. But that's just a few dots and not full stage with some 
design.

Kenneth Pogin
Production Manager
Minnesota Ballet 



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

Message-ID: <1109463299.42211103ba410 [at] mail.clarktransfer.com>
Date: Sat, 26 Feb 2005 19:14:59 -0500
From: jdeull [at] clarktransfer.com
Subject: Re: Stage Pin v. Twist in Educational Spaces (OT)
References: <list-19824581 [at] prxy.net>
In-Reply-To: <list-19824581 [at] prxy.net>

"Having loose cables waving from a power source is another question: a dangling
plug is not."

Jumping off onto a tangent from there...

In a raceway of stagepin lighting circuits along a catwalk... Would you rather
have receptacles built into the raceway, or have pigtails with female plug
receptacles coming out of the raceway?  Pros and cons either way?

Jonathan Deull
Edmund Burke School








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

Date: Sat, 26 Feb 2005 19:34:04 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Stage Pin v. Twist in Educational Spaces (OT)
Message-id: <4221157C.60CB1795 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-19824581 [at] prxy.net> <list-19825850 [at] prxy.net>

jdeull [at] clarktransfer.com wrote:
> --------------------------------------------------- 
> In a raceway of stagepin lighting circuits along a catwalk... Would you rather
> have receptacles built into the raceway, or have pigtails with female plug
> receptacles coming out of the raceway?  Pros and cons either way?

Personal preference is panel-mount receptacles in the raceway. 
Pigtails have strain relief issues, can be caught or damaged by moving
scenery when not in use, and the rubber jacketing can break down.

There are some maintenance concerns with panel-mounts, but not as
many.

Steve Litterst

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

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

Message-ID: <422118D0.D2135990 [at] cybercom.net>
Date: Sat, 26 Feb 2005 19:48:16 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Shop Lighting Questions
References: <list-19647765 [at] prxy.net> <list-19649989 [at] prxy.net>



Rich Lindsay wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Folks I need a little input. After a decade of working in a hole ....We
> are getting a new shop....woot
>
> I do have a question about illumination.
>
> What lighting is best suited for a scene/paint shop?
>
> If thats not available (expence etc) , What alternatives are there?
>
> What , if any, options have people thought would be good but turned out
> horrible?

    I'd go with a reasonable full spectrum fixture.  Metal halide or
fluorescent
depending on ceiling height.  Then put in semi-permanently a couple of your
normal theatrical fixtures aiming at the usual painting area so you can see
what it looks like under your actual theater lighting.

    --Dale



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

From: "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
Cc: theatrewireless [at] yahoogroups.com
Subject: RE: Wireless dimmers
Date: Sat, 26 Feb 2005 19:52:18 -0500
In-Reply-To: <list-19812565 [at] prxy.net>
Message-Id: <20050227005230.ZBPX19622.tomts10-srv.bellnexxia.net [at] p3m866>

> UMass is considering getting some wireless dimmers.  Anybody 
> have any info on brands that are great?  

I was hesitant to jump right into this thread, being obviously biased...
kinda hoped someone else would vouch for our stuff!

For wireless dimming, our RC4 system is the easiest to hookup and use, with
integrated radio receivers and dimmers (every receiver includes 4 dimmers).
It's totally reliable.  We're "debuting" our RC4 2.0 firmware at the USITT
show in March, but we actually started shipping 2.0 this month, fully tested
and fully functional (not vapor, not beta).  Not only do you configure the
dimmers from the transmitter (as always), you can now check battery voltage,
complete with a V display on the transmitter screen, even in the middle of a
running cue.  Lots of other features added as well, to a core that remains
the most versatile available.

The Beauty and the Beast US tour used 3 of our predecessor RC3 systems with
good results.  A few older shows used our very obsolete SNET2 system, which
started to run into trouble in the 450Mhz band towards the end of it's
saleable/useful life (mid 1990's).  Our switch to 907Mhz spread spectrum
long ago resolved all such problems you may have heard of.

There are customer testimonials posted on our site, and I think we should be
able to get some of our users to speak up here as well.  

For more info, please contact me off-list.

Jim Smith
www.theatrewireless.com


P.S.  I've posted this response to 2 different groups, my sincerest
apologies to those who have received it twice.


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

Message-ID: <000701c51c69$76aa8e40$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-16238492 [at] prxy.net>
Subject: Re: Falling sheaves of paper
Date: Sat, 26 Feb 2005 17:12:53 -0800

I just wanted to thank everyone who contributed to the 'falling sheaves of 
paper' thread from about a month ago... the gag we're going with (that an 
outside shop is building) consists of a speed-controlled motor, with a shaft 
(about 20' long) that drives several wheels - probably neumatic tires or 
rubberized casters - that will spit out stacks and stacks of paper on cue. 
It is yet to be determined if gravity alone will be enough tension on the 
stacks of paper, or if some sort of tensioning device (bungee?) will be 
needed to maintain traction.

This should work great, as we need about 25 linear feet of falling paper.

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


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

Date: Sat, 26 Feb 2005 20:14:42 -0500
Subject: Re: Wireless dimmers
From: John McKernon <stagecraft2004 [at] mckernon.com>
Message-ID: <BE468932.11842%stagecraft2004 [at] mckernon.com>
In-Reply-To: <list-19827157 [at] prxy.net>

> UMass is considering getting some wireless dimmers.  Anybody
> have any info on brands that are great?

I'd take a look at the ones from City Theatrical. If you're going to be at
USITT, I imagine they'll be showing them there - they've been on the market
for a couple of years now.

- John


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

Message-ID: <001101c51c6a$1d7c1770$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-19824581 [at] prxy.net> <list-19825850 [at] prxy.net>
Subject: Re: Stage Pin v. Twist in Educational Spaces (OT)
Date: Sat, 26 Feb 2005 17:17:33 -0800

> In a raceway of stagepin lighting circuits along a catwalk... Would you 
> rather
> have receptacles built into the raceway, or have pigtails with female plug
> receptacles coming out of the raceway?  Pros and cons either way?


I prefer piggytails.  In a few spaces around here that have flush-mount 
receptacles, pulling on the male GSP eventually made the female flush-mount 
come ripping out.

Pigtails also dangle, so if someone is walking by and brushes a connection, 
no harm.  Flush-mounts mean the rigid male connector is perpendicular to the 
raceway, and bumping in to one usually won't result in breakage per se, but 
adds to the wear and tear of the female flush-mount, helping it on to its 
way of getting pulled out when trying to disconnect.

At least this has been my experience.

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


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

Message-ID: <42212141.AF788F03 [at] cybercom.net>
Date: Sat, 26 Feb 2005 20:24:17 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Workbox Decorations and Politics
References: <list-19791794 [at] prxy.net> <list-19809720 [at] prxy.net> <list-19813504 [at] prxy.net>



Jon Ares wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > Most of the personal road boxes I have seen have not had much in the way
> > of
> > what might be considered offensive or trolling stickers on the exterior.
> > the interior, which is a rather "personal space" is another matter.
>
> I carry a small ammo box of hand tools and testers... only one sticker on
> it:  "Runs with scissors."  A gift from a student long ago, but I use it to
> demark the ammo box of tools so I don't grab my ammo box of electrical
> parts, my ammo box of pyro stuff, etc.
>
> If only the lid wouldn't keep falling off after opening it, though.  Wish it
> had a captive hinge.

    You can make the hinge captive, if you have someone good with an
arc welder around.  Basically, you extend the last hinge pin a bit, then
put the lid on, ensure that it opens and closes, then peen over the
protruding pin until you have a snug fit.
    An alternative method, which you use of you have a spot welder, is
to add a bit of sheet metal to the other side of the lid, so even when
it's open, there is some metal blocking it from sliding off.
    These methods apply to US type ammo cans.  YMMV.
    As for decorating a personal road box.  I'd say use your discretion.
Applying distinctive paint jobs and the like for easy identification sounds
reasonable.  Tour stickers should be fine.  ( unless you used to tour with
heavy metal groups, and now are touring with a religious road show.  )
I'd avoid political, blatantly offensive, and so on materials.  I'd apply
the rule of thumb: would I be ashamed to show it to my mom?

    --Dale



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

Message-ID: <42212351.59D07F57 [at] cybercom.net>
Date: Sat, 26 Feb 2005 20:33:05 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Stage Pin v. Twist in Educational Spaces (OT)
References: <list-19824581 [at] prxy.net> <list-19825850 [at] prxy.net>



jdeull [at] clarktransfer.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> "Having loose cables waving from a power source is another question: a dangling
> plug is not."
>
> Jumping off onto a tangent from there...
>
> In a raceway of stagepin lighting circuits along a catwalk... Would you rather
> have receptacles built into the raceway, or have pigtails with female plug
> receptacles coming out of the raceway?  Pros and cons either way?
>
> Jonathan Deull
> Edmund Burke School

    Dangling cables catch on things, wear out faster, and basically have more
moving parts to fail.  I'd go with built in. Do ensure the contractor doesn't
install them facing down or up on the raceway.  Also remember to
have non-dimmed power up there for the multitude of things that use it
nowadays.

    --Dale



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

Message-ID: <422123F6.A5395DC2 [at] cybercom.net>
Date: Sat, 26 Feb 2005 20:35:50 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Falling sheaves of paper
References: <list-16238492 [at] prxy.net> <list-19827797 [at] prxy.net>



Jon Ares wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I just wanted to thank everyone who contributed to the 'falling sheaves of
> paper' thread from about a month ago... the gag we're going with (that an
> outside shop is building) consists of a speed-controlled motor, with a shaft
> (about 20' long) that drives several wheels - probably neumatic tires or
> rubberized casters - that will spit out stacks and stacks of paper on cue.
> It is yet to be determined if gravity alone will be enough tension on the
> stacks of paper, or if some sort of tensioning device (bungee?) will be
> needed to maintain traction.
>
> This should work great, as we need about 25 linear feet of falling paper.

    I'd be interested in seeing a video of this effect going off.  I also want
to see the video of the faces of the janitors when you tell them about
this mess that needs to be picked up.

    --Dale



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

Message-ID: <002701c51c6c$eea9fa90$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-16238492 [at] prxy.net> <list-19827797 [at] prxy.net> <list-19828406 [at] prxy.net>
Subject: Re: Falling sheaves of paper
Date: Sat, 26 Feb 2005 17:37:43 -0800


>    I'd be interested in seeing a video of this effect going off.  I also 
> want
> to see the video of the faces of the janitors when you tell them about
> this mess that needs to be picked up.


:)

These 'janitors' are the actors onstage at the time of the mess.  They pick 
up all the paper during the scene.  (The play is "Dear Charlotte," by Joy 
Gregory.  An Oregon premiere.)

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


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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Sat, 26 Feb 2005 18:34:49 -0800
Subject: USITT Schedule in Excel
Reply-to: jon [at] lagerquist.com
Message-ID: <4220C149.14538.11668481 [at] localhost>

I pushed the schedule for the USITT conference through a couple of  
editors and turned it into an Excel spreadsheet so that I could sort 
by day, time, commission or title. I posted it at:

http://lagerquist.com/usittindex.html

Jon
Jon Lagerquist
Technical Director  [at]  South Coast Repertory
Costa Mesa, CA


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

Date: Sat, 26 Feb 2005 22:24:21 -0500
Subject: Re: Stage Pin v. Twist in Educational Spaces (was Re: Bad!
 Bad,Electrician!   No doughnuts!)
From: Mike Benonis <mbenonis_lists [at] mac.com>
Message-ID: <BE46A795.3225F%mbenonis_lists [at] mac.com>
In-Reply-To: <list-19812100 [at] prxy.net>

On 2/26/05 12:28 PM, "rkt [at] ronniethevenot.com" <rkt [at] ronniethevenot.com>
wrote:

>> Do I need to stick with twist lock in a school
>> space? (snip)
> 
> I am a high school student in Arizona and I know that our theatre does not use
> Twistlock adapters, we use stage pin on all of instruments and even use edison
> for our portable system (used for outdoor shows and black box shows). Our
> systems was installed in the theatre just a few years ago when our old system
> died. We have had no problems with instruments coming unplugged that I know
> of. However, our director has say our almost everything that goes into the
> building but I am almost certain that he did not know the advantages and
> disadvantages of the connectors because he has a very limited knowledge of
> lighting, or technical theatre for that matter.
> 
> Although, this may be a regional restriction. You may want to investigate what
> other schools in your area are using especially those is your district.
> 
> Ronald Thevenot

We also have stage pin connectors in both our main stage and our black box.
We've had no issues with them, other than the inability to plug fixtures in
in other parts of the building (which was remedied with a number of stage
pin to Edison cables that were made for us).  Our school is in its fifth
year of operation, btw.

Best regards,

-Mike Benonis
Senior and Sound Designer/Technician
Stone Bridge High School
43100 Hay Road
Ashburn, VA 20147
(703) 779-8900



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

Message-ID: <20050227051020.67641.qmail [at] web14121.mail.yahoo.com>
Date: Sat, 26 Feb 2005 21:10:19 -0800 (PST)
From: June Abernathy <jea00321 [at] yahoo.com>
Subject: Designer/Stage Manager Relationship

I like the Tom Kelly book, and I think the Script
Analysis thing he does is the best thing in the book.
It is absolutely great! Most designers and even the
director are concentrating only on their part of the
gig when they read through a script. The SM is the one
who is paying attention to the fact that you have 15
chorus dancers needing a quick change at the same time
that you must do a huge set change that will involve
moving wagons on and off into the wings. Catching this
early means that you can figure out BEFORE technical
rehearsals how to get both things done without running
over dancers or stopping a scene change cold, or
whatever.

It's really vital for the SM, I think, to do the
breakdown. Mainly, I think, for yourself. To see
potential pitfalls like the above before they happen,
to get an overview of how big or small the prop or
costume or sound needs for a show will be, to break
the script down into manageable french scene chunks,
etc. It helps figure out running crew needs, ASM
duties - a lot of things.

Of course, the director may have their own ideas of
how to break the script down into pieces, or what prop
or costume needs are, or whatever. Ditto for
designers. But it gives you a great starting place for
those discussions. And, for designers or prop masters
or whoever who haven't done their homework, you can
say, "Well, here's what I've come up with from the
script. Of course, there are bound to be additions and
subtractions and changes, and you are sure to have
your own ideas. But if it's helpful to you as a
starting point, great."

Of course it's arrogant to deliver the document as a
fait accompli, but it's also, I think, arrogant for a
designer or director to take offense at being offered
such a thing when the desire is only to help, and help
coordinate departments.

I always used to go through the script and figure out
french scene breaks, preliminary prop lists, light cue
sheets, sound cue sheets, and etc. The beauty of the
Tom Kelly method is that you are looking at all that
information side by side, in time, and getting  a much
better idea of show flow, traffic patterns, and where
departments potentially collide and conflict.

I love it. It's the best part of the book. I think
teaching your students to do this for every script is
a tremendously good idea. Teaching them to approach
directors, designers, and department heads with a
little bit of tact and decorum is another great
lesson, of course. Teaching future directors,
designers, and department heads to value the
contributions of a good stage manager would be a nice
touch, if you get the chance. :)

June Abernathy
AEA Stage Manager
IATSE #321 (Tampa, FL)
FOH Electrician
The Lion King National Tour (Gazelle)


	
		
__________________________________ 
Do you Yahoo!? 
Yahoo! Mail - You care about security. So do we. 
http://promotions.yahoo.com/new_mail

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

Date: Sat, 26 Feb 2005 23:59:49 -0600
Subject: Re: Wireless dimmers
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE46BDF5.A196%gregpersin [at] comcast.net>
In-Reply-To: <list-19827157 [at] prxy.net>

I know Gilderfluke makes a wireless DMX transmitter and DC dimmers. You
might look at what they have.


Www.gilderfluke.com


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



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

Date: Sun, 27 Feb 2005 00:07:10 -0600
Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in Educational
	Spaces)
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE46BFAE.A19A%gregpersin [at] comcast.net>
In-Reply-To: <list-19825850 [at] prxy.net>

Flush Mount gets my vote.

It always seems to much more straightforward when trying to find where your
fixture is plugged in and you don't have the extra cable to deal with when
it is not being used.

Also less to fail and maintain.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



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

Message-ID: <000e01c51c96$ce8e1fa0$6c01a8c0 [at] tamiasuis>
From: "Christopher K. Nimm" <nimmck [at] charter.net>
References: <list-19840775 [at] prxy.net>
Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in EducationalSpaces)
Date: Sun, 27 Feb 2005 00:37:27 -0600

I may be jumping into this new thread a little late, but I still must ask: 
do you have problems with instrument mobility when using flush mounted 
circuits?  Every time I've used one I've found myself wishing for ten to 
twenty lengths of three foot cable to make up for the missing pigtails.  Of 
course, this could be due to design errors on my own part, but the job just 
seems easier with that extra pigtail on the raceway.

Chris Nimm

----- Original Message ----- 
From: "Greg Persinger" <gregpersin [at] comcast.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Sunday, February 27, 2005 12:07 AM
Subject: Re: Flush Mount or Pigtail (was Stage Pin v. Twist in 
EducationalSpaces)


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Flush Mount gets my vote.
>
> It always seems to much more straightforward when trying to find where 
> your
> fixture is plugged in and you don't have the extra cable to deal with when
> it is not being used.
>
> Also less to fail and maintain.
>
>
> Greg Persinger
> Vivid Illumination
>
> Greg [at] Vividillumination.com
>
> 


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

In-Reply-To: <list-19827157 [at] prxy.net>
References: <list-19827157 [at] prxy.net>
Message-Id: <1d5f86bac3f93d67b193550867ec9bee [at] andrewvance.com>
From: Andrew Vance <andrew [at] andrewvance.com>
Subject: Re: Wireless dimmers
Date: Sun, 27 Feb 2005 00:49:49 -0600


On 26 Feb, 2005, at 18:52, James Smith wrote:
> kinda hoped someone else would vouch for our stuff!

I can vouch for their stuff!  In another life, I used the old RC3 
system fairly regularly and have advocated it here in the past.  
They're easy to set-up and maintain and small enough to conceal the 
guts in most anything.  Its a great solution for getting those pesky 
lights in hard to cable/conceal places to dim and turn off when the 
rest of the lights do.  The only downside [which I'm sure you'll have 
with most any system] is making sure you've got a charged battery for 
the receiver and source.

I wish I had some of the units on my current show.  While they wouldn't 
have *really* been necessary, it would have saved me from running all 
that cable for those few pesky candles.

I haven't had any experience with RC4, but if its anything like the RC3 
I'm sure its a great product.

--

Sincerely,

Andrew Vance
Lighting Designer
www.andrewvance.com


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

Date: Sun, 27 Feb 2005 01:15:19 -0600
Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT)
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE46CFA6.A19F%gregpersin [at] comcast.net>
In-Reply-To: <list-19825850 [at] prxy.net>

I have heard that the reason for using twist lock in educational spaces was
because they are safer than stage pin.

The way it was explained to me was this. With a twist lock it is very
difficult for anything to touch the energized pins, but on a stage pin it
can separate a slight bit from the female outlet and there is the
possibility of something conductive coming in contact with the energized
pins. Also there is more chance of fingers coming in contact with the
energized pins while plugging and unplugging a stage pin than with a twist
lock.

Following that line of reasoning every outlet in the school needs to be
twist lock as you would hate to have a student die plugging in the VCR with
an Edison plug on it. They might touch the pins while plugging or
unplugging.

Probably a more logical reason for the twist lock is that code states that
for a dimmer circuit in a theater the device needs to be rated the same as
the over-current protection.  For most dimmers this is 20 Amps and standard
Edison outlets and plugs are not 20 Amp rated devices (although you can get
them),  instead most electrical contractors would immediately think of a
twist lock as that is what most electricians and electrical engineers spec
for 20Amp devices.

Since stage pin are generally unknown in the typical electricians and
electrical engineers world, this plug would not even be considered as an
option. Since they have no knowledge of them they don't know that a stage
pin is a 20Amp rated device,  much cheaper than twist lock,  an industry
standard, and more durable and more easily repairable than twist lock.  Thus
they don't get used.

I too like others have heard that you have to use twist lock in schools but
I have been to many schools with stage pin connectors and have never had
anyone show me where this has been a code issue or law that stage pin can't
be used.

The 1999 NEC Article 518 defines places of assembly of 100 or more persons
including auditoriums within schools (518-2 a)

Article 518-2 c states that any theatrical areas wiring in a place of
assembly shall comply with article 520 - Theaters, Audience Areas of Motion
Picture and Television Studios, and Similar Locations.

Article 520 allows properly rated  stage pin plugs and outlets.

So it seems as though it would be either a state or local code that would
dictate plug type. A call to the local county's electrical inspector ought
to get you the answer.

+++++++++ Warning off topic inspector advice++++++++++

Just a word of advice on dealing with electrical inspectors, they can be a
pain to deal with for a number of reasons but one of the biggest reasons is
if they are in an area that doesn't have many dimming systems they probably
don't have a clue what Article 520 of the NEC says nor have they probably
seen any of the equipment that 520 says we can use.

Because of this the question to ask is not  "can we use stage pin plugs or
do we have to use twist lock", but instead  "I have a potential project in
your area (I try never to give the project name or location this way you
stay under the radar and don't tip off the AHJ that you aren't a local.
Sometimes it doesn't matter, sometimes it does. Maybe it's a Southern
thing.) and was looking to get some information on your local electrical
codes. Have you adopted the National Electrical Code as your code
regulations for your area? If so what issuing year. If not how can I get a
copy of your codes. Are there any addendums to the  NEC for your county and
state? If so how do I get a copy?"

Once you are armed with their version of the code you can meet the code
requirements in your design and politely educate the AHJ as to what you are
doing to meet code in your project if you are questioned. This doesn't mean
the AHJ can't make you do something stupid but it shows you have done your
homework and are trying to abide by the laws he is sworn to uphold.

"This is the way we do it in our industry" is a bad answer, "NEC 1999
Article 520-9 Branch Circuits allows me to use stage pin plugs because they
are rated for 20Amps at 120 Volts and my dimmer feeding the circuits are
rated at 120 Volts and have 20Amp breakers for over-current protection. It
is my understanding that this is the code you follow. " is a good answer.

++++++++++ all done ++++++++++++++++++

I hope this helps.  I, like others,  would also like to hear if your area
actually mandates the connector type.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com







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

From: roguerpj [at] mn.rr.com
Subject: Re: Designer/Stage Manager Relationship
Date: Sun, 27 Feb 2005 01:34:57 -0600
Message-ID: <int2215aml3ioea2k505mfr4j3g2gqrirc [at] 4ax.com>
References: <list-19836526 [at] prxy.net>
In-Reply-To: <list-19836526 [at] prxy.net>

June,

Thank you for putting some of my thoughts into words.=20

I have, as a lighting designer, been told not to worry about covering
for a long costume change. Only to have a long late night tech meeting
later to fix the fact that there was a long change and nothing was
happening on stage.=20

I think to often SMs become a note taker for the rehearsal and design
process when they should indeed be just as much a part of making a
show happen as any designer.

rob johnson



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

From: roguerpj [at] mn.rr.com
Subject: Re: Raked Stage Covering
Date: Sun, 27 Feb 2005 01:46:56 -0600
Message-ID: <meu221trmt1b4191gq9j23gllre81gj784 [at] 4ax.com>
References: <list-19742115 [at] prxy.net>
In-Reply-To: <list-19742115 [at] prxy.net>

The old theatre I worked for did this all the time in the studio space
we had. It had a tile floor in it and we could not paint the floor. So
we would lay linoleum upside down and paint it. We only had 2
problems. One time the linoleum had markings on the back that bleed
through the paint. The next time we used this flooring we spray
painted the marks with silver spray paint prior to painting the floor.

The other problem was that the linoleum tended to rip if a heavy
object was dragged over it.

rob johnson

On Fri, 25 Feb 2005 19:24:36 -0500 (EST), you wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>
>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=20
>
>paint the surface.  Any ideas? >>
>
>
>
>in the early days of PBS's DANCE IN AMERICA, when it was shot at the =
then new=20
>Opryland Studios in Nashville, the temporary suspended dance floor in =
the=20
>studio was covered with cheap kitchen linoleum, , laid FACE DOWN, with =
the porous=20
>felt like side up,=20
>
>that was then painted and sealed to suit the ballet being shot
>
>just a thought,=20
>
>
>
>
>very best,
>
>Keith Arsenault
>
>IAEG -  International Arts & Entertainment Group=20
>Tampa, Florida


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

End of Stagecraft Digest #309
*****************************