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 20033543; Mon, 28 Feb 2005 20:28:39 -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 #311 Date: Mon, 28 Feb 2005 20:28:23 -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 #311 1. Re: Finding Parts / Touring Question by "Alf Sauve" 2. Re: Question for those working with high schools by "LES LIND" 3. Re: Stage Pin vs. Twist in Educational Spaces (OT)and Inspector Advice by Richard Wolpert 4. Re: Stage Pin v. Twist in Educational Spaces (OT) by "Paul Schreiner" 5. Re: Show Call Duration? by "Josh Ratty" 6. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) by Scott Spidell 7. Re: Stage Pin vs. Twist in Educational Spaces (OT)and Inspector Advice by "Daryl Redmon" 8. Re: Show Call Duration by "Ken" 9. Re: Show Call Duration by IAEG [at] aol.com 10. Re: Show Call Duration? by "Jeffrey E. Salzberg" 11. Re: Show Call Duration? by Stephen Litterst 12. Re: Panels or pigtails... by Stephen Litterst 13. Graduate schools by "Chris Warner" 14. Re: Show Call Duration? by Dale Farmer 15. ABS/PVC pipe railing update by "Storms, Randy" 16. Re: painting vinyl flooring by "Karl G. Ruling" 17. Re: Gerber Multitools and LBLR by "John Penisten" 18. Re: USITT Schedule in Excel by "Zirngibl, Ryan John" 19. Re: Flush mount or pigtail by FrankWood95 [at] aol.com 20. Re: Designer/Stage Manager Relationship by CB 21. Re: Flush mount or pigtail by "Jeffrey E. Salzberg" 22. Re: Finding Parts / Touring Question by FrankWood95 [at] aol.com 23. show call duration by "David R. Krajec" 24. Re: Flush mount or pigtail by Stephen Litterst 25. Re: Designer/Stage Manager Relationship by CB 26. Re: Stage Manager/Designer Relationship by FrankWood95 [at] aol.com 27. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 28. Re: Show Call Duration? by FrankWood95 [at] aol.com 29. Re: ABS/PVC pipe railing update by "Christopher K. Nimm" 30. Re: Stage Manager/Designer Relationship by "Matthew Breton" 31. Re: Show Call Duration? by Boyd Ostroff 32. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) by FrankWood95 [at] aol.com 33. Re: Show Call Duration? by Mick Alderson 34. Re: Show Call Duration? by FrankWood95 [at] aol.com 35. Re: Show Call Duration? by "Jeffrey E. Salzberg" 36. Re: Flush mount or pigtail by FrankWood95 [at] aol.com 37. Re: Stage Pin vs. Twist in Educational Spaces (OT) by "richard j. archer" 38. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in EducationalSpaces ) by Stephen Litterst 39. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) by "Tom Heemskerk" 40. Re: Shop Lighting Questions by Jerry Durand 41. Re: cell phone story morphing back to bad day at theatre by Jerry Durand 42. Re: Toronto TTC by Bill Sapsis 43. Re: Toronto TTC by Jerry Durand 44. citing productions for Faculty Activity Report by "Scott C. Parker" 45. Re: Raked Stage Covering by Mike Katz 46. Re: Stage Pin v. Twist in Educational Spaces (OT) by Greg Bierly 47. Re: citing productions for Faculty Activity Report by Kevin Lee Allen 48. Re: Show Call Duration? by "Andy Leviss" 49. Re: Show Call Duration? by Boyd Ostroff 50. Re: Show Call Duration? by "Jeffrey E. Salzberg" 51. Re: Show Call Duration? by "Occy" 52. Re: Show Call Duration? by Boyd Ostroff 53. Re: Flush Mount or Pigtail by Ron Cargile 54. Grad schools - sorry by "Zirngibl, Ryan John" 55. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in EducationalSpaces ) by FrankWood95 [at] aol.com 56. Pigtail Labeling by Greg Persinger 57. Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Space... by FrankWood95 [at] aol.com 58. Re: Show Call Duration? by FrankWood95 [at] aol.com 59. Re: Pigtail Labeling by FrankWood95 [at] aol.com 60. Re: Show Call Duration? by "Tony" 61. Re: Show Call Duration? by Boyd Ostroff 62. muffling tap shoes by "Storms, Randy" 63. Re: muffling tap shoes by "Tony" 64. Re: muffling tap shoes by IAEG [at] aol.com 65. Re: muffling tap shoes by "Immel,Patrick" 66. Re: muffling tap shoes by IAEG [at] aol.com 67. Re: muffling tap shoes by "Jon Ares" 68. Re: Gerber Multitools and LBLR by Bill Sapsis 69. Re: Pigtail Labeling by "Steve B." 70. Re: citing productions for Faculty Activity Report by "Kevin A. Patrick" 71. National Electrical Code (was Stage Pin vs.Twist . . .) by Mitch Hefter 72. Re: Stage Pin vs. Twist in Educational Spaces (OT) by Eddie Kramer *** 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: <013801c51d91$8959e300$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" Subject: Re: Finding Parts / Touring Question Date: Mon, 28 Feb 2005 07:32:13 -0500 Sometimes it's just knowing what companies to turn to. For future reference here are a couple of old mail-order standby's for electronic parts. Allied http://mouser.com Mouser http://www.alliedelec.com/ Newark http://www.newark.com/ RFParts http://rfparts.com/ Alf > ----- Original Message ----- > From: "Robert D. Ingram" > To: "Stagecraft" > Sent: Sunday, February 27, 2005 9:53 PM > Subject: Finding Parts / Touring Question > > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> Good Day Everyone, >> >> I'm touring to the wisdom of the list for a couple of issues. First, I >> am having a lot of trouble trying to find a supplier for 5 Pin Din blank >> (meaning that I wire it) male >> ends. I have to replace an end on a fogger remote, but none of my usual >> suspects carry / can order the blank male ends. >> >> Any Suggestions would be appreciated. >> >> Secondly I have a couple of students who are looking to the future and >> wondering how people get technical positions on touring Broadway and Rock >> shows. >> >> My understanding (with my very limited touring experience) is that many >> of these shows are generally staffed in the following ways: >> >> Applying with the production company who has the contract for a show or >> group of shows. >> Knowing some one who is on the tour and recommends you for an opening. >> Getting in on the ground level in a warehouse / shop and working up to >> the shows. >> Getting connected through previous work with a company / union / road >> house. >> >> Are these the common ways of getting "on the road"? If there are any >> other useful methods I would be love to hear about them. >> >> Thanks for the band width, and have a good day. >> >> Rob >> >> >> Robert Ingram >> >> Signature Program Technical Director >> and Media Services Technician >> James Hubert Blake High School >> 300 Norwood Rd. >> Silver Spring, MD 20905 >> Main: 301-879-1300 >> Office: 301-879-1335 >> Fax: 301-879-1306 >> Email: Robert_D_Ingram [at] fc.mcps.k12.md.us >> > ------------------------------ Message-Id: Date: Mon, 28 Feb 2005 08:56:30 -0500 From: "LES LIND" Subject: Re: Question for those working with high schools All equipment stays in the theatre/aud. space. We have an old Peavey power mixer and speakers that already have the highs blown that can be 'used' by other departments within the district. Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> mgoebel [at] gmail.com 2/25/05 3:28 PM >>> 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. -- Mat Goebel Cell: 510.693.1448 ------------------------------ Date: Mon, 28 Feb 2005 08:58:49 -0500 From: Richard Wolpert Subject: RE: Stage Pin vs. Twist in Educational Spaces (OT)and Inspector Advice In-reply-to: Message-id: Bravo on your advice in how to deal with local inspectors!!! All to often he/she is seen as an impediment to getting a project built on time/budget. Actually, these folks are doing a thankless task in a situation that often places them at odds with just about everyone -designed, contractor, engineer, owner. Yes, they can be a pain to deal with, and yes, they are quite often unaware of specific aspects of this industry. But they are also often volunteer firefighters - people who have pulled burned bodies out of buildings. So when you're dealing with that intransigent inspector, he might seem to be a royal pain in the ass, but consider that he's doing his job so that he won't be coming back to the building to carry out bodies. Give him the respect he deserves for doing his job. If he's not familiar with theatrical type spaces, a non-adversarial conversation can go a long way to educating him and getting your project finished on time. 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 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Greg Persinger Sent: Sunday, February 27, 2005 2:15 AM To: Stagecraft Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 ------------------------------ Subject: RE: Stage Pin v. Twist in Educational Spaces (OT) Date: Mon, 28 Feb 2005 09:30:45 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C736 [at] exchange.rmwc.edu> From: "Paul Schreiner" > In a raceway of stagepin lighting circuits along a catwalk...=20 > Would you rather have receptacles built into the raceway, or=20 > have pigtails with female plug receptacles coming out of the=20 > raceway? Pros and cons either way? I'd vote pigtails all the way. I prefer the flexibility... ------------------------------ Date: Mon, 28 Feb 2005 09:40:28 -0500 From: "Josh Ratty" Subject: Re: Show Call Duration? Cc: phildqrak [at] mindspring.com (Brad Pattison) Message-id: <008201c51da3$76b33d20$6801a8c0 [at] Rattys> References: Well I can say it would be real unfortunate if dressers were done the moment a curtain came down. There is always equipment and whatnot that needs certain things to happen before people can walk away from it, as you mentioned with the lights. Sound, scenery, props, wardrobe, etc all have things that must be done before the crew can walk away. I would say in the interest of safety and not damaging anything that the call is over when you can safely walk away. Slightly unrelated but I once heard of a scene shop that called break by yelling "Tools down!" and that's exactly what happened, they pretty much dropped the tools where they were. You should always get to a safe stopping point before walking away from anything. Josh Ratty ----- Original Message ----- From: "Brad Pattison" To: "Stagecraft" Sent: Sunday, February 27, 2005 11:07 PM Subject: Show Call Duration? > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > After much debate there appears to be some discrepancy as to when a > show call ends. As light board operator it was originally touted as > 'your show call is over when YOU are done' i.e., the house is clear, > the warmer cue is out, the lights are homed and shut down, and the > board can be shut off. Now, like being condescended to so many times > before, I have been informed by my "Superior" Huh, That; 'IN THE EYES > OF THE REST OF THE FREE WORLD THE SHOW CALL IS OVER WHEN THE CURTAIN > HITS THE STAGE'. Am I missing something? The curtain pagers are still > paging bows at the curtain, does that mean their call is also over and > this is just for grins. It seems to be difficult to deal in absolutes > when you must keep changing the rules to fit the circumstances. > There have been a couple of variations to this most recent ABSOLUTE > definition. > Does anyone have an opinion on the contents of this elusive 'slot' of > time. > Brad Pattison > ------------------------------ Message-Id: <5.1.0.14.0.20050228091956.00c4fad0 [at] watarts.uwaterloo.ca> Date: Mon, 28 Feb 2005 09:44:43 -0500 From: Scott Spidell Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) In-Reply-To: At 06:02 AM 2/28/2005, Keith Arsenault wrote: >i had mentioned this once before, but I don't think there was a response to >it, , but aren't TWIST LOC 's code in Canada ? and Stage Pin being >phased out ? >come on there must be someone north of the border who can address this ? > >very best, >Keith Arsenault To further what Tom said in reply to this, I think all "permanent" installations must use connectors rated for 20 amps. Some of the big road houses in Toronto use stage pin for the convenience of the American tours, but the country is mostly TLG. PRG in Toronto sends out their rental gear with TLG (but can and will do both). U-ground connectors still show up on the DJ rigs and the one-night-rentals for public schools and such. Scott Scott Spidell Technical Director - Theatre of the Arts University of Waterloo ML 122 x4767 or 519-888-4767 (F) 519-725-0651 drama.uwaterloo.ca ------------------------------ Message-ID: <000601c51da5$6186ca00$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" References: Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT)and Inspector Advice Date: Mon, 28 Feb 2005 06:54:16 -0800 This one is a keeper for my archive files. Thanks for the great advise from both of you. Daryl Redmon Resounding Light ----- Original Message ----- From: "Richard Wolpert" To: "Stagecraft" Sent: Monday, February 28, 2005 5:58 AM Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT)and Inspector Advice > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Bravo on your advice in how to deal with local inspectors!!! All to often > he/she is seen as an impediment to getting a project built on time/budget. > Actually, these folks are doing a thankless task in a situation that often > places them at odds with just about everyone -designed, contractor, > engineer, owner. Yes, they can be a pain to deal with, and yes, they are > quite often unaware of specific aspects of this industry. But they are > also > often volunteer firefighters - people who have pulled burned bodies out > of > buildings. So when you're dealing with that intransigent inspector, he > might > seem to be a royal pain in the ass, but consider that he's doing his job > so > that he won't be coming back to the building to carry out bodies. Give him > the respect he deserves for doing his job. If he's not familiar with > theatrical type spaces, a non-adversarial conversation can go a long way > to > educating him and getting your project finished on time. > > 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 > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Greg > Persinger > Sent: Sunday, February 27, 2005 2:15 AM > To: Stagecraft > Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT) > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > 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 > > > > > > > ------------------------------ Message-ID: <000b01c51daa$68c146b0$6701a8c0 [at] MONORAIL> From: "Ken" References: Subject: Re: Show Call Duration Date: Mon, 28 Feb 2005 09:30:04 -0600 The easy answer to me is that show call is over when the authority (SM, TD, PSM) says it is over. What if a scene change didn't go right that night? Maybe the SM or director wants to find out what went wrong and fix it. Several times I've done shows where the next days schedule was changed as the director was going out the door and if the crew bugs out too early they won't know. Kenneth Pogin Production / Tour Manager Minnesota Ballet ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Mon, 28 Feb 2005 10:33:01 EST Subject: Re: Show Call Duration In a message dated 2/28/05 10:30:57 AM, productionmanager [at] minnesotaballet.org writes: << What if a scene change didn't go right that night? Maybe the SM or director wants to find out what went wrong and fix >> I've been in situations where the local would consider even TALKING about that after a show as an additional work or rehearsal call, , very best, Keith Arsenault ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Show Call Duration? Date: Mon, 28 Feb 2005 10:34:46 -0500 Message-ID: <008801c51dab$0bbe2130$6401a8c0 [at] Dell> In-Reply-To: > You > should always get to a safe stopping point before walking > away from anything. ...And, in a case such as Brad's, a point that's fair to both management and labor. ------------------------------ Date: Mon, 28 Feb 2005 10:37:51 -0500 From: Stephen Litterst Subject: Re: Show Call Duration? Message-id: <42233ACF.FD5D4009 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Brad Pattison wrote: > --------------------------------------------------- > > After much debate there appears to be some discrepancy as to when a > show call ends. As light board operator it was originally touted as > 'your show call is over when YOU are done' i.e., the house is clear, > the warmer cue is out, the lights are homed and shut down, and the > board can be shut off. > Does anyone have an opinion on the contents of this elusive 'slot' of > time. The venues I used to work at the Light Board op was also the House Electrician and was required to be in the theatre as long as it was occupied. As soon as the audience cleared the ghost light would go onstage, the board and dimmers would be shut down and then the board op could leave. In IATSE venues where I've worked, the show call is over when the Steward says so. Usually it was when the venue was clear of patrons and the stage systems were secured and shut down for the night. I suppose it all depends on the size of your department. If you have a large lighting crew on the show call, then maybe the board-op and spot-ops are cut as soon as the curtain hits the deck and the ME and deck-elecs shut down for the night. I can see that as an acceptable solution. If you're the only electrician on the call, then I can't really see cutting you before everything is shut down and turned off. Steve Litterst Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 28 Feb 2005 10:46:39 -0500 From: Stephen Litterst Subject: Re: Panels or pigtails... Message-id: <42233CDF.643811A8 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Stuart Wheaton wrote: > --------------------------------------------------- > If you damage a panel mount by arcing or banging into the > plug and breaking the plastic housing, you have to kill the > whole raceway, and take out lots of small screws, and handle > the cover without pulling out wires in other outlets, and > hope you can find a spare panel mount in stock, a spare > pigtail can come from any cable you own. I've had to replace some of my panel mounts. The time involved is about the same as replacing a pigtail. Killing power to a raceway is pretty simple, just kill the dimmer racks. I take out four small screws (no matter what you're replacing, you still have to open the raceway). Since we have panel mount raceways, it just seems to make sense to stock parts for them. I've replaced both panel mounts and pigtails. I didn't notice a significant difference in labor to be honest. I love that we've found another divisive topic that hopefully we'll retire next to the Mac/PC and ETC/Strand debates. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <013501c51dad$d92e11f0$6401a8c0 [at] chris> From: "Chris Warner" Subject: Graduate schools Date: Mon, 28 Feb 2005 07:54:55 -0800 Okay everyone, This may be OT, but it's close enough that I need to ask Please forgive me if it is WAY OT. I am beginning to look for a graduate programs in lighting design. My criteria is that the program has to have a track record for moving designers into equity houses. Perhaps this criteria is too strict, if so, please by all means let me know. Please if you are involved in a graduate program please contact me off list, as I would like to ask some questions that are not nessecary for the rest of the list. Thank you in advnace. Chris Warner -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.5.1 - Release Date: 2/27/2005 ------------------------------ Message-ID: <422340D0.1FE5F076 [at] cybercom.net> Date: Mon, 28 Feb 2005 11:03:28 -0500 From: Dale Farmer Subject: Re: Show Call Duration? References: Brad Pattison wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > After much debate there appears to be some discrepancy as to when a > show call ends. As light board operator it was originally touted as > 'your show call is over when YOU are done' i.e., the house is clear, > the warmer cue is out, the lights are homed and shut down, and the > board can be shut off. Now, like being condescended to so many times > before, I have been informed by my "Superior" Huh, That; 'IN THE EYES > OF THE REST OF THE FREE WORLD THE SHOW CALL IS OVER WHEN THE CURTAIN > HITS THE STAGE'. Am I missing something? The curtain pagers are still > paging bows at the curtain, does that mean their call is also over and > this is just for grins. It seems to be difficult to deal in absolutes > when you must keep changing the rules to fit the circumstances. > There have been a couple of variations to this most recent ABSOLUTE > definition. > Does anyone have an opinion on the contents of this elusive 'slot' of > time. > Brad Pattison The answer is, It depends. On a big show with half a dozen lighting folks in the crew, show call is over for most of them a few moments after the last curtain call. ( turn things off, stow them for the night, and clean up whatever mess you made in the booth. Possibly write up some maintenance notes. ) Someone has to stay and shut things down for the night. Turning off the house lights after the very last person leaves, etc. If that person is not part of the running crew, then so be it. If the person who is your boss says that you are done and the money is stopping now, then I stop and leave. If they are cutting me before I finish shutting things down, then I tell them what remains to be done and thus turn over responsibility for doing so to them. Do be careful that this person isn't setting you up to be fired by a higher up boss, for 'always leaving early and leaving tasks unfinished'. If you suspect this is happening, contact your union steward in a union shop, get some objective witnesses to you turning over the responsibility for the remaining shutdown tasks each night. --Dale ------------------------------ Subject: ABS/PVC pipe railing update Date: Mon, 28 Feb 2005 08:38:46 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A10 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Thanks to everyone who offered suggestions to my curved PVC railing = question a couple weeks back. I rented a PVC heater/bender, and bought a tubing notcher, and the = results were great! Now that I know how, I may even do this again (in a hundred years or = so). Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ From: "Karl G. Ruling" Date: Mon, 28 Feb 2005 12:02:50 -0500 Subject: Re: painting vinyl flooring Reply-to: kruling [at] esta.org Message-ID: <4223086A.30580.911E06 [at] localhost> In-reply-to: > > I have used cheap linoleum or vinyl flooring several times to create > large seamless painted showfloors. I have found appropriate vinyl > flooring up to 16' wide. The material is laid good side down, at > least as far as the rest of the world is concerned. I thought I'd mention that I painted my kitchen's vinyl floor about three years ago, and it's still holding up. I painted it good-side up, of course. I won't claim that my kitchen gets as much wear as a show deck, but this does suggest that vinyl flooring can be painted on the good-side with some reasonable hope that the paint will stick. I used regular acrylic floor paint. One thing in favor of the paint's adhesion was that the floor was worn and scratched, and after I finished scrubbing off all the old wax and dirt it was even rougher. ------------------------------ Message-ID: <4223530B.3000104 [at] fullcompass.com> Date: Mon, 28 Feb 2005 11:21:15 -0600 From: "John Penisten" Cc: MissWisc [at] aol.com Subject: Re: Gerber Multitools and LBLR References: <104.5b8eba38.2f5008ce [at] aol.com> In-Reply-To: <104.5b8eba38.2f5008ce [at] aol.com> Well Kristi, my suggestion at this point would be to team up. Two industry professionals are certainly better than one. And, as an added incentive to make your drive worthwhile, the first celebratory round of Sushi and Sake post meeting is on me. Paul, all we need is the word from you... On another note; is there anybody in Wisconsin (or nearby) riding to meet the LBLR's? I haven't warned my wife yet, but I would bet she would be somewhat more supportive of this than the Sturgis ride I had originally planned. Anyone interested? Take care all, John > (Note.. all the following is said with a large grin on my face.) > Gentlemen, please! > > First of all, John, since you did not ask my "price" you really can't > compare, can you!? I've driven to Madison for nothing more fancy than picking up an > original transcript from the UW, testifying at a hearing at the DMV regarding > when my car was hit by an uninsured motorist, or attending a birthday party for > the 10 year old daughter of a friend -- and that's just in the last two > months. A reason to go to Madison? I'm in the car, see you in 100 minutes! > > 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. > > And if that fails, I'm good friends with one of the local motorcycle clubs as > well as the chief of police. ;) > > Kristi ------------------------------ Subject: RE: USITT Schedule in Excel Date: Mon, 28 Feb 2005 11:27:53 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383456B [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" =20 Well while we are on the subject of Graduate programs, how about recommendations on Scenic Design/Technical Direction programs? After school job placement isn't as important to me as having a solid education base of theatre and gaining experience while learning. I plan on getting my undergrad next may but I've been wanting to get on the track to finding a good school so perhaps I can do some road tripping and see the campuses this summer and have time to get to know some people there to find out what the environment is like and if it's good for me. Thank you in advance for all your help, and also if you care to go ahead and contact me off list. Peace, Ryan J. Zirngibl Student - Theatre Arts Scenic Design/Technical Direction University of Wisconsin-Eau Claire ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <85.225b24ff.2f54b2af [at] aol.com> Date: Mon, 28 Feb 2005 12:45:19 EST Subject: Re: Flush mount or pigtail In a message dated 28/02/05 02:04:34 GMT Standard Time, jonares [at] hevanet.com writes: > The floor-level flush-mount connectors Jeff speaks of are not IN the floor, > rather they are perpendicular boxes AT the floor. I have the same > frustration as Jeff with those layouts. Walking on the catwalks is a bit of > > a hazard - very easy to step either on the connection, or step on a cable, > which pulls on the connector at the plug mount, which is literally 1" off > the catwalk floor. I agree that this sounds like a bad idea. Ours are roughly at knee height. and the connectors we use, in the UK, are much flatter. The projection is no more than 1" from the plate. Virtually all our lighting hangs from bridges, and few jumpers are needed, with careful design. Until we put in a patch system, though, the bridges were a snakepit of jumpers, some as long as 60'. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050228105459.016f8508 [at] pop.west.cox.net> Date: Mon, 28 Feb 2005 10:54:59 From: CB Subject: Re: Designer/Stage Manager Relationship >Once the show concept and set design are firm, by all means do this. You will >need all the organisational help you can get. Before then, you are just >beating the air. Translation: "Never pre-plan. Pre-planning is just like worrying. You may have spent all that time preparing for something that won't happen." Yeha, Frank, and what about if the school DOESN'T catch on fire? All those fire drills a TOTAL waste of the kids' time! Cheez, Frank, try to at least have a nodding acquaintance with what happens in the real world. 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... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Flush mount or pigtail Date: Mon, 28 Feb 2005 12:48:30 -0500 Message-ID: <00a701c51dbd$ba3b9aa0$6401a8c0 [at] Dell> In-Reply-To: > Virtually all our lighting hangs > from bridges, and > few jumpers are needed, with careful design. In other words, design that is careful to put the lights where they will be the easiest to cable, not design that is careful to put the lights where they will most effectively light the actors? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <65.4001436c.2f54b40a [at] aol.com> Date: Mon, 28 Feb 2005 12:51:06 EST Subject: Re: Finding Parts / Touring Question In a message dated 28/02/05 02:55:11 GMT Standard Time, Robert_D._Ingram [at] fc.mcps.k12.md.us writes: > I'm touring to the wisdom of the list for a couple of issues. First, I am > having a lot of trouble trying to find a supplier for 5 Pin Din blank ( > meaning that I wire it) male > ends. I have to replace an end on a fogger remote, but none of my usual > suspects carry / can order the blank male ends. > > Any Suggestions would be appreciated. This is a standard for audio connectors, and Radio Shack should carry them. The problem is locking methods. I can think of five that may be around. However, the connector bits will always mate, even if the security is low. Frank Wood ------------------------------ Reply-To: From: "David R. Krajec" Subject: show call duration Date: Mon, 28 Feb 2005 10:56:14 -0600 Message-ID: In-Reply-To: It has been my limited experience that "show's over" will be slightly different depending on your roll in the show. Lightboard operator - when the house is clear, shut down the board and go home Soundboard operator - when the last sound cue is clear, shut down the system and go home Deck crew (incl. props, flys, etc.) - do whatever post-show stuff needs to happen, and go home Wardrobe - do whatever post-show stuff needs to happen, and go home Stage manager - last one to leave the building, make sure everything is locked, the ghost light is on the stage, and go home Professional, collegiate, community - it's all theatre. The only difference is the pay. If it is a union call, you are called for a specific number of hours. More than that is overtime. Who is this superior that says, 'IN THE EYES OF THE REST OF THE FREE WORLD THE SHOW CALL IS OVER WHEN THE CURTAIN HITS THE STAGE'? If this were the case, what would happen if we shut down the light board and turn off the house lights while the audience is still in the house? There is more to the show than actor units saying lines on stage in front of an audience. Theatre production is a machine that depends on all of the units working in concert. Do-do happens when the parts start operating independently. Ever throw a rod on your car - same idea! My 2 cents. David Krajec Assoc. Professor/Theatre Cardinal Stritch University ------------------------------ Date: Mon, 28 Feb 2005 13:04:07 -0500 From: Stephen Litterst Subject: Re: Flush mount or pigtail Message-id: <42235D17.A86C2764 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Jeffrey E. Salzberg" wrote: > --------------------------------------------------- > > > Virtually all our lighting hangs > > from bridges, and > > few jumpers are needed, with careful design. > > In other words, design that is careful to put the lights where they will > be the easiest to cable, not design that is careful to put the lights > where they will most effectively light the actors? A poor choice of wording, I'm sure. We have panel mount raceways. We have enough short jumpers in stock to cover just about any eventuality in fixture placement. My experience in almost every theatre in which I've worked, whether pigtail, panel mount or multi-drop is that Murphy will ensure that a significant number of lights are just out of the reach of their respective circuits. Steve LItterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: <3.0.6.32.20050228111632.016f8508 [at] pop.west.cox.net> Date: Mon, 28 Feb 2005 11:16:32 From: CB Subject: Re: Designer/Stage Manager Relationship >"Real Theatre"...I didn't realize I'd been doing fake theatre all these >years. Yeah, there were supposed to be quotes around that when I sent it out. Yes, I did mean 'real' theatre, not real theatre or real 'theatre'. Anyhoo, what I meant was that, with some obvious exceptions, most folk that do theatre design for a living tend not to be at every show running that design. (Note: "tend, most, with... ...exceptions) 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: <7f.58d91022.2f54b8db [at] aol.com> Date: Mon, 28 Feb 2005 13:11:39 EST Subject: Re: Stage Manager/Designer Relationship In a message dated 28/02/05 03:43:57 GMT Standard Time, jea00321 [at] yahoo.com writes: > I'd be more likely to make up the appropriate > sub-documents from the form, like a preliminary prop > list, light cue list, sound cue list, french scene > breakdown, costume list, etc., and then perhaps offer > those to the appropriate designer or department head > if they thought they might find them useful. As an LD, the first place they would see is the round, green filing cabinet on the floor. I shouldn't even read them. The Lighting Design is between the LD and the director. I think that all the other heads of departments would concur. The sole contribution of the SM to the design process is to say when something is not technically possible, within available resources. I know that this sounds wholly negative, but it is true. And it is a valuable role. Stopping a show falling on its face because the theatre cannot support it is a good thing. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ed.36a8d2a7.2f54b953 [at] aol.com> Date: Mon, 28 Feb 2005 13:13:39 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 28/02/05 04:07:21 GMT Standard Time, jwebb [at] worcesteracademy.org writes: > > Usually, in real theatre, the director, the SD, and > >the LD are gone soon after opening night Maybe, but they have defined the show. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 28 Feb 2005 13:21:51 EST Subject: Re: Show Call Duration? In a message dated 28/02/05 08:10:56 GMT Standard Time, phildqrak [at] mindspring.com writes: > Does anyone have an opinion on the contents of this elusive 'slot' of > time. Myself, the show is over when the audience has all evacuated the theatre. This may take time. But, trying to pressurise them is ill-mannered.The SM crew may well complain. Frank Wood ------------------------------ Message-ID: <002201c51dc3$1b5969c0$6c01a8c0 [at] tamiasuis> From: "Christopher K. Nimm" References: Subject: Re: ABS/PVC pipe railing update Date: Mon, 28 Feb 2005 12:27:05 -0600 Thank you for the update. I was hoping to hear how it turned out. Chris Nimm ----- Original Message ----- From: "Storms, Randy" To: "Stagecraft" Sent: Monday, February 28, 2005 10:38 AM Subject: ABS/PVC pipe railing update For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks to everyone who offered suggestions to my curved PVC railing question a couple weeks back. I rented a PVC heater/bender, and bought a tubing notcher, and the results were great! Now that I know how, I may even do this again (in a hundred years or so). Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Stage Manager/Designer Relationship Date: Mon, 28 Feb 2005 13:31:52 -0500 >The sole contribution of the SM to the design process is to say when >something is not technically possible, within available resources. I know >that this >sounds wholly negative, but it is true. And it is a valuable role. Stopping >a >show falling on its face because the theatre cannot support it is a good >thing. In most (American) theaters, this is a production manager's responsibility, not a stage manager's. The SM is responsible for ensuring that a show runs as designed, which may mean noting that a designer's set change would require four more legs on the floor than the theater has available. As a stage manager, it's my responsibility to know what the script calls for. If the production team chooses to change blocking, properties, or the location of scenes or the entire play. You can't know what those will be until someone voices the desire to change it. Note that knowing that a scene takes place at night is different from choosing to light it with 8" fresnels and R84; one falls within the stage manager's purview and the other within the lighting designer's. -- Matt ======= _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Date: Mon, 28 Feb 2005 13:31:53 -0500 (EST) From: Boyd Ostroff Cc: phildqrak [at] mindspring.com (Brad Pattison) Subject: Re: Show Call Duration? In-Reply-To: Message-ID: My $0.02, for whatever it's worth. In a union situation this will all be spelled out in your contract. For us, the crew gets a flat rate for shows, which can last up to 3 hours. Beyond that they are paid in 1/2 hour increments at overtime rate (so if the show lasts 3:02 they get paid for 3:30). The show is "over" when the final curtain hits the deck. House crew heads (carp, elex, props) are then paid at overtime rate in 1/2 hour increments until the house and stage are clear and the lights are shut down. So, for example, if the show ran 3:02, and it took 20 minutes to clear everyone out then the regular crew would get their 3 hour show call plus a half hour overtime. House crew heads would get a three hour show call, half hour performance overtime, and half hour overtime to lock up the building. That would be the equivalent of 4 hours pay, even though they would go home after 3 hours 20 minutes. Now our own crew heads have a different, simpler arrangement. They get paid an 8 hour minimum whenever called. After that they are on overtime for each additional hour or fraction thereof. They don't get any show calls. In your specific case, our lights are operated off a "show board" run by our crew head. He is done when the final curtain hits. The house electrician stays to shut off house lights when the building is empty. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <145.407c7ac0.2f54be9d [at] aol.com> Date: Mon, 28 Feb 2005 13:36:13 EST Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) In a message dated 28/02/05 14:45:35 GMT Standard Time, sspidell [at] uwaterloo.ca writes: > To further what Tom said in reply to this, I think all "permanent" > installations must use connectors rated for 20 amps. Some of the big road > houses in Toronto use stage pin for the convenience of the American tours, > but the country is mostly TLG. PRG in Toronto sends out their rental gear > with TLG (but can and will do both). U-ground connectors still show up on > the DJ rigs and the one-night-rentals for public schools and such. For the benefit of right ponders, who use about half the currents, an explanation of the connectors would be in order. TLG and PRG mean nothing to me. Frank Wood ------------------------------ Message-ID: <42236659.9070905 [at] uwosh.edu> Date: Mon, 28 Feb 2005 12:43:37 -0600 From: Mick Alderson Subject: RE: Show Call Duration? Brad Pattison wrote: > > After much debate there appears to be some discrepancy as to when a > show call ends. As light board operator it was originally touted as > 'your show call is over when YOU are done' i.e., the house is clear, > the warmer cue is out, the lights are homed and shut down, and the > board can be shut off. Now, like being condescended to so many times > before, I have been informed by my "Superior" Huh, That; 'IN THE EYES > OF THE REST OF THE FREE WORLD THE SHOW CALL IS OVER WHEN THE CURTAIN > HITS THE STAGE'. Am I missing something? ... Well, in my Local, we used to be pretty easy about it. Show Call was over when you finished shutting down and putting your equipment away. That seemed reasonable when only a few minutes were involved. Then road shows started tacking on "extra duties" after the show, setting up for the next performance, doing minor repairs, etc.; stuff that used to be been part of a work call or a Continuity call. They claimed it was now part of the "Show call" and wouldn't pay extra for it, but the practice was saving them from paying hands for time before "Half-hour". (It was happening mostly in Wardrobe and Props). When these post-show duties started getting on to an extra half-hour after curtain, we began defining "show call" as ending with the Curtain. So now all shows pay for a lot of cleanup time that used to be included, for ALL departments. -- Mick Alderson TD, Fredric March Theatre University of Wis. Oshkosh ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9e.2128222a.2f54c074 [at] aol.com> Date: Mon, 28 Feb 2005 13:44:04 EST Subject: Re: Show Call Duration? In a message dated 28/02/05 16:02:11 GMT Standard Time, dale [at] cybercom.net writes: > The answer is, It depends. The show call is over when the audience has gone, and the stage has been set for the following night. Then, and only then, do you turn off the lights, and head for the bar. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Show Call Duration? Date: Mon, 28 Feb 2005 13:49:21 -0500 Message-ID: <00cc01c51dc6$3a555c50$6401a8c0 [at] Dell> In-Reply-To: > For us, the crew > gets a flat rate for shows, which can last up to 3 hours. > Beyond that they are paid in 1/2 hour increments at overtime > rate (so if the show lasts 3:02 they get paid for 3:30). No 5-minute grace period? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 28 Feb 2005 13:51:21 EST Subject: Re: Flush mount or pigtail In a message dated 28/02/05 17:49:48 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > Virtually all our lighting hangs > > from bridges, and > > few jumpers are needed, with careful design. > > In other words, design that is careful to put the lights where they will > be the easiest to cable, not design that is careful to put the lights > where they will most effectively light the actors? With care, both can be achived. While I am anxious to reduce the rigging effort, I do not allow this to compromise the design. Frank Wood ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 28 Feb 2005 13:58:46 -0500 From: "richard j. archer" Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT) > > >At 02:16 PM 2/27/2005, FrankWood95 [at] aol.com wrote: >> > copy of your codes. Are there any addendums to the NEC for >>your county and >>> state? If so how do I get a copy?" >> >>I have to say that I think your US electrical codes are really, really zany. >>Each state, each county, may set its own rules, and probably without sound >>engineering advice. >Mike Brubaker replied; > > >Yes, they can. But the vast majority incorporate the national >electric code. By incorporating it, they do what your guidelines do >not: they make it law. Adjustments in a specific jurisdiction are >not uncommon. Usually my filter just deletes all of Franks messages but ..hey you guys give Frank a break. England is smaller than the US's ten or eleven largest states (depends on if you include water area)., although it has more people than California and Texas put together. Michigan, a bit bigger than England, probably does a good job of having a unified code. Dick A TD Cornell Univ ------------------------------ Date: Mon, 28 Feb 2005 14:00:46 -0500 From: Stephen Litterst Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in EducationalSpaces ) Message-id: <42236A5E.68015F5E [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > --------------------------------------------------- > For the benefit of right ponders, who use about half the currents, an > explanation of the connectors would be in order. TLG and PRG mean nothing to me. TLG -- Twist Lock, Grounded. L5-20 is the 120v, 20A variety. PRG -- Production Resource Group. American based production company. Has a significant number of rental outlets throughout North America. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <60678.66.183.177.34.1109617639.squirrel [at] 66.183.177.34> In-Reply-To: References: Date: Mon, 28 Feb 2005 11:07:19 -0800 (PST) Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Spaces ) From: "Tom Heemskerk" > > For the benefit of right ponders, who use about half the currents, an > explanation of the connectors would be in order. TLG and PRG mean nothing > to me. > PRG is a rental company by the looks of things. "TLG" is an abbreviation for "Twist-lock ground" connectors. These connectors lock in place (when they are new, at least) when a tab on the ground pin is engaged by twisting the connector after being seated. The official designation by NEMA (a manufacturers' association) for the type we've been referring to vis-a-vis lighting circuits is "L5-20". The L designates twist-lock (the ground pin is in the shape of an L, sort of) and the 20 designates 20 amperes capacity. The 5 is an arbitrary designation of the pin configuration. The plugs are L5-20P and the receptacles are L5-20R. There are other types of L connectors for three-phase, and for different voltages and amperages, etc. which might be used for winch motors, moving lights, etc. There is an archaic TLG connector which doesn't have a NEMA designation, which is sometimes called "old-style" or "pin-out", referring to the direction of the tab on the ground pin. The "new-style" L5-20 is pin-in. Here's a page from a catalogue: http://www.apc.com/resource/include/techspec_index.cfm?base_sku=AP9885 Cheers. tom ------------------------------ Message-Id: <6.2.1.2.0.20050228110315.041ffd30 [at] localhost> Date: Mon, 28 Feb 2005 11:08:28 -0800 From: Jerry Durand Subject: Re: Shop Lighting Questions In-Reply-To: References: At 11:01 AM 2/24/2005, you wrote: >As an alternative to HID fixtures, Check out Sportlite's line of high-bay >fixtures, which use multiple (4, 6, or 8) 42-watt compact fluorescent >lamps per unit. They have a few advantages over HIDs--rapid start, quick >warmup, more energy efficient, etc. Seems like you could sell them on a reliability issue, too. When one of the CF lamps burns out, you only lose a fraction of the light and maintenance doesn't have to service it RIGHT NOW. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.1.2.0.20050228111222.02a051e8 [at] localhost> Date: Mon, 28 Feb 2005 11:19:18 -0800 From: Jerry Durand Subject: Re: cell phone story morphing back to bad day at theatre In-Reply-To: References: At 09:59 AM 2/24/2005, you wrote: >Opening night, long delay before "UPS driver" enters. Seems like the >ushers were physically restraining him in the lobby to keep him from >interrupting the show! My wife wrote and directed a special event (one shot) show where one character was supposed to have a drink delivered. The fake wait person never did make it on stage, too many "helpful" people keeping the stage clear. In addition the facility lighting guys hadn't bothered to READ the script before the show and neither did the facility sound guy. He panicked when the music on the CD I had given him went very quiet (right where the script says "AUDIO LEVEL DROPS"). He turned it way up and the next couple of pages of dialog were lost, not to mention what happened when the CD went back to normal volume (can you say ear-splitting?). Ah, the joy of live performance. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Sun, 27 Feb 2005 13:18:49 -0500 Subject: Re: Toronto TTC From: Bill Sapsis Message-ID: In-Reply-To: on 2/27/05 12:56 PM, Jerry Durand at jdurand [at] interstellar.com wrote: > When we went to London we were able to advance order a weekly transit pass > and they mailed it to us in the USA. That was very nice to have in hand at > the airport. Considering the current exchange rate you would have to send over the contents of you bank account just to get from Heathrow to Victoria Station. I'd really like to go back to London but I'll have to wait till a slice of pizza doesn't cost $9.50 USD Sigh 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: <6.2.1.2.0.20050228113129.041ef628 [at] localhost> Date: Mon, 28 Feb 2005 11:35:13 -0800 From: Jerry Durand Subject: Re: Toronto TTC In-Reply-To: References: At 10:18 AM 2/27/2005, you wrote: >Considering the current exchange rate you would have to send over the >contents of you bank account just to get from Heathrow to Victoria Station. > >I'd really like to go back to London but I'll have to wait till a slice of >pizza doesn't cost $9.50 USD I guess it HAS been a while since we were there. At least the Canada exchange rate is in the right direction (from the US point of view). :) I'm currently busy building the first batch of our DMX512 DC dimmers, the entire pilot run will be used in our booth (with one spare). Hopefully I'll have a DALI one to demo, too. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.1.2.0.2.20050228150335.031bcec0 [at] mail.hstech.org> Date: Mon, 28 Feb 2005 15:10:10 -0500 From: "Scott C. Parker" Subject: citing productions for Faculty Activity Report In-Reply-To: References: Greetings All, I'm filling out my "Faculty Activity Report" and I need to guidance. Of course, it lacks any heading having to do with publishing in the arts. Books, papers, articles, research and such abounds. But, no arts. This is the yearly report that goes towards the next contract. Ultimately, it will also end up in my tenure/promotion file. How do you all cite your production work on these forms? Thanks, Scott Scott C. Parker Chair NY Area Section of The United States Institute of Theatre Technology www.usittny.org scott [at] usittny.org 718-757-6661 Professor/Technical Director Dept. of Performing Arts Office: 41 Park Row, 1205F Dyson College of Arts and Sciences [at] Pace University 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 28 Feb 2005 15:19:33 -0500 From: Mike Katz Subject: Re: Raked Stage Covering Rob, Someone suggested taping the seams which might work, but it might also read as lots of taped seams. (oops) . I just did a show where I used the back of the vinyl floor trick but it is not a low cost solution to your problem. I got a very good price from Mr Seconds Outlet and paid $3.51 per square yd. (normal home despot price is $4- $8 per sq/yd is more normal) for 12 ' wide floor. So assuming your stage is 24 x 16 you need about 42 sq yards so it will cost about $170 with a big ol seam up the middle. Why not sew a floor cloth out of canvas if you want to keep it for stock or heavy weight muslin for a one time use. I pulled out my Rosebrand catalog and found: 12 yards of 120" 12 oz canvas would cost the same and could be used for years . The same floor cloth in heavy weight muslin would cost about 2/3 that Price. A floor cloth using 16'5" heavy weight muslin would cost about $200 and have no seams at all. Any one of the fabrics could simply get stretched over the deck and painted in place to create a great floor. Mike snip >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? -- Mike Katz Technical Director MIT Theater Arts Rinaldi Tile Building 77 Mass Ave E33-101 Cambridge MA 02139 617.253.0824 mkatz [at] mit.edu "Lunacy Abounds" ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Stage Pin v. Twist in Educational Spaces (OT) Date: Mon, 28 Feb 2005 16:05:25 -0500 > Personal preference is panel-mount receptacles in the raceway. I prefer panel mount for many of the same reasons. Pigtails are never the length they need to be. They are either too long or 3" too short. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Mon, 28 Feb 2005 16:24:27 -0600 From: Kevin Lee Allen Subject: Re: citing productions for Faculty Activity Report In-reply-to: Message-id: References: I have no guidance, just an outside observation. I am amazed at how much work my colleagues in academia go through to=20 keep their jobs. 1. There is the full time plus job of teaching, mentoring, producing=20 for the institution, attending meetings, grading papers and projects=20 and maintaining office hours. 2. There is the required (publish or perish) work outside the=20 institution, which hopefully is rewarding in itself, but can easily be=20= 'full-time.' 3. THEN there is the documentation of that work and proof. With the=20 needed added work to EXPLAIN the work and justify the importance. I=20 have seen 3' tall stacks of documentation, explanation and the like,=20 all under the university 'approved' table of contents. Does the Provost=20= (or whomever) actually read all that? Anyway, I am sure that someone here can actually help, I can only=20 empathize. On Feb 28, 2005, at 2:10 PM, Scott C. Parker wrote: > I'm filling out my "Faculty Activity Report" and I need to guidance.=20= > Of course, it lacks any heading having to do with publishing in the=20 > arts. Books, papers, articles, research and such abounds. But, no=20 > arts. This is the yearly report that goes towards the next contract.=20= > Ultimately, it will also end up in my tenure/promotion file. > ----- Kevin Lee Allen Production Designer http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ From: "Andy Leviss" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Show Call Duration? Date: Mon, 28 Feb 2005 15:32:45 -0500 Organization: Duck's Echo Sound Message-ID: <000001c51dd4$a9bbda20$a19afea9 [at] AndyLeviss> In-Reply-To: > > For us, the crew > > gets a flat rate for shows, which can last up to 3 hours. > > Beyond that they are paid in 1/2 hour increments at overtime > > rate (so if the show lasts 3:02 they get paid for 3:30). > > No 5-minute grace period? 5?! In most of the union venues I've toured to where this was an issue, it was a 15-minute grace period. Especially important for wardrobe and for us in sound (who have to collect mics from the cast after the show). --Andy Webmaster/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: 266.5.2 - Release Date: 2/28/2005 ------------------------------ Date: Mon, 28 Feb 2005 16:41:42 -0500 (EST) From: Boyd Ostroff Subject: Re: Show Call Duration? In-Reply-To: Message-ID: References: On Mon, 28 Feb 2005, Andy Leviss wrote: > 5?! In most of the union venues I've toured to where this was an issue, > it was a 15-minute grace period. This is not the way it works here at our venue, unless I'm very mistaken (and I'm the one who approves all the bills ;-) The show call itself ends when the curtain hits. Now if we went a minute over I imagine we might get them to go along with it, but I wouldn't count on it either. The show call just stops at that point. I think there's an understanding that a couple minutes might be needed to turn off some switches or whatever. But there isn't any allowance for cleaning stuff up or anything. As I said, house crew heads remain for 1/2 hour overtime increments until the building can be shut down. If you need to do anything else, like preset for the next show, it would be continuity time in 1 hour increments up to a max of 3 hours (including any time on the call before the show - show calls begin at half hour). The wardrobe and hair staff belong to a separate local, and their definition of a show call is different. It includes an allowance for putting away costumes and wigs. Stagehands do not have anything like this in their contract (props, carps, electrics). The show call is always considered as a separate thing. For example, if your show is only 2 hours long then the crew is still paid for a 3 hour show. And when the curtain hits that call is zeroed out. So when the house crew heads stay to shut down the theatre, they still get paid in 1/2 hour overtime increments. The result would be (in this case) pay for 3:30 even though they are only there for 2:20 (or whatever). I'm sure this varies a lot between venues and cities. Cut the best deal you can (depending on which side of the table you're on :-) I can only report on what we do here at the Academy of Music with Local 8... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Show Call Duration? Date: Mon, 28 Feb 2005 16:51:26 -0500 Message-ID: <00e801c51ddf$aa9681b0$6401a8c0 [at] Dell> In-Reply-To: > I'm sure this varies a lot between venues and cities. Ain't that the truth? I know of one local that doesn't get a meal penalty after 5 hours of work. ------------------------------ Message-ID: From: "Occy" Cc: stagecraft [at] jeffsalzberg.com References: Subject: Re: Show Call Duration? Date: Mon, 28 Feb 2005 14:12:27 -0800 Yup same local different venue, have to have a meal break after 5 hours no exception no meal penalty, ever try to eat 5 meals in a stupid long day? Different venue meals between 3 and 6 hours, before 3 and after 6 hours penalty. The other venues are much to the normal. ----- Original Message ----- From: "Jeffrey E. Salzberg" > > I'm sure this varies a lot between venues and cities. > > Ain't that the truth? > > I know of one local that doesn't get a meal penalty after 5 hours of > work. ------------------------------ Date: Mon, 28 Feb 2005 17:30:10 -0500 (EST) From: Boyd Ostroff Subject: Re: Show Call Duration? In-Reply-To: Message-ID: References: We can take one hour meal breaks after either 4 or 5 hours. We pay a meal penalty if no break after 5 hours. The exception is that we can take a half-hour break if we provide the meal. Just finished a long strike last night and we provided two meals. Finished up at 3:00 AM, just in time to avoid a third dinner! | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-Id: <6.0.0.22.2.20050228143834.01b018f0 [at] pop.uci.edu> Date: Mon, 28 Feb 2005 14:41:07 -0800 From: Ron Cargile Subject: Re: Flush Mount or Pigtail My vote is for pigtails. I have spaces with both, and I have yet to need to fix any with pigtails. Not so with flush mounts. As for finding what circuit a fixture is plugged into is more a labeling issue, not a pigtail vs flush thing. ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ Subject: Grad schools - sorry Date: Mon, 28 Feb 2005 16:58:35 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383456C [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" sorry for the reply to USITT Schedule in Excel instead of a new subject line, my bad. Peace Ryan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Zirngibl, Ryan John Sent: Monday, February 28, 2005 11:28 AM To: Stagecraft Subject: Re: USITT Schedule in Excel For info, archives & UNSUBSCRIBE, see --------------------------------------------------- =20 Well while we are on the subject of Graduate programs, how about recommendations on Scenic Design/Technical Direction programs? After school job placement isn't as important to me as having a solid education base of theatre and gaining experience while learning. I plan on getting my undergrad next may but I've been wanting to get on the track to finding a good school so perhaps I can do some road tripping and see the campuses this summer and have time to get to know some people there to find out what the environment is like and if it's good for me. Thank you in advance for all your help, and also if you care to go ahead and contact me off list. Peace, Ryan J. Zirngibl Student - Theatre Arts Scenic Design/Technical Direction University of Wisconsin-Eau Claire ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <65.40087b40.2f550193 [at] aol.com> Date: Mon, 28 Feb 2005 18:21:55 EST Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in EducationalSpaces ) In a message dated 28/02/05 19:19:17 GMT Standard Time, slitterst [at] ithaca.edu writes: > TLG -- Twist Lock, Grounded. L5-20 is the 120v, 20A variety. > > PRG -- Production Resource Group. American based production company. > Has a significant number of rental outlets throughout North America. Thank you. How anyone can use a non-grounded connector is beyond me.It is very many years since I met one. The last ones I saw were in my Aunt's house. She did her ironing from an adaptor plugged into a lighting outlet, and I mean hanging down from the ceiling. Heavier power came from two-pin 10A plugs. To be fair, the house wiring went back to the days when you had a generator at the bottom of the garden, which she did. I was very glad when she had the place re-wired. Frank Wood ------------------------------ Date: Mon, 28 Feb 2005 17:25:56 -0600 Subject: Pigtail Labeling From: Greg Persinger Message-ID: In-Reply-To: Ok I have enjoyed hearing different peoples Ideas on raceway design and the Pigtail / Flush Mount pros and cons. For those of you that like /have pigtails how is the pigtail marked? Thanks for the interesting discussion. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 28 Feb 2005 18:35:32 EST Subject: Re: Pigtail vs. panel mount (was Stage Pin v. Twist in Educational Space... In a message dated 28/02/05 19:19:20 GMT Standard Time, tommy [at] etainternet.com writes: > "TLG" is an abbreviation for "Twist-lock ground" connectors. These > connectors lock in place (when they are new, at least) when a tab on the > ground pin is engaged by twisting the connector after being seated. > > The official designation by NEMA (a manufacturers' association) for the > type we've been referring to vis-a-vis lighting circuits is "L5-20". The L > designates twist-lock (the ground pin is in the shape of an L, sort of) > and the 20 designates 20 amperes capacity. The 5 is an arbitrary > designation of the pin configuration. The plugs are L5-20P and the > receptacles are L5-20R. There are other types of L connectors for > three-phase, and for different voltages and amperages, etc. which might be > used for winch motors, moving lights, etc. > > There is an archaic TLG connector which doesn't have a NEMA designation, > which is sometimes called "old-style" or "pin-out", referring to the > direction of the tab on the ground pin. The "new-style" L5-20 is pin-in. Thank you for the information. A BS655 female connector weighs in at about 200 grams, and I imagine the male comes in about the same. Call it a pound for a mated pair. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a8.3271b7ab.2f5507e8 [at] aol.com> Date: Mon, 28 Feb 2005 18:48:56 EST Subject: Re: Show Call Duration? In a message dated 28/02/05 22:13:49 GMT Standard Time, OneOccy [at] hotmail.com writes: > From: "Jeffrey E. Salzberg" > > > I'm sure this varies a lot between venues and cities. > > > > Ain't that the truth? > > > > I know of one local that doesn't get a meal penalty after 5 hours of > > work. I don't really understand this one.If I have an LX OP hat on, I turn up and do a check about 3/4 of an hour before the curtain..After the show, I wait until the audiewnce has left, and shut the system down. This may take time. Then, I retire to the bar, or go home. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1da.37286469.2f55089d [at] aol.com> Date: Mon, 28 Feb 2005 18:51:57 EST Subject: Re: Pigtail Labeling In a message dated 28/02/05 23:26:41 GMT Standard Time, gregpersin [at] comcast.net writes: > For those of you that like /have pigtails how is the pigtail marked? Unambiguously. Frank Wood ------------------------------ Message-ID: <005a01c51df1$87567040$0800000a [at] Tony> From: "Tony" References: Subject: Re: Show Call Duration? Date: Mon, 28 Feb 2005 23:59:18 -0000 ----- Original Message ----- From: To: "Stagecraft" Sent: Monday, February 28, 2005 11:48 PM Subject: Re: Show Call Duration? > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 28/02/05 22:13:49 GMT Standard Time, OneOccy [at] hotmail.com > writes: > > > From: "Jeffrey E. Salzberg" > > > > I'm sure this varies a lot between venues and cities. > > > > > > Ain't that the truth? > > > > > > I know of one local that doesn't get a meal penalty after 5 hours of > > > work. > > I don't really understand this one.If I have an LX OP hat on, I turn up and > do a check about 3/4 of an hour before the curtain..After the show, I wait > until the audiewnce has left, and shut the system down. This may take time. Then, > I retire to the bar, or go home. > > > Frank Wood Frank This could possibly be bcause everyone else on this thread is on the LEFT side of the pond, but more importantly are PAID to do their theatre work, whereas you (and I) are NOT. So whether you (or I) decide to work our nuts off in a fitup for 18 hours straight, or run a 2-show day starting at a 2-o'clock call up to 10.30pm final curtain is not only our own choice but in fact very IRELEVANT to this discussion! Ynot ------------------------------ Date: Mon, 28 Feb 2005 19:03:33 -0500 (EST) From: Boyd Ostroff Subject: Re: Show Call Duration? In-Reply-To: Message-ID: References: On Mon, 28 Feb 2005 FrankWood95 [at] aol.com wrote: > I don't really understand this one. Wow, there's something that Frank doesn't understand? Really?... The fact is that it has nothing to do with what you, or I or anyone else "thinks" about the issue. There are union contracts which set the rules. Every local and every venue has it's own traditions and history which go into these. There are some common concepts, but lots of differences. If you live in the real world and work in a union venue then you need to understand the rules, play by them, and budget accordingly. That's all. In a college, a community theatre, or a non-union venue then give it your best shot. Maybe you'll convince your boss or the theatre management of your point of view. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Subject: muffling tap shoes Date: Mon, 28 Feb 2005 16:26:32 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A13 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" 45 cast members, all in tap shoes - any idea how to "mute" the taps when = not needed for dancing...? Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-ID: <007001c51df5$f40ca6b0$0800000a [at] Tony> From: "Tony" References: Subject: Re: muffling tap shoes Date: Tue, 1 Mar 2005 00:30:58 -0000 ----- Original Message ----- From: "Storms, Randy" To: "Stagecraft" Sent: Tuesday, March 01, 2005 12:26 AM Subject: muffling tap shoes For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 45 cast members, all in tap shoes - any idea how to "mute" the taps when not needed for dancing...? Cheers, Have them walk on their hands.....? 8-)) Ynot ------------------------------ From: IAEG [at] aol.com Message-ID: <1d6.37a6a1cd.2f5514a7 [at] aol.com> Date: Mon, 28 Feb 2005 19:43:19 EST Subject: Re: muffling tap shoes In a message dated 2/28/05 7:27:59 PM, rstorms [at] bham.wednet.edu writes: << 45 cast members, all in tap shoes - any idea how to "mute" the taps when not needed for dancing...? Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu >> is this a professional production ? or college / semi pro / amateur ? pro tap dancers usually wear very tight, , and small taps on their shoes, , and are adept at not clinking and clanking them around, often less "seasoned" dancers in a non "pro" production use what ever tap they want as opposed to one that is dictated by the production, , and often these are large "loose" taps ( also more likely to do damage to your deck ) and they make noise it seems even when the dancer is standing still, especially if the dancer is less that "national company" calibre' are you miking the dance floor ? of course, , you could always take all the taps off their shoes, , and use a track ! ( just kidding just kidding ) keith ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE390259437ED [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: muffling tap shoes Date: Mon, 28 Feb 2005 19:00:31 -0600 > -----Original Message----- > From: IAEG [at] aol.com [mailto:IAEG [at] aol.com] > Sent: Monday, February 28, 2005 6:43 PM > To: Stagecraft > Subject: Re: muffling tap shoes > of course, , you could always take all the taps off their > shoes, , and use a > track ! ( just kidding just kidding ) > > keith > Don't laugh! Have you ever seen a production of "Spirit of the Dance"? Taps on tape...oh yeah! Patrick Immel Northwest Missouri state University ------------------------------ From: IAEG [at] aol.com Message-ID: <75.3ffe1b87.2f5520ee [at] aol.com> Date: Mon, 28 Feb 2005 20:35:42 EST Subject: Re: muffling tap shoes In a message dated 2/28/05 8:01:29 PM, PIMMEL [at] mail.nwmissouri.edu writes: << Don't laugh! Have you ever seen a production of "Spirit of the Dance"? Taps on tape...oh yeah! Patrick Immel Northwest Missouri state University >> let us not open up that discussion again, , , ------------------------------ Message-ID: <003101c51e01$3b93f500$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: muffling tap shoes Date: Mon, 28 Feb 2005 17:51:49 -0800 > 45 cast members, all in tap shoes - any idea how to "mute" the taps when > not needed for dancing...? Those of us who have been trained to tap, also have been trained to walk silently. (Hopefully.) Pro tappers usually have tight taps, whereas Lil Junie's Tap-Tap-Tap School has loose, floppy taps. Hopefully your hoofers will have tight taps, or be willing to tighten them...? I sympathize... -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Mon, 28 Feb 2005 21:17:36 -0500 Subject: Re: Gerber Multitools and LBLR From: Bill Sapsis Message-ID: In-Reply-To: on 2/28/05 12:21 PM, John Penisten at john [at] fullcompass.com wrote: > > On another note; is there anybody in Wisconsin (or nearby) riding to > meet the LBLR's? I haven't warned my wife yet, but I would bet she > would be somewhat more supportive of this than the Sturgis ride I had > originally planned. Anyone interested? Is Sturgis a benefit ride? (That's not a rhetorical questions. I honestly don't know.) Just a reminder folks. This is a benefit ride. That means we ride, you donate money. All of the money goes to Broadway Cares/Equity Fights AIDS. Or you can join the ride. Check out the website for all the details. (And proof that I really do have a twin brother) Be well Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Mon, 28 Feb 2005 21:36:49 -0500 From: "Steve B." Subject: Re: Pigtail Labeling Message-id: <001b01c51e07$852eac40$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Greg Persinger" > For those of you that like /have pigtails how is the pigtail marked? On the raceway. I wanted to avoid having to use marked covers on the connectors. Steve Bailey Brooklyn College ------------------------------ From: "Kevin A. Patrick" Subject: RE: citing productions for Faculty Activity Report Date: Mon, 28 Feb 2005 21:50:46 -0500 Organization: Columbus State University In-reply-to: Message-ID: Scott -- unfortunately, it depends on your institution. If you don't have other theatre faculty to talk to, speak with tenured art faculty. Have any of the shows been ACTF or otherwise had your work adjudicated or responded to? If so, it is a juried work -- almost published. You probably have creative research going into your designs. You may have published materials with USITT? We do have to fit a round hole is a square peg, but other divisions/departments are doing it too. Good luck jumpin' through the hoops. \< Kevin Patrick Theatre.colstate.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Scott C. Parker Sent: Monday, February 28, 2005 3:10 PM To: Stagecraft Subject: citing productions for Faculty Activity Report For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Greetings All, I'm filling out my "Faculty Activity Report" and I need to guidance. Of course, it lacks any heading having to do with publishing in the arts. Books, papers, articles, research and such abounds. But, no arts. This is the yearly report that goes towards the next contract. Ultimately, it will also end up in my tenure/promotion file. How do you all cite your production work on these forms? Thanks, Scott Scott C. Parker Chair NY Area Section of The United States Institute of Theatre Technology www.usittny.org scott [at] usittny.org 718-757-6661 Professor/Technical Director Dept. of Performing Arts Office: 41 Park Row, 1205F Dyson College of Arts and Sciences [at] Pace University 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.5.1 - Release Date: 2/27/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.5.1 - Release Date: 2/27/2005 ------------------------------ Message-Id: <6.1.0.6.2.20050228203340.02dc7680 [at] mail.DesignRelief.com> Date: Mon, 28 Feb 2005 21:31:29 -0600 From: Mitch Hefter Subject: National Electrical Code (was Stage Pin vs.Twist . . .) In-Reply-To: References: Mike Brubaker wrote: >But the vast majority incorporate the national electric >code. By incorporating it, they do what your guidelines do not: they make >it law. Adjustments in a specific jurisdiction are not uncommon. > >The NEC itself is revised on a three-year rotation with input from some >very experienced engineers, electricians, and others with relevant >experience leading the process. The NEC is hardly a zany, willy-nilly >code, nor are, I would risk guessing, most of the local adjustments. > >Perhaps Eddie Kramer would be willing to comment in more detail; I believe >that he sits on one of the NEC panels. > > >FrankWood95 [at] aol.com wrote: > > > >I have to say that I think your US electrical codes are really, really zany. > >Each state, each county, may set its own rules, and probably without sound > >engineering advice. On the contrary - much of the "local adjustments" are related to the permit process. Also, they deal with local customary practice, and are not arbitrary nor without sound engineering advice. It's diverse, not zany. Differences are more often related to the timing at which a particular edition of the Code is adopted. Engineers are familiar with what's applicable in a specific area, and there is a plan check where the local code authorities review a design. Local contractors are of course, familiar with the local rules. As I noted in a recent posting: "The provisions in the National Electrical Code, the most widely adopted Code in the world, is developed through the most rigorous of open consensus process. Thousands of people contribute, and anyone can - from anywhere." Yes, even Frank Wood can. Since our industry is quite specialized, many engineers, architects, building officials (including AHJs), do not always understand the differences. The problems encountered are not necessarily due to a difference in locale, rather a lack of understanding of the unique requirements of our industry. Having a knowledgeable crew, a theatre consultant, and help from the various manufacturers can make this process go smoothly. Over the past 20+ years, a number of changes have been adopted in the Code to bring it more up to date and make it easier to understand, in particular with our industry. The USITT NEC Committee has been responsible for most of these. Remember, the Code Panels do not write the Code, they simply act on the proposals - accepting, modifying, or rejecting. Current representation of our industry to Code Panel 15 consists of: Ken Vannice - Leviton/NSI/Colortran - representing USITT Steve Terry - ETC - alternate to Ken Vannice Michael Klein - Metropolitan Engineering - representing IESNA Mitch Hefter, Entertainment Technology - alternate to Michael Klein Eddie Kramer - Radio City Music Hall - representing IATSE Tom Dunn - Butler Amusements, representing the Outdoor Amusement Business Association Michael Skinner, CBS Studio City, representing the Alliance of Motion Picture and Television Producers Past members include George Howard - Theatre Consultant; Jack Kalbfeld - UL Consultant; Mike Lanni - Universal Studios; and many many years back, Randy Davidson - our Dr. Doom. Eddie and Mitch are on this mailing list. If others are, they are lurkers. As also noted a few weeks back: "Now that the 2005 NEC is out, proposals for changes for the 2008 edition can now be accepted. You can make proposals directly, or work with the USITT NEC Committee, or both. Information can be found at: http://www.usitt.org/standards/NEC2005.html." . . . ------------------------------------------------------------------------ Mitch Hefter mitch.hefter [at] DesignRelief.com Member NEC Panel 15 Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 28 Feb 2005 22:38:28 -0500 From: Eddie Kramer Subject: Re: Stage Pin vs. Twist in Educational Spaces (OT) On 2/27/05 Mike Brubaker sent: >Perhaps Eddie Kramer would be willing to comment in more detail; I believe that he sits on one of the NEC panels. Mich Hefter and I are on Panel 15, which is responsible for articles 517, 518, 520, 525, 530, and 540 of NFPA 70 (the NEC). I kill file Frank Wood's posts, and have nothing to say. I'll be at USITT if any one wants to get together or has any questions. (This office void if Frank shows up) Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ End of Stagecraft Digest #311 *****************************