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 20233475; Fri, 04 Mar 2005 03:01:25 -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 #315 Date: Fri, 04 Mar 2005 03:01:08 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=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 #315 1. Re: Toronto TTC by Villem Teder 2. Re: Painting S4 Lens by seanrmc [at] earthlink.net 3. Re: Painting S4 Lens by Cosmo Catalano 4. Little Shop of Horrors by "Erin Watson" 5. Re: Little Shop of Horrors by IAEG [at] aol.com 6. Re: Future USITT Conference Programming by "Stephen E. Rees" 7. Re: Not sure if you've read any Strindberg plays... by "Stephen E. Rees" 8. opps! by "Stephen E. Rees" 9. New Venture by "Delbert Hall" 10. Re: O by "John Gibilisco" 11. Re: Little Shop of Horrors by "Joshua Webb" 12. Re: Little Shop of Horrors by Steve Larson 13. Re: Future USITT Conference Programming by Bill Sapsis 14. Re: osha lift training rules by Theatre Safety Programs 15. graduate schools by "Bll Conner" 16. pigtail labels by "Bll Conner" 17. Re: Painting S4 Lens by "Jon Ares" 18. Re: Getting around in Toronto by "Stuart Baulch" 19. Re: NEC comes from insurance companies? by "Bll Conner" 20. Re: Painting S4 Lens by "Jeffrey E. Salzberg" 21. Re: Painting S4 Lens by Mike Brubaker 22. Re: Painting S4 Lens by "Jeffrey E. Salzberg" 23. split tux question by "jknipple" 24. Re: Painting S4 Lens by Greg Bierly 25. Re: Painting S4 Lens by "Douglas McCracken" 26. Re: split tux question by "Flowers, Curt" 27. Re: split tux question by "Dre Suchoski" 28. Re: Painting S4 Lens by Wood Chip-P26398 29. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 30. Re: Painting S4 Lens by Mark O'Brien 31. Re: Painting S4 Lens by Ron Cargile 32. Re: SPAM-LOW: Re: NEC comes from insurance companies? by Richard Wolpert 33. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 34. Re: NEC comes from insurance companies? by ". Mitch Hefter" 35. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 36. Annotated Resumes by Beth Martell 37. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 38. Re: split tux question by FrankWood95 [at] aol.com 39. Re: Annotated Resumes by Boyd Ostroff 40. Re: Painting S4 Lens by Greg Persinger 41. Re: Annotated Resumes by IAEG [at] aol.com 42. Re: Annotated Resumes by Boyd Ostroff 43. Re: Annotated Resumes by "Jeremiah Minh Greenblatt" 44. Re: painting S4 Lense TUBES by "Riter, Andrew (Head Ltg)" 45. Re: New Venture by Dale Farmer 46. Re: painting S4 Lense TUBES by FrankWood95 [at] aol.com 47. Re: Painting S4 Lens by Paul Toben 48. miniature pulleys, loft blocks, etc. for models? by "Scott C. Parker" 49. Re: Annotated Resumes by John Bracewell 50. Re: miniature pulleys, loft blocks, etc. for models? by Mike Brubaker 51. Free scenery in NYC by "Jeffrey E. Salzberg" 52. Re: Painting S4 lens by Tim & Kristee Catlett 53. Re: Painting S4 Lens by seanrmc [at] earthlink.net 54. Re: Painting S4 lens by "Dr. Randall W.A. Davidson" *** 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: <3.0.6.32.20050303062744.007e38f0 [at] mail.interlog.com> Date: Thu, 03 Mar 2005 06:27:44 -0500 From: Villem Teder Subject: Re: Toronto TTC As it has been mentioned, the Royal York Hotel is across the street from Union Station, and connected by a tunnel. The best bet for a bus from the airport to the hotel is the "Airport Express". They have several different routes to areas within the city. At the Royal York, they stop at the side door of the hotel. Regards, Villem Teder ------------------------------ Message-ID: <5296732.1109851779554.JavaMail.root [at] waldorf.psp.pas.earthlink.net> Date: Thu, 3 Mar 2005 07:09:39 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Painting S4 Lens Greg, Jon....and Brandon.... Ah yes, open mouth--insert foot. So apparently after a 12 hour bang-your-head-against-the-wall day isn't the best time to try to catch up on the mailing list. In answer to the REAL question: Paint markers are the way to go. Don't worry about going all crazy trying to find high-temp paint for the lens tubes. They don't get that hot. We paint inside the gel clip (like the PRG gear), AND a thin line on the right and left sides of the gel frame holder (just a strip right on the corner that you can see from the side and front). Because we lend gear out pretty frequently, we're also starting to put initials on the part of the tube that is hidden when in use. Hope that more answers your question Brandon. You know, I was actually asked yesterday (after having reported that my expendibles for the current show would be going over budget by a couple hundred dollars): "Well, that's gel we can put in stock and use again, right?" *sigh* You can't make this stuff up. --Sean -----Original Message----- From: Greg Persinger Sean, <> A Source Four PAR is short and fat while a Source Four is tall and skinny, unless it is a five or ten degree and then it is tall and fat in the nose sporting a plastic lens in front instead of glass. :-) I hope this helps. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Date: Thu, 03 Mar 2005 07:58:05 -0500 From: Cosmo Catalano Subject: Re: Painting S4 Lens In-reply-to: Message-id: References: Regular old white marker works well on lens tubes. Label them right at the color clip so you know where to look. Cosmo ------------------------------ Date: Thu, 03 Mar 2005 08:12:15 -0500 From: "Erin Watson" Subject: Little Shop of Horrors Message-ID: Hi- I'm new to the list, and I'm looking for orchestration (specifically sax and trumpet parts) for Little Shop of Horrors. Also, I'm hoping that there is an Audrey II puppet that is available for April 28-30, 2005 within a 300 mile range of New England. If you have anything, or know a good person to contact, please let me know. Thank you! Erin Watson Westfield High School, Westfield, MA ------------------------------ From: IAEG [at] aol.com Message-ID: <191.3a37793b.2f586912 [at] aol.com> Date: Thu, 3 Mar 2005 08:20:18 EST Subject: Re: Little Shop of Horrors In a message dated 3/3/05 8:15:03 AM, e.watson [at] mail.ci.westfield.ma.us writes: << Hi- I'm new to the list, and I'm looking for orchestration (specifically sax and trumpet parts) for Little Shop of Horrors. >> ahhh,,, according to Music Theatre International, the licensed instrumentation doesn't include Sax or Trumpet,, just Bass, Guitar, Piano, Misc Keyboards and Drums . I for one am not certain that it is within your license to "add" instrumentation to that, , without permission that is, and that would probably include approval of who was writing the charts for Sax and Trumpet. you are legally licensing the show aren't you ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <4227125B.9070601 [at] fredonia.edu> Date: Thu, 03 Mar 2005 08:34:19 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Future USITT Conference Programming References: Fritz, I have an acquaintance who was a partner with Peter Feller back in the heyday of Feller Studios. When I had a conversation with him a year ago at a reunion here, he was enthusiastic about putting together a session with historical emphasis. I have had a blank panel proposal sheet in my briefcase for almost a year now w/o filling it out. Do you think a Peter Feller Retrospective might be of interest as a session in Louisville? If you think so, I can get back to this guy and see if he still wants to do it. Let me know before the end of next week and I can then submit the proposal at the Tech Proc Comm Mtg. Thanks, Steve Rees, TD SUNY-Fredonia 716.673.3326 Fritz Schwentker wrote: > Please contact me if you have an interest in leading or participating in > programming for next year. [snipped] ------------------------------ Message-ID: <42271384.5020308 [at] fredonia.edu> Date: Thu, 03 Mar 2005 08:39:16 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Not sure if you've read any Strindberg plays... References: Oh not it was not!!! Thanks for it. LMAO,FOTF :) Steve Jonathan S. Deull wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Sorry for that last post. It was a booboo. > ------------------------------ Message-ID: <42271493.6030808 [at] fredonia.edu> Date: Thu, 03 Mar 2005 08:43:47 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: opps! References:

Sorry, this post was to have been to Fritz personally. Steve Stephen E. Rees wrote: > > Fritz, > I have an acquaintance who was a partner with Peter Feller back in the > heyday of Feller Studios. ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: New Venture Date: Thu, 03 Mar 2005 08:48:27 -0500 Hi Everyone, Some of you probably know that in December I sold Hall Associates, Inc. to Tracy Nunnally. Since then, I have been doing a few jobs for Tracy while developing a couple of new ventures. One venture is a company that will design, manufacture, and sell special rigging hardware. My partner in this venture (a former helicopter engineer) and I have been working on a couple of items for which we feel there is a market: a cable snatch block for 1/8" aircraft (that we hope to sell for under $50), a similar rope snatch block for 5/8" rope, and a special clip for performer flying/stunt/circus work (very small and cannot be opened under load). We are looking for other items that we can produce in volume and be able to offer at a good price. Cable drums has been suggested by one person and we are looking into a common design for these. My question for you is what special hardware item would you like to see available? You can post your suggestions here or email me privately. I may contact you for more details or rough sketches. Nothing is off limits for discussion. Looking forward to hear your ideas. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ Message-ID: <002701c51ff7$cf87e4e0$0200a8c0 [at] om.cox.net> From: "John Gibilisco" References: Subject: Re: O Date: Thu, 3 Mar 2005 07:49:24 -0600 ----- Original Message ----- From: "CB" Subject: O Anyone on the list know anyone working 'O'? Chris you might ask list member Eric Rouse. usctd [at] columbia.sc I think he was a former "O" staffer. If that fails contact me off list and I have friends on Ka (formerly with O) and Mystere that might be able to help. jgibilisco [at] omahaplayhouse.com John Gibilisco Omaha Playhouse ------------------------------ Message-id: Date: Thu, 03 Mar 2005 08:53:12 -0500 Subject: Re: Little Shop of Horrors From: "Joshua Webb" References: In-Reply-To: I did a production of LSOH years ago that rented the plants from Mikan Theatricals in Hampton, NH. Mikan has since become more of a grip/tv production place I believe but Tracy Theatricals (also in Hampton) may have the plants. They had been associated with Mikan and now run a costume/prop house. I've had good luck with them and I recall the plants being pretty good, but this was over 10 years ago. http://www.tracytheatreoriginals.com/shows.html Joshua G. Webb Designer/Technical Director Worcester Academy ------------------------------ Date: Thu, 03 Mar 2005 08:54:17 -0500 Subject: Re: Little Shop of Horrors From: Steve Larson Message-ID: In-Reply-To: As we have posted about three times a year, there is a website for Audrey IIs that are for rent. Might be a better place to start looking. steve > From: "Erin Watson" > Reply-To: "Stagecraft" > Date: Thu, 03 Mar 2005 08:12:15 -0500 > To: "Stagecraft" > Subject: Little Shop of Horrors > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi- I'm new to the list, and I'm looking for orchestration (specifically > sax and trumpet parts) for Little Shop of Horrors. Also, I'm hoping that > there is an Audrey II puppet that is available for April 28-30, 2005 > within a 300 mile range of New England. If you have anything, > or know a good person to contact, please let me know. Thank you! > Erin Watson > Westfield High School, Westfield, MA > > > > ------------------------------ Date: Thu, 03 Mar 2005 09:44:30 -0500 Subject: Re: Future USITT Conference Programming From: Bill Sapsis Message-ID: In-Reply-To: on 3/3/05 8:34 AM, Stephen E. Rees at Rees [at] fredonia.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Fritz, > I have an acquaintance who was a partner with Peter Feller back in the > heyday of Feller Studios. When I had a conversation with him a year ago > at a reunion here, he was enthusiastic about putting together a session > with historical emphasis. I have had a blank panel proposal sheet in my > briefcase for almost a year now w/o filling it out. Do you think a > Peter Feller Retrospective might be of interest as a session in > Louisville? If you think so, I can get back to this guy and see if he > still wants to do it. Let me know before the end of next week and I can > then submit the proposal at the Tech Proc Comm Mtg. > Thanks, > Steve Rees, TD > SUNY-Fredonia > 716.673.3326 > Yeah, yeah, I know you didn't want this to go out to the list, but if you're talking about Pete Feller Sr., I knew him and worked for him for quite a while. I would be interested in participating. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-Id: <6.2.1.2.2.20050303080044.01fd91f8 [at] mail.earthlink.net> Date: Thu, 03 Mar 2005 08:03:09 -0700 From: Theatre Safety Programs Subject: re: osha lift training rules OSHA 1910.67 (b)(2)(c) says "Only trained persons shall operate an aerial lift." No training frequency is noted. ANSI/SIA A92.3 Only requires training on delivery of the sold leased or rented unit and only requires that an authorized operator be trained in accordance with the manufacturers operating and maintenance manual. Here are the only two interpretation letters from OSHA I can find: July 17 1975 Mr. Robert E. Schumacher General Manager High Plains Insurance, Inc. P.O. Box 100 Hays, Kansas 67601 Dear Mr. Schumacher: This is in response to your letter of May 21, 1975, regarding aerial ladders or booms. Enclosed is a copy of 29 CFR 1910.67, Vehicle-Mounted Elevating and Rotating Work Platforms amendment, that was published in the Federal Register of March 6, 1975. This amendment gives you the answer to your questions. There is nothing in the wording of 1910.67 that requires the employer to certify and designate an operator to another party. Employers have the responsibility of devising methods to train their operators in the safe operation of aerial lifts. Only competent and careful operators should be assigned these duties. The operator shall be trained in safe operations and made familiar with the manufacturer's manual, especially those parts which relate to operation, maintenance, and safety of aerial devices. If I can be of any further assistance, please feel free to contact me. Sincerely, Janet H. Sprickman Acting Chief Division of Occupational Safety Programming October 23, 1992 Mr. Brian Mills National Safety Manager Vibroplant, Inc. 1001 W. Euless Boulevard Euless, Texas 76040-5033 Dear Mr. Mills: Your May 18 letter to Mr. Jim Knorpp, the Occupational Safety and Health Administration (OSHA) Area Director for Fort Worth, was forwarded to this office for response. I apologize for the delay in replying to your inquiry as to OSHA's interpretations of the terms "certified" and "qualified" as used in ANSI standards for aerial lifts. Aerial lifts are specifically addressed by OSHA at 29 CFR 1926.453 Paragraph (a) if that section requires aerial lifts to be designed and constructed in conformance with ANSI A92.2-1969 (including the appendix). The paragraph does not require the operation and use of equipment to be in conformance with the ANSI standard. There are two OSHA standards addressing the qualifications of lift operators. Section 1926.21(b)(2) requires employers to instruct each employee in the recognition and avoidance of unsafe conditions and the regulations applicable to his work environment. Section 1926.556(b)(2)(ii) requires that "only authorized persons shall operate an aerial lift." The term "authorized person is defined at 1926.32(d) as "a person approved or assigned by the employer to perform a specific type of duty or duties or to be at a specific location or locations at the jobsite." There are no specific OSHA regulations that require aerial lift operators to be either certified or qualified. In the situation where operator capabilities are the issue, OSHA would first determine if the operator was trained and if no training was provided, issue a citation for violating 1926.21(b)(2). IF training was provided, OSHA would need to use the general duty requirements of paragraph 5(a)(1) of the OSH Act to address any related violations. In so doing, OSHA would use the ANSI requirements to help establish what the industry practice is in regard to operator qualifications. Although OSHA defines the term, "qualified" at 1926.32(1), the terms "certified" and "qualified would have to be defined by ANSI in this case because it would be that organization's definitions of its own terms that would govern the application of its requirements. Consequently, it is that organization that must define the terms for you. If we can be of further assistance, please contact Mr. Roy F. Gurnham or Mr. Dale R. Cavenaugh of my staff in the Office of Construction and Maritime Compliance Assistance at (202)219-8136. Sincerely, Roy, F. Gurnham, ESQ., P.E. Director Office of Construction and Maritime Compliance Programs The short and long of it is at the time of the accident OSHA will judge if you training was sufficient. Personally I would recommend refresher training on at least and annual basis or when new equipment and/or procedures are introduced into the workplace. Jerry Gorrell Technical Director Phoenix Stages From: "Sam Fisher" Subject: OSHA Lift Training Rules Date: Wed, 2 Mar 2005 15:26:44 -0500 In-Reply-To: Message-ID: Does anyone know what the official rule is on how often an employer needs to have personnel trained to operate straight boom lifts like the Genie AWP? Sam Fisher ------------------------------ Message-ID: <004d01c52004$62aead60$6601a8c0 [at] BCA1> Reply-To: "Bll Conner" From: "Bll Conner" Subject: graduate schools Date: Thu, 3 Mar 2005 09:19:07 -0600 Chris Warner posted "I am beginning to look for a graduate programs in lighting design." I believe that the record will show that graduates from The Yale School of Drama have done quite well as a group in being active in professional theatre at all levels and I would encourage you to apply. The lighting program - like most of them at the YSD - is excellent. Regards, Bill (YSD '79) ------------------------------ Message-ID: <004e01c52004$f583a2d0$6601a8c0 [at] BCA1> Reply-To: "Bll Conner" From: "Bll Conner" Subject: pigtail labels Date: Thu, 3 Mar 2005 09:23:25 -0600 Greg Persinger posted: "For those of you that like /have pigtails how is the pigtail marked?" While no method I've heard of is without weakness, I usually specify engraved and filled caps on the receptacle as well as labels on the connector strip. They seem most readable and if you replace the connector with the same manufacturer, the cap should be reusable. I don't like the cord and clear shrink wrap - not as permanent and less readable. I've used and liked the brass tag with number stamped on it but fear they become separated from the pigtail. ------------------------------ Message-ID: <000901c52008$254010f0$0600000a [at] BRUTUS> From: "Jon Ares" Cc: seanrmc [at] earthlink.net References: Subject: Re: Painting S4 Lens Date: Thu, 3 Mar 2005 07:46:20 -0800 > You know, I was actually asked yesterday (after having reported that my > expendibles for the current show would be going over budget by a couple > hundred dollars): > > "Well, that's gel we can put in stock and use again, right?" > Yes, they can be reused. And save that gaff tape... wind it carefully back onto the roll, since we can reuse that as well. Is there such a thing as "non-expendible expendibles?" -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "Stuart Baulch" Subject: RE: Getting around in Toronto Date: Thu, 3 Mar 2005 11:02:48 -0500 Message-ID: In-Reply-To: Villem wrote: > Actually, you can get to the Convention Centre via the PATH. The Skywalk > from Union Station to the SkyDome does connect to the walkway over the > railway tracks that connects the two parts of the Convention Centre. There > are two ways to get to the Skywalk from the Union Station subway station. > The fastest is to go south, and use an outside covered walkway for a few > dozen yards. The totally indoor way is to go north into the PATH, head west > to the Royal York Hotel, and there is a tunnel from there to Union Station > downstairs. I always forget about the route - mostly because it goes too far out of the way. You go from underground to 3 or floors aboveground, and end up travelling south about 100 yds and then doubling back. Better to brave the dash through traffic and whether, desperately clutching your coffee... > I swear there are tunnels from the food court north of the Convention > Centre under Front Street, and have used them, a while ago. They were > either closed after 9/11... I remember these too, but for the life of me I can not figure out where the used to be or whether they let out in to the convention centre or the hotel. Some of the security measures are due to a, lets' just call it, secured government facility on the west end of the convention centre. IN the last 18 months, a great number of CC cameras have been installed in the public and service areas of MTCC, but my favourite was the new elevator behind the theatre. Last time I was doing a show there, I noticed a elevator that I had never spotted before. It looked like it should have taken me where I need to go. Unfortunately, it was only after I loaded two roadcases and myself into it, that I discovered that without a passcard I could only get off at street level. Got a funny look from security rolling the two cases out through their lobby, but not odd enough to think that I was the first one to make that mistake. TTC Passes - It looks like they are in fact offering weekly passes during the next couple of weeks. Good Monday through Sunday for about $30. Cheers, Stuart B ------------------------------ Message-ID: <007c01c5200a$81ebc040$6601a8c0 [at] BCA1> Reply-To: "Bll Conner" From: "Bll Conner" Subject: Re: NEC comes from insurance companies? Date: Thu, 3 Mar 2005 10:03:08 -0600 Well - I read the first message and was planning on replying when I saw Karl's response and thought "Oh - he's beaten me to it again." I don't have the exact details but I believe that in fact the NFPA itself - as well as the fire service - all are ancestors of insurance companies and organizations. The earliest professional fire service in this country was, I believe, firefighters paid by insurance companies. Owners of buildings would pay for fire insurance and the insurance company would hire firefighters and buy equipment. There were in some areas competing insurance companies - as now - but each with it's own fire service. Typically the building would display a cast iron placard indicating that the building was insured by such and such and if you were the such and such fire service, you fought the fir. If it was a rival company, you let it burn. Imagine that - fire service for profit. But that's history - which is what I thought the original poster was referring to - and Karl is absolutely correct that the current NFPA is not unduly influenced by the interests of insurance companies. Bill ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Painting S4 Lens Date: Thu, 3 Mar 2005 11:03:13 -0500 Message-ID: <008501c5200a$840d8ed0$6801a8c0 [at] Dell> In-Reply-To: > Yes, they can be reused. And save that gaff tape... wind it > carefully back > onto the roll, since we can reuse that as well. Don't laugh; I once worked for a ballet company that did that. ------------------------------ Message-Id: <6.2.0.14.0.20050303111722.01d893a8 [at] mail.insightbb.com> Date: Thu, 03 Mar 2005 11:18:18 -0500 From: Mike Brubaker Subject: Re: Painting S4 Lens In-Reply-To: References:

Please tell us you're kidding? The stuff is pricey, but the time to roll it back on a roll...or did they have free labor? Mike At 11:03 AM 3/3/2005, Jeffrey E. Salzberg wrote: > > Yes, they can be reused. And save that gaff tape... wind it > > carefully back > > onto the roll, since we can reuse that as well. > >Don't laugh; I once worked for a ballet company that did that. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Painting S4 Lens Date: Thu, 3 Mar 2005 11:20:43 -0500 Message-ID: <008601c5200c$f5e6d7d0$6801a8c0 [at] Dell> In-Reply-To: > Please tell us you're kidding? The stuff is pricey, but the > time to roll > it back on a roll...or did they have free labor? Nope. This was after I insisted they use gaffers' tape for the black Marley, in place of the gray duct tape they had been using up until that point. ------------------------------ Subject: split tux question Date: Thu, 3 Mar 2005 11:30:15 -0500 Message-ID: From: "jknipple" My wife is doing costumes for a show that requires that a tuxedo jacket = to be split up the back and soaked with water every night. Does anyone = have suggestions about how to do this while making sure the jacket is in = great condition for the start of each performance? My thought was = Velcro, of course, but does anyone have other (or better) suggestions? TIA Jim James Knipple =A0 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Bierly Subject: Re: Painting S4 Lens Date: Thu, 3 Mar 2005 11:33:36 -0500 > Yes, they can be reused. And save that gaff tape... wind it carefully > back onto the roll, since we can reuse that as well. That reminds me of a touring group that came through our auditorium in college. They carried two grades of gaffers tape and used the bare minimum of each to get by. The only place they used the "good" was on their dance floor. When they unrolled their dance floor they had full strips of reused black gaff to tape down the floor. I don't recall how many applications they could get out of a single strip of gaff, but it was at least a couple of performances. Us as college staff had to tape down carpets in the house and pulled out our rolls of gaff that just so happened to be the same as the touring companies "good" grade and started pulling off large quantities off the rolls. You should have seen the looks of horror on the road staff's faces thinking we were using their tape. The tour manager almost blew a blood vessel till we showed him the rolls had come from our supply closet. The looks of awe and general murmer from the road techs/actors was amazing that we had the budget to "throw away" on good gaffers tape. Greg Bierly Technical Director Hempfield HS ------------------------------ From: "Douglas McCracken" Cc: seanrmc [at] earthlink.net Subject: RE: Painting S4 Lens Date: Thu, 3 Mar 2005 06:42:47 -1000 Message-ID: In-reply-to: Sean wrote: > Snip Because we lend gear out pretty frequently, > we're also starting to put initials on the part of the tube > that is hidden when in use. This is a hassle when we need to return borrowed/rented tubes. You need to pull out the complete lens to see who it belongs to. So of course, we label ours on the exposed portion. That way we know which ones are not ours by process of elimination. But if all tubes were labeled on the hidden part...... ------------------------------ Subject: RE: split tux question Date: Thu, 3 Mar 2005 10:43:00 -0600 Message-ID: <71D0296313DCB24C93FE62A0CA7B49CA423980 [at] adminmail4.ui.uillinois.edu> From: "Flowers, Curt" Ah. Plaza Suite, eh? We used Velcro for the nice rip sound. And sewed it sparingly to keep = the Velcro from showing or separating too early. And we sprayed water (and used a bit of shaving cream as 'pigeon = droppings') each night. A good brushing the next day and it was ready = for another show. It was a donated quality tux coat from a local rental. = Curt Flowers, Illinois -----Original Message----- From: jknipple [mailto:jknipple [at] howardcc.edu]=20 My wife is doing costumes for a show that requires that a tuxedo jacket = to be split up the back and soaked with water every night. Does anyone = have suggestions about how to do this while making sure the jacket is in = great condition for the start of each performance? My thought was = Velcro, of course, but does anyone have other (or better) suggestions? James Knipple =A0 ------------------------------ Subject: RE: split tux question Date: Thu, 3 Mar 2005 11:57:41 -0500 Message-ID: <993D0A40B5754441B09BA4FA2A62958522ED2F [at] stage.otc.olneytheatre.org> From: "Dre Suchoski" I agree with the velcro solution. About the water, though.. Is this just supposed to look wet or be nice looking to soaked during the performance? Dre Suchoski Properties Artisan 2001 Olney Sandy Spring Road Olney, MD 20832 shop: 301.924.4485 x122 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of jknipple Sent: Thursday, March 03, 2005 11:30 AM To: Stagecraft Subject: split tux question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- My wife is doing costumes for a show that requires that a tuxedo jacket to be split up the back and soaked with water every night. Does anyone have suggestions about how to do this while making sure the jacket is in great condition for the start of each performance? My thought was Velcro, of course, but does anyone have other (or better) suggestions? TIA Jim James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 ------------------------------ Message-ID: <014D202957F6D8118924000F20D7342B03745BE4 [at] az33exm01.corp.mot.com> From: Wood Chip-P26398 Subject: RE: Painting S4 Lens Date: Thu, 3 Mar 2005 10:20:11 -0700 What brand of white marker? Every white marker I have used to date sucked. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Cosmo Catalano Regular old white marker works well on lens tubes. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <105.5be7ec7e.2f58ad0c [at] aol.com> Date: Thu, 3 Mar 2005 13:10:20 EST Subject: Re: NEC comes from insurance companies? In a message dated 02/03/05 23:28:27 GMT Standard Time, charlier [at] RichmondSoundDesign.com writes: > > Perfectone. 16mm sepmag recorders and replay machines. > > ugh > > Charlie Not my favourites. They were better than the Westrex machines, which preceded them, but not so good as the Albrecht ones which followed. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Painting S4 Lens Date: Thu, 3 Mar 2005 11:15:40 -0700 I just bought some Sharpie metallic silver markers... Woof! Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Mar 3, 2005, at 10:20 AM, Wood Chip-P26398 wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > What brand of white marker? Every white marker I have used to date > sucked. > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Cosmo > Catalano > Regular old white marker works well on lens tubes. ------------------------------ Message-Id: <6.0.0.22.2.20050303101051.01b718e0 [at] pop.uci.edu> Date: Thu, 03 Mar 2005 10:17:07 -0800 From: Ron Cargile Subject: Re: Painting S4 Lens I use run of the mill Rust-Oleum enamel on my S4 lens tubes. It's durable, vibrant, and doesn't smell up the joint. The only drawbacks I've found so far is that I have to wait overnight for the paint to dry. The other is the paint kinda rubs off on the parts of the front of the tube that touch the floor when standing up. Neither are a big deal. The lens tubes themselves never get hot enough to be a problem for me. I only have paint on the "fins" and accessory slot "ears" at the front of the tube farthest from the lamp. If you plan to paint further up the barrel, YMMV. ....Ron ---- Ron Cargile ME, Univ of CA, Irvine ------------------------------ Date: Thu, 03 Mar 2005 13:37:47 -0500 From: Richard Wolpert Subject: RE: SPAM-LOW: Re: NEC comes from insurance companies? In-reply-to: Cc: bill-conner [at] att.net (Bll Conner) Message-id: Bill got most of it right, concerning early fire services. They were "volunteers", however, and were formed based on Ben Franklin's early Philadelphia model. The firemark that was placed on the front of a building was a metal plaque that indicated a building was insured, and who was the insurer. This gave the responders away of knowing who would "reward" them if they saved the structure or performed well enough to save the insurer some money. In some places the insurance companies paid for the equipment, and might also pay some of the firefighter's salaries. The fire companies were almost always volunteer units, with definite local ethnic characteristics. For the most part, this was the case prior to the development electricity and modern insurance practices. Firefighting became a professional service in the second half of the 19th century in larger cities as the need for organized and well-funded firefighting was recognized by the insurance companies. Pressure was brought to bear on state and local governments to provide better fire protection as cities got larger and more crowded. As a result, we have paid professional departments in almost every city in America. In county and local jurisdictions, volunteer firefighters still make up the bulk of the manpower. Some small municipalities even have a mix of paid professionals and volunteers. If you've ever been to a Fireman's Picnic on Long Island, you'll see that the volunteers are still getting some nice rewards from insurance and fire protection companies. And if you've ever had to call 911 on a cold, winter night to put out a fire or perform a rescue, you know they don't get rewarded nearly enough! 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 Bll Conner Sent: Thursday, March 03, 2005 11:03 AM To: Stagecraft Subject: SPAM-LOW: Re: NEC comes from insurance companies? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Well - I read the first message and was planning on replying when I saw Karl's response and thought "Oh - he's beaten me to it again." I don't have the exact details but I believe that in fact the NFPA itself - as well as the fire service - all are ancestors of insurance companies and organizations. The earliest professional fire service in this country was, I believe, firefighters paid by insurance companies. Owners of buildings would pay for fire insurance and the insurance company would hire firefighters and buy equipment. There were in some areas competing insurance companies - as now - but each with it's own fire service. Typically the building would display a cast iron placard indicating that the building was insured by such and such and if you were the such and such fire service, you fought the fir. If it was a rival company, you let it burn. Imagine that - fire service for profit. But that's history - which is what I thought the original poster was referring to - and Karl is absolutely correct that the current NFPA is not unduly influenced by the interests of insurance companies. Bill ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a4.32d49f11.2f58b356 [at] aol.com> Date: Thu, 3 Mar 2005 13:37:10 EST Subject: Re: NEC comes from insurance companies? In a message dated 03/03/05 03:24:58 GMT Standard Time, sdwheaton [at] fuse.net writes: > >> For example, ours require an annual inspection of the whole installation. > >> This takes two men three days, and involves opening up every outlet > >> box and > >> switch. > > > > > > Doesn't this cause undue wear and tear on the wiring of the outlet boxes > > and switches? > > Besides the wear and tear, Why would you need to do this? > after the first inspection prior to turn on, assuming you > have minimally competent people doing the work in your > facility, there should be no need for such an invasive, time > consuming and costly task. Because our insurers insist, as a condition of the policy. For the rest, you are preaching to the choir. We have capable and competent engineers, who do installation work according to the current rules. However, these change from time to time, and when you modify or extend an installation, the whole thing has to conform to the current standard. The last spasm was to change the colour codes for three-phase wiring, although you could leave existing wiring in place. At this point, and also because I am getting old, I retired from the scene. > Especially since you have Ground Fault breakers and > overcurrent protection in place. These are a lot less common over here, and most of our installation is protected by fuses. GFCI devices are only to be found on the circuits visiting musicians may use for their instruments. > > Boxes and trunking left open would be a violation here too, > but the facility operators should take action to remedy or > prevent this without need of an invasion of the inspectors. We try, but it's an on-going battle. And, it's very tempting to leave the trunking lids off whan you're going to be working the next day. > > Unless Davie Dimmers is not as much of a fiction as I always > thought, this seems extreme. But hey, your country, your rules. It's not the country, it's the pesky insurance companies. From what I hear, you suffer from local municipalities just as much. In the end, it all comes down to the bean-counters. Frank Wood ------------------------------ Message-ID: <60270.208.215.238.2.1109875689.squirrel [at] webmail3.pair.com> In-Reply-To: References: Date: Thu, 3 Mar 2005 12:48:09 -0600 (CST) Subject: Re: NEC comes from insurance companies? From: ". Mitch Hefter" Reply-To: mitch.hefter [at] DesignRelief.com > From: Karl G. Ruling > > Huh? What's the source of this factoid? What evidence supports "our > NEC comes from insurance companies"? > > Actually, the NEC has its roots with insurers. An article in the Fall 2004 issue of NEC Digest gives a history of the NEC (2005 is its 50th edition): From within the article by Alisa Wolf: "In June of 1897, the draft of the National Electrical Code was unanimously approved at the National Conference of Standard Electrical Rules, and the National Board of Fire Underwriters (NBFU) published the first National Electrical Code later that year. It was distributed for free and updated each year, with an open meeting for a vote by anyone in attendance. The requirements were also sent to various inspection authorities and, according to Brandon�s history of the code, they were usually adopted as written. The National Conference of Standard Electrical Rules became a permanent organization and continued its work until 1911, when it turned over code preparation to the NFPA." Full link (or go to nfpa.org, click on publication, then NEC Digest, then archives, then fall 2004, then History of the NEC): http://www.nfpa.org/categoryList.asp?categoryID=904&URL=Publications/necdigest�/necdigest�%20Magazine/necdigest�%20archives/Fall%202004/The%20History%20of%20the%20NEC� . . . ------------------------------------- Mitch Hefter mitch.hefter [at] DesignRelief.com Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com http://www.etdimming.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 3 Mar 2005 13:52:00 EST Subject: Re: NEC comes from insurance companies? In a message dated 03/03/05 04:19:14 GMT Standard Time, doomster [at] worldnet.att.net writes: > The bottom line is that the insurance companies have an interest in the > safety and compliance with NEC. If there is not compliance they have a right > to withhold insurance that they sell. Most municipalities and entertainment > entities, in my experience, then and now, do not keep open for business > unless there is compliance with the Codes. > Dr. Doom Certainly. I should not have it otherwise. It is when they impose additional requirements, outside the codes, that I get tetchy. If you had specified an installation with stageplugs, which are the least insanitary connectors, and been told that only twistlock were allowed, I think you would get tetchy, too. Both presumably conform to the code, but I know that I should resent a lay authority imposing engineering decisions on me. Frank Wood ------------------------------ Message-ID: <20050303190753.2514.qmail [at] web51608.mail.yahoo.com> Date: Thu, 3 Mar 2005 11:07:53 -0800 (PST) From: Beth Martell Subject: Annotated Resumes In-Reply-To: Hi all We are moving a number of our Grads from the standard list resume to the annotated resume format. I am hunting for more examples. Anyone out there willing to share? Thanks Beth ===== Verda Beth (Heermann) Martell Assistant Technical Director Krannert Center for the Performig Arts Assistant Professor of Theatre The University of Illinois at Urbana-Champaign __________________________________ Celebrate Yahoo!'s 10th Birthday! Yahoo! Netrospective: 100 Moments of the Web http://birthday.yahoo.com/netrospective/ ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <196.3a003071.2f58bac4 [at] aol.com> Date: Thu, 3 Mar 2005 14:08:52 EST Subject: Re: NEC comes from insurance companies? In a message dated 03/03/05 16:04:16 GMT Standard Time, bill-conner [at] att.net writes: > I don't have the exact details but I believe that in fact the NFPA itself - > as well as the fire service - all are ancestors of insurance companies and > organizations. The earliest professional fire service in this country was, > I believe, firefighters paid by insurance companies. Owners of buildings > would pay for fire insurance and the insurance company would hire > firefighters and buy equipment. There were in some areas competing > insurance companies - as now - but each with it's own fire service. > Typically the building would display a cast iron placard indicating that the > > building was insured by such and such and if you were the such and such > fire service, you fought the fir. If it was a rival company, you let it > burn. Imagine that - fire service for profit. Indeed, it was so. > > But that's history - which is what I thought the original poster was > referring to - and Karl is absolutely correct that the current NFPA is not > unduly influenced by the interests of insurance companies. I didn't say that it was. But, insurance companies, municipalities, impose additional regulation. This makes it a jungle for an honest, competent, electrical installer. If I am one such, I know the codes, and follow them. But, what can I do if some lunkhead councilman or insurance company person (how many insurance companies employ ONE electrical engineer), decides to change, or add to, the rules. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <60.508d6ab0.2f58bba3 [at] aol.com> Date: Thu, 3 Mar 2005 14:12:35 EST Subject: Re: split tux question In a message dated 03/03/05 16:44:03 GMT Standard Time, cjflower [at] uillinois.edu writes: > Ah. Plaza Suite, eh? > We used Velcro for the nice rip sound. And sewed it sparingly to keep the > Velcro from showing or separating too early. Just finished lighting this. We used a velcro rip-out lining. Frank Wood ------------------------------ Date: Thu, 3 Mar 2005 14:21:40 -0500 (EST) From: Boyd Ostroff Subject: Re: Annotated Resumes In-Reply-To: Message-ID: References: On Thu, 3 Mar 2005, Beth Martell wrote: > We are moving a number of our Grads from the standard > list resume to the annotated resume format. Guess I'm way behind the times. I have no idea what you're talking about! My general thoughts on resumes: use any format you like as long as it's easy to comprehend when I quickly scan through it. If you're a student then really keep it short and sweet. I don't want to know about every college show where you ran the light board. Group all that stuff together under a broad university experience heading. If you designed something significant then it's fine to list that separately. But the general principle is DON'T PAD IT just to fill up space. Personally I get a little tired of seeing so many resumes which adhere too rigidly to some "standard." Where do these come from? Don't get artsy or anything, but show a little creativity in the layout and design of the page. But most of all, communicate clearly. Most people won't spend much time looking at your resume so you'd better make it easy to spot your strengths at a glance. And *please* don't put a paragraph describing your "life goals"... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Thu, 03 Mar 2005 13:28:56 -0600 Subject: Re: Painting S4 Lens From: Greg Persinger Message-ID: In-Reply-To: Sean, Thanks for taking my post in stride. I figured you had a stupid day and just misread the question which is why I answered as I did. I figured you'd have a "Big Duh" moment when you read it. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 3 Mar 2005 14:32:18 EST Subject: Re: Annotated Resumes In a message dated 3/3/05 2:24:01 PM, ostroff [at] operaphilly.com writes: << And *please* don't put a paragraph describing your "life goals"... >> Boyd, , I couldn't agree more, , two things about resume's One , the laughs I get at the "Career Objectives" or "Life Goals" Come on now, if most of us were honest we would say "Replace Michael Eisner before I turn 30" which would perhaps be truthful but certainly laughable. The only "Career Objective" on a resume I find acceptable is "To be as successful in this industry as is humanly possible" Secondly, the number of people in the performing arts who mistake "Principle" for "Principal" when describing their role in a show, company, etc. I have seen the resumes / bios of quasi "stars" who have this mistake in them. It's the single most common spelling error in the performing arts and entertainment biz I would think. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Thu, 3 Mar 2005 15:10:24 -0500 (EST) From: Boyd Ostroff Subject: Re: Annotated Resumes In-Reply-To: Message-ID: References: On Thu, 3 Mar 2005 IAEG [at] aol.com wrote: > The only "Career Objective" on a resume I find acceptable is > "To be as successful in this industry as is humanly possible" OK, but really I would just leave that out. You're only filling up space and stating the obvious. If you said "to become a technical director" or something of that nature, then maybe it would help me understand that you're working your way up. It might be helpful to know that a candidate aspires to be a stage manager as opposed to using it as a stop along the way to being a director. Also, I think "career objectives" is different from "life goals" where you say you want to live in a nice neighborhood, buy your dream house and raise 3 kids... > Secondly, the number of people in the performing arts who mistake > "Principle" for "Principal" when describing their role in a show I agree. I prefer seeing a resume from somebody with "no principles." | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: "Jeremiah Minh Greenblatt" Subject: RE: Annotated Resumes Date: Thu, 3 Mar 2005 15:57:35 -0500 Message-ID: In-Reply-To: " If you said "to become a technical director" or=20 something of that nature, then maybe it would help me understand that=20 you're working your way up." I completely agree with this observation but would offer that such = nuanced information, of the type not easily gleaned directly from the resume, = should be explained in a cover letter not in a bullet-point within the = document. - J.Minh ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F1602005B [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: RE: painting S4 Lense TUBES Date: Thu, 3 Mar 2005 13:18:50 -0800 Our building has 50, 36, 26, 19 and 10 deg barrels. Prior to my arrival, they were marked with colour paint pens on the sides of the gel slots, the front of the bottom gel slot, and the triangle on top where the gel clip is. This allows you to see from any side what the marking is. Make the mark big enough (1") and you can discern the marking from 20' in the air. White for 19, red for 26, yellow for 36. (not the greatest choice, white vs. yellow, but the 36s are just extra, I don't use any in the house hang.) They markings stand up well. I don't think it would be necessary to paint a ring around the barrel (if that was the plan). Sounds like overkill to me. The 50s were a later addition, so I just write 50 on the barrel end a few times. The 10 deg stand out by themselves well enough. Andrew M. Riter Head Lighting Technician Chan Centre ------------------------------ Message-ID: <422787F1.B7E1F2B1 [at] cybercom.net> Date: Thu, 03 Mar 2005 16:56:01 -0500 From: Dale Farmer Subject: Re: New Venture References: Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi Everyone, > > Some of you probably know that in December I sold Hall Associates, Inc. to > Tracy Nunnally. Since then, I have been doing a few jobs for Tracy while > developing a couple of new ventures. One venture is a company that will > design, manufacture, and sell special rigging hardware. My partner in this > venture (a former helicopter engineer) and I have been working on a couple > of items for which we feel there is a market: a cable snatch block for 1/8" > aircraft (that we hope to sell for under $50), a similar rope snatch block > for 5/8" rope, and a special clip for performer flying/stunt/circus work > (very small and cannot be opened under load). > > We are looking for other items that we can produce in volume and be able to > offer at a good price. Cable drums has been suggested by one person and we > are looking into a common design for these. My question for you is what > special hardware item would you like to see available? You can post your > suggestions here or email me privately. I may contact you for more details > or rough sketches. Nothing is off limits for discussion. Looking forward > to hear your ideas. > > -Delbert > > Delbert L. Hall > 423-773-HALL (4255) Shipping/storage trays for C clamps. I'm tired of having the bottom of an overloaded milk crate full of C clamps fall out and make me thankful I was wearing safety shoes. Not really a rigging thing, I know. Shackles with a lanyard on the pin or a captive pin so I don't need that third hand at the top of a ladder, or drop the pin onto someone's head. Quick reference cards with load ratings, formulas, safety margins, etc. Durable and readable. Different cards reflecting different country's standards and practices. Truss rigging diagrams, torque settings, etc. --Dale ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <78.6e14f6ce.2f58ecfd [at] aol.com> Date: Thu, 3 Mar 2005 17:43:09 EST Subject: Re: painting S4 Lense TUBES In a message dated 03/03/05 21:20:29 GMT Standard Time, chanlights [at] exchange.ubc.ca writes: > Our building has 50, 36, 26, 19 and 10 deg barrels. Prior to my arrival, > they were marked with colour paint pens on the sides of the gel slots, the > front of the bottom gel slot, and the triangle on top where the gel clip is. We just use S4 Zooms. To be fair, with our lighting bridge lay out, rather than flown bars, it's easier, and we pay for it with a lower effiency. But it does allow the designer a much freer choice of angle. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <86a7b1ce5a2ff2b9964d9b5839e02ceb [at] tufts.edu> From: Paul Toben Subject: Re: Painting S4 Lens Date: Thu, 3 Mar 2005 19:23:53 -0500 We just use a silver sharpie to label all sides of the tube with the number. I find that numbers in silver sharpie stick around longer than white paint pens, and it's certainly nicer than a rainbow of lens tubes to look at. I can read the numbers at about 25' with no problem. That's just the way we do it. If you're stuck on doing it with paint, pick up the Krylon stuff and be sure to make a nice mask so you don't get paint everywhere on the tube. Less is more here. Hope that helps, Paul ------------------------------ Message-Id: <6.2.0.14.2.20050303204631.02b88268 [at] mail.hstech.org> Date: Thu, 03 Mar 2005 20:49:48 -0500 From: "Scott C. Parker" Subject: miniature pulleys, loft blocks, etc. for models? In-Reply-To: References:

Does anyone have a supplier for miniature items I can use to make a rigging system model? We're also going to be working on trap doors, tracking units, and such. Pulleys, casters, tiny shackles, that sort of thing. 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: 212-346-1681 Scott C. Parker ------------------------------ Message-Id: <5.2.0.9.0.20050303213428.02cebe98 [at] pop.lightlink.com> Date: Thu, 03 Mar 2005 21:42:02 -0500 From: John Bracewell Subject: Re: Annotated Resumes In-Reply-To: References: I'd pretty much agree with everything that Boyd and Keith have said. As for "Objective" or "Goals," my take is call yourself what you want your resume to say you are and do it right at the top of the page. E.g., John Bracewell Sound Designer Nicely centered or at least placed in a manner that shows that you have some sense of organization and design. I can't tell you how many resumes and even C.V.'s (which are supposed to contain everything you've ever done), that we've looked at and put on the reject pile because they were padded--such as same event located in different places under different headings. Like Boyd, I'm not sure what is meant by an "annotated resume." Do you mean something like this? Spring, 2005 _Five Women Wearing the Same Dress_ Sound Design Selected and edited music. Created sound effects. Or did you mean some other format? I don't mind reading to find out real information, but I hate reading more than is essential. My general impression is that most people in this business feel pretty much the same way. At least, that's the attitude that I've most often encountered. -- JLB ------------------------------ Message-Id: <6.2.0.14.0.20050303210204.041b7150 [at] mail.insightbb.com> Date: Thu, 03 Mar 2005 21:08:11 -0500 From: Mike Brubaker Subject: Re: miniature pulleys, loft blocks, etc. for models? In-Reply-To: References:

How small? Most sailing equipment suppliers have blocks in the 1" range. That might get you to 1/8 scale or 1/12 scale, depending on what you're starting with. Mike At 08:49 PM 3/3/2005, Scott C. Parker wrote: >Does anyone have a supplier for miniature items I can use to make a >rigging system model? We're also going to be working on trap doors, >tracking units, and such. >Pulleys, casters, tiny shackles, that sort of thing. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: Free scenery in NYC Date: Fri, 4 Mar 2005 00:37:03 -0500 Message-ID: <00c101c5207c$322694f0$6801a8c0 [at] Dell> In-Reply-To: City Lights Youth Theatre has various and sundry scenic items available to anyone who can give them a good home. These include: 2- 4'x8' platforms 2- 4'x6' platforms 1- 2'x8' platform 1- 2'x6' platform Various pieces of lumber, including 1 full sheet of 3/4" birch plywood. ...and one castle, suitable for climbing. Items must be picked up Sunday evening at the ATA Theatre, on 54th Street, between 8th and 9th. Please contact City Lights' tech director, Jessie Sullivan, at (631)697-7587, or email her at clash5 [at] aol.com ------------------------------ Message-ID: <4227FA00.9060901 [at] execpc.com> Date: Fri, 04 Mar 2005 00:02:40 -0600 From: Tim & Kristee Catlett Reply-To: catlett [at] execpc.com Subject: Re: Painting S4 lens References: In-Reply-To: I have found that the best way to mark S4 lens barrels is with Kyolan High-Temp (although almost any decent spray will work). The way we do it at our theatre is as follows: N/C = 19 deg. Red = 26 deg. White = 36 deg. Blue = 50 deg. Our process is to cut a piece of Masonite the size of a gel frame and we then insert that to mimimize overspray. Next we place the barrel lens-down first, spray the three sides, then turn lens-up and finish the job. If you use a different piece of Masonite for each color then you needn't worry about stray wet paint marks and the whole process is incredibly quick. In addition, if you work in educational theatre, as we do, your beginning students can be told simply to grab a "red 26 deg." instead of just the angle designation. The combination in the instruction speeds up the learning process considerably. Also, from almost anywhere on stage you can immediately count what you have in the air or on the ground which is handy in those 100-200 instrument light hangs. Tim Catlett Asst. Technical Director Shorewood High School Drama Milwaukee, WI ------------------------------ Message-ID: <8728406.1109918075661.JavaMail.root [at] waldorf.psp.pas.earthlink.net> Date: Fri, 4 Mar 2005 01:34:35 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Painting S4 Lens Not an issue here (that I'm aware of) as we have a unique color code. Well, unique as compared to the other venues that tend to ask for gear. As for how WE handle rented/borrowed tubes: We put flourescent spike tape on top of the yoke. We have a large inventory (~300 S4 Lekos), so any additional tubes get used over the stage where the top of the yoke cannot be seen. The label is really confirmation for the pool of folks we know well, and us. If they're working at venue X and suspect (based on the color on the tube) that it doesn't belong there, they can check. Also, in the grande scheme of things, we don't lend out that many S4 lekos. We use a good amount of them on our own productions, and we only will lend to folks we trust. Hey, at least I know what we're talking about today! *sigh* --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Douglas McCracken I wrote wrote: >> Because we lend gear out pretty frequently, >> we're also starting to put initials on the part of the tube >> that is hidden when in use. > >Douglas McCracken wrote: >This is a hassle when we need to return borrowed/rented tubes. You need to >pull out the complete lens to see who it belongs to. So of course, we label >ours on the exposed portion. That way we know which ones are not ours by >process of elimination. But if all tubes were labeled on the hidden >part...... ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: catlett [at] execpc.com Subject: RE: Painting S4 lens Date: Fri, 4 Mar 2005 00:01:54 -0800 In-Reply-To: Message-ID: AND YOU ARE PROTECTED FROM THE SPRAY PAINT WHICH REMAINS IN THE AIR FOR TWO HOURS WITH WHAT RESPIRATOR? GOOD IDEA. DOOM -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tim & Kristee Catlett Sent: Thursday, March 03, 2005 10:03 PM To: Stagecraft Subject: Re: Painting S4 lens For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have found that the best way to mark S4 lens barrels is with Kyolan High-Temp (although almost any decent spray will work). The way we do it at our theatre is as follows: N/C = 19 deg. Red = 26 deg. White = 36 deg. Blue = 50 deg. Our process is to cut a piece of Masonite the size of a gel frame and we then insert that to mimimize overspray. Next we place the barrel lens-down first, spray the three sides, then turn lens-up and finish the job. If you use a different piece of Masonite for each color then you needn't worry about stray wet paint marks and the whole process is incredibly quick. In addition, if you work in educational theatre, as we do, your beginning students can be told simply to grab a "red 26 deg." instead of just the angle designation. The combination in the instruction speeds up the learning process considerably. Also, from almost anywhere on stage you can immediately count what you have in the air or on the ground which is handy in those 100-200 instrument light hangs. Tim Catlett Asst. Technical Director Shorewood High School Drama Milwaukee, WI ------------------------------ End of Stagecraft Digest #315 *****************************