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 20297944; Sat, 05 Mar 2005 03:00:43 -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 #316 Date: Sat, 05 Mar 2005 03:00:17 -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 #316 1. Re: miniature pulleys, loft blocks, etc. for models? by "Delbert Hall" 2. O crew by 3. Re: O crew by 4. Re: Designer/Stage Manager Relationship by 5. Re: Touring Parts (Finding 5-pin XLR) by 6. Re: Getting around in Toronto by Villem Teder 7. What brand of white marker (was Painting S4 Lens) by Michael Powers 8. Re: Annotated Resumes by Beth Martell 9. Re: Annotated Resumes by "James Smith, www.theatrewireless.com" 10. Re: Annotated Resumes by Boyd Ostroff 11. Re: Annotated Resumes by Stephen Litterst 12. Lighting DVDs by "Rob Carovillano" 13. Re: Annotated Resumes by "Paul Schreiner" 14. Re: Lighting DVDs by "Steven J. Backus" 15. Re: Annotated Resumes by Stephen Litterst 16. Re: Annotated Resumes by "Paul Schreiner" 17. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 18. Re: muffling tap shoes by Michael Heinicke 19. Re: muffling tap shoes by "Jon Ares" 20. Re: miniature pulleys, loft blocks, etc. for models? by "Frank E. Merrill" 21. Re: Lighting DVDs by Michael Beyer 22. Re: miniature pulleys, loft blocks, etc. for models? by Bill Sapsis 23. Re: Lighting DVDs by David Wetmore 24. Re: Lighting DVDs by "C. Andrew Dunning" 25. Stage Expo preview by Jerry Durand 26. Re: Lighting DVDs by IAEG [at] aol.com 27. Re: miniature pulleys, loft blocks, etc. for models? by Jerry Durand 28. Re: miniature pulleys, loft blocks, etc. for models? by Mark O'Brien 29. Re: Annotated Resumes by June Abernathy 30. Re: Lighting DVDs by "Josh Ratty" 31. Re: Lighting DVDs by "C. Andrew Dunning" 32. Re: miniature pulleys, loft blocks, etc. for models? by IAEG [at] aol.com 33. Re: miniature pulleys, loft blocks, etc. for models? by Bill Sapsis 34. Re: Annotated Resumes by "Tom Heemskerk" 35. Re: Lighting DVDs by FrankWood95 [at] aol.com 36. Re: Lighting DVDs by Herrick Goldman 37. Re: Lighting DVDs by FrankWood95 [at] aol.com 38. Re: Lighting DVDs by FrankWood95 [at] aol.com 39. Re: Lighting DVDs by "Tony" 40. Re: Lighting DVDs by FrankWood95 [at] aol.com 41. Re: Lighting DVDs by Boyd Ostroff 42. Low-budget MSC by Jonathan Zitelman 43. James Royal Huddleston in memorandom by "Brian D Shipinski" 44. Re: Lighting DVDs by "Rob Carovillano" 45. Re: Low-budget MSC by Michael Hairston 46. Re: Lighting DVDs by Bill Sapsis 47. Re: Annotated Resumes by John Bracewell 48. Re: Low-budget MSC by "Chris Warner" 49. Re: Annotated Resumes by megironda [at] att.net (Gerry G.) *** 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: In-Reply-To: From: "Delbert Hall" Subject: RE: miniature pulleys, loft blocks, etc. for models? Date: Fri, 04 Mar 2005 06:28:24 -0500 Scott - Contact Tonya or Lucinda at Matt Sweeney Special Effects Inc. Van Nuys, California (818) 902-9354 office (818) 902-1513 fax Matt has 3/64" diamondblocks listed on his web site for $30 each, but I am sure that he has smaller blocks for models (they run about $15 each, IIRC). Matt has minature shackles for the blocks. I was at his shop in January and saw them. These are real ball-bearing pulleys, just very smaller. Matt told me that Cirque buys them by the hundreds for building models. Say "Hi" for me. -Delbert Delbert L. Hall 423-773-HALL (4255) > >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 > ------------------------------ From: Subject: O crew Date: Fri, 4 Mar 2005 9:33:12 -0500 Message-Id: <20050304143310.OVM4787.fed1rmmtao02.cox.net [at] smtp.west.cox.net> >There has been some turnover recently with several "O" crew moving to >our new shows Zumanity and "KA" or even "crossing over to the dark >side" at Steve Wynn's new show. :-) > >Who in particular are you looking for? Just before 'O' started up in 'Vegas, there was an ad for scuba electricians, willing to train the 'scuba' part. A buncha guys from Tucson went up to try to get the gig and never came back, and I was wondering if anyone stayed with 'O'. No one in particular. I don't go to 'Vegas often, nor Phoenix, so when I do I try to get all my visiting in at once! Chris Babbie OTR Location Sound ------------------------------ From: Subject: Re: O crew Date: Fri, 4 Mar 2005 9:34:08 -0500 Message-Id: <20050304143408.GXLB22013.fed1rmmtao11.cox.net [at] smtp.west.cox.net> >"Guy, , , I am your father " Don't get me started. There are a serious 'Wars fans on 'AIDA", and there are just too many references to keep a straight face. Next time you see Thad, tell him, "Help me Radames, you're our only hope", or "Aida, join the Nubians, I am your father!". Then, just sit back and watch the spit-take. Chris Babbie OTR Location Sound ------------------------------ From: Subject: Re: Designer/Stage Manager Relationship Date: Fri, 4 Mar 2005 9:35:20 -0500 Message-Id: <20050304143520.VZDA9923.fed1rmmtao01.cox.net [at] smtp.west.cox.net> >I understand you, but I think you are wrong. If I am credited as LD, then I >will damn well design the lighting, as the Director wants it and as the >facilities permit. There you go again, Frank, tilting at windmills. At least Don Q was armed. 'Wrong' is such a black and white word, and you wield it with so little to back it up. Yes, you should decide the design. No one has said that you shouldn't. Yes, you will probably run it. You should acknowledge that this is unusual in the professional world. Most designers design and then leave the design IN THE HANDS OF THE SM. The operator will push the button, but THE SM WILL KEEP THE DESIGN AS THE DIRECTOR left it. The SM is the representative of the director and the design staff after the show opens and they (for the most part) go home. Leaving this to the operators would be possible if each operator had that kind of a relationship (trust and intuitive responsiveness) with both the designer that they operate for, and ALL THE OTHER OPERATORS AND RUNNING CREW ON THE DECK. Very often, crew and design staff meet just before the show begins to tour, and meshing these different personalities and styles would take years without someone (the SM) to keep the wheels greased. This doesn't even take into account the local running crew that has just met the road crew days (maybe) before opening. Trying to run a road show in the same manner that you run a show would be a disaster, with very few exceptions. We understand that you do things a bit differently, in your specific circumstances. It would be nice if you were to take our specific circumstances into account before you pronounced a fine, working system 'wrong'. Chris Babbie OTR Location Sound ------------------------------ From: Subject: RE: Touring Parts (Finding 5-pin XLR) Date: Fri, 4 Mar 2005 9:36:09 -0500 Message-Id: <20050304143609.DUJQ13104.fed1rmmtao07.cox.net [at] smtp.west.cox.net> >Radio Shack does not stock 5-pin XLR connectors. 5-pin connectors are >non-standard for the home-audio users that Radio Shack tends to supply. >Radio Shack does, however, carry standard 3-pin XLR audio connectors, I musta missed the original post, but touring parts should NOT be purchased at Rat Shack. Parts to get you through the next show, maybe. Parts to make do until a REAL electronics parts store opens, possibly. Parts to replace old and worn parts on some sort of touring package, never. Chris Babbie OTR Location Sound ------------------------------ Message-Id: <3.0.6.32.20050304095014.00808c40 [at] mail.interlog.com> Date: Fri, 04 Mar 2005 09:50:14 -0500 From: Villem Teder Subject: RE: Getting around in Toronto Stuart wrote: > >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... > If you have to get to the south part from the subway, (like the last USITT convention), then it makes sense, as you have to go up over the railway tracks anyway. >> 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. > I went by there yesterday to look, and there is no tunnel from the food court on the north side to the Convention Centre. And the PATH exit is in the middle of a long block between the traffic lights! Better to stay above ground at the east end (Workers Comp building?) and cross Front Street, and duck into the hotel and head to the convention part from there, inside. Mind you, if you head to the west end of the PATH, in the CBC building lobbies there are displays of broadcast equipment fro over the years >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. > Forgot about those, as I havn't worked there in a long time. Many idiosyncracies there. Too numerous to discuss without beer. Have they fixed the loading dock to the freight elevator for the theatre, or is it still as stupid? >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 > Specifically for March 14 to 20, and another one for the following week. Seems to cover the school break periods. Like the monthly pass, it seems to be based on the bulk-discounted rate for two trips a day for a week, 14 rides. Unless you know you plan on making that many trips, the 5 or 10 bulk tickets/tokens might be cheaper. And speaking of cheap, TTC fares are going up this Sunday Mar 6. Single cash fare will be $2.50 (C), 5 tickets/tokens for $10.00, 10 for $20.00, the day pass $8.00, and the special week pass $28.50 Regards, Villem Teder ------------------------------ Date: Fri, 04 Mar 2005 10:15:35 -0500 From: Michael Powers Subject: What brand of white marker (was Painting S4 Lens) In-reply-to: Message-id: <42287B97.1000500 [at] theater.umass.edu> References: Wood Chip-P26398 writes: What brand of white marker? Every white marker I have used to date sucked. Pentel 100W White. It's actually a white enamel in a spring loaded, felt tip marker. Michael Michael Powers, Technical Director UMass Amherst 112 FAC West Amherst, Ma. 01003 413-545-6821 Voice 413-577-0025 Fax mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Message-ID: <20050304154559.39391.qmail [at] web51604.mail.yahoo.com> Date: Fri, 4 Mar 2005 07:45:58 -0800 (PST) From: Beth Martell Subject: Re: Annotated Resumes In-Reply-To: Hi all - Just to clarify, the format that I am looking for is... Job Title or Name of Company or both - a couple of very specific points about what you did. - often the size of the shop or the budget - each heading should have some unique bullet. For instance... Victory Gardens Theatre Technical Director (include dates if you really want) - organize the safe construction of scenery for 2 house productions - budgets between $2000-$4000 with 4 job-in carpenters. - maintain the four-theater complex Atheneum Theatre Technical Director - 2000 road productions/events over ten years - Prepare the theatre for incoming events including light hang, soft goods hang, hire crews (up to 25 stagehands), and minor scenic construction. - Coordinate with touring crew and arrange for technical needs of incoming productions - perform yearly maintenance review for rigging, lighting, sound, and warbrobe equipment. I'm making things up, but you probably get the idea. Each job or production requires special skills. I'd rather know some details about 4 productions or companies than know absolutely nothing about 80 (other than the names of the shows). We don't tend to encourage objective statements, either. I don't want to know what your life long goals are. I want to know why you are qualified for my job. Along the same lines, I don't want to see your dog training expertise detailed in the skills section either. So if anyone has a resume like this and is willing to share, I could use some other examples. Or if you really like your resume, think it's a good format and want to pass it along, I'm open to that too. Feel free to change the names to protect the guilty. 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: "James Smith, www.theatrewireless.com" Subject: RE: Annotated Resumes Date: Fri, 4 Mar 2005 11:09:08 -0500 In-Reply-To: Message-Id: <20050304160909.QOWT1567.tomts25-srv.bellnexxia.net [at] p3m866> > 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? I've been following this thread with interest, but I'm not clear about the original question. What is a "standard list resume" vs. an "annotated resume"? My apologies if it's nothing more that what has already been discussed... Jim www.theatrewireless.com ------------------------------ Date: Fri, 4 Mar 2005 11:14:09 -0500 (EST) From: Boyd Ostroff Subject: Re: Annotated Resumes In-Reply-To: Message-ID: References: On Fri, 4 Mar 2005, James Smith, www.theatrewireless.com wrote: > What is a "standard list resume" vs. an "annotated > resume"? As far as I can tell, the only person who can answer that is the one who started this thread... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Fri, 04 Mar 2005 11:20:00 -0500 From: Stephen Litterst Subject: Re: Annotated Resumes Message-id: <42288AB0.4BEB72C2 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "James Smith, www.theatrewireless.com" wrote: > --------------------------------------------------- > I've been following this thread with interest, but I'm not clear about the > original question. What is a "standard list resume" vs. an "annotated > resume"? My apologies if it's nothing more that what has already been > discussed... From context I think it breaks down thusly... The standard list format would be Technical Supervisor, Ithaca COllege. 2000-present Annual Gala Production Manager, Hangar Theatre. 2004. Master Electrician, Richmond Ballet. 1996-2000 Light Board Operator, Opera Festival of New Jersey. 1997. Etc... Annotated format would be Technical Supervisor, Ithaca COllege. 2000-present Serve as House Electrician for all Theatre Dept productions Supervise all student Master Electricians and lighting crews Teach one class a year in Basic LIghting Technology Annual Gala Production Manager, Hangar Theatre. 2004. Supervise all production elements for annual gala Yadda Yadda Yadda Master Electrician, Richmond Ballet. 1996-2000 Supervise local crews ranging from volunteer to union stagehands Prepare shop orders for all rentals. etc.. My current resume uses a mix of both list and annotations. I annotate anything that isn't obvious from the job title (Technical Supervisor, for instance). But standard production titles just get listed with location and dates. I find at the student level that few students have anything unusual enough to require annotating. I also believe that the space required to annotate can rob a student of the ability to fit the volume of their work on the page. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <000e01c520d8$10c44490$a8a44481 [at] rcarovil> From: "Rob Carovillano" References:

Subject: Lighting DVDs Date: Fri, 4 Mar 2005 11:34:28 -0500 What are everyone's favorite Concert DVDs that showcase excellent designs? Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ------------------------------ Subject: RE: Annotated Resumes Date: Fri, 4 Mar 2005 12:23:43 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C744 [at] exchange.rmwc.edu> From: "Paul Schreiner" > > What is a "standard list resume" vs. an=20 > > "annotated resume"? =20 >=20 > From context I think it breaks down thusly... >=20 > The standard list format would be >=20 > Technical Supervisor, Ithaca COllege. 2000-present > Annual Gala Production Manager, Hangar Theatre. 2004. > Master Electrician, Richmond Ballet. 1996-2000 > Light Board Operator, Opera Festival of New Jersey. 1997. Etc... >=20 > Annotated format would be >=20 > Technical Supervisor, Ithaca COllege. 2000-present > Serve as House Electrician for all Theatre Dept productions > Supervise all student Master Electricians and lighting crews > Teach one class a year in Basic LIghting Technology I'd say that the reference to "standard list" would be describing the breakdown of production roles on a show-by-show basis, like so: Scene Designer The Dining Room Niagara University Technical Director No, No Nanette " " Stage Manager Company " " ...ad infinitum. ------------------------------ Date: Fri, 4 Mar 2005 10:28:21 -0700 (MST) From: "Steven J. Backus" Subject: Re: Lighting DVDs In-Reply-To: Your message of Fri, 4 Mar 2005 11:34:28 -0500 Message-ID: "Rob Carovillano" writes: > What are everyone's favorite Concert DVDs that showcase excellent designs? Metallica S & M The San Francisco philharmonic plays with Metallica. Steve ------------------------------ Date: Fri, 04 Mar 2005 12:32:05 -0500 From: Stephen Litterst Subject: Re: Annotated Resumes Message-id: <42289B95.38FDEF16 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Paul Schreiner wrote: > --------------------------------------------------- > I'd say that the reference to "standard list" would be describing the > breakdown of production roles on a show-by-show basis, like so: > > Scene Designer The Dining Room Niagara University > Technical Director No, No Nanette " " > Stage Manager Company " " > ...ad infinitum. Ok. That works, too. Maybe we need ESTA to form a "Resume Working Group" to develop standard definitions for "List Format" and "Annotated Format?" Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: Annotated Resumes Date: Fri, 4 Mar 2005 12:43:03 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C745 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Along the same lines, I don't want to see your dog > training expertise detailed in the skills section > either. OTOH, I always found it helpful (especially at large gatherings of potential employees, like SETC) to have people include one "non-standard" skill on their resume as a mnemonic device, even if it is completely tangential to normal theatre-related skills. It made wading through a hundred or so resumes a lot easier if I could remember something unique and particular to that specific individual... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 4 Mar 2005 13:36:47 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 04/03/05 14:36:14 GMT Standard Time, psyd [at] cox.net writes: > >I understand you, but I think you are wrong. If I am credited as LD, then I > >will damn well design the lighting, as the Director wants it and as the > >facilities permit. > > There you go again, Frank, tilting at windmills. At least Don Q was armed. > 'Wrong' is such a black and white word, and you wield it with so little to > back it up. Yes, you should decide the design. No one has said that you > shouldn't. Yes, you will probably run it. You should acknowledge that this > is unusual in the professional world. Most designers design and then leave > the design IN THE HANDS OF THE SM. The operator will push the button, but > THE SM WILL KEEP THE DESIGN AS THE DIRECTOR left it. I prefer not to run it myself, but to have a competent operator. And I should wish to repkrase your shout as: "the SM will keep the design as the LD left it". Having a very leisurely rehearsal schedule (two weeks from get-in to opening), I can walk round the theatre looking for deficiencies in the lighting, and fix them. Also remember that I am writing of an amateur theatre. This means that the SM, DSM, and the whole crew have daytime jobs. Normally, the work is done between seven and eleven of an evening, and all day on Sundays. But it also implies harassed SMs. They have enough trouble getting the set built on stage, painted, and furnished without having to deal with my problems. We are, in many ways, more versatile. In my time, I have been SD, LD, SXOP, LXOP, SM, and DSM. Some while holding down an awkward job. Working nine-to-nine shifts doesn't fit into the pattern. Also, you probably work with professional SMs. I do not. Some are good, and some are bad. I prefer to trust a good operator, working from an accurate script. ven a bad operator, working from a good script, ought to get it right most of the time. > We understand that you do things a bit differently, in your specific > circumstances. It would be nice if you were to take our specific > circumstances into account before you pronounced a fine, working system ' > wrong'. 'Right' and 'Wrong' are personal judgements, based on your experiences. All I ever intend is to say that there might be another way to do things which might work better. Frank Wood ------------------------------ Message-ID: <20050304191639.98310.qmail [at] web81701.mail.yahoo.com> Date: Fri, 4 Mar 2005 11:16:39 -0800 (PST) From: Michael Heinicke Subject: Re: muffling tap shoes In-Reply-To: --- Jon Ares wrote: > Pro tappers usually have tight taps What do you mean by "tight taps"? Do you mean that they are attached to the shoes tighter? What effect does this have over all? Sorry to go OT, just trying to learn a little more here... Mike H ------------------------------ Message-ID: <000d01c520ef$6a24db00$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: muffling tap shoes Date: Fri, 4 Mar 2005 11:21:49 -0800 >> Pro tappers usually have tight taps > > What do you mean by "tight taps"? Do you mean that > they are attached to the shoes tighter? What effect > does this have over all? Yes, attached tighter. Less clanking. Effective 'tapping' is created through body control and a light touch, but it's not uncommon for newer dancers to have looser taps, as to create more 'noise' with less effort. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Fri, 4 Mar 2005 14:39:28 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1367508421.20050304143928 [at] tcon.net> Subject: Re: miniature pulleys, loft blocks, etc. for models? In-Reply-To: References:

Hello all!, Thursday, March 3, 2005, Scott Parker wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > Does anyone have a supplier for miniature items I can use to make a rigging > system model? Somewhere down in the catacombs of this building there is a box of miniature counterweight rigging machinery that my Dad made back in 1938. The little lead counterweights are really cool...about 3" long by about 3/4" wide by maybe 1/4" thick. I remember using them for fishing weights about 50 years ago.... Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: <468d228205030411425d3a8cf7 [at] mail.gmail.com> Date: Fri, 4 Mar 2005 14:42:44 -0500 From: Michael Beyer Reply-To: Michael Beyer Subject: Re: Lighting DVDs In-Reply-To: References: pink floyd pulse On Fri, 4 Mar 2005 10:28:21 -0700 (MST), Steven J. Backus wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Rob Carovillano" writes: > > > What are everyone's favorite Concert DVDs that showcase excellent designs? > > Metallica S & M > > The San Francisco philharmonic plays with Metallica. > > Steve > -- www.mjblightdesign.com ------------------------------ Date: Fri, 04 Mar 2005 15:01:15 -0500 Subject: Re: miniature pulleys, loft blocks, etc. for models? From: Bill Sapsis Message-ID: In-Reply-To: on 3/4/05 2:39 PM, Frank E. Merrill at Lamplighter [at] tcon.net wrote: >> Does anyone have a supplier for miniature items I can use to make a rigging >> system model? Spoke with a friend who used to make theatrical models all the time. (she got a real job). She used to use model railroad stuff. wheels for pulleys etc. Also, there are some really small pulleys in venetian blind hardware. zat help? 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 ------------------------------ In-Reply-To: References:

Message-Id: <170264ce4f2f1ce073648b1849e20bf3 [at] mac.com> From: David Wetmore Subject: Re: Lighting DVDs Date: Fri, 4 Mar 2005 12:04:35 -0800 Ramstine shows some good old school stuff David Wetmore davidfitwe [at] wetmoreproductions.com Hog and ETC programming VL Tech On Mar 4, 2005, at 11:42 AM, Michael Beyer wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > pink floyd pulse > > > On Fri, 4 Mar 2005 10:28:21 -0700 (MST), Steven J. Backus > wrote: >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >> "Rob Carovillano" writes: >> >>> What are everyone's favorite Concert DVDs that showcase excellent >>> designs? >> >> Metallica S & M >> >> The San Francisco philharmonic plays with Metallica. >> >> Steve >> > > > -- > www.mjblightdesign.com > ------------------------------ Reply-To: From: "C. Andrew Dunning" Subject: RE: Lighting DVDs Date: Fri, 4 Mar 2005 14:22:09 -0600 Organization: Landru Design In-Reply-To: Message-ID: Though not a concert, Chicago (Jones, Zellweger, Gere, etc.) has some great examples of tastefully-done concert-style lighting. VERY well done... C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of Rob Carovillano >Sent: Friday, March 04, 2005 10:34 AM >To: Stagecraft >Subject: Lighting DVDs > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >What are everyone's favorite Concert DVDs that showcase >excellent designs? > >Rob Carovillano >Technical Director >Bluett Theatre >Saint Joseph's University >610-660-1044 >rcarovil [at] sju.edu > ------------------------------ Message-Id: <6.2.1.2.0.20050304121301.029b8c40 [at] localhost> Date: Fri, 04 Mar 2005 12:26:06 -0800 From: Jerry Durand Subject: Stage Expo preview We've completed the flyer for the products we'll be showing at the Stage Expo, it's on our server here: http://interstellar.com/products/Flyer.pdf We'll have a Mac, PCs, and a PIC processor controlling our 4201 boxes which will be running the DC Dimmers, an RGB LED flood system, and a regular AC dimmer. Depending on firmware readiness, we may also have a commercial DALI architectural controller running the DALI version of the DC Dimmer. Comments, typo corrections (before we print these for the Expo) welcome. ---------- 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 ------------------------------ From: IAEG [at] aol.com Message-ID: <9b.5a99c77c.2f5a1f53 [at] aol.com> Date: Fri, 4 Mar 2005 15:30:11 EST Subject: Re: Lighting DVDs In a message dated 3/4/05 3:23:00 PM, cad [at] landrudesign.com writes: << Though not a concert, Chicago (Jones, Zellweger, Gere, etc.) has some great examples of tastefully-done concert-style lighting. VERY well done... C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >> as does the Broadway and National tour version of Chicago as well, , FYI Let's give credit where credit is due, Stage Ken Billington ( Tony Award ) Film Jules Fisher and Peggy Eisenhauer very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-Id: <6.2.1.2.0.20050304124148.03e4dc38 [at] localhost> Date: Fri, 04 Mar 2005 12:42:22 -0800 From: Jerry Durand Subject: Re: miniature pulleys, loft blocks, etc. for models? In-Reply-To: References:

At 12:01 PM 3/4/2005, you wrote: >Also, there are some really small pulleys in venetian blind hardware. > >zat help? > >Bill S. Do those come with miniature ratings? :) ---------- 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 ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: miniature pulleys, loft blocks, etc. for models? Date: Fri, 4 Mar 2005 13:49:06 -0700 Perhaps they are just a shade lower. I think the regulators turn a blind eye toward that use... Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Mar 4, 2005, at 1:42 PM, Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > At 12:01 PM 3/4/2005, you wrote: >> Also, there are some really small pulleys in venetian blind hardware. >> >> zat help? >> >> Bill S. > > Do those come with miniature ratings? :) > > > > ---------- > 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: <20050304205102.30862.qmail [at] web14122.mail.yahoo.com> Date: Fri, 4 Mar 2005 12:51:02 -0800 (PST) From: June Abernathy Subject: Re: Annotated Resumes >From: Beth Martell >Hi all >We are moving a number of our Grads from the standard >list resume to the annotated resume format. I don't know quite what you mean by "standard list resume" or "annotated resume" format. I can guess, but apparently I'm not the only one who doesn't know, or who is interested. So if you could post a little better explanation, that would be great. As for the discussion about why all resumes seem to follow a similar (and often not particularly helpful) format, or why they include useless (to us) stuff like "life goals", it is because the only books on how to put together a resume are geared for business use. They care about different things than we typically do in our industry, in terms of both content and format. Jill Charles put out a pretty good book on theatrical Headshots and Resumes as part of her Theater Directories series right before she passed away, but I don't see it listed on the Dorset Theater site where her other books are still sold. (www.theaterdirectories.com). And in any case, that book still concentrated on performer resumes, not technical ones. The short answer is there is no physical resource for theatrical resumes, which is why programs like Beth's are important. I make up or redo resumes for people I know all the time, and one of the reasons that I have any idea what a good format is is that I've seen a lot of them over the years, particularly working as a stage manager at various auditions and such. And I've listened to directors, technical directors, artistic directors, and etc. talking about what they like to see and don't like to see. Discussions like our current one are very informative. I'm interested in the comments about how "padded" some of the resumes seem, with (to you) redundant or pointless information. But, I've been told a few times that resumes often go on above a technical director or production manager to various management types who don't necessarily know what is involved in a shorthand job description, so that a little bit of (perhaps redundant to those in the know) job description is important to include. Thoughts? I've been told that theatrical resumes should be no more than one page, no matter what. Maybe two pages for someone with a great deal of experience. This means, of course, that you soon reach a need to find a way to eliminate individual credits, or group them in some way, or, likely, both. It means relegating references to a separate page pretty early on in your career. And it often means having several different versions of your resume, with a different balance of what credits are included, and in what detail and in what order. I've also been told that unless they are specifically requested, that support materials such as portfolios should not be sent along with a resume. Anyone have feelings for or against electronic resumes, like those on CD or Business Card CDs? June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Celebrate Yahoo!'s 10th Birthday! Yahoo! Netrospective: 100 Moments of the Web http://birthday.yahoo.com/netrospective/ ------------------------------ Date: Fri, 04 Mar 2005 15:21:35 -0500 From: "Josh Ratty" Subject: Re: Lighting DVDs Message-id: <002f01c520fb$ff0e3b10$06013b0a [at] Rattys> References: U2 - Elevation ----- Original Message ----- From: "Steven J. Backus" To: "Stagecraft" Sent: Friday, March 04, 2005 12:28 PM Subject: Re: Lighting DVDs > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > "Rob Carovillano" writes: > > > What are everyone's favorite Concert DVDs that showcase excellent designs? > > Metallica S & M > > The San Francisco philharmonic plays with Metallica. > > Steve ------------------------------ Reply-To: From: "C. Andrew Dunning" Subject: RE: Lighting DVDs Date: Fri, 4 Mar 2005 14:53:52 -0600 Organization: Landru Design In-Reply-To: Message-ID: Keith - >Let's give credit where credit is due... Oh, absolutely! I was just trying to specify the current movie as opposed to one of the band, "Chicago's" videos. (No offense intended toward them - I've just never seen one...) C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com ------------------------------ From: IAEG [at] aol.com Message-ID: <76.4e32c086.2f5a2568 [at] aol.com> Date: Fri, 4 Mar 2005 15:56:08 EST Subject: Re: miniature pulleys, loft blocks, etc. for models? In a message dated 3/4/05 3:50:12 PM, marko [at] email.arizona.edu writes: << Perhaps they are just a shade lower. I think the regulators turn a blind eye toward that use... Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile >> I'd love to see the warning' "Not for overhead lifting or personnel" on a sash pulley, , ; - ) keith ------------------------------ Date: Fri, 04 Mar 2005 15:59:57 -0500 Subject: Re: miniature pulleys, loft blocks, etc. for models? From: Bill Sapsis Message-ID: In-Reply-To: on 3/4/05 3:42 PM, Jerry Durand at jdurand [at] interstellar.com wrote: > Do those come with miniature ratings? :) Yes, they're in the little known Liliputian Scale. Bill 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: <29249.142.179.103.116.1109975487.squirrel [at] 142.179.103.116> In-Reply-To: References: Date: Fri, 4 Mar 2005 14:31:27 -0800 (PST) Subject: Re: Annotated Resumes From: "Tom Heemskerk" > .... But, I've been told a few times > that resumes often go on above a technical director or > production manager to various management types who > don't necessarily know what is involved in a shorthand > job description, so that a little bit of (perhaps > redundant to those in the know) job description is > important to include. Thoughts? > I'd say the "tone" of a resume (and cover letter) should be based on who the recipient is and on what the job is. That might take some research and educating guessing... If you are applying to a bona fide TD for a lighting job, you really don't want to be explaining on your resume what a Head Electrician does. The goal is to get an interview, not to impress imaginary readers six stories up from the shop floor. I strongly agree about the single page format for a resume. If your resume goes on and on, I'd say you just aren't being concise enough. > I've also been told that unless they are specifically > requested, that support materials such as portfolios > should not be sent along with a resume. > Definitely! If the ad says "Send a resume and a cover letter", then do EXACTLY that. Unless it asks for references, don't give them - they can always be asked for later, along with your hobbies, career goals, the name of your junior high school drama teacher, your driver's license number, and anything else that isn't on the resume. tom ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a8.32caebb0.2f5a423f [at] aol.com> Date: Fri, 4 Mar 2005 17:59:11 EST Subject: Re: Lighting DVDs In a message dated 04/03/05 19:43:24 GMT Standard Time, mjblight [at] gmail.com writes: > > "Rob Carovillano" writes: > > > > > What are everyone's favorite Concert DVDs that showcase excellent > designs? > > > > Metallica S & M We seem to be going down two different roads.There are those of us who light straight plays, and those who light concerts. And they are different trades. The equipment we use is the same, yes, but the use we make of it is different. Noah, I hate to impose on you, but would it be possible to split the list, so that those of us who are interested in serious stage lighting can read one part, and those who are interested in rock and pop concerts another. I see that the equipment considerations are in common. Frank Wood ------------------------------ Date: Fri, 04 Mar 2005 18:07:59 -0500 Subject: Re: Lighting DVDs From: Herrick Goldman Message-ID: In-Reply-To: Oh Frank, There you go using those words again "serious stage lighting" as opposed to "Pop concerts" I do both my friend, and I can tell you that it often takes more time and planning to light 18 songs by a diverse set of musicians than it does to light Glass Menagerie. I have a good friend who designs projections for Seattle Opera but who has also gone on tour with Hoobastank (they're a band Frank). His deigns for each are equally impressive, all the more so because he does design in both millieu(s). We all work hard and all of our work has artistic merit weather you choose to see it or not. _herrick On 3/4/05 5:59 PM, "FrankWood95 [at] aol.com" wrote: > > We seem to be going down two different roads.There are those of us who light > straight plays, and those who light concerts. And they are different trades. > The equipment we use is the same, yes, but the use we make of it is different. > > Noah, I hate to impose on you, but would it be possible to split the list, so > that those of us who are interested in serious stage lighting can read one > part, and those who are interested in rock and pop concerts another. I see > that > the equipment considerations are in common. > > > Frank Wood > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <128.57d47340.2f5a4a5f [at] aol.com> Date: Fri, 4 Mar 2005 18:33:51 EST Subject: Re: Lighting DVDs In a message dated 04/03/05 23:07:49 GMT Standard Time, Herrick [at] HGLightingDesign.com writes: > There you go using those words again "serious stage lighting" as opposed to > "Pop concerts" > > I do both my friend, and I can tell you that it often takes more time and > planning to light 18 songs by a diverse set of musicians than it does to > light Glass Menagerie. I'm sure it does, although I haven't done "Glass Menagerie". But, it's a different style. In a real play, you, the director and designer are trying to create real places,. I do my best, and sometimes fail. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 4 Mar 2005 18:35:05 EST Subject: Re: Lighting DVDs In a message dated 04/03/05 23:07:49 GMT Standard Time, Herrick [at] HGLightingDesign.com writes: > There you go using those words again "serious stage lighting" as opposed to > "Pop concerts" > > I do both my friend, and I can tell you that it often takes more time and > planning to light 18 songs by a diverse set of musicians than it does to > light Glass Menagerie. > > I have a good friend who designs projections for Seattle Opera but who has > also gone on tour with Hoobastank (they're a band Frank). His deigns for > each are equally impressive, all the more so because he does design in both > millieu(s). Frank Wood ------------------------------ Message-ID: <047c01c52113$59a2e4b0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Lighting DVDs Date: Fri, 4 Mar 2005 23:38:57 -0000 Frank Wood wrote > > We seem to be going down two different roads.There are those of us who light > straight plays, and those who light concerts. And they are different trades. > The equipment we use is the same, yes, but the use we make of it is different. > > Noah, I hate to impose on you, but would it be possible to split the list, so > that those of us who are interested in serious stage lighting can read one > part, and those who are interested in rock and pop concerts another. I see that > the equipment considerations are in common. > > > Frank Wood > Frank - try to impose if you wish, but I seriously doubt that this will happen. As I see it there are many people on this list - both amateur and pro - who are involved in ALL sorts of different lighting techniques, which include both plays and rock 'n' roll etc. There aren't just two styles of lighting - there's a myriad of them! This list links them all. To be honest, if you dislike the content, you have two options - go and find another place to whinge about your small corner of the world or simply be more selective in what you read (and respond to!). Your choice. Ynot ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 4 Mar 2005 19:29:47 EST Subject: Re: Lighting DVDs In a message dated 04/03/05 23:41:36 GMT Standard Time, deeming.tony [at] btinternet.com writes: > Frank - try to impose if you wish, but I seriously doubt that this will > happen. > As I see it there are many people on this list - both amateur and pro - who > are involved in ALL sorts of different lighting techniques, which include > both plays and rock 'n' roll etc. There aren't just two styles of lighting - > there's a myriad of them! > This list links them all. > > To be honest, if you dislike the content, you have two options - go and find > another place to whinge about your small corner of the world or simply be > more selective in what you read (and respond to!). It's just an idea. Maybe a good one, and maybe a bad one. Let us see how it grows. Frank Wood ------------------------------ Date: Fri, 4 Mar 2005 19:43:23 -0500 (EST) From: Boyd Ostroff Subject: Re: Lighting DVDs In-Reply-To: Message-ID: References: >> There aren't just two styles of lighting Sure there are: 1. Frank 2. Everyone else | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <4229036D.7000004 [at] tlu.edu> Date: Fri, 04 Mar 2005 18:55:09 -0600 From: Jonathan Zitelman Subject: Low-budget MSC I was wondering if anyone out there had any suggestions for implementing MIDI Show Control on a minimal budget? I've searched on-line and found a method using the free Status Cue software, however, it is incompatible with Windows XP. As a test of my skills as a college student, I am hoping to put on a show completely run by myself showcasing many technical areas: lighting, sound, pyrotechnics, and possibly projection. As I will need to be on-stage running the pyrotechnics I am hoping to control the rest of the show via MSC. Unfortunately, most methods and software available go far out of my budget. I was hoping someone could point me into a direction for running MSC in a low scale manner. I will be needing to build the system up from scratch. I will be using a Windows XP based computer, and a MIDI equipped Expression lighting control console, connected to a pair of ETC Revolutions, and possibly other robotics. The sound board available is a Midas Verona, however, it is ill-equipped to take direct MIDI commands. -J Zitelman � Texas Lutheran University JSZitelman [at] tlu.edu ------------------------------ Message-ID: <00c601c52127$5d8f7110$2fe4490c [at] briansbyukf8iv> From: "Brian D Shipinski" References: Subject: James Royal Huddleston in memorandom Date: Fri, 4 Mar 2005 20:02:19 -0600 In Memoriam: John Huddleston, General Manager and the hart and soul of Upstating, Inc., has tragically lost his Son, James Royal Huddleston. We all feel for his loss to an extreme and cannot express our own sympathies to our own father of where we find our home. This was a great kid in being the perfect son and was taken far too soon. If possible, please send consonances and support to him and his wife/mother Debbie in their time of need. Dhuddleston [at] ustaging.com & jhud [at] upstaging.com They are the soul of our company and this is a tragic loss both to us and them. Beyond this, and the below written by others, I cannot express my own grievance in this matter. http://www.reedrigging.com/memoriam.htm "Please join Reed Rigging, Inc. In honoring James Royal Huddleston with a donation to a cause close to James: James Royal Huddleston Sports and Scholarship Fund c/o Harris Bank 205 West Northwest Hwy. Palatine, IL 60067 JAYMES HUDDLESTON, 17 Talented swimmer, golfer, and top student in his class February 28, 2005 Ask any friend or family member of Jaymes Huddleston, and they'll tell you he was Superman incognito. He was the brilliant kid who didn't flaunt it. The athlete who took winning and losing in stride. "he wasn't stressed. He wasn't worried. He was positive. When he'd fail, he'd say 'This is how I'm gonna fix it.' He was my hero", said his father, John. Jaymes, 17, was found dead Saturday, Feb. 26, at a swimming teammate's house in Hoffman Estates after a sleepover Friday night. They were getting ready to cheer on friends at the state swimming meet in Winnetka. The Cook County medical examiner's office said the cause of death was under investigation. His father said Jaymes had complained of chest pains earlier in the week. Checking in at 6 feet, 170 pounds, Jaymes was good at everything he touched. For one, he was a bullet in the swimming pool. He was tops in his senior class at Fremd High School in Palatine. He could juggle four balls at onceand had a golf swing as sweet as sugar. Academics always came easy for Jaymes, but he still worked hard in school, his father said. He never received less than an A at Fremd, his father said. On Friday, Jaymes Huddleston was named one of 10 National Merit Scholar finalists at Fremd. He was ranked No. 1 academically in his class, with a grade point average of 4.78. "When people hear that he was No. 1 in his class, they'd be shocked," his father said. "He was so modest." He was accepted at MIT, Notre Dame and the University of Illinois. Jaymes was to interview with Yale's admission staff as he had done with Harvard. "He had a quiet confidence about him, a very modest young man," said Fremd Principal Marina Scott. "I can't say enough about him. He was a great influence on others." When he wasn't studying or watching ESPN, Jaymes could probably be found practicing at the school's swimming pool at 6 a.m. each day. This past season, he was undefeated in the breast stroke in the Mid-Suburban League and led Fremd to the conference championship. His relay team missed state qualifying for the 200-meter medley by 0.01 seconds. Even when he missed out on competing in the state swim meet, he went home optimistic, comparing NCAA race times with his own and figuring out how he could get to the next level, his father said. "He was a happy kid," said his coach, Paul Reeff. "He was pretty much good at everything he did. We're very lucky to have had Jaymes for the years we had him. It's a loss for the world." And if Jaymes Huddleston wasn't in a swimming pool, he could probably be found on a golf course. During his freshman year at Fremd, he was one of the last to try out for the golf team. The coaches planned to have 12 players and had filled all the roster spots. After he tried out, they made room for a 13th. A year later, he was on the varsity squad. Jaymes even restored a 1941 Ford tractor for a school project, driving it to Fremd High School when the work was done. "He was always smiling, never down," his father said. "Jaymes was easygoing, confident, but completely humble. If I had to write a script for the perfect kid, he'd be that kid." Survivors include his father, John, his mother, Debbie, and sister, Jenelle. Reprinted from articles in the Chicago Tribune Online Edition and the Daily Herald ------------------------------ Date: Fri, 04 Mar 2005 21:52:30 -0500 From: "Rob Carovillano" Subject: Re: Lighting DVDs Message-id: <000f01c5212e$600e76a0$6501a8c0 [at] LAPTOP> References:

Excellent point. Also a plays lighting is NOT always trying to create a real place. I know many many plays that are about illusion and imagination. Also the reason I asked is that I am designing a musical with the theme of a rock concert. Should I then be baned from the Stagecraft boards because I am taking the immaculate world of the theatre and destroying it with popular modern music. Rob Carovillano Technical Director - Bluett Theatre Saint Joseph's University (610) 660-1044 rcarovillano [at] verizon.net ----- Original Message ----- From: Boyd Ostroff To: Stagecraft Sent: Friday, March 04, 2005 7:43 PM Subject: Re: Lighting DVDs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >> There aren't just two styles of lighting Sure there are: 1. Frank 2. Everyone else | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: From: Michael Hairston Subject: RE: Low-budget MSC Date: Fri, 4 Mar 2005 22:08:21 -0500 Stage Research has a program called SFX Show Control. You might take a look at their website. (www.stageresearch.com) Michael Hairston Technical Director Brooklyn College Theater Department 154 Gershwin Hall / 2900 Bedford Ave Brooklyn, New York 11210 Hairston [at] Brooklyn.cuny.edu (718) 951-4486 Office -----Original Message----- From: Jonathan Zitelman [mailto:JSZitelman [at] tlu.edu] Sent: Friday, March 04, 2005 7:55 PM To: Stagecraft Subject: Low-budget MSC For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I was wondering if anyone out there had any suggestions for implementing MIDI Show Control on a minimal budget? I've searched on-line and found a method using the free Status Cue software, however, it is incompatible with Windows XP. As a test of my skills as a college student, I am hoping to put on a show completely run by myself showcasing many technical areas: lighting, sound, pyrotechnics, and possibly projection. As I will need to be on-stage running the pyrotechnics I am hoping to control the rest of the show via MSC. Unfortunately, most methods and software available go far out of my budget. I was hoping someone could point me into a direction for running MSC in a low scale manner. I will be needing to build the system up from scratch. I will be using a Windows XP based computer, and a MIDI equipped Expression lighting control console, connected to a pair of ETC Revolutions, and possibly other robotics. The sound board available is a Midas Verona, however, it is ill-equipped to take direct MIDI commands. -J Zitelman � Texas Lutheran University JSZitelman [at] tlu.edu ------------------------------ Date: Fri, 04 Mar 2005 22:18:30 -0500 Subject: Re: Lighting DVDs From: Bill Sapsis Message-ID: In-Reply-To: on 3/4/05 9:52 PM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > Also the reason I asked is that I am designing a musical with the theme of a > rock concert. Should I then be baned from the Stagecraft boards because I > am taking the immaculate world of the theatre and destroying it with popular > modern music. depends on which band is doing the concert. <> Frank. My hats off to you. Every time I think you've reached your peak, you take it one step higher. You sure know how to stir up a crowd. Bill 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: <5.2.0.9.0.20050304233930.02edb278 [at] pop.lightlink.com> Date: Fri, 04 Mar 2005 23:42:25 -0500 From: John Bracewell Subject: Re: Annotated Resumes In-Reply-To: References:

>Definitely! If the ad says "Send a resume and a cover letter", then do >EXACTLY that. Unless it asks for references, don't give them - they can >always be asked for later Hmm. That's a difference. We usually tell students to ALWAYS include references (generally three, not less; maybe four, not more) including telephone numbers. The reasoning is that if someone wants to call, they have the information to do so right on the resume. No waiting for the applicant to send the information. Seems to me that things move fast in this business. Anything that creates a delay (including too much information on a resume) is going to get you relegated to the circular file. -- JLB ------------------------------ Message-ID: <048701c52147$bcb80ba0$6401a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: Low-budget MSC Date: Fri, 4 Mar 2005 21:54:04 -0800 Sound Cue System. The URL is www.soundcuesystemcom. THe full blown version is under 100 bucks (US). 1 problem, it doesn't support multiple channel output cards. ie 8+ channel cards. ----- Original Message ----- From: "Jonathan Zitelman" To: "Stagecraft" Sent: Friday, March 04, 2005 4:55 PM Subject: Low-budget MSC > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I was wondering if anyone out there had any suggestions for implementing > MIDI Show Control on a minimal budget? I've searched on-line and found > a method using the free Status Cue software, however, it is incompatible > with Windows XP. > > As a test of my skills as a college student, I am hoping to put on a > show completely run by myself showcasing many technical areas: lighting, > sound, pyrotechnics, and possibly projection. As I will need to be > on-stage running the pyrotechnics I am hoping to control the rest of the > show via MSC. Unfortunately, most methods and software available go far > out of my budget. I was hoping someone could point me into a direction > for running MSC in a low scale manner. I will be needing to build the > system up from scratch. > > I will be using a Windows XP based computer, and a MIDI equipped > Expression lighting control console, connected to a pair of ETC > Revolutions, and possibly other robotics. The sound board available is > a Midas Verona, however, it is ill-equipped to take direct MIDI commands. > > -J Zitelman � > > Texas Lutheran University > JSZitelman [at] tlu.edu > > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.6.0 - Release Date: 3/2/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.6.0 - Release Date: 3/2/2005 ------------------------------ From: megironda [at] att.net (Gerry G.) Cc: jbrace [at] lightlink.com (John Bracewell) Subject: Re: Annotated Resumes Date: Sat, 05 Mar 2005 06:57:17 +0000 Message-Id: <030520050657.26259.4229584C000BA8EC0000669321603759640E0B02019D07090A03 [at] att.net> If you give the references out front there's no impetus to actually communicate is there? Gerry G. -------------- Original message ---------------------- From: John Bracewell > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > >Definitely! If the ad says "Send a resume and a cover letter", then do > >EXACTLY that. Unless it asks for references, don't give them - they can > >always be asked for later > > Hmm. That's a difference. We usually tell students to ALWAYS include > references (generally three, not less; maybe four, not more) including > telephone numbers. The reasoning is that if someone wants to call, they > have the information to do so right on the resume. No waiting for the > applicant to send the information. Seems to me that things move fast in > this business. Anything that creates a delay (including too much > information on a resume) is going to get you relegated to the circular file. > > -- JLB > ------------------------------ End of Stagecraft Digest #316 *****************************