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 20826410; Mon, 14 Mar 2005 03:00:37 -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 #328 Date: Mon, 14 Mar 2005 03:00:19 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, URIBL_SBL autolearn=ham version=3.0.2 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #328 1. Re: Why carry equipment? (now at enormous thread drift) by Steve Larson 2. Re: Viola sound by Sunil Rajan 3. Re: Empirical Peep Data by Sunil Rajan 4. Re: Costumers by "Tony Olson" 5. Re: Costumers by MissWisc [at] aol.com 6. Re: Empirical Peep Data by "Delbert Hall" 7. Re: Empirical Peep Data by "Chris Warner" 8. Re: Costumers by "Delbert Hall" 9. Re: Saltimbanco by David d'Anjou 10. Re: Empirical Peep Data by "Delbert Hall" 11. Re: Empirical Peep Data by Andrew Vance 12. Re: Costumers by "ladesigners [at] juno.com" 13. Re: Costumers by "Mike Rock" 14. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 15. Re: Costumers by "Scott Boyle" 16. Re: PDA Recommendation by Greg Persinger 17. Re: Costumers by Brian Munroe 18. Trade Shows: landing a job. by kevin patrick 19. Re: ETC Expression/Express Wireless RFU by "Michael Finney" 20. Re: Trade Shows: landing a job. by Steve Larson 21. Re: Empirical Peep Data by Stuart Wheaton 22. Raffle at USITT (OT) by Bill Sapsis 23. Re: ETC Expression/Express Wireless RFU by FrankWood95 [at] aol.com 24. Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by "Michael Finney" 25. Ooops. I forgot by Bill Sapsis 26. Re: Empirical Peep Data by Simon Newton 27. Tempus Racks by "Tony" 28. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by IAEG [at] aol.com 29. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by "Jeffrey E. Salzberg" 30. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by IAEG [at] aol.com 31. Moving Lights by "Daryl Redmon" 32. Re: ETC Expression/Express Wireless RFU by CB 33. Re: Why carry equipment? by CB 34. AOL update for those who use AIM by CB 35. what is LD50 by "David R. Krajec" 36. distressing costumes by darcy elora 37. Re: Why carry equipment? by "Jeffrey E. Salzberg" 38. Re: Moving Lights by Greg Bierly 39. Re: Trade Shows: landing a job. by Greg Bierly 40. Re: AOL update for those who use AIM by John McKernon 41. Re: AOL update for those who use AIM by "Ronnie Thevenot" 42. Re: ETC Expression/Express Wireless RFU by "Klyph Stanford" 43. Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) by Stuart Wheaton 44. Re: info on doing Peter Pan by Jeff Forbes 45. Re: PDA recommendation by Jeff Forbes *** 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. ---------------------------------------------------------------------- Date: Sun, 13 Mar 2005 08:19:10 -0500 Subject: Re: Why carry equipment? (now at enormous thread drift) From: Steve Larson Message-ID: In-Reply-To: Outlook Express now takes Frank straight to the delete file. Peeps will be added next. sjl > From: John Bracewell > Reply-To: "Stagecraft" > Date: Sat, 12 Mar 2005 20:24:44 -0500 > To: "Stagecraft" > Subject: Re: Why carry equipment? (now at enormous thread drift) > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >> voila or viola? >> >> sjl > > You did read Frank's post, didn't you? But what the hey . . . Take your > pick. > > - JLB > > > ------------------------------ In-Reply-To: References: Message-Id: From: Sunil Rajan Subject: Re: Viola sound Date: Sun, 13 Mar 2005 09:05:01 -0500 So, THAT explains how I became a soundguy?! I played viola for 7 years before I gave it up, realizing that I wasn't going to play professionally, and there's not much to play as a solo hobby! ; P Sunil Rajan Freelance Audio Mercenary On Mar 13, 2005, at 6:01 AM, Stagecraft wrote: >> >>> a venue and patch in some wireless mics and turn on the console and >>> 'VIOLA', sound. >>> >> >> >> C'mon, anyone can find the viola knob - it's in between the cello knob >> and the violin knob, just underneath the "suck" control.... ------------------------------ In-Reply-To: References: Message-Id: <0223EA31-93CA-11D9-8182-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Re: Empirical Peep Data Date: Sun, 13 Mar 2005 09:13:01 -0500 Delbert, Have you ever been to Spoleto Festival USA in Charleston SC? We used to celebrate the opening day with the "Lighting of The Pickle" in each of the venues! Perhaps a "Microwaving of The Peep" could become a new trend? Cheers, Sunil Rajan Freelance Audio Mercenary p.s. FWIW, a friend from college still has a Peep (TM) in a sealed jar. 10+ years and counting and it hasn't changed in appearance! Don't know if it will ever be opened and taste tested however... that'll be a momentous event! On Mar 13, 2005, at 6:01 AM, Stagecraft wrote: > From: "Delbert Hall" > Subject: Re: Empirical Peep Data > Date: Sat, 12 Mar 2005 12:36:38 -0500 > > Loren, > > I hope you got a grant from USITT to conduct this reseach and the full > report appears in an upcoming edition of TD&T. (It would make an > excellent > companion piece of my our "electric pickle" research.) ------------------------------ Message-ID: <006401c527ee$dea5ba70$d716b718 [at] TonyLaptop> Reply-To: "Tony Olson" From: "Tony Olson" References:

Subject: Re: Costumers Date: Sun, 13 Mar 2005 11:05:33 -0600 In response to most of the replies that I have received on the subject of costumers everyone assumes that we pay very little. Yes I will admit that I would like to get paid more for my work and that I would like to see others get paid more as well. mow granted we are not one of the top paying companies in the business but we are at least in the middle ground...our staff positions start at $150-$300 (designers being on the higher end) per week plus we supply housing for the length of your contract. The pay range being based on experience ect. Yes I know this is not a great deal of money but it is not the bottom of the barrel by any means either. Tony Olson Tech. Director Theatre for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ----- Original Message ----- From: "Bryan H. Ackler" To: "Stagecraft" Sent: Friday, March 11, 2005 11:43 AM Subject: Re: Costumers For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stephanie Schoelzel asked me to post the following on the subject of Costumers. Can you post this response for me: Theatre organizations who pay below a reasonble living wage to hire a costumer/designer are not going to get a professional costumer/designer to work for them. They are going to get dillatants and want-to-bes who are enamoured by the idea of being a great "creative" person. The people they are hiring clearly know nothing about the business of being a working "designer". A real designer knows that you design to the production circumstances, that what is approriate to the director's desires and serves the actors takes presidence and that making theatre is supposed to be a joyful endeavor that is not served by arbitrary self importance. When you start offering a living wage you will get applications from professionals like me who have to make enough $ to pay for rent, food, a car and health insurance on a steady basis. We don't need exorbitant amounts of money, but the days are long gone by where room and board and $1000 at the end of the season will keep us alive. ___________________________________________________________ stephanie [at] URLy.com - Stephanie A. Schoelzel Web Architect/Project Manager/Production Designer/Webmaster USAA 829, IATSE 705, USITT, The Digirati Guild, Los Angeles SIGRAPH, HTML Writers Guild http://www.URLy.com/ http://www.access-presto.com http://www.stephstuff.com/ ___________________________________________________________ ------------------------------ From: MissWisc [at] aol.com Message-ID: <1d7.3889dda1.2f65d6ca [at] aol.com> Date: Sun, 13 Mar 2005 12:47:54 EST Subject: Re: Costumers In a message dated 3/13/5 11:13:24 AM, ajolson [at] charter.net writes: << staff positions start at $150-$300 (designers being on the higher end) per week plus we supply housing for the length of your contract. The pay range being based on experience ect. >> $300 a week for a 72 hour week... (9 AM - 11 PM with hour breaks for lunch and super = 12 hour days... times 6 days = 72 hours a week) That's not even WI minimum wage per hour - much less time and a half for overtime. Even if you figure $100 a week for housing, you're still not there. You won't get professinal people until your producer treats it as a professional position with professional pay and bennies. Get hooked up with the IA (Local 470 has jurisdiction) so time and experience there can count towards union membership and bennies. It would be a great experience for an IA apprentice. Or call it a paid internship and recruit college students - that's really where your pay scale lies. Perhaps one of the IA-USA members can calculate costume designer pay for design and a 72 hour week. I'd estimate it's a 5-7 times what you are offering. Kristi ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Empirical Peep Data Date: Sun, 13 Mar 2005 12:52:46 -0500 Sunil, I have lived in the Southeast my entire life (50 years) yet have never been to the Sopleto Festival. I really should go. We light electic pickles at the closing party for our flying seminars. We have a special stand on which we mount the pickle. It is a joy to watch it glow and sputter . I don't think microwaving Peeps will ever compare with the electric pickle. This reminds me that the next flying seminar is coming up in May. We are making it longer and doing more motorized flying systems at this one. Check it out at www.naafed.com -Delbert Delbert L. Hall 423-773-HALL (4255) > >Delbert, >Have you ever been to Spoleto Festival USA in Charleston SC? >We used to celebrate the opening day with the "Lighting of The Pickle" in >each of the venues! >Perhaps a "Microwaving of The Peep" could become a new trend? ------------------------------ Message-ID: <0c8a01c527f6$ce905250$6401a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: Empirical Peep Data Date: Sun, 13 Mar 2005 10:02:22 -0800 Delbert, where is this seminar going to be located? I cannot find it on the website anywhere. Thanks in advance Chris Warner ----- Original Message ----- From: "Delbert Hall" To: "Stagecraft" Sent: Sunday, March 13, 2005 9:52 AM Subject: Re: Empirical Peep Data > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Sunil, > > I have lived in the Southeast my entire life (50 years) yet have never been > to the Sopleto Festival. I really should go. We light electic pickles at > the closing party for our flying seminars. We have a special stand on > which we mount the pickle. It is a joy to watch it glow and sputter . I > don't think microwaving Peeps will ever compare with the electric pickle. > > This reminds me that the next flying seminar is coming up in May. We are > making it longer and doing more motorized flying systems at this one. Check > it out at www.naafed.com > -Delbert > > Delbert L. Hall > 423-773-HALL (4255) > > > > > > >Delbert, > >Have you ever been to Spoleto Festival USA in Charleston SC? > >We used to celebrate the opening day with the "Lighting of The Pickle" in > >each of the venues! > >Perhaps a "Microwaving of The Peep" could become a new trend? > > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.7.2 - Release Date: 3/11/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.2 - Release Date: 3/11/2005 ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Costumers Date: Sun, 13 Mar 2005 13:05:15 -0500 I agree with Kristi, this is not a decent wage. I paid my flying directors between $150 - $250 per DAY, plus hotel, travel, and per diem Even trainees make $100 per day plus travel, hotel, and per diem. I feel the phrase "you get what you pay for" really applies. -Delbert Delbert L. Hall 423-773-HALL (4255) > >In a message dated 3/13/5 11:13:24 AM, ajolson [at] charter.net writes: ><< staff positions start at $150-$300 (designers being on the higher end) >per >week ------------------------------ Message-ID: <96c90e34050313100664746fd0 [at] mail.gmail.com> Date: Sun, 13 Mar 2005 13:06:26 -0500 From: David d'Anjou Reply-To: David d'Anjou Subject: Re: Saltimbanco In-Reply-To: References:

You nailed it for the audio - we are moving to PM5Ds - with a 64N DME matrix. Everyone seems happy so far. Lighting gear (this is the list I had handy - it may be a little old): 2 ETC Touring Rack 96 x 2.4KW 1 Micron 4d running 1 DMX universe over 2 Opto Splitters 1 Backup Micron 4D connected with Compulite Merger 41 ETC Source 4 ERS 4 Strand 2k Fresnel 189 Par 64 1000W 16 Par 64 Ray Lite 600W 24 Par 64 ACL 34 Par 16 Thomas 6 Martin Mac 2000 Electronic Ballast 23 ChromaQ CL-3 2 Lycian 1266 SuperArc 400s (new - replacing 1209s) 4 Gam Twinspins 1 Robert Juliat d'Artagnan 2500HMI Leko 2 High End F100 fog machines 2 Reel EFX, DF50 mineral oil hazers 2 City Theatrical Aquafog 3300 Dry Ice D On Sun, 13 Mar 2005 02:28:40 -0800, Mat Goebel wrote: > On Sat, 12 Mar 2005 22:16:01 -0500, David d'Anjou wrote: > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Yeah - as you noticed, Saltimbanco is our "low tech" show - no stage > > automation, very few moving lights, small crew (for cirque) of 13. I > > can throw up some gear lists if anyone's ineterested. > > I'd be interested. > > > They did just get a new Yamaha FOH Audio board - our first tour to go > > digital. (Although Dralion followed almost right after) > > Which board? PM5D? > > -- > Mat Goebel > Cell: 510.693.1448 > -- David d'Anjou Technical Communications Supervisor Cirque du Soleil ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Cc: Info [at] flyingfx.com Subject: Re: Empirical Peep Data Date: Sun, 13 Mar 2005 13:08:29 -0500 The seminar will be at Northern Illinois University in Dekalb, IL (about 50 miles West of Chicago). We have a great facility to work in there. Delbert L. Hall 423-773-HALL (4255) > >Delbert, where is this seminar going to be located? I cannot find it on >the >website anywhere. > >Thanks in advance >Chris Warner > >----- Original Message ----- > > > > This reminds me that the next flying seminar is coming up in May. We >are > > making it longer and doing more motorized flying systems at this one. >Check > > it out at www.naafed.com > > -Delbert > > > > Delbert L. Hall > > 423-773-HALL (4255) > > > > > > > > > > > >Delbert, > > >Have you ever been to Spoleto Festival USA in Charleston SC? > > >We used to celebrate the opening day with the "Lighting of The Pickle" >in > > >each of the venues! > > >Perhaps a "Microwaving of The Peep" could become a new trend? > > > > > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Anti-Virus. > > Version: 7.0.308 / Virus Database: 266.7.2 - Release Date: 3/11/2005 > > > > > > > >-- >No virus found in this outgoing message. >Checked by AVG Anti-Virus. >Version: 7.0.308 / Virus Database: 266.7.2 - Release Date: 3/11/2005 > ------------------------------ In-Reply-To: References: Message-Id: <8277be2e5943f3b32d2fa9028b834b4d [at] andrewvance.com> From: Andrew Vance Subject: Re: Empirical Peep Data Date: Sun, 13 Mar 2005 12:14:15 -0600 On 13 Mar, 2005, at 12:08, Delbert Hall wrote: > The seminar will be at Northern Illinois University in Dekalb, IL > (about 50 miles West of Chicago). We have a great facility to work in > there. I notice, though, that you didn't schedule time for a screening of Episode 3 on Thursday. : ) -- Sincerely, Andrew Vance Lighting Designer www.andrewvance.com ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 13 Mar 2005 18:19:18 GMT Subject: Re: Costumers Message-Id: <20050313.101919.27898.164058 [at] webmail04.lax.untd.com> Dear Stephanie, Despite the general truth of your statement, as a Producer, I still prefer to utilize 'Design and Build' contracts with Designers, and I will pay a premium to get a show department designed, built, operated, cleaned, maintained, struck, and hauled away by a single contractor for Costumes, another single contractor for Scenery, and a third single source for Lighting. Ditto for Sound, Projections, Props, Automation, et cetera. The shows that I produce are my concept/vision, not the Directors', and I do not enjoy observing finger-pointing between Designers and the Artisans tasked to carry out their designs and run the shows resulting from that vision. See you in Toronto! /s/ Richard Niederberg Principal Designer & Legal Counsel Los Angeles Designers' Theatre P.O. Box 1883 Studio City, CA 91614 Theatre organizations who pay below a reasonble living wage to hire a costumer/designer are not going to get a professional costumer/designer to work for them. They are going to get dillatants and want-to-bes who are enamoured by the idea of being a great "creative" person. The people they are hiring clearly know nothing about the business of being a working "designer". Stephanie A. Schoelzel ------------------------------ Message-ID: <001f01c527fa$9abc0dd0$80fea8c0 [at] Fred> From: "Mike Rock" References: Subject: Re: Costumers Date: Sun, 13 Mar 2005 12:29:33 -0600 Another thing to think about when trying to get some one to work for that little is burn out. I would have a hard time getting out of bed for the 2nd or 3rd showing knoing that I would not be returning for at least another 12 hours, and for what ? Last summer I came close to becoming a drone, I worked for alot less than that but I was only 3 days a week 8 hours a day (or thats what I singed up for) The start of the summer was great everything was done differnt and it was all a great learning experience. By the third show out of five I knew how they did things it was not longer fun and intresting, it was a pain in the ass. The challenges that I solved creatively with a smile were now the subject of my nightmares. I was getting creatively scheduled frou days on week two the next depending on what was needed. This wasn't completly bad becasue then I could take a 6 day weekend which greatly helped improve my attitude. I think spliting the shows would help alot. I know two semi experienced people do not equale a pro but I think the end product will be better. Mike Rock. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f0.37b26ebd.2f65e67c [at] aol.com> Date: Sun, 13 Mar 2005 13:54:52 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 12/03/05 23:39:38 GMT Standard Time,=20 Herrick [at] HGLightingDesign.com writes: > We've been through this before. None of us (or very few) "do this on the > fly". We have multiple purposes for multiple units figured out before han= d > and we utilize them that way. A VL1000 with a 20=B0 to 90=B0 spread can a= ct as=20 a > wide wash fixture or a small pinspot special. I can have it do both in on= e > show or even in one scene when I plan it out well. > =20 > This is not an on the fly concept it is a utilitarian concept where one > fixture does the work of 5 or 10. Except in one respect. Direction. I realise that this is a lot easier to=20 handle in a normal proscenium house than in an adaptable theatre, where, if=20= we get=20 a good house, a fair half of the audience is sitting at the sides of the=20 stage. They deserve good stage pictures, too. This means shifting the key, f= ill,=20 and backlight positions around, so that all of them get a fair crack of the=20 whip. This is one thing you can't yet do. I wish you could. I still remember the show where the director told me, on=20 the eve of the tech, that the Act I key was ninety degrees away from where w= e=20 had agreed, as was that for Act II. This after everything was hung and focus= sed.=20 I think I showed great restraint in simply asking why she hadn't told me=20 sooner. I had taken the show only because her previous two shows had led to=20 complaints against the Lighting Department, and I was then its head. Frank Wood ------------------------------ Reply-To: From: "Scott Boyle" Cc: ajolson [at] charter.net ('Tony Olson') Subject: RE: Costumers Date: Sun, 13 Mar 2005 13:05:29 -0600 Organization: Carroll College Message-ID: <000001c527ff$9fd6b7c0$73db688c [at] cc.edu> In-Reply-To: Tony, With all due respect, I don't think you're as "middle of the road" as you think. Now granted I haven't shopped the summer stock job market in a while, but I was getting that pay range as a carpenter 12 years ago and that included housing too. That company considered itself "middle of the road" then. Unless you can convince your producers that hiring more people is a worth while investment to the theatre, you'll be facing more of the same turnover issues. Scott M. Boyle Technical Director Department of Theatre Arts Carroll College 262-524-7308 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tony Olson Sent: Sunday, March 13, 2005 11:06 AM To: Stagecraft Subject: Re: Costumers For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In response to most of the replies that I have received on the subject of costumers everyone assumes that we pay very little. Yes I will admit that I would like to get paid more for my work and that I would like to see others get paid more as well. mow granted we are not one of the top paying companies in the business but we are at least in the middle ground...our staff positions start at $150-$300 (designers being on the higher end) per week plus we supply housing for the length of your contract. The pay range being based on experience ect. Yes I know this is not a great deal of money but it is not the bottom of the barrel by any means either. Tony Olson Tech. Director Theatre for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ----- Original Message ----- From: "Bryan H. Ackler" To: "Stagecraft" Sent: Friday, March 11, 2005 11:43 AM Subject: Re: Costumers For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stephanie Schoelzel asked me to post the following on the subject of Costumers. Can you post this response for me: Theatre organizations who pay below a reasonble living wage to hire a costumer/designer are not going to get a professional costumer/designer to work for them. They are going to get dillatants and want-to-bes who are enamoured by the idea of being a great "creative" person. The people they are hiring clearly know nothing about the business of being a working "designer". A real designer knows that you design to the production circumstances, that what is approriate to the director's desires and serves the actors takes presidence and that making theatre is supposed to be a joyful endeavor that is not served by arbitrary self importance. When you start offering a living wage you will get applications from professionals like me who have to make enough $ to pay for rent, food, a car and health insurance on a steady basis. We don't need exorbitant amounts of money, but the days are long gone by where room and board and $1000 at the end of the season will keep us alive. ___________________________________________________________ stephanie [at] URLy.com - Stephanie A. Schoelzel Web Architect/Project Manager/Production Designer/Webmaster USAA 829, IATSE 705, USITT, The Digirati Guild, Los Angeles SIGRAPH, HTML Writers Guild http://www.URLy.com/ http://www.access-presto.com http://www.stephstuff.com/ ___________________________________________________________ ------------------------------ Date: Sun, 13 Mar 2005 13:16:04 -0600 Subject: Re: PDA Recommendation From: Greg Persinger Message-ID: In-Reply-To: > Now, when Mac > makes one I'll actually get a PDA for myself. Brendan, It is pretty amazing to think that Apple made the first PDA's. The problem was the Newton was so far ahead of it's time that the product failed to catch on. It was also the first PDA to be used as a RFU as well in the LSD Icon system. Connected via a DMX cable (serial link). I have used Palm's for several years now with my Mac's. Currently I have the Kyocera 7135 PDA phone and have excellent results although I have heard others have not had it as good with this model. Overall I like the Palm OS and the abundance of good inexpensive Apps. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: Date: Sun, 13 Mar 2005 14:22:32 -0500 From: Brian Munroe Reply-To: Brian Munroe Cc: ajolson [at] charter.net (Tony Olson) Subject: Re: Costumers In-Reply-To: References:

> staff positions start at $150-$300 (designers being on the higher end) per > week plus we supply housing for the length of your contract. The pay range > being based on experience ect. > I was being paid $100 plus housing at a summer festival 17 years ago, as an intern with little responsibilites. >>Yes I know this is not a great deal of money but it is not the bottom of the barrel by any means either. Good lord, what is bottom of the barrel considered these days? Brian Munroe brian [at] themunroes.com ------------------------------ Message-ID: <20050313193910.63967.qmail [at] web61201.mail.yahoo.com> Date: Sun, 13 Mar 2005 11:39:10 -0800 (PST) From: kevin patrick Subject: Trade Shows: landing a job. Hi. To many of you on this list, trade show designs go hand-in-hand with theatrical designs. They are just all part of the same day. What does it take to get started designing for trade shows or other industrials? I'd much rather be a part of a company than go at it on my own. Can you land jobs with a resume and interview, or is it still who-you-know like in the theatre? I hope this sparks a general conversation, but of course I'm also interested specifically for my own situation. I have my MFA in scenery and lighting design, been teaching at the university level for six years, a spattering of professional scenic and lighting designs when I could fit them into a hectic educational schedule. I have strong skills in computer graphics and drafting (VW, Spotlight, Renderworks, AutoCAD LT98, Photoshop, Illustrator, MS Office Suite), strong carpentry skills and decent metal working experience, good painter, good conceptual-visual thinker, quick learner and very interested in learning new things. It seems five years is about all I can take doing one thing, but I've been itching for two years. I'm looking particularly in the South and South-West: Arizona, Texas, Oklahoma, Lousiana. Lots of questions. Thanks for your responses. -Theo __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Subject: Re: ETC Expression/Express Wireless RFU Date: Sun, 13 Mar 2005 11:40:01 -0800 Message-ID: From: "Michael Finney" On Sat, 12 Mar 2005 Herrick Goldman wrote: <> The thing about receiving the list in digest mode is that Brother Herrick keeps beating me to the punch on the response and I didn't want to chime in with a "me too, me too!". In this case, though I wanted to take a moment and respond by means of an example to Frank's perception (as I understand it, anyway) of moving lights and how they're used by a designer: Frank - I'm in the middle of designing an "icon show" for a large aquarium here in the US. The intent is to use video and lighting to create an educational/inspirational show that incorporates existing sculpted figures of blue whales and gives the audience something of a sense of being in an environment that encompasses both them and the whales. It's not a "spectacular", and it certainly isn't a rock show. I'm designing to create environments and a sense of "place" (which includes movement, since light tends to feel as if it has a sense of movement when you're in shallow-ish water). =20 The lighting package is going to use 8 moving light "accent/effect" units, 4 moving light "wash" units, 18 conventional ERS units, 10 LED color changing wash units, and 6 metal halide architectural "sign lighters". To arrive at that package, I worked with the director, the video designer, and the aquarium's director of exhibits (who also happens to be the most experienced person in the US in pelagic mammal behaviors *and* the most experienced open ocean diver I've ever known) for the better part of a month looking at images, modeling positions and fixtures on the computer, playing with any fixture we could get our hands on, and generally looking at any option we could to create as compelling an experience as possible within the constraints of the budget and the facility. =20 As an aside - I know it probably makes your skin crawl, but both the video designer and exhibit director provided suggestions/direction that went against the director's original wishes (for either practical color matching reasons or for "actual environment" reasons)...the director agreed to them as he understands that this is a collaborative effort. I actually did look at a fully conventional package...did the math....talked to all the engineers. I would have needed 180-190 fixtures to achieve (by my estimate) 90% of the desired looks. That would have meant major structural modifications to the roof, an additional electrical panel, and would have created this huge, ugly lump of fixtures at several locations in the ceiling. We're also going to be somewhat limited in our programming time, as both audio and video will need time in the space. As a result, I've just finished writing a programming script which runs to 120 events and 10 pages for a 7 minute experience. (A lot of those events overlap or are multiple units performing different functions simultaneously, so don't beat me with the "it's too busy" stick). Does any of that sound like I'm working "on the fly"? On the other hand, if I do need to make a change on-site for some reason (we discover that we have some spill from a window, or the director gets a new idea, or the video projectors do something odd to the color of some media, or the phase of the moon makes all the electrons move more slowly - whatever) then I have the ability to make that change without bringing in a crew for a refocus/recolor. And I don't agree that (as you said) "Knowing the principles of lighting design will help, but not much". Knowing the principles of lighting design, knowing the tools with which I'm working, and knowing how to communicate with and collaborate with the other members of the creative team will not only help, it will be essential - as will the amount of preplanning that I've hopefully done. For that matter, does any of this sound like I'm working from a design method that is (as you described it) "set in...tablets of stone"? I'm sure your method works for you in your space, for your shows. But would you at least grant the rest of us working in the field a little credit for actually knowing what we're doing in the world outside of your particular theatre? I might well use your method (or a variation of it, anyway) if lighting a parlor comedy in a space like yours - but I wouldn't be getting much work if I applied it in any other situation. BTW (and I don't mean this sarcastically or as any kind of attack - I'm honestly curious): Frank, have you ever spent much time working with moving lights? Even a single unit? I don't mean just looking at one running a "flash and trash" demo at a trade show, but actually hooking one up to a console and playing with it to see what kind of looks you can get out of it? Or, even better, sat down with a designer who uses them in conventional theatre applications so see how they use it? I think they're a more versatile tool than you're giving them credit for. And that's all any luminaire is, after all - a tool for applying light to a surface. OK, I feel better now....back to drafting the most surreal thing I've ever done...lighting for the scenic environment surrounding a ski slope. An indoor ski slope. In Dubai. This job gets stranger every day! Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com ------------------------------ Date: Sun, 13 Mar 2005 17:11:10 -0500 Subject: Re: Trade Shows: landing a job. From: Steve Larson Message-ID: In-Reply-To: Several of the folks I know who design trade shows are Hollywood art directors. steve > From: kevin patrick > Reply-To: "Stagecraft" > Date: Sun, 13 Mar 2005 11:39:10 -0800 (PST) > To: "Stagecraft" > Subject: Trade Shows: landing a job. > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi. To many of you on this list, trade show designs > go hand-in-hand with theatrical designs. They are > just all part of the same day. What does it take to > get started designing for trade shows or other > industrials? I'd much rather be a part of a company > than go at it on my own. Can you land jobs with a > resume and interview, or is it still who-you-know like > in the theatre? > > I hope this sparks a general conversation, but of > course I'm also interested specifically for my own > situation. I have my MFA in scenery and lighting > design, been teaching at the university level for six > years, a spattering of professional scenic and > lighting designs when I could fit them into a hectic > educational schedule. I have strong skills in > computer graphics and drafting (VW, Spotlight, > Renderworks, AutoCAD LT98, Photoshop, Illustrator, MS > Office Suite), strong carpentry skills and decent > metal working experience, good painter, good > conceptual-visual thinker, quick learner and very > interested in learning new things. It seems five > years is about all I can take doing one thing, but > I've been itching for two years. I'm looking > particularly in the South and South-West: Arizona, > Texas, Oklahoma, Lousiana. > > Lots of questions. Thanks for your responses. > > -Theo > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > ------------------------------ Message-ID: <4234BD88.7030803 [at] fuse.net> Date: Sun, 13 Mar 2005 17:24:08 -0500 From: Stuart Wheaton Subject: Re: Empirical Peep Data References: In-Reply-To: Delbert Hall wrote: > The seminar will be at Northern Illinois University in Dekalb, IL (about > 50 miles West of Chicago). We have a great facility to work in there. > Great Facility? Did they finally replace the old Stevens Building? I'll grant that Tracy may have wrestled some money out of the PTB and fixed a bunch of the biggest flaws, but it will take a case of dynamite to start the process of making that a great facility.... At least in May the anemic heating and iffy cooling won't be much of an issue. And with the heat off you won't open your shop door and find an inch of steaming water pouring over your floor. Watch out for the parking nazis. And the exploding drinking fountains. Stuart Formerly NIU ME ------------------------------ Date: Sun, 13 Mar 2005 18:07:49 -0500 Subject: Raffle at USITT (OT) From: Bill Sapsis Message-ID: In-Reply-To: Howdy folks. I wanted to let you know that the Long Reach Long Riders, those wacky cross country bike riders you've come to know and love, are running a raffle once again at USITT. And once again there will be great prizes. Including....drum roll please...a Sapsis Rigging, Inc. theatre inspection. That's right, if you win this you get an inspection free of charge. All you have to pay for are the travel expenses. And there will be leather jackets and tools and t-shirts and all kinds of cool stuff. The raffle will be held on Saturday afternoon at my booth. Come one, come all, buy some tickets..listen to me yell my head off...and win stuff And, lets you forget (would I let you do that?) there's that benefit ride that we're doing that you should be donating to, yes? C'mon now. Dig down a little bit. Look under the sofa cushions. I'm sure you can find a couple of bucks to send to BC/EFA. It is, as you very well know, a wonderful cause. See you in Toronto. Thanks Be well 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 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9e.2238280b.2f662546 [at] aol.com> Date: Sun, 13 Mar 2005 18:22:46 EST Subject: Re: ETC Expression/Express Wireless RFU In a message dated 13/03/05 19:42:55 GMT Standard Time, mfinney [at] thinkwelldesign.com writes: > Frank - I'm in the middle of designing an "icon show" for a large > aquarium here in the US. The intent is to use video and lighting to > create an educational/inspirational show that incorporates existing > sculpted figures of blue whales and gives the audience something of a > sense of being in an environment that encompasses both them and the > whales. It's not a "spectacular", and it certainly isn't a rock show. > I'm designing to create environments and a sense of "place" (which > includes movement, since light tends to feel as if it has a sense of > movement when you're in shallow-ish water). You and I are in different trades, and these need different dedign slills. In your job, I should be useless, as you would be in mine. Horses for courses. Frank Wood ------------------------------ Subject: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) Date: Sun, 13 Mar 2005 15:46:34 -0800 Message-ID: From: "Michael Finney" On Sun, 13 Mar 2005 Frank Wood wrote: <> Beg to differ. Lighting design skills (especially theatrical skills) translate across a large variety of venues and disciplines. In the immortal words of Abe Feder (bless his generous heart): "Kid, a skyscraper is just a permanent piece of scenery". Abe was famous for lighting large, iconic architectural statements. He was also the lighting designer for a number of WPA projects and (as I recall) the Mercury Theatre group. He was also one of the most prolific lighting designers in Broadway history. If you really want to call yourself a lighting designer you should be able to apply your skills to any number of projects - assuming you can learn the tools. BTW - oddly enough I've lit any number of small parlor comedies (and dance pieces, and operas, and trade shows, and store displays, and architectural projects). I'm willing to bet that I've even worked in a number of spaces even smaller and quirkier than the one you call home. I somehow doubt I'd be useless in your job - I'd just approach it differently than you. You could probably work in my venue - assuming you'd learn the tools. =20 Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com ------------------------------ Date: Sun, 13 Mar 2005 18:57:17 -0500 Subject: Ooops. I forgot From: Bill Sapsis Message-ID: In-Reply-To: I forgot to mention that if you wanted to ride with us, you can. Check out the website for the details. Or, if you don't have a bike but still want to join us, I think we may still have a spot open for chase car drivers. We have the vehicles (one for each group) and we have the primary drivers but I believe we could use a 2nd driver. OK. Back to your regularly scheduled peep show. 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 ------------------------------ Subject: Re: Empirical Peep Data From: Simon Newton In-Reply-To: References:

Date: Mon, 14 Mar 2005 08:20:00 +0800 Message-Id: <1110759600.3452.8.camel [at] dooku> On Sun, 2005-03-13 at 17:24 -0500, Stuart Wheaton wrote: > Watch out for the parking nazis. It had to happen sooner or later : http://en.wikipedia.org/wiki/Godwin's_law Simon ------------------------------ Message-ID: <01fb01c5282d$077625f0$0800000a [at] Tony> From: "Tony" Cc: ddanjou [at] gmail.com (David d'Anjou) References:

Subject: Tempus Racks Date: Mon, 14 Mar 2005 00:30:14 -0000 Anyone (UK) interested in a couple of Tempus racks might want to check out http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=4660&item=3879963338&rd=1 before 9am GMT Monday.... I don't need them, as they're not DMX, but they're only up at �50 atm.... (And no - they're nowt to do with me - stumbled across them whilst looking for other stuff!) Ynot ------------------------------ From: IAEG [at] aol.com Message-ID: <13c.eed0344.2f663c3f [at] aol.com> Date: Sun, 13 Mar 2005 20:00:47 EST Subject: Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) In a message dated 3/13/05 6:48:27 PM, mfinney [at] thinkwelldesign.com writes: << He was also the lighting designer for a number of WPA projects and (as I recall) the Mercury Theatre group. >> you recall correctly, , , he was with Houseman and Welles in the "Classical Group" of the Federal Theatre Project and moved with them to the Mercury Theatre, keith ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) Date: Sun, 13 Mar 2005 20:09:27 -0500 Message-ID: <000a01c52832$842acb00$6801a8c0 [at] Dell> In-Reply-To: > he was with Houseman and Welles in the "Classical Group" of > the Federal > Theatre Project and moved with them to the Mercury Theatre, ...In addition to.... A. Having the perfect name for a lighting designer, and B. Having reportly remarked, upon seeing a sunset, that "Isn't it amazing what G-d can do with only one dimmer?" ------------------------------ From: IAEG [at] aol.com Message-ID: <8.64207c88.2f663eec [at] aol.com> Date: Sun, 13 Mar 2005 20:12:12 EST Subject: Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) In a message dated 3/13/05 8:10:58 PM, stagecraft [at] jeffsalzberg.com writes: << > he was with Houseman and Welles in the "Classical Group" of > the Federal > Theatre Project and moved with them to the Mercury Theatre, ...In addition to.... A. Having the perfect name for a lighting designer, and B. Having reportly remarked, upon seeing a sunset, that "Isn't it amazing what G-d can do with only one dimmer?" >> Let us not forget the Stage Manager he had, , Jean Rosenthal, , , keith ------------------------------ Message-ID: <002301c52836$46b72580$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" Subject: Moving Lights Date: Sun, 13 Mar 2005 17:36:42 -0800 I am looking for opinions from the list regarding moving lights for my church. These lights will be used primary for skits that we do. As these are just mini-plays and the desire that I have is to only light up only a small acting area or to be able to isolate between actors to create the feel of two locations. In the past I have needed to vary the acting area during the skit and had to just settle on overlapping lighting using my Source 4's. I just can't get the flexability that is needed as many of these skits I am told of just a few minutes before the start of service. I am aware of the VL-1000 and of course ETC's revolution but the cost is higher than we would like to pay. Thanks for all imput Daryl Redmon Resounding Light ------------------------------ Message-Id: <3.0.6.32.20050313190718.016e6a58 [at] pop.west.cox.net> Date: Sun, 13 Mar 2005 19:07:18 From: CB Subject: Re: ETC Expression/Express Wireless RFU > It just means that >you can set all of its parameters sitting in the control room, instead of up >a lift. More comfortable, yes. Faster, I doubt, if the luminaire is >accessible. I can usually walk to anything in my theatre in 15 seconds or so, since it's >all hung from catwalks. WARNING: WELL DESERVED RANT! Frank, you have probably noticed all the vitriolic comments spewed your way in the last few digests, heaven knows everyone else did. I'll let you in on a hint. You could avoid it easily, and everyone might even begin to like you summat. You do things differently than a VERY LARGE portion of the professionals on this list. VERY DIFFERENTLY. Didja understand that you do things VERY DIFFERENTLY? I wanted to make that clear at least once. In addition, the world has moved on a lot since you last kept up with sound and lighting technology and technique. There are a myriad of usefull and nice things out there, and whether you like them or not causes us little concern. Telling us whether you like them or not is a tiny bit interesting, but telling us that they are bad or wrong is just starting to get very damned annoying, ergo the vitriol. Opinions are fine, but this list is a bit of a resource for some of us, and opinions stated as fact are a huge disservice, both in annoying the pros, and disinforming the noobs and students. Point in fact: The fact that you can reach any of your instruments in fifteen seconds helps us not one whit. Even if we could, we would sometimes like to use the automation to change the shutters, color, gobo, gobo rotation, focus or someother parameter faster than fifteen seconds. Sometimes more than once in fifteen seconds, and sometimes simulteneously on more than one instrument. Movers allow us to do that. If you don't wish to have that capability, that is fine, but allow us that like the new, usefull technology to carry on a discourse on its merits and applications without interruption. Please, its just polite. And yes, changing any of the parameters of any instrument from the comfort of the control room is nice. Both for the operator, and for the audience that sits under those cats. I'd hate to see anyone walking in cats above my head during a show, its quite distracting. Now, I'd never want to bring up asking someone to remove someone from the list, but I can remember giving you this hint a number of times, and others have been less kind and less polite, and understandably so. All we are asking is that you allow us to play in the world that we must play in, without the luxury of beoing able to change our environment, and help each other solve our problems (or at least commiserate) without being told jsut how stupid we are. Is that to big a favor to ask? Hopefully, this will be read as the plea that it was meant, without anger or sarcasm, as Kim requested. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050313192048.016e6a58 [at] pop.west.cox.net> Date: Sun, 13 Mar 2005 19:20:48 From: CB Subject: Re: Why carry equipment? >voila or viola? As I've said before, "VIOLA!" is my personal odious habit. It's just something I do. I replace the French 'voila' (pronounced: wah-LAH) with the term 'viola'. Its stupid, I know, but its just another sound-guy jab at the instrument. I don't know why we hate it, we just do. It may have something to do with the fact the we have only heard them play in tune in that tiny period (somewhere in teh middle of the set) when they pass from sharp to flat. Most of the (porr unfortunate) folk who have had (the msifortune) to play the (damnable) instrument seem like nice folk, so I can only surmise that they have done something heinous in a previous life and are making atonements. My apologies once again for the misunderstanding. (What's the difference between a viola and a violin? Viola burns longer...) Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050313192607.016e6a58 [at] pop.west.cox.net> Date: Sun, 13 Mar 2005 19:26:07 From: CB Subject: AOL update for those who use AIM >"You waive any right to privacy. You >waive any right to inspect or approve uses of the Content or to be >compensated for any such uses." Translation: Resistance is futile. You will be assimilated. Anyone that trusts anything important to AOL is asking for it. Thanks for the warning Herrick. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: "David R. Krajec" Subject: what is LD50 Date: Sun, 13 Mar 2005 21:00:52 -0600 Message-ID: In-Reply-To: FYI LD50 stands for "Lethal Dose - 50%" Procter & Gambel test consumer products to make sure that they are safe for human use. To do that, they use quite a few methods, but the LD50 test is pretty awful. Basically, as I understand it, with a given population of test subjects (mice, rats, rabbits, etc.) they expose said population to a product in increasing quantities. When 50% of said population has expired (hence lethal), they have proved something. PETA and others are opposed to animal testing and this is one of the things they oppose. 'Nuff said. David K. ------------------------------ Message-ID: <20050314030158.27285.qmail [at] web30610.mail.mud.yahoo.com> Date: Sun, 13 Mar 2005 19:01:58 -0800 (PST) From: darcy elora Subject: distressing costumes I am new to the group so forgive me if this has been discussed recently. I am fairly new to the professional world of costume designing and am starting a project that has a very sepia toned feel. I need to kick everything down a couple of notches (both color wise and distressing wise). I am not building pieces so I need techniques to take down pre-existing garments. I know the basic dying and distressing techniques they teach in class (ie: fiber reactive dying with ecru dye, wire brush, etc). Any secrets I don't know of yet? Thanks! Darcy Hofer __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Why carry equipment? Date: Sun, 13 Mar 2005 22:02:32 -0500 Message-ID: <000d01c52842$48c093a0$6801a8c0 [at] Dell> In-Reply-To: > (What's the > difference between a viola and a violin? Viola burns longer...) ...And holds more beer. ------------------------------ In-Reply-To: References: Message-Id: <08bb6af0895c377baeaa059628405b5a [at] dejazzd.com> From: Greg Bierly Subject: Re: Moving Lights Date: Sun, 13 Mar 2005 23:00:09 -0500 Meteor makes the Ellipscan. Under $350 (US). It is strictly a moving mirror that is mounted on a source four. Not the most precise unit for a long run but it sounds like it could be workable for your situation. Greg Bierly Technical Director Hempfield HS Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <2fb74efc20e7d7fe35596d3633438704 [at] dejazzd.com> From: Greg Bierly Subject: Re: Trade Shows: landing a job. Date: Sun, 13 Mar 2005 23:07:30 -0500 > What does it take to > get started designing for trade shows or other > industrials? I'd much rather be a part of a company > than go at it on my own. I honestly don't know but I have a friend that works for a display company Czarnowski (czarnowski.com). I understand they are pretty big in the tradeshow biz. Maybe you can find a contact there that would be willing to talk to you about employment possibilities. Good luck. ------------------------------ Date: Sun, 13 Mar 2005 23:23:06 -0500 Subject: Re: AOL update for those who use AIM From: John McKernon Message-ID: In-Reply-To: >> "You waive any right to privacy. You >> waive any right to inspect or approve uses of the Content or to be >> compensated for any such uses." It wouldn't hurt to remember that everything we write on this list is reachable through Google, as part of the stagecraft archives... - John ------------------------------ From: "Ronnie Thevenot" Subject: RE: AOL update for those who use AIM Date: Sun, 13 Mar 2005 21:38:21 -0700 Message-ID: <000001c5284f$a727fbb0$0502a8c0 [at] ronnie> In-Reply-To: I have come across some post while looking for some stuff on google... even my own. It was surprising. I guess google really doesn't miss much now does it. Maybe AOL is trying to compete with them... if the post everyone's conversations online there is a chance some people might be talking about something useful right...? The internet has never been a very private place. If you are bored google your name and see how many things come up. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of John McKernon Sent: Sunday, March 13, 2005 9:23 PM To: Stagecraft Subject: Re: AOL update for those who use AIM For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >> "You waive any right to privacy. You >> waive any right to inspect or approve uses of the Content or to be >> compensated for any such uses." It wouldn't hurt to remember that everything we write on this list is reachable through Google, as part of the stagecraft archives... - John ------------------------------ From: "Klyph Stanford" Subject: RE: ETC Expression/Express Wireless RFU Date: Mon, 14 Mar 2005 00:02:44 -0500 In-Reply-To: Message-ID: OK, I have always written off what Frank has to say, because I understand he has his own way of doing things, and that is a way not shared by just about everyone else who is out there doing this for a living. But Frank, now you have gone too far. To say that someone else is not qualified to do your job, despite not ever having met them or seen any of their work, is down right arrogant. I don't want to bash Mr. Wood, but I suspect the aggravation most of us on this list feel stems from Frank's complete unwillingness to learn anything about the industry he keeps having opinions on. Frank, if you are unwilling to do the research, and back up your opinions with facts about how this industry actually operates, then I must agree with Herrick that you should just shut the hell up. Sorry, just couldn't take it any more. Klyph Stanford 336.575.7235 "Let's go get drunk on the light once more." Georges Seurat -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Sunday, March 13, 2005 6:23 PM To: Stagecraft Subject: Re: ETC Expression/Express Wireless RFU For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 13/03/05 19:42:55 GMT Standard Time, mfinney [at] thinkwelldesign.com writes: > Frank - I'm in the middle of designing an "icon show" for a large > aquarium here in the US. The intent is to use video and lighting to > create an educational/inspirational show that incorporates existing > sculpted figures of blue whales and gives the audience something of a > sense of being in an environment that encompasses both them and the > whales. It's not a "spectacular", and it certainly isn't a rock show. > I'm designing to create environments and a sense of "place" (which > includes movement, since light tends to feel as if it has a sense of > movement when you're in shallow-ish water). Date: Mon, 14 Mar 2005 00:48:24 -0500 From: Stuart Wheaton Subject: Re: Lighting Designers (was Re: ETC Expression/Express Wireless RFU) References: In-Reply-To: Jeffrey E. Salzberg wrote: > B. Having reportly remarked, upon seeing a sunset, that "Isn't it > amazing what G-d can do with only one dimmer?" God doesn't use a dimmer, he rotates the whole theatre.... ------------------------------ In-Reply-To: References: Message-Id: From: Jeff Forbes Subject: Re:info on doing Peter Pan Date: Sun, 13 Mar 2005 23:32:45 -0800 On Mar 11, 2005, at 7:46 PM, Stagecraft wrote: > I am hoping I can benefit from your expertise - I am the tech half of a > two person theatre department at a community college in Wyoming. My > director wants us to do Peter Pan in the fall. We have a fly system > but no grid or loft - we only have about 38 feet from floor to the > I-beams supporting our fly system. I would need to rent the system > and > pay for it to be rigged. NorthWest Children's Theatre in Portland Or has done the non-musical version of Pan several times over the last 10 years. It's become sort of their signature production/cash cow. The catch here is the stage. They perform in an ex-Christian Science church building, and have no fly system at all. For Pan, they hung a truss over the stage on chain motors, cutting holes in the ceiling in order to rig pick points from the ceiling structure above the plaster. Still, the trim on the truss was about 16' above the deck. Foy did the flying and they said it was about the lowest grid they'd ever worked with. But it worked. You don't have to go that high to get the effect across. Jeff A Forbes PMB 124 6820 SE Foster Rd Portland OR 97206 (503)-888-5619 www.performanceworksnw.org ------------------------------ In-Reply-To: References: Message-Id: <4ca622093df743ad698fbea324508def [at] earthlink.net> From: Jeff Forbes Subject: Re: PDA recommendation Date: Sun, 13 Mar 2005 23:53:27 -0800 On Mar 13, 2005, at 3:01 AM, Stagecraft wrote: > I visited Rob Halliday during the in for Oklahoma. He had found a > driver > that allowed him to use the "free" Strand off-line editor for control > and > thus able to control the entire rig wirelessly from his Apple laptop > with an > Apple Airport card. It was so cool to see the entire rig run off a > laptop > from the deck. > I would love to know about this. Any chance of posting the directions? Jeff A Forbes PMB 124 6820 SE Foster Rd Portland OR 97206 (503)-888-5619 www.performanceworksnw.org ------------------------------ End of Stagecraft Digest #328 *****************************