Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 21229274; Tue, 22 Mar 2005 03:00:59 -0800 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #337 Date: Tue, 22 Mar 2005 03:00:49 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 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 #337 1. Re: ETCP Handbook by StevevETTrn [at] aol.com 2. Re: ETCP Handbook by Bill Sapsis 3. Re: ETCP Handbook by Bill Sapsis 4. Re: Wagner + lyrics by Shawn Palmer 5. Re: Wagner + lyrics by Shawn Palmer 6. a call for help by Theatre Safety Programs 7. Re: ETCP Handbook by Greg Bierly 8. Re: Moving lights - Ellipscan by Greg Persinger 9. Scrim Remnants by Greg Bierly 10. Re: Rechargables by "Andy Leviss" 11. Re: ETCP Handbook by "Scheu Consulting Services" 12. Re: Scrim Remnants by "Stephen E. Rees" 13. Re: ETCP Handbook by Bill Sapsis 14. Re: Moving lights - Ellipscan by "Jeffrey E. Salzberg" 15. Re: What is the Best Genie Lift to buy by RHolen [at] vinu.edu 16. Re: What is the Best Genie Lift to buy by "Paul Schreiner" 17. Re: Moving lights - Ellipscan by Greg Persinger 18. Re: Moving lights - Ellipscan by "Jeffrey E. Salzberg" 19. Re: What is the Best Genie Lift to buy by "ladesigners [at] juno.com" 20. Re: Rechargables by FrankWood95 [at] aol.com 21. Stage Expo photos by Jerry Durand 22. Re: Rechargables by "jsmith at theatrewireless.com" 23. Surfboard by Greg Bierly 24. Re: Moving lights - Ellipscan by Jerry Durand 25. Re: Moving lights - Ellipscan by "Jeffrey E. Salzberg" 26. Re: Rechargables by Jerry Durand 27. Re: Rechargables by "jsmith at theatrewireless.com" 28. Re: Scrim Remnants by "Frank E. Merrill" 29. Re: Surfboard by "Frank E. Merrill" 30. Charged for gelstring damage by "Storms, Randy" 31. Re: Charged for gelstring damage by "Frank E. Merrill" 32. Direct Boxes by CB 33. Giant scroll revisited by Randy Susevich 34. Re[2]: Scrim Remnants by "Frank E. Merrill" 35. Re: Giant scroll revisited by "jsmith at theatrewireless.com" 36. Re: Stage Expo photos by "Paul Schreiner" 37. Job Listing - Carpenters/Props by "Shakespeare & Company Production Manager" 38. Costume List by "Shakespeare & Company Production Manager" 39. Re: Charged for gelstring damage by "Storms, Randy" 40. Re: Stage Expo photos by David d'Anjou 41. Re: Charged for gelstring damage by "Jeffrey E. Salzberg" 42. Re[2]: Charged for gelstring damage by "Frank E. Merrill" 43. Re: Charged for gelstring damage by Stephen Litterst 44. Re: Rechargables by FrankWood95 [at] aol.com 45. Re: Charged for gelstring damage by FrankWood95 [at] aol.com 46. Re: Charged for gelstring damage by FrankWood95 [at] aol.com 47. Re: Giant scroll revisited by Stuart Wheaton 48. Re: Charged for gelstring damage by "Jeffrey E. Salzberg" 49. gmail by Ron Cargile 50. Re: Charged for gelstring damage by Greg Persinger 51. Re: Moving lights - Cost? by Joe 52. Re: Charged for gelstring damage by barney 53. Re: Peter Sellars Glyndebourne Magic Flute '90 by "Will Hill" 54. Re: [Show-Control] Stage Expo photos by Jerry Durand 55. Re: Stage Expo photos by Jerry Durand 56. Re: Stage Expo photos by "Jonathan S. Deull" 57. Email address harvesting by John McKernon 58. Re: ETCP Handbook by Dale Farmer 59. Re: ETCP Handbook by Richard Bakos 60. Re: What is the Best Genie Lift to buy by "Steve B." 61. Re: Charged for gelstring damage by "Jeffrey E. Salzberg" 62. Re: ETCP Handbook by Mat Goebel 63. Re: Charged for gelstring damage by Greg Persinger *** 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. ---------------------------------------------------------------------- From: StevevETTrn [at] aol.com Message-ID: <68.51ea4d0f.2f7014a4 [at] aol.com> Date: Mon, 21 Mar 2005 07:14:28 EST Subject: Re: ETCP Handbook rcarovillano writes: >Is the rigging certification the first to be offered? >If so is their plans for certifications in other areas? Yes, and Yes. There is a group of us working on an Entertainment Electrician Certification that is slated to be the second program offered through ETCP (Entertainment Technician Certification Program). Like the Rigging Cert, the Electrician Cert is targeted initially for the top tier of the profession. We are particularly concerned about addressing the requirements of the National Electrical Code that specify that certain work be performed by "qualified persons". Much of our focus is on the proper design and installation of portable power feeder systems but we are also looking at the whole gamut of skills that a master electrician should be capable of performing. We have about finished with constructing the initial Body of Knowledge. Soon we'll be seeking the input of people in the field to help prioritize the topics covered based such factors as how often a task is performed, what the risk level is for the task, and so on. If you are interested in participating, please let me know. Steve Vanciel Co-chair of the Advanced Electrical Skills Task Group, ETCP Electrical Skills Working Group ------------------------------ Date: Mon, 21 Mar 2005 07:28:55 -0500 Subject: Re: ETCP Handbook From: Bill Sapsis Message-ID: In-Reply-To: on 3/20/05 9:08 PM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Is the rigging certification the first to be offered? If so is their plans > for certifications in other areas? I guess will probably need a couple of > more years before I can take the exam because I certainly do not spend > enough time on rigging to qualify for the 30 points. > > Rob Carovillano > Technical Director - Bluett Theatre > Saint Joseph's University > (610) 660-1044 > rcarovillano [at] verizon.net > We are not currently planning on any other Rigging Certification. There will probably be a training program for rigging as well as other disciplines. Please remember that the Rigging Certification is directed at the top 1/3 in the group. Rigging supervisors and high steel riggers who make their living at this. 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 ------------------------------ Date: Mon, 21 Mar 2005 07:33:28 -0500 Subject: Re: ETCP Handbook From: Bill Sapsis Message-ID: In-Reply-To: on 3/20/05 11:53 PM, Greg Bierly at gbierly [at] dejazzd.com wrote: > I haven't taken the time to work out how many hours I have actually > rigged in the past 16 years but I don't think I'll get anywhere near > the required number of points to qualify to take the exam. I know the > reasoning but it does exclude the smaller market people who there are > only so many gigs in a year that need a rigger. IE I only get called > as a rigger about 10 times a year. I would guess there are only about > 25-30 rigging calls a year and usually we are talking 4 hours in and > 2-3 hours out max. Now I did work for a production company for 6 years > full time and I was in charge of attaching spansets on the trusses and > rigging them to the genie crank towers. That usually took about an > hour a gig for maybe 50-75 days a year. That gets me 3-5 points. > Would those days even count since I was not on a "rigging" call? Rigging is rigging. Doesn't matter where you are or what the name of the call is. > > I am just wondering out loud. I would love to be "certified" but am > not sure how feasible it would be for me to take the exam anyway. btw > I became a rigger because I had a rope and wasn't terrified of heights > and they needed someone to walk out on the beam. I can see in an > established market the possibility of internships and apprenticeships > but I don't ever see that happening around here. To make the test fair and viable, we had to draw a line somewhere. The point system was arrived at after much wailing and gnashing of teeth. Lots of discussion within and outside the committee. This test will not be for the faint of heart. It will not be easy. You should plan on taking this test if you are serious about working as a high level rigger in the industry. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: <423EF527.2050104 [at] northnet.net> Date: Mon, 21 Mar 2005 10:24:07 -0600 From: Shawn Palmer Subject: Re: Wagner + lyrics References:

In-Reply-To: > Did you really mean Elsa' Procession to the Cathedral, because I don't > recall that there are words to that. The bridal march (Freilich gemut) > is the piece that is usually played as the entry procession in the US. > And no, the words aren't even really "Here comes the bride," let alone > the part about the turtle and the girdle. > > If no one has found this for you, I think I might be able to come up > with something. > > -- JLB I found some German lyrics on a Wagner discussion list. As I don't read or speak a word, hopefully it is what they claimed it to be! As I was doing this as a favor for someone in Hamburg, the German thing shouldn't be an issue. I DO find it a bit odd to be researching this in the US when a born and bred German can't find the Wagner info he needs... For my own information I'll have to research Freilich gemut- when I played Elsa's Procession.... it had that typical "here comes the bride" sound. Perhaps my mp3s are mislabled. My friend was looking for that tune, but specifically asked for "words to the Wedding March by Mendelssohn, you know, here comes the bride..." so at least I was able to clarify that one :-) Ah, well. Thanks very much for the offer of assistance. I do appreciate it. Shawn Palmer Neenah, WI USA ------------------------------ Message-ID: <423EF593.1000404 [at] northnet.net> Date: Mon, 21 Mar 2005 10:25:55 -0600 From: Shawn Palmer Subject: Re: Wagner + lyrics References: In-Reply-To: > The " Wedding March" is the opening chorus of Act III, after the prelude. > This is it in English. > > Faithfully guided, come to this place > Where the blessing of love shall enfold you! > Love, the reward of courage triumphant > Truly makes you a most happy pair. > Champion of virtue, proudly advance! > Flower of youth, gracefully advance! > Having escaped from the feast's merriment, > Now may your hearts be filled with bliss. > The fragrant room,bedecked for love, > Shall now enclose you, far from the light. > Faithfullu guided, now enter here, > Where the blessing of love may enfold you. > Courage triumphant, loves so pure > Truly make you a most happy pair. > > I can post a version in the original German, within the limits of my ESP. It > doesn't do umlauts. The translation is not attributed. It's from the libretto > with the re-issue of the EMI recording, with Rudolf Kempe conducting. > > Frank Wood Hey Frank, thanks VERY much! I thought perhaps you would have this information. As my students say, "you rock!" Shawn Palmer Neenah, WI USA ------------------------------ Message-Id: <6.2.1.2.2.20050321093153.020083a8 [at] mail.earthlink.net> Date: Mon, 21 Mar 2005 09:33:35 -0700 From: Theatre Safety Programs Subject: a call for help It is my opinion as a the overseer of several theatre venues and as somewhat of an expert in theatre safety, that the School board has only three choices. 1) Continue the status quo. 2) Keep one theatre operations professional and reduce the program. 3) Lay off the theatre operations professionals and close the theatre. (By this I mean close and lock the door as any use is an invitation to disaster) Unfortunately most school boards do not understand the risk they are exposing the school district to by having untrained people in charge of theatre facilities and accidents under these conditions are fairly frequent.. At a minimum a theatre operation needs a qualified person - see definition below. QUALIFIED PERSON: A person who, by possession of a recognized degree, certificate or professional standing, or who by extensive knowledge, training and experience, has successfully demonstrated their ability to solve or resolve problems relating to the subject matter, the work, or the project. I would strongly suggest they talk to their lawyer and a theatre safely expert before placing the technical operations of a theatre in the hands of the untrained. The cost of one accident in both cash and staff time will exceed any savings. Jerry Gorrell Technical Director Phoenix Stages Principal Theatre Safety Programs ------------------------------ In-Reply-To: References: Message-Id: <284df2d0fec5551255ce477225496a77 [at] dejazzd.com> From: Greg Bierly Subject: Re: ETCP Handbook Date: Mon, 21 Mar 2005 11:49:25 -0500 > Please remember that the Rigging Certification is directed at the top > 1/3 in > the group. Rigging supervisors and high steel riggers who make their > living > at this. If I had just waited till this morning to post my message this statement would have answered my question. Thanks Bill. Greg Bierly Technical Director Hempfield HS Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Mon, 21 Mar 2005 10:53:49 -0600 Subject: Re: Moving lights - Ellipscan From: Greg Persinger Message-ID: In-Reply-To: Tracy Fitch wrote: > Actually, the largest problem I found with ellipscans (other than the > fact that it seems like 1 out of every 3 has an annoying high-pitched > whine that won't die) is that the weight/movement of the ellipscan on > the front of the fixture tends to cause the fixture to slip in the yoke. > I cured this by adding a cable at the front to help support the front of > the fixture. Then my focus points stopped shifting. There you go. I never would have thought of that one but it makes perfect sense. Also if you are using ETC Source Four Fixtures you can get the double clutch yoke option which may help as well. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <8d8b3efd0968b5bd674a4f87676f2499 [at] dejazzd.com> From: Greg Bierly Subject: Scrim Remnants Date: Mon, 21 Mar 2005 12:12:25 -0500 I am looking for scrim remnants and cut off for any suppliers you can think of. I am about to call Rose Brand but I didn't see any on their specials/closeout pages. I am looking for large scraps around 30" or wider in any shape or length of dark colored scrim. It is being used for a layered textured set of borders and legs. I am hoping for as much black as possible but dark grey or navy and even purple (or any combination of) would work. I would be more than happy to pay shipping plus whatever you would see as a fair price if you had a box of scraps laying around. Any suppliers not on the list that you think I should call would also be appreciated. Thanks. ------------------------------ From: "Andy Leviss" Subject: RE: Rechargables Date: Mon, 21 Mar 2005 11:15:56 -0500 Organization: Duck's Echo Sound Message-ID: <002401c52e31$4611e420$a19afea9 [at] AndyLeviss> In-Reply-To: I don't know what brand they were using, but I do know that I saw one of the major Broadway tours two weeks ago during a night off from the Muppets, and a very, very dramatic scene that relies fairly heavily on a highly processed vocal effect (lots of delay and reverb for a nightmare scene) took a hit when that character's mic died thanks to the rechargeable batteries the show had been using. The batteries died before his actual entrance, but while he was preset in a set piece at center stage, where the A2 could do not a thing about it other than warn the A1 that the character no longer had a mic. Not a good thing :o1 Thanks, but I'll take my Energizer Industrial alkalines, please! --Andy Leviss Sound Engineer, Sesame Street Live: Elmo's Coloring Book En route to El Paso, TX --- Webmaster, http://OneFromTheRoad.com Tools, Toys, and Tales for the Theatrical Technician -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.4 - Release Date: 3/18/2005 ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: ETCP Handbook Date: Mon, 21 Mar 2005 12:21:20 -0500 Organization: Scheu Consulting Services, Inc. Message-ID: <000a01c52e3a$66534040$c9fea8c0 [at] ROXY> In-reply-to: Bill Sapsis and Greg Bierly wrote: >> Please remember that the Rigging Certification is directed at the top >> 1/3 in >> the group. Rigging supervisors and high steel riggers who make their=20 >> living >> at this. >If I had just waited till this morning to post my message this=20 >statement would have answered my question. Thanks Bill. While attending the ETCP information session at USITT, and from many informal comments I got during the conference (I am an SME developing = the Theatre Rigging portion of the test), there were concerns expressed that many employers will require ALL their employees to get certification. = They were concerned that even folks with limited, but valuable, experience = (like Greg), or other "multi-disciplinary" professionals who have limited = staff (i.e. the staff TD who hires journeymen), will be "required" to be certified, at the risk of losing their jobs. NOW is the time to start talking with your employer about these issues. = As Bill said, the certification is targeted at a limited number of full = (and some part) time, professional, "upper tier" riggers. Not the TD at the = local high school. If your employer starts making noises about requiring = EVERYONE to get certified, have them review the handbook carefully, or contact = the ETCP offices for clarification. Zat right, Bill? Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <423F0297.8050501 [at] fredonia.edu> Date: Mon, 21 Mar 2005 12:21:27 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Scrim Remnants References: Try Syracuse Scenery. 800.453.7775 Ask for Sheila who is in charge of the drape shop. They usually have such remnants about. Not free but inexpensive. Steve Greg Bierly wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for scrim remnants and cut off for any suppliers you can > think of. I am about to call Rose Brand but I didn't see any on their > specials/closeout pages. I am looking for large scraps around 30" or > wider in any shape or length of dark colored scrim. It is being used > for a layered textured set of borders and legs. I am hoping for as much > black as possible but dark grey or navy and even purple (or any > combination of) would work. I would be more than happy to pay shipping > plus whatever you would see as a fair price if you had a box of scraps > laying around. Any suppliers not on the list that you think I should > call would also be appreciated. Thanks. ------------------------------ Date: Mon, 21 Mar 2005 12:35:33 -0500 Subject: Re: ETCP Handbook From: Bill Sapsis Message-ID: In-Reply-To: on 3/21/05 12:21 PM, Scheu Consulting Services at peter [at] scheuconsulting.com wrote: > Zat right, Bill? On the money! 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 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Moving lights - Ellipscan Date: Mon, 21 Mar 2005 12:41:20 -0500 Message-ID: <002001c52e3d$328fba10$6501a8c0 [at] Dell> In-Reply-To: I'm coming in late to this discussion, so please forgive me if this has been covered before. In addition to the whine and the focus shift due to weight (easily solved as Tracy describes), the relay that controls the convenience outlet does not react well to the relatively high speed processors in an Expression 3 (and, I assume, an Obsession; it works fine with an Express); it sits there all night popping like a popcorn popper. A *LOUD* popcorn popper. The only solution is to physically remove the relay from the circuit board. > Actually, the largest problem I found with ellipscans (other > than the fact that it seems like 1 out of every 3 has an > annoying high-pitched whine that won't die) is that the > weight/movement of the ellipscan on the front of the fixture > tends to cause the fixture to slip in the yoke. I cured this > by adding a cable at the front to help support the front of > the fixture. ------------------------------ Subject: Re: What is the Best Genie Lift to buy Message-ID: From: RHolen [at] vinu.edu Date: Mon, 21 Mar 2005 11:42:34 -0600 I need to get a Genie lift that you can move around as you focus, without riggers. If you are using one let me know how you like it. Should I be looking at a different brand? What am I going to have to pay for the unit? Give me a model number if you have one. Send your note direct: rholen [at] vinu.edu Richard D. Holen Professor Dept. of Theatre Vincennes University 1002 N. 1st Street Vincennes, IN 47591 Office: 812 888 5339 Home: 812 886 9135 Cell: 812 760 8000 rholen [at] indian.vinu.edu ------------------------------ Subject: RE: What is the Best Genie Lift to buy Date: Mon, 21 Mar 2005 12:51:30 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C772 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: rholen [at] vinu.edu > I need to get a Genie lift that you can move around as you=20 > focus, without riggers. If you are using one let me know how=20 > you like it. Should I be looking at a different brand? What=20 > am I going to have to pay for the unit? Give me a model=20 > number if you have one.=20 Most (if not all) single-personnel lifts, outriggerless or not, that I am aware of are not designed to be moved with someone at height. If you absolutely need to be able to move while up in the air, I'm afraid you'd have to go with a scissors lift; a couple of years ago I started looking at lifts for my old place of employment, and discovered that these particular models tend to be EXTREMELY heavy (to the point I was afraid my stage wouldn't support it, especially over the traps). If you can get by with an outriggerless model that doesn't need to be moved at height, I wholeheartedly recommend the Genie IWP line. The 20' version can be purchased with a basket extension that allows you to move the basket out from the mast an additional 26" to get over tall scenery or extend your reach at working height a few extra feet... I ended up buying the IWP 20 with the outreach option; with delivery it came in to just under $5000. ------------------------------ Date: Mon, 21 Mar 2005 12:00:37 -0600 Subject: Re: Moving lights - Ellipscan From: Greg Persinger Message-ID: In-Reply-To: Jeffrey Salzberg wrote: > I'm coming in late to this discussion, so please forgive me if this has > been covered before. In addition to the whine and the focus shift due > to weight (easily solved as Tracy describes), the relay that controls > the convenience outlet does not react well to the relatively high speed > processors in an Expression 3 (and, I assume, an Obsession; it works > fine with an Express); it sits there all night popping like a popcorn > popper. A *LOUD* popcorn popper. The only solution is to physically > remove the relay from the circuit board. Jeffrey, Try slowing the DMX port down that your ellipscan's are connected to. This may help and probably won't effect anything else in the DMX chain. The whine is the stepper motors being electrically held in place. Some stepper motors whine worse than others. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Moving lights - Ellipscan Date: Mon, 21 Mar 2005 13:09:52 -0500 Message-ID: <002501c52e41$3148be50$6501a8c0 [at] Dell> In-Reply-To: > > popcorn popper. A *LOUD* popcorn popper. The only solution is to > > physically remove the relay from the circuit board. > > Jeffrey, > > Try slowing the DMX port down that your ellipscan's are > connected to. I did. No joy. It's moot, now; the relay's long gone. I know that Meteor's working on the problem (well, I know they *say* they're working on it, but I have no reason to doubt them). ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 21 Mar 2005 18:16:48 GMT Subject: Re: What is the Best Genie Lift to buy Message-Id: <20050321.101652.27134.276 [at] webmail16.lax.untd.com> For my money, I prefer CONDOR lifts. [I am risk-adverse in this area!] /s/Richard I need to get a Genie lift that you can move around as you focus, without riggers. Should I be looking at a different brand? Richard D. Holen ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <30.6ecf0f2a.2f706d8f [at] aol.com> Date: Mon, 21 Mar 2005 13:33:51 EST Subject: Re: Rechargables In a message dated 21/03/05 17:16:57 GMT Standard Time, Andy [at] DucksEchoSound.com writes: > I don't know what brand they were using, but I do know that I saw one of > the major Broadway tours two weeks ago during a night off from the > Muppets, and a very, very dramatic scene that relies fairly heavily on a > highly processed vocal effect (lots of delay and reverb for a nightmare > scene) took a hit when that character's mic died thanks to the > rechargeable batteries the show had been using. The batteries died > before his actual entrance, but while he was preset in a set piece at > center stage, where the A2 could do not a thing about it other than warn > the A1 that the character no longer had a mic. Not a good thing :o1 > Thanks, but I'll take my Energizer Industrial alkalines, please! The trouble with rechargeables is that you need some organisation in place to make sure that they are recharged. That is why the BBC's Film Department went down the same path as you suggest. All the sound gear ran off primary cells, and secondary cells for heavy current loads such as cameras and battery lighting. The cameramen and sparks carried their own chargers. Frank Wood ------------------------------ Message-Id: <6.2.1.2.0.20050321104309.02a0a630 [at] localhost> Date: Mon, 21 Mar 2005 10:43:35 -0800 From: Jerry Durand Subject: Stage Expo photos Photos are now online. http://www.jdurand.no-ip.org/photos/USITT_Stage_Expo_2005/ ---------- 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 ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: RE: Rechargables Date: Mon, 21 Mar 2005 13:43:59 -0500 Organization: Home of the RC4 Wireless Dimmer System In-Reply-To: Message-Id: <20050321184403.TLUK1567.tomts25-srv.bellnexxia.net [at] p3m866> > > Thanks, but I'll take my Energizer Industrial alkalines, please! > > The trouble with rechargeables is that you need some > organisation in place to make sure that they are recharged. > > Frank Wood This is also why we've included live battery voltage monitoring in our RC4 wireless dimmers. You can see voltage levels at the transmitter, mid-cue, under load, giving you a pretty good idea if the battery is okay even when it's already out on stage. Jim www.theatrewireless.com ------------------------------ Message-Id: <303fe71f8603378fa9c26472c8ea62f8 [at] dejazzd.com> From: Greg Bierly Subject: Surfboard Date: Mon, 21 Mar 2005 13:53:20 -0500 I just got my designs last night if you couldn't tell. I am supposed to create a "Wave" onstage with built in surfboards. The model I got was very similar to the show I saw in Lighting Dimensions that built one on their orchestra lift. (Feb 2004 Concordia College production of Go-Go Beach, Article on the Bak-Pak dimmer) Since I have never surfed and am a couple miles inland, does anyone have an idea of a supplier for surfboards and are they even strong enough to cantilever into a set piece. I imagine they take a beating in the surf so they are strong but is it going to be easier and more cost effective to start from scratch with a couple of layers of plywood. Any pointers as to where I should start would be appreciated. Thanks Landlubber in Central PA Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.1.2.0.20050321110457.03c7cfa0 [at] localhost> Date: Mon, 21 Mar 2005 11:06:04 -0800 From: Jerry Durand Subject: Re: Moving lights - Ellipscan In-Reply-To: References:

At 10:00 AM 3/21/2005, you wrote: >Try slowing the DMX port down that your ellipscan's are connected to. This >may help and probably won't effect anything else in the DMX chain. I've added a parameter for this in our next firmware release. So many devices that can't take full DMX speeds... ---------- 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 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Moving lights - Ellipscan Date: Mon, 21 Mar 2005 14:11:03 -0500 Message-ID: <002b01c52e49$bd0440b0$6501a8c0 [at] Dell> In-Reply-To: In point of fact, the Ellipscan works well with your USB/DMX box and the Smartlight software. > >Try slowing the DMX port down that your ellipscan's are > connected to. > >This may help and probably won't effect anything else in the > DMX chain. > > I've added a parameter for this in our next firmware release. > So many > devices that can't take full DMX speeds... > > > ---------- > Jerry Durand ------------------------------ Message-Id: <6.2.1.2.0.20050321110650.03d484f0 [at] localhost> Date: Mon, 21 Mar 2005 11:10:19 -0800 From: Jerry Durand Subject: Re: Rechargables In-Reply-To: References:

At 10:43 AM 3/21/2005, you wrote: >This is also why we've included live battery voltage monitoring in our RC4 >wireless dimmers. You can see voltage levels at the transmitter, mid-cue, >under load, giving you a pretty good idea if the battery is okay even when >it's already out on stage. Are you using batteries where voltage is meaningful? Voltage of a NiCd pack isn't very informative, for instance, but most people don't use NiCd anymore in new designs. Many new battery packs have something like the TI/Benchmarq battery gauge chip built in. It monitors charge, discharge, temperature, time, battery age, etc. to give a realistic battery level (output in digital format, no less). So far, I haven't had to use one of these, but am sure I will soon. ---------- 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 ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: RE: Rechargables Date: Mon, 21 Mar 2005 14:40:09 -0500 Organization: Home of the RC4 Wireless Dimmer System In-Reply-To: Message-Id: <20050321194014.UBPZ1567.tomts25-srv.bellnexxia.net [at] p3m866> For wireless lamp dimming, lead-acid batteries lead-acid batteries remain the most useful type (including gel-cels, car batteries, boat batteries, etc.). When they drop to 10V under load, it's time to recharge. A 1000W of lighting at 12V draws 83A. NiMH batteries are performing pretty well in tests we're running with loads under 10A, but we're taking a wait-and-see approach before recommending them for the rigors of lamp dimming for 9+ shows per week. It's the rate of discharge that is the issue here -- most electronic devices drain batteries very slowly, but not a 75W MR16. Fast discharge will damage batteries not intended for this kind of use. Jim > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Jerry Durand > Sent: March 21, 2005 2:10 PM > To: Stagecraft > Subject: Re: Rechargables > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > At 10:43 AM 3/21/2005, you wrote: > >This is also why we've included live battery voltage > monitoring in our > >RC4 wireless dimmers. You can see voltage levels at the > transmitter, > >mid-cue, under load, giving you a pretty good idea if the battery is > >okay even when it's already out on stage. > > Are you using batteries where voltage is meaningful? Voltage > of a NiCd pack isn't very informative, for instance, but most > people don't use NiCd anymore in new designs. Many new > battery packs have something like the TI/Benchmarq battery > gauge chip built in. It monitors charge, discharge, > temperature, time, battery age, etc. to give a realistic > battery level (output in digital format, no less). So far, I > haven't had to use one of these, but am sure I will soon. > > > > ---------- > Jerry Durand > Durand Interstellar, Inc. > 219 Oak Wood Way > Los Gatos, California 95032-2523 USA > tel: +1 408 356-3886 > fax: +1 408 356-4659 > web: www.interstellar.com > > > > > ------------------------------ Date: Mon, 21 Mar 2005 15:11:23 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1468083440.20050321151123 [at] tcon.net> Subject: Re: Scrim Remnants In-Reply-To: References: Hello ! Monday, March 21, 2005, Greg Bierly wrote: > I am looking for large scraps around 30" or wider in any shape or > length of dark colored scrim. I probably have some in the remnant box. I'll check this afternoon and respond here. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Date: Mon, 21 Mar 2005 15:18:52 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1064797283.20050321151852 [at] tcon.net> Subject: Re: Surfboard In-Reply-To: References: Hello ! Monday, March 21, 2005, Greg Bierly wrote: > Since I have never surfed and am a couple miles inland, does anyone > have an idea of a supplier for surfboards and are they even strong > enough to cantilever into a set piece. As noted in my .sig below I'm also a few miles inland, but I REALLY enjoyed surfing when I lived in Hawaii some years back, and have shaped a few boards in my day although that was back in the day where an average board would be considered an "aircraft carrier" by today's standards.... A good board will support a typical performer without much trouble. My blanks were usually 4" thick foam laminated with three to five redwood stringers for longitudinal rigidity, and after shaping was covered with two layers of fiberglass cloth and I sure miss Hawaii.... For Greg's "prop" board I'd consider gluing up some blue rigid insulation board with a cupla 1x4 whitewood stringers. Have at it with a Surform tool and orbital sander and then glass it up. Don't bother with the skeg fins since the audience probably wouldn't see the back end of the board. It's eight feet and glassy, dude.... Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Subject: Charged for gelstring damage Date: Mon, 21 Mar 2005 12:20:53 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A42 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Hey all - we rented eight scrollers for six weeks for our run of = "Anything Goes". Four weeks in we discovered that four of the eight = units had melted gelstrings, making them unusable. The rental company = quickly shipped us new units to finish the run, but we have now been = notified that we are responsible for $315 in damages. We did nothing unusual with these scrollers, and were certainly not = negligent in their use. Should gelstring burnout be considered normal = wear and tear on a long run like that? Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Date: Mon, 21 Mar 2005 15:30:49 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1784020647.20050321153049 [at] tcon.net> Subject: Re: Charged for gelstring damage In-Reply-To: References: Hello ! Monday, March 21, 2005, Randy Storms wrote: > Should gelstring burnout be considered normal wear and tear In my not-at-all humble opinion, color media burnout is a function of the media used and the focal point of the light beam. Mr. Storms did not specify the instruments on which the scrollers were used, but I'd guess they were on ellipsoidals using "hot" lamp bulbs. I've seen burnout when an ellipsoidal's secondary focal point is near the plane of the color media and a deep blue or green filter is being used. If that is the case and your rental supplier pushes the matter, the gelstring burnout is your responsibility. I've never felt it practical to rent color media. If you rent any of my luminaires, they come with color frames but you buy the color media. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Message-Id: <3.0.6.32.20050321213454.016f2428 [at] pop.west.cox.net> Date: Mon, 21 Mar 2005 21:34:54 From: CB Subject: Direct Boxes >Just out of curiosity, and for my own failing memory, what were your button >concerns with the BSS? I can't actually remember any buttons on that unit - >just (3) small switches (power, pad, and ground/lift) I think. The issue with the buttons was actully with the Behringer imitation of the BSS-133, sorry if I was unclear about that. The Behringer would change pad settings ifyou looked in its direction... The BSS is a nice unit, but given the money, I'd buy the Countryman 85. 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... ------------------------------ Date: Mon, 21 Mar 2005 14:46:56 -0600 Subject: Giant scroll revisited From: Randy Susevich Message-ID: Thanks to Chuck Mitchell, who pointed out some details I omitted in my original post. =20 Here is more detiail about what I am looking to construct: a large scroll 10 feet wide x 10 feet tall; unit will be dead hung from the catwalk (which is 24 feet from the floor); the bottom of the scroll unit will be about 10 feet off the floor (actors will be walking under the unit); operation of th= e scroll will be from the stage floor by natural fiber ropes which would turn the top roller (through a sheave on the stage floor?); the drive wheel will be in sightline (part of the design); and want it to look German circa 1918= ! I have in mind to construct some sort of a winch-type system on the top roller which could be operated by a friction drive (the rope). The top roller would also need a catch to prevent it from unrolling. Noise is okay when it is being operated (good even). I want to keep some tension on the bottom roller too so it doesn=B9t come unrolled (though the weight of the heavy weight muslin may take care of that on its own), yet it unwinds easil= y too. The piece will roll from the bottom to the top during the show (the images scroll up from the bottom) and needs to be reset after the show. Oh, btw, I don=B9t see this as an oleo drop=8Bit really is more like a color scroller, just large & not motorized. So, with this more detailed information, does this spark anyones creative juices to give me some ideas? =20 Randy Susevich Adjunct Asst. Professor of Theatre Arts; Technical Director/Lighting Designer Coe College Theatre Department 1220 First Ave NE Cedar Rapids, IA 52402 Office: 319.399.8484 Fax: 319.399.8557 Cell: 319.270.6959 ------------------------------ Date: Mon, 21 Mar 2005 15:54:57 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1274707687.20050321155457 [at] tcon.net> Cc: Lamplighter [at] tcon.net (Frank E. Merrill) Subject: Re[2]: Scrim Remnants In-Reply-To: References:

Hello ! Monday, March 21, 2005, Greg Bierly wrote: > I am looking for large scraps around 30" or wider in any shape or > length of dark colored scrim. I checked my remnant box and I have a piece of black sharkstooth full width (interpret that as 28 to 31 feet wide) by 28 to 34 inches tall. Without wishing to point fingers at fabric suppliers, the height variations have arisen because I think the fabric supplier in question must cut scrim with hedge shears.... I apologize to Mr. Bierly for having erased his original message, so I don't have his e-mail...but if you're interested in this piece, Mr. bierly, please e-mail me directly at Lamplighter [at] tcon.net or call me at 317: 255 4666. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: RE: Giant scroll revisited Date: Mon, 21 Mar 2005 16:19:00 -0500 Organization: Home of the RC4 Wireless Dimmer System In-Reply-To: Message-Id: <20050321211907.UAYN1919.tomts22-srv.bellnexxia.net [at] p3m866> > I want to keep some tension on the=20 > bottom roller too so it doesn=B9t come unrolled (though the=20 > weight of the heavy weight muslin may take care of that on=20 > its own), yet it unwinds easily too. The piece will roll=20 > from the bottom to the top during the show (the images scroll=20 > up from the bottom) and needs to be reset after the show. Oh,=20 > btw, I don=B9t see this as an oleo drop=8Bit really is more like=20 > a color scroller, just large & not motorized. I've designed a lot of motorized scrollers for advertising. You'll need some resistance on the bottom roller so that inertia doesn't continue to unroll it when you stop pulling at the top. When I do this with motors electronically, I increase the drag as the top slows down, then engage a brake when the machine comes to a stop. If you build in enough = resistance to ensure the bottom roller doesn't run on, it might also be very = difficult to operate during transit. Consider having slight friction all the = time, and engaging some kind of increased friction just when you're slowing = down and stopping the top roller. Jim www.theatrewireless.com www.revpower.com (scrolling signs) =20 ------------------------------ Subject: RE: Stage Expo photos Date: Mon, 21 Mar 2005 16:29:26 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C776 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Photos are now=20 > online. http://www.jdurand.no-ip.org/photos/USITT_Stage_Expo_2005/ So who all is in the Stagecraft Meeting photo? ------------------------------ Reply-To: From: "Shakespeare & Company Production Manager" Subject: Job Listing - Carpenters/Props Date: Mon, 21 Mar 2005 16:46:59 -0500 Message-ID: Carpentry and Props Personnel sought for an Equity L.O.A. 7 show, 3 stage season at Shakespeare & Company. Season runs from early May through early September. Most contracts for shorter duration. Late season and early start contracts may include theater-in-education support. Housing available, local transportation negotiable, though preferred candidates will have own transportation. Salary commensurate with experience. Experience in fast paced Summer Theater helpful. E.O.E. Send cover letter, resume, references and your dates of availability to Jobsearch, 70 Kemble St., Lenox, MA 01240, or e-mail to jobsearch [at] shakespeare.org. Additional information can be found at www.shakespeare.org. Nathan Towne-Smith Production Manager Shakespeare & Company 70 Kemble St. Lenox, MA 01240 (413) 637-3169 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. ------------------------------ Reply-To: From: "Shakespeare & Company Production Manager" Subject: Costume List Date: Mon, 21 Mar 2005 16:50:01 -0500 Message-ID: Could someone e-mail me off-list the costuming mailing list? My Costume Director is interested in subscribing. Thanks, Nathan Towne-Smith Production Manager Shakespeare & Company 70 Kemble St. Lenox, MA 01240 (413) 637-3169 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. ------------------------------ Subject: RE: Charged for gelstring damage Date: Mon, 21 Mar 2005 14:15:04 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A43 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" >In my not-at-all humble opinion, color media burnout is a function of >the media used and the focal point of the light beam. =20 Yes, but you left out an important consideration, time... >Mr. Storms did not specify the instruments on which the scrollers were = used, but I'd >guess they were on ellipsoidals using "hot" lamp bulbs. They were 6" fresnels, lamped for 1K, at medium flood setting. The = intended use was described in detail to the rental company before the = agreement was finalized. I even voiced concern when I picked them up = and asked what to do in the event that something should burn out before = the end of the run. (They shipped one extra unit to cover this = contingency). We all know gel has a finite lifespan. My question is, how many weeks = of regular use is it reasonable to expect a gelstring to last? =20 We don't know how much use the strings had seen before we received them, = only that they worked fine for ~30 days and then suddenly failed. = Suppose I had returned them after 28 days? When they failed on the next = renter after only two days, would *he* be responsible? Even assuming they were brand new when they were delivered to us, should = they not have been able to predict that after thirty days (roughly 20 = 2.5 hour performances), gel was going to burn out? Is it my fault that = they happened to reach the end of their useful life while in my = possession?=20 what could I (or anyone) have done to prevent it? -- r. Randy Storms rstorms [at] bham.wednet.edu =20 ------------------------------ Message-ID: <96c90e34050321141671b549ed [at] mail.gmail.com> Date: Mon, 21 Mar 2005 17:16:54 -0500 From: David d'Anjou Reply-To: David d'Anjou Subject: Re: Stage Expo photos In-Reply-To: References: Nice shots Jerry, I don't suppose anyone out there got any shots of our (Cirque's) panel presentation? I got drafted on stage at the last minute and couldn't take any. -- David d'Anjou Technical Communications Supervisor Cirque du Soleil ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Charged for gelstring damage Date: Mon, 21 Mar 2005 17:28:31 -0500 Message-ID: <007f01c52e65$52d0fe10$6501a8c0 [at] Dell> In-Reply-To: > what could I (or anyone) have done to prevent it? Rosco Heat Shield. ------------------------------ Date: Mon, 21 Mar 2005 17:45:04 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <139854878.20050321174504 [at] tcon.net> Subject: Re[2]: Charged for gelstring damage In-Reply-To: References: Hello ! Monday, March 21, 2005, Randy Storms wrote: > We don't know how much use the strings had seen before we > received them, only that they worked fine for ~30 days and then > suddenly failed. Suppose I had returned them after 28 days? When > they failed on the next renter after only two days, would *he* be > responsible? That is exactly why I do NOT charge my customers for a lamp bulb if one burns out in a rented instrument. My Dad used to pound into me that it is not my customer's fault that he happened to be the unlucky soul that happened to get the instrument when the lamp bulb burned out. I figure that each instrument gets rented about 20 times before the lamp bulb expires, so I just figure 1/20 the cost of the bulb into the rental fee and move on down the road. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Date: Mon, 21 Mar 2005 17:45:52 -0500 From: Stephen Litterst Subject: Re: Charged for gelstring damage Message-id: <423F4EA0.AA31DB04 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Storms, Randy" wrote: > --------------------------------------------------- > We all know gel has a finite lifespan. My question is, how many weeks of regular use is it reasonable to expect a gelstring to last? > Even assuming they were brand new when they were delivered to us, should they not have been able to predict that after thirty days (roughly 20 2.5 hour performances), gel was going to burn out? Is it my fault that they happened to reach the end of their useful life while in my possession? I don't know what to tell you Randy. When I rent any scrollers, color media has never been included in the rental price -- always the strings have been a separate sales order. Our rental guy has offered to throw in strings that they have lying around, but if I ever require a specific set of colors (as it sounds like in your situation) I have been charged for that. I don't necessarily like paying for it, but I understand that it's not something they have lying around and can send out. > what could I (or anyone) have done to prevent it? How were the fans on the scrollers set? Was there an option to have them at high or low speed? For the wattage and style fixture you had the fans should have been set as fast as they could go. If the fan speed wasn't adjustable I don't know what to say. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <81.23f8bd53.2f70b514 [at] aol.com> Date: Mon, 21 Mar 2005 18:39:00 EST Subject: Re: Rechargables In a message dated 21/03/05 19:41:47 GMT Standard Time, stagecraft [at] theatrewireless.com writes: > For wireless lamp dimming, lead-acid batteries lead-acid batteries remain > the most useful type (including gel-cels, car batteries, boat batteries, > etc.). When they drop to 10V under load, it's time to recharge. > > A 1000W of lighting at 12V draws 83A. > > NiMH batteries are performing pretty well in tests we're running with loads > under 10A, but we're taking a wait-and-see approach before recommending them > for the rigors of lamp dimming for 9+ shows per week. > > It's the rate of discharge that is the issue here -- most electronic devices > drain batteries very slowly, but not a 75W MR16. Fast discharge will damage > batteries not intended for this kind of use. Big lead-acid batteries are the way to go for really large currents, still. Another possibility is nickel-iron, if they are still around. Trolley-buses used to carry them, to give them some mobility in case of power failure. The cell voltage is lower, 1.2V against 2V, but they are proof against most abuses. Commercially, they were known as NiFe cells. We still have a 50V pack of them for our emergency lights. Provided that you don't overcharge them, and keep up the electrolyte level, they will give years of service. They are capable of supplying high currents. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <154.4d73c16f.2f70b74a [at] aol.com> Date: Mon, 21 Mar 2005 18:48:26 EST Subject: Re: Charged for gelstring damage In a message dated 21/03/05 20:22:06 GMT Standard Time, rstorms [at] bham.wednet.edu writes: > Hey all - we rented eight scrollers for six weeks for our run of "Anything > Goes". Four weeks in we discovered that four of the eight units had melted > gelstrings, making them unusable. The rental company quickly shipped us new > units to finish the run, but we have now been notified that we are > responsible for $315 in damages. > > We did nothing unusual with these scrollers, and were certainly not > negligent in their use. Should gelstring burnout be considered normal wear > and tear on a long run like that? My personal opinion is yes. That said, it depends on the IR absorbtion of the gels, and on the IR output of the luminaire. For instance, in the time it takes to aim three 1KW PAR 64s, a wooden stepladder in the beam and close will start to smoke. A cracked lens on a 2KW fresnel will destroy a gel in one act. I've done both. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 21 Mar 2005 18:54:55 EST Subject: Re: Charged for gelstring damage In a message dated 21/03/05 22:29:45 GMT Standard Time, stagecraft [at] jeffsalzberg.com writes: > > what could I (or anyone) have done to prevent it? > > Rosco Heat Shield. Maybe. But the hire company should have advised you to use it, depending om th string's make-up. Frank Wood ------------------------------ Message-ID: <423F6818.4080900 [at] fuse.net> Date: Mon, 21 Mar 2005 19:34:32 -0500 From: Stuart Wheaton Subject: Re: Giant scroll revisited References: In-Reply-To: Randy Susevich wrote: > Here is more detiail about what I am looking to construct: a large scroll > 10 feet wide x 10 feet tall; unit will be dead hung from the catwalk (which > is 24 feet from the floor); the bottom of the scroll unit will be about 10 > feet off the floor (actors will be walking under the unit); operation of the > scroll will be from the stage floor by natural fiber ropes which would turn > the top roller (through a sheave on the stage floor?); the drive wheel will > be in sightline (part of the design); and want it to look German circa 1918! > > I have in mind to construct some sort of a winch-type system on the top > roller which could be operated by a friction drive (the rope). The top > roller would also need a catch to prevent it from unrolling. Noise is okay > when it is being operated (good even). I want to keep some tension on the > bottom roller too so it doesn�t come unrolled (though the weight of the > heavy weight muslin may take care of that on its own), yet it unwinds easily > too. The piece will roll from the bottom to the top during the show (the > images scroll up from the bottom) and needs to be reset after the show. Oh, > btw, I don�t see this as an oleo drop�it really is more like a color > scroller, just large & not motorized. Since you only roll up the scroll, you could build a ratchet mechanism, With a home-made cog gear and spring loaded plywood hook to catch the cog. Then you could even advance the scroll in the dark by counting the clicks. To reset, someone could lift the hook from the catwalk. The outer drum is only 10 or 12 feet long, so it won't bow much and you won't have to worry about seams. The inner axle could be as simple as 1-1/4" pipe or even 1" pipe with a suitable pipe sleeved over that. The axles could be hung from your catwalk with cable running to eyebolts at the end of each axle. Use a plywood or steel filler to space out to your 4 or 6 inch drums. A couple of Plastic brushes pressed against the lower drum ought to provide enough drag to keep the scroll taut, depending on how fast the scroll is turned. You could also have another loop of hemp that you could use to snug things up after each move. You'll need something like this when re-setting anyways. Your 'winch system' could be as simple as two plywood discs separated by a smaller disc to make a big pulley. Proper sizing of discs and rope should get you a good deal of friction. Hope this gets you thinking in good directions. Stuart ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Charged for gelstring damage Date: Mon, 21 Mar 2005 19:35:07 -0500 Message-ID: <008501c52e77$02781fe0$6501a8c0 [at] Dell> In-Reply-To: > > Rosco Heat Shield. > > Maybe. But the hire company should have advised you to use > it, depending om > th string's make-up. The scroller probably has a built-in heat shield, but it doesn't hurt to add more. ------------------------------ Message-Id: <6.0.0.22.2.20050321163806.01b767d0 [at] pop.uci.edu> Date: Mon, 21 Mar 2005 16:41:20 -0800 From: Ron Cargile Subject: gmail . So what does Gmail do with encrypted email? Send you ads for encryption software? Anti-encryption software? Alert DHS? I know that AOL used to suspend email accounts for sending and receiving encrypted messages. (They may still, I haven't looked in at least a decade.) Guebjvat fnaq va Ovt Oebgure'f rlrf. ....Ron __________ Ron Cargile Electrics & Audio Supervisor Claire Trevor School of the Arts University of California, Irvine (949) 824-4031 ------------------------------ Date: Mon, 21 Mar 2005 18:42:50 -0600 Subject: Re: Charged for gelstring damage From: Greg Persinger Message-ID: In-Reply-To: Jeffrey Salzberg wrote: > The scroller probably has a built-in heat shield, but it doesn't hurt to > add more. What scroller brand would that be???? Wybron, Chroma Q, Apollo, and Morpheous don't have "built in" heat shield so I doubt Randy's scrollers had heat shield. ------------------------------ Message-Id: <1.5.4.32.20050322010209.015cd420 [at] pop.paonline.com> Date: Mon, 21 Mar 2005 20:02:09 -0500 From: Joe Subject: Re: Moving lights - Cost? >Joe the stepper motors alone cost around $40 each. > >Greg Persinger Thanks for the insite. I had lower cost steppers in mind. Something like what is used in printers. But i certainly have not thought through physical design process for such a robotic lighting device and its need for better steppers. Fog machines certainly went through a dramatic price drop a number of years back. Last halloween I saw some at K-mart for $40. It definitely surprised me that something like this transitioned to a mass market item. Joe Dunfee joe [at] dunfee.com Gordonville, Pennsylvania, U.S.A. ------------------------------ Message-ID: <423F71AB.4090703 [at] JosephCHansen.com> Date: Mon, 21 Mar 2005 20:15:23 -0500 From: barney Subject: Re: Charged for gelstring damage References:

In-Reply-To: Frank E. Merrill wrote: >That is exactly why I do NOT charge my customers for a lamp bulb > That reminds me of a dear friend I worked with for years, he owned his own replacement lamps: and if a lamp failed, he would have the crew replace it with one of his inventory, tag the instrument, then swap the burned out lamp back into the unit (reclaiming his replacement),before sending the unit back to the rental shop. Barney Simon JC Hansen, Inc. Drapes, Drops, and Dance Floors ------------------------------ From: "Will Hill" Subject: RE: Peter Sellars Glyndebourne Magic Flute '90 Date: Tue, 22 Mar 2005 01:28:34 -0000 Message-ID: In-Reply-To: In a message dated 19/03/05 01:45:17 GMT Standard Time, willhill [at] globalnet.co.uk writes: > Just for the record I believe it was Jim Ingalls who lit Flute at > Glyndebourne. Frank Wood wrote "Not the Peter Sellars one. That was in the old theatre, and, as I remember, sometime in the 1980s. There has been a new production, in the new house, which I missed." Yes the Peter Sellars one. http://www.glyndebourne.com/archive/get_perf_cast.cfm?e=370 Will ------------------------------ Message-Id: <6.2.1.2.0.20050321172742.0297c160 [at] localhost> Date: Mon, 21 Mar 2005 17:29:37 -0800 Cc: Show-Control [at] yahoogroups.com From: Jerry Durand Subject: Re: [Show-Control] Stage Expo photos In-Reply-To: References: <6.2.1.2.0.20050321105037.02a0a1d0 [at] localhost> Good time to start naming people. I'm the second from the right, front row. At 05:18 PM 3/21/2005, you wrote: >In message <6.2.1.2.0.20050321105037.02a0a1d0 [at] localhost>, Jerry Durand > writes > >Photos are now > >online. http://www.jdurand.no-ip.org/photos/USITT_Stage_Expo_2005/ > > > >---------- > >Any names for the stagecraft photo? It would be nice to put faces to >names. > >I have to say that "beardy geek" comes to mind for the general mass. > >-- >Clive Mitchell >http://www.bigclive.com ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.1.2.0.20050321181938.0297bc40 [at] localhost> Date: Mon, 21 Mar 2005 18:20:29 -0800 From: Jerry Durand Subject: Re: Stage Expo photos Good time to start naming people. I'm the second from the right, front row. At 05:18 PM 3/21/2005, you wrote: >In message <6.2.1.2.0.20050321105037.02a0a1d0 [at] localhost>, Jerry Durand > writes > >Photos are now > >online. http://www.jdurand.no-ip.org/photos/USITT_Stage_Expo_2005/ > > > >---------- > >Any names for the stagecraft photo? It would be nice to put faces to >names. > >I have to say that "beardy geek" comes to mind for the general mass. > >-- >Clive Mitchell >http://www.bigclive.com ---------- 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: "Jonathan S. Deull" Subject: RE: Stage Expo photos Date: Mon, 21 Mar 2005 21:27:33 -0500 In-Reply-To: Message-ID: I'm in the geeky one with the beard. Back row, second from SL, next to Delbert. Jonathan Deull ------------------------------ Date: Mon, 21 Mar 2005 21:50:50 -0500 Subject: Email address harvesting From: John McKernon Message-ID: I realized recently that I was suddenly getting more spam than usual, and took a minute to see which of my email addresses was being hit. To my total surprise, it was stagecraft2004 [at] mckernon.com, an address I use exclusively for the stagecraft list! I cancelled my name and subscribed under a new name, which isn't terrible, but annoying nonetheless. So fellow listers, beware - it looks like someone has been harvesting our email addresses...:( - John ------------------------------ Message-ID: <423F8956.7617E8B7 [at] cybercom.net> Date: Mon, 21 Mar 2005 21:56:22 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: ETCP Handbook References: Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > on 3/20/05 9:08 PM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Is the rigging certification the first to be offered? If so is their plans > > for certifications in other areas? I guess will probably need a couple of > > more years before I can take the exam because I certainly do not spend > > enough time on rigging to qualify for the 30 points. > > > > Rob Carovillano > > Technical Director - Bluett Theatre > > Saint Joseph's University > > (610) 660-1044 > > rcarovillano [at] verizon.net > > > > We are not currently planning on any other Rigging Certification. There > will probably be a training program for rigging as well as other > disciplines. > > Please remember that the Rigging Certification is directed at the top 1/3 in > the group. Rigging supervisors and high steel riggers who make their living > at this. I was speaking to some riggers working on a rigging call today. The head rigger on the call was laughing at the points system. He said something to the effect that almost nobody in the area would have enough points to even qualify to take the test. There is not that much rigging work out there when you only get it in four hour minimum bites. I hope that the electrical certification has a couple of tiers to it. Some folks are perfectly competent to go and hang lights, and make a decent living at that level, but they are dangerous when they are allowed to do things like hook up feeders. I've seen some of these level of folks and the melted remains of their screwdrivers after the do things like try to unhook the tails without bothering to deenergize them. --Dale ------------------------------ Message-ID: <423F8E82.6030802 [at] StudioOneSB.com> Date: Mon, 21 Mar 2005 22:18:26 -0500 From: Richard Bakos Organization: Studio One Inc. Subject: Re: ETCP Handbook References: In-Reply-To: If this is for only the upper tier then what good is the certification? This does no good to any one. So Bill and Rocky can take a test and have a certification big deal. The "upper tier" is already recognized as competent professional riggers. What is need is an evaluation of riggers that are doing work in an area like mine that doesn't have rigging calls 5 days a week but only once or twice a month and that work is divided up between multiple members of the local. I was excited when I heard about the certification. I have bargained contracts for past 15 years for the local and we are always getting hit on qualifications. This business is absolutely devoid of any national standards for stage work. Even a degree in theatre is no guarantee that the individual has the type of practical experience need to work as a professional stage hand. What is needed is a test standard ( and the study materials to go with ) that we can train members to and have them end up as "Certified" riggers. As others have posted the time required to even qualify to take the test will take a lifetime in some locals. The other fun aspect of the experience requirement is in our local no one has kept track of who work what calls and for how many hours. I have been at this since we were paid in cash at the end of the night and the BA destroyed all records at the end of the year to protect the guilty ;-} Scheu Consulting Services wrote: > As >Bill said, the certification is targeted at a limited number of full (and >some part) time, professional, "upper tier" riggers. > -- Richard Bakos Member Local 187 IATSE Rick [at] StudioOneSB.com www.StudioOnesb.com ------------------------------ Date: Mon, 21 Mar 2005 22:33:41 -0500 From: "Steve B." Subject: Re: What is the Best Genie Lift to buy Message-id: <008701c52e8f$f19768c0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Paul Schreiner" > Most (if not all) single-personnel lifts, outriggerless or not, that I > am aware of are not designed to be moved with someone at height. The JLG 20DVL is a drivable-while-extended mast lift. Goes to +19-6 to platform height, weighs around 2,000 lbs, costs around $11,000 or so. Battery operated, smallish footprint, no outriggers, very maneuverable. http://www.jlg.com/default.asp We're replacing both our +20 year old Genie PL30 and a Tallscope with the JLG for focusing and a Genie IWP30 for the reach and student use. The Genie was in the $6,000 range if memory serves www.genielift.com We tried both and were especially impressed with the JLG. Steve Bailey Brooklyn College ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Charged for gelstring damage Date: Mon, 21 Mar 2005 23:12:55 -0500 Message-ID: <008801c52e95$6fbc1890$6501a8c0 [at] Dell> In-Reply-To: > > The scroller probably has a built-in heat shield, but it > doesn't hurt > > to add more. > > What scroller brand would that be???? > > Wybron, Chroma Q, Apollo, and Morpheous don't have "built in" > heat shield so I doubt Randy's scrollers had heat shield. From Apollo's web site: "Each Smart ColorT scroller comes with pre-installed Apollo Gel Shield to extend gel string life" I thought I remembered reading similar text about Wybron, but now I can't find it. ------------------------------ Message-ID: Date: Mon, 21 Mar 2005 20:21:20 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: ETCP Handbook In-Reply-To: References:

Let me start by saying that I am absolutely thrilled that there is finally a standard! Congrats and thanks all around to all the hard working individuals who I know sweat blood to bring it into being. Now for my two cents... I'll be the first to admit to my limited experience, so if anyone feels otherwise *please do* correct me. But in that limited experience, I have observed that there is a broad range of what can be called "competent" within different areas of stage work. I would call attention to something similar to what I'm talking about - drivers licenses. You can be a licensed (hopefully that means competent) driver, but there are three classes of vehicle you can be licensed for. Again, I think this is absolutely outstanding! I'm just wondering where this leaves the other 2/3s. Is there more on the agenda after the electrician certification? Is there a forum or something similar where this standards are discussed while they are being developed and open to public comment and review? On Mon, 21 Mar 2005 22:18:26 -0500, Richard Bakos wrote: > Scheu Consulting Services wrote: > > > As > >Bill said, the certification is targeted at a limited number of full (and > >some part) time, professional, "upper tier" riggers. -- Mat Goebel Cell: 510.693.1448 ------------------------------ Date: Mon, 21 Mar 2005 23:29:05 -0600 Subject: Re: Charged for gelstring damage From: Greg Persinger Message-ID: In-Reply-To: Jeffrey Salzberg wrote: > From Apollo's web site: > > "Each Smart ColorT scroller comes with pre-installed Apollo Gel Shield > to extend gel string life" Thanks Jeffrey. I was wrong. This is Apollo's new color changer line and I haven't worked with it yet. Great move on their part. I personally think that heat shield is a great investment for scrollers. Randy my question to you is did you actually melt holes through the gel or did the gel strings just fade to the point they were unusable? Did you notice the strings were failing or did they just die one day? What color did you burn up? one color or several? Were these stock strings that the company uses all of the time, something they had sitting around, or special colors by request? Did the rental company overnight new strings or units to you? It seems odd you got 30 days of use out of them and then they fail. Are you sure someone didn't leave the fixtures burning when you weren't around? My assessment of the situation based on the limited information is that if the strings just faded out to the point of having white spots, but no holes, this would be normal wear and tear. Although no one would want those strings, they could be rented out again and the scroller would be in proper working order. If you actually burnt holes through the gel string then there is no way to rent out the changer without a new gel string so damages have occurred. I know it's a fine line, but like Frank Merrill said you don't want to charge someone for a lamp that was at the end of it's life and about to die anyway, but if four lamps came back shattered you would probably consider that damage. I think in your case the determining factor was that in your words you "melted (the) gelstrings making them unusable" > Should gelstring burnout be considered normal wear and tear on a long run like > that? Yes, but as others have said it is an expendable expense that should be in your shows lighting budget. Most companies charge you for the gelstring seperately. > > We all know gel has a finite lifespan. My question is, how many weeks of > regular use is it reasonable to expect a gelstring to last? > (SNIP) > > Even assuming they were brand new when they were delivered to us, should they > not have been able to predict that after thirty days (roughly 20 2.5 hour > performances), gel was going to burn out? Is it my fault that they happened > to reach the end of their useful life while in my possession? Actually it is impossible to predict the life of a gelstring especially if it's not your show. There are just too many variables to consider. As for fault, end of useful life and failure from being burnt up can be considered as two different things as I mentioned before. Have you talked to your vendor about this? Have they explained what the charges are for? If not have them itemize it for you. It sounds to me like they got replacement strings at $50 a pop for the units you melted and charged you a rush fee to get you new changers (don't know why they didn't just send strings) to keep your show running. I feel for you. It's hard when you take that unexpected monetary hit but I don't think you have a very strong argument unless there is a bunch of other factors we don't know about. Good luck! Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ End of Stagecraft Digest #337 *****************************