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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #353

 1. Re: Positioning your hazer
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 2. Re: Positioning Your Hazer
    by zhamm [at] email.unc.edu
 3. Foam Coating
    by "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
 4. Re: Straight Jacket
    by Steve Larson <tiptd [at] theatreinthepark.com>
 5. Re: Projector Issues
    by "richard j. archer" <rja10 [at] cornell.edu>
 6. Hazer location
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
 7. Re: Foam Coating
    by Greg Bierly <gbierly [at] dejazzd.com>
 8. Re: Foam Coating
    by usctd [at] columbia.sc
 9. Re: Positioning your hazer
    by Ford H Sellers <fhs4 [at] cornell.edu>
10. Re: Positioning your hazer
    by Stephen Litterst <slitterst [at] ithaca.edu>
11. Fwd: Schedule change FYI
    by "Thomas Rodman" <trodman [at] asf.net>
12. Re: Schedule change FYI
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
13. Re: Schedule change FYI
    by Stephen Litterst <slitterst [at] ithaca.edu>
14. Visiting New York looking fro advice.
    by <jonathan [at] willslighting.com>
15. job opening --slightly OT
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
16. Re: Schedule change FYI
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
17. Strand Lighting Console LBX Issues (Long)
    by "Charles J Korecki" <ckorecki [at] hotmail.com>
18. Re: Photos of electrical practice
    by Dorian Kelly <dorian [at] essex.ac.uk>
19. Re: Foam Coating
    by "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>
20. Re: Straight Jacket
    by "Simon Shuker" <simon [at] ef-ae.com>
21. Re: Photos of electrical practice
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
22. Re: Foam Coating
    by Samuel Jones <sjones [at] ucla.edu>
23. Disclaimer language?
    by "Jon Ares" <jonares [at] hevanet.com>
24. Re: Disclaimer language?
    by "Frank E. Merrill" <Lamplighter [at] tcon.net>
25. I hate computers....
    by "Thomas Rodman" <trodman [at] asf.net>
26. Re: Strand Lighting Console LBX Issues (Long)
    by Ford H Sellers <fhs4 [at] cornell.edu>
27. foam coating
    by Chuck Mitchell <chmitche [at] wisc.edu>
28. Re: Disclaimer language?
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
29. Re: Projector Issues
    by FrankWood95 [at] aol.com
30. Re: Disclaimer language?
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
31. Re: Projector Issues
    by CB <psyd [at] cox.net>
32. Re: Projector Issues
    by FrankWood95 [at] aol.com
33. Re: Projector Issues
    by CB <psyd [at] cox.net>
34. Re: Projector Issues
    by CB <psyd [at] cox.net>
35. Re: Projector Issues
    by "Nigel Worsley" <nigle [at] dsl.pipex.com>
36. Re: Projector Issues
    by FrankWood95 [at] aol.com
37. Re: Photos of electrical practice
    by "Chad Croteau" <cpcroteau [at] kelcom.igs.net>
38. Re: Photos of electrical practice
    by FrankWood95 [at] aol.com
39. Re: Photos of electrical practice
    by Stephen Litterst <slitterst [at] ithaca.edu>
40. Re: Projector Issues
    by Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
41. Re: Photos of electrical practice
    by FrankWood95 [at] aol.com
42. Re: Projector Issues
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
43. Re: Projector Issues
    by Greg Persinger <gregpersin [at] comcast.net>
44. Re: "Archival recording" myth debunking
    by Marty_Petlock [at] sarasotagov.com
45. Re: Projector Issues
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
46. Re: Projector Issues
    by Boyd Ostroff <ostroff [at] operaphilly.com>
47. MFA in sound design at Brandeis University
    by David Wilson <wilson [at] brandeis.edu>
48. Re: Projector Issues
    by Greg Persinger <gregpersin [at] comcast.net>
49. NCSA Digital Theatre Sound Design Workshop
    by Jason Romney <jason [at] cd-romney.com>
50. Re: Photos of electrical practice
    by Dale Farmer <dale [at] cybercom.net>
51. Re: Foam Coating
    by Stuart Wheaton <sdwheaton [at] fuse.net>
52. Re: Positioning your hazer
    by "C. Dopher" <brooklyn [at] dopher.com>

*** 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: Mon, 04 Apr 2005 01:11:52 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Positioning your hazer
Message-id: <001201c53907$1b856b10$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-21633584 [at] prxy.net>

> I'm curious: where do you put your hazer on the stage to ensure (or
attempt
> for) an even coverage of haze during performances, and why do you put it
> there?

As you can tell from the different responses, it varies.  Basically it's
wherever and whatever works best.  Get the thing out of the way and out of
earshot.  Give the hazer distance from view to spread out the haze, perhaps
helping it out with fans.  Notice and use (rather than fight, if you can)
any air currents present on your stage.  Make a little fog on your stage and
watch what it does.  Turn the hazer on early enough to have the haze the way
you like it when you open, and on long enough to keep it that way.  You will
have to experiment.

I used to run a G-300 hazer in a loft 12' off the ground in a fabric storage
room in the SL wing at the plaster line.  I helped the haze out with  a12"
Vornado fan set at low.  I would run it for 1/2 hour before curtain  When
the curtain went up, the house AC sucked all the haze off the stage in a
matter of minutes.  I had the house shut down the AC for the first number, a
concept that truly confused the house staff at first.



------------------------------

Message-ID: <20050404082621.wa54uc1nkk40k4kw [at] webmail7.isis.unc.edu>
Date: Mon,  4 Apr 2005 08:26:21 -0400
From: zhamm [at] email.unc.edu
Subject: Re: Positioning Your Hazer
References: <list-21633584 [at] prxy.net>
In-Reply-To: <list-21633584 [at] prxy.net>

We have a thrust space and when we can we put our hazer or fogger in the trap
room and use drier hose to run it where we want it. Unfortunately our hazer
is rather loud and needs the extra sound insulation that the trap gives,
although we have put it in the grid on occasion.  As far as fans go, I took
some four inch duct and mounted computer case fans in them.  These get put on
the onstage ends of the drier hose and make a difference pulling the fog out
fo the trap.
Zach Hamm
PlayMakers Repertory Company
>
> I'm curious: where do you put your hazer on the stage to ensure (or attempt
> for) an even coverage of haze during performances, and why do you put it
> there?  Do you use ductwork?  Fans?  Is there any ambient "wind" on the
> stage that you have to worry about?  I know that it'll vary from theatre to
> theatre, but I'd still like to hear about it.  Personally, I'm trying to
> find a good place for a hazer for an upcoming dance show.  Thanks.
>
> Chris Nimm
> no credentials whatsoever



------------------------------

Message-ID: <029D880648EA1D49BC9016D1FCAB288001A44F32 [at] cosmo.pei.com>
From: "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
Subject: Foam Coating
Date: Mon, 4 Apr 2005 07:34:47 -0500 

I'm building a number of props from styrofoam and want to protect them and
be able to get a smooth surface for painting.  I know there are some over
the counter products available to do this, but was wondering if anyone had a
home-made recipe for making there own foam coating or possibly some
recommendations on what to buy if I do purchase from a theatrical supplier.
Thanks in advance.

Mark S. Eccleston
Technical Director
Mystic Gulf Productions
Huntsville, Alabama
256-694-8575

------------------------------

Date: Mon, 04 Apr 2005 08:36:00 -0400
Subject: Re: Straight Jacket
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE76ACF0.49FF%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-21622987 [at] prxy.net>

In the time this thread has spread around the world
three times, I could have built 50 straight jackets.

sjl

> From: FrankWood95 [at] aol.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Sun, 3 Apr 2005 16:35:00 EDT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Straight Jacket
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 29/03/05 03:08:38 GMT Daylight Time, breed [at] whittier.edu
> writes:
> 
>> Do a search for "straight jacket" and you should find one listed if you
>> scroll down the page.  At a cost of only $22.75, it might not be a very
>> convincing version, but you could check some of the many other links
>> provided on the Costume Page site.
> 
> Possibly a search for "strait jacket" might me more rewarding, since that is
> its correct name. With or without the space.
> 
> Frank Wood
> 
> 


------------------------------

Message-Id: <p05210600be76e38a127a [at] [132.236.252.58]>
In-Reply-To: <list-21625942 [at] prxy.net>
References: <list-21624084 [at] prxy.net> <list-21624504 [at] prxy.net>
 <list-21625942 [at] prxy.net>
Date: Mon, 4 Apr 2005 07:39:29 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Projector Issues

>\
>
>     Back in the 60s, Kubrick was pushing a new, higher frame rate film
>standard.  I think it was 60 or 72 fps on regular 35mm stock.  He made a
>promo film, and IIRC, only one movie house ever actually used it, and only
>for the demos.  obviously, it didn't catch on.  I heard some stories about
>it that it was basically, too real, for the audience of film people.
>
>
>     --Dale

Most of this was done by Douglas Trumball ( 2001 Space Odyssey 
special effects--look him up), including the original
Showscan at 60fps on 70mm film.  If interested in large format higher 
film rates you might also look up MaxiVision 48.

Dick A
TD, Cornell Univ

------------------------------

Date: Mon, 04 Apr 2005 08:51:07 -0400
Subject: Hazer location
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <BE76B07B.E7B%jdougher [at] middlebury.edu>

We use a G300, which we place in a small mechanical room SL, which is about
the height of the top of the proscenium (off a fly gallery).  We duct the
haze via 4" plastic drainage hose to a light bridge just US of the pro.  It
doesn't run directly offstage, but rather hits a wye about a third of the
way across stage, so that it comes out of the holes in the pipe evenly -
when we did a straight run, more came out SL than SR.  We put a box fan on
the light bridge to disperse the haze before it comes into audience view.
Timing is variable depending on the show, set, etc. - it tends to fill the
flies then settle to the stage, and needs to be turned off well before the
effect should end.  All the haze at the grid eventually falls and can fill
the house.

We put the hazer in the mechanical room because of the noise.  If the flow
is uneven in the hose, we've resorted to high tech methods like stuffing a
rag into the high flow section to divert haze to the other path.  Trial and
error each show tells us how much to flow and when.

-  Jim Dougherty
ATD, Middlebury College Theatre Department


------------------------------

In-Reply-To: <list-21635811 [at] prxy.net>
References: <list-21635811 [at] prxy.net>
Message-Id: <ef17973e6f1395263efee0635abdb0d8 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Foam Coating
Date: Mon, 4 Apr 2005 09:28:48 -0400

> I'm building a number of props from styrofoam and want to protect them 
> and
> be able to get a smooth surface for painting.

I am sure you will get these from a lot of people.

I have had good success with Rosco's Foamcoat.  Jaxsan 600 comes highly 
recommended along with elastomeric roof sealers.  I know the archives 
(if accessible) has a lot of home brews.  If brittleness in not an 
issue standard wallboard compound will get  you a smooth paintable 
surface.  It will not take a lot of abuse.


Greg Bierly
Technical Director
Hempfield HS


------------------------------

Message-ID: <2115.129.252.241.105.1112622637.squirrel [at] webmail.columbia.sc>
In-Reply-To: <list-21635811 [at] prxy.net>
References: <list-21635811 [at] prxy.net>
Date: Mon, 4 Apr 2005 09:50:37 -0400 (EDT)
Subject: Re: Foam Coating
From: usctd [at] columbia.sc

We sometimes use a combo of latex caulk and joint compound.  It provides a
smooth and pretty durable surface.  Getting the caulk out of the tubes and
into the bucket is a great job for the intro to theatre kids!

This does not provide a "smooth" surface, but it is a neat option if you
require the type of surface.  There is a shop in town that specializes in
foam and foam coats for construction.  I get custom molding shapes from
them.  They have a product that is used for stucco and rock finishes that
I have been purchasing to coat some of my foam pieces.  I get a 5gal
bucket of off-tints for $25.00.  Normaly the rices is $45.00.  They have a
few different kinds with varying size of rock/sand to provide texture.

Perhaps an option for future use.
-- 
Eric Rouse
TD-University of SC, Columbia
Freelance Foyboy

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I'm building a number of props from styrofoam and want to protect them and
> be able to get a smooth surface for painting.

------------------------------

Message-Id: <5.2.1.1.2.20050404094752.02623618 [at] postoffice8.mail.cornell.edu>
Date: Mon, 04 Apr 2005 09:51:37 -0400
From: Ford H Sellers <fhs4 [at] cornell.edu>
Subject: Re: Positioning your hazer
In-Reply-To: <list-21621477 [at] prxy.net>
References: <list-21618786 [at] prxy.net>

We find our positions change per show. However, in general a DF-50, 
mid-stage, above head-height, with a fan to help disperse has worked for us.

-Ford

>I'm curious: where do you put your hazer on the stage to ensure (or 
>attempt for) an even coverage of haze during performances, and why do you 
>put it there?  Do you use ductwork?  Fans?  Is there any ambient "wind" on 
>the stage that you have to worry about?  I know that it'll vary from 
>theatre to theatre, but I'd still like to hear about it.  Personally, I'm 
>trying to find a good place for a hazer for an upcoming dance show.  Thanks.
>
>Chris Nimm
>no credentials whatsoever

************************
Ford H Sellers
Master Electrician
Cornell University
(607) 254-2736  office
(607) 254-2733  fax 



------------------------------

Date: Mon, 04 Apr 2005 09:56:56 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Positioning your hazer
Message-id: <425147A8.2204507A [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-21625603 [at] prxy.net>

"Immel,Patrick" wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> 
> -----Original Message-----
> From: Stephen Litterst 
> When it works, the US position is great because the haze really
> disperses
> is quite even by the time the audience sees it.
 > *****************************************
> How long before house open do you turn on your hazer?

It depends on the show.  If the house opens with the main rag in we
generally start hazing at about 10 mins before curtain.  And as soon
as the curtain opens it looks fantastic for the five minutes it takes
for the HVAC to suck the haze into the house.

I don't recall doing a fully hazed show without a main rag in that
theatre.  What's becoming more common is for designers to want
specific scenes hazed, and that's what really causes the ulcer to
flare up.

Steve Litterst

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-ID: <200504040857440106.0B1D0A33 [at] 10.1.1.3>
References: <739CC1D6DD3BC94E85815D7F0712F6C07748C5 [at] mi-v.asf.private>
Date: Mon, 04 Apr 2005 08:57:44 -0500
From: "Thomas Rodman" <trodman [at] asf.net>
Cc: trodman [at] asf.net, Georgia.Crisp [at] navy.mil, teckish [at] hotmail.com
Cc: david.hartney [at] earthlink.net, nesnyder [at] gmail.com, ccp99 [at] aol.com, colleen.manuszak [at] tacom.army.mil
Cc: camoboy101 [at] excite.com, wilie.luzano [at] holloman.af.mil, dhons [at] kent.edu, jack.schmidt [at] btn-inc.com
Cc: jsofranko [at] compuserve.com, nyettinger [at] aol.com, Jason_lancaster [at] bellsouth.net, mail [at] etcconnect.com
Cc: dmangone+ [at] pitt.edu, sewers [at] kent.edu, wjolauer [at] yahoo.com, millercl [at] usmc-mccs.org
Cc: LightGuyBDE [at] netscape.net, tjloyd [at] hotmail.com, flplayers [at] sg.ufl.edu, david.hartney [at] earthlink.net
Cc: info [at] pyropak.com, NathanRoss_22 [at] hotmail.com, Catherine_Girardi [at] yahoo.com, roymiracle [at] yahoo.com
Cc: scientifics [at] edsci.com, straxus [at] mouselook.com, joshua.wellnitz [at] gmail.com, techaimes [at] yahoo.com
Cc: james [at] jhelms.net, toconnell [at] asf.net, connie.buckley [at] usmc-mccs.org
Cc: CustomerService [at] ChristmasLightsEtc.com, scottspork [at] yahoo.com, bgazo [at] prg.com, klowery [at] elon.edu, gwydion13 [at] aol.com
Cc: jbillman [at] asf.net, john [at] cattanach.info, james.yost [at] leavenworth.army.mil, bob.taylor [at] navy.mil
Cc: james.yost [at] leavenworth.army.mil, info [at] tlsinc.com, rdail [at] asf.net, sales [at] brassgobos.com
Cc: lisa.timmermann [at] scott.af.mil, mwinkelm [at] mail.aum.edu, dmray [at] teleport.com, sheri.hayes [at] cannon.af.mil
Cc: scott.scherberger [at] riley.army.mil, info [at] armagcorp.com, toliver [at] mainstage.com, Dubuiwd [at] millsaps.edu
Cc: service [at] globalindustrial.com, knightcycle [at] hotmail.com, mwangen [at] concentric.net, barbizon [at] gate.net
Cc: vicki.peterson [at] peterson.af.mil, sediggins [at] hotmail.com, amy.brown [at] maxwell.af.mil, waterboy73 [at] yahoo.com
Cc: christinecausey [at] yahoo.com, info [at] lemaitrefx.com, jaleclaire [at] hotmail.com, thom [at] thomasquintas.com
Cc: info [at] hitechrent.com, dfjordan [at] mailer.fsu.edu, jlross [at] hotmail.com, tech [at] esta.org, jeho [at] email.unc.du
Cc: Mckeenniloc [at] aol.com, druzika [at] pomona.edu, mccreary_km [at] hotmail.com, robinos [at] ivillage.com
Cc: gwalker [at] tlsinc.com, ecoco [at] wc.stephens.edu, wschwartz [at] americanlighting.com, fishbang [at] mouselook.com
Cc: TheatreTechAtl [at] norcostco.com, info [at] pyropak.com, dvaudo [at] barbizon.com, lizlee [at] puppet.org, daver [at] lehighdim.com
Cc: rdillard [at] barbizon.com, frayerb [at] nevada.edu, rbudin [at] ramapo.edu, daplin [at] tlsinc.com
Cc: skhughey [at] email.com, joel707227 [at] aol.com, anngator [at] aol.com, bcomer [at] tlsinc.com, DawnChiang [at] aol.com
Cc: bigmann64 [at] inkbarn.com, info [at] sfxdesigninc.com, orestage [at] cdsnet.net, varns [at] siu.edu, quotes [at] mcminone.com
Cc: Disc40801 [at] MAC.com, tech [at] nemetschek.net
Subject: Fwd: Schedule change FYI

Everyone who is working on Sunday, please note the change in the Shrew=
 Rehearsal Schedule discussed below:


*********** BEGIN FORWARDED MESSAGE  ***********

On 4/1/2005 at 4:26 PM Jerry Genochio <jgenochio [at] asf.net> wrote:

>Well, no need to wait until Monday.  The response has been
>overwhelmingly in favor of returning to the original rehearsal times for
>Sunday, April 10.  So the rehearsal block for that day will be 1-5,
>7-11.  Please adjust your schedules.
>
>Thanks,
>
>jerry
>

*********** END FORWARDED MESSAGE  ***********
************************************************************************
Thomas Rodman                     	Voice: 334-271-5385
Master Electrician                   	Fax:   334-271-5348
Electrics Department            	E-Mail: trodman [at] asf.net
Alabama Shakespeare Festival
1 Festival Drive
Montgomery, AL 36117
************************************************************************



------------------------------

Date: Mon, 04 Apr 2005 10:28:27 -0400
Subject: Re: Schedule change FYI
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE76C74B.3433%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-21636989 [at] prxy.net>

But that totally screws my focus and programming time! And I can't call my
crew after 5pm without hitting OT!.




On 4/4/05 9:57 AM, "Thomas Rodman" <trodman [at] asf.net> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Everyone who is working on Sunday, please note the change in the Shrew
> Rehearsal Schedule discussed below:
> 
> 
> *********** BEGIN FORWARDED MESSAGE  ***********
> 
> On 4/1/2005 at 4:26 PM Jerry Genochio <jgenochio [at] asf.net> wrote:
> 
>> Well, no need to wait until Monday.  The response has been
>> overwhelmingly in favor of returning to the original rehearsal times for
>> Sunday, April 10.  So the rehearsal block for that day will be 1-5,
>> 7-11.  Please adjust your schedules.
>> 
>> Thanks,
>> 
>> jerry

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



------------------------------

Date: Mon, 04 Apr 2005 10:30:23 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Schedule change FYI
Message-id: <42514F7F.5D8AC95C [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-21637298 [at] prxy.net>

Herrick Goldman wrote:
> ---------------------------------------------------
> 
> But that totally screws my focus and programming time! And I can't call my
> crew after 5pm without hitting OT!.

Oh, suddenly on this show you need focus time?  What changed?  Next
you'll tell me you need a budget to be able to color the lights!


-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Subject: =?iso-8859-1?Q?Visiting_New_York_looking_fro_advice=2E?=
From: <jonathan [at] willslighting.com>
Date: Mon,  4 Apr 2005 16:30:03 +0200
Message-ID: <0MKyxe-1DIScV3wuv-0001Zo [at] mrelay.perfora.net>


Hello all,

I am getting ready to visit New York with my wife on April 15-17. I am
looking for recommendations for a good show to see and any
recommendations for a hotel to stay.

If you can please respond of list as I get the digest. 

Thanks,

Jonathan Wills

------------------------------

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Cc: ndeull [at] clarktransfer.com ('Norma Deull')
Subject: job opening --slightly OT
Date: Mon, 4 Apr 2005 10:35:01 -0400
Message-ID: <auto-000021637469 [at] prxy.net>

Clark Transfer, the theatrical transportation and logistics company
(www.clarktransfer.com), is looking for a dispatcher to manage major =
tours
from our headquarters in Harrisburg, PA.  I know it is not strictly
stagecraft, but if there is anyone out there interested in the interface =
of
show business and trucking, please contact me off-list.

Thanks for the bandwidth.

* * * * * * * * * * * * * * * *=20
Jonathan S. Deull
Executive Vice President
Clark Transfer, Inc.

jdeull [at] clarktransfer.com

Phone:=A0=A0=A0 (202) 232-4138
Fax:=A0=A0=A0=A0=A0 (202) 232-4139
Cel:=A0=A0=A0=A0=A0 (202) 256-9207




------------------------------

Date: Mon, 04 Apr 2005 11:12:59 -0400
Subject: Re: Schedule change FYI
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE76D1BB.343D%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-21637374 [at] prxy.net>


Well dammit Steve! 

We talked about this at the production meeting, the one that you came late
to! Maybe if you hadn't been doodling the whole time you would have been
involved in the conversation.

I need more focus time because your crew installed the deck upside down and
backwards and you forgot to flame proof it by the way. So now of course it's
my crew that gets screwed out of time. Ah so typical...

BTW when I came in this morning I discovered one of the linesets had runon
us and crashed thru the set. Plus the sprinklers went off and soaked
everything. 

Call me to discuss the new schedule. :)

Yours,
-herrick


On 4/4/05 10:30 AM, "Stephen Litterst" <slitterst [at] ithaca.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Herrick Goldman wrote:
>> ---------------------------------------------------
>> 
>> But that totally screws my focus and programming time! And I can't call my
>> crew after 5pm without hitting OT!.
> 
> Oh, suddenly on this show you need focus time?  What changed?  Next
> you'll tell me you need a budget to be able to color the lights!
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



------------------------------

Message-ID: <BAY9-F10069E86B649366F292128DE3B0 [at] phx.gbl>
From: "Charles J Korecki" <ckorecki [at] hotmail.com>
Subject: Strand Lighting Console LBX Issues (Long)
Date: Mon, 04 Apr 2005 11:26:15 -0400

HI.  I'm new to the list and I've been lurking for a few days.  I work for a 
public high school in NE Ohio.
When I started working here I inherited a Strand LBX Lighting Console (and 
Strand CD 80 dimmer rack).
The console has developed some emotional issues and the certified Strand 
Repair Center in Cleveland has not been able to correct the problem.

For those of you familiar with the console, the external monitor will 
normally display the date/time and the grand master output accross the top 
of the monitor.  About a year ago, the date/time stopped working and then 
this information disappeared from the screen.  Then, just before all my
Christmas concerts, the board refused to boot up.  I called tech support and 
they told me to open up the console and press the little white button which 
forces some kind of "hard" start up.  Using this method, I got the board up 
and running.  I limped through my concerts and never turned the board off.  
When I finally took the board to the repair center/vendor, they looked at it 
for a month and finally decided that the battery was bad.  They replaced the 
battery and the board worked fine.  The date/time and grand master level 
were all present on the monitor.

However, the console once again has started to act up.  First the date/time 
stamp stopped working.  I left the console on for several days thnking that 
the battery had gone bad again.  However, the date/time and GM level have 
completely disappeared off the monitor.

Has anyone ever experienced anything like this?  Anyone have any 
suggestions?  Or know any other good Strand Service centers I can call.  The 
guys at the one in Cleveland just keep scratching their heads.

Thanks for you help!

Charles J Korecki
Theater Operations Coordinator
Cuyahoga Falls City Schools



------------------------------

Message-Id: <l03130307be770c9ebef1 [at] [155.245.53.24]>
In-Reply-To: <list-21594858 [at] prxy.net>
References: <list-21581664 [at] prxy.net> <list-21581664 [at] prxy.net>
Date: Mon, 4 Apr 2005 16:26:15 +0100
From: Dorian Kelly <dorian [at] essex.ac.uk>
Subject: Re: Photos of electrical practice

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>> I once built a brine barrel dimmer too, just to see if it was true. All
>> those who built one raise your hands.
>

I understand the correct method of adjusting the electrolyte was to
scientifically p*ss in it. Please isolate first.

Dorian
Illuminati



------------------------------

Subject: RE: Foam Coating
Date: Mon, 4 Apr 2005 10:31:18 -0500
Message-ID: <5CF1C3D95785A143A3E33ACFD864609B03834576 [at] PEPSI.uwec.edu>
From: "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>

<I'm building a number of props from Styrofoam and want to protect them
and be able to get a smooth surface for painting.


This has become the year of the foam for me, between carving a 6' tall
8' wide car and making ornate candelabras and many other things I've
fallen in love with it.  What I've found that works well is Kool Seal
Elastomeric roof coating, but for added strength incase anyone where to
say, kick your massive foam car in the middle of a dance number (or for
that matter climb on it after the show so their parents can get a
picture of them with the set) I brush on cheesecloth in the roof coat.
Two coats of roof coating and cheese cloth seem to make stuff nearly
indestructible (although if I were taking the show on the road I'd
probably do closer to five just because I get paranoid).  To help with a
smoothness try sanding it (I've of course assuming you and I are talking
about the same either pink, blue or white polystyrene, Styrofoam is a
brand name I believe that came from DuPont? Can anyone confirm this?)
it's amazing how well wood tools like rasps and sand paper work on
Styrofoam. Ok although I am not keeping a logical order to how I am
describing this you would sand the piece BEFORE you coat and cheese
cloth it, you do have a bit of a texture, but if you put another layer
of roof coat on at the end it tames it down a bit and people can't
really tell if you have the 16 foot rule to work by.

Good luck and happy sculpting!

Peace,

Ryan J. Zirngibl
Student- Theatre Arts
University of Wisconsin - Eau Claire
Scenic Design



------------------------------

From: "Simon Shuker" <simon [at] ef-ae.com>
Subject: RE: Straight Jacket
Date: Mon, 4 Apr 2005 19:35:18 +0400
In-Reply-To: <list-21635883 [at] prxy.net>
Message-Id: <20050404153529.7634F5874 [at] mail05.powweb.com>

I have just purchased some from my local medical supplies company. It might
be worth asking but my guys did say "we will have to find them because we do
get much call for them". Normally I get my guys to make something similar
for friends stag nights, 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve
Larson
Sent: Monday, April 04, 2005 4:36 PM
To: Stagecraft
Subject: Re: Straight Jacket

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

In the time this thread has spread around the world three times, I could
have built 50 straight jackets.

sjl

> From: FrankWood95 [at] aol.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Sun, 3 Apr 2005 16:35:00 EDT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Straight Jacket
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 29/03/05 03:08:38 GMT Daylight Time, 
> breed [at] whittier.edu
> writes:
> 
>> Do a search for "straight jacket" and you should find one listed if 
>> you scroll down the page.  At a cost of only $22.75, it might not be 
>> a very convincing version, but you could check some of the many other 
>> links provided on the Costume Page site.
> 
> Possibly a search for "strait jacket" might me more rewarding, since 
> that is its correct name. With or without the space.
> 
> Frank Wood
> 
> 




------------------------------

Message-Id: <s2512751.064 [at] ac3.nesd.k12.pa.us>
Date: Mon, 04 Apr 2005 11:38:18 -0400
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: Re: Photos of electrical practice

Talk about peeing on an electric fence...wow!

Les Lind, TD
NHS Dramatics
Northeastern High School
Manchester, PA



>>> dorian [at] essex.ac.uk 4/4/05 11:26 AM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

>For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>> I once built a brine barrel dimmer too, just to see if it was true.
All
>> those who built one raise your hands.
>

I understand the correct method of adjusting the electrolyte was to
scientifically p*ss in it. Please isolate first.

Dorian
Illuminati



------------------------------

In-Reply-To: <list-21638468 [at] prxy.net>
References: <list-21638468 [at] prxy.net>
Message-Id: <BB75D9A2-A527-11D9-AFE2-000393BB489C [at] ucla.edu>
From: Samuel Jones <sjones [at] ucla.edu>
Subject: Re: Foam Coating
Date: Mon, 4 Apr 2005 09:36:45 -0700

Is this flame proofed?

Sam

Samuel L. Jones
Dance Program, Theater Production Supervisor
Dept. of World Arts and Cultures, UCLA
sjones [at] arts.ucla.edu
(310) 825-5823(w)
(310) 993-4172(c)
(310) 207-0392(h)
===================================================

On Apr 4, 2005, at 8:31 AM, Zirngibl, Ryan John wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> <I'm building a number of props from Styrofoam and want to protect them
> and be able to get a smooth surface for painting.
>
>
> This has become the year of the foam for me, between carving a 6' tall
> 8' wide car and making ornate candelabras and many other things I've
> fallen in love with it.  What I've found that works well is Kool Seal
> Elastomeric roof coating, but for added strength incase anyone where to
> say, kick your massive foam car in the middle of a dance number (or for
> that matter climb on it after the show so their parents can get a
> picture of them with the set) I brush on cheesecloth in the roof coat.
> Two coats of roof coating and cheese cloth seem to make stuff nearly
> indestructible (although if I were taking the show on the road I'd
> probably do closer to five just because I get paranoid).  To help with 
> a
> smoothness try sanding it (I've of course assuming you and I are 
> talking
> about the same either pink, blue or white polystyrene, Styrofoam is a
> brand name I believe that came from DuPont? Can anyone confirm this?)
> it's amazing how well wood tools like rasps and sand paper work on
> Styrofoam. Ok although I am not keeping a logical order to how I am
> describing this you would sand the piece BEFORE you coat and cheese
> cloth it, you do have a bit of a texture, but if you put another layer
> of roof coat on at the end it tames it down a bit and people can't
> really tell if you have the 16 foot rule to work by.
>
> Good luck and happy sculpting!
>
> Peace,
>
> Ryan J. Zirngibl
> Student- Theatre Arts
> University of Wisconsin - Eau Claire
> Scenic Design
>
>


------------------------------

Message-ID: <000301c53939$a9865780$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
Subject: Disclaimer language?
Date: Mon, 4 Apr 2005 10:13:46 -0700

What's the more-or-less common disclaimer often placed on construction 
drawings that basicallys says the designer is not responsible for the 
construction, or the safety of these designs?  (Yes, I know disclaimers 
usually don't hold up in court, but still....)  Does anyone know the 
wordage?

     -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Date: Mon, 4 Apr 2005 12:20:37 -0500
From: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Message-ID: <1107078738.20050404122037 [at] tcon.net>
Subject: Re: Disclaimer language?
In-Reply-To: <list-21639944 [at] prxy.net>
References: <list-21639944 [at] prxy.net>

Hello !

Monday, April 4, 2005, Jon Ares wrote:

> What's the more-or-less common disclaimer often placed on construction
> drawings that basicallys says the designer is not responsible for the
> construction, or the safety of these designs?

Dad had a rubber stamp made that said something on the order of

"This drawing is prepared for the benefit of architects and engineers
in their work of planning a theatre and is not to be construed as a
legal acceptance of responsibility for construction errors committed
by others."

Best regards,
  Frank E. Merrill
  MERRILL STAGE EQUIPMENT
  Indianapolis
  Established 1946
  www.merrillstage.com           mailto:Lamplighter [at] tcon.net

   



------------------------------

Message-ID: <200504041225470126.0BD81F15 [at] 10.1.1.3>
Date: Mon, 04 Apr 2005 12:25:47 -0500
From: "Thomas Rodman" <trodman [at] asf.net>
Subject: I hate computers....

Sorry about the accidental posting concerning a rehearsal schedule change.=
  We have had some problems with our email system here for a few days due=
 to some strong storms that came through....

Tom


************************************************************************
Thomas Rodman                     	Voice: 334-271-5385
Master Electrician                   	Fax:   334-271-5348
Electrics Department            	E-Mail: trodman [at] asf.net
Alabama Shakespeare Festival
1 Festival Drive
Montgomery, AL 36117
************************************************************************



------------------------------

Message-Id: <5.2.1.1.2.20050404132101.03bedc18 [at] postoffice8.mail.cornell.edu>
Date: Mon, 04 Apr 2005 13:23:36 -0400
From: Ford H Sellers <fhs4 [at] cornell.edu>
Subject: Re: Strand Lighting Console LBX Issues (Long)
In-Reply-To: <list-21638354 [at] prxy.net>

Try Joel at Strand in NJ. 1-800-233-3314.  He's been a great help to me for 
parts for our CD-80's, and general knowledge of all things Strand.

At 11:26 AM 4/4/2005, you wrote:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>HI.  I'm new to the list and I've been lurking for a few days.  I work for 
>a public high school in NE Ohio.
>When I started working here I inherited a Strand LBX Lighting Console (and 
>Strand CD 80 dimmer rack).
>The console has developed some emotional issues and the certified Strand 
>Repair Center in Cleveland has not been able to correct the problem.
>
>For those of you familiar with the console, the external monitor will 
>normally display the date/time and the grand master output accross the top 
>of the monitor.  About a year ago, the date/time stopped working and then 
>this information disappeared from the screen.  Then, just before all my
>Christmas concerts, the board refused to boot up.  I called tech support 
>and they told me to open up the console and press the little white button 
>which forces some kind of "hard" start up.  Using this method, I got the 
>board up and running.  I limped through my concerts and never turned the 
>board off.
>When I finally took the board to the repair center/vendor, they looked at 
>it for a month and finally decided that the battery was bad.  They 
>replaced the battery and the board worked fine.  The date/time and grand 
>master level were all present on the monitor.
>
>However, the console once again has started to act up.  First the 
>date/time stamp stopped working.  I left the console on for several days 
>thnking that the battery had gone bad again.  However, the date/time and 
>GM level have completely disappeared off the monitor.
>
>Has anyone ever experienced anything like this?  Anyone have any 
>suggestions?  Or know any other good Strand Service centers I can 
>call.  The guys at the one in Cleveland just keep scratching their heads.
>
>Thanks for you help!
>
>Charles J Korecki
>Theater Operations Coordinator
>Cuyahoga Falls City Schools
>
>

************************
Ford H Sellers
Master Electrician
Cornell University
Schwartz Center for the Performing Arts
430 College Avenue
Ithaca NY, 14850
(607) 254-2736  office
(607) 254-2733  fax 



------------------------------

Date: Mon, 04 Apr 2005 12:38:20 -0500
From: Chuck Mitchell <chmitche [at] wisc.edu>
Subject: foam coating
Message-id: <001701c5393d$17daca10$15e25c90 [at] Chuck>

Coating foam with a roughly 50-50 mix of potter's clay (the powder) and
white glue works well.  Throw in a bit of water if needed, but too much
will make it crack.  Apply a few thin coats rather than one thick one.
Flex glue works best, but regular Elmer's often works fine.  You can add
a bit of paint or colorant to give it a base color.  Buy the clay from
pottery supply companies.  We have used Cedar Height Gold, which around
here goes for $ 1-012 a 50 lb. bag.

Chuck

Chuck Mitchell
Scene Studio Supervisor
University Theatre-University of Wisconsin Madison
608-263-3330
FAX 608-265-4075




------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: RE: Disclaimer language?
Date: Mon, 4 Apr 2005 13:39:52 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <002b01c5393d$4ef87060$c9fea8c0 [at] ROXY>
In-reply-to: <list-21639944 [at] prxy.net>

Jon Ares wrote:

>What's the more-or-less common disclaimer often placed on construction 
>drawings that basicallys says the designer is not responsible for the 
>construction, or the safety of these designs?  (Yes, I know 
>disclaimers 
>usually don't hold up in court, but still....)  Does anyone know the 
>wordage?

It will vary by discipline, and whether or not you are a likened
professional. I've seen literally dozens of different types, written up by
dozens of different lawyers. For consulting work, my corporation lawyer
suggested I use the following:

THIS DRAWING IS THE PROPERTY OF (your name here) AND IS INTENDED FOR USE
WITH THIS PROJECT ONLY. IT IS SUBJECT TO REVIEW BY THE PROJECT'S ARCHITECT
AND/OR ENGINEER AND IS PROVIDED SOLELY TO COMMUNICATE DESIGN INTENT, NOT
FABRICATION OR INSTALLATION DETAILS. 

ANY ERRORS, OMISSIONS, OR AMBIGUITIES SHALL NOT RELIEVE ANY CONTRACTOR OF
THEIR OBLIGATIONS TO COMPLY WITH APPLICABLE CODES AND REGULATIONS, OR THE
PROJECT'S GENERAL CONDITIONS AND SPECIFICATIONS. THE CONTRACTOR IS SOLELY
RESPONSIBLE FOR PROVIDING COMPLETE, SAFE, AND FULLY OPERATIONAL SYSTEMS.

(Sorry for the all caps... Cut 'n paste.)

You are exactly right in saying that this won't keep you OUT of court
(though it may stand up as an argument against your liability - "I was only
telling you what the INTENT was, not how to do it"). But you can get sued
even with a perfect disclaimer. I just see the disclaimer as putting all
parties on notice that they need to review things VERY, VERY carefully.

My best advise - talk to your lawyer.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966



------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <29.7072f71d.2f82d7ce [at] aol.com>
Date: Mon, 4 Apr 2005 13:47:58 EDT
Subject: Re: Projector Issues

In a message dated 04/04/05 01:55:22 GMT Daylight Time, slitterst [at] ithaca.edu 
writes:

> Based on the context of JErry's screening, the original source for the DLP
>  was the original computer rendering of the movie.  Monster's Inc was a
>  PIXAR film, and they've been known to do screenings from the original
>  digital source.  This is why PIXAR DVDs have incredible clarity, since
>  they've never seen a film print.

OK, but this raises the reverse question. Where did the answer print come 
from? I worked for some time recording TV on to film, back in the late sixties 
for the BBC.
I imagine that recording computer generated movies poses similar problems, 
although you are not trying to work in real time. Then, it was difficult and a 
bit dodgy, although 35mm worked pretty well. So well, indeed that when the 
department folded (killed by VT and colour TV), Technicolor bought three of the 
cameras for making separation negatives of VT productions for release. The 
camera mechanisms were that accurate. They were basically a standard Mitchell 
camera, with two pin-and-slot accelerators between the drive motor and the camera 
itself, to achieve a fast pull-down. The pull-down wasn't fast enough to occur 
in the field blanking time, of course. That would have involved aggelerations 
of 3,000g! If I remember right, it took 35mS. The sequence was:
    Insert claws
    Extract register pins
    Pull down
    Insert register pins
    Extract claws.

To record the whole picture, there was optical intensity control. A medium 
persistence CRT was used for the display, with a double wedge ND filter in 
front. The 'scarp' slope changed to the 'dip' slope on line 35 (PAL numbers), and 
the shutter opened. No sooner, and no later. It was quite a motor drive system, 
taking a whole bay, with the power regulator, two inverters for the two-phase 
drive, the inverter drivers, and right at the top, the electronics to derive 
the drive information from the video signal. This was designed by the 
Lancashire Dynamo Company, and was the most reliable piece of electronics I have ever 
come across. There wre three accessible controls, marked 'First Differential', 
'Second Differential', and 'Integral'. Classic servo technique, and it worked.



Frank Wood

------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: RE: Disclaimer language?
Date: Mon, 4 Apr 2005 13:54:45 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <000701c5393f$639a59f0$c9fea8c0 [at] ROXY>
In-Reply-To: <list-21640076 [at] prxy.net>

Oops. I wrote:

>It will vary by discipline, and whether or not you are a likened 
>professional.

I should have said "licensed" professional (such as an Architect or PE).
Damn spell checker...

Peter Scheu


------------------------------

Message-Id: <3.0.6.32.20050404191100.016f0c70 [at] pop.west.cox.net>
Date: Mon, 04 Apr 2005 19:11:00
From: CB <psyd [at] cox.net>
Subject: Re: Projector Issues

>They also happen to be the nominal mains frequencies. In the 
>early days of TV equipment, it was important that they matched. 

Actually, it was kind of important that the didn't match.  This is why
colorburst crystals run at 3.579545 MHz and NTSC's framerate is actually
29.97 FPS, making the Drop-Frame version of Time Code a necessity in coding
audio, and/or mixing vdeo and film.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <d2.260e7f77.2f82deee [at] aol.com>
Date: Mon, 4 Apr 2005 14:18:22 EDT
Subject: Re: Projector Issues

In a message dated 04/04/05 02:34:14 GMT Daylight Time, dale [at] cybercom.net 
writes:

> > > It's also why interlace in TV systems.
>  >
>  > No doubt this is a factor, but based on several articles I've read it had
>  > more to do with the capabilities of original video equipment which had to
>  > sweep the electron beam across the screen and also the available 
bandwidth
>  > for tranmission. With LCD's and plasma screens there is no interlace
>  > (nothing is actually "scanning"), so the 60i signals must be deinterlaced
>  > and converted to 30 (or 25) frame progressive (30p).

Scanning speed was never an issue, once we had gone away from mechanical 
scanning. Electrons move faster than motors. Nor is bandwidth, which is decided by 
the definition, or vice versa. TV systems are defined by making the vertical 
and horizontal definitions more or less the same. To be fair, all of these are 
interconnected, hence standards. Flicker is the major criterion. At 25 or 
30Hz, flicker can be objectionable. That is why PAL, NTSC, and SECAM are all 
interlaced, Odd line numbers in field one, even in field two.

It makes the electronics more complicated. If we were starting NOW, we should 
probably go down a different road. But we still have to cater for Granny with 
her 1950 TV. 


Frank Wood

------------------------------

Message-Id: <3.0.6.32.20050404191903.016f0c70 [at] pop.west.cox.net>
Date: Mon, 04 Apr 2005 19:19:03
From: CB <psyd [at] cox.net>
Subject: Re: Projector Issues

>Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max
>anyone?

Ehm, the death of Beta was due to Sony not licensing ayone to make their
Beta decks.  JVC licensed anyone to build and sell a VHS (Vertical Helical
Scan) machine, so there were a lot of them.  So a lot of people made their
movies available on VHS.  The hardware of the Beta deck was superior, but
the software for the cheaper model was ubiquitous, so consumers flocked to
the format that had more movies, not a better image.  HOWEVER, Sony
continued to dominate in the PROFESSIONAL arena, where Beta's are used even
today.  Not for long, and they have gone to a digital format, but from the
eighties on, Beta decks were almost an industry standard (or as close as
that industry gets to standardizing anything...)

------------------------------

Message-Id: <3.0.6.32.20050404192436.016f0c70 [at] pop.west.cox.net>
Date: Mon, 04 Apr 2005 19:24:36
From: CB <psyd [at] cox.net>
Subject: Re: Projector Issues

>I heard some stories about
>it that it was basically, too real, for the audience of film people.

I think tripling the stock and processing costs, not to mention tripling
the mag changes on the set, storage, etc, would put any 'film people' off
their lattes.
				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: <08ab01c53944$527229a0$a174fea9 [at] Nigellaptop>
From: "Nigel Worsley" <nigle [at] dsl.pipex.com>
References: <list-21640976 [at] prxy.net>
Subject: Re: Projector Issues
Date: Mon, 4 Apr 2005 19:30:03 +0100

FrankWood95 [at] aol.com wrote:
> Scanning speed was never an issue, once we had gone away from mechanical
> scanning. Electrons move faster than motors. Nor is bandwidth, which is decided by
> the definition, or vice versa. TV systems are defined by making the vertical
> and horizontal definitions more or less the same. To be fair, all of these are
> interconnected, hence standards. Flicker is the major criterion. At 25 or
> 30Hz, flicker can be objectionable. That is why PAL, NTSC, and SECAM are all
> interlaced, Odd line numbers in field one, even in field two.
> 
> It makes the electronics more complicated. If we were starting NOW, we should
> probably go down a different road. But we still have to cater for Granny with
> her 1950 TV.

No we don't! As you well know, the current 625 line system didn't come in until 1964,
so Granny's 1950 TV would have been for the earlier 405 line system that was finally
switched off in 1985.

Maybe Granny has one of these:

http://www.domino405.co.uk/

Nigel Worsley


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <84.42c070f1.2f82e752 [at] aol.com>
Date: Mon, 4 Apr 2005 14:54:10 EDT
Subject: Re: Projector Issues

In a message dated 04/04/05 19:13:25 GMT Daylight Time, psyd [at] cox.net writes:

> >They also happen to be the nominal mains frequencies. In the 
>  >early days of TV equipment, it was important that they matched. 
>  
>  Actually, it was kind of important that the didn't match. 

Cobblers. In the early years, it was vital that they matched.

Frank Wood

------------------------------

Message-ID: <008e01c53957$4e97b3f0$6401a8c0 [at] cz1lbfinkbrlun>
From: "Chad Croteau" <cpcroteau [at] kelcom.igs.net>
References: <list-21638619 [at] prxy.net>
Subject: Re: Photos of electrical practice
Date: Mon, 4 Apr 2005 16:45:56 -0400


> I understand the correct method of adjusting the electrolyte was to
> scientifically p*ss in it. Please isolate first.
>
> Dorian
> Illuminati


This myth has been the source of a lot of debate at my university drama
deparment... I'm hoping the list might be able to play Mythbusters and help
answer a few questions that we've come up with:

1) when I did a grade 8 science project on the conductive properties of
certain liquids, I learned that the more electrolytes present in a liquid,
the more conductive it became.  In other words, the more salty the water,
the greater the current that passed through it.  If this is true, wouldn't
you need a "standard" amount of salt in the salt water of the dimmers to
ensure that each dimmer performed the same way?  If this is true, wouldn't
that make urine a poor choice of refill liquid (althoug probably a
convenient one?)

2)  If the water evaporates from the dimmers, would the salt still not be
inside the vat/container/whatever?  Wouldn't you only need to top up with
water, and not salt?

I'd be very grateful to anyone who can help me stop scratching my head on
this one... The bald spot is getting noticeable!

Thanks!


Chad




------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <6b.427d8134.2f830e3f [at] aol.com>
Date: Mon, 4 Apr 2005 17:40:15 EDT
Subject: Re: Photos of electrical practice

In a message dated 04/04/05 21:52:31 GMT Daylight Time, 
cpcroteau [at] kelcom.igs.net writes:

> 1) when I did a grade 8 science project on the conductive properties of
>  certain liquids, I learned that the more electrolytes present in a liquid,
>  the more conductive it became.  In other words, the more salty the water,
>  the greater the current that passed through it.  If this is true, wouldn't
>  you need a "standard" amount of salt in the salt water of the dimmers to
>  ensure that each dimmer performed the same way?  If this is true, wouldn't
>  that make urine a poor choice of refill liquid (althoug probably a
>  convenient one?)

Lighting is pragmatic. The levels are set by eye. Provided that no-one pisses 
in a dimmer, they will be consistent, after the tech.

Frank Wood

------------------------------

Date: Mon, 04 Apr 2005 17:45:01 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Photos of electrical practice
Message-id: <4251B55D.1B3AC3E0 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-21645988 [at] prxy.net>

FrankWood95 [at] aol.com wrote:
> ---------------------------------------------------
> > 1) when I did a grade 8 science project on the conductive properties of
> >  certain liquids, I learned that the more electrolytes present in a liquid,
> >  the more conductive it became.  In other words, the more salty the water,
> >  the greater the current that passed through it.  If this is true, wouldn't
> >  you need a "standard" amount of salt in the salt water of the dimmers to
> >  ensure that each dimmer performed the same way?  If this is true, wouldn't
> >  that make urine a poor choice of refill liquid (althoug probably a
> >  convenient one?)
> 
> Lighting is pragmatic. The levels are set by eye. Provided that no-one pisses
> in a dimmer, they will be consistent, after the tech.

Based on my knowledge of saltwater/brine dimmers, the levels would not
be the same unless the tanks were topped off.  The heat from
resistance causes the water to evaporate, changing the salinity of the
mixture, which changes its conductivity.  So at the end of a 12 hr
day, the dimmer levels will be off.

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-Id: <a05210601be7764dc6b20 [at] [192.168.1.111]>
In-Reply-To: <list-21641205 [at] prxy.net>
References: <list-21640976 [at] prxy.net> <list-21641205 [at] prxy.net>
Date: Mon, 4 Apr 2005 17:51:40 -0400
From: Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
Subject: Re: Projector Issues

>No we don't! As you well know, the current 625 line system didn't 
>come in until 1964,
>so Granny's 1950 TV would have been for the earlier 405 line system 
>that was finally
>switched off in 1985.
>
>Maybe Granny has one of these:
>http://www.domino405.co.uk/

So she can spend £400 to keep using a 50 year old black and white 
TV?!?  Must be a lot of sentimental attachment to that TV.

For that $750 US, she could go out and upgrade to HD with a 32" CRT 
or a 20" LCD. (I don't know what UK TV prices are like.)

Though I guess in a museum (or possibly theatre) application, being 
able to send video to a vintage TV _might_ be worth the cost.
-- 
-Michael Feinberg, CTS

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <85.24ec7e06.2f8312b5 [at] aol.com>
Date: Mon, 4 Apr 2005 17:59:17 EDT
Subject: Re: Photos of electrical practice

In a message dated 04/04/05 22:45:52 GMT Daylight Time, slitterst [at] ithaca.edu 
writes:

> Based on my knowledge of saltwater/brine dimmers, the levels would not
>  be the same unless the tanks were topped off.  The heat from
>  resistance causes the water to evaporate, changing the salinity of the
>  mixture, which changes its conductivity.  So at the end of a 12 hr
>  day, the dimmer levels will be off.

Possibly. I know of them, but I count myself fortunate not to have had to 
deal with them

Frank Wood

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Mon, 4 Apr 2005 22:11:15 GMT
Subject: Re: Projector Issues
Message-Id: <20050404.151152.23871.199125 [at] webmail01.lax.untd.com>


I bought a brand new LCD 20" TV with RF, VGA, S-Video, composite, component, and other video and audio inputs for $399 retail last week.
/s/ Richard

For that $750 US, she could go out and upgrade to HD with a 32" CRT 
or a 20" LCD. (I don't know what UK TV prices are like.)
-Michael Feinberg, CTS

------------------------------

Date: Mon, 04 Apr 2005 17:45:20 -0500
Subject: Re: Projector Issues
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE772900.AF2E%gregpersin [at] comcast.net>
In-Reply-To: <list-21646415 [at] prxy.net>

Michael Feinberg wrote:


> For that $750 US, she could go out and upgrade to HD with a 32" CRT
> or a 20" LCD. (I don't know what UK TV prices are like.)
> 
> Though I guess in a museum (or possibly theatre) application, being
> able to send video to a vintage TV _might_ be worth the cost.

No you take the vintage TV and strip the guts out of the cabinet and put a
new  TV inside the old cabinet.  Because of the difference in the old
electronics usually you can get the new TV, cabinet and all, inside the
vintage cabinet. Solves a bunch of problems and is much cheaper.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com





------------------------------

Subject: Re: "Archival recording" myth debunking
Message-ID: <OF81F196D8.72F1085D-ON85256FD9.007E19B3-85256FD9.007EEAF2 [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Mon, 4 Apr 2005 19:06:17 -0400


Local 412 approaches the question from the other side stating: "If any
rehearsal or performance is recorded for audio or video resale or
rebroadcast, Local 412's Video rates and conditions shall apply." The logic
being if someone is going to profit from their work over and above the
performances they are entitled to share in those profits. Tapers sign a
release form that says they will use that recording for "Archival purposes
only' and will pay the difference if that changes. There have actually been
situations when organizations agreed to pay the extra when someone saw a
broadcast of a performance.

Marty Petlock
Technical Facilities Manager
Van Wezel P.A.H.
Sarasota, FL.

**********
E-mail messages sent or received by City of Sarasota officials and
employees in connection with official City business
are public records subject to disclosure under the Florida Public Records
Act.
**********



------------------------------

Date: Mon, 04 Apr 2005 19:40:58 -0400
Subject: Re: Projector Issues
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE7748CA.65D8%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-21641010 [at] prxy.net>

>> Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max
>> anyone?
> 
> Ehm, the death of Beta was due to Sony not licensing ayone to make their
> Beta decks.  JVC licensed anyone to build and sell a VHS (Vertical Helical
> Scan) machine, so there were a lot of them.  So a lot of people made their
> movies available on VHS.  The hardware of the Beta deck was superior, but
> the software for the cheaper model was ubiquitous, so consumers flocked to
> the format that had more movies, not a better image.

    Kind of like what happened when Apple maintained exclusivity on their
technology, and IBM allowed others to make clones. The inferior product
became ubiquitous.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



------------------------------

Date: Mon, 4 Apr 2005 20:00:42 -0400 (EDT)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Subject: Re: Projector Issues
In-Reply-To: <list-21650314 [at] prxy.net>
Message-ID: <Pine.LNX.4.61.0504041958160.28767 [at] maestro.operaphilly.com>
References: <list-21650314 [at] prxy.net>

On Mon, 4 Apr 2005, Bruce Purdy wrote:

>    Kind of like what happened when Apple maintained exclusivity on their
> technology

But it's payback time now as people are gravitating towards the Mac, 
having reached the point of frustration with the inferior product  ;-)

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com

------------------------------

Message-Id: <d9078189127a457e4365638947b56ad8 [at] brandeis.edu>
From: David Wilson <wilson [at] brandeis.edu>
Subject: MFA in sound design at Brandeis University
Date: Mon, 4 Apr 2005 20:34:42 -0400

Applications are now being accepted for the MFA in theater design,
sound technology at Brandeis University.  Although the official title
is sound technology, the course of study is flexible, and open to those
interested in music composition and scoring for theater and film as well
as those interested in production, reinforcement, and the like.  
Opportunities
exist to explore a second area of theater design - lighting, costumes,  
and
scenery, if inclined. Tuition remission and stipends available.

Pass this link along to anyone interested:

http://people.brandeis.edu/~wilson/ 
MFA%20Sound%20Design%20Brandeis%20.htm

If anyone has an area for posting MFA info, I can email a word File.

Thank You



David Wilson	
Artist in Residence in Lighting and Sound
Spingold Theater
Brandeis University
Waltham MA 02454
USA


------------------------------

Date: Mon, 04 Apr 2005 20:25:48 -0500
Subject: Re: Projector Issues
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE77534C.AF39%gregpersin [at] comcast.net>
In-Reply-To: <list-21650314 [at] prxy.net>

> 
>>> Funny, Sony steps off the bandwagon and doesn't get supported.... BETA Max
>>> anyone?
>> 
>> Ehm, the death of Beta was due to Sony not licensing ayone to make their
>> Beta decks.  JVC licensed anyone to build and sell a VHS (Vertical Helical
>> Scan) machine, so there were a lot of them.  So a lot of people made their
>> movies available on VHS.  The hardware of the Beta deck was superior, but
>> the software for the cheaper model was ubiquitous, so consumers flocked to
>> the format that had more movies, not a better image.
> 
>   Kind of like what happened when Apple maintained exclusivity on their
> technology, and IBM allowed others to make clones. The inferior product
> became ubiquitous.

The funny thing is that Sony invented both VHS and Beta.  Sony kept the
better technology, Beta, and sold off VHS to JVC who marketed the snot out
of it and the rest is history.

BUT this is only in the consumer market.

Sony and their products, especially Beta decks, are pretty much the standard
in the broadcast market.

I can't say I have ever seen a major broadcast truck with primarily JVC or
Panasonic gear. I doubt a truck like that would even be considered for A or
B level projects. 

It's really JVC and Panasonic that are stepping off the bandwagon in the
hopes that their product will be widely adopted and they can grab a market
niche. Sony probably has a better idea of what the market will actually
support and will probably sink the JVC and Panasonic products.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



------------------------------

Message-Id: <b51405fcad4799256bb6b282229623be [at] cd-romney.com>
Cc: THEATRE-SOUND [at] LISTSERV.AOL.COM (Discussion list for people working in sound for live theatre.)
From: Jason Romney <jason [at] cd-romney.com>
Subject: NCSA Digital Theatre Sound Design Workshop
Date: Mon, 4 Apr 2005 22:16:27 -0400

Hello  everyone,

North Carolina School of the Arts is offering a summer continuing 
education workshop in digital theatre sound design. I don't want to 
take up a lot of bandwidth on the details but those who are interested 
can visit the web page:

http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp

Please forward this to anyone you think would be interested and feel 
free to contact me off-list with any questions. We have 12 seats 
available which will be filled on a first come, first serve basis. If 
you're interested, please sign up soon!

Forgive the commercial post but we really want to get the word out 
about this unique opportunity.

Jason Romney
Sound Design Instructor
North Carolina School of the Arts
jason [at] cd-romney.com
romneyj [at] ncarts.edu
http://www.ncarts.edu/ncsaprod/designandproduction/
http://www.cd-romney.com


------------------------------

Message-ID: <4252103B.D55E9E [at] cybercom.net>
Date: Tue, 05 Apr 2005 00:12:43 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Cc: tf [at] techno-fandom.org (TF)
Subject: Re: Photos of electrical practice
References: <list-21441486 [at] prxy.net>



Richard Wolpert wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> This is a request from all of you out there who have pics ( digital or
> otherwise ) of "scary" electrical practices. I'm developing a series of
> seminars/classes that will range from basic electricity for neophytes, to
> code and engineering issues for consultants and TD's. Having pictures of
> things NOT to do would be most helpful. It would also lighten the mood a
> bit. Nothing better to wake folks up during a lecture than a picture shown
> on the overhead.
>
> I'll give full credit to whoever provides me the pics.  Oh yeah, cartoons
> are acceptable as well.

> Richard A.Wolpert
> President
> Union Connector Co., Inc.
> 40 Dale Street
> West Babylon, NY  11704
> Ph: 631-753-9550 ext. 204
> Fx: 631-753-9560
> richw [at] unionconnector.com

    Not really stagecraft, but scary electrical practices indeed....

    I'm talking on a news group with a fellow who is having power problems
at his mountian top site in Alaska.  Couple of equipment shelters full of
radars and radios to support a military training range.  The engineers in
control say they don't have to follow NEC or any other code, just their
own expert judgment.
    Three phase generator feeding a couple of equipment huts.  Earth and
neutral are bonded together at each hut power panel, and at the generator,
five wires from the generator to each hut.  The engineers put all the radios
and stuff on phase A, overflow equipment and HVAC on phase B, and
nothing on phase C.      But it gets better.
    They have some antenna towers, which are grounded to the same
electrical ground bus in the huts.  Which also serves as the negative pole of
the DC power system for all the telecom and microwave comm gear.
The battery bank is not fused or switched.  The only way to work on
the battery bank is to shut down all the power at the generator after
turning off all the DC loads at each piece of equipment.
    But wait, there's more.....
    The engineers are complaining about data errors, and think it is because
the ground system voltage keeps changing with a bunch of complex
harmonics on it.  And they didn't have enough DC power, so the put in a
bigger rectifier, but now the AC wires feeding the rectifier are pretty hot,
and the breaker pops sometimes.  Oh yeah remember the site is at the
top of the mountain.  No roads, every service call is a helicopter ride.
    They still haven't figured out why the power supplies on the equipment
keep failing, but they are pretty sure it as something to do with the power.
None of the people involved, of course, are licensed electricians, but they
are college edumacated engineers.  I've asked him for pictures, and for
a copy of the inevitable accident investigation report.

    --Dale



------------------------------

Message-ID: <42521082.5000103 [at] fuse.net>
Date: Tue, 05 Apr 2005 00:13:54 -0400
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Foam Coating
References: <list-21635811 [at] prxy.net>
In-Reply-To: <list-21635811 [at] prxy.net>

Eccleston, Mark wrote:
> 
> I'm building a number of props from styrofoam and want to protect them and
> be able to get a smooth surface for painting.  I know there are some over
> the counter products available to do this, but was wondering if anyone had a
> home-made recipe for making there own foam coating or possibly some
> recommendations on what to buy if I do purchase from a theatrical supplier.
> Thanks in advance.
> 

Just to protect the foam, you could use cheese cloth and 
elmers glue.  That will also give you a textured surface 
that will key your over layer.  Drywall compound mixed with 
glue or even gesso might be options.  Bondo might also be an 
option depending on what you need to do with it.

Stuart


------------------------------

Date: Tue, 05 Apr 2005 00:52:58 -0400
Subject: Re: Positioning your hazer
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE7791EA.17563%brooklyn [at] dopher.com>
In-Reply-To: <list-21633584 [at] prxy.net>

Steve Litterst wrote:
> When it works, the US position is great because the haze really disperses
> is quite even by the time the audience sees it.

Good answer.  And now I'm waiting....

Go ahead, ask me.  Ask me why I'm waiting.

Cris Dopher


------------------------------

End of Stagecraft Digest #353
*****************************