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 21683969; Wed, 06 Apr 2005 03:01:06 -0700 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 #354 Date: Wed, 06 Apr 2005 03:00:39 -0700 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 #354 1. Re: Foam Coating by "Paul Guncheon" 2. Re: Visiting New York looking fro advice. by David Carrico 3. Re: Foam Coating by thetd222 4. Re: Disclaimer language? by "Weston Wilkerson" 5. Re: Disclaimer language? by "Jon Ares" 6. Clay for foam coating by zhamm [at] email.unc.edu 7. Re: Photos of electrical practice by "Weston Wilkerson" 8. Learning New stuff when you are stuck? by Al Fitch 9. Re: Learning New stuff when you are stuck? by Delbert Hall 10. Re: Screw Strength by Christopher Haas CEHAAS 11. Re: Strand Lighting Console LBX Issues (Long) by "Weston Wilkerson" 12. Re: Learning New stuff when you are stuck? by Greg Bierly 13. Re: Learning New stuff when you are stuck? by Michael Heinicke 14. Re: Learning New stuff when you are stuck? by Dale Farmer 15. Re: Learning New stuff when you are stuck? by Greg Bierly 16. Re: Learning New stuff when you are stuck? by Howard Ires 17. Re: Learning New stuff when you are stuck? by "Tony Olson" 18. Re: foam coating by Bill Schaffell 19. Re: Learning New stuff when you are stuck? by "Scott Boyle" 20. Re: Projector Issues by FrankWood95 [at] aol.com 21. perspective drawings by "Tony Olson" 22. Re: Projector Issues by Steve Larson 23. Re: perspective drawings by "James, Brian" 24. Re: perspective drawings by Boyd Ostroff 25. Re: perspective drawings by "Tony Olson" 26. Re: perspective drawings by "James, Brian" 27. Re: perspective drawings by "Jon Ares" 28. Re: Photos of electrical practice by FrankWood95 [at] aol.com 29. Glue-Clay foam coating. by Chuck Mitchell 30. Re: perspective drawings by Boyd Ostroff 31. Re: Schedule change FYI by CB 32. Re: Projector Issues by CB 33. Re: Photos of electrical practice by CB 34. Re: Photos of electrical practice by Steve Larson 35. Re: perspective drawings by "C. Andrew Dunning" 36. Re: perspective drawings by "rufus" 37. Re: Disclaimer language? by Brian Munroe 38. Re: Screw Strength by Brian Munroe 39. Re: Screw Strength by "Weston Wilkerson" 40. Synchronisation by FrankWood95 [at] aol.com 41. Re: Synchronisation by "Tony" 42. Re: batteries by Jerry Durand 43. Re: Projector Issues by Jerry Durand 44. Re: Projector Issues by Jerry Durand 45. Re: Schedule change FYI by Brian Munroe 46. Re: Visiting New York looking fro advice. by Bill Sapsis 47. Re: Projector Issues by Jerry Durand 48. Re: Synchronisation by "Jon Ares" 49. Re: Screw Strength by b d 50. Re: saltwater dimmer by StevevETTrn [at] aol.com 51. Re: Learning New stuff when you are stuck? by Gregg Carville 52. Re: Schedule change FYI by Scott Parker 53. Re: Schedule change FYI by Mike Brubaker 54. Re: Visiting New York looking fro advice. by David Carrico 55. Re: Positioning your hazer by "C. Dopher" 56. Re: Positioning your hazer by Andrew Vance 57. Re: Synchronisation by Charlie Richmond *** 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: Tue, 05 Apr 2005 03:03:51 -1000 From: "Paul Guncheon" Subject: Re: Foam Coating Message-id: <005701c539df$eaf76820$0202a8c0 [at] yourxhtr8hvc4p> References: A mixture of white glue and drywall compound mixed to the consistency of yogurt will provide a really tough surface. Mix in a little Portland cement to make it even tougher. Laters, Paul "I don't think this poem is long enough" said Tom, adversely ------------------------------ Message-ID: <1964cf3b050405062446eb7102 [at] mail.gmail.com> Date: Tue, 5 Apr 2005 09:24:18 -0400 From: David Carrico Reply-To: David Carrico Subject: Re: Visiting New York looking fro advice. In-Reply-To: References: See "The Gods are Pounding my Head..." by Richard Foreman!! He has said that this is his last play! Dave ------------------------------ From: thetd222 Subject: RE: Foam Coating Date: Tue, 5 Apr 2005 09:40:24 -0400 In-Reply-To: Message-ID: <20050405094025078.00000001588 [at] cd22539817da> I am a huge fan of Jaxsan 600 (Trowel-able Grade). It works well & can be t= hinned with latex paint. They sell it in 1 gal, 5 gal, & 55 gal. containers= . Here's the best way to get it (straight from the manufacturer): = Plastic Coatings Corporation 4904 Teays Valley Rd Scott Depot, WV 25560 (800) 279-9151 http://www.sno-bird.com/mhcoats.htm (Their website is not that great, but hey it's there.) BTW - They charge 1/2 of what Rosebrand charges for Jaxsan 600. = - Will Leonard Assistant Technical Director PlayMakers Repertory Company Center for Dramatic Art UNC - Chapel Hill O: 919-843-9817 C: 919-423-9162 Sometimes you just have to ask yourself: WWJCD? (What would Johnny Cash do?) = My website: http://WillTheTD.tripod.com ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: RE: Disclaimer language? Date: Tue, 05 Apr 2005 10:07:19 -0400

>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?

Here is mine for light plots.  It is an amalgamation of the USA statement, a friend's dad/lawyer's input, and one I recieved as a Master Elec as some point from a designer I have forgotten.  The dad/lawyer's main input was the portion that acceptance of the drawing constituted an agreement and that the producer carry liability insurance.

THIS DRAWING REPRESENTS VISUAL CONCEPTS AND CONSTRUCTION SUGGESTIONS ONLY.  THE LIGHTING DESIGNER & DRAFTSMAN ARE UNQUALIFIED TO DETERMINE THE ELECTRICAL, STRUCTURAL, OR MECHANICAL APPROPRIATENESS OF THE DESIGN & WILL NOT ASSUME RESPONSIBILITY FOR IMPROPER ENGINEERING, CONSTRUCTION OR USE.  ALL MATERIALS AND CONSTRUCTION MUST MEET THE MOST STRINGENT LOCAL SAFETY & FIRE CODES.  ACCEPTANCE OF THIS DRAWING CONSTITUTES ACKNOWLEDGEMENT OF AND AGREEMENT TO THE FOLLOWING CLAUSE: PRODUCER WILL INDEMNIFY, DEFEND, SAVE AND HOLD DESIGNER, HIS OR HER AGENTS, HEIRS, EXECUTORS, ADMINISTRATORS AND ASSIGNS HARMLESS FROM AND AGAINST ANY AND ALL LIABILITY, CHARGES, COSTS, EXPENSE CLAIMS AND OR OTHER LOSS, INCLUDING REASONABLE ATTORNEY FEES, WHATSOEVER WHICH MAY SUFFER BY REASON OF THE DESIGNS FURNISHED HEREUNDER. PRODUCER AGREES TO CARRY COMPREHENSIVE GENERAL LIABILITY INSURANCE APPLICABLE TO ANY CLAIMS THAT MIGHT ARISE DUE TO ANY WORK PERFORMED UNDER THIS AGREEMENT.

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Weston Wilkerson
University of Tennessee Theater Lighting Design
e: Weston_Wilkerson [at] hotmail.com
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------------------------------ Message-ID: <000201c539ec$8b1a5130$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Disclaimer language? Date: Tue, 5 Apr 2005 07:34:15 -0700 Thanks to everyone who offered up disclaimer language - onlist and off. I appreciate it. I was putting together some stuff for students in a discussion about job descriptions and responsibilities therein. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <20050405103702.ha9e1k2gqsggswso [at] webmail7.isis.unc.edu> Date: Tue, 5 Apr 2005 10:37:02 -0400 From: zhamm [at] email.unc.edu Subject: Clay for foam coating References: In-Reply-To: Clay, alright I'm intigued. Does it work just as an incredibly fine particulate giving the glue body? Or does it have actual properties that make it different than using some other material? And how did you figure out that it worked? Do you take any safety precautions when mixing it? As a potter in a previous life I'm curious. Thanks Zach Hamm PlayMakers Repertory Company > 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 ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Cc: weston_wilkerson [at] hotmail.com Subject: Re: Photos of electrical practice Date: Tue, 05 Apr 2005 10:47:01 -0400

>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 you continue to add salt, at some point the rate of change of your ionic molarity (ratio of Na+ and Cl- ions to water molecules) will begin to taper off.  The water will be saturated with salt at that point, and additional salt will not increase your conductivity.

>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?)

So, I looked up the salinity of human urine.  The accepted average mixture (although this is highly diet dependent) is 50 grams of dissolved solids per liter, primarily salt and urea.  I usually do not 'evacuate' an entire liter.  So, the amount of salt in a saltwater dimmer is at least one if not two orders of magnitude greater than that.  So, it probably wouldn't do much to affect the functionality of the dimmer...unless you had a really small amount of water or a whole lot of pee.  You would also lower the PH slightly given that urea is an acid.  So, with a little bit of planning, yo could make a urine battery!

>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?

Yes, the salt will still be there.  If you had achieved maximum saturation, you would get salt build up on the bottom and sides of the container.  The conductivity would be altered because the amount of salt used in conduction relative to a given heigth would have changed.  If you began without saturation, the density of salt in the water would change along with salt vs. heigth until you reached saturation (because the water is decreasing while the salt is constant).  Then, you would have only the previous matter to affect dimming.

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Weston Wilkerson
University of Tennessee Theater Lighting Design
e: Weston_Wilkerson [at] hotmail.com
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------------------------------ Message-ID: <20050405145133.62829.qmail [at] web51404.mail.yahoo.com> Date: Tue, 5 Apr 2005 07:51:32 -0700 (PDT) From: Al Fitch Subject: Learning New stuff when you are stuck? In-Reply-To: I wasn't sure I should post this one but life is about taking chances no? I was just looking at the topics in the digest over the past few days and weeks and wondered how each of you have acquired your knowledge in so many different techniques? Are you lucky enough to have a position that continuously challenges you or do you just research different ways of doing things and try them out on your productions to experiment? Al Fitch Be Kind, Smile and Have Fun. __________________________________ Yahoo! Messenger Show us what our next emoticon should look like. Join the fun. http://www.advision.webevents.yahoo.com/emoticontest ------------------------------ Message-ID: Date: Tue, 5 Apr 2005 11:06:45 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: Learning New stuff when you are stuck? In-Reply-To: References: "Anyone who has never made a mistake has never tried anything new" - Albert Einstein I have never been afraid to make mistakes. - Delbert On Apr 5, 2005 10:51 AM, Al Fitch wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I wasn't sure I should post this one but life is about > taking chances no? > > I was just looking at the topics in the digest over > the past few days and weeks and wondered how each of > you have acquired your knowledge in so many different > techniques? > > Are you lucky enough to have a position that > continuously challenges you or do you just research > different ways of doing things and try them out on > your productions to experiment? > > Al Fitch > > Be Kind, Smile and Have Fun. > > > __________________________________ > Yahoo! Messenger > Show us what our next emoticon should look like. Join the fun. > http://www.advision.webevents.yahoo.com/emoticontest > -- Delbert Hall Phone: 423-772-4255 ------------------------------ In-Reply-To: Subject: Re: Screw Strength Message-ID: From: Christopher Haas CEHAAS Date: Tue, 5 Apr 2005 11:11:33 -0400 Dale Farmer wrote: "If you are using them for anything structural, then you are using the wrong kind of screws." Which is my whole purpose of the question. I know that they are wrong for structural application. My goal was to find the numbers so that I can "prove" to my students why they don't have sufficient strength. As much as I like the feeling of power of telling them to just accept my word as THE TRUTH!, I believe it's better to show them the math and let them learn for themselves. Thanks to everyone who replied on and off list with the info. I'm still working on this and will post if I have any more success. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: RE: Strand Lighting Console LBX Issues (Long) Date: Tue, 05 Apr 2005 11:23:47 -0400

It sounds to me like something akin to your alternator is shot.  There has to be some mechanism to charge the battery when the switch is on.  That could be the problem.

I love those LBX/GSX Consoles.  I have found them really easy to teach people on.

Good luck, weston

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Weston Wilkerson
University of Tennessee Theater Lighting Design
e: Weston_Wilkerson [at] hotmail.com

I never ask a man where he’s from. After all, if he’s from Texas he’ll probably tell me, and if he’s not I don’t want to embarrass him.
     - Don Meredith
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------------------------------ In-Reply-To: References: Message-Id: <33b7ec9cc22e00b3aed29dd94def4ce2 [at] dejazzd.com> From: Greg Bierly Subject: Re: Learning New stuff when you are stuck? Date: Tue, 5 Apr 2005 11:35:11 -0400 > "Anyone who has never made a mistake has never tried anything new" - > Albert Einstein > > I have never been afraid to make mistakes. - Delbert I am sure in your position you have certainly minimized the possibility of error, especially when flying performers. ;-) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <20050405154002.77886.qmail [at] web81707.mail.yahoo.com> Date: Tue, 5 Apr 2005 08:40:02 -0700 (PDT) From: Michael Heinicke Subject: Re: Learning New stuff when you are stuck? In-Reply-To: 6667 > I was just looking at the topics in the digest over > the past few days and weeks and wondered how each of > you have acquired your knowledge in so many > different > techniques? > > Are you lucky enough to have a position that > continuously challenges you or do you just research > different ways of doing things and try them out on > your productions to experiment? I would suspect that I am like many on this list. A large amount of my knowledge has come from asking others for help whenever I have a project in front of me that I am not familiar with. I have a mental list of people that I go to for help when I need it, and hope that one of them can at least start me in a good direction. Mike H ------------------------------ Message-ID: <4252B342.BD855A11 [at] cybercom.net> Date: Tue, 05 Apr 2005 11:48:18 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Learning New stuff when you are stuck? References: Al Fitch wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I wasn't sure I should post this one but life is about > taking chances no? > > I was just looking at the topics in the digest over > the past few days and weeks and wondered how each of > you have acquired your knowledge in so many different > techniques? > > Are you lucky enough to have a position that > continuously challenges you or do you just research > different ways of doing things and try them out on > your productions to experiment? > > Al Fitch Just living my life. I'm curious, and read a lot, so I pick up a lot of random data that way. I never had a babysitter after I was about ten years old, I went to whatever house my grandfather was building and half helped/half played there. Pounded a lot of nails and learned about carpentry by osmosis. Got interested in computers in high school. Enlisted in the navy, learned a lot of stuff there. The surface warfare qualification required me to pick up a lot of rule of thumb engineering and physics. And I have insomnia. One of my cures for insomnia is to go to the library and pick out a nice thick boring looking book. Usually science or engineering. Puts me right to sleep most of the time, but they have given me lots of more random data. I go to science fiction conventions for fun. Lots of smart and well educated friends are made there, and give me access to all kinds of oddball fields of knowledge. --Dale ------------------------------ In-Reply-To: References: Message-Id: <91c870dbf2b01a17924c03e2f4eb4c56 [at] dejazzd.com> From: Greg Bierly Subject: Re: Learning New stuff when you are stuck? Date: Tue, 5 Apr 2005 12:09:28 -0400 > Are you lucky enough to have a position that > continuously challenges you or do you just research > different ways of doing things and try them out on > your productions to experiment? Yes to all of the above. I also have found this list to be one of my best resources. I keep a list of books list-members recommend and borrow/purchase them as I have the opportunity. I take a mental note of procedures or techniques people post. I follow and bookmark many of the weblinks to member pages and suppliers metioned on the list. My biggest challenge is making sure I don't get too set in my ways and forget that I can still learn on a daily basis. (I do find myself getting "old and crotchety" at my not so advanced age of 37) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <4252BD06.6060402 [at] hillinteractive.net> Date: Tue, 05 Apr 2005 12:29:58 -0400 From: Howard Ires Subject: Re: Learning New stuff when you are stuck? References: In-Reply-To: Al Fitch wrote: > I was just looking at the topics in the digest over > the past few days and weeks and wondered how each of > you have acquired your knowledge in so many different > techniques? Funny you should ask as I am just getting into auto restoration as a hobby and it's something I have no formal education or experience with. what I'm doing is: reading shop manuals. reading tool catalogs. looking at pro shops and copying what they do. but I imagine if I really want to get into it the best way to learn would be to get a job, just like I got a job in a scene shop 30 years ago. There's no substitute for the collective experience you find in a large shop. --------------Howie ------------------------------ Message-ID: <007801c539fb$c7201430$186a7044 [at] TonyLaptop> Reply-To: "Tony Olson" From: "Tony Olson" References: Subject: Re: Learning New stuff when you are stuck? Date: Tue, 5 Apr 2005 11:23:13 -0500 Like most people have been saying...networking is the strongest resource that I have. I also continue to work in as many different spaces as I can to help keep my creativity at a high. Also a wide variety of shows and a busy schedule help to keep new ideas, and techniques coming into play for me. In the past year I have done everything from children's theater to Large musicals, straight drama and even a traveling puppet show. Right now I am working on two shows that open a week from each other on the same stage and the Director wants full stage scenery for both of them so I am trying to find way to incorporate the first set into the later set to help with load in. I also like to take my stock and see what I can do with it to make people see the same pieces over and over but never realize that they are seeing the same thing. And if you have the time and budget trial and error isn't always a bad way to come up with new ideas either. Yet all this being said...I find that some times the simple little patterns that we can fall into can be very valuable as well. For example the layout of a straight play in one of the theaters I work in we remove the top layer of the pit to give us more of a proscenium instead of the thrust feel we have with it. Yet for large musicals we leave it in to give us more room and bring us out into the audience more. Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ------------------------------ Message-ID: <4252BC21.50602 [at] earthlink.net> Date: Tue, 05 Apr 2005 09:26:09 -0700 From: Bill Schaffell Subject: Re: foam coating References: We just did a project that used 20 gallons of "foam coating" We considered Jaxsan but decided it was too rubbery for our application. Cal Western vinyl roof patch # 965 turned out to be great. Although it claims to be an elastomeric it dried hard and is sandable. The other plus is that it contains chopped polyester fibers about 1/4"- 3/8" long. It helps bridge gaps and keeps the surface from cracking. It reminded me alot of Rosco foamcoat. I was told it has a flame retardant rating but did not get any documentation on it. Ask for it if it is an issue for your project. cwpaints.com Bill Schaffell WJS Studios 909-986-2363 ------------------------------ Reply-To: From: "Scott Boyle" Subject: RE: Learning New stuff when you are stuck? Date: Tue, 5 Apr 2005 11:35:33 -0500 Organization: Carroll College Message-ID: <000001c539fd$7d127d40$73db688c [at] cc.edu> In-Reply-To: Greg wrote: >I also have found this list to be one of my >best resources. I keep a list of books list-members recommend and >borrow/purchase them as I have the opportunity. I take a mental note >of procedures or techniques people post. I follow and bookmark many of >the weblinks to member pages and suppliers metioned on the list. Belonging to USITT helps because of the annual conventions and publications. I also subscribe to the Yale tech briefs and also have kept all of my old textbooks. I've found that when I'm stuck on a project I'll page through some of the classic texts and I'll find a solution or at least something that will spark an idea. I think being a good creative-problem solver helps. Along with Greg I have to remind myself not to get into a rut and try to take advantage of new technologies as they become affordable. Scott M. Boyle Technical Director Carroll College ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f5.70231c2.2f8421b6 [at] aol.com> Date: Tue, 5 Apr 2005 13:15:34 EDT Subject: Re: Projector Issues In a message dated 05/04/05 02:26:37 GMT Daylight Time, gregpersin [at] comcast.net writes: > Sony and their products, especially Beta decks, are pretty much the standard > in the broadcast market. Certainly. When the BBC closed down its Film department, the "film" crews were all equipped with portable video cameras, using Beta cassettes. Recording in fixed studios and OB wagons went digital. Perhaps the "film" crews have, by now, although I don't know of a broadcast quality portable camera that records digitally. But I've been out of the business for a long time, now. Frank Wood ------------------------------ Message-ID: <008601c53a02$ca049250$186a7044 [at] TonyLaptop> Reply-To: "Tony Olson" From: "Tony Olson" Subject: perspective drawings Date: Tue, 5 Apr 2005 12:13:29 -0500 Does anyone have any good tools they use for drafting out perspective drawings of their sets? Is there any drafting software that will do it? Or what about software for making models? I am looking for tools to help the communication process between myself and one of the Artistic Directors I am working with. For some reason we can't seem to stay on the same page very long. We are looking for ways that we can both try to get our ideas and visions onto paper or in some visual form that does not take a lot of work so that we can save our energy for the real project....any ideas out there? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ------------------------------ Date: Tue, 05 Apr 2005 13:34:47 -0400 Subject: Re: Projector Issues From: Steve Larson Message-ID: In-Reply-To: A KY-27 ENG camera with a digital back, as opposed to a Hi-8 or Beta back. sjl > From: FrankWood95 [at] aol.com > Reply-To: "Stagecraft" > Date: Tue, 5 Apr 2005 13:15:34 EDT > To: "Stagecraft" > Subject: Re: Projector Issues > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 05/04/05 02:26:37 GMT Daylight Time, > gregpersin [at] comcast.net writes: > >> Sony and their products, especially Beta decks, are pretty much the standard >> in the broadcast market. > > Certainly. When the BBC closed down its Film department, the "film" crews > were all equipped with portable video cameras, using Beta cassettes. Recording > in > fixed studios and OB wagons went digital. Perhaps the "film" crews have, by > now, although I don't know of a broadcast quality portable camera that records > digitally. But I've been out of the business for a long time, now. > > > Frank Wood > > ------------------------------ Subject: RE: perspective drawings Date: Tue, 5 Apr 2005 13:39:17 -0400 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B323 [at] fangorn.cc.vt.edu> From: "James, Brian" Cc: ajolson [at] charter.net (Tony Olson) Do you need a true perspective drawing, or would a basic story board = work? I have found with most of my clients, a simple color story board is all = they need. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Tony Olson Sent: Tuesday, April 05, 2005 1:13 PM To: Stagecraft Subject: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone have any good tools they use for drafting out perspective=20 drawings of their sets? Is there any drafting software that will do it? = Or=20 what about software for making models? I am looking for tools to help the communication process between myself = and=20 one of the Artistic Directors I am working with. For some reason we = can't=20 seem to stay on the same page very long. We are looking for ways that = we=20 can both try to get our ideas and visions onto paper or in some visual = form=20 that does not take a lot of work so that we can save our energy for the = real=20 project....any ideas out there? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse=20 ------------------------------ Date: Tue, 5 Apr 2005 13:40:41 -0400 (EDT) From: Boyd Ostroff Subject: Re: perspective drawings In-Reply-To: Message-ID: References: There are so many programs out there it would be tough to get into a discussion of all of them. If you just want to do quick line drawings then a number of people like SketchUp: http://www.sketchup.com/product/ I evaluated it for a review awhile ago, and it is good for doing quick visualizations as line drawings. Personally it didn't suit my style and I found it limited, but I'm going for a photorealistic, rendered effect with stage lighting. I have used Strata 3d for almost 10 years now, not because it's necessarily the best, but because I'm very much at home with it and can get the results I want: http://strata.com/strata3D_new.asp This may not be the easiest software to learn, but you can get nice results - here are a few examples: http://www.greenmist.com/pearl/04/ http://www.greenmist.com/capuleti/05/ http://www.greenmist.com/werther/03/ I also like working with Bryce, but that's mainly for landscapes, skies and that sort of thing: http://bryce.daz3d.com/ It is handy for doing scrim and drop designs like these: http://www.greenmist.com/pearl/02/ http://www.greenmist.com/trovatore/drops/04/ Just a few days ago I decided to make a big change, and purchased Vue 5 Infinite: https://secure.e-onsoftware.com/Products/vue5infinite This is a really impressive new application that can do all the things Bryce does, but with much more control. And it also has a more traditional 3d modeling interface so it may be able to take the place of Strata for me once I get up to speed (but actually my main use for this software will be computer animation for video projections, plus a planned movie). There is also a less expensive version of Vue without some of the high powered features. Another nice feature to the Vue products is that they are designed to integrate well with figures from Poser. Then of course VectorWorks has 3d capabilities which I personally only use to do construction drawings of complex units for the shop. Again, it's pretty much oriented towards line drawings where programs like Bryce, Strata and Vue are more like a complete artists toolbox. I'm sure others will have strong opinions on these as well as other programs. Like I said, there's an alphabet soup of them out there. Maya and Lightwave are two of the "industry standards" used on films. But these are expensive and have steep learning curves, as do most 3d applications. Many of these programs have free trial versions that you can play with to see how the suit your style. I know there are also some freeware/shareware options out there. After I became comfortable with 3d modeling I put away my paint brushes and model making tools and have never taken them out again since around 1996... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <00c201c53a06$0b691ce0$186a7044 [at] TonyLaptop> Reply-To: "Tony Olson" From: "Tony Olson" References: Subject: Re: perspective drawings Date: Tue, 5 Apr 2005 12:36:48 -0500 Story boards have not seemed to get us to far but do you have any suggestions how to make a story board more useful? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ----- Original Message ----- From: "James, Brian" To: "Stagecraft" Cc: "Tony Olson" Sent: Tuesday, April 05, 2005 12:39 PM Subject: Re: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Do you need a true perspective drawing, or would a basic story board work? I have found with most of my clients, a simple color story board is all they need. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Tony Olson Sent: Tuesday, April 05, 2005 1:13 PM To: Stagecraft Subject: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone have any good tools they use for drafting out perspective drawings of their sets? Is there any drafting software that will do it? Or what about software for making models? I am looking for tools to help the communication process between myself and one of the Artistic Directors I am working with. For some reason we can't seem to stay on the same page very long. We are looking for ways that we can both try to get our ideas and visions onto paper or in some visual form that does not take a lot of work so that we can save our energy for the real project....any ideas out there? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ------------------------------ Subject: RE: perspective drawings Date: Tue, 5 Apr 2005 13:48:12 -0400 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B326 [at] fangorn.cc.vt.edu> From: "James, Brian" Cc: ajolson [at] charter.net (Tony Olson) Not sure what you have done so far. I usually use black construction = paper and pastels spray with a coat of gloss fixatif. That allows the person to get an idea of color, when used next a floor = plan a sense of placement can be achieved, and with color pencils = (usually white and black) you can draw in the lighting look (white for = high lights, black for shadow). -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Tony Olson Sent: Tuesday, April 05, 2005 1:37 PM To: Stagecraft Subject: Re: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Story boards have not seemed to get us to far but do you have any=20 suggestions how to make a story board more useful? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ----- Original Message -----=20 From: "James, Brian" To: "Stagecraft" Cc: "Tony Olson" Sent: Tuesday, April 05, 2005 12:39 PM Subject: Re: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Do you need a true perspective drawing, or would a basic story board = work? I have found with most of my clients, a simple color story board is all = they=20 need. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Tony Olson Sent: Tuesday, April 05, 2005 1:13 PM To: Stagecraft Subject: perspective drawings For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone have any good tools they use for drafting out perspective drawings of their sets? Is there any drafting software that will do it? = Or what about software for making models? I am looking for tools to help the communication process between myself = and one of the Artistic Directors I am working with. For some reason we = can't seem to stay on the same page very long. We are looking for ways that = we can both try to get our ideas and visions onto paper or in some visual = form that does not take a lot of work so that we can save our energy for the = real project....any ideas out there? Tony Olson Tech. Director Theater for Young Audiences University of Wisconsin- Sheboygan Northern Lights Playhouse ------------------------------ Message-ID: <001201c53a08$e71ffdb0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: perspective drawings Date: Tue, 5 Apr 2005 10:57:16 -0700 Boyd mentions some great packages, and he gets great results from them. For years, I've used LightWave 3D, not because it's cheap (it isn't) or easy (it isn't) or perfect for theatre (it's a heavy-hitter) but because I have it (for doing feature and independent film effects, and commercial television projects). I don't recommend it for someone who just wants to use it for quick spatial renders. But one package I'm intending to try, once I have some free time (yeah, right) is Shade from Curious Labs http://www.curiouslabs.com/ . It seems simple enough to 'whip up' a 3D of a set. I'm personally not too concerned about using something that will give me construction drawings AND 3D, so something like this is interesting to me. I also think SketchUp is intriguing, but spendy, and like Boyd, I'm not sure it will work in the way I need to work. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <105.5e47a29a.2f842c1a [at] aol.com> Date: Tue, 5 Apr 2005 13:59:54 EDT Subject: Re: Photos of electrical practice In a message dated 05/04/05 05:12:33 GMT Daylight Time, dale [at] cybercom.net writes: > 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. To the UK ear, this sounds like bad practice. High current earth (ground) loops everywhere, and a highly unbalanced load. 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. That, in itself, is not unusual. > 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. Plain stupid. ANY power source needs to have overcurrent protection, and a means of isolation. And I'll bet that the switches are not rated for DC. This needs quick-break switches, to avoid arcing > 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. I'm not in the least surprised. That their systems work at all surprises me. > 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. Having a degree in electronics doesn't make you a good electrical engineer. Or. for that matter, a good electronic designer. A colleague of mine once designed an A/B to M/S to A/B stereo matrix system. allegedly with balanced inputs and outputs. He used 0.1% resistors, which were unneccessary, and showd that he didn't understand the basics of op-amps. It took him and his boss a long time to make it work, even halfways. And he had a degree in Electronics. Me, I have a degree in Physics. But I have worked for 28 years in broadcast film and sound, not to mention on a theatre's electrical maintenance team. In that time, I have found out what works, and what doesn't. Call me old-fashioned if you will: tell me I over-engineer things. But, circuits and installations that I do work, first time, usually. Frank Wood ------------------------------ Date: Tue, 05 Apr 2005 13:22:38 -0500 From: Chuck Mitchell Subject: Glue-Clay foam coating. In-reply-to: Message-id: <002501c53a0c$72509770$15e25c90 [at] Chuck> The finished surface is hard enough that kicking the surface causes no denting. I can make 5 gal. for approx. $ 65, which is less than Jaxsan ($ 105 delivered) or MEI (an elastomeric compound, approx. $ 78 delivered). In point of fact, the latter is pre-mixed and close in price, so we more often use it. I do believe the glue-clay is a harder surface, but less easy to work with. When mixing the compound the people in the area wear a dust mask (the 2-strap type) and scoop the clay powder, rather than pour it, so less gets airborne. After it's mixed, there is no safety issue I am aware of. And to give it a name, students came up with CGS, the latter being the start of a 4-letter word. Funny, the name stuck! Chuck >Clay, alright I'm intigued. Does it work just as an incredibly fine >particulate giving the glue body? Or does it have actual properties that >make it different than using some other material? And how did you figure >out that it worked? Do you take any safety precautions when mixing it? As >a potter in a previous life I'm curious. Thanks Zach Hamm PlayMakers Repertory Company > 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 Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 ------------------------------ Date: Tue, 5 Apr 2005 15:01:56 -0400 (EDT) From: Boyd Ostroff Subject: Re: perspective drawings In-Reply-To: Message-ID: References: On Tue, 5 Apr 2005, Jon Ares wrote: > Shade from Curious Labs > http://www.curiouslabs.com/ Actually they have a package deal that includes this if you buy Poser 6 SE from their site. I thought about it since I just decided to get poser for a project I'm doing. However, Poser 6 is new and from what I've read online, other applications that support poser files (such as Vue) don't work properly with version 6. So instead I just got Poser 5. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-Id: <3.0.6.32.20050405200350.016f1728 [at] pop.west.cox.net> Date: Tue, 05 Apr 2005 20:03:50 From: CB Subject: Re: Schedule change FYI >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! Focus time?!? Budget?!? OT!!!???!!! If the squints are gonna get molly-coddled like that, we want the espresso machine we talked about! Oh, and Mr. Rodman? Pick and choose your Cc:'s carefully. And, Bcc: is your best friend... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050405201512.016f1728 [at] pop.west.cox.net> Date: Tue, 05 Apr 2005 20:15:12 From: CB Subject: Re: Projector Issues >Cobblers. In the early years, it was vital that they matched. Oh, you mean back BEFORE colour. Nevermind... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050405204441.0192d830 [at] pop.west.cox.net> Date: Tue, 05 Apr 2005 20:44:41 From: CB Subject: Re: Photos of electrical practice >No roads, every service call is a helicopter ride. Remember when I did the Havasupai Reservation show at the bottom of the Grand Canyon, that was by helo as well. I made sure that I was the one guy that had to load at the top and unload at the bottom for every trip on the in, and revers that on the out. It was my show, my gear, so it was my responsibility. Yeah, once there is a road out there the problem's will be solved... 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: Tue, 05 Apr 2005 15:51:29 -0400 Subject: Re: Photos of electrical practice From: Steve Larson Message-ID: In-Reply-To: Don't know, but isn't everything in and out of Havasupai by helo, horse, or on foot? Went down there for 14 days in 1974 in May. What a great time. sjl > From: CB > Reply-To: "Stagecraft" > Date: Tue, 05 Apr 2005 20:44:41 > To: "Stagecraft" > Subject: Re: Photos of electrical practice > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> No roads, every service call is a helicopter ride. > > Remember when I did the Havasupai Reservation show at the bottom of the > Grand Canyon, that was by helo as well. I made sure that I was the one guy > that had to load at the top and unload at the bottom for every trip on the > in, and revers that on the out. It was my show, my gear, so it was my > responsibility. > Yeah, once there is a road out there the problem's will be solved... > 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... > > ------------------------------ Reply-To: From: "C. Andrew Dunning" Cc: ajolson [at] charter.net ('Tony Olson') Subject: RE: perspective drawings Date: Tue, 5 Apr 2005 14:56:41 -0500 Organization: Landru Design In-Reply-To: Message-ID: Tony - >Does anyone have any good tools they use for drafting out >perspective drawings of their sets? VectorWorks. I have found it to incredibly valuable in communicating ideas to clients and to other members of different creative teams. Your Artistic Director can easily give you digital images of drops and textures that he/she likes and you can put them into renderings to illustrate ideas. There IS a little learning curve, but I think you might find the effort well worth it. C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com (and, a UW grad...) ------------------------------ Reply-To: From: "rufus" Subject: RE: perspective drawings Date: Tue, 5 Apr 2005 15:41:41 -0500 Message-ID: In-Reply-To: Tony - >Does anyone have any good tools they use for drafting out >perspective drawings of their sets? --- There is a lot of programs out there that will do what you ask. If your looking to use a CAD program to automate this for you, I suggest that you look at www.autodesk.com or www.design-drafting.com Let me know if I can be of any help. Best regards, Rufus Warren III Voice 708-499-0107 Fax Line 708-499-0046 E-Mail rufus [at] design-drafting.com Web Site www.design-drafting.com LD Assistant.com - CADunit.com - ACADLighting.com - AutoBLOCK2000.com - Dynatrend.com autodesk authorized developer & partner HP authorized developer _____ ------------------------------ Message-ID: Date: Tue, 5 Apr 2005 17:17:52 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Disclaimer language? In-Reply-To: References: On Apr 5, 2005 10:07 AM, Weston Wilkerson wrote: <> > Here is mine for light plots. It is an amalgamation of the USA statement, a > friend's dad/lawyer's input, and one I recieved as a Master Elec as some > point from a designer I have forgotten. The dad/lawyer's main input was the > portion that acceptance of the drawing constituted an agreement and that the > producer carry liability insurance. > What constitutes "ACCEPTANCE OF THIS DRAWING....?" If I am the producer, I am going to want to closely examine this drawing before I "accept" it. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: Date: Tue, 5 Apr 2005 17:20:49 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Screw Strength In-Reply-To: References: The fact that you can't find numbers on drywall screws should be a big indicator. Try having your students drive the screws into hardwood and watch the heads snap off. The screw heads, not the students heads. On Apr 5, 2005 11:11 AM, Christopher Haas CEHAAS wrote: > I know that they are wrong for > structural application. My goal was to find the numbers so that I can > "prove" to my students why they don't have sufficient strength. As much > as I like the feeling of power of telling them to just accept my word as > THE TRUTH!, I believe it's better to show them the math and let them learn > for themselves. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: Re: Screw Strength Date: Tue, 05 Apr 2005 17:32:44 -0400

So, I have a question.  If you guys are putting Luaun on hardcover flats, you would deem drywall screws unsuitable for this application?  When I build things I try to make sure that the fasteners are just doing just that, fastening in place, and not acting as a load bearing entity.  I wouldn't really trust a screw in a bearing, specifically shearing prone, application.  When load bearing is needed, I typically use lag screws or bolts.  How do people feel about this philosophy. 

And by non-drywall screws, are people refering to phillips/square drive #1-#3 wood screws or something else?

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Weston Wilkerson
e: Weston_Wilkerson [at] hotmail.com
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------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 5 Apr 2005 18:00:20 EDT Subject: Synchronisation This may not be the best forum to which to post. Advice on a better one would be appreciated. I have just spent an hour or so watching a DVD of old opera clips. Every single one was out of sync, with the picture ahead of the sound. Some cable and satellite TV has similar problems. Why? Is it that nobody cares? Having spent a substantial part of my engineering career in dealing with such problems, perhaps I am more sensitive to them than most people. I know that the film dubbing editors whose equipment I used to care for would have been screaming up the wall, if such errors had occurred. In this digital era, video delay is a trivial problem, as is sound delay for the rare cases when it's the other way round. Whatever happened to profesional standards? Frank Wood ------------------------------ Message-ID: <03a001c53a2d$f9c95db0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Synchronisation Date: Tue, 5 Apr 2005 23:22:15 +0100 ----- Original Message ----- From: To: "Stagecraft" Sent: Tuesday, April 05, 2005 11:00 PM Subject: Synchronisation > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This may not be the best forum to which to post. Advice on a better one would > be appreciated. > > I have just spent an hour or so watching a DVD of old opera clips. Every > single one was out of sync, with the picture ahead of the sound. Some cable and > satellite TV has similar problems. > > Why? Is it that nobody cares? Having spent a substantial part of my > engineering career in dealing with such problems, perhaps I am more sensitive to them > than most people. I know that the film dubbing editors whose equipment I used > to care for would have been screaming up the wall, if such errors had occurred. > > In this digital era, video delay is a trivial problem, as is sound delay for > the rare cases when it's the other way round. Whatever happened to > profesional standards? > > Frank Wood > First question - is the DVD you watched a branded commercial disc, or a copy? I've had problems burning stuff onto DVD's on my PC where the first section is fine, then the video somehow loses it's way and I have pictures that are maybe 10 minutes adrift from the audio! Otherwise, I'd suggest you have your DVD player serviced/cleaned. Ynot ------------------------------ Message-Id: <6.2.1.2.0.20050405162915.0538bdf8 [at] localhost> Date: Tue, 05 Apr 2005 16:32:15 -0700 From: Jerry Durand Subject: Re: batteries In-Reply-To: References: At 10:18 AM 3/30/2005, you wrote: > > You get lithium batteries manufactured in "Honest Jim's battery and > > carpet manufacturing shop" some place in Asia. > > > >Why beat up on Asia and suggest that it's the source of junk? Junk >is made all over the world--and good stuff, too. My Dell laptop, >including the original battery, was made in Asia. Because setting up a temporary business to do some assembly as well as making copies of other brands is a standard way of doing business there. It's not as common other places, and making copies of branded merchandise is illegal in lots of places. I never said ALL stuff made there is junk, but it's really hard to track down someone there when they did make junk. ---------- 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: <6.2.1.2.0.20050405163605.0538bb68 [at] localhost> Date: Tue, 05 Apr 2005 16:39:00 -0700 From: Jerry Durand Subject: Re: Projector Issues In-Reply-To: References: At 04:34 PM 3/30/2005, you wrote: >Shifting the topic to LEDs, I'm curious if LEDs are bright enough to be >used as strobe lights, and if they respond fast enough. Anybody tried it yet? White LEDs are now used as flash lamps on some cameras. Also, I've noticed with PWM modulated LED luminaries, if you look AT the luminary, as soon as you send one bit of ON (about 0.5%), the LEDs appear to jump on. I assume this is because the LEDs are pulsing at full intensity, just at a really low duty cycle. That's one of the reasons I'm thinking about the constant-current LED control, no pulsing and smooth level changes from OFF to FULL. ---------- 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: <6.2.1.2.0.20050405170125.0538cc10 [at] localhost> Date: Tue, 05 Apr 2005 17:01:59 -0700 From: Jerry Durand Subject: Re: Projector Issues In-Reply-To: References: At 03:10 PM 4/3/2005, you wrote: > > The DLP looked BETTER than the film. They said they were originally > > thinking DLP wouldn't be that good due to having fewer pixels than even a > > good consumer monitor. But, the pixels don't jitter and are very > accurate > > as far as color and contrast. > >What was the original source for the DLP? Presumably the cut camera negative, >or the same answer print. The hard disk of the animation system. It was never film. ---------- 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: Date: Tue, 5 Apr 2005 20:08:46 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Schedule change FYI In-Reply-To: References: On Tue, 05 Apr 2005 20:03:50, CB wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- <> > Oh, and Mr. Rodman? Pick and choose your Cc:'s carefully. And, Bcc: is > your best friend... I recieve daily show reports from the PSM for the show I am working on, which is generally pretty boring, especially after 1000 performances. However, some of the producers and creative types don't understand the difference between "reply" and "reply all," which can make for some sensitive material being shared with the several dozen people on the distribution list. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Date: Tue, 05 Apr 2005 20:14:45 -0400 Subject: Re: Visiting New York looking fro advice. From: Bill Sapsis Message-ID: In-Reply-To: on 4/5/05 9:24 AM, David Carrico at daveffreep [at] gmail.com wrote: > See "The Gods are Pounding my Head..." by Richard Foreman!! > He has said that this is his last play! Richard Foreman. I used to see his stuff at the ontological Hysteric Theatre back in the 70's. His stuff was always great. Great sense of depth. Also did some work on his Three Penny Opera that he did in 75 at Lincoln Center. Ah ...to have that poster back. Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-Id: <6.2.1.2.0.20050405171016.053526b0 [at] localhost> Date: Tue, 05 Apr 2005 17:11:39 -0700 From: Jerry Durand Subject: Re: Projector Issues In-Reply-To: References: At 11:18 AM 4/4/2005, you wrote: >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. I should mention that PIXAR makes a different rendering file for video and film to account for gamma and such. In most cases the film image is written directly to the negative with a laser-printer type of scanner. ---------- 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: <000401c53a42$c883a390$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Synchronisation Date: Tue, 5 Apr 2005 17:51:35 -0700 > Why? Is it that nobody cares? Having spent a substantial part of my > engineering career in dealing with such problems, perhaps I am more > sensitive to them > than most people. > In this digital era, video delay is a trivial problem, as is sound delay > for > the rare cases when it's the other way round. Whatever happened to > profesional standards? I hear you, Frank. I feel the same damn way. I have always prided myself on only working on HIGH QUALITY pictures (film/video) and to then see so much 'home movie' and DV 'rubbish' on TV, AND lots of out ot sync 'broadcast' television, I am angered. And to read USA trade magazines like TV Technology discuss the A/V sync problem, it's like some sort of mystery most stations and engineers hope will go away. (Most blame it on their source, be it their network feed, or such... but they CAN fix it at their station, but they don't. Arrrgh.) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <20050406005629.32598.qmail [at] web20423.mail.yahoo.com> Date: Tue, 5 Apr 2005 17:56:29 -0700 (PDT) From: b d Subject: Re: Screw Strength Cc: bpmunroe [at] gmail.com (Brian Munroe) In-Reply-To: 6667 Of course the heads snap off. Drywall screws are designed to...hold up drywall. Great shear strength, very poor torsional capability. If you want to prove a point with your students, take a piece of 5/8 fire code drywall, hang it with one screw in the field, and watch the drywall tear around the screw. Brian Dambacher Production Manager/Technical Director MeadowBrook Theatre Ensemble Rochester, Mi. 48309 bdambacher [at] mbtheatre.com --- Brian Munroe wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > The fact that you can't find numbers on drywall > screws should be a big > indicator. Try having your students drive the > screws into hardwood > and watch the heads snap off. The screw heads, not > the students > heads. > > On Apr 5, 2005 11:11 AM, Christopher Haas CEHAAS > wrote: > > I know that they are wrong for > > structural application. My goal was to find the > numbers so that I can > > "prove" to my students why they don't have > sufficient strength. As much > > as I like the feeling of power of telling them to > just accept my word as > > THE TRUTH!, I believe it's better to show them the > math and let them learn > > for themselves. > > Brian Munroe > bpmunroe [at] gmail.com > __________________________________ Do you Yahoo!? Yahoo! Personals - Better first dates. More second dates. http://personals.yahoo.com ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <1c9.2600838d.2f849512 [at] aol.com> Date: Tue, 5 Apr 2005 21:27:46 EDT Subject: RE: saltwater dimmer > I did, however, build a saltwater dimmer once, just to see if the history > books were true. They were. One of the scariest things I ever saw was someone in a church I visited using this idea for an object lesson. He had a mason jar full of water, some miscellaneous lengths of zip cord attached to a 60W light bulb and an Edison plug. There were two ends of wire that had been striped of insulation for about 12" that were placed into the jar of water. All of this was hand held at a pulpit with no level surfaces to set something on. He proceeded to plug in the mess into an extension cord. The light bulb did not light. Then, as he continued to juggle the jar and the wires, he added salt to the water. Having only two hands, it was a challenge to hold the jar and the light bulb, and pour in salt, and attempt to stir the solution. I was mentally running through the emergency procedures that would be needed if he did not succeed in keeping the wires separated and/or inside the jar and/or away from bodily contact. Fortunately, the light bulb gradually got bright and he made his point (salt of the earth, light of the world?) and unplugged the power without spilling too much water or prompting a 911 call. Proof again that a little knowledge can be a dangerous thing. I hope that this thread does not prompt any ill advised experiments. SteveV Orl, FL ------------------------------ Message-ID: <2c0e151605040518567bb27f28 [at] mail.gmail.com> Date: Tue, 5 Apr 2005 21:56:49 -0400 From: Gregg Carville Reply-To: Gregg Carville Subject: Re: Learning New stuff when you are stuck? In-Reply-To: References: I was having this conversation in Home Depot today. I was over there looking for parts to make a commutator for a turn table we are using in the next show. Over the past week the TD & I have put our heads together to figure out how to make this work (we just need two circuits on the table, but the table has to be able to spin in either direction for unknown rotations) And the guy who was helping me was curious about what I was doing. He was quite amazed that my job called for me to figure out different problems like the commutator. So we chit-chatted for a bit. And while I don't claim to be an expert on commutators, it has been an interesting experience in trying to solve a problem. -Gregg ------------------------------ Message-ID: <90d9c9980504051919279dfa4d [at] mail.gmail.com> Date: Tue, 5 Apr 2005 22:19:40 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Re: Schedule change FYI In-Reply-To: References: Sensitive material? Take a browse over to www.guidestar.org. You'll have to sign up, but it's free. Enter the name of any non-profit org in the search box. Once you find the one you're interested in, click on the "form 990" on the left. Then click on one of the fiscal year buttons. This will bring up the tax return for that year. Have fun, Scott On Apr 5, 2005 8:08 PM, Brian Munroe wrote: which can > make for some sensitive material being shared with the several dozen > people on the distribution list. > -- Take care, Scott Scott C. Parker ------------------------------ Message-Id: <6.2.0.14.0.20050405212947.01c8d6e0 [at] mail.insightbb.com> Date: Tue, 05 Apr 2005 21:32:37 -0500 From: Mike Brubaker Subject: Re: Schedule change FYI In-Reply-To: References: Hardly sensitive--this information has always been public. Just a little more difficult to get your hands on. Note that they do black out signatures and SSNs. guidestar.org is a very useful tool. For more fun with non-profits, go the the Kellogg Foundation's web site (www.wkkf.org) and look at last years annual report at their current endowment. Mike At 09:19 PM 4/5/2005, Scott Parker wrote: >Enter the name of any non-profit org in the search box. Once you find >the one you're interested in, click on the "form 990" on the left. >Then click on one of the fiscal year buttons. This will bring up the >tax return for that year. ------------------------------ Message-ID: <1964cf3b05040520123d63ac5a [at] mail.gmail.com> Date: Tue, 5 Apr 2005 23:12:59 -0400 From: David Carrico Reply-To: David Carrico Subject: Re: Visiting New York looking fro advice. In-Reply-To: References: He's still at the Ontological Hysteric, in the East Village. The neighborhood's changed since the '70's, I bet. On Apr 5, 2005 8:14 PM, Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > on 4/5/05 9:24 AM, David Carrico at daveffreep [at] gmail.com wrote: > > > See "The Gods are Pounding my Head..." by Richard Foreman!! > > He has said that this is his last play! > > Richard Foreman. I used to see his stuff at the ontological Hysteric > Theatre back in the 70's. His stuff was always great. Great sense of > depth. Also did some work on his Three Penny Opera that he did in 75 at > Lincoln Center. Ah ...to have that poster back. > > Bill > www.sapsis-rigging.com > 800.727.7471 > 800.292.3851 fax > 267.278.4561 mobile > > Please support the Long Reach Long Riders on their 2nd annual benefit ride > http://sapsis-rigging.com/LRLR.html > > ------------------------------ Date: Tue, 05 Apr 2005 23:45:42 -0400 Subject: Re: Positioning your hazer From: "C. Dopher" Message-ID: In-Reply-To: Steve Litterst wrote: > 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. Huh. So um... What do you do when the LD for the dance concert wants specific 7 minute pieces hazed and not the ones before and after it? ;) Cris Dopher, LD - currently attempting to haze 2 pieces out of 15. ------------------------------ In-Reply-To: References: Message-Id: From: Andrew Vance Subject: Re: Positioning your hazer Date: Tue, 5 Apr 2005 23:17:57 -0500 On 05 Apr, 2005, at 22:45, C. Dopher wrote: > Huh. So um... What do you do when the LD for the dance concert wants > specific 7 minute pieces hazed and not the ones before and after it? ;) I'm actually doing with the dance show I'm lighting right now, except its the last piece in the show that needs haze. Its in our black box, whose ceiling is about 3'-0" above the grid [this becomes important later]. Near the end of the previous piece, we fire up the hazer [a Neutron up on the US catwalk]. Between pieces there's some talking heads, which gives us more time to let the haze accumulate. The hazer is actually filling the gap between the ceiling and the grid up with haze, which stays above the lights so the audience never sees it before we want them to. In the blackout between the talking heads and the actual dance piece, we fire up a series of fans located above the grid pointed down and angled towards center. The result is the haze gets pretty quickly evenly distributed throughout the dancing space without being too sourcy. We'll cycle the hazer on and off as each performance dictates, and usually keep the fans running to cycle the air around and help clear the air at the end of the night. -- Sincerely, Andrew Vance Lighting Designer www.andrewvance.com ------------------------------ Date: Wed, 6 Apr 2005 07:25:09 +0100 (BST) From: Charlie Richmond Subject: Re: Synchronisation In-Reply-To: Message-ID: References: On Tue, 5 Apr 2005 FrankWood95 [at] aol.com wrote: > This may not be the best forum to which to post. Advice on a better one would > be appreciated. + To get info or join the Show Control Mailing List go to: + + ---- http://www.RichmondSoundDesign.com/sclist.html ---- + ------------------------------ End of Stagecraft Digest #354 *****************************