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 21815060; Wed, 13 Apr 2005 03:00:25 -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 #361 Date: Wed, 13 Apr 2005 03:00:02 -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 #361 1. Re: Delrin by Delbert Hall 2. Gmail issue- OT by Delbert Hall 3. Re: Gmail issue- OT by "Nigel Worsley" 4. Re: Gmail issue- OT by Delbert Hall 5. Re: Scuff Marks on stage floor by Al Fitch 6. Re: Scuff Marks New Direction - MOVIN' OUT by IAEG [at] aol.com 7. Re: Seeking overhire lighting/sound techs (NYC) by Michael Hairston 8. Re: Seeking overhire lighting/sound techs (NYC) by Michael Hairston 9. Re: Seeking overhire lighting/sound techs (NYC) by John McKernon 10. New here by "Abby Downing" 11. Re: New here by "Paul Schreiner" 12. Re: New here by "Pamela Abra" 13. Re: New here by "Abby Downing" 14. Re: New here by Mark O'Brien 15. Re: New here by Dale Farmer 16. Re: New here by Jared Fortney 17. FW: related question by CB 18. Re: Sound question and film by CB 19. Re: scuff marks on stage floor by "Dr. Randall W.A. Davidson" 20. Re: theatre company reference by "Dr. Randall W.A. Davidson" 21. Re: theatre company reference by "Dr. Randall W.A. Davidson" 22. Re: scuff marks on stage floor by "Dr. Randall W.A. Davidson" 23. Re: New here by "Abby Downing" 24. Re: Sound question and film by FrankWood95 [at] aol.com 25. Re: Delrin by FrankWood95 [at] aol.com 26. Re: Sound question and film by FrankWood95 [at] aol.com 27. Re: Gmail issue- OT by Mat Goebel 28. Re: theatre company reference by "Sam Fisher" 29. Re: Delrin by Jerry Durand 30. Re: New here by "Frank E. Merrill" 31. Re: New here by "Abby Downing" 32. Re: Delrin by Dale Farmer 33. Re: New here by Stephen Litterst 34. Re: theatre company reference by Greg Bierly 35. CPU lighting control by "John Hauer" 36. Re: CPU lighting control by Charlie Richmond 37. Re: CPU lighting control by Greg Bierly 38. Re: CPU lighting control by "Randy Whitcomb" 39. Re: Scuff Marks New Direction - MOVIN' OUT by Barney Simon 40. Re: CPU lighting control by Greg Persinger 41. Re: Sound question and film by Greg Williams 42. Re: Sound question and film by Brian Munroe 43. Re: theatre company reference by "Weston Wilkerson" 44. Re: theatre company reference by Delbert Hall 45. Re: Scuff Marks New Direction - MOVIN' OUT by IAEG [at] aol.com 46. Re: CPU lighting control by Ford H Sellers 47. Re: CPU lighting control by Ford H Sellers 48. thanks for feedback by stage craft 49. Re: CPU lighting control by FrankWood95 [at] aol.com 50. Re: Sound question and film by FrankWood95 [at] aol.com 51. Re: CPU lighting control by Jerry Durand 52. OT: The Ultimate Heinlein collection by Eddie Kramer 53. Who said that? by Jeff Forbes 54. Who said that? part 2 by Jeff Forbes 55. Re: theatre company reference by Bill Sapsis 56. Re: Cleaning cyc (was positioning hazer) by "C. Dopher" 57. Re: baaack & related question by "C. Dopher" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: Date: Tue, 12 Apr 2005 06:37:22 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: Delrin In-Reply-To: References:

Since this is an automated rigging system, (Vortek - maybe?) I was wondering if you could have the steel workers weld some large pieces of angle iron to the under side of the 45 degree angled steel beams so that there is a horizonal surface for mounting the automated system on? This new position would be lower than the other systems, but depending on the overall height of the structure, this may not make a real difference (especially for the first electric). It would also eleminate any contact of the lift lines and the steel since the system would be under the "new" steel. Just a thought. -Delbert -- Delbert Hall Phone: 423-772-4255 ------------------------------ Message-ID: Date: Tue, 12 Apr 2005 07:39:57 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Gmail issue- OT I recently stated using Gmail for my Stagecraft list and I have noticed that when I send a replay back to the list I see two replys - one with my message and one that is blank. Is everyone getting two posts from me? (see my post(s) this morningon the "Delrin" thread. If so, anyone know why this is happening? Thanks. -Delbert -- Delbert Hall Phone: 423-772-4255 ------------------------------ Message-ID: <03b601c53f54$dde21070$a174fea9 [at] Nigellaptop> From: "Nigel Worsley" Cc: delbert.hall [at] gmail.com (Delbert Hall) References: Subject: Re: Gmail issue- OT Date: Tue, 12 Apr 2005 12:43:36 +0100 Delbert Hall wrote: > I recently stated using Gmail for my Stagecraft list and I have > noticed that when I send a replay back to the list I see two replys - > one with my message and one that is blank. Is everyone getting two > posts from me? (see my post(s) this morningon the "Delrin" thread. No, I am only getting the one message. > If so, anyone know why this is happening? No, but checking the headers for the blank message may provide a clue. Nigel Worsley ------------------------------ Message-ID: Date: Tue, 12 Apr 2005 07:54:06 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: Gmail issue- OT In-Reply-To: References:

Thanks Nigel - I have this thing set to cc messages to myself - that is why I am seeing two messages. Mystery solved. -Delbert > > No, but checking the headers for the blank message may provide a clue. > > Nigel Worsley > -- Delbert Hall Phone: 423-772-4255 ------------------------------ Message-ID: <20050412123047.84087.qmail [at] web51406.mail.yahoo.com> Date: Tue, 12 Apr 2005 05:30:47 -0700 (PDT) From: Al Fitch Subject: Re: Scuff Marks on stage floor In-Reply-To: What is a Poser? Al Fitch Here's a poser for y'all! Strips of luan (laid to simulate a wood floor), stained and sealed with a flat acrylic sealer (brand unknown). Some shoes are leaving serious black scuff marks on the floor. Scuff marks are very hard to get up. Any ideas on how to prevent this from happening? The finish has to be flat. Would a polyurethane work? Opening night is Thursday. Thanks, David K. No poser at all I just had a show with that situation in January. Be Kind, Smile and Have Fun. __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ------------------------------ Date: Tue, 12 Apr 2005 08:43:00 -0400 From: IAEG [at] aol.com Subject: Re: Scuff Marks New Direction - MOVIN' OUT Message-ID: <6D6A4C50.3E59C7FA.00002B9E [at] aol.com> Speaking of Scuff Marks.......... I saw MOVIN' OUT last Friday eve in NYC. As my seats were high center in the balcony I had a good view of the stage surface. At the top of the show the floor was a sparkling clean, moderately gloss black surface, but by the end of the show it was a sea of scuff marks. More importantly the vast majority of the scuff marks looked like shoe paint marks, ( those of you who produce ballet regularly are accustomed to "pink" scuff marks on your dance floor ) Twyla's choreography has dancers sliding and scraping shoes in every direction and shoe paint / dye inevitably is going to get all over the floor under these circumstances. Of course they also drive a Mustang convertible ( wonderfully modified I might add ) which doesn't help either. Friends, I am not talking about a few scuff and paint marks here and there I am talking about a virtual Jackson Pollock like amalgamation of swooooshes and scrapes that truly transform the look of the floor by the end of the second act. Of course those sitting in orchestra seats probably can't see this at all. Is there any one on the list on the MOVIN' OUT staff or crew that would like to discuss a what the surface actually is ? ( Harlequin ? StageStep ? Exotic ? Home brew ? ) b what is the daily procedure to clean it ? I think that there are a lot of us on the list that would like to hear. thanks in advance Keith Arsenault IAEG Tampa, Florida ------------------------------ Message-ID: From: Michael Hairston Subject: RE: Seeking overhire lighting/sound techs (NYC) Date: Tue, 12 Apr 2005 10:55:43 -0400 So Eddie you think that subscribers to the list are less qualified than someone who is a member of local one? There are plenty good of non local one techs that work in the industry. Stop being such a snob! Michael Hairston Technical Director Brooklyn College Theater Department 154 Gershwin Hall / 2900 Bedford Ave Brooklyn, New York 11210 Hairston [at] Brooklyn.cuny.edu (718) 951-4486 Office -----Original Message----- From: Eddie Kramer [mailto:ESKramer [at] IEEE.org] Sent: Saturday, April 09, 2005 5:00 PM To: Stagecraft Subject: Re: Seeking overhire lighting/sound techs (NYC) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On 4/9/05 Mike Voytko sent: >I'm looking to add to my overhire list for next season Try calling Local One at 212-333-2500, who knows you may wind-up getting someone from the Stagecraft list. Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Message-ID: From: Michael Hairston Subject: RE: Seeking overhire lighting/sound techs (NYC) Date: Tue, 12 Apr 2005 10:58:09 -0400 So Eddie you think that subscribers to the list are less qualified than someone who is a member of local one? There are plenty of good non local one techs that work in the industry. Stop being such a snob! Michael Hairston Technical Director Brooklyn College Theater Department 154 Gershwin Hall / 2900 Bedford Ave Brooklyn, New York 11210 Hairston [at] Brooklyn.cuny.edu (718) 951-4486 Office -----Original Message----- From: Michael Hairston [mailto:Hairston [at] brooklyn.cuny.edu] Sent: Tuesday, April 12, 2005 10:56 AM To: Stagecraft Subject: Re: Seeking overhire lighting/sound techs (NYC) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- So Eddie you think that subscribers to the list are less qualified than someone who is a member of local one? There are plenty good of non local one techs that work in the industry. Stop being such a snob! Michael Hairston Technical Director Brooklyn College Theater Department 154 Gershwin Hall / 2900 Bedford Ave Brooklyn, New York 11210 Hairston [at] Brooklyn.cuny.edu (718) 951-4486 Office -----Original Message----- From: Eddie Kramer [mailto:ESKramer [at] IEEE.org] Sent: Saturday, April 09, 2005 5:00 PM To: Stagecraft Subject: Re: Seeking overhire lighting/sound techs (NYC) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On 4/9/05 Mike Voytko sent: >I'm looking to add to my overhire list for next season Try calling Local One at 212-333-2500, who knows you may wind-up getting someone from the Stagecraft list. Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Date: Tue, 12 Apr 2005 11:11:18 -0400 Subject: Re: Seeking overhire lighting/sound techs (NYC) From: John McKernon Message-ID: In-Reply-To: > So Eddie you think that subscribers to the list are less qualified than > someone who is a member of local one? There are plenty good of non local one > techs that work in the industry. Stop being such a snob! Hello? Eddie didn't say *anything* about qualifications, and Eddie's far from being any kind of a snob. Here's what Eddie said: > Try calling Local One at 212-333-2500, who knows you may wind-up getting > someone from the Stagecraft list. He simply suggested that Mike call Local One, knowing that there are union folks who could use the work. He clearly didn't say or even remotely imply "Don't call the Off Broadway Stagehands Guild, they do crappy work". There are people on the stagecraft list who are in Local One, so Mike might indeed get someone we all know (maybe even Eddie!). Relax... - John ------------------------------ Subject: New here Date: Tue, 12 Apr 2005 11:19:58 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA0F2FE4 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Hello all, I am new here. I work for a corporate/industrial- and some television and video (not so much theatrical) full service lighting production and rental company. Am I welcome here? ------------------------------ Subject: RE: New here Date: Tue, 12 Apr 2005 11:27:30 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7C1 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I am new here. I work for a corporate/industrial- and some=20 > television and video (not so much theatrical) full service=20 > lighting production and rental company. Am I welcome here? Absolutely. There's a lot of people from different facets of the theatrical world here, and nearly all of us have done an industrial or two at some point--some of us (myself not included) even do that for their bread and butter. Welcome. Don't hesitate to jump in with questions or observations or anything. One of the great things about this list is the fact that it's only formal discussion some of the time...the rest of the time, it's (to quote a phrase uttered before) like a great big virtual bar for stagehands and theatre types. The atmosphere usually is much the same... ------------------------------ Message-ID: <002101c53f74$3c2dd500$8f1dd8cf [at] pamscomputer> From: "Pamela Abra" References: Subject: Re: New here Date: Tue, 12 Apr 2005 08:28:10 -0700 Greetings!! you are most welcome to join us. Pamela ------------------------------ Subject: RE: New here Date: Tue, 12 Apr 2005 11:29:47 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA0F2FE6 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Thank you all. I am Abby. Nice to meet you, and hope I can contribute to the list! -----Original Message----- From: Pamela Abra [mailto:pabrah [at] telus.net]=20 Sent: Tuesday, April 12, 2005 10:28 AM To: Stagecraft Subject: Re: New here For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Greetings!! you are most welcome to join us. Pamela ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: New here Date: Tue, 12 Apr 2005 08:53:22 -0700 Welcome The only requirement for membership here is a desire to discuss anything even remotely related to stagecraft. Often I have found more "stagecraft" in the ballroom of the Ritz Carlton, than backstage at a "real" theatre. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Apr 12, 2005, at 8:19 AM, Abby Downing wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Hello all, > > I am new here. I work for a corporate/industrial- and some television > and video (not so much theatrical) full service lighting production and > rental company. Am I welcome here? > > ------------------------------ Message-ID: <425BF33D.49205E25 [at] cybercom.net> Date: Tue, 12 Apr 2005 12:11:41 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: New here References:

Mark O'Brien wrote: Welcome also. That's my bread and butter as well. It's often a lot more challenging to put on a show in a hotel ballroom. Where all you have to work with is (hopefully) a level floor and a heavy power feed vaguely nearby. and you have to leave all the doorways unblocked so that the F&B folks can serve the dinner to the patrons between the speeches. --Dale > > The only requirement for membership here is a desire to discuss > anything even remotely related to stagecraft. Often I have found more > "stagecraft" in the ballroom of the Ritz Carlton, than backstage at a > "real" theatre. > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > > On Apr 12, 2005, at 8:19 AM, Abby Downing wrote: > > > For info, archives & UNSUBSCRIBE, see > > > > --------------------------------------------------- > > > > > > > > Hello all, > > > > I am new here. I work for a corporate/industrial- and some television > > and video (not so much theatrical) full service lighting production and > > rental company. Am I welcome here? > > > > ------------------------------ Message-ID: <45c56d3405041209325e404d7c [at] mail.gmail.com> Date: Tue, 12 Apr 2005 12:32:05 -0400 From: Jared Fortney Reply-To: Jared Fortney Subject: Re: New here In-Reply-To: References:

Hi Abby, Welcome to the Stagecraft List! I'm sure you'll find lots of information here that will be useful in your line of work. Besides, you probably know more people here than you think... Jared Fortney UC-CCM, TD&P (and occasional On Location freelancer) ------------------------------ Message-Id: <3.0.6.32.20050412102335.01704990 [at] pop.west.cox.net> Date: Tue, 12 Apr 2005 10:23:35 From: CB Subject: FW: related question >I've always liked that one. Even further reduced: > >- cheap >- fast >- good > >Pick any two! Its "Pick one". Yes, we can (usually) get two, but you want the person making this decision to show you their focus. If they have NO budget, it'd be nice to know that up front. Pick one. Once that is done, you can start taking about what their second most important diciding factor is... 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: <3.0.6.32.20050412103140.01704990 [at] pop.west.cox.net> Date: Tue, 12 Apr 2005 10:31:40 From: CB Subject: Re: Sound question and film >> >Fine. But don't forget the clapper-board. >> >> Quoi?!? What ever for? > >Synchronisation, at edit time. Since the dailogue here is just between you and the editor, and (hopefuly) will NEVER be heard by the audience; and there is no picture being shot at, whateve might you want to sync it TO?!? 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: "Dr. Randall W.A. Davidson" Subject: RE: scuff marks on stage floor Date: Tue, 12 Apr 2005 10:23:50 -0700 In-Reply-To: Message-ID: Paint thinner??? And respirator, and properly engineered ventilation, and no one else around to inspire the fumes. Dr. D -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Merel Ray-Pfeifer Sent: Monday, April 11, 2005 7:34 AM To: Stagecraft Subject: Re: scuff marks on stage floor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Here's a poser for y'all! Strips of luan (laid to simulate a wood floor), stained and sealed with a flat acrylic sealer (brand unknown). Some shoes are leaving serious black scuff marks on the floor. Scuff marks are very hard to get up. Any ideas on how to prevent this from happening? The finish has to be flat. Would a polyurethane work? Opening night is Thursday. Thanks, David K. No poser at all I just had a show with that situation in January. Start with a nylon scrubby the kind you would use on a teflon pan. If that isn't enough a slightly damp rag with paint thinner. Dont rub to hard or to much. You may need to do a touch up with more poly afterwards. But a light coat of poly will give it a real fresh look for opening. Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: theatre company reference Date: Tue, 12 Apr 2005 10:23:50 -0700 In-Reply-To: Message-ID: Uneasy??? In the theaters in this country and abroad, in my experience and opinion, and I have only that to go by, annual inspections or risk assessments by a bona fide firm or person would seem to be minimal in today's world. Dr. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce Purdy Sent: Monday, April 11, 2005 7:42 AM To: Stagecraft Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >> I'm a little uneasy with the notion of annual rigging >> inspections > > It might not always be necessary, but I can't imagine a situation in > which it would hurt. > > If you can't even imagine it, you haven't ever dealt with the economics of operating a non profit theatre in small town USA! :-) ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: theatre company reference Date: Tue, 12 Apr 2005 10:41:41 -0700 In-Reply-To: Message-ID: Certainly sounds reasonable to me. Fatigue misses a lot of the real work and esp. in schools where a higher standard ought to be the mark to reach. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly Sent: Monday, April 11, 2005 5:41 AM To: Stagecraft Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > So post the name of the not so hot rigging company in PA already. > > Bill If they are who I think they are I don't know there name (if they even have one). They were doing two installs at once in adjacent counties. They were working during the day at a new high school theater and driving the hour to a newly renovated performing arts center with sometimes an hour or two of sleep between the two if they got lucky. Both were coming down to turnover dates and they flat out refused to look at punch-list items since they were "punchy" themselves. They got the job done and that was it. No attention to detail. I don't know if they were hired by the GC, a subcontrator, or rigging supplier. Nice enough guys when they had sleep. In there defense they were up against some impossible timelines BUT you should never have to run overlapping 18 hour shifts on two simultaneous installs. Admit your overbooked and call for help even if it means calling in your competitor. Greg Bierly Technical Director Hempfield HS ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: drkrajec [at] stritch.edu Subject: RE: scuff marks on stage floor Date: Tue, 12 Apr 2005 10:41:41 -0700 In-Reply-To: Message-ID: Of course, with the proper safety and health equipment from the acrylic sealer. Yes. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R. Krajec Sent: Monday, April 11, 2005 7:21 AM To: Stagecraft Subject: scuff marks on stage floor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Here's a poser for y'all! Strips of luan (laid to simulate a wood floor), stained and sealed with a flat acrylic sealer (brand unknown). Some shoes are leaving serious black scuff marks on the floor. Scuff marks are very hard to get up. Any ideas on how to prevent this from happening? The finish has to be flat. Would a polyurethane work? Opening night is Thursday. Thanks, David K. ------------------------------ Subject: RE: New here Date: Tue, 12 Apr 2005 13:45:45 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA0F2FE8 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Cc: jared.fortney [at] gmail.com (Jared Fortney) Hi Jared. Small world. Thanks for the welcome. Abby -----Original Message----- From: Jared Fortney [mailto:jared.fortney [at] gmail.com]=20 Sent: Tuesday, April 12, 2005 11:32 AM To: Stagecraft Subject: Re: New here For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi Abby, Welcome to the Stagecraft List! I'm sure you'll find lots of information here that will be useful in your line of work. Besides, you probably know more people here than you think... Jared Fortney UC-CCM, TD&P (and occasional On Location freelancer) ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <128.5aa17fa3.2f8d6469 [at] aol.com> Date: Tue, 12 Apr 2005 13:50:33 EDT Subject: Re: Sound question and film In a message dated 12/04/05 01:36:14 GMT Daylight Time, gwilliams [at] appstate.edu writes: > >> Quoi?!? What ever for? > > > > Synchronisation, at edit time. > > > > Frank Wood > > > > Yeah Chris, c'mon... when you crank up the kinetoscope and play the > sync tone on the phonograph, > you _must_ have a clapper-board. Don't forget the lime-light so that > you can read it, though! I know I am being mocked, but once the sound and vision components have been separated, they must be brought back together accurately, and kept toghether. The original post was non-specific as to whether it wass to be shot on film or on video. Film used to be quite simple, in the days of analogue sound. You tranferred the sound onto magnectically coated film, in exact sync using a reference signal recorded on the original tape. The editor than cut and spliced the two together, probably using two reels of audio film with spacer inserted to allow for tidy transitions at the shot change points when the final audio master was made. then the spliced cutting print was sent back to the labs where, in clean room contitions, the original negative was cut and spliced to match. From this was made the show print, with no splices. Low quality video is even easier, since the sound and picture components are never separated. The only snag is that it needs a clever editing suite to achieve some of the effects. Once you have gone digital, at least for the sound, there are other problems. Old-fashioned film work used to lock the sound players to the projector. There were as many ways of doing this as there were manufacturers of the equipment. Selsyns, various electro-mechanical devices, and assorted electronic systems. Not to mention straightforward mechanical links, with toothed belts and magnetic clutches. I have fought with all of these, and sometimes lost. Nowadays, I suspect that the best way is to stuff the whole works into a big, fast computer, running the right software, and with a very highly trained operator, and oodles of memory. But it's not a cheap solution. The hardware, software, and operator don't come cheap. There are probably intermediate solutions available, between my old-fashioned answers and the latest technology. The one thing that stands out, though, is that the editor is the key. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <27.700eff0a.2f8d6638 [at] aol.com> Date: Tue, 12 Apr 2005 13:58:16 EDT Subject: Re: Delrin In a message dated 12/04/05 02:02:59 GMT Daylight Time, OneOccy [at] hotmail.com writes: > Dale, that's a good idea, but what if the entire counter weight system is > built with Nylatron sheaves and headblocks? Its totally electrically > isolated from the building unless electrics are hung with grounds. I am sure Well, if the electrics are not hung with grounds, I should not wish to work there. There are cases on record (I have no references) where the electrics have had to rely on the suspension cables for their ground. This has resulted in red-hot suspensions, with a consequent loss of strength, and in failure. > > it won't be long until the NEC solves this problem with out some type of > bonding to the electrical ground of the building. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12a.5b21dd6b.2f8d6744 [at] aol.com> Date: Tue, 12 Apr 2005 14:02:44 EDT Subject: Re: Sound question and film In a message dated 12/04/05 18:18:53 GMT Daylight Time, psyd [at] cox.net writes: > Since the dailogue here is just between you and the editor, and (hopefuly) > will NEVER be heard by the audience; and there is no picture being shot at, > whateve might you want to sync it TO?!? Well, having the pictures and the sound in sync is useful. Frank Wood ------------------------------ Message-ID: Date: Tue, 12 Apr 2005 11:27:52 -0700 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Gmail issue- OT In-Reply-To: References:

You see two messages becuause there ARE two copes of the messages. One in your outbox and one posted to the list. Gmail is smart enough to know they are all part of the same thread and puts them together. On Apr 12, 2005 4:54 AM, Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Thanks Nigel - I have this thing set to cc messages to myself - that > is why I am seeing two messages. Mystery solved. > > -Delbert > > > > > > No, but checking the headers for the blank message may provide a clue. > > > > Nigel Worsley > > > > -- > Delbert Hall > Phone: 423-772-4255 > -- Mat Goebel Cell: 510.693.1448 ------------------------------ From: "Sam Fisher" Subject: RE: theatre company reference Date: Tue, 12 Apr 2005 14:28:31 -0400 In-Reply-To: Message-ID: Fatigue is no excuse for doing things like not installing crash bars and using zip ties and clothes line for fire curtains. Sam Fisher -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Dr. Randall W.A. Davidson Sent: Tuesday, April 12, 2005 1:42 PM To: Stagecraft Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Certainly sounds reasonable to me. Fatigue misses a lot of the real work and esp. in schools where a higher standard ought to be the mark to reach. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly Sent: Monday, April 11, 2005 5:41 AM To: Stagecraft Subject: Re: theatre company reference For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > So post the name of the not so hot rigging company in PA already. > > Bill If they are who I think they are I don't know there name (if they even have one). They were doing two installs at once in adjacent counties. They were working during the day at a new high school theater and driving the hour to a newly renovated performing arts center with sometimes an hour or two of sleep between the two if they got lucky. Both were coming down to turnover dates and they flat out refused to look at punch-list items since they were "punchy" themselves. They got the job done and that was it. No attention to detail. I don't know if they were hired by the GC, a subcontrator, or rigging supplier. Nice enough guys when they had sleep. In there defense they were up against some impossible timelines BUT you should never have to run overlapping 18 hour shifts on two simultaneous installs. Admit your overbooked and call for help even if it means calling in your competitor. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.1.2.0.20050412112930.029d1b80 [at] localhost> Date: Tue, 12 Apr 2005 11:32:11 -0700 From: Jerry Durand Subject: Re: Delrin In-Reply-To: References:

At 06:02 PM 4/11/2005, you wrote: >Dale, that's a good idea, but what if the entire counter weight system is >built with Nylatron sheaves and headblocks? Its totally electrically >isolated from the building unless electrics are hung with grounds. I am sure >it won't be long until the NEC solves this problem with out some type of >bonding to the electrical ground of the building. A version that would even work for non-metallic rope/lines would be to mount a lever switch in a cavity from the back. Pressure actuates the switch. If you have air handy, just drill a hole across the block. Plug one end, feed air through a flow restricting valve (pin-hole). Wear down to the hole drops the pressure. You could run a whole bank of these off one pressure switch. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Tue, 12 Apr 2005 14:02:20 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <392542961.20050412140220 [at] tcon.net> Subject: Re: New here In-Reply-To: References: Hello ! Tuesday, April 12, 2005, Abby Downing wrote: > I am new here....Am I welcome here? Sure, Abby! (By the way, the newbie brings chips and drinks to the next rehearsal!) Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Subject: RE: New here Date: Tue, 12 Apr 2005 15:04:47 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA0F2FEE [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Cc: Lamplighter [at] tcon.net (Frank E. Merrill) How about gaff tape, zip ties, and tie line, instead? -----Original Message----- From: Frank E. Merrill [mailto:Lamplighter [at] tcon.net]=20 Sent: Tuesday, April 12, 2005 2:02 PM To: Stagecraft Subject: Re: New here For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello ! Tuesday, April 12, 2005, Abby Downing wrote: > I am new here....Am I welcome here? Sure, Abby! (By the way, the newbie brings chips and drinks to the next rehearsal!) Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net =20 ------------------------------ Message-ID: <425C1E1D.CA7A2220 [at] cybercom.net> Date: Tue, 12 Apr 2005 15:14:37 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Delrin References:

Occy wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dale, that's a good idea, but what if the entire counter weight system is > built with Nylatron sheaves and headblocks? Its totally electrically > isolated from the building unless electrics are hung with grounds. I am sure > it won't be long until the NEC solves this problem with out some type of > bonding to the electrical ground of the building. I'm an electrician, I prefer that all metal things in a system be connected to the building electrical ground system. This also allows one to thread on things like zinc nuts as sacrificial anodes for corrosion control. --Dale ------------------------------ Date: Tue, 12 Apr 2005 15:36:05 -0400 From: Stephen Litterst Subject: Re: New here Message-id: <425C2325.54E1BACF [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Abby Downing wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > How about gaff tape, zip ties, and tie line, instead? I'm not sure I'd want to snack on those things. How about scotch and bar snacks for after rehearsal? Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: theatre company reference Date: Tue, 12 Apr 2005 15:45:16 -0400 > Fatigue is no excuse for doing things like not installing crash bars > and > using zip ties and clothes line for fire curtains. Wow I haven't seen that one. Ouch! Greg Bierly Technical Director Hempfield HS ------------------------------ Message-id: Date: Tue, 12 Apr 2005 13:42:14 -0700 Subject: CPU lighting control From: "John Hauer" References: In-Reply-To: Hello, I have for years used Horizon to control DMX from my PC. It has worked well. None the less I am soliciting information about DMX control. I have already ruled out a stand alone board (like an expression) due to cost and user issues. I will soon be upgrading to a new PC. I'm wondering what else is out there besides Horizon. I'd like to know what is being used by others for DMX control from a PC. I need all 512 channels - no short cuts. I use 196 dimmers, 10 automated fixtures + some DMX direct boxes. I usually split into 2 universes. I found: http://www.proformance.net/showxpress.htm http://www.rosco.com/us/lightingcontrol/horizon.asp http://www.lanbox.com/ (this one looks rough) http://www.topdjgear.com/madmlicoso.html (Martin lighting controller) Wow, this stuff just goes on and on........That's why I'm asking you. Thanks for any input you can offer. John ------------------------------ Date: Tue, 12 Apr 2005 21:44:49 +0100 (BST) From: Charlie Richmond Subject: Re: CPU lighting control In-Reply-To: Message-ID: References:

On Tue, 12 Apr 2005, John Hauer wrote: > None the less I am soliciting information about DMX control. I have > already ruled out a stand alone board (like an expression) due to cost and > user issues. > > I will soon be upgrading to a new PC. I'm wondering what else is out there > besides Horizon. I'd like to know what is being used by others for DMX > control from a PC. There are many more solutions for DMX control via PC than the ones you found -- many are more oriented toward architectural, themed and show control applications rather than theatrical. If you are interested in the wider scope of this sort of approach, I recommend asking this question on the show-control mailing list. See my sig for url.... Good luck! Charlie + ----- Charlie Richmond - Richmond Sound Design Ltd ----- + + ---------- http://www.RichmondSoundDesign.com ---------- + + ------------ "Performance for the Long Run" ------------ + + To get info or join the Show Control Mailing List go to: + + ---- http://www.RichmondSoundDesign.com/sclist.html ---- + ------------------------------ In-Reply-To: References:

Message-Id: <29401fdc6d8a6768845ed4c31e2c5e39 [at] dejazzd.com> From: Greg Bierly Subject: Re: CPU lighting control Date: Tue, 12 Apr 2005 16:47:43 -0400 > I found: > http://www.proformance.net/showxpress.htm > > http://www.rosco.com/us/lightingcontrol/horizon.asp > > http://www.lanbox.com/ (this one looks rough) > > http://www.topdjgear.com/madmlicoso.html (Martin lighting controller) > > Wow, this stuff just goes on and on........That's why I'm asking you. I haven't used either of these (heard good things) but more to add to your list interstellar.com hogpc ------------------------------ Message-ID: <000801c53fa1$e4ba5b30$6501a8c0 [at] D4D3R151> From: "Randy Whitcomb" References:

Subject: Re: CPU lighting control Date: Tue, 12 Apr 2005 14:55:00 -0600 ----- Original Message ----- From: "John Hauer" > > I will soon be upgrading to a new PC. I'm wondering what else is out there > besides Horizon. I'd like to know what is being used by others for DMX > control from a PC. We've been using HogPC for 4 years now and I really like it. http://www.flyingpig.com/products/hog2/hogPc/ . I would strongly recommend adding the programming wing. It really helps to speed programming. Randy Whitcomb,TD Price Civic Aud. Loveland, CO. ------------------------------ Message-ID: <425C365C.4090300 [at] josephchansen.com> Date: Tue, 12 Apr 2005 16:58:04 -0400 From: Barney Simon Subject: Re: Scuff Marks New Direction - MOVIN' OUT References: In-Reply-To: IAEG [at] aol.com wrote: >I saw MOVIN' OUT last Friday eve in NYC. > First, you were three blocks away and you did not stop in for drinks! Humph. Second, tomorrow is matinee day, I'll walk over and talk to the prop guy and find out what I can. Barney Simon JC Hansen Co. Drapes, Drops, and Dance Floor ------------------------------ Date: Tue, 12 Apr 2005 15:58:00 -0500 Subject: Re: CPU lighting control From: Greg Persinger Message-ID: In-Reply-To: John wrote: > I will soon be upgrading to a new PC. I'm wondering what else is out there > besides Horizon. I'd like to know what is being used by others for DMX > control from a PC. John, Why do you want to control your system with a PC? Also what features are you looking for? Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Date: Tue, 12 Apr 2005 15:51:51 -0400 From: Greg Williams Subject: Re: Sound question and film In-reply-to: Message-id: <64d56f3edeac8b37f8b24b8c94997a60 [at] appstate.edu> References: On Apr 12, 2005, at 1:50 PM, FrankWood95 [at] aol.com wrote: > I know I am being mocked, Yes sir, you are, but very gently, I assure you. It's like watching from the sidelines as the Mars Rover team discusses landings, and there's this guy who keeps trying really hard to be helpful, but all of his (obviously extensive) experience is in the P-51 Mustang. (And please, please don't tell me that I should read the manual of the P-51 to get an idea of what it's capable of...) -=Greg Williams=- Production Manager Valborg Theatre, Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: Date: Tue, 12 Apr 2005 17:28:41 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Sound question and film In-Reply-To: References: On Apr 12, 2005 2:02 PM, FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 12/04/05 18:18:53 GMT Daylight Time, psyd [at] cox.net writes: > > > Since the dailogue here is just between you and the editor, and (hopefuly) > > will NEVER be heard by the audience; and there is no picture being shot at, > > whateve might you want to sync it TO?!? > > Well, having the pictures and the sound in sync is useful. Chris is not talking about the sound recorded with the film/video, Frank. He is talking about an audio-only leader identifiying what the audio that follows is. "Hey, Editor guy, it's me, recording dude. The following audio is for XYZ Project, scene ABC, recorded on April Fools day, with the following specifications...." There is nothing for THIS audio to synch with. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: Re: theatre company reference Date: Tue, 12 Apr 2005 17:33:04 -0400 After attending some sessions in Toronto that addressed the new rigging certification, I have a question. Would an ETCP certified rigger be a) qualified to inspect a system? b) qualified to inspect their own system? >Uneasy??? In the theaters in this country and abroad, in my experience and >opinion, and I have only that to go by, annual inspections or risk >assessments by a bona fide firm or person would seem to be minimal in >today's world. Dr. Doom <><><><><><><><><><><><><><><><><><><><> Weston Wilkerson University of Tennessee Theater Lighting Design e: Weston_Wilkerson [at] hotmail.com <><><><><><><><><><><><><><><><><><><><> ------------------------------ Message-ID: Date: Tue, 12 Apr 2005 17:44:00 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: theatre company reference In-Reply-To: References:

> After attending some sessions in Toronto that addressed the new rigging > certification, I have a > question. Would an ETCP certified rigger be > a) qualified to inspect a system? > b) qualified to inspect their own system? Remember, there are two different certerifcations: one in theatre rigging, and one in arena rigging. Assuming you mean a mechnaical counterweight system in your questions, I would answer "yes" to both questions if the technician passed the "theatre" exam. If he/she only passed the "arena" exam, well.... maybe, maybe not. One does not have to be certified to be qualified to inspect a counterweight system (no one is certified today). -Delbert -- Delbert Hall Phone: 423-772-4255 ------------------------------ Date: Tue, 12 Apr 2005 17:53:26 -0400 From: IAEG [at] aol.com Subject: Re: Scuff Marks New Direction - MOVIN' OUT Message-ID: <7C65A93D.255946E3.00002B9E [at] aol.com> Barney, yes, , sorry, , lots of folks I didn't see during this visit, , although I must say somehow Herrick and I always seem to find time for cocktails in midtown! My apologies Barney, , , next time, , , I promise ! very best, Keith Arsenault International Arts & Entertainment Group ------------------------------ Message-Id: <5.2.1.1.2.20050412174312.00bf42c0 [at] postoffice8.mail.cornell.edu> Date: Tue, 12 Apr 2005 18:13:10 -0400 From: Ford H Sellers Subject: Re: CPU lighting control In-Reply-To: References:

Martin also makes the Proscenium, and Light Jockey. Proscenium is a 2 scene preset emulator, though, and it sounds like you're needing something better, and more flexible. I really like Light Jockey. It's interface was a little rough for me at first, but once I got used to it I came to love it. The on board visualizer is a nice touch, and can let you do some pre-programming with a decent idea of what you're going to actually see. Also the price listed on that website is a little high, I've found it on-line for around $1200 for the USB Dongle (1 universe). The Software is actually available for free, you're paying for the hardware. You can download it at http://www.martin.com/service/Software/Logs/LightJockey_sw.htm The Lanbox is an ok product, though it seems to have issues updating many channels at once (this may have been due to my running it on an OLD Mac, and the price certainly is right). Hog PC is also great, especially if you're a fan of the Hog. I hope this helps. -Ford At 04:42 PM 4/12/2005, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Hello, >I have for years used Horizon to control DMX from my PC. It has worked >well. > >None the less I am soliciting information about DMX control. I have >already ruled out a stand alone board (like an expression) due to cost and >user issues. > >I will soon be upgrading to a new PC. I'm wondering what else is out there >besides Horizon. I'd like to know what is being used by others for DMX >control from a PC. > >I need all 512 channels - no short cuts. > >I use 196 dimmers, 10 automated fixtures + some DMX direct boxes. > >I usually split into 2 universes. > >I found: >http://www.proformance.net/showxpress.htm > >http://www.rosco.com/us/lightingcontrol/horizon.asp > >http://www.lanbox.com/ (this one looks rough) > >http://www.topdjgear.com/madmlicoso.html (Martin lighting controller) > >Wow, this stuff just goes on and on........That's why I'm asking you. > >Thanks for any input you can offer. > >John ************************ 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 ------------------------------ Message-Id: <5.2.1.1.2.20050412181917.025d1e00 [at] postoffice8.mail.cornell.edu> Date: Tue, 12 Apr 2005 18:21:32 -0400 From: Ford H Sellers Subject: Re: CPU lighting control In-Reply-To: References:

OOH!!! One more thing. The USB Dongle version of Light Jockey (and I think Hog PC) mean that you can run the software on a laptop. Way Groovy, and way time saving. -ford ************************ 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 ------------------------------ Message-ID: <20050412222702.96647.qmail [at] web61301.mail.yahoo.com> Date: Tue, 12 Apr 2005 15:27:02 -0700 (PDT) From: stage craft Subject: thanks for feedback Hi all- Thanks for the feedback on the rigging co - lots of good words about the indivdual coming in. I've asked the department head if we should have our rigging system inspected while the company is on campus (though in another facility) and haven't heard back. I doubt they'd opt in for the inspection... Also thanks for all the info about the dept/faculty issues. Some of the ancedotes put a smile on my face! But, you all basically reinforced that what I am facing is prevalent... Today's shocker - the local "independent" summer shakespeare festival is planning on using scenery from a production (Winter's Tale) that we open next week. Mind you, no one from the festival has consulted with me or the designer (a student) and none of the scenery is department stock. I think this will be a fun battle! :-P -alex- -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d4.39cf3b31.2f8da68b [at] aol.com> Date: Tue, 12 Apr 2005 18:32:43 EDT Subject: Re: CPU lighting control In a message dated 12/04/05 21:58:55 GMT Daylight Time, gregpersin [at] comcast.net writes: > > I will soon be upgrading to a new PC. I'm wondering what else is out there > > besides Horizon. I'd like to know what is being used by others for DMX > > control from a PC. > > John, > > Why do you want to control your system with a PC? Also what features are > you looking for? Two very pertinent questions. For the first, I have an old fashined preference for one fader per channel. One physical fader. Once you get over 128 channels, this is physically unweildy, and you have to address the channels with a keypad. But faffing around with a mouse and a display is time-consuming, For the second, I suppose that this allows you to programme the control at home, transferring it to the PC you're using on stage later. Personally, I should not countenance any lighting I hadn't seen on stage. I paint the pictures, record them, on disc or on paper, and I reproduce them. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 12 Apr 2005 18:59:17 EDT Subject: Re: Sound question and film In a message dated 12/04/05 22:29:23 GMT Daylight Time, bpmunroe [at] gmail.com writes: > > Well, having the pictures and the sound in sync is useful. > > Chris is not talking about the sound recorded with the film/video, > Frank. He is talking about an audio-only leader identifiying what the > audio that follows is. > > "Hey, Editor guy, it's me, recording dude. The following audio is > for XYZ Project, scene ABC, recorded on April Fools day, with the > following specifications...." > > There is nothing for THIS audio to synch with. I had a different impression. That of a good sound recordist trying to handle a situation with which he is unfamiliar. I say again, once the sound and pictures have been separated, considerable skill is needed to bring then back together, Big, fast computers may allow you to do this,, in real time. And exact synchronisation ia a part of the game. hat used to be called lip-sysc. That the movement of the mouth corresponds exactly with the sound that one hears In part, all of us lip-read, to some extent. When the lip movements and the sound that one hears are not in accord, I find this disturbing. My cable company does this, from time to time. I asume that it is because that they are getting the pictures via a sattellite, and the sound direct: maybe vice versa. But I wish they wouldn't. Frank Wood ------------------------------ Message-Id: <6.2.1.2.0.20050412192758.029ca8a0 [at] localhost> Date: Tue, 12 Apr 2005 19:28:59 -0700 From: Jerry Durand Subject: Re: CPU lighting control In-Reply-To: References:

At 01:42 PM 4/12/2005, you wrote: >I have for years used Horizon to control DMX from my PC. It has worked >well. > >None the less I am soliciting information about DMX control. I have >already ruled out a stand alone board (like an expression) due to cost and >user issues. I'll put in a mention of the EdgeView software running our box. www.edgeview.com ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: Date: Tue, 12 Apr 2005 23:48:19 -0400 From: Eddie Kramer Subject: OT: The Ultimate Heinlein collection From another list I'm on.... * * * * * * * * * * * * * * * * * * Definitive Heinlein Set Due Meisha Merlin Publishing has been chosen by the Robert A. and Virginia Heinlein Prize Trust and the Butler Library Foundation to publish The Virginia Edition: The Definitive Collection of Robert A. Heinlein, according to a report on the Science Fiction and Fantasy Writers of America Web site. The project will consist of 46 titles spanning the entire writing career of the legendary SF author. The Virginia Edition will contain all of Heinlein's novels and short stories; all of his nonfiction titles; several volumes of his letters and personal correspondence; and the vast majority of his interviews, social commentaries, speeches and articles, the site reported. The publisher will be assisted by several Heinlein experts, including Eleanor Wood (Robert Heinlein's agent), Art Dula (the literary executor of the Heinlein estate) and Bill Patterson (Heinlein scholar, organizer of The Archives). At the request of the Robert A. and Virginia Heinlein Prize Trust, The Virginia Edition will be sold only as a set in a limited edition of 5,000 sets. The first volume, I Will Fear No Evil, will be published in fall of 2005, followed by a new title every five weeks. The price has not been established, the site reported. * * * * * * * * * * * * * * * * * * -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Message-Id: <675b17e3ac8bc1c1ddbfaa223cfa009b [at] earthlink.net> From: Jeff Forbes Subject: Who said that? Date: Tue, 12 Apr 2005 23:03:55 -0700 From an article in the NY Times on Trisha Brown's latest piece. I dunno, would that be something to do with sound? The work's title, "how long does the subject linger on the edge of the volume ..." is a technical crew member's phrase, which Ms. Brown said she overheard at an early rehearsal. "I thought, holy moly, what kind of poetry is this?" she said, indirectly affirming that artists and engineers do not always speak the same language Jeff A Forbes PMB 124 6820 SE Foster Rd Portland OR 97206 (503)-888-5619 www.performanceworksnw.org ------------------------------ Message-Id: <110426afe4801452c4fd9fda9aab70c5 [at] earthlink.net> From: Jeff Forbes Subject: Who said that? part 2 Date: Tue, 12 Apr 2005 23:17:40 -0700 Actually, it could have been the computer guys. The whole article is interesting. Trisha's working with a motion sensor system, Sensors on the dancers costumes are routed to a motion capture system that transmits data to another computer that draws graphic images projected on a "transparent screen" downstage, with the dancers lit upstage of it. The computer is effectively improvising its part of the dance. For 1.8 million, you can try this at home. Jeff A Forbes PMB 124 6820 SE Foster Rd Portland OR 97206 (503)-888-5619 www.performanceworksnw.org ------------------------------ Date: Wed, 13 Apr 2005 02:34:05 -0400 Subject: Re: theatre company reference From: Bill Sapsis Message-ID: In-Reply-To: No. Delbert, the information you are offering is not accurate. The certification does not qualify someone to inspect a system. It was never our intention to certify inspectors. The handbook makes it very clear who we are addressing and inspectors are not listed anywhere in that book. I am wondering where you draw your information about the certification and why you are answering these types of questions. I would think that these types of questions would be best answered by people who are involved in the development of the certification program, many of whom are on this list. Bill Sapsis Co-Chair ETCP Rigging Skills Working Group Voting Member, ETCP Certification Council 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 on 4/12/05 5:44 PM, Delbert Hall at delbert.hall [at] gmail.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> After attending some sessions in Toronto that addressed the new rigging >> certification, I have a >> question. Would an ETCP certified rigger be >> a) qualified to inspect a system? >> b) qualified to inspect their own system? > > Remember, there are two different certerifcations: one in theatre > rigging, and one in arena rigging. Assuming you mean a mechnaical > counterweight system in your questions, I would answer "yes" to both > questions if the technician passed the "theatre" exam. If he/she only > passed the "arena" exam, well.... maybe, maybe not. One does not have > to be certified to be qualified to inspect a counterweight system (no > one is certified today). > > -Delbert ------------------------------ Date: Wed, 13 Apr 2005 02:40:12 -0400 Subject: Re: Cleaning cyc (was positioning hazer) From: "C. Dopher" Message-ID: In-Reply-To: I don't like this top-posting stuff, but since you guys are doing it... Update on the situation: TD came in Monday, after the weekend, and set a crew of workstudies (whom the ME and I hadn't seen all weekend) to vacuuming the cyc. Four of them very studiously vacuumed the portions they could reach. There are some marks higher up that a vacuum would help with. Too bad they didn't think about just flying the damn thing in... My frustrations with the TD are piling up. I will put this disclaimer right now: I was his predecessor; I've done the job, I know what is asked of him and what it takes. It takes too much. That said, I cannot quite wrap my mind around his thought processes, nor his tactics and habits. He does not work past 6pm, 7pm at the latest. Ever. He is the ONLY staff member for the theatre, yet seems to think it OK to leave shows in limbo at nights and on weekends. He is almost completely unreachable, especially on weekends, as he crews a sailing ship. I and a few other responsible adults made several angry phone calls on Friday, which he also took off, and he actually called back during non-business hours! His response to my inquiry of "where the hell is the crew for this (major) (10-hour) lighting call?" was: "I don't have anybody scheduled for Friday afternoon/nights/ Saturdays. They use up their 18 hours during the week, so there's nobody, sorry." I asked why he didn't reserve a few hours, such that he can send some significant, if not properly trained, electrician labor into Friday/Saturday calls (as they are the only available times to get more than three hours work done) and he shrugged it off, saying that's just not how they're scheduled. He's a good man, a great carpenter and scenic designer, but I've come to the conclusion he can't run a staff or a theatre worth shit. The backstage is the cleanest its been in two years right now because I, my ME, and the dance SM have been pounding away at that mess for a week. I'd really not like to have to approach next fall's concert knowing there isn't going to be the necessary student labor during the major lighting calls. Thanks for letting me vent, guys. Cris Dopher, LD Chris Davis spake: > I believe it's a prerequisite at the theatre Cris is speaking of. > > > At 09:13 AM 4/11/2005 -0400, Paul Shreiner wrote: >> -- >> >>> Maybe you should use the flogger on the TD instead. It won't >>> get the cyc any >>> cleaner, but it might make you feel better. >> >> All well and good, but there's always the chance the TD might actually >> enjoy that sorta thing... ------------------------------ Date: Wed, 13 Apr 2005 02:51:40 -0400 Subject: RE: baaack & related question From: "C. Dopher" Message-ID: In-Reply-To: Paul Schreiner wrote: > >> Steve's leaving MTSU (and reasons he cites) reminds me >> of similar situations in other academic settings. I'd >> like to get the list's wisdom on matters relating to >> treatment of TDs by other faculty members.=20 > > In my experience, part of the problem with directing faculty/technical > staff relationships stems from the fact that in many places the > technical personnel are staff and not faculty. In certain institutions, > with certain people in charge, there then becomes this sense of > "second-class citizenship". =20 *ding ding ding* We have a winnah! Exactly so. And, between 2001-2003, the faculty at NYU never let me forget it, even though I'm more experienced in theatre arts than they, better educated, and, in most cases, the only one qualified to make the decisions THEY were making! Guess why I left? > A few years ago, I was working on a production of "Betty's Summer > Vacation" in an already overloaded schedule. The director (with whom I > never saw eye to eye...only partly cuz she was married to another > TD-type) was expecting a railing on a particular platform; this railing > had never been drawn by the designer on his groundplan, and had never > been communicated to me. The director (who also had a habit of > directing scenic/technical notes to the designer in person and not me in > any form of written communication) got a bit snippy after rehearsal one > night, and made a comment about needing the railing and when were we > going to get it. I replied that I'd have it up as soon as I got a note > about it, because it wasn't on the drawing. > > After I left, she scrawled a rather rude note on a piece of legal pad > paper and taped it to the platform in question--and did this in the > presence of students. Unfortunately, I think you were the one in error here. Though her attitude could have been better, yours could have been, too. Drawing or no, if the director asks for a railing, your job is to ask what kind and how high and when does she need it by? Your snippy remark about you'll do it when you got a note about it was bound to get her riled up, since by simply asking you about the phantom railing, you WERE getting a note about it! Bitch or not, she's still the director. If you have issues with how the scenic designer was communicating, or rather not facilitating communication in this case, then the beef is with him. (And the director has every right to communicate her notes to the designer and not to you and expect the designer to interpret and ...well, do his damn job.) Should she have slapped a rudely worded note on the deck? No. Should you have forced her to go to such lengths? No. Where was the SM in all this? Rehearsal reports are supposed to have all such notes included. If you hadn't already removed yourself from the situation, I'd suggest that the next time you all work together, the first production meeting should be the time and place when you bring up communication and how you would like notes to be transmitted to you and by whom and by when. These things have to be stipulated as much as anything else. Cris Dopher, LD ------------------------------ End of Stagecraft Digest #361 *****************************