Return-Path: <stagecraft-report [at] theatrical.net>
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 22013728; Mon, 25 Apr 2005 03:00:54 -0700
X-ListServer: CommuniGate Pro LIST 4.2.10
List-Unsubscribe: <mailto:stagecraft-off [at] theatrical.net>
List-ID: <stagecraft.theatrical.net>
Message-ID: <list-22013725 [at] prxy.net>
From: "Stagecraft" <stagecraft [at] theatrical.net>
Sender: "Stagecraft" <stagecraft [at] theatrical.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Precedence: list
Subject: Stagecraft Digest #374
Date: Mon, 25 Apr 2005 03:00:39 -0700
MIME-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"
Content-Disposition: inline
X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net
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-TFF-CGPSA-Version: 1.4f2
X-prxy-Spam-Filter: Scanned

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

Stagecraft Digest, Issue #374

 1. Colortran ColorArc2000 Follow spots
    by BKHAIN [at] aol.com
 2. Re: Fire Inspectors
    by "Fred Young" <cadfred [at] gmail.com>
 3. Re: Fire Inspectors
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
 4. Re: Colortran ColorArc2000 Follow spots
    by "Steve B." <sbmtbike [at] optonline.net>
 5. Re: Colortran ColorArc2000 Follow spots
    by IAEG [at] aol.com
 6. Re: backstage lighting cables
    by "Tom Heemskerk" <tommy [at] etainternet.com>
 7. Re: Sharing a fire clean-up story
    by "Bill Conner" <bill-conner [at] att.net>
 8. Re: Theatre Renovation
    by "Bill Conner" <bill-conner [at] att.net>
 9. Re: Colortran ColorArc2000 Follow spots
    by SB <sbmtbike [at] optonline.net>
10. Re: Theatre Renovation
    by FrankWood95 [at] aol.com
11. Re: backstage lighting cables
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
12. Re: backstage lighting cables
    by Andrew Vance <andrew [at] andrewvance.com>
13. Re: Sharing a fire clean-up story
    by Dale Farmer <dale [at] cybercom.net>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

From: BKHAIN [at] aol.com
Message-ID: <cd.26d43998.2f9d05b7 [at] aol.com>
Date: Sun, 24 Apr 2005 10:22:47 EDT
Subject: Colortran ColorArc2000 Follow spots

Hi everybody,

Just out of curiosity...
Our local civic center has 6 Colortran ColorArc 2000 spotlights (purchased 
new when the place opened in 1987) and on headset the other night there was 
discussion about not being able to get replacement lamps for them.  I did a quick 
google search on the spots and it appears they are still made and a few places 
are using them.  

I have no experience with any other long throw spot. How many of the 
Colortran's are out there and how do they compare to other brands? Are replacement 
Xenon lamps still available for them? 
We have a few spare lamps and this isn't my responsiblity anyway, but I am 
just curious.


Thanks-

Ben Hain

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

From: "Fred Young" <cadfred [at] gmail.com>
Subject: RE: Fire Inspectors
Date: Sun, 24 Apr 2005 12:09:35 -0400
In-Reply-To: <list-21990379 [at] prxy.net>
Message-ID: <426bc4bf.4ba1995f.4e96.ffff8c0e [at] mx.gmail.com>

I've had two good experiences which have effected how I work with the local
fire marshal, wherever I'm at.  

Years ago I was working with an opera company and we were about to mount a
production of Carmen.  The TD told our props master to make sure we had
enough "solid alcohol".  This mixture that allow burning an easily
extinguishable, clean burning mass, that didn't run like a liquid.  What I
found most remarkable about this was that what concoction was created in
conjunction with the local fire marshal.  We didn't have get approval every
time we wanted open flame on stage.  We also had "fire watchers" off stage
for each and every time flame was on stage.

Three years ago I started working as the TD for a small summer stock in the
Northeast.  The theatre company had a lot of bad habits of just trying to
hide things from the local fire marshal, who was also the building
inspector.  That season they were considering rebuilding the apron so that
they could have steps from the house to the stage.  They had been working
with some temporary steps that were hidden anytime they knew the marshal
might be around.  My solution was to ask the fire marshal what codes we were
dealing with and he helped me design a set of removable steps that were much
cheaper than rebuilding the entire apron.

Now I'm not saying that all of my experiences with the fire marshal have
been great, if fact he is a big PITA sometimes.  However I know that since I
know the marshal by name and show respect and deference for his opinion my
job is mush easier.

Fred Young

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Dr. Randall
W.A. Davidson
Sent: Saturday, April 23, 2005 10:34 PM
To: Stagecraft
Subject: Re: Fire Inspectors

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

Gosh, I must be way, way out of it. I do this on a regular basis, have for
over fifty years. They are the best to work with, and in my experience,
always willing to help, even the Chief State Fire Marshals, with whom I
usually meet with. Good idea. I usually have ice cream but for those who
drink coffee, and I never have, that might be an idea all right. 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 Jeffrey E.
Salzberg
Sent: Saturday, April 23, 2005 5:26 AM
To: Stagecraft
Subject: Re: Fire Inspectors

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

> Just curious... how many of you have actually gone out for
> "a couple of beers" with a fire inspector to discuss after an
inspection.

Not beer, perhaps, but when I managed a theatre on a university campus,
I occasionally had lunch with one of the safety officers or the
electrical engineer from campus planning, and I'd ask the safety office
to stop by if there was something I was unsure about.

One of the best compliments I ever got was when a safety officer was
giving a new hire a tour of the campus and I overheard him saying, as
they were leaving my building, "You won't have to worry about these
guys; they're more hard-assed than *we* are."

-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.10.2 - Release Date: 4/21/2005
 


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

Date: Sun, 24 Apr 2005 13:19:32 -0400
Subject: Re: Fire Inspectors
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE914D64.6D5D%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22000729 [at] prxy.net>

> The TD told our props master to make sure we had
> enough "solid alcohol".  This mixture that allow burning an easily
> extinguishable, clean burning mass, that didn't run like a liquid.

    "Solid alcohol"? as in "Sterno"??

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Sun, 24 Apr 2005 13:34:03 -0400
From: "Steve B." <sbmtbike [at] optonline.net>
Subject: Re: Colortran ColorArc2000 Follow spots
Message-id: <000f01c548f3$ced474d0$6701a8c0 [at] SBFF>
References: <list-21999040 [at] prxy.net>


----- Original Message ----- 
From: <BKHAIN [at] aol.com>
> Our local civic center has 6 Colortran ColorArc 2000 spotlights (purchased
> new when the place opened in 1987) and on headset the other night there 
> was
> discussion about not being able to get replacement lamps for them.  I did 
> a quick
> google search on the spots and it appears they are still made and a few 
> places
> are using them.
>
> I have no experience with any other long throw spot. How many of the
> Colortran's are out there and how do they compare to other brands? Are 
> replacement
> Xenon lamps still available for them?
> We have a few spare lamps and this isn't my responsiblity anyway, but I am
> just curious.

I cannot imagine there's anything different about the lamp (from a typical 
2kw xenon lamp - perhaps an old box is around with a lable ?, maybe a spare 
lamp tucked away somewhere ?) and I'm going to assume that Colortran has 
been no help ?, but you might check with the service dept. at 4th Phase/PRG 
in NJ.  Way back when they were Production Arts, they sold these units. 
Possibly Ron Brodoer at Sharff-Weisberg in NYC would know, he used to run 
service at PAL.

Steve B. 



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

From: IAEG [at] aol.com
Message-ID: <1f2.872f5d7.2f9d367e [at] aol.com>
Date: Sun, 24 Apr 2005 13:50:54 EDT
Subject: Re: Colortran ColorArc2000 Follow spots


In a message dated 4/24/05 1:34:28 PM, sbmtbike [at] optonline.net writes:

<< 

I cannot imagine there's anything different about the lamp (from a typical 

2kw xenon lamp - perhaps an old box is around with a lable ?, maybe a spare 

lamp tucked away somewhere ?) and I'm going to assume that Colortran has 

been no help ?, but you might check with the service dept. at 4th Phase/PRG 

in NJ.  Way back when they were Production Arts, they sold these units. 

Possibly Ron Brodoer at Sharff-Weisberg in NYC would know, he used to run 

service at PAL.


Steve B.  >>

If I am not mistaken, , these are actually Japanese built followspots,  that 
Colortran marketed under their name in the US

very best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

Message-ID: <61191.66.183.177.34.1114371847.squirrel [at] 66.183.177.34>
In-Reply-To: <list-21994014 [at] prxy.net>
References: <list-21994014 [at] prxy.net>
Date: Sun, 24 Apr 2005 12:44:07 -0700 (PDT)
Subject: Re: backstage lighting cables
From: "Tom Heemskerk" <tommy [at] etainternet.com>

>
>
> Well, possibly because yellowjackets cost anywhere
> from $375 - $500 apiece, and that is a serious
> budgetary consideration for a lot of folks. Hence the
> suggestions to build your own when possible.
>
>

Point taken - I'm lucky in that I use many such things them in blissful
ignorance of price.

tom

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

Message-ID: <001901c54907$d2be4210$6b01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill-conner [at] att.net>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: Sharing a fire clean-up story
Date: Sun, 24 Apr 2005 14:57:14 -0500

Mike posts:  "The goal of the code is that the two hour wall will remain 
standing and structurally sound--holding up the building--for two hours"

Perhaps some truth but it is primarily to provide more time for egress and 
protect adjacent property.  It's only been in last few years that the scope 
and goal of building and fire codes have changed to include protecting the 
fire service.  There is also "public welfare" in saving the building next 
door or giving fire service enough time to suppress the fire to save the 
adjacent building.

Also consider what is sense of one wall of no required minimum size in a 
building that is otherwise unrated for fire resistance rated?  I suspect 
this comes from the time when the audience was in a separate building from 
the stage.

Finally the requirement for this wall to be rated 2 hours does not assure 
the building will stay up.  There are separate requirements that for the 
columns and other structural framing to be protected regardless of 
requirements for separate fire compartments.

Bill Conner ASTC 


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

Message-ID: <001d01c5490a$4d1d17a0$6b01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill-conner [at] att.net>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: Theatre Renovation
Date: Sun, 24 Apr 2005 15:15:00 -0500

There may be great justification for the concerns expressed but there are no 
simple rules that fit all situations in the planning of places for assembly 
and theatres.  I don't know how to look at a question of the layout of 
aisles and seats without knowing a whole lot more about the building, uses, 
program, Owner's long range goals, and so on.  The divisible issue seems 
hard to justify and very expensive if done well.  It usually messes up both 
lighting and sound - meaning both sound systems and natural acoustics - not 
to mention egress and a good control room location at the rear of the house. 
I have on two occasions over 25 years used a scrim on a track for this - not 
changing acoustics much and allowing view from the booth - but I understand 
neither is used much.  (Karl - Fairfield University is one - used or not? 
Extant?)

It is unfortunate that neither the Owner nor their architect chooses to 
engage the assistance of someone with demonstrated theatre planning 
expertise.  I'd suggest some education on that front - perhaps explaining 
you are not comfortable with some of the proposed design concepts and 
showing them some designs that are recognized as good which included 
professional theatre planning.

Bill Conner ASTC



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

Date: Sun, 24 Apr 2005 17:22:05 -0400
From: SB <sbmtbike [at] optonline.net>
Subject: Re: Colortran ColorArc2000 Follow spots
Message-id: <002301c54913$aa437100$6601a8c0 [at] lighting>
References: <list-22002206 [at] prxy.net>


----- Original Message ----- 
From: <IAEG [at] aol.com>
>
> If I am not mistaken, , these are actually Japanese built followspots, 
> that
> Colortran marketed under their name in the US

Keith is correct.  They are Japanese made and I remember that PAL, while 
liking the unit for it's size, had major issues getting parts.

Another source for info. would be Rick Lo, owner of Lycian, who's made it 
his business to know every detail about the competition.

Steve Bailey
Brooklyn College
 


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

From: FrankWood95 [at] aol.com
Message-ID: <1f0.3a961951.2f9d7214 [at] aol.com>
Date: Sun, 24 Apr 2005 18:05:08 EDT
Subject: Re: Theatre Renovation

In a message dated 24/04/05 21:15:50 GMT Daylight Time, bill-conner [at] att.net 
writes:

> The divisible issue seems 
>  hard to justify and very expensive if done well.  It usually messes up 
both 
>  lighting and sound - meaning both sound systems and natural acoustics - 
not 
>  to mention egress and a good control room location at the rear of the 
house. 
> 

It would. It's a big no-no! If you want to reduce the house, make it 
narrower. OK, our auditorium is basically an amphitheatre, with four aisles, and five 
seating blocks. Curtaining off two or four of these will work.Both have been 
done, with success.

I don't know the US rules. Over here, no seat may be more than seven seats 
from an aisle, giving you a maximum of fourteen (maybe fifteen) seats to a 
block. This depends on the depth of the seatway (Ii.e. leg room.). If this is 
generous, you can go up to 22 seats. This means 2' from the front of one seat to 
the back of the row in front. As this comes down, so does the row length.#


Frank Wood

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

Message-Id: <6.2.0.14.0.20050424160752.03f9eed0 [at] mail.insightbb.com>
Date: Sun, 24 Apr 2005 17:35:04 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: backstage lighting cables
In-Reply-To: <list-22003458 [at] prxy.net>
References: <list-21994014 [at] prxy.net>
 <list-22003458 [at] prxy.net>

<html>
<body>
FWIW, still not cheap, but Production Advantage lists:<br><br>
<font size=2>YELLOW JACKET 5 SLOT CABLE
CROSSOVER</font>&nbsp;&nbsp;&nbsp; <font size=2>171.23<br>
YELLOW JACKET YJ5 END BOOTS, PAIR&nbsp;&nbsp;&nbsp;&nbsp; 96.60<br><br>
</font>Mike<br><br>
At 02:44 PM 4/24/2005, Tom Heemskerk wrote:<br><br>
<blockquote type=cite class=cite cite="">&gt; Well, possibly because
yellowjackets cost anywhere<br>
&gt; from $375 - $500 apiece, and that is a serious<br>
&gt; budgetary consideration for a lot of folks. Hence the<br>
&gt; suggestions to build your own when possible.<br>
&gt;<br>
Point taken - I'm lucky in that I use many such things them in
blissful<br>
ignorance of price.</blockquote></body>
</html>


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

In-Reply-To: <list-22005980 [at] prxy.net>
References: <list-21994014 [at] prxy.net> <list-22003458 [at] prxy.net> <list-22005980 [at] prxy.net>
Message-Id: <5f556fcca2ea2d84979fc61103704864 [at] andrewvance.com>
From: Andrew Vance <andrew [at] andrewvance.com>
Subject: Re: backstage lighting cables
Date: Sun, 24 Apr 2005 18:25:37 -0500

On 24 Apr, 2005, at 17:35, Mike Brubaker wrote:

>  FWIW, still not cheap, but Production Advantage lists:
> YELLOW JACKET 5 SLOT CABLE CROSSOVER=A0=A0=A0 171.23
>  YELLOW JACKET YJ5 END BOOTS, PAIR=A0=A0=A0=A0 96.60

But for the cost of one sheet of 3/4 ply and two 16'-0" sticks of 2X4,=20=

I got two 4'-0" and 8 2'-0" cable troughs.  When I need more I can get=20=

the same number of troughs for well under $100, including the shop's=20
time cutting, assembling, and painting.

--

Sincerely,

Andrew Vance
Lighting Designer
www.andrewvance.com


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

Message-ID: <426C6120.BCB709EE [at] cybercom.net>
Date: Sun, 24 Apr 2005 23:16:48 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: Sharing a fire clean-up story
References: <list-21983524 [at] prxy.net> <list-21991578 [at] prxy.net>



Dale Farmer wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> psyd [at] cox.net wrote:
>
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > >The theory is that any expectable fire
> >
> > Ehm, could you give me a more detailed explanation of 'expectable'?  I'm sure that this is a lexicon that I've not been exposed to, but to the layperson it does sound somewhat oxymoronic.
>
>     Sorry.  Term of art, as they say.   Broadly, you look at the place.
> Structure, available fuel, what types of fuel, ignition sources and the
> people there are the primary criteria.  You don't expect things like
> a fully loaded jetliner crashing into the place, unless you are at an
> airport.

    Replying to my own post.  One of the other considerations that I forgot
to mention was this whole process really needs to be redone periodically.
Say you have a space that was built originally as a lecture hall at a school.
Where available fuel was pretty minimal. ( students books and the built in
chairs and writing desks. ) and the space only had a hundred seats.
    Gets refurbed, blackboard knocked out to build a stage of sorts, and
the seating is reworked to conventional theater seating, doubling the
seating capacity.  This ought to trigger a reassessment of the fire risk, but
often doesn't happen.
    My favorite fire story of this type of thing, and also one of the few
times when a properly operating sprinkler system failed to stop the
fire is a cold storage warehouse.  When it was designed and built,
it was intended for storing and handling produce.  Green veggies and
so on. Not much fuel there, basically just the wooden boxes the
produce was packed in.  Sprinkler system adequate for the fire
load was installed.
    Then the owners contracted to store excess butter and cheese
from the federal milk price support program.  The warehouse had
hundreds of tons of butter in it.  More of cheese.  They were also
storing many tons of lard for another customer.  Fire started in a
propane fueled forklift.  Morons on the dock used up every portable
fire extinguisher in the building trying to put out the jet of flame
coming from the propane tank. . . without calling the fire department
at the same time.
    Jet of flame had been spraying against a wall, which had inside of
it a pipeline carrying anhydrous ammonia, which was used as a
refrigerant for the building cooling system. Pipe breaks, ammonia
catches fire, and fire quickly reaches the racks full of butter, adding
lots of fuel to the fire. Sprinklers operate, but they don't put enough
water on the fire at the same time to overcome the heat given off
by the burning butter and ammonia.
    Steam from the sprinkler water quickly heats the entire area above
the sprinkler's operating temperature, and lots of them open up,
dropping water pressure and flow to the ones over the fire.  Fire
spreads extremely rapidly now.  Foam insulation board in walls is
now burning through to the outside giving it more air and the fire
really takes off.
    Meanwhile the fire department is having difficulties with frozen
hydrants. ( Did I forget to mention it was february in the northern
US? ) Place burned to the ground... It took three days to finish
burning. One firefighter was badly burned when he walked
across what looked like a snow covered frozen drainage ditch,
but what was flowing underneath the snow/butter crust was
a couple of feet of boiling hot butter.
    this one is right up with the molasses flood for weird fire
stories.

    --Dale



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

End of Stagecraft Digest #374
*****************************