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

Stagecraft Digest, Issue #377

 1. Re: Punctuation
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
 2. Re: Punctuation
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
 3. Re: punctuation and style
    by Steve Larson <tiptd [at] theatreinthepark.com>
 4. Lighting Question
    by mconn [at] cumberlandcollege.edu
 5. Re: Lighting Question
    by "Abby Downing" <aldowning [at] onlocationls.com>
 6. Light lab activities?
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
 7. Re: Light lab activities?
    by Stephen Litterst <slitterst [at] ithaca.edu>
 8. Re: Light lab activities?
    by Stan Jensen <jense1s [at] cmich.edu>
 9. Re: Light lab activities?
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
10. Re: Light lab activities?
    by "Scott Boyle" <smboyle [at] cc.edu>
11. Re: commas
    by "Karl G. Ruling" <kruling [at] esta.org>
12. Re: Lighting Question
    by "Weston Wilkerson" <weston_wilkerson [at] hotmail.com>
13. What's going on with the list?
    by "C. Dopher" <brooklyn [at] dopher.com>
14. Re: Light lab activities?
    by "Weston Wilkerson" <weston_wilkerson [at] hotmail.com>
15. Re: What's going on with the list?
    by Pat Kight <kightp [at] peak.org>
16. Yiddish Word Translation
    by Norman Lazarus <normanlazarus [at] yahoo.com>
17. Re: Lighting Question
    by "Randy B." <rgbrzosk [at] usermail.com>
18. Re: Lighting Question
    by "Laura McMeley" <lmcmeley [at] msn.com>
19. Re: Yiddish Word Translation
    by "Flowers, Curt" <cjflower [at] uillinois.edu>
20. Re: Lighting Question
    by Greg Bierly <gbierly [at] dejazzd.com>
21. Confetti cannons
    by "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
22. Fix it places for equipment
    by "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
23. Posit mill
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
24. Re: Confetti cannons
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
25. Re: Posit mill
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
26. Re: Fix it places for equipment
    by "Steve B." <sbmtbike [at] optonline.net>
27. Re: Posit mill
    by "Cyr, Dale" <Dale.Cyr [at] getronics.com>
28. Autocad 2004 or higher rendering references
    by Sean L Culligan <slc193 [at] email.com>
29. Re: Posit mill
    by "Cyr, Dale" <Dale.Cyr [at] getronics.com>
30. Re: Punctuation
    by FrankWood95 [at] aol.com
31. Re: Posit mill
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
32. Re: Punctuation
    by FrankWood95 [at] aol.com
33. Re: Posit mill
    by Steve Larson <tiptd [at] theatreinthepark.com>
34. Re: Posit mill
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
35. Re: Problem with Lighting System
    by FrankWood95 [at] aol.com
36. Re: Lighting Question
    by FrankWood95 [at] aol.com
37. Re: Fix it places for equipment
    by Stephen Litterst <slitterst [at] ithaca.edu>
38. Re: Light lab activities?
    by FrankWood95 [at] aol.com
39. Re: Confetti cannons
    by Shawn Palmer <shawnp [at] northnet.net>
40. Re: Light lab activities?
    by Scott Parker <scparker [at] gmail.com>
41. Re: Lighting Question
    by jeff.mabray [at] comcast.net
42. Re: Confetti cannons
    by Andrew Vance <andrew [at] andrewvance.com>
43. Re: Lighting Question
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
44. Re: Lighting Question
    by "Randy B." <rgbrzosk [at] usermail.com>
45. Drape hampers
    by Mark O'Brien <marko [at] email.arizona.edu>
46. bubbles
    by "Ann Warren" <thwarren [at] isugw.indstate.edu>
47. Re: commas
    by FrankWood95 [at] aol.com
48. Re: Lighting Question
    by jeff.mabray [at] comcast.net
49. Re: commas
    by Bill Sapsis <bill [at] sapsis-rigging.com>
50. Re: Posit mill
    by FrankWood95 [at] aol.com
51. Re: commas
    by Dale Farmer <dale [at] cybercom.net>
52. Re: Lighting Question
    by "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
53. snow
    by Jeffrey Ferrell <jeffclef [at] midmaine.com>
54. Re: Lighting Question
    by FrankWood95 [at] aol.com
55. Re: Drape hampers
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
56. Re: Confetti cannons
    by Dale Farmer <dale [at] cybercom.net>
57. Re: commas
    by FrankWood95 [at] aol.com
58. Re: Lighting Question
    by Steve Larson <tiptd [at] theatreinthepark.com>
59. Re: Confetti cannons
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
60. Re: Light lab activities?
    by Dale Farmer <dale [at] cybercom.net>
61. Re: Drape hampers
    by "Curt Mortimore" <cmortimo [at] graceland.edu>
62. Works for black box
    by Todd Lipcon <tlipcon [at] mercea.net>
63. statistics on theater at university
    by Judy <kupfer [at] post.tau.ac.il>
64. Re: Drape hampers
    by Mark O'Brien <marko [at] email.arizona.edu>
65. Re: Works for black box
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
66. Re: statistics on theater at university
    by "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
67. Re: Confetti cannons
    by Mark O'Brien <marko [at] email.arizona.edu>
68. Re: Punctuation
    by Marty_Petlock [at] sarasotagov.com
69. Re: snow
    by Jonathan Wills <jbwills [at] gmail.com>
70. Re: Works for black box
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
71. Re: Punctuation
    by Jerry Durand <jdurand [at] interstellar.com>
72. Re: Confetti cannons
    by Jerry Durand <jdurand [at] interstellar.com>
73. Re: Dance floor replacement
    by Marty_Petlock [at] sarasotagov.com
74. Re: statistics on theater at university
    by Steve Larson <tiptd [at] theatreinthepark.com>
75. Re: Dance Floor Replacement
    by Marty_Petlock [at] sarasotagov.com
76. Re: Confetti cannons
    by "richard j. archer" <rja10 [at] cornell.edu>
77. Re: Punctuation
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
78. Re: Dance Floor Replacement
    by Steve Larson <tiptd [at] theatreinthepark.com>

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

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

Date: Wed, 27 Apr 2005 11:08:44 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Punctuation
In-Reply-To: <list-22046879 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0504271104280.11666 [at] viscount.richmondsounddesign.com>
References: <list-22046879 [at] prxy.net>

On Tue, 26 Apr 2005, Bruce Purdy wrote:

>    You can put as many spaces as you want in HTML. Use " &nbsp; " for each
> space you want. (Without the quotes.)

Also, most html fonts automatically put a larger space before the next character 
after sentence ending punctiation marks and colons (not quite two spaces - more 
like 1.5 depending on the font; the exception being non-proportional or fixed 
fonts of course....)

Please don't get us started on the difference between typeface and font, though 
;-)

Charlie

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

Date: Wed, 27 Apr 2005 11:13:36 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Punctuation
In-Reply-To: <list-22046195 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0504271108510.11666 [at] viscount.richmondsounddesign.com>
References: <list-22025937 [at] prxy.net> <list-22033351 [at] prxy.net> <list-22045164 [at] prxy.net>
 <list-22046195 [at] prxy.net>

On Tue, 26 Apr 2005, Jon Ares wrote:

> So true... luckily, smart layout programs like Quark, Pagemaker, Freehand and 
> the ilk recognize the 2-space rule, and if it approaches a margin, it adjust 
> accordingly, and doesn't leave them in.

Yes, and if you want to use a nice smart word processor that is fully compatible 
with Word's doc files (and many others) download OpenOffice from 
www.openoffice.org onto your Windows, Mac, Linux, Unix or Sun computer and use 
all the other great apps that come along with it, too!

Since it's completely free, I have no vested interest in this advertisement ;-)

Try Skype, too!  It's free as well....

Charlie

+ Charlie Richmond - Richmond Sound Design - Skype: charlierichmond +
+ http://www.RichmondSoundDesign.com "Performance for the Long Run" +
+ Show Control List: http://www.RichmondSoundDesign.com/sclist.html + 
+ - AudioBox List: http://www.RichmondSoundDesign.com/ablist.html - +
   "Let distribution undo excess - And each man have enough"
    - King Lear


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

Date: Wed, 27 Apr 2005 08:42:50 -0400
Subject: re: punctuation and style
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE95010A.510A%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-22045826 [at] prxy.net>

Remember, e.e. cummings' gravestone has the
following:

E. E. CUMMINGS

all caps in 6" letters

Even cummings breaks his rules.

steve



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

Message-ID: <1114607673.426f90391f876 [at] mail.cumberlandcollege.edu>
Date: Wed, 27 Apr 2005 09:14:33 -0400
From: mconn [at] cumberlandcollege.edu
Subject: Lighting Question

Good Morning O'Wise Listers,

I have a question for you lighting folk.  I am getting ready to start (fix'n 
to start fer you suthrn folk) working on our Summer production. "Ozma of Oz". 
I am planning to use fluorescent paint, which I know works best under 
blacklight.

I have discovered it is difficult to get a sufficient amount of blacklight in 
the past to make the paint effective.  So, here is my question, What if I 
took 2 of my strip lights and filled 2 banks with Blacklight spots?  A) would 
it work? B) would it be an obscene waste of money? C) Other suggestions are 
welcome.

Thanks
Moe

Maurice "Moe" Conn  
Designer/Technical Director
Kohn Theatre
University of the Cumberlands
606-539-4520
mconn [at] cumberlandcollege.edu

Thank You Everyone for Supporting the Long Beach Long Riders efforts to raise 
money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach Long 
Riders set off on there second adventure. 
Check Out:  www.sapsis-rigging.com/LRLR.html


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

Subject: RE: Lighting Question
Date: Wed, 27 Apr 2005 09:37:42 -0400
Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA1CC697 [at] jekyll-sbs.ollsi.local>
From: "Abby Downing" <aldowning [at] onlocationls.com>

Re: blacklight-

Check out this site-=20

http://www.wildfirefx.com/products.asp

-Abby
-----Original Message-----
From: mconn [at] cumberlandcollege.edu [mailto:mconn [at] cumberlandcollege.edu]=20
Sent: Wednesday, April 27, 2005 9:15 AM
To: Stagecraft
Subject: Lighting Question

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

Good Morning O'Wise Listers,

I have a question for you lighting folk.  I am getting ready to start
(fix'n=20
to start fer you suthrn folk) working on our Summer production. "Ozma of
Oz".=20
I am planning to use fluorescent paint, which I know works best under=20
blacklight.

I have discovered it is difficult to get a sufficient amount of
blacklight in=20
the past to make the paint effective.  So, here is my question, What if
I=20
took 2 of my strip lights and filled 2 banks with Blacklight spots?  A)
would=20
it work? B) would it be an obscene waste of money? C) Other suggestions
are=20
welcome.

Thanks
Moe

Maurice "Moe" Conn =20
Designer/Technical Director
Kohn Theatre
University of the Cumberlands
606-539-4520
mconn [at] cumberlandcollege.edu

Thank You Everyone for Supporting the Long Beach Long Riders efforts to
raise=20
money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long
Reach Long=20
Riders set off on there second adventure.=20
Check Out:  www.sapsis-rigging.com/LRLR.html


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

Subject: Light lab activities?
Date: Wed, 27 Apr 2005 06:55:24 -0700
Message-ID: <555928311F8B2943B65FC7197942C3B7323A77 [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>

Hey all.  I'm going to attempt to demonstrate color mixing for an =
introductory stagecraft class tomorrow.  This has never been my strong =
suit - can anyone suggest some "gee-whiz" activities/experiments to try =
with a simple light lab setup?

Cheers,

-- r.

Randy Storms
rstorms [at] bham.wednet.edu

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

Date: Wed, 27 Apr 2005 10:02:07 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Light lab activities?
Message-id: <426F9B5F.7F6AE57A [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-22057601 [at] prxy.net>

"Storms, Randy" wrote:
> ---------------------------------------------------
> Hey all.  I'm going to attempt to demonstrate color mixing for an introductory stagecraft class tomorrow.  This has never been my strong suit - can anyone suggest some "gee-whiz" activities/experiments to try with a simple light lab setup?

I take someone wearing bold colors (as close to primary as possible)
and light them with each of the primaries in turn.  Watching someone's
red sweatshirt turn black is a good way to communicate the
relationship between light and pigment.

I will also pick two complementary colors to demonstrate how white
light from complements can be more flattering to a person than plain
old no color.

And I try to demonstrate how low light adversely effects color
vision.  This year the demonstration didn't work quite right, but
usually I can get the light levels just right so that everything is
visible, but colors become muddy.

Steve Litterst

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

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

In-Reply-To: <list-22057601 [at] prxy.net>
References: <list-22057601 [at] prxy.net>
Message-Id: <d541f79631ffd8cf26fd818eeb3bd5d2 [at] cmich.edu>
From: Stan Jensen <jense1s [at] cmich.edu>
Subject: Re: Light lab activities?
Date: Wed, 27 Apr 2005 10:15:44 -0400

On Apr 27, 2005, at 9:55 AM, Storms, Randy wrote:

> ... can anyone suggest some "gee-whiz" activities/experiments to try 
> with a simple light lab setup?



Mix three primaries on a white panel / cloth, insert a broom handle in 
the light path to create three shadows. Each shadow will be an additive 
compliment (cyan, magenta, amber).

Stan Jensen

Central Michigan University
Department of Speech Communication and Dramatic Art
Moore 242
Mount Pleasant, MI  48859

(989) 774-1990  office
(989) 774-2498  fax


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

Date: Wed, 27 Apr 2005 10:31:07 -0400
Subject: Re: Light lab activities?
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE951A6B.6E6D%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22057881 [at] prxy.net>

>> ... can anyone suggest some "gee-whiz" activities/experiments to try
>> with a simple light lab setup?
> 
> Mix three primaries on a white panel / cloth, insert a broom handle in
> the light path to create three shadows. Each shadow will be an additive
> compliment (cyan, magenta, amber).
> 
    I have done something similar for "Hands on workshops" involving younger
kids. I aim three instruments a few feet apart and from a low angle, up at
the cyc. I let the kids handle the lighting board to control the relative
brightness and see how new colours can be created by mixing three primaries.
Then I let the kids take turns standing centre stage and seeing their
multiple enlarged shadows in various colours cast on the cyc.

    The kids think it's "cool", enjoy the hands-on experience, and hopefully
learn a thing or two in the process.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Reply-To: <smboyle [at] cc.edu>
From: "Scott Boyle" <smboyle [at] cc.edu>
Subject: RE: Light lab activities?
Date: Wed, 27 Apr 2005 09:56:23 -0500
Organization: Carroll College
Message-ID: <000001c54b39$47d0ea20$73db688c [at] cc.edu>
In-Reply-To: <list-22057601 [at] prxy.net>

I don't know if you have time, but I have a 4 x 10 flat painted in bands
of ROYGBIV and a single band divided up into white and a couple of
grays.  I set this up and go through the various saturated pure hues of
gels to show how light can effect the different colors.  Having all of
the colors in front of you really shows how each pigment color reacts.
I do this with both a single instrument and then two instruments.

HTH

Scott M. Boyle
Technical Director
Department of Theatre Arts
Carroll College
262-524-7308

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Storms,
Randy
Sent: Wednesday, April 27, 2005 8:55 AM
To: Stagecraft
Subject: Light lab activities?

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

Hey all.  I'm going to attempt to demonstrate color mixing for an
introductory stagecraft class tomorrow.  This has never been my strong
suit - can anyone suggest some "gee-whiz" activities/experiments to try
with a simple light lab setup?

Cheers,

-- r.

Randy Storms
rstorms [at] bham.wednet.edu


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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Wed, 27 Apr 2005 11:05:58 -0400
Subject: Re: commas
Reply-to: kruling [at] esta.org
Message-ID: <426F7216.11106.7C384B [at] localhost>
In-reply-to: <list-22053093 [at] prxy.net>

> 
> I always apply commas as breath pauses. Imagine that you are reading
> it aloud. When a breath is appropriate, and with due consideration to
> the context, stick one in.
> 

That is EXACTLY what I have heard writing teachers rail against. 

A comma is to divide a sentence into clauses to help make the 
structure of the sentence clear. It is not to give you places to take 
a breath. If it were, we'd have special punctuation for asthmatics, 
opera singers, et cetera. Take a breath when you need to; don't pull 
out your pen and stick in a comma so you have permission to breathe.


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

Message-ID: <BAY24-F37937F2E2DE14E133646BCF8220 [at] phx.gbl>
In-Reply-To: <list-22057269 [at] prxy.net>
From: "Weston Wilkerson" <weston_wilkerson [at] hotmail.com>
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 11:17:19 -0400

I have never had good luck with flourescent paint.  At Theatre By The Sea in 
'03, we used some
type of laundry detergent that was, not kidding, five times more effective 
than the paint.  You just
have to seal whatever you put it onto so it won't come off.  I cannot 
remember the product, I am
sure that someone on the list will know what I am talking about.  If not, 
contact me off list, and I
can give the contact information for someone who would know.

I highly recommend the Wildfire units also.  If possible, rent/borrow one 
for a day, and have
someone walk around under the blacklight to see if you need more than one.  
The fresnels have
been the best for me.  You may need a dowser depending on your situation.  I 
have had good luck
turning them on a few minutes before the blacklight sequence, and washing 
out the funky colors
with stage light.  Then you can get two units instead of one unit and a 
dowser.

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

Original message:
>Good Morning O'Wise Listers,
>
>I have discovered it is difficult to get a sufficient amount of
>blacklight in
>the past to make the paint effective.  So, here is my question, What if
>I
>took 2 of my strip lights and filled 2 banks with Blacklight spots?  A)
>would
>it work? B) would it be an obscene waste of money? C) Other suggestions
>are
>welcome.
>
>Thanks
>Moe



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

Date: Wed, 27 Apr 2005 11:17:56 -0400
Subject: What's going on with the list?
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE952564.17FA9%brooklyn [at] dopher.com>

For some reason, I keep getting messages that a stagecraft email has bounced
from my account.  Oddly enough, the "your account is bouncing our digests"
emails still get through.

Anyone else have this problem before?

I've checked my filters settings; there are no filters set.  (Odd, since I
set a bunch a couple years ago, which now seem to be gone.)  My other list
digests I subscribe to are coming through just fine.  My account is well
well below its storage limit -- emails are deleted from the server three
days after transmission to my computer.  Is there something in the digest
email itself that may be causing my server to reject it?

I missed, for instance, the email in which Mr. Sapsis sternly reminded the
list about the BC/EFA fundraising efforts.  I've only gotten one digest
since then.

Helpful suggestions should be sent to my email directly, not to the list.
Thanks!

Cris Dopher, LD


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

Message-ID: <BAY24-F216F1DDDE1D0EB4EC7B700F8220 [at] phx.gbl>
In-Reply-To: <list-22057601 [at] prxy.net>
From: "Weston Wilkerson" <weston_wilkerson [at] hotmail.com>
Subject: RE: Light lab activities?
Date: Wed, 27 Apr 2005 11:22:06 -0400

Not really "Color Mixing" but another fun one is color saturation:
Get the most rich blue light you possibly can on a white wall.  Have your 
students cover one eye for
five minutes while staring at the blue with the other eye.  Then, get them 
to remove their hand
and compare the colors that you see with each eye.  They will be totally 
different!
Also good to remind onesself of this when lighting long dance pieces.


>Hey all.  I'm going to attempt to demonstrate color mixing for an 
>introductory stagecraft class tomorrow.  This has never been my strong suit 
>- can anyone suggest some "gee-whiz" activities/experiments to try with a 
>simple light lab setup?
>
>Cheers,
>
>-- r.
>
>Randy Storms
>rstorms [at] bham.wednet.edu


<><><><><><><><><><><><><><><><><><><><>
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
<><><><><><><><><><><><><><><><><><><><>



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

Message-ID: <426FB30A.9030204 [at] peak.org>
Date: Wed, 27 Apr 2005 08:43:06 -0700
From: Pat Kight <kightp [at] peak.org>
Cc: brooklyn [at] dopher.com
Subject: Re: What's going on with the list?
References: <list-22058988 [at] prxy.net>
In-Reply-To: <list-22058988 [at] prxy.net>

C. Dopher wrote:

  > For some reason, I keep getting messages that a stagecraft email has 
bounced
> from my account.  Oddly enough, the "your account is bouncing our digests"
> emails still get through.
> 
> Anyone else have this problem before?
> 
> I've checked my filters settings; there are no filters set.  (Odd, since I
> set a bunch a couple years ago, which now seem to be gone.)  My other list
> digests I subscribe to are coming through just fine.  My account is well
> well below its storage limit -- emails are deleted from the server three
> days after transmission to my computer.  Is there something in the digest
> email itself that may be causing my server to reject it?

Check with your Internet provider - it may have installed new 
server-side spam filters that are kicking out mailing list messages 
before they even get to your mailbox. This is becoming increasingly 
common. If it's the case, then you need to get them to "whitelist" the 
stagecraft domain (theatrical.net) in order for the messages to get through.

I understand why ISPs are beefing up their spam protection - and applaud 
it - but as someone who manages a half-dozen mailing lists, it's getting 
to be damned frustrating when intentional, opt-in lists fall into the 
spam traps.

-- 
Pat Kight
kightp [at] peak.org

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

Message-ID: <20050427160658.97844.qmail [at] web51702.mail.yahoo.com>
Date: Wed, 27 Apr 2005 09:06:57 -0700 (PDT)
From: Norman Lazarus <normanlazarus [at] yahoo.com>
Subject: Yiddish Word Translation
In-Reply-To: <list-22053093 [at] prxy.net>

One of my actors has used the word "schwingatz" in his
bio. Can't find an online dictionary that has it,
pretty sure its Yiddish. The sentence he is using it
in is:
"Much thanks to all the schwingatz who call with love
every day".

If anyone one knows what the word means I'd appreciate
it.

Norman Lazarus


		
__________________________________ 
Do you Yahoo!? 
Yahoo! Small Business - Try our new resources site!
http://smallbusiness.yahoo.com/resources/ 

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

Message-ID: <002f01c54b43$bea91050$72504898 [at] GLOBAL.SCJ.LOC>
From: "Randy B." <rgbrzosk [at] usermail.com>
References: <list-22056968 [at] prxy.net>
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 11:11:17 -0500

So, here is my question, What if I
> took 2 of my strip lights and filled 2 banks with Backlight spots?  A)
would
> it work?

No you need UV light and black light spots (incandescent light) will not
work

B) would it be an obscene waste of money?

Yes won't work

C) Other suggestions:

Two options rent or by a "Wildfire UV cannon".  or When I need black light
at the high school for a production I purchased about 8 shoplight fixtures
from a home center along with backlight florescent tubes from the same place
and hung the lights over the stage, worked great, ran me just over $100.



----- Original Message ----- 
From: <mconn [at] cumberlandcollege.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, April 27, 2005 8:14 AM
Subject: Lighting Question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Good Morning O'Wise Listers,
>
> I have a question for you lighting folk.  I am getting ready to start
(fix'n
> to start fer you suthrn folk) working on our Summer production. "Ozma of
Oz".
> I am planning to use fluorescent paint, which I know works best under
> blacklight.
>
> I have discovered it is difficult to get a sufficient amount of blacklight
in
> the past to make the paint effective.  So, here is my question, What if I
> took 2 of my strip lights and filled 2 banks with Blacklight spots?  A)
would
> it work? B) would it be an obscene waste of money? C) Other suggestions
are
> welcome.
>
> Thanks
> Moe
>
> Maurice "Moe" Conn
> Designer/Technical Director
> Kohn Theatre
> University of the Cumberlands
> 606-539-4520
> mconn [at] cumberlandcollege.edu
>
> Thank You Everyone for Supporting the Long Beach Long Riders efforts to
raise
> money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach
Long
> Riders set off on there second adventure.
> Check Out:  www.sapsis-rigging.com/LRLR.html
>


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

Message-ID: <BAY103-F75434549482BE03109189DF220 [at] phx.gbl>
In-Reply-To: <list-22056968 [at] prxy.net>
From: "Laura McMeley" <lmcmeley [at] msn.com>
Subject: RE: Lighting Question
Date: Wed, 27 Apr 2005 11:16:39 -0500

Another important thing to remember. Blacklight works best with no other 
lights on, the more stage light you add into the mix the less effect you 
will get from the blacklights.

Laura McMeley
972-333-5016
www.geocities.com/lmcmeley/




>From: mconn [at] cumberlandcollege.edu
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Lighting Question
>Date: Wed, 27 Apr 2005 09:14:33 -0400
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Good Morning O'Wise Listers,
>
>I have a question for you lighting folk.  I am getting ready to start 
>(fix'n
>to start fer you suthrn folk) working on our Summer production. "Ozma of 
>Oz".
>I am planning to use fluorescent paint, which I know works best under
>blacklight.
>
>I have discovered it is difficult to get a sufficient amount of blacklight 
>in
>the past to make the paint effective.  So, here is my question, What if I
>took 2 of my strip lights and filled 2 banks with Blacklight spots?  A) 
>would
>it work? B) would it be an obscene waste of money? C) Other suggestions are
>welcome.
>
>Thanks
>Moe
>
>Maurice "Moe" Conn
>Designer/Technical Director
>Kohn Theatre
>University of the Cumberlands
>606-539-4520
>mconn [at] cumberlandcollege.edu
>
>Thank You Everyone for Supporting the Long Beach Long Riders efforts to 
>raise
>money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach 
>Long
>Riders set off on there second adventure.
>Check Out:  www.sapsis-rigging.com/LRLR.html
>



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

Subject: RE: Yiddish Word Translation
Date: Wed, 27 Apr 2005 11:20:22 -0500
Message-ID: <71D0296313DCB24C93FE62A0CA7B49CA35993C [at] adminmail4.ui.uillinois.edu>
From: "Flowers, Curt" <cjflower [at] uillinois.edu>

"schwingatz" is not listed in the Yiddish->English translator I use
(http://www.ectaco.com/online/diction.php3?refid=3D532&lang=3D15)
But that's not surprising. The spelling of Yiddish words is highly
variable. <grin> Try different spellings.


=20

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20
> Of Norman Lazarus
> Sent: Wednesday, April 27, 2005 11:07 AM
> To: Stagecraft
> Subject: Yiddish Word Translation
>=20
> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> One of my actors has used the word "schwingatz" in his
> bio. Can't find an online dictionary that has it,
> pretty sure its Yiddish. The sentence he is using it
> in is:
> "Much thanks to all the schwingatz who call with love
> every day".
>=20
> If anyone one knows what the word means I'd appreciate
> it.
>=20
> Norman Lazarus
>=20
>=20
>=20

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

In-Reply-To: <list-22056968 [at] prxy.net>
References: <list-22056968 [at] prxy.net>
Message-Id: <cfc5721a8e8d485faed8da72efecffed [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 12:36:15 -0400

I don't think it is your best way to go.  The money you would save 
buying lamps can be spent on renting much more efficient and powerful 
blacklight fixtures such as the wildfire.  I don't know if you have any 
local rental houses but shipping isn't that bad for two fixtures.  
Incandescent and quartz "blacklights"  create huge quantities of heat 
and are relatively inefficient.  In my opinion you would be better off 
with a bunch of 4' florescent tube blacklights lining the stage in 
Lowes/HomeDepot/BigBox worklight fixtures if you can't rent the real 
deal.

Greg Bierly
Technical Director
Hempfield HS


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

Message-Id: <s26f8a02.042 [at] ADM4.Harford.edu>
Date: Wed, 27 Apr 2005 12:47:51 -0400
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
Subject: Confetti cannons

Hello List !
      Is the archive down? I can't open the page. 
      Someone please point me to the archive or send me email on how
they've made their version of the confetti cannon.
Jeff Kanyuck


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

Message-Id: <s26f8b32.046 [at] ADM4.Harford.edu>
Date: Wed, 27 Apr 2005 12:52:58 -0400
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
Subject: Fix it places for equipment

Hello again everyone,
    I'm looking for reputable places for fixing intelligent lighting
and audio amplifiers in the Maryland area.
Even a state next door would be fine. You may obviously reply to me at
jkanyuck [at] harford.edu so we don't take up bandwidth here.

Jeff Kanyuck

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

Date: Wed, 27 Apr 2005 12:59:23 -0400
Subject: Posit mill
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE953D2B.6E8D%bpurdy [at] rochester.rr.com>

    Last week I had the show from hell. A local group did "Noises Off", and
the cast greatly resembled their characters. They fired their director two
weeks before opening and decided to  be "Self directed". No set designer or
any other production crew (Other than me - I come with the house, and had no
involvement until they moved in three days before opening).

    Rather than go on and on with the various problems involved, let me get
to my question:

    The "show within a show" is set- according to the script - in a "16th
century Posit mill". No one knew (or seemed to care) what the heck a "Posit
mill" was - just some kind of mill. I am of a curious bent, and would like
to better understand.

    My desk top copy of the OED only lists two definitions of "Posit" - ones
I already knew. "1] Assume as a fact, postulate. 2] Put in place or
position."

    I might "posit" that it was an old building that they were assuming, or
positing, to have been a mill. If this is in fact what the script meant, it
would greatly affect how the line should have been delivered. (Not that it
would have saved this show!)

    Does anyone else have any insight as to what else a "Posit mill" might
be?

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Wed, 27 Apr 2005 13:10:57 -0400
Subject: Re: Confetti cannons
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE953FE0.6E91%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22060585 [at] prxy.net>

> Someone please point me to the archive or send me email on how
> they've made their version of the confetti cannon.

    I had a show come through a couple of years ago with a couple home made
confetti canons, and I took mental note in case I might want to try it some
day.

    Each was made from a portable air tank (Which they filled from a
compressor as needed between shows). From the output there was a short pipe
leading to a large valve. After that came another pipe about 30" long and of
a diameter to fit the confetti loads. This pipe was set at about a 45 degree
angle upwards. The entire setup was quite small and portable as well as
simple.

    The confetti loads were put into the pipe / barrel   and when the time
came, you just turned the handle on the valve, and the load shot out.
simple!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-Id: <6.2.0.14.0.20050427120856.01da8038 [at] mail.insightbb.com>
Date: Wed, 27 Apr 2005 12:12:57 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Posit mill
In-Reply-To: <list-22060830 [at] prxy.net>
References: <list-22060830 [at] prxy.net>

Typo for "Post Mill"?

By the way, if you put in "posit mill" to a google search, you get one return:
http://www.geocities.com/cupelix99/andrea/slide21.html

I wonder if she knows the secret?

Mike

At 11:59 AM 4/27/2005, Bruce Purdy wrote:
>     Does anyone else have any insight as to what else a "Posit mill" might
>be?


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

Date: Wed, 27 Apr 2005 13:19:59 -0400
From: "Steve B." <sbmtbike [at] optonline.net>
Subject: Re: Fix it places for equipment
Message-id: <001b01c54b4d$573f2c10$6701a8c0 [at] SBFF>
References: <list-22060679 [at] prxy.net>


----- Original Message ----- 
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>

>    I'm looking for reputable places for fixing intelligent lighting
> and audio amplifiers in the Maryland area.
> Even a state next door would be fine. You may obviously reply to me at
> jkanyuck [at] harford.edu so we don't take up bandwidth here.

Cannon Stage Lighting - Baltimore, might be one source. 
http://cannonstage.com/home.htm

Maryland Sound - also in Baltimore - http://www.marylandsound.com/

SB
Cannon Stage Lighting, Inc.
6707 Dogwood Road
Baltimore, MD  21207



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

Subject: RE: Posit mill
Date: Wed, 27 Apr 2005 10:23:31 -0700
Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF06F9664E [at] excuswa100.americas.unity>
From: "Cyr, Dale" <Dale.Cyr [at] getronics.com>

I wonder why a tv is on the set of a "18th century posit mill style
house"?

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mike
Brubaker
<snip>

By the way, if you put in "posit mill" to a google search, you get one
return:
http://www.geocities.com/cupelix99/andrea/slide21.html

I wonder if she knows the secret?

Mike

At 11:59 AM 4/27/2005, Bruce Purdy wrote:
>     Does anyone else have any insight as to what else a "Posit mill"
might
>be?


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

Message-ID: <426FCAC5.60102 [at] email.com>
Date: Wed, 27 Apr 2005 13:24:21 -0400
From: Sean L Culligan <slc193 [at] email.com>
Subject: Autocad 2004 or higher rendering references
References: <list-22053093 [at] prxy.net>
In-Reply-To: <list-22053093 [at] prxy.net>

Hello all,

I am wondering if anybody out there has an recommendations of reference 
materials (websites, books, etc.) for learning how to do renderings in 
Autocad? I know how to do them in Vectorworks but am looking to expand 
my knowledge into the realm of Autocad more for facility renderings. Of 
course I can find plenty listed online, but any opinions or 
recommendations from people who have used them would be great. Any 
thoughts? TIA.

Sean Culligan
Masters of Fine Arts Candidate '06
Technical Design and Production
203-500-6132
www.culligantheatrical.com



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

Subject: RE: Posit mill
Date: Wed, 27 Apr 2005 10:25:16 -0700
Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF06F96651 [at] excuswa100.americas.unity>
From: "Cyr, Dale" <Dale.Cyr [at] getronics.com>

Never mind.

The house is "18th century posit mill style house".

Not the set.

Sheesh!
(Some of us need more sleep and less caffine :)


By the way, if you put in "posit mill" to a google search, you get one
return:
http://www.geocities.com/cupelix99/andrea/slide21.html

I wonder if she knows the secret?

Mike

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

From: FrankWood95 [at] aol.com
Message-ID: <15b.5000296d.2fa12552 [at] aol.com>
Date: Wed, 27 Apr 2005 13:26:42 EDT
Subject: Re: Punctuation

In a message dated 27/04/05 01:24:39 GMT Daylight Time, 
jdurand [at] interstellar.com writes:

> And, of course, HTML by design ignores any number of spaces over one, so 
>  your nicely spaced message gets re-formatted for you.

 Well, good! The succeeding capital letter signals the start of a new 
sentence.

Frank Wood

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

Message-Id: <6.2.0.14.0.20050427122733.041e9eb8 [at] mail.insightbb.com>
Date: Wed, 27 Apr 2005 12:28:27 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Posit mill
In-Reply-To: <list-22061236 [at] prxy.net>
References: <list-22061236 [at] prxy.net>

I don't recall that the show itself is set in the 18th century, is 
it?  Just the house...

Mike

At 12:23 PM 4/27/2005, Cyr, Dale wrote:

>I wonder why a tv is on the set of a "18th century posit mill style
>house"?
>
>By the way, if you put in "posit mill" to a google search, you get one
>return:
>http://www.geocities.com/cupelix99/andrea/slide21.html


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

From: FrankWood95 [at] aol.com
Message-ID: <126.5bfcae44.2fa1261b [at] aol.com>
Date: Wed, 27 Apr 2005 13:30:03 EDT
Subject: Re: Punctuation

In a message dated 27/04/05 02:37:38 GMT Daylight Time, jonares [at] hevanet.com 
writes:

> So true... luckily, smart layout programs like Quark, Pagemaker, Freehand 
>  and the ilk recognize the 2-space rule, and if it approaches a margin, it 
>  adjust accordingly, and doesn't leave them in.

It's not a rule, at least, not one that I've ever heard of. It's a custom, 
and in my opinion, a bad one.


Frank Wood

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

Date: Wed, 27 Apr 2005 13:28:43 -0400
Subject: Re: Posit mill
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE95440B.512C%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-22061236 [at] prxy.net>

Why not, the play is not set in the 18th century.

Duh!

sjl

> From: "Cyr, Dale" <Dale.Cyr [at] getronics.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 27 Apr 2005 10:23:31 -0700
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Posit mill
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I wonder why a tv is on the set of a "18th century posit mill style
> house"?
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mike
> Brubaker
> <snip>
> 
> By the way, if you put in "posit mill" to a google search, you get one
> return:
> http://www.geocities.com/cupelix99/andrea/slide21.html
> 
> I wonder if she knows the secret?
> 
> Mike
> 
> At 11:59 AM 4/27/2005, Bruce Purdy wrote:
>> Does anyone else have any insight as to what else a "Posit mill"
> might
>> be?
> 
> 
> 


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

Subject: RE: Posit mill
Date: Wed, 27 Apr 2005 10:32:44 -0700
Message-ID: <555928311F8B2943B65FC7197942C3B7323A7B [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>


I believe it's actually a "posset" mill.

Noun: posset  p=F3sit
Sweet spiced hot milk curdled with ale or beer

-- r.

Randy Storms
rstorms [at] bham.wednet.edu
_____________________

    The "show within a show" is set- according to the script - in a =
"16th
century Posit mill". No one knew (or seemed to care) what the heck a =
"Posit
mill" was - just some kind of mill. I am of a curious bent, and would =
like
to better understand.



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

From: FrankWood95 [at] aol.com
Message-ID: <84.4466ffbf.2fa126ed [at] aol.com>
Date: Wed, 27 Apr 2005 13:33:33 EDT
Subject: Re: Problem with Lighting System

In a message dated 27/04/05 05:22:27 GMT Daylight Time, sdwheaton [at] fuse.net 
writes:

> Get a two-fer and a 500 watt instrument.
>  
>  Plug the 500 watts into one leg of the two-fer, and plug the 
>  two fer into the offending circuit.
>  
>  Meter the empty socket of the two-fer.
>  
>  It won't be anywhere near 110 volts.

That depends on what the dimmer is set at. And also on what the meter is 
measuring, and reporting.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <b8.71685db7.2fa12898 [at] aol.com>
Date: Wed, 27 Apr 2005 13:40:40 EDT
Subject: Re: Lighting Question

In a message dated 27/04/05 14:22:08 GMT Daylight Time, 
mconn [at] cumberlandcollege.edu writes:

> I have discovered it is difficult to get a sufficient amount of blacklight 
in 
> 
>  the past to make the paint effective.  So, here is my question, What if I 
>  took 2 of my strip lights and filled 2 banks with Blacklight spots?  A) 
> would 
>  it work? B) would it be an obscene waste of money? C) Other suggestions 
are 
>  welcome.

I have never had a problem. Two, at most four UV tubes will handle quite a 
large stage. Remember that the light is emitted by the paint.


Frank Wood

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

Date: Wed, 27 Apr 2005 13:46:08 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Fix it places for equipment
Message-id: <426FCFE0.E7E3481D [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-22060679 [at] prxy.net>

Jeffrey Kanyuck wrote:
> ---------------------------------------------------
> 
> Hello again everyone,
>     I'm looking for reputable places for fixing intelligent lighting
> and audio amplifiers in the Maryland area.
> Even a state next door would be fine. You may obviously reply to me at
> jkanyuck [at] harford.edu so we don't take up bandwidth here.
 

You can try PARLights in Frederick.  www.parlights.com  I've never had
them fix any equipment, but their support and service in other areas
has impressed me.

BSL Production (which used to be Baltimore Stage Lighting) had a good
rep when I used them a few years ago. (Six, which could be an eternity
in this business.)  www.bslproductions.com

Atmosphere (http://www.atmospherelighting.com/) is a good company but
I don't know if they do service.

Steve Litterst

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

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

From: FrankWood95 [at] aol.com
Message-ID: <8.675ad11f.2fa129e0 [at] aol.com>
Date: Wed, 27 Apr 2005 13:46:08 EDT
Subject: Re: Light lab activities?

In a message dated 27/04/05 15:02:29 GMT Daylight Time, slitterst [at] ithaca.edu 
writes:

> And I try to demonstrate how low light adversely effects color
>  vision.  This year the demonstration didn't work quite right, but
>  usually I can get the light levels just right so that everything is
>  visible, but colors become muddy.

It's what a well respected stage designer that I knew used to call "marmelade 
coloured lighting". I think that he was right.

If you want to make a colour statement, make it loudly.


Frank Wood

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

Message-ID: <426FCEDC.4020701 [at] northnet.net>
Date: Wed, 27 Apr 2005 12:41:48 -0500
From: Shawn Palmer <shawnp [at] northnet.net>
Subject: Re: Confetti cannons
References: <list-22061009 [at] prxy.net>
In-Reply-To: <list-22061009 [at] prxy.net>

Bruce Purdy wrote:

>     Each was made from a portable air tank (Which they filled from a
> compressor as needed between shows). From the output there was a short pipe
> leading to a large valve. After that came another pipe about 30" long and of
> a diameter to fit the confetti loads. This pipe was set at about a 45 degree
> angle upwards. The entire setup was quite small and portable as well as
> simple.
> 
>     The confetti loads were put into the pipe / barrel   and when the time
> came, you just turned the handle on the valve, and the load shot out.
> simple!
> 

I made about thirty of these with PVC... sort of like a spud gun.  I use 
24v sprinkler valves.  I've got two large ones with a portable air tank. 
  My smaller ones just use larger sections of PVC with a tire valve for 
the air chamber.  I am pretty sure I got the idea from Joe Dunfee, but I 
might be wrong...

Nope, it was him- go here:

http://home.paonline.com/joespuppets/5-airgun.htm

FWIW
Shawn Palmer
Neenah, WI
USA



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

Message-ID: <90d9c99805042710501e93e8e1 [at] mail.gmail.com>
Date: Wed, 27 Apr 2005 13:50:24 -0400
From: Scott Parker <scparker [at] gmail.com>
Reply-To: Scott Parker <scparker [at] gmail.com>
Subject: Re: Light lab activities?
In-Reply-To: <list-22059076 [at] prxy.net>
References: <list-22057601 [at] prxy.net> <list-22059076 [at] prxy.net>

Another saturation trick.

Place a red gel in a light you can easily reach. Aim it at a white
wall and have the class stare at it for a minute or more. Longer the
better. Pull the gel out very quickly. You'll "see" a greenish flash
before your brain adjusts back to the white wall.

On 4/27/05, Weston Wilkerson <weston_wilkerson [at] hotmail.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> Not really "Color Mixing" but another fun one is color saturation:--=20
Take care, Scott

Scott C. Parker

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

From: jeff.mabray [at] comcast.net
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 17:52:13 +0000
Message-Id: <042720051752.8730.426FD14D000344420000221A2207001641970E9D0D0E03D200000A06 [at] comcast.net>

Frank Wood wrote:

> I have never had a problem. Two, at most four UV tubes will handle quite a 
> large stage. Remember that the light is emitted by the paint.


Do you have to plug that paint in to get it to emit light?  Or does it just do it by magic?

Gee Frank, with as much of a stickler as you are for details and semantics, I would have thought you would have known better than to write something like that.  Paint will reflect light all day long, but never emit it.



> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 27/04/05 14:22:08 GMT Daylight Time, 
> mconn [at] cumberlandcollege.edu writes:
> 
> > I have discovered it is difficult to get a sufficient amount of blacklight 
> in 
> > 
> >  the past to make the paint effective.  So, here is my question, What if I 
> >  took 2 of my strip lights and filled 2 banks with Blacklight spots?  A) 
> > would 
> >  it work? B) would it be an obscene waste of money? C) Other suggestions 
> are 
> >  welcome.
> 
> I have never had a problem. Two, at most four UV tubes will handle quite a 
> large stage. Remember that the light is emitted by the paint.
> 
> 
> Frank Wood

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

In-Reply-To: <list-22061009 [at] prxy.net>
References: <list-22061009 [at] prxy.net>
Message-Id: <dbbd082b8dcb1bc6239e86dfb7e6ddf3 [at] andrewvance.com>
From: Andrew Vance <andrew [at] andrewvance.com>
Subject: Re: Confetti cannons
Date: Wed, 27 Apr 2005 12:52:51 -0500

On 27 Apr, 2005, at 12:10, Bruce Purdy wrote:

>     I had a show come through a couple of years ago with a couple home 
> made
> confetti canons, and I took mental note in case I might want to try it 
> some
> day.

Gee Bruce, that sounds a lot like the confetti cannons I've got sitting 
on my stage right now. : )

I was going to describe how they were made, but the link that Shawn 
posted is essentially the same as ours so I needn't go into it.  
They're wonderful little things, and durable.  We send them on the road 
with our tours every now and then, and they hold up just fine.

--

Sincerely,

Andrew Vance
Lighting Designer
www.andrewvance.com


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

Message-Id: <6.2.0.14.0.20050427130016.042444d0 [at] mail.insightbb.com>
Date: Wed, 27 Apr 2005 13:04:18 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Lighting Question
In-Reply-To: <list-22061983 [at] prxy.net>
References: <list-22061983 [at] prxy.net>

Doesn't it?  I thought that the way that fluorescent paint (and anything 
else that fluoresces, such as the phosphors on the inside of a fluorescent 
tube or the screen on a CRT) actually did emit light.  UV excites the 
surface, which then emits the light.  You certainly are not seeing 
reflected UV.  Human eyes cannot see in that end of the spectrum.  Ever see 
a fluorescent tube without the phosphor coating?  All you have is a 
barely-visible blueish arc from one end of the tube to the other.  It is 
the phosphors, excited by the UV, that emit visible light.

I believe that Frank is right.

Mike

At 12:52 PM 4/27/2005, jeff.mabray [at] comcast.net wrote:

>Do you have to plug that paint in to get it to emit light?  Or does it 
>just do it by magic?
>
>Gee Frank, with as much of a stickler as you are for details and 
>semantics, I would have thought you would have known better than to write 
>something like that.  Paint will reflect light all day long, but never emit it.


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

Message-ID: <00b601c54b53$a4100810$72504898 [at] GLOBAL.SCJ.LOC>
From: "Randy B." <rgbrzosk [at] usermail.com>
References: <list-22061983 [at] prxy.net>
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 13:05:04 -0500

Will in the case of 'Paint'  glowing under UV light,  light is not being
reflected but the compounds in the 'paint' are fluorescing.

Randy
----- Original Message ----- 
From: <jeff.mabray [at] comcast.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, April 27, 2005 12:52 PM
Subject: Re: Lighting Question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Frank Wood wrote:
>
> > I have never had a problem. Two, at most four UV tubes will handle quite
a
> > large stage. Remember that the light is emitted by the paint.
>
>
> Do you have to plug that paint in to get it to emit light?  Or does it
just do it by magic?
>
> Gee Frank, with as much of a stickler as you are for details and
semantics, I would have thought you would have known better than to write
something like that.  Paint will reflect light all day long, but never emit
it.
>
>
>
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > In a message dated 27/04/05 14:22:08 GMT Daylight Time,
> > mconn [at] cumberlandcollege.edu writes:
> >
> > > I have discovered it is difficult to get a sufficient amount of
blacklight
> > in
> > >
> > >  the past to make the paint effective.  So, here is my question, What
if I
> > >  took 2 of my strip lights and filled 2 banks with Blacklight spots?
A)
> > > would
> > >  it work? B) would it be an obscene waste of money? C) Other
suggestions
> > are
> > >  welcome.
> >
> > I have never had a problem. Two, at most four UV tubes will handle quite
a
> > large stage. Remember that the light is emitted by the paint.
> >
> >
> > Frank Wood
>


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

In-Reply-To: <list-22061814 [at] prxy.net>
References: <list-22060679 [at] prxy.net> <list-22061814 [at] prxy.net>
Message-Id: <61330c7efa2cf80bc296be67907e4a73 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Drape hampers
Date: Wed, 27 Apr 2005 11:06:47 -0700

We need to store our drapes for the summer  (new floor being installed) 
  and I thought this would be a good excuse to buy hampers for our 
goods.   I was thinking a couple of 20 bu,  and a couple of smaller 
ones.  Anyone have a good place to get them,  It is Arizona, but they 
should always be in climate controlled rooms. (music building).  I was 
also thinking fabric hampers, but I welcome all opinions.


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile



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

Message-Id: <s26f8e46.018 [at] isugw.indstate.edu>
Date: Wed, 27 Apr 2005 13:05:59 -0500
From: "Ann Warren" <thwarren [at] isugw.indstate.edu>
Subject: bubbles

Hey Folks,

Thought I would follow up on the tub o' bubbles question that I posed
several weeks ago.  The problem was to send a tub full of bubbles out on
stage.  The bubbles needed to conceal the body of the actor in the tub
and to last the entire scene.  Based on suggestions from the fine folks
here on the list, (Many Thanks Indeed!) here is what we did.

Into our 110 gallon tub we placed 4 gallons of water, 1 cup of Dawn
dish detergent and 4 ounces of glycerine.  This mixture was whipped into
a very dense foam with the use of a corded drill (cordless just won't
get the job done) outfitted with a paint mixing attachment.  We were
able to whip the foam to within 4-6 inches of the rim of the tub.   Next
the actor slid into the tub and underneath the bubbles.  We then placed
a bucket of warm water next to the actor and covered it over with foam. 
This gave a resivoir of water from which a second actor could bathe the
first and look like the tub was full of water.  Once the actor and
bucket where in place we handed the actor in the tub an airhose with a
nozzle at the end and he blew big bubbles in the foam.  The big bubbles
did not last as long as the little ones but they offered a nice contrast
to the foam and helped establish the look.  When the tub moved the four
gallons of water that we started out with would slosh on the bottom of
the tub, moving the suds and added to the effect that the tub was full
of water.

Thanks again for everyone's input and help in making this a successful
and easy effect.

Ann Warren
Scenic Studio Supervisor
Indiana State University 
Theater Department


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

From: FrankWood95 [at] aol.com
Message-ID: <7b.441d084f.2fa12f16 [at] aol.com>
Date: Wed, 27 Apr 2005 14:08:22 EDT
Subject: Re: commas

In a message dated 27/04/05 16:06:45 GMT Daylight Time, kruling [at] esta.org 
writes:

> > I always apply commas as breath pauses. Imagine that you are reading
>  > it aloud. When a breath is appropriate, and with due consideration to
>  > the context, stick one in.
>  > 
>  
>  That is EXACTLY what I have heard writing teachers rail against.

I believe that they are wrong.
>  
>  A comma is to divide a sentence into clauses to help make the 
>  structure of the sentence clear. 

Imagine yourself reading aloud what you have written, so that your audience 
may understand it. All punctuation marks indicate is breaks in the flow of the 
text, apart from apostrophes and inverted commas. So with the written text.

It is not to give you places to take 
>  a breath. If it were, we'd have special punctuation for asthmatics, 
>  opera singers, et cetera. Take a breath when you need to; don't pull 
>  out your pen and stick in a comma so you have permission to breathe.

This is rubbish. Asthmatics I don't know about. Opera singers, and composers 
too, plan their breathing pauses meticulously. So, for that matter, do wind 
instrument players.



Frank Wood

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

From: jeff.mabray [at] comcast.net
Subject: Re: Lighting Question
Date: Wed, 27 Apr 2005 18:08:55 +0000
Message-Id: <042720051808.17844.426FD53700020776000045B42207002953970E9D0D0E03D200000A06 [at] comcast.net>

Good Point.  I stand corrected.


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Doesn't it?  I thought that the way that fluorescent paint (and anything 
> else that fluoresces, such as the phosphors on the inside of a fluorescent 
> tube or the screen on a CRT) actually did emit light.  UV excites the 
> surface, which then emits the light.  You certainly are not seeing 
> reflected UV.  Human eyes cannot see in that end of the spectrum.  Ever see 
> a fluorescent tube without the phosphor coating?  All you have is a 
> barely-visible blueish arc from one end of the tube to the other.  It is 
> the phosphors, excited by the UV, that emit visible light.
> 
> I believe that Frank is right.
> 
> Mike
> 
> At 12:52 PM 4/27/2005, jeff.mabray [at] comcast.net wrote:
> 
> >Do you have to plug that paint in to get it to emit light?  Or does it 
> >just do it by magic?
> >
> >Gee Frank, with as much of a stickler as you are for details and 
> >semantics, I would have thought you would have known better than to write 
> >something like that.  Paint will reflect light all day long, but never emit it.
> 

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

Date: Wed, 27 Apr 2005 14:16:50 -0400
Subject: Re: commas
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE954F52.6F93%bill [at] sapsis-rigging.com>
In-Reply-To: <list-22062325 [at] prxy.net>

on 4/27/05 2:08 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote:

> This is rubbish. Asthmatics I don't know about. Opera singers, and composers
> too, plan their breathing pauses meticulously. So, for that matter, do wind
> instrument players.


uh, oh. (breath).  Don't look now, Frank, (breath) but I think you just
stepped in it.
(breath)

Bill S.

www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

Please support the Long Reach Long Riders on their 2nd annual benefit ride
http://sapsis-rigging.com/LRLR.html



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

From: FrankWood95 [at] aol.com
Message-ID: <82.26fd9f81.2fa13135 [at] aol.com>
Date: Wed, 27 Apr 2005 14:17:25 EDT
Subject: Re: Posit mill

I rather thnk it's a 'Post Mill' This is a windmill which stands on a post, 
and the whole body of the3 mill turns to face the wind. 

Frank Wood

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

Message-ID: <426FD7D1.8A6FCD64 [at] cybercom.net>
Date: Wed, 27 Apr 2005 14:20:01 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: commas
References: <list-22062325 [at] prxy.net>



FrankWood95 [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> In a message dated 27/04/05 16:06:45 GMT Daylight Time, kruling [at] esta.org
> writes:
>
> > > I always apply commas as breath pauses. Imagine that you are reading
> >  > it aloud. When a breath is appropriate, and with due consideration to
> >  > the context, stick one in.
> >  >
> >
> >  That is EXACTLY what I have heard writing teachers rail against.
>
> I believe that they are wrong.
> >
> >  A comma is to divide a sentence into clauses to help make the
> >  structure of the sentence clear.
>
> Imagine yourself reading aloud what you have written, so that your audience
> may understand it. All punctuation marks indicate is breaks in the flow of the
> text, apart from apostrophes and inverted commas. So with the written text.
>
> It is not to give you places to take
> >  a breath. If it were, we'd have special punctuation for asthmatics,
> >  opera singers, et cetera. Take a breath when you need to; don't pull
> >  out your pen and stick in a comma so you have permission to breathe.
>
> This is rubbish. Asthmatics I don't know about. Opera singers, and composers
> too, plan their breathing pauses meticulously. So, for that matter, do wind
> instrument players.
>
> Frank Wood

    If you are writing a speech, then Frank's approach is correct.  If you are
writing for a written document, then Frank's approach is incorrect.  There
are also different customs WRT comma use on the other side of the pond.
I'll not get into the persnicketyness of punctuation in legal documents, let
alone punctuation in programming languages.  Context matters.

    --Dale



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

Message-Id: <s26f9fd2.087 [at] ADM4.Harford.edu>
Date: Wed, 27 Apr 2005 14:20:59 -0400
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
Subject: Re: Lighting Question

Doesn't this depend on the "flourescent" paint being used? 
I know some of it is standard paint in fantastic bright colors that
simply reflects light as you said, but, doesn't some of it actually have
phosphorus in it? In which case it does emit light as UV light hits it
and excites it to a state to let loose photons or electrons? It's been a
while since I've had to think of it.. but,.. my penny.
Jeff Kanyuck

>>> jeff.mabray [at] comcast.net 4/27/2005 1:52 PM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

Frank Wood wrote:

> I have never had a problem. Two, at most four UV tubes will handle
quite a 
> large stage. Remember that the light is emitted by the paint.


Do you have to plug that paint in to get it to emit light?  Or does it
just do it by magic?

Gee Frank, with as much of a stickler as you are for details and
semantics, I would have thought you would have known better than to
write something like that.  Paint will reflect light all day long, but
never emit it.



> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 27/04/05 14:22:08 GMT Daylight Time, 
> mconn [at] cumberlandcollege.edu writes:
> 
> > I have discovered it is difficult to get a sufficient amount of
blacklight 
> in 
> > 
> >  the past to make the paint effective.  So, here is my question,
What if I 
> >  took 2 of my strip lights and filled 2 banks with Blacklight
spots?  A) 
> > would 
> >  it work? B) would it be an obscene waste of money? C) Other
suggestions 
> are 
> >  welcome.
> 
> I have never had a problem. Two, at most four UV tubes will handle
quite a 
> large stage. Remember that the light is emitted by the paint.
> 
> 
> Frank Wood

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

Message-ID: <426FD979.8080905 [at] midmaine.com>
Date: Wed, 27 Apr 2005 14:27:05 -0400
From: Jeffrey Ferrell <jeffclef [at] midmaine.com>
Subject: snow
References: <list-22062431 [at] prxy.net>
In-Reply-To: <list-22062431 [at] prxy.net>

Hi,
I'm fairly new to the list, and am really enjoying the education.  I 
have a question about snow machines, and their suitability for use on 
vinal dance floors.  (see...I've already learned not to call it marley)  
:)  Are there any options out there that don't throw dancers into fits, 
due to their stickniess or slipperiness.  Also, are they hard on the 
dance floor its self?  Our current production of The Nutcracker (I can 
hear the collelctive groans coming through my terminal now), uses 1/4'' 
plastic snow flakes, but only far up and down stage, and I would love to 
have a more prolonged and spread out effect for the entire sequence.  
Would any of the little blizzard-type machines be appropritate for ballet?


Thanks,
Jeff Ferrell
TD- Robinson Ballet Company



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

From: FrankWood95 [at] aol.com
Message-ID: <7a.724f7263.2fa1337f [at] aol.com>
Date: Wed, 27 Apr 2005 14:27:11 EDT
Subject: Re: Lighting Question

In a message dated 27/04/05 18:53:10 GMT Daylight Time, 
jeff.mabray [at] comcast.net writes:

> Do you have to plug that paint in to get it to emit light?  Or does it just 
> do it by magic?
>  
>  Gee Frank, with as much of a stickler as you are for details and 
semantics, 
> I would have thought you would have known better than to write something 
like 
> that.  Paint will reflect light all day long, but never emit it.

Wrong, wrong, wrong. Fluorescent paints will emit light according to their 
properties, and to their irradiation., They do not reflect light, they emit it.


Frank Wood

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

Message-ID: <426FDA14.5050603 [at] fredonia.edu>
Date: Wed, 27 Apr 2005 14:29:40 -0400
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Drape hampers
References: <list-22060679 [at] prxy.net> <list-22061814 [at] prxy.net> <list-22062286 [at] prxy.net>

When we got our new drapes from Rose Brand, we specced 24 bu hampers. 
They are very nice, well made and hold a lot of goods but don't go 
through standard doors.  You need about 40 inches for this size hamper. 
  Measure doors before ordering.  We store in the understage area 
accessed by the orch. pit or in an area accessed by double doors with no 
center post so size is not an issue.  Best,
Steve Rees..

Mark O'Brien wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> We need to store our drapes for the summer  (new floor being installed) 
>  and I thought this would be a good excuse to buy hampers for our 
> goods.   I was thinking a couple of 20 bu,  and a couple of smaller 
> ones.  Anyone have a good place to get them,  It is Arizona, but they 
> should always be in climate controlled rooms. (music building).  I was 
> also thinking fabric hampers, but I welcome all opinions.
> 
> 
> Mark O'Brien
> Opera Technical Director
> University of Arizona, School of Music
> Tucson, AZ
> 520/621-7025
> 520/591-1803 Mobile
> 



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

Message-ID: <426FDB2B.96C46C86 [at] cybercom.net>
Date: Wed, 27 Apr 2005 14:34:20 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: Confetti cannons
References: <list-22061009 [at] prxy.net> <list-22061848 [at] prxy.net>



Shawn Palmer wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Bruce Purdy wrote:
>
> >     Each was made from a portable air tank (Which they filled from a
> > compressor as needed between shows). From the output there was a short pipe
> > leading to a large valve. After that came another pipe about 30" long and of
> > a diameter to fit the confetti loads. This pipe was set at about a 45 degree
> > angle upwards. The entire setup was quite small and portable as well as
> > simple.
> >
> >     The confetti loads were put into the pipe / barrel   and when the time
> > came, you just turned the handle on the valve, and the load shot out.
> > simple!
> >
>
> I made about thirty of these with PVC... sort of like a spud gun.  I use
> 24v sprinkler valves.  I've got two large ones with a portable air tank.
>   My smaller ones just use larger sections of PVC with a tire valve for
> the air chamber.  I am pretty sure I got the idea from Joe Dunfee, but I
> might be wrong...
>
> Nope, it was him- go here:
>
> http://home.paonline.com/joespuppets/5-airgun.htm
>
> FWIW
> Shawn Palmer
> Neenah, WI
> USA

  The only thing I'd change about this is to change the pressure
side of the system to metal pipe and add a pressure relief
valve.  Acquaintance of mine saw a PVC compressed air
pipe shatter once. It was over pressured by a defective regulator.
The shreds of plastic pipe did considerable damage to the area.
Fortunately nobody was at that end of the shop when it blew.

    --Dale


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

From: FrankWood95 [at] aol.com
Message-ID: <a3.728385bb.2fa1359c [at] aol.com>
Date: Wed, 27 Apr 2005 14:36:12 EDT
Subject: Re: commas

In a message dated 27/04/05 19:13:54 GMT Daylight Time, 
bill [at] sapsis-rigging.com writes:

> uh, oh. (breath).  Don't look now, Frank, (breath) but I think you just
>  stepped in it.

 Why? Both singers and readers need opportunities to draw breath. Commas, and 
other puncvuation, allow opportunities.

Frank Wood

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

Date: Wed, 27 Apr 2005 14:35:03 -0400
Subject: Re: Lighting Question
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE955397.5149%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-22062726 [at] prxy.net>

Don't you mean phosphorescent?

Steve

> From: FrankWood95 [at] aol.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 27 Apr 2005 14:27:11 EDT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Lighting Question
> 

> Wrong, wrong, wrong. Fluorescent paints will emit light according to their
> properties, and to their irradiation., They do not reflect light, they emit
> it.
> 
> 
> Frank Wood
> 
> 


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

Date: Wed, 27 Apr 2005 14:40:07 -0400
Subject: Re: Confetti cannons
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE9554C6.6EA6%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22061848 [at] prxy.net>

> My smaller ones just use larger sections of PVC with a tire valve for
> the air chamber.  I am pretty sure I got the idea from Joe Dunfee, but I
> might be wrong...
> 
> Nope, it was him- go here:
> 
> http://home.paonline.com/joespuppets/5-airgun.htm

Cool! Thanks for the (Now bookmarked) Website!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-ID: <426FDE83.3065CDF5 [at] cybercom.net>
Date: Wed, 27 Apr 2005 14:48:35 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: Light lab activities?
References: <list-22057601 [at] prxy.net>



"Storms, Randy" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hey all.  I'm going to attempt to demonstrate color mixing for an introductory stagecraft class tomorrow.  This has never been my strong suit - can anyone suggest some "gee-whiz" activities/experiments to try with a simple light lab setup?
>

    Get some swatches of cloth from the costumers.  Bigish ones
that someone can drape around their body.  Ones in strong primary
colors, and muted tones.  Interesting patterns as well, and at least
one that is covered with sparklies.   Have students go up and pose
with these swatches in the various lights.  Also have students with
different skin colors up there and observe how different skin tones
react differently.  If you have a backlight in the lab, demonstrate
this with someone who has an extravagant hairdo, and simulate
a translucent dress with a swatch of gauzy stuff. Creative use
of shadows is also fun.  Silhouette with just a cyc wash.


    --Dale



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

Subject: RE: Drape hampers
Date: Wed, 27 Apr 2005 13:49:27 -0500
Message-ID: <EA9B1801BA3A584887D7D4AB70DC30B0059EC3CA [at] athena.graceland.edu>
From: "Curt Mortimore" <cmortimo [at] graceland.edu>

Mark,

In my opinion canvas commercial drape hampers are the way to go! Though
I have seen various shop-built plywood and 1x4 "road boxes" used as
well. Which you use is personal preference.

Hampers are expensive. If you decide to go the canvas hamper route try
industrial surplus dealers in your area. I bought four 16 sixteen bushel
hampers for $20 each. Shipping cost me close to $100 but still I have
four hampers for less than the price of one new one. The company I
bought them from, HGR in Euclid, OH,
http://www.hgrindustrialsurplus.com/  had a couple hundred of them at
the time but I am not finding any on their website currently, might be
good to call them.

As far as size goes, I really like the 16 bushel size as they go through
doors easily. We have one 20 bushel that only goes through double doors.

Hope that helps!

Curtis L. Mortimore

Graceland University

1 University Place

Lamoni, IA 50140



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

Date: Wed, 27 Apr 2005 14:53:32 -0400 (EDT)
From: Todd Lipcon <tlipcon [at] mercea.net>
Subject: Works for black box
Message-ID: <20050427144557.B70930 [at] mercea.mercea.net>

Hi all,

I work in a 35x55 black box theater that currently has Sodium work lights. 
These lights are starting to buzz ridiculously loudly, and also have 
really terrible color rendering properties. Most set painting for our 
shows happens in the space itself under worklights, and set designers have 
had a hard time mixing and judging their paint under the light.

So, we're starting to look into replacement options.

What are other people using for applications like this? Here are some of 
our criteria:

- Quick start preferred
 	- The sodiums take a good 4 minutes to warm up, which is annoying

- Color rendering
 	- Like I said, we'd like better color rendering. Maybe CRI 85+?
 	- Color temperature around 3200K is probably a little better than 
something up near 6500K so that designers get a sense of what stuff looks 
like under stage lights, but this probably isn't a huge deal if the CRI is 
good to begin with.

- Long lamp life
 	- The fixtures are about 18' in the air (2' above our non-walkable 
pipe grid) so not very easy to access

- Brightness
 	- Our shop is small and we don't have big loading doors, so a lot 
of set construction happens in the space itself
 	- It's a black box, so it obviously eats up light easily.

- Quiet
 	- No buzzing!!

- Price
 	- Not a super-huge concern, but cheaper is always better, since we 
have to apply for funding for this.


Thanks
-Todd

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

Message-ID: <426FEFBC.5070602 [at] post.tau.ac.il>
Date: Wed, 27 Apr 2005 22:02:04 +0200
From: Judy <kupfer [at] post.tau.ac.il>
Subject: statistics on theater at university

Hi list,

My university is talking seriously about closing down the theater 
department, or anyway the practical part of it (acting, design, 
directing). They say it's not lucrative, that is, you can't have classes 
of 70 or 100 people, and anyway they think anything that isn't high-tech 
or business and economics or prestigious scientific research isn't worth 
much. We've started a group to try and fight this, and I'm looking for 
some kind of documentation or statistics about theater departments in 
American universities that might help us in explaining why they 
shouldn't close us down. I don't really know what kind of statistics 
would help, but anything that sounds like it's backed up with solid data 
might be useful (for instance, the percentage of students studying 
theater in American universities, the percentage of universities with 
theater departments, stuff like that). If any of you know where I can 
find this kind of thing, or have any ideas of your own, please get in 
touch as soon as you can.

It would be a real shame if they closed us down - nearly all the good 
designers and directors and playwrights in the country have come out of 
our department. It's the only place in the whole country where you can 
get methodical and academic preparation for a design career.  The 
trouble here is that financial and political pressure is being exerted 
on the universities to cut down, and theater is the first thing they see 
as unnecessary. Any help would be really appreciated. I'm afraid 
arguments as to why culture is important wouldn't be very useful (we've 
tried those) but numbers might help.
Judy

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

In-Reply-To: <list-22062771 [at] prxy.net>
References: <list-22060679 [at] prxy.net> <list-22061814 [at] prxy.net> <list-22062286 [at] prxy.net> <list-22062771 [at] prxy.net>
Message-Id: <62bdc406513d544fc737b2a7d305bb98 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Drape hampers
Date: Wed, 27 Apr 2005 12:18:37 -0700

I thought about that... a 20 will fit through the doors, barely.  But, 
like you, that is (most of the time) not an issue.


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Apr 27, 2005, at 11:29 AM, Stephen E. Rees wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> When we got our new drapes from Rose Brand, we specced 24 bu hampers. 
> They are very nice, well made and hold a lot of goods but don't go 
> through standard doors.  You need about 40 inches for this size 
> hamper.  Measure doors before ordering.  We store in the understage 
> area accessed by the orch. pit or in an area accessed by double doors 
> with no center post so size is not an issue.  Best,
> Steve Rees..
>
> Mark O'Brien wrote:
>> For info, archives & UNSUBSCRIBE, see 
>> <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> We need to store our drapes for the summer  (new floor being 
>> installed)  and I thought this would be a good excuse to buy hampers 
>> for our goods.   I was thinking a couple of 20 bu,  and a couple of 
>> smaller ones.  Anyone have a good place to get them,  It is Arizona, 
>> but they should always be in climate controlled rooms. (music 
>> building).  I was also thinking fabric hampers, but I welcome all 
>> opinions.
>> Mark O'Brien
>> Opera Technical Director
>> University of Arizona, School of Music
>> Tucson, AZ
>> 520/621-7025
>> 520/591-1803 Mobile
>
>


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

Date: Wed, 27 Apr 2005 15:20:24 -0400
Subject: Re: Works for black box
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE955E38.6EC5%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22063102 [at] prxy.net>

> I work in a 35x55 black box theater that currently has Sodium work lights.
> These lights are starting to buzz ridiculously loudly, and also have
> really terrible color rendering properties. Most set painting for our
> shows happens in the space itself under worklights, and set designers have
> had a hard time mixing and judging their paint under the light.
> 
> So, we're starting to look into replacement options.

    Worklights on our stage (About that same size) are four 14" scoops with
500w lamps. They are mounted on the electrics. Works well for us, except
when I need to use them on my cyc - (God how I want proper cyc lights!).
Then I substitute 500w quartz units from home despot, and they do not work
nearly as well.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House


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

Reply-To: <stagecraft [at] theatrewireless.com>
From: "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
Subject: RE: statistics on theater at university
Date: Wed, 27 Apr 2005 15:23:20 -0400
Organization: Home of the RC4 Wireless Dimmer System
In-Reply-To: <list-22063215 [at] prxy.net>
Message-Id: <20050427192327.JYJR26128.tomts5-srv.bellnexxia.net [at] p3m866>

> It would be a real shame if they closed us down - nearly all 
> the good designers and directors and playwrights in the 
> country have come out of our department. It's the only place 
> in the whole country where you can get methodical and 
> academic preparation for a design career.

Perhaps you can get a coalition of these fine people to speak up?  Some of
them may have gained some political clout.  The somewhat abstract "value of
culture" may not be turning anyone's crank, but these people and their
accomplishments are part of your university's collective Curriculum Vitae.
It's plain, crass, marketing value for your school -- perhaps that's the
right wavelength to be on.

I hate to see arts programs close.  My dad, a prof at Ryerson in Toronto,
faced this kind of thing throughout his career.  Put up a good fight -- it's
worth it.

Jim
www.theatrewireless.com



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

In-Reply-To: <list-22062936 [at] prxy.net>
References: <list-22062936 [at] prxy.net>
Message-Id: <05596c3138c124ba95191e432e304b6b [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Confetti cannons
Date: Wed, 27 Apr 2005 12:24:09 -0700

For the pressurized side, I would stay away from any plastic.  PVC will 
expand under pressure, and then not fully go back to the original 
shape. The next time it expands some more, and does not come back. 
UNTIL it has reached it's limit. Then it explodes into nasty shrapnel.  
NOT GOOD...    I would feel safe using it on the non pressurized side.  
ABS does not have these properties as much, but why not just go with 
steel?

Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Apr 27, 2005, at 11:40 AM, Bruce Purdy wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>> My smaller ones just use larger sections of PVC with a tire valve for
>> the air chamber.  I am pretty sure I got the idea from Joe Dunfee, 
>> but I
>> might be wrong...
>>
>> Nope, it was him- go here:
>>
>> http://home.paonline.com/joespuppets/5-airgun.htms
>
> Cool! Thanks for the (Now bookmarked) Website!
>
> Bruce
> -- 
> Bruce Purdy
> Technical Director
> Smith Opera House
>
>


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

Subject: Re: Punctuation
Message-ID: <OFBC965C68.2213EFBF-ON85256FF0.006ADB73-85256FF0.006B08D8 [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Wed, 27 Apr 2005 15:29:06 -0400


 Has anyone read 'Eats, Shoots & Leaves' by Lynne Truss. Never thought I'd
enjoy a book about grammar but it's a fun read.

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

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



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

Message-ID: <a34e6f5a0504271229275b0c15 [at] mail.gmail.com>
Date: Wed, 27 Apr 2005 15:29:34 -0400
From: Jonathan Wills <jbwills [at] gmail.com>
Reply-To: Jonathan Wills <jbwills [at] gmail.com>
Subject: Re: snow
In-Reply-To: <list-22062709 [at] prxy.net>
References: <list-22062431 [at] prxy.net> <list-22062709 [at] prxy.net>

Jeff,

I have used the CITC Little Blizzard SP with dancers using the Dry 100
fluid and have not had any complaints yet about it. I suspend it from
a fly about 15-20' up and by the time it gets to the floor there is
minimal snow residue left. There is a fluid drier than the Dry 100 but
I have had good success with the Dry 100 so far.

The fluid also leaves little residue so I have also not had any
problems with damage to the dance floor. A simple mopping of the floor
has cleaned up the what little residue was left.

Thank you,

Jonathan Wills
Wills Lighting & Stage
www.WillsLighting.com
Toll Free: 866-909-4557

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

Message-ID: <426FE81D.4020605 [at] fredonia.edu>
Date: Wed, 27 Apr 2005 15:29:33 -0400
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Works for black box
References: <list-22063102 [at] prxy.net>

Todd,
Type MVR250/SP30/U into Google.  This will lead you to a cut sheet of 
this HID lamp which has a CRI of 70 and a color temperature of 3450.  We 
use the MVR 400 in our scene shop. Only difference is my ceiling is 30 
feet tall.  Lower wattage might be OK for you.
The CRI is a bit low but these are quiet and cost effective and the 
designers see lttle difference between shop look color and that same 
color on stage.  Yes, there is a subtle difference but it is much better 
than other options we seen.
Best,
Steve Rees, TD
SUNY-Fredonia

Todd Lipcon wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi all,
> 
> I work in a 35x55 black box theater that currently has Sodium work 
> lights.[snip]


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

Message-Id: <6.2.1.2.0.20050427115806.00b17420 [at] localhost>
Date: Wed, 27 Apr 2005 12:00:51 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Punctuation
In-Reply-To: <list-22053274 [at] prxy.net>
References: <list-22025937 [at] prxy.net>
 <list-22033351 [at] prxy.net>
 <list-22045164 [at] prxy.net>
 <list-22046195 [at] prxy.net>
 <list-22053274 [at] prxy.net>

At 03:13 AM 4/27/2005, you wrote:
>Yes, and if you want to use a nice smart word processor that is fully 
>compatible with Word's doc files (and many others) download OpenOffice 
>from www.openoffice.org onto your Windows, Mac, Linux, Unix or Sun 
>computer and use all the other great apps that come along with it, too!

I've started using NeoOffice and it seems to work nicely, but VERRRRY slow 
(on Mac mini, 512MB RAM, OS X 10.3.9 SERVER).  I tried Open Office but it 
currently only runs under X-windows and the screen fonts are almost 
unreadable.  Am I doing something wrong or do I have to wait for the next 
update?

As for Skype, I've downloaded it but have to get a headset or handset to 
use it with.


----------
Jerry Durand
Durand Interstellar, Inc.
219 Oak Wood Way
Los Gatos, California 95032-2523  USA
tel:  +1 408 356-3886
USA toll free:  1 866 356-3886
fax:  +1 408 356-4659
web:  www.interstellar.com



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

Message-Id: <6.2.1.2.0.20050427121125.03a3d2a0 [at] localhost>
Date: Wed, 27 Apr 2005 12:18:29 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Confetti cannons
In-Reply-To: <list-22061848 [at] prxy.net>
References: <list-22061009 [at] prxy.net>
 <list-22061848 [at] prxy.net>

At 10:41 AM 4/27/2005, you wrote:
>I made about thirty of these with PVC... sort of like a spud gun.  I use 
>24v sprinkler valves.  I've got two large ones with a portable air 
>tank.  My smaller ones just use larger sections of PVC with a tire valve 
>for the air chamber.  I am pretty sure I got the idea from Joe Dunfee, but 
>I might be wrong...

I made one of these for a show, be careful, a door at the end of a long 
hall now has a hole in it.  And the canon wasn't even charged to full power.

I used a 5 foot 1" PVC pipe filled with commercial fire-retardant streamers 
and the large confetti with a tissue wad at the bottom.  That screwed into 
a 1" lawn sprinkler valve (we had several barrels pre-loaded and just 
swapped them during the show).  For a storage tank I used 2" PVC cut so it 
held twice the volume of the 1" pipe.  I added a standard automotive tire 
valve (Schrader Valve) in one end cap and made a reducer for the other end 
to go to the valve.

I had to convince the management that it wasn't pyro, they said it had too 
much power for "just" air.  This was for a very tall venue so I was trying 
for all the lift I could get.

Also mind the recoil, we damaged it at one point when it hit a support 
behind it.


----------
Jerry Durand
Durand Interstellar, Inc.
219 Oak Wood Way
Los Gatos, California 95032-2523  USA
tel:  +1 408 356-3886
USA toll free:  1 866 356-3886
fax:  +1 408 356-4659
web:  www.interstellar.com



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

Subject: Re: Dance floor replacement
Message-ID: <OF0C8B4068.03CF5849-ON85256FF0.006B2D1F-85256FF0.006B56DD [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Wed, 27 Apr 2005 15:32:26 -0400


Keith wrote: "I love that, , , "equally unhappy"    can I use that ? (snip)

Keith - thought I'd worn the phrase out but you're welcome to it. Alas - so
many solutions seem to work out that way.


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

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



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

Date: Wed, 27 Apr 2005 15:30:52 -0400
Subject: Re: statistics on theater at university
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE9560AC.5155%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-22063215 [at] prxy.net>

Which university are you talking about.  I taught for
27 years at the university level.  Our Into to Theatre
classes might have as many as 120 students.  This is
the bread and butter that allows design classes of 10
or acting classes of 15.  Show them overall numbers,
not specifics of each class.

When you say nearly all the good designers, directors,
and playwrights came out of your department, you are
making a mighty big statement as to why the department
should continue to exist.  Why are they not standing up for
you now?

You are also putting down an awful lot of good schools,
if the best came from your school.

Steve

> From: Judy <kupfer [at] post.tau.ac.il>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 27 Apr 2005 22:02:04 +0200
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: statistics on theater at university
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi list,
> 
> My university is talking seriously about closing down the theater
> department, or anyway the practical part of it (acting, design,
> directing). They say it's not lucrative, that is, you can't have classes
> of 70 or 100 people, and anyway they think anything that isn't high-tech
> or business and economics or prestigious scientific research isn't worth
> much. We've started a group to try and fight this, and I'm looking for
> some kind of documentation or statistics about theater departments in
> American universities that might help us in explaining why they
> shouldn't close us down. I don't really know what kind of statistics
> would help, but anything that sounds like it's backed up with solid data
> might be useful (for instance, the percentage of students studying
> theater in American universities, the percentage of universities with
> theater departments, stuff like that). If any of you know where I can
> find this kind of thing, or have any ideas of your own, please get in
> touch as soon as you can.
> 
> It would be a real shame if they closed us down - nearly all the good
> designers and directors and playwrights in the country have come out of
> our department. It's the only place in the whole country where you can
> get methodical and academic preparation for a design career.  The
> trouble here is that financial and political pressure is being exerted
> on the universities to cut down, and theater is the first thing they see
> as unnecessary. Any help would be really appreciated. I'm afraid
> arguments as to why culture is important wouldn't be very useful (we've
> tried those) but numbers might help.
> Judy
> 
> 


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

Subject: Re: Dance Floor Replacement
Message-ID: <OFBED4F3B3.6A167407-ON85256FF0.006B6013-85256FF0.006C05A8 [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Wed, 27 Apr 2005 15:39:53 -0400


Eons ago when we first started seeing 'Marley' floors (sorry Don) I recall
someone telling me it all came from one factory in Germany. I'm sure
there's lots of manufacturers now but I'm curious how different the high
priced stuff we buy is from the vinyl roof over my auditorium and the vinyl
sides and bottom on my buddy Gator's swimming pool? It sure looks the same.

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

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



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

Message-Id: <p05210602be959a403919 [at] [132.236.252.58]>
In-Reply-To: <list-22063575 [at] prxy.net>
References: <list-22062936 [at] prxy.net> <list-22063575 [at] prxy.net>
Date: Wed, 27 Apr 2005 14:41:57 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Confetti cannons

>
>
>For the pressurized side, I would stay away from any plastic.




If you don't need the remote launch, just go with the hand held, non 
pressurized, device from flutter fetti    http://www.flutterfetti.com
No I don't work for them but I have used this product (as well as 
various commercial launchers)

Dick A
TD, Cornell Univ


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

Message-ID: <426FED2E.9060307 [at] fredonia.edu>
Date: Wed, 27 Apr 2005 15:51:10 -0400
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Punctuation
References: <list-22063664 [at] prxy.net>

Marty,
Yes and I LMAO.  An English professor friend of mine has pointed out 
however that even she has a few errors in the piece.  Ms. Truss is a 
Brit as well so there might be pond-side issues as well.  Good read though.
Steve

Marty_Petlock [at] sarasotagov.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
>  Has anyone read 'Eats, Shoots & Leaves' by Lynne Truss. Never thought I'd
> enjoy a book about grammar but it's a fun read.
> 
> Marty Petlock
> Technical Facilities Manager
> Van Wezel P.A.H.
> Sarasota, FL.
> 
> **********
> E-mail messages sent or received by City of Sarasota officials and
> employees in connection with official City business
> are public records subject to disclosure under the Florida Public Records
> Act.
> **********
> 



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

Date: Wed, 27 Apr 2005 15:50:02 -0400
Subject: Re: Dance Floor Replacement
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE95652A.5160%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-22063944 [at] prxy.net>

You actually have a buddy named Gator.

Cool!

Steve

> From: Marty_Petlock [at] sarasotagov.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 27 Apr 2005 15:39:53 -0400
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Dance Floor Replacement
 the vinyl
> sides and bottom on my buddy Gator's swimming pool? It sure looks the same.



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

End of Stagecraft Digest #377
*****************************