Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22082522; Thu, 28 Apr 2005 11:19:09 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #379 Date: Thu, 28 Apr 2005 11:18:54 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #379 1. Re: commas by Greg Williams 2. Re: commas by "Stephen E. Rees" 3. Re: CD-80 flickering problem by Shawn Palmer 4. Re: commas by Bruce Purdy 5. Re: CD-80 flickering problem by "Abby Downing" 6. Re: CD-80 flickering problem by "RODOK!!!" 7. Re: Storage in a Tiny Theatre by Jacqueline Haney Kidwell 8. Personnel lift recommendation... by "Stephen E. Rees" 9. Re: CD-80 flickering problem by Dale Power 10. Re: CD-80 flickering problem by "Paul Sanow" 11. Re: Peep Drape hampers by "Stephen E. Rees" 12. Re: Storage in a Tiny Theatre by "Jeffrey E. Salzberg" 13. Re: statistics on theater at university by "Scheu Consulting Services" 14. Re: Autocad 2004 or higher rendering references by "Fred Young" 15. Re: Peep Drape hampers by "LES LIND" 16. jefferson by Judy 17. Re: jefferson / adams by IAEG [at] aol.com 18. Re: Storage in a Tiny Theatre by Fierce Fish 19. Re: Storage in a Tiny Theatre by Fierce Fish 20. Re: jefferson / adams by Bill Sapsis 21. Re: jefferson / adams by "Paul Schreiner" 22. Re: jefferson / adams by IAEG [at] aol.com 23. Re: jefferson / adams by "Jeffrey E. Salzberg" 24. sound question by Daniel Nazworth 25. Re: jefferson / adams by IAEG [at] aol.com 26. Re: jefferson / adams by "Jeffrey E. Salzberg" 27. Re: jefferson / adams by IAEG [at] aol.com 28. Re: jefferson / adams by "Jeffrey E. Salzberg" 29. Re: jefferson / adams by IAEG [at] aol.com 30. Re: Storage in a Tiny Theatre by Steve Larson 31. Re: Fix it places for equipment by "jknipple" 32. Re: statistics on theater at university by Kurt Cypher 33. Re: Discharge lamp color rendering by "Karl G. Ruling" 34. Re: Punctuation by "Karl G. Ruling" 35. Re: Posit mill by Judy Martel 36. Re: Peep Drape hampers by "Stephen E. Rees" 37. Re: Peep Drape hampers by Bill Sapsis 38. Re: Punctuation by "ladesigners [at] juno.com" 39. Re: Storage in a Tiny Theatre by "jknipple" 40. Re: statistics on theater at university by CB 41. Re: Storage in a Tiny Theatre by "Merel Ray-Pfeifer" 42. Re: Storage in a Tiny Theatre by Ford H Sellers 43. Re: Storage in a Tiny Theatre by Fierce Fish 44. Re: What's going on with the list? by CB 45. Re: Storage in a Tiny Theatre by Fierce Fish 46. Re: Storage in a Tiny Theatre by Steve Larson 47. Re: commas by "Ann Warren" 48. Re: tool preferences by "Paul Guncheon" 49. Re: backstage lighting cables by "Paul Guncheon" 50. Re: tool preferences/ trammel points by "Haagen Trey P Civ 34 TRW/SDAT" 51. Re: Drape hampers by "Paul Schreiner" 52. commas by 53. Re: tool preferences by Delbert Hall 54. Re: "Genie" lift recommendation... by "Curt Mortimore" 55. Re: CD-80 flickering problem by Greg Bierly 56. Re: CD-80 flickering problem by "Paul Schreiner" 57. Re: "Genie" lift recommendation... by Mark O'Brien 58. Re: Lighting Question by FrankWood95 [at] aol.com 59. Re: sound question by "Warmbold, Bo" 60. Re: Problem with Lighting System by FrankWood95 [at] aol.com 61. Re: university theater statistics by Wood Chip-P26398 62. Re: CD-80 flickering problem by "Don Taco" 63. Re: backstage lighting cables by Steve Larson 64. Re: Storage in a Tiny Theatre by FrankWood95 [at] aol.com 65. Re: Posit mill by FrankWood95 [at] aol.com 66. Re: Storage in a Tiny Theatre by "Curt Mortimore" 67. Re: commas by FrankWood95 [at] aol.com 68. Re: commas by FrankWood95 [at] aol.com 69. Re: Drape Hampers by Marty_Petlock [at] sarasotagov.com 70. Re: jefferson / adams by FrankWood95 [at] aol.com 71. Re: Works for black box by "Michael Finney" 72. Re: Punctuation by FrankWood95 [at] aol.com 73. Loft Addition by "Stephen E. Rees" *** 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. ---------------------------------------------------------------------- In-Reply-To: References: Message-Id: <5366e7ea8811af65ccd45513da6cd5ae [at] appstate.edu> From: Greg Williams Subject: Re: commas Date: Thu, 28 Apr 2005 07:27:49 -0400 On Apr 27, 2005, at 6:45 PM, FrankWood95 [at] aol.com wrote: > Understood has many meanings. The documents that lawyers write employ > no > punctuation, because a misplaced mark may change the meaning. > > Most of us are more flexible. We insert punctuation marks when we feel > a > need.. I work on the principle that I insert one, when someone reading > my wriring > may wish to pause for breath.. > > Frank Wood That would presume that everyone who reads what you write has the exact same lung capacity, state of rest/exertion, and begins reading your statements in the exact same relative place in the breathing cycle. I do realize that you _think_ we await your instructions with bated breath, but... -=Greg Williams=- Production Manager Valborg Theatre, Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: <4270D522.3080103 [at] fredonia.edu> Date: Thu, 28 Apr 2005 08:20:50 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: commas References: Karl, Probably a chronic emphysema condition. Or the oxygen tube is kinked. :( Steve Karl G. Ruling wrote: > Only in the worst asthma attack would a person need to take a breath > after "go." In that case, if commas marked breathing points, the > sentence would be "Go, get, him, surgeons!" What would that mean? > ------------------------------ Message-ID: <4270DAE1.8070408 [at] northnet.net> Date: Thu, 28 Apr 2005 07:45:21 -0500 From: Shawn Palmer Subject: Re: CD-80 flickering problem References: In-Reply-To: Bill Nelson wrote: > I am the person whom has been doing most of the troubleshooting of the > CD-80 flickering problem at ACT that Don Taco mentioned. > So the possibilities seem to be limited. > > 1) Both the original pack control board and my spare have the same problem > - extremely unlikely. > > 2) The light board and converter have been eliminated, since the problem > continued when I swapped in the old light board. The cable from the board > to the wall connector is also eliminated, as I swapped that out as well. Bill, I don't personally want to be called Captain Obvious ;-) but I will say I've had similar problems three times. Once, my spare control board DID have the same problem as my original. It was only discovered after all other options were eliminated (and I was so thoroughly frustrated I could have chewed up the control boards and swallowed them.) A new board (and new spare) solved the problem. After all other options are eliminated you may have to go back to some of these very unlikely scenarios... FWIW Shawn Palmer Neenah, WI USA ------------------------------ Date: Thu, 28 Apr 2005 08:51:17 -0400 Subject: Re: commas From: Bruce Purdy Message-ID: In-Reply-To: >> need.. I work on the principle that I insert one, when someone reading >> my wriring may wish to pause for breath.. >> > > That would presume that everyone who reads what you write has the exact > same lung capacity, state of rest/exertion, and begins reading your > statements in the exact same relative place in the breathing cycle. > And that you are reading it out loud. Some of us don't even move our lips when we read these posts! ;-) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Subject: RE: CD-80 flickering problem Date: Thu, 28 Apr 2005 08:59:28 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA2A0483 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Could it be a temperature issue of some sort? -----Original Message----- From: Bill Nelson [mailto:billn [at] peak.org]=20 Sent: Thursday, April 28, 2005 3:13 AM To: Stagecraft Subject: Re: CD-80 flickering problem For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am the person whom has been doing most of the troubleshooting of the CD-80 flickering problem at ACT that Don Taco mentioned. I tried everything that was suggested (before reading the suggestions) except setting the total channels number on the board to various different values. I suspect that this would not have any effect since the problem occurred when I removed the DMX board and converter and substituted the old Mantrix AMX board. Some further information that Don may not have mentioned: The flickering occurred, no matter which of the two packs was first in line on the daisy chained control cable. The flickering occurs only when a control signal is present. But it only occurs on one pack - the chained pack does not exhibit the problem. The flickering was in the second pack. Substituting my spare control logic board into that pack did not stop the flickering, but putting it into the first (non-flickering) pack did - for 24+ hours (including one performance). About 3/4 through the next night's show. the flickering started again. The next day, I started the flickering, then was able to stop it by turning off dimmer 3. Don left shortly after, so he did not know that it was not a total cure. By changing other light levels, I was able to make the flickering start again. I went in the next day to do further troubleshooting, and everything was working fine. I could not get any blips or flickering at all. So the possibilities seem to be limited. 1) Both the original pack control board and my spare have the same problem - extremely unlikely. 2) The light board and converter have been eliminated, since the problem continued when I swapped in the old light board. The cable from the board to the wall connector is also eliminated, as I swapped that out as well. 3) Either the data cable, connector at either end or the jumper cable between packs is intermittant/bad. But that seems to be unlikely since the second pack does not have any flickering problem. 4) Something besides the control logic board in the pack is causing the problem. It is hard to imagine what - as there is little there besides the inductors and the SCR power cubes. I checked all connections to make sure they are tight. This is a real puzzler - and it being intermittant makes it even worse. Bill ------------------------------ Message-ID: <4270E06E.6050307 [at] telus.net> Date: Thu, 28 Apr 2005 07:09:02 -0600 From: "RODOK!!!" Subject: Re: CD-80 flickering problem References: In-Reply-To: Bill Nelson wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I am the person whom has been doing most of the troubleshooting of the >CD-80 flickering problem at ACT that Don Taco mentioned. > >I tried everything that was suggested (before reading the suggestions) >except setting the total channels number on the board to various different >values. I suspect that this would not have any effect since the problem >occurred when I removed the DMX board and converter and substituted the >old Mantrix AMX board. > >Some further information that Don may not have mentioned: > >The flickering occurred, no matter which of the two packs was first in >line on the daisy chained control cable. > >The flickering occurs only when a control signal is present. But it only >occurs on one pack - the chained pack does not exhibit the problem. > >The flickering was in the second pack. Substituting my spare control logic >board into that pack did not stop the flickering, but putting it into the >first (non-flickering) pack did - for 24+ hours (including one >performance). > >About 3/4 through the next night's show. the flickering started again. > >The next day, I started the flickering, then was able to stop it by >turning off dimmer 3. Don left shortly after, so he did not know that it >was not a total cure. By changing other light levels, I was able to make >the flickering start again. > >I went in the next day to do further troubleshooting, and everything was >working fine. I could not get any blips or flickering at all. > >So the possibilities seem to be limited. > >1) Both the original pack control board and my spare have the same problem >- extremely unlikely. > >2) The light board and converter have been eliminated, since the problem >continued when I swapped in the old light board. The cable from the board >to the wall connector is also eliminated, as I swapped that out as well. > >3) Either the data cable, connector at either end or the jumper cable >between packs is intermittant/bad. But that seems to be unlikely since the >second pack does not have any flickering problem. > >4) Something besides the control logic board in the pack is causing the >problem. It is hard to imagine what - as there is little there besides the >inductors and the SCR power cubes. I checked all connections to make sure >they are tight. > >This is a real puzzler - and it being intermittant makes it even worse. > >Bill > > > > > > We had a similar, if not identical, challenge with our ETC board communicating with Colortran dimmers. The solution was to solder a resister at both ends of the dmx cable between the board and the dimmer on one of the wires. It had something to do with the type or amount of information between the two...The dealer said that it was a common thing...Our theatre technician could give you the specifics; contact me off line if you like. Rod Osiowy Wild Theatre Cranbrook, BC ------------------------------ Message-ID: <20050428130949.39813.qmail [at] web52009.mail.yahoo.com> Date: Thu, 28 Apr 2005 06:09:49 -0700 (PDT) From: Jacqueline Haney Kidwell Subject: Re: Storage in a Tiny Theatre In-Reply-To: 6667 Several of the community theatre groups in this area are in discussions for this very project. My "main" group, Valley Light Opera, owns an old barn that's used for storage of set pieces, props and costumes. Despite being hard to get to in the winter and infested with rodents, it's a tremendous resource for everyone. VLO and 3 or 4 organizations are planning to erect a "pole barn" type building with room to build, store and rehearse (and bathrooms!). There will probably be a separate "Friends of the Facility" 501(c)3 set up to raise the funds and administer the space. One of the strongest assets of the groups in this area is the way we work together, loaning things back and forth. Having a central spot will make that cross-pollination easier too. Jacki --- Bruce Purdy wrote: I have long theorised that if all the Community > Theatres in the area > banded together and pooled their resources, they > could afford a fantastic > facility. It could include shop space as well as > good storage for sets, > props and costumes. Possibly even rehearsal space. > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <4270E24A.2050805 [at] fredonia.edu> Date: Thu, 28 Apr 2005 09:16:58 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Personnel lift recommendation... References: Steve, We own and are generally happy with a JLG 36" unit. Were we to do the purchase again, we would most likely get the AC version. We've had too many occasions where the battery was not charged, or charged with the key turned on, (and therefore not fully charged)etc. We have had to replace the battery twice and the charger once. Pretty expensive. I know that many will decry the power cord on the deck, but I'd rather mess with a small thing that I have easy control over with a student cable puller than significant problems that I can't fix immediately and bring a crew call or specific task to an early end. the above sentence is a run-on and probably needs a comma somewhere. :) Steve Rees SUNY-Fredonia Steve Jones wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am shopping for a "genie" lift for our theatre. I need a 30' working > height, battery operable, and as small a outrigger footprint as > possible/safe. > > Any recommendations of a specific manufacturer / model? > > Thanks! > > Steve ------------------------------ Message-ID: <4270E403.537C0537 [at] swgc.mun.ca> Date: Thu, 28 Apr 2005 10:54:20 -0230 From: Dale Power Subject: Re: CD-80 flickering problem References: Hi Bill, From the description of the problem it could be a termination mis-match. DMX termination and cable should be 120ohms. If the cable you are using to connect the console to the pack is not rated for EIA485 data transmission this can give you the problems you describe due to reflected signals. If you are using a proper data transmission cable that is not a 120ohm cable, terminate the cable with the characteristic impedance of the cable - don't go below 90ohms though. Cheers Dale "RODOK!!!" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Bill Nelson wrote: > > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > > > >I am the person whom has been doing most of the troubleshooting of the > >CD-80 flickering problem at ACT that Don Taco mentioned. > > > >I tried everything that was suggested (before reading the suggestions) > >except setting the total channels number on the board to various different > >values. I suspect that this would not have any effect since the problem > >occurred when I removed the DMX board and converter and substituted the > >old Mantrix AMX board. > > > >Some further information that Don may not have mentioned: > > > >The flickering occurred, no matter which of the two packs was first in > >line on the daisy chained control cable. > > > >The flickering occurs only when a control signal is present. But it only > >occurs on one pack - the chained pack does not exhibit the problem. > > > >The flickering was in the second pack. Substituting my spare control logic > >board into that pack did not stop the flickering, but putting it into the > >first (non-flickering) pack did - for 24+ hours (including one > >performance). > > > >About 3/4 through the next night's show. the flickering started again. > > > >The next day, I started the flickering, then was able to stop it by > >turning off dimmer 3. Don left shortly after, so he did not know that it > >was not a total cure. By changing other light levels, I was able to make > >the flickering start again. > > > >I went in the next day to do further troubleshooting, and everything was > >working fine. I could not get any blips or flickering at all. > > > >So the possibilities seem to be limited. > > > >1) Both the original pack control board and my spare have the same problem > >- extremely unlikely. > > > >2) The light board and converter have been eliminated, since the problem > >continued when I swapped in the old light board. The cable from the board > >to the wall connector is also eliminated, as I swapped that out as well. > > > >3) Either the data cable, connector at either end or the jumper cable > >between packs is intermittant/bad. But that seems to be unlikely since the > >second pack does not have any flickering problem. > > > >4) Something besides the control logic board in the pack is causing the > >problem. It is hard to imagine what - as there is little there besides the > >inductors and the SCR power cubes. I checked all connections to make sure > >they are tight. > > > >This is a real puzzler - and it being intermittant makes it even worse. > > > >Bill > > > > > > > > > > > > > We had a similar, if not identical, challenge with our ETC board > communicating with Colortran dimmers. The solution was to > solder a resister at both ends of the dmx cable between the board and > the dimmer on one of the wires. It had something to do > with the type or amount of information between the two...The dealer said > that it was a common thing...Our theatre technician > could give you the specifics; contact me off line if you like. > Rod Osiowy > Wild Theatre > Cranbrook, BC ------------------------------ Subject: RE: CD-80 flickering problem Date: Thu, 28 Apr 2005 09:19:57 -0400 Message-ID: From: "Paul Sanow" > -----Original Message----- > From: Bill Nelson [mailto:billn [at] peak.org] > Sent: Thursday, April 28, 2005 3:13 AM > To: Stagecraft > Subject: Re: CD-80 flickering problem snip > The next day, I started the flickering, then was able to stop it by > turning off dimmer 3. Don left shortly after, so he did not=20 > know that it > was not a total cure. By changing other light levels, I was=20 > able to make > the flickering start again. >=20 snip Don Taco wrote on 4/25/2005 >We wondered if a bad dimmer was affecting just one phase of the power, = but=20 >it turns out to not be three-phase. I'm going to go out on limb here. I interpreted Don's statement above = to mean this might not be a three-phase (120/208) system. The only = other option really is to run the pack single-phase (120/240) 3-wire = plus ground. You *can* run a CD80 pack all on one circuit (one hot, one = neutral and hopefully a ground) for testing or in a pinch with a small = load. =20 Could you have your system wildly out of phase balance? Bill's = statement re: changing light levels starting the flick/flash/cycle again = makes me wonder. It would be a bit of bad luck, but you could load a = dimmer pack such that a cue or group of cues that rely too heavily on = one phase throws the system out of balance. It could also be a function = of your power feed/transformer arrangement. So just for giggles it = might be worth taking a couple minutes looking at how you've loaded the = pack. It's a little easier to do in a dimmer pack than a full-sized = installation rack. If you aren't able to determine the phasing, you = could completely replug the pack in a different scheme, softpatch the = console and see what happens. Like I said- I'm out on a limb. Good luck. [I'm sure I've made a comma mistake somewhere in this message. Sorry = ;-) ] Paul *********************************************************** Paul Sanow psanow [at] vls.com Technical Sales www.vincentlighting.com Vincent Lighting Systems 1420 Jamike Ln. #2 Erlanger, KY 41018 (859) 525-2000 x211 FAX (859) 525-2050 *********************************************************** ------------------------------ Message-ID: <4270E316.5070103 [at] fredonia.edu> Date: Thu, 28 Apr 2005 09:20:22 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Peep Drape hampers References: I still have a box of peeps on my dresser from the conference! Steve Jerry Durand wrote: > We'd be willing to pay a small amount for a small listing. The proceeds > to go to help run the list, or to the annual Stagecraft Peeps > Party...whatever. > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Storage in a Tiny Theatre Date: Thu, 28 Apr 2005 09:20:26 -0400 Message-ID: <002f01c54bf5$0e186e40$6601a8c0 [at] Dell> In-Reply-To: > My "main" > group, Valley Light Opera, owns an old barn Do Mickey Rooney and Judy Garland know about this? ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: statistics on theater at university Date: Thu, 28 Apr 2005 09:24:09 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <001601c54bf5$8fa1e630$c9fea8c0 [at] ROXY> In-reply-to: There's always the crass commercialism approach. The theater can be used = as a revenue generator. If planned and marketed correctly, putting butts in seats can put = Shekels in the University's pockets. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ From: "Fred Young" Subject: RE: Autocad 2004 or higher rendering references Date: Thu, 28 Apr 2005 09:26:08 -0400 In-Reply-To: Message-ID: <4270e472.5c793ec0.0b5a.3cb4 [at] mx.gmail.com> The best one I can find for teaching my class with is from the autodesk press series. Every since CADence was bought out by CADalyst they have not revised of reissued any the CADence line of books on AutoCAD. For my money they were the best and if you can find a cheap copy of 3D Modeling in AtuoCAD by John H Wilson take a look (last issued for AutoCAD 2000 and not that much has changed); they don't hold your hand every step of the way and allow you to progress faster. Here is the link on Amazon for the book I use http://www.amazon.com/exec/obidos/tg/detail/-/1401851320/qid=1114693840/sr=1 -2/ref=sr_1_2/002-8041835-0290453?v=glance&s=books The majority of the book deals with 3D model making and the last quarter addresses rendering with textures and lights. Good Luck, Fred Young -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sean L Culligan Sent: Thursday, April 28, 2005 1:28 AM To: Stagecraft Subject: Re: Autocad 2004 or higher rendering references For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 3d modeling w/ textures, lighting, etc. -- Sean Culligan Masters of Fine Arts Candidate '06 Technical Design and Production 203-500-6132 www.culligantheatrical.com Fred Young wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Are you looking for 3d modeling or just rendering? > >Fred Young > >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sean L >Culligan >Sent: Wednesday, April 27, 2005 1:24 PM >To: Stagecraft >Subject: Autocad 2004 or higher rendering references > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >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 > > > > > ------------------------------ Message-Id: Date: Thu, 28 Apr 2005 09:25:55 -0400 From: "LES LIND" Subject: Re: Peep Drape hampers They ought to be getting good just about now... Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> Rees [at] fredonia.edu 4/28/05 9:20 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I still have a box of peeps on my dresser from the conference! Steve Jerry Durand wrote: > We'd be willing to pay a small amount for a small listing. The proceeds > to go to help run the list, or to the annual Stagecraft Peeps > Party...whatever. > ------------------------------ Message-ID: <4270F41D.1080704 [at] post.tau.ac.il> Date: Thu, 28 Apr 2005 16:33:01 +0200 From: Judy Subject: jefferson Look what I found on the Jefferson site: > "The ornaments too, and the amusements of life, are entitled to their > portion of attention. These, for a female, are dancing, drawing, and > music. So all you males engaged in ornaments, old Tom would not have thought much of you! (maybe I can convince them to keep our department open just for the women :-) ) Judy ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 28 Apr 2005 09:43:30 EDT Subject: Re: jefferson / adams In a message dated 4/28/05 9:32:03 AM, kupfer [at] post.tau.ac.il writes: << Look what I found on the Jefferson site: > "The ornaments too, and the amusements of life, are entitled to their > portion of attention. These, for a female, are dancing, drawing, and > music. So all you males engaged in ornaments, old Tom would not have thought much of you! (maybe I can convince them to keep our department open just for the women :-) ) Judy >> John Adams said ( and this is probably not word perfect ) "We must study war, so that our children may study math and science and so their children may study music , poetry and dance" as we all know that Adams and Jefferson passed away within hours of each other on the Fourth of July very best, Keith Arsenault ------------------------------ Date: Thu, 28 Apr 2005 08:59:41 -0500 From: Fierce Fish Subject: Re: Storage in a Tiny Theatre Message-ID: <20050428135941.GE22596 [at] tragedy.biomass.to> References: In-Reply-To: > Another thought re: limited storage. Think of it as a challenge to > practice minimalism! Lots of creative theatre can be done without risers, > flats etc. Perhaps a few simple, flexible pieces that can be re-arranged in > numerous configurations? Cubes in various sizes that can nest for storage > when not in use - things like that. We do a lot of minimalistic shows, actually, but we do lots of strange set heavy stuff, too. (We once did Terry Pratchet's Mort with extensive painted scenery, in a place with no flies. For those of you that don't know, Mort has somewhere around 22 scene changes in a 2 hour show. Director mandated a 15 second max scene change... solution was a swinging wall that pivoted upstage center, gave 2/3s of the stage to act on, left the other 1/3rd to be prepped for the next scene. On scene change, swing the wall, move a few pieces of furniture and voila! The company also once (before my time) raised the audience onto risers surrounding the actors and filled the acting pit with sand.) Doing odd things is sort of our raison d'etre, so we have to keep our theatre space flexible, but hopefully we also keep at least the base pieces that we use over and over (risers, flats, stairs, platform kits, that sort of thing) Obviously, as a set builder type, I'm much more interested in the weird sets. > Perhaps the lack of storage is a blessing in disguise! It's an > opportunity to flex your ingenuity. You just have to be creative. Focus more > on the acting and less on the sets. (Is this blasphemy to say on a > stagecraft list? Well, you can still use creative lighting!) *grins* Considering I'm a set builder, it sort of negates /my/ role in the local theatre. I'm not much interested in walking the boards and while I'm ok with sound, lights are not my forte. I can run them and hang them, but I just don't have the eye to design them - and I do like a creative role. If they decide to do that, which they certainly can, I'll have to hunt up a different theatre group. > Sometimes it's the attitude with which you approach a problem that can > make the biggest difference. (Make lemonade and all that.) *grins* Well, we're just absolutely delighted to have our theatre back. And it is my chance to leave a stamp on the company for quite awhile. So attitudes are pretty positive. We are just hoping to hear any neat ways of hiding stuff. I'm thinking this theatre has to be built like a houseboat, storage at every turn, neatly tucked away. A place for everything, everything in its place. Chris ------------------------------ Date: Thu, 28 Apr 2005 09:03:11 -0500 From: Fierce Fish Subject: Re: Storage in a Tiny Theatre Message-ID: <20050428140311.GF22596 [at] tragedy.biomass.to> References: In-Reply-To: > Suggestions: > (1) Find a local factory or warehouse that will loan you some remote parking spaces in return for advertising or comps. > (2) Obtain some used 53' long oceangoing shipping containers cheaply. > (3) Place shipping containers in parking spaces provided. > (4) Obtain strong locks and powerful 12 volt fluorescent lights, deep cycle batteries, and an appropriate battery charger. > /s/ Richard That's a really cool idea. Thanks! -cdr ------------------------------ Date: Thu, 28 Apr 2005 09:54:57 -0400 Subject: Re: jefferson / adams From: Bill Sapsis Message-ID: In-Reply-To: on 4/28/05 9:43 AM, IAEG [at] aol.com at IAEG [at] aol.com wrote: > as we all know that Adams and Jefferson passed away within hours of each > other on the Fourth of July Wow. I didn't know that. (curse that 50's education) That's pretty amazing. 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 ------------------------------ Subject: RE: jefferson / adams Date: Thu, 28 Apr 2005 09:51:25 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7E4 [at] exchange.rmwc.edu> From: "Paul Schreiner" > as we all know that Adams and Jefferson passed away within=20 > hours of each=20 > other on the Fourth of July And did so on the fiftieth anniversary of the Declaration of Independence. One of those timing things that Hollywood would reject from scripts as being "too contrived"! ------------------------------ From: IAEG [at] aol.com Message-ID: <1fe.823b15.2fa24668 [at] aol.com> Date: Thu, 28 Apr 2005 10:00:08 EDT Subject: Re: jefferson / adams In a message dated 4/28/05 9:52:07 AM, bill [at] sapsis-rigging.com writes: << Wow. I didn't know that. (curse that 50's education) That's pretty amazing. Bill S. >> Adams last words, , "Jefferson still survives" In fact he had passed away an hour or so before I think very best, Keith Arsenault President IAEG - International Arts & Entertainment Group Tampa, Florida 813 831 3465 Mr. Arsenault's Office 813 205 0893 Mr. Arsenault's Cellular www.iaeginc.com www.circusnexus.org ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: jefferson / adams Date: Thu, 28 Apr 2005 10:02:38 -0400 Message-ID: <003301c54bfa$f3147ac0$6601a8c0 [at] Dell> In-Reply-To: > > as we all know that Adams and Jefferson passed away within hours of > > each other on the Fourth of July > > > Wow. I didn't know that. (curse that 50's education) > That's pretty amazing. Adams' last words were, "Jefferson still lives," which was technically not true (he hadn't gotten the email). ------------------------------ Message-ID: <4270EE4F.70803 [at] kwu.edu> Date: Thu, 28 Apr 2005 09:08:15 -0500 From: Daniel Nazworth Reply-To: dnaz [at] kwu.edu Organization: Kansas Wesleyan Theatre Subject: sound question References: In-Reply-To: Hello all I am working on the continual quest to bring my theatre into the 21st century (actually if I hit the 20th I'll be happy). To that end I want to move into digital sound editing, what are the favorite programs in use? Thanks to all Dan Nazworth Kansas Wesleyan University ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 28 Apr 2005 10:07:25 EDT Subject: Re: jefferson / adams In a message dated 4/28/05 10:03:30 AM, stagecraft [at] jeffsalzberg.com writes: << Adams' last words were, "Jefferson still lives," which was technically not true (he hadn't gotten the email). >> ya know Jeff that's what I thought too, , but was just looking at a web quotation source and they had "Jefferson still survives" so who knows ? was CNN there with a crew so we can check the air check? very best, Keith Arsenault ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: jefferson / adams Date: Thu, 28 Apr 2005 10:11:55 -0400 Message-ID: <003401c54bfc$3f2be410$6601a8c0 [at] Dell> In-Reply-To: > ya know Jeff that's what I thought too, , but was just > looking at a web > quotation source and they had > > "Jefferson still survives" Adams was never one to use one syllable when two would do, so "survives" is probably correct. ------------------------------ From: IAEG [at] aol.com Message-ID: <7f.5d1ad8f3.2fa24a4e [at] aol.com> Date: Thu, 28 Apr 2005 10:16:46 EDT Subject: Re: jefferson / adams In a message dated 4/28/05 10:12:47 AM, stagecraft [at] jeffsalzberg.com writes: << Adams was never one to use one syllable when two would do, so "survives" is probably correct. >> How Very True ! very best, Keith ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: jefferson / adams Date: Thu, 28 Apr 2005 10:20:41 -0400 Message-ID: <003501c54bfd$78a05630$6601a8c0 [at] Dell> In-Reply-To: > << Adams was never one to use one syllable when two would do, > so "survives" is probably correct. >> > > > How Very True ! I'm finding this discussion very depressing, since it reminds me that at one point America had Jefferson, Adams, Madison, Hamilton, Dickinson, and Franklin. ...And now we have Bush, Kerry, Rove..... ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 28 Apr 2005 10:33:42 EDT Subject: Re: jefferson / adams In a message dated 4/28/05 10:21:43 AM, stagecraft [at] jeffsalzberg.com writes: << I'm finding this discussion very depressing, since it reminds me that at one point America had Jefferson, Adams, Madison, Hamilton, Dickinson, and Franklin. ...And now we have Bush, Kerry, Rove..... >> but also remember that in their own day, , , at least half of the country despised all of those founding fathers at one time or another very best, Keith ------------------------------ Date: Thu, 28 Apr 2005 10:32:05 -0400 Subject: Re: Storage in a Tiny Theatre From: Steve Larson Message-ID: In-Reply-To: My biggest fear in a situation where many groups use the same storage space is that the security of the items is questionable. A local group tried to do the same. Most of the groups didn't want the possibility of many groups going through their properties. The time needed to monitor the space and contents and catalog them and issue them would be quite time consuming. What if you were planning on using a couch only to find that some other group had it in a show already. What about modifications to props, scenery, etc. Go in to pull some scenery only to find that the previous group had painted sawdust into the texture and coated it with a gloss paint. I'm sure that there are answers, but I prefer to keep my stuff under my lock and key and only loan to other organizations who can reciprocate. If they can't reciprocate, then they rent. My thoughts, Steve > From: Jacqueline Haney Kidwell > Reply-To: "Stagecraft" > Date: Thu, 28 Apr 2005 06:09:49 -0700 (PDT) > To: "Stagecraft" > Subject: Re: Storage in a Tiny Theatre > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Several of the community theatre groups in this area > are in discussions for this very project. My "main" > group, Valley Light Opera, owns an old barn that's > used for storage of set pieces, props and costumes. > Despite being hard to get to in the winter and > infested with rodents, it's a tremendous resource for > everyone. VLO and 3 or 4 organizations are planning > to erect a "pole barn" type building with room to > build, store and rehearse (and bathrooms!). There > will probably be a separate "Friends of the Facility" > 501(c)3 set up to raise the funds and administer the > space. > > One of the strongest assets of the groups in this area > is the way we work together, loaning things back and > forth. Having a central spot will make that > cross-pollination easier too. > > Jacki > > --- Bruce Purdy wrote: > I have long theorised that if all the Community >> Theatres in the area >> banded together and pooled their resources, they >> could afford a fantastic >> facility. It could include shop space as well as >> good storage for sets, >> props and costumes. Possibly even rehearsal space. >> > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > ------------------------------ Subject: RE: Fix it places for equipment Date: Thu, 28 Apr 2005 10:35:51 -0400 Message-ID: From: "jknipple" Washington Professional Services (www.wpsworld.com - 301-942-6800 ext 146) is where we send our audio stuff. It's a branch of Chuck Levin's Washington Music Center, I believe. And I'd second Parlights for all your lighting needs. They rock. j James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 >=20 > 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. =20 ------------------------------ Date: Thu, 28 Apr 2005 10:39:53 -0400 From: Kurt Cypher Subject: Re: statistics on theater at university In-reply-to: Message-id: <4270F5B9.2020506 [at] cyphernet.homedns.org> References: If you really want to get the attention of the decision makers at the university, find some alumni of the university who regularly donate to the university who have an interest in the theatre department. For example, if any of the "good designers and directors and playwrights" in your country who have come out of the department over the years have made some money at their craft and like to send some of that money the university's way, they may stop donating if the department closes. Most universities that I know of will bend over backwards to make wealthy alumni happy. Just a thought, Kurt ------------------------------ From: "Karl G. Ruling" Date: Thu, 28 Apr 2005 10:47:24 -0400 Subject: Re: Discharge lamp color rendering Reply-to: kruling [at] esta.org Message-ID: <4270BF3C.29548.67E039 [at] localhost> In-reply-to: Frandk Wood wrote: > A difficult question. Discharge lamps are energy efficient, but have > very bad colour rendering. This blanket statement is not true. HMI, MSR, CDM and other metal halide lamps have excellent color rendering. It is true that the discharge lamps used for street lighting have very poor color rendering, but that does not mean that ALL discharge lamps have poor color rendering. The lamps have a CRI specification. Some nit-pickers will argue that the CRI isn't perfectly accurate for telling you the color rendering of a lamp, but nevertheless, the CRI rating is a good indicator. A rating in the 90s is excellent. A rating in the 80s is good, too. (I draw and paint with a lamps rated about 85 CRI.) A rating in the 70s is fair, in my opinion. I wouldn't want to mix color by it, but once the mixing is done, it is good enough to tell one color from another. The 60's and lower are ugly. Stuff below 50 is good for security lighting. ------------------------------ From: "Karl G. Ruling" Date: Thu, 28 Apr 2005 10:47:23 -0400 Subject: Re: Punctuation Reply-to: kruling [at] esta.org Message-ID: <4270BF3B.18307.67DF3F [at] localhost> In-reply-to: Frank Wood wrote: > Understood has many meanings. The documents that lawyers write employ > no punctuation, because a misplaced mark may change the meaning. > Frank, this is delusional. ESTA's lawyer uses commas, as does my lawyer. Periods, too. Sometimes even semicolons! What gave you the idea that lawyers use no punctuation? A misplaced mark changes the meaning, but no marks leave the meaning ambiguous. The solution is to put the marks in the right places. That said, you might be on to something. If a misplaced punctuation mark can change the meaning, just think of what damage a misplaced letter might do! If the way to avoid misplaced punctuation marks is to not use punctuation, the way to avoid misplaced letters is to use no letters. Therefore, I say to you ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 28 Apr 2005 09:57:51 -0500 From: Judy Martel Subject: Re: Posit mill > > I believe it's actually a "posset" mill. >> >> Noun: posset p=F3sit >> Sweet spiced hot milk curdled with ale or beer > > It was spelled Posit in the programme, and in the script. >Several of you replied on or off list with the "Posset" theory, and >I suppose that probably is correct. > My copy of the script (Samuel French, London, 1982) says "posset mill." ------------------------------ Message-ID: <4270FAC4.9000002 [at] fredonia.edu> Date: Thu, 28 Apr 2005 11:01:24 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Peep Drape hampers References: Nah - couple more months. Then they'll be prime. Could probably be fired from a confetti cannon with no harm. :) Steve LES LIND wrote: > They ought to be getting good just about now... > ------------------------------ Date: Thu, 28 Apr 2005 11:15:22 -0400 Subject: Re: Peep Drape hampers From: Bill Sapsis Message-ID: In-Reply-To: on 4/28/05 11:01 AM, Stephen E. Rees at Rees [at] fredonia.edu wrote: > Nah - couple more months. Then they'll be prime. Could probably be > fired from a confetti cannon with no harm. :) Unless you hit someone.... 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: "ladesigners [at] juno.com" Date: Thu, 28 Apr 2005 15:13:29 GMT Subject: Re: Punctuation Message-Id: <20050428.081358.17258.3524 [at] webmail21.lax.untd.com> I use presumptively correct punctuation, as do all the lawyers for which I have correspondence, but often our grammar is strained for clarity. /s/ Richard A misplaced mark changes the meaning, but no marks leave the meaning ambiguous. ------------------------------ Subject: RE: Storage in a Tiny Theatre Date: Thu, 28 Apr 2005 11:17:00 -0400 Message-ID: From: "jknipple" I second everything that Matthew says. If you don't have storage at the theater, find a space offsite, donate it, throw it out, whatever. Just don't store it in the theater (if you don't have storage space). Storing things you might use later (set pieces, etc) is just asking for clutter to over run your theater. (It's my personal pet peeve.) I had a professor in college that used to say something like, "I'd rather throw it out and have a clean shop now and possibly regret it later than keep it where we don't have room and never use it." j James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 >Any ideas for innovative storage of lights, of draperies, of scrap wood, of >set pieces, stage jacks, flats, props, costumes or anything else would be >greatly appreciated. If you have a shop nearby, that's probably the most convenient storage space=20 for scrap wood; that or the Dumpster. Seriously. It raises the cost of=20 creating a show marginally, but makes the living atmosphere that much nicer. Props and costumes likewise might be better stored at a separate location.=20 They take up a large amount of room if you store them correctly (rather than=20 the "big heap" method), and often need special storage requirements,=20 especially costumes. Again, not the shop. Lights you may be able to get away with hanging as part of a rep plot, or=20 dead-hanging in an under-used portion of the grid. ------------------------------ Message-Id: <3.0.6.32.20050428081744.00aecfe0 [at] pop.west.cox.net> Date: Thu, 28 Apr 2005 08:17:44 From: CB Subject: RE: statistics on theater at university >let's point out that >most of us norteamericanos don't know her market. > >Judy is posting from Tel Aviv University in Israel. We've seen again and again how context is so important to this list. Asking for help locally without describing what locally is, etc. This is what the signature line is for, a simple identificatioins that describes you, your situation, and your locale. Conext is the key. Oh, the art and the ads and your resume, they really don't do anything for us in your sig, and neither does the fax number. ; > The sig on the post I snatched this snippet from is almost perfect! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: Date: Thu, 28 Apr 2005 10:22:03 -0500 From: "Merel Ray-Pfeifer" Subject: Re: Storage in a Tiny Theatre Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 >>> fierceness [at] tragedy.biomass.to 4/27/2005 9:42:16 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > >Any ideas for innovative storage would be > >greatly appreciated. When I describe the theatre, that's it for our space, full stop :) Our stuff is currently scattered among many members' basements, We're hoping to bring as much home as we can. > Unfortunately, there literally is no room to build a shed. The only reason we can build the theatre even as big as we are is because we're grandfathered in on the old foundation - if it wasn't a rebuild, it'd have to be even smaller. Plus, it is in a historic part of town, so they want things to be pretty. If you have filled out your ground plan what about going up? Could you add something to the roof? Even a shed for smaller props would help clear space for larger heavier things. Have you asked your board type folks for ideas? Spread the word around, your best answers may come from a team approach. Some of the front of house types may have no idea how much stuff your group owns and does not want to throw that money away. IE we bought an xxxxx for $yyyy for show zzzzz and we can proably reuse it next season but we need a place to keep it untill then. We cant afford to get rid of it and buy another. I have always found that dollars talk louder than words. ------------------------------ Message-Id: <5.2.1.1.2.20050428112555.025d8ea0 [at] postoffice8.mail.cornell.edu> Date: Thu, 28 Apr 2005 11:26:31 -0400 From: Ford H Sellers Subject: Re: Storage in a Tiny Theatre Hey all, My wife and I were watching one of those "Fixer-Upper-ReOrganize Yer Life" shows on HGTV a couple of weeks ago, and they had a comedy troupe with a similar problem. Their solution was to build a Loft(at 8'), with built-in shelves, over about a third of the Green Room (built in ladder for access), and custom built furniture with storage inside it (tables with storage inside, a tall mirror on a turntable with more storade built into the back, etc). Keep in mind the sprinkler pipes, smoke detectors, etc.... Sounds like a great project for a carpenter. Good Luck, -Ford (extraneous commas, (and Parentheses), and all),,,)) -------------------------------------------------------------------------------------------------------------- *grins* Well, we're just absolutely delighted to have our theatre back. And it is my chance to leave a stamp on the company for quite awhile. So attitudes are pretty positive. We are just hoping to hear any neat ways of hiding stuff. I'm thinking this theatre has to be built like a houseboat, storage at every turn, neatly tucked away. A place for everything, everything in its place. Chris -------------------------------------------------------------------------------------------------------------- ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ Date: Thu, 28 Apr 2005 10:42:31 -0500 From: Fierce Fish Subject: Re: Storage in a Tiny Theatre Message-ID: <20050428154231.GH22596 [at] tragedy.biomass.to> References: In-Reply-To: > I second everything that Matthew says. If you don't have storage at the > theater, find a space offsite, donate it, throw it out, whatever. Just > don't store it in the theater (if you don't have storage space). Storing > things you might use later (set pieces, etc) is just asking for clutter > to over run your theater. (It's my personal pet peeve.) > > I had a professor in college that used to say something like, "I'd > rather throw it out and have a clean shop now and possibly regret it > later than keep it where we don't have room and never use it." That's a really good point and one I'll definitely keep in the forefront of my head. I think my attitude is going to be not just 'is there a place for this' but is there a /good/ place for this. I'm going to try to build in as much storage as possible, but I'm also going to make sure things are accessible, safe and clean looking. -cdr ------------------------------ Message-Id: <3.0.6.32.20050428083706.00aecfe0 [at] pop.west.cox.net> Date: Thu, 28 Apr 2005 08:37:06 From: CB Subject: Re: What's going on with the list? >I too missed >Monday and Tuesdays digests, from both my AOL and UMass mail. I have no >solutions but at least we now know we're not the only ones. I missed #373, #375, and #376. (There's another sue for commas! I remember this from sixth grade English class! Seperate items on a list!) I kinda thought it might be the result of my e-mail client, which was having issues of its own at that time. Hey, Noah, any idea when I might start looking for those on the digest archive? Not that its a hurry or anything. This group is a bit like a soap opera, and I think I may already be back on track! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Thu, 28 Apr 2005 10:51:19 -0500 From: Fierce Fish Subject: Re: Storage in a Tiny Theatre Message-ID: <20050428155119.GI22596 [at] tragedy.biomass.to> References: In-Reply-To: > If you have filled out your ground plan what about going up? Could you > add something to the roof? Even a shed for smaller props would help > clear space for larger heavier things. Our eventual plans include adding a second floor to the front of house area for rehearsal space and storage. $$$ prevent this from happening now (though the building is being built with the new story in mind - ie, it is strong enough to hold one without modifications) > Have you asked your board type folks for ideas? We're trying to get an idea what we can fit in the theatre, then compare that to what we have to store and come up with permanent solutions - whether that is offsite storage or tossing things, we don't know yet. Hence my call for innovative answers. I seem to have lost track of the email where a loft was suggested.. I'm seriously considering a permanently mounted ladder to some sort of loft in the green room. Perhaps a metal grid for storage on one part, a set of cabinets for props above head level, etc. I'm going to try to make the most of the height I do have, with the idea that people only go above head level when pulling the props/sets/whatever for a show and that the actual running of a show doesn't have to touch them. > Spread the word around, your best answers may come from a team > approach. Some of the front of house types may have no idea how much > stuff your group owns and does not want to throw that money away. IE we > bought an xxxxx for $yyyy for show zzzzz and we can proably reuse it > next season but we need a place to keep it untill then. We cant afford > to get rid of it and buy another. > I have always found that dollars talk louder than words. They are pretty good at foreward thinking. I've been able to get extra money for sets on the condition that I build reusuable components, for instance, with an eye to using these in the future. So I think SOMETHING will be done for storage, but obviously if I can make a safe and sane storage area to catch the lion's share, I will. Thanks for everyone's comments. -cdr ------------------------------ Date: Thu, 28 Apr 2005 11:39:55 -0400 Subject: Re: Storage in a Tiny Theatre From: Steve Larson Message-ID: In-Reply-To: It will also help your cause when the fire marshal comes around. Clutter leads to failed inspections. If you haven't used it in a couple of years, move it out. We currently have a 48' trailer behind the theatre to store 1/2 of our Christmas Carol set. The other half is in off-site storage. We have a board member that specializes in commercials rentals. She is finding us a larger space. The 48' trailer rents for $100 a month. Steve > From: "jknipple" > Reply-To: "Stagecraft" > Date: Thu, 28 Apr 2005 11:17:00 -0400 > To: "Stagecraft" > Subject: Re: Storage in a Tiny Theatre > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I second everything that Matthew says. If you don't have storage at the > theater, find a space offsite, donate it, throw it out, whatever. Just > don't store it in the theater (if you don't have storage space). Storing > things you might use later (set pieces, etc) is just asking for clutter > to over run your theater. (It's my personal pet peeve.) > > I had a professor in college that used to say something like, "I'd > rather throw it out and have a clean shop now and possibly regret it > later than keep it where we don't have room and never use it." > > j > > James Knipple > > Technical Director > REP Stage - www.howardcc.edu/repstage > Student-Alumni Arts - Howard Community College > - www.howardcc.edu/studentarts > jknipple [at] howardcc.edu > 410-772-4451 > > > >> Any ideas for innovative storage of lights, of draperies, of scrap > wood, of >> set pieces, stage jacks, flats, props, costumes or anything else would > be >> greatly appreciated. > > If you have a shop nearby, that's probably the most convenient storage > space > for scrap wood; that or the Dumpster. Seriously. It raises the cost of > creating a show marginally, but makes the living atmosphere that much > nicer. > > Props and costumes likewise might be better stored at a separate > location. > They take up a large amount of room if you store them correctly (rather > than > the "big heap" method), and often need special storage requirements, > especially costumes. Again, not the shop. > > Lights you may be able to get away with hanging as part of a rep plot, > or > dead-hanging in an under-used portion of the grid. > > > ------------------------------ Message-Id: Date: Thu, 28 Apr 2005 10:42:36 -0500 From: "Ann Warren" Subject: Re: commas Hmmm, commas indicate when the reader should take a breath... Well that does go a long way towards explaining why I hyperventilate whenever I read Shakespeare! Ann ------------------------------ Date: Thu, 28 Apr 2005 05:51:34 -1000 From: "Paul Guncheon" Subject: Re: tool preferences Message-id: <007b01c54c0a$27f1d030$0202a8c0 [at] yourxhtr8hvc4p> References: Just my preferences... you get what you pay for, most of the time. Sometimes you get even less. Jigsaw - Bosch Drill motors - Milwaukee Hand tools - Crescent, Channellock, Craftsman, some Stanley Routers - Porter Cable Sawzall - Milwaukee, Porter Cable Cordless tools - Makita, DeWalt I avoid: Wen, Black and Decker, CP, off brands, mostly anything made in China. Most useless popular tool to avoid: Rotozip. Most used handtools: Hammer, 8" nippers with the cutting bevel gound flat, Wonderbar Has anyone seen a decent compass for drawing largish circles for construction? I have trammel points but wat a compas for circles between 1" - 14". I would also like to spend a lot less than $47.00 for it: (http://www.garrettwade.com/jump.jsp?lGen=detail&itemID=100082&itemType=PROD UCT&iMainCat=0&iSubCat=0&iProductID=100082) Even the compasses from Garrett Wade have a weak method of holding the pencil. The one I used had to have the lttle screw tightened with pliers to keep the pencil from slipping. I carry the cheap school compasses but they kinda crap out rather quickly. Laters, Paul "Have I been emasculated?" Tom demanded. ------------------------------ Date: Thu, 28 Apr 2005 05:52:32 -1000 From: "Paul Guncheon" Subject: Re: backstage lighting cables Message-id: <008901c54c0a$4a863320$0202a8c0 [at] yourxhtr8hvc4p> References: >> 3. Power cords for stage lighting and backstage >> lighting may not be taped to the floor. Cable >> protector ramps may be used. At the rare times when I have had to roll scenery (light weight) over cables, I have covered them with 1/4" plywood, with the top grain running parallel to the cable, screwed to the deck. I also have covered cable with taped down pieces of carpet. Both instances present less of tripping hazard than bumble bees. Laters, Paul "Wow!" barked Tom, with a bow. ------------------------------ Subject: RE: tool preferences/ trammel points Date: Thu, 28 Apr 2005 10:13:36 -0600 Message-ID: <67CADCB91D266042A8DAB3B981DCFD1404143F [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" Has anyone seen a decent compass for drawing largish circles for construction? I have trammel points but wat a compas for circles between 1" - 14". I would also like to spend a lot less than $47.00 for it: While I have not looked for, or have seen one in years, I purchased two sets of trammel points at the large, Orange Box store. They were made to slide on 1'2 inch emt/conduit. Really convenient. I shall try and remember to check if there is a manufacturer logo or stamp on them in the next day or so.. Trey Haagen Arnold Hall Theatre USAF Academy ------------------------------ Subject: RE: Drape hampers Date: Thu, 28 Apr 2005 12:15:56 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7E6 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Several of us, including Noah, are already on "Linkedin"=20 > which is an online=20 > networking site. May I suggest that rather than adding to=20 > stagecraft, we invite=20 > those of you who are interested in things of a more=20 > commercial nature to=20 > register on the linked in site? http://www.linkedin.com I just signed up for that, but can't figure out how to determine (except by hand, one at a time) who from the list is on this service. Does it allow one to scan other people's contact lists? That being said, I think including a section on the Stagecraft site for commercial links would still be a better solution...we're all a generally well-behaved lot, and fairly good at policing ourselves from over-commercialized posts, so it shouldn't be too much of a problem. And many of us for time constraints are still one-stop shoppers... ------------------------------ Message-ID: <000801c54c0d$a8b16110$0600a8c0 [at] lpt> From: References: Subject: commas Date: Thu, 28 Apr 2005 11:16:37 -0500 Organization: Minnesota Ballet Frank Wood wrote: As I'm on the digest version of the list I would have thought those that are not would have caught this. I'm not one to jump in on picking on Frank, but as with most stage crews I've seen on tours....if you leave the door open on something like that you have a duty to walk through it. so here it goes: I have noticed that as I read all these e-mails, I get a little short of breath while I read. For some reason, as I read Frank's I can breath better. Now I know why. (And no....I'm not reading aloud) sorry Frank.....had to :) Ken ------------------------------ Message-ID: Date: Thu, 28 Apr 2005 12:32:45 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: tool preferences In-Reply-To: References: > Has anyone seen a decent compass for drawing largish circles for > construction? I have trammel points but wat a compas for circles between > 1" - 14". I would also like to spend a lot less than $47.00 for it: You might want to look at an educational supply store for a compass used for drawing circles on blackboards. When I was a college TD, I kept one of these in one of my scene shop. I found it very useful for drawing circles and arcs with a radius of 4" to 18". -Delbert --=20 Delbert Hall Phone: 423-772-4255 ------------------------------ Subject: RE: "Genie" lift recommendation... Date: Thu, 28 Apr 2005 11:45:49 -0500 Message-ID: From: "Curt Mortimore" Steve, From my experience what make and model you choose should be based mostly on your personal preferences, performance requirements and dealer/service provider availability in your area. That being said. I am a big proponent of the 110/120 volt models verses the battery operated ones. In our case we are never more than 50 feet from an outlet, usually 10 to 20 feet, and the crew has been conditioned to include the cord in the reset/move procedure. In my opinion this is much less of a pain than the frequent problems of batteries not getting charged, busted chargers, bad batteries etc. If a battery powered model is required or preferred, one suggestion might be to purchase an extra battery/case/charger so one could be charging while the other is being used. Probably not what you need but the lifts ReachMaster builds are really cool! http://www.reachmaster.us/ My 2 cents worth, thanks for listening. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: CD-80 flickering problem Date: Thu, 28 Apr 2005 12:47:08 -0400 I had a similar problem with a floating Neutral. Have you checked all the Neutral connections on the supply side of the dimmer back to the main panel. It sounds like it might be intermittent. Just a wild guess since it looks like you have tried about everything else I would have suggested. Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: RE: CD-80 flickering problem Date: Thu, 28 Apr 2005 12:50:01 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7E7 [at] exchange.rmwc.edu> From: "Paul Schreiner" > After all other options are eliminated you may have to go=20 > back to some=20 > of these very unlikely scenarios... It's that old line from Sherlock Holmes...once you've eliminated the impossible, whatever remains--however improbable--must be the truth! ------------------------------ In-Reply-To: References: Message-Id: <6157b565f0ef95ea93304a28d6533b9a [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: "Genie" lift recommendation... Date: Thu, 28 Apr 2005 09:57:32 -0700 I want the one with the tracks.... Great for outdoor docudramas. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Apr 28, 2005, at 9:45 AM, Curt Mortimore wrote: > Probably not what you need but the lifts ReachMaster builds are really > cool! > http://www.reachmaster.us/ > > My 2 cents worth, thanks for listening. > > Curtis L. Mortimore > > Graceland University > > 1 University Place > > Lamoni, IA 50140 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d4.3af63c34.2fa27030 [at] aol.com> Date: Thu, 28 Apr 2005 12:58:24 EDT Subject: Re: Lighting Question In a message dated 28/04/05 00:25:34 GMT Daylight Time, deeming.tony [at] btinternet.com writes: > Do you have to plug that paint in to get it to emit light? Or does it just > do it by magic? No, by fluorescence. When suitably stimulated, usually by UV radiation, the paint emits light. Not very much, as a rule, which is why UV effects work best on a dark stage. > > 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. Your turn to be wrong. Look at a TV screen, when the set is off. It's a uniform darkish grey. When stimulated by a beam of electrons, which have no colour, it will show you most of the colours of the rainbow. This is phosphorescence: fluorescence uses a different stimulation. Frank Wood ------------------------------ Subject: RE: sound question Date: Thu, 28 Apr 2005 12:06:04 -0500 Message-ID: <4712A45C0680F445A48DEE8E91F9F7D602EF666D [at] LHEXCHANGE.hs.district128.org> From: "Warmbold, Bo" Cc: dnaz [at] kwu.edu We have used Adobe Audition with a Tascam USB Pre-Amp. Adobe gives good educational pricing and it's a relatively intuitive program. Bo.=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Daniel Nazworth Sent: Thursday, April 28, 2005 9:08 AM To: Stagecraft Subject: sound question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello all I am working on the continual quest to bring my theatre into the 21st century (actually if I hit the 20th I'll be happy). To that end I want to move into digital sound editing, what are the favorite programs in use? Thanks to all Dan Nazworth Kansas Wesleyan University ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 28 Apr 2005 13:13:01 EDT Subject: Re: Problem with Lighting System In a message dated 28/04/05 00:28:12 GMT Daylight Time, bpmunroe [at] gmail.com writes: > > That depends on what the dimmer is set at. And also on what the meter is > > measuring, and reporting. > > > > Right, if the meter is set to read resistance or continuity or > amperage, it won't show 110 volts. > > Thank you Captain Obvious. Measuring AC is less than entirely straightforward. The works of the meter need DC, unless you are using a hot wire meter. Turning the AC into DC involves problems of calibration. For example, a straightforward sinusoidal waveform has an RMS value of 0.707 of its peak, and the RMS value is usually what you want to know. Sometimes, tou want to know the peak, and an RMS calibrated meter needs the reading multiplied by 1.414. For other waveforms, the numbers are different. This is particularly true of the odd waveforms you can get from semiconductor dimmers. Some meters are clever enough to do the sums to get the answer you need. Cheap ones, or old ones, may not. It's not quite so obvious as you seem to think. Frank Wood ------------------------------ Message-ID: <014D202957F6D8118924000F20D7342B05CEBFCF [at] az33exm01.corp.mot.com> From: Wood Chip-P26398 Subject: RE: university theater statistics Date: Thu, 28 Apr 2005 10:18:04 -0700 This is wild. Without Jews, (pause for breath) the American and European Theater would be less than 1/2 of what it is. Now the Land of the Jews is shutting down the cultural theatre of their Universities. Madness thy name is irony. Appeal to their theatrical heritage, who knows, one or more of the alte kockers might have some chutzpah. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Judy >Which university are you talking about. Sorry, maybe should have made that clear. I'm in Israel, this is Tel Aviv University. Till about six years ago it was the only university in the country with a theater department which taught practical as well as theoretical studies. One other university here has opened a theater department recently but it has similar problems, and last year they closed down the theater where the students had been doing productions, so there's no place there to practice. Ours has a university theater which sells tickets to the general public and does lots of plays. ------------------------------ Message-ID: <013a01c54c16$d5906a10$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: CD-80 flickering problem Date: Thu, 28 Apr 2005 10:22:18 -0700 ----- Original Message ----- From: "Paul Sanow" I'm going to go out on limb here. I interpreted Don's statement above to mean this might not be a three-phase (120/208) system. The only other option really is to run the pack single-phase (120/240) 3-wire plus ground. You *can* run a CD80 pack all on one circuit (one hot, one neutral and hopefully a ground) for testing or in a pinch with a small load. Could you have your system wildly out of phase balance? I wondered about this, but I wasn't able to explain what I meant clearly to John and Bill, as we stood glaring at the dimmer packs. (They had been investigating this for two days by then.) They probably understand it better than I do anyway. These packs have the option to be wired 3-phase, 4 wire plus ground, or single-phase, 3 wire plus ground, with a jumper inside (that probably clarifies things for the control card). I'd have to look up what that means. But I can see this in the manual, and our packs are using the single phase option. Could this phase balance issue occur with this power feed setup? And do the symptoms indicate an out of balance condition? Again, thanks! ------------------------------ Date: Thu, 28 Apr 2005 13:21:29 -0400 Subject: Re: backstage lighting cables From: Steve Larson Message-ID: In-Reply-To: My fire marshal restricts the use of extension cord (think orange) to a 30-day use period. We cover all backstage on the floor cables with carpet. We cover all areas the actors are allowed backstage with carpet. We use blue rope lights to guide them around the set backstage. All my electrics for the lighting system are in the air. It's easy to drop a line where needed. Basicly the only cables on the floor backstage are for equity lighting. Steve > From: "Paul Guncheon" > Reply-To: "Stagecraft" > Date: Thu, 28 Apr 2005 05:52:32 -1000 > To: "Stagecraft" > Subject: Re: backstage lighting cables > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> 3. Power cords for stage lighting and backstage > >>> lighting may not be taped to the floor. Cable > >>> protector ramps may be used. > > > > At the rare times when I have had to roll scenery (light weight) over > cables, I have covered them with 1/4" plywood, with the top grain running > parallel to the cable, screwed to the deck. I also have covered cable with > taped down pieces of carpet. Both instances present less of tripping hazard > than bumble bees. > > > > Laters, > > > > Paul > > > > "Wow!" barked Tom, with a bow. > > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <199.3e2b68fd.2fa276b8 [at] aol.com> Date: Thu, 28 Apr 2005 13:26:16 EDT Subject: Re: Storage in a Tiny Theatre In a message dated 28/04/05 04:30:41 GMT Daylight Time, dale [at] cybercom.net writes: > Storage > in a theater is always a problem. Lighting stuff can be left hanging in the > air until you need it. Sets take up a lot of space, and don't often > compact > very well. The amount of gear to be stored expands to fill the available space, and probably to overflow it. Props are usually the biggest problem. Furniture is bulky, and hard to store neatly. For sets, I'm afraid that the only real answer is to be ruthless. While flats are fairly simple, built pieces are not. I'm afraid that the only answer is to take them apart, salvage what you can store, and trash the rest. I hate doing it, but you have to. It costs more, and it's more work. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1dd.3c3991d8.2fa27883 [at] aol.com> Date: Thu, 28 Apr 2005 13:33:55 EDT Subject: Re: Posit mill In a message dated 28/04/05 06:35:13 GMT Daylight Time, bpurdy [at] rochester.rr.com writes: > It was spelled Posit in the programme, and in the script. Several of > you replied on or off list with the "Posset" theory, and I suppose that > probably is correct. The best one of which I know is a mix of toasted oatmeal, cream, honey, and whisky. I do not remember the proportions, but the experimentation ought to be enjoyable. It's called "Atholl Brose". Frank Wood ------------------------------ Subject: RE: Storage in a Tiny Theatre Date: Thu, 28 Apr 2005 12:36:05 -0500 Message-ID: From: "Curt Mortimore" I know I have suggested this before but hear me out. Get a hold of a pallet jack. Build Racks/shelving/cabinets to provide very dense storage space that can be moved with the pallet jack. Build these of a size that makes use of the extra height you may have in your space while still allowing you to move them safely. Possibly into a cargo container? Use the model suggested earlier of: setup shop, build the show, stack everything in the shop, setup the seating, do the show, reverse and repeat. The pallet jack allows you to move a lot of stuff in a very short time, costs less than the pile of casters you would need to move the same stuff, and one person can move practically anything. YMMV Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <90.5cca14a5.2fa27b8c [at] aol.com> Date: Thu, 28 Apr 2005 13:46:52 EDT Subject: Re: commas In a message dated 28/04/05 12:29:46 GMT Daylight Time, gwilliams [at] appstate.edu writes: > I work on the principle that I insert one, when someone reading > > my wriring > > may wish to pause for breath.. > > > > Frank Wood > > That would presume that everyone who reads what you write has the exact > same lung capacity, state of rest/exertion, and begins reading your > statements in the exact same relative place in the breathing cycle. > > I do realize that you _think_ we await your instructions with bated > breath, but... I cannot speak for anybody else. I just place commas where I would find it natural to pause, in reading my writing aloud. They also serve a useful purpose in separating lists. I was also interested to note the new punctuation marks that you seem to use. Perhaps you would like to let us know what the 'underscore' means, and the triple full stop. They are not in the canon. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <144.4491fa4d.2fa27bf1 [at] aol.com> Date: Thu, 28 Apr 2005 13:48:33 EDT Subject: Re: commas In a message dated 28/04/05 13:52:00 GMT Daylight Time, bpurdy [at] rochester.rr.com writes: > And that you are reading it out loud. Some of us don't even move our > lips when we read these posts! ;-) I bet you do! Frank Wood ------------------------------ Subject: Re: Drape Hampers Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Thu, 28 Apr 2005 13:48:49 -0400 Uncle Bill wrote: snip: you have all heard me rant in the past that maybe it would be nice to think about purchasing stuff from list members, when possible. There are a number of commercial entities on the list and some of them regularly participate. What does anyone think about adding a commercial section to the website? I think that's a great idea. It's just one more resource the list could provide. We've got to be protective of Noah though, he's got enough on his plate. 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. ********** ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <154.502b313d.2fa27e69 [at] aol.com> Date: Thu, 28 Apr 2005 13:59:05 EDT Subject: Re: jefferson / adams In a message dated 28/04/05 15:34:52 GMT Daylight Time, IAEG [at] aol.com writes: > ...And now we have Bush, Kerry, Rove..... >> > > but also remember that in their own day, , , > > at least half of the country despised all of those founding fathers at one > time or another I didn't think that opinion polls had been invented, then. You are probably right, though. Strong and competent leaders are often disapproved of. They 'rock the boat'. PS. Who is Rove? Frank Wood ------------------------------ Subject: Re: Works for black box Date: Thu, 28 Apr 2005 10:59:10 -0700 Message-ID: From: "Michael Finney" OK, I'm going to try to respond (more or less briefly) to some of = Frank's comments on discharge lamps. Keep in mind that "discharge lamps" = actually describes 4 distinct types of lamp (high pressure sodium, low = pressure sodium, mercury vapour, and metal halide), and that each = general type has a broad range of available lamps within the general = category. I work with a fair number of them in commercial and = architectural applications, and some of his comments aren't necessarily = 100% correct for currently available lamps. <>=20 I'd say that this is correct for lower-end metal halide lamps, most = sodium lamps, and pretty much all mercury vapour lamps...but is not = accurate as a blanket statement for the entire family of discharge = sources. For instance, a Philips MasterColor Ceramic Metal Halide lamp = (product number 37369-6/CDM150/T6/942) has a CRI of 95. That's pretty = darned good. All of their MasterColor metal halide line have CRI's in = excess of 80. Sodiums typically have much worse CRI's (under 60), = although Philips White SON line is around 80. Mercury vapours are = pretty much all under 50. In applications where color rendering is = important (like retail spaces), we typically won't spec anything except = Metal Halide. <> (in reference to slow strike/warm-up times and = restrikes)=20 Again, correct for a wide number of lamps, but not necessarily correct = for the entire family of contemporary discharge lamps. Warm-up time and = hot-restrike are a factor of both the lamp and the ballast. The = trade-off is that most pulse start lamps have a lower CRI. A couple of = commonly available fixtures use a halogen or fluorescent source within = the fixture housing to help mitigate this issue - when turned on, the = discharge source strikes and the alternate source turns on. That gives = you an instant (-ish) source of light until the primary source comes on. = In situations where we think "instant on" will be an issue, we mix = sources. <> I'm pretty sure we've been over this before, but here we go again. For = contemporary sources, Franks blanket condemnation of colour temperature = ratings is (I believe) much too broad. The actual discharge source = (within the glass envelope of the lamp) certainly *does* have a pretty = spectacular spike at several points of the spectrum. That's why = contemporary lamps with high CRI's combine both coated envelopes (to = absorb those spikes and help smooth the spectral output) and ceramic = (polycrystalline alumina) discharge assemblies (which helps to mitigate = those spikes). The end result - a source with minimized spikes across = the color spectrum. The spikes that are present are (to be honest) so = narrow (and shallow) that there's not a practical issue in most = real-world applications. In a lab, maybe. In TV studio applications - = probably a problem (although flicker rates from unstabilized ballasts is = more of an issue). And, if you're really concerned about those narrow = spikes, just remember that incandescent and halogen sources have them as = well - it's a direct result of whatever is burning (or arcing) to = provide that light. That's one of the ways labs do spectral analysis of = a sample...they burn it and look at where the burning material spikes on = the colour spectrum. =20 Personal opinion here: Metal halides are tremendously efficient as work = lights. HOWEVER, there's a pretty good chance that your stage lights = are going to be a much different quality of light than any work light = that you use (including halogen work lights). Probably your best bet is = to do a mix of high-CRI metal halides for general works with a mix of = fluorescents (color corrected with sleeves) and halogens for instances = where you're colour-critical (like paint floors). The halides give you = the overall "floor" level of light, while the corrected flouro's and = halogens tweak the color on your paint floor. It works well enough that = we use this mix in our office in our flexible space - halides for = overheads, with added "full spectrum" fluorescents where we have artists = working with color-critical items. Cut our energy use in that area by = more than 65% over the previous mix of halogens and (uncorrected) = fluorescents. BTW: The buzzing that was described in the original post could be lamps = at the end of their life inducing a harmonic in the ballast, or it could = be a ballast at the end of its life generating nasty harmonics on it's = own...or it could just be a cheap ballast. Ballasts are definitely one = of those "you get what you pay for" issues. Sorry for rambling on - but fluorescent and discharge sources are going = to be more and more of a factor in our industry as energy costs go up = and as energy conservation regulations become more common. In addition, = I (personally) feel that it would be kind of nice if we (as an industry) = put a little more effort into energy efficiency...and that means = learning about contemporary lamp sources and not making blanket = assumptions based on last-generation lamps. =20 As a personal example - when we just went through an office move here, I = was given the very broad directive from our Creative Director that = "there will be NO fluorescent lamps" in the new space. Unfortunately, = we couldn't meet our Title 24 energy conservation requirements without a = number of fluorescent sources. Soooo - when I did the "show and tell" = with some sample fixtures I used broad spectrum compact fluorescent = sources as the lamps. Guess what? Not a *single one* of my very = experienced creative directors recognized them as fluorescent sources. = One of them didn't believe me until I actually took the fixture apart. = I've only got 23 incandescent sources in a 7500 square foot office = now...and all of those are task lights (and 2 lava lamps...CFL's = *really* don't work for those!). They ain't your grandpa's lamps = anymore.... Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com PS: unrelated - Tracy Fitch and Jean Burch: I dropped you guys a = couple of emails off-list last week, but I've been having problems with = our relay server. If you could let me know if you received them, it'd = be a big help in troubleshooting the server problem. Thanks! =A0 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <199.3e2d98ab.2fa27fda [at] aol.com> Date: Thu, 28 Apr 2005 14:05:14 EDT Subject: Re: Punctuation In a message dated 28/04/05 15:48:20 GMT Daylight Time, kruling [at] esta.org writes: > > Understood has many meanings. The documents that lawyers write employ > > no punctuation, because a misplaced mark may change the meaning. > > > > Frank, this is delusional. ESTA's lawyer uses commas, as does my > lawyer. Periods, too. Sometimes even semicolons! What gave you the > idea that lawyers use no punctuation? UK custom. It may have changed, but you know what lawyers are. > > A misplaced mark changes the meaning, but no marks leave the meaning > ambiguous. The solution is to put the marks in the right places. Make up your mind. That was the lawyer's art, to draw up a ducument with no ambiguities, and no punctuation, apart from full stops. Frank Wood ------------------------------ Message-ID: <427126C7.2060706 [at] fredonia.edu> Date: Thu, 28 Apr 2005 14:09:11 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Loft Addition References: There might be fire code issues with the construction of said loft. Should not be wood construction and if the area is sprinkled, you'll most likely need to add sprinklers under the loft as well. Get an engineer to sign off on any plans. SER Ford H Sellers wrote: Their solution was to build a Loft(at > 8'), w ------------------------------ End of Stagecraft Digest #379 *****************************