Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 26897240; Sun, 22 Jan 2006 03:02:37 -0800 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 #663 Date: Sun, 22 Jan 2006 03:01:28 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #663 1. Re: 4k HMI PANIs by Stephen Litterst 2. Re: It's happened again.... by "G. D. George" 3. Re: It's happened again.... by Scott Parker 4. It's happend again by "Rock, Michael Edward" 5. Truck packing/tour loadout by b Ricie 6. Re: Publication topics by Joseph Lott 7. Re: It's happend again by Stephen Litterst 8. Re: (Stupid Question) Electrical codes regarding fixtures/plugs by FrankWood95 [at] aol.com 9. Question for NYC lighting designers by "Jeffrey E. Salzberg" 10. Re: It's happend again by FrankWood95 [at] aol.com 11. Re: Lightweight headsets URL by CB 12. Re: 4k HMI PANIs by "Idaho Scenic and Rigging" 13. Re: It's happened again.... by CB 14. Re: It's happened again.... by CB 15. Re: Tour loadouts by CB 16. Lithium charger by Jerry Durand 17. Re: Scenery and Flame Retardant by CB 18. Re: It's happened again.... by Jim Hyslop 19. (Stupid Question) Electrical codes regarding fixtures/plugs by CB 20. Re: It's happened again.... by "Paul Schreiner" 21. loadouts by CB 22. Re: Tour loadouts by "Idaho Scenic and Rigging" 23. Re: Lightweight Headset URL by Mat Goebel 24. Re: Lightweight Headset URL by CB 25. Electrical code question by "Keith Fleschner" 26. Re: Lightweight Headset URL by 27. Re: Lightweight Headset URL by "Jeffrey E. Salzberg" 28. Re: Tour loadouts by 29. Re: Lightweight Headset URL by 30. Re: It's happened again.... by FrankWood95 [at] aol.com 31. Re: It's happened again.... by FrankWood95 [at] aol.com 32. AHJ and fire by "David R. Krajec" 33. Re: labeling S4's by Gregg Carville 34. my clearcom call light was posessed by Mat Goebel 35. Re: AHJ and fire by "RD" 36. Re: AHJ and fire by 37. Re: labeling S4's by "Bill Nelson" 38. Re: AHJ and fire by "RD" 39. Automated Chain Motors by Brian Munroe 40. Filter Foam by Johan Godwaldt 41. Re: SPAM-LOW: AHJ and fire by "Richard Wolpert" 42. Re: labeling S4's by seanrmc [at] earthlink.net 43. Re: labeling S4's by "Christopher K. Nimm" *** 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: Sat, 21 Jan 2006 08:03:48 -0500 (EST) From: Stephen Litterst Subject: Re: 4k HMI PANIs In-reply-to: Message-id: <1410.172.129.195.131.1137848628.squirrel [at] 172.129.195.131> References:

> --------------------------------------------------- > When you say "assorted shops" do you mean that calling one shop doesn't > get > me the resources of all their shops? I always assumed if I asked PRG in NY > for equipment, they would query all PRG locations if they didn't have it > there. Is this not true? > I was just assuming that there's probably a more convenient shop for you than the NJ one I use. My guess is that your assumption is correct, that your rental rep will query all locations to find the equipment. I just don't remember all their locations, and am pretty sure there's something closer to Dallas than the big shop in North Bergen, NJ. Steve L. ------------------------------ From: "G. D. George" Subject: RE: It's happened again.... Date: Sat, 21 Jan 2006 08:33:59 -0500 In-Reply-To: Message-ID: In academia, at least part of the problem is that you can't easily assess the value of an intangible like loyalty. It's hard to hang a number on or rate. Likewise ethical behavior in an environment where concepts of what-is-ethical differ radically within a program, let alone a college or university. Credentials, on the other hand, are easily assessed by administrators and accrediting bodies that want everything to be quantitatively based, have little or no concept of theatre or theatrical practices, and really don't care about commitments to theatre or to one's art in general. G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com Sent: Friday, January 20, 2006 6:41 PM To: Stagecraft Subject: Re: It's happened again.... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- _stagecraft [at] jeffsalzberg.com_ (mailto:stagecraft [at] jeffsalzberg.com) writes: << Are college programs not teaching professional ethics?>> Can't give what you don't have. I see a lot of unethical things across academia as well as in business. Best thing that can happen is that those folks are "outed" buy the ones who got burned and that reputation becomes and stays more important than credientials. Kristi ------------------------------ Message-ID: <90d9c9980601210620j657bae77le9d836b2551dcf87 [at] mail.gmail.com> Date: Sat, 21 Jan 2006 09:20:53 -0500 From: Scott Parker Subject: Re: It's happened again.... In-Reply-To: References:

During a recent stage management course we spent an entire 3 hour class covering commitment. Taking into account scheduling conflicts and such information that one needs in order to make the proper decisions. It was stressed that one keeps their word and that one of the few things we have to call our own is our word. Of course, circumstances can require one to request others to honor the need to change arrangements. But, that doesn't account for poor planning, such as Jon's students dilemma about the mock trial vs. the show. The main point of my 3 hours with my SM class was about one very special word: >--NO--<. "No" can be so much stronger then yes for one's reputation. When I get a student, or an employee for that matter, who can give me a well thought out NO, I'm much more inclined to accept the yes with confidence that the job will get done. A special mention was made that if one were to request a change in arrangements, the other party has an equal right to also say no; possibly resulting in the total loss of the deal/job/opportunity. Sorry for the ramble, but I've also been having the same issues that this topic has raised. Wait, I can't stop. I just had a student who decided to stop coming to class. It was only after he received an "F" that he told me that he had to take a job that met during our class time. Actually, not that he "had" to take the job. He wanted to get a "jump" into his career. He is now begging for a passing grade so that he can graduate. I'm a firm believer that school is the place that kids can fail. I also believe that school is the place that you can always ask for guidance and be able to show your weaknesses without fear of losing your "job." It would be nice if more "real world" jobs would allow one to show that they don't know everything and it's ok to ask for help. It's ok if you fail my class. I'll still receive you in my next class with a clean slate. Granted, I'll be keeping a more focused eye on performance and such. Ok, I'm done. Scott wait! Another major problem that, I believe, many of us are faced with: getting the show up even though some have not completed what they needed to do. How many academic productions have been "saved" by the reserve team? A person just doesn't come through, but we fix it anyway and the show doesn't actually end up suffering. We don't postpone the opening, we don't cut the parts... We work like mad to fix the problems. Doesn't this give the entire group a false sense of security? Then, when the LD is completely over his/her head, they "walk." Not to worry, the show still worked out in college! On the other hand, I've worked on many commercial productions that have also been saved by the reserve team. The difference: money! the other difference is previews and the ability to postpone the official opening night for the critics. Did I mention money? Ok, now I'm really done.. I could go on and on, but I know I'm preaching to the choir. Scott On 1/20/06, Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > The commitment level has dropped, in my humble opinion. Kids are being > > placed in so many different activities they are spreading everything to= o > > thin. They either start quitting activities or start failing classes. > > This is carrying over into their professional lives. I have had full > > time students quit shows because they also work full time jobs. They > > audition with schedules that allow them to be here two days a week and > > expect that to be enough. > Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Subject: It's happend again Date: Sat, 21 Jan 2006 09:18:00 -0600 Message-ID: <2121C6A125DFE64FAC02D41B52C3391602585EF2 [at] msc.uwgb.edu> From: "Rock, Michael Edward" That might be true in other departments like Math or Humanities but I = think it is possible for a TD to see which of his students are loyal. = Who shows up to the light hangs and load ins? Who pulls the bleeders out = instead of just hoping no one will notice? Who researches the gear = outside of class so they are able to do more with it? Find the students = that do that and you will find the people that will not walk off the = job. =20 Mike Rock=20 =20 --------------------------------------------------- In academia, at least part of the problem is that you can't easily = assess the value of an intangible like loyalty. It's hard to hang a number on = or rate. Likewise ethical behavior in an environment where concepts of what-is-ethical differ radically within a program, let alone a college = or university. ------------------------------ Message-ID: <20060121170123.7965.qmail [at] web50614.mail.yahoo.com> Date: Sat, 21 Jan 2006 09:01:23 -0800 (PST) From: b Ricie Subject: Truck packing/tour loadout In-Reply-To: Not everyone has the chops to pack a truck. Loading is more than just getting it from the venue to the truck. You also want to make sure the load is right so you don't shake your gear apart before the next gig, you want to make sure the load rides nice for the driver, and it is nice if the load is packed in such a way so the first thing you need to load in is the first thing off the truck. If you are the only one who knows how it fits on the truck, you have some nice job security. I was recently flown to LA just to load a truck. As everyone had fancy titles, they started calling me "tetris tech." Apparently the crew was kinda green, and had never loaded a truck before. At their first load out the GM witnessed them attempting to push the last 5' of a set cart onto a fully loaded truck. The GM had a good laugh, realized they were going to have more equipment meet them in LA, decided they needed help and brought me out. I had been at the same venue as TD about two weeks earlier and had proved my worth, as a result, the local crew that had worked with me became my allies. The rest of the local crew wanted to finish and get out. During the entire loadout the house sound guy said over and over " Easy guys, this is the fist time he has loaded this truck." He kept the dogs at bay and I thanked him after. I wanted to load the truck once and correctly, as did they. When it was said and done, doing it right did not take that much more time, and there was even a little extra space at the tail of the truck. The moral of the story. Do it right for the equipment, without it ya ain't got a show. Do it right for the driver, a shifting load can be a dangerous thing on the road. Do it right for your crew, the road crew wants to get to sleep. Do it right for the bartender, they count on all the $$$ from those thirsty stagehands before last call. Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ In-Reply-To: References:

Message-Id: <2B0F4F95-8D19-440C-96E0-726E75E23418 [at] healylott.com> From: Joseph Lott Subject: Re: Publication topics Date: Sat, 21 Jan 2006 12:37:31 -0500 Scott, I'm reasonably handy with PHP and the rest of web technology -- what sorts of things do you need help with? Joe On Jan 19, 2006, at 11:45 PM, Scott Parker wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > Hey, that's me! Thanks for the kind words Bruce. I have some plans for > my site that should be up in the next couple of months. I am planning > on making some changes that should allow more people to contribute to > the pages. > If anyone is good at PhP, please let me know. I could use a hand. > > Take care all, Scott > www.hstech.org > > On 1/19/06, Bruce Purdy wrote: > >> Yale Technical briefs >> USITT Tech expo catalogues >> Our own Scott Parker's http://www.hstech.org/ >> >> Bruce Purdy >> Technical Director >> Smith Opera House >> >> >> > > > -- > Take care, Scott > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Dyson College of Arts and Sciences [at] Pace University > Office/shipping: 41 Park Row, 1205F > Mailing: 1 Pace Plaza > New York, NY 10038 > 212-346-1423 Fax: 914-989-8425 ------------------------------ Date: Sat, 21 Jan 2006 12:38:59 -0500 (EST) From: Stephen Litterst Subject: Re: It's happend again In-reply-to: Message-id: <1577.172.151.114.247.1137865139.squirrel [at] 172.151.114.247> References: > --------------------------------------------------- > > That might be true in other departments like Math or Humanities but I > think it is possible for a TD to see which of his students are loyal. Who > shows up to the light hangs and load ins? Who pulls the bleeders out > instead of just hoping no one will notice? Who researches the gear outside > of class so they are able to do more with it? Find the students that do > that and you will find the people that will not walk off the job. And most academic TDs that I know do that. However, many of those qualities are not failable offenses. And within the strictures of academia, I don't see any way to make them failable. That's what the references on their resumes are for. Steve Litterst ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 21 Jan 2006 13:07:21 EST Subject: Re: (Stupid Question) Electrical codes regarding fixtures/plugs In a message dated 21/01/06 03:39:02 GMT Standard Time, elvisisntdead [at] gmail.com writes: > A very stupid question but do anyone know if there are any specific > electrical codes/standards that pertain to replugging/rewiring of > theatre light fixtures? Such as any strange rule that a certified > electrician is needed to rewire a light fixture (nothing to do with > acutal dimming/power supply) or to change plugs? Or there is some it > is a code violation for an "untrained" person to do this work? It's by no means a stupid question, but there is no universal answer. From what I have read on this list, it depends on where you are, and on the local code. There are universal codes which specify how to do the job, and colour codes and cable ratings. Beyond that, there are few standards. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: doomster [at] worldnet.att.net Subject: Question for NYC lighting designers Date: Sat, 21 Jan 2006 13:09:54 -0500 Message-ID: <002601c61eb5$e1954d90$6501a8c0 [at] Dell> In-Reply-To: Anyone have drawings for Altered Stages/29th Street Rep? ...And no, Chris, I won't pay your travel and per diem for you to come measure and draw it. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e4.4ad53b89.3103d7c0 [at] aol.com> Date: Sat, 21 Jan 2006 13:30:24 EST Subject: Re: It's happend again In a message dated 21/01/06 17:39:40 GMT Standard Time, slitterst [at] ithaca.edu writes: > > That might be true in other departments like Math or Humanities but I > > think it is possible for a TD to see which of his students are loyal. Who > > shows up to the light hangs and load ins? Who pulls the bleeders out > > instead of just hoping no one will notice? Who researches the gear outside > > of class so they are able to do more with it? Find the students that do > > that and you will find the people that will not walk off the job. There are two words appropriate, experience and honour. Experience means that you know what you can do well, and what badly. I am a medium competent LD. I can light most shows adequately. But, offer me a mega-musical, and I will say no, unless there is absolutely nobody else to do it. This is where the honour comes in. If I have agreed to light a show, however poor I may think it, I will stay with it to the end. Afterwards, I may vow never to work with that production team again. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20060121121200.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:12:00 From: CB Subject: RE: Lightweight headsets URL >be sure to indicate whether you're >willing to pay Chris travel and per diem.... ..or if he will be staying home and watching cartoons. Actually, I'm out of the loop for a week or so, I got shanghaied into mixing an opera. Those purists of you out there will be happy to hear that I'm just a monitor mixer (SM desk, Orch to the singers, BSM, Lobby, ADA, LX booth, etc.) and the only re-inforcement that I'm doing in the house is a tiny bit of harpsichord bounced off the eyebrow into the balcony. Everything else is getting there all on its own. And yes, they're paying per diem and travel. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <001501c61ebf$2db2fed0$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References:

Subject: Re: 4k HMI PANIs Date: Sat, 21 Jan 2006 12:16:27 -0700 FYI http://www.prg.com/contact/locations PRG Dallas Ph: 1.214.630.1963 Fx: 1.214.630.5867 I work with PRG a couple times a year. Last time things were contracted out of LA and all the equipment came out of the NY shop Robert Riddle Will Disagree for the Sake of Discussion Will Discuss for the Sake of Learning ----- Original Message ----- From: "Stephen Litterst" To: "Stagecraft" Sent: Saturday, January 21, 2006 6:03 AM Subject: Re: 4k HMI PANIs > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > --------------------------------------------------- > > When you say "assorted shops" do you mean that calling one shop doesn't > > get > > me the resources of all their shops? I always assumed if I asked PRG in NY > > for equipment, they would query all PRG locations if they didn't have it > > there. Is this not true? > > > > I was just assuming that there's probably a more convenient shop for you > than the NJ one I use. My guess is that your assumption is correct, that > your rental rep will query all locations to find the equipment. I just > don't remember all their locations, and am pretty sure there's something > closer to Dallas than the big shop in North Bergen, NJ. > > Steve L. > ------------------------------ Message-Id: <3.0.6.32.20060121121947.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:19:47 From: CB Subject: Re: It's happened again.... >"I'm sorry, I know you've completed all your coursework, but we're not > >giving you a diploma, because you have bad parents." >> You forgot, "Your crystal has turned red, please proceed to the carousel." Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060121122839.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:28:39 From: CB Subject: Re: It's happened again.... >The time to walk is at the pre-production conference. if you must. That's all well and good, but sometimes the replacement PM isn't at the PPC, and you don't realize that his only experience is that he is the father of one of the dancers until after the original PM has left. And he doesn't understand the 'chain of command', what you actually do, who is in charge of what, and how to parse the sentence, "I don't want to get into a fight with you about it, lets just sit down and talk it out". I've got a long standing reputation, at least in Tucson, of turning down big money because I'm already engaged. My word is a verbal representation of myself. Can't trust a man's word, can't trust the man. But there is only so far you can push that, there are always cartoons on at my house, and I spend far too little time with the dogs as it is. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060121124010.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:40:10 From: CB Subject: Re: Tour loadouts >Use a bigger truck. Then packing >efficiently is not as important. Bigger trucks cost more money. Every mile. At some point, you have to get the Stagehand out of the driver's seat and hire a driver with a CDL. How much bigger than 53' do they come? Bigger truck sounds like a great idea, but when the bigger truck means a smaller paycheck, and I'm the one willing to pack it efficiently, guess who pays for it? >One company that >came through was an easy load. Something like half of >their boxes were generic 1/4 truck boxes, with nice >clear labels on the top of each one that had the contents, >and the location printed out. Coulda been the guy that I'm working for. Our first load-in was six thousand two hundered and forty-seven trips from the truck to the venue with identical littel lunchbox-sized cases. We're moving away from that little by little, and most of the truck goes into those 1/4 truck (or larger, for lighter stuff) boxes on good casters. I do, in fact, think about the guys that are rolling my stuff into the venue. If you check the archives, there was a question of how boxes should be constructed, and my answer was almost verbatim how you described your dream pack. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <7.0.0.16.0.20060121113051.01f90a08 [at] interstellar.com> Date: Sat, 21 Jan 2006 11:40:17 -0800 From: Jerry Durand Subject: Lithium charger For a couple of prototypes I'm making for a customer, I have to make up a small charger/regulator board for lithium-polymer batteries. Since most of the cost of these things is in the setup charges, if anyone on the list would be interested in some of them, let me know and we'll make extras as needed. You get by without having to pay the design and setup costs, just something reasonable to cover the parts and assembly. The board is to charge lithium-polymer batteries, we're using ones from http://www.ultralifebatteries.com/subcategory.php?ID=2 since these have the protection circuits built in and you can buy small quantities. Size will be something like 0.5" x 2", but we'll be making it as small as possible. 5VDC input, charge rate settable up to 1A, with a voltage regulator for the load (we're using 3.0V, but that can be adjusted up/down), about 100mA max. LEDs for 5VDC attached and CHARGE. Contact me for more details. We'll be probably ordering boards early next week. -- 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 web: www.interstellar.com ------------------------------ Message-Id: <3.0.6.32.20060121124502.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:45:02 From: CB Subject: Re: Scenery and Flame Retardant > I >often don't bother to post when you have said what needs to be said YHGTBFKM!!! ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <43D28FDE.30402 [at] dreampossible.ca> Date: Sat, 21 Jan 2006 14:47:42 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: It's happened again.... References:

In-Reply-To: Scott Parker wrote: > Ok, I'm done. > Scott > > wait! Yes, Detective Columbo? :=) > Another major problem that, I believe, many of us are faced with: > getting the show up even though some have not completed what they > needed to do. How many academic productions have been "saved" by the > reserve team? At the college I went to (Niagara College Theatre Centre, in Welland, Ontario - the beancounters closed the theatre program down two years after I graduated) there was no reserve team. If we didn't get it done in time, it didn't go on stage. -- Jim Hyslop ------------------------------ Message-Id: <3.0.6.32.20060121125308.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 12:53:08 From: CB Subject: (Stupid Question) Electrical codes regarding fixtures/plugs > Or there is some it >is a code violation for an "untrained" person to do this work? Well, a buddy of mine bought edison ends for the instruments that he ordered (yeah, it was the same guy as the umpty-jillion lunchbox-sized cases, we're teaching him...) that came with stageplugs. The stageplugs he got removed OK, but he didn't know that the edisons came apart. He stripped the ends and just poked them in their apropriate holes through the strain relief. I can not imagine what would have happened had I not noticed the one that I did. It kinda depends on your definition of 'untrained'. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Subject: RE: It's happened again.... Date: Sat, 21 Jan 2006 15:02:40 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9ABD [at] exchange.rmwc.edu> From: "Paul Schreiner" > > Another major problem that, I believe, many of us are faced with:=20 > > getting the show up even though some have not completed what they=20 > > needed to do. How many academic productions have been=20 > "saved" by the=20 > > reserve team? When I was still an undergrad, I was *part* of the reserve team. So were most of the upperclassmen. I'm not sure how or why, but there was a culture in the institution (Niagara University, for those of you who are curious) where students just...pitched in. There was no arm-twisting or anything involved when you needed hands for a late-night paint call or whatever. It just seemed to me part and parcel of the process, and a natural expectation/extension of the collaborative nature of theatre. It has its pros and cons...on the one hand, the danger is ever-present to overextend yourself on a consistent basis because of that expectation that people will at least be available to put in a few 18-hour days. On the other, I've never known a tighter group of people--even when that group numbered in the 70s. We all had each others' backs. Now that I've turned myself over to the Dark Side and become and edumacator, I find that the issue (when it involves situations like this) isn't so much about an uncaring attitude, but something completely opposite and counterintuitive. Students are so worried about disappointing me/us with their work, that they put it off and put it off and hesitate and then it's too late. Or they take on more than they can handle because they're afraid that saying "no" isn't acceptable, or will hurt our feelings. And no matter how often we/I try to reiterate that this is entirely NOT the case, it doesn't work, and they continue to repeat the same behavior patterns over and over again. THAT's what we're seeing, IMHO; or at least seeing more often than an ethical deficit. YMMV ------------------------------ Message-Id: <3.0.6.32.20060121131438.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 13:14:38 From: CB Subject: loadouts >But sometimes I found >doing it their way might take longer and it might mean you have to jam >stuff in upside down, and yet it is occasionally preferable to let >people do it their way. We're in the pit, in New Jersey, and a platform with a handrail is stuck between the pit and the wall. This is how the conversation goes: Me: What the F..? Them: No, that's nothing. Me: Its a problem Them: Oooh, it is! Me: Well, we'll just.. Them: No, go stand on it over there. Me: Yeah, but Them: No, just stand on it there! Me: Yeah, but the... Them: Just stand there and push on that Me: It'll fall over the.. Them: Look, I know what I'm doing just stand on that and push on that. Me: Ok... (*CRASH* ..splinter.) Them: OK, you were right... There are times and there are times. Its my gig, and I get to decide. A well placed "Hey, you might have great idea, but I don't have the time to make it up if you're wrong, and I don't know you well enough to trust your judgement over my own yet, you understand" will get you thier co-operation and maintain that atmosphere that you like. OTOH, if I have the time and I'm not married to any particular method as long as the results are the same, I will often tell them that they are smarter than me, do it any way that makes them happy as long as I get the results that I want in the time that I need them. And I am happy if I learn new things. I have never left a venue without learning something that I will use forever, or teaching something that the locals will use forever. Some degree of knowledge sharing will always occur. ------------------------------ Message-ID: <005601c61ec7$679d8720$6401a8c0 [at] amd2200> From: "Idaho Scenic and Rigging" References: Subject: Re: Tour loadouts Date: Sat, 21 Jan 2006 13:15:20 -0700 >How much bigger than 53' do they come? 53' is the largest I have worked with. Air ride suspension with rear axle shift. (to help balance load) I don't think there is a bigger "standard" truck. I'm usually out on a 3 to 6 truck tour. The only time we have gone to the "extra truck" is for weight considerations. If we have more gear than weight, i.e. if we have to stack it to the roof, but still stay within axle restrictions then: "We need another guy in here" > Bigger trucks cost more money. Every mile. At some point, you have to get > the Stagehand out of the driver's seat and hire a driver with a CDL. With another 53' truck, fuel, tolls, driver, hotel, per diem, ... it runs in the range of five hundred a day*. Yup, the show pays for it. ----- Original Message ----- From: "CB" To: "Stagecraft" Sent: Saturday, January 21, 2006 12:40 PM Subject: Re: Tour loadouts > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >Use a bigger truck. Then packing > >efficiently is not as important. > Bigger truck sounds like a great idea, > but when the bigger truck means a smaller paycheck, and I'm the one willing > to pack it efficiently, guess who pays for it? ------------------------------ Message-ID: Date: Sat, 21 Jan 2006 12:17:24 -0800 From: Mat Goebel Cc: stagecraft [at] jeffsalzberg.com Subject: Re: Lightweight Headset URL In-Reply-To: References:

That's really interesting. Could you post more information about setting up a base-stationless clearcom system? How do you propose to get the 24v into the headset, if that power only exists on the com line and does not normally make it to the headset connection? On 21/01/06, Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Why would you want to run it off 24v? > > ...Because I often run comm off a 24V wall-wart (you don't really need > Clear-Com's $400 base station) and this way, I can power it off the comm > line and not worry about the 9V battery dying in mid-rehearsal. -- Mat Goebel www.matgoebel.com Mobile: 510.693.1448 ------------------------------ Message-Id: <3.0.6.32.20060121133605.00d09840 [at] pop.west.cox.net> Date: Sat, 21 Jan 2006 13:36:05 From: CB Subject: RE: Lightweight Headset URL >> Why would you want to run it off 24v? > >...Because I often run comm off a 24V wall-wart (you don't really need >Clear-Com's $400 base station) and this way, I can power it off the comm >line and not worry about the 9V battery dying in mid-rehearsal. Doesn't the headset mic line in regular Clearcom gear provide 14.5V to the mic? Anyhoo, you want to be a bit particlular about the wall-wart PS you use. You'd prefer the line be well regulated and filtered. Don't call the skweek if it isn't. ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: From: "Keith Fleschner" Subject: Electrical code question Date: Sat, 21 Jan 2006 13:35:03 -0800 Hi You need to look at your state and local laws. The National Electric Code (NEC) is a minimum performance standard that generally doesn't talk about who does the installation. State and local law will say much more about what requires a license, My state (Oregon) specifically says you don't need a license to change a light bulb for example. In Oregon you would not need a license to do fixture repair because fixtures are not part of the permenant electrical system. But you would need a license to change the receptacle they plug into. If you work in a institution you may also find rules that limit all electrical work to license holders. Remember these rules are often created / administered by people who hold the licenses, they have have a vested interest in limiting non-licensed work. Keith keithfleschner [at] msn.com ------------------------------ Message-ID: <4cdd5a8f1b6cf9770faedd3025ee95f1 [at] cybercom.net> Date: Sat, 21 Jan 2006 17:36:20 -0500 From: Subject: Re: Lightweight Headset URL Reply-to: In-Reply-To: References: On 1:36:05 pm 01/21/06 CB wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > >> Why would you want to run it off 24v? > > > > ...Because I often run comm off a 24V wall-wart (you don't really > > need Clear-Com's $400 base station) and this way, I can power it > > off the comm line and not worry about the 9V battery dying in > mid-rehearsal. > Doesn't the headset mic line in regular Clearcom gear provide 14.5V > to the mic? > Anyhoo, you want to be a bit particlular about the wall-wart PS you > use. You'd prefer the line be well regulated and filtered. Don't > call the skweek if it isn't. ; > > All a clearcom power supply is, is a 24 volt DC power supply, fairly decently regulated and filtered. Plus the termination resister for the audio line. So yah, a high grade wall wart can work just fine. You will need to provide the termination resister somehow. If you are using it as a booster power supply, for a big intercom installation, then you don't need additional termination resisters. --Dale ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: dale [at] cybercom.net Subject: RE: Lightweight Headset URL Date: Sat, 21 Jan 2006 17:52:37 -0500 Message-ID: <004001c61edd$6025bf10$6501a8c0 [at] Dell> In-Reply-To: You will need to provide the termination > resister somehow. If you are using it as a booster power > supply, for a big intercom installation, then you don't need > additional termination resisters. What does the resistor accomplish and where should it go (and what value should it be?)? I've been using this as the only power supply for about a year now and it's been working fine. ------------------------------ Message-ID: <999d115ca736665577d8daf3545ab4af [at] cybercom.net> Date: Sat, 21 Jan 2006 17:58:03 -0500 From: Subject: Re: Tour loadouts Reply-to: In-Reply-To: References: On 12:40:10 pm 01/21/06 CB wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > > Use a bigger truck. Then packing > > efficiently is not as important. > > Bigger trucks cost more money. Every mile. At some point, you have > to get the Stagehand out of the driver's seat and hire a driver with > a CDL. How much bigger than 53' do they come? Bigger truck sounds > like a great idea, but when the bigger truck means a smaller > paycheck, and I'm the one willing to pack it efficiently, guess who > pays for it? Of course it costs more. Its a question of tradeoffs still. if your show fits into a 53 foot trailer with 26 cubic inches to spare, then packing efficently is a win, since it saves you having to run another truck. But on the other hand, upgrading from a 32 foot trailer to a 48 foot trailer and you reduce your loadout from six hours to four hours from easier truck packing, then you win. It is very situational. > > One company that > > came through was an easy load. Something like half of > > their boxes were generic 1/4 truck boxes, with nice > > clear labels on the top of each one that had the contents, > > and the location printed out. > > Coulda been the guy that I'm working for. Our first load-in was six > thousand two hundered and forty-seven trips from the truck to the > venue with identical littel lunchbox-sized cases. We're moving away > from that little by little, and most of the truck goes into those 1/4 > truck (or larger, for lighter stuff) boxes on good casters. I do, in > fact, think about the guys that are rolling my stuff into the venue. > If you check the archives, there was a question of how boxes should > be constructed, and my answer was almost verbatim how you described > your dream pack. Standardizing truck boxes as much as you can so that things all pack efficently without requiring truck tetris is a huge help. What if the one guy who knows the one true pack gets run over by a forktruck? Nobody should be critical to a show. I've seen two guys I know had their foot run over by a forktruck on a show. One of them was wearing safety toe shoes, and cursed the teamster a lot as he went on with his business. The other got a ride to the local hospital where he spent the rest of the day in the OR having his foot reconstructed. Clear labeling of the boxes for where they go also is a big win on the load in. Why waste the time of one of your touring crew to play traffic cop for boxes rolling off the truck? By having labels, the box pushers can put them all in the right spot, if they are literate. --Dale ------------------------------ Message-ID: <917eb4045d539678f60ff43e6f16f9aa [at] cybercom.net> Date: Sat, 21 Jan 2006 18:01:25 -0500 From: Subject: Re: Lightweight Headset URL Reply-to: In-Reply-To: References: On 5:52:37 pm 01/21/06 "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > You will need to provide the termination > > resister somehow. If you are using it as a booster power > > supply, for a big intercom installation, then you don't need > > additional termination resisters. > > What does the resistor accomplish and where should it go (and what > value should it be?)? I've been using this as the only power supply > for about a year now and it's been working fine. > The resister goes from the audio signal conductor to ground. It speeds up the drain off of signal light voltage, and helps with reducing noise on the line. There is a white paper on the clearcom web site that explains this better than I can off the top of my head. --Dale ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <23c.5935aff.310421db [at] aol.com> Date: Sat, 21 Jan 2006 18:46:35 EST Subject: Re: It's happened again.... In a message dated 21/01/06 19:28:25 GMT Standard Time, psyd [at] cox.net writes: > That's all well and good, but sometimes the replacement PM isn't at the > PPC, and you don't realize that his only experience is that he is the > father of one of the dancers until after the original PM has left. And he > doesn't understand the 'chain of command', what you actually do, who is in > charge of what, and how to parse the sentence, "I don't want to get into a > fight with you about it, lets just sit down and talk it out". It can happen. I used to work with a musical company, who did good work, such as the amateur premiere of "Man of La Mancha". Not just as LD: as SM, chorus, and occasionally as a sub-sub-sub principal. I got talked into lighting "Guys and Dolls" for them. Then the roof fell in. We'd lost a lot of talent, and the director said, quite late in rehearsal: "I'm sorry, but we haven't got a show here, nor any hope of getting it together in time. I think we should cancel." Being a democratic outfit, this was turned down, so the director quit and they found a new one. She lasted four rehearsals, and made the same judgement. Eventually, the leading man took it on. It was a catastrophe. Tatty set, tatty costumes, tatty performances. But I'd said I'ld light it, and I did what I could, which was not a lot. However well you light it, tat is tat. To my sorrow, but not to my surprise, the company folded, and we gave what remained of our funds to the thatre bar! It was a good time while it lasted. I suspect that it was like many such companies, led by one directing mind. When his work took him to the US, or further afield, the direction faltered. He was a good friend of mine until his untimely death a few years ago, and many others from the company still are. I think the Grim Reaper took more than a fair share. We lost our lead baritone, lead tenor, who sang 'Pickwick', lead mezzo, box office manager, and directing mind. Few amateur companies could survive all that. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <140.53c1d85f.3104253d [at] aol.com> Date: Sat, 21 Jan 2006 19:01:01 EST Subject: Re: It's happened again.... In a message dated 21/01/06 19:48:33 GMT Standard Time, theatre [at] dreampossible.ca writes: > At the college I went to (Niagara College Theatre Centre, in Welland, > Ontario - the beancounters closed the theatre program down two years > after I graduated) there was no reserve team. If we didn't get it done > in time, it didn't go on stage. I suppose that this is one advantage of amateur outfits. You can usually find some long retired expert to dig the theatre out of a hole. Even to come and look at or listen to a show and say: "There is a problem.", and suggest solutions, and even implement them. They still have loyalty to the organisation. The trouble with paid staff is that, reasonably, they want to be paid. This can blow your budget out of the water. Frank Wood ------------------------------ Reply-To: From: "David R. Krajec" Subject: AHJ and fire Date: Sat, 21 Jan 2006 18:16:37 -0600 Message-ID: In-Reply-To: Just yesterday, a high school teacher from across the street dropped in to borrow a cup of stageweights. In the course of loading his truck with iron, he alerted me that our local Fire Marshall Dillon was on the prowl. This high school is doing a musical and is putting a platform extension on the front of their stage. The Marshall (as AHJ) insisted that they flameproof the wooden components of the extension. A reasonable request but the first time that any one in the area actually be told that they have to do it. Then the Marshall started looking around and told my colleague that he couldn't store stock units and lumber in his scene shop area as the fire suppression system wouldn't be able to put out the fire if it started. I'm not ignorant (the root of ignorance is "to ignore") but I wasn't aware that the fire suppression system was supposed to "put out" a fire. I thought that the intent was to control the fire until people were able to evacuate the premises. I don't know that I would want to be the fire suppression installer or the insurance underwriter to have support the idea that the system has to put out the fire. Questions: Can he as the AHJ force us to store ALL of our combustible materials off site? If he decides to flex this muscle, is there any recourse that we may pursue or is his word law? Caveat: It should be noted that we had another nearby high school that had two (suspicious) fires in the theatre area. He tried to push this storage issue on them as well. I think that one is still in discussion. Any and all advice is welcome. David Krajec Assoc. Professor Cardinal Stritch University ------------------------------ Message-ID: <2c0e15160601211645s41566d18uf71863380d08e07d [at] mail.gmail.com> Date: Sat, 21 Jan 2006 19:45:04 -0500 From: Gregg Carville Subject: Re: labeling S4's In-Reply-To: References: FWIW We use paint. We spray the "bottom" gel frame holder. You can see the color in the air or on the ground (standing above the light before hanging) Generally our space does not have a ton of lights that the audience can see. And in the dark theater (where I am right now) it doesn't read. Our colors: White - 19, Blue - 26, Red - 36, Green - 50; a system I had from our Altmans. -Gregg Portland Stage ------------------------------ Message-ID: Date: Sat, 21 Jan 2006 16:50:24 -0800 From: Mat Goebel Subject: my clearcom call light was posessed Hey all, I had an interesting problem the other night. The call lights on every beltpacks would fade in and out, or latch at either a low or high intensity, sometimes flickering. There was also some RF sounding interference on the line. I metered across pins 1 and 3 to check the termination. The result was 4 MEG, which I know is wrong. I didn't have a chance to unplug everything and test the base station by itself, because of course this problem didn't present in rehearsals only during the show. The resistance was abnormally high, I was surprised I wasn't getting any feedback or anything - since 4.5meg is approaching no termination at all. The only other thing I can think of is that there was *some* cable *some*where that had pin 1 tied to shell. None of the XLR came from my shop, so I can't definitively say this was not the case. Other thoughts? -- Mat Goebel www.matgoebel.com Mobile: 510.693.1448 ------------------------------ Reply-To: From: "RD" Cc: drkrajec [at] stritch.edu Subject: RE: AHJ and fire Date: Sat, 21 Jan 2006 17:57:46 -0700 Message-ID: <008c01c61eee$dc62ccb0$a43fbe43 [at] doom1> In-Reply-To: Well, David, I shall give you my thoughts on this subject, perhaps very different from the others who will respond. 1. The stage extension should be flame retarded and tested to make sure that it is. 2. In point of fact, and you know this, all materials on the stage should and must be flame retarded, i.e. the Life Safety Code, Fire Prevention Codes, etc. 3. As far as storing materials in the shops, that is another matter. This is a practice that is going since time immemoriam. They should be flame retarded and stored so that they do not come near sprinkler heads and so that they might be easily extinguished in case of some fire, but that is what sprinklers are for. 4. A lot of this is the reaction to the Station Fire. Sometimes a tad over the top but you know what many high school shops and storage look like. I would ask for a very clean shop, not cluttered, no blocking of sprinklers, teaching the use of a proper fire extinguisher from all students, and a fire safety program 5. Yes, the sprinklers are there to extinguish the fire, and control it, if possible and thus allow the occupants to exit as rapidly as possible. 6. The AHJ can force what he thinks is safe. As to recourse, there is always recourse, even though it may take some doing 7. He is a tad gun shy because of the Station Fire and because of other storage problems, and as you know, this being my territory, most high schools are not very good at housekeeping, at all, with very, very few exceptions. 8. The fire suppression system may assist in extinguishing the fire, it also may not be able to put it all out, but it will, in experience, provide time to evacuate, safely, we hope and plan. 9. Dr. Doom's recommendation would be to meet with the Fire Marshal and Dept. and gain from them the exact requirements they wish to be enforced. 10. Scene shops, costume shops, storage areas are the culprits in most situations, including colleges and universities. 11. The words used in fire prevention language are: assist in containing the fire. The sprinkler heads, all types, for those particular areas are specified by Loss Control personnel from Insurance Brokers and Carriers, and Building Code Inspectors and other organizations. Where, how, who can install, product, etc. all enter into that equation. 12. What I find is many theater areas like this block the sprinkler heads in many ways, and thus the impact of their containment is null and void. I have inspected hundreds and hundreds of these schools, etc. and this seems to be the usual problem with sprinkler heads. 13. The sprinklers are just one item in a total fire protection system for a theater. Suppression is indeed a key one, but not the only one. They are the automatic one and can make a huge difference, especially in areas where you cannot gain entry immediately, etc. There is much more that could be said, but these are my opinions. Dr. doom . -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R. Krajec Sent: Saturday, January 21, 2006 5:17 PM To: Stagecraft Subject: AHJ and fire For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Just yesterday, a high school teacher from across the street dropped in to borrow a cup of stageweights. In the course of loading his truck with iron, he alerted me that our local Fire Marshall Dillon was on the prowl. This high school is doing a musical and is putting a platform extension on the front of their stage. The Marshall (as AHJ) insisted that they flameproof the wooden components of the extension. A reasonable request but the first time that any one in the area actually be told that they have to do it. Then the Marshall started looking around and told my colleague that he couldn't store stock units and lumber in his scene shop area as the fire suppression system wouldn't be able to put out the fire if it started. I'm not ignorant (the root of ignorance is "to ignore") but I wasn't aware that the fire suppression system was supposed to "put out" a fire. I thought that the intent was to control the fire until people were able to evacuate the premises. I don't know that I would want to be the fire suppression installer or the insurance underwriter to have support the idea that the system has to put out the fire. Questions: Can he as the AHJ force us to store ALL of our combustible materials off site? If he decides to flex this muscle, is there any recourse that we may pursue or is his word law? Caveat: It should be noted that we had another nearby high school that had two (suspicious) fires in the theatre area. He tried to push this storage issue on them as well. I think that one is still in discussion. Any and all advice is welcome. David Krajec Assoc. Professor Cardinal Stritch University ------------------------------ Message-ID: Date: Sat, 21 Jan 2006 19:54:41 -0500 From: Subject: Re: AHJ and fire Reply-to: In-Reply-To: References: On 7:16:37 pm 01/21/06 "David R. Krajec" wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > Just yesterday, a high school teacher from across the street dropped > in to borrow a cup of stageweights. In the course of loading his > truck with iron, he alerted me that our local Fire Marshall Dillon > was on the prowl. This high school is doing a musical and is putting > a platform extension on the front of their stage. The Marshall (as > AHJ) insisted that they flameproof the wooden components of the > extension. A reasonable request but the first time that any one in > the area actually be told that they have to do it. Then the Marshall > started looking around and told my colleague that he couldn't store > stock units and lumber in his scene shop area as the fire suppression > system wouldn't be able to put out the fire if it started. I'm not > ignorant (the root of ignorance is "to ignore") but I wasn't aware > that the fire suppression system was supposed to "put out" a fire. I > thought that the intent was to control the fire until people were > able to evacuate the premises. I don't know that I would want to be > the fire suppression installer or the insurance underwriter to have > support the idea that the system has to put out the fire. > > Questions: Can he as the AHJ force us to store ALL of our combustible > materials off site? If he decides to flex this muscle, is there any > recourse that we may pursue or is his word law? > > Caveat: It should be noted that we had another nearby high school > that had two (suspicious) fires in the theatre area. He tried to > push this storage issue on them as well. I think that one is still > in discussion. > Any and all advice is welcome. > The short answer is, you can't fight city hall. Sprinkler systems are generally designed to stop the forseeable fire in a space. This generally translates into reality of sprinkler systems pretty much put out the fire by the time the fire department arrives. They tend to leave smoldering debris that needs to be carefully removed and fully extinguished, and the structure of the building ripped open to find and terminate with extreme prejudice any hidden fire. ( this rather destructive process is referred to as overhauling the fire. It is also filthy, exhuausting work in dangerous working conditions. ) Go to your building design documents. The thing you are looking for is the design fire load that the sprinkler system is designed for. IF your spaces don't exceed that, then you should be fine. Have that documentation available in your fire prevention file in the office, right next to your hazardous materials plan and safety program. Unless your AHJ is already pissed off at you, this ought to be fine. If your space is designed for storage of materiels, then it is. however if the blueprints say scenery shop, and you have it stuffed full of flats, then you are not using it as designed. A good thing to do is every couple of years ask your local AHJ to come down and help you keep things safe. Since the visit is not a formal inspection, you can keep it less confrontational. When you find a problem, you discuss with the person to find out what are your viable solutions. Calm and reasonable communications solve the problem, not folks using the rules to beat each other up. Allocating a few pairs of tickets from each show to go to your local fire and police charity raffles is also a cheap investment in goodwill. Having some goodwill can save you a lot of money and hassle. --Dale ------------------------------ Message-ID: <29108.69.59.200.119.1137891766.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Sat, 21 Jan 2006 17:02:46 -0800 (PST) Subject: Re: labeling S4's From: "Bill Nelson" > Our colors: White - 19, Blue - 26, Red - 36, Green - 50; a system I > had from our Altmans. You COULD use the approximate colors that ETC used for the orientation dots on their lenses. 19 degree - red 26 degree - black (use blue/green unless you have white instruments) 36 degree - none 50 degree - yellow Bill ------------------------------ Reply-To: From: "RD" Cc: dale [at] cybercom.net Subject: RE: AHJ and fire Date: Sat, 21 Jan 2006 18:06:35 -0700 Message-ID: <009001c61ef0$17b68620$a43fbe43 [at] doom1> In-Reply-To: Good reply Dale. Dr. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of dale [at] cybercom.net Sent: Saturday, January 21, 2006 5:55 PM To: Stagecraft Subject: Re: AHJ and fire For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On 7:16:37 pm 01/21/06 "David R. Krajec" wrote: > For info, archives & UNSUBSCRIBE, see /> > --------------------------------------------------- > > Just yesterday, a high school teacher from across the street dropped > in to borrow a cup of stageweights. In the course of loading his > truck with iron, he alerted me that our local Fire Marshall Dillon > was on the prowl. This high school is doing a musical and is putting > a platform extension on the front of their stage. The Marshall (as > AHJ) insisted that they flameproof the wooden components of the > extension. A reasonable request but the first time that any one in > the area actually be told that they have to do it. Then the Marshall > started looking around and told my colleague that he couldn't store > stock units and lumber in his scene shop area as the fire suppression > system wouldn't be able to put out the fire if it started. I'm not > ignorant (the root of ignorance is "to ignore") but I wasn't aware > that the fire suppression system was supposed to "put out" a fire. I > thought that the intent was to control the fire until people were > able to evacuate the premises. I don't know that I would want to be > the fire suppression installer or the insurance underwriter to have > support the idea that the system has to put out the fire. > > Questions: Can he as the AHJ force us to store ALL of our combustible > materials off site? If he decides to flex this muscle, is there any > recourse that we may pursue or is his word law? > > Caveat: It should be noted that we had another nearby high school > that had two (suspicious) fires in the theatre area. He tried to > push this storage issue on them as well. I think that one is still > in discussion. > Any and all advice is welcome. > The short answer is, you can't fight city hall. Sprinkler systems are generally designed to stop the forseeable fire in a space. This generally translates into reality of sprinkler systems pretty much put out the fire by the time the fire department arrives. They tend to leave smoldering debris that needs to be carefully removed and fully extinguished, and the structure of the building ripped open to find and terminate with extreme prejudice any hidden fire. ( this rather destructive process is referred to as overhauling the fire. It is also filthy, exhuausting work in dangerous working conditions. ) Go to your building design documents. The thing you are looking for is the design fire load that the sprinkler system is designed for. IF your spaces don't exceed that, then you should be fine. Have that documentation available in your fire prevention file in the office, right next to your hazardous materials plan and safety program. Unless your AHJ is already pissed off at you, this ought to be fine. If your space is designed for storage of materiels, then it is. however if the blueprints say scenery shop, and you have it stuffed full of flats, then you are not using it as designed. A good thing to do is every couple of years ask your local AHJ to come down and help you keep things safe. Since the visit is not a formal inspection, you can keep it less confrontational. When you find a problem, you discuss with the person to find out what are your viable solutions. Calm and reasonable communications solve the problem, not folks using the rules to beat each other up. Allocating a few pairs of tickets from each show to go to your local fire and police charity raffles is also a cheap investment in goodwill. Having some goodwill can save you a lot of money and hassle. --Dale ------------------------------ Message-ID: Date: Sat, 21 Jan 2006 20:56:45 -0500 From: Brian Munroe Subject: Automated Chain Motors Looking for information on automated/computerized chain motors. Here is the situation - I am in tech in Las Vegas. We have a center speaker cluster hung in front of the show portal . The cluster is currently hung with 2 1/2 ton motors that are attached via bridles to the roof trusses iver the seating. The producers have decided that they would like to fly the center cluster out for the final scene of the show, because the show portal is all LED's and the speakers block part of the portal. We have cast on stage starting on Monday, so we do not have a lot of time to install steel, sheeves and dead-haul winches, etc. We are looking into replacing the current chain motors with motors that have encoders and computer control. Does anyone have any experience doing this? I am looking at the chainmaster motors for a start. Thanks for your help, Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-Id: <0e9262ad822799c3d24ec824542b3147 [at] oswego.edu> From: Johan Godwaldt Subject: Filter Foam Date: Sat, 21 Jan 2006 21:28:32 -0500 I am looking for a supplier in upstate NY area for Gray Filter Foam. The specification I have been given is that it be 30ppi and gray. I need it in large sheet foam, 48in x 96in. Anyone know of a manufacturer or an distributer? I need to have this material in my shop by end of week. Thank You Johan Godwaldt Technical Director SUNY Oswego Theatre 47 Tyler Hall Ph# 315 312 2987 Fax 315 312 3394 ------------------------------ From: "Richard Wolpert" Cc: drkrajec [at] stritch.edu Subject: RE: SPAM-LOW: AHJ and fire Date: Sun, 22 Jan 2006 01:41:54 -0500 Message-ID: In-Reply-To: Without getting into the specifics of this particular location, I think the more important aspect of this discussion can be seen in the comment "Fire Marshall Dillon". The AHJ, especially if he/she is a firefighter is NOT someone to treat as an adversary. With rare exception, the reason they seem to have a hard-on for places of assembly is because they ARE places of assembly. There will be a lot of people in a small space, and if a fire or emergency occurs, there's the potential for considerable loss of life. The Fire Marshall doesn't really care if his enforcement of the rules makes your life difficult or if it affects the performance. He's got to worry about getting people out of the building ALIVE, not in body bags. All things considered, his concerns trump any of your production problems. Having ranted on this, let me offer some advice. First, don't treat the men and women who are enforcing the rules as if they're adversaries. They're not. They'll be there to pull your ass out of the fire if necessary. Treat them with the respect they're due. Second, educate them on how you do the sort of things you do in your theatre and ask them for help in applying the rules properly and effectively. Third, don't bribe them with tickets. Offer them in good faith, but don't expect that to be a big hit back at the house. Organize a blood drive or some other real civic activity and you'll have friends for life. Remember, when you're running out of the burning building, these are the people that will be running in. Richard A.Wolpert President Union Connector Co., Inc. 40 Dale Street West Babylon, NY 11704 Ph: 631-753-9550 ext. 204 Fx: 631-753-9560 richw [at] unionconnector.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of David R. Krajec Sent: Saturday, January 21, 2006 7:17 PM To: Stagecraft Subject: SPAM-LOW: AHJ and fire For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Just yesterday, a high school teacher from across the street dropped in to borrow a cup of stageweights. In the course of loading his truck with iron, he alerted me that our local Fire Marshall Dillon was on the prowl. This high school is doing a musical and is putting a platform extension on the front of their stage. The Marshall (as AHJ) insisted that they flameproof the wooden components of the extension. A reasonable request but the first time that any one in the area actually be told that they have to do it. Then the Marshall started looking around and told my colleague that he couldn't store stock units and lumber in his scene shop area as the fire suppression system wouldn't be able to put out the fire if it started. I'm not ignorant (the root of ignorance is "to ignore") but I wasn't aware that the fire suppression system was supposed to "put out" a fire. I thought that the intent was to control the fire until people were able to evacuate the premises. I don't know that I would want to be the fire suppression installer or the insurance underwriter to have support the idea that the system has to put out the fire. Questions: Can he as the AHJ force us to store ALL of our combustible materials off site? If he decides to flex this muscle, is there any recourse that we may pursue or is his word law? Caveat: It should be noted that we had another nearby high school that had two (suspicious) fires in the theatre area. He tried to push this storage issue on them as well. I think that one is still in discussion. Any and all advice is welcome. David Krajec Assoc. Professor Cardinal Stritch University ------------------------------ Message-ID: <12648160.1137919431873.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net> Date: Sun, 22 Jan 2006 03:43:51 -0500 (EST) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: labeling S4's Frank.... Do you realize you added nothing useful to this topic? =20 *sigh* To answer the question: We (Shakespeare Theatre Company in Washington, DC) color-code by painting t= he recess under the gel clip, and the outside edge of the gel frame holder = on the left and right sides--just a small stripe made with the fat side of = a paint marker. It's very subdued. We also put a wrap of electrical tape = around the yoke near the clamp. The rule is that if you swap a lens tube i= n the air, you remove the tape on the yoke. Helps avoid mix-ups when ~200-= 300 units are all over the deck during changeover. The color-code I inherited: 19=B0 - Blue 26=B0 - Silver (paint) / Gray (e-tape) 36=B0 - Orange 50=B0 - Red It works well for us, as we usually have very few "new to us" freelancers a= t any given time. The regular crew knows the system. We don't write number, etc on the units. --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- >From: FrankWood95 [at] aol.com >We don't have a meeting of minds across the pond here. I suppose that it= =20 >depends on ease of access. All our S4s are varifocal (zoom). There is a pr= ice in=20 >optical effiency, but it is small. But at focus time, I think it is a grea= t=20 >advantage. ------------------------------ Message-ID: <000001c61f36$d52d03f0$6501a8c0 [at] nutkin> From: "Christopher K. Nimm" References: Subject: Re: labeling S4's Date: Sun, 22 Jan 2006 03:32:29 -0600 I have a related question: what's it like designing with variable-degree S4s versus the fixed-angle type? Do you mark the preffered degree angle on the light plot during the mathematical-figure-outy-stages, or do you just try to get it close and then leave the fine-tuning for focusing time? Chris Nimm -----Original Message----- >From: FrankWood95 [at] aol.com >We don't have a meeting of minds across the pond here. I suppose that it >depends on ease of access. All our S4s are varifocal (zoom). There is a >price in >optical effiency, but it is small. But at focus time, I think it is a great >advantage. ------------------------------ End of Stagecraft Digest #663 *****************************