Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 16546847; Sat, 29 Jan 2005 03:00:53 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #276 Date: Sat, 29 Jan 2005 03:00:36 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #276 1. Re: Glowing paint by "Paul Sanow" 2. Re: CD Go by Jason Tollefson 3. Re: CD Go by "Jeffrey E. Salzberg" 4. Re: CD Go by "Chris Warner" 5. Trap fun by "Tom Hackman" 6. Re: Glowing paint by Stephanie Boyd 7. Lamp cord by Bob Frame 8. Re: Glowing paint by "Paul Sanow" 9. Re: Lamp cord by Charlie Richmond 10. Re: Lamp cord by Nathan Kahn/Look Solutions 11. Re: Lamp cord by "James Smith, www.theatrewireless.com" 12. Re: Lamp cord by Jerry Durand 13. Re: Trap fun by "jknipple" 14. We need your help by "Joker7" 15. Hello again List by "Stirling Shelton" 16. Re: phase converters why? by "Joe Golden" 17. Re: Hello again List by "Jon Ares" 18. Re: phase converters why? by Greg Persinger 19. forklifting the 9' grand by CB 20. Re: On-line Portfolios by Mark Harvey 21. Re: phase converters why? by FrankWood95 [at] aol.com 22. Re: phase converters why? by FrankWood95 [at] aol.com 23. Re: phase converters why? by FrankWood95 [at] aol.com 24. Re: phase converters why? by "Fritz Schwentker" 25. Re: phase converters why? by "ladesigners [at] juno.com" 26. Re: Two-Scene Operation of Lighting Consoles [Long & Late post] by David Wetmore 27. Re: CD Go by "Jack Morones" 28. Re: borderline OT: Road Warriors and Laptop rubber feet by Brad Spachman 29. NEON by "Jason" 30. Re: Trap fun by Gregg Carville 31. Re: Two-Scene Operation of Lighting Consoles [Long & Late post] by FrankWood95 [at] aol.com 32. Re: phase converters why? by FrankWood95 [at] aol.com 33. Re: phase converters why? by FrankWood95 [at] aol.com 34. Re: phase converters why? by FrankWood95 [at] aol.com 35. Re: Two-Scene Operation of Lighting Consoles [Long & Late post] by John McKernon 36. Re: Glowing paint by Stephanie Boyd *** 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. ---------------------------------------------------------------------- Subject: RE: Glowing paint Date: Fri, 28 Jan 2005 08:11:01 -0500 Message-ID: From: "Paul Sanow" Stephanie, =20 I saw the show myself last night, and I'm pretty certain you were = seeing backlighting of a painted muslin flat. There was a painted = texture effect on the front of the flats that looked opaque when front = lit. The entire back of the flats were back painted, except those = window rectangles. When the windows were back lit you saw that glow- = translucent. There are a few variations on this method, but that's the = idea. I would guess R44 or a similar hot pink to lavender color gel for = the backlighting. There were some front projected patterns overlaying = this at times, but I'm sure you knew those were HES Studio Spots. I saw = no evidence of the windows being a UV paint effect. =20 Stirling is on the list somewhere, and he might confirm this. 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 *********************************************************** > -----Original Message----- > From: Stephanie Boyd [mailto:boydsn [at] email.uc.edu] > Sent: Wednesday, January 26, 2005 10:49 PM > To: Stagecraft > Subject: Glowing paint > Importance: Low >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > I have just finished seeing the Playhouse in the Park's new=20 > play "Bad Dates". On the skyline of the town is this pseudo- > flourescent-like paint that only glows when a certain type=20 > of light is shown on it. I was wondering if anyone knew what=20 > type of paint and light combination could cause this. It=20 > glowed a faint shade of pink if that helps anyone. >=20 > Thanks, > Stephanie Boyd > CCM Student > TD&P Major-specialization Stage Management >=20 ------------------------------ Message-ID: <20050128131400.22915.qmail [at] web51009.mail.yahoo.com> Date: Fri, 28 Jan 2005 05:14:00 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Re: CD Go In-Reply-To: > > Here's a question I'd like to see asked: Is there a venue which > > DOESN'T have a bottle cap taped over [CD GO] ? That's great! I thought I was the only person who did that. I work with a lot of inexperienced board ops and the thought of giving them a choice of go buttons is not one I relish. > Interesting, I guess I am one of the rare people that like to program > on both sets of faders, but then again I like complicated cue > sequences, macros, and effects and linking. Just because I don't let them use the CD go, don't think that I don't. I use it all the time but instead of having the operator press the button I write a dummy cue linked to a macro that fires the CD fader for me. That way the op still only deals with the one button but I can jump to the other when needed. Wouldn't it be nice if ETC would just give us a software switch to disable the button. Jason Tollefson TA Event Planner Disney/MGM Studios Walt Disney World ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: CD Go Date: Fri, 28 Jan 2005 08:25:43 -0500 Message-ID: <000e01c5053c$e191c2d0$6701a8c0 [at] Dell> In-Reply-To: > Wouldn't it be nice if ETC would just give us a software > switch to disable the button. Don't hold your breath; I asked them over ten years ago for a "Fix This Cue" button. ------------------------------ Message-ID: <06e501c50541$1ff1a370$6501a8c0 [at] chris> From: "Chris Warner" Cc: jason [at] tollefsondesigns.com References: Subject: Re: CD Go Date: Fri, 28 Jan 2005 05:56:11 -0800 ----- Original Message ----- From: "Jason Tollefson" To: "Stagecraft" Sent: Friday, January 28, 2005 5:14 AM Subject: Re: CD Go > Just because I don't let them use the CD go, don't think that I don't. I use it all the time but > instead of having the operator press the button I write a dummy cue linked to a macro that fires > the CD fader for me. That way the op still only deals with the one button but I can jump to the > other when needed. > The school I goto here in the San Diego area, uses the CD faders mainly for moving light cues on the expression line. Kind of neat the stuff that can be done with multiple sets of faders. Chris -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.1 - Release Date: 1/27/2005 ------------------------------ Message-ID: <002b01c50543$e7ad5010$87d11ed8 [at] Hackman1> From: "Tom Hackman" References: Subject: Trap fun Date: Fri, 28 Jan 2005 09:16:00 -0500 Don't let my subject fool you, I have no traps. That's where the fun comes in. We are doing The Foriegner in a month or so and I need to engineer the disappearance near the end of the show (a character in a KKK robe drops into the basement). Because of other height restrictions, the director and scene designer have settled on a 40 inch platform height. The opening location is only a few feet from the upstage side of the set. The opening is also used in Act 1 for a bit to establish its existence. I have toyed with a few things but at the moment I am considering building a pneumatically driven scissor lift (I already own the pistons that I should need). Does anybody have any helpful advice in this realm? I am still open to other suggestions. Thanks for any help and for my daily fix. I am a digester so please be patient if you need more info. Tom Hackman TD Davis & Elkins College Elkins, WV ------------------------------ Date: Fri, 28 Jan 2005 09:18:09 -0500 From: Stephanie Boyd Subject: Re: Glowing paint Message-Id: <51ff358a.c5c4a8bc.9961100 [at] mirapoint.uc.edu> The only problem with that deduction is that during the change overs all the lights went nuts. The small rectangles couldn't have been cut out the flats were solid and during the last scene change even the small "windows" moved. they spun in circles and had different colors run through them. At least that is what I saw. Stephanie Boyd CCM student ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B99C3331 [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: Lamp cord Date: Fri, 28 Jan 2005 09:37:42 -0500 Yes, I know about the "illegality" in most areas of using lamp cord. However I had some light boxes to wire for a Middle school play. Now here's the problem. Instead of 16/2 lamp cord I grabbed low voltage 2 conductor used for landscaping. I will be powering 4- 25 watt lamps. I will be testing the units on the ground before they are installed. Does anyone see a problem (besides the stupidity)with these units (i.e. the higher voltage, amperage will vaporize the insulation within seconds). Thanks ------------------------------ Subject: RE: Glowing paint Date: Fri, 28 Jan 2005 09:34:38 -0500 Message-ID: From: "Paul Sanow" The small windows were Studio Spots with a litho in the rotating wheel. = It was a dead giveaway based on the pattern of the windows (roughly a = circular grouping) and quite clear when colors were rotated though. The units were mounted above the deck, downstage and high on the = catwalks. I counted four of them. As I mentioned in my previous post, the large windows were backlit = through the flat, the remaining smaller windows were front projected = Studio Spots. The large windows never moved- but they did have a chase = going during the scene changes. Went with the music pretty well. =20 If I'm wrong lunch at Skyline is on me. 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 *********************************************************** > The only problem with that deduction is that during the=20 > change overs all the lights went nuts. The small rectangles=20 > couldn't have been cut out the flats were solid and during=20 > the last scene change even the small "windows" moved. they=20 > spun in circles and had different colors run through them.=20 > At least that is what I saw. >=20 > Stephanie Boyd > CCM student >=20 ------------------------------ Date: Fri, 28 Jan 2005 14:38:50 +0000 (GMT) From: Charlie Richmond Subject: Re: Lamp cord In-Reply-To: Message-ID: References: On Fri, 28 Jan 2005, Bob Frame wrote: > to wire for a Middle school play. Now here's the problem. > Instead of 16/2 lamp cord I grabbed low voltage 2 conductor > used for landscaping. I will be powering 4- 25 watt lamps. > I will be testing the units on the ground before they are > installed. Does anyone see a problem (besides the stupidity)with > these units (i.e. the higher voltage, amperage will vaporize the > insulation within seconds). None of those, probably. The amperage will be less than the cables normally carry running low voltage garden lights and the insulation will probably be adequate since that sort of wire is usually quite thick for physical protection in what is a fairly hostile environment. Test it thoroughly on the ground and be aware it's not legal. Charlie ------------------------------ Message-Id: <5.0.0.25.2.20050128093958.01d106e0 [at] 212.86.129.164> Date: Fri, 28 Jan 2005 09:41:04 -0500 From: Nathan Kahn/Look Solutions Subject: Re: Lamp cord In-Reply-To: At 09:37 AM 1/28/2005 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Yes, I know about the "illegality" in most areas >of using lamp cord. However I had some light boxes >to wire for a Middle school play. Now here's the problem. >Instead of 16/2 lamp cord I grabbed low voltage 2 conductor >used for landscaping. I will be powering 4- 25 watt lamps. >I will be testing the units on the ground before they are >installed. Does anyone see a problem (besides the stupidity)with >these units (i.e. the higher voltage, amperage will vaporize the >insulation within seconds). >Thanks Is the rating of the cable not printed on the insulation or the package somewhere? I suspect that cable isn't rated for line voltage AC, and to use it for such would be a mistake. Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: Lamp cord Date: Fri, 28 Jan 2005 11:10:03 -0500 In-Reply-To: Message-Id: <20050128161005.MBNG19622.tomts10-srv.bellnexxia.net [at] p3m866> The only parameter that would seem at issue is the dielectric strength of the insulation. If 120VAC can arc through the insulation, you'll have a big dangerous problem. Having said that, I can't think of any wire insulation material that wouldn't withstand 120VAC and is rated for outdoor use at any voltage. Can you get the real specs for this wire from the manufacturer? What's it made of? Jim ------------------------------ Message-Id: <6.2.0.14.0.20050128081134.03cdce60 [at] localhost> Date: Fri, 28 Jan 2005 08:14:36 -0800 From: Jerry Durand Subject: Re: Lamp cord In-Reply-To: References: At 06:37 AM 1/28/2005, you wrote: > Does anyone see a problem (besides the stupidity)with >these units (i.e. the higher voltage, amperage will vaporize the >insulation within seconds). Make sure it doesn't melt/crack in your box, lamps get hotter than you think. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Subject: RE: Trap fun Date: Fri, 28 Jan 2005 11:25:50 -0500 Message-ID: From: "jknipple" I designed the show a few years ago at a small school with a very low ceiling. What we did is have the KKK guy sucked up through the chimney. We established that there was a "shed" outback with access through the fireplace. Then, when Charlie goes into his thing at the end, Ellerd (sorry to spoil the plot for those not familiar with the play) would be standing in front of the fireplace. A stage hand snapped a carabineer attached to a rope (I believe that this is an OK use of that hardware - wink, wink) to the costume. Ellerd wriggled out of the costume and sidestepped into the fireplace as the stage hand pulled the rope, sucking the costume up the chimney. With a little fog and some creative lighting, it looked great. And I don't think we violated the copyright, since I don't recall any lines being changed. It's a little bit outside of the box, but it worked. Sightlines are an issue, of course, but the audience (especially those who knew the play) loved it.=20 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 >We are doing The Foriegner in a month or so and I need to engineer the >disappearance near the end of the show (a character in a KKK robe drops >into the basement).=20 ------------------------------ Message-ID: <006c01c50556$976aeaa0$0100a8c0 [at] tricia> From: "Joker7" References: Subject: We need your help Date: Fri, 28 Jan 2005 16:29:51 -0000 As you may or may not know the philistines that are our local government here in Southend On Sea Essex UK have taken it upon themselves to close the Palace Theatre and sell off the Cliffs Pavilion. At the moment we are working hard to try to save the theatres from closure so far we have got excellent support and hope we can count on your support. Help put pressure on the council, to make them address the concerns of the people of Southend. Send a message of support to Mr David Amess MP from this simple web form http://www.locata.co.uk/cgi-bin/webdriver?MIval=commons_mail&id=428 Send a message of support to Sir Teddy Taylor MP from this simple web form http://www.locata.co.uk/cgi-bin/webdriver?MIval=commons_mail&id=369 Both are local MPs and need to know how people feel about the closer of theatres Thank you all for taking the time to read this. We hope that you will support us and help publicise our campaign. Chris http://teaup.port5.com ------------------------------ Message-Id: <200501281626.LAA11680 [at] playhsn.cincyplay.com> From: "Stirling Shelton" Subject: Hello again List Date: Fri, 28 Jan 2005 11:28:34 -0500 Long time no post: Well here is the low down on the background flats for the Playhouse's current production of "Bad Dates". Plug: BAD DATES By Theresa Rebeck is an irresistible comedy for anyone who likes to laugh and loves a killer pair of Chanel pumps! Restaurant manager and shoe connoisseur Haley Walker is re-entering the world of dating. From the privacy of her bedroom, she relates a series of hilarious, poignant and very real tales of her experiences while preparing for, and then recovering from, one dreadful date after another. But what's with the hidden shoebox full of money? And why is the Romanian mob in an uproar? "You will not want to miss this charming play." - New York Magazine January 25 to February 25: (If you come and see the show drop me a note and we can give you the nickel tour (really bring a nickel), but for a few more pennies the quarter tour (really bring a quarter) will get you the same tour with a drink a the bar. Back to the tech notes: The background flats for the production are wooden (yes wood) standard flats. Window are cut into the standard flat and light boxes are added to the windows. The light boxes are 9" deep, 3/4" plywood side, 1/4" lauan backs. We used belt lighting for the sockets (we had them in stock, so that makes them free) and we used 11 WATT "S" lamps (again because we had them, aka: Free!) 12 to 16 lamps per light box. Nice even light in each of the 68 light boxes. The flats are covered with muslin. We starched the front of the flat and flipped them over and starched the windows to assist in the translucently of the window light boxes. Then they are painted. No texture. Just paint. We have a wonderful Paint staff that does magic. The background flats are very tall 27' and they made up multiple layers. They are cut into silhouettes of the NY sky line. Seven flats make up the complete background. The lighting is the key to the magic look of these silhouette flats. Lots of heavy colors, lots of high angles, and lot of gobo's for break-up patterns that create the illusion of texture. We also used 6 moving lights (Studio Spots) for the scene transitions. Hope this helps.... Stirling Shelton Technical Director Cincinnati Playhouse in the Park 2827 Gilbert AVE Cincinnati, OH 45206 513-345-2255 ext 302 ------------------------------ Subject: RE: phase converters why? Date: Fri, 28 Jan 2005 08:40:32 -0800 Message-ID: From: "Joe Golden" According to CM the starting current on their hoists is approx. 3.5 times the nameplate current. > Frank Wood Wrote: >=20 > > It can be done. But what sort of power levels are we talking about? >=20 > 15Amps >=20 > The converter is solid state. >=20 >=20 > Greg Persinger > Vivid Illumination >=20 > Greg [at] Vividillumination.com >=20 >=20 >=20 >=20 >=20 >=20 >=20 ------------------------------ Message-ID: <002b01c50558$31fdba60$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Hello again List Date: Fri, 28 Jan 2005 08:41:20 -0800 > texture. Just paint. We have a wonderful Paint staff that does magic. > The > background flats are very tall 27' and they made up multiple layers. They > are cut into silhouettes of the NY sky line. Seven flats make up the > complete background. I'd love to see these... is it possible to post a couple of pictures (from the stagehand's perspective) to the Stagecraft gallery? As much as I'd love to drop everything and go to Cincinnati..... :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Fri, 28 Jan 2005 11:16:56 -0600 Subject: Re: phase converters why? From: Greg Persinger Message-ID: In-Reply-To: Joe Golden Wrote: > According to CM the starting current on their hoists is approx. 3.5 > times the nameplate current. I don't know what the converters he used are actually rated for but continuous current draw is no more than 15 Amps. He built the system himself as he is a licensed commercial electrician (from his former pre lighting life) and his specialty was industrial motor controls. To me it is a box that does some voodoo that makes the three phase motors motors run off of a wall outlet. I know someone out there has a commercially available product that does the same thing, I just can't remember who. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <3.0.6.32.20050128103314.00b8de98 [at] pop.west.cox.net> Date: Fri, 28 Jan 2005 10:33:14 From: CB Subject: forklifting the 9' grand >this is what I did: put the padded cover on and strapped it to >it's "Y" dolly, put a piece of ply up against the lift risers and forked >under the Y between the casters on the bass side as close to the keys as >possible, lifted slowly 2 feet, rolled forward then set it gently down on >the platform. Easy as pie. No torquing, no problems at all. Still in tune. "In tune" according to whom? 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: Fri, 28 Jan 2005 11:31:14 -0600 From: Mark Harvey Subject: Re: On-line Portfolios Message-ID: <2147483647.1106911874 [at] umd52-36.d.umn.edu> In-Reply-To: References: I wanted to thank everyone who took the time to post links to their on-line portfolios. I teach undergraduates at our university how to use DreamWeaver to develop on-line portfolios and maintain a web page with links to professional examples. If you haven't posted a link to your site already, feel free to send me the URL to your site. I categorieze the links by discipline and could still use some good examples for Property Masters, Costume Designers, Sound Designers and Stage Managers. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1c5.2251a200.2f2bd4fd [at] aol.com> Date: Fri, 28 Jan 2005 12:48:45 EST Subject: Re: phase converters why? In a message dated 28/01/05 04:34:00 GMT Standard Time, gregpersin [at] comcast.net writes: > Frank the reason he does this is that there is no three phase power to be > had in the room (or from any reasonable distance from the room). > > There is enough single phase to run lighting and sound but he only owns > three phase chain hoists. Thus the need for the phase converter. > > Since he is only hired in to do production and has no say in the > infrastructure of this ballroom venue, the sensible road to follow was the > most economical one for him, a phase converter. It's cheaper than new single > phase motors used a couple times a year when he already owns 12 three phase > motors that are paid for. For a comparatively small load, and a known load, more or less, it may make sense. I find it odd that the venue doesn't have any accessible three-phase supply, but, as you say, that is a problem with the infrastructure. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1de.33aad4f1.2f2bd6aa [at] aol.com> Date: Fri, 28 Jan 2005 12:55:54 EST Subject: Re: phase converters why? In a message dated 28/01/05 04:48:42 GMT Standard Time, marko [at] email.arizona.edu writes: > Running smaller three phase motors, with a single phase inverter is sometimes > done in industrial motor control situations. Because the frequency output > is > variable, and has to be "manufactured" somehow, anyway, there is no apparent > reason why not to use single phase input if needed. That said, I have an > inverter in my shop that outputs 0 to 360 hz. I run a router spindle withit, > but I often wondered what the half horse 60 hz motor would do if I ran it at > that speed. (Ouch!) Ouch indeed. That said, it would do its best, but the system inductances would reduce the field current available. We used to use a lot of small three-phase synchronous motors in film dubbing suites. These would run happily up to double speed. When we used 4x speed, an auxiliary power supply boosted the available voltage. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <149.3df13a91.2f2bd7ab [at] aol.com> Date: Fri, 28 Jan 2005 13:00:11 EST Subject: Re: phase converters why? In a message dated 28/01/05 04:52:09 GMT Standard Time, bearz2 [at] cox.net writes: > This technique is used all the time in industrial control applications. I > have seen Variable Frequency drives in Elevator systems as well... Actually > if you where to look at the output from a modern inverters built < 5 years > ago, you will see that it is actually a much better sine wave than the > utility can make you. I deal with inverters all the time (starving student > has to make money somehow). The new stuff is WAY cool. We seem to have drifted OT. Variable frequency drives are quite common. The friend of whom I spoke deals with their control systems, for motors up to 6MW. Very many ships use diesel-electric drives of this sort, including the ill-fated "Aurora". Frank Wood ------------------------------ Reply-To: From: "Fritz Schwentker" Subject: RE: phase converters why? Date: Fri, 28 Jan 2005 10:07:27 -0600 In-Reply-To: Message-ID: Mark et al.: This is a good question... > -----Original Message----- > That said, I have an inverter in my shop that outputs 0 to 360 hz. > I run a router spindle with it, but I often wondered what the half horse 60 hz > motor would do if I ran it at that speed. (Ouch!) > > Mark O'Brien ...And the answer is that you would STILL have a "half horse" motor running. The motor shaft will turn at incredible speed, but you would only be able to supply a fraction of the torque you get at the rated speed; the motor would then stall under any significant load (i.e. there is no free lunch!) The ability for variable frequency drives to spin a there-phase induction motor at higher speeds than nominal line frequency allows is used most in industrial pump/fan applications. It takes most of a motor's torque to get things rotating in such situations; the load decreases as speed rises. Once moving, it is OK to trade speed for torque and really make the fluid zip. This has meant that smaller (i.e. cheaper) motors and controls can do the work their larger cousins used to do. Fritz ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 28 Jan 2005 18:08:51 GMT Subject: Re: phase converters why? Message-Id: <20050128.100947.15283.158591 [at] webmail15.lax.untd.com> When I build a new theatre building from scratch, often I have to bring on site a single phase to three phase converter for the sole purpose of demonstrating and obtaining final sign-off on the elevator from the AHJ, as temporary 'job power' is most often single phase, but the permanent feed will be three phase once the job is signed off. /s/ Richard ------------------------------ In-Reply-To: References:

Message-Id: From: David Wetmore Subject: Re: Two-Scene Operation of Lighting Consoles [Long & Late post] Date: Fri, 28 Jan 2005 11:28:25 -0800 Interesting, considering that even though I run on both faders, I actually very rarally push either of the faders, I show control the Expression from the HOG II. I also have some questions for that list so thanks for the link. David On Jan 28, 2005, at 2:15 AM, Charlie Richmond wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > On Thu, 27 Jan 2005, David Wetmore wrote: > >> Interesting, I guess I am one of the rare people that like to program >> on both sets of faders, but then again I like complicated cue >> sequences, macros, and effects and linking. > > You may enjoy subscribing to the show-control mailing list, then ;-) > > See my sig below... > > Charlie > > + ----- Charlie Richmond - Richmond Sound Design Ltd ----- + > + ---------- http://www.RichmondSoundDesign.com ---------- + > + ------------ "Performance for the Long Run" ------------ + > + To get info or join the Show Control Mailing List go to: + > + ---- http://www.RichmondSoundDesign.com/sclist.html ---- + > ------------------------------ From: "Jack Morones" Cc: jason [at] tollefsondesigns.com Subject: RE: CD Go Date: Fri, 28 Jan 2005 13:23:51 -0800 Organization: Saddleback College Message-ID: <000001c5057f$a9dd3840$6500a8c0 [at] SCJACKLT> In-Reply-To: We put white spike around the A/B fader. This seems to do okay. We use our C/D faders enough for it not to be practical to cover it. Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jason Tollefson Sent: Friday, January 28, 2005 5:14 AM To: Stagecraft Subject: Re: CD Go For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > > Here's a question I'd like to see asked: Is there a venue which > > DOESN'T have a bottle cap taped over [CD GO] ? That's great! I thought I was the only person who did that. I work with a lot of inexperienced board ops and the thought of giving them a choice of go buttons is not one I relish. > Interesting, I guess I am one of the rare people that like to program > on both sets of faders, but then again I like complicated cue > sequences, macros, and effects and linking. Just because I don't let them use the CD go, don't think that I don't. I use it all the time but instead of having the operator press the button I write a dummy cue linked to a macro that fires the CD fader for me. That way the op still only deals with the one button but I can jump to the other when needed. Wouldn't it be nice if ETC would just give us a software switch to disable the button. Jason Tollefson TA Event Planner Disney/MGM Studios Walt Disney World ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 28 Jan 2005 17:01:17 -0500 From: Brad Spachman Subject: Re: borderline OT: Road Warriors and Laptop rubber feet >Does anyone else have the problem with their constant moving about >that the stupid little rubber feet off the bottom of your computer or >other portable device fall off CONSTANTLY? On my laptop, I gave up and went with a coolPad. See http://www.roadtools.com/ or many other websites for similar products. One nice thing about mine is that it swivels, which proves handier than you might think at first! :-) Best, brad -- Brad Spachman bspachman [at] att.net ------------------------------ Message-ID: From: "Jason" References:

Subject: NEON Date: Fri, 28 Jan 2005 14:31:10 -0800 For neon look with out neon try iLIGHT TECHNOLOGIES http://www.ilight-tech.com/products.htm Great look LOW voltage so no need for the 35k volt transformer. Its all LED based, not sure of the prices, like I say look very good. ------------------------------ In-Reply-To: References: Message-Id: From: Gregg Carville Subject: Re: Trap fun Date: Fri, 28 Jan 2005 17:55:01 -0500 We are opening The Foreigner tonight. Our solution is very simple. Trap opens downward by a stage hand beneath stage, meanwhile Charlie is straddling the trap with his KKK rope covering the opening. (Opening is about 18x24 or so.) Beneath the trap & Charlie is a small box with a fan in it (this keeps the robe billowing out) plus the LD had us put some MR16's under the fan blades. While Charlie acts his way into the hole. (Our depth is about 40 inches, maybe less) He basically wiggles and such down to his hands and then lowers his legs down onto the fan box, and then flops over. The first time I saw it I was impressed. One key to this was that the audience knows the trap exists from an earlier bit, so we did not focus on "hiding" the trap. It needs to look impressive enough to scare the other KKK guys, but homemade enough (it is sort of a spur of the moment type of plan) If you want any specifics I could get you in touch with our TD as I work on the lighting side. So far (3 previews) the audience has loved it, usually greeting it with a round of applause and then laughter after Charlie's first line after the bit. good luck, Gregg >> We are doing The Foriegner in a month or so and I need to engineer the >> disappearance near the end of the show (a character in a KKK robe >> drops >> into the basement). > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <156.497dc5d8.2f2c255e [at] aol.com> Date: Fri, 28 Jan 2005 18:31:42 EST Subject: Re: Two-Scene Operation of Lighting Consoles [Long & Late post] In a message dated 28/01/05 05:04:15 GMT Standard Time, stagecraft2004 [at] mckernon.com writes: > Actually, at the French Institute here in NY, they pulled the handles off > the CD faders and taped over the whole shebang, including the CD GO button. > The explanation was that it was too complicated to use them... It takes a bit of care, and a good script. But they can be very useful. For example, you can keep an effect cue running on C/D while you do several more cues on A/B. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <13d.bb0d508.2f2c284b [at] aol.com> Date: Fri, 28 Jan 2005 18:44:11 EST Subject: Re: phase converters why? In a message dated 28/01/05 16:41:25 GMT Standard Time, Joe [at] elslights.com writes: > According to CM the starting current on their hoists is approx. 3.5 > times the nameplate current. Not even slightly surprised. And the running current will depend on the weight of the load, too. At best, it's a bodge, but it may work. Bodges often do. But I should think that the phase converters are a very robust design, perhaps with this sort of use in mind. I feel that a 'cheap and cheerful' design would go up in smoke, with what is called a 'dark brown smell'. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f3.497e0a9.2f2c29bc [at] aol.com> Date: Fri, 28 Jan 2005 18:50:20 EST Subject: Re: phase converters why? In a message dated 28/01/05 17:18:19 GMT Standard Time, gregpersin [at] comcast.net writes: > He built the system himself as he is a licensed commercial electrician (from > his former pre lighting life) and his specialty was industrial motor > controls. Without wishing to knock the guy, being an electrician, even one with experience in motor controls, is no substitute for being an electrical engineer. If the gear he's built works reliably, fine. But I think there's an element of luck in there. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <74.4c320813.2f2c2c9b [at] aol.com> Date: Fri, 28 Jan 2005 19:02:35 EST Subject: Re: phase converters why? In a message dated 28/01/05 18:11:50 GMT Standard Time, ladesigners [at] juno.com writes: > When I build a new theatre building from scratch, often I have to bring on > site a single phase to three phase converter for the sole purpose of > demonstrating and obtaining final sign-off on the elevator from the AHJ, as > temporary 'job power' is most often single phase, but the permanent feed will > be three phase once the job is signed off. I appreciate that your rules are different from those in the UK, but this surprises me. Perhaps I may have stricter views. I certainly should not sign off anything running from a temporary supply. After all, it's my name on the form. Stricter, looser: it all depends on your local rules.Your electrical rules sometimes give me more grey hairs than I already have, but your rules for personnel lifts seem to me unreasonably tight. As fo your local rules on weapons... Frank Wood ------------------------------ Date: Fri, 28 Jan 2005 21:50:39 -0500 Subject: Re: Two-Scene Operation of Lighting Consoles [Long & Late post] From: John McKernon Message-ID: In-Reply-To: >> Actually, at the French Institute here in NY, they pulled the handles off >> the CD faders and taped over the whole shebang, including the CD GO button. >> The explanation was that it was too complicated to use them... > > It takes a bit of care, and a good script. But they can be very useful. For > example, you can keep an effect cue running on C/D while you do several more > cues on A/B. I'm an Obsession guy myself, sometimes needing all 8 parts for complex scenic transitions or automated light moves, and I've done some shows where I have a dozen or more cues running simultaneously (for instance the tree-growing sequence in "Nutcracker"). You can imagine how limited I felt having just the A/B faders, but given the short time we had to cue the (simple) show, it worked out just fine. - John McKernon ------------------------------ Date: Sat, 29 Jan 2005 01:50:18 -0500 From: Stephanie Boyd Subject: Re: Glowing paint Message-Id: <2e1a884c.c61f7d9b.81cb600 [at] mirapoint.uc.edu> Thanks Playhouse(and Paul) for clearing that up....nifty trick....and to Paul...damn...I was hoping for a free lunch. Thanks for the intriguing new info. Stephanie ------------------------------ End of Stagecraft Digest #276 *****************************