Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 20173335; Thu, 03 Mar 2005 03:01:38 -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 #314 Date: Thu, 03 Mar 2005 03:01:21 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #314 1. Re: Touring Parts (Finding 5-pin XLR) by "Thad Kramer" 2. Getting around in Toronto by Villem Teder 3. Re: Photocel switch by "Storms, Randy" 4. Re: Photocel switch by "LES LIND" 5. NEC comes from insurance companies? by "Karl G. Ruling" 6. Re: Finding Parts / Touring Question by Stuart Wheaton 7. Re: Finding Parts / Touring Question by Mark O'Brien 8. O crew by David d'Anjou 9. Re: O crew by IAEG [at] aol.com 10. stagework and scholarship (was citing productions for faculty review) by kim.hartshorn [at] plattsburgh.edu 11. Re: Designer/Stage Manager Relationship by CB 12. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 13. Re: Designer/Stage Manager Relationship by FrankWood95 [at] aol.com 14. Re: stagework and scholarship (was citing productions for faculty review) by "Jeffrey Kanyuck" 15. Re: Faculty Activity Report by "Reed Brian" 16. OSHA Lift Training Rules by "Sam Fisher" 17. Painting S4 Lens by "Brandon Slokowski" 18. Re: OSHA Lift Training Rules by "Cyr, Dale" 19. Re: OSHA Lift Training Rules by "Dr. Randall W.A. Davidson" 20. Re: Painting S4 Lens by Dale Farmer 21. Re: NEC comes from insurance companies? by Nathan Kahn/Look Solutions 22. Re: Toronto TTC by "Delbert Hall" 23. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 24. Re: NEC comes from insurance companies? by Charlie Richmond 25. Re: Toronto TTC by "James Smith, www.theatrewireless.com" 26. Re: Toronto TTC by "Stephen E. Rees" 27. Re: NEC comes from insurance companies? by FrankWood95 [at] aol.com 28. Re: NEC comes from insurance companies? by Charlie Richmond 29. Re: stagework and scholarship (was citing productions forfaculty review) by "Scott Boyle" 30. Re: OSHA Lift Training Rules by "Paul H. Sullivan" 31. Re: Painting S4 Lens by seanrmc [at] earthlink.net 32. Re: Painting S4 Lens by "Jon Ares" 33. Re: NEC comes from insurance companies? by Stuart Wheaton 34. Re: Painting S4 Lens by Greg Persinger 35. Not sure if you've read any Strindberg plays... by "Jonathan S. Deull" 36. Re: Not sure if you've read any Strindberg plays... by "Jonathan S. Deull" 37. Re: NEC comes from insurance companies? by "Dr. Randall W.A. Davidson" 38. Future USITT Conference Programming by "Fritz Schwentker" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- From: "Thad Kramer" Subject: RE: Touring Parts (Finding 5-pin XLR) Date: Wed, 2 Mar 2005 08:12:49 -0500 Message-ID: In-Reply-To: Radio Shack does not stock 5-pin XLR connectors. 5-pin connectors are non-standard for the home-audio users that Radio Shack tends to supply. Radio Shack does, however, carry standard 3-pin XLR audio connectors, although I think in many stores, panel mounts may be a special order item. Thad Kramer Lighting Design and Production The Light Fantastic, Inc. Dayton, Ohio ------------------------------ Message-Id: <3.0.6.32.20050302093322.00845e30 [at] mail.interlog.com> Date: Wed, 02 Mar 2005 09:33:22 -0500 From: Villem Teder Subject: Getting around in Toronto At 03:01 AM 3/2/05 -0800, you wrote: > >From: "Stuart Baulch" >Subject: Getting around in Toronto snip.... > >For those not familiar with the underground labyrinth called PATH, best to >avoid it if you're going any great distance. It's a maze of interconnected >underground shopping malls, parking lots and tunnels. These were not laid >out with the pedestrian in mind and the signage is often lacking. I get lost >and I've lived in Toronto my entire life. >Plus it stops short of the convention centre - you can get to a food court >across the street and then dash through traffic. > snip.... And just when you get used to getting somewhere, they change things! Actually, you can get to the Convention Centre via the PATH. The Skywalk from Union Station to the SkyDome does connect to the walkway over the railway tracks that connects the two parts of the Convention Centre. There are two ways to get to the Skywalk from the Union Station subway station. The fastest is to go south, and use an outside covered walkway for a few dozen yards. The totally indoor way is to go north into the PATH, head west to the Royal York Hotel, and there is a tunnel from there to Union Station downstairs. I swear there are tunnels from the food court north of the Convention Centre under Front Street, and have used them, a while ago. They were either closed after 9/11, or are only available for special occasions, or simply for emergencies only. Will have to check them soon out as they were part of my plan to get there if the weather was bad. Regards, Villem Teder ------------------------------ Subject: RE: Photocel switch Date: Wed, 2 Mar 2005 06:58:09 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A19 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Grainger (www.grainger.com) catalog, page 597 - Omron E3F2-3Z1 = photoelectric switch sensor "light - on" a bargain at only $101.00. = Five or six other models on the same page. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Rick Malone Sent: Tuesday, March 01, 2005 5:01 PM To: Stagecraft Subject: Photocel switch For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Slightly off topic, but possibly useful. I'm looking for a photocel=20 switch that is normally on in the light and off at dark. Preferably in=20 a sealed ready to use configuration. (friend has a pond for which he=20 wants to turn off the pump at dusk and back on at dawn. I've looked at=20 X-10 and Smarthome but no luck. TIA Rick Malone in San Antonio ------------------------------ Message-Id: Date: Wed, 02 Mar 2005 10:13:59 -0500 From: "LES LIND" Subject: Re: Photocel switch Is that the new, even thicker, number 396 catalog? >>> rstorms [at] bham.wednet.edu 3/2/05 9:58 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Grainger (www.grainger.com) catalog, page 597 - Omron E3F2-3Z1 photoelectric switch sensor "light - on" a bargain at only $101.00. Five or six other models on the same page. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Rick Malone Sent: Tuesday, March 01, 2005 5:01 PM To: Stagecraft Subject: Photocel switch For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Slightly off topic, but possibly useful. I'm looking for a photocel switch that is normally on in the light and off at dark. Preferably in a sealed ready to use configuration. (friend has a pond for which he wants to turn off the pump at dusk and back on at dawn. I've looked at X-10 and Smarthome but no luck. TIA Rick Malone in San Antonio ------------------------------ From: "Karl G. Ruling" Date: Wed, 02 Mar 2005 10:54:23 -0500 Subject: NEC comes from insurance companies? Reply-to: kruling [at] esta.org Message-ID: <42259B5F.18728.31E2A1 [at] localhost> In-reply-to: > > What does enforce them is insurance companies > > Actually, our NEC comes from insurance companies, too, although most > municipalities have adopted it. Huh? What's the source of this factoid? What evidence supports "our NEC comes from insurance companies"? The NEC is written by the National Fire Protection Association. I'm a member, as are many others on this list, but I would venture to say that most of the dues-paying members of the NFPA are fire fighters, fire marshals and building inspectors, and fire safety consultants, not insurance companies. NFPA's standards are written by technical committees that reflect the diversity of interests of those groups that are affected by the standards. You'll find the membership of Code-Making Panel 15, which is responsible for the theatre chapter of the NEC, listed on the NFPA website at http://www.nfpa.org/assets/files/PDF/CodesStandards/TCMembers0205.pdf. The list there shows that the following people are principal voting members on Code-Making Panel 15: Donald J. Talka of Underwriters Laboratories Inc., representing the same James R. Duncan of Sparling Electrical Engineering, representing the Institute of Electrical & Electronics Engineers, Inc. Tom Dunn of Butler Amusements, representing the Outdoor Amusement Business Association, Inc. Douglas S. Erickson of the American Society for Healthcare Engineering, representing the American Society for Healthcare Engineering Dennis W. Marshall of TAG Electric Companies, representing the Independent Electrical Contractors, Inc. Richard H. Smith of OG&E Electric Services, representing Electric Light & Power Group/EEI Kenneth E. Vannice of Leviton Manufacturing Company Inc., representing US Institute for Theatre Technology James L. Wiseman of Schneider Electric/Square D, representing the National Electrical Manufacturers Association Michael Velvikis of High Voltage Maintenance Corporation, representing the InterNational Electrical Testing Association Inc. Edwin S. Kramer of Radio City Music Hall, representing the Int'l. Alliance of Theatrical Stage Employees Michael D. Skinner of CBS Studio Center, representing the Alliance of Motion Picture and Television Producers Eugene E. Morgan of the County of Clackamas, Oregon Building Services Division, representing the International Association of Electrical Inspectors Hugh O. Nash, Jr. of Nash Lipsey Burch, LLC, who is a special expert on the TC on Electrical Systems Andrew White of IBEW Local 3, representing the International Brotherhood of Electrical Workers Bruce D. Shelly of Shelly Electric Company, Inc., representing the National Electrical Contractors Association Michael B. Klein of Metropolitan Engineering, Inc., representing the Illuminating Engineering Society of North America Larry Lau of the US Department of Veterans Affairs, representing the same Casey Conry of Intertek ETL SEMKO, representing the same So, where in this list are the insurance companies from whence the NEC supposedly comes? I don't see any. ------------------------------ Message-ID: <4225E62E.6060006 [at] fuse.net> Date: Wed, 02 Mar 2005 11:13:34 -0500 From: Stuart Wheaton Subject: Re: Finding Parts / Touring Question References:

In-Reply-To: Robert D. Ingram wrote: > Applying with the production company who has the contract for a show or group of shows. > Knowing some one who is on the tour and recommends you for an opening. > Getting in on the ground level in a warehouse / shop and working up to the shows. > Getting connected through previous work with a company / union / road house. > > Are these the common ways of getting "on the road"? If there are any other useful methods I would be love to hear about them. > Back in the 80's I heard that if you wanted a job with Vari*lite, you send a resume a week for a month, then call every day for a week and they'd hire you just to get you to leave them alone. I never tried it. I did learn that impressing tour crew with working your ass off on a gig would sometimes get you a rec. Roads not taken... Stuart ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Finding Parts / Touring Question Date: Wed, 2 Mar 2005 09:23:41 -0700 On Mar 2, 2005, at 9:13 AM, Stuart Wheaton wrote: > Back in the 80's I heard that if you wanted a job with Vari*lite, you > send a resume a week for a month, then call every day for a week and > they'd hire you just to get you to leave them alone. > > I never tried it. > > I did learn that impressing tour crew with working your ass off on a > gig would sometimes get you a rec. > > Roads not taken... > > Stuart > Or, " I know who I screwed to get into this business, now who do I screw to get out..." Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <96c90e340503020827783d93c7 [at] mail.gmail.com> Date: Wed, 2 Mar 2005 11:27:28 -0500 From: David d'Anjou Reply-To: David d'Anjou Subject: O crew In-Reply-To: <96c90e340503020802452afcbc [at] mail.gmail.com> References: <96c90e340503020802452afcbc [at] mail.gmail.com> Most of them are still in Vegas. There has been some turnover recently with several "O" crew moving to our new shows Zumanity and "KA" or even "crossing over to the dark side" at Steve Wynn's new show. :-) Who in particular are you looking for? David d'Anjou Technical Comunications Supervisor Cirque du Soleil -----Original Message----- From: CB [mailto:psyd [at] cox.net] Sent: 1 March, 2005 8:13 AM To: Stagecraft Subject: O For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hey, I'll be in 'Vegas this week doing a bitty corp gig while AIDA is in hiatus, and I'm wondering if any of the hands that moved up ther to do 'O' years ago are still hanging around Anyone on the list know anyone working 'O'? 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... ------------------------------ From: IAEG [at] aol.com Message-ID: <1dc.37ebb0c8.2f57448e [at] aol.com> Date: Wed, 2 Mar 2005 11:32:14 EST Subject: Re: O crew In a message dated 3/2/05 11:29:02 AM, ddanjou [at] gmail.com writes: << n "crossing over to the dark side" at Steve Wynn's new show. :- >> "Guy, , , I am your father " : - ) ------------------------------ Message-ID: <1109783324.4225f31c3f8d9 [at] webmail.plattsburgh.edu> Date: Wed, 2 Mar 2005 12:08:44 -0500 From: kim.hartshorn [at] plattsburgh.edu Subject: stagework and scholarship (was citing productions for faculty review) References: In-Reply-To: I havent kept up with the digests and someone may have mentioned this already but it is very important for a person employed in academia (not just faculty) to cite the USITT guidelines for Promotion and Tenure. These guidelines were designed to elaborate the 'Boyer Principles' which are generally accepted as promotion guidelines by most colleges and universities. The elaborations are specific for theatre and since the USITT is considered our national professional organization they ought to and should be accepted by your institution as elaborations for promotion and tenure. They were published in TD&T, Vol. 37 No. 2 (Winter 2001) For those of you out there who are interview for positions in academia it is a good idea to ask whether the department or institution follows these guidelines currently or would consider them if they don't. Well...before you do that I suppose you might want to read them yourself and see if you agree with them...but I am fairly confident that you will. In any case...if in your faculty review you can state...'In accordance with the USITT guidelines for promotion and tenure I submit the following creative work as evidence of scholarship.' it should help the strength of your file. ------------------------------ Message-Id: <3.0.6.32.20050302105934.016dfc90 [at] pop.west.cox.net> Date: Wed, 02 Mar 2005 10:59:34 From: CB Subject: Re: Designer/Stage Manager Relationship >Well, OK-ish. As an LD, I do not admit that that the SM can tell me what to >do. That is for the director to do. If you think of it as the directors hand moving and the SM's mouth moving, you might get a grasp (although, really simplified) of what happens here. 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... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.40616eb6.2f576286 [at] aol.com> Date: Wed, 2 Mar 2005 13:40:06 EST Subject: Re: NEC comes from insurance companies? In a message dated 02/03/05 15:55:37 GMT Standard Time, kruling [at] esta.org writes: > > > What does enforce them is insurance companies > > > > Actually, our NEC comes from insurance companies, too, although most > > municipalities have adopted it. My original point was that insurers are quite likely to impose more strict requirements than does the code. For example, ours require an annual inspection of the whole installation. This takes two men three days, and involves opening up every outlet box and switch. Then you get two lists, one of important problems, such as miswires, and one of minor snags, such as missing trunking lids. When you have fixed the serious problems, the inspector will come back and check, and then sign the certificate. All this at our expense. After that comes the inspection by the Fire Authority, which is at least free. Then there's the maintenance of the extinguishers, which is done on contract by their supplier. All these represent a hidden drain on our finances, even before we start to worry about the maintenance of the premises and the improvement of the facilities. Some of them we submit to voluntarily, and some because we must. And, the story isn't over yet. We are going for a full public licence. I do not doubt that this will involve more inspections, probably by ill informed employees of our local authority. I'm sure that you all know the Shakespeare qoute: "Proud man, dressed in a little brief authority - - -". Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <198.39cae260.2f576476 [at] aol.com> Date: Wed, 2 Mar 2005 13:48:22 EST Subject: Re: Designer/Stage Manager Relationship In a message dated 02/03/05 17:54:22 GMT Standard Time, psyd [at] cox.net writes: > >Well, OK-ish. As an LD, I do not admit that that the SM can tell me what to > >do. That is for the director to do. > > If you think of it as the directors hand moving and the SM's mouth moving, > you might get a grasp (although, really simplified) of what happens here. I understand you, but I think you are wrong. If I am credited as LD, then I will damn well design the lighting, as the Director wants it and as the facilities permit. Frank Wood ------------------------------ Message-Id: Date: Wed, 02 Mar 2005 14:16:19 -0500 From: "Jeffrey Kanyuck" Subject: Re: stagework and scholarship (was citing productions for faculty review) OK.. I'll bite. How can I get a copy of the guidelines? Purchase the Vol from TD&T's publishers? Who are they? Jeff >>> kim.hartshorn [at] plattsburgh.edu 03/02/05 12:08 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I havent kept up with the digests and someone may have mentioned this already but it is very important for a person employed in academia (not just faculty) to cite the USITT guidelines for Promotion and Tenure. These guidelines were designed to elaborate the 'Boyer Principles' which are generally accepted as promotion guidelines by most colleges and universities. The elaborations are specific for theatre and since the USITT is considered our national professional organization they ought to and should be accepted by your institution as elaborations for promotion and tenure. They were published in TD&T, Vol. 37 No. 2 (Winter 2001) For those of you out there who are interview for positions in academia it is a good idea to ask whether the department or institution follows these guidelines currently or would consider them if they don't. Well...before you do that I suppose you might want to read them yourself and see if you agree with them...but I am fairly confident that you will. In any case...if in your faculty review you can state...'In accordance with the USITT guidelines for promotion and tenure I submit the following creative work as evidence of scholarship.' it should help the strength of your file. ------------------------------ Subject: RE: Faculty Activity Report Date: Wed, 2 Mar 2005 11:44:56 -0800 Message-ID: From: "Reed Brian" Scott, Adding to the good advice from Loren and David: One way to deal with this issue is to become more informed (perhaps better informed than some college and university administrators) about the new thinking regarding what constitutes "scholarship" (actually not-so-new thinking, these ideas having been around for a decade or more). =20 I recommend that you get your hands on a copy of "Scholarship Reconsidered,"* a book by the late Ernest Boyer of the Carnegie Foundation for the Advancement of Teaching (http://www.carnegiefoundation.org/). =20 In his book, Boyer discusses broader definitions of scholarship, including the scholarship of discovery, the scholarship of teaching, and the scholarship of application. These broader definitions make room for the kind of creative work that we do in theatre as designers and/or technical directors and as teachers. By applying Boyer's widely accepted ideas (We apply them here at Whittier College in the tenure and promotion process, as do many other colleges and universities), you can provide your institution with a more sophisticated rationale for understanding and appreciating what you do as a theatre practitioner and teacher. Good luck! Brian Brian A. Reed Associate Professor and Chair Dept. of Theatre and Communication Arts Whittier College Whittier, CA 90608 *(Boyer, Ernest L. Scholarship Reconsidered: Priorities of the Professoriate. Princeton, New Jersey: Carnegie Foundation for the Advancement of Teaching, 1990.) -----Original Message----------------------------------- Message-Id: <6.1.1.1.2.20050228210305.03198f18 [at] mail.sdsu.edu> Date: Mon, 28 Feb 2005 21:07:39 -0800 From: Loren Schreiber Subject: RE: citing productions for Faculty Activity Report In-Reply-To: References: Hey Scott, Your exhibition and article in the Tech Expo catalog is a good example of a=20 juried exhibition and a juried article. And the Tech Expo catalog is one of=20 a very (very) few outlets for technical theatre articles. If you need me to=20 put in a good word for you, please don't hesitate to ask. I've been through=20 all that [at] #$# and have an idea of how to make it work for you. Thanks, Loren Schreiber, Chair Tech Expo Committee United States Institute for Theatre Technology ------------------------------ ------------------------------ Reply-To: From: "David R. Krajec" Subject: Faculty Activity Report Date: Mon, 28 Feb 2005 23:19:29 -0600 Message-ID: In-Reply-To: Scott, In referrence to your request for info about Faculty Activity Reports, I offer the following. At my institution, we have three main categories which we have to address in our annual review: Teaching, Service and Professional Development. Under Professional Development is all the stuff we do that sometimes counts. Like design work. Is there anywhere on the form a section for "Creative Works". Often, "creative works" or "works of artistic merit" (Boy, is that a loaded phrase?!) qualify as publication. Juried books, papers, and articles are traditional publication. The show we design are not considered publication but may be considered as equivalent to publication. But you need to get an understanding if this is the case. Is there any other designer in your area that has been tenured? How did they do it? How long have you been on tenure track? Has anyone mentored you in your attempt for tenure? If not, find some one fast! Troll the P&T committee and see who can help you. You may have a long row to hoe. See the USITT Promotion and Tenure Guidelines for additional guidance. Here's a thought as to why we don't get our show research accepted. We don't have a bibliography with citations! We need to put little numbers on our sets/costumes/lights/soundtracks so that people can look up in their programs where we got our inspiration so that they can see that we are serious researchers contributing to the common weal. (OK, tongue out of cheek.) One caveat, from what I understand about the KC-ACTF guidelines, we can't use a written show adjudication for your P&T file. If I am in error, someone correct me, please. Finally, we aren't the square peg trying to fit into the round hole. Institutions that don't accept creative works as equivalent to research have sealed the round hole with fiberglass or Bondo. David Krajec Assoc. Professor/Theatre - Tenured Cardinal Stritch University - where creative works are accepted as publication ------------------------------ From: "Sam Fisher" Subject: OSHA Lift Training Rules Date: Wed, 2 Mar 2005 15:26:44 -0500 In-Reply-To: Message-ID: Does anyone know what the official rule is on how often an employer needs to have personnel trained to operate straight boom lifts like the Genie AWP? Sam Fisher ------------------------------ Message-ID: From: "Brandon Slokowski" Subject: Painting S4 Lens Date: Wed, 02 Mar 2005 15:37:45 -0500 I�m getting ready to paint a bunch of Source Four lens for easy degree identification. Anyone have any good or bad experiences with different types of paint when doing this? Really don�t want to have to re-paint them anytime soon, paint needs to be able to stand up to the rigors of real life! Thanks for any ideas. Brandon Slokowski ------------------------------ Subject: RE: OSHA Lift Training Rules Date: Wed, 2 Mar 2005 12:53:57 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E32E [at] excuswa100.americas.unity> From: "Cyr, Dale" osha cfr 29 1910.178(l)(4)(iii) An evaluation of each powered industrial truck operator's performance shall be conducted at least once every three years. you may find this link useful: http://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=3DSTANDARDS= & p_id=3D9828 dale cyr Training Supervisor IATSE Local 93 Subject: OSHA Lift Training Rules Does anyone know what the official rule is on how often an employer needs to have personnel trained to operate straight boom lifts like the Genie AWP? Sam Fisher ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: OSHA Lift Training Rules Date: Wed, 2 Mar 2005 12:56:33 -0800 In-Reply-To: Message-ID: Contact one of my Associates: Paul Sullivan psulliva [at] coj.com doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sam Fisher Sent: Wednesday, March 02, 2005 12:27 PM To: Stagecraft Subject: OSHA Lift Training Rules For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone know what the official rule is on how often an employer needs to have personnel trained to operate straight boom lifts like the Genie AWP? Sam Fisher ------------------------------ Message-ID: <42262C7B.3A637D8F [at] cybercom.net> Date: Wed, 02 Mar 2005 16:13:31 -0500 From: Dale Farmer Subject: Re: Painting S4 Lens References: Brandon Slokowski wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I�m getting ready to paint a bunch of Source Four lens for easy degree > identification. Anyone have any good or bad experiences with different > types of paint when doing this? Really don�t want to have to re-paint them > anytime soon, paint needs to be able to stand up to the rigors of real life! > Thanks for any ideas. > > Brandon Slokowski High temperature paints, such as engine paints from the automotive shop. Also, once they are dry, put them on a fixture and let it run at full for an hour or so in a well ventilated space before putting them back into stock. --Dale ------------------------------ Message-Id: <5.0.0.25.2.20050302170145.01eee500 [at] 212.86.129.164> Date: Wed, 02 Mar 2005 17:04:26 -0500 From: Nathan Kahn/Look Solutions Subject: Re: NEC comes from insurance companies? In-Reply-To: At 01:40 PM 3/2/2005 -0500, you wrote: >For example, ours require an annual inspection of the whole installation. >This takes two men three days, and involves opening up every outlet box and >switch. Doesn't this cause undue wear and tear on the wiring of the outlet boxes and switches? 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 ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Toronto TTC Date: Wed, 02 Mar 2005 17:49:54 -0500 My email is acting strange, so I hope this message has not already posted, but here it is again... My flight arrives in Toronto on Tuesday at 9:50pm (probably too late for Andrew to wait around), but if anyone want to share a cab to the Royal York around then, let me know. If I end up taking the bus, can anyone tell me how far it is from Union Station to the Royal York? It doesn't look far on the bus map, but that might be misleading. Besides, it might be a little nippy. -Delbert >From: "Riter, Andrew (Head Ltg)" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Toronto TTC >Date: Tue, 1 Mar 2005 19:47:57 -0800 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I thought I would be walking a lot too, but have you guys seen the weather >reports for TO this week??? Snow, -9 Centigrade. > >Someone want to share the limo into town? Arriving Wednesday around 7 pm >(he said, without checking the paperwork). > >On a social note, is the plan still to have the Stagecraft reception Friday >night? (Thanks to whoever is organzing. . .) > >Andrew M. Riter >Head Lighting Technician >Chan Centre > > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d7.37d46d69.2f579e1e [at] aol.com> Date: Wed, 2 Mar 2005 17:54:22 EST Subject: Re: NEC comes from insurance companies? In a message dated 02/03/05 22:13:15 GMT Standard Time, nk [at] looksolutions.com writes: > Doesn't this cause undue wear and tear on the wiring of the outlet boxes > and switches? I think not, if they have been properly wired in the first place. I agree that over-maintenance can be a problem. I remember working for someone who insisted on having a full set of performance figures for eight analogue tape recorders, every day. As a competent engineer, I was prepared to certify that they were within their specification, and sign for them. He wouldn't buy this, and I had to write down the exact performance for each. As a result, the trim controls needed frequent replacement. Boris, are you listening? Frank Wood ------------------------------ Date: Wed, 2 Mar 2005 22:57:39 +0000 (GMT) From: Charlie Richmond Subject: Re: NEC comes from insurance companies? In-Reply-To: Message-ID: References: On Wed, 2 Mar 2005 FrankWood95 [at] aol.com wrote: > trim controls needed frequent replacement. Boris, are you listening? What marque machines were these, Frank? Charlie ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: Toronto TTC Date: Wed, 2 Mar 2005 18:00:09 -0500 In-Reply-To: Message-Id: <20050302230010.WEUP1899.tomts13-srv.bellnexxia.net [at] p3m866> Union Station and Royal York Hotel are directly across the street from each other, and connected by an underground tunnel. Jim > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Delbert Hall > Sent: March 2, 2005 5:50 PM > To: Stagecraft > Subject: Re: Toronto TTC > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > My email is acting strange, so I hope this message has not > already posted, but here it is again... > > My flight arrives in Toronto on Tuesday at 9:50pm (probably > too late for Andrew to wait around), but if anyone want to > share a cab to the Royal York around then, let me know. If I > end up taking the bus, can anyone tell me how far it is from > Union Station to the Royal York? It doesn't look far on the > bus map, but that might be misleading. Besides, it might be > a little nippy. > > -Delbert > > > > >From: "Riter, Andrew (Head Ltg)" > >Reply-To: "Stagecraft" > >To: "Stagecraft" > >Subject: Re: Toronto TTC > >Date: Tue, 1 Mar 2005 19:47:57 -0800 > > > >For info, archives & UNSUBSCRIBE, see > > > >--------------------------------------------------- > > > >I thought I would be walking a lot too, but have you guys seen the > >weather reports for TO this week??? Snow, -9 Centigrade. > > > >Someone want to share the limo into town? Arriving > Wednesday around 7 > >pm (he said, without checking the paperwork). > > > >On a social note, is the plan still to have the Stagecraft reception > >Friday night? (Thanks to whoever is organzing. . .) > > > >Andrew M. Riter > >Head Lighting Technician > >Chan Centre > > > > > > > > > > ------------------------------ Message-ID: <42264596.30605 [at] fredonia.edu> Date: Wed, 02 Mar 2005 18:00:38 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Toronto TTC References: Delbert, The Royal York is literally across the street from Union Station. Walking distance. Steve Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > My email is acting strange, so I hope this message has not already > posted, but here it is again... > > My flight arrives in Toronto on Tuesday at 9:50pm (probably too late for > Andrew to wait around), but if anyone want to share a cab to the Royal > York around then, let me know. If I end up taking the bus, can anyone > tell me how far it is from Union Station to the Royal York? It doesn't > look far on the bus map, but that might be misleading. Besides, it > might be a little nippy. > > -Delbert > > > >> From: "Riter, Andrew (Head Ltg)" >> Reply-To: "Stagecraft" >> To: "Stagecraft" >> Subject: Re: Toronto TTC >> Date: Tue, 1 Mar 2005 19:47:57 -0800 >> >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> I thought I would be walking a lot too, but have you guys seen the >> weather reports for TO this week??? Snow, -9 Centigrade. >> >> Someone want to share the limo into town? Arriving Wednesday around 7 >> pm (he said, without checking the paperwork). >> >> On a social note, is the plan still to have the Stagecraft reception >> Friday night? (Thanks to whoever is organzing. . .) >> >> Andrew M. Riter >> Head Lighting Technician >> Chan Centre >> >> >> > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8b.225127e2.2f57a3ea [at] aol.com> Date: Wed, 2 Mar 2005 18:19:06 EST Subject: Re: NEC comes from insurance companies? In a message dated 02/03/05 22:59:30 GMT Standard Time, charlier [at] RichmondSoundDesign.com writes: > > trim controls needed frequent replacement. Boris, are you listening? > > What marque machines were these, Frank? Perfectone. 16mm sepmag recorders and replay machines. Frank Wood ------------------------------ Date: Wed, 2 Mar 2005 23:26:44 +0000 (GMT) From: Charlie Richmond Subject: Re: NEC comes from insurance companies? In-Reply-To: Message-ID: References: On Wed, 2 Mar 2005 FrankWood95 [at] aol.com wrote: > Perfectone. 16mm sepmag recorders and replay machines. ugh Charlie ------------------------------ Reply-To: From: "Scott Boyle" Subject: RE: stagework and scholarship (was citing productions forfaculty review) Date: Wed, 2 Mar 2005 17:32:56 -0600 Organization: Carroll College Message-ID: <000001c51f80$2a0c20c0$73db688c [at] cc.edu> In-Reply-To: Jeff, You can download the article for free by going to the USITT site (www.usitt.org). Go to the "Online resources" click on "bookstore" and look for the free downloads button. Scott M. Boyle Technical Director Department of Theatre Arts Carroll College 262-524-7308 Jeff wrote: OK.. I'll bite. How can I get a copy of the guidelines? Purchase the Vol from TD&T's publishers? Who are they? Jeff ------------------------------ Message-Id: <5.2.1.1.0.20050302183407.01adccd8 [at] pop.mail.yahoo.com> Date: Wed, 02 Mar 2005 19:08:53 -0500 From: "Paul H. Sullivan" Subject: Re: OSHA Lift Training Rules In-Reply-To: References: There needs to be site and unit specific training on each type of lift used in the facility. For straight boom lifts there is not a specific retraining period, however there is supposed to be periodic evaluations of operator use by a competent person and retraining as necessary. This needs to be done for all lifts and personnel that use them AND document the training, observations, and retraining. Pax At 03:26 PM 3/2/2005 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Does anyone know what the official rule is on how often an employer needs to >have personnel trained to operate straight boom lifts like the Genie AWP? > >Sam Fisher Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ Message-ID: <19268785.1109815153791.JavaMail.root [at] waldorf.psp.pas.earthlink.net> Date: Wed, 2 Mar 2005 20:59:13 -0500 (GMT-05:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Painting S4 Lens Why paint them? Just LOOK at them. clear is VNSP frosted is NSP 8 rows of facets is MFL 12 rows of facets is WFL if you just run your fingertips across the lens you'll be able to tell. MF= L's feel "wavy", and WFL's feel ridged or serrated. I don't know of anyone that paints S4 lenses. --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Brandon Slokowski Sent: Mar 2, 2005 3:37 PM To: Stagecraft Subject: Painting S4 Lens For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I=92m getting ready to paint a bunch of Source Four lens for easy degree=20 identification. Anyone have any good or bad experiences with different= =20 types of paint when doing this? Really don=92t want to have to re-paint th= em=20 anytime soon, paint needs to be able to stand up to the rigors of real life= !=20 Thanks for any ideas. Brandon Slokowski ------------------------------ Message-ID: <001501c51f95$a4b85860$0600000a [at] BRUTUS> From: "Jon Ares" Cc: seanrmc [at] earthlink.net References: Subject: Re: Painting S4 Lens Date: Wed, 2 Mar 2005 18:06:42 -0800 > Why paint them? Just LOOK at them. > > clear is VNSP > frosted is NSP > 8 rows of facets is MFL > 12 rows of facets is WFL > I'm sure he's speaking of lens BARRELS. I don't think painting the glass lens would do a whole lot of good for light output. :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: <42268541.60105 [at] fuse.net> Date: Wed, 02 Mar 2005 22:32:17 -0500 From: Stuart Wheaton Subject: Re: NEC comes from insurance companies? References: In-Reply-To: Nathan Kahn/Look Solutions wrote: > At 01:40 PM 3/2/2005 -0500, Frank wrote: > >> For example, ours require an annual inspection of the whole installation. >> This takes two men three days, and involves opening up every outlet >> box and >> switch. > > > Doesn't this cause undue wear and tear on the wiring of the outlet boxes > and switches? Besides the wear and tear, Why would you need to do this? after the first inspection prior to turn on, assuming you have minimally competent people doing the work in your facility, there should be no need for such an invasive, time consuming and costly task. Surely a spot check with a tester to verify proper hot, neutral and ground, on a random sample should serve. Especially since you have Ground Fault breakers and overcurrent protection in place. Boxes and trunking left open would be a violation here too, but the facility operators should take action to remedy or prevent this without need of an invasion of the inspectors. Unless Davie Dimmers is not as much of a fiction as I always thought, this seems extreme. But hey, your country, your rules. ------------------------------ Date: Wed, 02 Mar 2005 21:41:03 -0600 Subject: Re: Painting S4 Lens From: Greg Persinger Message-ID: In-Reply-To: Sean, A Source Four (S4) is an ellipsoidal fixture with a lens tube or barrel that contains the glass lenses. A Source Four PAR is a wash fixture that uses a concave "Pyrex plate" like lens that can be changed to any one of 5 different beam spreads. You are commenting on the Source Four PAR which is not the fixture Brandon is considering painting the lenses of. Brandon is referring to the Source Four Ellipsoidal lens tubes. Many people paint S4 lenses for easy identification. Most people don't mark S4 PAR lenses as, like you said, they are fairly easy to identify. Of course I have always thought that it was easy to pick a Source Four out of the middle of a group of Source Four PAR's if you look at them as well. A Source Four PAR is short and fat while a Source Four is tall and skinny, unless it is a five or ten degree and then it is tall and fat in the nose sporting a plastic lens in front instead of glass. :-) I hope this helps. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "Jonathan S. Deull" Cc: drkrajec [at] stritch.edu Subject: Not sure if you've read any Strindberg plays... Date: Wed, 2 Mar 2005 22:56:13 -0500 In-Reply-To: Message-ID: But if you have: http://www.strindbergandhelium.com/ ------------------------------ From: "Jonathan S. Deull" Subject: RE: Not sure if you've read any Strindberg plays... Date: Wed, 2 Mar 2005 22:57:28 -0500 In-Reply-To: Message-ID: Sorry for that last post. It was a booboo. ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: kruling [at] esta.org Subject: RE: NEC comes from insurance companies? Date: Wed, 2 Mar 2005 20:18:15 -0800 In-Reply-To: Message-ID: Perhaps a little byte of history. Excuse the personal note, as I am sure most of you will. In my experience as a Loss Control Consultant for the 2nd largest insurance brokerage firm in the world, and I state that, because they brokered insurance for over 75 percent of the entertainment industry, as some of you already know, we worked with the many carriers in the industry, worldwide, and we and they inspected many facilities in the entertainment industry on an annual basis because of underwriters requests and renewal of insurance premiums. Having been a corporate member from my company in 1970 of NFPA, we worked with some of their member people to do inspections. IN 1975 I was appointed temporarily Chair of the Panel 15 NEC which covered the film industry, theater and television. WE have sat on that committee most of the years since then, either as an active committee member or a consultant. With Mitch Hefter and others we used to meet weekly when we were working on the Code. I instituted and sponsored through the USITT Health and Safety Commission One of the first committees to bring training, both in the U.S. and Canada. We worked with the Luminaire group in Canada as well, and with the NABET, SMPTE, and IATSE groups developing electrical safety practices. Which is to say, that as senior consultant to this insurance broker we interfaced with many carriers, sixty seven to be exact, and cooperated with them in inspections and risk assessments of theaters. AIG, March Mac, etc. all the major brokerage firms. I am sure there is some memory there of that work with many people. The bottom line is that the insurance companies have an interest in the safety and compliance with NEC. If there is not compliance they have a right to withhold insurance that they sell. Most municipalities and entertainment entities, in my experience, then and now, do not keep open for business unless there is compliance with the Codes. Dr. Doom That is just my take on it. Apologies for all the personal reference which you do not like. -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Karl G. Ruling Sent: Wednesday, March 02, 2005 7:54 AM To: Stagecraft Subject: NEC comes from insurance companies? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > > What does enforce them is insurance companies > > Actually, our NEC comes from insurance companies, too, although most > municipalities have adopted it. Huh? What's the source of this factoid? What evidence supports "our NEC comes from insurance companies"? The NEC is written by the National Fire Protection Association. I'm a member, as are many others on this list, but I would venture to say that most of the dues-paying members of the NFPA are fire fighters, fire marshals and building inspectors, and fire safety consultants, not insurance companies. NFPA's standards are written by technical committees that reflect the diversity of interests of those groups that are affected by the standards. You'll find the membership of Code-Making Panel 15, which is responsible for the theatre chapter of the NEC, listed on the NFPA website at http://www.nfpa.org/assets/files/PDF/CodesStandards/TCMembers0205.pdf. The list there shows that the following people are principal voting members on Code-Making Panel 15: Donald J. Talka of Underwriters Laboratories Inc., representing the same James R. Duncan of Sparling Electrical Engineering, representing the Institute of Electrical & Electronics Engineers, Inc. Tom Dunn of Butler Amusements, representing the Outdoor Amusement Business Association, Inc. Douglas S. Erickson of the American Society for Healthcare Engineering, representing the American Society for Healthcare Engineering Dennis W. Marshall of TAG Electric Companies, representing the Independent Electrical Contractors, Inc. Richard H. Smith of OG&E Electric Services, representing Electric Light & Power Group/EEI Kenneth E. Vannice of Leviton Manufacturing Company Inc., representing US Institute for Theatre Technology James L. Wiseman of Schneider Electric/Square D, representing the National Electrical Manufacturers Association Michael Velvikis of High Voltage Maintenance Corporation, representing the InterNational Electrical Testing Association Inc. Edwin S. Kramer of Radio City Music Hall, representing the Int'l. Alliance of Theatrical Stage Employees Michael D. Skinner of CBS Studio Center, representing the Alliance of Motion Picture and Television Producers Eugene E. Morgan of the County of Clackamas, Oregon Building Services Division, representing the International Association of Electrical Inspectors Hugh O. Nash, Jr. of Nash Lipsey Burch, LLC, who is a special expert on the TC on Electrical Systems Andrew White of IBEW Local 3, representing the International Brotherhood of Electrical Workers Bruce D. Shelly of Shelly Electric Company, Inc., representing the National Electrical Contractors Association Michael B. Klein of Metropolitan Engineering, Inc., representing the Illuminating Engineering Society of North America Larry Lau of the US Department of Veterans Affairs, representing the same Casey Conry of Intertek ETL SEMKO, representing the same So, where in this list are the insurance companies from whence the NEC supposedly comes? I don't see any. ------------------------------ Reply-To: From: "Fritz Schwentker" Subject: Future USITT Conference Programming Date: Wed, 2 Mar 2005 20:26:19 -0600 In-Reply-To: Message-ID: Dear Colleagues: I realize that many of you are looking forward to the USITT Conference in Toronto taking place the middle of this month. But, I want to let everyone know that much of the planning for programming the 2006 Conference in Louisville will happen while at this years event in Toronto. In fact, a tentative schedule of sessions will be in place by the time we leave the venue. As I will be leading planning of program sessions for the Technical Production Commission, I want to give you folks on the list a heads-up. Please contact me if you have an interest in leading or participating in programming for next year. Or, if you simply have programming ideas that you would like to participate in as an attendee, I would love to learn about those as well. While my purview is the Technical Production Commission, I would also be happy to forward any inquiries to the leadership of any of the other Commissions as well. A simple email or telephone call will be fine with me, as will grabbing me at the Conference in a couple weeks hence. For those who like the formal route, USITT has provided a form for submitting proposals you are also welcome to use: http://www.usitt.org/activities/Session_Proposal_Form.doc I look forward to hearing from you, and to visiting with many of you soon in Toronto. Best, Fritz ============================================ Fritz Schwentker Vice-Commissioner for Programming USITT Technical Production Commission fritz.td [at] mindspring.com 512 585 5184 ============================================ ------------------------------ End of Stagecraft Digest #314 *****************************