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

Stagecraft Digest, Issue #357

 1. Re: Cell Phone Amplifier
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 2. Re: Painting a washing machine
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 3. Re: Screws
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 4. Re: European Lighting Instruments
    by David d'Anjou <ddanjou [at] gmail.com>
 5. David Hockney Scenic design film
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 6. Re: Positioning your hazer
    by FrankWood95 [at] aol.com
 7. Re: Positioning your hazer
    by "Michael Finney" <mfinney [at] thinkwelldesign.com>
 8. Re: Positioning your hazer
    by FrankWood95 [at] aol.com
 9. Re: A vague dissatisfaction with the status quo
    by CB <psyd [at] cox.net>
10. Vacationer (was: Re: Photos of electrical practice)
    by CB <psyd [at] cox.net>
11. Re: Sound Digest?
    by "Pamela Abra" <pabrah [at] telus.net>
12. He's baaaack...
    by "Steve Jones" <steve.jones [at] glasgowplazatheatre.com>
13. Sound question and film
    by "Pamela Abra" <pabrah [at] telus.net>
14. Re: He's baaaack...
    by Boyd Ostroff <ostroff [at] operaphilly.com>
15. Re: Sound Digest?
    by Nicholas Kuhl <nkuhl [at] bu.edu>
16. monitor fix for old Colortran Prestige 
    by Brian Aldous <brian [at] tany.com>
17. Re: Painting a washing machine
    by "C. Dopher" <brooklyn [at] dopher.com>
18. Re: Sound question and film
    by David Marks <davidmarks [at] att.net>
19. AC-10H
    by "C. Dopher" <brooklyn [at] dopher.com>
20. Re: He's baaaack...
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
21. Re: ETC Moving Light Copy/Paste
    by Jeff Forbes <jeffforbes [at] earthlink.net>
22. Re: He's baaaack...
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>

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

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

Date: Fri, 08 Apr 2005 01:22:06 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Cell Phone Amplifier
Message-id: <004e01c53c2d$335c5090$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-21739274 [at] prxy.net>



No, I must apologize for being so snappy.

Just a bit to much pain from a degraded back not allowing me to sleep or do
much else without discomfort... along with frustration at a number of
projects.

I purchased an Intelligain signal amplifier that, although was tested by the
seller, had no effect on my phone whatsoever. I returned the unit  and was
sent second one which also had no effect.  The seller swore that the unit
worked on a similar phone (he sent it already set up).  I tested it on
Shell's phone at this house where he gets spotty service, and while it
appeared to slightly improve the reception (3 bars instead of 2), we
mutually agreed that even if it was causing the occasional increase in
reception, it was definitely not worth the $225.00 price.

I'm going to check with a marine electronics place to see what they use on
boats.

...and then there's the new dryer I purchased.

It whistles.

Sigh.

Laters,

Paul

"I hope I can still play the guitar," Tom fretted.

 <<Paul,

Sorry, if I came across insulting.    I project what happens to me and that
is sometimes I don't see the forest for the trees until somebody points them
out.   In this case, that you might be so hung up on T-Mobile you hadn't
given thought to other options.   Kinda like when somebody has a problem
with their PC the first question is:  "Is it plugged in?">>

<<If T-Mobile doesn't cover the areas you need, why not switch to a
> different provider that does?>>
>
> Ya really think I didn't think of that?  No cell phone service works at my
> house.>>


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

Date: Fri, 08 Apr 2005 01:49:24 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Painting a washing machine
Message-id: <005201c53c31$032297f0$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-21739274 [at] prxy.net>

<<I searched the archives but came up with nothing
useful.  I need to restore an old washing machine to
its original enameled shiny goodness.>>

I did a Google search for "bathtub refinishing kit" and came up with a slew
of hits.  Most home stores around hear carry epoxy refinishing kits that
will work.  I used one once many years ago and found it a rather simple
process but quite nasty.  Long drying (curing) time but this allows flowing
of the material thereby evening the coat.

When I paint scenery, I usually like to use flat paints for color and then a
gloss (semi-gloss, satin, eggshell... whatever) coat. I've found that gloss
paints tend to act weird.

No matter what process you finally decide on, good and careful technique is
going to come into play.

A good quality (Krylon) gloss spray paint in cans should work fine for your
project, if applied correctly.  Prep the surfaces properly, i.e., sand
smooth, clean of dirt, dust, and moisture.  Prime (spray can again) and sand
with fine grit paper (220+).  Spray with gloss paint.  Apply multiple thin
even coats.

Start your spray movement aiming "off" the surface, spray across the
surface, and end aiming again "off" the surface on the other side.  No
matter how tempting don't stop and go back as you will not get an even coat
as where you "stop" will receive a heavier coat than the rest of the
surface.

Practice on something else before you try it on the real thing.

Around here, designers usually paint their sets and at one theater (where
they will do the painting is the designer wishes), a newbie designer asked
the TD to base the set in a particular color.  The designer then proceeded
to do his samples on the walls of the set.  Not even on just one wall, but
in the center of every wall on the set.

When he was done with his samples, he asked that the set be re-based.

The TD "cheerfully" complied.

Heaven forbid he did his samples of 4' square sheets of 1/4 ply...

Let us know what you end up doing.  What worked and what didn't.

Laters,

Paul

"Those ants will never get in here," Tom said defiantly.


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

Subject: RE: Screws
Date: Fri, 8 Apr 2005 09:15:21 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7B4 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> McFeely's has square drive screws in 1/4" increments.

And if you include the ProMax versions, you can go to 1/8".  They're
deliberately made a little short so you don't poke through the other
side when (for example) screwing together 1x material face-to-face.

> I wouldn't worry about heads  wearing out too much, after=20
> all, you only use them once.

Ideally.  But the head wear can be an issue with newbies, when
repositioning screws, and during removal.

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

Message-ID: <96c90e340504080638555bf4c3 [at] mail.gmail.com>
Date: Fri, 8 Apr 2005 09:38:43 -0400
From: David d'Anjou <ddanjou [at] gmail.com>
Reply-To: David d'Anjou <ddanjou [at] gmail.com>
Subject: Re: European Lighting Instruments
In-Reply-To: <list-21737824 [at] prxy.net>
References: <list-21711384 [at] prxy.net> <list-21737824 [at] prxy.net>

Thanks for the welcome Jeff,

I was on this list for a long time about 8 years ago, and fell off due
to job and email changes. It's good to be back.

I had  great time in Portland - and we toured that show forever in
France. PC's are my favortie all time instrument for backlights - just
the right mix of hard and soft.  They are great for quick side fills,
but not as clean for a side used as a key light.

D


On Apr 8, 2005 3:04 AM, Jeff Forbes <jeffforbes [at] earthlink.net> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> >
> > A Plano-Convex is like a fresnel with a harder edge...
> rest of reply snipped
> >
> >
> > -David d'Anjou
> >
> > PS - where are you headed?
> >
> Thanks David, that's very helpful.
> Oh, and by the way, welcome to the list. I noticed you're name
> recently, and remember you from
> the Portland International Performance Festival when you were here with
> Le Deux Monde? I think that was the name.
> A heart-warming tale about a boy and his duck.
> 
> Anyway, I'll be in Montpellier in June for the modern dance festival
> there, and in Paris at the Pompidou Centre in October.
> The company is the Deborah Hay Dance Co, and I'm adapting a lighting
> plot made by Jennifer Tipton for the original production at Danspace
> in NYC. The needs are simple, front light, backlight, high sides and
> booms.They have a ton of 1K PCs, but I don't see them working as side
> light on the booms. They're willing to rent as many Juliat 614s as we
> need, but I was wondering what the PCs would be best for.They may also
> work better as back light than the PARs
> 
> J
> 
> Jeff A Forbes
> PMB 124 6820 SE Foster Rd
> Portland OR 97206
> (503)-888-5619
> www.performanceworksnw.org
> 
> 


-- 
David d'Anjou
Technical Communications Supervisor
Cirque du Soleil

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

Date: Fri, 08 Apr 2005 12:13:32 -0400
Subject: David Hockney Scenic design film
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE7C25EC.35FC%Herrick [at] HGLightingDesign.com>

Hey folks,

This film is at the Film Forum in NYC until 4/19. Check out the website.
The film concentrates on Hockney's Scene design for Opera and his struggle
with imminent hearing loss.


<http://www.davidhockneythecolorsofmusic.com/#javascript:>

I may try to see it on Monday the 18th. If you're in NYC let me know.

-H


-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

From: FrankWood95 [at] aol.com
Message-ID: <1e9.39a5c877.2f881d62 [at] aol.com>
Date: Fri, 8 Apr 2005 13:46:10 EDT
Subject: Re: Positioning your hazer

In a message dated 08/04/05 02:01:57 GMT Daylight Time, 
Marty_Petlock [at] sarasotagov.com writes:

> The number of replies to this is interesting. I've been involved with
>  building half a dozen or so theaters and have yet to successfully make the
>  Mechanical Engineers understand what the HVAC will do, or needs to do or
>  needs too not do the stage house.

Join the club! Some years ago, we had installed a new HVAC system. Being an 
adaptable theatre, and working mostly on the big thrust stage, it presented a 
few problems. In principle, it is sound enough. However, there were some major 
errors. The most important is where the temperature sensor is. It's a warm air 
system, which draws air out at roof level, passes it through a heat 
exchanger, adds more heat if needed to the incoming fresh air, and blows it in at low 
level. So far, so good. But where is the temperature sensor? Between the 
extracts and the heat exchanger, that's where. Result, it picks up all the thermal 
output of the audience, and of the stage luminaires. It can get quite hot up 
there. I remember lighting a late night revue after a production, in June. As 
far as I could tell, the lighting team were wearing, between them, three pairs 
of trousers and a bra (LX Op, and two follow spots). We had to tell the control 
system a lot of lies to get it to work even halfways. This is not 
satisfactory, since it can result in cooking the audience, and freezing the SM, whose 
desk is in the traditional position.


Frank Wood

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

Subject: Re: Positioning your hazer
Date: Fri, 8 Apr 2005 10:51:58 -0700
Message-ID: <AE704B0123616D4BBE8BD0A464A0FD290FF0B4 [at] ESERVER.mail.local>
From: "Michael Finney" <mfinney [at] thinkwelldesign.com>


Marty_Petlock [at] sarasotagov.com wrote:

<<Anyway, I'm curious to know if anyone on the list who does consulting
has been able to get construction guys and engineers to pay attention to
this and what's your secret?>>

Dale Farmer replied:

<<No secret.  Just patience and repetition of the requirements over and
over again.>>
<<snip>>
<<That's why good consultants charge so much, they have to put in all
that time to keep features from leaking out of the building.  Tell them
what you are about to tell them you need.   Then tell them what you
need.  Then tell them what you just told them you need.>>  =20

First of all, let me wipe the coffee off the keyboard!  "...keep the
features from leaking out of the building" may be my favourite phase for
the last several days.

I'd second Dale's explanation of continually reiterating your
requirements.  One of the values of a consultant with a history of
actually working in performance spaces *and* building them (along with
other kinds of buildings, ideally) is that they tend to have at least a
little credibility with both sides and can help to translate party A's
needs/requirements into Party B's language.  That works for translating
construction issues back to the end user as much as it works for
translating theatre needs into language that the architects, engineers,
and contractors understand.

I've found that any opportunity to do "show and tell" helps tremendously
- if you can show the A&E team what the issue is, and how important it
is to servicing the building program, then they're more likely to
address a solution.  And (hopefully) it gets them to buy into monitoring
the contractors to make sure that any solutions are actually
implemented.  Of course, the tin hangers will probably still put the
ducting in the wrong place...it seems to be some kind of professional
imperative.

I also play favourites as far as engineering firms go - there are
certainly engineering firms that understand specialty construction
better than others, and I throw work at them whenever I can.  And that's
included commissioning peer reviews of other engineers to help make sure
that my needs get addressed (it's all about *me*, you know!).  Spending
a couple of hundred bucks to have an engineer who understands specialty
construction make a phone call to an engineer who's plainly not getting
it is usually money well spent.

A lot of times that's the whole key to being a consultant - being able
to be an effective advocate for the client and being able to recruit
other people to service the same need.

Time to go back into the "estimate this project from the pencil sketch"
cave.....it's a dark and scary place.....filled with spreadsheets. =20

Michael Finney
Thinkwell Design & Production
mfinney [at] thinkwelldesign.com
www.thinkwelldesign.com



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

From: FrankWood95 [at] aol.com
Message-ID: <1db.392c2f23.2f8821c1 [at] aol.com>
Date: Fri, 8 Apr 2005 14:04:49 EDT
Subject: Re: Positioning your hazer

In a message dated 08/04/05 04:20:52 GMT Daylight Time, dale [at] cybercom.net 
writes:

>     No secret.  Just patience and repetition of the requirements over and
>  over again.   Keeping an eagle eye on the drawings *every* time a change
>  comes out.  Just because a change you wanted got added to revision 9 of
>  the drawing, doesn't mean that the draftsperson won't get lazy doing rev
>  10, and rather than checking out rev 9 to do the change, grabbed rev 6
>  that he still had on his hard drive, and created rev 10, losing all the
>  changes from rev 7, 8, and 9.   Being on the job site every couple of
>  days and checking the actual construction against the current drawings.
>  Being a pain in the patoot when you find someone doing something
>  wrong.   That's why good consultants charge so much, they have to
>  put in all that time to keep features from leaking out of the building.

Continuity is the name of the game. Once, I got dropped in on a big job 
because the engineer who had been running it had been moved somewhere else. 
Mercifully, they put in another really good engineer to run it. Time and again, we 
found ourselves saying, "Why did he do it this way?". But it was too late. The 
trunking and cables were already being installed. It was a big TV studio, and 
these things get into the requirements early, well before the real engineers go 
on site. Orders had been placed for equipment, with which we had to live. An 
instance. Power supplies had been ordered for some of the electronic 
equipment. These were 're-entrant' over current protected. This means that, when an 
overcurrent is detected, the whole power supply shuts down until the problem is 
rectified. Safe, yes, but it pulls a whole lot of possibly vital gear. 
Individual fuses or breakers would have done a much better job, isolating only the 
faulty equipment.


Frank Wood

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

Message-Id: <3.0.6.32.20050408130640.01702ff8 [at] pop.west.cox.net>
Date: Fri, 08 Apr 2005 13:06:40
From: CB <psyd [at] cox.net>
Subject: Re: A vague dissatisfaction with the status quo

>I think a vague dissatisfaction with the status 
>quo is a more accurate description of this quality that makes for a good 
>problem solver.  "There has got to be a better way to do this," rather than 
>"This sucks, so I quit."

A rose by any other name...  Call it what you will, but "Screw this, I'm
not going to stand her watching these three monkeys dating a ballon when
there are cartoons on back at the hotel, I'm taking over and making this
work so we can all go home!" replaces "This sucks, so I quit" and you get
the right idea.  
Most people get paid by the hour, and have no problem getting paid to sit
and wait.  I do.  I'll find something to do, make something to do, or go
home.  Play me or trade me coah, if ya want to milk something apply at the
dairy.
Impatience along the lines of the Buzzard that says he's tired of waiting,
he's gonna go kill something.
				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: <3.0.6.32.20050408132546.01702ff8 [at] pop.west.cox.net>
Date: Fri, 08 Apr 2005 13:25:46
From: CB <psyd [at] cox.net>
Subject: Vacationer (was: Re: Photos of electrical practice)

>> Hiking and Horseback is for vacationers.  I rarely get to=20
>> excercise either option...
>
>What's a "vacationer"?

Its like a regular patron, but comes from out-of-town.  It's just like us,
except it goes out-of-town to get AWAY from work instead of to GO to work.
It also has money, and sleeps a lot, drives nice cars and wears colored
clothing.  KEEP IT AWAY FROM ALL THINGS TECHNICAL, though, it can be
dangerous and it is very soft and fragile.  It will make the oddest noises
at the oddest times, but can be trained to sit almost quietly and make the
appropriate noises at the appropriate times during your show if it is
otherwise quiet and dark enough, and is usually domesticated to be milked
of its cashflow.
				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: <004001c53c93$5a0fa140$8f1dd8cf [at] pamscomputer>
From: "Pamela Abra" <pabrah [at] telus.net>
References: <list-18104965 [at] prxy.net> <list-18185320 [at] prxy.net>
Subject: Re: Sound Digest?
Date: Fri, 8 Apr 2005 16:33:21 -0700

Does the sound mailing list still working? I sent an email requesting to 
subscribe and I was sent an email back saying
that it wasn't working anymore.
Thank you
Pam
----- Original Message ----- 
From: "Nigel Worsley" <nigle [at] dsl.pipex.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Friday, February 11, 2005 6:00 AM
Subject: Re: Sound Digest?


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Al Fitch wrote:
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> Can someone tell me how to subscribe to the sound
>> digest mailing list that I believe exists?
>
> Try this:
>
> Send 'subscribe theatre-sound' to listserv [at] listserv.aol.com and then send 
> 'digest'
> after getting the subscription confirmation.
>
> Nigel Worsley



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

From: "Steve Jones" <steve.jones [at] glasgowplazatheatre.com>
Subject: He's baaaack...
Date: Fri, 8 Apr 2005 21:50:14 -0500
Message-ID: <auto-000021752935 [at] prxy.net>

Greetings!

After falling off the face of the planet, one of the list's past Admins
returns to the fold.

I won't go into all of the gory details (*grin*) but here's the short
version:

1) I left MTSU when the Chair destroyed the design/tech program and started
a witch hunt on tech faculty.

2) I became President and CEO of the Capitol Arts Alliance, Inc in Bowling
Green, KY - a 25 year old non-profit performing arts center.  It was in bad
financial shape when I signed on and had lots of problems (from tech related
to legal).

3) We had a baby (Natalie Hope Jones) and her first birthday is next
Saturday.

4) I left the Capitol (just about 1.5 weeks ago - and in very good shape!)
to become Director of the Plaza Theatre in Glasgow, KY (where I live).  This
is an 1,100 seat newly restored theatre that has its opening and dedication
on April 17.

5) In addition to two dogs and two cats, we now have a donkey and a llama,
with two more llamas on the way.

That's it.  I'm glad to be back!  I'll have lots of things to share and
questions to ask as I settle into the new job.

My best to all.

Steve Jones
Former Stagecraft Admin at stagecraft.org

*************************************
Steve Jones, Director
Plaza Theatre
115 E. Main Street
Glasgow, KY  42141
Voice: (270) 361-2101
Fax: (270) 651-2511
http://www.glasgowplazatheatre.com 



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

Message-ID: <001001c53caf$64177750$8f1dd8cf [at] pamscomputer>
From: "Pamela Abra" <pabrah [at] telus.net>
Subject: Sound question and film
Date: Fri, 8 Apr 2005 19:54:04 -0700

Hello all

 I would like some feedback and other opinions with regard to sound in the 
video/film field please.

I am the sound person for an upcoming documentary and the Director has 
informed me that we will be needing a wireless lav for the actress,
(possibly more) as well as regular shot gun mics etc on booms. The signals 
are to be sent to a mixer (instead of the camera), and then the signal
goes to a digital recording system or possibly DAT recorder. I am guessing 
that this is the best way to record other than sending the signals to an 
Apple Laptop with Garage Band where it will be recorded as a wave 
file....but this would have to be a rather large harddrive I am guessing.

Any suggestions?  I have only worked with DAT only once, but it was in a 
studio. This is out in the field and not on a set.

I have no idea what the camera is either.. it isn't a small little digital 
hand held one...larger one on a tripod etc. I am pretty sure of.

Any advice with regards to calibration and uncalibrated nominal levels? This 
is with the analog signal ....

Thank you kindly

Pam
 



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

Date: Fri, 8 Apr 2005 23:00:56 -0400 (EDT)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Subject: Re: He's baaaack...
In-Reply-To: <list-21752936 [at] prxy.net>
Message-ID: <Pine.LNX.4.61.0504082300180.1196 [at] maestro.operaphilly.com>
References: <list-21752936 [at] prxy.net>

Hey, welcome back Steve! I'm glad to hear that things have worked out well 
for you. :-)

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com


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

Message-ID: <425752C1.4090403 [at] bu.edu>
Date: Fri, 08 Apr 2005 23:57:53 -0400
From: Nicholas Kuhl <nkuhl [at] bu.edu>
Subject: Re: Sound Digest?
References: <list-18104965 [at] prxy.net> <list-18185320 [at] prxy.net> <list-21750510 [at] prxy.net>
In-Reply-To: <list-21750510 [at] prxy.net>

Pamela Abra wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Does the sound mailing list still working? I sent an email requesting 
> to subscribe and I was sent an email back saying
> that it wasn't working anymore.
> Thank you
> Pam


It definately is, check out the stagecraft list homepage for the section 
with links to other mailing lists, info on subscribing to the sound list 
is there.  I'd link to it, but the page isn't responding at the moment.

Nick Kuhl

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

In-Reply-To: <list-21739274 [at] prxy.net>
References: <list-21739274 [at] prxy.net>
Message-Id: <3FF28AEC-A8B1-11D9-80C7-000A9592AE20 [at] tany.com>
From: Brian Aldous <brian [at] tany.com>
Subject: monitor fix for old Colortran Prestige 
Date: Sat, 9 Apr 2005 00:38:41 -0400

As others have pointed out, what they need is a CGA Monitor. This is 
not the first thread on this topic -  There are a lot of people out 
there using first-generation ETC boards - Expression, vision, 
microVision which require the same.  CGA was the standard for original 
IBM PC up through '286 processor PC's.

I have bought many, many over the years from these people:

http://www.c-reset.com/monitors.

They are in Dallas but ship quickly.

http://choiceprinters.com/video/oldtech.html lists many that would work 
for you as well.

Also easy to find on e-bay.

There are also people out there building circuit boards to do the 
conversion (http://www.converters.tv/converters/cga/vga.html) although 
I have not yet tried any of these out (would love to hear from anyone 
who has.)  Many older arcade games speak CGA as well as many hospital & 
industrial devices, which I presume to be the market.

There is no reason to buy a new board just because whiny designers want 
to feel up-to-date, if the board they have turns the lights on & off as 
needed.
I speak as the whiniest designer around (except, maybe, for my friend 
Herrick, who earns superlatives all around :)


BA

Brian Aldous
Lighting Design

brian [at] tany.com
On Apr 8, 2005, at 6:00 AM, Stagecraft wrote:
>
> Message-ID: <1112898979.42557da3c846b [at] webmail.plattsburgh.edu>
> Date: Thu,  7 Apr 2005 14:36:19 -0400
> From: kim.hartshorn [at] plattsburgh.edu
> Subject: monitor fix for old Colortran Prestige
> References: <list-21711384 [at] prxy.net>
> In-Reply-To: <list-21711384 [at] prxy.net>
>
> Ok...no wise-aker comments about 'why don't you just'
>
> :-)
>
> It's not my board or my venue, but a place I happen to be working atm. 
>  They
> have a flakey monitor for their old Colortran board, circa 1988.  It 
> is a 13"
> color monitor with a DB9 molded in connector.  The facilities manager 
> has
> contacted what is left of Colortran Service dept. and has talked to her
> computer tech people on campus...and they tell her that her only hope 
> is to
> find a circa 1988 monitor on ebay or somesuch. I imagine it is VGA 
> graphics on
> a DB9 connector, the adapter that the computer support people made for 
> her on
> campus does not work, but probably because the monitor laughs at the 
> VGA (just
> guessing) and not the adapter itself.
>
> Has anyone out there replaced their old DB9 VGA monitor with something 
> newer
> without also replacing the lightboard itself?  How did you do it?
>
> My guess is that the current monitor only has about a dozen slaps on 
> the side
> of the case left before all of the solder joints inside go from 
> intermintent to
> just plain old mintent
>
> thanks
>
> Kim
>
> ------------------------------


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

Date: Sat, 09 Apr 2005 00:47:06 -0400
Subject: Re: Painting a washing machine
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE7CD68A.17602%brooklyn [at] dopher.com>
In-Reply-To: <list-21739274 [at] prxy.net>

Dale wrote: 
> anna labykina wrote:
>> How far away are your audience members?  Instead of
>> paint, could you use something like thin sheets of
>> glossy white vinyl or contact paper?
>> 
>> This would be a wonderful solution, if it wasn't an
>> arena show with closest audience member 8 feet away...
>>  And the washer is an actual character in the show
>> (David Ives, "Soap Opera")
> 
>   Find a local auto body shop with a paint booth.  They can
> do gloss painting about as cheaply as you can get away with
> it.  Enamel coating like the factory finish requires it to be
> baked in a kiln to set the glaze.
>   The auto body process is to sand everything as smooth as
> possible.  Prime it with a couple of thin coats of primer, wet
> sand it to smooth it down again.   Spray on your coats of color
> paint.  Wet sand again to smooth it down.   Then spray on
> a couple coats of clear and colorless gloss paint.   Wet sand
> a final time and then buff with jewelers rouge.

Don't forget the ghost flames and metal-flake Harley Davidson logo between
the base coast and the clearcoat!

Orange County Washers!

Vroom vroom

Cris Dopher, LD


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

Message-ID: <42576D6E.3080409 [at] att.net>
Date: Sat, 09 Apr 2005 00:51:42 -0500
From: David Marks <davidmarks [at] att.net>
Subject: Re: Sound question and film
References: <list-21753011 [at] prxy.net>
In-Reply-To: <list-21753011 [at] prxy.net>

Pamela Abra wrote:

> I would like some feedback and other opinions with regard to sound in 
> the video/film field please.


Wow.  Good luck is the first thing I can say.  I'm a sound mixer for 
film and video
and you have just been thrown into the deep end.

The drill: Wireless mics - industry standards are various flavors of 
Lectrosonics, Audio Ltd.,
Zaxcom, Sennheiser, or Sony.  Do not cheap out here, it will hurt you.  
Lav mics used with
these units are Countryman B3, Sennheiser MKE2, TRAM, Sanken.  Don't 
cheap out here
either.

Mixer: Shure FP33A if you can't get anything better, 3 inputs, 2 outputs.
Shure FP42, 4 inputs.
Sound Devices SD302, 3 inputs.
Sound Devices 442, 4 inputs.
Various other mixers from PSC and Wendt.
All these units are small and portable.  You need a production audio bag 
to carry
the mixer, the wireless, batteries, tape.

DAT: Fostex PD-4, no longer in production but still widely used.  Takes 
NP1 batteries and you'll
need 4-6 to get through a day.
Tascam DA-P1 DAT, low budget recorder, does the job.

Setting levels:  Usual practice is to set 1K tone from the mixer to the 
DAT at -20 on
the DAT meters.  Some mixers use -18.  Key is not to run out of headroom.
Peaks at -12 are good, this gives you adequate headroom for surprises.

Slate:  Safest bet is to use traditional slate.  If you have never used 
a time code slate,
and it is required, find someone locally who can walk you through jam 
syncing the slate to
the recorder/camera  This only applies if you are using a time code 
enabled recorder like the Fostex.
Otherwise, the old school slate works fine.

Keep the tape rolling, it's cheap, better to have too much rather than 
lose something important.
Again find someone locally to walk you through setup and operation of 
the DAT if possible.

By the way, "shotgun" mics: what you really want are hypercardiod mics.
Choices here are Schoeps MK41, Sennheiser MHK60, Sanken CS1 and CS3.  
There are
cheaper mics and they indeed do sound cheaper.  You'll need a quality 
carbon fiber boompole
and related mic support - windscreens, shockmounts.

Dave Marks


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

Date: Sat, 09 Apr 2005 00:57:37 -0400
Subject: AC-10H
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE7CD901.17604%brooklyn [at] dopher.com>
In-Reply-To: <list-21739274 [at] prxy.net>

Not bad for a junky-looking little unit.  Hooks up your Clear-com (one
channel) to the phone to interface the systems.

Right now, I'm using one and our partners in Santa Cruz are using another
and we're able to collaborate behind-the-scenes, even as the two casts
collaborate on stage and screen.   3000 miles separation and I hear them
like they're only backstage, with no noticeable latency.

Someday, I gotta try interfacing both Clear-com channels!

Cris Dopher, LD
Working on Telematics piece "Lubricious Transfer", a cooperative
music/dance/video Internet 2 experience between NYU and UCSC.


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

Date: Sat, 9 Apr 2005 07:01:37 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: He's baaaack...
In-Reply-To: <list-21752936 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0504090659070.12823 [at] viscount.richmondsounddesign.com>
References: <list-21752936 [at] prxy.net>

On Fri, 8 Apr 2005, Steve Jones wrote:

> After falling off the face of the planet, one of the list's past Admins
> returns to the fold.

Waht an amazing litany of adventures and successes, Steve!!!!  So glad you are 
back and well and happy and really look forward to your usual sprightly 
contributions!

Sincerely,
Charlie

+ ----- Charlie Richmond - Richmond Sound Design Ltd ----- +
+ ---------- http://www.RichmondSoundDesign.com ---------- +
+ ------------ "Performance for the Long Run" ------------ +
   "Let distribution undo excess - And each man have enough"
    - King Lear



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

In-Reply-To: <list-21739274 [at] prxy.net>
References: <list-21739274 [at] prxy.net>
Message-Id: <b02c43408a7d7b64ac0c68d9cd361c2c [at] earthlink.net>
From: Jeff Forbes <jeffforbes [at] earthlink.net>
Subject: Re: ETC Moving Light Copy/Paste
Date: Fri, 8 Apr 2005 23:20:57 -0700


On Apr 8, 2005, at 3:00 AM, Stagecraft wrote:

>  It also
> teaches people how to
> use the Update command which I swear by, and I wish that it was an 
> actual
> key and not a softkey.
>
The first thing I do on an Expression/Express when starting a new show 
is program Update as Macro 1. Then it is an actual key, and needs only 
one keystroke.


Jeff A Forbes
PMB 124 6820 SE Foster Rd
Portland OR 97206
(503)-888-5619
www.performanceworksnw.org


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

Date: Sat, 09 Apr 2005 03:33:34 -0400
Subject: Re: He's baaaack...
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE7CFD8E.3652%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-21752936 [at] prxy.net>

Welcome home! And congratulations. Now if we can only get Rigger back
online...


-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

End of Stagecraft Digest #357
*****************************