HDTenEightyP/NetNews huggingface dataset:
From: cullen@ac.dal.ca
Newsgroups: alt.stagecraft
Subject: Re: NSI Dimmers
Date: 15 Apr 92 03:28:28 GMT
Distribution: na
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

>>Has anyone seen NSI dimmers installed in a theatre?  My school is looking 
>>for a new digital dimmer system for our black box theatre.  NSI is being
>>considered because they have such a nice price.  The other system being
>>looked in to is the Applied Electronics Advantage Series dimmers.  Any
>>comments on either one?

I have some experience with NSI portable systems, which are the same dimmers
rackmounted. They seem to be quite reliable and flexible, with both analogue
and their own multiplex system (same as sunn), and optional dmx512 inputs.
They are imho good value for the money, though not quite as nice as our 
strand cd80s.
THe only problem is the fact that NSI's multiplex system is limited to 32
control channels. THis can be a real drag if you're used to using a 
Strand lightboard M or somthing along those lines.
>
> Well... I am only 16, and mainly I only do sound, but I have to ask - What are
> NSI dimmers?  I am afraid that the little bit of theatrical lighting I have 
done has either been with ecomemy 12 ch. portable units, or with a MASSIVE 60 
channel dimmer system that I think MIGHT be made my Yamaha (I am probably 
wrong, I just use it)
> 
NSI is an American company that makes a full range of dimmers and consoles that
interface on a digital multiplex system.

By the way, I don't think Yamaha makes lighting control of that size (or any
size).
From: gjw@dcs.glasgow.ac.uk (Mr Garry J. Wardrope)
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 10 Apr 92 08:58:07 GMT
Organization: Glasgow University Computing Science Dept.

sweeney@uncavx.unca.edu writes:

[stuff deleted]

>you fail in control procedures.  Be sure your circuit has both an "arm" and
>"fire" switch in parallel.  Be sure ONE person is singly responsible for
                  ^^^^^^^^
[more stuff deleted]


If this isn't a 'typing' error are you sure you know what your doing?  I
wouldn't recomend anyone tries wireing such systems unless they know what they
are doing.  (i.e. not simply following instructions ).  Safety regulations
arn't there to make manufacturers stuff more expensive but keep you alive and
in one piece.  Besides the professional kits are one of the cheapist spectacular
stage effects you can get.



		Garry

-- 
Mail:	Garry Wardrope, Computing Science Dept.,  Tel: (041) 339 8855 x5322
	Glasgow Univ., 17 Lilybank Gardens, Glasgow G12 8QQ, UK. 
ARPA:	gjw%dcs.glasgow.ac.uk@nsfnet-relay.ac.uk USENET:gjw@dcs.glasgow.uucp
JANET:	gjw@uk.ac.glasgow.dcs   useBANGnet: ...mcsun!ukc!dcs.glasgow.ac.uk!gjw
From: kraack@maestro.mitre.org (Steve Kraack)
Newsgroups: alt.stagecraft
Subject: Re: starting a thread
Date: 3 Apr 92 18:45:16 GMT
Article-I.D.: linus.1992Apr3.184516.9255
Reply-To: kraack@mitre.org
Organization: The MITRE Corporation, McLean, Va

In article <1992Apr2.193901.3490@sparky.imd.sterling.com>, jim@IMD.Sterling.COM (Jim Nicholsen) writes:
|> I just invited the people from alt.folklore.science who couldn't figure
|> out how David Copperfield "flew" to tune in here. We could start a thread
|> on the current state of the art for fly systems.
|> 
|> My daughter's high school recently did a rewrite around a flying scene
|> because they couldn't find a system that could compensate for the 
|> "features" of their theater. The stage is on one side of the dome which
|> makes up the theater. The high school, a cluster of domes, may have been
|> architecturally striking but everyone in the drama department dreams of
|> the facilities in the 'turn-of-the-century' buildings that the surrounding
|> schools have.
|> 
|> jim
|> 
|> std disclaimer

I currently work in a 1800 seat theatre with a full fly system.  Before
we had this great facility, we used to do what we could to make a raised
floor in a classroom exciting.  We got creative at times and decided to make
our own fly's for changing backdrops.  Simple enough!  We had no room
to fly into the ceiling, but we were able to change the backdrops.  Now,
we just suspend it from one of our 36 free batons, weight the ballast, and 
we are off!  

As far the technology of batons goes,  I don't think it has changed much
in the last twenty years.  Besides space and noise reduction,  there really
isn't a whole lot to change.  I have noticed more wires being used than ropes
for the suspension of batons.  But the 3/4" rope for the rails is all standard.
I have seen a mechanical engine called a workhorse which can be attached
to a rope and will hoist a heavy baton to weight it at the floor rather
than from a loding platform in the ceiling.  It is moveable and not designed
for actual running if the ropes but for help in balancing when a baton is too
heavy.  

The physics behind the fly system is very straight forward.  I have seen a 
theatre that was not originally designed with flys that added them after
the building was built.  It was very creative.  They only had 1/2 height 
of the proscenium above the stage so they would double up backdrops in the 
ceiling.  Worked well until you wanted to fly out flats!  The logistics 
were intersting.  I wish I had time to study it more closely.  

Maybe this will start a thread!!!
Good idea for a newsgroup!!

Steve
kraack@mitre.org
From: wisner@steller.ims.alaska.edu (Bill Wisner)
Newsgroups: alt.stagecraft
Subject: Re: lighting design text recommendation
Date: 11 Apr 92 21:15:34 GMT
	<1992Apr11.064400.4697@m2xenix.psg.com>
Distribution: na
Organization: Trailing Edge Technologies, Fairbanks AK

>Might I also recommend "A Method Of Lighting for the Theatre", by our old
>friend Mr. Stanley McAndless.  I don't know if the book is still in print,
>though.

It is.  Any decent bookstore should be able to order it.

It is, of course, the standard book in the field -- the "bible."  If
you haven't read it and you're interested in lighting design, you
should.

Bill Wisner <wisner@ims.alaska.edu> Gryphon Gang Fairbanks AK 99775
Newsgroups: alt.stagecraft
From: htodd@gmuvax2.gmu.edu (Helen Todd)
Subject: Where in the DC area could I find nice facepaint?
Organization: George Mason University, Fairfax, Va.
Distribution: dc
Date: Thu, 9 Apr 1992 12:41:08 GMT

I'm looking for some nice quality facepaint and was wondering if anyone
in this area had any suggestions for stores.   Thanks.

-Helen

-- 
Helen Todd  |  htodd@gmuvax2.gmu.edu  |  htodd@gmuvax.gmu.edu  |  DOD: #308
From: olano@gemini.cs.unc.edu (T Marc Olano)
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 16 Apr 92 18:05:16 GMT
Article-I.D.: gemini.OLANO.92Apr16140516
	<1992Apr13.181852.28584@murdoch.acc.Virginia.EDU>
Organization: University of North Carolina at Chapel Hill
In-reply-to: brg2x@hagar8.acc.Virginia.EDU's message of 13 Apr 92 18:18:52 GMT

In article <1992Apr13.181852.28584@murdoch.acc.Virginia.EDU> brg2x@hagar8.acc.Virginia.EDU (Barry Richard Gribble) writes:

> In article <1992Apr4.024250.19154@usenet.ins.cwru.edu>,
> brown@slc8.INS.CWRU.Edu (Dan Brown) writes:

> |> Does anyone know where to get low amperage fuses of the screwing
> type??? 
> |> I have made flash pots from fuses, but this requires a LOW amperage
> fuse...
> |> 
> |> [...discussion of the principle...]

> It may be a little more of a mess to do, and perhaps less safe,
> but it occurs to me that your could use a light-buld instead.
> Certainly a 15W make-up mirror kind of light would do.

I once worked in a theater where they took quite a different tack on
the question of homemade flashpots.  General design, as I recall it,
was an open wooden box lined with a metal bowl.  I'm not sure where
they got the sheet metal from, it was a little thicker than a pie pan.
In the bottom of the dish were two thumb-screw contacts (the wires
that hooked up to them were actually underneath so they wouldn't get
fried).  Over the top of the whole contraption was a screen to keep
the sparks and stuff in.  We'd screw a single strand of wire from a
piece of zip cord between the two contacts, put in some flash powder
(while it was unplugged, we tended to value our arm-hair, eyebrows,
and lives), and close the screen.  Shortly before the cue, we'd flip
the safety switch (standard light switch -- it got 120V power), then
flip the main switch and BOOM.  Even being open as it was, with fast
flash powder it made a healty bang.

As always, extreme care is necessary when working with explosives,
even the relatively small quantities used for the effects.

-marc
From: gdrew@cs.umd.edu (Greg Drew)
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 14 Apr 92 22:20:51 GMT
Organization: U of Maryland, Dept. of Computer Science, Coll. Pk., MD 20742

In article <65220@apple.Apple.COM> stadler@Apple.COM (Andy Stadler) writes:
> Diagram, etc deleted.
>  (3)  You REALLY want a continuity light, as shown.  This is the only way
>       to know that your igniters are properly connected.
PLEASE, be very careful with this.  The inclusion of the continuity light
means that when the system is armed, there will be current flowing through 
the igniter.  If the light is something small like a flashlight bulb or an LED,
you could very well set off your charge when you turn the ARM key.  The 
continuity light assembly must have a very high resistance to make sure that
the current in the system is not enough to set off the igniter.  
					-- GDD
-- 
----------------------------------------------------------------------------
Greg Drew                          | Watch for coming attractions 
gdrew@trellis.cs.umd.edu           |
----------------------------------------------------------------------------
From: stadler@Apple.COM (Andy Stadler)
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 17 Apr 92 06:53:31 GMT
Organization: Apple Computer Inc., Cupertino, CA

In article <1992Apr15.003348.5060@sfu.ca> pinette@fraser.sfu.ca
 (Gandolf the 23rd) writes:
>
>P.S.
>I don't mean to be rash but  I know a little a bit about this considering
>my roomate is a prof. pyrotechnician. :-)

Funny, a professional pyro-dude told me about how they all use cont. lights.

Just goes to show you can't trust a professional...  :)

Seriously, though, it's not worth arguing over.  I've already seen enough
stuff posted which proves some readers don't know much about electronics;
likewise there are readers who probably felt my circuit was an irresponsible
thing to post.  And perhaps they were right.

It's an interesting thing.  Let's face it, we all know that ANY pyro, indoor
or outdoor, is illegal.  We also know that most theaters are broke, and that
there's many a TD out there who is happy to have someone come in and do
unlicensed pyro.  Personally, I'd rather have info and discussion out there
so people know how to recognize the inevitable UNSAFE situation....  And stop
it before somebody gets hurt.  Even if it means using the newsgroup to
discuss illegal activities.

How do others feel?

--Andy    stadler@apple.com

Newsgroups: alt.stagecraft
From: jwindley%asylum.utah.edu@cs.utah.edu (Jay Windley)
Subject: Re: Flash Pots
Date: 6 Apr 92 22:39:47 MDT
Organization: University of Utah CS Dept

brown@slc8.INS.CWRU.Edu (Dan Brown) writes:
>One of the plays that we used them for was "You Can't Take it With You."

We used a similar technique in our production of the same show.  In
one performance we did not fire the pyrotechnics because the technical
director decided an actor was too close to the charges.  Fortunately,
we had prepared for the possibility that for one reason or another the
charges would not be fired and we had set up another, less impressive
(but certainly safer) effect using conventional lighting instruments.

We had to take special precautions not only against injury but also
against fire, because we worked in a renovated Vaudeville theatre
constructed near the turn of the century.  Much of the structural work
around the stage was made of wood.  Very dry wood.

Our philosophy was that if you even thought of compromising safety for
effect then you were in the wrong company.
--------------------------------+---------------------------------------
Jay Windley                     | jwindley@asylum.utah.edu
Department of Computer Science  +---------------------------------------
Univ. of Utah, Salt Lake City   | "I have detailed files."  -- T2
Newsgroups: alt.stagecraft
From: pinette@fraser.sfu.ca (Gandolf the 23rd)
Subject: Re: Flash Pots
Organization: Simon Fraser University, Burnaby, B.C., Canada
Distribution: usa
Date: Wed, 15 Apr 1992 21:13:34 GMT

In article <1992Apr15.162218.23940@e2big.mko.dec.com> pierson@cimcad.enet.dec.com (Dave Pierson) writes:
>Coupla thoughts:
>
>	Key Operated switch should not allow the key to be removed, except in
>	_off_ position.  Means its safe when removed & means it can always be
>	turned off if present, thus safing the system.
>
>	Maybe its overkill, but a BIG, RED, nonkeyed switch, to disable, is
>	also a good idea.  So ANYBODY, ANYTIME, can safe the system.
>
>	I didnt check the drawings, but the hyper paranoid will want to
>	short the leads to the flashpot untill just before use.
>
>thanks
>dave pierson			|the facts, as accurately as i can manage,
>Digital Equipment Corporation	|the opinions, my own.
>200 Forest St			|I am the NRA.
>Marlboro, Mass		01752	pierson@cimnet.enet.dec.com
>"He has read everything, and, to his credit, written nothing."  A J Raffles

Here is a concept, Toast the whole idea of a key...gets things too complicated.
keep things simple. :-).  Use two motorcycle batteries to set off your 
motors.  When you don't want them set off, disconnect the batteries and
cover them or put them in a place away from the circuit. That way, no key
can get lost but you still have to be completely intent on setting of your
pyro to do so.

Newsgroups: alt.stagecraft
From: brg2x@hagar8.acc.Virginia.EDU (Barry Richard Gribble)
Subject: Re: Flash Pots
Reply-To: brg2x@hagar8.acc.Virginia.EDU (Barry Richard Gribble)
Organization: University of Virginia
Distribution: usa
Date: Mon, 13 Apr 1992 18:18:52 GMT

In article <1992Apr4.024250.19154@usenet.ins.cwru.edu>,
brown@slc8.INS.CWRU.Edu (Dan Brown) writes:

|> 
|> Does anyone know where to get low amperage fuses of the screwing
type??? 
|> 
|> I have made flash pots from fuses, but this requires a LOW amperage
fuse...
|> 
|> Basically, you need to carefully cut out the plastic top of the fuse,
fill
|> it with something flamable, and tape over the hole. These are then
screwed
|> into a light socket (with the power as definiately OFF as you can get
it!!!)
|> and then ignited at the apropriate time by turning on the power
remotely.
|> Handle with care at all times!
|> 
|> Anyway... I haven't been able to find anything smaller than a 15amp
fuse 
|> with the right kind of screw-in base for a long time. Anyone have
any
|> reccomendations?
|> 
|> -- 
|> Dan Brown
|> brown@ins.cwru.edu

It may be a little more of a mess to do, and perhaps less safe,
but it occurs to me that your could use a light-buld instead.
Certainly a 15W make-up mirror kind of light would do.

				BG
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
From: mwetmore@zeus.calpoly.edu (Bullwinkle)
Date: Mon, 06 Apr 1992 18:38:08 GMT
Organization: California Polytechnic State University, San Luis Obispo

In article <1992Apr4.024250.19154@usenet.ins.cwru.edu> brown@slc8.INS.CWRU.Edu (Dan Brown) writes:
>
>Does anyone know where to get low amperage fuses of the screwing type??? 
>I have made flash pots from fuses, but this requires a LOW amperage fuse...
>
>Basically, you need to carefully cut out the plastic top of the fuse, fill
>it with something flamable, and tape over the hole. These are then screwed
>into a light socket (with the power as definiately OFF as you can get it!!!)
>and then ignited at the apropriate time by turning on the power remotely.
>Handle with care at all times!

Yikes!  This is *dangerous* and generally illegal.   I don't know where
you might be working, but we tend to get lots of visits from the fire
marshalls and we'd be hung from the highest yard-arm for something like
that.  
  Yes, it's cheaper, and yes it might work.  However:  Safety of your
crew and house ought to come first.  Look in typical stage effects
and special effects catalogs for that sort of stuff.  For some of the
things you have to be licensed for pyrotechnics, and it definately
takes a license to be manufacturing your own.

  Matthew Wetmore,
  Stage Tech for CalPoly Theater, San Luis Obispo
  


-- 

Matthew C. Wetmore                       |   mwetmore@polyslo.CalPoly.EDU
California Polytechnic State University  |               or
San Luis Obispo                          |   pyramid!polyslo!mwetmore
From: kraack@maestro.mitre.org (Steve Kraack)
Newsgroups: alt.stagecraft
Subject: Re: rocks, trees, and foliage
Date: 17 Apr 92 13:03:53 GMT
Article-I.D.: linus.1992Apr17.130353.7968
Reply-To: kraack@mitre.org
Organization: The MITRE Corporation, McLean, Va

In article <1992Apr15.035457.359@ddsw1.MCS.COM>, whos@ddsw1.MCS.COM (Ben Feen) writes:
|> In article <6494@shodha.enet.dec.com> wahl@merton.enet.dec.com (David Wahl) writes:
|> >--
|> >What's your favorite way of making artificial, 3d, rocks, trees and 
|> >foliage?
|> 
|> Our high school did Into The Woods earlier this year, and I believe our direct-
|> or (a genius, though sometimes a bit thick...) either invented or developed
|> the following method for the best damn trees in the world...
|> 

I hate to spoil the perception you have of your director, but this is a
somewhat common stagecraft from my experience.  We have built caves and
many other highly textured surfaces in this same manner.    I do agree,
though that they look great when finished.

Our cave was 15' wide and 6' deep with the overhang.  We created stalagtites
and stalamites from the floor and ceiling.  As you can imagine, lighting from
above was impossible.  We used some creative side lighting and even a couple
of instruments designed and built into the set piece itself.   It made for a 
great effect.  The best thing about it was that it was on rollers and could
be moved more quickly than any other set piece for the show.

Stephen T. Kraack
kraack@mitre.org
From: sweeney@uncavx.unca.edu
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 9 Apr 92 02:52:23 GMT
Article-I.D.: uncavx.1992Apr8.215223.1
Organization: University of North Carolina at Asheville
Nntp-Posting-User: elkin

Admitting all the safety concerns of my friends, I have also needed some
low-cost flashpots on occasion, and opted for safe procedures over licensed
manufactured pyrotechs.

I have on several occasions used *Plastic* light sockets such as those used in
automobile taillights with a *Small* amount of fine steel wool stuffed into the
socket along with the flash powder, and covered with a single ply of toilet
tissue.  I have set off as many as six pots thus fused wired in parallel
without blowing a breaker.  These are reliable and convenient to fuse; AND THEY
DON'T COST AN ARM AND A LEG

                           unless . . .

                                  unless . . .

you fail in control procedures.  Be sure your circuit has both an "arm" and
"fire" switch in parallel.  Be sure ONE person is singly responsible for
loading, arming and firing the pots.  Be sure that one`person has a clear view
of the flash field.  Be sure someone has a fire extinguisher in hand at the
time of the cue.  And, of course, fire-treat all scenic materials in the flash
field.  (Lynn Pektal has a formula for that in his Designing and Painting for
the Theatre.
From: stadler@Apple.COM (Andy Stadler)
Newsgroups: alt.stagecraft
Subject: Re: Flash Pots
Date: 14 Apr 92 20:06:14 GMT
Organization: Apple Computer Inc., Cupertino, CA

In article <FABBOTT.92Apr11231318@e40-008-13.mit.edu> fabbott@athena.mit.edu
 (Freeland K Abbott III) writes:
>
>	(3)  You REALLY want a continuity light, as shown.  This is the only way
>		to know that your igniters are properly connected.
>
>A good idea... although I assume your continuity lamp includes or is
>in series with a really hefty impedance, so hefty that the current
>through that branch is negligible.

Compared to a piece of nichrome wire, which is essentially a direct short,
the resistance of ANY lamp is HUGE.  It's really not critical here.

For example, for a 12 volt system, I bought incandescent lamps rated for
approx 60 mA draw (this is from memory).  That's 200 ohms.  The resistance
of a piece of nichrome wire is less than 5 ohms.  That means your igniter
is getting 1/40th or less the current it will need to heat up.

>
>  (4)  Everything to the left of (a) and (b) is the power supply.  You need
>	one of these.  Everything to the right is the per-circuit igniter.
>	You can build multiples of these for a nice multi-channel controller.
>
>Seems that in a multiple system you could want yet another layer of
>keys between the ARM and FIRE you have, since (as described) the ARM
>arms the entire bank at once, and I rather fancy separate arm and fire
>switches for each one...

Too complicated.  This means every single ignition requires a seperate arm-
fire sequence.  Not the thing for an already overstressed ASM....  Remember,
the main purpose of a REMOVABLE key is for the pyro person to put it in
her POCKET any time she's leaning over the pots.  Once back on station, put
the key in, and use it as a system on/off switch when warned on the cues.

Even the "pro" fireworks dudes (4th of July type shows) just do that.  A
single key held by the person in charge, and a firing system consisting
(often) of a wired stylus and a bank of contacts.

--Andy   stadler@apple.com
Newsgroups: alt.stagecraft
From: pierson@cimcad.enet.dec.com (Dave Pierson)
Subject: Re: Flash Pots
Organization: Digital Equipment Corporation
Distribution: usa
Date: 15 APR 92 12:40:31    

Coupla thoughts:

	Key Operated switch should not allow the key to be removed, except in
	_off_ position.  Means its safe when removed & means it can always be
	turned off if present, thus safing the system.

	Maybe its overkill, but a BIG, RED, nonkeyed switch, to disable, is
	also a good idea.  So ANYBODY, ANYTIME, can safe the system.

	I didnt check the drawings, but the hyper paranoid will want to
	short the leads to the flashpot untill just before use.

thanks
dave pierson			|the facts, as accurately as i can manage,
Digital Equipment Corporation	|the opinions, my own.
200 Forest St			|I am the NRA.
Marlboro, Mass		01752	pierson@cimnet.enet.dec.com
"He has read everything, and, to his credit, written nothing."  A J Raffles
Newsgroups: alt.stagecraft