Comment

Comment by Jeremy Fiebig on September 26, 2010 at 8:02am

To Whom it May Concern:

I am proposing a conference panel/working session for ATHE 2011 in Chicago involving green lighting design. The tentative title of the panel is "Green Design in Lighting." The panel will explore green design with a focus on lighting for the stage and the house.

The panel, if accepted, may address any of the following areas:

-Strategies for green lighting design
-Capabilities in LED lighting or other "green" instruments and systems (suppliers, we'd love some demos)
-What current "green" instruments can serve as suitable replacements for more traditional lighting? What are the limitations?
-Federal standards for incandescent lighting, particularly solutions for practical and house lighting
-Strategies for obtaining institutional funds and grants designated for green initiatives, including "greening" renovations, retrofitting, and instrument buys.
-More broadly: how do theater programs contribute to overall green initiatives and strategic planning at the institutional level?
-Green design as good marketing
-Even more broadly: Negotiating a green approach in theatre design and operations generally: how do theaters overcome their image as "consumers" of gels, lamps, hazardous materials, electricity, lumber, and other resources?
-What are "best practices" in green design?

Please note that this list is not exclusive. Please feel free to suggest other related issues.

Panel contribution is open to lighting designers, lighting professionals, teachers, theatre and production managers, electricians, suppliers, green thinkers in theatre, and others with interest. Contributions may involve lighting demonstrations, brief presentations or white papers, production photos from green designs, lighting plots and paperwork from green designs, example policy, strategy, or funding documents (implemented or proposed), tip sheets, surveys of current green instruments and their traditional counterparts, etc. Ideally, the panel will provide participants with a robust set of model/working documents they may use when implementing green approaches to lighting design and electrics, institutional planning and funding, etc.

To propose a contribution, please submit the following:

-Brief proposal outlining your approach to the panel topic (less than 250 words)
-Brief bio, with special attention to work you have completed or plan to complete as related to the panel topic (less than 200 words)
-Description of at least one working document (partial list above) you plan to provide at the session (very brief)

If invited and accepted, panel participants will attend the panel ATHE 2011 in Chicago (August 11-14), which requires registration and conference fees. Grants for those not involved in higher education may be requested and are subject to approval.

To submit a proposal or inquire about the proposed panel, please email Jeremy Fiebig at jfiebig@uncfsu.edu. Proposals are due by October 18, 2010. Accepted proposals will become part of the panel proposal, which is submitted by November 1 for ATHE Design & Technology Focus Group approval. Notification of acceptance will occur no later than March 1, 2011.

Best regards,
Jeremy

-----
Jeremy Fiebig
Assistant Professor of Theatre
Performing and Fine Arts Department
Fayetteville State University
1200 Murchison Road
Fayetteville, NC 28301
http://www.uncfsu.edu/theatre/
http://www.facebook.com/FSUTheatre
jfiebig@uncfsu.edu

"This may sound strange, but it's time to make more mistakes... more I say." -- Richard Keith Blunt

http://faculty.uncfsu.edu/jfiebig/BIO.html

Comment by Joe Krack on July 11, 2010 at 12:52pm

My wife and I produce about 3 shows a year. We use a variety of venues, and had been using mostly borrowed equipment. We are now purchasing our own equipment and I would like some advice. I need a nice, durable workhorse of a headset microphone, with body pack, receiving etc... What would you (everyone) recommend? We don't have a lot of money, but need one that provides quality sound (of course). Thanks!

Comment by Erich Friend on July 6, 2010 at 8:47am

With regard to the wireless microphones purchase, I advise you to go for quality over quantity. You described a system that would have 8 or 12 simultaneous working channels, so you should look at a system that includes an antenna distribution unit. This will allow you to have one pair of high quality antennae and will significantly reduce the wiring and visual clutter back at the booth. Also, consider purchasing professional units that are rack mounted (standard EIA 19" rack ears) and a storage case to mount them in. The rack should be large enough to hold all of your receivers, antenna distribution (splitters), a power strip, and maybe even a drawer to store the transmitters, manuals, batteries, and other loose stuff. Make sure that that antennas are positioned up high enough that they are above the audience's heads (bodies are 98% water and block RF signals) (if portable, put them on tall mic stands, if fixed, mount them to the wall outside the control booth). Antennae should be mounted where they are at least 12-24" away from any other metal objects (conduits, metal wall studs / rebar, sprinkler pipes, ceiling tile grid, stage lighting pipe grids, fire curtain smoke pockets, steel beams, aluminum widow frames, etc.), and should be spaced 6'-15' apart (to reduce multi-path interference). Frequency coordination is VERY important. All (8 or 12) units must be set to frequencies that will not interfere with each other harmonically. Most manufacturer's have charts or computer programs that will assist you in determining your 'ideal' frequency groups and spacings. Remember that you must also coordinate with any other wireless mics, in-ear-monitor (IEM) systems, wireless intercom, AND local TV station frequencies in the area (that theatre or church next door or down the street can be a problem if you don't include them, too). Watch-out for people trying to sell you units that operate in the 700 MHz band, as that is no longer legal and there are some unscrupulous folks that may try to dump old product on you. Shure, AKG, Telex, Sennheiser, and Audio Technica are a few of the common reliable brands - but remember that they all sell stuff that meets a wide range of price-points - and with that comes durability and usability issues. With regard to the batteries - make sure that you allocate funds to buy new batteries for each performance - don't rely on old batteries for your shows - as they say - "you only get one chance to make a good first impression".

Comment by David McCall on June 30, 2010 at 12:57pm

I've just started using carpet personally. Our group has been doing it for years and I've noticed that sometimes it works better than other times. It is usually scraps from the trash, and I'm not into carpet enough to identify them. I think short is better than long. Anyone up for volunteering to go to a carpet shop and pick up some scraps various types to see what works. I'm also questioning the size of the pads. I think 2"-3" is best. It does work and it is much quieter than wheels. However it doesn't move as easily wheels do.

Comment by Stefanie Pirch Christensen on June 30, 2010 at 11:35am

Great ideas, thanks. Fortunatly we have a brand new stage floor so it is still very smooth and even. We don't have a lot of wing space so the sizes we are looking at for the platforms are in the 4'x8' and SMALLER with various types of walls and furniture, and if it possible also some actors would ride on them too.

David - for the carpet, do you go for a tight woven like a berber or office style carpet? Low pile?

Andrew - Thanks, I what you are talking about with the plastic stuff. It is Melomine? It is like the furniture glides, but you can cut your own size out of a sheets of it, right? Does it leave any trace behind as you push it across the stage floor planks? I always picture it as kind of waxy, but I could be wrong.

About a year ago we were doing To Kill A Mocking Bird and the tree needed to be climbed by the kid playing Jem, then struck during the scene change by actors. The stage we were using was carpeted so we put furniture glides on the bottom of the tree, then added over 500 lbs of stage weigths in the bottom of the trunk and it worked great. The kid could climb without worry of the tree falling and the actors could slide the tree across the carpet when they needed to.
We will have to do some experiments to see what will work and give us the lowest profile.

Comment by David McCall on June 30, 2010 at 10:59am

We often use small squares of carpet under items that need to be moved around. Different types of carpet slide easier than others, but I haven't experimented enough to tell you which types work the best. This is more appropriate for smaller items, say 3' x 3', as opposed to a 8' x 12' wagon with a set on top of it. The floor needs to be fairly smooth and flat for any of these ideas to work well.

Comment by Andrew J. Way on June 30, 2010 at 10:58am

Alot depends on the weight your dealing with on the platform, as well as the condition of the performance deck. really light weight- and really smooth deck, the ball casters, or little "office" type casters might work. heavier, or rougher deck might want to try --- that plastic I always forget the name of-- (maybe uhd ?) Any way I have used that (even while not remembering the name) with good success. On a rougher, or planked deck you can make the plastic pads larger to slide over bumps. (where a small caster might get caught in the groove).
Another idea is to use larger casters-- in the surface of the wagon cut a circular hole big enough to let the caster pivot, but smaller then the plate - bolt the caster with the plate on top of the surface, frame and wheel sticking through the hole.--Possibly an extra sheet of 1/4 " luan on top to cover trip hazards. Ok- Ijust thought of that one- don't know if it'll work, but it's something to think about. The plastic 's my favorite right now---

Comment by Randy Brumbaugh on June 30, 2010 at 10:35am

I also noticed in the Technical Briefs Collection at the Google link, if you scroll back to page 210 there are two interesting articles on using low-friction plastic slides by Edmund B. Fisher, Karl Ruling and Scott Werbin.

Comment by Randy Brumbaugh on June 30, 2010 at 10:24am

Here are two links I found. Seems like the biggest challenge is the air supply--either a hose or tank w/ valve.

http://ocw.mit.edu/courses/music-and-theater-arts/21m-735-technical...

http://books.google.com/books?id=5zuA1SSDvIsC&pg=PA221&lpg=...

Comment by Stefanie Pirch Christensen on June 30, 2010 at 10:12am

I would like to know more about aircasters, having heard all the raves, but never used them. Does anyone know of any tutorials or example/ explanations on the web? Thanks Randy.

• ‹ Previous
• 1
• 2
• 3
• …
• 5
• Next ›
• Page