Shiny & Special Surfaces

[DarSax]

Wow, gaff, nice find! Looks like a great, SIGNIFICANTLY cheaper alternative to frosted plexi! As you said, you can see the ribs, but still, that's great stuff.

[Van]

Roscos' Gloss, Semi and Flat glazes are great products. First of you can/should thin the heck out of them, so the pricing should really be based on how thick of a coat you want to put on. Second, you can tint the glaze! Yes, imagine you base you green floor tiles, then put down two coats of rosco gloss glaze, that have been slightly tinted with Thalo Green pigment. Then one or two more thin coats of of straight clear glaze. the resulting finish will give a depth and luster to your floor, that you just can't get with a single application product. For maintenance of the floor; After you have let the paint cure for a day or two, come back with "Future, Acrylic" floor cleaner. Apply two coats as per the instructions. Once the future is down you can remove any scuff marks with a simple damp mop and a little ammonia. The ammonia actually pulls up the acrylic, so you will hae to recoat those areas with Future, but it's quick, dries fast, and is better than having to re-paint the entire floor to cover a few scuff marks.
The Rosco glaze could also be used on the corrogated plastic, though I would suggest priming the plastic with a shellac based paint such as Zissners Bulls Eye or just standard 4# shellac.

Hope that helps a little.

[drawstuf99]

Thank you guys for the suggestions! It's great. As for knowing about shiny floors...yes. They can be a pain, but I think for the right show, something that dramatic can work in one's favor.

That coroplast stuff looks cool. I'm going to look into that.

[Logos]

Originally Posted by Grog12

The trick is not to only front light it....and since you never want to do that anyway (unless its a recital) you should be fine.

Slight change of subject.

Why only front light a recital. I used to have major problems with classical musicians who hated having lights in their eyes and had to have overheads so they could read the dots. I prefer to overhead in a open white and have a face light wash in a nice light pastel like say L152 (pale Gold).

Back to your original subject. I agree completely that reflective sets are an opportunity not a problem. Use the bounce don't fight it.

[Grog12]

Originally Posted by Logos

Slight change of subject.
Why only front light a recital. I used to have major problems with classical musicians who hated having lights in their eyes and had to have overheads so they could read the dots. I prefer to overhead in a open white and have a face light wash in a nice light pastel like say L152 (pale Gold).
Back to your original subject. I agree completely that reflective sets are an opportunity not a problem. Use the bounce don't fight it.

Really more of me just making a jerky comment than a real reason. Just being a little silly

[Logos]

OK I can understand that. I used to take great pleasure with a couple of conductors I knew doing little things with lights that made them slighly uncomfortable but didn't affect the players that I could justify if I got a complaint.

Now you young ones on the booth you really must not do this. It's very bad behaviour and deserves a smack especially if you get caught.

[Grog12]

Originally Posted by Logos

OK I can understand that. I used to take great pleasure with a couple of conductors I knew doing little things with lights that made them slighly uncomfortable but didn't affect the players that I could justify if I got a complaint.
Now you young ones on the booth you really must not do this. It's very bad behaviour and deserves a smack especially if you get caught.

Here's the thing to remember with conductors and conductor specials.....They don't need to be at full....put them ant 80% and tell the conductor its full. Then every night while you're doing Q notes drop the level by 5 or 10 % until its at 40. This way everyone gets what they want!

[gafftaper]

Originally Posted by Grog12

Here's the thing to remember with conductors and conductor specials.....They don't need to be at full....put them ant 80% and tell the conductor its full. Then every night while you're doing Q notes drop the level by 5 or 10 % until its at 40. This way everyone gets what they want!

Great advice... that should go in the Wiki too!

[Grog12]

Originally Posted by gafftaper

Great advice... that should go in the Wiki too!

NewWiki=Ways to get what you want....LD asks you to soften focus/move light a hair...shake light.

gaff I like this idea for a wiki

[Charc]

Originally Posted by Grog12

NewWiki=Ways to get what you want....LD asks you to soften focus/move light a hair...shake light.
gaff I like this idea for a wiki

As I learned today at my internship: this is so true!

I was attempting to focus a 360Q, the LD called for me to run in the barrel. I spent about a full 30 seconds trying to unscrew the barrel lock, but it turns out a gorilla tightened it, so I couldn't get it loose. Anyways, after 30 seconds the LD said "Lock it there, yep, that was it, good work!", stupid me said "I didn't move the barrel, it's stuck..." he said "Oh, musta slipped, but it's good now".


What else did I learn today? Touching 6" Fresnels at full leads to minor burns. I can't yoke out an instrument without a speed-wrench. B Size patterns don't fit in 360Qs (Or is that A size? Oh well, 'tis not my mistake, ME miss-ordered by accident.) When there is a smoke break I'm one of two people left in the theatre. Daisy chaining strip lights. Oh, some sort of wood or plastic composite three-fer. How to relamp a S4. Some cool things about how an LD calls out stuff during focus. And about a billion things on working in Philly, theatres around here, the union around here, house vs touring crews, etc.

Actually now that I think about it, I'm learning a lot, much more than I've listed.