Recent content by lightwench

My venue is equipped with acoustic curtains on the #140 Series RIG-I-FLEX track from i.weiss. There are four sections of curtain and we've set it up so that two pieces are joined by crossing over on the carriers (the last hook on curtain A is in the first carrier of curtain B, the first hook on...

Thanks dramatech. I really should be more active in the lighting community in general but I tend to lurk and then get sucked into real life. Good to know that isn't me going crazy and seeing things. And thank you for the lightnetwork forum. Yet another place for me to go to find answers to...

I've been working on bench focusing my Source 4 inventory and have run into an interesting problem. While trying to sharpen the edge of a 36 degree light, I've noticed that I can see an inner circle no matter where I place the barrel. This circle has 4 spokes on it (like the ones holding onto...

I'm running an Obsession II and have managed to become stumped. The designer I'm working with has written in a cue with a slow fade with the need for a sudden bump. I've written a cue that is a zero count following the slow fade. That cue is the same as the previous one with the slow fade but...

My patience today hasn't been the best and what I found right off when I did a search for fire effects wasn't translating into my brain very well. But thank you. :)

I once had a discussion with someone on how to make a "realistic" fire on stage with a few small lamps and fans and another part that I can't currently remember to cause the lights to flicker. Well, now I actually need to remember how to make something like that for an opera in a few months...

I generally just take a couple of lekos (I have some Source4 Jr. Zooms) that I hit the curtain with, using a warm gel (dependant on the curtain color). Does that help?

I've been called a sparkie before.

The one time that I was SM I had 2 ASMs. Once everyone was off book, I had one person watch the script, prompt when it was needed and make notes on lines that were screwed up. This left me open to take notes for the director and watch the blocking. My other ASM helped keep track of props (our...

My college paints the floor with a flat black (from a Home Depot or the like) thinned out with water. Part of the stage has concrete flooring and it takes it really well.

The book that was used in my college lighting design class was Lighting and the Design Idea by Linda Essig. It covers the basic functions of lighting and the different ways to manipulate it as well as all the paperwork. It has pictures that generally include a description of what is being done...

the only fashion shows I've designed (both in college), the designers want their work to progress *through* colour and then be seen in a white light. Not a very usual technique, but it worked for their designs. Just another idea, another possibility, another way to ook at it. Good luck.

Also, what time of year? A break up is usually a good idea, no matter what time of year. How realiztic are you making the park? That helps also to narrow down colour.

Just to put in my two cents, the rock shows that I've worked have used either Lee 101 or Lee 104. Hope that helps. (I'm not quite awake yet, so have not read all the responses, but had to get my say in)

My goals are to be in a theatre doing theatre. The rock shows (though there are a lot of comedians and other performers who aren't rock musicians) are a nice change, I know it isn't permenant. I'd like to stay through the move into the new space that they are building for us. It does get harder...