Actually, Equity and
OSHA have performed many studies to determine the long term effects of working on uneven
ground; in addition to an increased chance of
tripping and falling,
you've met actors before, right? There is also a greatly increased chance of lower back injury and knee/ankle injury from adapting to new center-of-balance compensation.
@Van @BillConnerFASTC Speaking in support. I played Head LX for six weeks on a sit-down production of the full-bore production of Les Miz' before it left Toronto to begin a North American tour. My predecessor was a tall fellow who was off for six weeks suffering from a back injury sustained while counting instruments as part of his pre-performance lamp check on the raked
revolve while it was rotating to its
preset. Eight performances per week the cast sang, danced, fought and leapt over
props, furnishings and one another with well choreographed apparent
ease. Side-stepping my way across the
revolve while staring up counting instruments per pipe was more than enough of a challenge for me plus I had being short in my favor.
Just an aside about the original Allan Bradley 40 horsepower DC servo driven
turntable.
Over the course of each performance the table turned both directions. By the end of each performance it had rotated approximately 40 revolutions more
in one direction than the other. If you think about, a
turntable can
NEVER be more than 180 degrees from the desired position, regardless of where it is and where it needs to be. The original drive counted rotations, and fractions of, using a separate double width
roller chain belt which encircled the entire
turntable and drove a sprocket driven optically coupled counter which kept
track of positional counts and direction. A
system of pneumatically tensioned rollers kept the
roller chain tight and minimized back-lash. This was a totally separate
system from the wraps of a continuous heavy
ACL loop which coupled the drive to the
revolve for driving purposes. What would seem archaic by today's standards was the only way to reset the
revolve to it's top of the
overture starting position was for it to ramp up to speed and sit there spinning back approximately 40 complete revolutions before gently de-celling and parking accurately on its starting
point.
@porkchop I suspect you'll appreciate the ludicrousness of this reset procedure by today's standards.
Toodleoo!
Ron Hebbard.