Bryson

The fixture that best fits the requirements is probably a VL1100, but I'm unclear from VL/Phillips/Strands terrible website if they even still make them. Also, many pennies. They do seem to show up as used quite a lot, which may not be a vote of confidence... I do like the Elation Fuze Profiles and end up specifying them quite a lot...but they're not light, certainly significantly more load than the S4s. Mind you, neither is the 1100. Weight may be a severely limiting factor here.

I thought Quartets had the double hole type handle on the shutters. http://www.theatrecrafts.com/archive/documents/Quartet120V_Data.pdf

This is probably a vain hope, but let's give it a go: Does anyone have a CAD symbol for a Strand Patt S63 Batten? I know, they're ancient... I guess I can make one, just hoping not to...

They seems to be on the up and up, but it pretty clearly says "only available in the UAE" https://www.mea.lighting.philips.com/consumer/dubai-lamp I would guess this is because they can't yet make them at a scale to serve other countries, maybe?

Ah, you mean the Bose 802? :) This reminded me of a post from a while back on the Apollo blog "So who invented the ERS, anyway?" as the image in A Method brought Lekos, Kliegl, etc. to mind and I wondered what the cutaway in McCandless book showed. Perhaps a version of a 6x9 ( Century version)? I'm sure those more familiar with the US market would know. You made me go dig out my copy. It's an Altman 360. (Not a 360Q, which has the axial mounted lamp.)

https://obsproject.com sounds like it would suit you. I think it does everything you're asking for. It's free, so you can give it a try and see, either way! The sheer number of streams is probably the limiting factor. I couldn't find any published hard limits, but I imagine you would start to hit the limits of the computer you're running on.

I can't find it now, but I remember reading a great article on the people who do the Cable Lacing for NASA. Beautiful work.

Note that 100% IPA is less effective than 70%, due to the speed of evaporation.

...with Canada straddling the divide. :)

We generally define an "imaginary" plaster line in non-proscenium spaces, even if it's just for the nominal purpose of numbering things. But this might be more of a North American terminology thing.

I used to work there about *cough* years ago. The Stage Right wing is...not large. ;)

The Behringer stuff is explicitly Cat5, not Cat6. It will probably work, but if you have a problem and say you're using Cat6, they'll likely tell you to use the correctly specified cable...

Throw it in Free Ads and I'll approve it manually. It is indeed, a weird edge case. But that's why we have human moderators!

Yeah, they bought them a while ago and are very slowly retiring the name. Of note, the guy who designed the venerable Crown PCCs that everyone likes went on to make his own company and does a slightly modified version that are also pretty good: https://www.bartlettaudio.com/collections/stage-floor-mics It's up to you if you think the cable gland is an improvement or not over the mini-XLRs on the Crown/AKG ones. I still feel like extending the steel case a half-inch or so over the cable entry would make both mics more resilient, but maybe that affected the sound?

The name of the company (Zoono) is a bit unfortunate, given that SARS-CoV-2 is most likely a Zoonotic virus.

The robot is pretty cute if you watch the video. You could sell tickets to the line markout. ;)

A little semi-shameless promotion here: This year, the Canadian Institute of Theatre Technology's (the Canadian version of the ABTT) conference, Rendez-vous, is happening online-only. It's pay-what-you-can, which includes the option for $0. The timezone might not be ideal if you're in the UK, but if you fancy any of the earlier sessions, then this may be of interest: https://www.citt.org/annual_conference.html Full Disclosure: I am the President-Elect of CITT/ICTS (second set of letters is the same name in French!) and may have had a hand in co-ordinating all this stuff.

We always number from the "Plaster Line" (real or imaginary!) Make your architects or construction companies hire a theatre consultant, folks! This is exactly the type of stuff we try* to deal with before it's too late. * = We don't ALWAYS succeed. :(

We do know about it. Sorry....real life jobs are in the way. Standby please.

So we just got a new set of rules here in Ontario. Of note: "Plexiglass or some other impermeable barrier is required between the audience and singers as well as players of brass or wind instruments". How much is a 40'x20' piece of Plexiglass these days? ;)

When you're painting the stage with Rosco Tough Prime, do you think there's any advantage in also glazing over the top (with Premiere Clear or similar) for additional hardwearing capabilities or do you think that's just a waste of time? Opinions welcome.

I hope that in the end these places just get mothballed and reopened down the line by a new operator, rather than demolished or worse, poorly converted into something else.

It has similar buttons, faders and general layout to a Celco Series 2 Thirty, but the chaser is different and it didn't have the Blue Borders. Could be a prototype of some kind? (Thus explaining the lack of branding?) Where did you find it?

I just had a moderately long conversation with a distributor of these UV-C products. Theirs, once the safety is tripped (ie: the PIR) they will not re-energize until the whole fixture is reset. So, indeed, they Latch off to prevent the "sleeping person" scenario. They also recommend the use of timer switches to only apply power in the early hours of the morning, or when manually overridden. (eg: clear the auditorium between shows and manually "blast" it.) One thing to watch out for is rooms like control rooms that are not a part of the auditorium, technically, but have windows into it. Any kind of interlock would need to take that into account. I'm not sure what, if any UV-C attenuation is offered by regular glass. The units I was looking at are good for about 40M2 each, with about a 100 degree "beam", so probably OK to be mounted at 6 metres and permitted to overlap each other to reach the required dose. (That also helps with the shadowing problem.) Auditoria with finished ceiling might have a challenge but I could see them working in an "exposed services and catwalks" kind of room. One other thing to watch is the maximum effective range of the movement sensors they come equipped with. Cost was comparable to mid-range fixed LED fixtures, around $1000-$2000 / fixture. (That's about 600 -1200 quid in old money. ;)) However, one big unknown: How they interact with the fabrics they will be shining on. We all know how bad sun-bleached theatrical drapes get - so a big concern for me would be the longevity of the seats / drapes in the treated area.

The great advantage of this "new, online world" is you can attend pretty much anything (as long as you're willing to deal with the time zone differences.) I'd encourage you to also check out what USITT are up to with their "Forum @ Four" stuff, and maybe even later this summer, the Org I'm involved with (CITT) are going to run some sessions. I'm already signed up for some of the ABTT sessions.