Monday, October 31, 2005
Kudos to Todd Brown, David Randolph, Maria Stoy, Lisa Clothier, Norman Beck, Joe Pino (now faculty!), their various shop staffs and all of those undergrads and grads who helped the box office, house management and strike.
also thanks to those faculty who participated as audience members throughout the weekend.
on the summary sheet of the workbook you gave us to use there are two columns for "margin price" and "inside price." what are these things and should we be doing something with them?
The inside price and the margin price are various discounts the owner might extend to a client. One is based on there being no sales commission and one is based on just covering expenses rather than making some money. You might take a job for no money to develop a client or to keep your shop from shutting down during a slow period.
You need only be concerned with the sell price.
Mondays with the Public:
A Discussion with Dael Orlandersmith
Hosted by KDKA-TV's Lynne Hayes-Freeland
Monday, November 7, 7:00 p.m.
On this very special night, playwright and performer Dael Orlandersmith will be at the Public for a frank and open discussion about the issues that permeate her award-winning play Yellowman. Alongside KDKA-TV's Lynne Hayes-Freeland, she will talk about the problems of prejudice within racial/ethnic/religious groups and how those issues inspired the play. She will also share this discussion with our audience.
Monday, November 7, 7:00 - 8:30 p.m.
Helen Wayne Rauh Rehearsal Hall
O'Reilly Theater, in the Heart of the Cultural District
Free and open to the public. Seating is limited and reservations are recommended. Call 412.316.1600 for more information or to reserve seats.
Sunday, October 30, 2005
I hope all is well. I'm attending the LDI floor show this year-- I'll be in town Thursday, Friday, and Saturday nights. I'm going partly on my own dime, and am looking for someone to split a hotel room. If you know of any of your students who are in a similar situation, I'd apreciate being passed along to them.
PPStudent: hi, i have a question, just wanted to double check something, there is a 10% contingency on the materials, is there any contingency on the labor hours?
PPInstructor: which assignment?
PPStudent: sorry, paints
PPStudent: on the summary sheet
PPInstructor: on an element sheet
PPInstructor: you have 5% for hardware and nothing for labor
PPInstructor: on a summary sheet
PPInstructor: you have 10% on both materials and labor
PPStudent: ok, thank you!
It turned out that I had to make an estimate sheet for the panting of all 8 legs because the materials and hours would be much greater for 8 individually painted legs. Is that ok?
Yes, that's fine. It would be more useful to do 8 sheets in this scenario - or at least 4 sheets of two, because the first question the designer is going to ask is "how much is each set?"
Because of drying time I have tasks that do not require two crew members for 8 hours I only need one. Can I not call one crew member 4 days?
You need to call the same number of people for every call. If your floor is clogged with items that don't require that many people you either put an extra person on a project as a helper, or plan to do some kind of shop maintenance during that time.
Saturday, October 29, 2005
So, last night when I made my quantity take off I made it a little more advanced then the one we made for class, adding a row for "per unit price" and adding a row for total cost as will as a column for type of unit, is this acceptable?
If you have something that will in the end allow you to show the cost per element and you are able to fill out your element sheets so as to properly reference your uberQTO such that it is clear what you have done, then that will be fine.
If it is unclear, that is less fine.
Ok and a follow up question how should I notate on the element sheets that the materials will be shown on the quantity take off? Just a note saying "See Quantity Take-Off"?
So this is getting into a realm of where things begin to get a little grey.
You would use the quantity take off to determine the overlaps, but it does not flow into your summary sheet. So it is not all that helpful for determining the cost of the project.
Here you wind up with two choices...
#1. You look at the overall amount and then pro-rate the amount listed on each estimate sheet to reflect the amount actually used on that element. So if you needed a gallon of something across the whole show, and were going to use 20% of that gallon on each of five elements, then you would list the item, the gallon unit, then 1/5 gallon quantity, and the price for 1/5 of a gallon.
This is a lot of work, but it gets you the most faithful price for the individual element.
#2. You take the full gallon and buy it for one unit that needs it. Then for each subsequent unit that needs the same material up to the quantity you have already purchased you enter the item and the quantity, but you leave the price blank and include a note that you have previously paid for this material on another sheet and list the element so you know where to find it.
This is less work but will show one unit as being more expensive than it really is, and the remaining units as being cheaper than they actually are.
Another way to look at it, that is cleaner is to look for multiple items that can be spread over multiple elements together. For instance, if you have five units that each need five colors you could cost 100% of one color to each. That makes the paperwork easier and keeps it faithful. Once again you would need to make a note of each of the element sheets involved explaining what was done.
All these things fall apart if a single unit is cut from the scope.
StudentTD: hi, how's it going?
FacultyTD: its going to lunch
FacultyTD: whats up
StudentTD: ahh, i have a quick question
StudentTD: are we supposed to include paints on the commercial bid?
FacultyTD: you need to include scenics to do things like layout
FacultyTD: but I do not believe we were including paints
StudentTD: ok, thanks
StudentTD: have a fun lunch
Friday, October 28, 2005
For the paints assignment if I have 2 borders or 2 legs that would use the same colors and more or less the same paint procedure could I put them on the same estimate sheet? Another question, it seems like it would be easier and more efficient to order the paint as a whole, for all the pieces, because there are overlapping colors and no individual piece that I have is more then 200 sq feet.
If you have two pieces that are virtually identical then you can use one estimate sheet and note that you will be using it twice. You should still list the units separately on your summary sheet.
If you want to gang together materials, then you will have to do a quantity take off to show where the overlaps are. This does make sense.
Hope to see you there!
November 1 (TUESDAY)
Professor Carl Mitcham , Colorado School of Mines
Science, Technology and Ethics: Challenges in promoting Relationships
Adamson Wing, Baker Hall 136 A, Frew Street
Between 2002 and 2005, Carl Mitcham dedicated the major part of his research time and energy to serving as Editor in Chief of the new "Encyclopedia of Science, Technology and Ethics". This talk will provide some background on the development of this project, outline its basic rationale and consider some of the strengths and weaknesses of the resulting product. The argument will be that in a world increasingly influenced by science and technology, it is also imperative that ethics become progressively more engaged with scientific and technical affairs -- for the good of science and technology as well as society.
This elective course is aimed at introducing Mechanical Engineers to the Entertainment industry—where they may find exciting employment opportunities.
This is achieved by first making them aware of the big issues in Entertainment, like “it’s a business,” and “the total guest experience is what matters”. The rest of the in-class time is spent looking at where MechE is used in the industry, including doing some solid MechE problems to show them that the things they have been learning are applicable.
To tie everything together, and to expose them to a “total guest experience,” we have a semester-long project to design, create, present, and strike a Spring Carnival Midway Booth—a little one (“Blitz” booth).
The class is made “with permission of instructor” for two reasons:
• to insure that only people with a real interest in the course take it. I do not want MechEs who have simply thrown darts at a course listing and hit this one.
Each semester so far we have had one or two ETC students and one or two Drama production majors. They have really added to the class experience, so I would like to recruit similar students for the Spring 2006 semester class. Most of the class work is done in four-person teams. To insure that the non-MechEs do not get “hung out to dry,” I spread them around the teams so that they work alongside the MechEs.
Never fear, the seniors are here!
We will be selling delicious, nutritious food in the Purnell lobby starting with dinner Friday night. All proceeds benefit Showcase so not only will you be satiating your hunger but you'll be helping the seniors get to L.A.
We hope to be serving you soon!
Thursday, October 27, 2005
Directed by: Gregory Lehane
Assistant Director: Laura Gross
Sound Design by: Caitlin Janapol
November 2nd-13th Wednesdays and Thursdays at 8pm, Saturdays at 5pm and 8pm The Katz Center for the Performing Arts 5738 Darlington Rd in Squirrel Hill Call: 412-521-4373 for tickets and mention you're a CMU student.
PlaygroundWorker: hey david, question about the commercial bid assignment
PlaygroundWorker: you say that we need to account for all materials and resources to build all the units. does that mean we shouldn't count anything as stock?
QuickAnswerAtLunch: stock would have to be treated as a rental
QuickAnswerAtLunch: so you could include it as a rental QuickAnswerAtLunch: or you can include it as custom built
QuickAnswerAtLunch: but they don't have any stock
PlaygroundWorker: ok. thanks
Wednesday, October 26, 2005
If I am painting 4 matching and 4 r&r legs can I make my estimate sheet reflect all 8 or must it only reflect one and then just count it 8 times ?
I would do one sheet. Note on the sheet it is for 1 of 8 that are identical, and then put 8 entries on your summary sheet - each with the same amounts.
In a real situation, inevitably if you do a single estimate reflecting all eight they will want to cut a pair and you'll have to back out the individual numbers anyway. Best to have them from the start.
Do we estimate the amount of each color paint we need or just the
total needed for an element? e.g. My big, scarry head is going to
require 10 different colors of paints in varying amount but will need
50 gallons of paint total - which do you need?
I need - how much paint you will have to buy, in which colors, like you were going to the store to buy what you needed.
You could likely assume that for colors that are different but close that you might be able to mix others to get what you need.
"Real" World Connections: Internships as Stepping Stones to Careers
Friday, October 28, 2005
East Conference Room, Warner Hall (1st floor)
Join us for a lively panel discussion with students who have participated in internships and have received Carnegie Mellon internship grants. This discussion will be moderated by Stacy Pane, Director, Washington, DC Office, Department of Engineering and Public Policy.
Tuesday, October 25, 2005
WorkingDuringPlayground: hi David, I have another question about the commercial worksheet if you have a moment
WorkingDuringPlayground: it regards the numbers for job costing info and totals
WorkingDuringPlayground: which are found on the individual element sheets
WorkingDuringPlayground: now, I am assuming that the job costing is prices w/o markup
WorkingDuringPlayground: however, why would they, in turn, be the ones referenced on the summary sheet? Is this summary sheet not what would be given to the customer?
MissingCommander&Chief: the customer doesn't see any of your paperwork
MissingCommander&Chief: just the proposal
WorkingDuringPlayground: ah, I see
MissingCommander&Chief: you want to be able to see the sell price and the cost on the summary when you are reviewing the job prior to issuing a proposal
MissingCommander&Chief: and at that review people typically don't look at element sheets unless they think there is a problem
WorkingDuringPlayground: and then in the proposal, would you outline each unit, or simply larger groups?
MissingCommander&Chief: remember you can either do "bottom line"
MissingCommander&Chief: or "menu" pricing
WorkingDuringPlayground: well, as the client for this bid, which would you prefer to see?
MissingCommander&Chief: the person writing the proposal always wants to do bottom line
MissingCommander&Chief: the person readin the proposal always wants menu
WorkingDuringPlayground: in menu though, you can state certain things about each unit like a contract...is that the same with bottom line, just a massive explanation of it all?
MissingCommander&Chief: the only real difference is if you do or do not put dollar figures with each item
MissingCommander&Chief: either way you still have to give a description of each item in the proposal
WorkingDuringPlayground: ah. okay. So menu and bottom line is the difference between subtotals and grandtotal
WorkingDuringPlayground: the item info is still there
MissingCommander&Chief: usually there are still subtotals
MissingCommander&Chief: built items, on site service, shipping
MissingCommander&Chief: just not the item price
WorkingDuringPlayground: right, okay. thanks again
I would like to thank those of you who have participated to date in discussions relating to our policy on controversial speakers. This has been very useful to members of the committee.
There are two remaining town meetings scheduled. One on Tuesday, November 1st at 5:00pm in McKenna-Peter-Wright and another on Thursday, November 10th, at 5:00pm in McConomy. (Please note that there will not be a town meeting on October 25th.) If there is any demand for a further town meeting, we will certainly accommodate it.
We have had several meetings with departments and organizations and have many scheduled in the coming weeks. If you or a group to which you belong would like to meet with members of the committee, don't hesitate to contact me at firstname.lastname@example.org or Michael Murphy at email@example.com.
Posner Center Exhibits Opportunity for hands-on experience!
The Posner Fine Arts Foundation funds internships for Carnegie Mellon students to do individual research in the Posner Memorial Collection and prepare exhibits.
The Spring 2006 internship application deadline is November 11, 2005.
One internship will be awarded.
The student completes a one-semester internship of 15 hours per week spent researching and creating an exhibit in collaboration with faculty and/or librarians. The internship, open to undergraduates and graduate students, is available as a non-credit/credit program. Students who wish to earn academic credit must gain permission from their academic department and/or school before the internship begins. The intern should have a faculty advisor.
The goals of the internship program are to enable students to:
* Fulfill the Posner Fine Arts Foundation's mission for education, visibility, and use of the Posner Memorial Collection.
* Participate in an active, collaborative learning experience
* Integrate knowledge from a variety of sources and fields
* Learn to communicate in a professional environment
Examples of possible projects using the Posner Memorial Collection include:
* Prepare an exhibit on Huygens and the pendulum
* Prepare a multimedia or artistic interpretation based on the collection
* Research practical management styles seen in the works of Machiavelli or Captain Bligh
* Design an exhibit to explain in cultural milieu of Sir Walter Scott's novels
1. Visit the Posner Center and familiarize yourself with the Posner Memorial Collection.
2. Talk to staff of Special Collections: Mary Kay Johnsen, 412-268-6622, or Bella Karr Gerlich, 412-268-7263.
3. Submit Application essay. Go to Online Application
Monday, October 24, 2005
Sunday, October 23, 2005
Saturday, October 22, 2005
weekendworker: Hi, this is weekendworker from your production planning class and I was wondering how dry time should be included in your estimate sheet since you can let things dry over night?
Weekendprofessor: dry time
Weekendprofessor: is lin time
Weekendprofessor: and lin time
Weekendprofessor: doesn't show on an estimate sheet
weekendworker: okay thanx
and GOOD EVENING...
you are all invited to the first screening by the Purnell Film Society. In fact, you all have free memberships already...
The Purnell Film Society is a Purnell-wide society dedicated to showing you (for free) the films the faculty thinks you should see. Attendance is not compulsory.
Every film will be introduced by faculty, and will be followed by a discussion focused on the specific relevance to the disciplines taught in Purnell - design, production, acting, writing and direction.
Our first film will be screened on October 26th at 11pm in the WELLS Studio. And it is probably too frightening for most of you - a double bill of:
NOSEFERATU & THE SHADOW OF THE VAMPIRE
Introduction by Tina Shackleford and Michael Chemers
We begin at 11pm sharp, so see you in the WELLS Studio. Concessions will be sold and proceeds benefit the Senior Showcase.
So join us - if you DARE!!!!!
Friday, October 21, 2005
Giuliana Bruno (Harvard University): "Emotion-Pictures: Journeys in Art, Architecture and Film"
5:30 pm, Monday, October 24th in the Chosky Theatre, Purnell Center, Carnegie Mellon University
Bruno’s book Atlas of Emotion: Journeys in Art, Architecture, and Film (Verso, 2002) is the winner of the 2004 Kraszna-Krausz Moving Image Book Award, a prize awarded to “the world’s best book on the moving image.” In addition to Atlas of Emotion, Bruno has written Streetwalking on a Ruined Map (Princeton University Press, 1993), winner of the 1993 Katherine Singer Kovács prize for the best book in film studies. She is also coeditor of Off Screen (Routledge, 1988) and Immigini allo schermo (Rosenberg and Sellier, 1991). Her writing on art, architecture, and film has been published in collections internationally.
Giuliana Bruno is a Professor of Visual and Environmental Studies at Harvard University. This lecture was made possible by a grant from the Andrew W. Mellon Foundation.
For more information, visit our website at: http://www.andrew.cmu.edu/user/mwitmore/aesthetics/schedule.html
"Globally Green: Cultural Perspectives and Environmental Issues" is the title of this year's International Festival at Carnegie Mellon University, Nov. 3 - 5. Now in its 15th year, the festival is designed to raise awareness and celebrate the values, traditions and beliefs of world cultures.
This year's event has several highlights that are sure to educate and entertain participants. Sy Montgomery, a well known author and conservationist, will kick off the festival with a keynote address, entitled "Conservation: Hope and Second Chances." From her travels around the world, which include living with Bengali fishermen and Amazon shamans, Montgomery shares the ancient, sacred stories by which people close to the earth honor and remember their connection to land, water and animals. This lecture will begin at 4:30pm, Nov. 3, in McConomy Auditorium. A reception and book signing will follow the lecture in the Connan Room.
Another feature of the International Festival is the Scrap Arts Music concert and performance at 9pm on Nov. 4. Scrap Arts Music, a group from Vancouver, British Colombia, stimulates the senses, by making instruments and music from shiny harbor scrap, salvaged sewage pipes, aluminum bowls and other recycled odds and ends. Add more than 80 wheels, a composer, five hyperactive “hipsters” and a set of drumsticks, and the result is a dizzying shower of beats, gymnastic agility, compelling percussive drive and intricate, eye-catching choreography. Tickets for the concert are free and will be available at the UC Information Desk beginning October 31.
Some other events during the festival include a Cultural Student Food Fair in Wean Commons on Nov. 4 at 4:30pm and an International Bazaar with food and craft vendors and a performance by the Zany Umbrella Circus on Nov. 5 from 12-3pm in Rangos Ballroom. In addition, there will be several presentations by Carnegie Mellon faculty, researchers and students, art exhibits, films, workshops and much more!
For more information on these and many other events that will take place during this year's International Festival, see http://www.cmu.edu/internationalfestival or contact Emily Half, International Festival Coordinator, at 412.268.2075 or firstname.lastname@example.org.
Thursday, October 20, 2005
I want to join CFA Dean Hilary Robinson in encouraging you to submit your proposals and past work for the exciting forthcoming exhibition "100% Centennial" to take place at the Regina Gouger Miller Gallery in Carnegie Mellon in early 2006. Please know that we are very happy to answer any questions you might have, and to help you make sense of the submission guidelines you recently received.
Many have questioned the deadline date, which is a postmark deadline. We are most concerned about receiving indication of your interest in participating by the postmark deadline. What we need soonest is the information that is on the upper half of the yellow sheet that was sent to you through the US postal mail.
The exhibition is intended to be a broad celebration of the achievements and creative endeavors of all CFA alums. Please contact us about being part of this important event! Feel free to call me at 412 268-3877 or email with your questions and concerns to:
I look forward to hearing from you!
Regina Gouger Miller Gallery
Thursday, October 27, 2005
Alumni Concert Hall, CFA
Speakers: Barry Frank, A'54, and Robert Summer, PM '55, both 2005 Distinguished Achievement Award winners
Barry Frank is senior corporate vice president for International Management Group and vice chairman of its parent company, Trans World International.
One of the foremost sports rights agents and packager, Frank has negotiated some of the most important contracts in sports television, including representing the International Olympic Committee, Major League Baseball, the NHL, the NBA, the International Skating Union, and the United States Tennis Association. He has created numerous made-for-television shows, including The Skins Game, The Battle of the Network Stars, and American Gladiators. He represents many of the top television sports broadcasters, including John Madden, Bob Costas, and Jim Nantz.
Robert Summer has spent his career as a leader of the music industry. In June, he was named executive chairman of iMesh, a peer-to-peer music service. Prior to his current position, he was the executive chairman and chairman of the board of directors for World Theatre, Inc., where he led the company's efforts to initiate numerous content and distribution partnerships. Summer formerly served as president of Sony Music International, president of RCA Records, and as chair of the Recording Industry Association of America. He earned his bachelor's degree in printing management.
Wednesday, October 19, 2005
Tuesday, October 18, 2005
The Jewish Theatre of Pittsburgh seeks a run crew for it's upcoming premiere CECIL AND CLEOPAYTRA THIS IS A PAID POSITION!!!!
Performance dates: October 26th-November 13th Wednesdays and Thursdays at 8pm Saturdays at 5pm and 8pm Crew will start on Saturday October 22nd
CALL PRODUCER TITO BRAUNSTEIN FOR MORE DETAILS: 412-521-4373
Monday, October 17, 2005
Sunday, October 16, 2005
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Thursday, October 13, 2005
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Monday, October 03, 2005
We had quite a struggle getting it approved by the honorary degree committee because August Wilson, with only FENCES staking his national reputation, was deemed such a newcomer and as yet untested. I recall how we said, "trust us, this guy has *it*" and we were able to carry the day.
Of course, he went on to receive numerous honorary degrees, but we were indeed the first.