Showing posts with label stagecraft. Show all posts
Showing posts with label stagecraft. Show all posts

Friday, February 20, 2009

Steel

Just in case you're wondering what this is all about, basically over the past couple of weeks I've been thinking a lot about whats involved with working with steel in our shop. And decided to write down my thoughts.

Our scene shop has never really been a "steel" shop. We typically work with wood and wood-based products (note the distinction). When we started looking at the set drawings for our March production of Twelve Angry Men it was pretty clear that we were going to be working with steel.

This photo is not staged... I know it looks it.

So, what are the processes that we use when working with steel? Well, they're basically the same processes as working with wood (cutting, drilling, attaching, etc.). These processes look a bit different when working with a mailable material like steel and therefore require different tools.

Cutting

Cutting is the first major difference between working with steel and working with wood. Inexpensive toothed circular saw blades don't do so well when trying to get through most steel, so we end up using an abrasive cutting tool - an abrasive chop saw. Abrasive cutting uses a rough cutting wheel that deteriorates as it cuts. The result of this deterioration is that, rather than getting duller, the cutting wheel gets smaller as you go.

When dealing with sheet metal, cutting with a wood-type jigsaw generally doesn't work very well because of tendency of the sheet metal to bend. Instead, the more consistent pressure of a band saw is generally preferable it tends not to bend the metal and avoids overheating due to large surface area of the blade.

Attaching

Attaching the metal to other surfaces is easily done using screws and bolts. Drilling out holes for bolts and screws is more time consuming and consumes far more drill bits, but otherwise is pretty similar. Attaching metal to metal can be done using bolts as well, but in this scenario we have a new process which has no analog in the world of wood: Welding.

The unit

Welding, essentially, involves turning two pieces of metal into one. To do this we heat two pieces of side-by-side metal up, then join them by adding metal to both pieces until they form one new lumpy piece of metal. To do this we need a welder.

Our scene shop only has 120V power so I ended up choosing a Hobart Handler 140. For this show we need to be able to weld 1/8" steel - this is on the very outside edge of what 120V welders are capable of using gas MIG process, but the Handler can do it provided you take your time and go slow.

The MIG process is pretty simple. Filler wire starts to come out the tip of the gun when you pull the trigger. As the filler wire approaches the work piece a little lightning bolt shoots out and starts to heat both the work piece and the filler. If you do it right, the filler wire should go into the, now molten, work piece and allow you to build up the metal. If you build-up two pieces of metal at the same time, you've joined them together. Lastly, to prevent the hot metal from immediately oxidizing, all of this lightning bolt action happens inside an invisible plume of shielding gas (in our case Argon and CO2).

But, while the process is simple, actually welding two pieces of metal together can get pretty complicated. For starters there are four important variables: Gas Pressure, Wire Feed Rate, Wire Feed Pressure, and Current. Fiddling with these variables will yield different results depending on the thickness of the metal. Additionally, there is pure skill involved. That little lightning bolt likes to jump around - you need a steady hand, and lots of practice.

A good weld!

Now you've welded two pieces of metal together. But wait, there's more! How do you know the weld will hold? On the surface the weld looks good. There's no excessive oxidation, there are no gaps in the weld, there's no stippling or balling of the bead. That's all the information that you get by looking at it. Next step you can either X-Ray the weld, or you can beat the hell out of it and see if it holds. I'll let you guess which method we use.

Safety

Shop safety is our foremost consideration when doing any kind of work in the shop, and working with steel brings with it some new issues to consider.

The first, most general, issue is that metal tends to be sharp. Anyone who's ever gotten a metal splinter knows what I'm talking about. To mitigate this factor we make sure to dull down any exposed surfaces that have been cut in our shop and make sure to clean up after cutting or drilling metal.

Cutting metal on an abrasive chop saw has some safety issues of its own. Fortunately they're quite obvious to anyone in the vicinity of a saw. As the abrasive blade cuts through the metal it creates a shower of sparks and dust. This shower presents a hazard to both the operator and any bystanders. Bystanders need to keep their distance, the operator needs to wear long sleeves and pants, gloves and a face shield. Additionally abrasive tools should not be used around combustible materials or in the vicinity of volatile solvents.

Welding has a few safety issues associated with it as well. Welding creates heat and light. For the welder, heat is an obvious danger; it's why we wear gloves and use clamps. For the bystander it can be quite hidden. When a piece of steel has been welded it remains hot for some time - despite not necessarily looking hot. It's important that steps be taken to prevent bystanders from coming into contact with freshly welded metal.

The light created by welding has high ultraviolet content. It is therefore inadvisable to be directly exposed to the light cast by the welder. The operator is wearing a mask and gloves and sleeves to prevent exposure. Furthermore, its the operators responsibility to keep bystanders shielded from the direct light of the welder. Often, this can be as simple as avoiding reflective surfaces and keeping your body in between the weld and any bystanders.

Lastly, spatter from the welding presents the same types of fire hazards as operating a cutoff saw. Again, care should be taken to avoid situations that could result in fire. Additionally, consider that material you have just welded may be hot enough to start a fire and keep it appropriately safe.

*Important note: This is not a comprehensive list of safety considerations. Your mileage may vary.

Why Bother?

There are a number of reasons that having steel capabilities is a tremendous asset. In theater, one of the biggest is weight. Building structural objects out of steel can be done significantly lighter that out of wood. This is a crucial factor when designing large sets that need to be moved around or flown out.

Uniformity is another factor. Consider that when you purchase board lumber you're generally getting a natural product and as such it tends to have warps and bends. Warps and bends can really mess things up when you're dealing with close tolerances.

That having been said its important to maintain a balance. Carefully evaluate your material selection and, when choosing steel, be sure to factor in the safety considerations when making your choice.

In my environment I further have to weigh the fact that this is a high school shop and that therefore there are bound to be students involved in the process. At the moment I've decided to operate the steel tools myself and have the students facilitate the process. This takes away the "Operator Risk" and makes me responsible for minimizing the "Bystander Risk". I'm okay with that responsibility.

Monday, July 30, 2007

Building a Plywood Huey. Part 1!

I have to build a Huey for our production of Miss Saigon. And it just so happens that my new tiny DV camera has arrived, so I decided to document the helicoptering process.


Plywood Huey - Part 1 - Watch a funny movie here

Wednesday, October 11, 2006

LolZ

Ok, here's the skinny:

I'm tremendously busy. So busy I'm tired all the time. OMG I'm Busy.

Max gets medieval on facey
SWIS2K6 is almost upon us. To that end, I present this image. Featuring Max, and a boatload of carpet adhesive!

Monday, August 21, 2006

Another one bites the dust

CATS closed on Saturday night. We struck Saturday night. I slept most of Sunday. CATS has been a pain in my ass for 10 weeks. Don't get me wrong, there is certainly the part of my that is sad to see it go - but all in all I wasn't really happy with my contribution to the production.
I probably would have been much happier if I'd had a full week to write the cues and if we'd had the pit for the full week as well. Instead I ended up with a show which only had half the cues I wanted it to - and the signal problems that I ran caused some wildly unreliable behavior from the hazers.
From a technical perspective we had two weak performances. Opening night and the first matinee were pretty bad. Opening night the fire marshall killed our Mojo - wreaking havoc on the crew's energy. The first matinee we have no excuse for, we were just off. Otherwise the show ran very tight - the cues looked great and the performances ran rather smoothly.

The set. In Red.
I spent some of the downtime before the matinee taking some final photos of the set
(under lights) for my own documentation. Here we have a partially lit cyc and warmly lit set. oooooh.

I don't like being glad to see a show close - I prefer the wistful melancholy that accompanies the closing of a show I'm truly proud of. Never the less - another one bites the dust.

Wednesday, August 16, 2006

Ghostie! The friendliest ghost-light.

Ladies and Gentlemen,
Humble yourself in awe of my latest creation. I hereby bring to the end the months of anticipation and longing you have, no doubt, experienced. I present to you, in all of its glory and majesty, a creation of divine inspiration - I give you: The new ghost-light.

The new ghost light
Ooooohhhh.....

Ghosty was once a humble sheet of plexi-glass - discarded in a pile of 1/4" ply. I sanded down the plexi to give it the translucent look it has now - then I cut out a body and arms. I secured the arms to the body with machine screws (yes - he's posable), and then further fastened the whole thing to the ghost light. After a little while I scaled him back from a 60W lamp to the 15W lamp you see before you.

Now, I know what you're thinking. "Dave, how could you have come up with such a wonderful, design? It's so full of whimsy I'm practically bursting."

The answer, my friend, is to be found in this simple equation:
downtime-between-shows + angsty-fidgetyness + pure-genious = Ghostie!

Wednesday, August 09, 2006

So that's what's going on

Oh yeah... photography. We are now in our third day of tech for Cats. It has been a rough week to say the least. Our plan was to do a cue-to-cue of Act I on Friday, a cue-to-cue of Act II on Saturday and start doing runs on Monday. This hasn't happened. Act I took longer than expected. Then Act II took longer than expected. We ended up cuing the second half of Act II on Monday. Then, after about an hour, a board-crash led me to inspect the cues we'd already written - that's when we found out how many cues hadn't been recorded. I'd say somewhere in the neighborhood of 20%.

To make the situation all the more rosier, Megan is calling the show out of a vocal score rather than the conductors score - this choice was made because it simplifies all the musical cuts. What it doesn't do is give her a way to follow along during all the rests. So we'll find ourselves with two bump cues somewhere in four bars of rests. Dang.

Sponsor Plug
On the upside, the set - that piece of the show that I thought would never get done - is practically done. All that's left to do is mount one more step unit, precariously, on the side of a masonry scaffold.

In this picture we give a little thumbs-up to a long time Players supporter. Nice painting team!