Theatre Design & Technology - Spring 1994 - 62

lighting market might be said to be only a small player in the increasingly one-world market of the entertainment
industry. Complicated though it may be, that might seem to
call for some international diplomacy, some common problem-solving, on the part of all of those worldwide who need to
be involved. Up to now our industry concensus on standards
has been undertaken more-or-Iess as a hobby on the part of a
few individuals. The next problems to be solved are entire
orders of magnitude that are much more complex.
Manufacturers and users who want to see these problems
resolved will be required to pitch in with time and money. The
alternatives are emergency protocols and expanding incompatability of theatrical devices. USITT's Standards and
Protocols Commissions would like to involve those interested
to participate in arriving at an acceptable international standard. With the cooperation of the industry worldwide such a
standard might be possible to achieve.
10&1
Our

JOEL E. RUBIN, PhD, is senior advisor, theatre planning, at
Artec Consultants, Inc. in New York City. He is a past-president of USIIT and OISTAT and chair of the United States
Center of a ISTA T.

ENDNOTES
This paper was prepared at the invitation of the organizers of the
International Theatre Conference '93 and presented at that conference which
took place in Nagoya, Japan in July 1993. Subsequenrly, I made an informal
presentation to the Standards and Protocols Commission of the Japanese
Lighting Designers Association and the Japan Center OISTAT. At the suggestion of the Chair of usm's Protocol Sub-Commicree, a willingness was
expressed for incteased collaboration between American and Japanese colleagues working in this field.

For the preparation of this paper I sought the aCtive collaboration of several
individuals within our industry who are involved in the leadership of the protocols and Standards process. I am deeply indebted to the following who were
very generous in providing me with information and take responsibility if I
failed to reach proper conclusions from the information they readily provided.
Thanks to Steve Terry and John Huntington of ProdUCtion ArtS Lighting in
New York Ciry; Charles Richmond of Richmond Sound Design in Vancouver,
Canada; John McKernan, ereator of the Lightwright program in New York
Ciry; and David Bertenshaw of Strand Lighting in London, England. Thanks
also to the many aCtive volunteers within the Engineering Standards group of
the usm who underStand that bringing order (Standards and protocols) our of
chaos (all of those marvelous devices which will need to find marketS) brings
benefit to all in the entertainment industry.

REFERENCES
The Standards and protocol sources cited in this paper are more fully refetenced as
follows:
DMX512 Digital Data Transmission Standard (or Dimmers and Controllers
(Rev. April, 1990). United States Institute for Theatre Technology, Inc., Suite
5A, 10 West 19th Street, New York, New York 10011, USA; 212-924-9088,
fax: 212-924-9343.
ASCII Text Representation (or Lighting Console Data (Version 3.0), March
1992, USITI, as above.
MIDI Show Control (MSC) (Version 1.0, July, 1991) MIDI Manufacturers
Association, 5316 West 57th Street, Los Angeles, California 90056, USA; 213649-6434, fax: 213-215-3380. Also at the same address is the International
MIDI Association (MIDI = Musical Instrument Digital Interface).
Information on their various Standards is available from the Society of Motion
Picrure and Television Engineers (SMPTE) at 595 Hartsdale Avenue, White
Plains, New York, 10607 USA; 914-761-1100, fax: 914-761-3115.
Information on working group SClO of the Audio Engineering Sociery (A.E.S.)
may be obtained from the Society at 60 East 42nd Street, New York, 1 ew York
10165, USA; 212-661-8528, fax: 212-682-0477.
Information on participation in USITI's Standards and Protocols Commission
may be obtained by addressing Steve Terry, Chairman, USITT Protocols
Commission, United States Institute for Theatre Technology, as given above.

* Instructional Video Series
Makeup for the Theatre

* Ben Nye's Professional
Creme Makeup Kits

Now $79.98 for the Complete Set

An $80 Value for Only $32*
The professional's first choice for realism on
stage. Our Kit is a major asset in teaching
basic and advanced make-up techniques.
Creme makeup easily removes with soap and
water. Gentle to sensitive skin. Available in

* Ben Nye's New
Personal Student Kits
Ben

An $18 Value for Only $10*

ye's Video Series is expertly taught by

Hollywood professionals. Our six lessons

Perfect for actors who want professional

take you from basic to advanced theatrical

quality makeup at a budget price. The afford-

techniques, such as creating an old age

able COSt of our Kit eliminates the need for

makeup or laying a full crepe beard. A valuable

actors to share makeup.

resource for years to come.

Kits generously provide makeup for over

Individual cassettes: $17.98

one dozen applications. Six color combina-

* Cassette I: Straight lale/29 Min.
Corrective Female Makeup/29 Min.

*
*
*
*

Cassette 2: Old Age Makeup/41 Min.
Cassette 3: Special Effects/54 Min.
Cassette 4: Applying a Bald Cap/42 Min.
Cassette 5: Laying a Beard/42 Min.
With practice, you'll be able to create

professional looking characters, too!
VHS format.

S P R I

1 9 9 4

five color combinations.

T D & T

tions: \'({hire Fair or Tan; Olive Fair or Deep;
Black Medium or Dark. Available from Ben
j

ye Dealers nationwide.
':. Actual dealer price may vary.

* New Catalog! Free Posters
Ask for our three poster set when you
request our new Catalog. Sec our exciting
new MagiCake Aqua Face Paints in 18 shades.

Il\

Ben Nye Company, Inc.

Ben Nye

5935 Bowuoft 5L LA.. CA 90016

Makeup

310/B39-19B4 FAX 310/B39-2640

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1994