ETCP Renewal Credits

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This course offers virtual on-the-job training for riggers of all experience levels. We will focus on the functional aspects of ground rigging, including (but not limited to); Identifying chalk markings Building baskets & bridles How to properly tie-on ropes to send steel Truss wrapping Equipment inspection Motor usage and troubleshooting. This course is worth 1.5 ETCP renewal credits

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Presenter: Phil van Hest provides Rigging, Fall Protection and Heavy Equipment instruction in the LA area. Before entering the world of rigging safety, Phil toured the world as a comic/writer/performer and thought twice about mentioning it; rigging and safety are famously humorless subjects. Phil is the Safety and Rigging Manager for Bigger Hammer Production Services, and an ETCP Recognized Trainer holding ETCP certifications in Arena and Theatrical rigging. He currently resides in Orange County, another place in California named after a thing that used to be there before it got paved over.

This course offers virtual on-the-job training for riggers of all experience levels. We will focus on the functional aspects of up rigging, including (but not limited to) Harness, lanyard and rope management Working on a beam How to wrap a steel basket, secure and strike it Truss climbing Timber hitches Equipment inspection Basic bridle theory Fall Protection fundamentals Most of what you will need to know to perform up rigging duties in an arena setting, and whatever else you have questions about. This course is worth 1.5 ETCP renewal credits. This webinar is being brought to you in part by Bigger Hammer Production Services.

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Presented by Nils Becker, Joe Champelli and Pete Svitavksy All winch systems are not created equal. Understanding the difference between automation and motorization is key to making sure that the equipment you've asked for is appropriate for the job you are trying to do or the effect you are trying to create.

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Presenter: Nils Becker For the last nine years, Nils Becker has been working with ETC Rigging installers and customers on product development, systems integration, training, and installation. He washed ashore at ETC after a 17-year tour at the MGM Grand Hotel in Las Vegas, where he was part of the in-house design team for some of the largest productions on the planet, plus night clubs, bars, restaurants, retail and other themed environments. The last seven years of which culminated in his position as Lighting Director for Cirque du Soleil’s production of KÀ. Prior to the MGM, he attended Old Dominion University, and worked at Busch Gardens Williamsburg before moving to ‘Lost Wages.’

Presenter: Joe Champelli Joe Champelli is Vice President of Entertainment Project Services, where he oversees operations and mechanical design. Joe has over 25 years of experience in machinery design, operations, and project management with a focus on performer flying, custom machinery and special effects. Joe began his career in Las Vegas working on large productions including the Pirate Battle at Treasure Island and the Cirque Du Soleil O showroom. Joe served as Chief Operations Officer and Mechanical Designer for Fisher Technical Services, Inc. During his tenure there, FTSI grew from 2 to 100+ employees and completed major new construction projects such as the Le Rêve showroom at Wynn Resorts and the 600-foot-long nightly flight of Tinkerbell at Disneyland. Prior to joining EPS, Joe spent five years as the General Manager and Lead Mechanical Designer for ZFX, Inc. where he helped grow the business and refine operations. Joe is ETCP Certified in Arena and Theatre Rigging, holds an MFA in Technical Production from Penn State University as well as a B.S. in Design from Illinois State University.

Presenter: Pete Svitavksky(he/him/his) has worn a number of hats at JR Clancy and Wenger Corporation over the last twenty years working on stage engineering projects around the world. He is a licensed Professional Engineer, inventor of several patented designs, and proud to be among the members at USITT and ESTA who work to develop national standards for the entertainment industry. He is a regular contributor to the education of future generations of industry professionals through classes and conferences. When he is not at work you will find him with his family at home in the Finger Lakes or prowling in the woods and fields of Upstate New York.

Presented by Jennifer Estremera, Ed Kish, Michael Nishball and Bob Powers The Chase Center in San Francisco - we heard about the plans - how did it actually turn out? We will hear about the results from the consultant who helped design the systems, the lead rigger who helped install them, and a rigger who works the arena.

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Presenter: Jennifer Estremera Jennifer Estremera is a stagehand and member of IATSE Local 16 in San Francisco. Growing up, she had a predisposition to climb trees and structures and take apart mechanical objects. She started working in theatre at the age of 16, specializing in stage management and electrics until 2014 when she began training in motorized, counterweight, and aerialist rigging. This sparked her passion for the craft and a year later, she moved to San Francisco to gain experience in arena, outdoor, film, and convention rigging. In 2019, Jennifer was part of the team that installed hauling points throughout the newly opened Chase Center in San Francisco. She enjoyed the chance to work the venue’s earliest shows. When not at work, Jennifer engages fellow workers through Local 16’s Young Workers Group and Women’s Group and assists with trainings around industry skills, workers' rights and mental health. In the past year she has dedicated her time to organizing support for workers affected by the pandemic.

Presenter: Ed Kish Ed Kish, founder of Kish Rigging, has been involved in entertainment rigging since 1979. He has extensive experience in touring, TV and corporate events and has worked to advance safety through the ETCP program as well as ICOPER, the International Code of Practice for Entertainment Rigging.

Presenter: Michael NishballMichael Nishball is a leading expert in rigging and stage machinery design. A principal at Theatre Projects, he directs their theatre equipment team in designing efficient, cost-effective systems and safe workplaces. Since 1995, he’s provided stagehouse design, stage equipment details, and specifications for hundreds of performance spaces ranging from concert halls and opera houses to commercial venues. Notable projects include Chase Center in San Francisco, Stavros Niarchos Foundation Cultural Center in Athens Greece, New World Center in Miami Beach, the Winspear Opera House and Wyly Theatre in Dallas, Kauffman Center for the Performing Arts in Kansas City, Kimmel Center for the Performing Arts in Phildelphia, and the Dolby Theatre in Hollywood. Previously, Michael worked for the rigging contractor Pook, Diemont and Ohl. He’s also worked with the Boston Shakespeare Company, the American Repertory Theater, and several modern dance companies in Boston. He’s lectured in technical design at the Yale School of Drama. Michael received his BFA from the Massachusetts College of Art in the Studio for Interrelated Media, and his Associate of Science in television production from Grahm Junior College. He’s a member of the Construction Specifications Institute and a member of ESTA’s TSP Stage Machinery Working Group.

Presenter: Bob PowersBob Powers started working as a stagehand at the age of 17 in Cincinnati, OH. He became the lighting designer at his local venue and was whisked away on his first tour. He relocated to San Francisco in 1995, where he discovered rigging, went to work at Stage Rigging and did his first tour as a rigger. Shortly after, he became a member of IATSE Local 16 in San Francisco. Since then, Bob has been the head rigger for dozens of touring arena productions, as well as corporate events, taking him to 28 different countries. Being based in the Bay Area, he has been the head rigger for some of the largest Silicon Valley corporate events, as well as rigging dozens of feature films and television shows. While Bob made the choice early on not to specialize exclusively in automation, he has rigged productions that included automation systems from Tait/Fisher, Raynok, Kinesys, Schonberg, Motion Labs, Variolift, Speedwire, George & Goldberg, and Foy. When home, Bob participates as a rigging instructor in the many on-going classes and certifications that take place in the San Francisco Bay Area as a proud member of IATSE Local 16.

Presented by Fred Caron, Stu Cox, Paul Sapsis, and Jim Shumway Getting them up is one thing - getting them down safely is even more important. Emergency response and rescue plans. Working safely within the unique demands of performer flying.

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Presenter: Fred Caron After a failed career as a semi-professional rock climber, Fred Caron joined Cirque du Soleil in 2002 as a ‘fly in’ rigger, assisting with the movement of big top shows between cities. Soon after, he joined the Show Support Department, assisting touring shows with their various rigging operations and larger-scale projects such as integration into venues, such as the Royal Albert Hall in London, UK and Fuji Dome in Tokyo, Japan. In 2006, Fred was an acrobatic project manager for the creation of Zed, a resident show in Tokyo, and managed several large-scale acrobatic pieces. Once Zed completed, he returned to supporting tours at the Touring show division as a project leader and after as the Senior Acrobatic Rigging Advisor. In this role, he worked to establish guidelines, operating procedures, training requirements and many other tasks related to acrobatic rigging on all Cirque du Soleil’s shows touring the world. In 2020 Fred joined the team at Circus Concepts bringing his knowledge and experience to the manufacturing side of the industry.

Presenter: Stu Cox Stu Cox has traveled the planet rigging in theaters, arenas, stadiums, cruise ships, haunted houses and most anything else that could be considered a venue. He spent 10 years as a ZFX Flying Director, choreographing performer flying effects, along with aerialists, oversized inflatable scenery, 500’ motorized zip lines, and no shortage of flying monkeys, ghosts, angels, and Peter Pans. Since joining Sapsis Rigging, Stu has supervised rigging and fall protection projects as well as conducting rigging and safety inspections. He has worked with Wicked, the Vancouver Winter Olympics, Green Day’s American Idiot, FOX Sports, FIFA, Dublin’s Abbey Theatre, the Metropolitan Museum of Art, the Smithsonian, and Royal Caribbean Cruise Lines. Stu received a BFA in Theatre Design and Production from the University of Louisville and is an ETCP Certified Theatre and Arena Rigger and an ETCP Recognized Trainer. He has written articles for Protocol and Stage Directions magazines and was a contributing author for Entertainment Rigging for the 21st Century.

Presenter: Paul SapsisPaul Sapsis began his career in the entertainment industry in 2000. He started out working with his father, Michael Sapsis, primarily production rigging in New York City, in such venues as the uptown and downtown Armories, Hammerstein Ballroom, Saint Johns Cathedral, Bryant Park and the New York Public Library. In 2008, Paul began his work in automation with Fisher Technical Services on the Bubble project at the City Of Dreams Macau. He has since worked on innumerable national and international productions as well as contract film and TV. Paul has designed automation effects for Beyonce, Taylor Swift, Phish and Radio City Music Hall. He was also the only American nominated for “Rigger of the Year” by TPI, the UK’s leading rigging and touring magazine. More recently, Paul toured a world record number of axes as head of automation, and lead programmer for the Red Hot Chili Peppers’ Getaway tour, and set performer flying speed and distance records with P!NK’s Beautiful Trauma World Tour. Paul currently holds a technical lead position with TAIT and is responsible for designing and fabricating some of the worlds cutting edge stage machinery.

Presenter: Jim ShumwayJim Shumway is a Senior Project Manager at TAIT. Over his six-plus years with the company he has delivered unique solutions for clients of all sizes and markets including arena and stadium concert touring, theme parks, award shows, brand activations, and permanent installations. His portfolio includes productions for clients such as Beyoncé, Taylor Swift, P!NK, Bruno Mars, The Metropolitan Opera, Disney, and Universal Studios. Before joining TAIT Jim traveled the world with Cirque du Soleil on four shows over five years, participating in two creations, reaching the role of Head Rigger. He is an annual guest lecturer at the Yale School of Drama speaking on acrobatic rigging and performer flying and is the author of Automated Performer Flying: The State of the Art, published in 2019 by Routledge. He holds a BFA from Emerson College in technical direction. He is ETCP Certified in both Arena and Theatre Rigging and is also an ETCP Recognized Trainer.

Presented by Robert Babin, J. Patrick Daily, and Brady Majors Moderated by Kent Jorgensen A look at how riggers in motion pictures address the challenges of placement of cameras, actors and stunt people in "exotic" locations. Leading motion picture riggers will relate some of their favorite and most challenging rigging projects.

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Presenter: Robert Babin Robert Babin started his career in gripping in July 1977 and In 1978 he became a member of Local #80 Studio Grips. Since his start he’s been able to work in many different capacities of gripping, from working as a gang grip to working as a production Key Grip and Rigging Key Grip. In the last couple of years there have been some really great advances in the rigs that we use in the motion picture industry, as you will see in some of the photos that will be used.

Presenter: J. Patrick Daily Now in his 40th year in the motion picture business, Pat has been the Key Grip on over sixty feature films and a dozen television shows. His resume includes features filmed around the country and internationally with some of the industry’s greatest directors of photography and directors. His resume is available at www.jpatrickdaily.com. Always innovative, Pat has constantly been on the forefront of technology in lighting and camera movement, pioneering many methods commonly used today. As a Key Grip, Pat is known for innovative quick field solutions to solve the problem or to “get the shot.” In recent years, Pat has been called upon to build complex, unique solutions in wire camera rigs for films like Transformers, James Bond, Avengers, Bourne, and West Side Story. It is Pat’s “out of the box” thinking that has made him a premier sought after Key Grip in our industry.

Presenter: Brady MajorsBrady Majors has worked in the entertainment industry for over 30 years, on everything from small theatre production to major motion pictures. He has always approached the industry through a learning lens: building on the desire to know what every department does, and how it ﬁts into the larger Hollywood machine. These experiences propelled Brady to a successful ﬁlm and television career as a Key Grip, both on set production and rigging. His credits include Fast & Furious 3: Tokyo Drift, Knocked Up, X-Men First Class, and Body of Proof. A few years ago Brady segued from working as a grip to being an Assistant Business Agent for I.A.T.S.E. Local 80, where he holds the elected position of President. He currently works as a Manager of Production Safety for Netﬂix.

Moderator: Kent JorgensenKent Jorgensen is a 35-year entertainment industry veteran mostly working as a grip in motion pictures. For the past 25 years Kent has specialized in occupational health and safety for the IATSE and for Local 80. He sits on oversite and standards writing committees and develops and teaches industry specific safety classes.

This course is Part 1 of a 4-part series.

The purpose of this course is to introduce you to the field of structural engineering. The course will cover three topic areas: What is Engineering, The Language of Engineering and Engineering Means and Methods. The goals of the course are:

To help you understand the process that an engineer uses to analyze a structure, to provide an understanding of engineering terms so that you can clearly communicate with your engineer, and to introduce you to basic engineering concepts for static structures as a basis for further work in parts 2 through 4 of this series.

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Presenter: Shawn Nolan During his 35 plus year career, Shawn Nolan has worked extensively throughout the entertainment industry in the fields of stage technology, automation and rigging. His current focus is two-fold: standards compliance to ensure adherence to national and international standards, and structural and mechanical analysis and design for the entertainment industry. He has extensive experience with equipment and methods used by the entertainment industry for both mechanical and structural systems, including design experience for aluminum structures and mechanics for automated systems. Shawn attended Baldwin-Wallace College then worked primarily in regional theatre in the 70’s and 80’s. He received his BS in Engineering from the University of Cincinnati and has been a practicing structural engineer since. Shawn currently works for PRG as Head of Technical Engineering & Standards. He is a Licensed Professional Engineer in 8 states. Shawn is active in ESTA and in USITT. He is a member of the American Society of Civil Engineers (ASCE) and the American Society of Mechanical Engineers (ASME). He is an ETCP Certified Rigger Arena & Theatre and an ETCP Recognized Trainer. Shawn has contributed extensive time to the development of ESTA’s ANSI standards including powered rigging and outdoor structures. He worked extensively on the development of the ETCP Certified Rigger program, which he feels is one of his most significant achievements destined to have long-term impact on the entertainment industry.

Loads may not have changed but the way we evaluate them has. The entertainment industry has shifted away from relying on single, large factors of safety, instead applying appropriately smaller design factors to understood loads. In this session, the presenters will define terms such as characteristic, dynamic, and peak load, and they will demonstrate how these concepts are used in engineering calculations.

These principles form the basis for current entertainment machinery Standards. This session is part of the Engineering Commission's Mechanical Design Series with “Stage Machinery Brake Design and Selection" and “Emergency Stop Systems - How Safe is Safe Enough?”.

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Presenters:

Dan Lisowski Dan Lisowski is the Head of Theatre Technology/Assistant Professor at the University of Wisconsin - Madison where he mentors students and teaches courses in automation control design, mechanical design, structural design, creative problem solving, and technical direction. Dan's research interests include Network-based Safety-Critical Control Systems and other topics in Functional Safety Design. Dan serves as the Vice-Commissioner for Programming for USITT's Engineering Commission, is a voting member of PLASA's TSP Rigging and Control Protocol Working Groups, and was a member of the ANSI E1.43 "Performer Flying Systems" task group charged with writing the standard for our industry. Additionally, he operates a freelance entertainment design engineering firm, For The Stage, LLC, which specializes in automation control systems. Before rejoining academia, he served as Head of Electrical Design at Fisher Technical Services Inc. in Las Vegas and has worked with ZFX Flying Effects, Hudson Scenic Studio, and Chicago Scenic Studios.

John Van Arsdale John Van Arsdale is a Technical Designer at PRG Scenic Technologies, providing technical solutions for Broadway, Off-Broadway, touring and regional theater. He received his MFA in Theatre & Drama, emphasis in Theatre Technology from the University of Wisconsin-Madison. While at UW, John concentrated his research on technical production and mechanical design. He presented his research on the effects of acceleration on the human body to the PLASA E1.43 Performer Flying Effects Task Group. John is a proud recipient of the USITT Young Designers & Technicians KM Fabrics Inc. Technical Production Award in 2015 and a strong supporter of USITT.

Joe Champelli Director of Mechanical Design (Entertainment Project Services, LLC): Joe began his career in Las Vegas working on large-scale Entertainment Automation projects such as the Pirate Battle at Treasure Island, the Siegfried and Roy Show and Cirque Du Soleil’s ‘O’ at Bellagio. Prior to joining EPS, Joe spent 5 years as General Manager and Lead Mechanical Designer for ZFX, Inc. and 11 years as Lead Mechanical Designer/VP/COO for Fisher Technical Services, Inc. Favorite past projects include Tinkerbell at Disneyland and two separate projects for NASA/JPL. As Director of Mechanical Design for Entertainment Project Services, LLC, Joe is enjoying tackling new and unique challenges. EPS’s project list includes projects for major theme parks in the US, domestic and international hotel/casino projects, cruise ships and a variety of Entertainment Rigging and Automation companies. Joe holds an MFA in Technical Production from Penn State University and a Bachelor’s of Science in Design from Illinois State University. In his free time, Joe enjoys, playing board games and throwing hatchets with his wife of 20 years and their three children.

A comparative analysis of flat production techniques. Which are the best for tall, wide or irregularly-shaped flats? What are the best ways to rig or move vertical scenery? These questions and more will be discussed.

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Presenters:

Mary Black is the Technical Director and an assistant professor at Millikin University in Decatur, Illinois, where she teaches classes in stagecraft, scenic construction, technical direction, and theatrical sound. She has an MFA in theatre technology from Indiana University, and was the 2009 recipient of the KM Fabrics, Inc. Technical Production award.

Scott Bartley is chair of the Theatre Department at Central Connecticut State University. On top of teaching two courses and running a department Bartley is also the Technical Director and Sound Designer for most of the department’s four shows a year.

Welding is a common practice in scenic construction, but what is required for welding of metals to be done safely in a typical production shop or onstage? Code requirements, hot work permits, and common sense must all be followed when planning and executing a welding operation as part of production operations. This session will start with the codes and expand their requirements to present best practices to be followed when welding. Training and welding certifications will be discussed with examples of practical means to obtain welding certifications applicable to the typical welding operations for scenery.

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Presenters:

David “Ross” Rauschkolb is Technical Director at Valencai College. Ross’ research centers on the use of technology for teaching, new material usage, uses of 3D technology, and interdisciplinary production design. He has recently presented for the Education and Health and Safety Commissions. He is a member of Actor’s Equity Association, Stage Manager’s Association, and the Association of Arts Administration Educators. Ross holds a MFA in Technical Direction from the University of Arizona and a BFA in Theatre Education from East Carolina University. He has worked professionally around the US, for companies such as Stage Light, Teatro Paraguas, DNA_Works, the Post Playhouse, Oklahoma CityRep, ECU Loessin Summer Theatre, Tricklock Theatre, Yjastros Flamenco Dance Company, the William Inge Center, Play Conservatory, RE Lee Auditorium, Oklahoma City University, Carolina Ballet, University of New Meixco, Oklahoma Children’s Theatre, Sonora Theatreworks, and Oklahoma Shakespeare in the Park.

Tony Brizius: Finishing up his fourth season as the Technical Director for the Cincinnati Playhouse in the Park, Troy A. Brizius began his career after graduating from the North Carolina School of the Arts with an MFA in Technical Direction. Technical Direction experience includes The Weston Playhouse (3 seasons), The John Houseman Acting Company (3 national tours), Goodspeed Musicals (2 seasons as ATD), and Surflight Theatre (2 seasons). Troy also served as an instructor in the Scenic Technology Department in the School of Design and Production at the University of North Carolina School for the Arts(UNCSA) for 5 years; teaching undergrad and graduate level classes, managing the scene shop, and serving as Production Manager for the UNCSA’s Summer Sessions in Manteo, NC. In addition to his duties of Technical Director at the Cincinnati Playhouse in the Park, Troy also chairs the Accident Investigation Committee and serves on the Safety Steering Committee. He is a Journeyman member of IATSE local 635.

A presentation for entry and intermediate level technicians that provides information on the proper use of fall protection safety harnesses, shock absorbing lanyards and self-retracting lifelines.

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Presenter: Bill Sapsis President of Sapsis Rigging, Inc., Bill began his career in 1972. His work on Broadway includes the original productions of A Chorus Line and The Runner Stumbles. Bill opened Sapsis Rigging in 1981 and has grown the company into a multi-faceted installation/production/service company with clients on 5 continents. Bill’s articles and lectures on rigging and safety can be found in numerous publications worldwide. He has authored two books; Heads and Tales and Entertainment Rigging for the 21st Century. Bill is a member of the ETCP Council and Co-Chair of the Rigging Subject Matter Experts. He also serves on ESTA's Technical Standards Council and is Co-Chair of the Rigging Working Group. Bill is a member of the Behind the Scenes Foundation Board of Directors, is a USITT Fellow and a member of ABTT. He is a founding member of the Long Reach Long Riders, an industry based charity motorcycle group. Bill is also the producer of the North American Theatre Engineering and Architecture Conference.

.5 ETCP RENEWAL CREDIT Brakes in stage machinery are a tap-dance between having enough braking force to safely stop the load and too much braking force that would result in excessive dynamic forces. This session describes the various brake designs and current options in the market. A quick overview about how to dimension brakes for a specific machine and the special requirement for brakes in machines intended for performer flying.

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Presenters:

Alan Hendrickson Alan Hendrickson has been teaching at the Yale School of Drama since 1979, Alan teaches graduate level courses in the physics of stage machinery, mechanical design, fluid power, control systems, electricity, and the history of theatre architecture. At the Yale Repertory Theatre he acts as Automation Supervisor overseeing the design and construction of mechanized scenic effects. With contributing author Colin Buckhurst, he wrote Mechanical Design for the Stage published by Focal Press in 2008. He also consults on control systems and machinery design for Hudson Scenic Studio, Inc. of New York.

Peter Svitavsky Peter V. Svitavsky worked as a stage carpenter and rigger before returning to school to earn a degree in mechanical engineering. For eighteen years he has been a member of the team at JR Clancy and enjoyed contributing to the projects that they undertake at venues around the world. He is proud to be among the members of PLASA working to develop national standards for the entertainment industry. Pete designs, builds, inspects and services equipment in places of entertainment wherever they may be. In his travels he has earned the license of a Professional Engineer, IATSE membership, a number of patents, a few scars, and some great friends. When he is not working on stage machinery you will find him with his family at home in the Finger Lakes, or prowling in the woods and fields of Upstate New York.

Michael Lichter Michael Lichter is Senior Technical Product Manager for Rigging Control Systems at Electronic Theatre Controls, Inc. He worked in the entertainment industry for over 25 and joined ETC 19 years ago. Since then he was based in the US-Middleton, London and German ETC offices, has worked on projects around the globe and was actively involved in the design of several ETC products. Michael holds a degree in electrical and software engineering from Germany’s Hamburg University of Applied Sciences. Michael oversees the various ETC rigging control systems since 2004. He is also actively involved in the US PLASA / ANSI, German DIN and European CEN standards writing processes.

The program reviews the requirements for emergency lighting control covered under the National Electrical Code® (NEC®), the associated UL Product Standards, and application and misapplication of products, and the newest requirements in the NEC®.

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Presenter: Mitch Hefter has been working in entertainment and architectural lighting controls for 38 years. He is currently Senior Systems Engineer at Philips Lighting. As a past Engineering Commissioner for USITT, Mitch oversaw the development of USITT DMX512. He is a USITT Fellow, USITT Founders Award recipient, an Honorary Lifetime member of USITT, and has also served on the USITT Board of Directors. Mitch is a founding member of the ANSI-accredited ESTA Technical Standards Program. He serves on the Technical Standards Council and co-chairs the Electrical Power Working Group. He is an ETCP Certified Entertainment Electrician and Recognized Electrical Trainer. Mitch has worked on updates to the National Electrical Code since 1981 and is a member of NEC Panel 15, representing the Illuminating Engineering Society (IES) since 1997. Mitch is a member of the IES Control Protocols Committee which developed IES TM-23 in 2011 and is the scribe for the revision to TM-23 expected in 2017. Additionally, he is a member of the Control Protocols sub-committee of the IES Energy Management Committee, responsible for LEM-7. He is also an Associate member of the International Association of Electrical Inspectors (IAEI).