Stereoscopy involves creating, capturing, transporting, routing, storing, and displaying exactly twice as much image information.
It was impossible to imagine that these dim, monochromatic, red indicators could ever become a useful source for illumination.
While the label 'plasma lamp' is being promoted by Robe to draw attention to their use of the LIFI lamp, it's likely to cause some confusion.
Every new medium presents its range of technical, cultural and aesthetic constraints and freedoms. The constant need to adapt and learn new skills is what has made it all so much fun.
Even though lighting for television is an insignificant portion of one of the more minor uses of energy, we have an unfortunately high public profile.
The RSC LightLock is a stabilizing device, which allows moving luminaires to be rigged on very lightweight hanging or flown structures such as those we use in many TV studios.
About 18 months ago the world’s media was buzzing with reports of politicians announcing proposals to “Ban the Lightbulb.”
My New Year's resolution is to stand up to the bullies who insist that television is just a cheap inferior-quality way of making film.
After struggling with the more complex mathematical aspects of the topic, I finally came to appreciate the beauty and simplicity of three phase wye-connected power distribution.
The television business is honeycombed with small clans of specialists who neither understand, nor particularly care about, what’s going on in the neighboring clan’s patch.
Lighting has come by accident to include responsibility for most of the visual material that now adorns production sets.
My proclivity for hanging about on Internet lighting discussion forums is not something that I'm ashamed of.
By all accounts in the technical literature and sales propaganda that crosses my desk, the 21st century is set to be the Wireless Age.
One of the great joys of working with complex equipment is the total unpredictability of the ways that it may choose not to work as expected.
I suppose that it's just another example of market forces at work, but still I'm troubled by the constant escalation of what are usually referred to as "production values" in the shows that we make.
Despite having been a part of the lighting scene for almost 20 years, the DMX512 control protocol still seems to be shrouded in mystery for far too many of its users.
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