Andy Ciddor

Building, configuring and troubleshooting Ethernet networks in a production environment is imperative as we migrate from traditional technology-specific data formats to commodity IT protocols.

About 18 months ago the world’s media was buzzing with reports of politicians announcing proposals to “Ban the Lightbulb.”

Lighting for electronic field production (EFP) must surely date from the first portable broadcast-quality video camera system: the Ampex VR-3000.

In the right hands, gobo projection from ellipsoidal reflector spots (ERS) can be a very powerful production tool.

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.

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.

The process of balancing a picture is neither straightforward nor intuitive.

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.

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.

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.

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.

I finally found the light source I was looking for when I stumbled across heavily diffused nine-light minibrutes (molefays) used in TV commercials.

By all accounts in the technical literature and sales propaganda that crosses my desk, the 21st century is set to be the Wireless Age.

Lighting has come by accident to include responsibility for most of the visual material that now adorns production sets.

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.

My proclivity for hanging about on Internet lighting discussion forums is not something that I'm ashamed of.