Andy Ciddor

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.

It seems that the world is conspiring against the traditional keylight.

Stereoscopy involves creating, capturing, transporting, routing, storing, and displaying exactly twice as much image information.

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.

Although widely employed in drama and music production, the complexity of using atmospheric effects in television is not something to be sneezed (or coughed) at.

Now that high definition television is finally a reality, the fun really begins, as we decide what to do with all of those extra, digitally defined pixels.

Lighting for television is a field of endeavor that has failed to capture the imagination of most book publishers.

There are a formidable variety of correction filters available to aid us in the battle of the color temperature.

Every day we are forced to pick a winner in the color temperature battle that rages all around us .

almost every production represents an opportunity for its production team to continually refine its vision, no matter how imperceptibly.

Having now made all my excuses and safely covered myself against any future accusations of lack of foresight, there are some trends for changes in our business that are worth noting.

If there is any one aspect of lighting technology that has progressed most rapidly in the last half-dozen years, it would have to be our ability to include projected images in our productions.

There is hardly an area of rainforest anywhere in the world that doesn't have a production crew lurking somewhere within it.

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.

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

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.

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