About the Book
Table of Contents:
ACKNOWLEDGEMENTS 1 DEVELOPMENT OF TV LIGHTING 1.0 Introduction, 1.1 History, 1.2 Cameras, 1.3 Lighting 2 STUDIO DESIGN ISSUES 2.1 Introduction, 2.2 Purpose of the Studio, 2.3 Size and Shape, 2.4 Height and Ceiling Usage, 2.5 Studio Floors and Flooring Materials, 2.6 Walls and Wall Coverings, 2.7 Acoustic Performance, 2.8 Access and Doorways, 2.9 Ventilation and Air Conditioning Systems, 2.10 Control Rooms and Technical Areas, 2.11 Other Facilities, 2.12 Scenery Facilities, 2.13 Cyclorama System and Curtains, 2.14 General Studio Planning Issues, 2.15 Fire Regulations, 2.16 Check List, 2.17 Conclusions 3 THE PLANNING STAGE 3.1 Introduction, 3.2 The Drawing, 3.3 Lighting Principles, 3.3.1 Reflection, 3.3.2 Refraction, 3.3.3 Colour Temperature, 3.3.4 Inverse Square Law, 3.3.5 TV Lighting Types, 3.3.5.1 Keylight, 3.3.5.2 Back Light, 3.3.5.3 Fill or Base Light, 3.3.6 Basic Lighting Principles, 3.4 Basic Suspension System Requirements, 3.5 Basic Dimming System Requirements, 3.6 Basic Electrical and Socket Outlet Requirements, 3.7 Basic Lighting Control Requirements, 3.8 Basic Data Network Requirements, 3.9 Cyclorama System, 3.10 Luminaire Selection, 3.10.1 Luminaire Stock for 75 Square Metre Studio, 3.10.2 Luminaire Stock for 56 Square Metre Studio, 3.10.3 Luminaire Stock for 80 Square Metre Virtual Reality Studio, 3.10.4 Luminaire Stock for 150 Square Metre Studio, 3.10.5 Luminaire Stock for 300 Square Metre Studio, 3.10.6 Luminaire Stock for 600 Square Metre Studio, 3.11 Air Conditioning, 3.12 Summary 4 SUSPENSION SYSTEMS 4.1 Introduction, 4.2 General Considerations, 4.3 Pipe Grids, 4.4 Track and Barrel Grids, 4.5 Motorised and Counterweight Bars, 4.5.1 Motorised Bars, 4.5.2 Motorised Lighting Hoists, 4.5.3 Self-Climbing Hoist Tender Specification, 4.5.3.1 General Considerations, 4.5.3.2 Suspension, 4.5.3.3 Electrical, 4.5.3.4 Safety Limits, 4.6 Motorised Telescopes, 4.6.1 Motorised Telescope Tender Specification, 4.6.1.1 General Considerations, 4.6.1.2 Suspension, 4.6.1.3 Electrical, 4.6.1.4 Safety Limits, 4.7 Pantographs, 4.7.1 Manual Pantographs, 4.7.2 Motorised Pantographs, 4.8 Lighting Trusses, 4.9 Control Systems for Motorised Suspensions, 4.10 Scenery Suspension, Summary 5 DIMMING SYSTEMS 5.1 Introduction, 5.2 General Dimmer Considerations, 5.3 Power Control Section, 5.4 Interference Suppression, 5.5 Acoustic Noise, 5.6 Dimmer Law, 5.7 Specification for TV Dimmers, 5.7.1 Electrical Requirements, 5.7.2 Operating Requirements, 5.8 Dimmer Sizes, 5.9 Heat Dissipation Considerations, 5.10 Electrical Power Requirements and Studio Design Light Levels, 5.10.1 Typical University or College Studio of 100m, 5.10.2 Small Broadcast Studio of 80m, 5.10.3 General Purpose Studio of 120m, 5.10.4 Mixed Purpose Studio of 250m, 5.10.5 Broadcast General Purpose Studio of 700m, 5.11 Types of Dimmer, 5.11.1 Portable Packs, 5.11.2 Distributed Dimmer Bars and Packs, 5.11.3 Flight Cased Dimmers, 5.11.4 Medium Density Hard Wired Cabinet Dimmers, 5.11.5 High Density Modular Dimmers 5.12 Ratings of Dimmers, 5.13 Design Considerations for Building a Dimmer Room, 5.14 Electrical Safety Aspects and Monitoring, 5.15 Dimmer Diagnostics and Fault Reporting, 5.16 Transistor Dimming, 5.17 Conclusions on Dimming Systems 6 LIGHTING CONTROL SYSTEMS 6.1 Introduction, 6.2 Brief History of Lighting Control, 6.3 Control Protocols, 6.4 Requirements for TV Lighting Control Systems 6.5 Simple Single Preset Manual Control, 6.6 Push Button Lighting Control, 6.7 Two Preset Manual Control Desks 6.8 Combination Consoles with Manual and Memory Facilities, 6.9 Integrated and Standard Memory Consoles, 6.10 Lighting Control System Tender Specifications, 6.10.1 Single Preset DMX Output Control Console, 6.10.2 Two Preset DMX Output Control Console, 6.10.3 Switchable Single and Two Preset Console with Memory Facilities, 6.10.4 Integrated Lighting Console, 6.11 Other Control Considerations 7 LUMINAIRES 7.1 Introduction, 7.2 Basic Lighting Instruments, 7.2.1 Fresnel, 7.2.1.1 Selection of a Fresnel Luminaire, 7.2.2 Tungsten Softlight, 7.2.2.1 Selection of a Tungsten Softlight, 7.2.3 Fluorescent Softlight, 7.2.4 Profile Luminaire 7.2.5 Followspot, 7.2.6 Cyclorama Light, 7.2.6.1 Top Cyc Units 1.25kW, 7.2.6.2 Groundrow Units 1.25kW, 7.2.7 Parcan, 7.2.8 Discharge and Other Sources, 7.2.8 Effects Units, 7.2.9 Accessories 8 ELECTRICAL SYSTEMS 8.1 Introduction, 8.2 Electrical Supplies, 8.3 Harmonic Distortion and Power Factor, 8.4 Electrical Protection and Distribution Boards, 8.5 Residual Current and Earth Leakage Issues, 8.6 Phasing Studio Electrical Installations, 8.7 Socket Outlets and Wallboxes, 8.8 Cable Sizes, 8.9 Earthing, 8.10 Geographic Layout, 8.11 Electrical Diversity, 8.12 Non Dimmed Supplies, 8.13 House and Working Lights, 8.14 Emergency Lighting, 9 NETWORK 9.1 Introduction, 9.2 Analogue Networks, 9.3 Introduction To Digital Networks, 9.4 Specific DMX Issues, 9.4.1 Brief Description of Structure of DMX Protocol, 9.4.2 Universes, 9.4.3 Transmitters, 9.4.4 Receivers, 9.4.5 Terminators, 9.4.6 Distribution Amplifiers, 9.4.7 Merge Units, 9.4.8 Multiplexer and Demultiplexer Units, 9.4.9 Protocol Converters, 9.4.10 Automatic Back-Up Devices, 9.5 Patch Bays, 9.6 Outlets and Locations, 9.6.1 DMX Inlets, 9.6.2 DMX Back-Up Devices, 9.6.3 DMX Outlets and Where to Locate Them, 9.6.4 DMX Outlets and Motorised Hoists and Telescopes, 9.6.5 DMX Universes, 9.7 Alternative Distribution Systems, 9.8 DMX and Cat 5 Cables, 9.9 Ethernet Networks, 9.9.1 Benefits and Drawbacks of Ethernet Systems, 9.9.2 Ethernet Cable Systems, 9.9.3 Planning the Ethernet Network, 9.9.3.1 Basic Network Rules, 9.9.3.2 Adherence to the Cable Length Restrictions, 9.9.4 Why Ethernet? 9.10 The Advanced Control Network 10 SUMMARY PHOTOGRAPHS AND ILLUSTRATIONS GLOSSARY
About the Author :
After completing a BSc degree in Electrical and Electronic Engineering Nick Mobsby joined BBC TV as an engineering graduate. Three years later he joined Stafford King Controls and designed and installed the fluorescent under-floor dimmable lighting system for the original production of Jesus Christ Superstar at the Palace Theatre London. In 1975 he joined forces with Derek Coe and founded Cosby Controls, later formed into Eurolight Ltd. These companies specialised in the supply and installation of complete lighting packages for theatres, TV studios and entertainment venues in general. Credits include Richmond Theatre lighting, sound and communications systems, lighting system for the Kongerparken 3000 seat amphitheatre in Norway, Ballroom and stage lighting system for the Equatorial Hotel Malaysia, cave lighting system for Wookey Hole Caves in Somerset, complete lighting and communications systems for a three venue complex in Sola, Norway, lighting system for Trondheim's Olavshallen Kulture House in Norway, lighting system for Jacksons Lane Community Centre, lighting system for Towngate Theatre Basildon, several lighting schemes for Madame Tussaud's in London, Rock Circus and Chessington World of Adventures, lighting scheme for Doncaster Dome, communications system for Lyceum Theatre Sheffield and many more. From 1980 until 1990 he was responsible for providing the lighting design and technical management for over 170 fashion, trade and commercial shows throughout the world working for such companies as Vauxhall Motors, British Clothing Export Council, Toshiba, Igedo Germany, Courtaulds Fabrics, Gregg and Bailey, Hong Kong Trade and Development Council, Save the Children Fund, Dupont, Avia, Gottex Swimwear, John Packer, BKSTS and others. In 1985 he was appointed managing director of Eurolight Ltd and was responsible for Eurolight acquiring Green Ginger Ltd and Lytemode Ltd. These ranges of products were then developed with memory consoles and wall mounted dimmer ranges. Eurolight also manufactured a number of products for other OEM manufacturers including control desks, ring intercom systems, stage management consoles and other bespoke items. In 1992 he joined LSI Projects as their projects manager and has been responsible for managing a considerable number of projects across the world. These have included major TV projects for RTM Malaysia, 20 projects for BBC TV including Studios TC6, TC8, TC9, Studio A Glasgow, News Centre studios in London, Edinburgh, Glasgow and Nottingham, a new lighting system for UAE TV in Dubai, three studio projects for RTE in Dublin, a complete new studio for Studio Drama in Stornoway and seven studios for Wharf Cable TV in Hong Kong. Theatre projects have included the new Malaysian National Theatre in Kuala Lumpur, Theatre Royal Hanley, Sherman Theatre Cardiff, Eden Court Theatre Inverness, Shanghai's new Grand Theatre where he undertook the complete lighting system design, Wembley Conference Centre, Macedonian, Olympian and Lazaristes Theatres in Thessoloniki Greece and Warwick Arts Centre. In addition, he has been responsible for a number of diverse projects such as the Sogo Department store in Taiwan, two schemes for Jerudong Theme Park in Brunei, the Hyatt Regency Casino in Greece and lighting for a chicken farm in Saudi Arabia! He still undertakes lighting design for commercial events. Current projects include the stage engineering, sound and lighting systems for the for the Al Raha Theatre in Abu Dhabi, a new DMX and Cat 5 network for BBC TV's Top of the Pop's studio at Elstree, a 160 motorised telescope system for RTE TV in Dublin, a complete lighting system for the new Thessoloniki Concert Hall and a new lighting system for BBC Studio TC10. Nick Mobsby regularly makes presentations on lighting systems for theatres and TV studios and is currently writing two books on the subject for Entertainment Technology Press.
Review :
Nick Mobsby is a well practised and experienced engineer in matters of TV lighting and related issues, having been involved in the business since the mid-70s. This is a hefty book, detailing all aspects of TV lighting likely to be encountered by any practitioner, and judging by its list of sources, it can be pretty much considered an authority on the subject. Whilst mainly concerned with the engineering techniques and practicalities of equipping and operating a studio lighting system, the book's strong historical perspective provides a useful context for current practices. The first half of the book also gives a history on the invention and progress of television in the early years, as well as an explanation of how cameras and light interact. The reader is then taken through the process of designing the studio, looking at the requirements of the empty space and the equipment needed. Moving on from this stage, there follows a detailed chapter on planning the installation, starting with the principles of lighting and the art of lighting a space and people for camera, before investigating the required infrastructure (fixtures, power supplies, data and so on). Being studio-based, there is a good coverage of suspension systems such as grids, trusses and pantographs, as well as dimming systems, their types, characteristics and requirements. No such book would be complete without good coverage of the electrical requirements, and there is plenty of well-written explanation on aspects such as diversity, phasing. earthing and also related areas such as house, working and emergency lights. Finally, there are two chapters looking at lighting control systems and data networking: including the latest trends in Ethernet-based control. The book is copiously illustrated and also contains suitable equipment tender specifications for various items of equipment, and is recommended for anyone involved in lighting installations, not only for TV. Lighting and Sound International magazine, Nov 2002
