Preface
Lighting practices for film and television production have undergone many transformations since the summer of 1991, when I first began making notes for what eventually became the first edition of this book. At that time, the conversion from vintage DC distribution equipment to AC was still taking place. Lots of different distribution systems had popped up; there was no dominant standard for connectors and junction boxes. SCR dimmers were suddenly becoming a big part of motion picture lighting for the first time, bringing with them the attendant issues of harmonic currents. Electronic HMI ballasts were new to our industry and were pretty shaky at first. It took a few years of burning out different parts of the ballast before manufacturers ...
