BRIDGEVILL, Pa.—Sinclair Broadcasting station WTOV has transformed their studio into a digitally enhanced broadcast center that delivers live news programming through a variety of electronic and color-changing backgrounds.

Sinclair’s Eric Castagne, assistant director of television production at Sinclair, took the lead designing the electronic sets, with support from director of television production, Mark Nadeau.

Castagne, along with Nadeau, created three distinct sets, including a dedicated green screen area. Two studio walls with interactive LED backgrounds sit behind the news anchors, positioned at a 90-degree angle from each other. A new main anchor desk; an interview set; and a chroma key/sports broadcast area round out the improvements. The LED walls are lit for full walk-and-talk ability, enhancing their high-end, immersive look.

With the upgrade, WTOV is now lit with a combination of new Brightline LED fixtures and LED upgrades to its original SeriesONE fluorescent fixtures, complemented by highlights from Brightline Pup fresnels, mounted throughout the studio. The result creates an exciting canvas of future programming opportunities for WTOV.

WTOV serves the Wheeling, West Virginia and Steubenville, Ohio market as an affiliate of NBC and Fox.

The WTOV equipment list for the sets includes:

• LED Retrofit kit for Brightline S1.2 & S1.4 fluorescent fixtures (24x)
• Minnow 55W LED Profile Spotlight (10x)
• Lupo DayLED 650 60W Fresnel (3x)
• Lupo DayLED 1000 110W Fresnel (11x)
• Pup 55W Fresnel (10x)
• ETC ColorSource lighting control console (1x)

NEW YORK—BrightLine, a provider of interactive, and shoppable CTV ads, and the ad tech platform TripleLift have announced that they have planning to offer premium interactive CTV ad inventory through multi-publisher and PMP deals.

The two companies said that the effort will allow advertisers and agencies to easily launch interactive campaigns across top-tier publishers.

“As we advance programmatic delivery of interactive formats, partnering with TripleLift was a natural choice, given their proven success in programmatically selling high-impact creative across web and mobile,” said Rob Aksman, president of BrightLine. “Their strong focus on expanding into CTV programmatic was particularly compelling to us.”

BrightLine and TripleLift said the marketplace for interactive CTV advertising will improve how interactive CTV messaging is delivered. It will offer advertisers access to inventory ranging from FAST channels to premium live sports across streamers that are BrightLine-enabled, such as The Roku Channel, Samsung TV Plus, FuboTV, Sling, Vizio WatchFree+, and many more. This curated approach ensures advertisers can run consistent, engaging campaigns across multiple platforms at once with the same high-quality interactive ad formats, the companies reported.

That means advertisers and agencies will be able to access BrightLine’s interactive ad formats, from trivia and polls to shoppable overlays, to create campaigns tailored to CTV audiences across various platforms.

“BrightLine is the ideal partner as TripleLift continues to scale high-impact CTV ad experiences and grow our creative CTV offering,” said Andrew King, General Manager, CTV, TripleLift. “With premium curated inventory and innovative interactive formats, we’re empowering advertisers to unlock scale and drive meaningful engagement in a new and simplified way.”

LINCOLN, Ne.—Nebraska Public Media has overhauled its Ron Hull Studio, a 100-by-60-foot space on the campus of the University of Nebraska here, that saw a complete revamp of studio’s light rig and lighting system.

Built in 1968 and commissioned in 1970, the studio’s original rigging design with 109 motorized lighting battens was an engineering marvel more typical of major media hubs like Los Angeles and New York City than the Midwest.

While the original lighting system, designed for incandescent loads, was revised over the years, it was clear that a more comprehensive retrofit was necessary to meet the demands of modern production. Nebraska Public Media’s Doug Carlson, former director of production services, and Nancy Finken, chief content officer, recognized the studio needed a full overhaul. Carlson came out of retirement to help manage the project.

The new design had to retain the flexibility that made the original studio so versatile while incorporating the latest rigging technology. One of the country’s top lighting designers, Norman Russell, principal consultant and lighting group leader for NV5, served as consultant designer for the project. Russell designed the rigging and lighting systems with design and engineering support by NV5 senior lighting designer Steve Cooper.

"The original rigging system, while a marvel in its time, didn’t fit their current and future needs,” said Russell. “We created a design that preserved the studio’s incredible flexibility while anticipating the challenges of the next few decades.”

All of the lights were taken down, the pipes lowered and the old motors and rigging systems removed. Rows of package hoists, each about 12- to 14-feet wide, were installed along the studio’s 100-foot length, with three hoists per row, arranged in 20 rows. This setup provided ample support for lighting fixtures, scenic elements and other production equipment, which a wide range of configurations available depending on the needs of the production. In total, 60 new hoists were installed, Brightline, which supplied the fixtures, said.

While the rigging system forms the bones of the studio, lighting design is crucial in creating the new look. The studio’s lighting system upgrade marked a significant shift from the old dimmer-per-circuit system to a state-of-the-art network driver system with LED fixtures, it said.

Each LED fixture in the network is equipped with its own driver—a small electronic device that controls the output of the LED from zero to 100%. A Local Area Network was installed to distribute DMX control signals to all luminaire mounting positions to address drivers, it said.

Lighting designers can now place fixtures wherever they like and adjust settings with precision, dialing in the exact intensity, color, and beam angle required for each shot. This level of control is especially important in a studio like this one, where different productions have their own unique lighting requirements. Lighting designer/director Chris Boyd installed the fixtures and programmed the lighting’s DMX controllers, alongside Lighting Designer Erik Rodgers.

“The Ron Hull Studio hosts about a dozen different productions with multiple sets,” said Boyd. “Some are weekly, some seasonal, but they each have a slightly different look. But each production needs to say Nebraska Public Media while retaining its own character. Now, we have so many fixtures, angles and options for producers. With the new lighting and rigging we’ve employed, they can achieve a wide range of lighting effects that were not possible before.”

The public broadcaster brought in Brightline, a top name in the lighting business. Brightline’s Series One L1.4 and L1.2 LED studio fixtures were key in the new lighting system. Russell described them as superior “directional soft lights. It’s not at all your typical directional light. They don’t create a real sharp edge. Typically, you put a profile spot on the subject, and boom, you’ve got a big drop shadow. It can be hard to get rid of that edge. But with a soft light with a soft edge like the L1.4 and L1.2’s, you can accomplish a long throw without that hard edge--even with an intense amount of light. Adding an intensifier with a narrow angle, you get a nice, tight field that’s very bright but still has a soft edge. For my money, Brightline provides the best studio lighting for TV available today.”

Brightline Mako and Minnow profile spotlights and Lupo Fresnels are also included in the lighting redesign. “They offer a comprehensive package,” said Russell. “And all the fixtures are very competitive in terms of cost and performance. Sometimes there could be several luminaires listed on a job. But with all your gear coming from one source, communication is so much simpler. I really appreciate that Brightline has an array of luminaires.”

Devlin Design Group (DDG) did a major overhaul of the studio’s set design. DDG worked closely with Nebraska Public Media’s producers and Brightline to create a set that could accommodate an exciting range of productions.

IES Commercial & Industrial served as general contractor, and Heartland Scenic Studios provided demolition, removal and installation services.

Lighting updates included:

• Brightline L1.2X variable white with DMX control (6x) 
• Brightline L1.4 variable white with DMX control (57x)
• Mako/2 variable white profile spotlight with DMX control (31x)
• Minnow/2 variable white profile spotlight with DMX control (15x)
• Mako/5 RGBAL profile spotlight with DMX control (10x)
• Lupo 650 DMX variable white Fresnel (8)
• Lupo 1000 DMX variable white Fresnel (33)
• Lupo 2000 DMX variable white Fresnel 
• Flex-T1 with DMX control (14x)

More information is available on the Brightline, NV5, Heartland Scenic Studios, IES Commercial & Industrial and Devlin Design Group websites.

HOUSTON—KTRK-TV, the ABC O&O here, added to its Brightline lighting lineup in June with new L1.2 and L1.4 fixtures under DMX control in its Studio B. 

In late June, KTRK added the new Brightline complement and DMX control in Studio B. The station was eager to add functionality to Studio B, including expanding its chromakey capability to enable virtual set production. A large chromakey corner, lit by Brightline, is the start of a complete upgrade. Plans include an interview set and possibly a talent stand-up area, it said.

The Studio B lighting updates include:

• Brightline L1.2X variable white with DMX control (2x)
• Brightline L1.4 variable white with DMX control (17x)
• Wide control screens on back lights
• Fixture mounted intensifiers on front lights
• ETC Element console

Lighting designer/director Chris Boyd installed the fixtures. Rob Kreps with Barbizon Lighting Company programmed the DMX console based on settings supplied by Boyd.

“Thanks to the daisy-chain ability of the Brightline fixtures, we only used three 20A relay circuits to power the entire rig. Control was provided by DMX cable from an ETC Element console,” said Boyd. “The set was lit to 3200k tungsten but can go up to 5600k daylight when needed.”

The station, a long-time Brightline customer, with more than 60 Brightline fixtures in its Bissonnet St. last year purchased 37 Brightline L1.2 variable white fixtures, eight L1.4 fixtures, and five Brightline Lupo fresnels to replace existing fluorescent soft fixtures and augment its LED fresnel inventory in the main news studio, the company said.

“KTRK has always been a true partner with Brightline,” said Kathy Katz, managing partner at Brightline. “We’ve worked closely with them for several years and look forward to many more. They truly understand the transformative power of great broadcast lighting.”

More information is available on the company’s website.

Missed any of our product news this week? Here is our new weekly wrap-up of new products, services and deployments we published in our newsletter between June 24 and June 28. The stories are listed from the newest on Friday June 28, day by day back to our stories from Monday June 24..

Nest Productions, MiB Partner On New Production Insurance Program

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Globecast, Blacon Media To Collaborate On U.S. Election Coverage

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Fubo Launches on Xfinity Flex, Xumo Stream Box and Xumo TV

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Dalet Completes AWS Foundational Technical Review for Dalet Pyramid Cloud-Native News 

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T-Mobile Remains Top Ranked for 5G Speeds

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Amagi Strengthens its European Presence with New Office in Poland

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HOT Telecommunications Reduces Errors, Plans For Future With OOONA QA Manager

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Peacock to Use AI-Generated Al Michaels' Voice for Recaps of Olympic Games

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EMG / Gravity Media Deploys Remote Video Workflow For Netball

EMG / Gravity Media has developed a remote video production workflow for coverage of Netball, a sport played by more than a half million worldwide with some similarities to basketball.

Drei TV Turns To ATEME For OTT Video Compression, Management

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DAZN Group, Exports World Cup Foundation Strike Coverage Deal

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Amagi Showcases New Streaming Technology on Vizio

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Dish Launches New TV Bundle with Free Netflix

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Meptik Releases Turnkey ‘Studio in a Box’ for Virtual Production

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Akta Integrates Google Cloud Gemini AI Models

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Hyperlocal Streaming Service Zeam Expands Channel Roster

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Avid Unveils Avid Huddle SaaS Content Review, Approvals Solution

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Cineverse Taps XL8 to Enhance Captioning, Localization

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Bitcentral Unveils Fusion Gateway for AI-Powered Media Asset Management

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Accedo, Qualcomm and HBS Form XR Sports Alliance

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Wowza to Work with AWS and AMD for High-Efficiency Streaming

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KBTC Upgrades Studio Lighting with Brightline Soft Lights

The public TV station KBTC has redesigned and upgraded its lighting design with Brightline soft lights. A legacy Kliegl lighting/dimming system was repurposed, adding the ability to route non-dimming power to new solid-state soft lights from Brightline Lighting.

Imagine Upgrades Ad Management Platform xG Linear with New Features

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Canada’s Global News Upgrades to Calrec’s Type R IP Consoles

Global News, a leading news network in Canada, has integrated Calrec's Type R consoles into its facilities in Calgary, Edmonton, and Vancouver.

Lionsgate Selects Amagi for FAST Playout and Delivery

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Paul Bunyan Communications Chooses Witbe Monitoring Technology

U.S. rural all-fiber-optic network provider Paul Bunyan Communications has selected Witbe’s proactive monitoring technology to monitor channels remotely that run on its PBTV set-top boxes (STBs) and ensure customers across multiple states receive a high quality of experience (QoE).

Hiltron Reports Growing Demand for Ground Antenna Refurbishment

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CommScope Updates E6000 Converged Edge Router

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Comcast Business, Elon Musk’s Starlink Ink Deal to Provide Connectivity to Businesses

Comcast Business has announced an agreement with Elon Musk’s Starlink, a major provider of Low Earth Orbit (LEO) satellite technology, to provide connectivity solutions to Comcast Business enterprise customers.

IBC Show to Focus on AI, Shifting M&E Business Models, Sports

In a press conference, IBC organizers previewed the upcoming 2024 IBC Show, taking place Sept 13-16 at the RAI Amsterdam, with a focus on how AI is impacting media and entertainment as well as an examination of how evolving business models are transforming the way media companies use technology to inform and entertain.

BRIDGEVILLE, Pa.—The public TV station KBTC has redesigned and upgraded its lighting design with Brightline soft lights. 

The Puget Sound, Tacoma, Washington PBS affiliate, KBTC-TV, operates as a public television station through Bate’s Technical College and reaches a vast audience of 4.3 million from southwest Washington through southern British Columbia.

With the multiple-award-winning “Northwest Now” (a weekly public affairs program) and fundraising events shot in their Tacoma studio, the station needed an update to its on-set incandescent and fluorescent lighting. KBTC has a main and a secondary set plus two areas for stand-up coverage. 

To handle the upgrade, the station called in noted lighting director Bruce Aleksander and TV Tech columnist to develop an improved lighting design for the facility that efficiently used the existing electrical distribution system while replacing its 1970’s era dimming system.

Aleksander’s lighting design made the most of KBTC’s current assets with only cost-effective upgrades. 

“Every dollar that was spent on this project can be seen on the set and guests,” he explains. “By making the most of the existing electrical infrastructure we saved a lot of time and money. Once I examined the existing distribution, I picked the easiest path to achieve the station’s goals. The goal is to provide beautiful lighting that will present the station’s hosts and guests in the best lighting possible. Once I understand what the client needs, then I can envision the look that will best suit those needs. After that, I can work out what equipment will be needed to create the look I envisioned.”

A Kliegl lighting/dimming system was repurposed, adding the ability to route non-dimming power to new solid-state soft lights from Brightline Lighting. The station replaced existing fixtures with two dozen Brightline L1.2 and L1.4 studio soft lights and one dozen Lupo DayLED 1000 and 2000 Fresnels. The legacy dimmers and control system were replaced with an ETC lighting console and DMX-512 lighting control protocol. Plug adapters were easily added to utilize the existing electrical distribution system.

“Brightline fixtures are simply the best ‘soft’ lights in the industry,” continues Aleksander. “And the ability to use available accessories for a control of a soft light makes this a unique system.”

The Brightline soft light’s adjustable color temperature enabled the design team to light at 4400K (Kelvin) - a more neutral color temperature well suited for rendering skin tones. That color temperature is also close to the native color temperature of KBTC’s existing video displays on set, ensuring a consistent look and allowing the station to keep more of their legacy equipment.

Another cost savings in Aleksander’s redesign is the subsequent power reduction. The new LED fixtures use 1/5 th the power of what the previous incandescent lights used. “This is not only a direct savings of energy it takes to light the set, but also a major reduction in the energy it takes to cool the studio,” Kathy Katz, Co-Founding Partner, Brightline explains. “Many studios find that the energy savings alone provide a return on investment in as little as two and a half years. As is the case with LEDs vs. incandescents, there are no lamps to change over the lifetime of the fixtures. At a time when we’re looking to reduce our CO2 emissions, this represents a significant contribution toward addressing climate change.”

“We couldn’t be happier with the end result,” added Steve Newsom, director of engineering, at KBTC. “With this redesign, not only is the video quality of our productions vastly improved but we’re doing it in a way that worked within our budget and will ultimately reduce our operating costs. It’s a win-win for everyone at KBTC.”

NEW YORK—BrightLine has announced the launch of StreamLine, the self-service, automated tool for clients to design, build, and publish interactive and dynamic ad experiences across all leading streaming platforms.

StreamLine is the first of several new, automated self-service tools BrightLine will be launching throughout 2024 to make interactive and dynamic ad experiences accessible to all CTV advertisers, the company said. 

By automating the process of developing platform-specific creative assets, StreamLine will allow advertisers to instantly scale across BrightLine’s industry leading advanced TV footprint, BrightLine reported. 

“We didn’t want to reinvent the wheel with StreamLine and thus set out to architect something that fits within existing creative workflows. Our approach, developing a plug-in for Adobe Photoshop, allows creatives to work within a well-known design software, versus having to learn a new web-based system,” said Brian Baldwin, BrightLine’s head of product.  “The accompanying portal for uploading and seeing ads function in real-time will dramatically improve the design and process, thus cutting down lead times as well.”

Because BrightLine’s ad units have already been adopted by all major U.S. streaming platforms, StreamLine allows for partners to design and build their own interactive ad experiences from a single, centralized portal. This one-step solution unifies the fragmented, platform-specific ecosystem so that creative can be instantly scaled to meet demand across the entire marketplace.

In addition, StreamLine will allow media partners to be entirely self-sufficient in the deployment of an array of formats, including in-stream interactive, expandable, dynamic, and transaction-enabled units that can be run in both on-demand and live streaming environments, the company said. 

“Brands are increasingly feeling the pressure to capitalize on the burgeoning streaming TV landscape while maximizing the value of every impression. This trend is fueling the demand for our data-driven, interactive, and dynamic advertising formats, which deliver a more impactful advertising experience," said Jason McGowan, vice president of engineering at BrightLine. “These new automated design tools come at the perfect time to support surging demand and scale, both here and abroad.” 

StreamLine is already in use via streamers in Latin America, India, Australia, and others to be announced shortly. For more information on BrightLine, please visit www.brightline.tv.  

LOS ANGELES—Allen Media Group (AMG) has launched an instream “Frame” ad for advertisers on its The Weather Channel, Local Now and HBCU Go connected TV (CTV) apps.

Brightline streaming ad technology powers the new Frame ad experience. The Frame ad unit squeezes back programming to make space for branded content, logos, interactivity and shoppable moments while programming continues.

The ad units seamlessly integrate into programming, allowing for L-frame ad creative to appear without the need for traditional ad pods. This keeps viewers immersed in programming while allowing brands to reinforce messaging in revolutionary new ways, Brightline said.

AMG’s CTV ad experiences enable high engagement and non-disruptive formats, offering advertisers opportunities to reach audiences during live and on-demand programming without interrupting the viewing experience, the company said.

The launch of Frame within the AMG’s CTV HBCU Go app provides a path for new ad formats to reach specialized programming focused exclusively on targeted sports, entertainment and news content, it said.

AMG now features Frame as part of its upfront partnerships, offering brands a new ad opportunity beyond traditional ad pods. It also expands possibilities for new kinds of interactive and shoppable ad experiences tailored to viewers and programming content, Brightline said.

For advertisers, this means invasive ad interruptions during critical programming are no longer the only alternative—a welcome change for viewers, particularly for those watching live events, such as sports and weather coverage, it said.

“Frame ads not only reinforce brand messaging but also provide opportunities for interactivity and highlight shoppable moments within programming,” said Byron Allen, Founder/Chairman/CEO of Allen Media Group. 

 More information is available on the company’s website. 

WASHINGTON D.C.—WJLA, Sinclair Broadcast Group’s flagship TV station in the nation’s capital, has revamped its Studio A news studio with lighting solutions from Brightline.

The project is the latest in a line of more than 100 such renovations at various Sinclair stations around the country involving the broadcaster and the company, Brightline said.

“Everything we learn from previous stations carries into the next,” said Sam Cercone, managing partner at Brightline. “It’s a very fluid way of working, with each station redesign further fine-tuning [the] approach. I’ve learned and enjoyed so much working with my colleagues at Sinclair. The latest evidence is our work at WJLA, of which we’re extremely proud.”

The WJLA studio redesign was sweeping. The station deployed a full Brightline fixture package. The news set is the new home for “7News,” “Good Morning Washington” and “Fed Government Today.”

In addition to the new Brightline lighting system, LED monitors weave in and around key areas of the set. The news desk has a digital screen displaying the 7News logo, while two pillars on each side of the desk serve as video walls with a curved panel behind the anchors. The setup also relies on XYZ axis pedestals and robotic cameras, Brightline said.

Sinclair handled everything from concept through installation, including the scenic design, resulting in a control and efficient consistency that contributed to the project’s success, Brightline said.

More information is available on the company’s website.

Sinclair has posted a time-lapse video of the renovation on YouTube.

BAKERSFIELD, Calif.—KERO-TV, the E.W. Scripps station here, has upgraded its studio lighting with a full Brightline system, bringing to more than 12 the number of its stations that have upgraded or replaced their Brightline fixtures.

“Scripps has a storied history in journalism and cable and is well regarded for its latest multi-platform initiatives,” says Sam Cercone, managing partner at Brightline. “Widely known for pioneering new technologies, the expansive lighting upgrades underway throughout the group further solidify its position as a broadcast innovator.”

From Nashville and Cincinnati to Denver and Tampa, Brightline relights underscore Scripps’ commitment to sustainable technologies throughout all its endeavors. Scripps has added a variety Brightline products, ranging from its all-in-one retrofit kit to turnkey lighting upgrades, the company said.

With turnkey packages that provide lighting for all aspects of the studio with wired or wireless DMX control, Brightline systems deliver improved performance, richer color saturation (97 CRI with 5600K), and a scalable approach to upgrading studios, it said.

Converting stations in Billings and Bozeman, Mont., Boise, Idaho, Buffalo, N.Y., Lexington, Ky., Milwaukee, Omaha, Neb., and West Palm Beach, Fla., a team of skilled Brightline lighting directors have assisted local facilities with their installations, it said. 

Chris Boyd, lighting director on the recent KERO-TV project, will next tackle KMGH-TV in Denver, supervising the station’s turnkey Brightline lighting conversion, due to be done in time for a March on-air rollout.

More information is available on the company’s website.

NEW YORK—Samsung Ads has announced that it is working with Brightline to expand its inventory of actionable and dynamic video ad inventory.

The partnership with BrightLine, which offers a platform for advanced connected TV ad experiences, will allow Samsung Ads to sell a suite of products for interactive ads beyond the existing QR coded and shoppable OLV inventory. 

BrightLine’s new dynamic ad units allow for live and personalized ads, the addition of scrollable branded carousels, on screen polls, and trivia experiences that provide viewers with opportunities to engage and take action directly from their TV screen, the companies said. 

"CTV advertising has been about delivering the solutions brands need to achieve measurable results. Today, we’ve evolved to a point where CTV is now capable of delivering results beyond simply reach and awareness," said Michael Scott, Vice President of Ad Sales & Operations, Samsung Ads. "With BrightLine’s advanced capabilities, advertisers are now able to engage consumers in a real-time dialog and exchange for the first time on Samsung Smart TVs, opening a whole new world of possibilities for brands.”

BrightLine’s proprietary, TV-first interactive ad suite plugs seamlessly into Samsung’s user interface and smart TV operating system. This integration of BrightLine’s array of interactive and dynamic ad formats into Samsung Ads’ inventory mix allows Samsung Ads to offer the most sophisticated interactive solutions and compliments the Company’s listing lineup of in-stream, native, and cross platform ads, the companies said. 

"BrightLine is helping partners like Samsung Ads deliver on the promise and potential of truly dynamic CTV ad experiences,” said Mike Bologna, BrightLine’s chief accelerator. “Now that Smart TVs have become so much more than just a vehicle for video consumption, these new ad units provide opportunities for audiences to engage and take action directly from their screen, complementing the rich Samsung connected ecosystem.”

For more information on Samsung Ads' partnership with BrightLine and their expanding actionable and dynamic video ad inventory, visit: www.samsung.com/us/business/samsungads/.

NEW YORK—As advertisers look for new ways to reach consumers with CTV advertising, BrightLine has launched Proteus Experience Engine, a new tech offering that allows streamers to overlay dynamic, interactive, and shoppable moments within shows, films, and sports content outside of traditional ad pods. 

The company also announced that some streaming service providers have already bought into the idea. Launch partners for Proteus XE are Allen Media Group’s The Weather Channel TV app and its Local Now free-streaming app.

BrightLine is pitching the Proteus XE technology as a way for streaming platforms to  revolutionize the advertising experience by seamlessly integrating dynamic, interactive, and shoppable moments directly within content, breaking away from the limitations of traditional ad pods. 

This allows streamers and advertisers to create new and engaging CTV ad experiences beyond those powered by BrightLine's OTT Accelerator suite, the company said. 

“From day one, our mission has been to transform the viewing experience by incorporating advertising that leverages the full potential of new viewing technologies,” said BrightLine president & co-founder, Rob Aksman. “We recognize that ad revenue plays a crucial role in funding diverse and captivating programming, as creating exceptional content often requires substantial budgets. With Proteus XE, streamers now have innovative avenues to engage audiences through interactive and sponsorable enhancements.” 

“By breaking free from the limitations of the traditional ad pod, we have a remarkable opportunity to help agencies and advertisers engage and cater to viewers in ways that align with their viewing preferences,” added Michael Bologna, BrightLine chief accelerator. “Data shows that consumers love to be engaged on their favorite topics and content, which makes our extension into programming itself a huge opportunity. The ability to allow viewers to engage with the content on screen or submit votes during reality and sports programming will revolutionize what’s possible for brands and networks.”

BRIDGEVILLE, Pa.— WCIV, the Sinclair-owned ABC affiliate in Charleston, S.C, recently tapped Brightline to provide a complete studio lighting package for its studio rebuild.

Mark Nadeau, Director of TV Production and Eric Castagne, Assistant Director of TV Production for Sinclair Broadcasting Group, successfully completed the project design and execution of the extensive WCIV studio rebuild.

“Projects of this scope are personally the most rewarding,” said Nadeau. “Pulling together all the elements helps create a fresh visual identification for the station. It’s more than just the WOW factor a new On-Air look brings. The continuity and flexibility of the broadcast presentation can increase audience engagement of a specific show.”

The project entailed the integration of several large components:

• New floor surface
• Design of set and lighting plan
• Construction of multiple set areas with internal color changing
• Large, high-resolution LED screens and video displays
• Lighting and control system

“With large, dynamic LED screens like we have at WCIV,” added Nadeau, “you need lighting that will easily balance between flesh tones, set color and the LED wall. Being able to set up lighting from the start exactly as we need has made it easier to produce a balanced, consistent look. With lighting being such a major part of the project, partnering with Brightline is always a win.”

The Brightline complement used throughout the WCIV studio lights an expansive set that showcases locally originated shows. The main set features a large LED wall with stand-up positions for anchors, a weather center, and a key wall. The multi-purpose set on the opposite side of the studio will host guest interviews, special programming, and cooking segments with color-changing, rear illuminated RGBW walls capable of preset transitions for day to nighttime.

The Brightline system consists of LED upgrades to WCIV’s legacy fluorescent fixtures, SeriesONE studio fixtures for soft light in each set area, Mako and Minnow profile spotlights, and Lupo fresnels providing hard light.

This marks the third time Sam Cercone, Managing Partner, Brightline has provided lighting to WCIV. His first installation was in its original building just after Hurricane Hugo flooded the station in 1989, followed by a new fluorescent conversion in the existing building, then the latest upgrade to variable white LED fixtures.

“Visiting the studio numerous times over decades, the importance of integrated component longevity becomes obvious,” said Cercone. “That points to the popularity of our LED upgrade kit. The upgraded fluorescent lights were amortized years ago, but now that equipment has new life. Augmenting the freshly retrofitted lights with new fixtures for expansion provided WCIV a cost-effective solution.”

Cercone said Brightline builds its product lines around silent, convection cooled designs. With no moving parts, the fixtures’ continual use is extended dramatically. Many Brightline studio fixtures have operated daily for +20 years, with a future that’s greatly extended thanks to this most recent redesign.

BRIDGEVILLE, Penn.—Brightline has introduced a new Mako and Minnow LED spotlight series for applications in broadcast and production studios as well as mid-sized and large presentation rooms.

The profile spotlight LEDs offer noise-free, fanless conduction cooling and are available in a tunable Variable White and RGBW (Red, Green, Blue and White) versions.

The Mako spotlight uses interchangeable prime lenses and is designed for longer throws within large rooms or studios. The Minnow covers a shorter throw and is well-suited for key and accent light applications. Minnows have a compact zoom lens, enabling precise and continual adjustment to create the desired beam size, the company said.

“This new family of fixtures provides lighting designers with a new tool set that fits hand in glove with the rest of our product line,” said Kathy Katz, co-founder of Brightline. “The Mako and Minnow can be used as variable white spots, as well as color changing effects.”

Both fixtures are conduction cooled. With conduction cooling, heat is transferred from the COB (Chip On Board) LED to the heat sink and then to the mass of the fixture, it said.

“We build all of our product lines around fanless designs,” said Katz. “When a fixture has no moving parts, its continual use is extended dramatically, which is the case with many of our studio fixtures that continue to operate after 20-plus years of daily use.”

The Mako and Minnow series feature a variable white LED (3200K-6000K) and 95+ CRI tunable white chip. Tunable white applications provide independent color temperature control. The Mako and Minnow RGBW models provide full color spectrum performance and feature a 4-in-1 LED RGBW for the brightest output and the boldest color rendering, it said.

Both lights are available for immediate shipping.

More information is available on the company’s website.

BRIDGEVILLE, Pa.—Brightline has unveiled a new all-in-one retrofit package to upgrade its existing S1.2 and S1.4 fluorescent fixtures to LED lighting, offering extended fixture life, maintenance savings and lower energy usage. 

The simple design of the do-it-yourself (DIY) kit makes it possible to upgrade the fixtures in minutes. The kit costs 25% of the purchase price of a new LED fixture, and Brightline has announced a disposal program for old fixtures, offering a $75 refund for each, the company said.

“Brightline’s LED upgrade solution helps fulfill our core principle of providing the best economic and technical solutions to our partners, with minimal impact on the growing energy demands of our global environment,” said Brightline co-founder Kathy Katz. “Upgrading to LED brings with it a full spectrum of benefits including reduced energy consumption, extended lifetime, lower operations and maintenance costs and enhanced aesthetics. Brightline is proud to offer this kit which enables our video lighting partners to easily make the move to LED.”

The DIY kit contains everything needed to upgrade Brightline fluorescent fixtures, regardless of age, type of dimming or control. The kit offers everything needed for the upgrade and includes a new fixture, back, front cartridge, diffusion, mounting bracket and all necessary screws, the company said.

The upgraded LED fixtures deliver improved performance with a richer color saturation of 97 CRI (color rendering index) at 5600 K color temperature. Onboard dimming control is standard, and users can continue to use existing accessories, such as a mounting yoke and hardware, power and DMX cables with passthrough connectors, light intensifier and control screen, it said.

Brightline has released a video offering step-by-step guidance to upgrade fixtures with the kits.

More information is on the company’s website.

BRIDGEVILLE, Pa.—Joey Clayton has joined video lighting systems provider Brightline as sales operations manager.

Working from the company’s Bridgeville, Pa., headquarters, Clayton will be responsible for organizing order logistics and post-order customer communications. Erin Nath, who formerly held the position, has been promoted to AV account manager, Brightline said.

Clayton spent more than seven years at West Penn Wire, most recently as insides sales manager. Prior to that, she served for three years as general manager of sales and staffing at Commercial Employees, the company said.

“Joey has a diverse background in sales and support, which provides a strong foundation in several of the vertical markets we serve,” said Kathy Katz, Brightline managing partner. “She also has a knack for business development, so we expect she’ll not only support our sales staff and our customers, but enhance our sales efforts as well. She’s a great fit for Brightline and we’re happy to welcome her to the team.”

More information is available on the company’s website. 

BRIDGEVILLE, Penn.—Brightline, a leading manufacturer of video lighting systems and distributor of Lupo lighting fixtures in the United States, has announced that it has started shipping the new Dayled 1000 and 2000 Dual Color PRO LED Fresnels. 

Designed for studio and location shoots, the new models expand Lupo’s Dayled product line. They offer variable color temperature and built-in DMX, and can be powered with mains or batteries, the company said. 

“With variable color temperature as well as features for studio and location applications, Lupo’s new Dayled Fresnels provide a great deal of lighting flexibility,” explained Kathy Katz, Brightline managing partner. “When coupled with Brightline’s LED SeriesONE studio fixtures and our BL.16 long-throw LED spotlights, these new fixtures allow us to provide our customers with complete broadcast studio lighting solutions.” 

With COB LEDs and exclusive True Color Technology, the new Dual Color PRO fixtures have a high CRI rating of 97. Both models provide variable color temperature from warm tungsten (2800K) to bright daylight (6500). The 1000 is equipped with a 110W single LED array that delivers 1000W output (tungsten equivalent), while the 2000 includes a 220W single LED array that delivers 2000W output.

A control panel with integrated LCD display on the side of each fixture makes it easy to adjust brightness, color temperature, effects, and DMX operations. A USB port can be used for firmware updates. Built-in effects include paparazzi (flash bulb), strobe, and lightning.

The back of each fixture includes a focus knob that adjusts the beam angle from 10-60 degrees, DMX input and through ports, battery connector (male three-pin XLR), and PowerCON ports to connect multiple Dual Color PRO fixtures for space and power savings. Barn doors are also included for additional light control.

For improved shock and heat resistance in the field, the compact Dayled Dual Color PROs are housed in carbon fiber reinforced technopolymer shells. Available Lupo accessories include a filter holder, softbox and egg crate, padded bag for storage and transport, stands, and V-mount battery power supply kits.

More information is available at brightlines.com

BRIDGEVILLE, Pa.—Brightline has begun to ship its ZELo desktop studio light for video conferencing.

The light is meant to provide broadcast quality lighting in any workspace. The lighting unit can be used by broadcasters to produce webcasting news reports from small or remote studios or by analysts and other figures participating in television interviews from their home, as well as others, per Brightline.

ZELo features built-in manual controls that allow users to change brightness levels and color temperatures. Adjustments can also be made through Brightline’s app for iOS and Android devices. It also supports voice control through Alexa and Google Assistant devices.

Brightline is offering the ZELo lighting unit for $199. For more information, visit www.brightline.com.  

BRIDGEVILLE, Pa.—Brightlight recently supplied LED fixtures to WZVN, the ABC affiliate for the Ft. Myers-Naples, Fla., market, for the station’s new set.

WZVN’s updated lighting grid is daylight balanced and features a mix of Brightline L1.2 and L1.4 LED SeriesONE studio fixtures, BL.16 long-throw beam compact fixtures and Lupo DayLED fresnels, per Bob Hannon, senior production engineer for Waterman Broadcasting, which operates the station.

Some of the challenges for lighting the new set included the openness of the space, which was designed to accommodate different kinds of programming. The presence of two video arrays and three vertically hung video screens also presented a challenge.

“What’s nice about Brightlight fixtures is they have the brightness and flexibility to carve our lighting as needed to give the room some depth,” said Dan McKernick, who served as lighting designer for the project.

“Brightline has taken WZVN into the DMX world and also the LED world,” said Hannon. “They look fantastic. The lighting is very consistent; we’re not dealing with color temperature variations across the set. It’s a really nice setup.”

WZVN debuted their new studio and set on Nov. 18.

BRIDGEVILLE, Pa.—Brightline is putting the spotlight on its new Presenter Lighting Kit, which is designed for use by single presenters with the inclusion of Power over Ethernet and wireless control features.

Based on a three-point lighting design, the Presenter Lighting Kit uses two single module and one double module Flex-T recessed lighting LED panel units for key, fill and back lights; the Flex-T panels can be used in drop ceilings or drywall. The T-series also enables the lighting carriage to rotate for greater control, while spot optics avoid lighting spill.

The PoE control unit, which is available in either a rack mountable 2RU chassis or standalone enclosure, allows for IP control. Two internal drivers support the four Flex-T modules, while two Local Intelligence Node Controller units allow each light to be controlled individually.

On top of wireless control, the Presenter Lighting Kit includes a COR-TAP (Centralized Operational Resource - Technology  Access Point) Wi-Fi hotspot. Accessible through any web browser, this allows access to system configuration and usage web pages.

Brightline is now offering the Presenter Lighting Kit for $5,000. For more information, visit www.brightlines.com.  

BRIDGEVILLE, Pa.—When WXII, the Hearst Television-owned NBC affiliate for North Carolina’s Greensboro, Winston-Salem, High Point markets, opened its new TV studio in August, Brightline’s L1.2 and L1.4 LED SeriesOne models helped light it up.

With nearly 40 units installed, the L1.2 and L1.4 lights create the base lighting for the daylight balanced (5,600K) set. The L1.2s were used mostly as side fills, while the L1.4s were positioned at the front. In addition, Lupo DayLED fresnels were added to create crisp lighting for eight specific talent positions around the set.

Dan McKenrick, the lighting designer for the studio project, said an advantage for using LED lighting fixtures on a news set is the extensive dimming range without color temperature change, allowing for better control for a diversity of skin colors. He also found Brightline’s ability to add intensifiers to increase output and control screens to restrict the light path to be useful during the project.

Another element that McKenrick had to take into consideration when selecting and installing the Brightline lights was the fact that two configurations had to be devised—one for the current COVID-19 restrictions and another for when newscasts are able to get back to normal.

For more information, visit www.brightlines.com.  

BRIDGEVILLE, Pa.—Lighting system manufacturer Brightline has provided updates to the L1.2 and L1.4 models of its LED SeriesONE studio light fixtures. These upgraded fixtures now feature variable color temperature and improved color rendering, as well as optional wireless remote device management (RDM) control.

The RDM control for the updated models provides bidirectional RF signal distribution between the transmitter and lighting console, eliminating the need for DMX cables. With wireless DMX/RDM, users have the ability to set color temperature through a lighting console, with one channel controlling color and a second channel controlling dimming.

Brightline has also added an integrated control wheel and digital on-board readout that enables users to select color temperatures from 3,200-5,600K (tungsten to daylight). In addition, the available color rendering for the fixtures is 98 CRI, according to Kathy Katz, Brightline managing partner.

Brightline plans to begin shipping the updated L1.2 and L1.4 models in late August.

For more information, visit www.brightlines.com.  

BRIDGEVILLE, Pa.—When the lights turned on for the Black News Channel in February, it did so using Brightline LEDs.

An African-American news network, Black News Channel’s 2,000-square-foot main set features a lighting grid of around 70 lights. This includes Brightline’s L1.2 and L1.4 SeriesONE LED soft light fixture, as well as Flex-T LED lights. An additional 20 L1.2 and L1.4 fixtures were used in BNC’s green screen virtual studio. The lights are controlled with DMX programming.

“Brightline has great control options on their fixtures, so you can make sure you’re not spilling light on the RGB elements and spoiling the color,” said lighting designer Bill Holshevnikoff.

For more information, visit www.brightlines.com. 

Bridgeville, Penn. – Dec. 10, 2019 – Brightline, a leading manufacturer of energy efficient lighting systems, today announced it now offers technical support through Zoom for its resellers, integrators, and clients. The cloud-based videoconferencing system allows Brightline to program light fixtures remotely, re-focus, visually diagnose potential issues, and perform other troubleshooting.

“Zoom service is ideal for time-critical issues,” explained Kathy Katz, Brightline managing partner. “You don’t have to struggle through a phone call without visuals or schedule onsite service. Zoom gives us ‘eyes’ in the room.”

Beyond its new Zoom-based technical support, Brightline offers project design and consultation, and through its network, turnkey installation and commissioning services.

“In addition to being a fixture manufacturer, we strive to provide lighting solutions for our partners and clients,” Katz added. “From broadcast studios to large auditoriums, we have the right system and the right people to ensure ideal lighting integration.”

To request a free Zoom technical call, contact technical support at techservice@brightlines.com.

About Brightline
A leading manufacturer of energy-efficient lighting systems for broadcast, videoconference, eLearning, and government, Brightline’s mission is to enable communication through clarity. With more than 5,000 customers in over 35 countries, Brightline specializes in enhancing the presentation of visual images by providing high quality, environmentally responsible, and cost-effective evolutionary lighting solutions. Get enlightened at brightlines.com.

BRIDGEVILLE, Pa.—The Open Signal: Portland Community Center in Portland, Ore., completed an upgrade to its 2,000-square-foot facility this past July that saw the installation of 30 Brightline L1.2 SeriesONE LED fixtures.

Open Signal is a PEG organization that produces programming for five cable channels reaching 400,000 homes in the Portland area. The facility produces about 20 shows a week between its two studios.

With its previous lighting setup creating fan noise that was impacting productions, per Open Signal’s media services manager Noah Dorsey, Open Signal tapped Brightline’s 5600K L1.2 lights, which are controlled through a DMX console. The soft-light capability of the fixtures provides versatility for producers. The lights also easily work with Studio A’s chromakey cyc.

“We love them,” said Dorsey. “They live up to the name ‘Brightline’—they’re super bright.”