Even though the transition to LED lighting is well under way, there are lots of TV stations that still depend on studio fluorescent lights. I know this, in part, because I helped put them up with their last news set. If you’re involved in providing lighting in a station that still uses fluorescent studio fixtures, this column is especially for you. 

As discussed in earlier columns, there is an ongoing succession of lighting technology happening right now. Just as flame-based lighting gave way to incandescent lamps, fluorescent is now being replaced by LED—the difference is that few will wax nostalgic over the loss of fluorescent. Manufacturers have begun sounding the “last call” for lamp orders as we rapidly approach the final days of fluorescent lighting.

Fluorescent Had its Day
It wasn’t that long ago that fluorescent light was the most energy-efficient solution for many applications, including television lighting. It was well-suited to replace the earlier incandescent softlights. Hybrid lighting packages of incandescent Fresnels and fluorescent softlights used to be common pairing for lighting television studios. That was before LEDs became practical.

Ten years ago, it cost twice as much money to buy an LED version of a softlight, compared to a fluorescent fixture. Worse, the LED softlights were only half as bright as the fluorescent. The color fidelity was poor and the lumen-per-watt efficiency was worse than the fluorescent lights they were destined to replace. Today, all of those deficiencies are history. Today’s high-quality LED light fixtures are superior to fluorescent lights in every way. 

Depending on where you live, you may have already purchased your last fluorescent tube as new laws roll out over the next year or two. Several state legislatures have already set the path to prohibit the sale of fluorescent lamps. By my reading of the California bill, the sale of nearly all fluorescent lamps will be prohibited beginning Jan. 1, 2024.

The European Commission has already announced that it will phase out general purpose fluorescent lighting across Europe in 2023. By international agreement, The Minamata Convention on Mercury, with 138 signatories, phases out fluorescent lamps by 2025. 

For most purposes, fluorescent tube sales will stop by 2024. In other words, the end of fluorescent lighting is in sight. That’s actually a good thing. Not only will this transition save energy, but it will reduce a significant source of pollution in our environment. 

Why such unanimous agreement on the elimination of this once celebrated lighting technology? It boils down to a poisonous drop inside of every tube: Mercury. 

Now that we have a viable alternative light source, the phase-out of fluorescent tubes will help reduce exposure to this neurotoxin. This move will keep millions of metric tons of mercury pollution and CO2 out of our environment. It will also save consumers a trillion dollars in the energy costs through increased efficiency. 

Exit Strategy
Still using fluorescent lights in your studio? Then you need an exit strategy now. If you’re still using fluorescent lighting, your studio should already be planning a path to replace them. You may have as little as a year left to complete this transition. While the cost of the new equipment can be substantial, the supporting infrastructure is actually simple by comparison to what was needed for incandescent. 

The latest lighting fixtures require little more than non-dim power and a DMX data line. While specific details about adapting to this next generation of lights is beyond the scope of this column, the requirements are well known within the industry. This is no longer “cutting-edge” stuff.

In an era of long lead times and supply-chain challenges, you need to plan ahead. With a lot of stations trying to beat the clock on this, there could be a wait. For some fortunate facilities, there may be an easier route.

Possible Upgrade
I was optimistic when Osram briefly introduced an LED retrofit to replace a common type of studio fluorescent tube. Unfortunately, they discontinued it shortly after its introduction. It’s now clear that lamp manufacturers have lost interest in fluorescent lamps. Based on their current websites, they’ve already moved on.

There is, however, one upgrade solution that deserves special note. Brightline came up with an all-in-one retrofit package for their outdated S1.2 and S1.4 fluorescent fixtures. The LED upgrade kit is easy to install and costs a fraction of a
new fixture. 

I admire that this company figured out how to extend the life of their legacy fixtures while maintaining exceptional performance. The upgraded light is fully DMX controllable, has an excellent 97 CRI (Color Rendering Index) at 5600K (daylight) color temperature, and all of their well-designed accessories still fit. 

This is a great option if you’ve already got Brightline fluorescent fixtures in your lighting grid. 

Taking this a step further, why not design more sustainable fixtures? Even a 50,000+ hour LED lifespan will eventually fade and lose color accuracy. When they finally fail, is it really necessary to replace the entire fixture? Why not just replace the light engine? The result would be less waste and greater user value. 

Whatever new or renewed equipment you eventually choose, remember that fluorescent tubes are hazardous waste. The EPA encourages recycling of fluorescent lamps. Local regulation may well require it. You can find resources by Googling “how to recycle and dispose of fluorescent tubes.” 

Inevitably, there will be another major advance in lighting technology that makes LEDs obsolete. Let’s hope the next lighting revolution is at least a few years away. 

I am a consistent advocate for large sources such as ARRI M18s, HMIs or any physically large unit with an output of 2,000W or more. If you have a powerful light, you can shape and affect that light as needed without cutting a significant amount of its output. Larger sources are easy to avoid catching in the frame, easy to control and afford you more options as they give you a ton of output to begin with. It is always easier to start big and cut from a substantial source than to start small and ultimately not have enough light. However, let’s think about small sources for once.

WHAT ABOUT THE LITTLE GUY?

We all want huge, powerful lights on set, but we have to keep in mind the beauty and versatility of small units as well. They may not be able to light an entire scene or give you as much real estate as a bigger beam of light, but they can work wonders in terms of adding detail and interest to a space.

It’s simple to paint the frame with big units far from camera whether through windows or above the set. Looking at the frame with more detail, we can find ways to utilize smaller sources where these bigger lights can’t help us.

I’m not here to praise practicals again but these are obviously something additional to consider and a good place to start when you feel the need to motivate some smaller lights. Consider adding highlight and shape by hiding smaller units like Quasar tubes, which are sleek, bi-color LEDs, or the LiteRibbon from LiteGear, which you can simply run along a set piece for an elegant accent.

On the last feature film, hiding units like smaller Quasars proved very handy in creating contrast and separation of the actors from the background. Again, your giant lights illuminating the set are going to cast an overall ambience or focus and spread over a particular actor or area. With small sources you can add highlight or a splash of color where your other units can’t.

Smaller lights tend to feel like a source in the frame. They don’t spread like a large source does and tend to be harder instead of softer. If they’re apparent sources like practicals, all you have to decide is the type and wattage of the bulb to get the color and intensity to your liking.

However, if they are intended to be hidden and simply light the space, you may want to affect them a bit since they can draw attention to themselves in the frame. It can be helpful to wrap something like an LED tube in diffusion to soften and make it blend in a little more.

For example, if you placed tubes under cabinetry in a kitchen scene but didn’t want to see them in the shot, you could wrap them in diffusion and dim them down. If they aren’t dimmable, wrap them in ND gel to lower their intensity.

ADDING SHAPE TO SPACE

One of the best uses I have found for small units is adding shape to the space itself. I recently shot a bunch of talking heads against a wall of wood panels full of art and photographs. We put up small Dedolights and pointed them down the wall to add some shape. I also have used these small fresnels for uplighting, which is also really nice on a wall to add some character.

I wouldn’t have been able to hide a giant unit on the floor or have been able to arm one out like I did the smaller lights. Not only are they easier to rig, but with a few of them I was able to add different shapes in different places to break up the wall and make it interesting.

Lights like the Dedolight can also serve as simple extensions of practicals. If you have a table lamp in the frame for example, you can easily place a small film light nearby and get a specific shape on the wall or extension of the lamp onto an actor without the hassle of having to control a big unit.

We like to think minimalistically when it comes to lighting a scene, but it really pays off when you can add some subtle touches in the frame with tiny sources. They can give some extra shape and color where you may want some separation or contrast.

Most importantly, they allow you to be specific. With a smaller fresnel you can spotlight a face or an object easily and generally to draw the audience’s eye. They can be just as elegant as a larger source while granting you quicker control and repositioning. With smaller lighting units you can really dial in and be specific about how you paint each frame with light and color.

Julia Swain is a cinematographer based in California, whose narrative films include “Killing Animals,” “Jilted” and “Cassidy Red.” She continues to shoot on a variety of formats, seeking to create compelling visuals for every story and brand. She can be contacted throughTV Technology.