MUNICH—ARRI has announced an expanded Management Board and a streamlined operating structure as part of an effort to strengthen innovation, execution, and global customer alignment.

As part of those changes, Frank Eischet and Marcel Koutstaal have joined ARRI’s Management Board alongside David Bermbach and Chris Richter.

The company said that the expanded leadership team combines operational, financial, product, and commercial expertise needed to support ARRI’s long-term growth and evolving role as a provider of integrated solutions across the Motion Picture, Live Entertainment, and Content Creation industries.

At the same time, ARRI is simplifying its organizational structure by consolidating responsibilities previously divided between the Camera Systems and Lighting business units. The new setup strengthens the focus on comprehensive solutions for our target markets rather than individual product categories, accelerates decision-making, and brings product development, operations, and commercial execution into closer alignment worldwide.

ARRI said that for customers, this translates into faster delivery of solutions and a more seamless experience across ARRI’s camera, lighting, and service portfolio.

“ARRI is entering a new phase focused on investment, integration, and scalable growth,” said Thomas Riedel, owner of ARRI. “By expanding the Management Board, we are strengthening the connection between technology, operations, and commercial execution. Frank Eischet deepens collaboration within the Riedel Group, while Marcel Koutstaal adds valuable international expertise to accelerate innovation and operational performance across the company.”

Frank Eischet joins ARRI’s Management Board as Chief Financial Officer on an interim basis. Coming from Riedel Communications, he will continue in his role at Riedel while supporting ARRI’s financial and strategic development, further strengthening collaboration within the group. The CFO position will be permanently filled in the upcoming weeks.

Marcel Koutstaal joins the Management Board as Chief Operating Officer and assumes responsibility for ARRI’s global operations and companywide product development activities. He brings extensive international leadership experience in large-scale operational optimization and high-end camera technology, combined with deep expertise across studio, outside broadcast, remote, and cloud-based production environments.

David Bermbach assumes responsibility within the Management Board as Chief Product Officer, leading ARRI’s unified product strategy across camera and lighting technologies with a strong focus on integrated solutions. He will strengthen alignment between innovation, roadmap, and customer needs across the portfolio and continue ARRI’s transformation into a provider of integrated solutions across hardware, software, and services for Motion Picture, Live Entertainment, and Content Creation.

Chris Richter assumes the role of Chief Commercial Officer within the Management Board and continues to lead ARRI’s global commercial organization, including sales, rental, and corporate communications. He will drive a consistent worldwide approach to customer engagement, commercial execution, and brand positioning.

“We are bringing product, operations, and commercial leadership closer together to respond faster to evolving customer and production requirements worldwide,” said David Bermbach and Chris Richter. “Strengthening the operational backbone within ARRI allows us to set a clear focus on supporting the Media &

Entertainment industry in these times of change, scale innovation and deliver even greater value to our customers and partners globally.“

With the expanded Management Board and streamlined organizational structure, ARRI advances its vision as the “Trusted Technology Leader for the Next Generation of Media & Entertainment.”

MUNICH, Germany—ARRI has unveiled Omnibar, a compact, battery-powered, multicolor LED linear lighting fixture built for motion pictures, live entertainment and content creation.

Omnibar combines full-spectrum output, modular scalability and durable IP65 weather protection for reliable indoor and outdoor use, whether on set, on stage or in a small studio, ARRI said.

Omnibar is available as the two-foot Omnibar 2 and four-foot Omnibar 4, each with a black or blue-and-silver housing. Its modular design supports a wide range of users and applications—from an online content creator using the single bar in ARRI’s Creator Set, to a high-end gaffer using dozens of units on a feature film.

Daisy-chaining bars is easy, ARRI said, as the Omnibase hub provides a single power and data source, reducing setup time and simplifying cable needs. Up to 12 feet of Omnibar 4 and Omnibar 2 fixtures can be connected in a single daisy chain, with a total of up to 24 feet of bars supported across two or more daisy chains.

Omnibar delivers high-quality, full-spectrum daylight output (5600K) with a CRI of 98 and TLCI of 98, matching well with other ARRI LED fixtures. It can also provide dynamic in-camera effects and eye-catching design elements, ARRI said, rendered smoothly and in high resolution by 32 pixel zones in the Omnibar 4 and 16 in the Omnibar 2.

Magnetically fixed, easily interchangeable optics let users tailor Omnibar to the job. Options include a round diffuser for soft, tube-like ambient light; a flat diffuser for controlled, bar-like output suited to in-camera effects and live events; and an intensifier to boost brightness and focus for high-output applications. Omnibar can also be used open-faced for maximum brightness when bouncing light, integrating into set design or using a softbox.

Rigging the Omnibar is simple, ARRI said, with flexible mounting options saving time in all production environments. Built-in magnets enable instant attachment to metal surfaces in any orientation, and integrated connection points make it easy to strap the Omnibar to rails, bars or other anchor points using safety cables or zip ties. The Omnigrip accessory allows bars to be seamlessly connected end-to-end for continuous illumination.

Omnibars also can be combined with the Omnipin to facilitate rapid setup with traditional rigging solutions, such as lighting stands. Omniclip mounting brackets can be affixed to almost any surface at three different angles.

With its IP65 weatherproof rating and built-in battery, providing a minimum runtime of two hours at full brightness, Omnibar can be used untethered in outdoor conditions. It can be controlled via the onboard interface, a Bluetooth app, wired DMX or wirelessly via the integrated TimoTwo CRMX chip, making it suitable for permanent installs as well as location-based projects, ARRI said.

The ARRI Omnibar is available now and ready to ship as single sets or as multiunit transport sets that include essential accessories and tools, as well as a streamlined Creator Set with core accessories for individual creators and small crews.

More information is available on the company’s website.

Today’s live venues — sports stadiums, concert halls, corporate facilities and houses of worship — are becoming increasingly sophisticated in both technology and audience experience. With competition from television and streaming services, venues must offer compelling in-person experiences that keep audiences engaged and coming back for more.

Many successful venues are integrating technology that enhances the event rather than distracting from it. Examples include augmented reality visuals that overlay stage performances and interactive mobile apps that connect audiences to the action. System integrators that design and deploy AV systems said understanding the audience is critical when selecting technology. In houses of worship and corporate settings, audio quality typically takes priority, followed by lighting and video.

Hybrid Solutions

At NAB Show, exhibitors and conference sessions are highlighting the tools that make these experiences possible. Professionals increasingly seek systems that combine software-defined flexibility with reliable hardware so they can create and distribute more content efficiently — without exceeding budget limits.

“I think more than ever, system engineers and producers want the biggest bang for the buck,” said Dave Van Hoy, president of Advanced Systems Group (ASG), a longtime systems integrator that installs technology for hundreds of venues each year.

“They’re tasked with producing more content and better distribution systems, but with limited resources. It’s not a new challenge, but it’s getting trickier every year.”

Through technical sessions and panel discussions, attendees are exploring the latest strategies and technologies to support modern venue production.

Despite industry interest, Van Hoy estimated that only about half of live venues have transitioned to SMPTE 2110 IP-based architectures, leaving significant room for upgrades. ASG recently completed such a transition at the Los Angeles Coliseum, the University of Southern California’s football stadium, replacing traditional signal distribution with an IP-based system.

Interactive technology is also reshaping the live event experience. Matt Weiss, vice president of business development and managing partner at BeckTV, said venues increasingly deploy gamified features that encourage participation.

“High-tech, gamified, interactive features help create an intense home-court advantage,” Weiss said. “At the Intuit Dome in Inglewood, California, the home of the NBA’s Los Angeles Clippers, seat sensors track fan cheering and movement to reward engagement. An immersive audio system tailors sound to every seat, making each one feel like the best in the arena.”

Immersive Audio Expands

Audio innovation is another major trend. Beyond traditional stereo, venues are adopting immersive formats such as Dolby 5.1, 7.1 and Atmos systems with up to 22 channels. As streaming services began offering immersive audio to consumers at home, expectations for live events changed quickly.

“We’re seeing multichannel audio systems deployed in all kinds of venues,” Van Hoy said. “Concert halls are obvious, but sports stadiums are adopting them too. Broadcasters want immersive sound both for viewers at home and fans in the stadium. Achieving that often involves additional microphones around the field and improved monitoring systems in control rooms.”

New for 2026 is an expanded four-day Sports Summit in the West Hall’s Sports Theater. The program explores how professional and collegiate stadiums are modernizing their facilities.

Advances in Display Technology

Display technology, another key element of live venues, has also advanced significantly. New LED systems offer higher resolution, lower power consumption and more affordable pricing.

NAB Show attendees are seeing the latest models using technologies such as MicroLED, Chip-on-Board (COB) and Glue-on-Board (GOB), which provide improved reliability and reduced moiré patterns compared with traditional display panels.

One notable development involves the Big 12 Conference, which used LED sports flooring developed by Germany-based ASB GlassFloor at the T-Mobile Center in Kansas City for its men’s and women’s basketball tournaments. The system replaces traditional wood floors with LED surfaces capable of displaying graphics and animations during games or events.

Modern 4K and 8K displays are also integrating artificial intelligence to automatically adjust brightness based on ambient lighting, enhance image sharpness through upscaling and monitor performance to predict potential failures.

While large stadiums typically use professional-grade LED displays, smaller facilities such as houses of worship and corporate venues often rely on consumer-
grade commercial off-the-shelf (COTS) displays. However, these systems may not deliver the same durability or performance.

AI Across Workflows

Artificial intelligence is expanding rapidly across the entire production workflow. At NAB Show, hundreds of new products will demonstrate how AI can automate processes and improve efficiency.

In corporate and worship environments, AI tools can track on-stage talent and quickly locate clips in large video libraries. Sports broadcasters are also using AI to automate highlight generation. For example, ESPN now provides automated highlight clips through mobile apps that fans can access while attending games.

Another technology gaining traction is the unified content management system. Modern venues rely on CMS platforms to centralize control of displays, video distribution and digital content.

“For increased efficiency, reduced costs and a better user experience, many venues are upgrading their CMS platforms,” Weiss said. “They enable multiplatform distribution, live-to-VOD workflows, centralized monitoring, rapid clipping and dynamic advertising insertion.”

A recent example is M&T Bank Stadium, home of the NFL’s Baltimore Ravens. In collaboration with Ross Video, BeckTV expanded the stadium’s LED display system to enable stadium-wide control. The project added new displays in premium clubs and concourse areas, extending the Ravens’ CMS beyond the main bowl displays.

Better Than 
Watching at Home

To remain competitive, live venues must replicate — and surpass — the production quality audiences experience at home. Today’s facilities are becoming dynamic environments where lighting, sound and visuals respond in real time to performances and audience reactions, often guided by AI-driven analytics.

These efforts reflect a broader trend: Fans increasingly value shared in-person experiences.

A study from venue hosting provider Boldyn Networks suggested 93% of fans prefer attending live events over virtual alternatives.

For venue professionals, NAB Show provides an opportunity to explore these innovations firsthand through exhibit demonstrations, technical sessions and informal discussions with peers.

“NAB Show attendees will discover tools they didn’t even know they needed,” Van Hoy said. “They’ll see technologies still in development that vendors are eager to showcase. It’s an exciting time for venue operators, and NAB Show is the place to see it all in action.”

© 2026 NAB

WUPPERTAL & MUNICH, Germany—Thomas Riedel, founder and owner of Riedel Communications and the Riedel Group, has announced the acquisition of ARRI, a legendary Munich-based manufacturer of camera and lighting technology for motion pictures and live entertainment.

Financial terms of the deal weren’t disclosed.

Rumors that the company might be up for sale have been circulating since last summer when Bloomberg reported a possible sale.

“My entrepreneurial path has been closely tied to ARRI for years,” said Thomas Riedel in a statement. “This acquisition represents the most significant personal milestone of my career so far. I have great respect for this exceptional brand, its outstanding products, and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position ARRI for long-term stability and future success.”

Founded in 1917, ARRI has been family-owned ever since and has played a legendary role in the cinema production and professional film technology, having been recognized with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences. “For more than a century, ARRI has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of ARRI GmbH and member of the founding family.

Thomas Riedel’s bid for the company was chosen in a competitive international process, ARRI reported. It is the largest acquisition of Riedel's career to date.

The Riedel Group is a globally recognized specialist in advanced audio, video, and data technology, delivering infrastructure solutions for many of the world’s most demanding broadcast, live event, and sports productions.

Through the acquisition of ARRI, Thomas Riedel said he plans to establish a close strategic alignment between ARRI and the Riedel Group, expanding its expertise across the entire production chain — from camera optics to distribution. ARRI’s ecosystem of camera, lighting, and systems technology perfectly complements the Riedel Group’s existing portfolio and opens up new technological and strategic market opportunities for both companies.

In announcing the deal, the two companies said that they aim to unlock new areas of growth, especially in live entertainment and sports. By combining their respective technologies, the companies plan to develop integrated solutions that open new creative and technical possibilities for customers. As the first joint milestone of this collaboration, ARRI will debut its camera technology at the Eurovision Song Contest, where Riedel serves as the technology provider and NEP oversees production.

Under the new ownership of Thomas Riedel, ARRI’s existing management team will continue to lead the company. The company will retain independent operations and remain headquartered in Munich.

“Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” said Chris Richter, managing director of ARRI. “We look forward to working with a successful entrepreneur and to the resulting market opportunities and access — both in existing and new markets.”

“The Riedel Group brings highly complementary technologies and extensive expertise in live production to this partnership,” added David Bermbach, managing director of ARRI. “This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment.’”

Named after its founders August Arnold and Robert Richter, ARRI was established in Munich, Germany, where the headquarters is still located today. Other subsidiaries are in Europe, North and South America, Asia, and Australia.

The ARRI Group consists of the business units Camera Systems, Lighting, and Rental. More information is available at www.arri.com.

Among the unexpected things the pandemic left in its wake is a higher tolerance for bad lighting. For evidence of this, just check out any Zoom meeting. Faces in shadows framed by blown-out backgrounds look more like witness-protection videos than what we normally see on camera.

Every new technology unleashed on the public is bound to have some hiccups. Ever notice how many teleconference meetings start like a séance, trying to contact departed spirits? “George, can you hear us? We can see you, but can’t hear you.”

For a technology that was previously only in the hands of “experts,” people with zero training have managed better than expected. We’re experiencing a democratization of telecommunications, enabled by plug-and-play components and readily accessible apps. Social media posts are today’s equivalent of pontificating from atop a soapbox in the park, but with a revenue stream. With these new tools, almost anyone can put together a video podcast.

The low quality of most video podcasts makes “close enough for television” seem like the golden age of excellence. They’re cringe-worthy, rather than binge-worthy. As good as entry-level gear has become, production values suffer from a lack of decent lighting.

Newer cameras can make pictures in almost no light, which may ironically be why the lighting falls short. It no longer has to be properly lit to be seen, so it often isn’t. These novice media moguls could considerably up their game with a bit more attention to how things look.

The goal of lighting isn’t merely academic. Good lighting can help video podcasters connect with their audience by making the hosts appear more relatable. We tend to connect more with people when we can actually see their eyes, let alone their faces.

Video podcasting is a big deal, even if the podcasts often don’t always look the part. The top-rated video podcasters have millions of viewers with audience demographics that companies want most. Product placement, compensated endorsements and lucrative sponsorship deals have made this a multibillion-dollar industry.

In this competitive media landscape vying for viewer attention, getting the lighting right provides an edge. Unfortunately, many video podcasts look like they’re made in a closet—illuminated with all the lighting artistry of a bare bulb on a pull chain. Improving on this could be as simple as using a clip-on reflector work light pointed at the host.

One popular “alpha bro” video podcast, “The Joe Rogan Experience,” looks like it spent more money on its neon sign than on lighting the host. Then again, maybe that dimly lit back-alley aesthetic appeals to his audience. Are the deeply shaded eyes meant to suggest some unvarnished authenticity, or just poor lighting choices? Could Rogan spin conspiracy theories as convincingly if viewers could see the twinkle in his eyes?

Mood Lighting
Other successful video podcasters have done a brilliant job of creating visual surroundings that support their show’s themes. Alex Cooper’s popular “Call Her Daddy” video podcast creates a cozy environment for her guests. The right lighting and inviting scenic touches help create a beguiling space for the confessions and gossip that its guests seem to snuggle into. Her show’s curated “look” works by design.

When lighting a video podcast, the questions are much the same as for any other show. The camera shots guide the lighting, so we need to know where the cameras are, who they’re shooting, and where they’re standing or sitting.

Beyond that comes the nuts and bolts of making it work. What types of lights need to go where, and how will they be mounted? Light stands and cables may clutter the floor, while ceiling mounts and cable runs require some additional engineering. In short, it’s like any other lighting project—but on a smaller scale.

Whatever the budget, the basic “three-point lighting” approach is a good place to start.

The illustrated example (two people and four lights) can be done in the corner of a basement, a small room, or a large closet. The size and power of the light fixtures should be chosen to meet the required throw distance. Always adhere to “best practices” for mounting the lights and running power. Remember that people will be under those lights, so use safety cables, sandbags and common sense.

The example illustrated in Fig. 1 is typical for video podcasting. A central camera covers two people chatting. Additional lights can be added to highlight items in the background. If the budget is tight, begin with the two soft lights in the front corners, adding the remaining lights as funding permits.

Remembering that the larger the fixture aperture is, the softer the light will be, so the corner fill lights should have a relatively wide opening. They should fill softly without creating noticeable shadows. Let the work of making a modeling shadow fall to the Fresnel (or other “hard” light) in the center over the camera. Depending on the camera, an overall reading of 45 to 60 foot-candles should be perfect.

As for which lights to buy, you can’t go wrong with quality equipment backed by manufacturers that stand behind their products. Otherwise, “Buy cheap, buy twice.”

Homes Are Different
Lighting residential spaces for video presents different challenges than working in purpose-built studios; the bane of these impromptu spaces is the low ceiling and lack of hanging points. Getting lights secured where you need them always requires some creative mechanical engineering, or you can use stands. Use low-profile fixtures to reduce head bumps.

As for how to control the lights, most provide Bluetooth or other remote connectivity. For simplicity, it’s best if the lights can be controlled by a single app. Because LED lights have internal dimming electronics designed for full line voltage, don’t use external dimmers—they’ll cause damage.

While lighting a “black box” studio set calls for making a completely artificial space look more like a plausible environment, shooting in an ordinary room calls for adding some lighting “magic” to keep the space from looking too prosaic. And because the goal is connecting with your audience, always make sure the host is well-lit and looking good.

We tend to think LED lights will last forever—they don’t, although 50,000 hours, plus or minus, is a very long time compared to legacy light sources. Assuming some driver component doesn’t suddenly fail, LED lights die more subtly; they slowly fade away. The challenge is knowing at what point they need to be replaced.

LEDs don’t burn out the way incandescents do. Instead, they tend to degrade gradually like fluorescents, but without the telltale tube-end blackening. At some point, following many hours of service, they will wear out and need to be replaced. That point is now being approached by the earliest adopters of LED lighting.

The lighting industry’s benchmark for the end of service life is defined as when LED output drops to 70% of its initial brightness. This is called the “L70” standard, where the “L” stands for lumens, and the 70 is the remaining percentage of its original brightness. Once output drops to that level, they’re declared “burned out.”

That brightness criteria only tells part of the story about how LEDs die, however. LEDs don’t just fade away; their color balance and fidelity can change over time.

Tuning Into Colors
Bicolor and full-color LED fixtures produce their intended shades of light by mixing several spectrum-tuned LEDs in combination. The mechanism for generating usable light from an LED is this: High-frequency (blue and UV) light stimulates the phosphors to emit a lower frequency of light. Think of it as changing largely invisible energy into colors we can see. The various phosphor “recipes” are “tuned” to produce different colors. Ah, science!

The resulting blend of light can remain correct for a very long time, but not forever. That’s because the phosphors slowly break down from heat and material fatigue. This is less of an issue with remote phosphor lights because their light-emitting layer is some distance from the LED chip’s most intense energy. The trade-off is that remote phosphor lights are limited to a single color temperature.

As phosphors wear unevenly, the color changes. Those “white” presets no longer work as intended, and color fidelity drifts. Some manufacturers (like ETC) already compensate for LED “droop” (or reduced output) caused by heat by adjusting individual LEDs in response to fixture temperatures in order to maintain proper color balance. A similar approach might one day address phosphor aging as well.

First-generation LED studio lights were fairly primitive compared to what’s available today.

Early LED fixtures strained to meet our industry’s high standards for color quality. A major hurdle is that LED lights are discontinuous spectrum sources, much like fluorescent. Sawtooth gaps in their spectrum profile can make flesh tones look splotchy and unnatural. More “full-spectrum” lights put their energy into higher color quality at the expense of brightness. In the early days of LED lights, the efficiency was too low to do a decent job of both. That problem’s been solved.

Too Many Metrics?
As color quality has become more important, so has our need to evaluate it. In fact, there are so many different metrics that it can be confusing. Of the many competing scales for color fidelity, including TLCI (Television Lighting Consistency Index), SSI (Spectral Similarity Index) and TM-30 (my current favorite), it’s CRI (Color Rending Index) that’s probably most familiar. We’ll use that as we discuss standards.

Every respectable LED studio light sold today has an excellent CRI score in the mid to upper 90s on a scale of 100. Excellence is now so common that you can find 90 CRI “bulbs” for your table lamp at the grocery store. Our studio lights should be at least that good. So, how do we ensure our lights measure up?

While an illuminance light meter can measure intensity, you’ll need something like the Sekonic C-800-U Spectrometer to know if the color fidelity is up to snuff.

Consider it a pass/fail test—anything less than 90 CRI is a “fail,” particularly for the important R9, R13 and R15 chips, which impact flesh tones.

Few LED lights from 10 or 15 years ago will clear this hurdle because the bar has been raised. LEDs are brighter, more efficient and have better color quality than ever. Improvements in LED design mirror the early days of computer chips: Each new generation outperforms the last.

“Close enough for TV,” like “state of the art,” is a moving target.

Better Resolution Needs Better Lighting
The urgency to upgrade your lights will be influenced by what’s considered “good enough.” Nothing’s entirely obsolete if it can still provide some service. After all, when fluorescent studio fixtures were first introduced, 80 CRI was considered “fine.” Today, what defines “close enough” when your audience is watching on 4K OLED monitors?

Can I just upgrade my old fixtures?

From an end-user perspective, it would be great if you could upgrade light engines as they fail. Unfortunately, the industry doesn’t work that way. With few exceptions, such as some Brightline, Kino Flo or Rosco fixtures, there’s often no way to repair, let alone upgrade, the light engine.

That inability to upgrade, or even repair, is a neglected issue in the broader lighting industry. Sadly, most fixtures are destined to be trashed when they reach the end of their useful service. Manufacturers should be encouraged to do better by our willingness to pay the price for fixtures that can be repaired or upgraded.

If your older fixtures are still working, perhaps they can fill secondary roles on your next studio set—if not the more critical task of lighting talent. Using “old school” color-
correction gels can help extend their usefulness. But remember that 10-year-old fixtures are unlikely to make it to 20 unscathed. Should your lights fail the test today, it’s time to plan and budget for their replacement tomorrow.

Educating your management team on the predictable life cycle of LED lights can help dispel the notion that they last forever. People less involved with lighting may not yet understand how much the technology has transformed. It’s no longer just replacing a burned-out lamp; it’s replacing the entire light fixture—at least for now. That may change over time, but the reality today is that LED lights don’t simply die—they fade away.

WIXOM, Mich.—Bluewater Technologies has announced that it recently completed work at the Indianapolis Motor Speedway, where it upgraded the Pagoda Scoring Ribbon and replaced its aging light bulb system with vibrant, energy-efficient LED technology.

"Our goal was to honor the legacy of the Indianapolis Motor Speedway while introducing modern technology to enhance the fan experience," said Scott Schoenberger, managing partner at Bluewater Technologies. "We're proud to have played a role in transforming this iconic venue into a state-of-the-art racing destination."

The improvements were the latest in a series of modernization efforts that Bluewater has worked on at the IMS over the years.

Working closely with venue partners, Bluewater has helped implement a variety of upgrades that improve the fan experience while honoring the track’s iconic status, including:

• Retrofitting the 92-foot-tall scoring pylon in partnership with K-WAV, upgrading it with stackable LED cabinets designed for modern functionality and visual clarity.
• Installing a 22-foot-by-12-foot LED board at the start/finish line and a 42-foot-by-24-foot board viewable from multiple grandstands.
• Adding 27 LED boards along the paddock seating area, eliminating visibility blind spots across the venue.
• Building a 100-foot-wide, 18-foot-tall LED media wall at the base of the Pagoda, delivering dynamic race content and analytics in Pagoda Plaza.

These enhancements ensure that every seat offers an immersive viewing experience, Bluewater said, bringing fans closer to the action.

The upgrades will be visible during the Indianapolis 500, which will begin at 12:45 p.m. ET Sunday (May 25).

For more information about Bluewater Technologies and its innovative solutions, please visit www.bluewatertech.com.

BEND, Ore.—Redwood Light is a lighting design and integration company with over 20 years of experience utilizing and installing a broad scope of lighting products in both live and produced entertainment applications.

We’ve been working with BB&S Lighting products since they first hit the market, installing Area 48s and Force 7 lekos in dozens of studios over the years—often alongside other lighting systems. BB&S has always stood out for its exceptional reliability, consistent high-quality light output and thoughtful design.

In the past year, we’ve transitioned to outfitting entire studios exclusively with BB&S fixtures, including Reflect Bi-Color lights and Compact Fresnel (CFL) Bi-Colors. These products have been integral to recent installations for Novi City Government, Southwest Airlines, AIG, KION-TV in Monterey, Calif. and KWTV in Oklahoma City—delivering the performance and efficiency our clients need for broadcast and content creation.

Low-Profile Design
The low profile of BB&S fixtures make them perfect for smaller spaces with low overhead grids, while also providing a clean, open aesthetic in larger studios. Their compact size makes them ideal for fitting into tight or unconventional spaces—giving us, as lighting designers, more flexibility and creative options.

We love the beautifully soft, diffuse light that the BB&S Reflect Bi-Color system delivers—it’s perfect for broadcast environments. Its slim form factor is particularly well-suited for desk lighting, offering superior wrap and coverage compared to traditional 1x1 panels. We frequently use the 4-foot Singles as soft backlights in dynamic areas with multiple talent positions or where talent needs freedom to move, like green screens, touch screen monitors, or interview setups.

The Compact Fresnels (CFLs) measure just 5.5 inches in diameter but pack a punch. They’ve become our go-to for key and backlighting for fixed positions, such as seated desks; and their small size allows for discreet placement in even the trickiest spots.

But what truly sets BB&S apart is how their lights render skin tones. Every time we install Reflect systems, anchors and producers comment on how natural and flattering they look on camera. With high CRI and a color spectrum that complements all skin tones—whether warm or cool—the results are consistently outstanding.

Lighting KWTV
One notable use case is our work with KWTV in Oklahoma City. KWTV’s studio was a large, multipurpose space designed for maximum versatility—requiring multiple camera positions for nearly every set, from the anchor desk to interview and lounge areas. The BB&S Reflect Bi-Color units allowed us to create broad, soft lighting that looked great from every angle. Their even, diffuse output made it easy to maintain a polished look across the entire studio, no matter where the cameras were positioned.

Because the studio used a mix of lighting brands, the superior quality of the BB&S fixtures stood out. Every BB&S light delivered identical color, tone, and quality—ensuring a cohesive, professional appearance across every shot.

Another client of ours, KION-TV in Monterey, had a studio that presented a different challenge with low ceilings and a more compact layout. The BB&S Reflect fixtures were the perfect solution—keeping the space open and uncluttered while delivering high-quality light. Their slim design allowed us to maximize headroom, making wide shots easier and helping the set feel more spacious on camera.

As always, the exceptional light quality from BB&S impressed both the production team and on-air talent, resulting in a final broadcast image that looked clean, natural, and professional.

More information is available at https://brothers-sonsamerica.com.

NASHVILLE, Tenn.—Forty years as a DP behind the lens has taught me one thing: not all LED lights are created equal. The broadcast world has been revolutionized by this technology, but sifting through the options has been a challenge.

Navigating the world of LED lighting market requires time and rigorous testing. After a ton of research and side-by-side comparisons, I’ve learned that manufacturers’ claims often differ from the real world we shoot in. All of us scrutinize the minutia of color accuracy, output, and build quality of whatever lighting gear we’re using.

That was particularly important when Cracker Barrel contacted me with an exciting yet demanding project: to design and implement two different lighting setups in their newly renovated studio space in Lebanon, Tennessee. The newly renovated building on their campus needed two sets: a 30-by-30 green screen and a 30-by-30 white cyclorama.

Lighting Two Sets
The project sounded super exciting, but my first on-site visit revealed two significant challenges that immediately demanded creative solutions. First, the studio had a fixed ceiling height of 11 feet, 6 inches and ductwork that was over both sets that imposed limitations on light placement, requiring the right fixtures to avoid compromising the smooth even spread of light for the green screen and white cyc.

Second, as is typical in a corporate environment, a fixed budget was established for the entire project. This meant finding lighting solutions that not only met the technical specs needed for the green screen and white cycloramas but also didn’t break the bank. This project sent me on a journey searching for lighting gear that could keep up with the daily demands of a busy studio.

Earlier in the year, I’d had the chance to demo Lupo’s Super Panel 60 and their Movie Light 300 at Take One Film and Video in Hendersonville, Tenn., and I have to say I was genuinely impressed. What really stood out with the Super Panel 60 was the exceptional color accuracy, especially when it came to flesh tones.

For the Cracker Barrel job, I set up a side-by-side test with two other major brands to see how they compared Lupo’s lights. Without going into great detail I found that Lupo’s Super Panel and Movie Light 300s provided a consistent and exceptional balance of performance and affordability—a true “bang for the buck” scenario.

To be fair, I had similar results with the other brand of lights I’d tested, and honestly, I could’ve used either of them but, when it came down to it, budget was the key factor. After that demo, I was confident I could deliver the quality Cracker Barrel needed, while staying inside the budget.

Dayled Pro 3000
Since wrapping up the Cracker Barrel studio project—a project that truly showcased the capabilities of Lupo’s gear—I’ve made it a point to incorporate their entire lineup into my lighting arsenal. I have to single out the Dayled Pro 3000, though; that light really impressed me with its ability to focus light with the kind of control you’d expect from a classic Fresnel. It’s not just about the intensity; it’s the quality of the beam, the way it sculpts the scene.

Overall, my experience with Lupo and their products has been nothing short of outstanding. It’s more than just the quality of the lights; it’s the peace of mind knowing you have a company that stands behind their products.

Their customer service team has consistently gone above and beyond to assist me, and when I’ve needed technical support, their response time has been remarkably fast. In this industry, where time is money and reliability is paramount, that level of support is invaluable.

More information is available at: https://lupo.it/en

Although it’s an important question, few clients ever ask how bright their new lighting will be. In the hectic job of revamping a studio, such technicalities are usually left up to whoever’s doing the lighting. But because the answer will impact several systems down the line, choosing the right intensity needs to be based on your studio’s particular needs and not randomly picked. Here’s why.

Lighting will affect everything seen in the studio. This broad-ranging impact is why I suggest going through a process to discover exactly how much light is appropriate for the project. Rather than pulling a number out of a hat, I try to find the “Goldilocks” level that’s “Not too bright. Not too dark. Just right!”

Back in the early 1970s, cameras needed a whopping 300 fc (foot-candles) to produce decent pictures. That was bright enough to make you squint, rather than smile for the camera. Over the years, cameras have improved, and lighting levels have dropped a lot. Today, studio levels are a comfortable 45–65 fc. But there’s more to the task than simply picking a number in that range.

Camera Sensitivity Determines Light Intensity
Getting beautiful images requires more than just a correct exposure. Skilled photographers, cinematographers and videographers use a variety of camera techniques in crafting their images. Unless you happen to be a cinematographer as well as a lighting designer, you might not appreciate how much lighting affects the camera image. One particular camera adjustment that’s directly linked with light levels is the aperture (or iris). As we’ll see, this affects more than just the exposure.

In television, we want the viewer’s attention on the stories and the people telling them. By controlling which part of the shot is in sharp focus we direct the viewer’s eye to what’s important on the screen. By design we can control that sharp focus through manipulation of the “depth of field.”

Our sense of depth is possible because we have two eyes with overlapping fields of view. Cameras lack this type of binocular vision, called stereopsis, because they only “see” through a single lens. In the absence of stereopsis, a camera can still indicate depth by providing other visual cues for dimension. Depth of field is one such cue; by alternating a sharply focused zone against softer focused areas, our brain subconsciously builds a three-dimensional understanding of the pictured space.

So, how do we create this sense of depth by selecting the right light intensity? The lens adjustment that affects depth of field, as well as regulating how much light reaches the camera’s sensor, is the iris.

Bear with me while I cover what may be familiar ground to you. The iris (or aperture) regulates the light in increments called f-stops. The size of this aperture affects the depth of field through its impact on focus. Without delving into how the “circle of confusion” impacts focus, let’s just note that the smaller the iris opening (higher number f-stop), the greater the depth of field. The lower the f-stop number, the shallower the depth of field.

The photographer Ansel Adams famously used f/64 to get everything in sharp focus for his iconic images of the American West. While that infinite depth of field was appropriate for his scenic images, we don’t want that for our studio shows.

In newscasts or interviews, we want the visual emphasis on the talent. Towards that end, we focus attention on them with a bust shot that’s in sharper focus than the background. That selective focus is achieved by choosing an f-stop that simultaneously provides the depth of field we want and the right amount of light for a good exposure. But which f-stop is that?

My personal choice for the “Goldilocks” f-stop sits between f/2.8 and f/4. That aperture provides an adequate depth of field to keep the anchors in focus, and just the right amount of background softening to suggest some separating distance. That “f/2.8–f/4 split” is the sweet spot where I start the process of determining how much light I need to use.

Light To the F-Stop for Desired Depth of Field
To find out how much light you need for your cameras, frame a shot of the chip chart (with teleprompter to account for the light loss from the mirror) from roughly 8 feet away to approximate the “normal” anchor-to-camera distance.

White-balance with the clear camera filter at whatever color temperature lighting you’re using in your studio. Set the iris to the mark between f/2.8 and f/4. Then, adjust the chip-chart light brightness until the chips fall into their proper levels on a waveform monitor.

Once that’s done, take a light meter reading of the chart intensity from in front of the chart (sphere diffuser, pointing back to the camera lens). Whatever intensity reading you get is the value to use for your lighting positions. For most studio cameras today, it will probably be somewhere between 45 fc and 65 fc.

If the number you get is lower than 45 fc, you may need to make a modification to boost that number higher. This is especially true if your set incorporates video displays, which perform poorly at very low brightness levels. The solution is to rerun the process with the cameras set at a –3 db “gain,” which will nudge the required light level higher.

That’s my process for deciding what the “right” light level is. Neither the intensity nor the f-stop should be arbitrary or accidental in crafting an image. That’s why this process is driven by the choice of f-stop, which is, in turn, based on the depth of field we want.

The “f/2.8–f/4 split” is a subjective choice that I think looks best for most news sets. Your criteria may be different, based on how much (or little) depth of field you want. The process will run the same regardless of which f-stop you choose. The point is to choose by design, rather than haphazardly.

Wood carvers will sometimes use chainsaws to “rough in,” but finishing requires more subtle sculpting tools. In lighting, as with other crafts, no single tool is perfect for everything. Coarse or refined, our tools shape the process and impact the results. Tools change and process follows.

When I began using lighting CAD, I wondered how it would affect my design process. After all, working with a keyboard and mouse is very different from drafting with plastic lighting templates and pens. It turned out that the resulting designs still held true to my intent, but the process was certainly different. Any trade-off was a bargain I was happy to make.

There have always been some trade-offs alongside advances. On balance, there was no doubt it was a net gain. As with my old plastic lighting templates, now languishing in storage, I’m never going back.

It’s In the Shadows
While no one wants to backslide from the advances of LED lighting, let’s admit that not all the changes are for the better. These new LED variants work, but they’re not quite the same. 

Changes in lighting styles ebb and flow with shifting tastes, but I suspect the current trend towards flatter light is steered as much by our new equipment as by our creative intent. Quite frankly, I miss shadows.

In a medium that’s basically two-dimensional (since the camera has one “eye,” and our screens are flat), a lack of shadows results in fewer three-dimensional visual cues. If our goal is to keep images interesting, shadows are still key. That’s why “hard light” is important.

By tradition, there are two main categories of lights: “Hard light,” which creates highlights and shadows, and “soft light,” which moderates shadows with diffused “ambient” fill. Although that’s a somewhat simplistic explanation, it conveys the idea. 

The main “hard light” in video studios has been the Fresnel, while “soft light” includes any fixture (or modifying accessory) that imparts a relatively large light-emitting surface. The interplay of these two qualities of light creates a sense of depth through highlights and shadows. Artists refer to this quality of shading as “chiaroscuro.” 

A basic soft light is relatively easy to make. Clump together enough LEDs into a panel, and you’ve got a crude soft light. But a proper Fresnel requires a lot more optical design. 

The best of today’s LED Fresnels are quite good, but their beam quality at flood is different than with legacy incandescent Fresnels. That difference lies in the collimation of the beam. Centuries-old designs for lighthouse lanterns worked out this problem based on a single point of radiating light. With the advent of LED, the light propagation behind the lens is different.

The Same, but Different
Many LED Fresnels are more like soft-edge wash lights than their namesake; their barn doors are more useful as glare shields rather than for shaping the beam. The name may be the same, but the tool has changed. For all its advantages, the light from current LED Fresnels isn’t collimated the same. Here’s why.

The compact “luminous capsule” of incandescent and HMI radiates light 360°. Although wasteful from an energy efficiency standpoint, it’s optically useful behind a Fresnel lens. An incandescent lamp at full flood (when the lamp is closer to the lens), allows the light to cover the entire Fresnel lens. 

By reaching all the concentric rings that comprise a Fresnel lens, the light is collimated into a larger, organized beam that’s malleable. At the same time, by filling much of the lens, the larger surface area imparts a “wrapping” quality that provides a subtle roll-off in the shadow it casts, which is more flattering to the face. This is why larger Fresnels have been so popular as talent key lights.

That’s [Not] a Wrap
That “wrap” isn’t the same with today’s LED Fresnels.

LED emitters are both larger and more directional compared to the radiant 360-degree “luminous capsule” of incandescent and arc lamps. While more efficient, there’s a tradeoff: When an LED Fresnel is at full flood, the light only engages the very center rings and bull’s eye of the lens. And, because the relative softness of a light source is directly proportional to the size of the light-emitting surface, an LED Fresnel can’t “wrap” the face quite the same way as a legacy Fresnel could.

As a result, LED Fresnels put out a quality of light that is less pliable (because the light is less collimated) and “harder” (because the working surface area of the lens is smaller at flood) than the incandescent version. It’s not the same, but “good enough.”

While clever R&D continues to improve these fixtures with the use of secondary optics (as with the ARRI Orbiter Fresnel accessory), and by redesigning the lenses (as with the innovative DMG Lion), there are some workarounds to minimize the issue.

One technique to minimize the “wrapping” deficit is to partially spot the fixture focus. This increases the illuminated lens area, although you trade off some beam-shaping control because the light collimation declines the further it’s spotted.  

An alternate solution to address the reduced beam shaping is to switch to a completely different type of fixture. “Profile” spotlights (roughly the same as legacy ellipsoidals) can be a better choice, particularly when working at distances greater than 12 feet. Shutter cuts from a “profile” fixture hold up over distance, whereas tight Fresnel barndoor cuts lose beam edge cohesion over longer distances. And since every light becomes a point source when far enough away, “wrap” eventually becomes irrelevant at these greater distances. 

The advantages of LED light fixtures over legacy incandescent versions are tremendous, yet we’ve also lost something along the way. While current LED Fresnels fill the gap, I haven’t stopped hoping for a revised design that restores some of what was lost in the process without giving up the gains. “Good enough” isn’t a final destination. It’s just the latest point on the rising line of progress.

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.

LAS VEGAS—Elation has announced that its PULSE PANEL FX lights were used in the live broadcast of the NHL Draft on June 28 and 29 from Las Vegas Sphere —the first ever live TV broadcast from that extraordinary space. 

When the NHL decided to elevate the draft experience by hosting it at the Sphere, they sought a top-tier designer with extensive large broadcast TV and touring experience and tapped Tom Kenny for the job. Already familiar with the venue from his early consulting work on the Sphere project, Kenny also has long-time associations with Willie Williams and the entire U2 crew (including Allen Branton and Felix Peralta), who opened the Sphere last fall, not to mention his own experienced crew, all of whom provided the designer with valuable venue insight. 

“The NHL Draft at the Sphere was just amazing and out of this world,” Kenny said. “This was really a historical show and we needed a modern look for this new way to hold a draft. I knew I wanted something that was epic and futuristic looking in that main television shot, and even though you’re up against the biggest backlight in the world with its amazing content, the PULSE looked beautiful and won over a lot of hearts.” Indeed, Kenny reported widespread praise from NHL executives, teams, and the TV network for a job well done.  

Featuring arrays of RGB and cool-white LEDs across its large face, PULSE is ideal for direct view applications like TV visuals, while zone control opens up a myriad of design possibilities. Panel rotation ensures flexible positioning and continuous 360° pan/spin and 180° tilt add an extra level of dynamism, Elation reported.  

Supplied for the NHL Draft by Fuse Technical Group, the fixtures generate a powerful 100,000 lumens, though Kenny only needed to use them at a fraction of that output. “We didn’t have the chance to show them off as much as we could have,” he said, referring to their multi-functional strobe/blinder/wash light/eye candy capability, “but with that amount of power, I can see it being used on big events, tours, and stadium/arena type shows.”

Kenny, who has a tradition of being the first to use new lighting technology in a real-world application, jumped at the chance to debut the PULSE Panel FX. “I have always enjoyed moving forward with new technology and knowing Elation has launched some beautiful, high-tech lights of late, I was eager to incorporate them into my design,” the designer said. 

“Especially in TV, the backgrounds are very important so I was happy to get a new and interesting product in that upstage position, right in the main frame where it can be seen and make an impact. And it worked! The PULSE has this very modern, high-tech look, like something out of Star Wars or a modern video game, and they have all the tricks that we’ve always liked and wanted. They just blew us all away.”

Characterizing the modernized NHL Draft as an “artistic and elegant show,” Kenny placed 14 PULSE PANEL FX fixtures upstage in a semi-circle, prominently displayed throughout the two-day event for “subtle eye-candy bling” in camera shots. Additionally, Kenny created more energetic looks for camera shots when players were drafted.

“Whenever there was a pick, programmers Scott Cunningham and Han Heinz gave us some great ballyhoo looks for the in-house audience,” Kenny said, noting that it wasn’t visible on camera as they cut away to the draft pick. “But it looked great in-house and cut through the heavy lumens of the giant screen, which is very difficult.” 

Kenny added that because the show was filmed in 360-degrees, the back of the PULSE fixture occasionally showed in the frame, but that didn’t concern him. “The fixture has beautiful lines and even the back of it looks good, like sitting behind a beautiful car.” 

Due to the high demand for the Sphere, which runs a unique “Sphere Experience: Postcard from Earth” show multiple times a day, the crew had to load in and out twice daily. “You need lights that can handle constant movement and don’t mind being recalibrated. Another great thing about the PULSE is that they worked every time,” Kenny concluded.

See a video of the NHL Draft here. 

Missed any of our recent product news? Here is TV Tech's weekly wrap-up of new products, services and deployments we published in our newsletter between August 5 to August 9. The stories are listed from the newest on Friday August 2, day by day back to our stories from Monday August 5. 

Telemundo Takes VR Studio Tech from Miami to the Paris Olympics

Telemundo's virtual reality studio in Miami uses Unreal Engine and Chyron to provide a "photo-realistic look" that shows small details of the Paris landscape like the "wind in the trees".

Haivision To Feature Live Video Contribution at IBC 2024 

The company will show the latest developments in its live contribution ecosystem.

Imaginario AI To Demo Video Indexing, Search, Curation At IBC 2024

The company will show its multimodal artificial intelligence solution in the AI Tech Zone.

AI: The Unsung Hero of Olympic Sports

Can AI sustain Olympic revenue during and between Games?

A New Take on Reflectors: Cine Reflect Lighting Systems

The need for better tools has inspired lighting innovation.

Disney+ Launches Nat Geo Immersive Environment for Apple Vision Pro

Disney+ has announced that subscribers to the streaming service can now experience a new immersive environment from National Geographic with the Disney+ app on Apple Vision Pro.

Wheatstone to Showcase Blade 4 at IBC 2024

The expanded capabilities of the 4th generation AoIP Blade 4 include high speed transport protocol to routable audio codecs, audio processing, scripting, and studio control in 1RU.

Telos Alliance To Feature Next Generation AERO DTV Audio Processors At IBC Show

The AERO.20, AERO.200 and AERO.2400 include new features like AoIP support via AES67.

Finding The ‘Boun-dairies’ For AI In Media

TV channels are using AI-generated presenters to read the news. The question is, will we trust them?

M&E’s Embrace of AI Dampens Potential for Damage Mitigation

Amid the hype, industry struggles to establish guidance and guardrails.

Google TV Streamer Launches at $99.99

The new Google TV Streamer offers an AI-powered, personalized 4K HDR streaming with Dolby Vision Dolby Atmos and a smart home experience.

2024 IBC Show to Focus on AI, Business and Tech Innovation

IBC President Michael Crimp previews the upcoming gathering.

Mediaproxy To Show AI-Powered Captioning, Transcription for LogServer At IBC 2024

LogServer now supports AI-Media Technologies LEXI Recorded and Skyline Communications DataMiner.

Kramer Buys ZeeVee To Expand AVoIP Portfolio

ZeeVee’s expertise in AVoIP will expand Kramer’s product lineup and accelerate growth.

EVS Invests in TinkerList

EVS becomes a shareholder in the broadcast software provider as part of its strategy of offering simplified live production solutions.

XR Extreme Reach, Roku Expand Streaming Ad Partnership

The expanded collaboration allows advertisers to link all ads on the Roku platform to performance outcomes.

Arkona, Manifold Partner To Show EASY-IP At IBC 2024

EASY-IP combines arkona’s BLADE//runner and manifold’s CLOUD routing, processing and multiview tool.

WIMBLEDON, U.K.—Video production company hsc.tv worked with Director of Photography Bryan TWZ Brousseau to create a unique lighting and set design for ESPN’s player interviews at Wimbledon during the two-week event taking place in the U.K.

“Under the direction of the ESPN features unit: Cathi Cappas, Kathryn Davidson, Lauren Collins, and Tessa Diestel we wanted to change the look this year to reflect the next generation of great players. So, we went with a modern LED lighting and set design look that would look great across the color schemes of Wimbledon, US Open and the Australian Open,” said Bryan TWZ Brousseau, Director of Photography. “I looked at a lot of different lights and chose the new Aputure Infinibars as the primary lights, as I wanted lights that could also look great on camera and the Infinibars look great!”

Brousseau selected the Infinibars based on their shape and CRI, as well as the fact that they’re mountable at every angle. The hsc.tv team performed many camera tests at various color temperatures against their backdrops and textures until they were satisfied with the final results. The team additionally used every size from the PB12’s to the PB3’s and mostly in the 3D configuration to create depth in the set and for their key lights up close and personal with the players.

The deep background was created by NYC artist Adam Mills and the wooden wallpaper was created by the company Arte in Belgium, discovered by ESPN Creative Producer Candace Jordan. hsc.tv rounded out the light package with Fotodiox Pro Flapjacks, Aputure Amarans150Cs, and LiteGear Litemats Plus4’s .

Pier de Sanctis, CEO of Hsc.tv said, “Bryan’s work at Wimbledon exemplifies our commitment to excellence and innovation. His ability to integrate cutting-edge technology with creative design ensures that every viewer feels the thrill and prestige of Wimbledon, particularly through the personal stories of the players.”

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.

Famed TV lighting designer Bill Klages, who won seven Primetime Emmy Awards and was the first lighting designer to be inducted into the Television Hall of Fame died on Sunday, July 7, according to Lighting Designer News. 

For a number of years, Klages was also a regular columnist for TV Tech. A tribute to Klages on the occasion of his induction into the Television Hall of Fame, noted that he started in the very early days of U.S. television at NBC in 1948 and that he amassed more than “300 credits amassed over a 58-year career that began in the days of live black-and-white television dramas and has continued into the 21st century.” 

Klages started at NBC working as a video maintenance engineer on such series as “Your Show of Shows” and “The Kate Smith Hour.” He moved into lighting, which he had always wanted to do, in the mid-1950s after a two year stint in the Navy. He remained at NBC until 1970 when he went freelance and started his own company. 

Over the years, he was involved many high profile shows and events, including such award shows such as the Primetime Emmys, Tonys, Grammys and Golden Globes; entertainment specials featuring Barbra Streisand, Bob Hope, Liza Minnelli, Bette Midler, Barry Manilow and Mikhail Baryshnikov; special events like the 1984 Summer Olympics Closing Ceremonies and inaugural galas for Presidents John F. Kennedy and George H.W. Bush, according to the Television Academy. 

In addition to his Primetime Emmy wins, he was nominated for 23 Emmys.

Bruce Aleksander, current author of TV Tech's Lighting Technology column, considered Bill a mentor.

"He inspired me and was generous with his time and sharing his knowledge," Aleksander said. "He was one of the pioneers of lighting, standing alongside Imero Fiorentino, David Clark (Imero's associate) and George Spiro Dibie. These folks pretty much invented cinematic lighting for video/television. Bill was the last one that remained standing."

More information about his career is available here, here, here and here. 

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.”

Obsidian Control Systems has introduced ONYX 4.10, the latest iteration of the popular lighting control software for NX consoles and PC systems. 

The new ONYX 4.10 includes a host of improvements that the company said are designed to streamlining navigation and provide an even more intuitive lighting control experience while opening up new possibilities for creative programming.

Key updates in ONYX 4.10 include:

• NDI Streaming Video. ONYX now supports the NDI network protocol, facilitating real-time transmission of audio and video signals over networks. Users can seamlessly capture high-quality streaming video feeds directly from external media servers into the DyLOS library. This upgrade feature allows for a fluid transmission of video content over all lighting, video walls, and projectors, empowering designers to fully manage visual elements in any event space. Additionally, NDI streaming enhances compatibility with ProPresenter, a popular presentation software often utilized in worship environments.
• Enhanced Audio Input, Filter and Analyzer. ONYX 4.10 introduces audio input, filter, and analyzer processors (including NDI and ASIO), enabling manipulation of graphics based on audio input. This includes features like beat-tap processing, Ableton support, third-party ASIO driver support, MIDI Clock support, and more. These enhancements cater to the specific needs of designers working on high-energy lighting programming typical of music festivals, EDM shows or clubs, offering greater flexibility and control over audio-responsive visual effects.
• Enhanced Override options. Output overrides, including Park, Default, Highlight, and Offset, are now available as customizable presets within a dedicated programmer context. This allows users to fine-tune output settings with greater precision, making it easier and faster to manipulate cues and achieve the desired lighting effect.
• Added Exterior Trigger support. ONYX now includes direct support for exterior triggers, with added compatibility for Telnet and UDP commands for cue triggering. This new feature simplifies cue activation and is particularly beneficial in integration scenarios such as themed environments where external triggering systems are commonly utilized.

Full ONYX 4.10 release notes and ONYX 4.10 software download is available here.   

SEATTLE—As a seasoned broadcast and news cameraman, my workday can take me anywhere from pitch-side reporting for the NFL to corporate interviews and everything in between. In a fast-paced environment where things can change in an instant, having reliable and versatile equipment is essential. 

I think the most challenging thing about being a broadcast and news cameraman is having all your ducks in a row in order to work quickly and anticipate what the client expects. On one hand, you have to interface with the client, subjects, and people involved with the production and story as a human being, but you also have to be deliberate in order to achieve what you want to accomplish.

You have to clear the list quickly, whether it’s talent lighting, making sure your camera’s set perfectly, accounting for variables in the background and ambient lighting. There’s lots to consider in limited time and you have to understand what needs to happen in a certain order.

The Right Tools
I’m always interested in the build quality of my lighting instruments and the Litepanels Gemini 1x1 Hard is built for the field. It’s a solid panel, with easy controls, that punches out daylight and tungsten temperatures that are as close to natural as you’ll find.

I also need something that’s easy to use, that doesn’t demand a lot of external ballasting or lots of cables running here and there. I want a light that’s self-contained, easy to pull out of a case, pop on a stand, add a battery or AC and I’m off and running. But most important is light quality.

I like going into a shoot, knowing the Gemini 1×1 Hard will give me a punch-through quality. The fact that you can add diffusion, remove diffusion whether it’s on the light itself, or shoot through a softbox or other add-on diffuser, provides flexibility. You’re going into any situation knowing you have the power of an HMI in an LED source.

Covering news and sports can be challenging in many ways for a TV cameraman; space, ambient light, and the availability of power all play into it. The Gemini Hard fixture gives me the punch to tackle any ambient light condition, usually with power to spare.

Easy to Use LED
The number one thing I found after going 100% LED and ditching my HMIs, was the ease of use. For almost any situation, with RGB LED panels, the speed, and convenience with which you can dial in the color is amazing. Depending on the event, the footprint of your setup can be limited by other crews right next to you. 

The ability to power the Gemini 1×1 Hard with battery power—and retain the same output—is a massive plus on location. This wasn’t always an option with HMIs where I was always worried about power draw and if I had enough battery power for live shots.

These days we’re being asked to shoot more interviews—even single person interviews—with multiple cameras…a wide shot, a tight shot, another camera on a slider, perhaps. In my case, I use matching cameras and I want the light to look the same from all angles. There’s no time to deal with color issues coming out of light fixtures. With Litepanels I know that when you set the temperature that you want, you’re going to get it. 

The Gemini Hard is just as at home pitch side with the NFL as it is inside doing a corporate interview. It’s just a great light, either as a harder source or through diffusion, to create that soft look. It’s a great fixture. 

More information is available at www.litepanels.com/.

MUNICH—ARRI has announced the new L-Series Plus, a new generation of LED Fresnels, that the company says is up to 90% brighter than the original L-Series.

The new L-Series Plus also offers direct network data input and the intuitive onboard control interface known from ARRI SkyPanel, while retaining appreciated features such as continuous focusability from spot to flood; a smooth, homogenous light field; and complete control over the color and intensity of light.

Originally introduced in 2011, ARRI L-Series LED luminaires were the first professional alternatives to popular tungsten Fresnels.  

The new ARRI L-Series Plus fixtures come in two sizes: the L5-C Plus features a five-inch, while the L7-C Plus features a seven-inch Fresnel lens. Despite being approximately the same size and weight as their predecessors, the L-Series Plus products provide up to 90% more light output, making them much more powerful and versatile as lighting tools (average output increase, depending on model, beam angle, and color temperature is 60%). Existing barndoors and all other L-Series accessories are fully compatible with the new Plus range, the company reported. 

ARRI said that the new series takes the renowned and proven benchmark of LED Fresnel fixtures to the next level. The L-Series Plus introduces enhanced connectivity by implementing network data input and lighting control via the ArtNet and Streaming ACN industry standards. Workflows are simplified by the familiar onboard control and user interface of the classic SkyPanel, while light output is specifically calibrated for optimal reproduction on broadcast and digital cinema cameras, ensuring pleasing skin tones and vividly rendered colors.

Designed to be robust and ergonomic, L-Series Plus fixtures live up to the quality and reliability standards for which ARRI is known. Their build quality and flexibility make them suitable for a wide range of use cases, from studio and location work on movies and television to live entertainment, photography, theater, and corporate productions. A combination of passively cooled housing and a discreet encapsulated fan guarantee the most silent operation even in the most critical environments, the company said. 

At the heart of the L-Series Plus concept remain the core benefits of tuneability, color fidelity, rugged durability, and ease of use, now upgraded to the latest connectivity standards. Three individual knobs permit the brightness, color temperature, and green/magenta point to be fine-tuned, while a focus knob on the side of each fixture allows for smooth adjustment of the beam spread, just like conventional sources, ARRI reported. 

L5-C Plus and L7-C Plus fixtures will be available from June 2024 in blue and silver or sleek all-black colorways, with either a manual or PO yoke. The existing L-Series (L5-C, L7-C, L10-C) will be discontinued upon the release of L-Series Plus.

To learn more about L-Series Plus, please visit: www.arri.com/l-series-plus 

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.

MUNICH—ARRI has announced the Orbiter Beam. The launch further expands its accessory range for the LED spot light and is the first beam optic in the ARRI LED lighting portfolio. 

ARRI reported that the Orbiter Beam’s intensity level has a comparable output to the ARRI Daylight M-Series M18 within a tighter beam angle. For the first time, these high intensity values can be achieved with a high-quality full-color spectrum LED source making the Orbiter Beam the brightest full-color LED spot light on the market. This parallel beam light is perfectly suiting cinematic applications—either for long throw distances or indirectly bounced, the company said. 

This new Orbiter optic provides a defined and strong 4° parallel light beam with homogenous light. The Orbiter Beam optic is an ideal option for creating the illusion of distant natural lights. The unique and authentic look of this optic in combination with the versatile Orbiter fixture makes it a go-to choice for filmmakers when simulating the natural light of the sun or moon in film projects.

The Orbiter Beam features a large aperture in a compact (approx. 573 mm x 548 mm x 548 mm / 22.6 in x 21.6 in x 21.6 in) and lightweight (5,9 kg / 13 lbs.) housing. The reflector’s diameter of 530 mm (20.9 in) is similar in size to the M90 luminaire. The two elements of the optic, the reflector and snoot, can be easily separated and stacked for convenient storage and transport. The Orbiter Beam comprises a unique manual hot-spot adjustment allowing variation from hard to soft edge light. The beam is a great addition to the already existing Orbiter Open Face optics 15°, 30°, and 60°. No additional accessories for the Orbiter Beam optic such as barndoors or snoots are required as the light beam produced is already nicely focused.

Orbiter’s unique Quick Lighting Mount (QLM) system allows the Orbiter Beam to be mounted safely and quickly. Any Orbiter running the firmware LiOS2 or later is prepared to operate the Orbiter Beam.

The Orbiter Beam is available in black and can be preordered. More information is available at www.arri.com/orbiter/beam. 

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.

PARK CITY, Utah—ARRI has announced that it has been named the Official Lighting Provider for the prestigious 40th edition of the Sundance Film Festival.

ARRI, together with wholly owned subsidiary Illumination Dynamics, is providing the Sundance Film Festival with ARRI’s state-of-the-art lighting solutions, including SkyPanel S30-C, SkyPanel S60-C, and ARRI Orbiter fixtures at premiere event venues, stages, and lounges. 

“As we mark our 40th Sundance Film Festival, we are excited to collaborate with ARRI and use their innovative lighting technologies to help us create dynamic festival environments and shine a light on all the creators who are taking part in press lines before introducing their films to audiences at the Festival,” says Tammie Rosen, chief communications officer, Sundance Institute.

Glenn Kennel, president and CEO of ARRI Americas, added that “ARRI has been an active participant of the Sundance Film Festival for many years and 2024 is no exception. Together with Carly Barber, CEO at Illumination Dynamics, we are proud to support this important venue for independent storytelling.”

The ARRI classic SkyPanel series delivers industry-celebrated color accuracy with fully tunable LED technology, achieving outstanding color mixing in a compact form factor ideal for live events. With high-quality color rendition and a wide gamut, ARRI SkyPanels produce naturalistic lighting across all skin tones, the company said. 

The ARRI Orbiter provides all the light shaping benefits of a point light source while offering the rich color qualities that convince filmmakers time and time again to choose ARRI lighting for their productions. Its exclusive LED design and interchangeable optics produce a highly versatile light with outstanding and accurate color. The Orbiter also enables lighting designers to craft distinctive looks for live events, the company said. 

The 2024 Sundance Film Festival takes place January 18 to 28 in Park City, Salt Lake City, and the Sundance Resort in Utah, USA. Founded by Robert Redford in 1981, the Sundance Film Festival has introduced global audiences to groundbreaking films and discovered new voices that have gone on to profoundly impact entertainment and culture.

Festival passes are available at https://festival.sundance.org/. For more information on ARRI’s lighting solutions, please visit www.arri.com. 

MUNICH—ARRI has announced that Dr. Raphael Kiesel will be taking over the management of ARRI’s Lighting division on December 1, 2023. 

In this new role as senior vice president business unit Lighting at ARRI, Dr. Kiesel reports directly to Dr. Matthias Erb, chairman of the Executive Board at ARRI, the company reported. 

“We are extremely pleased that we have been able to win Dr. Kiesel for this position,” Dr. Erb said. “As the new head of the division, he will continue to drive the development of ARRI Lighting. I wish Raphael the best of luck and success in this exciting and challenging task.”

“ARRI’s commitment to quality is already inspiring but I want to push the quality of our brand and its lighting portfolio even further,” explained Dr. Kiesel. “The sights are set on becoming a full-range provider in our core market while elevating activities in new segments. Producing the right products at the right time and in the best quality, that’s been the ARRI promise for over 100 years. I look forward to continuing this success story in intensive dialog with our customers and users.”

Dr. Kiesel had been responsible for global quality management at ARRI. In that role, he has systematically refined quality management at the company. 

Before joining ARRI, Dr. Kiesel acquired a deep technical understanding combined with entrepreneurial thinking and international experience, the company said. 

He also spent time abroad in the USA, France, and China. During his time as a research assistant and department head at the Fraunhofer Institute IPT and Machine Tool Laboratory (WZL) at RWTH Aachen University, he completed his doctorate in mechanical engineering. At the same time, he completed an MBA at the Collège des Ingénieurs in cooperation with Siemens.

MUNICH—Michael Huelskemper has joined ARRI as vice president of product management in the company’s lighting business unit. 

Huelskemper is now responsible for continuing development, improving and broadening the product portfolio of the division and will focus on creating compelling, value-driven products and solutions, the company said.

“It is a great honor and pleasure for me to continue the story of this iconic brand with exceptional lighting products together with the ARRI team,” said Huelskemper. “In the field of innovative, connected and sustainable LED lighting, there is still a lot of development potential that we can leverage together with our customers.”

The new vice president ARRI with more than 15 years of experience in the development and product management of LED luminaires and luminaire components around the world. Holding a degree in electrical engineering, Huelskemper has spent years with OSRAM and Philips Lighting. Most recently, he was head of regional product management for EMEA at TE Connectivity. There, he was responsible for building a downstream product management team, it said.

“I am very pleased that Michael Huelskemper, a proven expert in the field of portfolio management for LED lighting products, has joined our ranks,” said Matthias Erb, chairman of the ARRI executive board. “With this important new addition to the team, we are driving forward the realignment of ARRI Lighting. I wish him a good start at ARRI and much success in his strategically important role.”

More information is available on the company’s website.

MUNICH—ARRI has announced the launch of SkyPanel X, a new, all-weather LED luminaire that is the latest addition to the SkyPanel family. 

Introduced as a modular system and configurable into different sizes, SkyPanel X now offers native soft, native hard, and open-face lighting. This state-of-the-art LED light also sets new standards in terms of dimming, color rendition, output, and beam quality, making it the perfect lighting solution, ARRI reported. 

ARRI said that its SkyPanel X is designed to address the needs of studios, rental houses, and corporate clients and that it is tailored to meet the requirements and working dynamics of DPs, gaffers, console operators, lighting designers, and broadcast technicians, the company said. 

More specifically, SkyPanel X provides superior low-end dimming with flicker-free operation from 100 to zero percent for direct, close-distance key lighting. With a dynamic CCT range from 1,500 to 20,000 K, the luminaire can emulate the characteristics of sodium lamps or cloudy sunlight, ARRI reported. 

The RGBACL full-spectrum light engine features the best ARRI lighting color science to date, enhancing skin tones and achieving deep color reproduction. Eight pixel zones per LED panel meet the requirements of advanced console programming, visual effects, and virtual production environments, the company said. 

Engineered for maximum endurance and reliability, SkyPanel X is fully protected from rain, storms, or high-pressure jet cleaning, certified with IP66 rating for all weather conditions. This dramatically reduces the maintenance procedures and extends the lamphead’s lifecycle. SkyPanel X also offers wireless control, advanced networking possibilities, and integrated power supply. 

As a modular solution, SkyPanel X is configurable into different formats (landscape, square, vertical), capable of generating wide-aperture soft light, powerful hard light, or intense open-face light. Multiple units can be combined via the X Modular Yoke, featuring ARRI’s quick-lock system, the company reported. 

There are three front attachments available for SkyPanel X, which natively fit to one single unit: the X21 Dome for native soft light, the S60 Adapter for all existing SkyPanel accessories, and the HyPer Optic for native hard light. 

The X21 Dome—included with every lamphead—provides native soft light. It can be used close to talent, while at the same time giving perfect lighting from greater distances without losing a solid beam spread. The hot-swappable, rounded diffuser can be quickly mounted and dismounted from the lamphead’s front. The X21 Dome is fully compatible with third-party accessories and modifiers. 

Via the optional S60 Adapter, SkyPanel X users can apply the same techniques and choose accessories used on the classical SkyPanel line. Established SkyPanel workflows remain unchanged but are enhanced by the incorporation of the most recent lighting innovations, ARRI explained. 

The HyPer Optic—named after its high-performance lux output—is an optional, hot-swappable lens with eight individually controllable pixel zones that can be quickly mounted and dismounted from the X21 lamphead’s front. With the HyPer Optic, SkyPanel X becomes an excellent tool for medium and long throws and collimates multiple single lenses into one single beam. 

With SkyPanel X’s modular setup, users can choose between, easily swap, or combine the X21 Dome and the HyPer Optic, creating a soft, semi-soft, semi hard, or powerful native hard light.

SkyPanel X also offers a wide range of possibilities for control and connectivity, including built-in wireless control, two Ethernet ports, LumenRadio CRMX2, and Bluetooth 5.0. The IP66 rating also applies to the ALL-WEATHER Control Panel.  

SkyPanel X runs on the new LiOS3 software. The Lighting Operating System  (LiOS) combines and expands on the innovative features of ARRI LED lights.  Highlights of LiOS3 in SkyPanel X include DMX Mode Spec. 6.0, DMX User Presets, array setup for multi-unit control, and three ARRI ALEXA Modes,  supporting the color science of ALEXA 35 and previous ALEXA or AMIRA camera systems, ARRI reported. 

The new ARRI LiCo app will support direct remote communication via Bluetooth between SkyPanel X and mobile devices. The lighting settings can be directly adjusted via phone or tablet, just like the ALL-WEATHER Control Panel of the fixture. The app is free for iOS and Android devices and available soon at the App Store and Google Play Store.  

For precise virtual lighting simulations, SkyPanel X offers a digital twin. This ARRI-exclusive technology transforms cinematic lighting workflows from pre- to postproduction. Featuring 3D models, authentic characteristics, and intuitive interfaces, it boosts efficiency, consistency, and creativity in production environments.  

The use of SkyPanel X ranges from film and broadcast to fashion, beauty,  product shoots, and lifestyle scenarios. For larger applications requiring throw, like big spaces, night exteriors, or when simulating sunlight, etc., SkyPanel X  offers excellent, flexible lighting. Using the same fixture for multiple purposes will help users with color consistency and simplified control. As a result, SkyPanel X  offers to owners and users a higher return on investment, more technical freedom, improved quality standards, and a lower cost of ownership. 

SkyPanel X is available in blue-silver and can be pre-ordered as single products or predefined kits. Additional colors and accessories will follow soon.  

To learn more about the SkyPanel X series and its accessories, please visit:  https://www.arri.com/skypanelx. 

 BURBANK, Calif.—Matthews Studio Equipment has announced a new Mini Boom Rolling Kit that has been developed for the unique on-set needs of still photographers and content creators. 

Individually, each component was engineered to make the job easier, yet combined they become one efficient time-saver, sliding smoothly wherever needed on set, the company reported. 

The Mini Boom Rolling Kit package is designed to add speed and ease to repositioning the key light throughout a shoot so the photographer can better maintain flow and momentum. There's a smooth rolling 3-wheeled base with multi-direction locking casters carrying a 40” C-Stand riser. Atop it a 5/8” Baby Pin holds a sleek mini boom and all the goods needed to adjust lighting, the company said. 

The kit was inspired by renowned photo artist, Jeremy Saffer, who called it, “The solution to many potential problems. The versatility of the base, riser, and arm means I can set the light anywhere in the room at any direction even 10+ feet above the subject or lighting them in a balcony above. When that heavy light needs to be moved, I can do so with just a slight push of my finger as the Rollway Base takes on all the weight and moves smoothly in every direction.”

The Kit is a combination of four essential tools: the Runway base, 40” C+ Riser, Mini MatthBoom and a 10 pound/kg Boa Bag. 

The components may also be individually used. The low rolling Runway Base (6”/152mm) supports light fixtures (up to 250 lbs/113kg) mounted directly to its Posi-V-Lock Junior Receiver. Three non-marking, locking Tente casters provide straight tracking and secure locking. Weighing 20-lbs. (9kg), it expands to 32"/812mm, yet folds to 20”/508mm, the company said. 

The 40” C+ Riser offers the hallmark strength and reliability of Matthews renowned steel C-stands with ergonomic T-handles, steel reinforced threaded collars, and a knurled 5/8” Baby Pin featuring a 3/8”-16 threaded tip. It extends from 45.5” to 110.5”, Matthews explained. 

The accompanying Mini Matthboom is the solution for easy light fixture and strobe adjustment. Built of steel to remain rigid, even loaded with accessories, it can mount on a 5/8" Baby Pin and telescopes from 45”/115cm to over 80” 203cm at full extension, terminating in a 5/8" pin. Steel reinforced threaded collars ensure a solid bite from t-handles while set-screws and V-shaped brass brakes enable durable 3-point contact. A rear hook is ready to grab a sandbag for balancing while the knurled baby pin ensures safe mounting.

To help stabilize, Matthews includes a 10 pound/4.5kg Boa Bag. This versatile steel shot bag quickly wraps around the base of any stand, column, brace, T-handle, arm, or boom.

Matthews’ equipment is built to be durable from top grade industrial materials including steel components which are welded, coated, polished, and assembled. Caster wheels are non-marking and lock in the caster position as well as rotationally. Brakes ensure 3-point secure locking. Equipment's Mini Boom Rolling Kit is manufactured, and quality controlled in Matthews Burbank, California headquarters, adjacent to some of the world’s most demanding studios, the company explained. 

The Mini Boom Rolling Kit will be on display at the BILD Expo in NYC, September 6-7 at the Matthews Studio Booth # 228. 

For more information visit: https://bit.ly/MSE-MBRK and www.msegrip.com. 

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.

Even in the best of times, there are plenty of short-term reasons not to consider the greenest option, such as the expense of replacing legacy hardware that is doing the job. In today’s economic climate, going green is even harder.

“Times of inflation, low growth and recession are notoriously difficult times to convince customers to go with more sustainable options,” said Tom Kirby, marketing manager at Altadena, California-based Nila Inc. “People tend to think more in terms of short-term gains than long-term ones. It can be hard to get them to see just how much more money they’ll save in five years or more with sustainable options. It can also be hard to get them to look past their own needs and see the greater needs of the planet.”

Nila has carved out a niche in the market by developing and manufacturing environmentally sustainable, high-brightness LED lighting systems that can serve customers well beyond the present day. But challenges remain.

“We know our customers depend on us for reliability and sustainability, so we can’t hedge on either. The result has been that we’ve been much later getting our new Arina-400 and Zaila-50 products to market than we expected, but we’d rather have delays than compromise the quality of our products,” said Kirby.

There also remains a lot more “churn” as the market continues to be driven by the hunt for new products yet too much hardware isn’t repairable or upgradable, said Kirby. “It’s considered disposable, and it’s largely made from materials that aren’t recyclable. That’s frankly unacceptable. Lighting is a great place to start with sustainable practices because smart purchases can often be utilized for decades.”

Off the Shelf

Utilizing ready-made equipment can help sustainability efforts, said Barbara H. Lange, principal and CEO of Kibo121, and moderator of the today’s panel discussion as part of the NAB Show’s Excellence in Sustainability Awards ceremony, “The more you work with off-the-shelf products — as opposed to customizable offerings — you are helping to reduce unnecessary waste. We have to look at energy consumption as an industry across the entire workflow, even if changing habits can be challenging.”

A common misconception in the production space is that lessening energy consumption is the only method of going “green.” In fact, that is just one component of it. So, too, are other factors, including reducing water usage and ensuring that today’s racks of equipment aren’t an electronic waste, or “e-waste,” problem for tomorrow.

“We’ve seen a trend for everyone to have as small a carbon footprint as possible,” said Linda Tadic, founder of archival storage firm Digital Bedrock, which to date has preserved 3 PB (parabytes) of data for media and entertainment companies, as well as for museums, law firms and nonprofits.

“We think the discussion needs to turn to the storage waste — and that includes how water is used to cool the data centers, but also how everything doesn’t need to spin in the cloud if it doesn’t need to be readily accessible,” Tadic explained.

Digital Bedrock utilizes LTO data tape, which isn’t just a form of storage but also provides long-term preservation. In addition to less energy consumption, it also means there are fewer servers that require rare earth minerals.

“We can do everything on two racks, while we might upgrade to three,” said Tadic. “But the goal is to consume less. The cloud isn’t light; it is very heavy.”

Virtual Production

One positive side effect of the pandemic — which forced productions to scale back, do more with less and notably work remotely — is that those efforts could result in leaner and, more importantly, greener productions.

“We’re finding that most visual houses are just a server, and no one is working there,” said A.J. Wedding, director and co-founder of Orbital Virtual Studios. “But this also means that we learned that everyone doesn’t need to be in the office.”

That can not only mean fewer cars on the road in major urban centers like Los Angeles, but it can also open up a worldwide talent pool, added Wedding, who will discuss the opportunities for the industry in the Tuesday session “The Economic and Sustainable Wins of Virtual Production.” “The biggest hurdle is going to be education, but it will save productions money and, in the process, use fewer resources.”

Wedding will be joined in the session by Erik Weaver, director of adaptive and virtual production at Entertainment Technology Center, and Addy Ghani, vice president of virtual production for disguise.

Weaver said, “OSVP [or on-set virtual production] allows teams to work anywhere without flying large crews to remote locations and saving all types of carbon footprint. Picture a team going to Nepal one week, and south of France next month. All of this could be done in a single location.”

Virtualization is part of the new normal for remote production, as it can also utilize remote teams from around the world for asset creation and post production.

“For example, a team from Europe will remotely collaborate with a team from India to build a photoreal environment for a shoot that will happen in Los Angeles,” said Ghani. “Decentralized artist teams will be managed by small overhead teams. By digitizing your production, or a portion of it, you will now have the flexibility to take that content to any virtual production stage.”

Also on Tuesday at the 2023 NAB Show, the session “Changing the Climate of Hollywood” will address whether Hollywood is doing enough to battle the climate crisis, and it will include industry insiders who are leading the efforts to make it a greener business.

Copyright NAB 2023.

ATLANTA—We started Plaid Turtle during the pandemic when organizations were forced to come up with a virtual event model and were unable to meet in person. Having been in the industry for a combined 50+ years and having worked together for more than two decades on various film and live event productions, we pooled our resources, knowledge and relationships to launch our new company, with the goal of producing virtual learning events that feel like a cinematic—rather than a virtual—experience. 

After producing some events and re-engineering some systems within a client’s studio, we were asked to manage the equipment, labor and calendaring for the space—but we quickly realized that lighting needed a major overhaul. The studio had around 70 traditional lighting fixtures ranging from 750-2kW each, and while not all of the fixtures were in service, the age and color temperature shifting made it extremely difficult to produce projects of a consistent quality.

Moving to LED
As the end of the year approached, the client approved funds from a canceled project to replace the traditional fixtures with LED. Having worked with Litepanels and really liking the Gemini 2x1 Soft and Gemini 1x1 Soft lights, we called for some advice on the fixtures and scale for the space. 

We were connected with Litepanels co-founder and Gaffer, Pat Grosswendt, who recommended the Gemini 1x1 Hard. In our initial designs, we anticipated using eight fixtures above each 20x20, but after talking with Pat, he was confident we could accomplish our goals with five. Taking budget into consideration, we knew we could afford 20 of the 1x1 Hard fixtures, so we built designs ranging from 5-8 fixtures per 20x20.

We knew that on paper, the Gemini 1x1 Hard panels produce 3000 lux @10ft/3m of white light, and without diffusion it is 20% more powerful than a 200W HMI. When we got the first five up in the grid without diffusion and turned one on, the result was truly staggering. 

Comfortable for the Talent
With the output of the Gemini 1x1 Hard, the budget for 20 fixtures was enough to light the entire studio. We placed five above each set diffused through a 20x20, two butterflied as key lights with 8x8 diffusion, one for each of the five set windows, and three on rolling stands to use wherever fill is needed.

With the lighting up full, we can open our iris all the way for beautifully shallow depth-of-field, with the lighting level still very comfortable for the talent. And although we are often on-site to manage productions, we also needed to offer a turnkey solution for other occasions. Utilizing the built in DMX capabilities of the Gemini 1x1 Hards, we were able to tie them all together and set up scenes, so at the press of a button, our client can have the studio up and ready for shooting.

Finally, making the change to LEDs from tungsten provided some environmental advantages as well. We were able to reduce heat and noise level output, making the sets even more comfortable for everyone. The Gemini panels also deliver huge savings in energy consumption. 

Despite its impressive light output, the 13.25-pound (6kg) 1x1 panel has a nominal power draw of just 200W. With the traditional fixtures, we were drawing over 70,000W while operating the studio, but now, running 20 Gemini 1x1 Hard lights, we are only drawing 4,000W.

The versatility and power of the Litepanels Gemini 1x1 Hard made it the perfect solution for us and our client.  

More information is available at www.litepanels.com/en

For those of you attending the 2023 NAB Show in Las Vegas, April 15-19, any boasting about bigger, brighter, and better-than-ever lights is more than just hyperbole. In a pattern similar to the early days of computing, LEDs have made major strides in efficiency and color quality. They really are better than ever.

Manufacturers may have been sidelined during the pandemic, but many have used that time to refine and expand their product lines. In addition to those efforts, you find there’s been major improvement in the LED components themselves. Here’s some of what you can expect to see.

Saving Money
With few exceptions, manufacturers have discontinued their “traditional lamp” fixtures. What you see on display will be almost exclusively LED. The rare exceptions to this rule will be the big HMIs or special-purpose fixtures that require a quality that LEDs can’t provide. So unless it’s an 18K spot or something with exotic optics, it’s all LED. 

New laws to get mercury out of the environment have put fluorescent lamps on the “nearly extinct” list. The big lamp manufacturers have already finished making the last of them, and whatever remains in the warehouse will be the last of it. As a result, there may be high demand this year for LED soft-lights to replace obsolete fluorescent equipment. With supply-chain problems finally clearing up, product availability should be better than the past few years. 

Progress in the development of LEDs has followed a path similar to Moore’s law for microelectronics. Haitz’s Law predicts LED efficiency increases and cost reductions that we’re seeing reflected in the latest light fixtures. If you do a lumens-per-dollar calculation, you’ll find you’re getting a lot more quality light for your buck than ever. That’s at least partly due to the efficacy improvement of the LED chips themselves. This helps explain why newer models can honestly boast about better output.

‘Tunable White’
Real-world lighting requirements don’t come in just one color-temperature (CT). Bi-color fixtures address this demand with variable white adjustment. Models that include +/- green adjustment will make it easier to use together with other fixtures that may not be spot-on. 

These “tunable white” fixtures are ideal for field use where color-temperature versatility is needed. Studio spaces may even discover they prefer how skin tones look when lit with a bit lower color temperature than the de facto standard of 5600K “daylight.” 

Expect to see many companies offering slightly different versions of a Mono-Light. This format is almost primal in its bare-bones layout. It consists of a COB (Chip On Board) LED, fan-cooled radiator, power supply (often separate), and a control interface to make it all work. 

These lights put out a lot of raw light, but are typically used with a variety of light modifiers (reflector, diffuser, Fresnel lens, etc.)—typically fitting a common Bowens mount. For better and worse, this category is the Swiss Army Knife of lights. With the right attachments, mono-lights are a useful tool for smaller scale field production out of a trunk.

Like the unofficial motto of the US Post Office (“Neither snow, nor rain, nor heat…”), look for more IP65 lights that will deliver under every condition. These more robust field lights are designed to handle the worst of the elements. “Run & Gun” crews will appreciate having these IP-rated fixtures when the weather takes a turn for the worse. 

Cable snake nests are the unavoidable bane of location setups. Look for help with more fixtures featuring fully integrated wireless control. Some are brand specific and proprietary, but other systems are intended to work with any DMX device. Among wireless systems that have proven interoperability, watch for fixtures that have incorporated LumenRadio CRMX and Multiverse wireless DMX/RDM enabled systems. 

War of the LED Emitters
With the high sensitivity of today’s cameras, color quality—rather than just brightness—has moved to center stage. Without taking too deep a dive into the science behind LED color, creating a light with a broad color spectrum enables more accurate color reproduction. Different manufacturers have taken different approaches, each with their own unique “secret sauce” mixture of LEDs and phosphors. 

The engineering goal behind these varied approaches is to provide as natural a visible spectrum as possible, while still providing an energy-efficient light. Some companies use phosphor-converted colors to smooth out the spikiness of single-frequency emitters, while others use 6 or more separate colors to stake out their broad color gamut. 

Quantifying the color accuracy of lights is evolving. While everyone is familiar with CRI (Color Rendering Index), it has limitations. Companies are now posting the more specific TLCI (Total Lighting Consistency Index) numbers, and even the TM-30 scores. By these measures, the closer the score numbers are to 100, the closer they are to perfection. 

Novel Designs
As virtual production continues to prove its value in the industry, look for more lighting manufacturers to develop image-based lighting solutions. For those who need it, these fixtures can integrate with real-time image content to create plausible lighting that seems to arise from the virtual environment itself.

Part of the fun of the NAB Show is getting to see the latest lighting fixtures. I’ve seen several new fixture designs that deserve recognition for their ingenuity. One novel light fixture has a liquid-cooled stalk of LEDs surrounded by a stepped reflector. Beam width is controlled by which rows of chips are reflected in selected portions of the reflector. It’s innovative and a great conversation starter. 

Time will tell the utility of such novel designs. Some will remain curiosities of limited application, while another may turn out to be the new “workhorse” of the industry. 

Our industry is filled with some of the most creative people on earth, and this year’s NAB Show is your chance to meet them and see their latest creations for yourself. Enjoy the adventure! 

To register for the show, visit nabshow.com/2023.

Bruce Aleksander invites comments and topic suggestions from those interested in lighting at TVLightingguy@hotmail.com.

ARRI and Rotolight have announced that they’ve settled their dispute over Rotolight patents and that both sides have withdrawn their legal challenges. 

"ARRI has agreed to a settlement with Rotolight, relating to Rotolight’s cinematic special effects “CineSFX" patent portfolio in the US, UK, and Europe,” ARRI and Rotolight said in a joint statement. “ARRI no longer contests the validity of Rotolight’s patents and has withdrawn its Inter Partes Review in the US accordingly. Simultaneously, Rotolight has withdrawn its US District patent court action against ARRI. All ARRI products will continue to be offered as always. ARRI and Rotolight respect intellectual property and value fair competition”. 

In a separate statement, Rod Aaron Gammons, CEO of Rotolight added that “Rotolight invests millions each year into research and development in order to bring its customers the latest in lighting technology and innovation. However, such investments can only be made with the knowledge that those investments and the intellectual property, which underpins them will be respected. We are therefore pleased to have reached a settlement with ARRI, and shall continue to take all steps necessary to protect our intellectual property from ongoing infringement. In so doing, this will allow us to continue to invest in bringing industry-first innovations to market. Any other infringing companies should now proactively approach Rotolight directly, to secure a licensing agreement on reasonable commercial terms. ”      

Rotolight designs innovative LED lighting products for the cine/broadcast and photographic industries that have been used by leading filmmakers, studios and broadcasters around the globe.   

Manufactured in the UK, Rotolight products have pioneered numerous industry-first, patented technologies, such as the first suite of user customizable cinematic lighting effects (CineSFX), and the world’s first electronic diffusion technology (SmartSoft), the company said.  

The company also noted that the Rotolight CineSFX and related Magic Eye patent family contains 18 granted patents relating to user-customisable special effects, which have been granted by patent offices in the US, UK, Germany and Europe, the company said. 

These patents were developed internally by Rotolight, working in conjunction with Emmy winning Visual FX Veteran Stefan Lange (IMDB), who is listed as a co-inventor of these patents. 

In addition to the settlement agreed with ARRI, Rotolight also successfully defended two IPR cases relating to the same patents (IPR2022-00262 and IPR2022-00261) in the USA brought against it by Vitec Production Solutions Inc. 

The Patent Trial and Appeal Board found in Rotolight's favor, denied the institution of their InterPartes patent review and re-confirmed the validity of the granted Rotolight CineSFX patents, Rotolight said. 

LOS ANGELES—Quasar Science today released a new firmware update for its Double Rainbow and Rainbow 2 RGBX linear LED fixtures.

Available as a free download, Firmware v0.7 offers new features and improvements, including parameter controls for image-based lighting, the company said.

Offering several benefits for virtual production, the latest version features lighting profiles with global parameters to set the color space and white point of input media, allowing users to match adjacent outputs, such as a video wall, for accurate and consistent rendering and providing control over lighting in virtual environments, it said.

“Global parameters for pixel mapping, such as white point, spectrum control and color space, are not available in traditional RGB profiles,” said Quasar Science CTO Ben Dynice. “We have created these new DMX profiles specifically for pixel mapping for image-based lighting. Now, for example, users can change from pixel mapping a source video that is in Rec 709 to another source that uses traditional color management on the fly for more accurate and correctly balanced light.”  

Users can control the color space of Rainbow fixtures to match the playback media with a single DMX parameter along with control of global parameters with new pixel-mapping profiles, it said.

The RGBVW profile (RGB Variable White) allows pixel-level control over RGB, CCT and +/- Green with control of the global parameters, including spectrum, color space and output level. The VRGB profile (Video RGB) adds CCT and +/- Green into the global parameters to minimize the DMX footprint, the company said.

Two new color engines for use with new color spaces are also available. The Absolute Hue RGBX color engine offers users the maximum capabilities of the LED diode set. The Relative Colorimetric color engine is x-y calibrated with color temperature (CCT) calculated into the output and maximized Spectral Similarity Index (SSI), it said.

Other new features include:

• TimoTwo over USB.
• sACN priorities to improve network management.
• Fractional intensity dimming below 12%.
• Auto Lead/Follow pairing.
• Preset IP addresses for unicast networking.

The firmware update also improves RDM implementation, the UI and navigation.

More information is available on the company’s website.

BURBANK, Calif.—Tiffen has introduced the Lowel Tota LED XL daylight-balanced panel floodlight with foldable design and a three-times increase in brightness compared to previous models.

The new floodlight can be used to light a subject or raise the ambient set lighting for both video and photography. The Tota LED XL emits 11,200 lux of flicker-free, continuous light from 216 LEDs. The 8-inch-by-8-inch panel produces a 60-degree beam at 5600 degrees Kelvin +/-200 degrees K, Tiffen said.

Offering accurate color reproduction with a Television Lighting Consistency Index (TLCI) rating of 98 and a Color Rendering Index (CRI) of 96, the new floodlight can render vibrant colors as well as warm, nuanced skin tones. When a hard light source is needed, the included rigid diffusers can be quickly removed, the company said.

Location and on-set ready, the new light has a unique three-section design, making it possible to fold down to half of its width. With a solid metal body that protects the LEDs during transport, the Tota LED XL’s tri-panel design enhances lighting control with the two outer wing sections capable of being splayed flat or folded inward to custom-shape the light emission. Removable barndoors are included for even more directional capability, it said.

The new light operates via AC or battery (not included). The stand-mountable control box combines the power supply, controller, V-lock battery plate and AC adapter in a single unit, minimizing bulk, clutter and cabling. An LCD window displays the output readout and a knurled knob controls range and fine-tune dimming (100% to 0% at 1% increments). For further flexibility, a two-way 5/8-inch receiver is included, allowing the fixture to be mounted vertically or horizontally.

The Tota LED XL, priced at $399, comes in a handled case with a custom foam insert with cutouts for the full array of components.

More information is available on the company’s website. 

BURBANK, Calif.—Matthews Studio Equipment has unveiled the BM1 Bulb Mount Kit, which is designed to enable greater versatility and support improved grip compatibility when working with professional battery-powered LED bulbs. 

The kit comes with four Matthews BM1 Bulb Mounts made of sturdy, lightweight, matte-black molded nylon. Each has a standard lamp socket thread (1.25-inch outer diameter) to hold a single E26/E27 medium LED bulb. At the other end, a standard ¼-inch-20 female threaded insert is ready to accept a micro grip pin, scissor clamp or micro grip rod, the company said.

Two threaded micro grip pins are included to facilitate interfacing the bulbs with 5/8-inch (16mm) receivers. The kit also includes a micro grip rod for 3/8-inch (9.5mm) receiver. The included scissor clamp make bulb mounting easy from drop ceilings. A 2.6-inch (66mm) rubber coated disc magnet for mounting to steel beams, cabinets and other metal is included, it said.

The BM1 Bulb Mount Kit is available through the Matthews worldwide dealer network.

More information is available on the company’s website.

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.

LOS ANGELES—Litepanels has announced the global launch of its Studio X Fresnel range of high-performance, energy-efficient lights.

The lights, available in six models with sizes from five to 14 inches, offer directional precision spot to flood beam control of white light, offering a solution for lighting studio talent, the company said.

The lights achieve perfect skin tone rendering due to the use of high-output COB LEDs to produce superior white light. There is no variation in the quality of light at any dimming level nor across the adjustable CCT range from 2700K to 6500K, it said.

Studio X Bi-Color Fresnels match ambient and practical set lighting to illuminate talent for a naturally realistic appearance. Daylight and tungsten models are also available, it said.

Already launched in the United States, the lights, which were engineered in partnership with Italian broadcast lighting professionals Quartzcolor, have been installed in several broadcast studios but now are available worldwide, it said.

“Litepanels LED panels are installed into leading studio facilities worldwide, and customers have been asking for a broadcast quality Bi-Color Fresnel series to pair with them,” said Litepanels product manager Michael Herbert. “The Quartzcolor Fresnels bring high quality, color accurate output with matching CCT values in robust, broadcast quality fixtures that complement our panels to provide a complete studio solution.”

The Studio X2 is the smallest model. It is a 60W Fresnel with a 5-inch lens and a spot-to-flood beam angle range of 10 degrees to 49 degrees. It delivers up to 2,300 lux at 10ft/3m (spot). The largest model, Studio X7, is a 360W Fresnel with a 14-inch lens and a spot-to-flood beam angle range of 6 degrees to 57 degrees. It delivers up to 28,116 lux at 10ft/3m (spot). Studio X3, Studio X4, Studio X5 and Studio X6 make up the full range. Studio X3 and larger include RDM-DMX in/out connectors and PowerCON True 1 in/out connectors. All units include four-leaf rotating barndoors. Advanced thermal management ensures more than 50,000 hours of LED engine life, the company said.

“Fixtures in the Studio X range use up to 85% less energy than traditional Fresnels, and because they emit less heat can significantly reduce HVAC costs,” said Herbert. “Broadcasters are increasingly turning to LED lighting to improve their efficiency, and we are delighted to offer a combination of LED panels and Fresnels that can help them to minimize power consumption without sacrificing quality.”

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.

MUNICH, Germany—ARRI has announced the addition of the Orbiter Fresnel lens to its selection of Orbiter optics, making its LED luminaire even more versatile. 

Combined with Orbiter’s ARRI Spectra light engine, the high-end optical system is perfectly suited for cinematic application, broadcast studios, as well as theaters or live productions. The Orbiter Fresnel lens is an addition to the already existing Orbiter Open Face optics of 15°, 30°, and 60°.

The new Orbiter Fresnel lens is designed to create a precise light spot with a soft single shadow and delivers true Fresnel output with a real Gaussian field of light. The light output of Orbiter with Fresnel lens is comparable to the ARRI L-Series L10 and True Blue ST2/3 with 2000 W Tungsten bulb, the company reported. 

Fresnel lighting character works best with a large aperture and a wide zoom range. Despite its large aperture, the Orbiter Fresnel lens housing is compact (approx. 340 mm x 380 mm x 370 mm / 13.4 in x 15 in x 14.6 in) and lightweight (~ 4.5 kg / 9.5 lbs.). 

Its lens diameter of 285 mm (11.2 in) equals that of the True Blue ST2/3 and T5. The large zoom range is of 15 to 65° fully motorized and can be precisely positioned while being controlled locally via Orbiter’s Control Panel or remotely by DMX/RDM or IP based (ArtNet or sACN).

Equipped with a display, status LED, and a high-resolution encoder, the Orbiter Fresnel lens offers information that is easily accessible. The display backlight can be adjusted, and status information and zoom angle are available via the metadata for maintenance and post production needs.

Orbiter’s unique Quick Lighting Mount (QLM) system allows the Orbiter Fresnel lens to be mounted safely and quickly. ARRI accessories like the 4 and 8-leaf barndoors can be added to the new Orbiter Fresnel lens to enable a perfect cut. Physical gels can also be used in addition to the more than 300 already pre-programmed gels available for Orbiter.

To learn more about the new Orbiter Fresnel lens, visit www.arri.com/orbiter-fresnel.

In my earlier columns we looked at some of the basics of lighting. As a quick recap, light and shadow work together to create the shading (or “chiaroscuro,” as Renaissance artists called it) to reveal dimensional form. Those visual cues enable a flat medium, like television (or a painter’s canvas), to look three-dimensional. There are other visual cues involved, but here we’re concerned with those created by lighting.

Studio and Field
Moving beyond that theoretical groundwork, let’s consider the practical business of lighting for television. For our purposes, we can break down television lighting into two basic categories: studio and field.

Studio lighting is exemplified by the creation of a plausible space within a controlled environment that’s basically a blank slate. Within its ideal confines, power is always ample, hanging positions are plentiful, and the only limits to what you can create are your imagination and the size of your budget. 

And then there’s the world of field shoots—barely contained chaos, with a deadline. Field lighting is typified by constraints beyond the control of the photojournalist, including location, time of day and accessibility. 

Freelance photojournalist Jerry Hattan has his own ways of controlling contrast.

“It’s not just about adding more light.” he said. Working “with” the location is always better than trying to “muscle” a solution with brute force. But everything you want to be seen in the picture has to be within the limits of the camera’s contrast range. This is where lighting skills and ingenuity come into play.

Controlling brightness and reducing contrast is fundamental to field lighting. Midday sunlight can reach 10,000 footcandle or more—that’s very bright. You can’t just match those intensities on the talent, because anything more than 2,500 fc will cause people to squint, which is never a good look. 

So how do you reduce the contrast between the background and the talent? To an extent, you add “some” light on the talent, but you must also reduce the brightness of the background. Hattan offers an example. 

“Take advantage of the natural shade to get the talent out of the direct sunlight,” he said. “Once you’ve softened or eliminated the direct sun, you can add your own lights from a more flattering angle. Making sure the reporters look good is always an important part of the job.”

When existing shade isn’t available, you may need to make your own. Frame-mounted diffusion can create shade and soft fill light, instead of harsh shadows from the direct sunlight. But that requires additional gear.

“How we light the talent is often determined by what we can bring to the location” according to cameraman Roger Brooks, of Brooks Video Production & Lighting in Houston. Brooks and Hattan often work together when projects require additional support equipment or a second photographer. 

To transport that additional equipment, Brooks notes that “If it doesn’t have wheels, you’re in a world of hurt.” This is why his gear always travels on carts. “There’s almost always a ramp, so rolling carts is an easy way to have the equipment right where it’s needed. You never want to have to go back to the van for something forgotten.”

Even with carts, the equipment still needs to be compact. Several companies make breakdown frames for mounting textiles that can modify or completely block the light. Stands and shot bags are also essential grip equipment to safely support them. 

For Example…
A 6X6 silk diffusion does a great job softening the sunlight, but it’s wise to remember that it can become an unruly sail on a windy day. In addition to solid stands and shot bags, it also takes more people to safely handle the gear in such conditions, (Fig. 1).

Another effective way to control bright backgrounds is to add a special double-net screen behind the talent, according to Brooks, (Fig. 2). This technique reduces the background brightness by a full stop from the camera’s perspective, yet it’s transparent to the camera when shot at a wide aperture. It often takes a combination of techniques and equipment to yield the desired look.

“It’s not just the setup. When things change—and they always do outdoors—you have to respond quickly,” said Hattan.

Evening shots present contrast problems of a different kind. Nighttime calls for creating layers of separation in the darkness to keep the image from looking flat. This is where backlights are essential to ensure talent doesn’t disappear into a dark background, (Fig. 3.)

Today, LED lights justifiably dominate the field. The best of them have excellent output and nearly perfect color rendering. They can be dimmed to match changing intensities without color shift, and many are bicolor (if not full color) to match ambient-correlated color temperature. 

Although fluorescent, HMI and even incandescent are still used (and useful), no previous light source has the range of flexibility found with LED lights today. And while I may miss the direct simplicity of making light by heating a tungsten coil, I don’t miss the low efficiency and waste heat of incandescent.

Those older light sources will eventually fade into the sunset, replaced by LEDs. As it was with gas lights and kerosene lanterns before them, they’ll soon become quaint relics—more appropriate for nostalgic occasions than lighting sets. 

We’re already used to it. 

Bruce Aleksander invites comments from those interested in lighting at TVLightingguy@hotmail.com.

LOS ANGELES—Tiger Group is gearing up to auction surplus equipment from Red Star Pictures, a longstanding supplier of rental lighting, grip and production equipment to the entertainment and live event industry.

The June 2  online auction will feature gear surplus to the ongoing operations of Red Star and will include digital and film cameras, lenses, lighting, grip, electric, filters, and AV accessories. Equipment will be offered in more than 450 lots from top manufacturers including Arri, Black Magic, Canon, Moviecam, Panasonic, Rokinon Tiffen, Xeen, and Sony.

Specifically, over 50 digital and movie cameras from Arri Alexa, Canon and Panasonic, as well as a large quantity of LED lighting from Arri, Kino and LTM will be up for bid. A variety of camera accessories, and grip and electric gear will be offered as well.

"We are extremely pleased to have been selected by Red Star Pictures to assist in managing their surplus gear," said Jonathan Holiday, director of business development, Tiger Commercial & Industrial. "Red Star has enjoyed exponential growth in building its rental business through acquisitions over the past five years and by offering a high level of service to all its valued customers in the industry. This sale offers an excellent mix of gear and a great opportunity to purchase from a well-established, quality rental company."

Registration begins prior to bidding, which is set to open May 26 at 10:30 a.m. (PT) and ends at 10:30 a.m. (PT) on June 2.

Asset photos, descriptions, bidding and other information is available here. 

To arrange an inspection or obtain other information, email: auctions@tigergroup.com or call (805) 497-4999.

LOS ANGELES, Calif.—Litepanels has announced a further expansion of its award-winning Gemini RGBWW LED panel range with the addition of the Gemini 2x1 Hard RGBWW LED Panel.

The company is billing the new panel as brighter than any other 2x1 panel, delivering up to 23,000 lux @10ft/3m of output from a lightweight, compact fixture.

Just like the Gemini 1x1 Hard released a year ago, the double-size Gemini 2x1 Hard produces highly accurate full spectrum white light as well as RGB output and a range of creative cinematic effects, the company said. 

It weighs just 25.3 pounds (11.5kg), including yoke and integrated power supply, and has a maximum power draw of just 500W.  Twice the size of its smaller sibling, Gemini 2x1 Hard produces an output that is seven times brighter than the Gemini 1x1 Hard, creating a large volume of punchy light that can be easily softened with a range of diffusers.

“Gemini 2x1 Hard produces a greater volume of light than any other RGBWW LED panel available to gaffers and lighting designers today,” said Michael Herbert, product manager, Litepanels. “No other 2x1 LED panel is this powerful or this versatile. We have combined the latest advances in LED technology with cutting edge industrial design to push the boundaries of what is possible with LED lighting for cinema production.”

Gemini 2x1 Hard can deliver a powerful 20° beam of accurate hard white light, or seamlessly switch to a beautiful soft 100° wash with included diffusion panels. Users can control and modify without compromising on source. The extraordinary output enables users to deploy a wider range diffusion or reflection tools not possible with less powerful fixtures, the company reported. 

With no external ballast, the lightweight fixture is quicker and safer to rig. Ultra-Light and Domed Diffusers are supplied as standard. In addition to its onboard controls, Gemini 2x1 Hard offers a range of wired and wireless control options for easy integration, including integrated DMX, CRMX, and RDM. Like other Gemini fixtures, Gemini 2x1 Hard delivers consistently accurate, flicker-free performance at any frame rate, shutter angle, or intensity with ultra-smooth dimming from 100 percent to .1 percent, the company said. 

Gemini 2x1 Hard is now available to buy, from $6,300 at Litepanels authorized retailers.  

More information about Gemini 2x1 Hard can be found here.  

LOS ANGELES—As a network news photographer, I have found the Astra 6X light panels are small but mighty—punchy, compact and versatile. I’ve been working with a pair of them for nearly three years now in the fast-paced and demanding environment of network news. For a solo run ‘n’ gun shooter, speed is everything and these panels not only keep up, they refuse to compromise on the quality of light.

I got my hands on these lights for the first time in Washington, D.C. where I was running through the halls of the Capitol as a freelance photographer, collecting soundbites from members of Congress and going live in the rotunda with the magnificent dome over the shoulder of a national correspondent.

I have since moved to Los Angeles where the odds are in favor of the sun. A good amount of my shoots happen in the afternoon, fully exposed to the elements, and that burning ball in the sky is very unforgiving. These lights are bright enough to compete, yet easy enough on the eyes to keep talent from squinting on live TV.

The Right Light for the Light
The lights are available in three versions: daylight, bi-color, and bi-focus, with daylight being the brightest of the three. Many of my colleagues run with bi-focus, which offers the ability to adjust the beam angle from 15 to 45 degrees, which is very useful on bright days. 

I opted for bi-color to give myself more versatility with indoor shoots and early morning live shots. The rising sun brings a couple of challenges for brightness and color temperature and being able to adjust both on the fly—from the dial or via the Bluetooth app—is a dream.

I would gladly find a place for all three versions, but space is a premium in my work vehicle. I drive a compact SUV, so every piece of gear that goes in has to count. These small, lightweight panels make them easy to carry and store. 

As I was writing this piece, I was actually sitting in my car waiting for the location of a live shot to be confirmed before I unloaded my gear. When I got the call I was ready to go in 15 minutes and the shot went to air 10 minutes later; the producer, sound tech, and even security commented on the speed. My panels are equipped with a gold mount adapter and there’s hardly any setup time compared to other lights I have in my garage. It’s almost as if they built these lights for someone on the go like me.

There is also more to be said about the versatility of the Astra 6X. My shoots can go from a sit down interview, to a handheld walk and talk, or to a live shot in a matter of several hours. But it’s not a problem with these lights; I’ve had them flying on a C-Stand and could bust them down within seconds to be handheld with ease. 

Mobile and Tough
There are also several choices for modifiers, including barn doors and egg crates. I like to combine these lights with Snapbags for diffusion and this adds little to no weight with significant results. Like the name implies, they literally snap on, which helps even more with setup time.

Litepanels has crafted a light that has become an industry standard. It’s tough enough for travel and mobile enough for an everyday carry. The Astra 6X has earned its place in my kit, and the pair I bought is worth every penny.

Joey Ybarra is a freelance network news photographer with 13 years of experience in broadcast journalism. He can be reached at jowiitv@gmail.com

More information on Litepanels’ Astra 6X is available at www.litepanels.com.

LOS ANGELES—The first time I used BB&S lighting was while working as a lighting designer in 2012 for the PAC-12 Network in San Francisco. I took to it immediately and soon used the ForceV along with the Area 48 on projects for the Los Angeles Lakers, TWC Studio in El Segundo, KTTV in Los Angeles, as well as KGO and Al Jazeera America studios in San Francisco.

In March of 2020, I decided to focus on my own company, RE/LIGHT. Great timing, right? As you can imagine, business was extremely slow at first, but in 2021 it picked up. While on a corporate production for a large studio set, I was introduced to the new BB&S Compact Fresnel Lights (CFL), which we used mainly for backlights and scenic highlights. It was enough to give me confidence in the CFLs on my next project.

CFL for KPNX
The challenge was to replace all of the struggling first-generation LED lighting equipment at Tegna’s KPNX in Phoenix and create a new look to air by the end of 2021. The project was originally slated for earlier in the year, but was delayed because of other manufacturers’ inability to deliver equipment due to supply chain issues.

This forced me to rethink my original design and specifications so I called Toby Sali at BB&S, who suggested the new Compact Fresnels. Having used them already, I was confident they’d work, and thankfully they were delivered to the job site on time for installation. BB&S’s ability to deliver when others could not was a life-saver. 

I was impressed again with the output and quality of light from the CFL, especially given its small size. After everything was hung and focused, the talent immediately looked great on camera. The ability to get high output, with adjustable focus from 11 degrees to 52 degrees, in a small lightweight fixture that costs under $1,000 was a game changer. And that is what led me to specify BB&S lighting for talent on my next project. 

New Sets for KXTV
I’ve been lighting new sets for KXTV in Sacramento for the past few months and have specified the Area 48 Studio for soft base light, the CFL for key lights, and CBLs for back lights. Knowing all of the lights are going to color match before I turn anything on helps me stay focused on optimizing the on-camera image.

Ultimately, making the most of every budget is just a reality of the job. Being able to find all the talent light I need in one place, and at a price point that allows me to use what I need makes it much easier for my clients to move forward with their projects.

What I also appreciate about BB&S is their very personal approach to customer service, the eagerness to get feedback on their equipment, and a willingness to work with me and other lighting designers to improve the equipment, or even create new equipment based on new requirements.

I have been on many calls where, if in doubt, we just phone into their Denmark headquarters to solve an issue; I don’t know of any other company I could do that with. It’s fantastic to have that kind of support and relationship with the company that makes the tools I rely on to do the work I love l

Scott Kepley, owner/principal at RE/LIGHT in Charleston, SC, is a broadcast and entertainment lighting designer, lighting director, consultant, and creative problem solver. He can be reached at sdkepley@relightld.com.

More information about BB&S Lighting, which is headquartered in Copenhagen with its U.S. office in Los Angeles, is available at 1-800-820-6610, www.bbslighting.com and info@bbslighting.com.

TORONTO—Recent advancements in lighting technology have changed the production world for the better—but it’s not just because of the convenience, efficiency and control afforded by LED. As with every great idea, LED technology requires implementation that adapts the breakthrough for use as a day-to-day tool.

One recent assignment that brought this home to me was when I had the opportunity to design the lighting for a brand-new state-of-the-art television studio for Rogers Communications in Toronto. 

From the Ground Up
The studio was designed from the ground up to house a range of sports coverage led by the venerable “Hockey Night in Canada” broadcasts. The design of the facility needed to be flexible for a range of applications so that the latest lighting and camera tools could combine with visual reality set extensions, augmented reality and 3D capabilities, resulting in dynamic, immersive content and a great viewing experience.

Of course, there’s a ton of brand-new lighting technology involved, along with numerous video walls, and there’s LED lighting in the desks and in the walls. “The Cove” is a 50-foot floor-to-ceiling LED wall, one of a number of video walls used for a wide array of applications—stats, players, sponsorship, etc. With 13 cameras working at times, I needed dependable LED lighting for the sets and talent. ARRI lighting tools played a crucial role, especially the ARRI L-Series and SkyPanel instruments. 

There’s a kind of magic, happy spot between lighting, video and internal LED lights where the cameras like to be. You need to find the “sweet spot,” and my lights can’t be a hindrance to that. 

That’s what’s great about ARRI lighting—I can set it to 4700 degrees Kelvin, and with a little bit of plus green or minus green, I can find that magical combination—the lights can be dependably matched to exactly where we need to be.

The Color of Sports
Color is especially important when dealing with dozens of big-money sports teams that very carefully manage their branding. The studio includes a lighting board with presets that can light the sets with any one of 60-plus colors that represent one of 30-some hockey teams or 30 professional baseball teams. That effect can be adjusted with LED accentuation that backlights the talent from the in-set sources. Rather than a single look that remains steady for the duration of the show, different looks can be drawn up for different shows—or even within the same show. 

Environmental stewardship is important to Rogers. Replacing a fixture with something that uses 60% less electricity and produces 60% less heat that must be cooled down later translates to a massive amount of savings. It’s also nice for the talent to feel more comfortable. It’s a win-win. 

ARRI’s long experience and deep understanding of real-world concerns make their LED fixtures superior—dependable, versatile, easy to use. I put ARRI lighting into studios, because if I have the option, that’s what I rent. I want to give the client what I would want because I never want them to have to call me about a problem.

I feel comfortable knowing the weight of the ARRI team is behind me—the product is just built right. I’ve always loved what ARRI lighting products show the camera: We all see the beautiful richness that comes from the SkyPanel—whether it’s crisp daylight or warm tungsten—and there’s no compromise. l

Lighting director James Downey has worked on lighting design and implementation of more than two dozen studios for Rogers Communications and on such productions as the Super Bowl, the Genie and Gemini Awards, and the William and Kate Royal Wedding. He can be reached by email at fullertonproductions@me.com.

For more information visit www.arri.com.

MUNICH, Germany—ARRI has expanded its Approved Certified Pre-Owned (CPO) program, making selected pre-owned and refurbished lighting products available with a two-year warranty.

“We are excited to add lighting products to the ARRI Approved Certified Pre-Owned program,” said Stephan Schenk, management director of ARRI Cine Technick and general manager of global sales and solution for the company.

“With this additional tier to our lighting portfolio, we are providing a more cost-effective option to access our technology. It also gives educational institutions a great opportunity to provide high-quality equipment for their students.”

Under the ARRI Approved Certified Pre-Owed program, selected lamp heads undergo thorough assessments, are given careful overhauls during the refurbishing process and are tested in detail before they are approved for the program, the company said. 

Mechanical defects are repaired, electrical and electronic components updated and worn-out parts replaced. The light source of each LED lighting fixture is checked against factory specifications and replaced if necessary, it said.

Each fixture also receives the latest firmware before the equipment goes through a final function test to ensure full functionality.

“Expanding the program to include lighting products was the logical next step after our initial success with the CPO program,” said Christian Richter, general manager of sales and solutions EMEAI and global manager of CPO at ARRI. 

“We are delighted that we can now offer an even broader portfolio and give more creatives access to tools that will enable them to work their illumination magic,” he said.

More information on the CPO program is available on the company’s website as is information about CPO lighting products.  

ANCHORAGE—Alaska News Source (KTUU) has added new lighting and video wall power control from LynTec to its studios here.

Installed by Alaska Universal Productions, the setup includes two LynTec RPCR Automated Relay Panels, providing 32 circuits of automated power control, which enables fast, efficient lighting presets to support the broadcaster’s busy network schedule, reducing cable runs and ensuring efficient operation of lighting and video walls, the company said.

"Broadcasters like Alaska's News Source are tasked with delivering the news and can't afford for their systems to go down in the middle of a segment," said Jonathan Huff, CEO and president of AUP. "I knew I needed a power control product that wouldn't fail. LynTec is super simple and reliable."

AUP redid Alaska News Source’s entire lighting grid, incorporating existing and new lighting for a total of 150 fixtures. These included a mix of ETC Source Four, Philips Selecon PLCyc and multiple Brightline fixtures. The installation also included nearly 1,000 feet of pixel tape and four video walls, LynTec said.

Working with manufacturer representative Matt Skjerven of Image Marketing West, Huff selected two LynTec RPCR-16 Automated Relay Panels to manage power to the LED fixtures and provide individual control over every circuit, delivering the flexibility that previously would have come from a dimming system. This way, the lighting control system can cycle power to individual circuits to give an occasional hard reboot to the LED fixtures or to enable service in one area while maintaining lighting in another, it said.

Once the panels were wired in, they only required a network cable connection. From LynTec's web GUI, the integrator was able to set the control options for each circuit. Programmed to integrate with the studio's lighting console, the broadcaster can shut down power to the LED fixtures and sequence the video walls, ensuring the equipment is not consuming standby power when not in use and are protected from damaging inrush when powered on, it said.

"Upgrading to LED lighting and video systems provide astounding visual enhancements on a broadcast set, but it's critical to understand these systems demand a smart power control solution to truly optimize their energy efficiency and longevity," said Mark Bishop, president of LynTec. "The installation at Alaska's News Source highlights how our AV and lighting control panels are purpose built to support this increasing trend."

More information is available on the company’s website.

WASHINGTON, D.C.—NAB Show has announced that it is partnering with the American Society of Cinematographers (ASC) to present educational workshops taught by prominent cinematographers. The two in-person workshops will take place April 24-25 at NAB Show in Las Vegas and will cover cinematic techniques in lighting.

The NAB Show is developing the workshops in coordination with the newly formed Cine Consortium, which was launched in November 2021 in Los Angeles to guide NAB Show and affiliated events in identifying opportunities to serve, educate and unite the cinema, production, post and broader content creation communities. Each five-hour workshop is designed by instructors with expertise and experience in specific areas of film and television production.

"NAB Show has had an ongoing partnership with ASC, and this new alliance signals our renewed commitment to the cinema industry and content creators,” said Chris Brown, NAB executive vice president and managing director, Global Connections and Events. “We look forward to presenting this unique education opportunity to our community in April 2022.”

Stephen Lighthill, ASC, president, American Society of Cinematographers, added that “the Workshop allows our members to teach and share their expertise to a new group of filmmakers while continuing to advance the craft of the cinematographer."

ASC instructors and workshop details will be announced in the coming weeks, the show's organizers said. 

Registration for the workshops is available here.