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| Project ‘Green’ Light |
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Studios move to eco-friendly lighting
Lighting exhibits as this year’s NAB Show largely focused on lower-energy replacements for existing studio lighting. It’s not news that the technologies behind this trend are based on LED and fluorescent lights. But there were several new ideas introduced that make the transition to these technologies more straight forward.
FLUORESCENT INNOVATIONS
Fluorescent lights have long been used for soft lighting where there are low heat requirements. The availability of different color temperatures in the tubes and CFLs has allowed lighting directors to fine-tune color balance even without filtration. This has allowed non-studio locations like conference rooms and small stages like press briefing rooms to use existing ceiling lights with the proper color temperature tubes to provide adequate lighting for video without using cumbersome field setups.
One problem with in-ceiling lighting has always been the ability to aim it. As soft as it is, fluorescent ceiling lighting usually is stuck with a straight downward throw that can cast unflattering shadows on briefers or conferees. One solution has been to provide replacement ceiling fixtures with a rotating light box that allows up to a ± 45 degree swing in the tubes and reflector.
Brightline has added a new approach with its Stealth fixtures. Stealths come with different fixed angle louvers that provide forward, downward, corner or bidirectional light throw from the flushmount 2-by-2-foot fixtures. This makes them perfect for applications like telepresence, classrooms, or office spaces that can’t look like a studio or be cluttered up with portable lighting equipment. With two 55 W custom phosphor tubes in each fixture, the Stealth lights require no more power and generate no more heat than standard office lighting, and can be used as standard office lighting as well.]
Another problem with fluorescents is that for bar lighting fixtures you had to choose between a flood or more limited “spot” light spread. This was usually accomplished using a curved reflector and changing the distance of the bulb from the reflector and/or the front of the fixture. Videssence’s fixtures have traditionally provided a control that allows the user to move the tubes forward or backward in the fixture giving some control of the light’s spread angle. However, that control used to be inside the fixture so that egg crates or filters had to be removed to make the change. Their new design provides a simple lever at the back of the light so the lighting tech can make the adjustment without removing anything from the front of the light, and more importantly, while looking at the subject rather than into the light itself.
LEDS GO LARGE
LEDs first became popular as oncamera and battery-powered field lighting. However, light-throw distances largely limited them to rather close-quarter use, and the venerable Fresnel remained largely unchallenged as a long-throw spot light. HMI also held its own as mediumdistance lighting, but HMI and tungsten lights generate hellish heat. The amount of energy required to run these lights and to provide cooling to offset the emitted heat became a target of “green” legislation in the European Union. By law, the deadline is fast approaching when European facilities will have to give up all their tungsten and halogen lighting for lower-energy solutions.
Gekko Technology’s Kedo light is a single-source, focusable, multicolor light that can replace standard spots with an LED light. Two years in development, the “Kleer Colour” light engine provides color and intensity control without the gaps in the emitted light spectrum that are the hallmark of some multi-color LED solutions.
Another spot replacement was shown by Acme Lighting and Grip. The Komet 12 outputs the equivalent of a 1,000 W tungsten light at much lower heat level and lower power draw. It is even waterproof to a depth of 15 feet.
For closer work, Element Labs’ Kelvin Tile is now available for purchase from the company, or for rental through Kino Flo. It uses six different LED colors to provide unlimited variable color temperatures from one fixture. The optional Kelvin Paintbox is a small control box that allows remote control of all the light’s capabilities, plus
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The Komet 12 operating under 4 meters of water.
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the ability to store and recall lighting presets.
Zylight introduced the IS3 panel, which also provides color temperature control and adjustable ±green color correction. It uses the same ZyLink system originally designed for the Z-50 and Z-90 on-camera lights to remotely control a single or multi-IS3 set-up.
HANDWRITING ON THE WALL
LED technology may be more expensive to acquire. You might need more fluorescent fixtures to get the equivalent lighting as a full-on, tungsten-based broadcast studio set-up. But in each case, the operating and maintenance costs will be lower in the long run. Lower current draw, lower cooling requirements, longer bulb life, and more robust bulbs mean lower costs over the life of an LED or fluorescent installation. And let’s not forget that lost time and potential lawsuits over accidental burns from hot lights will be reduced as well.
While none have yet passed, several states have considered bills to end the sale of tungsten and halogen lighting and use. Combined with the EU’s law that is already on the books, it would appear that legal, cost and safety issues have highheat, high-energy lighting on the path to extinction.
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