Kelly Clarkson’s studio may be in L.A. — but it keeps the Texas (and country) in the girl

For the show’s fourth season, which first aired on September 12, 2022, Darren and his team are keeping the lighting looks fresh using a rig of Elation DARTZ 360 narrow-beam LED moving heads, SixBar 1000 linear LED bars and Cuepix 16 IP LED matrix panels.

Produced by NBCUniversal Syndication Studios and taped at Universal City in Los Angeles, “The Kelly Clarkson Show” is an American daytime television variety talk show hosted by American singer Kelly Clarkson. More than a simple sit-down talk show, the program is dynamic with games, demos, interviews, outdoor shoots, and a host of musical performances. The show has earned numerous Daytime Emmy Awards over its 3+ seasons.

DCLighting handles all the visuals for the show including design and programming, and built a lighting system that can adapt to the diversity of performances and the needs of a multiple-camera setup. “The Kelly Clarkson Show” was an opportunity to show the level of lighting design we were capable of, and an opportunity to craft a vibrant and versatile design,” Langer commented.

Every performance its own unique look

Clarkson opens each show with a performance—called a Kellyoke—usually accompanied by her band from a barn-like studio that is a reflection of her country roots. The show often includes an additional performance by a guest artist. Two shows are recorded per day—three to four days a week—so many weeks see eight performances by Clarkson plus guest artist performances from acts like The Backstreet Boys, Jewell, The Black Keys, and Panic! at the Disco. Some days see three performances.

“The goal has been to give every single performance its own unique look,” Langer says, adding that if the rig has the same layout, they are sure to change the color scheme, focuses, etc. so not a single performance is identical. “We keep it fresh and push the limits every day.” The designer says they have lit 600+ performances in their run with the show.

Team effort

Kellyokes are full-blown performances that Langer designs for weekly, working closely with Kelly Clarkson’s musical director Jason Halbert. Langer’s team then completes the programming and executes the design prior to rehearsals. “It’s a real team effort from the lighting design to Gaffer Andy Anderson and Lead Tech Andrew Gonzales, who execute the design, to Lighting Directors/programmers Felix Peralta and Kyle Rusk, to spot operators, and electrics. There is a lot involved.” DCLighting VP Production Kirsty Robson coordinates the gear logistics, and keeps track of the lighting budget to help afford the different looks.

At a moment’s notice

Often working weekends to prepare for the week of shooting, the DCLighting team will sometimes arrive at the studio to find that Clarkson has turned a song into an acoustic number or changed songs entirely. “Sometimes we need to pivot at a moment’s notice,” Langer says. “A 100-cue song might need to change to a single look and we’ll need to adjust. We’re flexible and there to accommodate them so we have to be prepared for anything.”

DARTZ versatility

It is DCLighting’s first season using the DARTZ 360 on the show, an LED moving head with 3-degree aperture that Darren says he first saw on a show in Las Vegas. “We wanted a compact, discreet light that could fit in a little space, something beamy and fast that wouldn’t bust the budget and the DARTZ fit the bill perfectly. They are versatile and give us a lot of impact without being in the way.”

With so many unique looks to produce weekly, the designer accesses the fixture’s complete feature set of RGB colors, gobos, prisms, frost, continuous pan/tilt rotation and more, and uses them from positions on the floor and flown on raked overhead trusses. He adds that because of their lightweight, they are able to use them at a variety of different angles in order to get the best look for camera. “We get particular and creative on how we use them for the camera shots. We point them at the proper angles for camera to get the most impact out of them.”

SixBar / Cuepix

Additional to the rig are SixBar 1000 linear LED bars used to define the shape of the trusses but are also used for eye candy looks. Additional SixBars are mounted to a back wall. “We’ll use them horizontally or vertically, whatever we can to make it unique for every performance,” Langer says. A background wall of Cuepix 16 IP LED matrix panels provide a eye-catching color changing pixel backdrop and are often used behind guitarist Jaco Caraco’s platform with 8 DARTZ projecting beams from beneath.

“The Kelly Clarkson Show” has been a success on nearly all fronts since debuting and Langer says they’ve gotten a lot of positive comments on the lighting “and that’s because we give 110%. It’s about teamwork and I’m fortunate to have surrounded myself with the best in the business,” he concludes.

Set Design

The Kelly Clarkson Show (2019-2023)

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Designer:  Darren Langer 
Lighting Director/Gaffer:  Andy Anderson
Lighting Director /Programmer:  Felix Peralta
Lighting Director/Programmer:  Kyle Rusk 
Lead Tech:  Andrew Gonzales 
Best Boy:  Chris Nelson
Electric:  Kyle Schweitzer
DCLighting VP Production:  Kirsty Robson

The post Case Study: ‘The Kelly Clarkson Show’ shines thanks to DCLighting and Elation lighting gear appeared first on NewscastStudio.

Part of the upgrade was a complete lighting overhaul with new instruments from BB&S Lighting with lighting design from Bill Holshevnikoff, an Emmy award-winning lighting designer, director of photography and educator.

For over 35 years, he has lit a variety of projects across production types including work for numerous television stations and affiliates.

Holshevnikoff dives into working remotely and the Telemundo Sacramento project in the Q&A below.

Telemundo Sacramento gets studio overhaul with curved, layered new set

How did you get started doing lighting design for studios?

I was asked to light a news set in San Diego in the early 90s. I built foam core soft boxes to use over their 2,000W Fresnels at the time. It was the first time the anchors had been under soft lights at the news desk and it was a big hit. That led to other jobs for set design companies shortly thereafter.

Since you have been working in the remote production realm for 20 years, can you explain how things have changed in the last 2 decades?

20 years ago, I was shipping a military-grade laptop to clients around the globe. It was loaded with software I used and had a video tap dongle. It was a bit clumsy for the client, but it worked.

Today, the internet service is much, much faster, and the gear I am using is much cheaper and easier to use. Iʼm also utilizing VR during my installations, which did not really exist then.

Additionally, people are more tech-savvy these days and have been using Facetime and Zoom for years now, so the concept of me working remotely is much easier for clients to grasp now.

How is the collaborative process of designing a studio remotely, different with the art director, installation crew, director, camera department, talent, etc. as compared to being local?

The prep process is really very much the same for me remotely, but I have also worked out some methods for installations that make it easy for the crew to understand. The studio cameras are my eyes on set, so I really can see everything from the set and talent to the crew working in the grid. I tell my clients, “Itʼs like Iʼm in your control room, but I canʼt come out to the studio”. Once we are connected and begin working live, I think everyone in the studio understands the process and adapts very quickly.

How did you become involved with the Telemundo Sacramento project?

NBC is a client of mine and we have done a number of projects together, both in person and remotely. They own many of the Telemundo stations around the U.S. now, and they asked me to light this new set in Sacramento, CA. I live only 90 mins away from the station, so it was easy for me to be there in person for the initial install.

After the install, we worked together remotely during rehearsals to refine the lighting in a few areas.

Additionally, the station is using the ETC Puck system with their ETC lighting control board, so we were also working remotely with Rob Crane, from ETC, as our board operator and programmer. So the entire process is getting very streamlined for remote work now. It saves the client a lot of money in travel expenses, and our lighting updates are often done the day of the request from the station.

What were some of the challenges you had to solve with Telemundo?

The biggest challenge with this set was the fact that the main news desk rotated about 90 degrees for a second background. This is something I deal with often, and it can just become an issue of lights battling for air space position. You end up having to be very careful with the position of each light, and unfortunately, most lights hung on the grid only work for one desk direction.

This was one of the benefits of working with the BB&S 2 Bank systems on this job. They have a very thin profile, so itʼs easy to set several soft lights in one area and they donʼt interfere with one another.

How important is the type of lighting you select for a project and what decisions influence your selection?

The lights I choose for any job is always an important decision for me. With news sets today, and many live television shows, directors and producers want flexibility and options.

That often means talent moving and turning in multiple directions, so softer light sources is a must in my approach. Softer key and fill sources allow the talent to move and turn on camera, and still look great. I love the look of hard light too, so when the shot is nailed down for only one camera angle, I nearly always add a hard key light as well.

The size and height of the set, and if I need to place my lights up high and out of camera shots, are also important considerations. And budget plays in part in most jobs, so I am always conscious of equipment costs for the client.

What made you choose BB&S lighting for Telemundo’s Studio?

Iʼve just started using BB&S over the past few years on news sets. In this instance, their lights made sense for Telemundo because I knew I would get a great look on the talent at the news desk in both directions, without overcrowding the airspace above the desk, and the lighting package I designed with BB&S really fit the clientʼs budget perfectly.

What specific fixtures did you choose and why?

We used the 2-Bank Reflect systems for the fill lights all around the studio and the new focusable compact Fresnel light for most of the keys and back lights. The color and light quality are great with both instruments, and the thin profile of the soft 2-Banks helped me with the tight spaces.

How did you account for the talent in your lighting design?

Due to the need for big turns to different camera angles, I had to light the talent mostly with soft light. So at the news desk, It was a wrap of soft light with the 4ʼ 2-Banks, and for their close ups, I added the Fresnel spot.

In the areas where the talent walks around the large LED video walls, I just wrapped them in the soft light of the 4ʼ 2-Banks and 2ʼ 2-Banks. Telemundo is a Hispanic network, so the range of skin tones is from very light to a darker skin tone.

The color output of the BB&S lights is always great, so we ended up with very accurate, pleasing skin tones in every area of the set.

How did you direct the physical install remotely? Did it slow things down?

The actual install was 3 days of hanging lights with a crew of 3 plus me, and my remote board op in Dallas. After we completed the majority of the lights, we left the crew there at Telemundo to rehearse and play with the set for several weeks. They contacted me after a few weeks with some new shot ideas and we did most of the tweaks remotely up to the launch date.

I am super happy with the final product. The support from BB&S was great. They make my job easier with their lights and support.

Bill Holshevnikoff is an Emmy award-winning lighting designer, director of photography and educator. For over 35 years, he has lit and shot projects ranging from broadcast, commercial, corporate, and documentary programming to feature film productions. His list of clients for which he has designed lighting installations include: NBC, FOX, ABC, Telemundo, Univision and numerous television networks around the world. As a recognized expert in the lighting industry, Holshevnikoff has created and taught his Power of Lighting Workshops to thousands of film, television & corporate video professionals around the globe, and his experience as a lighting educator includes over 100 featured articles in popular trade publications, in addition to the production of over a dozen acclaimed lighting education videos.

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Super Bowl halftime veteran Al Gurdon of Incandescent Design was back lighting the show and, as befits a show of this caliber, had a large lighting package at his disposal. This was the Emmy-winning designer’s sixth time lighting the event and with ambient lighting conditions to contend with chose a powerful package that included Proteus Maximus, new Proteus Excalibur, and Protron 3K Color luminaires.

Entertainment design group 22 Degrees supported Gurdon in his design including lighting direction. The lighting system, made up of over 600 lighting fixtures, was supplied by PRG. The executive Producer of the show was Roc Nation.

In terms of what is most important when it comes to fixture choice for the Super Bowl halftime, Gurdon says it depends on the show. “One Super Bowl can be very different from another,” he says. “Very significant considerations are whether or not the stadium is under cover from the elements, or not, and the type of throw distances involved.”

Last year’s halftime show, in Tampa, was exposed to the elements and therefore having an IP65 rated fixture was very important. “That was the first time I used the Proteus Maximus, and I was very impressed with its functionality and particularly its brightness,” Gurdon comments. “Again this year, we were all extremely impressed with the brightness at significant throws, and that was particularly important in this halftime show as we were shooting across the borderline between full daylight and full night.”

Bright ambient conditions

Gurdon says that because the precise duration of the first half of the game was not predictable, they did not know what sort of ambient conditions they would eventually shoot in. “As it turned out, the first half was very quick and we broadcast the show at the earliest and brightest time we had ever seen it. It was very useful at this point to be able to call upon the considerable brightness headroom we had built into the rig to give us more contrast in brighter daylight conditions.”

Although the IP rating was not a requisite for this year’s show as the field at SoFi Stadium is covered, Gurdon says the shuttering, and most importantly, their brightness, made them an obvious choice for this year as well. He incorporated 94 Maximus in his design, arrayed around the building and mainly used for key light. “I also used them for the ‘Global Citizen’ event in Paris this year, and found them very effective and efficient.”

Proteus Excalibur

In searching for a compact moving head that could create powerful aerial beams, Gurdon spoke with Elation’s UK-based Business Development Manager, Graham Hill, who introduced him to Elation’s newest Proteus series fixture, the Proteus Excalibur. “The set design concept for the show (Es Devlin) was a series of iconic buildings from the Compton neighborhood, sitting on a field cloth of Los Angeles from the air,” Gurdon explains. “I wanted something that would give me a good searchlight effect. I was keen to have the visible fixtures feel like a motivated part of the environment, rather than ‘just a bunch of lights’.”

The Proteus Excalibur projects an ultra-narrow 0.8-degree beam – producing up to 200,000 lux at 20 meters. Eighty-four Excalibur fixtures were arrayed on field carts on both sidelines and on audio carts that created a ring around the field. Finally, rigged next to the Proteus Maximus, 106 Protron 3K Color, a high-power RGBW strobe light with 40,000 lumens of power, provided a stadium-sized flash effect. Gurdon says he is a big fan of strobes and often prefers to simply accent the music using them, something he feels they do well. The Super Bowl is the most watched television broadcast in the United States every year with this year’s halftime show watched by over 100 million viewers plus millions more around the globe. The game proved especially satisfying for Elation as the Los Angeles-based company’s home team Rams came out victorious.

Photos courtesy of Elation Professional / Roc Nation

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LEDs create little heat, consume much less electricity and have a significantly greater useable life. Power is a major expense in a television studio both in operating the lights as well as removing the heat they create. It is not unusual to see wattage consumed at a TV news studio in the upper five figures.

Conventional lighting fixtures require bulb changes and other maintenance on a yearly basis. Professional LED fixtures are good for a minimum of 50,000 hours of operation. That’s approximately 10 years of heavy studio operation. 

What does it take to convert a conventionally lit studio to LED based lighting? An example is a recent project done at the Tegna-owned NBC affiliate, WKYC in Cleveland.

Vincent Lighting Systems was contracted to provide a turnkey solution for WKYC’s main news studio.

This included removal of the existing legacy lighting, supply and installation of new LED lighting fixtures, design and commissioning of a custom control system, and installation labor coordination. I was brought in as Lighting Director to design and specify the lighting system and set the on-screen look.

Lighting at the studio of WKYC. Photos courtesy of Nicholas Hutak.

As LED fixtures have developed over the last several years, certain fixture types and brands have risen to the top. Although they last far longer than traditional light sources, most LEDs degrade over time as the phosphor that creates the color is mounted directly onto the LED itself. Remote Phosphor fixtures hedge against this wasting by separating the phosphor that creates the color, from the LED. This extends the color consistency of the unit well over the 50,000-hour LED runtime average.

Although LED fixtures create little heat they are heat sensitive—so cooling is critical. This can be done using fans or with passive cooling performed without moving parts. My choice in a high-usage situation is passive cooled remote phosphor fixtures.

For this project, I selected BB&S Lighting fixtures as the primary light source. Their remote phosphor Pipeline Reflect three-foot and four-foot, four-bank fixtures provide base and fill light. The Area 48, a smaller, remote phosphor fixture provides a “soft key” light for each position. What I like most about these remote phosphor panel fixtures is the way they render flesh tones. They also have more punch, that is, more apparent illuminating power than traditional LEDs of the same wattage.

The 1’ Pipeline Reflect fits perfectly into the desk providing the all-important and flattering facial up-light. The size and mounting options of this small and very efficient fixture made installation by the VLS team possible in an existing desktop. A new item in the BB&S line-up, the Compact Beam Light made for a great long throw backlight from 25-feet away.

Chroma Key and video wall areas are always challenging. I was able to use BB&S Pipeline 6’ single bank units just over the screens and out of camera shot to provide backlight on presenters 3-feet from the wall. The same long narrow fixtures work extremely well in the Chroma Key area.

As with many established studios, WKYC had several ETC Source-4 ellipsoidal fixtures in their existing inventory. I was able to replace the “light engine” in these formerly tungsten units with their LED retrofit, the Source 4WRD, a savings over a completely new fixture.

Additionally, there’s the DeSisti Picoletto. This very small and versatile fresnel spotlight made for great backlight in the tight spaces around the edges of the studio. All fixtures were 5600°K. I find that monitors and video walls are more easily balanced to this color temperature.

Using daylight balance was also suggested as the studio has a view to the outdoors in some areas. Unlike conventional fixtures that require filters to create color, color-changing LED fixtures can create millions of colors with instant precision control. Several were used to freshen up some of the set lighting.

All of this technology must be controlled. Once it is up and running, each presenter is brought into their position and custom lighting for that individual is set and placed in memory. The VLS CoPilot Broadcast system can then recall that setting either through studio automation or by dragging a presenter’s picture into the position they sit in on a map of the studio. This is an invaluable feature in the world of shrinking studio staff. This entire package was designed for future expansion as the lighting control system itself has the ability to control far more than what is currently in use and can be programmed and maintained remotely by VLS technicians as studio needs develop. 

The entire installation took 5 days. One was for demolition and infrastructure preparation. It took three to hang, focus and do basic programming. The final day was for the walk-through and fine-tuning. The work began several months in advance with a site visit and meetings with the lead director and the close support of the VLS team in Cleveland. Prior to the LED refit, the studio consumed 40,000 Watts. It now consumes 7000 Watts.

This new ultra-efficient studio consumes considerably less power, eliminates the man-hours for lamp changes, and will maintain the lighting’s stable color characteristics for the next decade.

Nicholas Hutak is a two-time Emmy Award-winning lighting designer with 132 broadcast news studios on 4 continents to his credit. He can be reached at nh@nickhutakdp.com or online here. 

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“Brightline has taken WZVN into the DMX world and also the LED world,” said Bob Hannon, senior production engineer for Waterman Broadcasting.

“They look fantastic. The lighting is very consistent; we’re not dealing with color temperature variations across the set. It’s a really nice setup.”

The updated lighting grid is daylight balanced at 5600K with a mix of Brightline L1.2 and L1.4 LED SeriesONE studio fixtures, BL.16 long-throw beam compact fixtures, and Lupo DayLED fresnels.

Set Design

WZVN

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“What we tried to do was eliminate all risers, all furniture that give you obstacles. The main anchor desk is moveable,” Hannon noted in a release. “This set is made for you to move around and interact with anything.”

“That’s a little more challenging when you’re trying to prepare a lighting plot,” said Dan McKenrick of TVLD, Inc., who served as lighting designer for the project.

“They wanted the flexibility to move the news desk and bring in stand-up positions and other setups. Uniformly lighting a whole space can look too flat. What’s nice about Brightline fixtures is they have the brightness and flexibility to carve out lighting as needed to give the room some depth.”

WZVN is co-located with Waterman’s WBBH, the market’s NBC affiliate, with each retaining a separate control room and studio.

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Anchored by “CBS Evening News” anchor Norah O’Donnell, the special included a look at the transfer of power from Donald Trump to President Joe Biden Jan. 20, 2021 and the challenges the nation is facing.

View on Giphy

The special originated from the Washington set that is shared by “Evening” and “Face the Nation” (it was also used by “CBS This Morning” earlier Jan. 20) but with a decidedly darker and more dramatic look by CBS lighting director Izzy Einsidler.

Normally the studio is relatively bright — but for the 8 p.m. eastern special, the lighting was decidedly darker and much of the silver metallic surfaces were washed in blue, while portions of the floor, especially the corners, received red treatment.

The special also opted not to use an anchor desk or the studio’s video tile riser, though the presidential steal floor decal seen earlier in the day remained.

O’Donnell stood for the entire special nearby vertical video panels with mobile, edge lit glass bases — one lit in red, the other blue.

The lighting on O’Donnell herself was also more focused — with more light directed at the upper portion of her torso and head.

The special’s open used elements from the ribbon-inspired look the network unveiled for the occasion, though darker background elements were blended in along with oversized 3D CBS eyes that served as the “frames” for imagery and pathway for the ribbons.

Networks go patriotic for Biden inauguration coverage

Similarly, the studio’s video wall graphics used white to create a focal point but then used deep blue, red and violet gradients along with patriotic imagery to blend in with the more subdued studio lighting.

The special filled the 8 to 8:30 p.m. half hour before the multi-network “Celebrating America” special ran, and we’ve included looks at NBC and ABC’s special opens below as well.

Correction: This story has been updated to identify the correct lighting designer for the special.

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The show’s producers opted to work with Marc Janowitz of E26 Design for both the lighting and production design, knowing how interlocked they’d be on camera.

“The production design called for an immersive vibe on the set,” said Janowitz. “The set walls and floor consisted of multiple layers of LED video screens. These would become a canvas for the infographics that Hasan used to help support the show’s weekly content.”

Part of the design was known as the “fingers of light,” which Janowitz notes would “reach out from the set and envelope the performer in light.”

“The idea was to mix form and function by using the finger layout overhead to extend the set design while also functioning as the predominant key, fill and backlighting sources.”

42 ARRI SkyPanels formed the “fingers” with eight more serving as key lights at the front of the stage area.

“Working closely with DP Cameron Barnett we were able to get the right blend of exposure and effect from the SkyPanels and make it look great on camera without polluting the video screen-scape,” said Janowitz.

“The SkyPanel is a remarkable fixture. The color space & quality of light is impeccable for camera work, and the soft, even light output was perfect for this show. The set walls & floor were designed using varying layers of LED video screen pieces in different resolutions. This required minimal shadow on the surfaces, smooth blending across the fixtures, and no hard edges or circles of light on the floor,” added Janowitz.

“The SkyPanel created ample light where we needed it but had a fast enough fall-off, so it didn’t pollute the video surfaces or scenic support structures. The video graphics on the set remained clear and crisp and were captured well on camera.”

During a normal episode, the show’s lighting director, Josh Windhausen, would cue up select SkyPanels to emulate the graphic content on the screens giving the subtle impression Hasan was actually being lit by the graphics.

For lighting control, a MA Lighting grandMA2 console was used.

Project Credits

Lighting & Production Designer – Marc Janowitz | E26 Design
Director of Photography – Cameron Barnett
Lighting Supplier – 4Wall New Jersey
Lighting Director – Josh Windhausen
Lighting Programmer – Eric Christian

Photos courtesy of E26 Design and Netflix

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Designed by Broadcast Design International, the set’s biggest structural change was the conversion of a room next to the studio into a working weather center, giving forecasters a practical, functional work area while also freeing up space for the core set area.

The two spaces are connected by glass windows and an access door and the forecasters still move to the studio for on air appearances.

For the set’s main anchor desk, the station’s “19” logo (redesigned in 2019) is mounted on a white plinth that slopes outward and internally lit base that supports a large U-shaped, thick curved glass desk top.

Camera center is a light wood wall with horizontally mounted monitor, which is flanked by three vertically mounted video panels on either side that can be used to showcase city views, all framed out with silver metallic frames and off white walls.

The new set also includes an interview area with a 3 × 3 video wall array framed by light black and white photography of city architecture and a wood base wall.

An additional nod to the city is a dimensional version of a well known stylized “Cleveland” logo mounted to a coffee table.

The station had to get special permission from the Cleveland Visitors Bureau to use the typography.

Camera right of the anchor area are openings that lead to a sort of hallway that runs in front of weather center with horizontally mounted touchscreens installed on the wall supports between the openings.

The studio also includes another nine panel video array in a wood toned surround and flanked by dark gray walls with horizontal lighted band accents. 

WOIO’s studio cameras are fixed PTZ models installed from the ceiling, so careful attention had to be paid to how different elements lined up.

The new set was lit by Nicholas Hutak of Block Light Shoot, who worked with the integrated can lights and integrated elements BDI placed throughout the set, as well as incorporating subtle accents of red, such as the two beams on the right and left side of the anchor center monitor that also catch on the conferred head.

Other accents include washing the logo on the front of the desk with light while also avoiding glare on the multiple on set video panels and frosted elements when appearing on air.

The set as a whole is arranged in a rough circular layout, a structure that is driven home by the curved walls and ceiling elements. 

The post BDI gives Cleveland station a bold new look for its newscasts appeared first on NewscastStudio.

The network, which launched in February, serves the African American community and is available on a variety of cable and streaming providers.

In the main news studio, which was designed by Devlin Design Group, Brightline’s L1.2 and L1.4 SeriesONE LED soft light fixtures illuminate the set.

“They wanted a very colorful, RGB-driven set,” notes Holshevnikoff. “When that happens, you’ve got to keep all your lighting for talent off the RGB elements or the color won’t pop. You really have to work hard to control that spill light. Brightline has great control options on their fixtures, so you can make sure you’re not spilling light on the RGB elements and spoiling the color.”

“Instead of a weather wall, everyone has gone to big LED video walls,” he said. “News directors love movement, and now there’s a lot more talent movement, so we have to light for more movements and multiple locations.”

The network’s secondary studio, which houses a large green screen cyc, includes 20 L1.2 and L1.4 fixtures while the newsroom work area includes Flex-T LED lights.

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Matt Gordon of Eastern Lighting Design provided lighting design for the studio with Barbizon Lighting coordinating.

NYC’s Univision station debuts state of the art news set

On the project, Gordon opted for Chroma-Q’s Studio Force II fixtures due in part to the studio’s less than ideal grid height.

“I use these fixtures in most of the studios I design because they provide a nice even field of soft light,” said Gordon in a release. “This fixture is compact while providing a soft light that is adjustable to meet the surrounding conditions. If the newscaster is near a window, we can adjust the Studio Force II to match the dominant light source.”

Along with the fixtures, barndoor accessories were used to help control the light.

“WXTV is so pleased with the launch of this cutting-edge studio,” notes Gordon. “The new set and lighting design create the impact and rebranding that they were looking for.”

The Chroma-Q products were supplied by Barbizon and A.C. Lighting Inc.

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