The RC 220 series continue to offer flexibility in a lightweight, compact design, while noticeably increasing light output.

SmallRig RC 220 Point-Source Video Lights come in two configurations – the RC 220D for Daylight (5600K) output and RC 220B for Bi-Color (daylight or adjustable color) output. The RC 220B allows adjustment of color temperature (2700K ~ 6500K), hue, color-matching, and much more!

High Luminescence: the RC 220D (220W) center illuminance reaches 98,700 Lux# at 1 meter (3.3 ft) and the RC 220B (220W) center illuminance reaches 84,500 Lux# at 1 meter (3.3 ft). Control output from 0 ~ 100%. (with hyper reflector)

High Color Accuracy: with CRI/TLCI scores of 96+/95+, RC 220 Series lights produce professional-level color reproduction and rendering and consistent, stable color output.

Intelligent Remote Light Control: the SmallGoGo App allows individual or group control of SmallRig lights up to 100m (328 ft) away. Remotely control light output, special effects, color temperature (RC 220B only) and more.

Ultra-Quiet Active Cooling System: the automatic circuitry activates the extremely quiet fan (<30dB) when needed for stable performance and safe, continuous use without disturbing video recording.

Standard Bowens Mount: quickly attach or remove SmallRig softboxes or choose from the impressive range of fully compatible light shaping accessories offered by other brands.

Dual Power Supply System: use adapter in the studio or popular V-mount batteries for in-the-field productions. 

The RC220 lights are available for preorder now with an MSRP of $369 for the bi-color and $329 for the daylight.

The post SmallRig expands video lights lineup with RC 220 appeared first on NewscastStudio.

Orbiter Docking Ring

The Orbiter Docking Ring is an accessory enhancement which expands the lighting designers’ and DP’s toolbox even further. With its unique Quick Lighting Mount (QLM) system and the large number of different optical lighting accessories from ARRI, the Orbiter is already one of the industries’ most versatile luminaire. By enabling the Orbiter to accept various industry standard, third-party optics, the new Docking Ring enlarges the fixture’s application possibilities.

This new accessory gives a second life to already-owned equipment. Since the Docking Ring allows the Orbiter to be compatible with third-party equipment, it helps to minimize new investments. The optical design of the Orbiter Docking Ring boosts the performance of older tools in output, optical performance, and homogeneity. Now, users can apply their already-owned optics on the Orbiter as an alternative to ARRI optics while still benefiting from the quality and power of ARRI lighting. A manageable investment that will have a big impact on additional versatility.

The adapter connects effortlessly and without any additional tools onto the QLM of every Orbiter. The Docking Ring is automatically recognized by the luminaire and also the light output is automatically adjusted for ultimate performance. Attaching third-party optics can also be done simply and swiftly without any tools required. Due to the built-in automatic, low-noise cooling fan, the use of third-party optics is also safe.

The tool allows the attachment of wide range compatible optics from various manufacturers including projection optics, Fresnel, and Cyc-optics— up to a weight of 7.9 kg / 17.4 lbs. The Docking Ring itself is lightweight (~ 1 kg / 2.2 lbs.) and very compact (246 mm x 225 mm x 86 mm / 9.7 in x 8.9 in x 3.4 in), which makes transport easy. The Docking Ring is available in black. It is only needed for attaching third-party optics and not necessary when applying ARRI optics and accessories.

The Orbiter Docking Ring is a great possibility for rentals to provide even more diversity to their customers. Also, theatres, productions, photographers and many more users can experience a state-of-the-art light engine, while benefiting from this innovation as they can now use the tunable LED fixture with a wide range of already owned optics in addition to ARRI optics.

Orbiter Bag-o-Light

Creating pleasing, soft, and almost shadow-free illumination is now also possible with the Orbiter Bag-o-Light. This accessory, looking like a huge tube, can be attached to Orbiter’s 15° Open Face optic and is a great tool for close-up applications in motion picture and photography. When this accessory is inflated, it is 2 m long with a diameter of 22 cm and weighs less than 0.86 kg / 1.89 lbs. It transforms the light output from the standard 15° ARRI Open Face optic on the Orbiter into beautiful soft light.

Orbiter Glass Cover

The Orbiter Glass Cover is a small, compact, and lightweight optical accessory. With its ultra-translucent glass, the Glass Cover allows for full, unrestricted light output without impacting color temperature or quality. It is ideal for near distance applications with limited available space where much light is needed. The QLM, already integrated in Orbiter, allows for the optic to be mounted effortlessly. Additionally, the Glass Cover simultaneously protects the Orbiter’s light engine and can be used instead of the transport cap cover.

Orbiter Dome Mini

The Orbiter Dome Mini provides great quality omnidirectional light at a high intensity. Compared to the Dome optic, the Dome Mini is a compact version and therefore smaller and lighter. Its highly translucent material keeps the light output loss to a minimum compared to the usually larger, cloth-based domes. The light it produces is great for near distance applications with limited available space. The QLM in Orbiter allows for quick and easy attachment of the Dome Mini.

The post ARRI expands Orbiter lineup with new accessories, docking ring appeared first on NewscastStudio.

This fixture provides a wide source of soft and precise colors, plus a full range of calibrated white presets with 28K resolution, from tungsten to daylight, reaching an outstanding quality of light, with high CRI, TLCI, and TM-30 values.

The EclPanel TWC has a wide CCT range between 2,200K to 15,000K in film mode, +/- green correction, HSI for total control of hue, RGBW mixing, saturation, and intensity control, and FX mode that control the on-board pixel effects. Advanced users can also find available XY coordinates control and a selectable PWM range up to 36KHz.

The 430W source provides an output upwards of 34,236 lumens, whilst maintaining a very soft output using the different diffusion filters available. Though it’s possible to run the internal effect macros, the unit can be addressed to film mode, where users can control 8 sections individually and create stunning pixel effects.

Users can control the unit by DMX/RDM, as well as control it using the 3 rotary knobs that enable quick access to the different control parameters. For remote applications, the EclPanel TWC has available CRMX by LumenRadio, and a 4-pin XRL connection, compatible with industry-standard external batteries.

Since its first launch in 2019, the EclPanel TWC has become a reference product in the film sector, particularly in the United Kingdom and across Europe. The soft light has also become a reference in virtual studios and TV, with broadcasters like Channel 9 in Australia and Telemadrid in Spain adopting them for their studios.

The post Prolights 2×1 soft light now available in North America appeared first on NewscastStudio.

An extension of the proprietary Vortex lighting platform, the Vortex4 embodies the artist-first approach to UI/UX for maximum creative output for which Creamsource is known. The Vortex4 offers seamless integration with the Vortex8 for easily expanded lighting configurations to bring their artistic visions to life.

Features include:

Vortex4 features a narrow native beam angle of 20° and CCT range from 2200K to 15000K enabling the extreme versatility that Creamsource fixtures are known for. It can be used as a hard punch light to bounce or push through diffusion, or as a creamy soft light with the Creamsource diffuser or dome. This allows users to bring the fixture closer to the subject without the loss of space.

Vortex4 features world-class engineering, combining diverse production methods from precision-machined extrusions and high-strength die casting to leading-edge technopolymer components and aerospace-grade sealing technologies. The result is an IP65-rated water-resistant fixture that can take on weather, messy effects machines, and extreme dust while integrated internal power supplies simplify rigging and cabling.

For even more versatility, Vortex4 adopts ‘Vortex Connect’ a connectivity batch including LumenRadio TimoTwo built-in, Ethernet with sACN, Bluetooth, 5pin DMX, Wifi, USB type A and Creamsource Accessory port. This makes interaction possible between Vortex4 and various third-party instruments and protocols.

The post Creamsource releases Vortex4 LED light appeared first on NewscastStudio.

In this installment of our Industry Insights roundtable, our experts from the field of lighting gear look at upgrade cycles, new advancements in lighting technology and how IP production is impacting their products. 

What feature is driving upgrades or sales today for studio lighting?

“The manufacturer with the bigger marketing budget always gains the most sales, no matter how good the product may be. Making high-quality products without a huge marketing budget is more long-term strategy. Our best features are the quality of light, the quality of shadow rendering, the absolute absence of flicker, precise color points, proper optical systems and electronics—so in that respect our feature is good light,” said Peter Plesner, CEO and founder of BB&S Lighting.

“Full spectrum color in lighting is key. Before, it was daylight, tungsten, or in a perfect world, dynamic white. Now, with full-spectrum LED engines, any color temperature can be achieved at a very high CRI. Our Fuze and KL Series products offer these cutting-edge LED engine solutions,” said Eric Loader, sales and marketing director at Elation Professional.

Industry Insights: Lighting equipment experts reflect on past year

“The increased demand for content and the pandemic is driving sales, and it’s also resulted in some supply chain issues across our industry. We also see a downturn in location shooting with crew density and increased demand for studio and controlled environments, which has required more lighting equipment. With stricter protocols, there’s been an increased demand for remote control and remote monitoring of production to have fewer people on set. We have been fortunate because our products, the SkyPanel and Orbiter, can be controlled via web remote. In addition, we are seeing them used on some of the industry’s initial fully IP studios,” indicated John Gresch, SVP of sales and marketing for ARRI.

“The very fast move to 4K streaming has opened a lot of eyes to quality of color in broadcast lighting. It is akin to the move from black and white to color broadcast so many years ago. With the possibility for higher clarity, contrast and nuance in photography, accurately and reliably rendering skin tones has become an absolute must,” said a representative of ETC.

“Higher standards of color rendering, higher output and better control options. Consistently accurate color rendering is key when lighting talent and with the general capabilities of LED lights now defined, more and more studios are switching on to manufacturers that will make their talent look better. Higher output will adapt to more applications with simplicity, enables more diffusion options and alongside better control options gives flexibility for positioning,” pointed out Michael Herbert, product manager for Litepanels.

“Mobility and predictability. Developing skillful workflow techniques around all these new technologies is still the main thing that gets you hired, so content creators big and small need agility and reliability like never before,” said Steve Strong, the CEO of Quasar Science.

“Plug-and-play PoE systems are a popular solution where electricians still can’t get onsite. Wireless DMX is also helping to de-clutter a lot of lighting grids for broadcasters,” said Kathy Katz, a partner at Brightline.

What advancements or updates are coming to your products this year?

“We are in the process of developing a handful of new products some of which will launch over the summer, so stay tuned,” Plesner noted.

“Efficiency and performance are being enhanced with new LED engine developments. In addition, more events are going outdoors so we can work on adding more outdoor IP65-rated lighting products to support these productions,” Loader said.

“During the pandemic, we started shipping our new LED fixture, the Orbiter. Our focus this year will be to train crews on this product and develop accessories like our highly anticipated projection optic. We will also have some exciting announcements in the areas of remote capabilities,” Gresch said.

“Wireless control will continue to be enhanced, and more and more delicate control is just around the corner. We have only begun to unlock the possibilities that are already inside our fixtures,” explained the ETC representative.

“We are focussed on expanding methods of lighting control, increasing output for adaptability and combining with greater wireless capabilities. This will be achieved through a range of both hardware and software upgrades all designed to give the end user faster install times, seamless operation and greater overall control of their lighting on set,” said Herbert.

“LED studio lighting is becoming more sophisticated – and we’re making it easier as well. More Brightline products will have high color rendering and variable white options, as well as PoE control options and app-based control. We’ll also be introducing accessories for our popular ZELo desktop studio light for remote video applications, including a phone/tablet holder and desk-clamp mount,” Katz said.

How are you taking IP production and remote workflows into account in your products?

“We did some tests in co-operation with Danish broadcaster TV 2, Telia (leading Nordic Telco) running lights over 5G. Eventually this system that we programmed was used at an IBC and EBU accelerator program demo in Amsterdam on September 10, 2020. All the lights were controlled over 5G from several remote spots in Europe, so I think we are on the forefront in that respect. This gets interesting when all the signals to and from—for example a Steadicam and lights—are controlled over one stream of 5G,” said Plesner.

“With the use of our Obsidian Controls ONYX remote and manager lighting control solutions, remote control of the lighting system installed is critical and we are working to make it easier to control lighting remotely,” Loader explained.

Case Study: Refitting a news studio to efficient LEDs at NBC Cleveland

“The demand and discussion around IP production and remote workflows have been around for a few years now. Luckily, our product teams have had the foresight to include these capabilities in our products. Whether it’s the ability to change the color or temperature of a fixture mounted in a hard-to-reach place or giving remote access to your lighting designers around the world, ARRI has incorporated these capabilities in our modern fixtures, including SkyPanel, L-series, and Orbiter. Now, we are also beginning to see studios adopt and use that IP infrastructure across their studio environment because the last year has accelerated the demand for the benefits these technologies bring to their operating environments,” said Gresch.

“We recognize that centralized, wireless remote control is a key part of the future of broadcast studio lighting. We have already released a LAN CRMX system (Litepanels Apollo) that can enable remote operation through VPN connections and are exploring the possibilities to add in WAN connectivity to expand off premise capabilities,” said Herbert.

“Being career filmmakers we were accustomed to mobile offices with remote communications and networking however what we are seeing brings a whole new meaning to ‘remote control.’ Our new lights include network switches and ethernet nodes for advanced data networking as well as the ability to accept standard ANSI protocols like sACN and ArtNet,” said Strong.

“We offer smart lighting though PoE control and IP-addressable drivers, and Brightline fixtures can integrate to an array of motion sensors. Our ZELo desktop studio lighting supports voice control through Alexa and Google Assistant. Plus, our Brightline Smart app offers programmable control through Android and Apple devices,” said Katz.

Participants

Peter Plesner, BB&S Lighting
Eric Loader, Elation Professional
John Gresch, ARRI
A representative of ETC
Steve Strong, Quasar Science
Michael Herbert, Litepanels
Kathy Katz, Brightline

The post Industry Insights: Lighting gear experts spotlight new and upcoming product features appeared first on NewscastStudio.

Part of the new Axel Springer headquarters in Berlin, WeltN24 commissioned two studios for its WELT news channel.

For the project, Florian Wieder handled scenic design with ARRI System Group providing for the lighting system including consulting, planning, and turnkey installation on behalf of the system integrator Qvest Media.

WELT’s two studios, each at 1,938 square feet, are designed to work across the organization’s digital and print properties with transparency and interaction reflected in the scenic design.

“The ARRI System Group, with its high level of expertise and international experience, has made a significant contribution to the fact that we will be using one of the world’s most innovative lighting system solutions in our television studios,” emphasizes Thorsten Prohm, CTO at WeltN24.

“With great commitment, we were able to develop workflows together as a team that meet our special requirements as a news broadcaster while, at the same time, optimizing the budget. The product management, including implementation and installation, under the management of Project Engineer Carolin Schramm, was carried out at an extremely high level. Through the collaboration with the ARRI System Group, we are now launching the ‘digital tomorrow’ not only in our new TV studios but also in the area of professional lighting technology as well.”

The studios include multiple robotic cameras on Shotoku Broadcast Systems pedestals along with teleprompters from Autoscript to take full advantage of the set and lighting design. 

Lighting Instruments

ARRI notes both the moving LED panels and the movement of the presenters created challenges for the lighting design.

After testing, a total of 100 soft lights of the ARRI SkyPanel series (S60-C, S30-C) and moving lights with fresnel characteristics from Robe Lighting were chosen for the studio space.

These are supplemented by LED bars which are affixed to the top of the motorized video panels to backlight the presenters.

In Studio 2, for the chromakey wall, ARRI’s SkyPanels with different apertures (S120-C, S60-C, S30-C) were specified to achieve optimal light distribution according to templates of photometric simulations created by ARRI System Group.

IP Technology

“Lighting networks that have been traditionally controlled exclusively via DMX are experiencing more and more limitations in practice. Therefore, increasing our customers’ requirements for efficient workflows can be met by specifying or designing end-to-end IP systems only,” said Paul Flemming of ARRI System Group.

The lighting design includes an IP-based control system with integration with the broadcast automation system.

“ARRI has been a pioneer in this area thanks to the integration of an IP interface in the SkyPanel series from a very early stage, and we have found strong support for this idea with the manufacturers of Moving Lights, Robe Lighting,” said Flemming.

“DMX, as a traditional network protocol, limits the use of an intelligent monitoring for the lighting system. Using RDM as a return channel may destabilizes the network, plus there are limitations defined in the standard in regards to the data rate and the maximum number of channels per one DMX universe. With a lighting control infrastructure based solely on Ethernet/IP, as with WELT, we were able to achieve a system-wide increase in lighting system flexibility and realibility, which is hugely important, especially in 24/7 operations.”

Currently, WELT is using Zabbix, an open-source software tool for monitoring. However, a specialized monitoring tool for the lighting system is planned with central management of RDM and SNMP status information from the lighting components.

The post New studios of WELT features IP-based lighting system from ARRI appeared first on NewscastStudio.

The KL PAR FC can be used as a key, fill or area wash light source, the company notes, with a 280W RGBMA LED lamp and CCT adjustments possible from 2,400K – 8,500K.

The full-spectrum LED engine emits diffused saturates and soft-field pastels, including tunable white light.

The PAR includes high CRI (92) and TLCI (95) values, accurate both to the eye and to the camera. Output is up to 11,000 field lumens – equivalent to existing 750W tungsten PAR fixtures.

Broadcast Optimized

Optimized for the specific requirements of broadcast, the KL PAR FC can adjust for light that shifts away from pure white towards green or magenta through a green-magenta shift adjustment and a virtual gel library.

Capable of matching the white balance for camera, users can easily shift the color temperature without the use of plus/minus green gels and filters.

Additionally, the LED refresh rate can adjust so there is no flickering when used with high-speed cameras.

Available Options

The KL PAR FC comes with a number of other useful features that make it an even more flexible complement to any professional lighting system like a 7.5” color frame and multiple included lens choices (11°, 22°, 30°, 52°) that are easy to replace in the field. Optional items include 7.5” barndoors, an extra-wide 90° lens, and a 23° ovalizer lens.

DMX controllable (six DMX modes, 1 – 17 channels) with full RDM support, it offers intuitive manual control for standalone operation when desired for instant control of intensity, color temperature, green shift and other important settings.

The post Elation adds modern tech inside classic PAR light design appeared first on NewscastStudio.

With an output of 3000 lux at a distance of 10 feet, the panel is 20% brighter than a 200W HMI lamp. While ideally suited for creative shoots, the panel would also work well in outdoor broadcast applications such as during a sunny standup report using the included diffuser.

“The exceptional output of the Gemini 1×1 Hard is possible because of our advanced lensing technology,” said Michael Herbert, product manager, Litepanels.

The Gemini 1×1 Hard has a 46-degree beam angle and weighs 13.2lbs.

Litepanels launches updated Lykos+ mini LED panel

“We tightly lens individual red, green, blue, tungsten and daylight LEDs to ensure that every bit of light emitted from each LED is captured and delivered forward. This individual separation of LEDs also lets heat dissipate easily and allows more power to run through them for greater output.” He added, “No other RGBWW panel available produces as much light from such little power.”

The panel includes RGBWW capabilities with over 16 million colors, 300 gels and 11 customizable special effects built-in with control possible via DMX, RDM, wireless DMX and Bluetooth.

Litepanels adds wireless DMX light control system

“We’re delighted to have secured the first ten Gemini 1×1 Hard fixtures to add to our rental fleet,” said Dave Amphlett of Panalux, a lighting rental house.

“We already have over 500 Gemini 2×1 Soft panels and accessories and since we added them to the rate card at the beginning of 2019, we’ve seen rental demand grow. Gaffers and DOPs working on everything from commercials and drama to major features appreciate the benefits of high-quality white output, lightweight, and its integrated power supply, and those are the features that make Gemini stand out from other similar products,” he said.

Ultra Light and Domed Diffusers are supplied standard with the LED light.

The Gemini 1×1 Hard is available now with a suggested retail price from $2,250 USD.

The post Litepanels adds brightest light to date with Gemini 1×1 Hard appeared first on NewscastStudio.

At 9 inches wide, 6.5 inches tall and 7.25 inches deep, the light is suited for both broadcast studios and remote location work, drawing only 20 watts of power.

Primetime notes the new lighting instrument includes high CRI (Color Rendering Index), TLCI (Television Lighting Consistency Index) with strong photometrics and is built in the United States.

The light is also part of the recently introduced Remote Lighting Kit.

The post PrimeTime adds compact LED broadcast light to lineup appeared first on NewscastStudio.

Along with our extensive coverage of all the pre-show news and announcements, the top sessions to attend and even the best NAB Show parties; we’ve prepared a series of NAB Show Preview articles to help you plan your show floor experience, brought to you by Leyard and Planar.

This first guide covers Lighting, including broadcast studio lighting and portable lighting.

From the latest studio grade light panels to new Fresnels ready for ENG usage, our guide covers some of the top vendors on the show floor and what you can expect to see.

Industry Insights: LED lighting and IP, where the instruments are headed

We hope you’ll use our guide as a starting point for your show schedule alongside the “Map Your Show” tool from the NAB Show.

Arri

Central Hall – #C7925

Along with its full line of lighting products including the popular SkyPanel, Arri will let visitors experience first-hand its new Alexa LF camera and Arri Signature Prime lenses.

Astora

A newcomer to the world of LED lighting, Astora unveiled a new line of LED light panels ahead of the NAB Show.

Barbizon Lighting Company

Central Hall – #C4746

Barbizon will showcase its full line up of studio lighting technology during the NAB Show.

Brightline

Central Hall – #C147

Sharing a booth with Devlin Design Group, Brightline will highlight recent project usages and its full line of lighting instruments.

Cineo Lighting

Central Hall – #C9948

Celebrating five years, Cineo Lighting will feature the latest in LED lighting technology for broadcast, television and motion picture, including the Standard 410 light panel and the new NBCUniversal LightBlade Series.

Fiilex

Central Hall – #C7248

Fillex introduced a new LED Fresnel ahead of the show, the Q8 Travel. The instrument is aimed at addressing three major needs of every production including the ability to mix well with other fixtures, solid construction and intuitive control.

Fluotec

Central Hall – #C161

Fluotec will showcase its CineLight soft LED lighting system including panels in a 4, 2 and 1 foot version along with its popular StarMaker led panel and StudioLED Fresnel.

Just announced, Chimera Lighting will feature a frameless lightbank and a lantern for the Fluotec CineLight 60 at the NAB Show.

Ikan

Central Hall – #C10919

Ahead of the NAB Show, Ikan has announced a variety of new products including a new line of camera cages, portable teleprompters, ring lights and two new LED lighting instruments.

The new lights include the Helia LED Fresnel and CB8 canvas fabric LED light.

Kinotehnik

Central Hall – #C9020

Kinotehnik will highlight the just announced Practilite 802 bi-color, power-panel LED lighting instrument during NAB.

Litepanels

Central Hall – #C6025

Litepanels, a Vitec Group brand, will showcase the all-new Gemini 2×1 soft panel. The Gemini’s latest firmware upgrade allows for a variety of cinematic effects such as emergency lights, fire, TV, and hue bursts that are fully customizeable and that can be easily saved to presets.

Nila LED Lighting

Central Hall – #C5640

Nila will highlight its new portable ENG light the Nila Varsa, featuring a weatherproof chassis, new ergonomic design, and new control software. The company will also show updates to its Zaila line of fixtures.

Outsight

Central Hall – #C10342

Outsight’s NAB booth will include its latest offering such as the Creamsource Micro, Sky, Doppio and Mini.

Rotolight

Central Hall – #C2949

Rotolight will bring its Anova Pro 2 to the NAB Show for the first time.

The Rotolight Anova Pro 2 is designed for the most demanding of professionals, offering 70% more power output than its predecessor with one of the brightest LED lights ever launched in its class, delivering 10,700 lux at 3 feet.

Rosco Labs

Central Hall – #C7915

Rosco Labs will highlight its full line of LED lighting products including the Silk soft panel, RoscoLED tape, X-Effects LED Projecter and DMG Lumiere.

Zylight

Central Hall – #C6343

Zylight, now part of Ushio America, is a manufacturer of LED lighting instruments for film and video production.

Explore more of our NAB Show Preview series to help map your show floor visit, including lighting design, display technology, weather and traffic systems, production switchers, music and much more.

 
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The post 2018 NAB Show Preview: Broadcast studio & portable field lighting appeared first on NewscastStudio.