The LBX8-POE and LBX10-POE can be powered using a single Ethernet cable (specifically, Cat6 RJ45 24AWG or better). This patent-pending innovation from Ikan simplifies the installation process by removing the need for additional wiring or power outlets. This approach not only saves time but also reduces installation costs and the need for electrical work or permits for new ceiling outlets, the company notes.

The lighting quality of both the LBX8-POE and LBX10-POE is characterized by 97 CRI LED chips and a soft panel. These components work together to produce a gentle, diffuse light. The lights also feature a 110-degree beam angle, providing broad and even coverage. This lighting characteristic is beneficial for producing consistent, shadow-free illumination.

Both models offer a color temperature range from 3200K to 5600K, accommodating different lighting conditions. This feature makes these lights versatile for use in a variety of settings, including professional studios, conference rooms, classrooms, and on-location shoots. The LBX8-POE, in particular, is designed for areas with low-ceiling clearance, adding to its adaptability.

The LBX8-POE and LBX10-POE support IEEE 802.3bt Type 4 PoE++, ensuring efficient power delivery over the network. They are also compatible with ArtNet and sACN DMX protocols, allowing for integration into various DMX control systems. The LBX10-POE additionally supports traditional DMX512 in and out (3 Pin).

The LBX8-POE features a low-profile design suitable for spaces with limited ceiling clearance and includes a baby 5/8″ and junior 1 1/8″ combo pin for mounting flexibility.

Both models come with a web GUI for adjusting ArtNet & sACN settings, including DMX addresses and universes, as well as accessing configured IP address settings. The combination of high CRI LED chips and a 1/2-stop soft diffusion panel in these lights aims to offer consistent color and brightness across various applications.

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Mack McLaughlin joins Ikan with a rich background in the industry. His previous role as Chief Executive Officer (CEO) and Chief Creative Officer (CCO) at FX Design Group is particularly notable. During his tenure, McLaughlin played a pivotal role in establishing FX Design Group as a premier scenic and lighting design firm in the broadcast industry. His expertise is extensive, covering areas such as scenic and lighting design, as well as groundbreaking work in virtual and AR/XR environments.

McLaughlin’s diverse career has spanned various fields, including theatre, dance, opera, theme parks, corporate events, and television. This versatility is evident in his multifaceted roles as a producer, technical director, and stage manager. His creative talents have been recognized with two Emmy Awards, underscoring his skill set.

In his new role at Ikan, McLaughlin will spearhead the company’s sales and marketing initiatives. This position is particularly critical as Ikan prepares to launch a range of new, advanced lighting and broadcast products this year. McLaughlin’s leadership is expected to play a key role in driving the company’s growth and leveraging his extensive experience and creative vision.

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Encore Broadcast Solutions, with headquarters in Tampa, served as the systems integration firm on the project, which consisted of set design, a control room with a Broadcast Pix GX-Hybrid video production switcher, three Panasonic AW-UE160 4K PTZ cameras, and Brightline lighting.

“Lighting is often thought of last in set design,” said Tampa-based Lighting Director Earl Thomas. “Once the set is there, you have to work with what you got. With this project, the set was pushed back close to the walls. Thankfully, the Minnows are so small, you can rotate them. And with the color-changing capability, they provide gorgeous accent lighting. The compact size of the Minnows with the power of an LED gives off a whole lot of light in a small space. We could light every area we needed to without any limitations.” Thomas worked with freelance lighting board programmer, Alex Amyot, on the KERO lighting design.

The TV studio room’s dimensions are roughly 25’ x 28.’ A lighting grid was added to the room, which has 11-feet-high ceilings. The grid is installed 10-feet off the floor. Thomas added that the ability to daisy chain the power and DMX controls of the Brightline fixtures made it even easier to place the lights where he wanted. “That really helped us in such a tight space,” said Thomas.

Doug Tayler of Encore Broadcast Solutions reports that more government organizations are building their own studios for internal productions and broadcasts, and they typically want something they can operate with their own staff. “They want to be able to do everything themselves, from adjusting the lighting to operating the switcher. Thanks to technology like Brightline offers we can easily incorporate the ‘set it and forget it’ ethos into our design,” said Taylor. “One set uses a Planar 165” diagonal video wall. Lighting that set was a challenge, but Brightline and Earl handled it like a champ.”

“This was a great team effort for the Collier County Sheriff’s department,” said Kathy Katz, Brightline managing partner. “We’re thrilled the design of our fixtures enabled exactly the look and operation they wanted. We foresee many more projects of this type next year and beyond. Kudos to all our partners for their work on this new studio.”

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When the National College Football Champions requested an upgrade for the Marketing and Communications’ studio lighting rig, Josh Fisher, Systems Integrator for Barbizon’s Atlanta office, had no hesitation in specifying ETC Desire Fresnels and fos/4 Panels for the all-important deep red tone they could produce. But that wasn’t the end of the story for this upgrade: “The color sold the job, but the integrated Multiverse wireless technology was integral to the job,” says Fisher.

“The beauty of this system lies in the Multiverse Wireless connectivity,” adds Fisher. “The only cable is from the console to a City Theatrical Multiverse Transmitter. After that it’s all wireless.” The Multiverse Transmitter can send DMX over distances of 300 feet indoors, easily reaching every area of the studio. And with capacity to send DMX to up to 10 universes of fixtures, the team has plenty of room to reach the full complement of fos/4 Panels, Desire Fresnels and ColorSource CYC fixtures in the studio’s new rig.

UGA was so impressed, they didn’t stop at the studio. “While we were working on that job, we were given the opportunity to do a similar upgrade for Mahler Hall, a multi-function auditorium and meeting space on the same campus,” says Fisher.

The UGA team were looking to trade in their old incandescent system to LED with a new console. Once again, the built-in Multiverse wireless DMX capability of the ETC fixtures offered huge savings in time and data cable costs. The new system uses 18 ColorSource Spot V fixtures and 5 ColorSource Fresnel V fixtures – and no new DMX cabling runs. The retrofit was effective in placing new, high-impact fixtures in in hard-to-reach places giving better light and more control to the largest event space in the Georgia Center. The upgrade was designed, built, and installed by locally-based Barbizon Lighting.

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Sinceits establishment in 2006, Aragon TV has remained steadfast in its commitment to informing its local communities about issues directly affecting their lives. Based in Zaragoza, the regional capital, the broadcaster’s main production facility encompasses three studios, where it carries out a rigorous schedule of daily live programming.

This year, Aragon TV embraced a comprehensive modernization project, starting with Studio 3, which marked the channel’s transition to 4K HD and the adoption of IP broadcast workflows. As part of this process, Aragon TV installed its first-ever LED video wall and implemented a new lighting and electrical design aimed at optimizing workflows, enhancing reliability, and significantly reducing operational and maintenance costs.

A key element of this transformation was ARRI Solutions’ development of a robust and flexible lighting network and a studio workflow integrated through an entirely IP-based lighting system.

“Transitioning to end-to-end IP, down to the very last fixture, delivers major technical and operational benefits, due to its clear and intuitive configuration,” said Alejandro Sanchez-Cuerda, Senior Solutions Architect ARRI EMEAI, who led the Aragon TV project. “Any broadcast engineer can quickly select, rig, and connect additional fixtures into the network, adjust existing set ups or troubleshoot issues quickly across the entire studio infrastructure.”

ARRI Solutions also introduced an unobtrusive trussing concept, updated the electrical and power distribution and implemented a variety of ARRI lighting fixtures for the new studio in collaboration with Video Cine Import, ARRI’s Spanish distributor.

The renovated 22 meter x 15.5 meter studio now boasts a three-segment LED wall from Alfalite, forming the backdrop for all of Aragon TV’s news programming. Complementing this are two smaller, mobile LED panels that can synchronize with the main backdrop. A suite of ARRI SkyPanel fixtures, installed on the ceiling trussing, provides versatile soft lighting and accurate color rendition throughout the facility.

“The ARRI Solutions team designed a truss system that incorporates internal channels to house all cabling, Ethernet, and power lines, which gives a very slick and seamless appearance to the studio,” said Carlos Martin, Chief Technical Production Manager Aragon TV. “This means we can utilize even more of the studio floorspace for productions, and teams can also configure the requirements for each program setup very quickly and easily. It’s a very practical innovation that allows our teams to spend their time on content production rather than long technical preparation.”

The newly modernized Studio 3 served as the venue for Aragon TV’s coverage of the regional elections, facilitating a range of content including candidate debates, specialized news reports, and election results analysis across the region.

Reflecting on the project, Martin said, “The new facility offered an exceptional platform for a critical news event for our viewers and ensured that our production values remained top-notch. The dedication and attention to detail displayed by the ARRI Solutions team throughout the project enabled us to continue our public service commitment to Aragon residents from a cutting-edge studio facility.”

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The collaboration was part of a comprehensive studio rebuild, equipping the station with a complete studio lighting package, new set, and  LED display technology.

“Projects of this scope are personally the most rewarding,” said Mark Nadeau of Sinclair Broadcasting Group, who spearheaded the project design and execution with Eric Castagne.

Set Design

WCIV

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“Pulling together all the elements helps create a fresh visual identification for the station.”

To Nadeau, balancing elements such as flesh tones, set color, and LED wall illumination is an essential part of establishing a consistent look for WCIV’s broadcasts. “With lighting being such a major part of the project, partnering with Brightline is always a win,” Nadeau added.

The project’s scope covered various components, including a new floor surface, the design and implementation of the set and lighting plan, and the construction of multiple set areas with internal color-changing capabilities. Furthermore, the studio is now equipped with large, high-resolution LED screens and video displays, backed by an efficient lighting and control system.

Brightline’s system includes LED upgrades to WCIV’s previous fluorescent fixtures, SeriesONE studio fixtures for soft light in each set area, Mako and Minnow profile spotlights, and Lupo fresnels that provide hard light. This comprehensive lighting overhaul enhances the station’s visual quality, which is crucial to engaging audiences.

The recent project marks the third time Sam Cercone, managing partner at Brightline, has provided lighting solutions for WCIV. His initial installation was completed in the aftermath of Hurricane Hugo in 1989 when the station’s original building was flooded. The subsequent projects included a fluorescent conversion in the existing building and the recent upgrade to variable white LED fixtures.

Reflecting on the long-term collaboration, Cercone said, “Visiting the studio numerous times over decades, the importance of integrated component longevity becomes obvious. The upgraded fluorescent lights were amortized years ago, but now that equipment has new life.”

Cercone highlighted Brightline’s commitment to creating product lines around silent, convection-cooled designs, which significantly extend the fixtures’ use due to a lack of moving parts. Many of Brightline’s studio fixtures have operated daily for more than 20 years, and this lifespan is expected to extend further due to the recent redesign.

The partnership between Sinclair Broadcast Group and Brightline demonstrates the power of long-term collaboration and innovation in the broadcasting industry. The significant transformation of WCIV’s studio underscores the role of advanced technology and lighting systems in enhancing the viewing experience. Through the integration of high-quality lighting fixtures and modern design elements, the broadcaster aims to foster increased audience engagement for each show they produce.

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Aaron McCormack, the lighting designer for CHCH’s newly constructed studio, has prior experience working with Elation fixtures from his time at a production company in St. Catharines, Ontario. McCormack notes that he was impressed with the fixtures’ build quality, light quality, and output. “Also, the value per fixture met our budget needs and after doing some research, we decided that Elation would be a good choice for our new studio.”

The team at CHCH demoed several fixtures from a variety of companies. “But the cost was too high for what you would actually get,” he said of the other options. According to McCormack, they were seeking basic yet high-quality lights to illuminate the television set and were confident the Elation fixtures would adequately fulfill their requirements.

After finalizing their camera selection (4K resolution), it was determined that approximately 60-80 foot candles of light on the talent was required. “The KL Panel soft light provided the output that we were looking for and the quality of light,” the designer states. “Most of the set is lit with these and we use the Elation KL Fresnel 6 CW as key lights to provide depth and also as backlights.”

In addition, the team utilized SixBar 1000 battens to furnish accent lighting around the primary area of the set located behind the two anchors. McCormack emphasized the significance of these battens as they have the flexibility to change color and are incredibly versatile. Also included in the install and used for data distribution are NETRON RDM 6XL DMX/RDM splitters from Obsidian Control Systems.

CHCH’s Kitchen Studio, which serves as a platform for local chefs and advertising partners to prepare and demonstrate their products, is yet another newly built studio that incorporates Elation lighting fixtures. The kitchen set features a combination of TVL Softlight DW and KL Fresnel 4 CW fixtures suspended on a straight bar at the front of the set and used for focused key and back lights. McCormack comments, “The primary objective of the Kitchen set is to maintain a flat design so that the talent has the freedom to move around the set as they please.”

CHCH collaborated with Jason Rose and his team from AV Shop Canada, a company that provides commercial audiovisual products to end-users and integrators nationwide. AV Shop served as a sourcing partner on the CHCH studio project, assisting with product recommendations, sourcing demo units, and ultimately fulfilling the order. The installation was handled internally by CHCH.

For the past 11 years, Jason has been procuring Elation lighting fixtures. He explained that he selects Elation fixtures because they offer a fantastic combination of value and cost-effectiveness. “As the brand has grown and evolved over time, it has consistently presented an excellent proposition as far as value of product,” he said. “It’s been very reliable and there is uniqueness to the product.”

Dave Mydlo, CHCH Special Projects Supervisor on the new build, commented on the cooperation, adding, “The team at AV Shop were superb to work with. They were able to provide quick and competitive pricing, give knowledgeable feedback on the product, and were on top of giving us up-to-date information on when the product would be shipping due to Covid delays. They are one of my go-to vendors for anything broadcast related.”

In April 2022, the CHCH TV team began broadcasting from their new state-of-the-art studio. The Elation lights are utilized for various programs, including Morning Live, Evening News at 6 & 11, and Trending Now, as well as the Kitchen Studio. Mydlo reports that the installation has been highly effective, with the fixtures operating consistently over almost a year of daily use for around 8 hours each day.

Equipment Included:

34 x KL Panel
32 x KL Fresnel 6 CW
17 x KL Fresnel 4 CW
15 x SixBar 1000
7 x TVL Softlight DW
6 x NETRON RDM 6XL
2 x RDM X6S

The post Case Study: New CHCH studio features lighting gear from Elation Professional appeared first on NewscastStudio.

The Ikan Lyra LBX8 and Lyra LWX8 low profile lights are crafted with versatility and practicality in mind, specifically for spaces with limited ceiling clearance.

The light measures 24.6″ wide and roughly 6″ tall and includes build-in barn doors with a beam angle of 110-degrees.

LBX8 features:

• Low profile to fit low clearance areas
• 97 CRI COB LEDs paired with 1/2 stop soft diffusion panel
• Silent fanless fixture
• Bi-Color adjustable from 3200K-5600K
• Bright consistent light across all color temperatures
• Beam angle 110 degrees
• Built-in barn doors with integrated clips
• Artifact free clean shadow
• DMX512 in and out
• Combo pin with right angle receiver hole
• Single knob control for adjusting color, brightness or DMX
• LED display for brightness, color temperature, and DMX

LWX8 features:

• Low profile to fit low clearance areas
• 97 CRI COB LEDs paired with 1/2 stop soft diffusion panel
• Silent fanless fixture
• Daylight 5600K color temperature
• Beam angle 110 degrees
• Artifact free clean shadow
• Built-in barn doors with integrated clips
• DMX512 in and out
• Combo pin with right angle receiver hole
• Single knob control for adjusting brightness or DMX
• LED display for brightness and DMX

The lights join the recently released 1×2 daylight Lyra studio soft panel, model LWX20.

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The fixture’s IP65 design means the KL Panel XL IP can be used in a wider range of applications and locations. Suitable for use in both indoor and outdoor settings, it is an ideal soft light solution for on-location applications. Its weatherproof design allows it to function properly in harsh environments and adverse conditions, eliminating the need for frequent cleaning and maintenance and saving both time and cost.

Beautiful soft white or full-color washes

Using a highly-efficient 570W RGBW+ Lime + Cyan LED Array, the KL Panel XL IP produces beautifully soft white or full-color washes up to 40,000 field lumens at a 100° half-peak angle. Color reproduction is extremely accurate both to the eye and to the camera with a CRI of 95 while color temperature is easily adjustable from 2,000 to 10,000K for a wide choice of variable color or white shade projections. Additional color tuning is possible through a green-shift adjustment and virtual gel library to match more precisely the white balance for the camera.

Multi-zone control

The KL Panel XL IP’s LED array is equipped with multi-zone control, enabling dynamic color access, visually striking effects and realistic reproductions, such as fire, lightning, emergency vehicle flashes and various strobe effects.

Other useful design features

Besides its wide spectrum of chromatic options, this dynamic soft light luminaire includes other useful design features like smooth 16-bit dimming and selectable dimming curve modes for programming ease, as well as a high-speed electronic shutter and strobe. Measuring 33.1 in/840 mm (L) x 14.4 in/366mm (H), a 4×2-section control option provides additional creative capabilities for color effects and visual impact. The KL Panel XL IP comes with a diffuser for even softer projections, as well as adjustable and removable 8-leaf barn doors that enable customization of the beam shape and reduction of light spill.

Fully optimized for broadcast

Virtually silent, the KL Panel XL IP is fully optimized for broadcast and film environments with 900-25000Hz LED refresh rate adjustment for flicker free operation. Compact and portable, it can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. A rugged housing with impact-resistant surrounds and base plate ensure that the fixture can handle rough handling on today’s fast-paced sets.

Power and control options

The KL Panel XL IP is fully self-contained without the need for an external power supply and offers power pass through for easy linking of multiple units. The fixture can be powered remotely through its integrated 4-pin XLR 24-36 VDC battery input (battery not included). Professional control options include DMX/RDM, Art-NET and sACN. It can also be controlled manually for stand-alone use using the included encoders and OLED display, providing instant control of intensity, color temperature, green shift and other settings. The display and encoders are conveniently positioned on the bottom of the fixture to ensure easy access while the fixture is mounted on a stand. The integration of Elation’s E-FLY wireless DMX system allows for even more flexibility of use.

The KL Panel XL IP is energy efficient for such a bright soft light, consuming 681W of max power, and offers other benefits of LED like greater reliability, a long LED life rating and less maintenance for a lower cost of ownership.

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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

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