WLS Chicago Uses Cineo Lighting On Set: Film at Eleven
In just a few short years, Cineo Lighting Inc. has made a name for itself in the world of broadcast studio lighting. The reliability and consistency of Cineo fixtures have made the company an integral part of lighting talk shows and news programs across the globe.
Broadcast studio lighting presents a unique set of challenges specific to high-use fixtures. Lighting designer, Nicholas Hutak, has spent his career fine-tuning the lighting needs of sets and studios, making him one of the go-to professionals for the design and installation of semi-permanent set lighting.
On the set of WLS Chicago, one of the top news stations in the country, Cineo fixtures are the heart of the design. Hutak originally designed and specified the lighting in 2013. Given the studio’s near constant daily usage, longevity and color stability topped the list of fixture requirements.
In 2015, the WLS set was redesigned, requiring Hutak to return to reconfigure the lighting setup. The Cineo Fixtures he had installed two years earlier were still producing the same quality of light. “I took a CRI reading with the same meter I had used in 2013 and compared it to what was in the meter’s memory. It was the same. I had never seen this before in an LED fixture”.
In an interview with Cineo Lighting, Hutak explained the nature of broadcast studio lighting and why he chooses Cineo products, “Broadcast news is a fast-moving industry where fixtures need to last. These studios are in use day-in and day-out, requiring the lights to operate for years at a time.”
The reliability and the consistency of Cineo products have made their use an efficient solution for the broadcast industry. Hutak has been using Cineo lights since the company’s inception, noting that the Remote Phosphor Technology has been a game-changer in the world of lighting.
“There is no color shift. Cineo’s use of Remote Phosphor Technology solves the problem of the phosphor boiling away, ensuring that the color output is the same as it was the day that the light came out of the box.” Reliable longevity is an absolute necessity in an environment where the equipment is used daily for long hours.
On the set of WSL, Hutak used multiple Mavericks as key lights and Cineo HS with Chimeras as base and fill. He also implemented the use of Matchstix as backlighting for the chroma key. While this has traditionally been a challenge because of the limited space between the screen and the wall, the unobtrusive size, output, and the robust durability of the Matchstix has proven to be the ideal solution for this situation.
Broadcast news is speedy and unpredictable. The long hours on set require equipment that is up to the rigorous demands of this time-intensive environment. Cineo products offer a level of dependability that makes their fixtures a high-quality solution for this specific set of lighting needs. As more lighting professionals recognize the long-term benefits of Cineo products, there will be an expanded potential for these powerfully compact lights in the world of broadcast news.