Cineo Lights “America’s Got Talent”

LOS ANGELES—“America’s Got Talent,” the acclaimed nationwide talent show that has become a mainstay on NBC, is set to premier its 12th season this year. Cineo Lighting has been with us since the beginning, helping ensure judges, hosts and performers always look their best for the camera.

Featuring unique performers from across the country, the series is a true celebration of creativity and talent, offering a colorful array of singers, dancers, comedians, contortionists, impressionists, jugglers, magicians, ventriloquists and other hopefuls. These acts rely not only on their abilities, but also on the aesthetics of their acts. For this, I need a lighting solution that I know will give me the color temperature I want right out of the box. I can’t have any degradation of field or uneven color output, otherwise I’ll lose precious time adjusting each light during setup. Also, if the lighting isn’t properly adjusted, the post-production team will have to spend time touching up the brightness and evenness of the shot for the viewers at home.

PUTTING THE LIGHT’S TALENT TO USE
To achieve this, we feature 25 Cineo HS and several HSX fixtures, supplemented by 10 Maverick fixtures with battery attachments, and Cineo Matchstix kits and Matchboxes, which light all the ancillary action not on the stage, including the holding room, interview positions and the Judges Gold Room.

Read the full story here:  http://www.tvtechnology.com/resources/0006/cineo-lights-americas-got-talent/280837

PBS Newshour Re-Light by The Lighting Design Group (PLSN July 2015)

The Lighting Design Group Plays KeyRole in New Look for PBS Newshour

Created: 30 July, 2015
 
The Lighting Design Group Plays Key Role in New Look for PBS Newshour

SHIRLINGTON, VA – On Monday, July 20th, PBS Newshour, filmed at the WETA studio A, featured a new look that included new graphics, music, lighting and set. The show now features a clean, open, airy look consisting of large freestanding blue, red, and amber, acrylic panels carved into shapes evoking the PBS logo. Complementing the new set is a new lighting design by Dennis Size, vice president of design for the Lighting Design Group (LDG).
More details from LDG (www.ldg.com):

The entire set, which has four interview areas for anchors Judy Woodruff and Gwen Ifill, is encircled almost 360 degrees with a 20-foot-high white cyc. Eric Siegel worked with scenic designer George Allison, Newshour executive producer Sara Just and Newshour director Joe Camp on the project,

The lighting design involved a total overhaul of the existing electrical system — removing the decades old, malfunctioning dimmers and converting the existing circuits in the grid to hot power appropriate for LED technology.

Gaffer, Lesli Tilly, along with electricians supplied by LDG from our D.C. labor pool, worked closely with Barbizon Lighting in D.C. and Newshour Lighting Director, Charlie Ide to convert WETA’s Studio A, in Shirlington, Virginia, to an energy efficient space.

Size spec’d all state-of-the-art equipment consisting of 80 Source 4 Lustre Series 2 ellipsoidal, using primarily 14 and 19 degree lenses, as key and fill lights.  He also used 25 Sola 12 Lite Panels LED fresnels as softlight washes. The color temperature chosen for the studio was 5,000 degrees Kelvin, in part for the crisp “pure white’ quality of daylight, and also because of all the large monitors used all around the set.

Lighting the massive cyc required testing to ensure the proper look.  The design required the acrylic panels to be lit only by the bounce light off the cyc itself.  So getting the right instrument for such dominate parts of the set was crucial. Units were demoed at Gotham’s Scenic Shop in New Jersey.  Ultimately 70 Selecon LED Cyc Lights were purchased to light the cyc entirely from the floor.

Control is achieved by an ETC Gio console.

In addition the Home Base anchor desk was outfitted with 10 Cineo Matchstixs to provide a soft fill from below for Gwen and Judy — counter-balancing the ellipsoidal key lights, almost all of which were hung at 20′.

http://plsn.com/news/17143-the-lighting-design-group-plays-key-role-in-new-look-for-pbs-newshour.html

Spotlight: Cineo Foton2 (Adorama Rental Co. Blog May 2014)

 

Spotlight: Cineo TruColor Foton2

This week’s Spotlight is on the Cineo TruColor Foton2; a remote phosphor, portable par light.  It’s one of Cineo’s first portable lights that pulls a mere 35W and has an output equivalent to 200W tungsten, or 125W HMI.  You can change the beam angle of the light by switching out the various par reflectors included with the kit. READ MORE…

Foton2-product-page_

 

Jimmy Kimmel Moves to LED Lighting With Cineo

April 17, 2014
 
The newly re-lit “Jimmy Kimmel Live” studio

LOS ANGELES—I’m the lighting designer for ABC’s “Jimmy Kimmel Live” show and a couple of years ago I was asked by the show’s producers about transitioning the production to LED lighting. I told them that at that time the technology was getting a lot better, but was not quite to the point where I was ready to deploy it.We revisited the subject of LED last December and I felt that based on what I had seen at the Live Design International show last fall—after short-listing some manufacturers— we could proceed with an LED makeover.

 

TIME FOR SOME CHANGES
The show originates from the historic El Capitan Theater, a Hollywood landmark, and this presented some real challenges in terms of air conditioning, as we are limited in the scope of infrastructure changes that can be done at such a protected facility. I wanted to use this opportunity not just to take advantage of the power and HVAC savings that LED illumination would bring, but also to do a relight for the show as we shoot it today, as opposed to the show 10 years ago when we first did the lighting.. The show has changed over the years and we shoot it very differently now—it’s not just a desk, a chair, and a couch situation at “Jimmy Kimmel Live.” We use every inch of the studio and I need to be ready for whatever Jimmy and his writers come up with.

As mentioned, the show has been on the air for a decade and I was looking for technology that would last for at least another 10 years. READ MORE…

Post NAB 2014 Spotlight: Cineo Matchstix (Jeremy Widen Media April 2014)

Now that the 2014 NAB show in Las Vegas is over it’s time to do some coverage! Starting on April 11th and going until the end of the month I will be doing a spotlight on what was good at the show. Each day I’ll focus on something new that I saw. *note* These are being released in no particular order*

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Cineo Matchstix Lights

NAB was completely inundated with LED lighting options this year. So, how does a company stand out? They offer something that no other company does. Cineo Lighting (cineolighting.com) does just that. Their lights use a Remote Phosphor technology that makes them easier to scale than standard LEDs. READ MORE…

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