In Broadcast - February 2013 - 67


ISSUE 16 - FEBRUARY 2013 | WWW.INBROADCAST.COM

I N T E R N A T I O N A L

N E W S

InSTUDIO
Lights! Camera! New Technology! Cont.
interchangeable SSL LED Power
Modules to change beam angles
and colour temperature in seconds.
“The ramp up for this technology
is here to stay for quite a while with
colourful results for the latest in
HDTV viewing,” he adds.

A Host Of Tech
There is, of course, a whole host
of other lighting technologies
currently on the market. Potential
customers can take their pick from
the discharge light sources of HMI
and halides, halogen, fluorescent
lighting, and the first of a new
generation of plasmas.
“You’ll probably hear more in the
next five years about plasma than
you’ve heard recently about LEDs,”
predicts Scott Stueckle, who looks
after Asian Sales at Kino Flo.
Jon Miller at Hive Lighting says:
“Hive’s plasma has many advantages
over current daylight options, it uses
less power, is completely flicker
free, doesn’t get too hot to touch,
the bulbs last 30 times longer and
produce a higher quality of light,
and finally, because plasma uses
less power, it can be run effectively
off batteries. With the new realities
of smaller budgets and smaller
crews, lights that can be run off
batteries and domestic wall sockets
are becoming a necessity for the
modern filmmaker.”
So, what are the drivers behind
the emerging technology roadmap?
Number one seems to be the
evolution of the cameras themselves
and the ability of digital units to work
in lower light settings.
“A 4kW has become a ‘big’ light,
which you can use to create a sun
effect through a window, when
it used to be necessary to have
an 18k on a cherry picker,” says
Marc Galerne, General Manager at
K5600 Lighting.
He also highlights the fact that
an increase in production can spell
numerous, smaller-scale projects

with smaller budgets to match. “On
the field, this translates to shooting
quicker with a smaller crew and a
smaller equipment package. Hence
the need to adapt the tools to meet
these new production challenges
by making them lighter, smaller
and versatile.”
Power consumption is another
huge driver. BBC statistics show
that swapping tungsten and older
discharge and fluorescent house
lighting with modern T5 fluorescent
lighting can achieve savings of over
50% per luminaire, with an average
ROI of three years.
Indeed, the desire to save energy
has resulted in huge changes to the
lexicon of lighting, with broadcasters
issuing complex guidelines for
everything from audience lighting
to moving spots, hard lights and
cycloramas. The consensus seems
to be that replacing old equipment
is a good idea and that appropriate
lighting control can save an awful
lot of money.

The Market
While the state of the global
economy in general has had an
impact not least on technological
advances, there are glimmers of
hope. Daffarn points to a 2012 sales
ledger that is back to 2008 levels.
“Light at the end of the tunnel,”
he quips. Meanwhile, Stueckle
notes that a resurgent Hollywood,
combined with the considerable
heft of the giant economies of
China and India, is starting to have

K5600 Lighting Joker-Bug is put
through its paces at Weisscam

a positive impact on business as
the number of entrants into the
production field widens.
Daffarn says: “We recently won
a very nice project in South India
with the help of RGB Broadcast
who are the system integrators for
Mathrubhumi, a private newspaper
group in South India who have
ventured into the TV market.
“We designed, supplied and
installed three studios for their
HQ in Trivandrum, and this will
be the first TV studio in India to
be equipped with our Wireless
DMX technology and distributed
wireless-controlled Silent dimmers.
The majority of the luminaires are
low-energy fluorescents from our
Highlight range and these have
been supplemented with a selection
of conventional tungsten Fresnel
luminaires to provide the necessary
hard sources.”

Future Challenges
So, what’s next for lighting? On
the technology front, one of the
main hurdles is working with ultra
hi-motion without unacceptable
flicker. The stadium lighting industry
is going to have to deal with the
sports side of things (though postprocessing may prove an easier
route there), while for production
lighting Stueckle says that the whole
Kino Flo range is flicker-free at all
film speeds, while K5600 Lighting’s
Alpha 1600 and Joker Bug 1600
passed stringent tests shooting at
2000 frames per second in HD on
a Weisscam HS2 operating in their
new 1000Hz mode.
“With the new high speed cameras
pushing higher and higher frame
rates, lights that could be considered
‘flicker free’ at 120fps are no longer
acceptable at 1200fps,” points out
Hive’s Miller. “Plasma for high speed
lighting is a really great fit, taking
advantage of the technology’s
incredibly high cycle rate (450Mhz
or 225 million fps) as well as its high

Kino Flo lumieres in a set installation

output which are the two must haves
for slow-motion cinematography.”
Then there is the ongoing task of
squaring the circle of light versus
power. “There is a big demand for a
daylight (5600K) balanced TV studio
with a good mixture of hard and soft
sources,” says Daffran. “Currently
the provision of dimmable, energy
efficient hard sources in daylight
colour temperature is proving
elusive or cost prohibitive.”
The base technology is not
remaining static. Energy costs are
spiralling, cheaper running costs are
worth pursuing, and new research
emerges from the labs. South
Korean scientists recently said they
had achieved double the brightness
of conventional LEDs by studying
the ridges on a firefly’s exoskeleton.
“People touting their LED
technology? It’s already obsolete
but they don’t know it yet, there’s so
much new stuff around the corner,”
says Stueckle.
“The important things are how
stable your light is, no matter what
the source. And how many problems
can you solve with this light source;
how creative and innovative is it
to help the image-makers produce
their pictures? We’ve been shown
some new types of LEDs, we’ve
been shown some interesting
nanotechnology, but for the moment
we have day-to-day problems onset that we need to solve.”

67


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Table of Contents for the Digital Edition of In Broadcast - February 2013

In Broadcast - February 2013
Contents
InNews: Sony's F65 Shoots First UK 4K Feature
InNews: Channel 5 Russia Modernises with Orad Solutions
InSound:: Cobalt Digital's Loudness Solutions
InView: Agile IP Video Delivery: STB Software Architectur
InView: Boxx TV Squares Up to HD Video
InFocus: Real-Time Motion Graphics Workflows
InFocus: Meduza Set to Ship Titan 3D Camera System
InForm: Sintecmedia Acquires US-Based Storer TV
InPlay: Christie Shows Entero HB Displays Cubes
InTech: The Power Overheard of More Pixels
In Broadcast - February 2013 - Intro
In Broadcast - February 2013 - In Broadcast - February 2013
In Broadcast - February 2013 - Cover2
In Broadcast - February 2013 - Contents
In Broadcast - February 2013 - InNews: Sony's F65 Shoots First UK 4K Feature
In Broadcast - February 2013 - 5
In Broadcast - February 2013 - InNews: Channel 5 Russia Modernises with Orad Solutions
In Broadcast - February 2013 - 7
In Broadcast - February 2013 - 8
In Broadcast - February 2013 - 9
In Broadcast - February 2013 - 10
In Broadcast - February 2013 - 11
In Broadcast - February 2013 - 12
In Broadcast - February 2013 - 13
In Broadcast - February 2013 - 14
In Broadcast - February 2013 - 15
In Broadcast - February 2013 - 16
In Broadcast - February 2013 - 17
In Broadcast - February 2013 - 18
In Broadcast - February 2013 - 19
In Broadcast - February 2013 - 20
In Broadcast - February 2013 - 21
In Broadcast - February 2013 - 22
In Broadcast - February 2013 - 23
In Broadcast - February 2013 - InSound:: Cobalt Digital's Loudness Solutions
In Broadcast - February 2013 - 25
In Broadcast - February 2013 - 26
In Broadcast - February 2013 - 27
In Broadcast - February 2013 - InView: Agile IP Video Delivery: STB Software Architectur
In Broadcast - February 2013 - 29
In Broadcast - February 2013 - 30
In Broadcast - February 2013 - 31
In Broadcast - February 2013 - InView: Boxx TV Squares Up to HD Video
In Broadcast - February 2013 - 33
In Broadcast - February 2013 - 34
In Broadcast - February 2013 - 35
In Broadcast - February 2013 - 36
In Broadcast - February 2013 - 37
In Broadcast - February 2013 - InFocus: Real-Time Motion Graphics Workflows
In Broadcast - February 2013 - 39
In Broadcast - February 2013 - InFocus: Meduza Set to Ship Titan 3D Camera System
In Broadcast - February 2013 - 41
In Broadcast - February 2013 - 42
In Broadcast - February 2013 - 43
In Broadcast - February 2013 - 44
In Broadcast - February 2013 - 45
In Broadcast - February 2013 - 46
In Broadcast - February 2013 - 47
In Broadcast - February 2013 - 48
In Broadcast - February 2013 - 49
In Broadcast - February 2013 - 50
In Broadcast - February 2013 - 51
In Broadcast - February 2013 - 52
In Broadcast - February 2013 - 53
In Broadcast - February 2013 - InForm: Sintecmedia Acquires US-Based Storer TV
In Broadcast - February 2013 - 55
In Broadcast - February 2013 - 56
In Broadcast - February 2013 - 57
In Broadcast - February 2013 - 58
In Broadcast - February 2013 - 59
In Broadcast - February 2013 - 60
In Broadcast - February 2013 - 61
In Broadcast - February 2013 - 62
In Broadcast - February 2013 - 63
In Broadcast - February 2013 - 64
In Broadcast - February 2013 - InPlay: Christie Shows Entero HB Displays Cubes
In Broadcast - February 2013 - 66
In Broadcast - February 2013 - 67
In Broadcast - February 2013 - 68
In Broadcast - February 2013 - 69
In Broadcast - February 2013 - 70
In Broadcast - February 2013 - 71
In Broadcast - February 2013 - 72
In Broadcast - February 2013 - 73
In Broadcast - February 2013 - InTech: The Power Overheard of More Pixels
In Broadcast - February 2013 - 75
In Broadcast - February 2013 - 76
In Broadcast - February 2013 - 77
In Broadcast - February 2013 - S1
In Broadcast - February 2013 - S2
In Broadcast - February 2013 - S3
In Broadcast - February 2013 - S4
In Broadcast - February 2013 - S5
In Broadcast - February 2013 - S6
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NewYork2018
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201801
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201711
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201709
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201708
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201707
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201705
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201704
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201703
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201701
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_INREVIEW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201609
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201606
http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201605
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2016
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http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC02
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_CCW15expo
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